(1927-1989) US writer, perhaps best known for his numerous essays on the US West, in which he clearly expresses a scathing iconoclasm about human motives and their effects on the world. In _^<i_The Monkey-Wrench Gang_^>i_ (_^<b_1975_^>b_; rev 1985)
and its sequel, _^<i_Hayduke Lives!_^>i_ (_^<b_1990_^>b_), this pessimism is countered by prescriptions for physically sabotaging the polluters of the West which, when put into practice, nearly displace normal reality; "structure-hitting", as
practised by 21st century saboteurs in Bruce _^<a_!T5717_STERLING_^>a_'s _^<i_Heavy Weather_^>i_ (_^<b_1994_^>b_), seems to derive from EA's premise _^<i_Good Times_^>i_ (fixup _^<b_1980_^>b_) is set in a balkanized USA after nuclear fallout has
helped destroy civilization; an Indian shaman, along with other characters similar to those in _^<i_The Monkey-Wrench Gang_^>i_, fights back against tyranny. [JC]_^<n__^<n_
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ABBOTT, EDWIN A(BBOTT)
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(1839-1926) UK clergyman, academic and writer whose most noted work, published originally as by A Square, is _^<i__^<a_!B9258_FLATLAND: A ROMANCE OF MANY DIMENSIONS_^>a__^>i_ (_^<b_1884_^>b_). Narrated and illustrated by Mr Square, the novel falls
into two parts. The first is a highly entertaining description of the two-dimensional world of Flatland, in which inhabitants' shapes establish their (planar) hierarchical status. In the second part, Mr Square travels in a dream to the
one-dimensional universe of Lineland, whose inhabitants are unable to conceive of a two-dimensional universe; he is in turn visited from Spaceland by a three-dimensional visitor -- named Sphere because he is spherical -- whom Mr Square cleverly
persuades to believe in four-dimensional worlds as well. _^<i_Flatland_^>i_ is a study in _^<a_!T3717_MATHEMATICS_^>a_ and _^<a_!T1851_PERCEPTION_^>a_, and has stayed popular since its first publication. [JC]_^<n__^<n__^<b_See also:_^>b_
_^<a_!T1239_DIMENSIONS_^>a_; _^<a_!T4443_HISTORY OF SF_^>a_.
(1924-1993) Japanese novelist, active since 1948, several of whose later novels have been translated into English. He is known mainly for his work outside the sf field, like _^<i_Suna no Onna_^>i_ (_^<b_1962_^>b_; trans E. Dale Saunders as
_^<i_Woman in the Dunes_^>i_ _^<b_1964_^>b_ US), and has been deeply influenced by Western models from Franz _^<a_!T3963_KAFKA_^>a_ to Samuel Beckett (1906-1989); the intensely extreme conditions to which he subjects his alienated protagonists
allow a dubious sf interpretation of novels like _^<i_Moetsukita Chizu_^>i_ (_^<b_1967_^>b_; trans E. Dale Saunders as _^<i_The Ruined Map_^>i_ _^<b_1969_^>b_ US), or _^<i_Tanin no Kao_^>i_ (_^<b_1964_^>b_; trans E. Dale Saunders as _^<i_The Face
of Another_^>i_ _^<b_1966_^>b_ US). However, _^<i_Dai-Yon Kampyoki_^>i_ (_^<b_1959_^>b_; trans E. Dale Saunders as _^<i_Inter Ice Age 4_^>i_ _^<b_1970_^>b_ US) is undoubtedly sf. It is a complex story set in a near-future Japan threatened by the
melting of the polar icecaps. The protagonist, Professor Katsumi, has been in charge of developing a computer/information system capable of predicting human behaviour. This system, fatally for him, predicts his compulsive refusal to go along with
his associates and his government in the creation of genetically engineered children, adapted for life in the rising seas. Most of the novel, narrated by Katsumi, deals with a philosophical confrontation between his deeply alienated refusal of the
future and the computer's knowing representations of that refusal and the alternatives to it. The resulting psychodramas include a mysterious murder and the enlistment of his unborn child into the ranks of the mutated water-breathers. A later
novel, _^<i_Hako-Otoko_^>i_ (_^<b_1973_^>b_; trans E. Dale Saunders as _^<i_The Box Man_^>i_ _^<b_1973_^>b_ US) has some borderline sf elements; its protagonist walks about and lives in a large cardboard carton along with many other Tokyo residents
who have refused a life of "normalcy". _^<i_Hakobune Sakura Maru_^>i__^<b_1984_^>b_; (trans Juliet Winter Carpenter as _^<i_The Ark Sakura_^>i_ _^<b_1988_^>b_ US) expands that basic metaphor in a tale about a man obsessively engaged with his bomb
shelter. _^<i_Beyond the Curve_^>i_ (coll trans Juliet Winters Carpenter _^<b_1991_^>b_ US) collects sf short stories -- some sf -- published in Japan 1949-66. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T1243_DISASTER_^>a_; _^<a_!T4657_GENETIC
ENGINEERING_^>a_; _^<a_!T3872_JAPAN_^>a_; _^<a_!T2023_PSYCHOLOGY_^>a_; _^<a_!T5281_UNDER THE SEA_^>a_.
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ABEL, R(ICHARD) COX
-T-
[r] > Charles _^<a_!T435_BARREN_^>a_._^<n__^<n_
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ABLEMAN, PAUL
-T-
(1927- ) UK novelist known mainly for work outside the sf field whose first story of genre interest is "The Prophet Mackenbee" for _^<i_Lucifer_^>i_ in 1952, about an sf writer and inventor who surrounds himself with disciples in an absurd world.
His first book, _^<i_I Hear Voices_^>i_ (_^<b_1958_^>b_ France). _^<i_The Twilight of the Vilp_^>i_ (_^<b_1969_^>b_) is not so much sf proper as an informed and sophisticated playing with the conventions of the genre in a
_^<a_!T1372_FABULATION_^>a_ about the author of a work and his relation to its components. The eponymous Galaxy-spanning Vilp cannot, therefore, be taken literally. [JC]_^<n__^<n_
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ABORIGINAL SCIENCE FICTION
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US magazine published from Massachusetts by Absolute Entertainment Inc. and more recently by the Second Renaissance Foundation Inc., ed Charles C. _^<a_!T2755_RYAN_^>a_, first issue Oct 1986, 5 issues in both 1987 and 1988, then bimonthly; 30 issues
to Dec 1991, quarterly from 1992, currently suspended, last issue seen #45/46 Spring 1994. The original format was 24pp tabloid (11 x 17in; about 280 x 430mm), but changed to small_^<a_!T492_BEDSHEET_^>a_ with #4 in 1987. A feature is the use of
full-page, full-colour illustration throughout the magazine, which from #8 (1988) to #22 (1990) was printed entirely on slick paper: "cover art for every story", as the editor put it._^<n__^<n_The title results from an ongoing but not very good
joke about the publisher, envisaged as a "crazy alien", who produces the magazine for the aboriginals of Earth. The fiction has been reasonable but seldom excellent, with the work of little known writers like Robert A. Metzger mixed, very
occasionally, with that of big names like Larry _^<a_!T3223_NIVEN_^>a_. The regular book-review columns are by Darrell _^<a_!T2867_SCHWEITZER_^>a_ and Janice M. Eisen. Editor Ryan previously brought out the magazine _^<a_!T1688_GALILEO_^>a_
(1976-80), and continues, as he did then, to make most of his sales through subscription rather than newsstand purchases. At the end of 1991, with a hiatus in the bimonthly appearance, the future of this courageous but never very exciting magazine
looked uncertain, with production and (increased) postage costs no longer covered by sales. 1992 saw three "double" issues only; 1993 saw four issues, two labelled as "doubles"; there was only one "double" issue in 1994 due to illness in the
editor's family. In early 1995 the title was offered for sale, though publisher/editor Ryan said he would stay on as editor if asked by the new owners, if any. A spin-off reprint anthology in magazine format is _^<i_Aboriginal Science Fiction,
Tales of the Human Kind: 1988 Annual Anthology_^>i_ (anth chap _^<b_1988_^>b_) ed Ryan. [PN]_^<n__^<n_
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ABOUT, EDMOND (FRANCOIS VALENTIN)
-T-
(1828-1885) French writer of much fiction, some of it sf, notably _^<i_L'homme a l'oreille cassee_^>i_ (_^<b_1862_^>b_; trans Henry Holt as _^<i_The Man with the Broken Ear_^>i_ _^<b_1867_^>b_ US; vt _^<i_Colonel Fougas' Mistake_^>i_ 1878 UK; vt "A
New Lease of Life" 1880 UK), which is included in _^<i_A New Lease of Life, and Saving a Daughter's Dowry_^>i_ (coll trans _^<b_1880_^>b_ UK). In this tale a mummified military man is revived 46 years after his death and causes havoc with his
Napoleonic jingoism. Another work in an English-language version is _^<i_The Nose of a Notary_^>i_ (trans _^<b_1863_^>b_ US; vt _^<i_The Notary's Nose_^>i_ 1864; vt _^<i_The Lawyer's Nose_^>i_ 1878 UK), which is included in _^<i_The Notary's Nose
and Other Stories_^>i_ (coll trans _^<b_1882_^>b_ UK). [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T3001_MONEY_^>a_.
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ABRAMOV, ALEXANDER
-T-
(1900-1985) _^<b_and SERGEI_^>b_ (1944- ) Russian authors of the sf adventure novel _^<i_Horsemen from Nowhere_^>i_ (trans George Yankovsky _^<b_1969_^>b_ Moscow). One of their short stories appears in _^<i_Vortex_^>i_ (anth _^<b_1970_^>b_) ed
C.G. Bearne. A later novel is _^<i_Journey across Three Worlds_^>i_ (trans Gladys Evans with other stories as coll _^<b_1973_^>b_ Moscow). [PN]_^<n__^<n_
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ABSENT MINDED PROFESSOR, THE
-T-
Film (1961). Walt Disney. Dir Robert Stevenson, starring Fred MacMurray, Nancy Olson, Keenan Wynn. Screenplay Bill Walsh. 97 mins. B/w._^<n__^<n_Historically important as the financially successful template for a great many lightweight,
comparatively low-budget sf comedies from the Disney studio, though it was not their first live-action fantasy comedy (_^<i_The Shaggy Dog_^>i_, 1959). Subsequent movies in a similar vein include _^<i_The Computer Wore Tennis Shoes_^>i_ (1969),
_^<i_The Love Bug_^>i_ (1969) and _^<i_The Cat from Outer Space_^>i_ (1978); because these are largely assembly-belt products aimed at children, they do not receive entries in this volume. _^<i_TAMP_^>i_, perhaps the best, features MacMurray as a
high-school science teacher who accidentally invents "flubber" (flying rubber), an _^<a_!T198_ANTIGRAVITY_^>a_ substance he fits in a Model-T Ford. The flying scenes (matte work by Peter Ellenshaw) are astonishingly proficient for the period, but
the science is puerile, the humour broad and the characters stereotyped. MacMurray gives one of his most charmingly deft performances._^<n__^<n_The sequel was _^<i_Son of Flubber_^>i_ (1963). [PN]_^<n__^<n_
The word "absurdist" became fashionable as a literary term after its consistent use by the French novelist and essayist Albert Camus (1913-1960) to describe fictions set in worlds where we seem at the mercy of incomprehensible systems. These systems
may work as metaphors of the human mind -- outward manifestations of what J.G. _^<a_!T378_BALLARD_^>a_ means when he uses the term _^<a_!T3783_INNER SPACE_^>a_ -- or they may work as representations of a cruelly arbitrary external world, in which
our expectations of rational coherence, whether from God or from human agencies, are doomed to frustration, as in the works of Franz _^<a_!T3963_KAFKA_^>a_._^<n__^<n_In this encyclopedia we cross-refer works of Absurdist sf to the blanket entry on
_^<a_!T1372_FABULATION_^>a_, but do not thereby wish to discount the usefulness of Absurdist sf as a separate concept, especially when we are thinking about some sf written between about 1950 and 1970. During this period Brian W.
_^<a_!T87_ALDISS_^>a_, Ballard, David R. _^<a_!T5078_BUNCH_^>a_, Jerzy _^<a_!T4119_KOSINSKI_^>a_, Michael _^<a_!T3030_MOORCOCK_^>a_, Robert _^<a_!T2164_SHECKLEY_^>a_, John T. _^<a_!T2240_SLADEK_^>a_, Kurt _^<a_!T5402_VONNEGUT_^>a_ Jr and many other
writers tended to create metaphorical worlds shaped externally by a governing _^<a_!T1795_PARANOIA_^>a_, and internally tortured by the psychic white noise of _^<a_!T6679_ENTROPY_^>a_. Kafka haunted this work, of course -- because Kafka can easily
be transposed into terms that suggest a political protest. Most Absurdist writers were also indebted (a debt they tended freely to acknowledge) to the 19th-century Symbolist tradition, as exemplified by figures like Jean-Marie _^<a_!T5373_VILLIERS
DE L'ISLE-ADAM_^>a_, and to its 20th-century successors, from the 'pataphysics of Alfred _^<a_!T3873_JARRY_^>a_ to the Surrealism of Andre Breton (1896-1966) and many others. In the end, however, it might be suggested that Absurdist writers -- as
they did with Kafka -- translated the Symbolist and Surrealist traditions into political terms: in the end, Absurdist sf can be seen as a protest movement. The world -- they said -- should not be absurd. [PN/JC]_^<n__^<n_
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ABYSS, THE
-T-
Film (1989). 20th Century-Fox. Dir James _^<a_!T5131_CAMERON_^>a_, starring Ed Harris, Mary Elizabeth Mastrantonio, Todd Graff, Michael Biehn. Prod Gale Anne _^<a_!T4563_HURD_^>a_. Screenplay Cameron. 139 mins. Colour._^<n__^<n_Despite the largest
budget of the period's undersea fantasies (> _^<a_!T1140_DEEPSTAR SIX_^>a_; _^<a_!T3359_LEVIATHAN_^>a_) at about $60 million, and despite director Cameron's impressive track record with sf, this was not a box-office smash. A nuclear-missile-armed
US submarine crashes at the edge of the Cayman Trough and the crew of an experimental, submersible drilling rig are asked to help rescue any survivors. A hurricane cuts communications with the surface; the laid-back, jokey rig workers clash with a
paranoid team of naval commandos who blame everything on the Russians; and _^<a_!T102_ALIENS_^>a_ dwelling in the Trench (looking a little like angels, and therefore _^<i_good_^>i_) teasingly appear to some people but not others. The peace-lovers
clash stereotypically with the "nuke the aliens" group, and mayhem is followed by transcendental First Contact. Cameron is good at the low-key establishment of team cameraderie among working people, but the cute-alien theme and the relationship
between estranged husband and wife have traces of marshmallow softness. The moral-blackmail finale of an earlier version of the script (aliens threaten world with tidal waves if world peace is not restored) is replaced by something that looks more
like divine intervention. The film's moralizing is attractive but simplistic. More interestingly, most of the miraculous technology on display is either actually possible today or plausible for the _^<a_!T6337_NEAR FUTURE_^>a_. The novelization,
whose author not unfairly calls it "a real novel", is _^<i_The Abyss_^>i_ * (_^<b_1989_^>b_) by Orson Scott _^<a_!T6359_CARD_^>a_._^<n__^<n_In 1992 the director's cut _^<i__^<a_!T19_THE ABYSS: SPECIAL EDITION_^>a__^>i_ was released, at 171 mins
more than half an hour longer than the original. The restored climax (tough-minded version) may be more interesting in theory, but in practice is marred by unconvincing special effects in the tidal wave. Richer characterization and more cold-war
politics do not compensate for the now sluggish pacing of this bloated variant edition. [PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T726_CINEMA_^>a_; _^<a_!T3011_MONSTER MOVIES_^>a_; _^<a_!T5281_UNDER THE SEA_^>a_.
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ACE BOOKS
-T-
US paperback-publishing company founded by pulp-magazine publisher A.A. Wyn in 1953. Under editor Donald A. _^<a_!T5679_WOLLHEIM_^>a_, Ace published a high proportion of sf, much of it in the "Ace Double" format of two titles bound together
_^<a_!T1298_DOS-A-DOS_^>a_. The series included the first or early novels of many writers who became famous, such as John _^<a_!T5049_BRUNNER_^>a_, Samuel R. _^<a_!T1152_DELANY_^>a_, Philip K. _^<a_!T1222_DICK_^>a_, Gordon R.
_^<a_!T1227_DICKSON_^>a_, Thomas M. _^<a_!T1244_DISCH_^>a_, R.A. _^<a_!T4152_LAFFERTY_^>a_, Ursula K. _^<a_!T3318_LE GUIN_^>a_, Robert _^<a_!T2216_SILVERBERG_^>a_ and Roger _^<a_!T6264_ZELAZNY_^>a_. Terry _^<a_!T5182_CARR_^>a_ became an editor in
1964 and later began the _^<b_Ace Science Fiction Specials_^>b_ series, which received considerable praise. Carr left the company in 1971, followed by Wollheim, who began his own imprint, _^<a_!T1100_DAW BOOKS_^>a_, in 1972. Carr rejoined as
freelance editor of a second series of _^<b_Ace Specials_^>b_ in 1984, this time restricted to first novels; it included _^<i__^<a_!B8984_NEUROMANCER_^>a__^>i_ (_^<b_1984_^>b_) by William _^<a_!T4689_GIBSON_^>a_, _^<i__^<a_!B8993_THE WILD
SHORE_^>a__^>i_ (_^<b_1984_^>b_) by Kim Stanley _^<a_!T2637_ROBINSON_^>a_, _^<i_Green Eyes_^>i_ (_^<b_1984_^>b_) by Lucius _^<a_!T2175_SHEPARD_^>a_, _^<i_In the Drift_^>i_ (fixup _^<b_1985_^>b_) by Michael _^<a_!T5864_SWANWICK_^>a_ and _^<i_Them
Bones_^>i_ (_^<b_1984_^>b_) by Howard _^<a_!T5425_WALDROP_^>a_. In-house editors Beth _^<a_!T3740_MEACHAM_^>a_ and Terri _^<a_!T5650_WINDLING_^>a_ and, for a longer period, Susan Allison, also ensured that some high-quality books continued to be
published in the 1980s, although the emphasis remained on sf adventure. In 1975 Ace had been sold to Grosset & Dunlap; a new sale in July 1982 saw Ace absorbed by Berkley and ceasing to be an independent company, although it remained as an imprint.
Ace had been publishing, prior to the sale, more sf than any other publisher; the Putnam/Berkley/Ace combination continued to dominate US sf publishing, in terms of number of books, until 1987, thereafter maintaining second place.
[PN/MJE]_^<n__^<n__^<b_Further reading:_^>b_ There are several checklists of Ace sf publications, but none are complete. _^<i_Double your Pleasure: The Ace SF Double_^>i_ (_^<b_1989_^>b_ chap) by James A. Corrick is useful for doubles, while Dick
Spelman's _^<i_Science Fiction and Fantasy Published by Ace Books (1953-1968)_^>i_ (_^<b_1976_^>b_ chap) covers the important years._^<b_See also:_^>b_ _^<a_!T4551_HUGO_^>a_.
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ACKER, KATHY
-T-
(1948- ) US-born writer and playwright, in the UK for many years before returning to the USA in 1989. KA expresses an apocalyptic sense of the latterday world in works whose tortured absurdity (> _^<a_!T1372_FABULATION_^>a_) sometimes catches the
reader by surprise, or transfixes the spectator of one of her plays, which have been as a whole perhaps more telling than her prose. _^<i_The Birth of the Poet_^>i_ (staged 1984 Rotterdam; in _^<i_Wordplays 5_^>i_, anth _^<b_1986_^>b_) runs a gamut
from the nuclear _^<a_!T4482_HOLOCAUST_^>a_ of the first act to the picaresque jigs and jags of the second and third. Two novels -- _^<i_Don Quixote_^>i_ (_^<b_1986_^>b_), a surrealistic afterlife fantasy, and _^<i_Empire of the Senseless_^>i_
(_^<b_1988_^>b_), which features the not-quite terminal coupling of fleshly beings and _^<a_!T2646_ROBOTS_^>a_ -- are of some interest. Her use of sf icons and decor in this book resembles that of William S. _^<a_!T5099_BURROUGHS_^>a_, especially
in the homage to _^<a_!T1015_CYBERPUNK_^>a_ it contains, conveyed by cut-ups of text by William _^<a_!T4689_GIBSON_^>a_. [JC]_^<n__^<n_
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ACKERMAN, FORREST J(AMES)
-T-
(1916- ) US editor, agent and collector. A reader of the sf magazines from their inception, he was an active member of sf _^<a_!T1389_FANDOM_^>a_ from his early teens, and as early as 1932 served as associate editor of _^<i_The Time
Traveller_^>i_, the first _^<a_!T1428_FANZINE_^>a_. For many decades thereafter he wrote stories and articles prolifically for fan journals -- using his own name and a wide variety of elaborate pseudonyms, including Dr Acula, Jacques DeForest
Erman, Alden Lorraine, Vespertina Torgosi, Hubert George Wells (cheekily), Weaver Wright and many others -- and becoming known in fan circles as "Mr Science Fiction"; he won several awards for these activities, including a _^<a_!T4551_HUGO_^>a_ in
1953 for Number One Fan Personality. His first story was "A Trip to Mars" in 1929 for the _^<i_San Francisco Chronicle_^>i_, which won a prize for the best tale by a teenager; some of his more interesting work was assembled in _^<i_Science Fiction
Worlds of Forrest J. Ackerman and Friends_^>i_ (anth _^<b_1969_^>b_). He collected sf books and memorabilia from the very first, publishing in _^<i_"I Bequeath" (to the Fantasy Foundation)_^>i_ (_^<b_1946_^>b_ chap) a bibliography of the first 1300
items, and eventually housing his 300,000-item library, which he called the Fantasy Foundation, in a 17-room house in Hollywood, the maintenance of which proved difficult to manage over the years. The library was further celebrated in _^<i_Souvenir
Book of Mr Science Fiction's Fantasy Museum_^>i_ (_^<b_1978_^>b_ chap Japan). Disposals of collectable books have been made at times; and part of the library was auctioned in 1987, grossing over $550,000._^<n__^<n_FJA was active as an editor for
many years, though not deeply influential; he edited both the magazine _^<i_Famous Monsters of Filmland_^>i_ (1958-82) and the US _^<a_!T1863_PERRY RHODAN_^>a_ series (1969-77), as well as several sf anthologies, including _^<i_The Frankenscience
Monster_^>i_ (anth_^<b_ 1969_^>b_), _^<i_Best Science Fiction for 1973_^>i_ (anth _^<b_1973_^>b_), _^<i_Gosh! Wow! (Sense of Wonder)_^>i_ (anth _^<b_1982_^>b_), _^<i_Mr Monster's Movie Gold_^>i_ (anth _^<b_1982_^>b_) and _^<i_The Gernsback Awards,
Vol 1: 1926_^>i_ (anth _^<b_1982_^>b_). Notorious for his punning and use of simplified words, he is credited with introducing the term _^<a_!T2882_SCI FI_^>a_ in 1954. He was agent for a number of writers, notably A.E. _^<a_!T5333_VAN
VOGT_^>a_._^<n__^<n_His wife, Wendayne Ackerman (1912-1990), was also a fan, and translated the _^<a_!T5800_STRUGATSKI_^>a_ brothers' _^<i_Trudno byt' bogom_^>i_ (_^<b_1964_^>b_) as _^<i_Hard to be a God_^>i_ (_^<b_1973_^>b_ US).
[MJE/JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_In Memoriam H.G. Wells 1866-1946_^>i_ (_^<b_1946_^>b_ chap) with Arthur Louis Jocquel II; _^<i_James Warren Presents the Best from Famous Monsters of Filmland_^>i_ (anth _^<b_1964_^>b_); _^<i_James
Warren Presents Famous Monsters of Filmland Strike Back!_^>i_ (anth _^<b_1965_^>b_); _^<i_James Warren Presents Son of Famous Monsters of Filmland_^>i_ (anth _^<b_1965_^>b_); _^<i_Close Encounters of the Third Kind_^>i_ (_^<b_1977_^>b_ chap),
nonfiction; _^<i_J.R.R. Tolkien's The Lord of the Rings: A Fantasy Film_^>i_ (_^<b_1979_^>b_ chap), nonfiction; _^<i_A Reference Guide to American Science Fiction Films, Volume 1_^>i_ (_^<b_1981_^>b_) with A.W. Strickland, only 1 vol published;
_^<i_Lon of 1000 Faces_^>i_ (_^<b_1983_^>b_), nonfiction; _^<i_Fantastic Movie Memories_^>i_ (_^<b_1985_^>b_), nonfiction; _^<i_Reel Futures_^>i_ (anth _^<b_1994_^>b_) with Jean Stine._^<b_See also:_^>b_ _^<a_!T799_COLLECTIONS_^>a_.
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ACKERMAN, WENDAYNE
-T-
[r] > Forrest J. _^<a_!T22_ACKERMAN_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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-A-
ACKROYD, PETER
-T-
(1949- ) UK author who began writing as a poet before turning to literary biographies of figures like T.S. Eliot and Charles _^<a_!T1223_DICKENS_^>a_. His third novel, _^<i_Hawksmoor_^>i_ (_^<b_1985_^>b_), interestingly conflates the occult
geography of London constructed by an 18th-century architect -- who closely resembles the historical Nicholas Hawksmoor (1661-1736) -- with a series of 20th-century murders investigated by an Inspector Hawksmoor. As an alternate-world
_^<a_!T1372_FABULATION_^>a_, the book verges on sf. _^<i_First Light_^>i_ (_^<b_1989_^>b_) invokes a similar sense of time-slippage, featuring a 20th-century neolithic dig over which appears a night sky whose star positions are those of neolithic
times. [JC]_^<n__^<n__^<b_Other Works:_^>b__^<i_The House of Doctor Dee_^>i_ (_^<b_1993_^>b_).
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-A-
ACTION MAGAZINES
-T-
> _^<a_!T1657_FUTURE FICTION_^>a_._^<n__^<n_
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ACTON, [Sir] HAROLD (MARIO MITCHELL)
-T-
(1904-1994) UK writer, long resident in Italy, best known for highly civilized reflections, in books like _^<i_Memoirs of an Aesthete_^>i_ (_^<b_1948_^>b_), on his own style of life. His sf novel, _^<i_Cornelian_^>i_ (_^<b_1928_^>b_), tells of a
popular singer in a world which privileges old age. [JC]_^<n__^<n_
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ACULA, Dr
-T-
[s] > Forrest J. _^<a_!T22_ACKERMAN_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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ACWORTH, ANDREW
-T-
(? -? ) UK writer -- possibly, according to Darko _^<a_!T5858_SUVIN_^>a_, a barrister named Andrew Oswald Acworth (?1857-? ) -- whose sf novel, _^<i_A New Eden_^>i_ (_^<b_1896_^>b_), set 100 years in the future, features the escape of two
depressed protagonists from the decaying republican UK to an egalitarian island _^<a_!T5303_UTOPIA_^>a_ which fails to cheer them up -- despite electric factories, birth control and euthanasia. [JC]_^<n__^<n_
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ADAM AND EVE
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Brian W. _^<a_!T87_ALDISS_^>a_ has given the name "Shaggy God stories" to stories which provide simple-minded sf frameworks for Biblical myths. A considerable fraction of the unsolicited material submitted to sf magazines is reputed to consist of
stories of this kind, the plot most frequently represented being the one in which survivors of a space disaster land on a virgin world and reveal (in the final line) that their names are Adam and Eve. Understandably, these stories rarely see print,
although A.E. _^<a_!T5333_VAN VOGT_^>a_'s "Ship of Darkness" (1947) was reprinted in _^<i_Fantastic_^>i_ in 1961 as a "fantasy classic"; another example is _^<i_The Unknown Assassin_^>i_ (_^<b_1956_^>b_) by Hank _^<a_!T3868_JANSON_^>a_.
Straightforward variants include "Another World Begins" (1942; vt "The Cunning of the Beast") by Nelson _^<a_!T695_BOND_^>a_ (the most prolific writer of pulp Shaggy God stories), in which God is an _^<a_!T98_ALIEN_^>a_ and Adam and Eve are
experimental creatures who prove too clever for him; and "Evolution's End" (1941) by Robert Arthur, in which an old world lurches to its conclusion and Aydem and Ayveh survive to start the whole thing over again. Charles L.
_^<a_!T4298_HARNESS_^>a_'s "The New Reality" (1950) goes to some lengths to set up a framework in which a new universe can be created around its hero, his faithful girlfriend, and the arch-villain (Dr Luce), and uses the idea to far better effect.
More elaborate sf transfigurations of Biblical mythology include George Babcock's _^<i_Yezad_^>i_ (_^<b_1922_^>b_) and Julian Jay _^<a_!T2823_SAVARIN_^>a_'s _^<b_Lemmus_^>b_ trilogy (1972-7); a more subtle and sophisticated exercise along these
lines can be found in _^<i_Shikasta_^>i_ (_^<b_1977_^>b_) by Doris _^<a_!T3347_LESSING_^>a_. Adam and Eve are, of course, frequently featured in allegorical fantasies, notably George _^<a_!T3512_MACDONALD_^>a_'s _^<i_Lilith_^>i_ (_^<b_1895_^>b_),
Mark _^<a_!T6135_TWAIN_^>a_'s _^<i_Extracts from Adam's Diary_^>i_ (_^<b_1904_^>b_) and _^<i_Eve's Diary_^>i_ (_^<b_1906_^>b_), George Bernard _^<a_!T2157_SHAW_^>a_'s _^<i_Back to Methuselah_^>i_ (_^<b_1921_^>b_), John Erskine's _^<i_Adam and
Eve_^>i_ (_^<b_1927_^>b_), John _^<a_!T981_CROWLEY_^>a_'s "The Nightingale Sings at Night" (1989) and Piero Scanziani's _^<i_The White Book_^>i_ (_^<b_1969_^>b_; trans Linda Lappin _^<b_1991_^>b_ UK)._^<n__^<n_The names Adam and Eve -- particularly
the former -- are frequently deployed for their metaphorical significance. Adam is a natural name to give to the first _^<a_!T2646_ROBOT_^>a_ or _^<a_!T178_ANDROID_^>a_, and thus we find Eando _^<a_!T604_BINDER_^>a_ writing a biography of _^<i_Adam
Link, Robot_^>i_ (1939-42; fixup _^<b_1965_^>b_), and William C. _^<a_!T170_ANDERSON_^>a_ chronicling the career of _^<i_Adam M-1_^>i_ (_^<b_1964_^>b_). Adam Link was provided with an Eve Link, but what they did together remains a matter for
speculation. _^<a_!T5373_VILLIERS DE L'ISLE-ADAM_^>a_ had earlier described Thomas Alva Edison's creation of the perfect woman in _^<i_L'Eve future_^>i_ (_^<b_1886_^>b_; trans Robert M. Adams as _^<i_Tomorrow's Eve_^>i_ _^<b_1982_^>b_). The
metaphor is found also in some _^<a_!T5830_SUPERMAN_^>a_ stories, including two novels entitled _^<i_The New Adam_^>i_, one by Noelle _^<a_!T2663_ROGER_^>a_ (_^<b_1924_^>b_; trans L.P.O. Crowhurst _^<b_1926_^>b_ UK), the other by Stanley G.
_^<a_!T5506_WEINBAUM_^>a_ (_^<b_1939_^>b_), and in prehistoric romances, most notably in _^<i_Intimations of Eve_^>i_ (_^<b_1946_^>b_) and _^<i_Adam and the Serpent_^>i_ (_^<b_1947_^>b_) by Vardis _^<a_!T1505_FISHER_^>a_ and in the final volume of
George S. _^<a_!T5369_VIERECK_^>a_ and Paul _^<a_!T6611_ELDRIDGE_^>a_'s _^<b_Wandering Jew_^>b_ trilogy, _^<i_The Invincible Adam_^>i_ (_^<b_1932_^>b_), where much is made of the matter of the lost "rib". Alfred _^<a_!T568_BESTER_^>a_'s
last-man-alive story "Adam and No Eve" (1941) uses the names in an ironic vein._^<n__^<n_More ambitious sf Creation myths of a vaguely Adamic kind can be found in stories in which human beings are enabled to play a part in cosmological processes of
creation or re-creation (> _^<a_!T902_COSMOLOGY_^>a_). One example is van Vogt's "The Seesaw" (1941; integrated into _^<i__^<a_!B9228_THE WEAPON SHOPS OF ISHER_^>a__^>i_ fixup 1951); others are James _^<a_!T658_BLISH_^>a_'s _^<i_The Triumph of
Time_^>i_ (_^<b_1958_^>b_; vt _^<i_A Clash of Cymbals_^>i_) and Charles Harness's _^<i__^<a_!B9029_THE RING OF RITORNEL_^>a__^>i_ (_^<b_1968_^>b_)._^<n__^<n_Shaggy God stories briefly became popular alternatives to orthodox history in the works of
Immanuel _^<a_!T5346_VELIKOVSKY_^>a_ and Erich _^<a_!T5397_VON DANIKEN_^>a_, and it is likely that they will continue to exert a magnetic attraction upon the naive imagination. [BS]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T197_ANTHROPOLOGY_^>a_;
_^<a_!T6717_EVOLUTION_^>a_; _^<a_!T1727_ORIGIN OF MAN_^>a_; _^<a_!T2551_RELIGION_^>a_.
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ADAMOVIC, IVAN
-T-
(1967- ) Czech translator and writer, an associate editor of the sf magazine _^<i_Ikarie_^>i_ and a contributor to <Encyklopedie science fiction> ["Encyclopedia of Science Fiction"] (1992). His "Czech SF in the Last Forty Years" appeared in
_^<a_!T2143_SCIENCE-FICTION STUDIES_^>a_, Mar 1990. [PN]_^<n__^<n_
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ADAMS, DOUGLAS (NOEL)
-T-
(1952- ) UK scriptwriter and novelist who worked 1978-80 as an editor on the _^<a_!T1268_DR WHO_^>a_ tv series; his two _^<b_Doctor Who_^>b_ episodes, "Shada" and "City of Death", have provided plot elements for more than one of his later novels,
but have not themselves been novelized. He came to wide notice with his _^<a_!T4445_HITCH HIKER'S GUIDE TO THE GALAXY_^>a_ sequence, whose first incarnation was as two BBC _^<a_!T2480_RADIO_^>a_ series, the first in 1978, the second in 1980,
totalling 12 parts in all, the last 2 scripted in collaboration with producer John Lloyd. Both series were assembled as _^<i_The Hitch Hiker's Guide to the Galaxy: The Original Radio Scripts_^>i_ (coll _^<b_1985_^>b_) ed Geoffrey Perkins; the
scripts as published here were modified for subsequent radio performances, and were also released on record albums in a format different from any of the radio incarnations. The second and third full reworkings of the sequence -- as a tv series and
as the first two volumes of a series of novels -- seem to have been put together more or less simultaneously, and, although there are some differences between the two, it would be difficult to assign priority to any one version of the long and
episodic plot. In novel form, the sequence comprises _^<i_The Hitch Hiker's Guide to the Galaxy_^>i_ (_^<b_1979_^>b_; vt _^<i_The Illustrated Hitch Hiker's Guide to the Galaxy_^>i_ 1994) _^<i_The Restaurant at the End of the Universe_^>i_
(_^<b_1980_^>b_), _^<i_Life, the Universe and Everything_^>i_ (_^<b_1982_^>b_), _^<i_So Long, and Thanks for All the Fish_^>i_ (_^<b_1984_^>b_);and _^<i_Mostly Harmless_^>i_ (_^<b_1992_^>b_). The first three volumes were assembled as _^<i_The
Hitchhiker's Trilogy_^>i_ (omni _^<b_1984_^>b_ US), and the first four were assembled as _^<i_The Hitch Hiker's Guide to the Galaxy: A Trilogy in Four Parts_^>i_ (omni _^<b_1986_^>b_; vt _^<i_The Hitchhiker's Quartet_^>i_ 1986 US; rev with "Young
Zaphod Plays it Safe" added vt _^<i_The More than Complete Hitchhiker's Guide: Five Stories_^>i_ _^<b_1987_^>b_ US). One basic premise frames the various episodes contained in the differing versions of the sequence, though volumes three and four of
the novel sequence carry on into new territory, and volume five seems to terminate the entire sequence, with an effect of melancholia. A human-shaped _^<a_!T98_ALIEN_^>a_, on contract to revise the eponymous guide, has under the name Ford Prefect
spent some time on Earth, where he befriends the protagonist of the series, Arthur Dent. On learning that Earth is to be demolished to make way for an interstellar bypass, Prefect escapes the doomed planet with Dent, and the two then hitch-hike
around the Galaxy, undergoing various adventures. Various satirical points are made, and, as the sequence moves ahead into the final episodes, DA's underlying corrosiveness of wit becomes more and more prominent. Earth proves to have been
constructed eons earlier as a _^<a_!T826_COMPUTER_^>a_ whose task it is to solve the meaning of life; but its demolition, only seconds before the answer is due, puts paid to any hope that any meaning will be found. For the millions of fans who
listened to the radio version, watched the tv episodes, and laughed through the first two volumes of the book sequence, volumes three and four must have seemed punitively unamused by the human condition; and in _^<i_Mostly Harmless_^>i_
(_^<b_1992_^>b_), a late addition to the sequence, the darkness only increases. But a satirist's intrinsic failure to be amused by pain did, in retrospect, underlie the most ebullient earlier moments._^<n__^<n_A second sequence -- _^<i_Dirk
Gently's Holistic Detective Agency_^>i_ (_^<b_1987_^>b_) and _^<i_The Long Dark Tea-Time of the Soul_^>i_ (_^<b_1988_^>b_) -- confirmed the dark bent of DA's talent. Though the tales inventively carry the eponymous detective through a wide range of
sf experiences, this second series did not gain the extraordinary response of the first. In a sense that only time can test, it could be said that the _^<b_Hitch Hiker's Guide_^>b_ has become folklore. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_The
Meaning of Liff_^>i_ (_^<b_1983_^>b_; rev vt _^<i_The Deeper Meaning of Liff_^>i_ 1990) with John Lloyd, humour; _^<i_The Utterly Utterly Merry Comic Relief Christmas Book_^>i_ (anth _^<b_1986_^>b_), ed (anon), charity fundraising book for Comic
Relief; _^<i_Last Chance to See_^>i_ (_^<b_1991_^>b_) with Mark Carwardine, nonfiction book promoting wildlife conservation, with text by DA to photographs by Carwardine; Doctor Who: The Scripts: Pirate Planet * (_^<b_1994_^>b_), reprinting an old
_^<a_!T1268_DR WHO_^>a_ script. _^<b_About the author:_^>b_ _^<i_Don't Panic: The Official Hitch Hiker's Guide to the Galaxy Companion_^>i_ (_^<b_1988_^>b_ ; rev 1993 with David K. Dickson ) by Neil _^<a_!T1675_GAIMAN_^>a_._^<b_See also:_^>b_
_^<a_!T200_ANTI-INTELLECTUALISM IN SF_^>a_; _^<a_!T1410_FANTASTIC VOYAGES_^>a_; _^<a_!T1696_GAMES AND TOYS_^>a_; _^<a_!T4740_GODS AND DEMONS_^>a_; _^<a_!T4555_HUMOUR_^>a_; _^<a_!T3118_MUSIC_^>a_; _^<a_!T3135_MYTHOLOGY_^>a_; _^<a_!T2646_ROBOTS_^>a_;
(1859-1921) US writer whose two sf _^<a_!T5303_UTOPIAS_^>a_ -- _^<i_President John Smith: The Story of a Peaceful Revolution (Written in 1920)_^>i_ (_^<b_1897_^>b_) and _^<i_The Kidnapped Millionaires: A Tale of Wall Street and the Tropics_^>i_
(_^<b_1901_^>b_) -- put into stiffly earnest narrative form the arguments that direct election of the US President would lead to a benevolent socialism and that the tycoons of Wall Street were a doomed race. [JC]_^<n__^<n_
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ADAMS, HARRIET S(TRATEMEYER)
-T-
(1892-1982) US writer and, after the death of her father Edward _^<a_!T5785_STRATEMEYER_^>a_ in 1930, editor of his publishing syndicate. Under a variety of house names, including Carolyn Keene, Franklin W. Dixon and Laura Lee Hope, she was herself
responsible for writing approximately 170 of the Stratemeyer Syndicate novels about the _^<b_Bobbsey Twins_^>b_, the _^<b_Hardy Boys_^>b_, _^<b_Nancy Drew_^>b_ and others; for further titles, she supplied plots and outlines. Under the house name
Victor _^<a_!T214_APPLETON_^>a_ she wrote the last in the first series of _^<b_Tom Swift_^>b_ books, _^<i_Tom Swift and his Planet Stone_^>i_ (_^<b_1935_^>b_), and successfully revived _^<b_Tom Swift_^>b_, or, to be more accurate, his son _^<b_Tom
Swift, Jr._^>b_, in a new series which began publication in 1954 (> _^<a_!T6048_TOM SWIFT_^>a__^<i_for details_^>i_). [JC]_^<n__^<n__^<b_About the author:_^>b_ _^<i_Stratemeyer Pseudonyms and Series Books: An Annotated Checklist of Stratemeyer and
Stratemeyer Syndicate Publications_^>i_ (_^<b_1982_^>b_) ed Deirdre Johnson.
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ADAMS, HUNTER
-T-
> Jim _^<a_!T4213_LAWRENCE_^>a_._^<n__^<n_
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ADAMS, JACK
-T-
Collaborative pseudonym of US writers Alcanoan O. Grigsby (? -? ) and Mary P. Lowe (? -? ) whose _^<i_Nequa, or The Problem of the Ages_^>i_ (_^<b_1900_^>b_) carries the character "Jack Adams" -- in fact a wronged woman named Cassie -- to
polar regions, where she and her bigoted fiance (who does not recognize her as Adams) are rescued by the inhabitants of Altruria (> William Dean _^<a_!T4528_HOWELLS_^>a_, though there is no explicit connection between his utopias and this one). The
Altrurians take them to their country, which lies inside a _^<a_!T4474_HOLLOW EARTH_^>a_, demonstrate their flying machines and other marvels, and explain their sexually egalitarian, non-Christian culture (> _^<a_!T1461_FEMINISM_^>a_). Nequa, as
"Jack Adams" now calls herself, will marry her fiance only if he attains some wisdom. _^<i_Nequa_^>i_ is a surprisingly enjoyable salutary tale. [JC]_^<n__^<n_
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ADAMS, JOHN
-T-
> John S. _^<a_!T4725_GLASBY_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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ADAMS, LOUIS J.A.
-T-
[s] > Joe L. _^<a_!T4385_HENSLEY_^>a_; Alexei _^<a_!T1782_PANSHIN_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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ADAMS, NEAL
-T-
(1941- ) Influential and remarkably prolific US _^<a_!T820_COMIC_^>a_-strip artist specializing in the _^<a_!T5829_SUPERHERO_^>a_ genre, with a strong, gutsy yet sophisticated line style. His continued claim to fame probably rests largely on his
ground-breaking personal reinterpretation of _^<a_!T1115_DC COMICS_^>a_'s _^<b_Batman_^>b_. He attended the School of Industrial Art in Manhattan, then worked for Archie Comics 1959-60 before establishing himself in syndicated newspaper strips with
a strip version of the tv series _^<i_Ben Casey_^>i_, which he drew for dailies and Sundays 1962-6. He assisted on other newspaper strips including _^<b_Bat Masterson_^>b_ (1961), _^<b_Peter Scratch_^>b_ (1966), _^<b_Secret Agent Corrigan_^>b_
(1967) and _^<b_Rip Kirby_^>b_ (1968). He began working for National Periodical Publications (DC Comics) in 1967 drawing _^<b_Deadman_^>b_ (_^<i_Strange Adventures_^>i_ #206-#216). Other characters to benefit from his innovative touch included
_^<b_Spectre_^>b_, _^<a_!T5830_SUPERMAN_^>a_, _^<b_Batman_^>b_ (in _^<i_Detective Comics_^>i_, 9 issues between #369, Nov 1967, and #439, Mar 1974, and 9 issues in _^<i_Batman_^>i_ between #219, Feb 1970, and #255, Apr 1974, as well as in other
associated titles), _^<b_Flash_^>b_, _^<b_Green Lantern_^>b_ and the _^<a_!T6217_X-MEN_^>a_. He drew the team-up title _^<b_Green Lantern-Green Arrow_^>b_ continuously from #76 (Apr 1970) to #89 (May 1972). #85 ("Snowbirds Don't Fly") and #86
("They Say It'll Kill Me, But They Won't Say When") of this title featured a story about the drug scene and won an Academy of Comic-Book Art Award for NA and writer Denny O'Neill. His output for DC, _^<a_!T3694_MARVEL COMICS_^>a_ and other leading
publishers was prolific throughout the 1970s and early 1980s; in addition he produced book covers, film posters, advertising art and the set and costume design for an unsuccessful sf play, _^<i_Warp_^>i_ (1973; > _^<a_!T5959_THEATRE_^>a_). In 1987
he formed his own publishing company, Continuity Comics._^<n__^<n_NA has also had a high profile as a campaigner for comics creators' rights, notably in connection with the financial recognition by DC of _^<a_!T5830_SUPERMAN_^>a_'s creators, Jerry
_^<a_!T2204_SIEGEL_^>a_ and Joe Shuster. NA was involved in the setting-up of the Academy of Comic-Book Art (ACBA) in 1970. [RT]_^<n__^<n_
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ADAMS, PAMELA CRIPPEN
-T-
[r] > Robert _^<a_!T40_ADAMS_^>a_._^<n__^<n_
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ADAMS, (FRANKLIN) ROBERT
-T-
(1932-1990) US soldier and writer who was best known for the post-_^<a_!T4482_HOLOCAUST_^>a_ _^<b_Horseclans_^>b_ sequence of adventures set after AD2500 in a series of states occupying what was once the USA and dominated from behind the scenes by a
strain of immortal _^<a_!T3120_MUTANTS_^>a_, while an unsavoury group of human scientists opposes them from a secret base. Occasionally the reader gains sight of repulsive sects who decayedly parody 20th-century movements --
_^<a_!T6576_ECOLOGY_^>a_, for instance -- that were _^<i_betes-noires_^>i_ of the author, who was not averse to polemical intrusions. The sequence comprises _^<i_The Coming of the Horseclans_^>i_ (_^<b_1975_^>b_; exp 1982), _^<i_Swords of the
Horseclans_^>i_ (_^<b_1977_^>b_) and _^<i_Revenge of the Horseclans_^>i_ (_^<b_1977_^>b_) -- all three being assembled as _^<i_Tales of the Horseclans_^>i_ (omni _^<b_1985_^>b_) -- _^<i_A Cat of Silvery Hue_^>i_ (_^<b_1979_^>b_), _^<i_The Savage
Mountains_^>i_ (_^<b_1980_^>b_), _^<i_The Patrimony_^>i_ (_^<b_1980_^>b_), _^<i_Horseclans Odyssey_^>i_ (_^<b_1981_^>b_), _^<i_The Death of a Legend_^>i_ (_^<b_1981_^>b_), _^<i_The Witch Goddess_^>i_ (_^<b_1982_^>b_), _^<i_Bili the Axe_^>i_
(_^<b_1982_^>b_) -- which contained a background summary -- _^<i_Champion of the Last Battle_^>i_ (_^<b_1983_^>b_), _^<i_A Woman of the Horseclans_^>i_ (_^<b_1983_^>b_), _^<i_Horses of the North_^>i_ (_^<b_1985_^>b_), _^<i_A Man Called Milo
Morai_^>i_ (_^<b_1986_^>b_), _^<i_The Memories of Milo Morai_^>i_ (_^<b_1986_^>b_), _^<i_Trumpets of War_^>i_ (_^<b_1987_^>b_), _^<i_Madman's Army_^>i_ (_^<b_1987_^>b_) and _^<i_The Clan of the Cats_^>i_ (_^<b_1988_^>b_). Two
_^<a_!T2127_SHARED-WORLD_^>a_ anthologies -- _^<i_Friends of the Horseclans_^>i_ (anth _^<b_1987_^>b_) and _^<i_Friends of the Horseclans II_^>i_ (anth _^<b_1989_^>b_) -- also appeared, both edited with his wife, Pamela Crippen Adams (1961- ). A
second series, the _^<b_Castaways in Time_^>b_ alternate-history _^<a_!T6026_TIME-TRAVEL_^>a_ sequence, comprises _^<i_Castaways in Time_^>i_ (_^<b_1980_^>b_), _^<i_The Seven Magical Jewels of Ireland_^>i_ (_^<b_1985_^>b_), _^<i_Of Kings and
Quests_^>i_ (_^<b_1986_^>b_), _^<i_Of Chiefs and Champions_^>i_ (_^<b_1987_^>b_), _^<i_Of Myths and Monsters_^>i_ (_^<b_1988_^>b_) and _^<i_Of Beginnings and Endings_^>i_ (_^<b_1989_^>b_). Most of his remaining work, including another, unfinished
series, was fantasy; some of his anthologies, however -- including _^<i_Robert Adams' Book of Alternate Worlds_^>i_ (anth _^<b_1987_^>b_) with Pamela Crippen Adams and Martin H. _^<a_!T4842_GREENBERG_^>a_, _^<i_Robert Adams' Book of Soldiers_^>i_
(anth _^<b_1988_^>b_) with P.C. Adams and Greenberg, and _^<i_Alternatives_^>i_ (anth _^<b_1989_^>b_) with P.C. Adams -- were of sf interest. [JC]_^<n__^<n__^<b_Other works:_^>b_ The _^<b_Stairway to Forever_^>b_ sequence, comprising _^<i_The
Stairway to Forever_^>i_ (_^<b_1988_^>b_) and _^<i_Monsters and Magicians_^>i_ (_^<b_1988_^>b_)._^<b_As Editor:_^>b_ _^<i_Barbarians_^>i_ (anth _^<b_1985_^>b_) with Martin H. Greenberg and Charles G. _^<a_!T5488_WAUGH_^>a_ and _^<i_Barbarians
II_^>i_ (anth _^<b_1988_^>b_) with P.C. Adams and Greenberg; the _^<b_Magic in Ithkar_^>b_ sequence, with Andre _^<a_!T3243_NORTON_^>a_, comprising _^<i_Magic in Ithkar_^>i_ (anth _^<b_1985_^>b_), _^<i_#2_^>i_ (anth _^<b_1985_^>b_), _^<i_#3_^>i_
(anth _^<b_1986_^>b_) and _^<i_#4_^>i_ (anth _^<b_1987_^>b_); _^<i_Hunger for Horror_^>i_ (anth _^<b_1988_^>b_) with P.C. Adams and Greenberg; _^<i_Phantom Regiments_^>i_ (anth _^<b_1990_^>b_) with P.C. Adams and Greenberg._^<b_See also:_^>b_
_^<a_!T131_ALTERNATE WORLDS_^>a_; _^<a_!T5875_SWORD AND SORCERY_^>a_.
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ADAMS, SAMUEL HOPKINS
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(1871-1958) US writer, prolific and popular author of novels and screenplays, including that for the film _^<i_It Happened One Night_^>i_ (1934). He wrote an sf novel with Stewart Edward _^<a_!T5581_WHITE_^>a_ (_^<i_whom see for details_^>i_),
_^<i_The Mystery_^>i_ (_^<b_1907_^>b_), about a ship found at sea with no crew aboard, and supplying an sf explanation for their disappearance: side-effects of a new radioactive element. The sequel, _^<i_The Sign at Six_^>i_ (_^<b_1912_^>b_), also
sf, is by White alone. SHA's solo sf books are _^<i_The Flying Death_^>i_ (_^<b_1908_^>b_), an "impossible crime" tale in which Long Island, New York, is invaded by a pteranodon; and _^<i_The World Goes Smash_^>i_ (_^<b_1938_^>b_), a
_^<a_!T6337_NEAR-FUTURE_^>a_ story of a US civil war in which New York is devastated. [JC]_^<n__^<n_
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ADAMS, TERRY A.
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(? - ) US writer whose _^<b_Sentience_^>b_ sequence -- _^<i_Sentience: A Novel of First Contact_^>i_ (_^<b_1986_^>b_) and _^<i_The Master of Chaos_^>i_ (_^<b_1989_^>b_) -- begins in the conflict between "true" humans and D'Neerans, who are
human telepaths (> _^<a_!T6697_ESP_^>a_), and builds into a _^<a_!T2342_SPACE-OPERA_^>a_ sequence involving new races and challenges. They are told in a skittish but engaging style designed to give some sense of a telepath's way of thinking.
[JC]_^<n__^<n_
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ADAMSKI, GEORGE
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[r] > _^<a_!T5273_UFOS_^>a_._^<n__^<n_
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AD ASTRA
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UK magazine, small-_^<a_!T492_BEDSHEET_^>a_ format, published by Rowlot Ltd, ed James Manning, 16 issues, bimonthly, Oct/Nov 1978-Sep/Oct 1981, only first 2 issues dated. Its subtitle, "Britain's First ScienceFact/ScienceFiction Magazine", contained
the seeds of its eventual demise. It attempted to cover too many fields, most in no real depth. The fiction (about 2 stories an issue) -- mainly from UK authors, including John _^<a_!T5049_BRUNNER_^>a_, Garry _^<a_!T4059_KILWORTH_^>a_, David
_^<a_!T4186_LANGFORD_^>a_ and Ian _^<a_!T5484_WATSON_^>a_ -- was supplemented by a melange of film, book, games and theatre reviews, together with cartoon strips, sf news (from Langford), science articles, many about astronomy, and
[r] > Richard M. _^<a_!T4629_GARVIN_^>a_._^<n__^<n_
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ADDISON, HUGH
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Pseudonym used by UK author and journalist Harry Collinson Owen (1882-1956) for his future-_^<a_!T5452_WAR_^>a_ novel _^<i_The Battle of London_^>i_ (_^<b_1923_^>b_), one of several contemporary works which warned of a communist revolution in the
UK. It was given a slight twist by the inclusion of an advantageous German attack on London. [JE]_^<n__^<n_
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ADELER, MAX
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Principal pseudonym of US writer and businessman Charles Heber Clark (1841-1915), who wrote also as John Quill, under which name he published "The Women's Millennium" (1867), possibly the first sex-role-reversal _^<a_!T1370_DYSTOPIA_^>a_. Set in an
indeterminate future, and told from the perspective of an even later period when some balance has been achieved, it is a remarkably cutting demonstration of the foolishness of male claims to natural superiority. As MA, he specialized in rather
facetious tall tales, both sf and fantasy, many of which end in the perfunctory revelation that all was a dream. This convention aside, they remain of interest, especially "Professor Baffin's Adventures" (1880; vt "The Fortunate Island" 1882), a
long lost-race tale (> _^<a_!T3460_LOST WORLDS_^>a_) which first appeared in _^<i_Beeton's Christmas Annual_^>i_ (anth _^<b_1880_^>b_ UK) as centrepiece to "The Fortunate Island" -- a linked assemblage of stories and sketches by various authors
which made up the bulk of the volume -- and was later published in _^<i_An Old Fogey and Other Stories_^>i_ (coll _^<b_1881_^>b_ UK; rev vt _^<i_The Fortunate Island and Other Stories_^>i_ 1882 US). It is MA's story that almost certainly supplied
Mark _^<a_!T6135_TWAIN_^>a_ with the basic premise and some of the actual plot of _^<i_A Connecticut Yankee in King Arthur's Court_^>i_ (_^<b_1889_^>b_). When accused of plagiarism, Twain responded evasively. [JC]_^<n__^<n__^<n__^<n__^<b_Other
works:_^>b_ _^<i_Random Shots_^>i_ (coll _^<b_1878_^>b_ UK); _^<i_Transformations_^>i_ (coll _^<b_1883_^>b_ UK);_^<i_A Desperate Adventure_^>i_ (coll _^<b_1886_^>b_ UK); _^<i_By the Bend of the River_^>i_ (coll _^<b_1914_^>b_)._^<b_About the
author:_^>b_ "'Professor Baffin's Adventures' by Max Adeler: the Inspiration for _^<i_A Connecticut Yankee in King Arthur's Court?_^>i_" by David _^<a_!T4045_KETTERER_^>a_ in _^<i_Mark Twain Journal_^>i_ #24 (Spr 1986); "'John Quill': The Women's
Millennium", introduced by Ketterer in _^<i_Science Fiction Studies_^>i_ #15 (1988); "Mark Twain's _^<i_A Connecticut Yankee_^>i_: Reconsiderations and Revisions", by Horst H. Kruse in _^<i_American Literature_^>i_ 62, #3 (Sept 1990)._^<b_See
also:_^>b_ _^<a_!T2127_SHARED WORLDS_^>a_.
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ADERCA, FELIX
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[r] > _^<a_!T2683_ROMANIA_^>a_._^<n__^<n_
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ADLARD, MARK
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Working name used by UK writer Peter Marcus Adlard (1932- ) for all his books. An arts graduate of Cambridge University, he was until his retirement in 1976 a manager in the steel industry. His knowledge of managerial and industrial problems
plays a prominent role in his _^<b_Tcity_^>b_ trilogy: _^<i_Interface_^>i_ (_^<b_1971_^>b_), _^<i_Volteface_^>i_ (_^<b_1972_^>b_) and _^<i_Multiface_^>i_ (_^<b_1975_^>b_). The series is set in a city of the _^<a_!T6337_NEAR FUTURE_^>a_. By calling
it Tcity, MA plainly intended to confer on it a kind of regimented anonymity in the manner of Yevgeny _^<a_!T6256_ZAMIATIN_^>a_; at the same time, he was probably making a pun on Teesside, the industrial conurbation in the northeast of England
where he was raised (also, in some north-England dialects "t'city" means simply "the city"). With a rich but sometimes sour irony, and a real if distanced sympathy for the problems and frustrations of both management and workers, MA plays a set of
variations, often comic, on _^<a_!T323_AUTOMATION_^>a_, hierarchical systems, the _^<a_!T3743_MEDIA LANDSCAPE_^>a_, revolution, the difficulties of coping with _^<a_!T3327_LEISURE_^>a_, class distinction according to _^<a_!T3787_INTELLIGENCE_^>a_,
fantasies of _^<a_!T2115_SEX_^>a_ and the stultifying pressures of conformity. _^<i_The Greenlander_^>i_ (_^<b_1978_^>b_) is the first volume of a projected non-genre trilogy, further volumes of which have not appeared. His books are ambitious in
scope and deserve to be more widely known. [PN]_^<n__^<n__^<b_About the author:_^>b_ "The Many Faces of Adlard" by Andy Darlington in _^<i_Arena 7_^>i_, March 1978.
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ADLER, ALLEN A.
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(1916-1964) US writer, mostly for films, co-author of the story used as the basis for the film _^<a_!T1551_FORBIDDEN PLANET_^>a_ (1956), although he had nothing to do with the novelization by W.J. Stuart (Philip _^<a_!T3515_MACDONALD_^>a_). AAA's
only sf novel was an unremarkable adventure, also set on a planet threatened by a monster: _^<i_Mach 1: A Story of the Planet Ionus_^>i_ (_^<b_1957_^>b_; vt _^<i_Terror on Planet Ionus_^>i_ 1966). [JC]_^<n__^<n_
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ADOLPH, JOSE B.
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[r] > _^<a_!T4204_LATIN AMERICA_^>a_._^<n__^<n_
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ADVENT: PUBLISHERS
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Chicago-based specialist publishing house, owned by sf fans, which publishes critical and bibliographical material. The first book was Damon _^<a_!T4098_KNIGHT_^>a_'s _^<i_In Search of Wonder_^>i_ (_^<b_1956_^>b_); other notable volumes include
James _^<a_!T658_BLISH_^>a_'s two collections of critical essays (as William Atheling Jr) and, later, his posthumous _^<i_The Tale that Wags the God_^>i_ (coll _^<b_1987_^>b_), as by Blish. A:P's most important scholarly publication has been Donald
H. _^<a_!T6113_TUCK_^>a_'s _^<i_The Encyclopedia of Science Fiction and Fantasy through 1968_^>i_ (vol 1 _^<b_1974_^>b_; vol 2 _^<b_1978_^>b_; vol 3 _^<b_1982_^>b_). [MJE]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T2261_SMALL PRESSES AND LIMITED
EDITIONS_^>a_.
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ADVENTURES OF BUCKAROO BANZAI ACROSS THE 8TH DIMENSION, THE
-T-
Film (1984). Sherwood Productions. Dir W.D. Richter, starring Peter Weller, John Lithgow, Ellen Barkin, Jeff Goldblum, Christopher Lloyd. Screenplay Earl Mac Rauch. 103 mins. Colour._^<n__^<n_The crazed but incoherent tale of
rock-musician-neurosurgeon-particle-physicist Banzai (Weller), a kind of imaginary 1930s pulp hero with a distinctly 1980s ambience. In this episode Banzai defeats an alien _^<a_!T3796_INVASION_^>a_ which began in 1938 (as described by Orson
Welles, who pretended it was fiction) led by frantically overacting John Lithgow. The film is ill directed and badly photographed, and appears to have been made by underground junk intellectuals who accidentally stumbled over a fairly big budget.
_^<a_!T2555_REPO MAN_^>a_, from the same year, is a wittier and better organized example of what might be called designer cult movies. [PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T177_ANDROIDS_^>a_; _^<a_!T5465_WAR OF THE WORLDS_^>a_.
Pseudonym used by Irish poet George William Russell (1867-1935) for all his writing. In 1886 he and William Butler Yeats (1865-1939) helped found the Dublin Lodge of the Theosophical Society, and much of his work reflects a mystical agenda -- not
very coherently in the supernatural tales assembled in _^<i_The Mask of Apollo, and Other Stories_^>i_ (coll _^<b_1904_^>b_), but with very much more force in _^<i_The Interpreters_^>i_ (_^<b_1922_^>b_), a philosophical fiction set in an idealized
venue. More elegiacally and more concretely, in _^<i_The Avatars: A Futurist Fantasy_^>i_ (_^<b_1932_^>b_), set in a future Ireland, this agenda comes to life in the form of two supernal beings who hauntingly invoke a vision of a world less
abandoned to materialism, and thus draw the protagonists to "the margin of the Great Deep", as Monk Gibbon puts it in his long and informative essay on A.E.'s work which introduces _^<i_The Living Torch_^>i_ (coll _^<b_1937_^>b_), a posthumous
volume of nonfiction. [JC]_^<n__^<n_
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AELITA
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Film (1924). Mezhrabpom. Dir Yakov A. Protazanov, starring Nikolai M. Tseretelli, Igor Ilinski, Yulia Solntseva. Screenplay Fyodor Otzep, Alexei Faiko, based on _^<i_Aelita_^>i_ (_^<b_1922_^>b_) by Alexei _^<a_!T6043_TOLSTOY_^>a_. 78 mins cut from
120 mins. B/w._^<n__^<n_This striking example of early sf cinema is a satiric comedy in which a group of Soviet astronauts travel to Mars, where they find the mass of the people living under an oppressive regime and spark off an abortive
revolution; one of them teaches the lovely daughter of a Martian leader how to kiss. _^<i_A_^>i_ is a very stylized silent film; its futuristic, Expressionistic sets, by Isaac Rabinovitch of the Kamerny Theatre, were to influence the design in
_^<a_!T1517_FLASH GORDON_^>a_. The sf elements in the story are vigorous and witty (though in the end it is revealed to be All a Dream), but occupy only a small part of the film. [PN/JB]_^<n__^<n__^<b_See also:_^>b__^<a_!T726_CINEMA_^>a_.
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AELITA AWARD
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> _^<a_!T2748_RUSSIA_^>a_._^<n__^<n_
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A FOR ANDROMEDA
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UK tv serial (1961). A BBC TV production. Prod Michael Hayes, Norman Jones, written John _^<a_!T6625_ELLIOT_^>a_ from a storyline by Fred _^<a_!T4532_HOYLE_^>a_. 7 episodes, the first 6 45 mins, the last 50 mins. B/w. The cast included Peter
Halliday, John Nettleton, Esmond Knight, Patricia Neale, Frank Windsor, Mary Morris, Julie Christie._^<n__^<n_A radio signal transmitted from the Andromeda Galaxy proves, when decoded by maverick scientist Fleming (Halliday), to contain
instructions for the building of a supercomputer. Once built by Earth scientists, the _^<a_!T826_COMPUTER_^>a_ in turn provides instructions on how to create a living being. The final result is a beautiful young girl, named, naturally, Andromeda,
mentally linked to the ever-more-powerful computer; her existence causes a great deal of controversy within the government. She helps Fleming wreck the computer, and is hurt and (seemingly) drowned. The story is intelligently presented despite its
absurdities. The serial brought Julie Christie into the public eye for the first time. The novelization by Hoyle and Elliot is _^<i_A for Andromeda_^>i_ (_^<b_1962_^>b_). The tv sequel was _^<i_The _^<a_!T179_ANDROMEDA BREAKTHROUGH_^>a__^>i_
Pseudonym used collaboratively by Robert _^<a_!T2216_SILVERBERG_^>a_ and Randall _^<a_!T4623_GARRETT_^>a_ on two stories in 1956. [JC]_^<n__^<n_
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AGUILERA, JUAN MIGUEL
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[r] > _^<a_!T2357_SPAIN_^>a_._^<n__^<n_
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AHERN, JERRY
-T-
Working name of US author Jerome Morrell Ahern (1946- ), most of whose output consists of violent post-_^<a_!T4482_HOLOCAUST_^>a_ novels, most notably in his _^<b_Survivalist_^>b_ sequence, in which ex-CIA agent John Rourke attempts to preserve his
family after a global nuclear conflict. Perhaps the most influential series in the subgenre of _^<a_!T5849_SURVIVALIST FICTION_^>a_, it comprises _^<i_Survivalist #1: Total War_^>i_ (_^<b_1981_^>b_), _^<i_#2: The Nightmare Begins_^>i_
(_^<b_1981_^>b_), _^<i_#3: The Quest_^>i_ (_^<b_1981_^>b_), _^<i_#4: The Doomsayer_^>i_ (_^<b_1981_^>b_), _^<i_#5: The Web_^>i_ (_^<b_1983_^>b_), _^<i_#6: The Savage Horde_^>i_ (_^<b_1983_^>b_), _^<i_#7: The Prophet_^>i_ (_^<b_1984_^>b_), _^<i_#8:
The End is Coming_^>i_ (_^<b_1984_^>b_), _^<i_#9: Earth Fire_^>i_ (_^<b_1984_^>b_), _^<i_#10: The Awakening_^>i_ (_^<b_1984_^>b_), _^<i_#11: The Reprisal_^>i_ (_^<b_1985_^>b_), _^<i_#12: The Rebellion_^>i_ (_^<b_1985_^>b_), _^<i_#13: Pursuit_^>i_
(_^<b_1986_^>b_), _^<i_#14: The Terror_^>i_ (_^<b_1987_^>b_), _^<i_#15: Overlord_^>i_ (_^<b_1987_^>b_), _^<i_#16: The Arsenal_^>i_ (_^<b_1988_^>b_), _^<i_#17: The Ordeal_^>i_ (_^<b_1988_^>b_), _^<i_unnumbered: The Survivalist: Mid-Wake_^>i_
(_^<b_1988_^>b_), _^<i_#18: The Struggle_^>i_ (_^<b_1989_^>b_), _^<i_#19: Final Rain_^>i_ (_^<b_1989_^>b_), _^<i_#20: Firestorm_^>i_ (_^<b_1990_^>b_) and _^<i_#21: To End All War_^>i_ (_^<b_1990_^>b_). The continuation -- beginning with _^<i_the
unnumbered The Survivalist: The Legend_^>i_ (_^<b_1991_^>b_), _^<i_#22: Brutal Conquest_^>i_ (_^<b_1991_^>b_); _^<i_#23: Call to Battle_^>i_ (_^<b_1992_^>b__^<i_#24: Blood Assassins _^>i_(_^<b_1993_^>b_), _^<i_#25: War Mountain_^>i_
(_^<b_1993_^>b_), _^<i_#26: Countdown_^>i_ (_^<b_1993_^>b_) and _^<i_#27: Death Watch_^>i_ (_^<b_1993_^>b_) -- takes place after the Earth's atmosphere has been destroyed by a catastrophic fire, and Rourke has saved his family and himself by
entering cryogenic sleep, emerging after 500 years to find a world deserted except for the personnel of the Eden Project -- fresh from 500 years of hibernation aboard a fleet of space shuttles -- and surviving groups of Nazis (_^<i_sic_^>i_) and
fanatical communists._^<n__^<n_A second but similar sequence, the _^<b_Defender_^>b_ series, comprises _^<i_The Defender #1: The Battle Begins_^>i_ (_^<b_1988_^>b_), _^<i_#2: The Killing Wedge_^>i_ (_^<b_1988_^>b_), _^<i_#3: Out of Control_^>i_
Death Grip_^>i_ (_^<b_1990_^>b_), _^<i_#10: The Good Fight_^>i_ (_^<b_1990_^>b_), _^<i_#11: The Challenge_^>i_ (_^<b_1990_^>b_) and _^<i_#12: No Survivors_^>i_ (_^<b_1990_^>b_). With his wife, Sharan A(nn) Ahern (1948- ), whose contributions
were sometimes anonymous, he wrote the short _^<b_Takers_^>b_ sequence, comprising _^<i_The Takers_^>i_ (_^<b_1984_^>b_) and _^<i_River of Gold_^>i_ (_^<b_1985_^>b_), as well as some singletons. He also contributed _^<i_Deathlight_^>i_
(_^<b_1982_^>b_) to the long-running _^<b_Nick Carter_^>b_ sequence, writing as Nick _^<a_!T5195_CARTER_^>a_. [NT]_^<n__^<n__^<b_Other works:_^>b_ _^<i_The Freeman_^>i_ (_^<b_1986_^>b_), _^<i_Miamigrad_^>i_ (_^<b_1987_^>b_), _^<i_WerewolveSS_^>i_
(_^<b_1990_^>b_) and _^<i_The Kamikaze Legacy_^>i_ (_^<b_1990_^>b_), all with Sharon A. Ahern._^<b_See also:_^>b_ _^<a_!T2297_SOCIAL DARWINISM_^>a_.
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AHERN, SHARON A.
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[r] > Jerry _^<a_!T64_AHERN_^>a_._^<n__^<n_
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AH! NANA
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> _^<a_!T2921_METAL HURLANT_^>a_._^<n__^<n_
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AHONEN, ERKKI
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[r] > _^<a_!T1487_FINLAND_^>a_._^<n__^<n_
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AI
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The commonly used acronym for Artificial Intelligence, an item of terminology used increasingly often in information science, and hence in sf, since the late 1970s. Most writers would agree that for a _^<a_!T826_COMPUTER_^>a_ or other
_^<a_!T3540_MACHINE_^>a_ of some sort to qualify as an AI it must be self-aware. There are as yet none such in the real world. [PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T1014_CYBERNETICS_^>a_; _^<a_!T1016_CYBERSPACE_^>a_.
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AIKEN, JOAN (DELANO)
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[r] > John _^<a_!T70_AIKEN_^>a_; _^<a_!T131_ALTERNATE WORLDS_^>a_._^<n__^<n_
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AIKEN, JOHN (KEMPTON)
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(1913-1990) US-born UK writer, son of Conrad Aiken (1889-1973) and brother of Joan Aiken (1924- ) and Jane Aiken Hodge (1917- ). JA published his first sf story, "Camouflage", with _^<i_ASF_^>i_ in 1943, in the _^<i_Probability Zero_^>i_
sequence of short-shorts; though his first sizeable effort was"Dragon's Teeth", with _^<i_NW_^>i_ in 1946; but did not remain active in the field. His only novel, _^<i_World Well Lost_^>i_ (fixup _^<b_1970_^>b_ as John Paget; as JA 1971 US), based
on his 1940s _^<i_NW_^>i_ stories, was published by _^<a_!T6332_ROBERT HALE LIMITED_^>a_. It describes with some energy a conflict between a totalitarian Earth and free-minded colonists in the system of Alpha Centauri. _^<i_Conrad Aiken, Our
Father_^>i_ (_^<b_1989_^>b_) with Joan Aiken and Jane Aiken Hodge, is a revealing memoir. [JC]_^<n__^<n_
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AIKIN, JIM
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Working name of US writer James Douglas Aikin (1948- ), whose sf novel, _^<i_Walk the Moons Road_^>i_ (_^<b_1985_^>b_), gave operatic colour to a moderately intricate _^<a_!T1913_PLANETARY ROMANCE_^>a_ featuring aliens, humans, seas, politics and
sex on a planet which is not Earth.His second novel, _^<i_The Wall at the Edge of the World _^>i_(_^<b_1993_^>b_), more ambitiously sets its protagonist -- a non-_^<a_!T5924_TELEPATH_^>a_ in a post-_^<a_!T4482_HOLOCAUST_^>a_ society -- the task of
reconciling his home culture with that of the "wild" women who live in hinterlands. [JC]_^<n__^<n_
US _^<a_!T492_BEDSHEET_^>a_-size _^<a_!T2033_PULP MAGAZINE_^>a_, 11 issues, July 1929-May 1930, published by Stellar Publishing Corp., ed Hugo _^<a_!T4668_GERNSBACK_^>a_, managing editor David Lasser._^<n__^<n_This was a prompt comeback by Gernsback
after the filing of bankruptcy proceedings against his Experimenter Publishing Co., with which he had founded _^<a_!T141_AMAZING STORIES_^>a_. _^<i_AWS_^>i_ announced itself in its first editorial as presenting "solely flying stories of the future,
strictly along scientific-mechanical-technical lines . . . to prevent gross scientific-aviation misinformation from reaching our readers". To this end Gernsback hired three professors and one Air Corps Reserve major, whose names appeared
prominently on the masthead. The stories were by the foremost pulp writers of the day, including Edmond _^<a_!T4258_HAMILTON_^>a_, David _^<a_!T4008_KELLER, _^>a_Victor _^<a_!T6305_MACCLURE_^>a_, Ed Earl _^<a_!T2556_REPP_^>a_, Harl
_^<a_!T5375_VINCENT_^>a_ and Jack _^<a_!T5629_WILLIAMSON_^>a_; Raymond Z. _^<a_!T1691_GALLUN_^>a_ published his first story here. The cover designs for all issues were by Frank R. _^<a_!T1819_PAUL_^>a_, who had previously worked on _^<i_AMZ_^>i_. A
sister magazine, _^<a_!T2875_SCIENCE WONDER STORIES_^>a_, began one month earlier, in June 1929. In 1930 Gernsback merged them into _^<a_!T6152_WONDER STORIES_^>a_. [PN]_^<n__^<n_
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AITMATOV, CHINGIZ (TOREKULOVICH)
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(1928- ) Formerly Soviet (now Kyrgyzstanian) writer and diplomat, known mostly for his mainstream fiction (for which he has been a Nobel candidate), which poetically depicts Man-Nature relations. His one venture into sf is _^<i_I Dol'she Veka
Dlitsia Den'_^>i_ (_^<b_1980_^>b_; trans John French as _^<i_The Day Lasts Longer than a Hundred Years_^>i_ _^<b_1983_^>b_ UK): part of this novel realistically depicts life in a small Kirghiz town near a secret Soviet cosmodrome, and part
comprises a _^<a_!T6337_NEAR-FUTURE_^>a_ thriller set on board the Soviet-US carrier _^<i_Parity_^>i_, which encounters _^<a_!T102_ALIENS_^>a_. Written before _^<i_perestroika_^>i_, the novel raised controversy due to its obvious pacifist mood.
[VG]_^<n__^<n_
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AKERS, ALAN BURT
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> Kenneth _^<a_!T5073_BULMER_^>a_._^<n__^<n_
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AKERS, FLOYD
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> L. Frank _^<a_!T468_BAUM_^>a_. _^<n__^<n_
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AKIRA
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Animated film (1987). Akira Committee. Dir Katsuhiro _^<a_!T1739_OTOMO_^>a_, from a screenplay by Otomo and Izo Hashimoto, based on the graphic epic _^<i_Akira_^>i_ (begun 1982) by Otomo. Animation studio: Asahi. Chief animator: Takashi Nakamura.
124 mins. Colour._^<n__^<n__^<i_A_^>i_ is the most successful attempt yet to transfer sophisticated, state-of-the-art comic-book graphics to the screen. Story-boarded in great detail by the comic's own creator, it is set in the teeming edginess of
Neo-Tokyo in 2019. The convoluted story deals with two ex-orphanage kids in a biker gang, one tough and one a loser; the "weaker" one, Tetsuo, develops _^<a_!T2021_PSI POWERS_^>a_, discovers the remnants of superbeing "Akira" stored at Absolute
Zero below the Olympic Stadium, metamorphoses, and becomes (along with others with whom he melds) the seed of a new cosmos. The link between persecution, adolescent _^<i_angst_^>i_ and psychic power seems to come straight from Theodore
_^<a_!T5810_STURGEON_^>a_'s _^<i__^<a_!B9221_MORE THAN HUMAN_^>a__^>i_ (_^<b_1953_^>b_), and the opportunistic plotting draws also on Philip K. _^<a_!T1222_DICK_^>a_, Ridley _^<a_!T2897_SCOTT_^>a_'s _^<a_!T640_BLADE RUNNER_^>a_ and many other
sources. Though _^<i_A_^>i_ oscillates too extremely between bloody violence, sardonic cynicism (about scientists, the military, religious cults, politicians, terrorists) and dewy-eyed sentiment, and though the novelistic narrative -- which despite
weepy moments is rather low on human feeling -- is unfolded awkwardly and at too great a length, much can be forgiven. Its sheer spectacle and the density and stylish choreography of its apocalyptic, _^<a_!T1015_CYBERPUNK_^>a_ ambience are
unparalleled in cartoon films. [PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T726_CINEMA_^>a_; _^<a_!T820_COMICS_^>a_; _^<a_!T3872_JAPAN_^>a_.
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AKSYONOV, VASSILY (PAVLOVICH)
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(1932- ) Russian _^<a_!T3609_MAINSTREAM WRITER_^>a_, one of those whose careers began in the Khrushchev Thaw and who responded to the subsequent chill by emigrating to the USA, where he became a citizen. His sf novel, _^<i_Ostrov Krym_^>i_
(_^<b_1981_^>b_ US; trans anon as _^<i_The Island of Crimea_^>i_ _^<b_1984_^>b_ US) is a powerful _^<a_!T131_ALTERNATE WORLD_^>a_ story set in a Crimea which is an _^<a_!T3823_ISLAND_^>a_ (not, as in this world, a peninsula), and where a
pre-revolutionary government has survived; the real-life model is obviously China/Taiwan. The Soviet Union soon invades. [VG]_^<n__^<n_
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ALBANIA
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There has been some sf in Albanian since the late 1960s, but not until 1978 was the first sf book published there. By 1991 there had been about a dozen, of which five were by Thanas Qerama, a prolific writer and also an editor of juvenile science
magazines; examples are _^<i_Roboti i pabindur_^>i_ ["Disobedient Robot"] (coll _^<b_1981_^>b_), _^<i_Nje jave ne vitin 2044_^>i_ ["One Week in the Year 2044"] (_^<b_1982_^>b_) and _^<i_Misteri i tempullit te lashte_^>i_ ["Mystery of the Old
Church"] (_^<b_1987_^>b_). The following authors have written at least one sf book each: A. Bishqemi, N. Deda, B. Dedja, Vangjel Dilo, Dh. Konomi, Flamur Topi and B. Xhano. [JO]_^<n__^<n_
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ALBANO, PETER
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(?1940- ) US writer known mainly for the _^<b_Seventh Carrier_^>b_ sequence of military-sf adventures about a WWII Japanese aircraft carrier which has been unthawed decades later from polar ice to do good: _^<i_The Seventh Carrier_^>i_
(_^<b_1983_^>b_), _^<i_The Second Voyage of the Seventh Carrier_^>i_ (_^<b_1986_^>b_), _^<i_Return of the Seventh Carrier_^>i_ (_^<b_1987_^>b_), _^<i_Attack of the Seventh Carrier_^>i_ (_^<b_1989_^>b_), _^<i_Trial of the Seventh Carrier_^>i_
(_^<b_1990_^>b_) and _^<i_Revenge of the Seventh Carrier_^>i_ (_^<b_1992_^>b_),_^<i_Ordeal of the Seventh Carrier _^>i_(_^<b_1992_^>b_), _^<i_Challenge of the Seventh Carrier_^>i_ (_^<b_1993_^>b_) and _^<i_Super Carrier_^>i_ (_^<b_1994_^>b_). His
other novels, _^<i_Waves of Glory_^>i_ (_^<b_1989_^>b_) and _^<i_Tides of Valor_^>i_ (_^<b_1990_^>b_), are unremarkable. [JC]_^<n__^<n_
Working name of UK writer Gillian Alderman (1941- ), who worked in microelectronics research until 1984. She began publishing sf with the first two volumes of her _^<b_Guna_^>b_ sequence -- _^<i_The Archivist: A Black Romance_^>i_ (_^<b_1989_^>b_)
and _^<i_The Land Beyond: A Fable_^>i_ (_^<b_1990_^>b_) -- which established her very rapidly as a figure of interest in the field. As usual in the _^<a_!T1913_PLANETARY ROMANCE_^>a_, the world in which the tales are set (Guna) is heavily
foregrounded throughout both volumes. Quite similar to Earth -- with which its more technologically advanced civilizations have had concourse for many centuries -- Guna is perhaps most remarkable for the wide range of relationships found there
between the sexes, running from the complex matriarchy depicted in the first volume through Earth-like patterns of repressive patriarchy hinted at broadly in the second. Although it is clearly GA's intent, dexterously achieved, to make some
_^<a_!T1461_FEMINIST_^>a_ points about male hierarchical thinking, she abstains from creating characters whose consciousnesses reflect these issues. The homosexual male protagonists of _^<i_The Archivist_^>i_, for instance, whose long love affair
and estrangement provide much of the immediate action of the book, exhibit no "normal" resentment at the dominant role of women; and the political revolution fomented by the elder lover has little or nothing to do with sexual politics in any
Earthly sense. The long timespan of _^<i_The Archivist_^>i_, the Grand Tour evocations of landscape which make up much of its bulk, and its distanced narrative voice mark a contemplative sf fantasist of the first order. _^<i_The Land Beyond_^>i_, a
chill book set in a cold part of the planet, is less engaging; but GA is clearly a writer to welcome. [JC]_^<n__^<n_
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ALDISS, BRIAN W(ILSON)
-T-
(1925- ) UK writer, anthologist and critic, educated at private schools, which he disliked. He served in the Royal Signals in Burma and Sumatra, was demobilized in 1948 and worked as an assistant in Oxford bookshops. BWA began his writing career
by contributing fictionalized sketches about bookselling to the trade magazine _^<i_The Bookseller_^>i_; these were later assembled as his first book, _^<i_The Brightfount Diaries_^>i_ (_^<b_1955_^>b_)._^<n__^<n_BWA began publishing sf with
"Criminal Record" for _^<i_Science Fantasy_^>i_ in 1954. There followed such notable tales as "Outside" (1955), "Not for an Age" (1955), which was a prizewinner in an _^<i_Observer_^>i_ sf competition), "There is a Tide" (1956) and "Psyclops"
(1956), all of which appeared in BWA's first sf volume, _^<i_Space, Time and Nathaniel (Presciences)_^>i_ (coll _^<b_1957_^>b_). _^<i_No Time Like Tomorrow_^>i_ (coll _^<b_1959_^>b_ US) reprints 6 stories from the 14 in _^<i_Space, Time and
Nathaniel_^>i_ and adds another 6. These early stories were ingenious and lyrical but dark in mood. BWA remains a prolific writer of short stories (his total well exceeded 300 by 1995), almost all under his own name, though he has used the
pseudonyms C.C. Shackleton, Jael Cracken and John Runciman for a few items. "All the World's Tears" (1957), "Poor Little Warrior" (1958), "But Who Can Replace a Man?" (1958), "Old Hundredth" (1960) and "A Kind of Artistry" (1962) are among the most
memorable stories collected in _^<i_The Canopy of Time_^>i_ (coll of linked stories _^<b_1959_^>b_); of the stories listed, only "All the World's Tears" and "But Who Can Replace a Man?" appear, with expository passages that make the book into a
loose future _^<a_!T4442_HISTORY_^>a_, in the substantially different _^<i_Galaxies like Grains of Sand_^>i_ (coll of linked stories _^<b_1960_^>b_ US; with 1 story added rev 1979 UK). _^<i_The Airs of Earth_^>i_ (coll _^<b_1963_^>b_; with 2
stories omitted and 2 stories added, rev vt _^<i_Starswarm_^>i_ 1964 US) and _^<i__^<a_!B9262_BEST SCIENCE FICTION STORIES OF BRIAN W. ALDISS_^>a__^>i_ (coll _^<b_1965_^>b_; rev 1971; vt _^<i_Who Can Replace a Man?_^>i_ 1966 US) also assemble early
work. BWA received a 1959 award at the World SF _^<a_!T856_CONVENTION_^>a_ as most promising new author, but his work was less well received in certain quarters where his emphasis on style and imagery, and his lack of an engineering mentality, were
regarded with suspicion._^<n__^<n_His first novel, _^<i_Non-Stop_^>i_ (_^<b_1958_^>b_; cut vt _^<i_Starship_^>i_ 1959 US), is a brilliant treatment of the _^<a_!T4655_GENERATION STARSHIP_^>a_ and also the theme of _^<a_!T829_CONCEPTUAL
BREAKTHROUGH_^>a_; it has become accepted as a classic of the field. _^<i_Vanguard from Alpha_^>i_ (_^<b_1959_^>b_ dos US; with "Segregation" added, rev as coll vt _^<i_Equator: A Human Time Bomb from the Moon!_^>i_ 1961 UK) -- which became part of
_^<i_The Year Before Yesterday_^>i_ (1958-65; fixup _^<b_1987_^>b_ US; rev vt _^<i_Cracken at Critical: A Novel in Three Acts_^>i_ 1987 UK) -- and _^<i_Bow Down to Nul_^>i_ (_^<b_1960_^>b_ US dos; text restored vt _^<i_The Interpreter_^>i_ 1961 UK)
are much less successful, but _^<i_The Primal Urge_^>i_ (_^<b_1961_^>b_ US) is an amusing treatment of _^<a_!T2115_SEX_^>a_ as an sf theme. Always ebullient in his approach to sexual morality, BWA was one of the authors who changed the attitudes of
sf editors and publishers in this area during the 1960s. _^<i_The Long Afternoon of Earth_^>i_ (fixup _^<b_1962_^>b_ US; exp vt _^<i_Hothouse_^>i_ _^<b_1962_^>b_ UK) won him a 1962 _^<a_!T4551_HUGO_^>a_ award for its original appearance as a series
of novelettes. It is one of his finest works. Set in the _^<a_!T1432_FAR FUTURE_^>a_, when the Earth has ceased rotating, it involves the adventures of humanity's remnants, who live in the branches of a giant, continent-spanning tree (>
_^<a_!T1209_DEVOLUTION_^>a_). Criticized for scientific implausibility by James _^<a_!T658_BLISH_^>a_ and others, _^<i_Hothouse_^>i_ (BWA's preferred title) nevertheless displays all his linguistic, comic and inventive talents. It also illustrates
BWA's main thematic concerns, namely the conflict between fecundity and _^<a_!T6679_ENTROPY_^>a_, between the rich variety of life and the silence of death._^<n__^<n__^<i_The Dark Light Years_^>i_ (_^<b_1964_^>b_) is a lesser work, though notable
for the irony of its central dilemma -- how one comes to terms with intelligent _^<a_!T102_ALIENS_^>a_ who are physically disgusting. _^<i_Greybeard_^>i_ (cut _^<b_1964_^>b_ US; full version 1964 UK) is perhaps BWA's finest sf novel. It deals with
a future in which humanity has become sterile due to an accident involving biological weapons. Almost all the characters are old people, and their reactions to the incipient death of the human race are well portrayed. Both a celebration of human
life and a critique of civilization, it has been underrated, particularly in the USA. _^<i_Earthworks_^>i_ (_^<b_1965_^>b_; rev 1966 US) is a minor novel about _^<a_!T1752_OVERPOPULATION_^>a_. _^<i_An Age_^>i_ (_^<b_1967_^>b_; vt
_^<i_Cryptozoic!_^>i_ 1968 US) is an odd and original treatment of _^<a_!T6026_TIME TRAVEL_^>a_, which sees time as running backwards with a consequent reversal of cause and effect, comparable but superior to Philip K. _^<a_!T1222_DICK_^>a_'s
_^<i_Counter-Clock World_^>i_ (_^<b_1967_^>b_), published in the same year._^<n__^<n_During the latter half of the 1960s BWA was closely identified with _^<a_!T3181_NEW-WAVE_^>a_ sf, and in particular with the innovative magazine _^<a_!T3182_NEW
WORLDS_^>a_, for which he helped obtain an Arts Council grant in 1967. Here BWA published increasingly unconventional fiction, notably his novel _^<i_Report on Probability A_^>i_ (_^<b_1968_^>b_; written 1962 but unpublishable until the times
changed), an sf transposition of the techniques of the French "anti-novelists" into a Surrealist story of enigmatic voyeurism, and his _^<b_Acid-Head War_^>b_ stories, collected as _^<i_Barefoot in the Head: A European Fantasia_^>i_ (fixup
_^<b_1969_^>b_). Set in the aftermath of a European war in which psychedelic drugs have been used as weapons, the latter is written in a dense, punning style reminiscent of James Joyce's _^<i_Finnegans Wake_^>i_ (_^<b_1939_^>b_); it is an
extraordinary _^<i_tour de force_^>i_._^<n__^<n_The novella _^<i_The Saliva Tree_^>i_ (1965 _^<i_FSF_^>i_; _^<b_1988_^>b_ chap dos US) won a _^<a_!T3147_NEBULA_^>a_ and featured in _^<i_The Saliva Tree and Other Strange Growths_^>i_ (coll
_^<b_1966_^>b_). It is an entertaining tribute to H.G. _^<a_!T5528_WELLS_^>a_, though the plot is reminiscent of "The Colour out of Space" (1927) by H.P. _^<a_!T3465_LOVECRAFT_^>a_. Further volumes of short stories include _^<i_Intangibles
Inc._^>i_ (coll _^<b_1969_^>b_; with 2 stories omitted and 1 added, rev vt _^<i_Neanderthal Planet_^>i_ 1970 US), _^<i_The Moment of Eclipse_^>i_ (coll _^<b_1970_^>b_), which won the _^<a_!T5005_BRITISH SCIENCE FICTION AWARD_^>a_ in 1972, and
_^<i_The Book of Brian Aldiss_^>i_ (coll _^<b_1972_^>b_ US; vt _^<i_Comic Inferno_^>i_ 1973 UK). Novels of this period include _^<i_Frankenstein Unbound_^>i_ (_^<b_1973_^>b_), a time-travel fantasia which has Mary _^<a_!T2173_SHELLEY_^>a_ as a
major character and presents in fictional form the myth-of-origin for sf he advocated in his history of the genre, _^<i_Billion Year Spree_^>i_ (_^<b_1973_^>b_; rev and exp with David _^<a_!T5653_WINGROVE_^>a_ as _^<i_Trillion Year Spree_^>i_
_^<b_1986_^>b_, which won a Hugo); and _^<i_The Eighty-Minute Hour: A Space Opera_^>i_ (_^<b_1974_^>b_ US), a comedy in which BWA's penchant for puns and extravagant invention is thought by some critics to be overindulged. His long fantasy novel
_^<i_The Malacia Tapestry_^>i_ (_^<b_1976_^>b_) is a much more balanced work. Set in a mysterious, never-changing city, it is a love story with fantastic elements. Beautifully imagined, it is a restatement of BWA's obsessions with entropy,
fecundity and the role of the artist, and was perhaps his best novel since _^<i_Greybeard_^>i_. _^<i_Brothers of the Head_^>i_ (_^<b_1977_^>b_), about Siamese-twin rock stars and their third, dormant head, was a minor exercise in Grand Guignol;
with an additional story, it was also assembled as _^<i_Brothers of the Head, and Where the Lines Converge_^>i_ (coll _^<b_1979_^>b_). _^<i_Enemies of the System: A Tale of Homo Uniformis_^>i_ (_^<b_1978_^>b_) was a somewhat disgruntled
_^<a_!T1370_DYSTOPIAN_^>a_ novella. _^<i_Moreau's Other Island_^>i_ (_^<b_1980_^>b_; vt _^<i_An Island Called Moreau_^>i_ 1981 US) plays fruitfully with themes from H.G. Wells: during a nuclear war a US official discovers that bioengineering
experiments performed on a deserted island are a secret project run by his own department. Stories collected in _^<i_Last Orders and Other Stories_^>i_ (coll _^<b_1977_^>b_; vt _^<i_Last Orders_^>i_ 1989 US), _^<i_New Arrivals, Old Encounters_^>i_
(coll _^<b_1979_^>b_) and _^<i_Seasons in Flight_^>i_ (coll _^<b_1984_^>b_) were unwearied, though sometimes hasty._^<n__^<n_The 1970s also saw BWA beginning to publish non-sf fictions more substantial than his previous two, _^<i_The Brightfount
Diaries_^>i_ and _^<i_The Male Response_^>i_ (_^<b_1961_^>b_ US). He gained his first bestseller and some notoriety with _^<i_The Hand-Reared Boy_^>i_ (_^<b_1970_^>b_). This, with its two sequels, _^<i_A Soldier Erect_^>i_ (_^<b_1971_^>b_) and
_^<i_A Rude Awakening_^>i_ (_^<b_1978_^>b_), deals with the education, growth to maturity and war experiences in Burma of a young man whose circumstances often recall the early life of the author; the three were assembled as _^<i_The Horatio Stubbs
Saga_^>i_ (omni _^<b_1985_^>b_).More directly connected to his sf are four novels set in contemporary and near-future Europe, loosely connected through the sharing of some characters. The sequence comprises _^<i_Life in the West_^>i_
(_^<b_1980_^>b_), listed by Anthony _^<a_!T5084_BURGESS_^>a_ in his _^<i_Ninety-Nine Novels: The Best in English since 1939_^>i_ (_^<b_1984_^>b_); _^<i_Forgotten Life _^>i_(_^<b_1988_^>b_); _^<i_Remembrance Day_^>i_ (_^<b_1993_^>b_) and
_^<i_Somewhere East of Life: Another European Fantasia_^>i_ (_^<b_1994_^>b_). The four flirt brusquely with autobiography, but are of greatest interest for their tough-minded grasp of late 20th century European cultures. A novella, _^<i_Ruins_^>i_
(_^<b_1987_^>b_ chap), also explores contemporary material._^<n__^<n_Some years had passed since his last popular success as an sf novelist when BWA suddenly reasserted his eminence in the field with the publication of the Helliconia books --
_^<i__^<a_!B9111_HELLICONIA SPRING_^>a__^>i_ (_^<b_1982_^>b_), which won the 1983 _^<a_!T3923_JOHN W. CAMPBELL MEMORIAL AWARD_^>a_, _^<i_Helliconia Summer_^>i_ (_^<b_1983_^>b_) and _^<i_Helliconia Winter_^>i_ (_^<b_1985_^>b_) -- three massive,
thoroughly researched, deeply through-composed tales set on a planet whose primary sun is in an eccentric orbit around another star, so that the planet experiences both small seasons and an eon-long Great Year, during the course of which radical
changes afflict the human-like inhabitants. Cultures are born in spring, flourish over the summer, and die with the onset of the generations-long winter. A team from an exhausted Terran civilization observes the spectacle from orbit. Throughout all
three volumes, BWA pays homage to various high moments of pulp sf, rewriting several classic action climaxes into a dark idiom that befits Helliconia. As an exercise in world-building, the Helliconia books lie unassailably at the heart of modern
sf; as a demonstration of the complexities inherent in the mode of the _^<a_!T1913_PLANETARY ROMANCE_^>a_ when taken seriously, they are exemplary; as a Heraclitean revery upon the implications of the Great Year for human pretensions, they are (as
is usual with BWA's work) heterodox._^<n__^<n__^<i_Dracula Unbound_^>i_ (_^<b_1991_^>b_) continues through a similar time-travel plot the explorations of _^<i_Frankenstein Unbound_^>i_, although this time in a lighter vein. Two summatory
collections -- _^<i_Best SF Stories of Brian W. Aldiss_^>i_ (coll _^<b_1988_^>b_; vt _^<i_Man in his Time: Best SF Stories_^>i_ 1989), not to be confused with the similarly titled 1965 collection, and _^<i_A Romance of the Equator: Best Fantasy
Stories_^>i_ (coll _^<b_1989_^>b_), not to be confused with _^<i_A Romance of the Equator_^>i_ (_^<b_1980_^>b_ chap), which publishes the title story only -- closed off the 1980s, along with _^<i_Science Fiction Blues_^>i_ (coll _^<b_1988_^>b_).
This latter collects materials used by BWA in Dickensian stage readings he began to give in the 1980s at conventions and other venues; these readings have reflected something of the vast, exuberant, melancholy, protean corpus of one of the sf
field's two or three most prolific authors of substance, and perhaps its most exploratory; this impatient expansiveness is also reflected in the stories assembled as _^<i_A Tupolev Too Far_^>i_ (coll _^<b_1993_^>b_). _^<i_Kindred Blood in
Kensington Gore_^>i_ (_^<b_1992_^>b_ chap), a short play, gave BWA the opportunity to conduct on stage an imaginary conversation in similar terms with the posthumous Philip K. _^<a_!T1222_DICK_^>a_._^<n__^<n_BWA has been an indefatigable
anthologist and critic of sf. His anthologies (most of which contain stimulating introductions and other matter) include _^<i_Penguin Science Fiction_^>i_ (anth _^<b_1961_^>b_), _^<i_Best Fantasy Stories_^>i_ (anth _^<b_1962_^>b_), _^<i_More
Penguin Science Fiction_^>i_ (anth _^<b_1963_^>b_), _^<i_Introducing SF_^>i_ (anth _^<b_1964_^>b_), _^<i_Yet More Penguin Science Fiction_^>i_ (anth _^<b_1964_^>b_) -- assembled with his earlier two _^<b_Penguin_^>b_ anths as _^<i_The Penguin
Science Fiction Omnibus_^>i_ (omni _^<b_1973_^>b_ -- and _^<i_The Penguin World Omnibus of Science Fiction_^>i_ (anth _^<b_1986_^>b_) with Sam J. _^<a_!T3492_LUNDWALL_^>a_. _^<i_The Book of Mini-Sagas I_^>i_ (anth _^<b_1985_^>b_) and _^<i_The Book
of Mini-Sagas II_^>i_ (anth _^<b_1988_^>b_) are associational collections of 50-word stories. The _^<b_Space Opera_^>b_ series of anthologies comprises _^<i_Space Opera_^>i_ (anth _^<b_1974_^>b_), _^<i_Space Odysseys_^>i_ (anth _^<b_1975_^>b_),
_^<i_Evil Earths_^>i_ (anth _^<b_1975_^>b_), _^<i_Galactic Empires_^>i_ (anth in 2 vols _^<b_1976_^>b_) and _^<i_Perilous Planets_^>i_ (anth _^<b_1978_^>b_). Anthologies ed in collaboration with Harry _^<a_!T4316_HARRISON_^>a_ are: _^<i_Nebula
Award Stories II_^>i_ (_^<b_1967_^>b_); the _^<b_Year's Best SF_^>b_ series comprising _^<i_Best SF: 1967_^>i_ (_^<b_1968_^>b_ US; vt _^<i_The Year's Best Science Fiction No 1_^>i_ 1968 UK), _^<i_The Year's Best Science Fiction No 2_^>i_ (anth
_^<b_1969_^>b_; exp vt _^<i_Best SF: 1968_^>i_ 1969 US), _^<i_The Year's Best Science Fiction No 3_^>i_ (anth _^<b_1970_^>b_; vt _^<i_Best SF: 1969_^>i_ 1970 US), _^<i_The Year's Best Science Fiction No 4_^>i_ (anth _^<b_1971_^>b_; vt _^<i_Best SF:
1970_^>i_ 1971 US), _^<i_The Year's Best Science Fiction No 5_^>i_ (anth _^<b_1972_^>b_; vt _^<i_Best SF: 1971_^>i_ 1972 US), _^<i_Best SF: 1972_^>i_ (anth _^<b_1973_^>b_ US; vt _^<i_The Year's Best Science Fiction No 6_^>i_ 1973 UK), _^<i_Best SF:
1973_^>i_ (anth _^<b_1974_^>b_ US; cut vt _^<i_The Year's Best Science Fiction No 7_^>i_ 1974 UK), _^<i_Best SF 1974_^>i_ (anth _^<b_1975_^>b_ US; cut vt _^<i_The Year's Best Science Fiction No 8_^>i_ 1975 UK) and _^<i_The Year's Best Science
Fiction No 9_^>i_ (anth _^<b_1976_^>b_; vt _^<i_Best SF: 1975_^>i_ 1976 US); _^<i_All About Venus_^>i_ (anth _^<b_1968_^>b_ US; exp vt _^<i_Farewell, Fantastic Venus! A History of the Planet Venus in Fact and Fiction_^>i_ 1968 UK); _^<i_The
Astounding-Analog Reader_^>i_ (anth in 2 vols _^<b_1968_^>b_ UK paperback of 1973 divided Vol 1 into 2 vols, and Vol 2 did not appear at all from this publisher); and the _^<b_Decade_^>b_ series comprising _^<i_Decade: The 1940s_^>i_
(_^<b_1975_^>b_), _^<i_The 1950s_^>i_ (_^<b_1976_^>b_) and _^<i_The 1960s_^>i_ (_^<b_1977_^>b_). Also with Harrison, with whom BWA has had a long and, considering the wide gulf between their two styles of fiction, amazingly successful working
relationship, he edited two issues of _^<i_SF Horizons_^>i_ (1964-5), a short-lived but excellent critical journal, and _^<i_Hell's Cartographers_^>i_ (anth _^<b_1975_^>b_), a collection of six autobiographical essays by sf writers, including the
two editors._^<n__^<n_Most of BWA's nonfiction has a critical relation to the genre, though _^<i_Cities and Stones: A Traveller's Jugoslavia_^>i_ (_^<b_1966_^>b_) is a travel book. _^<i_The Shape of Further Things_^>i_ (_^<b_1970_^>b_) is
autobiography-cum-criticism. _^<i_Billion Year Spree_^>i_ (_^<b_1973_^>b_), a large and enthusiastic survey of sf, is BWA's most important nonfiction work (> _^<a_!T4443_HISTORY OF SF_^>a_); its argument that sf is a child of the intersection of
Gothic romance with the Industrial Revolution gives profound pleasure as a myth of origin, though it fails circumstantially to be altogether convincing; the book was much expanded and, perhaps inevitably, somewhat diluted in effect as _^<i_Trillion
Year Spree_^>i_ (_^<b_1986_^>b_) with David _^<a_!T5653_WINGROVE_^>a_. _^<i_Science Fiction Art_^>i_ (_^<b_1975_^>b_) is an attractively produced selection of sf _^<a_!T4593_ILLUSTRATION_^>a_ with commentary, mostly from the years of the
_^<a_!T2033_PULP MAGAZINES_^>a_, and _^<i_Science Fiction Art_^>i_ (_^<b_1976_^>b_) -- note identical title -- presents a portfolio of Chris _^<a_!T1571_FOSS_^>a_'s art. _^<i_Science Fiction as Science Fiction_^>i_ (_^<b_1978_^>b_ chap), _^<i_This
World and Nearer Ones_^>i_ (coll _^<b_1979_^>b_), _^<i_The Pale Shadow of Science_^>i_ (coll _^<b_1985_^>b_ US) and _^<i_. . . And the Lurid Glare of the Comet_^>i_ (coll _^<b_1986_^>b_ US) assemble some of his reviews and speculative essays. As
literary editor of the _^<i_Oxford Mail_^>i_ for many years, BWA reviewed hundreds of sf books; his later reviews have appeared in the _^<i_Times Literary Supplement_^>i_, the _^<i_Guardian_^>i_, the _^<i_Washington Post_^>i_ and elsewhere. BWA is
a regular attender of sf conventions all over the world, a passionate supporter of internationalism in sf and all other spheres of life, and a consistent attacker of UK-US parochialism. Like Harlan _^<a_!T6641_ELLISON_^>a_ in the USA, BWA is an
energetic and charismatic speaker and lecturer. He was guest of honour at the 23rd World SF Convention in 1965 (and at several since) and received the BSFA vote for "Britain's most popular sf writer" in 1969. In 1977 he won the first James Blish
Award (> _^<a_!T6321_AWARDS_^>a_) and in 1978 a _^<a_!T1900_PILGRIM AWARD_^>a_, both for excellence in SF criticism. He was a founding Trustee of _^<a_!T6172_WORLD SF_^>a_ in 1982, and its president from 1983. _^<i_Bury My Heart at W.H. Smith's: A
Writing Life_^>i_ (_^<b_1990_^>b_; trade edition cut by 6 chapters 1990), a memoir, reflects on the public life of a man of letters in the modern world. [DP/JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_A Brian Aldiss Omnibus_^>i_ (omni _^<b_1969_^>b_);
_^<i_Brian Aldiss Omnibus 2_^>i_ (omni _^<b_1971_^>b_); _^<i_Pile: Petals from St Klaed's Computer_^>i_ (graph _^<b_1979_^>b_) with Mike Wilks, an illustrated narrative poem; _^<i_Foreign Bodies_^>i_ (coll _^<b_1981_^>b_ Singapore); _^<i_Farewell
to a Child_^>i_ (_^<b_1982_^>b_ chap), poem; _^<i_Science Fiction Quiz_^>i_ (_^<b_1983_^>b_); _^<i_Best of Aldiss_^>i_ (coll _^<b_1983_^>b_ chap); _^<i_My Country 'Tis Not Only of Thee_^>i_ (_^<b_1986_^>b_ chap); _^<i_The Magic of the Past_^>i_
(coll _^<b_1987_^>b_ chap); _^<i_Sex and the Black Machine_^>i_ (_^<b_1990_^>b_ chap), a collaged _^<i_jeu d'esprit_^>i_; _^<i_Bodily Functions: Stories, Poems, and a Letter on the Subject of Bowel Movement Addressed to Sam J. Lundwall on the
Occasion of His Birthday February 24th, A.D. 1991_^>i_ (coll _^<b_1991_^>b_); _^<i_Journey to the Goat Star_^>i_ (1982 _^<i_The Quarto_^>i_ as "The Captain's Analysis"; _^<b_1991_^>b_ chap US); _^<i_Home Life with Cats_^>i_ (coll _^<b_1992_^>b_
chap), poetry._^<b_About the author:_^>b_ _^<i_Aldiss Unbound: The Science Fiction of Brian W. Aldiss_^>i_ (_^<b_1977_^>b_) by Richard Matthews; _^<i_The Entropy Exhibition: Michael Moorcock and the British "New Wave" in Science Fiction_^>i_
(_^<b_1983_^>b_) by Colin _^<a_!T4847_GREENLAND_^>a_; _^<i_Apertures: A Study of the Writings of Brian Aldiss_^>i_ (_^<b_1984_^>b_) by Brian _^<a_!T4868_GRIFFIN_^>a_ and David Wingrove; _^<i_Brian W. Aldiss_^>i_ (_^<b_1986_^>b_) by M.R.
_^<a_!T802_COLLINGS_^>a_; _^<i_Brian Wilson Aldiss: A Working Bibliography_^>i_ (_^<b_1988_^>b_ chap) by Phil _^<a_!T5712_STEPHENSEN-PAYNE_^>a_; _^<i_A is for Brian_^>i_ (anth _^<b_1990_^>b_) edited by Frank Hatherley, a 65th-birthday tribute;
_^<i_The Work of Brian W. Aldiss: An Annotated Bibliography and Guide_^>i_ (_^<b_1992_^>b_) by Margaret Aldiss (1933- )._^<b_See also:_^>b_ _^<a_!T18_ABSURDIST SF_^>a_; _^<a_!T29_ADAM AND EVE_^>a_; _^<a_!T195_ANTHOLOGIES_^>a_;
CATASTROPHE_^>a_; _^<a_!T963_CRITICAL AND HISTORICAL WORKS ABOUT SF_^>a_; _^<a_!T1142_DEFINITIONS OF SF_^>a_; _^<a_!T1243_DISASTER_^>a_; _^<a_!T6576_ECOLOGY_^>a_; _^<a_!T6697_ESP_^>a_; _^<a_!T6717_EVOLUTION_^>a_; _^<a_!T1410_FANTASTIC VOYAGES_^>a_;
_^<a_!T4657_GENETIC ENGINEERING_^>a_; _^<a_!T4740_GODS AND DEMONS_^>a_; _^<a_!T4754_GOLDEN AGE OF SF_^>a_; _^<a_!T4780_GOTHIC SF_^>a_; _^<a_!T4447_HIVE-MINDS_^>a_; _^<a_!T4482_HOLOCAUST AND AFTER_^>a_; _^<a_!T4509_HORROR IN SF_^>a_;
_^<a_!T3771_IMMORTALITY_^>a_; _^<a_!T3823_ISLANDS_^>a_; _^<i_The _^<a_!T3595_MAGAZINE OF FANTASY AND SCIENCE FICTION_^>a__^>i_ ; _^<a_!T2924_METAPHYSICS_^>a_; _^<a_!T3118_MUSIC_^>a_; _^<a_!T3184_NEW WRITINGS IN SF_^>a_; _^<a_!T1714_OPTIMISM AND
(1836-1907) US writer responsible for _^<i_Pansy's Wish: A Christmas Fantasy_^>i_ (_^<b_1869_^>b_)._^<i_Out of his Head, a Romance_^>i_ (coll of linked stories _^<b_1862_^>b_) and _^<i_The Queen of Sheba_^>i_ (_^<b_1877_^>b_) are early examples of
the marginal subgenre of sf in which contemporary explorations in _^<a_!T2023_PSYCHOLOGY_^>a_ suggest storylines ranging from amnesia to metempsychosis (and ultimately, it might be added, channelling). [JC]_^<n__^<n_
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ALEXANDER, DAVID
-T-
(? - ) US author of the _^<b_Soldiers of War_^>b_ Western sequence as by William Reed; of the _^<b_Phoenix_^>b_ sequence of post-_^<a_!T4482_HOLOCAUST_^>a_ military-sf adventures, comprising _^<i_Dark Messiah_^>i_ (_^<b_1987_^>b_), _^<i_Ground
Zero_^>i_ (_^<b_1987_^>b_), _^<i_Metalstorm_^>i_ (_^<b_1988_^>b_) and _^<i_Whirlwind_^>i_ (_^<b_1988_^>b_); and of vols 9-12 of the _^<b_C.A.D.S._^>b_ post-holocaust military sequence under the house name Jan Sievert (> Ryder
_^<a_!T5882_SYVERTSEN_^>a_). DA is not to be confused with David M. _^<a_!T90_ALEXANDER_^>a_. [JC]_^<n__^<n_
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ALEXANDER, DAVID M(ICHAEL)
-T-
(1945- ) US lawyer and writer whose first sf novel, _^<i_The Chocolate Spy_^>i_ (_^<b_1978_^>b_), concerns the creation of an organic _^<a_!T826_COMPUTER_^>a_ using cloned braincells (> _^<a_!T761_CLONES_^>a_), and whose second, _^<i_Fane_^>i_
(_^<b_1981_^>b_), set on a planet whose electromagnetic configurations permit the controlled use of _^<a_!T3598_MAGIC_^>a_, describes an inimical attempt to augment these powers. DMA is not to be confused with David _^<a_!T89_ALEXANDER_^>a_.
[JC]_^<n__^<n_
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ALEXANDER, JAMES B(RADUN)
-T-
(1831-? ) US writer whose sf fantasmagoria, _^<i_The Lunarian Professor and his Remarkable Revelations Concerning the Earth, the Moon and Mars; Together with an Account of the Cruise of the Sally Ann_^>i_ (_^<b_1909_^>b_), might have been excluded
from this encyclopedia -- on the grounds that the insectoid Lunarian pedagogue and all that he surveys turn out to be a dream -- were it not that JBA's imagination, though patently influenced by H.G. _^<a_!T5528_WELLS_^>a_, is too vivid to be
ignored. The altruistic three-sexed Lunarians, the future _^<a_!T4442_HISTORY_^>a_ of Earth (derived from mathematical models, which the professor passes on to the narrator), the _^<a_!T5945_TERRAFORMING_^>a_ of Mars, the journeys made possible
through _^<a_!T198_ANTIGRAVITY_^>a_ devices -- all are of strong sf interest. [JC]_^<n__^<n_
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ALEXANDER, ROBERT W(ILLIAMS)
-T-
(1905-1980) Irish author of several thrillers in the late 1920s and early 1930s under his own name before he adopted the pseudonym Joan Butler for 41 humorous novels. These latter, written in a very distinctive style, have resonances of Thorne Smith
(1892-1934) and P.G. _^<a_!T5668_WODEHOUSE_^>a_. _^<i_Cloudy Weather_^>i_ (_^<b_1940_^>b_) and _^<i_Deep Freeze_^>i_ (_^<b_1951_^>b_) centre on the resurrection of Egyptian mummies by scientific means. _^<i_Space to Let_^>i_ (_^<b_1955_^>b_)
features the building of a Venus rocket. _^<i_Home Run_^>i_ (_^<b_1958_^>b_) is about the invention of pocket-size atom bombs. ESP plays a prominent part in _^<i_The Old Firm_^>i_ (_^<b_1956_^>b_), while _^<i_Bed and Breakfast_^>i_
(_^<b_1933_^>b_), _^<i_Low Spirits_^>i_ (_^<b_1945_^>b_), _^<i_Full House_^>i_ (_^<b_1947_^>b_) and _^<i_Sheet Lightning_^>i_ (_^<b_1950_^>b_) focus on the supernatural._^<n__^<n_RWA used his own name for two further sf novels, still written in his
well established humorous style; both are set in the future and reflect on the aspirations of youth. In _^<i_Mariner's Rest_^>i_ (_^<b_1943_^>b_) a group of children shipwrecked on a South Sea island during WWII are discovered some 10 years later
running their own community. _^<i_Back To Nature_^>i_ (_^<b_1945_^>b_) describes how young people abandon the comforts of a 21st-century city for the rigours of a more natural lifestyle. [JE]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Ground Bait_^>i_
US tv series (1986-90). Warner Bros TV for NBC. Created by Paul Fusco and Ed Weinberger. Prod Tom Patchett. Writers include Fusco, Patchett. Dirs include Fusco, Patchett, Peter Bonerz. 25 mins per episode. Colour._^<n__^<n_ALF, an "alien life form"
-- in the line of extraterrestrial descent from _^<a_!T3124_MY FAVORITE MARTIAN_^>a_ and Mork in _^<a_!T3051_MORK AND MINDY_^>a_, though also influenced heavily by _^<a_!T6704_E.T.: THE EXTRA-TERRESTRIAL_^>a_ (1982), _^<a_!T6729_EXPLORERS_^>a_
(1985) and the success of the Muppets -- moves in with the Tanner family, a sitcom collection of typical Americans, after his spaceship crashlands in their garage. A furry puppet, somewhere between cute and obnoxious, voiced and operated by series
creator Paul Fusco, ALF mainly sits in the middle of the living room insulting people, plotting to eat the family cat, making tv-style smart-ass remarks and dispensing reassuring sentiment. The sf premise aside, ALF is basically one of those
stereotype sitcom characters -- like Benson (Robert Guillaume) in _^<i_Soap_^>i_ or Sophia (Estelle Getty) in _^<i_The Golden Girls_^>i_ -- whose otherness (extraterrestrial, racial, social or mental) provides an excuse for them to comment rudely,
satirically and smugly on the foibles of everyone else. The regular cast includes Max Wright, Anne Schedeen, Andrea Elson and Benji Gregory, as the Tanners, and John LaMotta and Liz Sheridan, as the nosy neighbours straight from _^<i_I Love
Lucy_^>i_ and _^<i_Bewitched_^>i_. [KN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T2812_SATIRE_^>a_.
US _^<a_!T2100_SEMIPROZINE_^>a_ (1963-84) ed from New York by Andrew _^<a_!T1953_PORTER_^>a_, subtitled "The Magazine about Science Fiction". _^<i_A_^>i_ began as a duplicated _^<a_!T1428_FANZINE_^>a_ but in the 1970s became an attractive printed
magazine in small-_^<a_!T492_BEDSHEET_^>a_ format, published four times a year. With #34, Spring 1979, it changed its name to _^<i_Starship_^>i_; it ceased publication with #44, Winter/Spring 1984, its 20th-anniversary issue._^<n__^<n__^<i_A_^>i_
ran articles on sf and sf publishing, interviews with authors, and reviews and texts of speeches. Regular columnists included Vincent _^<a_!T1230_DI FATE_^>a_ (on sf artwork), Richard A. _^<a_!T3493_LUPOFF_^>a_ (on books), Frederik
_^<a_!T1937_POHL_^>a_, and Susan _^<a_!T6159_WOOD_^>a_ (on fanzines and books). Occasional contributors included Brian W. _^<a_!T87_ALDISS_^>a_, Alfred _^<a_!T568_BESTER_^>a_, Ursula K. _^<a_!T3318_LE GUIN_^>a_, Robert _^<a_!T2216_SILVERBERG_^>a_,
Ted _^<a_!T5582_WHITE_^>a_ and Jack _^<a_!T5629_WILLIAMSON_^>a_. _^<i_A_^>i_, which shared the _^<a_!T4551_HUGO_^>a_ for Best Fanzine in 1974, was much more interesting than its sister publication, the monthly news magazine _^<a_!T2056_SF
CHRONICLE_^>a_, also ed Porter. The latter still continues; the economics of magazine publishing meant that it was the more ambitious and expensive publication that had to go. [PN/PR]_^<n__^<n_
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ALGOZIN, BRUCE
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[r] > Nick _^<a_!T5195_CARTER_^>a_._^<n__^<n_
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al-HAKIM, TAWFIQ
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[r] > Tawfiq al-_^<a_!T4919_HAKIM_^>a_._^<n__^<n_
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ALIEN
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Film (1979). 20th Century-Fox. Dir Ridley _^<a_!T2897_SCOTT_^>a_, starring Sigourney Weaver, Tom Skerritt, Harry Dean Stanton, John Hurt, Ian Holm, Yaphet Kotto, Veronica Cartwright. Alien design H.R. _^<a_!T4694_GIGER_^>a_. Screenplay Dan O'Bannon,
from a story by O'Bannon and Ronald Shusett, with uncredited input from prods Walter Hill and David Giler. 117 mins. Colour._^<n__^<n_One of the most influential sf films ever made, _^<i_A_^>i_ is actually much closer to _^<a_!T4509_HORROR_^>a_ in
its adherence to genre conventions. The merchant spaceship _^<i_Nostromo_^>i_, on a routine voyage, visits a planet where one of the crew is attacked by a crablike creature in an abandoned _^<a_!T98_ALIEN_^>a_ spacecraft. Back aboard the
_^<i_Nostromo_^>i_ this metamorphoses, partly inside the crewman's body, into an almost invulnerable, rapidly growing, intelligent carnivore. Science officer Ash (Holm), who unknown to the crew is a _^<a_!T2646_ROBOT_^>a_ instructed to keep the
alien alive for possible commercial exploitation, attacks Ripley (Weaver); he is messily dismantled. The alien picks off, piecemeal, all the remaining crew but Ripley._^<n__^<n_There is a fine music score by Jerry Goldsmith. Giger's powerful alien
design, inorganic sleekness blended with curved, phallic, organic forms, renders the horror sequences extremely vivid, but for all their force they are plotted along deeply conventional lines. Considerably more original is the sense -- achieved
through design, terse dialogue and excellent direction -- that this is a real working spaceship with a real, blue-collar, working crew, the future unglamorized and taken for granted. Also good sf are the scenes on the alien spacecraft (Giger's
design again) which project a genuine sense of "otherness". Tough, pragmatic Ripley (contrasted with the "womanly" ineffectiveness of Cartwright as Lambert) is the first sf movie heroine to reflect cultural changes in the real world, where by 1979
_^<a_!T1461_FEMINISM_^>a_ was causing some men and many women to think again about the claustrophobia of traditional female roles._^<n__^<n__^<i_A_^>i_, which was made in the UK, was a huge success. It had precursors. Many viewers noticed plot
similarities with _^<a_!T3836_IT! THE TERROR FROM BEYOND SPACE_^>a_ (1958) and with A.E. _^<a_!T5333_VAN VOGT_^>a_'s "Discord in Scarlet" (1939); a legal case about the latter resemblance was settled out of court for $50,000._^<n__^<n_The sequels
were _^<a_!T102_ALIENS_^>a_ (1986) and _^<a_!T104_ALIEN(3)_^>a_ (1992). The novelization is _^<i_Alien_^>i_ * (_^<b_1979_^>b_) by Alan Dean _^<a_!T1572_FOSTER_^>a_. [PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T726_CINEMA_^>a_; _^<a_!T4551_HUGO_^>a_;
_^<a_!T3011_MONSTER MOVIES_^>a_; _^<a_!T5947_TERRORE NELLO SPAZIO_^>a_.
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ALIEN CONTAMINATION
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> _^<a_!T853_CONTAMINATION: ALIEN ARRIVA SULLA TERRA_^>a_._^<n__^<n_
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ALIEN CRITIC, THE
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US _^<a_!T1428_FANZINE_^>a_ ed from Portland, Oregon, by Richard E. _^<a_!T4651_GEIS_^>a_. For its first 3 issues, _^<i_AC_^>i_ was an informal magazine written entirely by the editor and titled _^<i_Richard E. Geis_^>i_. With the title-change in
1973, the magazine's contents began to diversify, featuring regular columns by John _^<a_!T5049_BRUNNER_^>a_ and Ted _^<a_!T5582_WHITE_^>a_ as well as a variety of articles and a series of interviews with sf authors and artists, although its
characteristic flavour still derived from the editor's own outspoken reviews and commentary. With #12 in 1975 the title changed to _^<i_Science Fiction Review_^>i_, a title used also by Geis for his previous fanzine _^<a_!T2024_PSYCHOTIC_^>a_.
_^<i_TAC_^>i_/_^<i_Science Fiction Review_^>i_ won _^<a_!T4551_HUGOS_^>a_ for Best Fanzine in 1974 (shared), 1975, 1977 and 1979. _^<i_TAC_^>i_'s circulation became quite wide, and it effectively became a _^<a_!T2100_SEMIPROZINE_^>a_. In pain from
arthritis, Geis cancelled the magazine after #61, Nov 1986, though he continued to publish shorter, more personal fanzines under other titles._^<n__^<n__^<i_Science Fiction Review_^>i_ was revived as a semiprozine in 1989, with some fiction added
to the old _^<i_SFR_^>i_ mix; 10 issues to May 1992, none since, ed Elton Elliott. The schedule changed from quarterly to monthly with #5, Dec 1991, at which point the magazine also began to be sold at newsstands. This brave attempt at making a
_^<a_!T2261_SMALL-PRESS_^>a_ magazine fully professional foundered five issues later. [MJE/PN]_^<n__^<n_
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ALIEN NATION
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_^<b_1._^>b_ Film (1988). 20th Century-Fox. Dir Graham Baker, starring James Caan, Mandy Patinkin, Terence Stamp. Prod Gale Anne _^<a_!T4563_HURD_^>a_, Richard Kobritz. Screenplay Rockne S. O'Bannon. 90 mins. Colour._^<n__^<n_Los Angeles, 1991. The
Newcomers, or "Slags", are 300,000 humanoid _^<a_!T102_ALIENS_^>a_, genetically engineered for hard labour, survivors of a crashlanded slave ship, grudgingly accepted but disliked by humans, and ghettoized. Working in partnership with a human
(Caan), Sam Francisco (Patinkin) becomes the first alien police detective in LA. There are murders related to the use of alien drugs. A stereotyped buddy-cop story follows (uneasy relationship between races deepens as tolerance is learned). This is
an efficient, unambitious adventure film whose observations of racial bigotry towards cultural strangers -- effectively "boat people" -- are good-humoured but seldom rise above cliche. The novelization is _^<i_Alien Nation_^>i_ * (_^<b_1988_^>b_)
by Alan Dean _^<a_!T1572_FOSTER_^>a_. [PN]_^<n__^<n__^<b_2._^>b_ US tv series (1989-90). Kenneth Johnson Productions for Fox Television. Starring Gary Graham and Eric Pierpoint. 100min pilot episode dir and written Johnson, plus 21 50min
episodes._^<n__^<n_The short-lived tv series that followed the film combined routine crime stories with mild _^<a_!T2812_SATIRE_^>a_ of _^<a_!T6337_NEAR-FUTURE_^>a_ Los Angeles and lessons about civil rights. The bizarre-looking but adaptable
Newcomers act and talk exactly like humans, portraying housewives, teenagers, used-car salesmen, criminals, police and other stereotypes. The exception is George (no longer Sam) Francisco, whose earnest, humourless approach and precise speech
recall Spock of _^<a_!T2429_STAR TREK_^>a_. A few episodes involve the pregnancy of the male Newcomer hero. Johnson also produced the much harder-edged "_^<a_!T5304_V_^>a_". The cliffhanger ending of the series was not resolved until Oct 1994, when
a well- made two-hour tv movie, _^<i_"Alien Nation: Dark Horizon"_^>i_ was broadcast on Fox TV, scripted by Diane Frolov and Andrew Schneider. [MK]_^<n__^<n_
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ALIENS
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Visitors to other worlds in stories of the 17th and 18th centuries met no genuine alien beings; instead they found men and animals, sometimes wearing strange forms but always filling readily recognizable roles. The pattern of life on Earth was
reproduced with minor amendments: _^<a_!T5303_UTOPIAN_^>a_ improvement or satirical (> _^<a_!T2812_SATIRE_^>a_) exaggeration. The concept of a differently determined pattern of life, and thus of a lifeform quite alien to Earthly habits of thought,
did not emerge until the late 19th century, as a natural consequence of the notions of _^<a_!T6717_EVOLUTION_^>a_ and of the process of adaptation to available environments promulgated by Lamarck and later by Darwin._^<n__^<n_The idea of alien
beings was first popularized by Camille _^<a_!T1516_FLAMMARION_^>a_ in his nonfictional _^<i_Real and Imaginary Worlds_^>i_ (_^<b_1864_^>b_; trans _^<b_1865_^>b_ US) and in _^<i_Lumen_^>i_ (_^<b_1887_^>b_; trans with some new material
_^<b_1897_^>b_ UK). These accounts of _^<a_!T3385_LIFE ON OTHER WORLDS_^>a_ describe sentient plants, species for which respiration and alimentation are aspects of the same process, etc. The idea that divinely created souls could experience serial
_^<a_!T2548_REINCARNATION_^>a_ in an infinite variety of physical forms is featured in Flammarion's _^<i_Urania_^>i_ (_^<b_1889_^>b_; trans _^<b_1891_^>b_ US). Aliens also appear in the work of another major French writer, J.H. _^<a_!T2696_ROSNY
_^>a_aine: mineral lifeforms are featured in "The Shapes" (1887; trans 1968) and "The Death of the World" (1910; trans 1928). Like Flammarion, Rosny took a positive attitude to alien beings: _^<i_Les navigateurs de l'infini_^>i_ ["The Navigators of
Infinity"] (_^<b_1925_^>b_) features a love affair between a human and a six-eyed tripedal Martian. In the tradition of the French evolutionary philosophers Lamarck and Henri Bergson, these early French sf writers fitted both humans and aliens into
a great evolutionary scheme._^<n__^<n_In the UK, evolutionary philosophy was dominated by the Darwinian idea of the survival of the fittest. Perhaps inevitably, UK writers imagined the alien as a Darwinian competitor, a natural enemy of mankind.
H.G. _^<a_!T5528_WELLS_^>a_ in _^<i__^<a_!B9242_THE WAR OF THE WORLDS_^>a__^>i_ (_^<b_1898_^>b_) cast the alien as a genocidal invader -- a would-be conqueror and colonist of Earth (> _^<a_!T3796_INVASION_^>a_). This role rapidly became a
_^<a_!T752_CLICHE_^>a_. The same novel set the pattern by which alien beings are frequently imagined as loathsome _^<a_!T3013_MONSTERS_^>a_. Wells went on to produce an elaborate description of an alien society in _^<i__^<a_!B9270_THE FIRST MEN IN
THE MOON_^>a__^>i_ (_^<b_1901_^>b_), based on the model of the ant-nest (> _^<a_!T4447_HIVE-MINDS_^>a_), thus instituting another significant cliche._^<n__^<n_Early US _^<a_!T2033_PULP-MAGAZINE_^>a_ sf in the vein of Edgar Rice
_^<a_!T5097_BURROUGHS_^>a_ usually populated other worlds with quasihuman inhabitants -- almost invariably including beautiful women for the heroes to fall in love with -- but frequently, for melodramatic purposes, placed such races under threat
from predatory monsters. The specialist sf magazines inherited this tradition in combination with the Wellsian exemplars, and made copious use of monstrous alien invaders; the climaxes of such stories were often genocidal. Edmond
_^<a_!T4258_HAMILTON_^>a_ was a prolific author of stories in this vein. In the early _^<a_!T2342_SPACE OPERAS_^>a_ meek and benevolent aliens usually had assorted mammalian and avian characteristics, while the physical characteristics of nasty
aliens were borrowed from reptiles, arthropods and molluscs (especially octopuses). Sentient plants and entities of "pure energy" were morally more versatile. In extreme cases, alien allies and enemies became straightforwardly symbolic of Good and
Evil: E.E. "Doc" _^<a_!T2269_SMITH_^>a_'s Arisians and Eddorians of the _^<b_Lensman_^>b_ series are secular equivalents of angels and demons._^<n__^<n_Occasionally early pulp-sf writers were willing to invert their Darwinian assumptions and put
humans in the role of alien invaders -- significant early examples are Hamilton's "Conquest of Two Worlds" (1932) and P. Schuyler _^<a_!T2957_MILLER_^>a_'s "Forgotten Man of Space" (1933) -- but stories focusing on the exoticism of alien beings
tended to take their inspiration from the works of A. _^<a_!T2912_MERRITT_^>a_, who had described a fascinating mineral life-system in _^<i_The Metal Monster_^>i_ (1920; _^<b_1946_^>b_) and had transcended conventional biological chauvinism in his
portrayal of "The Snake-Mother" (1930; incorporated in _^<i_The Face in the Abyss_^>i_ _^<b_1931_^>b_). Jack _^<a_!T5629_WILLIAMSON_^>a_ clearly showed Merritt's influence in "The Alien Intelligence" (1929) and "The Moon Era" (1932)._^<n__^<n_A
significant advance in the representation of aliens was achieved by Stanley G. _^<a_!T5506_WEINBAUM_^>a_, whose "A Martian Odyssey" (1934) made a deep impression on readers. Weinbaum followed it up with other accounts of relatively complex alien
biospheres (> _^<a_!T6576_ECOLOGY_^>a_). Another popular story which directly challenged vulgarized Darwinian assumptions was Raymond Z. _^<a_!T1691_GALLUN_^>a_'s "Old Faithful" (1934), in which humans and a Martian set aside their extreme
biological differences and acknowledge intellectual kinship. This spirit was echoed in "Liquid Life" (1936) by Ralph Milne _^<a_!T1434_FARLEY_^>a_, which proposed that a man was bound to keep his word of honour, even to a filterable virus. Some of
the more interesting and adventurous alien stories written in the 1930s ran foul of editorial _^<a_!T5888_TABOOS_^>a_: _^<i_The Creator_^>i_ (1935; _^<b_1946 _^>b_chap) by Clifford D. _^<a_!T2218_SIMAK_^>a_, which suggested that our world and
others might be the creation of a godlike alien (the first of the author's many sf considerations of pseudo-theological themes -- > _^<a_!T4740_GODS AND DEMONS_^>a_; _^<a_!T2551_RELIGION_^>a_), was considered dangerously close to blasphemy and
ended up in the semiprofessional _^<a_!T3700_MARVEL TALES_^>a_, which also began serialization of P. Schuyler Miller's "The Titan" (1934-5), whose description of a Martian ruling class sustained by vampiric cannibalism was considered too erotic,
and which eventually appeared as the title story of _^<i_The Titan_^>i_ (coll _^<b_1952_^>b_). The influence of these taboos in limiting the potential the alien being offered writers of this period, and thereby in stunting the evolution of alien
roles within sf, should not be overlooked._^<n__^<n_Despite the Wellsian precedents, aliens were much less widely featured in the UK _^<a_!T2878_SCIENTIFIC ROMANCES_^>a_. Eden _^<a_!T1889_PHILLPOTTS_^>a_ used aliens as "objective observers" to
examine and criticize the human world in _^<i_Saurus_^>i_ (_^<b_1938_^>b_) and _^<i_Address Unknown_^>i_ (_^<b_1949_^>b_), but the latter novel explicitly challenges the validity of any such criticism. Olaf _^<a_!T2404_STAPLEDON_^>a_'s
_^<i__^<a_!B9214_STAR MAKER_^>a__^>i_ (_^<b_1937_^>b_) built humans and aliens into a cosmic scheme akin to that envisaged by Rosny and Flammarion. Stapledon also employed the alien as a standard of comparison in one of his most bitter attacks on
contemporary humanity, in _^<i_The Flames_^>i_ (_^<b_1947_^>b_)._^<n__^<n_The alien-menace story remained dominant in sf for many years; its popularity did not begin to wane until the outbreak of WWII, and it has never been in danger of dying out.
Such xenophobia eventually became unfashionable in the more reputable magazines, but monstrous aliens maintained their popularity in less sophisticated outlets. The _^<a_!T726_CINEMA_^>a_ lagged behind written sf in this respect, producing a host
of cheap _^<a_!T3011_MONSTER MOVIES_^>a_ during the 1950s and 1960s, although there was a belated boom in innocent and altruistic aliens in films of the 1970s._^<n__^<n_While pulp sf writers continued to invent nastier and more horrific alien
monsters during the late 1930s and 1940s -- notable examples include John W. _^<a_!T5140_CAMPBELL_^>a_ Jr's "Who Goes There?" (1938), as Don A. Stuart, and A.E. _^<a_!T5333_VAN VOGT_^>a_'s "Black Destroyer" (1939) and "Discord in Scarlet" (1939) --
the emphasis shifted towards the problems of establishing fruitful _^<a_!T822_COMMUNICATION_^>a_ with alien races. During the WWII years human/alien relationships were often represented as complex, delicate and uneasy. In van Vogt's "Co-operate or
Else!" (1942) a man and a bizarre alien are castaways in a harsh alien environment during an interstellar war, and must join forces in order to survive. In "First Contact" (1945) by Murray _^<a_!T3326_LEINSTER_^>a_ two spaceships meet in the void,
and each crew is determined to give away no information and make no move which could possibly give the other race a political or military advantage -- a practical problem which they ultimately solve. Another Leinster story, "The Ethical Equations"
(1945), assumes that a "correct" decision regarding mankind's first actions on contact with aliens will be very difficult to achieve, but that priority should definitely be given to the attempt to establish friendly relationships; by contrast,
"Arena" (1944) by Fredric _^<a_!T5028_BROWN_^>a_ bleakly assumes that the meeting of Man and alien might still be a test of their ability to destroy one another. (Significantly, an adaptation of "Arena" for the tv series _^<a_!T2429_STAR TREK_^>a_
changed the ending of the story to bring it into line with later attitudes.)_^<n__^<n_Attempts to present more credibly unhuman aliens became gradually more sophisticated in the late 1940s and 1950s, particularly in the work of Hal
_^<a_!T749_CLEMENT_^>a_, but writers devoted to the design of peculiar aliens adapted to extraordinary environments tended to find it hard to embed such speculations in engaging stories -- a problem constantly faced by Clement and by more recent
workers in the same tradition, notably Robert L. _^<a_!T1570_FORWARD_^>a_. Much more effective in purely literary terms are stories which juxtapose human and alien in order to construct parables criticizing various attitudes and values. Despite
John W. Campbell Jr's editorial enthusiasm for human chauvinism -- reflected in such stories as Arthur C. _^<a_!T736_CLARKE_^>a_'s "Rescue Party" (1946) and L. Ron _^<a_!T4538_HUBBARD_^>a_'s _^<i_Return to Tomorrow_^>i_ (_^<b_1954_^>b_) -- many
stories produced in the post-WWII years use aliens as contrasting exemplars to expose and dramatize human follies. Militarism is attacked in Clifford D. Simak's "You'll Never Go Home Again" (1951) and Eric Frank _^<a_!T2743_RUSSELL_^>a_'s "The
Waitabits" (1955). Sexual prejudices are questioned in Theodore _^<a_!T5810_STURGEON_^>a_'s "The World Well Lost" (1953). Racialism is attacked in "Dumb Martian" by John _^<a_!T6211_WYNDHAM_^>a_ (1952) and Leigh _^<a_!T4961_BRACKETT_^>a_'s "All the
Colours of the Rainbow" (1957). The politics of colonialism (> _^<a_!T811_COLONIZATION OF OTHER WORLDS_^>a_) are examined in "The Helping Hand" (1950) by Poul _^<a_!T169_ANDERSON_^>a_, _^<i_Invaders From Earth_^>i_ (_^<b_1958_^>b_ dos) by Robert
_^<a_!T2216_SILVERBERG_^>a_ and _^<i_Little Fuzzy_^>i_ (_^<b_1962_^>b_) by H. Beam _^<a_!T1908_PIPER_^>a_. The bubble of human vanity is pricked in Simak's "Immigrant" (1954) and Anderson's "The Martyr" (1960). The general human condition has been
subject to increasingly rigorous scrutiny through metaphors of alien contact in such stories as _^<i__^<a_!B9192_A MIRROR FOR OBSERVERS_^>a__^>i_ (_^<b_1954_^>b_) by Edgar _^<a_!T1779_PANGBORN_^>a_, "Rule Golden" (1954) by Damon
_^<a_!T4098_KNIGHT_^>a_, _^<i_What Rough Beast?_^>i_ (_^<b_1980_^>b_) by William Jon _^<a_!T5480_WATKINS_^>a_ and _^<i_The Alien Upstairs_^>i_ (_^<b_1983_^>b_) by Pamela _^<a_!T2808_SARGENT_^>a_. Sharp _^<a_!T2812_SATIRES_^>a_ on human vanity and
prejudice include Brian W. _^<a_!T87_ALDISS_^>a_'s _^<i_The Dark Light Years_^>i_ (_^<b_1964_^>b_) and Thomas M. _^<a_!T1244_DISCH_^>a_'s _^<i_The Genocides_^>i_ (_^<b_1965_^>b_) and _^<i_Mankind Under the Leash_^>i_ (_^<b_1966_^>b_
dos)._^<n__^<n_The most remarkable redeployment of alien beings in sf of the 1950s and 1960s was in connection with pseudo-theological themes (> _^<a_!T2551_RELIGION_^>a_). Some images of the inhabitants of other worlds had been governed by
theological notions long before the advent of sf -- interplanetary romances of the 19th century often featured spirits or angels -- and the tradition had been revived outside the sf magazines by C.S. _^<a_!T3368_LEWIS_^>a_ in his Christian
allegories _^<i__^<a_!B9075_OUT OF THE SILENT PLANET_^>a__^>i_ (_^<b_1938_^>b_) and _^<i_Perelandra_^>i_ (_^<b_1943_^>b_; vt _^<i_Voyage to Venus_^>i_). Within sf itself, however, the religious imagination had previously been echoed only in a few
Shaggy God stories (> _^<a_!T29_ADAM AND EVE_^>a_). In sf of the 1950s, though, aliens appear in all kinds of transcendental roles. Aliens are spiritual tutors in "Dear Devil" (1950) by Eric Frank Russell and "Guardian Angel" (1950) by Arthur C.
Clarke, in each case wearing diabolical physical form ironically to emphasize their angelic role. Edgar Pangborn's "Angel's Egg" (1951) and Paul J. _^<a_!T6293_MCAULEY_^>a_'s _^<i_Eternal Light_^>i_ (_^<b_1991_^>b_) are less coy. Raymond F.
_^<a_!T3934_JONES_^>a_'s _^<i_The Alien_^>i_ (_^<b_1951_^>b_) is ambitious to be a god, and the alien in Philip Jose _^<a_!T1435_FARMER_^>a_'s "Father" (1955) really is one. In Clifford D. Simak's _^<i_Time and Again_^>i_ (_^<b_1951_^>b_: vt
_^<i_First He Died_^>i_) every living creature, _^<a_!T177_ANDROIDS_^>a_ included, has an immortal alien "commensal", an sf substitute for the soul. In James _^<a_!T658_BLISH_^>a_'s classic _^<i__^<a_!B9016_A CASE OF CONSCIENCE_^>a__^>i_ (1953; exp
_^<b_1958_^>b_) alien beings without knowledge of God appear to a Jesuit to be creations of the Devil. Other churchmen achieve spiritual enlightenment by means of contact with aliens in "The Fire Balloons" (1951; vt "In this Sign") by Ray
_^<a_!T4963_BRADBURY_^>a_, "Unhuman Sacrifice" (1958) by Katherine _^<a_!T3563_MACLEAN_^>a_, and "Prometheus" (1961) by Philip Jose Farmer. In Lester _^<a_!T1164_DEL REY_^>a_'s "For I Am a Jealous People" (1954) alien invaders of Earth turn out to
have made a new covenant with God, who is no longer on our side. Religious imagery is at its most extreme in stories which deal with literal kinds of salvation obtained by humans who adopt alien ways, including Robert Silverberg's _^<i_Downward to
the Earth_^>i_ (_^<b_1970_^>b_) and George R.R. _^<a_!T3685_MARTIN_^>a_'s "A Song for Lya" (1974)._^<n__^<n_The evolution of alien roles in Eastern European sf seems to have been very different. The alien-menace story typical of early US-UK sf is
absent from contemporary Russian sf, and the ideological calculation behind this absence is made clear by Ivan _^<a_!T6227_YEFREMOV_^>a_ in "Cor Serpentis" (trans 1962; vt "The Heart of the Serpent"), which is explicitly represented as a reply to
Leinster's "First Contact". Yefremov argues that, by the time humans are sufficiently advanced to build interstellar ships, their society will have matured beyond the suspicious militaristic attitudes of Leinster's humans, and will be able to
assume that aliens are similarly mature._^<n__^<n_UK-US sf has never become that confident -- although similar ideological replies to earlier work are not unknown in US sf. Ted _^<a_!T5582_WHITE_^>a_'s _^<i_By Furies Possessed_^>i_
(_^<b_1970_^>b_), in which mankind finds a useful symbiotic relationship with rather ugly aliens, is a reply to _^<i_The Puppet Masters_^>i_ (_^<b_1951_^>b_) by Robert A. _^<a_!T4376_HEINLEIN_^>a_, which was one of the most extreme post-WWII
alien-menace stories, while Joe _^<a_!T4925_HALDEMAN_^>a_'s _^<i__^<a_!B9095_THE FOREVER WAR_^>a__^>i_ (_^<b_1974_^>b_) similarly responds to the xenophobic tendencies of Heinlein's _^<i__^<a_!B9166_STARSHIP TROOPERS_^>a__^>i_ (_^<b_1959_^>b_), and
Barry B. _^<a_!T3437_LONGYEAR_^>a_'s "Enemy Mine" (1979) can be seen as either a reprise of van Vogt's "Co-operate -- or Else!" or a reply to Brown's "Arena"; Orson Scott _^<a_!T6359_CARD_^>a_ took the unusual step of producing an ideological
counterweight to one of his own stories when he followed the novel version of the genocidal fantasy _^<i__^<a_!B9135_ENDER'S GAME_^>a__^>i_ (1977; exp _^<b_1985_^>b_) with the expiatory _^<i_Speaker for the Dead_^>i_ (_^<b_1986_^>b_). This is not
to say that alien-invasion stories are not still being produced -- Larry _^<a_!T3223_NIVEN_^>a_'s and Jerry _^<a_!T1961_POURNELLE_^>a_'s _^<i_Footfall_^>i_ (_^<b_1985_^>b_) is a notable example -- and stories of war between humans and aliens have
understandably retained their melodramatic appeal. The recent fashionability of militaristic sf (> _^<a_!T5452_WAR_^>a_) has helped to keep the tradition very much alive; examples include the _^<b_Demu_^>b_ trilogy (1973-5; coll _^<b_1980_^>b_) by
F.M. _^<a_!T5100_BUSBY_^>a_, _^<i__^<a_!B9128_THE UPLIFT WAR_^>a__^>i_ (_^<b_1987_^>b_) by David _^<a_!T4999_BRIN_^>a_ and the shared-world anthology series _^<b_The Man-Kzin Wars_^>b_ (1988-90) based on a scenario created by Larry Niven. Anxiety
has also been maintained by stories which answer the question "If we are not alone, where are they?" with speculative accounts of a Universe dominated by predatory and destructive aliens; notable examples include Gregory _^<a_!T526_BENFORD_^>a_'s
_^<i_Across the Sea of Suns_^>i_ (_^<b_1984_^>b_), Jack Williamson's _^<i_Lifeburst_^>i_ (_^<b_1984_^>b_) and David Brin's "Lungfish" (1986)._^<n__^<n_Stories dealing soberly and thoughtfully with problems arising out of cultural and biological
differences between human and alien have become very numerous. This is a constant and continuing theme in the work of several writers, notably Jack _^<a_!T5317_VANCE_^>a_, Poul Anderson, David _^<a_!T4156_LAKE_^>a_, Michael _^<a_!T620_BISHOP_^>a_
and C.J. _^<a_!T5255_CHERRYH_^>a_. Cherryh's novels -- including her _^<b_Faded Sun_^>b_ trilogy (1978-9), _^<i_Serpent's Reach_^>i_ (_^<b_1980_^>b_), the _^<b_Chanur_^>b_ series (1982-6) and _^<i_Cuckoo's Egg_^>i_ (_^<b_1985_^>b_) -- present a
particularly elaborate series of accounts of problematic human/alien relationships. Such relationships have become further complicated by virtue of the fact that the gradual decay of editorial taboos from the 1950s onwards permitted more
adventurous and explicit exploration of sexual and psychological themes (> _^<a_!T2023_PSYCHOLOGY_^>a_). This work was begun by Philip Jose Farmer, in such stories as _^<i__^<a_!B9017_THE LOVERS_^>a__^>i_ (1952; exp _^<b_1961_^>b_), "Open to Me, My
Sister" (1960) and "Mother" (1953), and has been carried forward by others. Sexual relationships between human and alien have become much more complex and problematic in recent times: _^<i__^<a_!B9280_STRANGERS_^>a__^>i_ (1974; exp _^<b_1978_^>b_)
by Gardner R. _^<a_!T1313_DOZOIS_^>a_ is a more sophisticated reprise of _^<i__^<a_!B9017_THE LOVERS_^>a__^>i_, and other accounts of human/alien love affairs can be found in Jayge _^<a_!T5178_CARR_^>a_'s _^<i_Leviathan's Deep_^>i_
(_^<b_1979_^>b_), Linda _^<a_!T5700_STEELE_^>a_'s _^<i_Ibis_^>i_ (_^<b_1985_^>b_) and Robert _^<a_!T6010_THURSTON_^>a_'s _^<i_Q Colony_^>i_ (_^<b_1985_^>b_). "And I Awoke and Found Me Here on the Cold Hill's Side" (1971) by James
_^<a_!T6035_TIPTREE_^>a_ Jr displays human fear and loathing of the alien curiously alloyed with self-destructive erotic fascination, and the _^<b_Xenogenesis_^>b_ trilogy (1987-9) by Octavia _^<a_!T5105_BUTLER_^>a_ takes human/alien intimacy to
its uncomfortable limit._^<n__^<n_The greatest difficulty sf writers face with respect to the alien is that of depicting something authentically strange. It is common to find that aliens which are physically bizarre are entirely human in their
modes of thought and speech. Bids to tell a story from an alien viewpoint are rarely convincing, although heroic efforts are made in such stories as Stanley _^<a_!T2848_SCHMIDT_^>a_'s _^<i_The Sins of the Fathers_^>i_ (_^<b_1976_^>b_), John
_^<a_!T5049_BRUNNER_^>a_'s _^<i_The Crucible of Time_^>i_ (_^<b_1984_^>b_) and Brian _^<a_!T1222_HERBERT_^>a_'s _^<i_Sudanna, Sudanna_^>i_ (_^<b_1985_^>b_). Impressive attempts to present the alien not merely as unfamiliar but also as unknowable
include Damon _^<a_!T4098_KNIGHT_^>a_'s "Stranger Station" (1956), several novels by Philip K. _^<a_!T1222_DICK_^>a_ -- including _^<i_The Game-Players of Titan_^>i_ (_^<b_1963_^>b_), _^<i__^<a_!B9151_GALACTIC POT-HEALER_^>a__^>i_ (_^<b_1969_^>b_)
and _^<i_Our Friends From Frolix-8_^>i_ (_^<b_1970_^>b_) -- Stanislaw _^<a_!T3329_LEM_^>a_'s _^<i__^<a_!B9183_SOLARIS_^>a__^>i_ (_^<b_1961_^>b_; trans _^<b_1970_^>b_) and Phillip _^<a_!T3645_MANN_^>a_'s _^<i_The Eye of the Queen_^>i_
(_^<b_1982_^>b_). Such contacts as these threaten the sanity of the contactees, as does the initial meeting of minds between human and alien intelligence in Fred _^<a_!T4532_HOYLE_^>a_'s _^<i_The Black Cloud_^>i_ (1957), but here -- as in most such
stories -- the assumption is made that common intellectual ground of some sort must and _^<i_can_^>i_ be found. Faith in the universality of reason, and hence in the fundamental similarity of all intelligent beings, is strongly evident in many
accounts of physically exotic aliens, including those featured in Isaac _^<a_!T268_ASIMOV_^>a_'s _^<i__^<a_!B9117_THE GODS THEMSELVES_^>a__^>i_ (_^<b_1972_^>b_)._^<n__^<n_This faith is at its most passionate in many stories in which first contact
with aliens is achieved via radio telescopes; these frequently endow such an event with quasitranscendental significance. Stories which are sceptical of the benefits of such contact -- examples are Fred _^<a_!T4532_HOYLE_^>a_'s and John
_^<a_!T6625_ELLIOT_^>a_'s _^<i_A for Andromeda_^>i_ (_^<b_1962_^>b_) and Stanislaw Lem's _^<i_HisMaster's Voice_^>i_ (_^<b_1968_^>b_; trans _^<b_1983_^>b_) -- have been superseded by stories like James E. _^<a_!T4896_GUNN_^>a_'s _^<i_The
Listeners_^>i_ (fixup _^<b_1972_^>b_), Robert Silverberg's _^<i_Tower of Glass_^>i_ (_^<b_1970_^>b_), Ben _^<a_!T4943_BOVA_^>a_'s _^<i_Voyagers_^>i_ (_^<b_1981_^>b_), Jeffrey _^<a_!T5200_CARVER_^>a_'s _^<i_The Infinity Link_^>i_ (_^<b_1984_^>b_),
Carl _^<a_!T2767_SAGAN_^>a_'s _^<i_Contact_^>i_ (_^<b_1985_^>b_), and Frederick _^<a_!T1472_FICHMAN_^>a_'s _^<i_SETI_^>i_ (_^<b_1990_^>b_), whose optimism is extravagant. Where once the notion of the alien being was inherently fearful, sf now
manifests an eager determination to meet and establish significant contact with aliens. Despite continued exploitation of the melodramatic potential of alien invasions and interstellar wars, the predominant anxiety in modern sf is that we might
prove to be unworthy of such communion._^<n__^<n_Anthologies of stories dealing with particular alien themes include: _^<i_From off this World_^>i_ (anth _^<b_1949_^>b_) ed Leo _^<a_!T3663_MARGULIES_^>a_ and Oscar J. _^<a_!T1629_FRIEND_^>a_;
_^<i_Invaders of Earth_^>i_ (anth _^<b_1952_^>b_) ed Groff _^<a_!T834_CONKLIN_^>a_; _^<i_Contact_^>i_ (anth _^<b_1963_^>b_) ed Noel Keyes; _^<i_The Alien Condition_^>i_ (anth _^<b_1973_^>b_) ed Stephen _^<a_!T4756_GOLDIN_^>a_; and the
_^<b_Starhunters_^>b_ series "created by" David A. _^<a_!T1318_DRAKE_^>a_ (3 anths 1988-90). [BS]_^<n__^<n_
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ALIENS
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Film (1986). Brandywine/20th Century-Fox. Prod Gale Anne _^<a_!T4563_HURD_^>a_, dir James _^<a_!T5131_CAMERON_^>a_, starring Sigourney Weaver, Paul Reiser, Carrie Henn, William Hope, Michael Biehn, Lance Henriksen, Jenette Goldstein. Screenplay
Cameron, based on a story by Cameron, David Giler, Walter Hill. 137 mins. Colour._^<n__^<n_This formidable sequel to _^<a_!T98_ALIEN_^>a_ is more an action than a _^<a_!T4509_HORROR_^>a_ movie, reminiscent of all those war films and Westerns about
beleaguered groups fighting to the end. Ripley (Weaver, in a fine performance), the sole survivor at the end of _^<i_Alien_^>i_, is sent off again with a troop of marines to the planet (now colonized) where the original alien was found. The colony
has been wiped out by aliens (lots of them this time); the marines, at first sceptical, are also almost wiped out. Ripley saves a small girl (Henn), the sole colonist survivor, and finally confronts the Queen alien._^<n__^<n__^<i_A_^>i_ is
conventional in its disapproval of corporate greed; less conventional is its demonstration of the inadequacy of the _^<i_machismo_^>i_ expressed by all the marines, women and men. A peculiar subtext has to do with the fierce protectiveness of
motherhood (Ripley and the little girl, the Queen and her eggs). This is a film unusually sophisticated in its use of sf tropes and is arguably even better than its predecessor. The novelization is _^<i_Aliens_^>i_ * (_^<b_1986_^>b_) by Alan Dean
Film (1992). A Brandywine Production/20th Century-Fox. Dir David Fincher, starring Sigourney Weaver, Charles Dance, Charles S. Dutton, Lance Henriksen, Paul McGann, Brian Glover. Screenplay David Giler, Walter Hill, Larry Ferguson, based on a story
by Vincent Ward. 110 mins. Colour._^<n__^<n_One of Hollywood's occasional, strange films so unmitigatedly uncommercial that it is impossible to work out why they were ever made. The film had an unusually troubled development history, previous
screenwriters having included William _^<a_!T4689_GIBSON_^>a_ and Eric Red, and previous directors Renny Harlin and Vincent Ward (director of _^<i_The Navigator: A Medieval Odyssey_^>i_ [1988]); some of Ward's story ideas were retained, and the
final script was reworked by producers Hill and Giler. The latter has said that he sees a subtext about the AIDS virus in this film, and the film itself supports this. The final director, Fincher, had previously been known primarily for his
inventive rock videos._^<n__^<n_Ripley (Weaver, who also has a credit as producer), having twice survived alien apocalypse (> _^<a_!T98_ALIEN_^>a_; _^<a_!T102_ALIENS_^>a_) crashlands on a prison planet occupied by a displeasing men-only group of
double-Y-chromosomed mass murderers and rapists, who have now adopted a form of Christian fundamentalism, as well as three variously psychopathic minders. Her companions on the ship are dead, but she brings (unknown to her) an alien parasite within
her and an external larva hiding in her ship. The latter grows, kills, grows again, lurks, and wipes out most of the base (as before). But the -- again female -- alien seems somehow unimportant this time; the film's twin centres are the awfulness
of the prison, explicitly and repeatedly compared to a cosmic anus, and the pared-to-the-bone Ripley, head shaven, face anguished, torso skinny, sister and mirror image of Alien herself: her _^<i_sole_^>i_ function is as victim. Even the ongoing
feminist joke (Ripley is as ever the one with metaphoric balls) is submerged in the bewildering, monochrome intensity of pain and dereliction, photographed in claustrophobic close-up throughout, that is _^<i_the whole_^>i_ of this film. All else --
including narrative tension and indeed the very idea of story -- is subjugated to this grim motif. This (probably bad) film is almost admirable in its refusal to give the audience any solace or entertainment at all. At the end, Ripley immolates
herself for the greater good, falling out of life as an alien bursts from her chest; she cradles it like a blood-covered baby as she falls away and away into the fires of purgatory. [PN]_^<n__^<n_
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ALIEN WORLDS
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UK _^<a_!T1231_DIGEST_^>a_-size magazine. 1 undated issue, _^<i_c_^>i_July 1966, published and ed Charles Partington and Harry Nadler, some colour illustrations, stories by Kenneth _^<a_!T5073_BULMER_^>a_, J.R. (Ramsey) Campbell and Harry
_^<a_!T4316_HARRISON_^>a_; articles on film were also included. _^<i_AW_^>i_ grew from the _^<a_!T1428_FANZINE_^>a_ _^<i_Alien_^>i_ (16 issues, 1963-6), which had also published stories and film articles. Its publishers lacked the distribution
strength to make it work as a professional magazine. [FHP/PN]_^<n__^<n_
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ALKON, PAUL K(ENT)
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(1935- ) Professor of English Literature at the University of Southern California and author of _^<i_Origins of Futuristic Fiction_^>i_ (_^<b_1987_^>b_), a vigorous study of the idea of the future that developed in the late 18th and early 19th
centuries, as reflected in the fiction and literary theory of the time. PA resuscitated the almost forgotten figure of Felix Bodin, arguably the first to provide (in 1834) an aesthetics of sf, his theories -- appropriately futuristic -- antedating
their subject matter. _^<i_Science Fiction Before 1900: Imagination Discovers Technology _^>i_(_^<b_1994_^>b_) is a competent introductory survey. [PN]_^<n__^<n_
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al-KUWAYRI, YUSUF
-T-
[r] > _^<a_!T215_ARABIC SF_^>a_._^<n__^<n_
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ALLABY, (JOHN) MICHAEL
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(1933- ) UK writer. Most of his books are nonfiction studies in fields like _^<a_!T6576_ECOLOGY_^>a_, but his _^<i_The Greening of Mars_^>i_ (_^<b_1984_^>b_) with James (Ephraim) Lovelock (1919-_^<n__^<n_), though basically a nonfiction study of
how that planet might be settled, is told as a fictionalized narrative whose tone is upliftingly _^<a_!T5303_UTOPIAN_^>a_. [JC]_^<n__^<n_
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ALLBEURY, TED
-T-
Working name of UK spy-fiction writer Theodore Edward le Bouthillier Allbeury (1917- ), some of whose _^<a_!T6337_NEAR-FUTURE_^>a_ thrillers, like _^<i_Palomino Blonde_^>i_ (_^<b_1975_^>b_; vt _^<i_OMEGA-MINUS_^>i_ 1976 US), _^<i_The Alpha
List_^>i_ (_^<b_1979_^>b_) and _^<i_The Consequences of Fear_^>i_ (_^<b_1979_^>b_), edge sf-wards. _^<i_All our Tomorrows_^>i_ (_^<b_1982_^>b_) depicts a Russian-occupied UK and the resistance movement that soon takes shape. [JC]_^<n__^<n_
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ALLEN, F.M.
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Pseudonym of Irish-born UK writer and publisher Edmund Downey (1856-1937), whose short _^<a_!T1243_DISASTER_^>a_ sequence, set in Ireland -- _^<i_The Voyage of the Ark, as Related by Dan Banim_^>i_ (_^<b_1888_^>b_) and _^<i_The Round Tower of
Babel_^>i_ (_^<b_1891_^>b_) -- conflates hyperbolic comedy and sf instruments, ending in a visionary plan to build a great tower for profit. _^<i_A House of Tears_^>i_ (_^<b_1888_^>b_ US), as by Edmund Downey, is fantasy, as are _^<i_Brayhard: The
Strange Adventures of One Ass and Seven Champions_^>i_ (_^<b_1890_^>b_) and _^<i_The Little Green Man_^>i_ (_^<b_1895_^>b_)._^<i_ The Peril of London_^>i_ (_^<b_1891_^>b_ chap as by FMA; vt _^<i_London's Peril_^>i_ _^<b_1900_^>b_ chap as Downey),
set in the _^<a_!T6337_NEAR FUTURE_^>a_, warns against a Channel Tunnel being constructed by the nefarious French. [JC]_^<n__^<n_
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ALLEN, (CHARLES) GRANT (BLAIRFINDIE)
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(1848-1899) UK writer, born in Canada, known primarily for his work outside the sf field, including the notorious _^<i_The Woman who Did_^>i_ (_^<b_1895_^>b_), which attacked contemporary sexual mores. He was professor of logic and principal of
Queen's College, Jamaica, before moving to the UK. He wrote a series of books based on _^<a_!T6717_EVOLUTION_^>a_ theory before turning for commercial reasons to fiction. After the success of _^<i_The Woman who Did_^>i_ he published a
self-indulgent novel of social criticism, _^<i_The British Barbarians_^>i_ (_^<b_1895_^>b_), in which a time-travelling social scientist of the future is scathing about tribalism and taboo in Victorian society. GA's interest in
_^<a_!T197_ANTHROPOLOGY_^>a_ is manifest also in the novel _^<i_The Great Taboo_^>i_ (_^<b_1890_^>b_) and in many of the short stories assembled in _^<i_Strange Stories_^>i_ (coll _^<b_1884_^>b_); this collection includes two sf stories originally
published under the pseudonym J. Arbuthnot Wilson: "Pausodyne" (1881), an early story about _^<a_!T5851_SUSPENDED ANIMATION_^>a_, and "A Child of the Phalanstery ("1884), about a future society's eugenic practices. (The former is also to be found
in _^<i_The Desire of the Eyes and Other Stories_^>i_ [coll _^<b_1895_^>b_] the latter in _^<i_Twelve Tales, with a Headpiece, a Tailpiece and an Intermezzo_^>i_ [coll _^<b_1899_^>b_].) GA's other borderline-sf stories are "The Dead Man Speaks"
(1895) and "The Thames Valley Catastrophe" (1897). The above-mentioned collections also feature a handful of fantasy stories. _^<i_The Devil's Die_^>i_ (_^<b_1897_^>b_) is a mundane melodrama which includes an account of a bacteriological research
project. GA's early "shilling shocker" _^<i_Kalee's Shrine_^>i_ (_^<b_1886_^>b_), written with May Cotes (not credited in some US reprint editions), is a fantasy of mesmerism with some sf elements. [BS]_^<n__^<n__^<b_See also:_^>b_
(1912-1991) US author, as Will Henry, of many Westerns, including _^<i_MacKenna's Gold_^>i_ (_^<b_1963_^>b_), later filmed. His sf novel, _^<i_Genesis Five_^>i_ (_^<b_1968_^>b_), narrated by a resident Mongol, depicts the Soviet creation of a
dubious _^<a_!T5830_SUPERMAN_^>a_ in Siberia. [JC]_^<n__^<n_
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ALLEN, IRWIN
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(1916-1991) US film-maker long associated with sf subjects. He worked in radio during the 1940s; later, with the arrival of tv, he created the first celebrity panel show. In 1951 he began producing films for RKO, and in 1953 won an Academy Award for
_^<i_The Sea Around Us_^>i_, a pseudo-documentary which he wrote and directed. He then made a similar film for Warner Brothers, _^<i_The Animal World_^>i_ (1956), which contained dinosaur sequences animated by Willis H. _^<a_!T3280_O'BRIEN_^>a_ and
Ray _^<a_!T4322_HARRYHAUSEN_^>a_. In 1957 he made _^<i_The Story of Mankind_^>i_, a bizarre potted history with a fantasy framework, and then turned to sf subjects: a bland remake of _^<i_The_^<a_!T3459_LOST WORLD_^>a__^>i_ (1960),
_^<a_!T5414_VOYAGE TO THE BOTTOM OF THE SEA_^>a_ (1961) and _^<i_Five Weeks in a Balloon_^>i_ (1962)._^<n__^<n_In 1964 he returned to tv and produced a series, _^<a_!T5414_VOYAGE TO THE BOTTOM OF THE SEA_^>a_ (1964-8), based on the movie. Other sf
tv series followed: _^<a_!T3456_LOST IN SPACE_^>a_ (1965-8), _^<i_The_^<a_!T6030_TIME TUNNEL_^>a__^>i_ (1966-7) and _^<a_!T4169_LAND OF THE GIANTS_^>a_ (1968-70). A further tv project, _^<a_!T728_CITY BENEATH THE SEA_^>a_, failed to generate the
necessary interest and was abandoned, the pilot episode being released as a feature film (vt _^<i_One Hour to Doomsday_^>i_) in 1970. Ever resilient, IA switched back to films. In 1972 he made the highly successful _^<i_The Poseidon Adventure_^>i_,
which began the "disaster film" cycle of the 1970s, followed by the even more successful _^<i_The Towering Inferno_^>i_ (1974). Theatrically, IA's fortunes with disaster films began to founder with _^<i_The Swarm_^>i_ (1978), based on the 1974
novel by Arthur _^<a_!T4407_HERZOG_^>a_ about killer bees attacking Houston. _^<i_Beyond the Poseidon Adventure_^>i_ (1979) and _^<i_When Time Ran Out . . ._^>i_ (1980; vt _^<i_Earth's Final Fury_^>i_) were similar to _^<i_The Swarm_^>i_ in their
absurdity and their parade of embarrassed star cameos; their box-office failure contributed significantly to the petering out of the borderline-sf disaster movie cycle. However, IA had already transferred the essential formula -- B-movie dramatics,
spectacular (often secondhand) devastation footage, large casts -- of the disaster movie to tv with _^<i_Flood!_^>i_ (1976), followed by the diminishing returns of _^<i_Fire!_^>i_ (1977) and _^<i_Cave-In_^>i_ (1979, transmitted 1983). Another
made-for-tv movie by IA (pilot for an unsold tv series planned as a return to the themes of _^<i_The Time Tunnel_^>i_) was _^<i_Time Travelers_^>i_ (1976), based on an unpublished story by Rod _^<a_!T2108_SERLING_^>a_; its use of stock footage as
the story's centrepiece -- here the fire from _^<i_In Old Chicago_^>i_ (1938) -- is an IA trademark. Subsequently his sf/fantasy work for tv has included _^<i_The Return of Captain Nemo_^>i_ (1978), a three-part miniseries (based on Jules
_^<a_!T5355_VERNE_^>a_'s characters and themes recycled from _^<i_Voyage to the Bottom of the Sea_^>i_) which was edited into a feature film for release outside the USA, and a two-part _^<i_Alice in Wonderland_^>i_ (1985) with second-string
stars._^<n__^<n_Throughout his career IA has reworked a limited repertoire of basic formulae -- the Verne/_^<a_!T1312_DOYLE_^>a_ "expedition" drama, the juvenile sf-series format, the disaster scenario -- invariably setting groups of lazily
stereotyped characters against colourful, threatening, bizarre but somehow cheap backdrops. His productions are wholly contemptuous (or ignorant) of scientific accuracy or even plausibility. The only variation in tone and effect has been strictly
budgetary, with Michael Caine and Paul Newman essentially no different from David Hedison and Gary Conway, and even the most earth-shattering cataclysm failing to disturb the tidy complacency of IA's Poverty-Row worldview. In the end, his most
interesting work might just have been _^<i_The Story of Mankind_^>i_, in which Harpo Marx played Isaac Newton. [JB/KN/PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T1243_DISASTER_^>a_; _^<a_!T5926_TELEVISION_^>a_.
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ALLEN, JOHANNES
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(1916-1973) Danish journalist and author of popular fiction and film scripts. Among his few sf titles the best known is _^<i_Data for din dod_^>i_ (_^<b_1970_^>b_; trans Marianne Helweg as _^<i_Data for Death_^>i_ _^<b_1971_^>b_ UK), which tells of
a criminal organization whose acquisition of advanced computer techniques permits it to blackmail people with information about their time of death. [ND]_^<n__^<n_
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ALLEN, ROGER MacBRIDE
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(1957- ) US writer who began writing with a _^<a_!T2342_SPACE-OPERA_^>a_ series, _^<i_The Torch of Honor_^>i_ (_^<b_1985_^>b_) and _^<i_Rogue Powers_^>i_ (_^<b_1986_^>b_), whose considerable impact may seem excessive to anyone familiar only with
the books in synopsis, as neither might have appeared to offer anything new. _^<i_The Torch of Honor_^>i_ begins with a scene all too evocative of Robert A. _^<a_!T4376_HEINLEIN_^>a_'s sf juveniles from three decades earlier, as a batch of space
cadets graduates from academy into interstellar hot water after learning -- in a scene which any viewer of John Ford's Cavalry Westerns would also recognize -- of the death of many of their fellows in a space encounter. But RMA, while clearly
making no secret of his allegiance to outmoded narrative conventions, remained very much a writer of the 1980s in the physical complexity and moral dubiety of the Galaxy his crew enters, fighting and judging and having a fairly good time in the
task of saving planets. The second novel, which features a no-nonsense female protagonist and a lovingly described _^<a_!T98_ALIEN_^>a_ culture, builds on the strengths of the first while disengaging to some degree from the debilitating
simplicities of military sf._^<n__^<n__^<i_Orphan of Creation_^>i_ (_^<b_1988_^>b_), a singleton, demonstrates with greater clarity than the series the clarity and scientific numeracy of RMA's mind and narrative strategies. The story of a Black
anthropologist who discovers in the USA the bones of some Australopithecines who had been transported there by slave traders, the novel gives an impressive accounting of the nature of _^<a_!T197_ANTHROPOLOGY_^>a_ as a science, and mounts a welcome
attack on the strange 1980s vogue for Creationism. _^<i_Farside Cannon_^>i_ (_^<b_1988_^>b_), in which the _^<a_!T6337_NEAR-FUTURE_^>a_ Solar System witnesses political upheaval on time-tested grounds, and _^<i_The War Machine_^>i_ *
(_^<b_1989_^>b_) with David A. _^<a_!T1318_DRAKE_^>a_, part of the latter's _^<b_Crisis of Empire_^>b_ sequence, were sufficiently competent to keep interest in RMA alive. _^<i_Supernova_^>i_ (_^<b_1991_^>b_), with Eric _^<a_!T4120_KOTANI_^>a_,
relates, again with scientific verisimilitude, the process involved in discovering that a nearby star is due to go supernova and flood Earth with hard radiation. _^<i_The Modular Man_^>i_ (_^<b_1992_^>b_) deals complexly with the implications of a
_^<a_!T2646_ROBOT_^>a_ technology sufficiently advanced for humans to transfer their consciousnesses into machines._^<n__^<n_But potentially more interesting than any of these titles is the _^<b_Hunted Earth_^>b_ sequence, comprising _^<i_The Ring
of Charon_^>i_ (_^<b_1991_^>b_) and _^<i_The Shattered Sphere_^>i_ (_^<b_1994_^>b_). After the passing of a beam of phased gravity-waves -- a new human invention -- has awakened a long dormant semi-autonomous being embedded deep within the Moon,
the Earth is shunted via wormhole to a new solar system dominated by a multifaceted culture occupying a _^<a_!T1369_DYSON SPHERE_^>a_. The remnants of humanity must work out -- over the course of the second volume -- where Earth is while
countering, or coming to terms with, the attempted demolition of the Solar System to make a new sphere. Although the human cultures described in the first volume are unimaginatively presented, the exuberance of RMA's large-scale plotting (and
thinking) makes it seem possible that _^<b_Hunted Earth_^>b_ will become one of the touchstone galactic epics of the 1990s. [JC]_^<n__^<n__^<b_Other Works:_^>b__^<i_Isaac Asimov's Caliban_^>i_ * (_^<b_1993_^>b_) and its sequel, _^<i_Isaac Asimov's
Inferno_^>i_ * (_^<b_1994_^>b_), both tied to _^<a_!T268_ASIMOV_^>a_'s _^<b_Robot _^>b_universe._^<b_See also:_^>b_ _^<a_!T273_ASTEROIDS_^>a_; _^<a_!T632_BLACK HOLES_^>a_; _^<a_!T3023_MOON_^>a_; _^<a_!T1743_OUTER PLANETS_^>a_;
_^<a_!T5492_WEAPONS_^>a_.
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ALLEY OOP
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US _^<a_!T820_COMIC_^>a_ strip, created and drawn by V(incent) T(rout) Hamlin (1900-1993), initially in 1932 for a firm which collapsed, then from 1933 for the NEA syndicate until his retirement in 1971, when it was taken over by other artists.
Drawn in a style more comically exaggerated than usual in adventure strips, though with clear affection, Oop is a tough and likeable Neanderthal warrior, half Popeye, half Buck Rogers. His adventures were initially restricted to his home territory
of Moo (the echo of Mu clearly being deliberate) but he soon began to visit various human eras -- and the Moon -- via Professor Wonmug's _^<a_!T6026_TIME-TRAVEL_^>a_ device. There were several pre-War comic-book versions, including _^<i_Alley Oop
and Dinny_^>i_ (graph _^<b_1934_^>b_), a Big Little Book; _^<i_Alley Oop in the Invasion of Moo_^>i_ (graph _^<b_1935_^>b_), an original story in a format similar to the Big Little Books; as a one-short comic, issue #35 of _^<i_The Funnies_^>i_ in
1938; and _^<i_Alley Oop and the Missing King of Moo _^>i_(_^<b_1938_^>b_ chap). Some extended tales appear in Hamlin's _^<i_Alley Oop: The Adventures of a Time-Traveling Caveman: Daily Strips from July 20, 1946 to June 20, 1947_^>i_ (graph coll
_^<b_1990_^>b_). [JC]_^<n__^<n_
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ALLHOFF, FRED
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(1904-1988) US journalist and writer known in the sf field for _^<i_Lightning in the Night_^>i_ (1940 _^<i_Liberty_^>i_; _^<b_1979_^>b_), a future-_^<a_!T5452_WAR_^>a_ tale which, when serialized, caused considerable stir because of its defence of
the arguments of General Billy Mitchell (1879-1936) about the primacy of air power in any future conflict, for its portrayal of a semi-defeated USA in 1945 as she recoups her moral and physical forces and begins to thrust back the Axis invaders,
and for its presentation of a vast and successful US effort to develop the atomic bomb before Hitler can, and to use the threat of dropping it to end the war (> _^<a_!T4446_HITLER WINS_^>a_). [JC]_^<n__^<n_
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ALLIGATOR
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Film (1980). Alligator Associates/Group 1. Dir Lewis Teague, starring Robert Forster, Robin Riker, Michael Gazzo, Dean Jagger. Screenplay John _^<a_!T2833_SAYLES_^>a_, based on a story by Sayles and Frank Ray Perilli. 91 mins cut to 89 mins.
Colour._^<n__^<n_A pet baby alligator is flushed down the toilet, and it or another grows into a monster, aided by hormone-experiment waste materials illicitly dumped in the sewers. A policeman investigates the increasingly violent and bizarre
alligator attacks, climaxing in the destruction of a wedding party held by (of course) the wicked polluter. _^<i_A_^>i_ is funny and well made. Sayles has remarked that "my original idea was that the alligator eats its way through the whole
socio-economic system". Many 1970s and 1980s _^<a_!T3011_MONSTER MOVIES_^>a_, including this one, have been deliberately subversive of comfortable social norms. [PN]_^<n__^<n_
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ALLIGHAM, GARRY
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(1898-? ) South African writer whose imaginary history, written as from the year 1987, _^<i_Verwoerd -- The End: A Lookback from the Future_^>i_ (_^<b_1961_^>b_), argues for a benevolently administered apartheid. [JC]_^<n__^<n__^<b_See also:_^>b_
_^<a_!T1939_POLITICS_^>a_.
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ALLOTT, KENNETH
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(1912-1973) UK writer best known for his distinguished and melancholy poetry, which was assembled in _^<i_Collected Poems_^>i_ (coll _^<b_1975_^>b_). _^<i_The Rhubarb Tree_^>i_ (_^<b_1937_^>b_), with Stephen Tait, is one of several 1930s novels
predicting a fascist government in the UK. _^<i_Jules Verne_^>i_ (_^<b_1940_^>b_) is a fluent study, free of the usual literary condescensions. [JC]_^<n__^<n_
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ALLPORT, ARTHUR
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[s] > Raymond Z. _^<a_!T1691_GALLUN_^>a_._^<n__^<n_
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ALL-STORY, THE
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US _^<a_!T2033_PULP MAGAZINE_^>a_ published by the Frank A. _^<a_!T3106_MUNSEY_^>a_ Corp.; ed Robert Hobard Davis. _^<i_AS_^>i_ appeared monthly Jan 1905-Mar 1914, weekly from 7 Mar 1914 (as _^<i_All-Story Weekly_^>i_), incorporated _^<i_Cavalier
Weekly _^>i_(>_^<i_The_^<a_!T5215_CAVALIER_^>a__^>i_ ) to form _^<i_All-Story Cavalier Weekly_^>i_ from 16 May 1914, and reverted to _^<i_All-Story Weekly_^>i_ 15 May 1915-17 July 1920, when it merged with _^<i_Argosy Weekly_^>i_ to form
_^<i_Argosy All-Story Weekly_^>i_ (> _^<i_The _^<a_!T225_ARGOSY_^>a__^>i_)._^<n__^<n__^<i_TAS_^>i_ was the most prolific publisher of sf among the pre-1926 pulp magazines; it became important through its editor's discovery of several major authors.
Foremost of these in popularity were Edgar Rice _^<a_!T5097_BURROUGHS_^>a_, who was represented with 16 serials and novelettes 1912-20, Ray _^<a_!T997_CUMMINGS_^>a_, notably with _^<i_The Girl in the Golden Atom_^>i_ (1919-20; fixup
_^<b_1921_^>b_), and A. _^<a_!T2912_MERRITT_^>a_. Other authors who contributed sf to _^<i_TAS_^>i_ included Douglas _^<a_!T1276_DOLD_^>a_, George Allan _^<a_!T6673_ENGLAND_^>a_, Homer Eon _^<a_!T1534_FLINT_^>a_, J.U. _^<a_!T4690_GIESY_^>a_, Victor
_^<a_!T2715_ROUSSEAU_^>a_, Garrett P. _^<a_!T2112_SERVISS_^>a_, Francis _^<a_!T5724_STEVENS_^>a_ and Charles B. _^<a_!T5743_STILSON_^>a_. Many of _^<i_TAS_^>i_'s stories were reprinted in _^<a_!T1384_FAMOUS FANTASTIC MYSTERIES_^>a_ and
_^<a_!T1399_FANTASTIC NOVELS_^>a_. [JE]_^<n__^<n__^<b_Further reading:_^>b_ _^<i_Under the Moons of Mars: A History and Anthology of the Scientific Romances in the Munsey Magazines 1912-1920_^>i_ (anth _^<b_1970_^>b_) ed Sam
Working name of Russian-born writer Martha Edith von Almedingen (1898-1971), who emigrated to the UK in 1923. Of her children's fictions, which made up about half her total works, several are of fantasy interest. Her only title of clear sf import is
_^<i_Stand Fast, Beloved City_^>i_ (_^<b_1954_^>b_), about a _^<a_!T1370_DYSTOPIAN_^>a_ tyranny. [JC]_^<n__^<n_
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ALPERS, HANS JOACHIM
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(1943- ) German sf editor, critic, _^<a_!T2261_SMALL-PRESS_^>a_ publisher, literary agent and author, sometimes as Jurgen Andreas; editor 1978-80 of _^<b_Knaur SF_^>b_ and 1980-86 of the _^<b_Moewig SF_^>b_ list. With Ronald M. Hahn (1948- )
he edited the first anthology of native German sf (> _^<a_!T4667_GERMANY_^>a_), _^<i_Science Fiction aus Deutschland_^>i_ ["Science Fiction from Germany"] (anth _^<b_1974_^>b_), and he was a co-editor of _^<i_Lexicon der Science Fiction
Literatur_^>i_ (2 vols _^<b_1980_^>b_; rev 1988; new edn projected 1993), an important sf encyclopedia covering almost all authors with German editions of their work. Further lexicons, of weird fiction and fantasy, are projected for 1993-4. With
Hahn again and Werner Fuchs, HJA edited _^<i_Reclams Science Fiction Fuhrer_^>i_ (_^<b_1982_^>b_), an annotated survey of sf novels with listings by author. With Fuchs HJA edited for Hohenheim six anthologies of sf stories (_^<b_1981-4_^>b_)
covering sf history by the decades 1940s, 1950s and 1960s, with 2 vols for each, and has edited the _^<b_Kopernikus_^>b_ sf anthologies for Moewig (15 vols _^<b_1980-88_^>b_). Also for Moewig he edited a German paperback edition of _^<i_Analog_^>i_
(> _^<a_!T277_ASTOUNDING SCIENCE-FICTION_^>a_) (8 vols 1981-4) and a series of sf almanacs and year books -- _^<b_Science Fiction Jahrbuch_^>b_ (1981-7) and _^<b_Science Fiction Almanach_^>b_ (1982-7) -- containing sf data, stories and essays, the
Almanac concentrating on the German scene. He wrote the _^<a_!T4667_GERMANY_^>a_ entry in this encyclopedia. [PN]_^<n__^<n_
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ALPHAVILLE
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(vt _^<i_Une Etrange Aventure de Lemmy Caution_^>i_) Pathe-contemporary/Chaumiane-Film Studio. Dir Jean-Luc Godard, starring Eddie Constantine, Anna Karina, Howard Vernon, Akim Tamiroff. Screenplay Godard. 100 mins. B/w._^<n__^<n_In this archetypal
French New Wave film, intergalactic secret agent Lemmy Caution (Constantine) arrives at the planet Alphaville to deal with Alpha 60, the computer used to impose conformity on the inhabitants. He succeeds, meeting the computer's logic with his own
illogic, and at the same time wins the affections of the ruler's daughter (Karina). A typical pulp-sf plot is transformed into an allegory of feeling versus technology, the past versus the present: Alphaville itself is an undisguised (but
selectively seen) Paris of the 1960s; Caution (a tough guy from the 1940s, hero of many novels by UK thriller writer Peter Cheyney [1896-1951]) does not use a spaceship to get there, but simply drives his own Ford car through "intersidereal space"
-- an ordinary road. _^<i_A_^>i_ is filmed in high contrast, deep shadows and glaring light. It is a not always accessible maze of allusions culled from a wide variety of sources: semantic theory, the myth of Orpheus and Eurydice, Hollywood
B-movies, comic books and pulp sf. The latter, like the other components of _^<i_A_^>i_, is used by Godard as a means of playfully imaging philosophical debate. [JB/PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T726_CINEMA_^>a_.
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ALRAUNE
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(vt _^<i_Unholy Love_^>i_; vt _^<i_Daughter of Destiny_^>i_) Film (1928). Ama Film. Dir Henrik Galeen, starring Brigitte Helm, Paul Wegener, Ivan Petrovich. Screenplay Galeen, from _^<i_Alraune_^>i_ (_^<b_1911_^>b_; trans _^<b_1929_^>b_) by Hanns
Heinz _^<a_!T6719_EWERS_^>a_. 125 mins. B/w._^<n__^<n_A professor of genetics (Wegener) conducts a cold-blooded experiment into the Nature-versus-nurture controversy. Using the semen of a hanged man to fertilize a whore, he creates life -- a girl
baby called Alraune -- by artificial insemination in the laboratory. After this sciencefictional beginning, _^<i_A_^>i_ becomes, like _^<i_Frankenstein_^>i_ (_^<b_1818_^>b_) by Mary _^<a_!T2173_SHELLEY_^>a_, a fantastic _^<a_!T4780_GOTHIC_^>a_
melodrama of retribution for a crime against Nature; nevertheless, in its distrust of the scientist, _^<i_A_^>i_ is wholly central to the development of sf. Alraune (Helm), who is named after and compared throughout with the mythic mandrake root
that grows where a hanged man's seed falls, appears to have no soul, and when, as a young woman, she learns of her dark origins, she revenges herself against her "father", the professor -- although at the end there is hope she will be heartless no
longer. Usually spoken of as a great classic of the German silent cinema, _^<i_A_^>i_ is actually more of an early exploitation movie, stylish but prurient, with more than a whiff of incest in the theme. Helm's eroticism, which we are to deplore,
was in fact the reason for the film's commercial success. However, Galeen considerably softened the portrait of Alraune rendered in Ewers' sensationalist novel: whereas in the book she is a monster of depravity, causing illness and suicide wherever
she goes, in the film she merely causes mayhem and a little pain. This is generally agreed to be the best of the five film versions of the 1911 book, the others being from 1918 (twice -- Germany and Hungary -- the latter being directed by Mihaly
Kertesz, who became Michael Curtiz, the director of _^<i_Casablanca_^>i_, 1942), 1930 (Germany, again starring Helm) and 1952 (Germany, starring Hildegard Knef and Erich von Stroheim). [PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T726_CINEMA_^>a_;
_^<a_!T2115_SEX_^>a_.
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ALTERED STATES
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Film (1980). Warner Bros. Dir Ken Russell, starring William Hurt, Blair Brown, Bob Balaban, Charles Haid. Screenplay Sidney Aaron (Paddy _^<a_!T5251_CHAYEFSKY_^>a_), based on _^<i_Altered States_^>i_ (_^<b_1978_^>b_) by Chayefsky. 102 mins.
Colour._^<n__^<n_Research scientist Jessup (Hurt) experiments with altered states of consciousness, with drugs, and with a sensory-deprivation tank. The alterations allow the primitive DNA in his genes to express itself (>
_^<a_!T1209_DEVOLUTION_^>a_ and _^<a_!T2924_METAPHYSICS_^>a_ for why this is lunatic); he devolves into an apeman (> _^<a_!T206_APES AND CAVEMEN_^>a_), and later spends some time as primordial ooze. This is bad for his marriage. In this hearty
blend of New Age mysticism and old-fashioned Jekyll-and-Hyde horror, director Russell has great fun with hallucinatory psychedelic trips and serious-sounding (but strictly bogus) scientific talk. The seriousness is skin-deep, and so is the film.
However, even Russell's bad films -- some claim there is no other category -- are watchable. [PN]_^<n__^<n_
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ALTERNATE HISTORIES
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> _^<a_!T131_ALTERNATE WORLDS_^>a_; _^<a_!T4442_HISTORY IN SF_^>a_._^<n__^<n_
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ALTERNATE WORLDS
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An alternate world -- some writers and commentators prefer the designation "alternative world" on grammatical grounds -- is an account of Earth as it might have become in consequence of some hypothetical alteration in history. Many sf stories use
_^<a_!T1794_PARALLEL WORLDS_^>a_ as a frame in which many alternate worlds can be simultaneously held, sometimes interacting with one another._^<n__^<n_Hypothetical exercises of this kind have long been popular with historians (>
_^<a_!T4442_HISTORY IN SF_^>a_) and their virtue was proclaimed by Isaac d'Israeli in _^<i_The Curiosities of Literature_^>i_ (coll _^<b_1791-1823_^>b_). A classic collection of such essays, ed J.C. Squire, _^<i_If It had Happened Otherwise_^>i_
(anth _^<b_1931_^>b_; vt _^<i_If, or History Rewritten_^>i_; exp 1972) took its inspiration from G.M. Trevelyan's essay "If Napoleon had Won the Battle of Waterloo" (1907); its contributors included G.K. _^<a_!T5261_CHESTERTON_^>a_, Andre
_^<a_!T3726_MAUROIS_^>a_, Hilaire _^<a_!T516_BELLOC_^>a_, A.J.P. Taylor and Winston Churchill. The most common preoccupations of modern speculative historians were exhibited in two essays written for _^<i_Look: If the South had Won the Civil
War_^>i_ (1960; _^<b_1961_^>b_) by MacKinlay _^<a_!T3980_KANTOR_^>a_ and "If Hitler had Won World War II" (1961), by William L. Shirer. The tradition has been continued in the _^<a_!T3609_MAINSTREAM_^>a_ by the film _^<a_!T3830_IT HAPPENED
HERE_^>a_ (1963), Frederic _^<a_!T3094_MULLALLY_^>a_'s _^<i_Hitler Has Won_^>i_ (_^<b_1975_^>b_) and Len _^<a_!T1149_DEIGHTON_^>a_'s _^<i_SS-GB_^>i_ (_^<b_1978_^>b_). Another event seen today as historically pivotal, the invention of the atom bomb,
is the basis of two novels by Ronald W. _^<a_!T735_CLARK_^>a_: _^<i_Queen Victoria's Bomb_^>i_ (_^<b_1967_^>b_), in which the atom bomb is developed much earlier in history, and _^<i_The Bomb that Failed_^>i_ (_^<b_1969_^>b_; vt _^<i_The Last Year
of the Old World_^>i_ UK), in which its appearance on the historical scene is delayed. Alternative histories are used satirically by non-genre writers in R. Egerton Swartout's _^<i_It Might Have Happened_^>i_ (_^<b_1934_^>b_) and Marghanita
_^<a_!T4195_LASKI_^>a_'s _^<i_Tory Heaven_^>i_ (_^<b_1948_^>b_), and the notion is given a more philosophical twist in Guy _^<a_!T1182_DENT_^>a_'s _^<i_Emperor of the If_^>i_ (_^<b_1926_^>b_). The continuing popularity of alternative histories with
mainstream writers is further illustrated by John _^<a_!T4401_HERSEY_^>a_'s _^<i_White Lotus_^>i_ (_^<b_1965_^>b_), Vladimir _^<a_!T6382_NABOKOV_^>a_'s _^<i_Ada_^>i_ (_^<b_1969_^>b_), Martin Cruz _^<a_!T2283_SMITH_^>a_'s _^<i_The Indians Won_^>i_
(_^<b_1970_^>b_), Guido Morselli's _^<i_Past Conditional_^>i_ (_^<b_1975_^>b_; trans _^<b_1981_^>b_) and Douglas Jones's _^<i_The Court Martial of George Armstrong Custer_^>i_ (_^<b_1976_^>b_)._^<n__^<n_Murray _^<a_!T3326_LEINSTER_^>a_ introduced
the idea of alternate worlds to _^<a_!T4659_GENRE SF_^>a_ in "Sidewise in Time" (1934), and Stanley G. _^<a_!T5506_WEINBAUM_^>a_ used it in a light comedy, "The Worlds of If" (1935); but the first serious attempt to construct an alternative history
in sf was L. Sprague _^<a_!T1133_DE CAMP_^>a_'s _^<i__^<a_!B9145_LEST DARKNESS FALL_^>a__^>i_ (1939; _^<b_1941_^>b_), in which a man slips back through time and sets out to remould history by preventing or ameliorating the Dark Ages. This story is
set entirely in the distant past, but in "The Wheels of If" (1940) de Camp displayed a contemporary USA which might have resulted from 10th-century colonization by Norsemen. Most subsequent sf stories in this vein have tended to skip lightly over
the detailed process of historical development to examine alternative presents, but sf writers with a keen interest in history often devote loving care to the development of imaginary pasts; a recent enterprise very much in the tradition of
_^<i__^<a_!B9145_LEST DARKNESS FALL_^>a__^>i_ is Harry _^<a_!T6132_TURTLEDOVE_^>a_'s _^<i_Agent of Byzantium_^>i_ (coll of linked stories _^<b_1986_^>b_)._^<n__^<n_The extraordinary melodramatic potential inherent in the idea of alternate worlds
was further revealed by Jack _^<a_!T5629_WILLIAMSON_^>a_'s _^<i__^<a_!B9255_THE LEGION OF TIME_^>a__^>i_ (1938; _^<b_1952_^>b_), which features alternative futures at war for their very existence, with crucial battles spilling into the past and
present. The idea of worlds battling for survival by attempting to maintain their own histories was further developed by Fritz _^<a_!T3322_LEIBER_^>a_ in _^<i_Destiny Times Three_^>i_ (1945; _^<b_1957_^>b_) and in the _^<b_Change War_^>b_ series,
which includes _^<i__^<a_!B8987_THE BIG TIME_^>a__^>i_ (1958; _^<b_1961_^>b_). Such stories gained rapidly in extravagance: _^<i_The Fall of Chronopolis_^>i_ (_^<b_1974_^>b_) by Barrington J. _^<a_!T472_BAYLEY_^>a_ features a time-spanning Empire
trying to maintain its reality against the alternative versions which its adversaries are imposing upon it. Attempts by possible futures to influence the present by friendly persuasion were presented by C.L. _^<a_!T3033_MOORE_^>a_ in "Greater than
Gods" (1939) and by Ross _^<a_!T2654_ROCKLYNNE_^>a_ in "The Diversifal" (1951)._^<n__^<n_The notion of competing alternative histories is further recomplicated in _^<a_!T6026_TIME-TRAVEL_^>a_ stories in which the heroes range across a vast series
of parallel worlds, each featuring a different alternative history (alternate universes are often created wholesale, though usually ephemerally, in tricky time-travel stories; _^<i_see also_^>i_ _^<a_!T6020_TIME PARADOXES_^>a_). The policing of
time-tracks -- either singly, as in Isaac _^<a_!T268_ASIMOV_^>a_'s _^<i_The End of Eternity_^>i_ (_^<b_1955_^>b_), which features the totalitarian control of history by social engineers, or in great profusion -- has remained a consistently popular
theme in sf. One of the earliest such police forces is featured in Sam _^<a_!T2913_MERWIN_^>a_'s _^<i_House of Many Worlds_^>i_ (_^<b_1951_^>b_) and _^<i_Three Faces of Time_^>i_ (_^<b_1955_^>b_); the exploits of others are depicted in H. Beam
_^<a_!T1908_PIPER_^>a_'s _^<b_Paratime_^>b_ series, begun with "Police Operation" (1948), in Poul _^<a_!T169_ANDERSON_^>a_'s _^<b_Time Patrol_^>b_ series, whose early stories are in _^<i_Guardians of Time_^>i_ (coll _^<b_1960_^>b_), in John
_^<a_!T5049_BRUNNER_^>a_'s _^<i_Times without Number_^>i_ (fixup _^<b_1962_^>b_ dos), and -- less earnestly -- in Simon Hawke's _^<b_Time Wars_^>b_ series (> Nicholas Yermakov), begun with _^<i_The Ivanhoe Gambit_^>i_ (_^<b_1984_^>b_). Keith
_^<a_!T4206_LAUMER_^>a_'s _^<i_Worlds of the Imperium_^>i_ (_^<b_1962_^>b_ dos) and sequels, Avram _^<a_!T1082_DAVIDSON_^>a_'s _^<i_Masters of the Maze_^>i_ (_^<b_1965_^>b_), Jack L. _^<a_!T5223_CHALKER_^>a_'s _^<i_Downtiming the Night Side_^>i_
(_^<b_1985_^>b_), Frederik _^<a_!T1937_POHL_^>a_'s _^<i_The Coming of the Quantum Cats_^>i_ (_^<b_1986_^>b_), Mike _^<a_!T3575_MCQUAY_^>a_'s _^<i_Memories_^>i_ (_^<b_1987_^>b_) and Michael P. _^<a_!T4133_KUBE-MCDOWELL_^>a_'s _^<i_Alternities_^>i_
(_^<b_1988_^>b_) are convoluted adventure stories of an essentially similar kind. John _^<a_!T981_CROWLEY_^>a_'s "Great Work of Time" (1989) is a more thoughtful work about a conspiracy which attempts to use time travel to take charge of
history._^<n__^<n_Early genre-sf stories of conflict between alternate worlds tend to assume that our world is better than most of the alternatives. This assumption owes much to our conviction that the "right" side won both the American Civil War
and WWII. Ward _^<a_!T3039_MOORE_^>a_'s classic _^<i__^<a_!B9005_BRING THE JUBILEE_^>a__^>i_ (_^<b_1953_^>b_) paints a relatively grim portrait of a USA in which the South won the Civil War; and images of worlds in which the Nazis triumphed (>
_^<a_!T4446_HITLER WINS_^>a_) tend to be nightmarish -- notable examples include "Two Dooms" (1958) by C.M. _^<a_!T6353_KORNBLUTH_^>a_, _^<i__^<a_!B9033_THE SOUND OF HIS HORN_^>a__^>i_ (_^<b_1952_^>b_) by _^<a_!T2805_SARBAN_^>a_,
_^<i__^<a_!B9086_THE MAN IN THE HIGH CASTLE_^>a__^>i_ (_^<b_1962_^>b_) by Philip K. _^<a_!T1222_DICK_^>a_, _^<i_The Proteus Operation_^>i_ (_^<b_1985_^>b_) by James P. _^<a_!T4464_HOGAN_^>a_, and _^<i_Moon of Ice_^>i_ (_^<b_1988_^>b_) by Brad
_^<a_!T3390_LINAWEAVER_^>a_. An interesting exception is _^<i_Budspy_^>i_ (_^<b_1987_^>b_) by David _^<a_!T1358_DVORKIN_^>a_, where a successful Third Reich is presented more evenhandedly. Other turning-points in which our world is held to have
gone the "right" way include the Reformation and the Industrial Revolution -- whose suppression produces technologically primitive worlds in Keith _^<a_!T2619_ROBERTS_^>a_'s excellent _^<i__^<a_!B8982_PAVANE_^>a__^>i_ (fixup _^<b_1968_^>b_),
Kingsley _^<a_!T153_AMIS_^>a_'s _^<i_The Alteration_^>i_ (_^<b_1976_^>b_), Martin _^<a_!T4833_GREEN_^>a_'s _^<i_The Earth Again Redeemed_^>i_ (_^<b_1978_^>b_), Phyllis _^<a_!T6605_EISENSTEIN_^>a_'s _^<i_Shadow of Earth_^>i_ (_^<b_1979_^>b_) and
John Whitbourn's _^<i_A Dangerous Energy_^>i_ (_^<b_1992_^>b_) -- and the Black Death, which aborts the rise of the West in Robert _^<a_!T2216_SILVERBERG_^>a_'s _^<i_The Gate of Worlds_^>i_ (_^<b_1967_^>b_) and L. Neil _^<a_!T2281_SMITH_^>a_'s
_^<i_The Crystal Empire_^>i_ (_^<b_1986_^>b_). The idea that our world might have turned out far better than it has is more often displayed by ironic satires, including: Harry _^<a_!T4316_HARRISON_^>a_'s _^<i_Tunnel Through the Deeps_^>i_
(_^<b_1972_^>b_; vt _^<i_A Transatlantic Tunnel, Hurrah!_^>i_ UK), in which the American colonies never rebelled and the British Empire remains supreme; D.R. _^<a_!T537_BENSEN_^>a_'s _^<i_And Having Writ . . ._^>i_ (_^<b_1978_^>b_), in which the
aliens whose crashing starship is assumed to have caused the Tunguska explosion survive to interfere in the course of progress; S.P. _^<a_!T2313_SOMTOW_^>a_'s _^<i_The Aquiliad_^>i_ (fixup _^<b_1983_^>b_), in which the Roman Empire conquered the
Americas; and William _^<a_!T4689_GIBSON_^>a_'s and Bruce _^<a_!T5717_STERLING_^>a_'s _^<i__^<a_!B9058_THE DIFFERENCE ENGINE_^>a__^>i_ (1990), in which Babbage's calculating machine precipitates an information-technology revolution in Victorian
England. More earnest examples are fewer in number, but they include "The Lucky Strike" (1984) by Kim Stanley _^<a_!T2637_ROBINSON_^>a_, in which a US pilot refuses to drop the atom bomb on Hiroshima, and _^<i_Elleander Morning_^>i_
(_^<b_1984_^>b_) by Jerry _^<a_!T6248_YULSMAN_^>a_, which imagines a world where Hitler was assassinated before starting WWII._^<n__^<n_More philosophically inclined uses of the alternate-worlds theme, involving the worldviews of individual
characters rather than diverted histories, were pioneered in genre sf by Philip K. Dick in such novels as _^<i_Eye in the Sky_^>i_ (_^<b_1957_^>b_), _^<i_Now Wait for Last Year_^>i_ (_^<b_1967_^>b_) and _^<i_Flow My Tears, the Policeman Said_^>i_
(_^<b_1974_^>b_). Intriguing homage is paid to Dick's distinctive use of the theme by Michael _^<a_!T620_BISHOP_^>a_'s _^<i_The Secret Ascension_^>i_ (_^<b_1987_^>b_; vt _^<i_Philip K. Dick is Dead, Alas_^>i_). Other novels which use alternate
worlds to explore personal problems and questions of identity include Bob _^<a_!T2153_SHAW_^>a_'s _^<i_The Two-Timers_^>i_ (_^<b_1968_^>b_), Gordon _^<a_!T6608_EKLUND_^>a_'s _^<i_All Times Possible_^>i_ (_^<b_1974_^>b_), Sheila
_^<a_!T1483_FINCH_^>a_'s _^<i_Infinity's Web_^>i_ (_^<b_1985_^>b_), Josephine _^<a_!T2831_SAXTON_^>a_'s _^<i_Queen of the States_^>i_ (_^<b_1986_^>b_), Ken Grimwood's _^<i_Replay_^>i_ (_^<b_1986_^>b_) and Thomas _^<a_!T546_BERGER_^>a_'s
_^<i_Changing the Past_^>i_ (_^<b_1989_^>b_)._^<n__^<n_Radical alternative histories, which explore the consequences of fundamental shifts in biological evolution, include Harry Harrison's series about the survival of the dinosaurs, begun with
_^<i_West of Eden_^>i_ (_^<b_1984_^>b_); Harry Turtledove's _^<i_A Different Flesh_^>i_ (fixup _^<b_1988_^>b_), in which _^<i_Homo erectus_^>i_ survives in the Americas until 1492; and Brian M. _^<a_!T2385_STABLEFORD_^>a_'s _^<i_The Empire of
Fear_^>i_ (_^<b_1988_^>b_), in which 17th-century Europe and Africa are ruled by "vampires". More radical still are novels which portray universes where the laws of physics are different. Some of these are described in George
_^<a_!T4599_GAMOW_^>a_'s series of educative parables _^<i_Mr Tompkins in Wonderland_^>i_ (coll _^<b_1939_^>b_), and the "many worlds" interpretation of quantum theory has encouraged their use in more recent sf, a notable example being _^<i_The
Singers of Time_^>i_ (_^<b_1990_^>b_) by Frederik Pohl and Jack Williamson._^<n__^<n__^<i_Worlds of Maybe: Seven Stories of Science Fiction_^>i_ (anth _^<b_1970_^>b_) ed Robert Silverberg contains further work on the theme by Poul Anderson, Philip
Jose _^<a_!T1435_FARMER_^>a_, Larry _^<a_!T3223_NIVEN_^>a_ and Silverberg, as well as the Murray Leinster story cited above. In addition to further stories, including the de Camp story mentioned above, _^<i_Alternative Histories: Eleven Stories of
the World as it Might have Been_^>i_ (anth _^<b_1986_^>b_) ed Martin H. _^<a_!T4842_GREENBERG_^>a_ and Charles G. _^<a_!T5488_WAUGH_^>a_ includes the definitive version of Barton C. Hacker's and Gordon B. Chamberlain's invaluable bibliography of
the theme, "Pasts that Might Have Been, II"; the first version appeared in _^<a_!T6730_EXTRAPOLATION_^>a_ in 1981. Gregory _^<a_!T526_BENFORD_^>a_ edited four anthologies on the theme: _^<i_Hitler Victorious _^>i_(anth _^<b_1985_^>b_); plus
_^<i_What Might Have Been #1: Alternate Empires_^>i_ (anth _^<b_1989_^>b_), _^<i_#2: Alternate Heroes_^>i_ (anth _^<b_1989_^>b_) and _^<i_#3: Alternate Wars_^>i_ (anth _^<b_1991_^>b_). _^<i_Alternatives_^>i_ (anth _^<b_1989_^>b_), ed Robert
_^<a_!T40_ADAMS_^>a_ and Pamela Crippen Adams, presented original stories told from _^<a_!T3378_LIBERTARIAN_^>a_ perspectives. _^<i_Alternate Presidents_^>i_ (anth _^<b_1992_^>b_) ed Michael _^<a_!T2559_RESNICK_^>a_ examines a particular aspect
"from Benjamin Franklin to Michael Dukakis"; the same editor's _^<i_Alternate Kennedys_^>i_ (anth _^<b_1992_^>b_) narrows the focus yet further. [BS]_^<n__^<n__^<n__^<n__^<b_See also:_^>b_ _^<a_!T1795_PARANOIA_^>a_; _^<a_!T5694_STEAMPUNK_^>a_.
Pseudonym of Russian writer and sf critic Henrikh (Saulovich) Altschuller (1926- ); a trained engineer, he has registered dozens of patents. His unpublished "Altov's Register" is a mammoth catalogue of sf ideas, topics and situations. His three
collections of sf stories, some written with his wife Valentina Zhuravlyova, _^<i_Legendy O Zviozdnykh Kapitanakh_^>i_ ["Legends of the Star Captains"] (coll _^<b_1961_^>b_), _^<i_Opaliaiuschii Razum_^>i_ ["The Scorching Mind"] (coll
_^<b_1968_^>b_) and _^<i_Sozdan Dlia Buri_^>i_ ["Created for Thunder"] (coll _^<b_1970_^>b_), represent the best of the Soviet style of brainstorming _^<a_!T4288_HARD SF_^>a_. Some of these tales were assembled in _^<i_Ballad of the Stars_^>i_
(anth trans Roger DeGaris _^<b_1982_^>b_ US), which GA ed with Zhuravlyova. [VG]_^<n__^<n_
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ALVAREZ, JOHN
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[s] > Lester _^<a_!T1164_DEL REY_^>a_._^<n__^<n_
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AMAZING ADULT FANTASY
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> _^<a_!T3694_MARVEL COMICS_^>a_._^<n__^<n_
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AMAZING COLOSSAL MAN, THE
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Film (1957). Malibu/AIP. Prod and dir Bert I. Gordon, starring Glenn Langan, Cathy Downs, William Hudson. Screenplay Mark Hanna and Gordon, from a story by Gordon. 81 mins. B/w._^<n__^<n_An attempt to duplicate the commercially successful pathos of
_^<i_The_^>i_ _^<a_!T3777_INCREDIBLE SHRINKING MAN_^>a_ (1957) by reversing its procedure, _^<i_TACM_^>i_ has an army officer exposed to the radiation from a "plutonium bomb" and consequently growing to 60ft (18m) tall. Poignant dialogues take
place between the colossal man (Langan) and his fiancee (Downs): "At high school I was voted the guy most likely to reach the top." He goes mad and is shot, falling into the Hoover Dam. The poorly matted special effects allow people standing behind
the colossal man to be seen through his body. Often regarded as schlock producer Gordon's best film, it raises the question of what his worst must look like: the sequel, _^<i_War of the Colossal Beast_^>i_ (1958; vt _^<i_The Terror Strikes_^>i_),
would be a good candidate. [PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T1549_FOOD OF THE GODS_^>a_; _^<a_!T4823_GREAT AND SMALL_^>a_; _^<a_!T3011_MONSTER MOVIES_^>a_.
UK _^<a_!T2033_PULP MAGAZINE_^>a_ published in Manchester by Pembertons in 1951. Two unmemorable issues appeared, largely reprints from #2 and #3 of the Australian _^<a_!T6005_THRILLS, INCORPORATED_^>a_, but also 2 stories reprinted from
_^<a_!T5847_SUPER SCIENCE STORIES_^>a_, a UK edition of which had been published by Pembertons. [BS/PN]_^<n__^<n_
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AMAZING STORIES
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_^<b_1._^>b_ "The magazine of scientifiction", with whose founding Hugo _^<a_!T4668_GERNSBACK_^>a_ announced the existence of sf as a distinct literary species. It was a _^<a_!T492_BEDSHEET_^>a_-sized _^<a_!T2033_PULP MAGAZINE_^>a_ issued monthly by
Gernsback's Experimenter Publishing Co. as a companion to _^<a_!T2869_SCIENCE AND INVENTION_^>a_; #1 was dated Apr 1926. The title survived to 1994, having been several times modified in the interim, but it saw great changes._^<n__^<n_Gernsback
lost control of Experimenter in 1929 and it was acquired by B.A. Mackinnon and H.K. Fly, who were almost certainly operating as front-men for Bernarr _^<a_!T3528_MACFADDEN_^>a_. The name of the company was modified more than once, then changed to
Radio-Science Publications in 1930, then to Teck Publications in 1931; but these name changes were cosmetic, at least some of the new publishers being in fact Macfadden employees, and Macfadden was himself listed as publisher and owner in December
1931; he did not interfere with his editors. Arthur H. Lynch was named as editor of the May-Oct issues, but Gernsback's assistant T. O'Conor _^<a_!T2254_SLOANE_^>a_, who had stayed with the magazine, soon (Nov 1929) assumed full editorship. The
magazine reverted to standard pulp format with the Oct 1933 issue. The title was sold in 1938 to _^<a_!T6269_ZIFF-DAVIS_^>a_, who installed Raymond A. _^<a_!T1774_PALMER_^>a_ as editor (June 1938). Palmer adopted a radically different editorial
policy, concentrating on action-adventure fiction, much of it "mass-produced" by a stable of authors using house names. Howard _^<a_!T5040_BROWNE_^>a_ became editor in Jan 1950 and the magazine became a _^<a_!T1231_DIGEST_^>a_ with the Apr-May 1953
issue. After a brief period with Paul W. _^<a_!T1379_FAIRMAN_^>a_ as editor (June 1956-Nov 1958) -- during which time the title was changed to _^<i_Amazing Science Fiction_^>i_ (Mar 1958) and then _^<i_Amazing Science Fiction Stories_^>i_ (May
1958) -- Cele _^<a_!T4760_GOLDSMITH_^>a_ took over (Dec 1958), using her married name of Cele Lalli from Aug 1964; she ran the magazine until June 1965, when the title, which had changed back to _^<i_Amazing Stories_^>i_ in Oct 1960, was sold to
Sol Cohen's Ultimate Publishing Co. For some years thereafter the bulk of the magazine's contents consisted of reprints, with Joseph _^<a_!T2701_ROSS_^>a_ acting as managing editor (from Aug 1965). Harry _^<a_!T4316_HARRISON_^>a_ became editor in
Dec 1967, but a period of confusion followed as he handed over to Barry N. _^<a_!T3629_MALZBERG_^>a_ in Nov 1968, who was in turn soon replaced by Ted _^<a_!T5582_WHITE_^>a_ in May 1969. White eliminated the reprints and remained editor until Oct
1978, when Sol Cohen sold his interest in the magazine to his partner Arthur Bernhard; White's last issue was Feb 1979. Elinor Mavor, using the pseudonym "Omar Gohagen" (May 1979-Aug 1980) and then her own name, became editor until the Sep 1982
issue. But in March 1982 -- by which time it had again become _^<i_Amazing Science Fiction Stories_^>i_ and had been combined with its long-time companion _^<a_!T1394_FANTASTIC_^>a_ (from the Nov 1980 issue) -- the title was sold to TSR Hobbies,
the marketers of the _^<i_Dungeons & Dragons_^>i_ role-playing game (> _^<a_!T1696_GAMES AND TOYS_^>a_), who installed George _^<a_!T2884_SCITHERS_^>a_ as editor, his first issue being Nov 1982. Scithers was replaced in Sep 1986 by Patrick Lucien
Price. _^<i_AMZ_^>i_'s circulation hit an all-time low in 1984 and recovery was slow, but a surge in sales in 1990 prepared the ground for the magazine to be relaunched in May 1991 in a large-sized slick format, with the original masthead restored.
Kim Mohan took over as editor at the time of the image-change, and _^<i_AMZ_^>i_ once again became monthly rather than bimonthly. Publication was temporarily suspended with the Dec 1993 issue -- renamed Winter 1994 -- as _^<i_AMZ_^>i_ was
continuing to lose money. It resumed with a Spring 1994 issue, now in digest-format, but only two further digest issues were published that year, the last being marked as Winter 1995. It seems probable that this will prove to be the last issue
ever._^<n__^<n_In its earliest days _^<i_AMZ_^>i_ used a great many reprints of stories by H.G. _^<a_!T5528_WELLS_^>a_, Jules _^<a_!T5355_VERNE_^>a_ and Edgar Allan _^<a_!T1933_POE_^>a_ (considered by Gernsback to be the founding fathers of sf)
alongside more recent pulp stories by Garrett P. _^<a_!T2112_SERVISS_^>a_, A. _^<a_!T2912_MERRITT_^>a_ and Murray _^<a_!T3326_LEINSTER_^>a_. The artwork of Frank R. _^<a_!T1819_PAUL_^>a_ was a distinctive feature of the magazine in this period.
Original material began to appear in greater quantity in 1928, in which year Miles J. _^<a_!T4989_BREUER_^>a_, David H. _^<a_!T4008_KELLER_^>a_ and Jack _^<a_!T5629_WILLIAMSON_^>a_ published their first stories in _^<i_AMZ_^>i_. _^<a_!T2342_SPACE
OPERA_^>a_ made a spectacular advent when the first _^<a_!T5063_BUCK ROGERS IN THE 25TH CENTURY_^>a_ story, _^<i_Armageddon 2419 A.D._^>i_ (1928; _^<b_1962_^>b_) by Philip Francis _^<a_!T3259_NOWLAN_^>a_ appeared in the same issue (Aug 1928) that
E.E. "Doc" _^<a_!T2269_SMITH_^>a_'s _^<i_The Skylark of Space_^>i_ (1928: _^<b_1946_^>b_) began serialization. Sloane maintained Gernsback's policy of favouring didactic material that was sometimes rather stilted by pulp-fiction standards, but
extravagant serial novels -- notably Smith's _^<i_Skylark Three_^>i_ (1930; _^<b_1948_^>b_), Edmond _^<a_!T4258_HAMILTON_^>a_'s "The Universe Wreckers" (1930) and Jack Williamson's _^<i_The Green Girl_^>i_ (1930; _^<b_1950_^>b_) -- maintained the
balance. From 1930 _^<i_AMZ_^>i_ faced strong competition from _^<a_!T278_ASTOUNDING STORIES_^>a_, whose higher rates of pay secured its dominance of the market._^<n__^<n_When Ray Palmer took over the ailing _^<i_AMZ_^>i_ in 1938 he attempted to
boost circulation in several ways. He aimed at a younger audience, obtaining several stories from Edgar Rice _^<a_!T5097_BURROUGHS_^>a_, and ultimately (in the mid-1940s) elected to support a series of _^<a_!T1795_PARANOID_^>a_ fantasies by the
obsessive Richard S. _^<a_!T2151_SHAVER_^>a_ with insinuations that Shaver's theories about evil subterranean forces dominating the world by superscientific means were actually true. However, the bulk of _^<i_AMZ_^>i_'s contents in the Palmer era
consisted of lurid formulaic material by such writers as Don _^<a_!T5597_WILCOX_^>a_, David Wright _^<a_!T3274_O'BRIEN_^>a_ and William P. McGivern (1922-1982); Palmer was probably a frequent pseudonymous contributor himself. The fiction-factory
system operated by _^<a_!T6269_ZIFF-DAVIS_^>a_ reached its height in the mid-1950s when the contents of several of their magazines were produced on a regular basis by a small group of writers including sometime _^<i_AMZ_^>i_ editor Paul Fairman,
Robert _^<a_!T2216_SILVERBERG_^>a_, Randall _^<a_!T4623_GARRETT_^>a_, Harlan _^<a_!T6641_ELLISON_^>a_ and Henry _^<a_!T2250_SLESAR_^>a_. This system resulted in some confusion with regard to the correct attribution of several "floating
_^<a_!T2018_PSEUDONYMS_^>a_", especially Ivar _^<a_!T3938_JORGENSEN_^>a_. Few stories of note appeared under the first three Ziff-Davis editors, although Edmond Hamilton, Nelson _^<a_!T695_BOND_^>a_ and Walter M. _^<a_!T2960_MILLER_^>a_ were
occasional contributors._^<n__^<n_Under Cele Goldsmith's editorship _^<i_AMZ_^>i_ improved dramatically, publishing good work by many leading authors. Notable contributions included Marion Zimmer _^<a_!T4968_BRADLEY_^>a_'s first _^<b_Darkover_^>b_
novella, _^<i_The Planet Savers_^>i_ (Nov 1958; _^<b_1962_^>b_ dos), Harlan Ellison's first sf novel, "The Sound of the Scythe" (Oct 1959; rev as _^<i_The Man with Nine Lives_^>i_ _^<b_1960_^>b_ dos), and Roger _^<a_!T6264_ZELAZNY_^>a_'s
_^<a_!T3147_NEBULA_^>a_-winning "He Who Shapes" (Jan-Feb 1965; exp as _^<i__^<a_!B9248_THE DREAM MASTER_^>a__^>i_ _^<b_1966_^>b_). Zelazny was one of several writers whose careers were aided in their early stages by Goldsmith; others include Ben
_^<a_!T4943_BOVA_^>a_ (who did a series of science articles), David R. _^<a_!T5078_BUNCH_^>a_, Thomas M. _^<a_!T1244_DISCH_^>a_, Ursula K. _^<a_!T3318_LE GUIN_^>a_ and Robert F. _^<a_!T6241_YOUNG_^>a_. When Ted White became editor he renewed the
attempt to maintain a consistent standard of quality; although handicapped by having to offer a word-rate payment considerably less than that of his competitors, he achieved some degree of success. The special 50th-anniversary issue which he
compiled appeared two months late (it bears the date June 1976) owing to scheduling difficulties._^<n__^<n__^<i_AMZ_^>i_'s continued survival during the next 15 years was something of a surprise, given its poor sales, though Scithers in particular
made considerable efforts to maintain its literary quality. Patrick Lucien Price published good work, too, by such writers as Gregory _^<a_!T526_BENFORD_^>a_ and Paul J. _^<a_!T6293_MCAULEY_^>a_, and also new writers like Paul Di Filippo, but the
magazine seemed to receive almost no promotion. The new slick packaging from 1991 was much more attractive than any of _^<i_AMZ_^>i_'s previous incarnations, and arguably the most attractive of any sf magazine. Alas, it proved to be not
commercially viable and by Dec 1994 _^<i_AMZ_^>i_had subsided into what may be suspended animation but is more probably death. [PN]._^<n__^<n__^<i_AMZ_^>i_ had three UK reprint editions, 1946 (1 undated issue, pulp), 1950-53 (24 undated issues,
pulp) and 1953-4 (8 undated issues, digest). Anthologies based on _^<i_AMZ_^>i_ stories include _^<i_The Best of Amazing_^>i_ (anth _^<b_1967_^>b_) ed Joseph Ross, _^<i_The Best from Amazing Stories_^>i_ (anth _^<b_1973_^>b_) ed Ted White,
_^<i_Amazing Stories: 60 Years of the Best Science Fiction_^>i_ (anth _^<b_1985_^>b_) ed Isaac _^<a_!T268_ASIMOV_^>a_ and Martin H. _^<a_!T4842_GREENBERG_^>a_, _^<i_Amazing Stories: Vision of Other Worlds_^>i_ (anth _^<b_1986_^>b_) ed Greenberg,
and a number of others ed Greenberg. [BS]_^<n__^<n__^<b_2._^>b_ US tv series (vt _^<i_Steven Spielberg's Amazing Stories_^>i_) (1985-7). Amblin/Universal for NBC. Created by Steven _^<a_!T2367_SPIELBERG_^>a_. Producers included Joshua Brand, John
Falsey, David E. Vogel. Writers included Spielberg, Frank Deese, Richard Christian _^<a_!T3719_MATHESON_^>a_, Mick Garris, Joseph Minion, Menno Meyjes, Michael McDowell, Paul Bartel. Directors included Spielberg, Robert Zemeckis, Peter Hyams, Burt
Reynolds, Clint Eastwood, Joe _^<a_!T1056_DANTE_^>a_, Martin Scorsese, Paul Bartel, Irvin Kershner, Danny DeVito, Tom Holland, Tobe Hooper. Two seasons, each of 22 25min episodes._^<n__^<n_An ambitious attempt to revive the 1950s-60s anthology
format -- which came at the same time as actual revivals of _^<i_The _^<a_!T6141_TWILIGHT ZONE_^>a__^>i_ (1985-7) and _^<i_Alfred Hitchcock Presents_^>i_ (1985-6), and a few competitors like _^<i_The Hitch Hiker_^>i_ (1983-6) and _^<i_Tales from
the Darkside_^>i_ (1984-7) -- this was less an sf series than its pulp-derived title suggested, more often going for the blend of fantasy and sentiment found in the less scary episodes of the original _^<i_Twilight Zone_^>i_. Kept afloat for two
years through NBC having committed themselves -- astonishingly -- to 44 episodes from the very beginning, _^<i_AS_^>i_, despite its large budget and the unusually strong directing talent Spielberg was able to attract (Eastwood, Zemeckis, Scorsese,
Bartel, etc.), was unsuccessful. Many disappointed viewers and critics felt that Spielberg had stretched himself too thin, as had Rod _^<a_!T2108_SERLING_^>a_ with _^<i_Twilight Zone_^>i_, by generating the often fragile storylines for the bulk of
the episodes (16 out of 22 in the first season); one such projected episode looked even more fragile when expanded into a feature, * _^<a_!T461_BATTERIES NOT INCLUDED _^>a_(1987). Too many of the stories, despite good special effects and
performances, led nowhere._^<n__^<n_Typical of _^<i_AS_^>i_'s uneven tone was the extended Spielberg-directed episode "The Mission", a 50min WWII-bomber anecdote presciently cast (Kevin Costner, Kiefer Sutherland) and suspensefully directed, but
sinking limply into a ludicrous and irritating fantasy finale. _^<i_AS_^>i_ did have surprises -- the gritty cartoon episode "The Family Dog", designed by Tim Burton, being perhaps the overall highlight -- but mainly it expressed the
diminishing-return whimsy that was beginning to affect even Spielberg's big-screen work. Three episodes -- "The Mission", "Mummy, Daddy" and "Go to the Head of the Class" -- were released together as a feature film, _^<i_Amazing Stories_^>i_
(1987), outside the USA, and many other episodes have been released in groups of three on videotape. The versions of individual episodes are collected in _^<i_Steven Spielberg's Amazing Stories_^>i_ (anth _^<b_1986_^>b_) and _^<i_Volume II of
Steven Spielberg's Amazing Stories_^>i_ (anth _^<b_1986_^>b_), both ed Steven Bauer. [KN]_^<n__^<n_
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AMAZING STORIES ANNUAL
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US _^<a_!T492_BEDSHEET_^>a_-size 128pp _^<a_!T2033_PULP MAGAZINE_^>a_ published by Hugo _^<a_!T4668_GERNSBACK_^>a_'s Experimenter Publishing Co. Its only issue (1927) ran the first publication of _^<i_The Master Mind of Mars_^>i_ (1927;
_^<b_1928_^>b_) by Edgar Rice _^<a_!T5097_BURROUGHS_^>a_. A successor, _^<a_!T143_AMAZING STORIES QUARTERLY_^>a_, resulted from the success of _^<i_ASA_^>i_. [BS]_^<n__^<n_
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AMAZING STORIES QUARTERLY
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US _^<a_!T492_BEDSHEET_^>a_-size _^<a_!T2033_PULP MAGAZINE_^>a_, companion to _^<a_!T141_AMAZING STORIES_^>a_ (but twice as fat) and successor to _^<a_!T142_AMAZING STORIES ANNUAL_^>a_. 22 issues, Winter 1928-Fall 1934, first under the aegis of Hugo
_^<a_!T4668_GERNSBACK_^>a_'s Experimenter Publishing Co. and later (1929-34), ed T. O'Conor _^<a_!T2254_SLOANE_^>a_ after Gernsback had lost control, under several publishers. In addition to short stories it featured a complete novel in every
issue, beginning with H.G. _^<a_!T5528_WELLS_^>a_'s _^<i_When the Sleeper Wakes_^>i_ (_^<b_1899_^>b_) but thereafter using mainly original material. It published many of the most important early pulp sf novels: "White Lily" (Winter 1930; as
_^<i_The Crystal Horde_^>i_ _^<b_1952_^>b_) and _^<i_Seeds of Life_^>i_ (Fall 1931; _^<b_1951_^>b_), both assembled as _^<i_Seeds of Life & White Lily_^>i_ (omni _^<b_1966_^>b_), by John _^<a_!T5892_TAINE_^>a_; _^<i_The Black Star Passes_^>i_ (Fall
1930; _^<b_1953_^>b_) and _^<i_Invaders from the Infinite_^>i_ (Spring/Summer 1932; _^<b_1961_^>b_) by John W. _^<a_!T5140_CAMPBELL_^>a_ Jr; "Paradise and Iron" (Summer 1930) and _^<i_The Birth of a New Republic_^>i_ (Winter 1930; _^<b_1981_^>b_)
by Miles J. _^<a_!T4989_BREUER_^>a_ (the latter with Jack _^<a_!T5629_WILLIAMSON_^>a_); _^<i_The Sunken World_^>i_ (Summer 1928 and Fall 1934; _^<b_1949_^>b_) by Stanton A. _^<a_!T773_COBLENTZ_^>a_; and _^<i_The Bridge of Light_^>i_ (Fall 1929;
_^<b_1950_^>b_) by A. Hyatt _^<a_!T5358_VERRILL_^>a_. Gernsback's own _^<i_Ralph 124C 41+_^>i_ (1911 _^<i_Modern Electrics_^>i_; _^<b_1925_^>b_; _^<i_ASQ_^>i_ Winter 1929) was reprinted._^<n__^<n_Some rebound issues of _^<i_AMZ_^>i_ were
re-released, three to a volume, in 1940-43 (13 issues) and 1947-51 (15 issues) as _^<i_Amazing Stories Quarterly_^>i_. [BS]_^<n__^<n_
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AMAZING STORIES SCIENCE FICTION NOVEL
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US _^<a_!T1231_DIGEST_^>a_-size magazine. One undated issue, June 1957, published by _^<a_!T6269_ZIFF-DAVIS_^>a_; ed (uncredited) Paul W. _^<a_!T1379_FAIRMAN_^>a_. This was to be a quarterly magazine printing book-length novels in imitation of
_^<a_!T1687_GALAXY SCIENCE FICTION NOVELS_^>a_. The only novel was Henry _^<a_!T2250_SLESAR_^>a_'s routine novelization of the film _^<a_!T6137_20 MILLION MILES TO EARTH_^>a_ (1957). [FHP]_^<n__^<n_
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AMAZON WOMEN ON THE MOON
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> Joe _^<a_!T1056_DANTE_^>a_; _^<a_!T1461_FEMINISM_^>a_._^<n__^<n_
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AMERICAN FICTION
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UK numbered pocketbook series which could be regarded (being numbered) as either an anthology series or a magazine. 12 issues known, most 36pp, numbered only from #2. Published by Utopian Publications, London; ed Benson _^<a_!T4387_HERBERT_^>a_ and
Walter _^<a_!T4706_GILLINGS_^>a_ (who jointly owned the company). Irregular, Sep 1944-Jan 1946. _^<i_AF_^>i_ was a reprint publication. All issues featured quasi-erotic covers, with the title story often being an already known sf or fantasy work
under a racy new name. Thus S.P. _^<a_!T3746_MEEK_^>a_'s "Gates of Light" became _^<i_Arctic Bride_^>i_ (_^<b_1944_^>b_ chap), Edmond _^<a_!T4258_HAMILTON_^>a_'s "Six Sleepers" (1935) became _^<i_Tiger Girl_^>i_ (_^<i_c_^>i__^<b_1945_^>b_ chap),
John Beynon Harris's (> John _^<a_!T6211_WYNDHAM_^>a_) "The Wanderers of Time" (1933) became _^<i_Love in Time_^>i_ (_^<b_1945_^>b_ chap), Jack _^<a_!T5629_WILLIAMSON_^>a_'s "Wizard's Isle" (1934) became _^<i_Lady in Danger_^>i_
(_^<i_c_^>i__^<b_1945_^>b_ chap) and Stanton A. _^<a_!T773_COBLENTZ_^>a_'s "Planet of Youth" (1932) became _^<i_Youth Madness_^>i_ (_^<b_1945_^>b_ chap). Other featured authors were Ralph Milne _^<a_!T1434_FARLEY_^>a_ and Robert
_^<a_!T661_BLOCH_^>a_. All but #1 and #6 in the series contained short stories as well as the featured novella, hence their usual listing in indexes as if they constituted separate book publication of a single novella is technically incorrect. The
emphasis was on weird fiction rather than sf, though stories from other genres were also used. [PN/FHP]_^<n__^<n_
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AMERICAN FLAGG!
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US _^<a_!T820_COMIC_^>a_-book series (1983-9, 63 issues), published by First Comics, created by writer/ artist Howard V. _^<a_!T5252_CHAYKIN_^>a_. Generally considered one of the best sf _^<a_!T820_COMICS_^>a_ of the 1980s, _^<i_AF_^>i_ is set in a
media-saturated USA reduced to Third-World status, and stars Reuben Flagg, drafted into the Plexus Rangers in Chicago in the 2030s (Plexus being a Mars-based mega-cartel planning to sell off the USA piece by piece). _^<i_AF_^>i_ is sophisticated
fun, featuring cynically humorous writing and male and female characters with large sexual appetites. Except for #27, written by Alan _^<a_!T3031_MOORE_^>a_, Chaykin wrote the first 30 issues and drew all but two of the first 26. The post-Chaykin
issues of _^<i_AK_^>i_ were not well received, and First Comics took the unprecedented step of making #46 an apology for these. Chaykin returned with #47 and continued to #50, the end of the first series. In 1988 a second series, now called
_^<i_Howard Chaykin's American Flagg!_^>i_, sent Flagg to the USSR; it had 12 issues, with Chaykin editing, writing (with John Moore) and providing art direction. There was also a one-off _^<i_American Flagg Special_^>i_ in 1986. The first 9 issues
of _^<i_AK_^>i_ have been collected as First Comics Graphic Novels #3, #12 and #20. [RH/ZB/BNF]_^<n__^<n_
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AMERICAN SCIENCE FICTION MAGAZINE
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Australian monthly pocketbook magazine, a companion to _^<a_!T2098_SELECTED SCIENCE FICTION_^>a_. 41 issues, June 1952-Dec 1955, unnumbered and undated 32pp booklets. Published by Malian Press, Sydney; no editor named. The first 24 issues did not
carry the word "magazine" on the cover, and it has been suggested that the publishers had bought book rights rather than serial rights to stories, which would explain the coyness about its being a regular periodical. _^<i_ASFM_^>i_ contained
reprints from US magazines of quite a good standard, including stories by James _^<a_!T658_BLISH_^>a_, John W. _^<a_!T5140_CAMPBELL_^>a_ Jr and Robert A. _^<a_!T4376_HEINLEIN_^>a_. [PN/FHP]_^<n__^<n_
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A. MERRITT'S FANTASY MAGAZINE
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US _^<a_!T2033_PULP MAGAZINE_^>a_. 5 issues, Dec 1949-Oct 1950, published by Popular Publications; no ed listed -- it may have been Mary _^<a_!T4734_GNAEDINGER_^>a_. _^<i_AMFM_^>i_ was a companion magazine to _^<a_!T1384_FAMOUS FANTASTIC
MYSTERIES_^>a_ and _^<a_!T1399_FANTASTIC NOVELS_^>a_, and was begun in response to the considerable enthusiasm engendered by the reprinting of A. _^<a_!T2912_MERRITT_^>a_'s fiction in those magazines and elsewhere. Until the appearance in 1954 of
_^<a_!T5338_VARGO STATTEN SCIENCE FICTION MAGAZINE_^>a_, and then in 1977 of _^<a_!T3816_ISAAC ASIMOV'S SCIENCE FICTION MAGAZINE_^>a_, _^<i_AMFM_^>i_ was the only sf magazine which attempted to build its appeal on the popularity of a single author
-- even though Merritt himself had died in 1943 and much of his fiction was available elsewhere. In any event, the magazine failed to establish itself. _^<i_AMFM_^>i_ also published reprints of stories by other authors. There was a Canadian reprint
edition. [MJE/PN]_^<n__^<n_
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AMERY, CARL
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[r] > _^<a_!T4667_GERMANY_^>a_._^<n__^<n_
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AMES, CLINTON
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[s] > Rog _^<a_!T1887_PHILLIPS_^>a_._^<n__^<n_
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AMES, MILDRED
-T-
(1919- ) US writer of novels for older children. Of sf interest is _^<i_Is There Life on a Plastic Planet?_^>i_ (_^<b_1975_^>b_), which effectively transforms the _^<a_!T1795_PARANOID_^>a_ theme of substitution -- in this case a shop contains
dolls identical to the young women its owner attempts to suborn -- into a resonant tale of adolescence and identity. Questions of identity also lie at the heart of _^<i_Anna to the Infinite Power_^>i_ (_^<b_1981_^>b_), whose protagonist sees
another girl in her mirror image, eventually uncovering an experiment in cloning (> _^<a_!T761_CLONES_^>a_). Other novels, like _^<i_The Silver Link, the Silken Tie_^>i_ (_^<b_1984_^>b_) and _^<i_Conjuring Summer In_^>i_ (_^<b_1986_^>b_), are
fantasy. [JC]_^<n__^<n_
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AMIS, KINGSLEY (WILLIAM)
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(1922- ) UK novelist, poet and critic; father of Martin _^<a_!T154_AMIS_^>a_. He took his MA at Oxford, and was a lecturer in English at Swansea 1949-61 and Fellow of Peterhouse, Cambridge, 1961-3. Though KA is best known for such social comedies
as his first novel, _^<i_Lucky Jim_^>i_ (_^<b_1954_^>b_), which won him the sobriquet "Angry Young Man", in the catch-phrase of the time, he has also been closely connected with sf throughout his professional life. He delivered a series of lectures
on sf in 1959 at Princeton University, probably to their surprise since sf was presumably not the context in which he was invited to speak. Revised, these were published as a book, _^<i_New Maps of Hell_^>i_ (_^<b_1960_^>b_ US), which was certainly
the most influential critical work on sf up to that time, although not the most scholarly. It strongly emphasized the _^<a_!T1370_DYSTOPIAN_^>a_ elements of sf. KA, himself a satirist and debunker of note, saw sf as an ideal medium for satirical
and sociological extrapolation; hitherto, most writing on sf had regarded it as primarily a literature of _^<a_!T5916_TECHNOLOGY_^>a_. As a survey the book was one-sided and by no means thorough, but it was witty, perceptive and quietly
revolutionary._^<n__^<n_KA went on to edit a memorable series of _^<a_!T195_ANTHOLOGIES_^>a_, _^<i_Spectrum_^>i_, with Robert _^<a_!T841_CONQUEST_^>a_ (like KA a novelist, poet, political commentator and sf fan). They were _^<i_Spectrum_^>i_ (anth
_^<b_1961_^>b_), _^<i_Spectrum II_^>i_ (anth _^<b_1962_^>b_), _^<i_Spectrum III_^>i_ (anth _^<b_1963_^>b_), _^<i_Spectrum IV_^>i_ (anth _^<b_1965_^>b_) and _^<i_Spectrum V_^>i_ (anth _^<b_1966_^>b_). These, too, were influential in popularizing sf
in the UK and to some extent in rendering it respectable. The last of these volumes is selected almost entirely from _^<i_ASF_^>i_, a reflection, perhaps, of KA's increasing conservatism about _^<a_!T4288_HARD SF_^>a_ (and in his politics) which
went along with a dislike for stories of the _^<a_!T3181_NEW WAVE_^>a_, also evident in _^<i_The Golden Age of Science Fiction_^>i_ (anth _^<b_1981_^>b_) ed KA alone._^<n__^<n_As a writer, too, KA was influenced by sf. He wrote several sf short
stories including "Something Strange" (1960), a minor _^<i_tour de force_^>i_ about appearance and reality and about psychological conditioning. His short sf can mostly be found in _^<i_My Enemy's Enemy_^>i_ (coll _^<b_1962_^>b_) and later in
_^<i_Collected Short Stories_^>i_ (coll _^<b_1980_^>b_; exp 1987). _^<i_The Anti-Death League_^>i_ (_^<b_1966_^>b_) is an extravagant spy story featuring miniaturized nuclear devices. The _^<b_James Bond_^>b_ pastiche _^<i_Colonel Sun: A James Bond
Adventure_^>i_ (_^<b_1968_^>b_) as by Robert Markham contains occasional sf elements. The fantasy _^<i_The Green Man_^>i_ (_^<b_1969_^>b_), one of KA's best works, blends satirical social comedy with Gothic _^<a_!T4509_HORROR_^>a_; it was
dramatized as a miniseries by BBC TV in 1991. KA's major full-scale sf work is _^<i_The Alteration_^>i_ (_^<b_1976_^>b_), set in an _^<a_!T131_ALTERNATE WORLD_^>a_ in which the Reformation has not taken place and Roman Catholic domination has
continued to the present. It won the _^<a_!T3923_JOHN W. CAMPBELL MEMORIAL AWARD_^>a_ for best sf novel in 1977. _^<i_Russian Hide-and-Seek_^>i_ (_^<b_1980_^>b_) is a blackly amusing, pessimistic story about the vulnerability of English culture,
set in a future England that has for decades been subject to the USSR. KA's controversial artistic evolution from supposed radical to national institution (during which he remained always his own man) was neatly summed up by his receipt of a
knighthood in 1990. An autobiographical work is _^<i_Memoirs_^>i_ (_^<b_1991_^>b_). [PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T708_CHILDREN IN SF_^>a_; _^<a_!T963_CRITICAL AND HISTORICAL WORKS ABOUT SF_^>a_; _^<a_!T1142_DEFINITIONS OF SF_^>a_;
_^<a_!T1461_FEMINISM_^>a_; _^<i_The_^>i_ _^<a_!T3595_MAGAZINE OF FANTASY AND SCIENCE FICTION_^>a_; _^<a_!T2551_RELIGION_^>a_; _^<a_!T2812_SATIRE_^>a_; _^<a_!T2071_SF IN THE CLASSROOM_^>a_.
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-A-
AMIS, MARTIN (LOUIS)
-T-
(1949- ) UK writer, son of Kingsley _^<a_!T153_AMIS_^>a_. From the first his novels have threatened and distressed their protagonists -- and their readers -- with narrative displacements that gnaw away at consensual reality, so that moments of
normality in his work are, like as not, intended to reveal themselves as forms of entrapment. His interest in sf-like (and sf-mocking) venues dates back to his second novel, _^<i_Dead Babies_^>i_ (_^<b_1975_^>b_), set in an indistinct
_^<a_!T6337_NEAR FUTURE_^>a_ and featuring a protagonist who has made his pile by working at a local abortion factory. MA was responsible for the screenplay for _^<a_!T2817_SATURN 3_^>a_ (_^<b_1980_^>b_), though Steve _^<a_!T1689_GALLAGHER_^>a_
wrote the book tie. _^<i_Other People: A Mystery Story_^>i_ (_^<b_1981_^>b_) -- which took its title from Jean-Paul Sartre's definition of Hell, in _^<i_Huis Clos_^>i_ (_^<b_1945_^>b_; trans Stuart Gilbert as _^<i_In Camera_^>i_ _^<b_1946_^>b_ UK),
as being other people -- is an afterlife fantasy. _^<i_Einstein's Monsters_^>i_ (coll _^<b_1987_^>b_) assembles several sf stories variously concerned with the decay of the world into _^<a_!T4482_HOLOCAUSTS_^>a_, nuclear and otherwise. _^<i_London
Fields_^>i_ (_^<b_1989_^>b_) is set in 1999 in a world approaching a dread millennium. _^<i_Time's Arrow_^>i_ (_^<b_1991_^>b_) -- which begins, as does _^<i_Other People_^>i_, at the moment at which its protagonist "awakens" into a radically
displaced world -- is a full and genuine sf novel, based on the premise that the arrow of time has been reversed (MA's acknowledged sf sources for this premise run from Philip K. _^<a_!T1222_DICK_^>a_'s _^<i_Counter-Clock World_^>i_
[_^<b_1967_^>b_] to Kurt _^<a_!T5402_VONNEGUT_^>a_ Jr's _^<i_Slaughterhouse-Five_^>i_, [_^<b_1969_^>b_]), but very much complexifies the implications of the conceit by making the protagonist an old Nazi, whose involvement in the death camps now
becomes a hymn to life. Throughout the book, the reversal of the 20th century reads as a reprieve. It is a tale whose joys encode ironies so grim that the "happier" moments of return and redemption are impossible to read without considerable pain.
_^<i_Time's Arrow_^>i_ was, inevitably, received as a _^<a_!T1372_FABULATION_^>a_; at the same time, it reads with all the clarity of reportage. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T1851_PERCEPTION_^>a_; _^<a_!T6026_TIME TRAVEL_^>a_.
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AMOSOV, N(ICOLAI MIKHAILOVITCH)
-T-
(1913- ) Russian engineer and writer. In his sf novel _^<i_Zapiski iz budushchego_^>i_ (_^<b_1967_^>b_; trans George St George as _^<i_Notes from the Future_^>i_ _^<b_1970_^>b_ US as by N. Amosoff) a frozen sleeper awakens to 1991, where he is
cured of leukaemia and reflects somewhat heavily upon the nature of the world he has come into. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T987_CRYONICS_^>a_.
[r] > _^<a_!T6332_ROBERT HALE LIMITED_^>a_._^<n__^<n_
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-A-
ANDERSON, CHESTER (VALENTINE JOHN)
-T-
(1932-1991) US novelist and poet, member of the Beat Generation, editor of underground journals on both coasts, and of Paul _^<a_!T5622_WILLIAMS_^>a_'s _^<i_Crawdaddy_^>i_, a rock'n'roll magazine, during the 1980s; he wrote poetry as c v j anderson.
His sf was written in association with Michael _^<a_!T4141_KURLAND_^>a_. _^<i_Ten Years to Doomsday_^>i_ (_^<b_1964_^>b_), a straight collaboration, is a lightly written _^<a_!T3796_INVASION_^>a_ tale with a good deal of activity in space and on
other planets. _^<i_The Butterfly Kid_^>i_ (_^<b_1967_^>b_) was written by CA alone, but stands as the first volume of a comically surrealistic _^<a_!T2127_SHARED-WORLD_^>a_ trilogy set in Greenwich Village, the second instalment being _^<i_The
Unicorn Girl_^>i_ (_^<b_1969_^>b_) by Kurland and the third _^<i_The Probability Pad_^>i_ (_^<b_1970_^>b_) by T.A. _^<a_!T5478_WATERS_^>a_. The trilogy stars all three authors (>_^<a_!T2528_RECURSIVE SF_^>a_), who become involved in the attempts of
a pop group to fight off a more than merely psychedelic invasion menace: Greenwich Village is being threatened by a pill which actualizes people's fantasies. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Fox & Hare_^>i_ (_^<b_1980_^>b_), a
fictionalized memoir of the real lives behind the trilogy._^<b_See also:_^>b_ _^<a_!T1851_PERCEPTION_^>a_.
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ANDERSON, COLIN
-T-
(1904-1980) UK writer whose novel _^<i_Magellan_^>i_ (_^<b_1970_^>b_) depicts a post-_^<a_!T4482_HOLOCAUST_^>a_ Earth dominated by a single city, and the somewhat metaphysical apotheosis afforded its inhabitants. [JC]_^<n__^<n__^<b_See also:_^>b_
_^<a_!T727_CITIES_^>a_.
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ANDERSON, DAVID
-T-
[s] > Raymond F. _^<a_!T3934_JONES_^>a_._^<n__^<n_
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ANDERSON, GERRY
-T-
(1929- ) _^<b_and SYLVIA_^>b_ (? - ) UK tv producers and writers; GA was also an animator and SA a voice artist. They will forever be remembered for a succession of 1960s children's puppet adventure shows on tv that occasionally dealt with sf
themes on a far more extensive scale than contemporary adult programming. GA's first two series, _^<i_The Adventures of Twizzle_^>i_ (1958) and _^<i_Torchy the Battery Boy_^>i_ (1959), were fairly conventional 15min puppet shows, albeit featuring
characters whose gimmicks (extensible arms, electrical powers) were notionally scientific. The Western series _^<i_Four Feather Falls_^>i_ (1960) began his run of "SuperMarionation" shows, its magical feathers giving it a fantastical touch. With
the half-hour series _^<a_!T5827_SUPERCAR_^>a_ (1961-2) GA was joined by his wife SA -- who would provide female voices for and write for subsequent series -- and came up with the format that continued for eight years in _^<a_!T1492_FIREBALL
XL5_^>a_ (1962-3), _^<a_!T5747_STINGRAY_^>a_ (1964-5), _^<a_!T6007_THUNDERBIRDS_^>a_ (1965-6) and _^<a_!T5158_CAPTAIN SCARLET AND THE MYSTERONS_^>a_ (1967-8). All these feature a wonderful vehicle from the 21st century, an ongoing struggle with
evil forces, a catchy score suitable for spin-off records, impressively designed miniature sets, a quasi-military organization of good guys, and a family-like regular cast with a square-jawed hero, a stammering boffin, a non-weedy girl, a crusty
chief and a sidekick, and usually a mysterious master villain with a bumbling accomplice._^<n__^<n__^<i_Stingray_^>i_ was the first in colour, and introduced marginally more adult characterizations: Mike Mercury and Steve Zodiac, the heroes of
_^<i_Supercar_^>i_ and _^<i_Fireball XL5_^>i_, were never as bad-tempered as Troy Tempest in _^<i_Stingray_^>i_ could be, and they would certainly never have been caught up in a three-way romance. _^<i_Thunderbirds_^>i_ experimented with a 50min
running time and a less confrontational plot premise -- the Tracy family were rescuing innocents, not fighting _^<a_!T102_ALIENS_^>a_ as Troy Tempest had done and Captain Scarlet would do -- and became perhaps the highlight of the As' career,
spinning off two feature films, _^<i_Thunderbirds are Go_^>i_ (1966) and _^<i_Thunderbird Six_^>i_ (1968), and creating a set of characters -- Lady Penelope, Parker, the Hood, Brains and Jeff Tracy and his sons -- who would remain identifiable
enough to crop up in tv commercials as late as the early 1990s, when the series was also rerun on UK tv by the BBC. _^<i_Captain Scarlet_^>i_, returning to the half-hour format, tried for a more realistic approach by scaling down the exaggerated
features of the puppets and adding a premise -- spun off from _^<i_Thunderbirds are Go_^>i_ -- about a war between Earth and the Mysterons of Mars that was less clear-cut than previous conflicts insofar as Earth (admittedly by accident) was the
initial aggressor. Also, the device of resurrecting dead personnel and equipment for use in battle raised the level of violence beyond the cosy destructiveness of the earlier shows. In 1994 a new GA live-action tv production appeared in syndication
in the US, _^<i_Space Precinct_^>i_, described by him as a New York cop show transferred to outer space,and received a not very favourable critical reception._^<n__^<n__^<i_Captain Scarlet_^>i_ was as far as the As' format could be stretched, and
their subsequent puppet shows -- _^<a_!T3907_JOE 90_^>a_ (1968-9) and _^<i_The Secret Service_^>i_ (1969) -- were far less successful. The first, focusing on a boy genius, appeared childish to audiences who had become used to the increasing
maturity of each new show -- who had in effect grown up with SuperMarionation. The second, using live actors alongside puppets, was seen by few and cancelled mid-season._^<n__^<n_The As had already produced a live-action film,
_^<a_!T1291_DOPPELGANGER_^>a_ (1969; vt _^<i_Journey to the Far Side of the Sun_^>i_), by the time they determined to abandon tv puppets altogether and marry their skills with miniature effects to real-life actors -- who, unfortunately, were almost
always accused of being as wooden as their predecessors -- in _^<a_!T5271_UFO_^>a_ (1970-73). This was a marginally more realistic rerun of _^<i_Captain Scarlet_^>i_ with elements also of _^<i_The_^>i_ _^<a_!T3793_INVADERS_^>a_ (1967-8), in which a
secret organization tried to fight off a plague of flying saucers._^<n__^<n_After a nondescript non-sf series, _^<i_The Protectors_^>i_ (1972-4), the As launched on their most elaborate venture yet, _^<a_!T2341_SPACE 1999_^>a_ (1975-7), an
internationally cast and impressively mounted attempt to produce a show with both mass and cult appeal along the lines of _^<a_!T2429_STAR TREK_^>a_. It is frequently and not entirely without justification remembered as the worst sf series ever
aired. During its run the As divorced, and GA, who remained on the series, gradually lost control to his varied UK and US backers. Subsequently GA went back to puppetry with _^<a_!T5946_TERRAHAWKS_^>a_ (1983-6), a feeble imitation of his 1960s
triumphs, and worked extensively in commercials, some re-using characters from his earlier shows._^<n__^<n_In their heyday, the SuperMarionation shows -- which overlapped to a degree, creating a detailed 21st-century Universe as a backdrop -- gave
birth to _^<i_TV 21_^>i_, a successful and well drawn _^<a_!T820_COMIC_^>a_, along with toys, games, annuals, books and other now-valued ephemera. [KN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T5926_TELEVISION_^>a_.
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ANDERSON, KAREN
-T-
[r] > Poul _^<a_!T169_ANDERSON_^>a_._^<n__^<n_
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ANDERSON, KEVIN J(AMES)
-T-
(1962- ) US technical writer and author who began publishing sf with "Luck of the Draw" in _^<i_Space & Time #63_^>i_ in 1982, and who gradually became a prolific contributor of short fiction and articles to various sf journals, over 100 items
having been published by 1992. His first novel, _^<i_Resurrection, Inc._^>i_ (_^<b_1988_^>b_), combines elements of the usual sf near-future _^<a_!T1370_DYSTOPIA_^>a_ with elements of the horror novel, reanimated bodies serving a corrupt society as
a worker-class. There followed the _^<b_Gamearth_^>b_ trilogy -- _^<i_Gamearth_^>i_ (_^<b_1989_^>b_), _^<i_Gameplay_^>i_ (_^<b_1989_^>b_) and _^<i_Game's End_^>i_ (_^<b_1990_^>b_) -- which treats with some verve a _^<a_!T4597_GAME-WORLD_^>a_ crisis
involved the coming to life of game-bound personas who (or which) refuse to be cancelled. More interestingly, _^<i_Lifeline_^>i_ (_^<b_1990_^>b_) with Doug _^<a_!T479_BEASON_^>a_ sets up and solves a technically complex sequence of problems in
space after a nuclear _^<a_!T4482_HOLOCAUST_^>a_ (the result of a USSR-US contretemps of the sort which, unluckily for the authors, had in the months before publication abruptly become much less likely) has stripped four habitats of all Earth
support; the Filipino station boasts a _^<a_!T4657_GENETIC-ENGINEERING_^>a_ genius who can feed everyone, a US station has the eponymous monofilament, and so on. Some of the protagonists carrying on the quadripartite storyline are of interest in
their own right. If one puts aside the whiplashes of Earth's realtime history, the book stands as a fine example of _^<a_!T4288_HARD SF_^>a_ and a gripping portrayal of the complexities of near space. _^<i_The Trinity Paradox_^>i_ (_^<b_1991_^>b_),
also with Beason, treats the now-standard sf _^<a_!T6020_TIME-PARADOX_^>a_ tale with overdue seriousness, suggesting that untoward moral consequences attend the sudden capacity of its protagonist -- who has been accidentally timeslipped back to Los
Alamos in 1943 -- to stop nuclear testing in its tracks. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T3744_MEDICINE_^>a_; _^<a_!T3265_NUCLEAR POWER_^>a_; _^<a_!T2548_REINCARNATION_^>a_.
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ANDERSON, MARY
-T-
(1872-1964) UK writer whose novel, _^<i_A Son of Noah_^>i_ (_^<b_1893_^>b_), features many of the conventions of prehistoric sf with the added spice of pterodactyl-worship on the part of a speciously advanced race. But the Flood will soon clear the
air. [JC]_^<n__^<n_
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ANDERSON, OLOF W.
-T-
(1871-1963) US author of a routinely occult novel with sf elements, _^<i_The Treasure Vault of Atlantis_^>i_ (_^<b_1925_^>b_ US), with a 70-word subtitle; revived Atlanteans bring ancient knowledge to bear on contemporary problems.
(1926- ) US writer born in Pennsylvania of Scandinavian parents; he lived in Denmark briefly before the outbreak of WWII. In 1948 PA gained a degree in physics from the University of Minnesota. His knowledge of Scandinavian languages and
literature and his scientific literacy have fed each other fruitfully through a long and successful career. He is Greg _^<a_!T478_BEAR_^>a_'s father-in-law._^<n__^<n_PA's first years as a writer were spent in Minnesota, where after WWII he joined
the Minneapolis Fantasy Society (later the MFS) and associated with such writers as Clifford D. _^<a_!T2218_SIMAK_^>a_ and Gordon R. _^<a_!T1227_DICKSON_^>a_, both of whom shared with him an attachment to semi-rural (often wooded) settings peopled
by solid, canny stock (frequently, in PA's case, of Scandinavian descent) whose politics and social views often register as conservative, especially among readers from the urban East and the UK, although perhaps this cultural style could more
fruitfully be regarded as a form of romantic, Midwestern, _^<a_!T3378_LIBERTARIAN_^>a_ individualism._^<n__^<n_Although he is perhaps sf's most prolific writer of any consistent quality, PA began quite slowly, starting to publish sf with
"Tomorrow's Children", with F.N. Waldrop, for _^<i_ASF_^>i_ in 1947, but not publishing with any frequency until about 1950 -- a selection of eloquent early tales appears in _^<i_Alight in the Void_^>i_ (coll _^<b_1991_^>b_) -- when he also
released his first novel, a post-_^<a_!T4482_HOLOCAUST_^>a_ juvenile, _^<i_Vault of the Ages_^>i_ (_^<b_1952_^>b_)._^<n__^<n_In 1953 PA seemed to come afire: in addition to 19 stories, he published magazine versions of three novels, _^<i_Brain
Wave_^>i_ (1953 _^<i_Space Science Fiction_^>i_ as "The Escape", first instalment only before magazine ceased publication; _^<b_1954_^>b_), _^<i_Three Hearts and Three Lions_^>i_ (1953 _^<i_FSF_^>i_; exp _^<b_1961_^>b_) and _^<i_War of Two
Worlds_^>i_ (1953 _^<i_Two Complete Science-Adventure Books_^>i_ as "Silent Victory"; _^<b_1959_^>b_ dos). The last of these is one of PA's many well told but routine adventures, in this case involving a betrayed Earth, alien overlords and plucky
humans; but the other two are successful, mature novels, each in a separate genre. In _^<i_Three Hearts and Three Lions_^>i_, an _^<a_!T131_ALTERNATE-WORLD_^>a_ fantasy, an Earthman is translated from the middle of WWII into a
_^<a_!T5875_SWORD-AND-SORCERY_^>a_ venue where he fights the forces of Chaos in a tale whose humour is laced with the slightly gloomy "Nordic twilight" colours that have become increasingly characteristic of PA's work (noticeably in _^<i_Three
Hearts_^>i_'s sequel, _^<i_Midsummer Tempest_^>i_ [_^<b_1974_^>b_]). _^<i_Brain Wave_^>i_, perhaps PA's most famous single novel, remains very nearly his finest. Its premise is simple: for millions of years the part of the Galaxy containing our
Solar System has been moving through a vast forcefield whose effect has been to inhibit "certain electromagnetic and electrochemical processes", and thus certain neuronic functions. When Earth escapes the inhibiting field, synapse-speed immediately
increases, causing a rise in _^<a_!T3787_INTELLIGENCE_^>a_; after the book has traced various absorbing consequences of this transformation, a transfigured humanity reaches for the stars, leaving behind former mental defectives and bright animals
to inherit the planet._^<n__^<n_After _^<i_Brain Wave_^>i_ PA seemed content for several years to produce competent but unambitious stories -- in such great numbers that it was not until many years had passed that they were adequately assembled in
volumes like _^<i_Explorations_^>i_ (coll _^<b_1981_^>b_) and its stablemates -- and _^<a_!T2342_SPACE OPERAS_^>a_ with titles like _^<i_No World of Their Own_^>i_ (_^<b_1955_^>b_ dos; with restored text vt _^<i_The Long Way Home_^>i_ 1975 UK); he
occasionally wrote under the pseudonyms A.A. Craig and Winston P. Sanders, and in the mid-1960s as Michael Karageorge. It was during these years, however, that he began to formulate and write the many stories and novels making up the complex
_^<b_Technic History_^>b_ series, in reality two separate sequences. The first centres on _^<b_Nicholas van Rijn_^>b_, a dominant merchant prince of the Polesotechnic League, an interstellar group of traders who dominate a _^<i_laissez-faire_^>i_
Galaxy of scattered planets. Anderson has been widely criticized for the conservative implications it is possible (though with some effort) to draw from these stories, whose philosophical implications he modestly curtails. The second sequence
properly begins about 300 years later, after the first flowering of a post-League Terran Empire, which, increasingly decadent and corrupt, is under constant threat from other empires. Most of the sequence features _^<b_Dominic Flandry_^>b_, a
Terran agent who -- sophisticated, pessimistic and tough -- gradually becomes a figure of stature as Anderson fills in and expands his story, begun in 1951. The internal chronology of the double sequence is not secure, but the following list is
close. _^<b_Van Rijn_^>b_: _^<i_War of the Wing-Men_^>i_ (_^<b_1958_^>b_ dos; with restored text and new introduction vt _^<i_The Man who Counts_^>i_ 1978); _^<i_Trader to the Stars_^>i_ (coll _^<b_1964_^>b_; with 1 story cut 1964 UK); _^<i_The
Trouble Twisters_^>i_ (coll _^<b_1966_^>b_); _^<i_Satan's World_^>i_ (_^<b_1969_^>b_); _^<i_Mirkheim_^>i_ (_^<b_1977_^>b_); _^<i_The Earth Book of Stormgate_^>i_ (coll _^<b_1978_^>b_; in 3 vols 1980-81 UK); _^<i_The People of the Wind_^>i_
(_^<b_1973_^>b_). _^<b_Flandry_^>b_: _^<i_Ensign Flandry_^>i_ (_^<b_1966_^>b_); _^<i_A Circus of Hells_^>i_ (_^<b_1970_^>b_)and _^<i_The Rebel Worlds_^>i_ (_^<b_1969_^>b_; vt _^<i_Commander Flandry_^>i_ 1978 UK), both assembled as _^<i_Flandry_^>i_
(omni _^<b_1993_^>b_) _^<i_The Day of Their Return_^>i_ (_^<b_1973_^>b_) and_^<i_The People of the Wind_^>i_ both assembled as _^<i_The Day of Their Return/The People of the Wind_^>i_ (omni _^<b_1982_^>b_); _^<i_Mayday Orbit_^>i_ (_^<b_1961_^>b_
dos) and _^<i_Earthman, Go Home!_^>i_ (_^<b_1960_^>b_ dos), both assembled with revisions as _^<i_Flandry of Terra_^>i_ (omni _^<b_1965_^>b_); _^<i_We Claim These Stars_^>i_ (_^<b_1959_^>b_ dos), which is included in _^<i_Agent of the Terran
Empire_^>i_ (coll _^<b_1965_^>b_); _^<i_A Knight of Ghosts and Shadows_^>i_ (_^<b_1974_^>b_; vt _^<i_Knight Flandry_^>i_ 1980 UK) and _^<i_The Rebel Worlds_^>i_ both assembled as _^<i_The Rebel Worlds/A Knight of Ghosts and Shadows_^>i_ (omni
_^<b_1982_^>b_); _^<i_A Stone in Heaven_^>i_ (_^<b_1979_^>b_); _^<i_The Game of Empire_^>i_ (_^<b_1985_^>b_), featuring Flandry's daughter, and pointing the way to two post-Flandry tales: _^<i_Let the Spacemen Beware_^>i_ (1960 _^<i_Fantastic
Universe_^>i_ as "A Twelvemonth and a Day"; _^<b_1963_^>b_ chap dos; with new introduction vt _^<i_The Night Face_^>i_ 1978), also included in a separate collection, _^<i_The Night Face and Other Stories_^>i_ (coll _^<b_1978_^>b_); and _^<i_The
Long Night_^>i_ (coll _^<b_1983_^>b_). Stories written later tend to moodier, darker textures._^<n__^<n_A somewhat smaller sequence, the _^<b_Psychotechnic League_^>b_ stories, traces the gradual movement of Man into the Solar System and eventually
the Galaxy itself. There is a good deal of action-debate about _^<a_!T323_AUTOMATION_^>a_, the maintenance of freedom in an expanded polity, and so forth. The sequence comprises, by rough internal chronology: _^<i_The Psychotechnic League_^>i_
_^<i_Star Ways_^>i_ (_^<b_1956_^>b_; vt with new introduction _^<i_The Peregrine_^>i_ 1978)._^<n__^<n_There are several further series. The early _^<b_Time Patrol_^>b_ stories (> _^<a_!T131_ALTERNATE WORLDS_^>a_) are contained in _^<i_Guardians of
Time_^>i_ (coll _^<b_1960_^>b_; with 2 stories added vt _^<i_The Guardians of Time_^>i_ 1981) and _^<i_Time Patrolman_^>i_ (coll of linked novellas _^<b_1983_^>b_), both assembled as _^<i_Annals of the Time Patrol_^>i_ (omni _^<b_1984_^>b_);
subsequently, early and later material was rearranged as _^<i_The Shield of Time_^>i_ (coll of linked stories _^<b_1990_^>b_) and _^<i_The Time Patrol_^>i_ (omni/coll _^<b_1991_^>b_), which re-sorted long stories from the first volumes along with a
new novel, "Star of the Sea", plus _^<i_The Year of the Ransom_^>i_ (_^<b_1988_^>b_) and other new material. The _^<b_History of Rustum_^>b_ sequence, mainly concerned with the establishing on _^<i_laissez-faire_^>i_ lines of a human colony on a
planet in the Epsilon Eridani system, includes _^<i_Orbit Unlimited_^>i_ (coll of linked stories _^<b_1961_^>b_) and _^<i_New America_^>i_ (coll of linked stories _^<b_1982_^>b_). With Gordon R. Dickson, PA wrote the _^<b_Hoka_^>b_ series about
furry aliens who cannot understand nonliteral language (i.e., metaphors, fictions) and so take everything as truth, with results intended as comic: _^<i_Earthman's Burden_^>i_ (coll of linked stories _^<b_1957_^>b_), _^<i_Star Prince Charlie_^>i_
(_^<b_1975_^>b_) and _^<i_Hoka!_^>i_ (coll of linked stories _^<b_1984_^>b_). The _^<b_Last Viking_^>b_ sequence -- _^<i_The Golden Horn_^>i_ (_^<b_1980_^>b_), _^<i_The Road of the Sea Horse_^>i_ (_^<b_1980_^>b_) and _^<i_The Sign of the Raven_^>i_
(_^<b_1980_^>b_) -- is fantasy, as are the _^<b_King of Ys_^>b_ novels, written with PA's wife Karen Anderson (1932- ): _^<i_Roma Mater_^>i_ (_^<b_1986_^>b_), _^<i_Gallicenae_^>i_ (_^<b_1987_^>b_), _^<i_Dahut_^>i_ (_^<b_1988_^>b_) and _^<i_The
Dog and the Wolf_^>i_ (_^<b_1988_^>b_)._^<n__^<n_Although many of the novels and stories listed as linked to series can be read as singletons, there seems little doubt that the interlinked complexity of reference and storyline in PA's fiction has
somewhat muffled its effect in the marketplace. This situation has not been helped by a marked lack of focus in its publication, so that the interested reader will find considerable difficulty tracing both the items in a series and their intended
relation to one another. With dozens of novels and hundreds of stories to his credit -- all written with a resolute professionalism and widening range, though also with a marked disparity between copious storytelling skills and a certain banality
in the creation of characters -- PA is still not as well defined a figure in the pantheon of US sf as writers (like Isaac _^<a_!T268_ASIMOV_^>a_ from the _^<a_!T4754_GOLDEN AGE OF SF_^>a_ and Frank _^<a_!T4389_HERBERT_^>a_ from a decade later) of
about the same age and certainly no greater skill. Nonetheless he has been repeatedly honoured by the sf community, serving as _^<a_!T2147_SCIENCE FICTION WRITERS OF AMERICA_^>a_ President for 1972-3, and receiving 7 _^<a_!T4551_HUGOS_^>a_ for sf
in shorter forms: in 1961 for "The Longest Voyage" (Best Short Story); in 1964 for "No Truce With Kings" (Best Short Story); in 1969 for "The Sharing of Flesh" (Best Novelette); in 1972 for "The Queen of Air and Darkness" (Best Novella), which also
won a _^<a_!T3147_NEBULA_^>a_; in 1973 for "Goat Song" (Best Novelette), which also won a Nebula; in 1979 for "Hunter's Moon" (Best Novelette); and in 1982 for "The Saturn Game" (Best Novella), which also won a Nebula. PA also won the Gandalf
(Grand Master) Award for 1977._^<n__^<n_Out of the welter of remaining titles, four singletons and one short series can be mentioned as outstanding. _^<i_The High Crusade_^>i_ (_^<b_1960_^>b_) is a delightful wish-fulfilment conception; an alien
_^<a_!T2348_SPACESHIP_^>a_ lands in medieval Europe where it is taken over by quick-thinking Baron Roger and his feudal colleagues who, when the ship takes them to the stars, soon trick, cajole, outfight and outbreed all the spacefaring races they
can find, and found their own empire on feudal lines. It is PA's most joyful moment. _^<i_Tau Zero_^>i_ (1967 _^<i_Gal_^>i_ as "To Outlive Eternity"; exp _^<b_1970_^>b_) is less successful as fiction, though its speculations on
_^<a_!T902_COSMOLOGY_^>a_ are fascinating, and the hypothesis it embodies is strikingly well conceived. A spaceship from Earth, intended to fly near the speed of light so that humans can reach the stars without dying of old age (as a consequence of
the time-dilatation described by the Lorentz-Fitzgerald equations), uncontrolledly continues to accelerate at a constant one gravity after reaching its intended terminal velocity, so that the disparity between ship-time and external time becomes
ever greater: eons hurtle by outside, until eventually the Universe contracts to form a monobloc. After a new Big Bang the ship begins to slow gradually and the crew plans to settle a new planet in the universe that has succeeded our own. The felt
scope of the narrative is convincingly sustained throughout, though the characters tend to soap opera. In _^<i_The Avatar_^>i_ (_^<b_1978_^>b_) a solitary figure typical of PA's later work searches the Galaxy for an alien race sufficiently
sophisticated to provide him with the means to confound a non-libertarian Earth government. _^<i__^<a_!B9112_THE BOAT OF A MILLION YEARS_^>a__^>i_ (_^<b_1989_^>b_) ambitiously follows the long lives of a group of immortals, whose growing
disaffection with the recent course of Earth history again points up the sense of disenchantment noticeable in the later PA, along with a feeling that, in an inevitably decaying Universe, the tough thing (and the worthy thing) is to
endure._^<n__^<n_ In _^<i_Harvest of Stars_^>i_ (_^<b_1993_^>b_) and its sequel, _^<i_The Stars Are Also Fire_^>i_ (_^<b_1994_^>b_), that sense of disenchantment once again governs a tale in which Earth -- after centuries of savage environmental
exploitation -- is no longer capable of sustaining humanity's quest for new adventures, and for a new home. The elegy is perhaps soured by some political point-scoring; but the escape from the dying planet is sustained and exhilarating.
[JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_The Broken Sword_^>i_ (_^<b_1954_^>b_; rev 1971); _^<i_Planet of No Return_^>i_ (_^<b_1956_^>b_ dos; vt _^<i_Question and Answer_^>i_ 1978); _^<i__^<a_!B9113_THE ENEMY STARS_^>a__^>i_ (_^<b_1959_^>b_; with
one story added exp as coll 1987); _^<i_Perish by the Sword_^>i_ (_^<b_1959_^>b_) and _^<i_The Golden Slave_^>i_ (_^<b_1960_^>b_; rev 1980) and _^<i_Murder in Black Letter_^>i_ (_^<b_1960_^>b_) and _^<i_Rogue Sword_^>i_ (_^<b_1960_^>b_) and
_^<i_Murder Bound_^>i_ (_^<b_1962_^>b_), all associational; _^<i_Twilight World_^>i_ (2 stories _^<i_ASF_^>i_ 1947 including "Tomorrow's Children" with F.N. Waldrop; fixup _^<b_1961_^>b_); _^<i_Strangers from Earth_^>i_ (coll _^<b_1961_^>b_);
_^<i_Un-Man and Other Novellas_^>i_ (coll _^<b_1962_^>b_ dos); _^<i_After Doomsday_^>i_ (_^<b_1962_^>b_); _^<i_The Makeshift Rocket_^>i_ (1958 _^<i_ASF_^>i_ as "A Bicycle Built for Brew"; _^<b_1962_^>b_ chap dos); _^<i_Shield_^>i_ (_^<b_1963_^>b_);
_^<i_Three Worlds to Conquer_^>i_ (_^<b_1964_^>b_); _^<i_Time and Stars_^>i_ (coll _^<b_1964_^>b_; with 1 story cut 1964 UK); _^<i_The Corridors of Time_^>i_ (_^<b_1965_^>b_); _^<i_The Star Fox_^>i_ (fixup _^<b_1965_^>b_); _^<i_The Fox, the Dog and
the Griffin: A Folk Tale Adapted from the Danish of C. Molbeck_^>i_ (_^<b_1966_^>b_), a juvenile fantasy; _^<i_World without Stars_^>i_ (_^<b_1967_^>b_); _^<i_The Horn of Time_^>i_ (coll _^<b_1968_^>b_); _^<i_Seven Conquests_^>i_ (coll
_^<b_1969_^>b_; vt _^<i_Conquests_^>i_ 1981 UK); _^<i_Beyond the Beyond_^>i_ (coll _^<b_1969_^>b_; with 1 story cut 1970 UK); _^<i_Tales of the Flying Mountains_^>i_ (1963-5 _^<i_ASF_^>i_ as by Winston P. Sanders; fixup _^<b_1970_^>b_); _^<i_The
Byworlder_^>i_ (_^<b_1971_^>b_); _^<i_Operation Chaos_^>i_ (coll of linked stories _^<b_1971_^>b_); _^<i_The Dancer from Atlantis_^>i_ (_^<b_1971_^>b_) and _^<i_There Will Be Time_^>i_ (_^<b_1972_^>b_), later assembled together as _^<i_There Will
Be Time, and The Dancer from Atlantis_^>i_ (omni _^<b_1982_^>b_); _^<i_Hrolf Kraki's Saga_^>i_ (_^<b_1973_^>b_), a retelling of one of the greatest Icelandic sagas, associational; _^<i_The Queen of Air and Darkness and Other Stories_^>i_ (coll
_^<b_1973_^>b_); _^<i_Fire Time_^>i_ (_^<b_1974_^>b_); _^<i_Inheritors of Earth_^>i_ (_^<b_1974_^>b_) with Gordon _^<a_!T6608_EKLUND_^>a_ -- the novel was in fact written by Eklund, based on a 1951 PA story published in _^<i_Future_^>i_; _^<i_The
Many Worlds of Poul Anderson_^>i_ (coll _^<b_1974_^>b_; vt _^<i_The Book of Poul Anderson_^>i_ 1975), not the same as _^<i_The Worlds of Poul Anderson_^>i_ (omni _^<b_1974_^>b_), which assembles _^<i_Planet of No Return_^>i_, _^<i_The War of Two
Worlds_^>i_ and _^<i_World without Stars_^>i_; _^<i_Homeward and Beyond_^>i_ (coll _^<b_1975_^>b_); _^<i_The Winter of the World_^>i_ (_^<b_1975_^>b_), later assembled with _^<i_The Queen of Air and Darkness_^>i_ as _^<i_The Winter of the World,
and The Queen of Air and Darkness_^>i_ (omni _^<b_1982_^>b_); _^<i_Homebrew_^>i_ (coll _^<b_1976_^>b_ chap), containing essays as well as stories; _^<i_The Best of Poul Anderson_^>i_ (coll _^<b_1976_^>b_); _^<i_Two Worlds_^>i_ (omni
_^<b_1978_^>b_), which assembles _^<i_World without Stars_^>i_ and _^<i_Planet of No Return_^>i_; _^<i_The Merman's Children_^>i_ (_^<b_1979_^>b_); _^<i_The Demon of Scattery_^>i_ (_^<b_1979_^>b_) with Mildred Downey Broxon (1944- ); _^<i_Conan the
Rebel_^>i_ * (_^<b_1980_^>b_); _^<i_The Devil's Game_^>i_ (_^<b_1980_^>b_); _^<i_Winners_^>i_ (coll _^<b_1981_^>b_), a collection of PA's Hugo winners; _^<i_Fantasy_^>i_ (coll _^<b_1981_^>b_); _^<i_The Dark between the Stars_^>i_ (coll
_^<b_1982_^>b_); the _^<b_Maurai_^>b_ series comprising _^<i_Maurai and Kith_^>i_ (coll _^<b_1982_^>b_), tales of post-catastrophe life, and _^<i_Orion Shall Rise_^>i_ (_^<b_1983_^>b_), a pro-technology sequel, in which humanity once again aspires
to the stars; _^<i_The Gods Laughed_^>i_ (coll _^<b_1982_^>b_); _^<i_Conflict_^>i_ (coll _^<b_1983_^>b_); _^<i_The Unicorn Trade_^>i_ (coll _^<b_1984_^>b_) with Karen Anderson; _^<i_Past Times_^>i_ (coll _^<b_1984_^>b_); _^<i_Dialogue with
Darkness_^>i_ (coll _^<b_1985_^>b_); _^<i_No Truce with Kings_^>i_ (1963 _^<i_FSF_^>i_; _^<b_1989_^>b_ chap dos); _^<i_Space Folk_^>i_ (coll _^<b_1989_^>b_); _^<i_The Saturn Game_^>i_ (1981 _^<i_ASF_^>i_; _^<b_1989_^>b_ chap dos); _^<i_Inconstant
Star_^>i_* (coll _^<b_1991_^>b_), stories set in Larry _^<a_!T3223_NIVEN_^>a_'s _^<b_Man-Kzin_^>b_ universe; _^<i_The Longest Voyage_^>i_ (_^<b_1960 _^>b__^<i_ASF_^>i_; _^<b_1991_^>b_ chap dos); _^<i_Losers' Night_^>i_ (_^<b_1991_^>b_ chap);
_^<i_Kinship with the Stars_^>i_ (coll _^<b_1991_^>b_); _^<i_How to Build a Planet_^>i_ (_^<b_1991_^>b_ chap), nonfiction; _^<i_The Armies of Elfland_^>i_ (coll _^<b_1992_^>b_)._^<b_As Editor:_^>b_ _^<i_West by One and by One_^>i_ (anth
_^<b_1965_^>b_ chap); _^<i_Nebula Award Stories No 4_^>i_ (anth _^<b_1969_^>b_); _^<i_The Day the Sun Stood Still_^>i_ (anth _^<b_1972_^>b_), a common-theme anthology with Gordon R. Dickson and Robert _^<a_!T2216_SILVERBERG_^>a_; _^<i_A World Named
Cleopatra_^>i_ (anth _^<b_1977_^>b_) ed Roger _^<a_!T6648_ELWOOD_^>a_, a _^<a_!T2127_SHARED-WORLD_^>a_ anthology built around the title story and concept supplied by PA; 4 titles ed with Martin H. _^<a_!T4842_GREENBERG_^>a_ and Charles G.
_^<a_!T5488_WAUGH_^>a_, _^<i_Mercenaries of Tomorrow_^>i_ (anth _^<b_1985_^>b_), _^<i_Terrorists of Tomorrow_^>i_ (anth _^<b_1985_^>b_), _^<i_Time Wars_^>i_ (anth _^<b_1986_^>b_) and _^<i_Space Wars_^>i_ (anth _^<b_1988_^>b_); _^<i_The Night
Fantastic_^>i_ (anth _^<b_1991_^>b_) with Karen Anderson and (anon) Greenberg._^<b_About the author:_^>b_ _^<i_Against Time's Arrow: The High Crusade of Poul Anderson_^>i_ (_^<b_1978_^>b_ chap) by Sandra _^<a_!T2942_MIESEL_^>a_; _^<i_Poul Anderson:
Myth-Maker and Wonder-Weaver: A Working Bibliography_^>i_ (latest edition _^<b_1989_^>b_ in 2 vols, each chap) by Gordon _^<a_!T540_BENSON_^>a_ Jr and Phil _^<a_!T5712_STEPHENSEN-PAYNE_^>a_._^<b_See also:_^>b_ _^<a_!T102_ALIENS_^>a_;
_^<a_!T197_ANTHROPOLOGY_^>a_; _^<a_!T273_ASTEROIDS_^>a_; _^<a_!T290_ATLANTIS_^>a_; _^<a_!T632_BLACK HOLES_^>a_; _^<a_!T761_CLONES_^>a_; _^<a_!T811_COLONIZATION OF OTHER WORLDS_^>a_; _^<a_!T956_CRIME AND PUNISHMENT_^>a_; _^<a_!T1017_CYBORGS_^>a_;
_^<a_!T1197_DESTINIES_^>a_; _^<a_!T6576_ECOLOGY_^>a_; _^<a_!T6577_ECONOMICS_^>a_; _^<a_!T6661_END OF THE WORLD_^>a_; _^<a_!T6694_ESCHATOLOGY_^>a_; _^<a_!T1410_FANTASTIC VOYAGES_^>a_; _^<a_!T1412_FANTASY_^>a_; _^<a_!T1443_FASTER THAN LIGHT_^>a_;
_^<a_!T1554_FORCE FIELD_^>a_; _^<a_!T1678_GALACTIC EMPIRES_^>a_; _^<a_!T1686_GALAXY SCIENCE FICTION_^>a_; _^<a_!T1695_GAMES AND SPORTS_^>a_; _^<a_!T4657_GENETIC ENGINEERING_^>a_; _^<a_!T4740_GODS AND DEMONS_^>a_; _^<a_!T4817_GRAVITY_^>a_;
_^<a_!T4395_HEROES_^>a_; _^<a_!T4442_HISTORY IN SF_^>a_; _^<a_!T4555_HUMOUR_^>a_; _^<a_!T3771_IMMORTALITY_^>a_; _^<a_!T3957_JUPITER_^>a_; _^<i_The_^>i_ _^<a_!T3595_MAGAZINE OF FANTASY AND SCIENCE FICTION_^>a_; _^<a_!T3598_MAGIC_^>a_;
(1920- ) USAF pilot and writer in various genres who published his first sf, _^<i_The Valley of the Gods_^>i_ (_^<b_1957_^>b_) as Andy Anderson. Like his _^<i_Pandemonium on the Potomac_^>i_ (_^<b_1966_^>b_), it features a father and daughter: in
the former book they philosophize about the extinction of mankind; in the latter they act on their anxiety about Man's imminent self-destruction, blowing up a US city as a Dreadful Warning. _^<i_Penelope_^>i_ (_^<b_1963_^>b_) and _^<i_Adam M-1_^>i_
(_^<b_1964_^>b_) are further sf comedies, the former concerned with a communicating porpoise -- which appears also in _^<i_Penelope, the Damp Detective_^>i_ (_^<b_1974_^>b_) -- and the latter with an _^<a_!T178_ANDROID_^>a_, the first
Pseudonym of UK writer Alfred Walter Barrett (1869-1920), who remains best known for _^<i_We Three and Troddles: A Tale of London Life_^>i_ (_^<b_1894_^>b_) and other light fiction in the mode of popular figures like Jerome K. Jerome (1859-1927).
His sf and fantasy were similarly derivative; titles of interest include _^<i_The Strange Adventure of Roger Wilkins and Other Stories_^>i_ (coll _^<b_1895_^>b_), _^<i_The Identity Exchange: A Story of Some Odd Transformations_^>i_ (_^<b_1902_^>b_;
vt _^<i_The Marvellous Adventures of Me_^>i_ 1904), _^<i_The Enchanted Ship: A Story of Mystery with a Lot of Imagination_^>i_ (_^<b_1908_^>b_) and _^<i_The Magic Bowl, and the Blue-Stone Ring: Oriental Tales with Occi(or Acci)dental Fittings_^>i_
(coll _^<b_1909_^>b_), all exhibiting an uneasy _^<i_fin de siecle_^>i_ flippancy characteristic of F. _^<a_!T194_ANSTEY_^>a_ but with less weight. _^<i_In Fear of a Throne_^>i_ (_^<b_1911_^>b_) is a _^<a_!T2737_RURITANIAN_^>a_ fantasy.
[JC]_^<n__^<n_
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ANDRE, ALIX
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> Gail _^<a_!T4060_KIMBERLY_^>a_._^<n__^<n_
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ANDREAS, JURGEN
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> Hans Joachim _^<a_!T126_ALPERS_^>a_._^<n__^<n_
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ANDREISSEN, DAVID
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> David C. _^<a_!T1970_POYER_^>a_._^<n__^<n_
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ANDREWS, FELICIA
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> Charles L. _^<a_!T4801_GRANT_^>a_._^<n__^<n_
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ANDREWS, KEITH WILLIAM
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Technically a house name, though all titles here listed are in fact by US writer William H(enry) Keith Jr (1950- ). The _^<b_Freedom's Rangers_^>b_ sequence of military-sf adventures, whose heroes roam into various epochs to combat the KGB,
comprises _^<i_Freedom's Rangers_^>i_ (_^<b_1989_^>b_), _^<i_Freedom's Rangers #2: Raiders of the Revolution_^>i_ (_^<b_1989_^>b_), _^<i_#3: Search and Destroy_^>i_ (_^<b_1990_^>b_), _^<i_#4: Treason in Time_^>i_ (_^<b_1990_^>b_), _^<i_#5: Sink the
Armada_^>i_ (_^<b_1990_^>b_) and _^<i_#6: Snow Kill_^>i_ (_^<b_1991_^>b_). The first volume features a commando raid through time to kill Hitler; as some of the titles indicate, the targets thereafter vary. It may be that the course of real history
has determined the progress of the series._^<n__^<n_Under his own name Keith has written two _^<b_Battletech_^>b_ game ties (> _^<a_!T1696_GAMES AND TOYS_^>a_): _^<i_Mercenary's Star_^>i_* (_^<b_1987_^>b_) and _^<i_The Price of Glory_^>i_*
(_^<b_1987_^>b_); _^<i_Renegades Honor_^>i_* (_^<b_1988_^>b_) is another game novelization. [JC]_^<n__^<n_
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ANDROIDS
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Film (1982). New World. Dir Aaron Lipstadt, starring Klaus Kinski, Brie Howard, Norbert Weisser, Crofton Hardester, Don Opper. Screenplay James Reigle and Opper, based on a story by Will Reigle. 80 mins. Colour._^<n__^<n_The co-scriptwriter, Don
Opper, plays Max, the innocent _^<a_!T178_ANDROID_^>a_ (part flesh, part metal) who does imitations of James Stewart and works for mad Dr Daniel (Kinski) in a space laboratory, soon invaded by three criminals. He experiences sex ("Max, you're a
doll!"), is programmed to become a ruthless killer just as we were accepting him as human, participates in the awakening of a female android, learns Daniel's true nature (a plot twist stolen from _^<a_!T98_ALIEN_^>a_) and gets the girl. _^<i_A_^>i_
is made with skill and panache, is good on android politics (for which one might read "working-class politics"), and is one of the most confident sf movies yet made, despite its low budget. The scriptwriters are infinitely more at home with the
themes of written sf than is usual in sf cinema. Lipstadt's subsequent sf movie, _^<a_!T729_CITY LIMITS_^>a_ (1984), was disappointing. [PN]_^<n__^<n_
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ANDROIDS
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The term "android", which means "manlike", was not commonly used in sf until the 1940s. The first modern use seems to have been in Jack _^<a_!T5629_WILLIAMSON_^>a_'s _^<i_The Cometeers_^>i_ (1936; _^<b_1950_^>b_). The word was initially used of
automata, and the form "androides" first appeared in English in 1727 in reference to supposed attempts by the alchemist Albertus Magnus (_^<i_c_^>i_1200-1280) to create an artificial man. In contemporary usage "android" usually denotes an
artificial human of organic substance, although it is sometimes applied to manlike machines, just as the term _^<a_!T2646_ROBOT_^>a_ is still occasionally applied (as by its originator Karel _^<a_!T5147_CAPEK_^>a_) to organic entities. The
conventional distinction was first popularized by Edmond _^<a_!T4258_HAMILTON_^>a_ in his _^<a_!T5151_CAPTAIN FUTURE_^>a_ series, where Captain Future's sidekicks were a robot, an android and a brain in a box. The most important modern exceptions
to the conventional rule are to be found in the works of Philip K. _^<a_!T1222_DICK_^>a_._^<n__^<n_The notion of artificial humans is an old one, embracing the _^<a_!T4763_GOLEM_^>a_ of Jewish mythology as well as alchemical homunculi. Until the
19th century, though, it was widely believed that organic compounds could not be synthesized, and that humanoid creatures of flesh and blood would therefore have to be created either by magical means or, as in Mary _^<a_!T2173_SHELLEY_^>a_'s
_^<i_Frankenstein_^>i_ (_^<b_1818_^>b_), by the gruesome process of assembly. Even after the discovery that organic molecules could be synthesized, some time passed before, in _^<i_R.U.R._^>i_ (_^<b_1920_^>b_; trans _^<b_1923_^>b_), Capek imagined
androids "grown" in vats as mass-produced slaves; these "robots" were made so artfully as to acquire souls, and eventually conquered their makers._^<n__^<n_There was some imaginative resistance to the idea of the android because it seemed a more
outrageous breach of divine prerogative than the building of humanoid automata. Several authors toyed with the idea but did not carry it through: the androids in _^<i_The Uncreated Man_^>i_ (_^<b_1912_^>b_) by Austin Fryers and in _^<i_The Chemical
Baby_^>i_ (_^<b_1924_^>b_) by J. Storer _^<a_!T767_CLOUSTON_^>a_ prove to be hoaxes. Edgar Rice _^<a_!T5097_BURROUGHS_^>a_ played a similar trick in _^<i_The Monster Men_^>i_ (1913; _^<b_1929_^>b_), but did include some authentic artificial men as
well, as he did also in _^<i_Synthetic Men of Mars_^>i_ (_^<b_1940_^>b_)._^<n__^<n_In the early sf _^<a_!T2033_PULP MAGAZINES_^>a_ androids were rare, authors concentrating almost exclusively on mechanical contrivances. It was not until after WWII
that Clifford _^<a_!T2218_SIMAK_^>a_ wrote the influential _^<i_Time and Again _^>i_(_^<b_1951_^>b_; vt_^<i_ First He Died_^>i_ 1953), the first of many stories in which androids seek emancipation from slavery; here they are assisted in their cause
by the discovery that, in common with all living creatures, they have _^<a_!T98_ALIEN_^>a_ "commensals" -- sf substitutes for souls. Sf writers almost invariably take the side of the androids against their human masters, sometimes eloquently: the
emancipation of the biologically engineered Underpeople is a key theme in Cordwainer _^<a_!T2265_SMITH_^>a_'s _^<b_Instrumentality_^>b_ series; a Millennarian android religion is memorably featured in Robert _^<a_!T2216_SILVERBERG_^>a_'s _^<i_Tower
of Glass_^>i_ (_^<b_1970_^>b_); and androids whose personalities are based on literary models are effectively featured in _^<i_Port Eternity_^>i_ (_^<b_1982_^>b_) by C.J. _^<a_!T5255_CHERRYH_^>a_. Cherryh's _^<i__^<a_!B9137_CYTEEN_^>a__^>i_
(_^<b_1988_^>b_) is one of the few novels to attempt to present a society into which androids are fully integrated. Other pleas for emancipation are featured in "Down among the Dead Men" (1954) by William _^<a_!T5932_TENN_^>a_, _^<i_Slavers of
Space_^>i_ (_^<b_1960_^>b_ dos; rev as _^<i_Into the Slave Nebula_^>i_ 1968) by John _^<a_!T5049_BRUNNER_^>a_ and _^<i_Birthright_^>i_ (_^<b_1975_^>b_) by Kathleen _^<a_!T2238_SKY_^>a_, but the liberated androids in Charles L.
_^<a_!T4801_GRANT_^>a_'s _^<i_The Shadow of Alpha_^>i_ (_^<b_1976_^>b_) and its sequels are treated far more ambivalently. An android is used as an innocent observer of human follies in Charles _^<a_!T1927_PLATT_^>a_'s comedy _^<i_Less than
Human_^>i_ (_^<b_1986_^>b_), and to more sharply satirical effect in Stephen _^<a_!T1485_FINE_^>a_'s _^<i_Molly Dear: The Autobiography of an Android, or How I Came to my Senses, Was Repaired, Escaped my Master, and Was Educated in the Ways of the
World_^>i_ (_^<b_1988_^>b_)._^<n__^<n_Androids also feature, inevitably, in stories which hinge on the confusion of real and ersatz, including "Made in USA" (1953) by J.T. _^<a_!T3544_MCINTOSH_^>a_, "Synth" (1966) by Keith _^<a_!T2619_ROBERTS_^>a_,
the murder mystery "Fondly Fahrenheit" (1954) by Alfred _^<a_!T568_BESTER_^>a_, and _^<i_Replica_^>i_ (_^<b_1987_^>b_) by Richard _^<a_!T4948_BOWKER_^>a_. The confusion between real and synthetic is central to the work of Philip K. Dick, who tends
to use the terms "android" and "robot" interchangeably; he discusses the importance this theme had for him in his essays "The Android and the Human" (1972) and "Man, Android and Machine" (1976), both of which are reprinted in _^<i_The Dark-Haired
Girl_^>i_ (coll _^<b_1988_^>b_). His most notable novels dealing with the subject are _^<i__^<a_!B9148_DO ANDROIDS DREAM OF ELECTRIC SHEEP?_^>a__^>i_ (_^<b_1968_^>b_) and _^<i_We Can Build You_^>i_ (_^<b_1972_^>b_)._^<n__^<n_Stories featuring
androids designed specifically for use at least in part as sexual partners have become commonplace as editorial taboos have relaxed; examples include _^<i_The Silver Metal Lover_^>i_ (_^<b_1982_^>b_) by Tanith _^<a_!T4234_LEE_^>a_ and _^<i_The
Hormone Jungle_^>i_ (_^<b_1988_^>b_) by Robert _^<a_!T2539_REED_^>a_._^<n__^<n__^<i_Science Fiction Thinking Machines_^>i_ (anth _^<b_1954_^>b_) ed Groff _^<a_!T834_CONKLIN_^>a_ has a brief section featuring android stories; _^<i_The
Pseudo-People_^>i_ (anth _^<b_1965_^>b_ vt _^<i_Almost Human: Androids in Science Fiction_^>i_) ed William F. _^<a_!T3229_NOLAN_^>a_ mostly consists of stories of robots capable of imitating men. [BS]_^<n__^<n_
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ANDROMEDA BREAKTHROUGH, THE
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UK tv serial (1962). A BBC TV production. Prod John _^<a_!T6625_ELLIOT_^>a_, written Fred _^<a_!T4532_HOYLE_^>a_, Elliot. 6 episodes, 5 at 45 mins, the 6th 50 mins. B/w. The cast included Peter Halliday, Mary Morris, Barry Linehan, John Hollis,
Susan Hampshire._^<n__^<n_In this sequel to _^<a_!T60_A FOR ANDROMEDA_^>a_ the android woman built according to instructions from the stars is played by Susan Hampshire, not Julie Christie; she has not drowned, as previously thought. She is
kidnapped along with scientist Fleming (Halliday) by a Middle Eastern oil state where a new _^<a_!T826_COMPUTER_^>a_ has been built according to plans stolen from the Scottish original. This is used by an international cartel in an attempt at world
domination. The plot becomes ever more melodramatic. World weather is changed by the influence of computer-designed bacteria on the oceans. The extraterrestrial beings who sent the original computer instructions are not, we are implausibly told,
just malicious: they are merely undertaking social engineering on other worlds by administering salutary shocks. (It seems that yellow-star races tend to wipe themselves out using nuclear weapons or other devices.) This was a less powerful serial
than its memorable predecessor. The novelization is _^<i_The Andromeda Breakthrough_^>i_ * (_^<b_1964_^>b_) by Fred Hoyle and John Elliot. [PN]_^<n__^<n_
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ANDROMEDA NEBULA, THE
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> _^<a_!T6119_TUMANNOST ANDROMEDY_^>a_._^<n__^<n_
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ANDROMEDA STRAIN, THE
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Film (1971). Universal. Dir Robert _^<a_!T5659_WISE_^>a_, starring Arthur Hill, David Wayne, James Olson, Kate Reid. Screenplay Nelson Gidding, based on _^<i_The Andromeda Strain_^>i_ (_^<b_1969_^>b_) by Michael _^<a_!T954_CRICHTON_^>a_. 130 mins.
Colour._^<n__^<n_This film, whose director had in 1951 made the classic sf film _^<i_The_^<a_!T1112_DAY THE EARTH STOOD STILL_^>a__^>i_ , concerns a microscopic organism, inadvertently brought to Earth on a returning space probe, which causes the
instant death of everyone in the vicinity of the probe's landing (near a small town) with the exception of a baby and the town drunk. These two are isolated in a vast underground laboratory complex, where a group of scientists attempts to establish
the nature of the alien organism. The real enemy seems to be not the Andromeda virus but technology itself: it is mankind's technology that brings the virus to Earth, and the scientists in the laboratory sequences -- most of the film -- are made to
seem puny and fallible compared to the gleaming electronic marvels that surround them; they have, in effect, become unwanted organisms within a superior body. (Wise deliberately avoided using famous actors in order to get the muted performances he
wished to juxtapose with the assertive machinery.) The celebration of technology is only apparent -- the film, despite its implausible but exciting ending, is coldly ironic, and rather pessimistic. [PN]_^<n__^<n_
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ANDROMEDA THE MYSTERIOUS
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> _^<a_!T6119_TUMANNOST ANDROMEDY_^>a_._^<n__^<n_
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ANDY WARHOL'S FRANKENSTEIN
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> _^<a_!T1599_FRANKENSTEIN_^>a_._^<n__^<n_
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ANESTIN, VICTOR
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[r] > _^<a_!T2683_ROMANIA_^>a_._^<n__^<n_
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ANET, CLAUDE
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Pseudonym of Swiss writer Jean Schopfer (1868-1931). His sf novel _^<i_La fin d'un monde_^>i_ (_^<b_1925_^>b_; trans Jeffery E. Jeffery as _^<i_The End of a World_^>i_ (_^<b_1927_^>b_ US; vt _^<i_Abyss_^>i_) describes the cultural destruction of a
prehistoric Ice Age people by a more advanced culture. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T1727_ORIGIN OF MAN_^>a_.
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ANIMAL FARM
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> George _^<a_!T1731_ORWELL_^>a_._^<n__^<n_
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ANMAR, FRANK
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[s] > William F. _^<a_!T3229_NOLAN_^>a_._^<n__^<n_
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ANNA LIVIA
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Working name of Irish-born UK writer and editor Anna Livia Julian Brawn (1955- ), a lesbian feminist of radical views, which she has advanced in tales of considerable wit, though at book length her effects become uneasy. Her second novel,
_^<i_Accommodation Offered_^>i_ (_^<b_1985_^>b_), invokes a spirit world which has a ring of fantasy. Her third, _^<i_Bulldozer Rising_^>i_ (_^<b_1988_^>b_), is an sf _^<a_!T1370_DYSTOPIA_^>a_ which depicts a culture rigidly dominated by young
males in which "old" women, unpersoned and unperceived from the age of 40, represent the only remaining human potential, the only hope for revolt. About half the stories assembled in _^<i_Saccharin Cyanide_^>i_ (coll _^<b_1990_^>b_) present similar
lessons in sf terms. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Minimax_^>i_ (_^<b_1992_^>b_), a feminist vampire novel.
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ANONYMOUS SF AUTHORS
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This rubric covers the authors of works which, in their first edition, appeared with no indication of authorship whatsoever, and any in which authorship is indicated only by a row of asterisks or some similar symbol. Works attributed to "the author
of . . ." are considered only if the work referred to is itself anonymous. Cases where subsequent editions reveal authorship are not excluded. All other attributions are regarded as _^<a_!T2018_PSEUDONYMS_^>a_. Anonymously edited sf
_^<a_!T195_ANTHOLOGIES_^>a_ are not particularly common, unlike the case with ghost and horror stories._^<n__^<n_Before the 20th century literary anonymity was prevalent. Though this was most notable among the numerous works of Grub-Street
fictional journalism of the early 19th century, many novels of a higher status likewise hid their authorship. On some occasions the practice was adopted by well known writers -- e.g., Lord _^<a_!T3510_LYTTON_^>a_ -- when the content of a novel
differed radically from their earlier writings; although such works are "anonymous" in a bibliographic sense (and so within our purview), their authorship was often widely known at the time of publication._^<n__^<n_Other authors used anonymity
because their work was controversial, an attribute common in early sf. Such was the case with _^<a_!T5303_UTOPIAN_^>a_ novels, where the depiction of an ideal state highlighted faults the writer saw in his (or, rarely, her) own society. Falling
into this category is _^<i_The Reign of George VI, 1900-1925_^>i_ (_^<b_1763_^>b_), the earliest known example of the future-_^<a_!T5452_WAR_^>a_ novel. Showing the forceful George VI becoming master of Europe following his successes in the
European War of 1917-20, the anonymous UK author gave no consideration to possible change in society, technology or military strategy, his depicted future being very similar to contemporary reality. Of more importance in the _^<a_!T4443_HISTORY OF
SF_^>a_ is _^<i_L'an deux mille quatre cent quarante_^>i_ (_^<b_1771_^>b_ France; trans W. Hooper as _^<i_Memoirs of the Year Two Thousand Five Hundred_^>i_ _^<b_1772_^>b_ UK) (by L.-S. _^<a_!T2901_MERCIER_^>a_), the first futuristic novel to show
change as an inevitable process. It was widely translated and reprinted, inspiring many imitators. Also anonymous, but set in an imaginary country, was the first US utopian work, _^<i_Equality, or A History of Lithconia_^>i_ (1802 _^<i_The Temple
of Reason_^>i_ as "Equality: A Political Romance"; _^<b_1837_^>b_), which depicted a communal economy in a society where conurbations had been rejected in favour of an equal distribution of houses._^<n__^<n_Other anonymous utopian works, some of
considerable importance, appeared throughout the 19th century. Probably the most influential was Lytton's _^<i_The Coming Race_^>i_ (_^<b_1871_^>b_). Of similar importance is W.H. _^<a_!T4542_HUDSON_^>a_'s _^<i_A Crystal Age_^>i_ (_^<b_1887_^>b_),
whose Darwinian extrapolation, although obscured by the author's animistic view of the world, shows humankind evolved towards a hive structure (> _^<a_!T4447_HIVE-MINDS_^>a_) and living in perfect harmony with Nature. Another noteworthy Darwinian
novel was _^<i_Colymbia_^>i_ (_^<b_1873_^>b_) (by Robert Ellis _^<a_!T1334_DUDGEON_^>a_, a friend of and physician to Samuel _^<a_!T5106_BUTLER_^>a_), which describes a remote archipelago where humans have evolved into amphibious beings. Integral
to this gentle _^<a_!T2812_SATIRE_^>a_ is a scene in which the country's leading philosophers debate their common origins with the seal family. Particular mention should also be made of Ellis James Davis (?1847-1935), author of the highly
imaginative and carefully detailed novels _^<i_Pyrna, a Commune, or Under the Ice_^>i_ (_^<b_1875_^>b_) and _^<i_Etymonia_^>i_ (_^<b_1875_^>b_) -- both utopias, the first located under a glacier, the second on an _^<a_!T3823_ISLAND_^>a_ -- and of
_^<i_Coralia: A Plaint of Futurity_^>i_ (_^<b_1876_^>b_), a supernatural fantasy._^<n__^<n_Other anonymous sf authors eschewed the utopian format for a more direct attack on aspects of contemporary society. Following the build-up in power by
Germany in the early 1870s there appeared _^<i_The Battle of Dorking; Reminiscences of a Volunteer_^>i_ (_^<b_1871_^>b_ chap) (by Sir George T. _^<a_!T5257_CHESNEY_^>a_), the most socially influential sf novel of all time. Advocating a
restructuring of the UK military system to meet a conceived _^<a_!T3796_INVASION_^>a_, it provoked a storm in Parliament and enjoyed numerous reprints and translations throughout the world; it inspired many anonymous refutations._^<n__^<n_Many
other anonymous sf works, by contrast, enjoyed only rapid obscurity, in some case to the detriment of sf's development. Perhaps the three most important of these are: _^<i_Annals of the Twenty-ninth Century, or The Autobiography of the Tenth
President of the World Republic_^>i_ (_^<b_1874_^>b_) (by Andrew _^<a_!T642_BLAIR_^>a_), a massive work describing the step-by-step _^<a_!T811_COLONIZATION_^>a_ of our Solar System; _^<i_In the Future: A Sketch in Ten Chapters_^>i_ (_^<b_1875_^>b_
chap), the story of a struggle for religious tolerance in a future European empire; and _^<i_Thoth: A Romance_^>i_ (_^<b_1888_^>b_) (by J.S. Nicholson [1850-1927]), an impressive _^<a_!T3460_LOST-WORLD_^>a_ novel set in Hellenic times and depicting
a scientifically advanced race using airships in the North African desert._^<n__^<n_Among the diversity of ideas expressed by anonymous sf authors were the stress inflicted upon an ape (>_^<a_!T206_APES AND CAVEMEN_^>a_) when taught to speak, in
_^<i_The Curse of Intellect_^>i_ (_^<b_1895_^>b_), the emancipation of women, in the futuristic satire _^<i_The Revolt of Man_^>i_ (_^<b_1882_^>b_) (by Sir Walter _^<a_!T564_BESANT_^>a_) and, in _^<i_Man Abroad: A Yarn of Some Other Century_^>i_
(_^<b_1887_^>b_), the notion that humankind will take its international disputes into space._^<n__^<n__^<i_The Checklist of Fantastic Literature_^>i_ (_^<b_1948_^>b_) by Everett F. _^<a_!T654_BLEILER_^>a_ lists 127 anonymous works (though many are
fantasy rather than sf). A number of anonymous authors whose identities are now known receive entries in this volume, the most famous being Mary _^<a_!T2173_SHELLEY_^>a_, author of _^<i_Frankenstein, or The Modern Prometheus_^>i_ (_^<b_1818_^>b_).
Others are too numerous and their works too slight to merit mention. _^<i_The Supplemental Checklist of Fantastic Literature_^>i_ (_^<b_1963_^>b_) by Bradford M. _^<a_!T1102_DAY_^>a_ adds a further 27 titles to Bleiler's total, and there are
certainly more waiting to be found -- such as _^<i_The History of Benjamin Kennicott_^>i_ (_^<b_1932_^>b_)._^<n__^<n_Anonymous sf authors are still with us today, particularly in the _^<a_!T820_COMICS_^>a_ and in _^<a_!T4958_BOYS' PAPERS_^>a_,
often retaining their role as social critics or outrageous prognosticators. However, most modern authors, when seeking to retain their privacy, make use of _^<a_!T2018_PSEUDONYMS_^>a_. Very few anonymous books -- except for anthologies (which are
often released without crediting the compiler) and erotica -- are published today. [JE]_^<n__^<n_
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ANOTHER FLIP FOR DOMINICK
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> _^<i_The_^>i_ _^<a_!T1535_FLIPSIDE OF DOMINICK HIDE_^>a_._^<n__^<n_
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ANSIBLE
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_^<b_1._^>b_ The imaginary device invented by Ursula K. _^<a_!T3318_LE GUIN_^>a_ for instantaneous communication between two points, regardless of the distance between them. The physics which led to its invention is described in _^<i_The
Dispossessed_^>i_ (_^<b_1974_^>b_), but the device is mentioned in a number of the _^<b_Hainish_^>b_ series of stories written before _^<i_The Dispossessed_^>i_, and indeed is central to their rationale. It compares interestingly with James
_^<a_!T658_BLISH_^>a_'s _^<a_!T1242_DIRAC COMMUNICATOR_^>a_. (> _^<a_!T1443_FASTER THAN LIGHT_^>a_ _^<i_and_^>i_ _^<a_!T822_COMMUNICATION_^>a_ _^<i_for further discussion of both._^>i_) The ansible has since been adopted as a useful device by
several other writers. [PN]_^<n__^<n__^<b_2._^>b_ Fanzine (1979-87 and 1991 onwards), first sequence being 50 issues, quarto, 4-10pp, ed from Reading, UK, by David _^<a_!T4186_LANGFORD_^>a_. _^<i_A_^>i_ is a "newszine", a fanzine that carries news
on sf and _^<a_!T1389_FANDOM_^>a_. It replaced the earlier UK newszine _^<i_Checkpoint_^>i_ (1971-9, 100 issues) ed Peter Roberts (briefly ed Ian Maule and ed Darroll Pardoe), which in turn had replaced _^<i_Skyrack_^>i_ (1959-71, 96 issues) ed Ron
Bennett. _^<i_A_^>i_'s news items were given sparkle by Langford's witty delivery. _^<i_A_^>i_ was initially monthly, but latterly gaps between its issues grew ever longer. In 1987, at the time of but not due to the appearance of a later newszine,
_^<a_!T964_CRITICAL WAVE_^>a_, Langford -- who had long expressed weariness with the labour of producing _^<i_A_^>i_ -- folded it. However, he revived _^<i_A_^>i_ in 1991, the second sequence being an approximately monthly A4 2pp newssheet with
occasional extra issues (given numbers), beginning with #51. It had reached #93 by April 1995. _^<i_A_^>i_ won a _^<a_!T4551_HUGO_^>a_ in 1987, and its editor won Hugos as Best Fan Writer in 1985, 1987, and every year from 1989 to 1994.
[RH]_^<n__^<n_
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ANSON, AUGUST
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(? - ) UK writer whose _^<i_When Woman Reigns_^>i_ (_^<b_1938_^>b_) transports its protagonist to first the 26th and then the 36th century. Author and hero take a rather dim view of these two periods, because in both men are subservient to
women. [JC]_^<n__^<n_
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ANSON, CAPTAIN (CHARLES VERNON)
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(1841-? ) UK writer, in the Royal Navy 1859-96. His future-_^<a_!T5452_WAR_^>a_ tale, _^<i_The Great Anglo-American War of 1900_^>i_ (_^<b_1896_^>b_ chap), warrants modest interest for the worldwide scope of the conflict and for the UK's use of a
new invention to destroy San Francisco and win the war. For verisimilitude, the tale should perhaps have been set many years further into the future. [JC]_^<n__^<n_
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ANSTEY, F.
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Pseudonym of Thomas Anstey Guthrie (1856-1934), UK writer and humorist, best known for his many contributions to the magazine _^<i_Punch_^>i_ and for his classic satirical fantasies, most of which follow the pattern of introducing some magical item
into contemporary society, with chaotic consequences. These were widely imitated by many writers, including R. _^<a_!T171_ANDOM_^>a_, W.D. Darlington (1890-1979) and Richard Marsh (1857-1915), and thus became the archetypes of a distinctive
subgenre of "Ansteyan fantasies". In his most successful work, _^<i_Vice Versa, or A Lesson to Fathers_^>i_ (_^<b_1882_^>b_; rev 1883), a Victorian gentleman and his schoolboy son exchange personalities; the novel has to date been twice filmed and
at least twice adapted as a tv serial. In _^<i_The Tinted Venus_^>i_ (_^<b_1885_^>b_) a young man accidentally revives the Roman goddess of love, and in _^<i_A Fallen Idol_^>i_ (_^<b_1886_^>b_) an oriental deity exerts a sinister influence on a
young artist. The protagonist of _^<i_The Brass Bottle_^>i_ (_^<b_1900_^>b_) acquires the services of a djinn; a stage version is _^<i_The Brass Bottle: A Farcical Fantastic Play_^>i_ (_^<b_1911_^>b_). _^<i_In Brief Authority_^>i_ (_^<b_1915_^>b_)
reverses the pattern, with a Victorian matron established as queen of the Brothers Grimm's M-rchenland. FA's work comes closest to sf in _^<i_Tourmalin's Time Cheques_^>i_ (_^<b_1891_^>b_; vt _^<i_The Time Bargain_^>i_), one of the earliest
_^<a_!T6020_TIME-PARADOX_^>a_ stories. The anonymously published _^<i_The Statement of Stella Maberley, Written by Herself_^>i_ (_^<b_1896_^>b_) is an interesting story of abnormal _^<a_!T2023_PSYCHOLOGY_^>a_. [BS]_^<n__^<n__^<b_Other works:_^>b_
_^<i_The Black Poodle and Other Tales_^>i_ (coll _^<b_1884_^>b_); _^<i_The Talking Horse_^>i_ (coll _^<b_1891_^>b_); _^<i_Paleface and Redskin, and Other Stories for Girls and Boys_^>i_ (coll _^<b_1898_^>b_); _^<i_Only Toys!_^>i_ (_^<b_1903_^>b_),
for children; _^<i_Salted Almonds_^>i_ (coll _^<b_1906_^>b_); _^<i_Percy and Others_^>i_ (coll _^<b_1915_^>b_), the first 5 stories in which feature the adventures of a bee; _^<i_The Last Load_^>i_ (coll _^<b_1928_^>b_); _^<i_Humour and
Fantasy_^>i_ (coll _^<b_1931_^>b_).
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ANTHOLOGIES
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Before the late 1940s, sf short stories, novellas and novelettes (> _^<a_!T4551_HUGO_^>a_ _^<i_for definitions_^>i_) were largely restricted to _^<a_!T3597_MAGAZINES_^>a_. (Magazines are, of course, a form of anthology, but they are not so counted
in this encyclopedia.) Since then, increasingly, many readers have been introduced to sf through stories collected in books. Books are less fragile, kept in print longer, available in libraries and (especially for young readers in the days of the
lurid _^<a_!T2033_PULP MAGAZINES_^>a_) more acceptable to parents. The history of sf's ever-increasing respectability over the past half century has been in part the history of the gradual displacement of magazines by books, especially paperback
books -- although many anthology series have been given their initial publication in hardcover._^<n__^<n_Much sf was anthologized in book form from quite early on, in a variety of fantasy and weird-fiction collections, but none of these was
exclusively sf, although _^<i_The Moon Terror and Other Stories_^>i_ (anth _^<b_1927_^>b_) ed A.G. Birch, a collection of four stories from _^<a_!T5512_WEIRD TALES_^>a_, came close to it. The earliest sf anthology could more properly be described
as an anthology of _^<a_!T2013_PROTO SCIENCE FICTION_^>a_. It is _^<i_Popular Romances_^>i_ (anth _^<b_1812_^>b_) ed Henry Weber, and contains _^<i_Gulliver's Travels_^>i_ (_^<b_1726_^>b_) by Jonathan _^<a_!T5873_SWIFT_^>a_, _^<i_Journey to the
World Underground_^>i_ (_^<b_1741_^>b_) by Ludwig _^<a_!T4466_HOLBERG_^>a_, _^<i_Peter Wilkins_^>i_ (_^<b_1751_^>b_) by Robert _^<a_!T1776_PALTOCK_^>a_, _^<i_Robinson Crusoe_^>i_ (_^<b_1719_^>b_) by Daniel _^<a_!T1143_DEFOE_^>a_ and _^<i_The
History of Automathes_^>i_ (_^<b_1745_^>b_) by John Kirkby; the latter is a lost-race (> _^<a_!T3460_LOST WORLDS_^>a_) story set in the Pacific Ocean._^<n__^<n_The usually accepted candidate as first sf anthology is _^<i_Adventures to Come_^>i_
(anth _^<b_1937_^>b_) ed J. Berg Esenwein. It was also sf's first _^<a_!T1725_ORIGINAL ANTHOLOGY_^>a_ -- i.e., its stories were all previously unpublished -- but they were by unknowns, and it seems the anthology had no influence at all. Much more
important was _^<i_The Other Worlds_^>i_ (anth _^<b_1941_^>b_) ed Phil _^<a_!T5757_STONG_^>a_, a hardcover publication reprinting stories by Harry _^<a_!T459_BATES_^>a_, Lester _^<a_!T1164_DEL REY_^>a_, Henry _^<a_!T4144_KUTTNER_^>a_, Theodore
_^<a_!T5810_STURGEON_^>a_ and many other well known writers from the sf magazines. The first notable paperback anthology was _^<i_The Pocket Book of Science-Fiction_^>i_ (anth _^<b_1943_^>b_) ed Donald A. _^<a_!T5679_WOLLHEIM_^>a_, 8 of whose 10
stories are still well remembered, an extraordinarily high batting average considering that half a century has since elapsed._^<n__^<n_The year that presaged the advancing flood was 1946, when two respectable hardcover publishers commissioned huge
anthologies, both milestones. In Feb 1946 came _^<i_The Best of Science Fiction_^>i_ (anth _^<b_1946_^>b_) ed Groff _^<a_!T834_CONKLIN_^>a_, containing 40 stories in 785pp, and in Aug came _^<i_Adventures in Time and Space_^>i_ (anth
_^<b_1946_^>b_) ed Raymond J. _^<a_!T4364_HEALY_^>a_ and J. Francis_^<n__^<n__^<a_!T6309_MCCOMAS_^>a_, containing 35 stories in 997pp. The latter was the superior work and even today reads like a roll of honour, as all the great names of the first
two decades of _^<a_!T4659_GENRE SF_^>a_ parade past. But Conklin's book is not to be despised, including as it does Sturgeon's "Killdozer" (1944), Robert A. _^<a_!T4376_HEINLEIN_^>a_'s "Universe" (1941) and Murray _^<a_!T3326_LEINSTER_^>a_'s
"First Contact" (1945)._^<n__^<n_Both Conklin and Healy went on to do further pioneering work with anthologies. Conklin specialized in thematic anthologies, of which two of the earliest were his _^<i_Invaders of Earth_^>i_ (anth _^<b_1952_^>b_) and
_^<i_Science Fiction Thinking Machines_^>i_ (anth _^<b_1954_^>b_). The thematic anthology has since become an important part of sf publishing, and many such books are listed in this volume at the end of the relevant theme entries._^<n__^<n_Healy
did not invent the original sf anthology, but he was one of the first to edit one successfully. His _^<i_New Tales of Space and Time_^>i_ (anth _^<b_1951_^>b_) contains such well remembered stories as "Bettyann" by Kris _^<a_!T3163_NEVILLE_^>a_,
"Here There Be Tygers" by Ray _^<a_!T4963_BRADBURY_^>a_ and "The Quest for Saint Aquin" by Anthony _^<a_!T4937_BOUCHER_^>a_. Kendell Foster _^<a_!T978_CROSSEN_^>a_ was not slow to take the hint, and half of his compilation _^<i_Future Tense_^>i_
(anth _^<b_1953_^>b_) consists of original stories, including "Beanstalk" by James _^<a_!T658_BLISH_^>a_. Wollheim had produced (anonymously) an original anthology, too: _^<i_The Girl with the Hungry Eyes and Other Stories_^>i_ (anth
_^<b_1949_^>b_), the title story being by Fritz _^<a_!T3322_LEIBER_^>a_._^<n__^<n_Until the 1970s the original anthology went from strength to strength, becoming an important alternative market to the sf magazines. The _^<a_!T2424_STAR SCIENCE
FICTION STORIES_^>a_ series (1953-9) ed Frederik _^<a_!T1937_POHL_^>a_, of which there were 6 vols in all, was its next important landmark. John _^<a_!T5170_CARNELL_^>a_ followed, in the UK, with his _^<a_!T3184_NEW WRITINGS IN SF_^>a_ series
(1964-78; ed Kenneth _^<a_!T5073_BULMER_^>a_ from #22), with 30 vols in all. This was followed rather more dramatically in the USA by Damon _^<a_!T4098_KNIGHT_^>a_, whose policy was more experimental and literary than Carnell's, with his
_^<a_!T1718_ORBIT_^>a_ series (1965-80), which published 21 vols. Since then the most influential original anthology series have been Harlan _^<a_!T6641_ELLISON_^>a_'s two _^<a_!T1050_DANGEROUS VISIONS_^>a_ anthologies (_^<b_1968_^>b_ and
_^<b_1972_^>b_), Robert _^<a_!T2216_SILVERBERG_^>a_'s _^<a_!T3169_NEW DIMENSIONS_^>a_ series (1971-81), 10 vols in all, and Terry _^<a_!T5182_CARR_^>a_'s _^<a_!T5288_UNIVERSE_^>a_ series (1971-87), 17 vols in all. The zenith of influence of the
original anthologies was probably the early to mid-1970s; they became a less important component of sf _^<a_!T2026_PUBLISHING_^>a_ in the 1980s. Nonetheless, the 1970s saw a remarkable number of _^<a_!T4551_HUGO_^>a_ and _^<a_!T3147_NEBULA_^>a_
nominees drawn from the ranks of the original anthologies, including a good few winners, and this is a measure of the change of emphasis from magazines to books. Other original anthologies which, like the above, receive separate entries in this
volume are _^<a_!T551_BERKLEY SHOWCASE_^>a_, _^<a_!T720_CHRYSALIS_^>a_, _^<a_!T1197_DESTINIES_^>a_, _^<a_!T1643_FULL SPECTRUM_^>a_, _^<a_!T3779_INFINITY_^>a_, _^<a_!T3474_L. RON HUBBARD PRESENTS WRITERS OF THE FUTURE_^>a_, _^<a_!T3180_NEW
VOICES_^>a_, _^<a_!T3254_NOVA_^>a_, _^<a_!T1736_OTHER EDENS_^>a_, _^<a_!T2032_PULPHOUSE: THE HARDBACK MAGAZINE_^>a_, _^<a_!T2444_QUARK_^>a_, _^<a_!T5707_STELLAR_^>a_ and _^<a_!T5880_SYNERGY_^>a_; _^<i_New Worlds Quarterly_^>i_ (> _^<a_!T3182_NEW
WORLDS_^>a_) was also in book format. This list is not fully comprehensive, but contains most of the sf original anthology series that ran for three or more numbers._^<n__^<n_Another original anthology series is _^<a_!T5599_WILD CARDS_^>a_, ed
George R.R. _^<a_!T3685_MARTIN_^>a_, which is also an interesting representative of a kind of volume that began to flourish only in the 1980s, the _^<a_!T2127_SHARED-WORLD_^>a_ anthology. The majority of these are fantasy rather than
sf._^<n__^<n_Sf has been one of the few areas of literature to have kept alive the art of the short story. It is therefore unfortunate that, as sf-magazine circulations dropped further in the 1980s, so did the popularity of original anthologies.
Nevertheless, as of the early 1990s, the quality of the best sf short-story writing remains high, and fears expressed about the imminent death of sf short fiction caused by shrinking markets seem premature._^<n__^<n_The general standard of reprint
anthologies has dropped since the mid-1960s, probably because the vast backlog of sf magazines had been mined and re-mined for gold and not much was left, though obviously new collectable stories are published every year. In terms of numbers of
anthologies published, however, there has been no very perceptible falling off. Two extraordinarily prolific anthologists have been Roger _^<a_!T6648_ELWOOD_^>a_, from 1964 to 1977, and Martin Harry _^<a_!T4842_GREENBERG_^>a_, from 1974 to date,
both of them often in partnership with others and both specializing in thematic anthologies. Greenberg, who has edited more anthologies than anyone else in sf, maintains the higher standard._^<n__^<n_The other two important categories of anthology
are the several "Best" series, and the various series devoted to award-winning stories. The "Best" concept was introduced to sf by Everett F. _^<a_!T654_BLEILER_^>a_ and T.E. _^<a_!T1232_DIKTY_^>a_, who between them edited 6 annual vols, beginning
with _^<i_The Best Science-Fiction Stories 1949_^>i_ (anth _^<b_1949_^>b_); Dikty went on to edit a further 3 vols alone in 1955, 1956 and 1958 (1957 was omitted). Judith _^<a_!T2908_MERRIL_^>a_'s record was long and distinguished, with 12 annual
vols (1967 was omitted) beginning with _^<i_SF: The Year's Greatest Science-Fiction and Fantasy Stories and Novelettes_^>i_ (anth _^<b_1956_^>b_) and ending with _^<i_SF 12_^>i_ (anth _^<b_1968_^>b_; vt _^<i_The Best of Sci-Fi 12_^>i_ UK 1970).
Merril's anthologies were always lively, with an emphasis on stories of wit and literacy, and certainly helped to improve standards in sf generally. The editors of the major magazines, notably _^<i_ASF_^>i_, _^<i_FSF_^>i_, _^<i_Gal_^>i_ and
_^<i_NW_^>i_, published "Best" anthologies of one kind or another from their own pages, most consistently and influentially in the case of _^<i_FSF_^>i_._^<n__^<n_Anthologies had a great deal to do with finding a new audience for sf in the UK. Here
the important date was 1955, when Edmund _^<a_!T961_CRISPIN_^>a_ launched his _^<b_Best SF_^>b_ series (1955-70), 7 vols in all. Among the finest anthologies produced, always gracefully introduced, they were not selected on an annual basis and are
thus not directly comparable to Merril's books. Later important anthologists in the UK were Kingsley _^<a_!T153_AMIS_^>a_ and Robert _^<a_!T841_CONQUEST_^>a_ with their _^<b_Spectrum_^>b_ series (1961-6), 5 vols in all, and Brian W.
_^<a_!T87_ALDISS_^>a_ with the _^<b_Penguin Science Fiction_^>b_ series (1961-4), 3 vols in all. Aldiss remained an active anthologist for some time, and with Harry _^<a_!T4316_HARRISON_^>a_ he edited 9 _^<b_Best SF_^>b_ books annually 1967-75,
beginning with _^<i_Best SF: 1967_^>i_ (anth _^<b_1968_^>b_ US; vt _^<i_The Year's Best Science Fiction No 1_^>i_ UK)._^<n__^<n_More recent "Best" series have been edited by Lester _^<a_!T1164_DEL REY_^>a_ (1971-5), starting with _^<i_Best Science
Fiction Stories of the Year (1971)_^>i_ (anth _^<b_1972_^>b_), from E.P. Dutton & Co., Del Rey's successor as editor of this series being Gardner _^<a_!T1313_DOZOIS_^>a_ (1976-81); by Donald A. Wollheim with Terry Carr (1965-71) from _^<a_!T20_ACE
BOOKS_^>a_ starting with _^<i_World's Best Science Fiction: 1965_^>i_ (anth _^<b_1965_^>b_); by Wollheim alone (1972-81) and with Arthur W. _^<a_!T2768_SAHA_^>a_ (1982-90) for _^<a_!T1100_DAW BOOKS_^>a_, starting with _^<i_The 1972 Annual World's
Best SF_^>i_ (anth _^<b_1972_^>b_); by Carr alone (1972-87), first for _^<a_!T377_BALLANTINE_^>a_, later various publishers, UK edition from _^<a_!T4765_GOLLANCZ_^>a_, beginning with _^<i_The Best Science Fiction of the Year_^>i_ (anth
_^<b_1972_^>b_); by Gardner Dozois alone (1984 to date), beginning with _^<i_The Year's Best Science Fiction, First Annual Collection_^>i_ (anth _^<b_1984_^>b_), from _^<a_!T668_BLUEJAY BOOKS_^>a_ to 1986, then from St Martin's (with UK reprint
from Robinson) starting with _^<i_Year's Best Science Fiction, Fourth Annual Collection_^>i_ (anth _^<b_1987_^>b_; vt _^<i_The Mammoth Book of Best New Science Fiction_^>i_ UK) and _^<i_Year's Best Science Fiction, Fifth Annual Collection_^>i_
(anth _^<b_1988_^>b_; vt _^<i_Best New SF 2_^>i_ UK); and by David S. _^<a_!T4619_GARNETT_^>a_ in the UK (1988-90), in a short-lived but interesting series starting with _^<i_The Orbit Science Fiction Yearbook_^>i_ (anth _^<b_1988_^>b_). Tastes in
these matters are subjective, but the critical consensus is clearly that Terry Carr's selection was on the whole the most reliable through to the mid-1980s, and that his mantle has passed to Gardner Dozois, whose selection is now both the biggest
and the best. Carr's and Dozois's "Year's Best" collections are required reading for anybody seriously interested in sf in short forms._^<n__^<n_Anthologies consisting of award-winning stories, of course, are of an especially high standard.
Hugo-winning short fiction has been collected in a series of anthologies ed Isaac _^<a_!T268_ASIMOV_^>a_ (_^<i_whom see for details_^>i_). Nebula-winning short fiction has been regularly anthologized along with some runners up, and also winners of
the Rhysling Award for _^<a_!T1934_POETRY_^>a_; the _^<b_Science Fiction Hall of Fame_^>b_ stories, which like the Nebulas are judged by members of the _^<a_!T2147_SCIENCE FICTION WRITERS OF AMERICA_^>a_, have also been anthologized (_^<i_for
details of both these anthology series see_^>i_ _^<a_!T3147_NEBULA_^>a_)._^<n__^<n_A number of anthologies from the 1970s onwards have been specifically designed for teaching _^<a_!T2071_SF IN THE CLASSROOM_^>a_, and some are discussed in that
entry. Also important have been various anthologies characterizing particular historical periods of sf through reprinting their most interesting stories. Sam _^<a_!T3074_MOSKOWITZ_^>a_ has been an important editor in this area, as have been Mike
_^<a_!T265_ASHLEY_^>a_, Brian W. Aldiss and Harry Harrison, and Isaac Asimov and Martin Harry Greenberg with a series in which each book reprints stories all from a single year, beginning with _^<i_Isaac Asimov Presents the Great SF Stories Volume
1, 1939_^>i_ (anth _^<b_1979_^>b_), from DAW Books, complete in 25 vols._^<n__^<n_Aside from those mentioned above, notable anthologists have included Michael _^<a_!T620_BISHOP_^>a_, Anthony _^<a_!T4937_BOUCHER_^>a_, Jack _^<a_!T1055_DANN_^>a_,
Ellen _^<a_!T1073_DATLOW_^>a_, August _^<a_!T1189_DERLETH_^>a_, Thomas M. _^<a_!T1244_DISCH_^>a_, James E. _^<a_!T4896_GUNN_^>a_, David _^<a_!T4329_HARTWELL_^>a_, Richard _^<a_!T3493_LUPOFF_^>a_ and Barry N. _^<a_!T3629_MALZBERG_^>a_. There have
been many others._^<n__^<n_A problem for all sf readers is the location in book collections or anthologies of short stories that have been recommended to them. Early indexes to sf anthologies, by Walter R. _^<a_!T792_COLE_^>a_ and Frederick Siemon,
have been superseded by a series of books by William G. _^<a_!T854_CONTENTO_^>a_, which are essential tools of reference for the serious sf researcher (_^<i_see also_^>i_ _^<a_!T585_BIBLIOGRAPHIES_^>a_), beginning with _^<i_Index to Science Fiction
Anthologies and Collections_^>i_ (_^<b_1978_^>b_) and _^<i_Index to Science Fiction Anthologies and Collections: 1977-1983_^>i_ (_^<b_1984_^>b_). After that, researchers need to turn to the annual compilations produced by Contento with Charles N.
_^<a_!T5026_BROWN_^>a_ and published by _^<a_!T3419_LOCUS_^>a_ Press (>_^<a_!T854_CONTENTO_^>a_ _^<i_for details_^>i_). [PN]_^<n__^<n_
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ANTHONY, PIERS
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Working name of US writer Piers Anthony Dillingham Jacob (1934- ) for all his published work. Born in England, he was educated in the USA and took out US citizenship in 1958. He began publishing short stories with "Possible to Rue" for
_^<i_Fantastic_^>i_ in 1963, and for the next decade appeared fairly frequently in the magazines, though he has more and more concentrated on longer forms; his early work is fairly represented in _^<i_Anthonology_^>i_ (coll _^<b_1985_^>b_). His two
most ambitious novels came early in his career. _^<i_Chthon_^>i_ (_^<b_1967_^>b_), his first, is a complexly structured adventure of self-discovery partially set in a vast underground prison, and making ambitious though sometimes over-baroque use
of _^<a_!T1812_PASTORAL_^>a_ and other parallels; its sequel, _^<i_Phthor_^>i_ (_^<b_1975_^>b_), is less far-reaching, less irritating, but also less involving. PA's second genuinely ambitious novel is the extremely long
_^<i__^<a_!B9006_MACROSCOPE_^>a__^>i_ (_^<b_1969_^>b_; cut 1972 UK), whose complicated _^<a_!T2342_SPACE-OPERA_^>a_ plot combines astrology with old-fashioned _^<a_!T2104_SENSE-OF-WONDER_^>a_ concepts like the use of the planet Neptune as a
spaceship. In constructing a series of sf devices in this book to carry across his concern with representing the unity of all phenomena, microscopic to macroscopic, PA evokes themes from _^<a_!T5830_SUPERMAN_^>a_ to _^<a_!T902_COSMOLOGY_^>a_ and
Jungian _^<a_!T2023_PSYCHOLOGY_^>a_; of all his works, this novel alone manages to seem adequately structured to convey the burden of a sometimes mercilessly hasty imagination._^<n__^<n_The allegorical implications of
_^<i__^<a_!B9006_MACROSCOPE_^>a__^>i_ received more expansive -- but less sustained or intense -- treatment in two later series. In the _^<b_Tarot_^>b_ series -- _^<i_God of Tarot_^>i_ (_^<b_1979_^>b_), _^<i_Vision of Tarot_^>i_ (_^<b_1980_^>b_)
and _^<i_Faith of Tarot_^>i_ (_^<b_1980_^>b_), all recast as _^<i_Tarot_^>i_ (omni _^<b_1987_^>b_) -- various protagonists engage in a quest for the meaning of an emblem-choked Universe. The _^<b_Incarnations of Immortality_^>b_ series -- _^<i_On a
Pale Horse_^>i_ (_^<b_1983_^>b_), _^<i_Bearing an Hourglass_^>i_ (_^<b_1984_^>b_), _^<i_With a Tangled Skein_^>i_ (_^<b_1985_^>b_), _^<i_Wielding a Red Sword_^>i_ (_^<b_1986_^>b_), _^<i_Being a Green Mother_^>i_ (_^<b_1987_^>b_), _^<i_For Love of
Evil_^>i_ (_^<b_1988_^>b_) and _^<i_And Eternity_^>i_ (_^<b_1990_^>b_) -- features protagonists who are themselves embodiments of a meaningful Universe, representing in their very being aspects of the Universe like Death and Fate. The final volume
involves a search to replace an increasingly indifferent God._^<n__^<n_In distinct contrast to complex works like these lies the post-_^<a_!T4482_HOLOCAUST_^>a_ sequence comprising _^<i_Sos the Rope_^>i_ (_^<b_1968_^>b_), winner of the $5000 award
from Pyramid Books, _^<i_FSF_^>i_ and Kent Productions, _^<i_Var the Stick_^>i_ (_^<b_1972_^>b_ UK; cut 1973 US) and _^<i_Neq the Sword_^>i_ (_^<b_1975_^>b_), a combat-oriented trilogy assembled as _^<i_Battle Circle_^>i_ (omni _^<b_1978_^>b_).
Here and in other novels PA resorts to stripped-down protagonists with monosyllabic and/ or generic names, like Sos or Neq, or like Cal, Veg and Aquilon, whose adventures on various planets make up his second trilogy, _^<i_Omnivore_^>i_
(_^<b_1968_^>b_), _^<i_Orn_^>i_ (_^<b_1971_^>b_) and _^<i_Ox_^>i_ (_^<b_1976_^>b_), assembled as _^<i_Of Man and Manta_^>i_ (omni _^<b_1986_^>b_ UK): humanity turns out to be the omnivore. Both these series use action scenarios with thinly drawn
backgrounds and linear plots not comfortably capable of sustaining the weight of significance the author requires of them. Perhaps the most successful of such books is _^<i_Steppe_^>i_ (_^<b_1976_^>b_ UK), a singleton featuring Alp, whose
single-minded career playing Genghis Khan in a future dominated by a galaxy-spanning computer-operated game (> _^<a_!T1695_GAMES AND SPORTS_^>a_) is refreshingly unadulterated with any attempts at significance._^<n__^<n__^<i_Prostho Plus_^>i_
(1967-8 _^<i_If_^>i_; fixup _^<b_1971_^>b_) and _^<i_Triple Detente_^>i_ (1968 _^<i_ASF_^>i_; exp _^<b_1974_^>b_) are both interstellar epics, the former comic and featuring a dentist, the latter concentrating on an _^<a_!T1752_OVERPOPULATION_^>a_
theme and its solution through culling by _^<a_!T3796_INVASION_^>a_. Far more ambitious -- though again by no means more assured -- are two series in the same vein. The _^<b_Cluster_^>b_ series, comprising _^<i_Cluster_^>i_ (_^<b_1977_^>b_; vt
_^<i_Vicinity Cluster_^>i_ 1979 UK), _^<i_Chaining the Lady_^>i_ (_^<b_1978_^>b_), _^<i_Kirlian Quest_^>i_ (_^<b_1978_^>b_), _^<i_Thousandstar_^>i_ (_^<b_1980_^>b_) and _^<i_Viscous Circle_^>i_ (_^<b_1982_^>b_), is an elaborate space opera; it
relates to _^<b_Tarot_^>b_ in its use of Kirlian auras and other similar material in a Universe ultimately obedient to occult commands. The _^<b_Bio of a Space Tyrant_^>b_ sequence -- _^<i_Refugee_^>i_ (_^<b_1983_^>b_), _^<i_Mercenary_^>i_
(_^<b_1984_^>b_), _^<i_Politician_^>i_ (_^<b_1985_^>b_), _^<i_Executive_^>i_ (_^<b_1985_^>b_) and _^<i_Statesman_^>i_ (_^<b_1986_^>b_) -- slowly but surely embroils its initially ruthless protagonist in a world whose complexities demand of him a
moral (and therefore self-limiting) response._^<n__^<n_PA is a writer capable of sweepingly intricate fiction, though his tendency to produce less demanding work may obscure this ambitiousness of purview. He is fluent and extremely popular, though
his great success has done little to modify the truculent and solitary tone of his utterances on a variety of subjects. The critical apparatus surrounding the republication of _^<i_But What of Earth?_^>i_ (_^<b_1976_^>b_ Canada; text restored 1989
US) with Robert _^<a_!T913_COULSON_^>a_, related to the _^<b_Tarot_^>b_ sequence, serves as an extraordinary (and, with the original Laser Books edition not in print, not easily testable) exercise in special pleading; and his autobiography,
_^<i_Bio of an Ogre_^>i_ (_^<b_1988_^>b_), similarly reveals a man unreconciled, unforgiving. It might be added, too, that few of PA's numerous fantasies (listed below) seem built to last. When he is helter-skelter -- and much of even his better
work is marred by hasty-seeming digressions -- PA is of merely marginal interest; but the ongoing _^<b_Geodyssey_^>b_ sequence -- comprising _^<i_Isle of Women_^>i_ (_^<b_1993_^>b_) and _^<i_Shame of Man_^>i_ (_^<b_1994_^>b_) -- is a strongly
argued presentation of humanity's life on planet Earth, conducted through successive incarnations of exemplary human types. It is only, in other words, when he embraces a complex mythologizing vision of the meaningfulness of things that PA becomes
fierce. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_The Ring_^>i_ (_^<b_1968_^>b_) with Robert E. _^<a_!T3662_MARGROFF_^>a_; _^<i_The E.S.P. Worm_^>i_ (_^<b_1970_^>b_) with Margroff; _^<i_Race Against Time_^>i_ (_^<b_1973_^>b_), a juvenile;
_^<i_Rings of Ice_^>i_ (_^<b_1974_^>b_), a _^<a_!T1243_DISASTER_^>a_ novel based on Isaac Newton Vail's Annular Theory (> _^<a_!T2019_PSEUDO-SCIENCE_^>a_); a series of martial arts fantasies, all with Roberto Fuentes (1934- ), comprising
_^<i_Kiai!_^>i_ (_^<b_1974_^>b_), _^<i_Mistress of Death_^>i_ (_^<b_1974_^>b_), _^<i_The Bamboo Bloodbath_^>i_ (_^<b_1974_^>b_), _^<i_Ninja's Revenge_^>i_ (_^<b_1975_^>b_) and _^<i_Amazon Slaughter_^>i_ (_^<b_1976_^>b_); the _^<b_Xanth_^>b_ series
of fantasies comprising _^<i_A Spell for Chameleon_^>i_ (_^<b_1977_^>b_), _^<i_The Source of Magic_^>i_ (_^<b_1979_^>b_) and _^<i_Castle Roogna_^>i_ (_^<b_1979_^>b_), all three assembled as _^<i_The Magic of Xanth_^>i_ (omni _^<b_1981_^>b_), and
_^<i_Centaur Aisle_^>i_ (_^<b_1982_^>b_), _^<i_Ogre, Ogre_^>i_ (_^<b_1982_^>b_), _^<i_Night Mare_^>i_ (_^<b_1983_^>b_), _^<i_Dragon on a Pedestal_^>i_ (_^<b_1983_^>b_), _^<i_Crewel Lye: A Caustic Yarn_^>i_ (_^<b_1984_^>b_), _^<i_Golem in the
Gears_^>i_ (_^<b_1986_^>b_), _^<i_Vale of the Vole_^>i_ (_^<b_1987_^>b_), _^<i_Heaven Cent_^>i_ (_^<b_1988_^>b_), _^<i_Man from Mundania_^>i_ (_^<b_1989_^>b_), _^<i_Isle of View_^>i_ (_^<b_1990_^>b_) and _^<i_Question Quest_^>i_
(_^<b_1991_^>b_),_^<i_The Color of her Panties_^>i_ (_^<b_1992_^>b_), _^<i_Demons Don't Dream_^>i_ (_^<b_1993_^>b_) and _^<i_Harpy Thyme _^>i_(_^<b_1993_^>b_), plus _^<i_Piers Anthony's Visual Guide to Xanth_^>i_ (_^<b_1989_^>b_) with Jody Lynn
Nye; _^<i_Hasan_^>i_ (1969-70 _^<i_Fantastic_^>i_; exp _^<b_1977_^>b_; exp 1986); _^<i_Pretender_^>i_ (_^<b_1979_^>b_) with Frances Hall (1914- ); the _^<b_Apprentice Adept_^>b_ sequence comprising _^<i_Split Infinity_^>i_ (_^<b_1980_^>b_),
_^<i_Blue Adept_^>i_ (_^<b_1981_^>b_) and _^<i_Juxtaposition_^>i_ (_^<b_1982_^>b_), all three assembled as _^<i_Double Exposure_^>i_ (omni _^<b_1982_^>b_), and _^<i_Out of Phaze_^>i_ (_^<b_1987_^>b_), _^<i_Robot Adept_^>i_ (_^<b_1988_^>b_),
_^<i_Unicorn Point_^>i_ (_^<b_1989_^>b_) and _^<i_Phaze Doubt_^>i_ (_^<b_1990_^>b_); _^<i_Mute_^>i_ (_^<b_1981_^>b_); _^<i_Ghost_^>i_ (_^<b_1986_^>b_); _^<i_Shade of the Tree_^>i_ (_^<b_1986_^>b_); the _^<b_Kelvin of Rud_^>b_ series of fantasies
with Robert E. Margroff comprising _^<i_Dragon's Gold_^>i_ (_^<b_1987_^>b_), _^<i_Serpent's Silver_^>i_ (_^<b_1988_^>b_) and _^<i_Chimaera's Copper_^>i_ (_^<b_1990_^>b_), all three being assembled as _^<i_The Adventures of Kelvin of Rud: Across the
Frames_^>i_ (omni _^<b_1992_^>b_; vt _^<i_Three Complete Novels_^>i_ 1994); and _^<i_Orc's Opal_^>i_ (_^<b_1990_^>b_) and _^<i_Mouvar's Magic_^>i_ (_^<b_1992_^>b_), both being assembled as _^<i_The Adventures of Kelvin of Rud: Final Magic_^>i_
(omni _^<b_1992_^>b_); _^<i_Total Recall_^>i_ * (_^<b_1989_^>b_), a novelization of the film _^<a_!T6060_TOTAL RECALL_^>a_ (1990), itself based on Philip K. _^<a_!T1222_DICK_^>a_'s "We Can Remember It for You Wholesale "(1966); _^<i_Through the
Ice_^>i_ (_^<b_1989_^>b_) with Robert Kornwise (?1971-1987), a collaborative gesture to a dead teenage writer; _^<i_Pornucopia_^>i_ (_^<b_1989_^>b_), a pornographic fantasy; _^<i_Hard Sell_^>i_ (fixup _^<b_1990_^>b_), humorous sf; _^<i_Dead
Morn_^>i_ (_^<b_1990_^>b_) with Roberto Fuentes, a _^<a_!T6026_TIME-TRAVEL_^>a_ tale of a visit from the 25th century to a revolutionary Cuba familiar to the book's co-author; _^<i_Firefly_^>i_ (_^<b_1990_^>b_), horror; _^<i_Balook_^>i_
(_^<b_1991_^>b_), young-adult sf; the _^<b_Mode_^>b_ fantasy series, beginning with _^<i_Virtual Mode_^>i_ (_^<b_1991_^>b_), _^<i_Fractal Mode_^>i_ (_^<b_1992_^>b_) and _^<i_Chaos Mode_^>i_ (_^<b_1993_^>b_) _^<i_Tatham Mound_^>i_ (_^<b_1991_^>b_),
a fantasy based on Amerindian material; _^<i_Mer-Cycle_^>i_ (_^<b_1991_^>b_); vt _^<i_Mercycle_^>i_ 1993 UK), an sf singleton; _^<i_The Caterpillar's Question_^>i_ (_^<b_1992_^>b_) with Philip Jose _^<a_!T1435_FARMER_^>a_; _^<i_Alien Plot_^>i_
(_^<b_1992_^>b_); _^<i_Killobyte _^>i_(_^<b_1992_^>b_); _^<i_If I Pay Thee Not in Gold _^>i_(_^<b_1993_^>b_) with Mercedes _^<a_!T4148_LACKEY_^>a_._^<b_As Editor:_^>b_ _^<i_Uncollected Stars_^>i_ (anth _^<b_1986_^>b_) with Barry N.
_^<a_!T3629_MALZBERG_^>a_, Martin H. _^<a_!T4842_GREENBERG_^>a_ and Charles G. _^<a_!T5488_WAUGH_^>a_; _^<i_Tales from the Great Turtle_^>i_ (anth _^<b_1994_^>b_) with Richard Gilliam._^<b_Nonfiction:_^>b__^<i_Letters to Jenny_^>i_ (coll
_^<b_1993_^>b_). _^<b_About the author:_^>b_ _^<i_Piers Anthony_^>i_ (_^<b_1983_^>b_ chap) by Michael R. _^<a_!T802_COLLINGS_^>a_; _^<i_Piers Anthony: Biblio of an Ogre: A Working Bibliography_^>i_ (_^<b_1990_^>b_ chap) by Phil
_^<a_!T5712_STEPHENSEN-PAYNE_^>a_._^<b_See also:_^>b_ _^<a_!T283_ASTRONOMY_^>a_; _^<a_!T956_CRIME AND PUNISHMENT_^>a_; _^<a_!T1165_DEL REY BOOKS_^>a_; _^<a_!T6576_ECOLOGY_^>a_; _^<a_!T4740_GODS AND DEMONS_^>a_; _^<a_!T4555_HUMOUR_^>a_; _^<i_The
_^<a_!T3595_MAGAZINE OF FANTASY AND SCIENCE FICTION_^>a__^>i_; _^<a_!T3744_MEDICINE_^>a_; _^<a_!T3118_MUSIC_^>a_; _^<a_!T5281_UNDER THE SEA_^>a_.
-R-
(c) 1995 John Clute and Peter Nicholls
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-A-
ANTHROPOLOGY
-T-
Anthropology is the scientific study of the genus _^<i_Homo_^>i_, especially its species _^<i_H. sapiens_^>i_. Physical anthropology deals with the history of _^<i_H. sapiens_^>i_ and its immediate evolutionary precursors (some of which in fact
coexisted with _^<i_H. sapiens_^>i_); cultural anthropology (ethnology) deals with the contemporary diversity of human cultures (_^<i_see also_^>i_ _^<a_!T2300_SOCIOLOGY_^>a_). The founding fathers of the science -- Sir Edward Tylor (1832-1917) and
Sir James Frazer (1854-1941) among them -- made the dubious assumption that, by studying the diversity of contemporary societies and describing a "hierarchy" extending from the most "primitive" to the most "highly developed", they could discover a
single evolutionary pattern; this assumption is built into much early anthropological sf. Modern anthropologists take care to avoid this kind of thinking, and tend to refer to "pre-literate", "tribal", "traditional" or "non-technological"
societies, rather than "primitive" ones, in order to emphasize that there is no single path of progress which all societies must tread._^<n__^<n_Anthropological speculations feature in sf in a number of different ways, representing various
approaches to the two dimensions of inquiry. There is a subgenre of stories dealing directly with the issues surrounding the physical _^<a_!T6717_EVOLUTION_^>a_ of humans from bestial ancestors and with the cultural evolution of human societies in
the distant past (> _^<a_!T1727_ORIGIN OF MAN_^>a_ _^<i_for discussion of such stories_^>i_); these are speculative fictions that owe their inspiration to scientific theory and discovery but, as they participate hardly at all in the characteristic
vocabulary of ideas and imaginative apparatus of sf, they are often seen as "borderline" sf at best, although the evocation of ideas drawn from physical anthropology in such works as _^<i__^<a_!B9253_NO ENEMY BUT TIME_^>a__^>i_ (_^<b_1982_^>b_) and
_^<i_Ancient of Days_^>i_ (_^<b_1985_^>b_) by Michael _^<a_!T620_BISHOP_^>a_ is entirely sciencefictional. The species of fantasy which straightforwardly represents the other dimension of the anthropological spectrum by dealing in the imaginary
construction of contemporary societies is also borderline; most such stories are "lost-race" fantasies (> _^<a_!T3460_LOST WORLDS_^>a_) that usually make little use of scientific anthropology in the design of their hypothetical
cultures._^<n__^<n_Some prehistoric fantasies are pure romantic adventure stories -- e.g., Edgar Rice _^<a_!T5097_BURROUGHS_^>a_'s _^<i_The Eternal Lover_^>i_ (_^<b_1925_^>b_; vt _^<i_The Eternal Savage_^>i_) -- but the subgenre includes a
considerable number of thoughtful analytical works: J.H. _^<a_!T2696_ROSNY _^>a_, aine's _^<i_La guerre du feu_^>i_ (_^<b_1909_^>b_; trans as _^<i_Quest for Fire_^>i_ _^<b_1967_^>b_), the first 4 vols of Johannes V. _^<a_!T3890_JENSEN_^>a_'s
_^<i_Den Lange Rejse_^>i_ (_^<b_1908-22_^>b_; vols 1 and 2 trans as _^<i_The Long Journey: Fire and Ice_^>i_ _^<b_1922_^>b_; vols 3 and 4 trans as _^<i_The Cimbrians: The Long Journey II_^>i_ _^<b_1923_^>b_), J. Leslie _^<a_!T2985_MITCHELL_^>a_'s
_^<i_Three Go Back_^>i_ (_^<b_1932_^>b_), William _^<a_!T4758_GOLDING_^>a_'s _^<i_The Inheritors_^>i_ (_^<b_1955_^>b_) and Bjorn _^<a_!T4142_KURTEN_^>a_'s _^<i_Den svarta tigern_^>i_ (_^<b_1978_^>b_; trans by the author as _^<i_Dance of the
Tiger_^>i_ _^<b_1978_^>b_) are the most outstanding._^<n__^<n_There were also anthropological speculations in travellers' tales, but they were mostly too early to be informed by any genuinely scientific ideas. One of the most notable of such
proto-anthropological speculations is to be found in Denis Diderot's "Supplement to Bougainville's Voyage" (1796), which masquerades as an addendum to a real travelogue in order to present a debate between a Tahitian and a ship's chaplain on the
advantages of the state of Nature versus those of civilization. Benjamin _^<a_!T1248_DISRAELI_^>a_'s _^<i_Adventures of Captain Popanilla_^>i_ (_^<b_1828_^>b_) also features a confrontation between the innocent and happy life of an imaginary
South-Sea-island culture and the principles of Benthamite Utilitarianism. The earliest stories of this kind which embody speculations drawn from actual scientific thought include some of the items in Andrew _^<a_!T4176_LANG_^>a_'s _^<i_In the Wrong
Paradise and Other Stories_^>i_ (coll _^<b_1886_^>b_) and a handful of stories by Grant _^<a_!T111_ALLEN_^>a_, including _^<i_The Great Taboo_^>i_ (_^<b_1890_^>b_) and some of his _^<i_Strange Stories_^>i_ (coll _^<b_1884_^>b_). Allen was also the
first writer to bring a hypothetical anthropologist from another culture to study tribalism and taboo in Victorian society, in _^<i_The British Barbarians_^>i_ (_^<b_1895_^>b_). Another _^<a_!T2812_SATIRE_^>a_ in a similar vein is H.G.
_^<a_!T5528_WELLS_^>a_'s _^<i_Mr Blettsworthy on Rampole Island_^>i_ (_^<b_1928_^>b_), in which a deranged young man sees the inhabitants of New York as a brutal and primitive _^<a_!T3823_ISLAND_^>a_ culture. Recent sf stories which submit humans
to the clinical eyes of alien anthropologists include _^<i_Mallworld_^>i_ (_^<b_1981_^>b_) by S.P. _^<a_!T2313_SOMTOW_^>a_, _^<i_Cards of Grief_^>i_ (_^<b_1986_^>b_) by Jane _^<a_!T6235_YOLEN_^>a_ and (although they are _^<a_!T1432_FAR-FUTURE_^>a_
humans) _^<i__^<a_!B9273_AN ALIEN LIGHT_^>a__^>i_ (_^<b_1988_^>b_) by Nancy _^<a_!T4129_KRESS_^>a_._^<n__^<n_The failings of the lost-race story as anthropological sf lie not so much in the ambitions of writers as in limitations of the form. These
limitations have occasionally been transcended in more recent times. In _^<i_You Shall Know Them_^>i_ (_^<b_1952_^>b_; vt _^<i_Borderline_^>i_; vt _^<i_The Murder of the Missing Link_^>i_) by _^<a_!T5352_VERCORS_^>a_ a species of primate is
discovered which fits in the margin of all our definitions of "humanity"; it becomes the focal point of a speculative attempt to specify exactly what we mean -- or ought to mean -- by "Man". _^<i_Brother Esau_^>i_ (_^<b_1982_^>b_) by Douglas Orgill
and John _^<a_!T4864_GRIBBIN_^>a_, _^<i_Father to the Man_^>i_ (_^<b_1989_^>b_) by Gribbin alone and _^<i_Birthright_^>i_ (_^<b_1990_^>b_) by Michael _^<a_!T5735_STEWART_^>a_ develop similar premises in more-or-less conventional thriller formats,
while Maureen _^<a_!T1339_DUFFY_^>a_'s _^<i_Gor Saga_^>i_ (_^<b_1981_^>b_) uses a "half-human" protagonist as an instrument of clever satire (>_^<a_!T206_APES AND CAVEMEN_^>a_). _^<i_Providence Island_^>i_ (_^<b_1959_^>b_) by Jacquetta
_^<a_!T4345_HAWKES_^>a_ is a painstaking analysis of a society which has given priority to the development of the mind rather than technological control of the environment, thus calling into question the propriety of such terms as "primitive" and
"advanced". Aldous _^<a_!T4566_HUXLEY_^>a_'s _^<i_Island_^>i_ (_^<b_1962_^>b_) is somewhat similar, and a pulp sf story with the same fundamental message is "Forgetfulness" (1937) by John W. _^<a_!T5140_CAMPBELL_^>a_ Jr (writing as Don A. Stuart),
though this latter skips over any actual analysis of the culture described._^<n__^<n_The demise of the lost-race fantasy as an effective vehicle for anthropological speculation has led to a curiously paradoxical situation, in that the format has
been recast in modern sf by use of non-technological _^<a_!T98_ALIEN_^>a_ societies on other worlds in place of non-technological human societies on Earth. Ideas derived from the scientific study of humankind are widely -- and sometimes very
effectively -- applied to the designing of cultures which are by definition _^<i_non_^>i_human. So, while most sf aliens have always been surrogate humans, this has not necessarily been just through idleness or lack of imagination on the part of
writers: there is a good deal of sf in which alien beings are quite calculatedly and intelligently deployed as substitutes for mankind. Post-WWII sf has managed to ameliorate the paradoxicality of the situation by developing a convention which
allows a more straightforward revival of the lost-race format: the "lost colony" scenario in which long-lost human colonists on an alien world have reverted to barbarism, often following the fall of a _^<a_!T1678_GALACTIC EMPIRE_^>a_._^<n__^<n_The
anthropologist and sf writer Chad _^<a_!T3306_OLIVER_^>a_ has written a great many stories which deal with the confrontation between protagonists whose viewpoints are similar to ours and non-technological alien societies or human colonies. Notable
are "Rite of Passage" (1954), "Field Expedient" (1955) and "Between the Thunder and the Sun" (1957). Like Grant Allen, Oliver has also attempted the more ambitious project of imagining the situation in reverse, with alien anthropologists studying
our culture, in _^<i_Shadows in the Sun_^>i_ (_^<b_1954_^>b_). Other impressive sf stories which use "alien" societies in this way are "Mine Own Ways" (1960) by Richard _^<a_!T3553_MCKENNA_^>a_, _^<i_A Far Sunset_^>i_ (_^<b_1967_^>b_) by Edmund
_^<a_!T870_COOPER_^>a_, "The Sharing of Flesh" (1968) by Poul _^<a_!T169_ANDERSON_^>a_, _^<i_Beyond Another Sun_^>i_ (_^<b_1971_^>b_) by Tom _^<a_!T4745_GODWIN_^>a_, _^<i__^<a_!B9179_THE WORD FOR WORLD IS FOREST_^>a__^>i_ (1972; _^<b_1976_^>b_) by
Ursula K. _^<a_!T3318_LE GUIN_^>a_ (daughter of anthropologist Alfred Kroeber) and "Death and Designation Among the Asadi" (1973; exp vt _^<i__^<a_!B9279_TRANSFIGURATIONS_^>a__^>i_ _^<b_1979_^>b_) by Michael Bishop. Works which use the lost-colony
format to model non-technological human societies include several interesting novels by Jack _^<a_!T5317_VANCE_^>a_, notably _^<i_The Blue World_^>i_ (_^<b_1966_^>b_), Le Guin's _^<i_Rocannon's World_^>i_ (_^<b_1966_^>b_) and _^<i_Planet of
Exile_^>i_ (_^<b_1966_^>b_), Joanna _^<a_!T2741_RUSS_^>a_'s _^<i__^<a_!B8986_AND CHAOS DIED_^>a__^>i_ (_^<b_1970_^>b_), Cherry _^<a_!T5600_WILDER_^>a_'s _^<i_Second Nature_^>i_ (_^<b_1982_^>b_) and Donald _^<a_!T4075_KINGSBURY_^>a_'s
_^<i__^<a_!B9099_COURTSHIP RITE_^>a__^>i_ (_^<b_1982_^>b_; vt _^<i_Geta_^>i_). These human societies are often more different from non-technological human societies than are the alien examples, and the injection of some crucial distinguishing
feature -- usually _^<a_!T2021_PSI POWERS_^>a_ -- is common. This tends to move the stories away from strictly anthropological speculation toward a more general hypothetical _^<a_!T2300_SOCIOLOGY_^>a_. This convergence of the roles of aliens and
technologically unsophisticated humans is shown off to its greatest advantage in Ian _^<a_!T5484_WATSON_^>a_'s _^<i__^<a_!B9057_THE EMBEDDING_^>a__^>i_ (_^<b_1973_^>b_), which juxtaposes an examination of a South American tribe who have a strange
language and a correspondingly strange worldview with the arrival in Earth's neighbourhood of an equally enigmatic alien race. This is one of the very few stories to reflect the current state of anthropological science and its intimate links with
modern linguistics and semiology; many sf writers prefer to take their inspiration from the scholarly fantasies of such mock-anthropological studies as Robert _^<a_!T4815_GRAVES_^>a_'s _^<i_The White Goddess_^>i_ (_^<b_1948_^>b_); a notable example
is Joan _^<a_!T5376_VINGE_^>a_'s _^<i__^<a_!B9235_THE SNOW QUEEN_^>a__^>i_ (_^<b_1980_^>b_)._^<n__^<n_Another much-used narrative framework for the establishment of hypothetical human societies is the post-disaster scenario
(>_^<a_!T1243_DISASTER_^>a_; _^<a_!T4482_HOLOCAUST AND AFTER_^>a_; _^<a_!T2300_SOCIOLOGY_^>a_). Most fictions in this area deal with the destruction and reconstitution of society, and are perhaps of more general sociological interest. Where they
bear upon anthropology is not so much in their envisaging different states of social organization but in their embodiment of assumptions regarding social evolution. Interesting speculations are to be found in such novels as William
_^<a_!T4758_GOLDING_^>a_'s _^<i_Lord of the Flies_^>i_ (_^<b_1954_^>b_), Angela _^<a_!T5190_CARTER_^>a_'s _^<i__^<a_!B9069_HEROES AND VILLAINS_^>a__^>i_ (_^<b_1969_^>b_) and Russell _^<a_!T4452_HOBAN_^>a_'s _^<i__^<a_!B9074_RIDDLEY WALKER_^>a__^>i_
(_^<b_1980_^>b_), and in the _^<b_Pelbar_^>b_ series by Paul O. _^<a_!T5622_WILLIAMS_^>a_, begun with _^<i_The Breaking of Northwall_^>i_ (_^<b_1981_^>b_). By far the most richly detailed of such accounts of technologically primitive future
societies is Le Guin's _^<i_tour de force_^>i_ of speculative anthropology, _^<i__^<a_!B9061_ALWAYS COMING HOME_^>a__^>i_ (_^<b_1985_^>b_), which describes the tribal culture of the Kesh, inhabitants of a post-industrial California._^<n__^<n_It is
ironic that in the real world cultural anthropology's field of study is rapidly being eroded. No other science suffers so dramatically from Heisenberg's Uncertainty Principle: the effect the process of observation has on the subject of that
observation. Cultural anthropology may soon become a largely speculative discipline, looking forward to a possible future rebirth if and when the possibilities mapped out in sf are realized; this point is neatly made by Robert
_^<a_!T2216_SILVERBERG_^>a_'s story "Schwartz Between the Galaxies" (1974)._^<n__^<n_There is, of course, a much broader sense in which a great deal of sf may be said to embody anthropological perspectives. Sf must always attempt to put human
individuals, human societies and the entire human species into new contexts. Sf writers aspire -- or at least pretend -- to a kind of objectivity in their examination of the human condition. Such an attitude is by no means unknown in mainstream
fiction, but it is not typical. The attitude and method of sf writers are easily comparable to the difficult but fundamental task facing anthropologists, who must detach themselves from the inherited attitudes of their own society and immerse
themselves in the life of an alien culture without ever losing their ability to stand back from their experience and take the measure of that culture as objectively as possible. Because of this, workers in the human sciences might find much to
interest them in the study of sf. It is not surprising that the first sf anthology compiled as a teaching aid in a scientific subject (> _^<a_!T2071_SF IN THE CLASSROOM_^>a_) was the anthropological _^<i_Apeman, Spaceman_^>i_ (anth _^<b_1968_^>b_)
ed Leon E. _^<a_!T5771_STOVER_^>a_ and Harry _^<a_!T4316_HARRISON_^>a_; a more recent example is _^<i_Anthropology through Science Fiction_^>i_ (anth _^<b_1974_^>b_) ed Carol Mason, Martin H. _^<a_!T4842_GREENBERG_^>a_ and Patricia
_^<a_!T5471_WARRICK_^>a_. A collection of critical essays on the theme is _^<i_Aliens: The Anthropology of Science Fiction_^>i_ (anth _^<b_1987_^>b_) ed Eric S. _^<a_!T2474_RABKIN_^>a_ and George Edgar _^<a_!T2259_SLUSSER_^>a_._^<n__^<n_Further to
the last point, it is worth taking note of the fairly considerable body of sf which represents a "speculative anthropology" with no analogue in the science itself, dealing with _^<i_H. sapiens_^>i_ not as it is or has been but as it might be or
might become. The ultimate example is, of course, Olaf _^<a_!T2404_STAPLEDON_^>a_'s _^<i__^<a_!B9080_LAST AND FIRST MEN_^>a__^>i_ (_^<b_1930_^>b_), which describes the entire evolutionary history of the human race and its lineal descendants, but
there are many other works which deal with the possibilities of future developments in human nature. Now that the advent of _^<a_!T4657_GENETIC ENGINEERING_^>a_ promises to deliver control of our future _^<a_!T6717_EVOLUTION_^>a_ into our own
hands, discussions of the physical anthropology of the future have acquired a new practical relevance. This point was first made by J.B.S. _^<a_!T4923_HALDANE_^>a_ in his prophetic essay _^<i_Daedalus, or Science and the Future_^>i_
(_^<b_1924_^>b_); it is elaborately extrapolated in Brian M. _^<a_!T2385_STABLEFORD_^>a_'s and David _^<a_!T4186_LANGFORD_^>a_'s future history _^<i_The Third Millennium_^>i_ (_^<b_1985_^>b_) and in many other works which wonder how human beings
might remake their own nature, once they have the power to do so. [BS]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T1812_PASTORAL_^>a_; _^<a_!T5830_SUPERMAN_^>a_.
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ANTIGRAVITY
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The idea of somehow counteracting _^<a_!T4817_GRAVITY_^>a_ is one of the great sf dreams: it is gravity that kept us earthbound for so long, and even now the force required to escape the gravity well of Earth or any other celestial body is the main
factor that makes spaceflight so difficult and expensive. The theme of antigravity appeared early in sf, a typical 19th-century example being "apergy", an antigravity principle used to propel a spacecraft from Earth to Mars in Percy
_^<a_!T4855_GREG_^>a_'s _^<i_Across the Zodiac_^>i_ (_^<b_1880_^>b_) and borrowed for the same purpose by John Jacob _^<a_!T275_ASTOR_^>a_ in _^<i_A Journey in Other Worlds_^>i_ (_^<b_1894_^>b_). C.C. _^<a_!T1030_DAIL_^>a_'s _^<i_Willmoth the
Wanderer, or The Man from Saturn_^>i_ (_^<b_1890_^>b_) uses a convenient antigravity ointment to smear on the wanderer's space vehicle. More famously, in _^<i__^<a_!B9270_THE FIRST MEN IN THE MOON_^>a__^>i_ (_^<b_1901_^>b_) H.G.
_^<a_!T5528_WELLS_^>a_ used movable shutters made of "Cavorite", a metal that shields against gravity, to navigate a spacecraft to the Moon._^<n__^<n_Other unexplained antigravity devices remained popular for a long time, especially in juvenile sf,
as in the flying belt used by _^<a_!T5062_BUCK ROGERS_^>a_ or the antigravitic "flubber", flying rubber, in the film _^<i_The_^>i_ _^<a_!T16_ABSENT-MINDED PROFESSOR_^>a_ (1961). In two notable short stories of the 1950s about the discovery of
antigravity, however -- "Noise Level" (1952) by Raymond F. _^<a_!T3934_JONES_^>a_ and "Mother of Invention" (1953) by Tom _^<a_!T4745_GODWIN_^>a_ -- there are (not very convincing) attempts to give it a scientific rationale. Much more famous (and
more convincing -- although still wrong) is James _^<a_!T658_BLISH_^>a_'s explanation of the antigravity effect used by his _^<a_!T2368_SPINDIZZIES_^>a_, the devices that enable whole cities to cross the Galaxy in the series of stories and novels
collected as _^<i__^<a_!B9125_CITIES IN FLIGHT_^>a__^>i_ (omni _^<b_1970_^>b_): in one, "Bridge" (1952), he invokes physicists Paul Dirac (1902-1984) and P.M.S. Blackett (1987-1974) in several pages of formulae purporting to show that "both
magnetism and gravity are phenomena of rotation"._^<n__^<n_The term "antigravity" is scorned by physicists. Einstein's General Theory of Relativity sees a gravitational field as equivalent to a curving of spacetime. Thus an antigravity device could
work only by locally rebuilding the basic framework of the Universe itself; antigravity would require negative mass, a concept conceivable only in a universe of "negative space" which could not co-exist with our own. Charles Eric
_^<a_!T3606_MAINE_^>a_ confronted Einstein head-on when, in _^<i_Count-Down_^>i_ (_^<b_1959_^>b_; vt _^<i_Fire Past the Future_^>i_ US), he proposed that, if gravity were curved space, all that was necessary to permit antigravity -- he made it
sound easy -- was to "simply bend space the other way"._^<n__^<n_The proliferation in the 1970s and 1980s of bestselling popularizing books about modern physics may have something to do with the fact that antigravity, for so long a popular theme,
is now seldom used by sf writers. [PN/TSu]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T4595_IMAGINARY SCIENCE_^>a_; _^<a_!T1968_POWER SOURCES_^>a_.
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ANTIHEROES
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> _^<a_!T4395_HEROES_^>a_._^<n__^<n_
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ANTI-INTELLECTUALISM IN SF
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Anti-intellectualism takes two forms in sf: a persistent if minor theme appears in stories in which the intellect is distrusted; more common are stories about future _^<a_!T1370_DYSTOPIAS_^>a_ in which society at large distrusts the intellect
although the authors, themselves intellectuals, do not._^<n__^<n_In stories of the first sort, _^<a_!T3787_INTELLIGENCE_^>a_ is usually seen to be sterile if unmodified by intuition, feeling or compassion -- a familiar theme in literature
generally. _^<i_That Hideous Strength_^>i_ (_^<b_1945_^>b_) by C.S. _^<a_!T3368_LEWIS_^>a_ attacks a government-backed scientific organization for its thoughtlessness and smugness about the consequences for humanity of scientific development; one
of the villains, a vulgar journalist, is clearly modelled on H.G. _^<a_!T5528_WELLS_^>a_. The symbol of the sterile intellect is a disembodied head, cold and evil, in a bottle. In _^<a_!T4659_GENRE SF_^>a_, too, brains in bottles -- or at least in
dome-shaped heads attached to merely vestigial bodies -- have been among the commonest _^<a_!T752_CLICHES_^>a_, especially in the 1930s. The archetype here is "Alas, All Thinking!" (1935) by Harry _^<a_!T459_BATES_^>a_, in which the
_^<a_!T6717_EVOLUTION_^>a_ of mankind is shown to culminate in just such a figure, rendered in a memorable image; the horrified protagonist, an intelligent man from the present, resolves to start spending less time on intellectual
activities._^<n__^<n_The theme of intelligence as insufficient on its own frequently takes the form of mankind learning to adapt harmoniously to an Eden-like world (> _^<a_!T3385_LIFE ON OTHER WORLDS_^>a_) to which individuals somehow come to
belong organically and transcendentally, a process that bypasses the intellect and proves impossible to humans whose minds outweigh their hearts. Such an evolution occurs towards the end of Michael _^<a_!T5864_SWANWICK_^>a_'s
_^<i__^<a_!B9223_STATIONS OF THE TIDE_^>a__^>i_ (_^<b_1991_^>b_) and is central to J.G. _^<a_!T378_BALLARD_^>a_'s _^<i_The Drowned World_^>i_ (_^<b_1962_^>b_ US). Significantly, in both books -- as in many others -- the union with the
non-intellectual world is envisaged as a return to water: back to the bloodstream, so to speak._^<n__^<n_Anti-intellectual sf stories were given some impetus by the bombing of Hiroshima: a distrust of _^<a_!T2880_SCIENTISTS_^>a_ and of the
potentially awesome results of irresponsibly wielded scientific knowledge became quite widespread. These moral issues were often quite responsibly examined in sf stories, but sf _^<a_!T726_CINEMA_^>a_ tended to take a more simplistic line. The
mid-1950s saw a procession of _^<a_!T3011_MONSTER MOVIES_^>a_ in which very often the monsters were the products of scientific irresponsibility; commonly a religiose voice, impressively baritone, would intone on the sound-track: "There are some
things Man was not meant to know."_^<n__^<n_A new twist on the anti-intellectual theme became quite common in the pessimistic 1980s: the uselessness of the intellect in the face of cosmic indifference and boundless _^<a_!T6679_ENTROPY_^>a_. It has
even been suggested, in both sf and science fact, that intelligence may one day prove to have been a non-viable mutation, a mere comma in the long, mindless sentence of our Universe. Bruce _^<a_!T5717_STERLING_^>a_'s "Swarm" (1982) has a clever
superhuman outmanoeuvred by an alien _^<a_!T4447_HIVE-MIND_^>a_ which has intelligence genetically available for special circumstances, but most of the time repudiates it as being an antisurvival trait. The theme is seldom spelled out as clearly as
this, but it appears -- by implication, as a subtext -- in all sorts of surprising places, as in Douglas _^<a_!T31_ADAMS_^>a_'s _^<a_!T4445_HITCH HIKER'S GUIDE TO THE GALAXY_^>a_ books, which are generally thought of as being funny but in which any
intellectual activity at all is seen as hubris -- to be instantly, in Brian W. _^<a_!T87_ALDISS_^>a_'s phrase, "clobbered by nemesis". Indeed, the evanescence of the life of the mind has long been a wistful theme of Aldiss's own, all the way from
_^<i_The Long Afternoon of Earth_^>i_ (_^<b_1962_^>b_ US; rev vt _^<i_Hothouse_^>i_ 1962 UK) to his _^<b_Helliconia_^>b_ series of the 1980s. It is an implied theme, too, of Richard _^<a_!T4806_GRANT_^>a_'s _^<i_Rumours of Spring_^>i_
(_^<b_1987_^>b_). Books like this are not anti-intellectual as such; they merely suggest that, in the evolutionary race, it is an error to bet too heavily on the brain._^<n__^<n_In written sf, however, we more commonly find the opposite tack taken:
that the life of the intellect is strong and precious, but needs constantly to be guarded from philistines and rednecks; that the prejudices of an ill-informed population against scientists and intellectuals might in the short term result in acts
of violence against thinking people and, in the long term, lead to the stifling of all progress. One of the commonest themes in sf is the static society (> _^<a_!T829_CONCEPTUAL BREAKTHROUGH_^>a_; _^<a_!T1370_DYSTOPIAS_^>a_;
_^<a_!T1939_POLITICS_^>a_; _^<a_!T5303_UTOPIAS_^>a_). Wells, who was attacked by Lewis for a narrow and unfeeling "humanism", feared this, and he did indeed believe that the world would be better off if governed by a technocracy of trained,
literate and numerate experts rather than by a hereditary ruling class or by demagogues elected through manipulation of an uninformed democracy. These ideas are expressed in _^<i_A Modern Utopia_^>i_ (_^<b_1905_^>b_) and many of Wells's later
works, but he had already given them dramatic expression in _^<i_The Food of the Gods, and How it Came to Earth_^>i_ (_^<b_1904_^>b_), in which the anti-intellectual stupidity and fear of the general population are contrasted bitterly with the
splendour of the new race of giants unencumbered by medieval prejudice. On the other hand, in _^<i__^<a_!B9070_THE TIME MACHINE_^>a__^>i_ (_^<b_1895_^>b_ US; rev 1895 UK) Wells had rather implied, in giving the beauty to the Eloi and the brains to
the Morlocks, that neither part of the equation was much good on its own. Many years later Fred _^<a_!T4532_HOYLE_^>a_ was to take up the theme of _^<i_A Modern Utopia_^>i_, notably in _^<i_The Black Cloud_^>i_ (_^<b_1957_^>b_) and _^<i_Ossian's
Ride_^>i_ (_^<b_1959_^>b_), where he argues for an intellectual elite of scientists and technologists and proposes that traditionally arts-educated intellectuals are in reality anti-intellectual in that, being innumerate, they distrust and
misunderstand science._^<n__^<n__^<a_!T2812_SATIRE_^>a_ against anti-intellectualism came to prominence in sf with the generation of the 1950s, especially among those writers associated with _^<a_!T1686_GALAXY SCIENCE FICTION_^>a_, prominently C.M.
_^<a_!T6353_KORNBLUTH_^>a_, Frederik _^<a_!T1937_POHL_^>a_ and Robert _^<a_!T2164_SHECKLEY_^>a_. H. Beam _^<a_!T1908_PIPER_^>a_ wrote a satirical plea for thought in "Day of the Moron" (1951 _^<i_ASF_^>i_), but better known is Kornbluth's "The
Marching Morons" (1951 _^<i_Gal_^>i_), in which a small coterie of future intellectuals secretly manipulates the vast anti-intellectual, moronic majority. Damon _^<a_!T4098_KNIGHT_^>a_ and James _^<a_!T658_BLISH_^>a_ were two other writers who
satirically defended "eggheads" (a newly fashionable word) against philistine attack. Fritz _^<a_!T3322_LEIBER_^>a_'s _^<i_The Silver Eggheads_^>i_ (1958 _^<i_FSF_^>i_; _^<b_1961_^>b_) presents an appalling if amusing anti-intellectual future in
which only _^<a_!T2646_ROBOTS_^>a_ are in the habit of constructive thought. The 1950s were the era of McCarthyism: it was a common fear of US writers and artists that to be viewed as a smart aleck might be a preliminary to being attacked as a
homosexual and thence, by a curious progression, as a communist -- that is, to be an intellectual implied that one was suspicious and unreliable. It is therefore not surprising that satires of the type noted above should be so densely clustered
during this period._^<n__^<n_Anti-intellectualism is commonly presented in connection with two of sf's main themes. One is that of the _^<a_!T5830_SUPERMAN_^>a_ who, through mutation (> _^<a_!T3120_MUTANTS_^>a_) or for some other reason, develops
unusually high intelligence. Two such books are _^<i__^<a_!B9176_MUTANT_^>a__^>i_ (1945-53 _^<i_ASF_^>i_; fixup _^<b_1953_^>b_) by Henry _^<a_!T4144_KUTTNER_^>a_ and _^<i_Children of the Atom_^>i_ (1948-50 _^<i_ASF_^>i_; fixup _^<b_1953_^>b_) by
Wilmar H. _^<a_!T2190_SHIRAS_^>a_; in both, superior intelligence incurs the anger of normals, and even persecution by them. The second relevant theme concerns stories set after the _^<a_!T4482_HOLOCAUST_^>a_. In these the survivors, often living
in a state of tribalism or medieval feudalism, are -- in a very popular variant of the story -- deeply suspicious of intellectuals, fearing that the renewal of technology will lead to another disaster. Three good novels of just such a kind are
_^<i_The Long Tomorrow_^>i_ (_^<b_1955_^>b_) by Leigh _^<a_!T4961_BRACKETT_^>a_, _^<i__^<a_!B9076_A CANTICLE FOR LEIBOWITZ_^>a__^>i_ (_^<b_1960_^>b_) by Walter M. _^<a_!T2960_MILLER_^>a_, and _^<i_Re-Birth_^>i_ (_^<b_1955_^>b_ US; rev vt _^<i_The
Chrysalids_^>i_ 1955 UK) by John _^<a_!T6211_WYNDHAM_^>a_._^<n__^<n_Surprisingly few full-length works have taken anti-intellectualism as their overriding central theme. One such is _^<i_The Burning_^>i_ (_^<b_1972_^>b_) by James E.
_^<a_!T4896_GUNN_^>a_, in which violent anti-intellectualism leads to the destruction of scientists; the return of science is via witchcraft, a theme that owes something to Robert A. _^<a_!T4376_HEINLEIN_^>a_'s _^<i_Sixth Column_^>i_ (1941
_^<i_ASF_^>i_ as by Anson MacDonald; _^<b_1949_^>b_) and Leiber's _^<i_Gather Darkness_^>i_ (1943 _^<i_ASF_^>i_; _^<b_1950_^>b_). Ursula K. _^<a_!T3318_LE GUIN_^>a_'s early sf story, "The Masters" (1963), deals movingly with a similar theme in a
story of a world dominated by religion in which independent thought is a heresy punishable by burning at the stake. But the classic novel of the intellect at bay is of course Ray _^<a_!T4963_BRADBURY_^>a_'s _^<i__^<a_!B9110_FAHRENHEIT 451_^>a__^>i_
(_^<b_1953_^>b_), set in a not-too-distant future where reading books is a crime. [PN]_^<n__^<n_
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ANTIMATTER
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The concept in _^<a_!T1892_PHYSICS_^>a_ that forms of matter may exist composed of antiparticles, opposite in all properties to the particles which compose ordinary matter, has a special appeal to sf writers. The idea itself was first formulated by
the physicist Paul Dirac (1902-1984) in 1930; the confirmation of the existence of such particles came soon, with the discovery of the positron (the anti-electron) in 1932. However, although antiparticles can be and are created in the laboratory,
this has never been done in sufficient quantity (less than one trillionth of a gram to date) to form what we would think of as antimatter. It is a concept that must at the moment remain theoretical; aside from isolated particles (low-energy
antiprotons have been detected in high-altitude balloon experiments), there may be little or no natural antimatter anywhere in the Universe. Antimatter cannot easily exist in our world, since it would combine explosively with conventional matter,
mutually annihilating 100% of both forms of matter to create energy, a point basic to the plot of Paul _^<a_!T1090_DAVIES_^>a_'s _^<i_Fireball_^>i_ (_^<b_1987_^>b_). Thus antimatter would make a fine power source if only we knew how to store it: no
problem it seems for Scottie, the engineer in _^<a_!T2429_STAR TREK_^>a_, since the starship _^<i_Enterprise_^>i_ is fuelled by it. An early sf view of antimatter's potential usefulness appears in Jack _^<a_!T5629_WILLIAMSON_^>a_'s _^<i_Seetee
Ship_^>i_ (1942-43 _^<i_ASF_^>i_; _^<b_1951_^>b_) and its sequel _^<i_Seetee Shock_^>i_ (1949 _^<i_ASF_^>i_; _^<b_1950_^>b_), originally published as by Will Stewart. ("Seetee" stands for "CT", which in turn stands for ContraTerrene matter, an old
sf term for antimatter.)_^<n__^<n_Antimatter galaxies, or even an entire antimatter universe created in the Big Bang at the same time as our matter universe, have been postulated by physicists, with the enthusiastic support of the sf community.
A.E. _^<a_!T5333_VAN VOGT_^>a_ was one of the first to use this idea, which has since become a _^<a_!T752_CLICHE_^>a__^<n__^<n_
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ANTON, LUDWIG
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(1872-? ) German novelist whose Anglophobe novel _^<i_Brucken uber den Weltraum_^>i_ (_^<b_1922_^>b_; trans by Konrad Schmidt as "Interplanetary Bridges" 1933 _^<i_Wonder Stories Quarterly_^>i_) describes the colonization of
_^<a_!T5351_VENUS_^>a_. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Die japanische Pest_^>i_ ["The Japanese Plague"] (_^<b_1922_^>b_); _^<i_Der Mann im Schatten_^>i_ ["Man in the Shadows"] (_^<b_1926_^>b_).
Pseudonym of US writer Harry C. Crosby Jr (?_^<n__^<n_- ), whose two earliest stories were published under his own name in _^<i_Imagination_^>i_ in 1952 and 1953, the first being "Cinderella, Inc.". CA has been popularly identified with
_^<i_ASF_^>i_ since his initial appearance in that magazine with "The Prisoner" in 1956. He soon followed with the first of the stories making up the _^<b_Centra_^>b_ series: _^<i_Pandora's Planet_^>i_ (1956 _^<i_ASF_^>i_; exp _^<b_1972_^>b_),
"Pandora's Envoy" (1961), "The Toughest Opponent" (1962), "Sweet Reason" (1966) and "Trap" (1969). His prolific fiction has been noted from the beginning for its vein of comic ethnocentricity, a vein much in keeping with the expressed feelings of
John W. _^<a_!T5140_CAMPBELL_^>a_ Jr who, in his later years at least, felt it philosophically necessary for humans to win in any significant encounter with _^<a_!T102_ALIENS_^>a_. CA supplied this sort of story effortlessly, though his first
novel, _^<i_The Day the Machines Stopped_^>i_ (_^<b_1964_^>b_), is a _^<a_!T1243_DISASTER_^>a_ story in which a Soviet experiment permanently cuts off all electrical impulses in the world. Chaos results, but Americans are soon making do again with
steam engines and reconstructing a more rural civilization. Most of CA's stories take place in a consistent future galactic federation (>_^<a_!T1678_GALACTIC EMPIRES_^>a_), and quite a number deal with _^<a_!T811_COLONIZATION OF OTHER WORLDS_^>a_.
Within this larger pattern are a number of lesser series, most of whose individual stories were published (usually in _^<i_ASF_^>i_) in magazine form only. Archaic, simplistic, insistently readable, _^<i_Warlord's World_^>i_ (_^<b_1975_^>b_) and
_^<i_Strangers in Paradise_^>i_ (fixup _^<b_1969_^>b_) are representative of this material; _^<i_The Steel, the Mist, and the Blazing Sun_^>i_ (_^<b_1980_^>b_), which depicts a Soviet-US war 200 years hence, is similar. Only the occasional
non-_^<i_ASF_^>i_ story, like "Mind Partners" (1960) from _^<i_Gal_^>i_, hints at the supple author who remained content within the cage of Campbell's expectations. Since Campbell's death, CA has been less active as a writer. What he might have
offered has long been missed. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T277_ASTOUNDING SCIENCE-FICTION_^>a_; _^<a_!T5452_WAR_^>a_.
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APA
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An acronym taken from National Amateur Press Association, an organization founded in 1869 to coordinate the distribution of its members' writings. An apa is a collection of individually produced contributions which have been sent to a central
editor, who has then collated them and distributed the assembled result to all contributors. Apas -- the term was most often found used in the plural, and was pronounced as a word -- were common in the late 19th century, and became of genre
significance with productions like _^<i_The Recluse_^>i_, published in the 1920s by W. Paul Cook (1881-1948), which distributed the work of H.P. _^<a_!T3465_LOVECRAFT_^>a_ and his circle. Figures involved in apas like _^<i_The Recluse_^>i_ soon
turned to more formal publishing (> _^<a_!T2261_SMALL PRESSES AND LIMITED EDITIONS_^>a_), but younger fans came into the scene. In 1937, Donald A. _^<a_!T5679_WOLLHEIM_^>a_ founded the Fantasy Amateur Press Association, which produced in
_^<a_!T1429_FAPA_^>a_ the first sf apa proper. Many others followed, and apas remained for many decades an important device within _^<a_!T1389_FANDOM_^>a_ for maintaining affinities and circulating fiction by young writers. In recent years,
computer bulletin boards have tended to supplant the apa as a forum; but many remain active. [JC]_^<n__^<n_
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APES AND CAVEMEN (IN THE HUMAN WORLD)
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The heading for this entry should be seen as no more than a rough short-hand designation for a subject whose nature is diffuse. As "apes" we include the great apes, chimpanzees, orang-utans and monkeys; by "cavemen" we mean to designate proto-human
races, including Neanderthals, but without taking a particular stand in the debate on the evolutionary tree (or grove). We do not, however, refer here to Neanderthals or other cavemen in their natural habitat, which is the distant past (_^<i_for
which see_^>i_ _^<a_!T197_ANTHROPOLOGY_^>a_; _^<a_!T1727_ORIGIN OF MAN_^>a_): our interest here is in survivors, Neanderthals thawed out of ice-floes or surviving in lost garden enclaves of our fallen world (like Bigfoot, the Yeti and other
legendary humanoid creatures, who are also relevant to the discussion) or even immortal. Our reason for conflating apes and cavemen is simple enough: insofar as sf writers take them both to embody the same set of metaphors -- whether as innocent
Candide-like observers of our corrupt mores or funhouse mirrors of humanity to whom we respond with horror -- apes and cavemen have almost identical functions in the literature of the 19th and early 20th centuries._^<n__^<n_For there to have been a
sustained imaginative interest in, and use for, apes and cavemen as observers or mirrors of the human condition, two conditions were probably necessary. The first is obvious: the human condition itself must have become an issue for discourse.
Though the pre-18th-century literatures of the world are full of animal doubles, monsters and prodigies, the degree of kinship to us of these creations has nothing to do with any attempt to define _^<i_Homo sapiens_^>i_ as a species; and, in the
absence of any sense (or hope) that we are a species distinct _^<i_as a species_^>i_ from other species, there is in traditional literatures an absence of any propaganda intended to distinguish between us and those others -- except, perhaps,
discourse designed to argue the presence or absence of a soul. Hierarchies of living things in earlier literature are various, and principles of exclusion and inclusion tend to cross species, but, before taxonomical thinking emerged in the 18th
century, beings tended to be thought of as human (or not human) according to their location, actual and symbolic. It is because he is a cusp figure, a Janus monster facing the deep past and the exposed future, that the Caliban of Shakespeare's
_^<i_The Tempest_^>i_ (_^<i_c1612) -- who reappears as a kind of ape in _^>i__^<i_Mrs Caliban_^>i_ (_^<b_1982_^>b_) by Rachel Ingalls (1941- ) -- is so terribly difficult to reduce to a stereotype._^<n__^<n_The second necessary circumstance was
of course Time, or Progress. Moderns instinctively think of beasts and monsters as being _^<i_prior_^>i_. For there to have been an 18th-century Primitivist vision of the Noble Savage there must have been a sense that we had advanced -- or
retreated -- from some earlier state. So it is no surprise that the first apes-as-human texts of interest to an sf reader are probably two works by a Primitivist philosopher, James Burnett, Lord Monboddo (1714-1799), whose _^<i_Of the Origin and
Progress of Language_^>i_ (_^<b_1773-92_^>b_) and _^<i_Ancient Metaphysics_^>i_ (_^<b_1779-99_^>b_) contrast humanity's corrupt nature with that of the pacific orang-utan, a vegetarian flautist who may not have learned to speak but who was
otherwise capable of human attainments. Monboddo's orang-utan was a potent and poignant figure, and soon entered fiction in Thomas Love Peacock's _^<i_Melincourt, or Sir Oran Haut-ton_^>i_ (_^<b_1817_^>b_), where he saves a young maiden from rape,
enters Parliament, and gazes wisely upon the human spectacle. But Peacock was an author of disquisitional _^<a_!T2812_SATIRES_^>a_, a form of fiction soon swamped in the 19th century by the mimetic novel, where avatars of Sir Oran Haut-ton could
not comfortably abide. _^<i_The Monikins_^>i_ (_^<b_1835_^>b_) by James Fenimore _^<a_!T871_COOPER_^>a_ features several captured specimens of an articulate monkey civilization who come from an Antarctic _^<a_!T3460_LOST WORLD_^>a_; but they relate
far more closely to that form of the imaginary-voyage satire brought into focus by Jonathan _^<a_!T5873_SWIFT_^>a_ in _^<i_Gulliver's Travels_^>i_ (_^<b_1726_^>b_; rev 1735), as do the intelligent race of monkeys discovered in _^<i_Les Emotions de
Polydore Marasquin _^>i_(_^<b_1857_^>b_; trans anon as _^<i_The Man Among the Monkeys: or, Ninety Days in Apeland_^>i_ _^<b_1873_^>b_ UK; vt _^<i_The Emotions of Polydore Marasquin _^>i_1888 UK; vt _^<i_Monkey Island_^>i_ 1888 UK) by Leon Gozlan
(1806-1866). The use of apes or yahoos or houyhnhnms as exemplary inhabitants of a _^<a_!T5303_UTOPIA_^>a_ or _^<a_!T1370_DYSTOPIA_^>a_ represents a very different -- and ultimately more significant -- tradition than the use of apes as illustrative
examples _^<i_embedded_^>i_ into our own human world._^<n__^<n_Indeed, it would not be until the publication of Charles Darwin's _^<i_Origin of Species_^>i_ (_^<b_1859_^>b_) that the apes-as-human topic became sufficiently ambiguous or threatening
(> _^<a_!T6717_EVOLUTION_^>a_) to be of widespread imaginative use (the ape in Edgar Allan _^<a_!T1933_POE_^>a_'s "The Murders in the Rue Morgue"" [1841] is more or less a trained animal). But now that humans and other primates -- as well as the
Neanderthals whose existence soon entered public consciousness -- could all seem members of one family, then the observer became a mirror. Apes-as-human could be seen as literal parodies of our species (and the reverse); in an uncomfortably
intimate sense, they could represent the brother or sister we locked in the cellar for their protection, or to prevent them from shaming us. The terror Thomas De Quincey (1785-1859) felt whenever he envisioned the East (which he never in fact saw,
but whose imagined inhabitants clearly represented a psychopathic self-image) turned into opium nightmares of being surrounded by apes. Mr Hyde, in Robert Louis "_^<a_!T5731_STEVENSON_^>a_'s _^<i_Strange Case of Dr. Jekyll and Mr. Hyde_^>i_
(_^<b_1886_^>b_), may not be a literal ape-as-human, but he surely fulfils the symbolic function of the brother-within-the-skin whom it is death to recognize. A perfectly understandable dis-ease therefore afflicted late-19th-century versions of the
theme, from the frivolousness of Bill Nye's"Personal Experiences in Monkey Language" (1893) to the pathos and parodic horrificness of the animal victims of H.G. _^<a_!T5528_WELLS_^>a_'s _^<i_The Island of Dr Moreau_^>i_ (_^<b_1896_^>b_). Further
examples are Haydon Perry's "The Upper Hand" in _^<i_Contraptions_^>i_ (anth _^<b_1895_^>b_), Frank Challice Constable's _^<i_The Curse of Intellect_^>i_ (_^<b_1895_^>b_), and Don Mark Lemon's "The Gorilla" (1905)._^<n__^<n_The 20th century saw a
flourishing, and a routinization, of the apes-as-human tale, though it never attained the popularity of its close cousin, the _^<i_enfant-sauvage_^>i_-as-Noble-Savage genre, which featured intensely readable wish-fulfilment tales like Rudyard
_^<a_!T4082_KIPLING_^>a_'s _^<b_Mowgli_^>b_ stories (which mostly appeared in _^<i_The Jungle Book_^>i_ [coll _^<b_1894_^>b_] and _^<i_The Second Jungle Book_^>i_ [coll _^<b_1895_^>b_]) and the _^<b_Tarzan_^>b_ books of Edgar Rice
_^<a_!T5097_BURROUGHS_^>a_ (from 1914). Apes-as-human (or Neanderthals-as-human) appeared, variously emblematic, in the anonymous _^<i_The Curse of Intellect_^>i_ (_^<b_1895_^>b_), in _^<i_Dwala: A Romance_^>i_ (_^<b_1904_^>b_) by George Calderon
(1868-1915), in James Elroy _^<a_!T1521_FLECKER_^>a_'s _^<i_The Last Generation_^>i_ (_^<b_1908_^>b_ chap), in Gaston _^<a_!T3340_LEROUX_^>a_'s _^<i_Balaoo_^>i_ (_^<b_1912_^>b_; trans _^<b_1913_^>b_), in Max _^<a_!T4976_BRAND_^>a_'s "That Receding
Brow" (1919), in Clement _^<a_!T1470_FEZANDIE_^>a_'s "The Secret of the Talking Ape" (1923), in Erle Stanley _^<a_!T4608_GARDNER_^>a_'s "Monkey Eyes" (1929), in Sean M'Guire's _^<i_Beast or Man_^>i_ (_^<b_1930_^>b_), in "Mogglesby" (1930
_^<i_Adventure_^>i_) by T(homas) S(igismund) Stribling (1881-1965), in John _^<a_!T800_COLLIER_^>a_'s brilliant _^<i_His Monkey Wife_^>i_ (_^<b_1930_^>b_), in an evolutionary pas-de-deux with the Second Men in Olaf _^<a_!T2404_STAPLEDON_^>a_'s
_^<i__^<a_!B9080_LAST AND FIRST MEN_^>a__^>i_ (_^<b_1930_^>b_), in G.E. Trevelyan's _^<i_Appius and Virginia_^>i_ (_^<b_1932_^>b_), in Alder Martin-Magog's _^<i_Man or Ape?_^>i_ (_^<b_1933_^>b_), in L. Sprague _^<a_!T1133_DE CAMP_^>a_'s "The Gnarly
Man" (1939), in Thor Swan's _^<i_Furfooze_^>i_ (_^<b_1939_^>b_), in Aldous _^<a_!T4566_HUXLEY_^>a_'s _^<i_After Many a Summer Dies the Swan_^>i_ (_^<b_1939_^>b_; vt _^<i_After Many a Summer_^>i_ 1939 UK) (_^<i_see
also_^>i__^<a_!T1209_DEVOLUTION_^>a_), in Justin _^<a_!T286_ATHOLL_^>a_'s _^<i_The Grey Beast_^>i_ (_^<b_1944_^>b_ chap), in David V. _^<a_!T2535_REED_^>a_'s _^<i_The Whispering Gorilla_^>i_ (_^<b_1950_^>b_), in _^<i_Hackenfeller's Ape_^>i_
(_^<b_1953_^>b_) by Brigid Brophy (1929- ), in Philip Jose _^<a_!T1435_FARMER_^>a_'s "The Alley Man" (1959; in _^<i_The Alley God_^>i_ coll _^<b_1962_^>b_), in Robert _^<a_!T3139_NATHAN_^>a_'s _^<i_The Mallott Diaries_^>i_ (_^<b_1965_^>b_), and
elsewhere. Towards the end of this sequence, something of a new note could be perhaps detected -- in De Camp's fine tale, or in Stephen _^<a_!T4697_GILBERT_^>a_'s _^<i_Monkeyface_^>i_ (_^<b_1948_^>b_) -- a lessening of the sense of latent or
explicit menace, perhaps because the process of evolution no longer seemed quite so insulting to the race which was inflicting WWII upon itself and upon its cousins. But, in general, ironies or horror or condescension governed the presentation of
the theme._^<n__^<n_It is possible to detect two very broad tendencies in more recent years. Articulate and wise apes-as-humans (streetwise Candides) can be used, as in Roger _^<a_!T1989_PRICE_^>a_'s _^<i_J.G., the Upright Ape_^>i_
(_^<b_1960_^>b_), to present, more or less straightforwardly, a satiric vision of the contemporary world; other examples would be _^<i_The Right Honourable Chimpanzee_^>i_ (_^<b_1978_^>b_) by David _^<a_!T2772_ST GEORGE_^>a_ and Hans Werner Henze's
opera, _^<i_Der junge Lord_^>i_ ["The Young Lord"] (_^<b_1965_^>b_). However, work of this sort tends not to be created by anyone deeply immersed in sf, where the concept now tends to be treated with troubled complexity; the ironic distance has
been lost. No longer is it sufficient merely to posit an articulate cousin who looks us in the eyes: the contemporary sf writer is much more interested in the moral and speculative consequences (> _^<a_!T4657_GENETIC ENGINEERING_^>a_) of our
capacity actually to implement the process of transformation. Stories like Joseph H. _^<a_!T1151_DELANEY_^>a_'s "Brainchild" (1982), Leigh _^<a_!T4028_KENNEDY_^>a_'s "Her Furry Face" (1983), Judith _^<a_!T2998_MOFFETT_^>a_'s "Surviving" (1986) and
Pat _^<a_!T3113_MURPHY_^>a_'s _^<i_Rachel in Love_^>i_ (1987 _^<i_IASFM_^>i_; _^<b_1992_^>b_ chap) are dark fables of that transformation, the last three importing a _^<a_!T1461_FEMINIST_^>a_ agenda through metaphorical identifications of caged
primates and women. Further tales with similar burdens include _^<i_Deutsche Suite_^>i_ (_^<b_1972_^>b_; trans Arnold Pomerans as _^<i_German Suite_^>i_ _^<b_1979_^>b_ UK) by Herbert Rosendorfer (1934- ), _^<i_Experiment at Proto_^>i_
(_^<b_1973_^>b_) by Philip Oakes (1928- ), Ian _^<a_!T3526_MCEWAN_^>a_'s "Reflections of a Kept Ape" (1978), Paddy _^<a_!T5251_CHAYEFSKY_^>a_'s _^<i_Altered States_^>i_ (_^<b_1978_^>b_), Michael _^<a_!T954_CRICHTON_^>a_'s _^<i_Congo_^>i_
(_^<b_1980_^>b_), Maureen _^<a_!T1339_DUFFY_^>a_'s _^<i_Gor Saga_^>i_ (_^<b_1981_^>b_), Stephen _^<a_!T1689_GALLAGHER_^>a_'s _^<i_Chimera_^>i_ (_^<b_1982_^>b_), Douglas Orgill's and John _^<a_!T4864_GRIBBIN_^>a_'s _^<i_Brother Esau_^>i_
(_^<b_1982_^>b_), Bernard _^<a_!T3619_MALAMUD_^>a_'s _^<i_God's Grace_^>i_ (_^<b_1982_^>b_), Peter _^<a_!T5321_VAN GREENAWAY_^>a_'s _^<i_Manrissa Man_^>i_ (_^<b_1982_^>b_), Michael _^<a_!T620_BISHOP_^>a_'s _^<i_Ancient of Days_^>i_
(_^<b_1985_^>b_), L. Neil _^<a_!T2281_SMITH_^>a_'s _^<b_North American Confederacy_^>b_ series (1986-8) (intermittently), Justin _^<a_!T3323_LEIBER_^>a_'s _^<i_Beyond Humanity_^>i_ (_^<b_1987_^>b_), Peter _^<a_!T1224_DICKINSON_^>a_'s _^<i_Eva_^>i_
(_^<b_1988_^>b_), Harry _^<a_!T6132_TURTLEDOVE_^>a_'s _^<i_A Different Flesh_^>i_ (fixup _^<b_1988_^>b_), Michael _^<a_!T5735_STEWART_^>a_'s _^<i_Monkey Shines_^>i_ (_^<b_1983_^>b_), about the genetic transformation of a monkey (the film version is
discussed below), and the same author's less sophisticated _^<i_Birthright_^>i_ (_^<b_1990_^>b_), about the exploitation of a Neanderthal survival, Ardath _^<a_!T3736_MAYHAR_^>a_'s and Ron Fortier's _^<i_Monkey Station_^>i_* (_^<b_1989_^>b_), Isaac
_^<a_!T268_ASIMOV_^>a_'s and Robert _^<a_!T2216_SILVERBERG_^>a_'s _^<i_Child of Time_^>i_ (_^<b_1991_^>b_), Daniel _^<a_!T2467_QUINN_^>a_'s Turner Fellowship Award-winning novel, _^<i_Ishmael_^>i_ (_^<b_1992_^>b_), whose searching simplicity of
idiom returns us all the way back to Peacock, Niall Duthie's _^<i_The Duchess's Dragonfly_^>i_ (_^<b_1993)_^>b_ and _^<i_Monkey's Uncle _^>i_(_^<b_1994_^>b_) by Jenni Diski (1947- )._^<n__^<n_Generally less seriously, perhaps, the cinema has
always been fond of the theme, at least since the archetype of ape-as-innocent-in-the-human-world appeared in _^<a_!T4072_KING KONG_^>a_ (1933) and again in _^<a_!T2943_MIGHTY JOE YOUNG_^>a_ (1949). One aspect of the theme perhaps more nakedly
apparent in films than in books is the religious subtext of ape/caveman/Yeti/Bigfoot as, even if savage and dangerous, untainted by the Fall of Man. Such innocents discovered by a corrupt humanity, and usually envisaged sentimentally, are the
Neanderthal or Cro-Magnon survivors in _^<a_!T6099_TROG_^>a_ (1970), _^<a_!T2846_SCHLOCK_^>a_ (1973) -- a parody of _^<i_Trog_^>i_ -- _^<i__^<a_!T4578_ICEMAN_^>a__^>i_ (1984) and _^<i_Encino Man _^>i_(1992), the Yeti in _^<i_The Abominable Snowman
of the Himalayas_^>i_ (1957), and the Bigfoot in many low-budget films and one rather good big-budget film, _^<a_!T4321_HARRY AND THE HENDERSONS_^>a_ (1987). Something rather different seems to be happening in _^<i_A_^<a_!T785_COLD NIGHT'S
DEATH_^>a__^>i_ (1975), in which experimental apes experiment on scientists; in _^<i_Link_^>i_ (1985), in which an experimental ape becomes homicidal; and in _^<a_!T3004_MONKEY SHINES_^>a_ (1988), based on Michael Stewart's 1983 novel, in which an
experimental ape injected with human genetic material gets more lethal the more human it becomes. However, in all these films, although the apes are a source of horror, it is suggested that it is human contact that has infected them; only in
_^<a_!T2008_PROJECT X_^>a_ (1987) do the experimental apes remain decent, despite attempts by the military to teach them to fly nuclear bombers. It is also, indeed, an increase in _^<a_!T3787_INTELLIGENCE_^>a_, catalysed by an alien monolith, that
teaches the apemen of _^<a_!T6146_2001: A SPACE ODYSSEY_^>a_ (1968) how to use weapons. While most of these films show apes behaving like humans, a persistent subgenre going back to Stevenson's _^<i__^<a_!B8979_THE STRANGE CASE OF DR. JEKYLL AND
MR. HYDE_^>a__^>i_ shows humans becoming apes (> _^<a_!T1209_DEVOLUTION_^>a_). Such, with cod seriousness, is the theme of _^<a_!T129_ALTERED STATES_^>a_ (1980) and, a great deal more amusingly, James Ivory's _^<i_Savages_^>i_ (1972), in which
primitive Mud People become human guests at a sophisticated country-house party only to revert again, and Howard Hawks's _^<a_!T3003_MONKEY BUSINESS_^>a_ (1952), the only sf movie to star Cary Grant, Ginger Rogers and Marilyn
Monroe._^<n__^<n__^<a_!T1919_PLANET OF THE APES_^>a_ (1968) and its sequels have apes replacing humans, initially to complex satirical effect, eventually -- with ever increasing simplemindedness -- as a metaphorical stick with which to beat people;
however, because they are set deep into the future, they escape the natural confines of this entry, as did L. Sprague de Camp's and P. Schuyler _^<a_!T2957_MILLER_^>a_'s _^<i_Genus Homo_^>i_ (1941; rev _^<b_1950_^>b_) in an earlier generation, and
as does David _^<a_!T4999_BRIN_^>a_'s _^<b_Uplift_^>b_ sequence more recently. Similarly, Robert Silverberg's _^<i_At Winter's End_^>i_ (_^<b_1988_^>b_) and _^<i_The Queen of Springtime_^>i_ (_^<b_1989_^>b_ UK; vt _^<i_The New Springtime_^>i_ 1990
US) place into the _^<a_!T1432_FAR FUTURE_^>a_ the revelation that the surviving inhabitants of Earth are in fact transformed primates. But none of us has survived in that world. The ape-as-human story, at its heart, is a tale of siblings.
[JC/PN]_^<n__^<n_
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APHELION
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Australian magazine, Summer 1985/6 to Summer 1986/7, 5 issues, ed Peter McNamara from Adelaide, _^<a_!T492_BEDSHEET_^>a_-format. One of many short-lived, quixotic Australian attempts to produce a viable sf magazine in a country with a population too
small to support one, _^<i_A_^>i_ soon failed, but honourably. Good stories by George _^<a_!T6130_TURNER_^>a_, Greg _^<a_!T6594_EGAN_^>a_, Rosaleen _^<a_!T6379_LOVE_^>a_ and, most often, Terry _^<a_!T1309_DOWLING_^>a_, were among the better work
published in an uneven magazine. McNamara has gone on to publish well produced sf books by Australian writers under his _^<a_!T2261_SMALL-PRESS_^>a_ imprint, Aphelion Publications. [PN]_^<n__^<n_
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APOCALYPSE
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> _^<a_!T1243_DISASTER_^>a_; _^<a_!T6661_END OF THE WORLD_^>a_; _^<a_!T6694_ESCHATOLOGY_^>a_; _^<a_!T4482_HOLOCAUST AND AFTER_^>a_; _^<a_!T2551_RELIGION_^>a_._^<n__^<n_
(1945- ) US writer whose _^<b_Alex Balfour_^>b_ _^<a_!T6026_TIME-TRAVEL_^>a_ sequence -- _^<i_Time after Time_^>i_ (_^<b_1985_^>b_), _^<i_Twice Upon a Time_^>i_ (_^<b_1988_^>b_) and _^<i_Till the End of Time_^>i_ (_^<b_1990_^>b_) -- hovers, as do
so many tales of this sort, between sf and fantasy. The protagonist's visits, first to the Russian Revolution, then to the time of Mark Twain and General Custer, and finally to Hiroshima, are without sf explanation; but Balfour's opportunity to
intervene in the 1945 catastrophe engages him potentially in the sort of time-track manipulation generally conceded to be an sf trope. What distinguishes the books from many others is their intense focus on the ethical dilemmas that must face any
adult protagonist given the chance to manipulate time-tracks, to kill a butterfly and change the world. [JC/RK]_^<n__^<n_
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APPEL, BENJAMIN
-T-
(1907-1977) US writer, long and variously active, known mainly for such work outside the sf field as _^<i_The Raw Edge_^>i_ (_^<b_1958_^>b_). In his sf novel, _^<i_The Funhouse_^>i_ (_^<b_1959_^>b_; vt _^<i_The Death Master_^>i_ 1974), satirical (>
_^<a_!T2812_SATIRE_^>a_) and _^<a_!T3398_LINGUISTIC_^>a_ sideshows sometimes illuminate the story of two _^<a_!T5303_UTOPIAS_^>a_ as the Chief of Police from the anti-technological Reservation is called upon to save a future USA (the
computer-dominated Funhouse) from atomic demolition. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_The Devil and W. Kaspar_^>i_ (_^<b_1977_^>b_)._^<b_Nonfiction:_^>b_ _^<i_The Fantastic Mirror: Science Fiction across the Ages_^>i_ (_^<b_1969_^>b_), not
so much a critical study as a series of excerpts linked by commentary.
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633
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APPLEBY, KEN
-T-
Working name of US writer Kenneth Philip Appleby (1953- ). His first sf novel, _^<i_The Voice of Cepheus_^>i_ (_^<b_1989_^>b_), presents a clear-voiced, optimistic vision of the consequences of First Contact with an _^<a_!T98_ALIEN_^>a_ species
whose signals have been detected by the young female protagonist and her astronomer boss. [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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303
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APPLETON, VICTOR
-T-
House name of the US Stratemeyer Syndicate, used mainly on the four_^<b_Tom Swift_^>b_ series, which together constitute a central example of the importance and persistence of the _^<a_!T6580_EDISONADE_^>a_ in US sf. Howard R. _^<a_!T6395_GARIS_^>a_
wrote the first 35 of the first series, which stopped at #38. The second series, which deals with _^<b_Tom Swift, Jr._^>b_, was initially the work of Harriet S. _^<a_!T33_ADAMS_^>a_, Edward _^<a_!T5785_STRATEMEYER_^>a_'s daughter; she generally
upgraded the scientific side of the enterprise, though some of the flavour of the early _^<b_Tom Swifts_^>b_ was lost. A third series began in 1981 and a fourth, now with Byron _^<a_!T1982_PREISS_^>a_ as packager, in 1991. The first novel of the
first series is _^<i_Tom Swift and his Motor Cycle_^>i_ (_^<b_1910_^>b_), which is modest enough; but very soon, as in _^<i_Tom Swift and his Giant Cannon_^>i_ (_^<b_1913_^>b_), the mundane world is left far behind. The second series begins with
_^<i_Tom Swift and his Flying Lab_^>i_ (_^<b_1954_^>b_) and mounts to titles like _^<i_Tom Swift and his Repelatron Skyway_^>i_ (_^<b_1963_^>b_). The third series began with _^<i_The City in the Stars_^>i_ (_^<b_1981_^>b_) and ended with #11,
_^<i_The Planet of Nightmares_^>i_ (_^<b_1984_^>b_); writers involved included Neal _^<a_!T437_BARRETT_^>a_ Jr., Mike _^<a_!T3575_MCQUAY_^>a_ and William _^<a_!T2712_ROTSLER_^>a_. The fourth series begins with _^<i_Tom Swift #1: The Black
Dragon_^>i_ (_^<b_1991_^>b_) [by Bill _^<a_!T6476_MCCAY_^>a_]; other writers involved include Debra _^<a_!T6452_DOYLE_^>a_ and James D. _^<a_!T6558_MACDONALD_^>a_ in collaboration, Steven Grant, F. Gwynplaine _^<a_!T6480_MACINTYRE_^>a_ and Mike
_^<a_!T3575_MCQUAY_^>a_. (_^<i_For further information see_^>i_ _^<a_!T6048_TOM SWIFT_^>a_.) [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T710_CHILDREN'S SF_^>a_.
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ARABIC SF
-T-
There are, of course, many fantastic motifs in medieval Arabic literature, as in the collection of stories of various genres _^<i_Alf layla wa layla_^>i_ ["One Thousand and One Nights"] (standard text 15th century; trans by Sir Richard Burton as
_^<i_The Arabian Nights_^>i_, 16 vols, _^<b_1885-8_^>b_). In this, the stories of The City of Brass and The Ebony Horse could be regarded as _^<a_!T2013_PROTO SCIENCE FICTION_^>a_. A few _^<a_!T5303_UTOPIAS_^>a_ were written, too, including
al-Farabi's _^<i_Risala fi mabadi' ara' ahl al-madina al-fadila_^>i_ (first half of 10th century; trans by Richard Walzer as _^<i_Al-Farabi on the Perfect State_^>i_ _^<b_1985_^>b_)._^<n__^<n_The first real sf stories were published in the late
1940s by the famous mainstream Egyptian writer Tawfiq Al-_^<a_!T97_HAKIM_^>a_, but are not considered genre sf by Arabic critics, who nominate Mustafa _^<a_!T3604_MAHMUD_^>a_ (often transcribed Mahmoud) as the "Father of Arabic sf". Both of these
authors have been translated into English._^<n__^<n_Although there have been a lot of sf stories published in Arabic since the 1960s, few authors could be described as sf specialists. Among them, the most important is probably Imran Talib, a
Syrian, author of seven sf novels and short-story collections to date. The most interesting of these are the three collections, _^<i_Kawkab al-ahlam_^>i_ ["Planet of Dreams"] (coll _^<b_1978_^>b_), _^<i_Laysa fi al-qamar fuqara'_^>i_ ["There are No
Poor on the Moon"] (coll _^<b_1983_^>b_) and _^<i_Asrar min madina al-hukma_^>i_ ["Secrets of the Town of Wisdom"] (coll _^<b_1988_^>b_), and the novel _^<i_Khalfa hajiz az-zaman_^>i_ ["Beyond the Barrier of Time"] (_^<b_1985_^>b_). Talib is also
the author of the sole theoretical study of sf in Arabic: _^<i_Fi al-khayal al-ilmi_^>i_ ["About Science Fiction"] (_^<b_1980_^>b_)._^<n__^<n_Sf is written in practically all Arab countries. In Libya, for example, Yusuf al-Kuwayri has published the
novel _^<i_Min mudhakkirat rajul lam yulad_^>i_ ["From the Diary of a Man Not Yet Born"] (_^<b_1971_^>b_), which gives an optimistic view of life in Libya in the 32nd century. Mysterious _^<a_!T102_ALIENS_^>a_ affect the life and work of the hero,
a Palestinian living in the occupied territories, in Palestinian Amil Habibi's popular mainstream sf novel _^<i_Al-waqa' al-ghariba fi ikhtifa' Said Abu an-Nahs al-Mutasha'il_^>i_ (_^<b_1974_^>b_; trans as _^<i_The Secret Life of Saeed, the
Ill-Fated Pessoptimist: A Palestinian who Became a Citizen of Israel_^>i_ _^<b_1982_^>b_). Various other mainstream writers have written occasional sf stories, as in _^<i_Qisas_^>i_ ["Short Stories"] (coll) by the Syrian Walid Ikhlasi and
_^<i_Khurafat_^>i_ ["Legends"] (coll _^<b_1968_^>b_) by the Tunisian Izzaddin al-Madani. The Algerian Hacene Farouk Zehar, who writes in French, has published _^<i_Peloton de tete_^>i_ ["Top Platoon"] (coll _^<b_1966_^>b_)._^<n__^<n_The role of
drama in the Arab world is more important than in the West, and plays are very often published; some are of sf interest. The famous Egyptian dramatist Yusuf Idris wrote _^<i_Al-jins ath-thalith_^>i_ ["The Third Sex"] (_^<b_1971_^>b_), in which the
protagonist, a scientist called Adam, attempts to discover the enzymes of life and death and travels to the Fantastic World. Another Egyptian, Ali Salim, a satirist who writes in colloquial Arabic, has written several sf plays. In _^<i_En-nas elli
fi es-sama' et-tamna_^>i_ ["People from the Eighth Heaven"] (_^<b_1965_^>b_) a protagonist called Dr Mideo struggles against the bureaucratic Academy of Sciences of the Universe. Fantastic discoveries and excavations are the main topic of Ali
Salim's other sf plays, _^<i_Barrima aw bi'r el-qamh_^>i_ ["Brace, or the Well of Wheat"] (_^<b_1968_^>b_), _^<i_Er-ragel elli dihik el-mala'ika_^>i_ ["A Man who Laughed at Angels"] (_^<b_1968_^>b_) and _^<i_Afarit Masr el-gadida_^>i_ ["Satan from
Heliopolis"] (_^<b_1972_^>b_). [JO] _^<n__^<n_
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ARANGO, ANGEL
-T-
[r] > _^<a_!T4204_LATIN AMERICA_^>a__^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
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19
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ARBES, JAKUB
-T-
[r] > _^<a_!T1020_CZECH AND SLOVAK SF_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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27
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ARCH, E.L.
-T-
The pseudonym under which Rachel Ruth Cosgrove Payes (1922- ), originally a research biologist, publishes her sf, though her first novel, a juvenile, _^<i_Hidden Valley of Oz_^>i_ (_^<b_1951_^>b_), appeared as by Rachel Cosgrove. Her sf, from
_^<i_Bridge to Yesterday_^>i_ (_^<b_1963_^>b_) onwards, has been efficient but routine. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_The Deathstones_^>i_ (_^<b_1964_^>b_); _^<i_Planet of Death_^>i_ (_^<b_1964_^>b_); _^<i_The First Immortals_^>i_
(_^<b_1965_^>b_); _^<i_The Double-Minded Man_^>i_ (_^<b_1966_^>b_); _^<i_The Man with Three Eyes_^>i_ (_^<b_1967_^>b_).
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(c) 1995 John Clute and Peter Nicholls
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475
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ARCHER, LEE
-T-
_^<a_!T6269_ZIFF-DAVIS_^>a_ house name used 1956-7 on 3 stories in _^<i_AMZ_^>i_ and _^<i_Fantastic_^>i_. "Escape Route" (1957 _^<i_AMZ_^>i_) is by Harlan _^<a_!T6641_ELLISON_^>a_. The authors of the others have not been identified. [PN]_^<n__^<n_
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174
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ARCHER, RON
-T-
> Ted _^<a_!T5582_WHITE_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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15
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ARCHETTE, GUY
-T-
[s] > Chester S. _^<a_!T4649_GEIER_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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26
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-END-
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ARCHETYPES
-T-
> _^<a_!T3135_MYTHOLOGY_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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15
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ARDREY, ROBERT
-T-
(1908-1980) US playwright, novelist and speculative journalist known mainly for his work outside the sf field, formerly for such plays as _^<i_Thunder Rock_^>i_ ( performed 1939;_^<b_1941_^>b_), which was filmed (1942) by the Boulting Brothers,
latterly for his series of sociobiological speculations, beginning with _^<i_African Genesis_^>i_ (_^<b_1961_^>b_), commercially the most successful. As the implications of his biological determinism have sunk in on advocates of
_^<a_!T1461_FEMINISM_^>a_ and others, he has seemed increasingly isolated as an ethological popularizer. The uncomfortable nature of his speculative attempts may be found in his sf novel, _^<i_World's Beginning_^>i_ (_^<b_1944_^>b_), where US
society is benevolently rationalized by a chemicals company. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T6577_ECONOMICS_^>a_; _^<a_!T2924_METAPHYSICS_^>a_.
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724
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-END-
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ARGENTINA
-T-
> _^<a_!T4204_LATIN AMERICA_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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16
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ARGOSY, THE
-T-
US _^<a_!T2033_PULP MAGAZINE_^>a_ published by the Frank A. _^<a_!T3106_MUNSEY_^>a_ Corp.; ed Matthew White Jr (from 1886 to 1928) and others. It appeared weekly from 9 Dec 1882 as _^<i_The Golden Argosy_^>i_, became _^<i_The Argosy_^>i_ from 1 Dec
1888, went monthly Apr 1894-Sep 1917, then weekly, as _^<i_Argosy Weekly_^>i_, 6 Oct 1917-17 July 1920. It combined with _^<i_All-Story Weekly_^>i_ (> _^<i_The_^<a_!T122_ALL-STORY_^>a__^>i_ ) to become _^<i_Argosy All-Story Weekly_^>i_ 24 July
1920-28 Sep 1929. It then combined with _^<a_!T3107_MUNSEY'S MAGAZINE_^>a_ to form two magazines, _^<i_Argosy Weekly_^>i_ and _^<i_All-Story Love Tales_^>i_, the former continuing as a weekly 5 Oct 1929-4 Oct 1941; it went biweekly from 1 Nov 1941,
monthly from July 1942, and became a men's adventure magazine in Oct 1943, publishing its last sf in the July 1943 issue._^<n__^<n_Of the general-fiction pulp magazines, _^<i_TA_^>i_ was one of the most consistent and prolific publishers of sf.
Prior to 1910 it had featured sf and fantasy serials and short stories by Frank _^<a_!T305_AUBREY_^>a_, James Branch _^<a_!T5115_CABELL_^>a_, William Wallace _^<a_!T863_COOK_^>a_, Howard R. _^<a_!T6395_GARIS_^>a_, George _^<a_!T4871_GRIFFITH_^>a_
and others. Its sf output slackened during the first half of the next decade, a period in which it published sf by Garrett P. _^<a_!T2112_SERVISS_^>a_ and Garret _^<a_!T2272_SMITH_^>a_, as well as stories in the _^<b_Hawkins_^>b_ series by Edgar
_^<a_!T1603_FRANKLIN_^>a_, but picked up on becoming a weekly. It discovered a major author on publishing "The Runaway Skyscraper" (1919) by Murray _^<a_!T3326_LEINSTER_^>a_ (whose memorable "The Mad Planet" appeared in 1920) and published novels
by Francis _^<a_!T5724_STEVENS_^>a_ before the merger with _^<i_All-Story Weekly_^>i_. Following this, White retained the editorship and continued publishing sf with many works by authors later to appear in the _^<a_!T2130_SF MAGAZINES_^>a_,
notably Edgar Rice _^<a_!T5097_BURROUGHS_^>a_, Ray _^<a_!T997_CUMMINGS_^>a_, Ralph Milne _^<a_!T1434_FARLEY_^>a_, Otis Adelbert _^<a_!T4094_KLINE_^>a_, and A. _^<a_!T2912_MERRITT_^>a_. Even in the 1930s such sf and weird-magazine authors as Eando
_^<a_!T604_BINDER_^>a_, Donald _^<a_!T5450_WANDREI_^>a_, Manly Wade _^<a_!T5525_WELLMAN_^>a_, Jack _^<a_!T5629_WILLIAMSON_^>a_ and Arthur Leo _^<a_!T6253_ZAGAT_^>a_ were still appearing in its pages. Its last serialization was _^<i_Earth's Last
Citadel_^>i_ 1943; _^<b_1964_^>b_) by C.L. _^<a_!T3033_MOORE_^>a_ and Henry _^<a_!T4144_KUTTNER_^>a_. Many of _^<i_TA_^>i_'s stories were reprinted in _^<a_!T1384_FAMOUS FANTASTIC MYSTERIES_^>a_ and _^<a_!T1399_FANTASTIC NOVELS_^>a_._^<n__^<n_The
US _^<i_TA_^>i_ should not be confused with UK magazines of the same name. There were two of these. _^<i_The Argosy_^>i_, pulp-size, Dec 1865-Sep 1901, ed Mrs Henry Wood (1814-1887), published occasional stories of the supernatural but was not
known for sf. _^<i_The Argosy_^>i_, pulp-size, June 1926-Jan 1940, became a _^<a_!T1231_DIGEST_^>a_ in Feb 1940, retitled _^<i_Argosy of Complete Stories_^>i_. In both its pulp and digest forms this magazine primarily published reprints in many
genres. Early on it serialized Mary _^<a_!T2173_SHELLEY_^>a_'s _^<i_Frankenstein_^>i_ (_^<b_1818_^>b_; rev 1831) and Bram Stoker's _^<i_Dracula_^>i_ (_^<b_1897_^>b_), and published stories by Lord _^<a_!T1353_DUNSANY_^>a_. Later, in its digest
form, it published many stories by Ray _^<a_!T4963_BRADBURY_^>a_. It lasted into the 1960s. [JE]_^<n__^<n__^<b_Further reading:_^>b_ _^<i_Under the Moons of Mars: A History and Anthology of the Scientific Romances in the Munsey Magazines
1912-1920_^>i_ (anth _^<b_1970_^>b_) ed Sam _^<a_!T3074_MOSKOWITZ_^>a_.
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ARGOSY ALL-STORY WEEKLY
-T-
> _^<i_The_^>i_ _^<a_!T225_ARGOSY_^>a_._^<n__^<n_
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18
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-END-
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ARGOSY WEEKLY
-T-
> _^<i_The_^>i_ _^<a_!T225_ARGOSY_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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18
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ARIEL: THE BOOK OF FANTASY
-T-
Large-_^<a_!T492_BEDSHEET_^>a_-size US magazine (9 x 12in; about 230 x 305mm); 4 issues (Autumn 1976, 1977, Apr and Oct 1978), published by Morning Star Press; ed Thomas Durwood. _^<i_A:TBOF_^>i_ was lavishly produced on glossy paper, emphasizing
fantastic art and _^<a_!T4396_HEROIC FANTASY_^>a_, including episodes of the _^<a_!T820_COMIC_^>a_ strip _^<b_Den_^>b_ by Richard _^<a_!T876_CORBEN_^>a_ and a feature on Frank _^<a_!T1612_FRAZETTA_^>a_. Critical and historical articles were
interspersed with fiction by Harlan _^<a_!T6641_ELLISON_^>a_, Michael _^<a_!T3030_MOORCOCK_^>a_, Keith _^<a_!T2619_ROBERTS_^>a_, Roger _^<a_!T6264_ZELAZNY_^>a_ and others. In the main A: TBOF can be said to have been a triumph of form (good) over
content (generally indifferent). [PN]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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576
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ARIOSTO, LUDOVICO
-T-
[r] > _^<a_!T3826_ITALY_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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ARISS, BRUCE (WALLACE)
-T-
(1916-1977) US writer and illustrator. He published "Dreadful Secret of Jonas Harper" as early as 1948 in _^<i_What's Doing? Magazine_^>i_. _^<i_Full Circle_^>i_ (_^<b_1963_^>b_), his sf novel about a post-_^<a_!T4482_HOLOCAUST_^>a_ conflict between
Amerindians and other survivors after the War of Poisoned Lightning, appeared much later. He also did a good deal of scriptwriting, served in tv and films as an art director, and did the illustrations for Reginald _^<a_!T4987_BRETNOR_^>a_'s
_^<i_Through Time and Space with Ferdinand Feghoot_^>i_ (coll _^<b_1962_^>b_) as Grendel Briarton. [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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-END-
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ARKHAM COLLECTOR, THE
-T-
> _^<a_!T233_ARKHAM SAMPLER_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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17
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-END-
-A-
ARKHAM HOUSE
-T-
US _^<a_!T2261_SMALL PRESS_^>a_ founded in Sauk City, Wisconsin, by August _^<a_!T1189_DERLETH_^>a_ and Donald _^<a_!T5450_WANDREI_^>a_ in order to produce a collection of H.P. _^<a_!T3465_LOVECRAFT_^>a_'s stories, _^<i_The Outsider and Others_^>i_
(coll _^<b_1939_^>b_). Although this was not initially a success, the imprint continued (Derleth bought out Wandrei in 1943) and published a variety of weird, fantasy and horror collections by Lovecraft, Robert E. _^<a_!T4524_HOWARD_^>a_, Frank
Belknap _^<a_!T3430_LONG_^>a_, Clark Ashton _^<a_!T2264_SMITH_^>a_ and many others, later including original stories and novels; it produced the first books of Ray _^<a_!T4963_BRADBURY_^>a_, Fritz _^<a_!T3322_LEIBER_^>a_ and A.E. _^<a_!T5333_VAN
VOGT_^>a_. By the mid-1940s it was becoming a legend, and an example to other small presses. In 1948-9 it published a magazine, _^<a_!T233_ARKHAM SAMPLER_^>a_. Lovecraft remained a main interest of the company, but after Derleth's death in 1971, AH
(later under James Turner) began to change direction, publishing among other things some excellent collections by sf writers (sf previously having been a rather minor part of the company's output). These were not conservative choices: they included
books from the cutting edge of sf by, for example, Greg _^<a_!T478_BEAR_^>a_, Michael _^<a_!T620_BISHOP_^>a_, John _^<a_!T4043_KESSEL_^>a_ and Joanna _^<a_!T2741_RUSS_^>a_. AH remains a power in sf publishing, with books like
_^<i__^<a_!B9222_GRAVITY'S ANGELS_^>a__^>i_ (coll _^<b_1991_^>b_) by Michael _^<a_!T5864_SWANWICK_^>a_; and with the memorial and definitive _^<i_Her Smoke Rose up Forever_^>i_ (coll _^<b_1990_^>b_) AH did for James _^<a_!T6035_TIPTREE JR._^>a_
what half a century earlier it had done for Lovecraft and Smith. Its early Lovecraft and Smith collections are among the most valuable collectors' items in the field. Two useful books about AH are _^<i_Thirty Years of Arkham House 1939-1969_^>i_
(_^<b_1970_^>b_) by Derleth, and _^<i_Horrors and Unpleasantries: A Bibliographical History and Collectors' Guide to Arkham House_^>i_ (_^<b_1983_^>b_; exp vt _^<i_The Arkham House Companion_^>i_ 1989) by Sheldon _^<a_!T3848_JAFFERY_^>a_. The
_^<a_!T4809_GRAPHIC NOVEL_^>a_ _^<i_Arkham Asylum: A Serious House on Serious Earth_^>i_ (graph _^<b_1989_^>b_) by Grant Morrison (writer) and Dave _^<a_!T3551_MCKEAN_^>a_ (artist), published by _^<a_!T1115_DC COMICS_^>a_, is a sort of tribute.
[PN/MJE]_^<n__^<n_
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ARKHAM SAMPLER
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US magazine, intermediate format (6 x 9in; about 150 x 230mm), quarterly, 8 issues, Winter 1948-Autumn 1949, published by _^<a_!T232_ARKHAM HOUSE_^>a_, ed August _^<a_!T1189_DERLETH_^>a_. An offshoot of Arkham House's book-publishing activities,
_^<i_AS_^>i_ was a fantasy magazine that used many reprints, but also published original fiction by Ray _^<a_!T4963_BRADBURY_^>a_ and others; a celebrated reprint was H.P. _^<a_!T3465_LOVECRAFT_^>a_'s _^<i_The Dream Quest of Unknown Kadath_^>i_
(1943; Winter-Fall 1948; _^<b_1955_^>b_). The Winter 1949 issue was devoted to sf, containing stories by Ray _^<a_!T4963_BRADBURY_^>a_, A.E. _^<a_!T5333_VAN VOGT_^>a_ and others. At $1.00 _^<i_AS_^>i_ was rather expensive, which may have
contributed to the shortness of its life. A later Arkham House periodical was _^<i_The Arkham Collector_^>i_, in booklet format, 10 issues Summer 1967-Summer 1971, which mixed publishing news with some fiction, mostly fantasy and horror. [MJE]
_^<n__^<n__^<b_See also:_^>b__^<a_!T2130_ SF MAGAZINES_^>a_.
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ARLEN, MICHAEL
-T-
(1895-1956) UK-Armenian writer, born Dikran Kouyoumidjian, who is mainly remembered for _^<i_The Green Hat_^>i_ (_^<b_1924_^>b_) and other novels of fashionable London life._^<n__^<n_His supernatural fiction is to be found in _^<i_These Charming
People_^>i_ (coll _^<b_1923_^>b_) and _^<i_May Fair_^>i_ (coll _^<b_1924_^>b_); _^<i_Ghost Stories_^>i_ (coll _^<b_1927_^>b_) assembles the supernatural stories from the previous volumes. MA's sf novel, _^<i_Man's Mortality_^>i_ (_^<b_1933_^>b_) --
although derivative of Rudyard _^<a_!T4082_KIPLING_^>a_'s _^<i_pax aeronautica_^>i_ tale _^<i_With the Night Mail_^>i_ (1905; _^<b_1909_^>b_ chap US) -- vividly depicts the collapse of International Aircraft and Airways in 1987 after 50 years of
oligarchy; the melodramatic story carries some moral bite. _^<i_Hell! Said the Duchess_^>i_ (_^<b_1934_^>b_) is set in 1938, with Winston Churchill as premier. A succubus is impersonating the duchess, who is accused of being a "Jane the Ripper" but
is eventually exonerated. [JC]_^<n__^<n__^<b_About the author:_^>b_ _^<i_Michael Arlen_^>i_ (_^<b_1975_^>b_) by Harry Keyishian._^<b_See also:_^>b_ _^<a_!T6080_TRANSPORTION_^>a_.
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ARMSTRONG, ANTHONY
-T-
Working name of UK author and journalist George Anthony Armstrong Willis (1897-1976), a regular contributor to the magazine _^<i_Punch_^>i_. AA began writing as a novelist with two historical fantasies, _^<i_Lure of the Past_^>i_ (_^<b_1920_^>b_)
and _^<i_The Love of Prince Raameses_^>i_ (_^<b_1921_^>b_), which were linked by the common theme of _^<a_!T2548_REINCARNATION_^>a_. The historical framework was again used in his _^<a_!T3460_LOST-WORLD_^>a_ adventure _^<i_Wine of Death_^>i_
(_^<b_1925_^>b_), a bloodthirsty novel about a surviving community of Atlanteans. _^<i_When the Bells Rang_^>i_ (_^<b_1943_^>b_), with Bruce Graeme (1900-1982), is a morale-boosting alternate-history tale of a 1940 _^<a_!T3796_INVASION_^>a_ of the
UK by the Nazis, and of their subsequent defeat (> _^<a_!T4446_HITLER WINS_^>a_)._^<n__^<n_AA's short stories are, by comparison, slight, and are generally humorous. Of note are his two early Edgar Rice _^<a_!T5097_BURROUGHS_^>a_ parodies, "The
Visit to Mars" and "The Battlechief of Mars" (1926 _^<i_Gaiety_^>i_) which briefly outline the extraordinary exploits of John Waggoner; they have yet to be reprinted. [JE]_^<n__^<n__^<b_Other works:_^>b_ _^<i_The Prince Who Hiccupped and Other
Tales_^>i_ (coll _^<b_1932_^>b_); _^<i_The Pack of Pieces_^>i_ (_^<b_1942_^>b_; vt _^<i_The Naughty Princess_^>i_ 1945); _^<i_The Strange Case of Mr Pelham_^>i_ (_^<b_1957_^>b_)._^<b_See also:_^>b_ _^<a_!T131_ALTERNATE WORLDS_^>a_;
_^<a_!T4446_HITLER WINS_^>a_.
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ARMSTRONG, CHARLES WICKSTEED
-T-
(1871-? ) UK writer, still alive in 1951, whose first sf novel, _^<i_The Yorl of the Northmen, or The Fate of the English Race: Being the Romance of a Monarchical Utopia_^>i_ (_^<b_1892_^>b_) as by Charles Strongi'th'arm, envisions a feudal and
eugenics-dominated world partially modelled on the works of William _^<a_!T3066_MORRIS_^>a_. CWA's second novel, _^<i_Paradise Found, or Where the Sex Problem Has Been Solved_^>i_ (_^<b_1936_^>b_), uncovers once again a _^<a_!T5303_UTOPIA_^>a_
founded on eugenic principles, this time in South America. [JC]_^<n__^<n_
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ARMSTRONG, GEOFFREY
-T-
[s] > John Russell _^<a_!T1455_FEARN_^>a_._^<n__^<n_
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27
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ARMSTRONG, MICHAEL (ALLAN)
-T-
(1956- ) US writer who began publishing sf with "Going after Arviq" in _^<i_Afterwar_^>i_ (anth _^<b_1985_^>b_) ed Janet _^<a_!T3063_MORRIS_^>a_; this story was expanded (with the name respelled) into his second novel, _^<i_Agviq: The Whale_^>i_
(_^<b_1990_^>b_), a post-_^<a_!T4482_HOLOCAUST_^>a_ tale set in Alaska and featuring a woman anthropologist whose book-knowledge of the ancient ways of the Eskimo usefully sophisticates the vitality of the tribal survivors._^<n__^<n_MA's first
novel, _^<i_After the Zap_^>i_ (_^<b_1987_^>b_), is likewise set in Alaska, in this case in a People's Republic which has survived the phenomenon of the title, a pulse that, down south, has scrambled brains and computers alike.The young protagonist
of his third novel, _^<i_The Hidden War_^>i_ (_^<b_1994_^>b_), attempts to defend his asteroid-belt home (whose culture is nostalgically based on the Beat literature of the 1950s), is captured and imprisoned, but then finds Earth to differ vastly
from his preconceptions. [JC]_^<n__^<n_
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ARMSTRONG, T.I.F.
-T-
[r] > John _^<a_!T4639_GAWSWORTH_^>a_._^<n__^<n_
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23
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ARMYTAGE, W(ALTER) H(ARRY) G(REEN)
-T-
(1915- ) South-African born UK writer and professor of education. Of interest to sf readers among WHGA's 14 books is _^<i_Yesterday's Tomorrows: A Historical Survey of Future Societies_^>i_ (_^<b_1967_^>b_). Primarily concerned with literary
versions of the shape the future may take, it assembles its materials mainly from the 19th and 20th centuries, sometimes from books not well known to sf readers. It is not a critical work, and the material in its wide range seems sometimes to be
merely cited rather than digested; it is, nevertheless, a useful work of scholarship. [PN]_^<n__^<n__^<n__^<n__^<b_See also:_^>b_ _^<a_!T963_CRITICAL AND HISTORICAL WORKS ABOUT SF_^>a_; _^<a_!T5303_UTOPIAS_^>a_.
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597
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ARNASON, ELEANOR (ATWOOD)
-T-
(1942- ) US writer who began to publish sf with "A Clear Day in the Motor City" for _^<i_New Worlds Quarterly #6_^>i_ (anth _^<b_1973_^>b_) ed Michael _^<a_!T3030_MOORCOCK_^>a_ and Charles _^<a_!T1927_PLATT_^>a_. She has since published stories
and poems with some regularity. Her first novel, _^<i_The Sword Smith_^>i_ (_^<b_1978_^>b_), is a fantasy notable for the spare elegance of its narrative, which focuses with modest intensity upon its young protagonist's slow grasp of life's
meaning. _^<i_To the Resurrection Station_^>i_ (_^<b_1986_^>b_), which is sf with touches of _^<a_!T4780_GOTHIC_^>a_ imagery, brings a wide range of characters together in contexts which wittily embody _^<a_!T1461_FEMINIST_^>a_ readings of the
world. _^<i_Daughter of the Bear King_^>i_ (_^<b_1987_^>b_) is another fantasy. With _^<i__^<a_!B9081_A WOMAN OF THE IRON PEOPLE_^>a__^>i_ (_^<b_1991_^>b_; vt in 2 vols as _^<i_In the Light of Sigma Draconis_^>i_ 1992 and _^<i_Changing Women_^>i_
1992) EA came suddenly to wider notice. The long tale is set on a complicated stage: on the planet of Sigma Draconis II, inhabited by an _^<a_!T98_ALIEN_^>a_ race seemingly in thrall -- as is frequently the case in 1980s sf -- to the imperatives of
a sexually coercive biology (> _^<a_!T2115_SEX_^>a_), a party of Terrans is attempting to come to some understanding of this species. The plot, in true _^<a_!T1913_PLANETARY-ROMANCE_^>a_ fashion, takes two humans and two aliens on a trek through
the various domains and landscapes of the world, and lessons not unlike those taught in _^<i_The Sword Smith_^>i_ -- though far more complexly put -- are shared by all about sexual dimorphism, the nature of violence and the intrinsic value of
individual persons; and evidence is presented that _^<i_Homo sapiens_^>i_ may have learned some wisdom from the _^<a_!T1243_DISASTERS_^>a_ which, prior to the novel's timespan, have almost destroyed Earth. Similar dilemmas are examined, even more
sharply, in _^<i_Ring of Swords_^>i_ (_^<b_1993_^>b_), where an interstellar war between humans and an alien race is at the point of being resolved in mutual understanding, or exploding calamitously. The chaotic ruthlessness of humanity, and the
rigid gender separation of the alien _^<i_hwarhath_^>i_, are scrupulously exposed and judged in scenes of very considerable intellectual force; and the outcome -- as perceived by some of the most complexly conceived characters in modern sf -- is
hopeful. [JC]_^<n__^<n__^<b_Other work:_^>b_ _^<i_Time Gum_^>i_ (anth _^<b_1988_^>b_ chap) ed with Terry A. Garey, sf _^<a_!T1934_POETRY_^>a_._^<n__^<n_
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ARNAUD, G.-J.
-T-
[r] > _^<a_!T1590_FRANCE_^>a_._^<n__^<n_
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ARNETT, JACK
-T-
> Mike _^<a_!T3575_MCQUAY_^>a_._^<n__^<n_
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16
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ARNETTE, ROBERT
-T-
A _^<a_!T6269_ZIFF-DAVIS_^>a_ house name used in _^<i_AMZ_^>i_, _^<i_Fantastic Adventures_^>i_ and _^<i_Fantastic_^>i_ by Robert _^<a_!T2216_SILVERBERG_^>a_ and Roger P. Graham (Rog _^<a_!T1887_PHILLIPS_^>a_) for 1 identified story each and by
unidentified authors for 6 stories 1951-7. [PN]_^<n__^<n_
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208
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ARNO, ELROY
-T-
[s] > Leroy _^<a_!T6231_YERXA_^>a_._^<n__^<n_
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20
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ARNOLD, EDWIN LESTER
-T-
(1857-1935) UK writer, son of Sir Edwin Arnold (1832-1904), Victorian poet and popularizer of Buddhism. His fantasies include two _^<a_!T2548_REINCARNATION_^>a_ tales, _^<i_The Wonderful Adventures of Phra the Phoenician_^>i_ (_^<b_1890_^>b_ US; vt
_^<i_Phra the Phoenician_^>i_ 1910 UK) and _^<i_Lepidus the Centurion: A Roman of Today_^>i_ (_^<b_1901_^>b_). His best-known novel is _^<i_Lieut. Gullivar Jones: His Vacation_^>i_ (_^<b_1905_^>b_; vt _^<i_Gulliver of Mars_^>i_ 1964 US), in which
Jones tells the story of his brief disgruntlement with the US Navy, his trip by flying carpet to _^<a_!T3677_MARS_^>a_, his rescue of a princess, his witnessing of the destruction of her domain, their adventures together, and his return to a
trustful fiancee and promotion. In the preface to the retitled 1964 edition Richard A. _^<a_!T3493_LUPOFF_^>a_ claims this story as a source for Edgar Rice _^<a_!T5097_BURROUGHS_^>a_'s _^<b_Barsoom_^>b_. The provenance is visible in hindsight.
[JC]_^<n__^<n__^<b_Other work:_^>b_ _^<i_The Story of Ulla and Other Tales_^>i_ (coll _^<b_1895_^>b_), in which 1 story, "Rutherford the Twice-Born", is fantasy._^<n__^<n__^<b_See also:_^>b_ _^<a_!T4443_HISTORY OF SF_^>a_.
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970
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ARNOLD, FRANK
-T-
Working name of UK writer Francis Joseph Eric Edward Arnold (1914-1987), active in WWII; in the 1930s he was an early member of UK _^<a_!T1389_FANDOM_^>a_. Four of his pulp sf stories from this period are collected in _^<i_Wings Across Time_^>i_
(coll _^<b_1946_^>b_), published in the short-lived _^<b_Pendulum "Popular" Spacetime Series_^>b_, of which he was editor. They are strong on action. [JC]_^<n__^<n_
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349
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ARNOLD, JACK
-T-
(1916-1992) US film-maker who made a number of sf films during the 1950s. In WWII, while in the Army Signal Corps, which was producing training films, JA found himself working with the great documentary-maker Robert Flaherty and received an
invaluable crash course in film-making. After WWII he made several successful documentaries. This led to an offer from Universal Studios to direct feature films, beginning with _^<i_Girls in the Night_^>i_ (1953). In 1953 he directed his first sf
film, _^<a_!T3828_IT CAME FROM OUTER SPACE_^>a_, based on a treatment by Ray _^<a_!T4963_BRADBURY_^>a_. His other relevant films are _^<a_!T949_CREATURE FROM THE BLACK LAGOON_^>a_ (1954), _^<a_!T2571_REVENGE OF THE CREATURE_^>a_ (1955),
_^<a_!T5905_TARANTULA_^>a_ (1956), _^<i_The_^<a_!T3777_INCREDIBLE SHRINKING MAN_^>a__^>i_ (1957), _^<a_!T3012_MONSTER ON THE CAMPUS_^>a_ (1958) and _^<i_The_^<a_!T2332_SPACE CHILDREN_^>a__^>i_ (1958). In 1959 he made the Peter Sellers comedy
_^<i_The Mouse that Roared_^>i_, the last of his sf-oriented films. His _^<a_!T3011_MONSTER MOVIES_^>a_, several of which make excellent, moody use of their cheap desert locations, have other moments of beauty, as in the underwater ballet of
_^<i_Creature from the Black Lagoon_^>i_, when the Creature mimics the movements of the woman swimmer, unseen by her, with a curious, alien eroticism. His sf masterwork is _^<i_The Incredible Shrinking Man_^>i_, a surreal classic of sf cinema, with
its tragic, suburban hero going mad, like some King Lear on the blasted heath of his own menacing cellar. JA was a genius of B-movies. [PN/JB]_^<n__^<n__^<b_Further reading:_^>b_ _^<i_Directed by Jack Arnold_^>i_ (_^<b_1988_^>b_) by Dana M.
US publisher specializing in facsimile reprint series. In 1975 Arno published a series of 62 sf titles (49 fiction and 13 nonfiction) ed R. _^<a_!T2543_REGINALD_^>a_ and Douglas _^<a_!T2898_MENVILLE_^>a_. The fiction titles date mostly from the
period 1885-1925; the nonfiction includes useful reprints of various bibliographic and critical works originally published in very small editions. In 1976 Arno produced a companion series of 63 supernatural and occult volumes, also ed Reginald and
Menville, and including several anthologies assembled by them. [MJE]_^<n__^<n_
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ARONICA, LOU
-T-
(1958- ) US publisher and editor, with _^<a_!T397_BANTAM BOOKS_^>a_ from 1979, as Vice President and Publisher of the Spectra sf list which he established in 1985, Vice President and Publisher of mass-market books 1989-1992, and Vice President
and Deputy Publisher 1992-1994; he was also editor of the _^<b_Foundation_^>b_ sf programme until it was merged into the Bantam list.In 1994 he became Senior Vice President and Publisher of The Berkley Publishing Group. As editor in his own right,
he produced _^<i_The Bantam Spectra Sampler_^>i_ (anth _^<b_1985_^>b_ chap) and, more importantly, edited the _^<a_!T1643_FULL SPECTRUM_^>a_ original anthology series: _^<i_Full Spectrum_^>i_ (anth _^<b_1988_^>b_) with Shawna
_^<a_!T6301_MCCARTHY_^>a_; #2 (anth _^<b_1989_^>b_) with Pat Lobrutto, McCarthy and Amy Stout; #3 (anth _^<b_1991_^>b_) and _^<i_#4_^>i_ (anth _^<b_1993_^>b_) with Betsy Mitchell and Stout. As a knowledgeable reader of sf and fantasy, and as a
senior figure in the publishing world, LA has for much of the past decade exercised considerable influence on the shape of the sf market. [JC]_^<n__^<n_
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AROUND THE WORLD UNDER THE SEA
-T-
Film (1966). Ivan Tors Productions/MGM. Dir Andrew Marton, starring Lloyd Bridges, Shirley Eaton, David McCallum. Screenplay Arthur Weiss, Art Arthur. 120 mins. Colour._^<n__^<n_This routine melodrama was produced by Ivan Tors, best known for such
marine tv series as _^<i_Flipper_^>i_. After tidal waves, underwater experts use a futuristic submarine to plant a series of earthquake-warning devices along a fault that encircles the world. The characters, dialogue and giant eel are hackneyed,
and the special effects cheap. The underwater sequences -- not bad -- were directed by Ricou Browning. [JB]_^<n__^<n_
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544
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ARROW, WILLIAM
-T-
House name used by _^<a_!T377_BALLANTINE BOOKS_^>a_. > Donald _^<a_!T1877_PFEIL_^>a_; _^<a_!T1919_PLANET OF THE APES_^>a_; William _^<a_!T2712_ROTSLER_^>a_._^<n__^<n_
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88
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ART
-T-
_^<i_For art in sf_^>i_ > _^<a_!T257_ARTS_^>a_; _^<i_for sf artists_^>i_ > _^<a_!T820_COMICS_^>a_, _^<a_!T4593_ILLUSTRATION_^>a_ _^<i_and entries on individual artists_^>i_._^<n__^<n_
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101
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ARTHUR, PETER
-T-
[s] > Arthur _^<a_!T1951_PORGES_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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ARTHUR C. CLARKE AWARD
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This award is given to the best sf novel whose UK first edition was published during the previous calendar year, and consists of an inscribed plaque and a cheque forps 1000 from a grant donated by Arthur C. _^<a_!T736_CLARKE_^>a_. The winner is
chosen by a jury, whose membership varies from year to year, and the award is administered by the _^<a_!T2066_SCIENCE FICTION FOUNDATION_^>a_ (of which Clarke is Patron), the _^<a_!T5004_BRITISH SCIENCE FICTION ASSOCIATION_^>a_ and the
International Science Policy Foundation. Each organization provides two jurors. Clarke's generosity is all the more notable, in hindsight, in that the award has generally gone to rather non-Clarkean books; the first award, for novels published
during 1986, interestingly went to a non-genre novel. The awards are listed below by date of announcement. [PN]_^<n__^<n__^<b_Winners:_^>b__^<n__^<n__^<b_1987:_^>b_ Margaret _^<a_!T303_ATWOOD_^>a_, _^<i__^<a_!B9071_THE HANDMAID'S
TALE_^>a__^>i__^<n__^<n__^<b_1988:_^>b_ George _^<a_!T6130_TURNER_^>a_, _^<i_The Sea and Summer_^>i_ (vt _^<i_Drowning Towers_^>i_)_^<n__^<n__^<b_1989:_^>b_ Rachel _^<a_!T1940_POLLACK_^>a_, _^<i_Unquenchable Fire_^>i__^<n__^<n__^<b_1990:_^>b_ Geoff
_^<a_!T2758_RYMAN_^>a_, _^<i_The Child Garden_^>i__^<n__^<n__^<b_1991:_^>b_ Colin _^<a_!T4847_GREENLAND_^>a_, _^<i__^<a_!B9105_TAKE BACK PLENTY_^>a__^>i__^<n__^<n__^<b_1992:_^>b_ Pat _^<a_!T5117_CADIGAN_^>a_,
_^<i__^<a_!B9266_SYNNERS_^>a__^>i__^<n__^<n__^<b_1993:_^>b_ Marge _^<a_!T1898_PIERCY_^>a_, _^<i_Body of Glass_^>i__^<n__^<n__^<b_1994:_^>b_ Jeff _^<a_!T6486_NOON_^>a_, _^<i_Vurt_^>i__^<n__^<n_
By virtue of its nature, sf has one foot firmly set in each of C.P. Snow's "two cultures", and sf stories occasionally exhibit an exaggerated awareness of that divide. Charles L. _^<a_!T4298_HARNESS_^>a_'s notable novella "The Rose" (1953) takes the
reconciliation of an assumed antagonism between art and science as its theme, the author adopting the view that the emotional richness of art is necessary to temper and redeem the cold objectivity of science. Most sf writers argue along similar
lines; even when they cannot celebrate the triumph of art they lament its defeat. The decline of theatrical artistry in the face of mechanical expertise is the theme of Walter M. _^<a_!T2960_MILLER_^>a_'s _^<a_!T4551_HUGO_^>a_-winning novelette
"The Darfsteller" (1955), and there are similar stories dealing with other arts: sculpture in C.M. _^<a_!T6353_KORNBLUTH_^>a_'s "With These Hands" (1951), fiction in Clifford D. _^<a_!T2218_SIMAK_^>a_'s "So Bright the Vision" (1956), even
_^<a_!T820_COMIC_^>a_-book illustration in Harry _^<a_!T4316_HARRISON_^>a_'s "Portrait of the Artist" (1964)._^<n__^<n_The concern of sf writers with the arts is almost entirely a post-WWII phenomenon; early _^<a_!T2033_PULP-MAGAZINE_^>a_ sf
writers and writers of scientific romance paid them little heed. Some 19th-century stories about artists may be considered to be marginal sf because of the remarkable nature of the particular enterprises featured therein: Nathaniel
_^<a_!T4349_HAWTHORNE_^>a_'s "Artist of the Beautiful" (1844) concerns the making of a wondrous mechanical butterfly, and Robert W. _^<a_!T5229_CHAMBERS_^>a_'s "The Mask" (1895) is about a "sculptor" who makes statues by chemically turning living
things to stone; but these are allegories rather than speculations. Scrupulous attention to the arts is paid by many _^<a_!T5303_UTOPIAN_^>a_ novels, although some utopians overtly or covertly accept _^<a_!T1925_PLATO_^>a_'s (ironic) claim in
_^<i_The Republic_^>i_ that artists comprise a socially disruptive force and ought to be banished from a perfect society. This thesis is dramatically extrapolated in Damon _^<a_!T4098_KNIGHT_^>a_'s "The Country of the Kind" (1956), where the
world's only artist is an antisocial psychotic and is necessarily expelled from social life. Karl Marx's related dictum that in the socialist utopia there would be no painters but only men who paint is similarly dramatized in Robert
_^<a_!T2216_SILVERBERG_^>a_'s "The Man with Talent" (1955). Most utopians find the idea of abundant _^<a_!T3327_LEISURE_^>a_ without art nonsensical, but they have sometimes been hard-pressed to find material appropriate to fill the gap. The
enthusiasm of Edward _^<a_!T514_BELLAMY_^>a_'s _^<i_Looking Backward, 2000-1887_^>i_ (_^<b_1888_^>b_) for the wonders of mechanically reproduced music reminds us how dramatically our relationship with the arts has been transformed by technology,
and the treatment of arts and crafts in such novels as William _^<a_!T3066_MORRIS_^>a_'s _^<i_News from Nowhere_^>i_ (_^<b_1890_^>b_) now seems irredeemably quaint, despite being echoed in such more recent works as Robert M. Pirsig's _^<i_Zen and
the Art of Motorcycle Maintenance_^>i_ (_^<b_1974_^>b_). More ambitious attempts to represent the artistic life of the future are featured in Herman _^<a_!T4410_HESSE_^>a_'s _^<i_Magister Ludi_^>i_ (_^<b_1943_^>b_; trans _^<b_1949_^>b_; retrans as
_^<i_The Glass Bead Game_^>i_ _^<b_1960_^>b_), in which the life of society's elite is dominated by the aesthetics of a "game", and in Franz _^<a_!T5537_WERFEL_^>a_'s ironic _^<i_Stern der Ungeborenen_^>i_ (_^<b_1946_^>b_; trans as _^<i_Star of the
Unborn_^>i_ _^<b_1946_^>b_ US). The aesthetic life and its possible elevation to a universal _^<i_modus vivendi_^>i_ are, however, mercilessly treated in some utopian satires -- notably in Alexandr _^<a_!T3080_MOSZKOWSKI_^>a_'s account of the
island of Helikonda in _^<i_Die Inselt der Weisheit_^>i_ (_^<b_1922_^>b_; trans as _^<i_The Isles of Wisdom_^>i_ _^<b_1924_^>b_) and Andre _^<a_!T3726_MAUROIS_^>a_'s _^<i_Voyage aux pays des Articoles_^>i_ (_^<b_1927_^>b_; trans as _^<i_A Voyage to
the Island of the Articoles_^>i_ _^<b_1928_^>b_). An early sf novel which deals satirically with the arts is Fritz _^<a_!T3322_LEIBER_^>a_'s _^<i_The Silver Eggheads_^>i_ (_^<b_1961_^>b_), in which human literateurs use "wordmills" and authored
fiction is strictly for the _^<a_!T2646_ROBOTS_^>a_._^<n__^<n_In _^<i_The Return of William Shakespeare_^>i_ (_^<b_1929_^>b_) Hugh _^<a_!T4077_KINGSMILL_^>a_ used an sf framework for a commentary on Shakespeare, audaciously crediting his
interpretations to the revivified bard himself. Isaac _^<a_!T268_ASIMOV_^>a_ used a similar idea for a brief joke, "The Immortal Bard" (1954), in which a time-travelling Shakespeare fails a college course in his own works. More earnest stories of
scientifically resurrected artists include Ray _^<a_!T4963_BRADBURY_^>a_'s "Forever and the Earth" (1950), which features Thomas Wolfe, and James _^<a_!T658_BLISH_^>a_'s "A Work of Art" (1956), in which the resurrection of Richard Strauss into the
brain of another man is hailed as a work of art in its own right, although Strauss discovers that rebirth has failed to re-ignite his creative powers. _^<a_!T6026_TIME-TRAVEL_^>a_ stories featuring the great artists of the past include Manly Wade
_^<a_!T5525_WELLMAN_^>a_'s _^<i_Twice in Time_^>i_ (1940; _^<b_1957_^>b_), whose hero becomes Leonardo da Vinci, Barry N. _^<a_!T3629_MALZBERG_^>a_'s _^<i_Chorale_^>i_ (_^<b_1978_^>b_), whose hero becomes Beethoven, and Lisa
_^<a_!T4762_GOLDSTEIN_^>a_'s _^<i_The Dream Years_^>i_ (_^<b_1976_^>b_), which features the pioneers of the Surrealist movement._^<n__^<n_Sf writers who have a considerable personal interest in one or other of the arts often reflect this in their
work. Fritz Leiber's theatrical background is less obvious in his sf than in his fantasy, though it is manifest in "No Great Magic" (1963) and -- obliquely -- in _^<i__^<a_!B8987_THE BIG TIME_^>a__^>i_ (_^<b_1961_^>b_). Samuel R.
_^<a_!T1152_DELANY_^>a_ is one sf writer in whose works artists play prominent and significant parts; their aesthetic performances, especially their music, are sufficiently central to shape the meanings of the stories -- a method taken to its
extreme in _^<i__^<a_!B9021_DHALGREN_^>a__^>i_ (_^<b_1975_^>b_). Another is Alexander _^<a_!T3839_JABLOKOV_^>a_, who makes much of the cultural significance of artistry in "The Death Artist" (1990) and _^<i_Carve the Sky_^>i_
(_^<b_1991_^>b_)._^<n__^<n_Music is the art most commonly featured in sf, as discussed under _^<a_!T3118_MUSIC IN SF_^>a_. Theatre is also widely featured, and much easier to deploy convincingly. Sf novels which use theatrical backgrounds for
various different purposes include _^<i_Doomsday Morning_^>i_ (_^<b_1957_^>b_) by C.L. _^<a_!T3033_MOORE_^>a_, John _^<a_!T5049_BRUNNER_^>a_'s _^<i_The Productions of Time_^>i_ (_^<b_1967_^>b_) and _^<i_Showboat World_^>i_ (_^<b_1975_^>b_) by Jack
Vance, while the hero of Robert A. _^<a_!T4376_HEINLEIN_^>a_'s _^<i_Double Star_^>i_ (_^<b_1956_^>b_) is an actor. The single work of art most often featured in sf stories is the Mona Lisa, which receives respectful treatment in Ray Bradbury's "The
Smile" (1952) and disrespectful treatment in Bob _^<a_!T2153_SHAW_^>a_'s "The Gioconda Caper" (1976); but the most extravagant use of a work of pictorial art as an anchor for an sf story is in Ian _^<a_!T5484_WATSON_^>a_'s Bosch-inspired _^<i_The
Gardens of Delight_^>i_ (_^<b_1980_^>b_)._^<n__^<n_When it comes to inventing new arts, sf writers are understandably tentative. The aesthetics of time-tourism are elegantly developed in C.L. Moore's "Vintage Season" (1946), but the mask-making art
of Jack Vance's "The Moon Moth" (1961), the holographic sculpture of William _^<a_!T2712_ROTSLER_^>a_'s _^<i_Patron of the Arts_^>i_ (1973; exp _^<b_1974_^>b_) and Ian Watson's _^<i_The Martian Inca_^>i_ (_^<b_1977_^>b_), the music-and-light
linkages of John Brunner's _^<i__^<a_!B9008_THE WHOLE MAN_^>a__^>i_ (1958-9; fixup _^<b_1964_^>b_ US; vt _^<i_Telepathist_^>i_ 1965 UK), the sartorial art of Barrington J. _^<a_!T472_BAYLEY_^>a_'s _^<i_The Garments of Caean_^>i_ (_^<b_1976_^>b_
US), the psycho-sculpture of Robert Silverberg's _^<i_The Second Trip_^>i_ (_^<b_1972_^>b_) and the laser-based artform of J. Neil _^<a_!T2861_SCHULMAN_^>a_'s _^<i_The Rainbow Cadenza_^>i_ (_^<b_1983_^>b_) are all fairly modest extrapolations of
extant arts._^<n__^<n_The most commonly depicted class of new artform in modern sf involves the recording of dreams. An early use of this notion was Isaac Asimov's "Dreaming is a Private Thing" (1955); more recent and much more elaborate
explorations of the idea are _^<i_Hyacinths_^>i_ (_^<b_1983_^>b_) by Chelsea Quinn Yarbro and _^<i_The Continent of Lies_^>i_ (_^<b_1984_^>b_) by James _^<a_!T3070_MORROW_^>a_._^<n__^<n_The aesthetic uses of _^<a_!T4657_GENETIC-ENGINEERING_^>a_
techniques are featured in several stories by Brian M. _^<a_!T2385_STABLEFORD_^>a_, including "Cinderella's Sisters" (1989) and "Skin Deep" (1991)._^<n__^<n_There have been several notable attempts by sf writers to portray the artists' colonies of
the future, many of them imitative of J.G. _^<a_!T378_BALLARD_^>a_'s lushly ironic stories of _^<i_Vermilion Sands_^>i_ (coll _^<b_1971_^>b_ US), which includes a story about the novel art of cloud-sculpting, "The Cloud-Sculptors of Coral D"
(1967). Lee _^<a_!T4057_KILLOUGH_^>a_'s _^<i_Aventine_^>i_ (coll _^<b_1982_^>b_) is the most blatant exercise in _^<i_Vermilion Sands_^>i_ pastiche; more obliquely influenced items are Michael _^<a_!T833_CONEY_^>a_'s _^<i_The Girl with a Symphony
in her Fingers_^>i_ (fixup _^<b_1975_^>b_; vt _^<i_The Jaws that Bite, the Claws that Catch_^>i_) and several stories by Eric _^<a_!T5027_BROWN_^>a_, including "The Girl who Died for Art and Lived" (1987). Pat _^<a_!T3113_MURPHY_^>a_'s _^<i_The
City, Not Long After_^>i_ (_^<b_1989_^>b_) is more original and more interesting._^<n__^<n_Anthologies of sf stories about the arts include _^<i_New Dreams this Morning_^>i_ (_^<b_1966_^>b_) ed James Blish and _^<i_The Arts and Beyond: Visions of
Man's Aesthetic Future_^>i_ (anth _^<b_1977_^>b_) ed Thomas F. _^<a_!T3019_MONTELEONE_^>a_. In _^<i_Pictures at an Exhibition_^>i_ (anth _^<b_1981_^>b_) ed Ian _^<a_!T5484_WATSON_^>a_ writers base their stories on selected works of art. [BS]
_^<n__^<n__^<b_See also:_^>b_ _^<a_!T1695_GAMES AND SPORTS_^>a_.
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ARZHAK, NIKOLAI
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[r] > Yuli _^<a_!T1052_DANIEL_^>a_._^<n__^<n_
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ASCHER, EUGENE
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> Harold Ernest _^<a_!T4015_KELLY_^>a_._^<n__^<n_
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ASH, ALAN
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(1908-? ) UK writer in whose routine sf adventure, _^<i_Conditioned for Space_^>i_ (_^<b_1955_^>b_), a _^<a_!T2248_SLEEPER AWAKES_^>a_, having been encased in a block of ice, to find himself in the front line of Earth defence in a space war.
[JC]_^<n__^<n_
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ASH, BRIAN
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(1936- ) UK writer, scientific journalist and editor. His _^<i_Faces of the Future: The Lessons of Science Fiction_^>i_ (_^<b_1975_^>b_) assumes that its readers might be ignorant of sf, which leads to more plot summarizing than is palatable for
sf readers. BA's _^<i_Who's Who in Science Fiction_^>i_ (_^<b_1976_^>b_; rev 1977) was well received by the general press, but heavily attacked in the sf specialist press for omissions and errors. The revised edition corrected many of the
inaccuracies. BA then edited the thematically arranged _^<i_The Visual Encyclopedia of Science Fiction_^>i_ (_^<b_1978_^>b_), whose coverage is not in fact truly encyclopedic, consisting for the most part of largely unsigned essays and
compilations, by various contributors (listed in the prelims), arranged in chapters which trace the development of the major sf themes. A handsome volume, illustrated in colour, it did not work well as a reference work for people interested in
particular writers, and was widely regarded as a "coffee-table" book. On the other hand, _^<i_Who's Who in H.G. Wells_^>i_ (_^<b_1979_^>b_) is a useful guide which encompasses all the fiction, not only the well known early works. [PN]_^<n__^<n_
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ASH, FENTON
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> Frank _^<a_!T305_AUBREY_^>a_._^<n__^<n_
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ASHE, GORDON
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> John _^<a_!T947_CREASEY_^>a_._^<n__^<n_
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ASHLEY, FRED
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> Frank _^<a_!T305_AUBREY_^>a_._^<n__^<n_
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ASHLEY, MIKE
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Working name of UK editor and researcher Michael Raymond Donald Ashley (1948 ), who has a special expertise in the history of magazine sf, fantasy and weird fiction. MA's first major work as an anthology editor was the 4-vol _^<i_The History of
the Science Fiction Magazines: Part 1 1926-35 _^>i_:(anth _^<b_1974_^>b_), _^<i_Part 2 1936-45_^>i_ (anth _^<b_1975_^>b_), _^<i_Part 3 1946-55_^>i_ (anth _^<b_1976_^>b_) and _^<i_Part 4 1956-65_^>i_ (anth _^<b_1978_^>b_), now projected for 1995
release -- minus the reprinted stories -- as a straightforward reference work. The long introductions to the stories are packed with information, much of it unfamiliar, and there are useful bibliographical appendices. MA's other anthologies are
_^<i_Souls in Metal_^>i_ (anth _^<b_1977_^>b_), _^<i_Weird Legacies_^>i_ (anth _^<b_1977_^>b_), _^<i_SF Choice 77_^>i_ (anth _^<b_1977_^>b_), _^<i_The Best of British SF_^>i_ (anth in 2 vols _^<b_1977_^>b_), _^<i_The Mammoth Book of Short Horror
Novels_^>i_ (anth _^<b_1988_^>b_) and _^<i_The Pendragon Chronicles: Heroic Fantasy from the Time of King Arthur_^>i_ (anth _^<b_1990_^>b_) and its sequel, _^<i_The Camelot Chronicles_^>i_ (anth _^<b_1992_^>b_); he edited _^<i_Mrs Gaskell's Tales
of Mystery and Horror_^>i_ (coll _^<b_1978_^>b_), and 2 collections of Algernon _^<a_!T638_BLACKWOOD_^>a_ stories._^<n__^<n_MA's work has also resulted in a number of nonfiction books, the first being _^<i_Who's Who in Horror and Fantasy
Fiction_^>i_ (_^<b_1977_^>b_), which is markedly superior to its companion volume dealing with sf, ed Brian _^<a_!T261_ASH_^>a_, and draws interestingly on original research; it covers some 400 writers. Two useful indexes, showing increasing
evidence of MA's thoroughness, are _^<i_Fantasy Readers' Guide: A Complete Index and Annotated Commentary to the John Spencer Fantasy Publications (1950-66)_^>i_ (_^<b_1979_^>b_chap) and _^<i_The Complete Index to Astounding/ Analog_^>i_
(_^<b_1981_^>b_ US), the latter with Terry Jeeves. _^<i_The Illustrated Book of Science Fiction Lists_^>i_ (_^<b_1982_^>b_; vt _^<i_The Illustrated Science Fiction Book of Lists_^>i_ US) is well organized and fun for trivia buffs. But MA's main
contribution to sf scholarship lies in his next three books. _^<i_Monthly Terrors: An Index to the Weird Fantasy Magazines Published in the United States and Great Britain_^>i_ (_^<b_1985_^>b_ US), compiled by Frank H. Parnell with the assistance
of MA, gives proper professional coverage to an area indexed previously, if at all, mainly in mimeographed fan publications. _^<i_Algernon Blackwood: A Bio-Bibliography_^>i_ (_^<b_1987_^>b_ US) is an admirable work, around 300pp of scrupulous
bibliography with a 34pp biographical preface. MA's masterwork, however, may be the 970pp _^<i_Science Fiction, Fantasy and Weird Fiction Magazines_^>i_ (_^<b_1985_^>b_ US), ed MA and Marshall B. _^<a_!T6150_TYMN_^>a_. This book (which is not an
index) dramatically superseded -- in number of magazines discussed and in detail -- the first edition of _^<i_The Encyclopedia of Science Fiction_^>i_ (_^<b_1979_^>b_) ed Peter _^<a_!T3189_NICHOLLS_^>a_ as the most comprehensive account of this
difficult area of publishing, and is interestingly written, much of it by MA himself. The book has uneven sections, but is generally a triumph. Of similar importance is <The Supernatural Index> (1995), which records the contents of approximately
2,200 anthologies in the field. [PN]_^<n__^<n__^<b_Other works:_^>b__^<i_The Seven Wonders of the World_^>i_ (_^<b_1979_^>b_); _^<i_Fantasy Readers' Guide to Ramsey Campbell_^>i_ (chap _^<b_1980_^>b_); _^<i_The Writings of Barrington J. Bayley_^>i_
(_^<b_1981_^>b_ chap); _^<i_When Spirits Talk_^>i_ (anth _^<b_1990_^>b_ chap); _^<i_The Mammoth Book of Historical Whodunnits_^>i_ (anth _^<b_1993_^>b_), associational; _^<i_The Work of William F. Temple: An Annotated Bibliography & Guide_^>i_
(1904-? ) UK writer whose first sf novel, _^<i_The Breaking of the Seals_^>i_ (_^<b_1946_^>b_), sets a psychic time-traveller into a prehistoric world where primitive society ends in chaos with the breaking up of Bahste, Earth's then moon; a
Deluge follows. Its thematic sequel, _^<i_Alas, That Great City_^>i_ (_^<b_1948_^>b_), set in _^<a_!T290_ATLANTIS_^>a_, propounds a similar catastrophe, with a new planet arriving to become the Earth's moon and sinking the continent. _^<i_Wrong
Side of the Moon_^>i_ (_^<b_1952_^>b_), written with Stephen Ashton, deals more mundanely with an attempt at space travel. [JC]_^<n__^<n_
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ASHTON, MARVIN
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> Dennis _^<a_!T4544_HUGHES_^>a_._^<n__^<n_
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ASIMOV, ISAAC
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(1920-1992) US writer whose second marriage, in 1973, was to fellow writer J.O. Jeppson (who now signs herself Janet _^<a_!T268_ASIMOV_^>a_). IA, born in Russia, was brought to the USA by his family in 1923, and became a US citizen in 1928. He
discovered sf through the magazines sold in his father's candy store; and, although he was not strongly involved in sf _^<a_!T1389_FANDOM_^>a_, he was for a while associated with the _^<a_!T1665_FUTURIANS_^>a_, one of whose members, Frederik
_^<a_!T1937_POHL_^>a_, later published several of IA's early stories in his magazines _^<a_!T274_ASTONISHING STORIES_^>a_ and _^<a_!T5847_SUPER SCIENCE STORIES_^>a_. Intellectually precocious, IA obtained his undergraduate degree from Columbia
University in 1939, majoring in chemistry, and proceeded to take his MA in 1941 and PhD in 1948, after a wartime hiatus which he mostly spent working in the US Naval Air Experimental Station alongside L. Sprague _^<a_!T1133_DE CAMP_^>a_ and Robert
A. _^<a_!T4376_HEINLEIN_^>a_. In 1949 he joined the Boston University School of Medicine, where he became associate professor of biochemistry, a position he resigned in 1958 (although he retained the title) in order to write full-time. IA's fame as
an sf writer grew steadily from 1940, and next to Heinlein he was the most influential US sf writer of his era. His life story is told in three volumes of memoirs -- _^<i_In Memory Yet Green: The Autobiography of Isaac Asimov (1920-1954)_^>i_
(_^<b_1979_^>b_), _^<i_In Joy Still Felt: The Autobiography of Isaac Asimov (1954-1978)_^>i_ (_^<b_1980_^>b_)and _^<i_I.Asimov: a Memoir_^>i_ (_^<b_1994_^>b_) -- plus a volume of anecdotes, _^<i_Asimov Laughs Again_^>i_ (_^<b_1992_^>b_), the four
together comprising the most extensive autobiographical record yet supplied by any sf figure._^<n__^<n_IA began publishing sf with "Marooned off Vesta" for _^<a_!T141_AMAZING STORIES_^>a_ in 1939, and, although his first stories did not attract the
immediate attention accorded to contemporaries like Heinlein and A.E. _^<a_!T5333_VAN VOGT_^>a_, he very soon developed a strong relationship with John W. _^<a_!T5140_CAMPBELL_^>a_ Jr, editor of _^<a_!T277_ASTOUNDING SCIENCE-FICTION_^>a_, who
encouraged him, advised him, and eventually began to publish him. His tutelage was astonishingly fruitful, as the comments woven into _^<i_The Early Asimov, or Eleven Years of Trying_^>i_ (coll _^<b_1972_^>b_; vt in 2 vols _^<i_The Early Asimov,
Book One_^>i_ 1974 and _^<i_Book Two_^>i_ 1974; vt in 3 vols _^<i_The Early Asimov, or Eleven Years of Trying #1_^>i_ 1973 UK, _^<i_#2_^>i_ 1974 UK and _^<i_#3_^>i_ 1974 UK) exhaustively demonstrate. The apprenticeship was, in fact, short. By 1942
the young IA, barely out of his teens, had already written or had clearly embarked upon the three works or sequences with which his name would be most associated for the following half century: first, "Strange Playfellow" (1940 _^<i_Super Science
Stories_^>i_; vt "Robbie" in all later appearances from 1950), the first story in the _^<b_Robot_^>b_ series, during the course of which he articulated the Three Laws of Robotics; second, "Nightfall" (1941 _^<i_ASF_^>i_), his most famous story and
probably the single most famous US sf story of all time; and, third, "Foundation" (1942), the first instalment of the celebrated _^<b_Foundation_^>b_ series, during the course of which IA established the _^<a_!T1678_GALACTIC EMPIRE_^>a_ as a
template for almost every future _^<a_!T4442_HISTORY_^>a_ generated in the field from 1940 onwards._^<n__^<n_As the _^<b_Robot_^>b_ and _^<b_Foundation_^>b_ sequences dominated IA's career into the 1990s, it is perhaps best to describe "Nightfall"
first. Its success has been astonishing. Poll after poll, including one conducted by the _^<a_!T2147_SCIENCE FICTION WRITERS OF AMERICA_^>a_, has found it considered the best sf short story of all time. The original idea -- as was often the case in
the _^<a_!T4754_GOLDEN AGE OF SF_^>a_ -- was largely Campbell's. Emerson had said that, if the stars were visible only once in a thousand years, "how men would believe and adore"; but Campbell suggested to IA that something else would happen.
"Nightfall" is set upon a world which complexly orbits six suns, at least one of which is always shining, except for one night of universal eclipse every two millennia. As the night approaches once again, scientists and others begin to sense that
the psychological effects (> _^<a_!T2023_PSYCHOLOGY_^>a_) of utter darkness may explain the fact that civilization on this world is cyclical, and every 2000 years the race must start again from scratch. Darkness falls. But it is not the darkness
that finally deranges everyone. It is the thousands of suddenly and overwhelmingly visible stars. A novel version, _^<i_Nightfall_^>i_ (_^<b_1990_^>b_ UK) with Robert _^<a_!T2216_SILVERBERG_^>a_, opens out the original story but in so doing fatally
flattens the poetic intensity and _^<a_!T2104_SENSE OF WONDER_^>a_ felt by so many readers at the moment when the stars are seen._^<n__^<n_It was the third story of the _^<b_Robot_^>b_ series, _^<i_Liar!_^>i_ (1941 _^<i_ASF_^>i_; rev _^<b_1977_^>b_
chap), that saw the introduction of the Three Laws of Robotics, whose formulation IA credited essentially to Campbell, but which Campbell credited essentially to IA. (The laws are detailed in the entry on _^<a_!T2646_ROBOTS_^>a_.) That the
constraints engendered by these laws were matters of jurisprudence rather than scientific principle could have been no secret to IA, who almost certainly promulgated them for reasons that had nothing to do with science. In the first instance, the
Laws helped put paid to the increasingly worn-out _^<a_!T2033_PULP-MAGAZINE_^>a_ convention that the robot was an inimical metal monster; they allowed IA to create a plausible alternative for the 1940s in his _^<a_!T1955_POSITRONIC ROBOTS_^>a_; and
-- in lawyerly fashion -- they generated a large number of stories which probed and exploited various loopholes. The early stories in the sequence tend, as a consequence, to treat the history of the robot as a series of conundrums to be solved;
these early tales were assembled as _^<i__^<a_!B9053_I, ROBOT_^>a__^>i_ (coll of linked stories _^<b_1950_^>b_; cut 1958 UK), a title which included _^<i_Liar!_^>i_ and _^<i_Little Lost Robot_^>i_ (1947 _^<i_ASF_^>i_; rev _^<b_1977_^>b_ chap). In
his two robot novels of the 1950s -- _^<i_The Caves of Steel_^>i_ (_^<b_1954_^>b_) and _^<i_The Naked Sun_^>i_ (_^<b_1957_^>b_) -- IA definitively articulated the problem-solving nature of the series, creating in the human detective Lije Baley and
his robot colleague R. Daneel Olivaw two characters far more memorable than usually found in his work. The two novels -- his best of the 1950s -- are set in a future in which the crowded inhabitants of Earth have moved underground (>
_^<a_!T1752_OVERPOPULATION_^>a_) while their cultural descendants and rivals, the Spacers, glory in naked suns. The conflict between the two contrasting versions of humanity's proper course forward would fuel the _^<b_Robot_^>b_ novels (_^<i_see
below_^>i_) of IA's second career as a fiction writer; his first came near to its close with the Baley/Olivaw books, which were assembled in _^<i_The Rest of the Robots_^>i_ (omni _^<b_1964_^>b_), along with some hitherto uncollected stories, these
latter being separately republished as _^<i_Eight Stories from the Rest of the Robots_^>i_ (coll _^<b_1966_^>b_), while the two novels were also assembled without the stories as _^<i_The Robot Novels_^>i_ (omni _^<b_1971_^>b_)._^<n__^<n_The
_^<b_Foundation_^>b_ tales were from the first conceived on a different scale, and were set sufficiently far into the future so that IA need experience none of the difficulties of verisimilitude he faced in the _^<b_Robot_^>b_ sequence, where his
plumping for a robot-dominated _^<a_!T6337_NEAR FUTURE_^>a_ came to seem dangerously parochial as _^<a_!T826_COMPUTERS_^>a_ increasingly came into actual being. The first _^<b_Foundation_^>b_ sequence, set thousands of years hence in the closing
centuries of a vast Galactic Empire, comprises _^<i_Foundation_^>i_ (1942-4 _^<i_ASF_^>i_; fixup _^<b_1951_^>b_; cut vt _^<i_The 1,000 Year Plan_^>i_ 1955 dos), _^<i_Foundation and Empire_^>i_ (1945 _^<i_ASF_^>i_; fixup _^<b_1952_^>b_; vt _^<i_The
Man who Upset the Universe_^>i_ 1955) and _^<i_Second Foundation_^>i_ (1948-50 _^<i_ASF_^>i_; fixup _^<b_1953_^>b_; vt _^<i_2nd Foundation: Galactic Empire_^>i_ 1958), with all 3 vols being assembled as _^<i__^<a_!B9116_THE FOUNDATION
TRILOGY_^>a__^>i_ (_^<b_1963_^>b_; vt _^<i_An Isaac Asimov Omnibus_^>i_ 1966 UK). Deriving background elements from an earlier story, "Black Friar of the Flame" (1942), the series was originally conceived by IA as a single extended tale, the fall
of the Roman Empire rewritten as sf; it evolved into a much larger undertaking through consultation with Campbell, whose refusal to accept in _^<i_ASF_^>i_ the presence of _^<a_!T102_ALIENS_^>a_ superior to humanity was responsible for IA's
decision not to introduce any aliens at all into his future history. Grandiose in conception, although suffering in overall design through having been written piecemeal over a period of years, the first _^<b_Foundation_^>b_ trilogy was nevertheless
a landmark, winning a _^<a_!T4551_HUGO_^>a_ for 1965 as "Best All-Time Series". Like its model, the Galactic Empire is entering a long senescence; but the hidden protagonist of the series, Hari Seldon, inventor of the _^<a_!T4595_IMAGINARY
SCIENCE_^>a_ of _^<a_!T2022_PSYCHOHISTORY_^>a_, has established two Foundations to shorten the period of interregnum between the fall and a new galactic order. The first Foundation, which is public, is given the explicit task of responding
creatively to the historic impulses predicted by psychohistory; the second Foundation, which is secret, copes with the unknown, as in later tales represented by the Mule, a _^<a_!T3119_MUTANT_^>a_, the effect of whose paranormal powers on history
Seldon could not have anticipated. The first trilogy closes open to the future._^<n__^<n_IA's first three published novels -- _^<i_Pebble in the Sky_^>i_ (_^<b_1950_^>b_), _^<i_The Stars, Like Dust_^>i_ (_^<b_1951_^>b_; cut vt _^<i_The Rebellious
Stars_^>i_ 1954 dos) and _^<i_The Currents of Space_^>i_ (_^<b_1952_^>b_), all three assembled as _^<i_Triangle_^>i_ (omni _^<b_1961_^>b_; vt _^<i_A Second Isaac Asimov Omnibus_^>i_ 1969 UK) -- are set earlier in the galactic empire of the
_^<b_Foundation_^>b_ stories, but have no direct connection with them; they are relatively minor. Before 1958, when he closed off his first career as a fiction writer, IA wrote only one completely separate singleton, _^<i_The End of Eternity_^>i_
(_^<b_1955_^>b_), a complex story of _^<a_!T6026_TIME TRAVEL_^>a_ and _^<a_!T6020_TIME PARADOXES_^>a_ considered by some critics to be his best work. As Paul French, he produced the _^<b_Lucky Starr_^>b_ _^<a_!T710_CHILDREN'S SF_^>a_ sequence:
_^<i_David Starr, Space Ranger_^>i_ (_^<b_1952_^>b_; vt _^<i_Space Ranger_^>i_ 1973 UK), _^<i_Lucky Starr and the Pirates of the Asteroids_^>i_ (_^<b_1953_^>b_; vt _^<i_Pirates of the Asteroids_^>i_ 1973 UK), _^<i_Lucky Starr and the Oceans of
Venus_^>i_ (_^<b_1954_^>b_; vt _^<i_The Oceans of Venus_^>i_ 1974 UK), _^<i_Lucky Starr and the Big Sun of Mercury_^>i_ (_^<b_1956_^>b_; vt _^<i_The Big Sun of Mercury_^>i_ 1974 UK), _^<i_Lucky Starr and the Moons of Jupiter_^>i_ (_^<b_1957_^>b_;
vt _^<i_The Moons of Jupiter_^>i_ 1974 UK), _^<i_Lucky Starr and the Rings of Saturn_^>i_ (_^<b_1958_^>b_; vt _^<i_The Rings of Saturn_^>i_ 1974 UK). The sequence was assembled in the UK as _^<i_An Isaac Asimov Double_^>i_ (omni _^<b_1972_^>b_ UK),
; vt _^<i_Lucky Starr Book 1_^>i_ 1993 US),_^<i_A Second Isaac Asimov Double_^>i_ (omni _^<b_1973_^>b_ UK) ; vt _^<i_Lucky Starr Book 2_^>i_ 1993 US) and _^<i_A Third Isaac Asimov Double_^>i_ (omni _^<b_1973_^>b_ UK); and in the USA the first three
titles were assembled as _^<i_The Adventures of Lucky Starr_^>i_ (omni _^<b_1985_^>b_). Most of the best of his short stories -- like "The Martian Way" (1952), "Dreaming is a Private Thing" (1955), "The Dead Past" (1956) and _^<i_The Ugly Little
Boy_^>i_ (1958 _^<i_Gal_^>i_; _^<b_1989_^>b_ chap dos) -- also came from the 1950s; his short work, very frequently reprinted in the 1980s, was initially assembled in a series of impressive volumes, including _^<i_The Martian Way, and Other
Stories_^>i_ (coll _^<b_1955_^>b_), _^<i_Earth is Room Enough_^>i_ (coll _^<b_1957_^>b_) and _^<i_Nine Tomorrows: Tales of the Near Future_^>i_ (coll _^<b_1959_^>b_). But then he stopped._^<n__^<n_In 1958, there was every sense that the
_^<b_Robot_^>b_ and _^<b_Foundation_^>b_ sequences were complete, and no sense that they could in any plausible sense be related to one another. IA himself, having abandoned fiction, plunged first into the writing of a popular-science column in
_^<i_The_^<a_!T3595_MAGAZINE OF FANTASY AND SCIENCE FICTION_^>a__^>i_ , which began in November 1958 and appeared continuously, for 399 unbroken issues, until mounting illness prevented his completing the 400th essay late in 1991; it won IA a
special Hugo in 1963 for "adding science to science fiction". More significantly, he also began to produce an extraordinary stream of nonfiction titles, many of them very substantial, on all aspects of science and literature and -- more or less --
anything else. The triumphant _^<i_Opus 100_^>i_ (coll _^<b_1969_^>b_) was followed by _^<i_Opus 200_^>i_ (coll _^<b_1979_^>b_), both being assembled as _^<i_Opus_^>i_ (omni _^<b_1980_^>b_ UK); and these two were followed in turn by _^<i_Opus
300_^>i_ (coll _^<b_1984_^>b_). By the time of his death in 1992, IA's total of published works had long passed the 400 mark._^<n__^<n_During the years from 1958 to about 1980, however, little sf appeared, and what did varied widely in quality. A
film tie, _^<i_Fantastic Voyage_^>i_ * (_^<b_1966_^>b_) -- which much later was not so much sequelled as recast in _^<i_Fantastic Voyage II: Destination Brain_^>i_ (_^<b_1987_^>b_) -- did his name no good; but _^<i__^<a_!B9117_THE GODS
THEMSELVES_^>a__^>i_ (_^<b_1972_^>b_), which was only the second genuine singleton of his career and which won both Hugo and _^<a_!T3147_NEBULA_^>a_ awards, proved to be his finest single creation, a complex tale involving catastrophic energy
transfers between alternate universes (> _^<a_!T131_ALTERNATE WORLDS_^>a_) and -- rarely for him -- intriguing alien beings. Two collections, _^<i_Buy Jupiter, and Other Stories_^>i_ (coll _^<b_1975_^>b_; vt _^<i_Buy Jupiter!_^>i_) -- which
incorporated _^<i_Have You Seen These_^>i_ (coll _^<b_1974_^>b_ chap) -- and _^<i_The Bicentennial Man_^>i_ (coll _^<b_1976_^>b_), contained both desultory fillers and, in the title story of the second volume, his finest single _^<b_Robot_^>b_
tale. His presence in the sf world may have been intermittent, but his reputation continued to grow, and in Spring 1977 IA was involved in founding the first successful new US sf magazine since 1950, _^<a_!T3816_ISAAC ASIMOV'S SCIENCE FICTION
MAGAZINE_^>a_, which soon became -- and remains -- one of the two or three dominant journals in the field._^<n__^<n_In the 1980s, to the relief of his very numerous readers and to the trepidation of critics, he returned to the sf field as a fully
active writer. Never in fact prolific as an author of fiction, IA began at this time to produce large novels at intervals of a year or less, most of them comprising an ambitious attempt to amalgamate the _^<b_Robot_^>b_ and _^<b_Foundation_^>b_
sequences into one overarching series, a task not made easier by the total absence of robots from the Galactic Empire. The bridging premise is simple: the Galactic Empire (and Hari Seldon's own career) are the consequences of a robot plot -- based
on their by-now enormously sophisticated reading of the Three Laws, by which they argue that the First Law requires robots to protect the human race as a whole -- to ensure the survival of humanity among the stars. In terms of internal chronology,
the new series comprises _^<i__^<a_!B9274_THE ROBOTS OF DAWN_^>a__^>i_ (_^<b_1983_^>b_), _^<i_Robots and Empire_^>i_ (_^<b_1985_^>b_), _^<i_Prelude to Foundation_^>i_ (_^<b_1988_^>b_), _^<i__^<a_!B9114_FOUNDATION'S EDGE_^>a__^>i_ (_^<b_1982_^>b_),
which won a Hugo, _^<i_Foundation and Earth_^>i_ (_^<b_1986_^>b_).and _^<i_Forward the Foundation_^>i_ (coll of linked stories _^<b_1993_^>b_), IA's last completed fiction, which advances the sequence into the lifetime of Hari Seldon. Each tale was
longer than anything IA had ever written before and sold enormously well, but disappointed some readers because of the undue relaxedness of the new style, the ponderousness of the action, and the memorial sense that was given off by the entire
enterprise. Meanwhile, earlier material was assiduously intermixed with the new. _^<i_The Robot Collection_^>i_ (omni _^<b_1983_^>b_) assembled _^<i_The Robot Novels_^>i_ and _^<i_The Complete Robot_^>i_ (coll _^<b_1982_^>b_), the latter title
containing all the robot stories barring the novels; and _^<i_The Robot Novels_^>i_, in its original 1971 form an omnibus containing the Bayley/Olivaw tales, now reappeared as _^<i_The Robot Novels_^>i_ (omni _^<b_1988_^>b_) incorporating
_^<i__^<a_!B9274_THE ROBOTS OF DAWN_^>a__^>i_ as well. _^<i_Robot Dreams_^>i_ (coll _^<b_1986_^>b_) and _^<i_Robot Visions_^>i_ (coll _^<b_1990_^>b_), both ed anon by Martin H. _^<a_!T4842_GREENBERG_^>a_, while re-sorting much old material, also
contained new short stories ; and _^<i_The Positronic Man_^>i_ (1976 _^<i_Stellar Science Fiction Stories_^>i_, anth ed Judith _^<a_!T1163_DEL REY_^>a_ as"The Bicentennial Man"; exp _^<b_1992_^>b_ UK) with Robert Silverberg reworked a relatively
late robot story._^<n__^<n_With Janet _^<a_!T269_ASIMOV_^>a_ (_^<i_whom see for titles_^>i_) IA began a new robot series, the _^<b_Norby_^>b_ books for children. Further singletons arrived, including _^<i_Azazel_^>i_ (coll of linked stories
_^<b_1988_^>b_), _^<i_Nemesis_^>i_ (_^<b_1989_^>b_) and _^<i_Child of Time_^>i_ (1958 _^<i_Gal_^>i_ as "The Ugly Little Boy" by IA alone; exp _^<b_1991_^>b_ ; vt _^<i_The Ugly Little Boy_^>i_ 1992 US) with Robert Silverberg. New stories were
assembled in _^<i_The Winds of Change_^>i_ (coll _^<b_1986_^>b_), and the entire career was memorialized in _^<i_The Asimov Chronicles: Fifty Years of Isaac Asimov_^>i_ (coll _^<b_1989_^>b_; vt in 6 vols as _^<i_The Asimov Chronicles #1_^>i_ 1990,
_^<i_#2_^>i_ 1990, _^<i_#3_^>i_ 1990, _^<i_#4_^>i_ 1991, _^<i_#5_^>i_ 1991 and _^<i_#6_^>i_ 1991) ed Martin H. Greenberg; while at the same time there appeared _^<i_The Complete Stories, Volume One_^>i_ (omni _^<b_1990_^>b_), comprising the
contents of _^<i_Earth is Room Enough_^>i_, _^<i_Nine Tomorrows_^>i_ and _^<i_Nightfall_^>i_, and _^<i_The Complete Stories, Volume Two_^>i_ (coll _^<b_1992_^>b_), assembling work from 1941 through 1976. A cascade of anthologies (see listing below)
appeared during this decade; the _^<b_Isaac Asimov's Robot City_^>b_ series of _^<a_!T6014_TIES_^>a_ by various writers were issued regularly. During the last two decades of his life, IA's name seemed ubiquitous; he was given a Nebula Grand Master
Award for 1986. It remained the case, however, that for younger generations it had become hard to see the forest for the trees. Their best course might well be to stick to the _^<b_Robots_^>b_ and the _^<b_Foundation_^>b_, to _^<i__^<a_!B9117_THE
GODS THEMSELVES_^>a__^>i_, and to _^<i_The Asimov Chronicles_^>i_. There they would hear the clear unerring voice of the rational man, and the tales he told about solving the true world. For 50 years it was IA's tone of address that all the other
voices of sf obeyed, or shifted from -- sometimes with an eloquence he could not himself have achieved. It may indeed be said that he lacked poetry; but for five decades his was the voice to which sf came down in the end. His was the
_^<i_default_^>i_ voice of sf. [JC/MJE]_^<n__^<n__^<b_Other works:_^>b_ _^<i_The Death Dealers_^>i_ (_^<b_1958_^>b_; vt _^<i_A Whiff of Death_^>i_ 1968), associational; _^<i_Through A Glass, Clearly_^>i_ (coll _^<b_1967_^>b_ UK); _^<i_Asimov's
Mysteries_^>i_ (coll _^<b_1968_^>b_), associational; _^<i_Nightfall and Other Stories_^>i_ (coll _^<b_1969_^>b_; vt in 2 vols _^<i_Nightfall One_^>i_ 1971 UK and _^<i_Nightfall Two_^>i_ 1971 UK); _^<i_The Best New Thing_^>i_ (_^<b_1971_^>b_), a
juvenile; _^<i_The Best of Isaac Asimov_^>i_ (coll _^<b_1973_^>b_ UK) ed anon Martin H. Greenberg; the _^<b_Black Widowers_^>b_ sequence of associational detective tales comprising _^<i_Tales of the Black Widowers_^>i_ (coll _^<b_1974_^>b_),
_^<i_More Tales of the Black Widowers_^>i_ (coll _^<b_1976_^>b_), _^<i_Casebook of the Black Widowers_^>i_ (coll _^<b_1980_^>b_), _^<i_Banquets of the Black Widowers_^>i_ (coll _^<b_1984_^>b_) and _^<i_Puzzles of the Black Widowers_^>i_ (coll
_^<b_1990_^>b_); _^<i_The Heavenly Host_^>i_ (_^<b_1975_^>b_), a juvenile; _^<i_"The Dream," "Benjamin's Dream" and "Benjamin's Bicentennial Blast": Three Short Stories_^>i_ (coll _^<b_1976_^>b_ chap); _^<i_Good Taste_^>i_ (_^<b_1976_^>b_ chap);
_^<i_Murder at the ABA_^>i_ (_^<b_1976_^>b_; vt _^<i_Authorized Murder_^>i_ 1976 UK), a detection with _^<a_!T2528_RECURSIVE_^>a_ elements; _^<i_The Key Word and Other Mysteries_^>i_ (coll _^<b_1977_^>b_), associational; _^<i_The Far Ends of Time
and Earth_^>i_ (omni _^<b_1979_^>b_) assembling _^<i_Pebble in the Sky_^>i_, _^<i_Earth is Room Enough_^>i_ and _^<i_The End of Eternity_^>i_; _^<i_Prisoners of the Stars_^>i_ (omni _^<b_1979_^>b_), assembling _^<i_The Stars Like Dust_^>i_ and
_^<i_The Martian Way_^>i_; _^<i_3 by Asimov_^>i_ (coll _^<b_1981_^>b_ chap); _^<i_The Union Club Mysteries_^>i_ (coll _^<b_1983_^>b_), associational; _^<i_The Alternate Asimovs_^>i_ (coll _^<b_1985_^>b_), ed anon Greenberg, containing early
versions of _^<i_Pebble in the Sky_^>i_, _^<i_The End of Eternity_^>i_ and "Belief" (1953); _^<i_The Edge of Tomorrow_^>i_ (coll _^<b_1985_^>b_), part nonfiction; _^<i_The Best Mysteries of Isaac Asimov_^>i_ (coll _^<b_1986_^>b_); _^<i_The Best
Science Fiction of Isaac Asimov_^>i_ (coll _^<b_1986_^>b_); _^<i_Other Worlds of Isaac Asimov_^>i_ (omni _^<b_1987_^>b_) assembling _^<i__^<a_!B9117_THE GODS THEMSELVES_^>a__^>i_, _^<i_The End of Eternity_^>i_ and _^<i_The Martian Way_^>i_;
_^<i_The Ugly Little Boy_^>i_ (1958 _^<i_Gal_^>i_; _^<b_1989_^>b_ chap dos); _^<i_Cal_^>i_ (_^<b_1991_^>b_ chap)._^<b_As Editor:_^>b_ Because of the huge number of IA anthologies, we omit those that are not of genre interest and also break our
listing into two main divisions: _^<b_Miscellaneous_^>b_ and _^<b_Series_^>b_. "Greenberg" is understood always to refer to Martin H. _^<a_!T4842_GREENBERG_^>a_ as collaborator, "Waugh" to Charles G. _^<a_!T5488_WAUGH_^>a_ as collaborator, and
"Olander" to Joseph D. _^<a_!T3303_OLANDER_^>a_ as collaborator._^<b_Miscellaneous titles_^>b__^<i_Soviet Science Fiction_^>i_ (anth _^<b_1962_^>b_) and _^<i_More Soviet Science Fiction_^>i_ (anth _^<b_1962_^>b_), both of which IA introduced but
did not edit; _^<i_Fifty Short Science Fiction Tales_^>i_ (anth _^<b_1963_^>b_) with Groff _^<a_!T834_CONKLIN_^>a_; _^<i_Tomorrow's Children_^>i_ (anth _^<b_1966_^>b_); _^<i_Where Do We Go from Here?_^>i_ (anth _^<b_1971_^>b_; vt in 2 vols
_^<i_Where Do We Go from Here? Book 1_^>i_ 1974 UK and _^<i_Book 2_^>i_ 1974 UK); _^<i_Nebula Award Stories 8_^>i_ (anth _^<b_1973_^>b_); _^<i_Before the Golden Age_^>i_ (anth _^<b_1974_^>b_; paperback edn split into 3 vols in the USA, 4 in the
UK); _^<i_100 Great Science Fiction Short-Short Stories_^>i_ (anth _^<b_1978_^>b_) with Greenberg and Olander; _^<i_The 13 Crimes of Science Fiction_^>i_ (anth _^<b_1979_^>b_) with Greenberg and Waugh; _^<b_The Science Fictional Solar System_^>b_
(anth _^<b_1979_^>b_) with Greenberg and Waugh; _^<i_Microcosmic Tales_^>i_ (anth _^<b_1980_^>b_) with Greenberg and Olander; _^<i_Space Mail_^>i_ (anth _^<b_1980_^>b_) with Greenberg and Olander; _^<i_The Future in Question_^>i_ (anth
_^<b_1980_^>b_) with Greenberg and Olander; _^<i_The Seven Deadly Sins of Science Fiction_^>i_ (anth _^<b_1980_^>b_) with Greenberg and Waugh; _^<i_Isaac Asimov's Science Fiction Treasury_^>i_ (omni _^<b_1981_^>b_) assembling _^<i_Space Mail_^>i_
and _^<i_The Future in Question_^>i_; _^<i_The Future I_^>i_ (anth _^<b_1981_^>b_) with Greenberg and Olander; _^<i_Catastrophes!_^>i_ (anth _^<b_1981_^>b_) with Greenberg and Waugh; _^<i_The Seven Cardinal Virtues of Science Fiction_^>i_ (anth
_^<b_1981_^>b_) with Greenberg and Waugh; _^<i_Space Mail, Volume II_^>i_ (anth _^<b_1982_^>b_) with Greenberg and Olander; _^<i_TV: 2000_^>i_ (anth _^<b_1982_^>b_), all with Greenberg and Waugh; _^<i_Laughing Space_^>i_ (anth _^<b_1982_^>b_) with
J.O. Jeppson (Janet _^<a_!T270_ASIMOV_^>a_); _^<i_Speculations_^>i_ (anth _^<b_1982_^>b_) with Alice Laurance; _^<i_Flying Saucers_^>i_ (anth _^<b_1982_^>b_) with Greenberg and Waugh; _^<i_Dragon Tales_^>i_ (anth _^<b_1982_^>b_) with Greenberg and
Waugh; _^<i_The Last Man on Earth_^>i_ (anth _^<b_1982_^>b_) with Greenberg and Waugh; _^<i_Science Fiction A to Z_^>i_ (anth _^<b_1982_^>b_) with Greenberg and Waugh; _^<i_Caught in the Organ Draft: Biology in Science Fiction_^>i_ (anth
_^<b_1983_^>b_) with Greenberg and Waugh; _^<i_Hallucination Orbit: Psychology in Science Fiction_^>i_ (anth _^<b_1983_^>b_) with Greenberg and Waugh; _^<i_Starships_^>i_ (anth _^<b_1983_^>b_) with Greenberg and Waugh; _^<i_The Science Fiction
Weight-Loss Book_^>i_ (anth _^<b_1983_^>b_) with Greenberg and George R.R. _^<a_!T3685_MARTIN_^>a_; _^<i_Creations: The Quest for Origins in Story and Science_^>i_ (anth _^<b_1983_^>b_) with Greenberg and George _^<a_!T6261_ZEBROWSKI_^>a_; _^<i_100
Great Fantasy Short Short Stories_^>i_ (anth _^<b_1984_^>b_) with Terry _^<a_!T5182_CARR_^>a_ and Greenberg; _^<i_Machines that Think: The Best Science Fiction Stories about Robots & Computers_^>i_ (anth _^<b_1984_^>b_) with Greenberg and Patricia
S. _^<a_!T5471_WARRICK_^>a_; _^<i_Isaac Asimov Presents the Best Science Fiction Firsts_^>i_ (anth _^<b_1984_^>b_) with Greenberg and Waugh; _^<i_Computer Crimes & Capers_^>i_ (anth _^<b_1984_^>b_) with Greenberg and Waugh; _^<i_Sherlock Holmes
through Time and Space_^>i_ (anth _^<b_1984_^>b_) with Greenberg and Waugh; _^<i_Election Day 2084: Science Fiction Stories about the Future of Politics_^>i_ (anth _^<b_1984_^>b_) with Greenberg; _^<i_Great Science Fiction Stories by the World's
Greatest Scientists_^>i_ (anth _^<b_1985_^>b_) with Greenberg and Waugh; _^<i_Amazing Stories: 60 Years of the Best Science Fiction_^>i_ (anth _^<b_1985_^>b_) with Greenberg; _^<i_Science Fiction Masterpieces_^>i_ (anth _^<b_1986_^>b_); _^<i_The
Twelve Frights of Christmas_^>i_ (anth _^<b_1986_^>b_) with Greenberg and Carol-Lynn Rossel Waugh; _^<i_Young Star Travelers_^>i_ (anth _^<b_1986_^>b_) with Greenberg and Waugh; _^<i_Hound Dunnit_^>i_ (anth _^<b_1987_^>b_) with Greenberg and
Carol-Lynn Rossel Waugh; _^<i_Encounters_^>i_ (anth _^<b_1988_^>b_); _^<i_Tales of the Occult_^>i_ (anth _^<b_1989_^>b_) with Greenberg and Waugh; _^<i_Visions of Fantasy: Tales from the Masters_^>i_ (anth _^<b_1989_^>b_)._^<b_Series
titles_^>b__^<b_Hugo Winners:_^>b_ _^<i_The Hugo Winners_^>i_ (anth _^<b_1962_^>b_); _^<i_The Hugo Winners, Vol II_^>i_ (anth _^<b_1971_^>b_; vt in 2 vols _^<i_Stories from The Hugo Winners_^>i_ 1973 and _^<i_More Stories from The Hugo Winners_^>i_
1973; vt in 2 vols _^<i_The Hugo Winners, Volume One, 1963-1967_^>i_ 1973 UK and _^<i_Volume Two, 1968-1970_^>i_ 1973 UK); _^<i_The Hugo Winners, Vol III_^>i_ (anth _^<b_1977_^>b_); _^<i_The Hugo Winners, Vol IV: 1976-1979_^>i_ (anth
_^<b_1985_^>b_; vt in 2 vols _^<i_Beyond the Stars_^>i_ 1987 UK and _^<i_The Dark Void_^>i_ 1987 UK); _^<i_The Hugo Winners, Vol V: 1980-1982_^>i_ (anth _^<b_1986_^>b_); _^<i_The New Hugo Winners: Award-Winning Science Fiction Stories_^>i_ (anth
_^<b_1989_^>b_) with Martin H. Greenberg; _^<i_The New Hugo Winners Volume 2_^>i_ (anth _^<b_1992_^>b_) with Greenberg. _^<i_The Hugo Winners_^>i_ and _^<i_The Hugo Winners, Vol II_^>i_ were assembled as _^<i_The Hugo Winners, Volumes One and
Two_^>i_ (omni _^<b_1972_^>b_).The _^<b_Great SF Stories_^>b_, all ed with Greenberg: _^<i_Isaac Asimov Presents the Great SF Stories 1 (1939)_^>i_ (anth _^<b_1979_^>b_); _^<i_#2 (1940)_^>i_ (anth _^<b_1979_^>b_); _^<i_#3 (1941)_^>i_ (anth
_^<b_1992_^>b_), at which point the series ended. #1 and #2 of the above were assembled as _^<i_The Golden Years of Science Fiction #1_^>i_ (omni _^<b_1982_^>b_); #3 and #4 as _^<i_#2_^>i_ (omni _^<b_1983_^>b_); #5 and #6 as _^<i_#3_^>i_ (omni
_^<b_1984_^>b_); #7 and #8 as _^<i_#4_^>i_ (omni _^<b_1984_^>b_); #9 and #10 as _^<i_#5_^>i_ (omni _^<b_1986_^>b_) and #11 and #12 as _^<i_#6_^>i_ (omni _^<b_1988_^>b_).The _^<b_Science Fiction Shorts_^>b_, all ed with Greenberg and Waugh:
_^<b_1982_^>b_ chap); _^<i_Tomorrow's TV_^>i_ (anth _^<b_1982_^>b_ chap); _^<i_Travels through Time_^>i_ (anth _^<b_1982_^>b_ chap) and _^<i_Wild Inventions_^>i_ (anth _^<b_1982_^>b_ chap).The _^<b_Nineteenth Century_^>b_ series, all ed with
Greenberg and Waugh: _^<i_Isaac Asimov Presents the Best Science Fiction of the Nineteenth Century_^>i_ (anth _^<b_1981_^>b_); _^<i_Isaac Asimov Presents the Best Fantasy of the 19th Century_^>i_ (anth _^<b_1982_^>b_) and _^<i_Isaac Asimov Presents
the Best Horror and Supernatural of the 19th Century_^>i_ (anth _^<b_1983_^>b_).The _^<b_Magical Worlds of Fantasy_^>b_, all ed with Greenberg and Waugh: _^<i_Isaac Asimov's Magical Worlds of Fantasy #1: Wizards_^>i_ (anth _^<b_1983_^>b_); _^<i_#2:
_^<i_Ghosts_^>i_ 1989); _^<i_#11: Curses_^>i_ (anth _^<b_1989_^>b_) and _^<i_#12: Faeries_^>i_ (anth _^<b_1991_^>b_). Numbers 1 and 2 of the above were assembled as _^<i_Isaac Asimov's Magical Worlds of Fantasy: Witches & Wizards_^>i_ (omni
_^<b_1985_^>b_).The _^<b_Wonderful Worlds of Science Fiction_^>b_, all ed with Greenberg and Waugh: _^<i_Isaac Asimov's Wonderful Worlds of Science Fiction 1: Intergalactic Empires_^>i_ (anth _^<b_1983_^>b_); _^<i_#2: The Science Fictional
_^<i_Mutants_^>i_ 1988); _^<i_Young Ghosts_^>i_ (anth _^<b_1985_^>b_; vt _^<i_Asimov's Ghosts_^>i_ 1986) and _^<i_Young Monsters_^>i_ (anth _^<b_1985_^>b_; vt _^<i_Asimov's Monsters_^>i_ 1986) -- both assembled as _^<i_Asimov's Ghosts &
Monsters_^>i_ (omni _^<b_1988_^>b_ UK) -- and _^<i_Young Witches & Warlocks_^>i_ (anth _^<b_1987_^>b_).The _^<b_Mammoth_^>b_ books, all ed with Greenberg and Waugh: _^<i_Baker's Dozen: 13 Short Fantasy Novels_^>i_ (anth _^<b_1985_^>b_; vt _^<i_The
Mammoth Book of Short Fantasy Novels_^>i_ 1988 UK); _^<i_The Mammoth Book of Short Science Fiction Novels_^>i_ (anth _^<b_1986_^>b_ UK); _^<i_The Mammoth Book of Classic Science Fiction: Short Novels of the 1930s_^>i_ (anth _^<b_1988_^>b_ UK; cut
vt _^<i_Great Tales of Classic Science Fiction_^>i_ 1990 US); _^<i_The Mammoth Book of Golden Age Science Fiction: Short Novels of the 1940s_^>i_ (anth _^<b_1989_^>b_ UK); _^<i_The Mammoth Book of Vintage Science Fiction: Short Novels of the
1950s_^>i_ (anth _^<b_1990_^>b_ UK); _^<i_The Mammoth Book of New World Science Fiction: Great Short Novels of the 1960s_^>i_ (anth _^<b_1991_^>b_); _^<i_The Mammoth Book of Fantastic Science Fiction: Short Novels of the 1970s_^>i_ (anth
_^<b_1992_^>b_); _^<i_The Mammoth Book of Modern Science Fiction: Short Novels of the 1980s_^>i_ (anth _^<b_1993_^>b_)._^<b_Nonfiction:_^>b_ We make no attempt to list IA's enormous nonfiction output; however, of the hundreds of titles published
since _^<i_Biochemistry and Human Metabolism_^>i_ (_^<b_1952_^>b_; rev 1954; rev 1957) with Burnham Walker and William C. Boyd, more than half are likely to be of interest to sf readers for their lucid and comprehensive popularizations of all forms
of science. _^<i_Only a Trillion_^>i_ (coll _^<b_1957_^>b_) contains three _^<a_!T2812_SATIRES_^>a_. IA's _^<i_FSF_^>i_ science columns have been regularly assembled, in many volumes, from _^<i_Fact and Fancy_^>i_ (coll _^<b_1962_^>b_) on. Recent
non-popular-science titles of interest include: _^<i_Isaac Asimov on Science Fiction_^>i_ (coll _^<b_1981_^>b_); _^<i_Futuredays: A 19th-Century Vision of the Year 2000_^>i_ (_^<b_1986_^>b_); _^<i_How to Enjoy Writing: A Book of Aid and
Comfort_^>i_ (_^<b_1987_^>b_) with Janet Asimov; _^<i_Asimov's Galaxy: Reflections on Science Fiction_^>i_ (coll _^<b_1989_^>b_); _^<i_Frontiers_^>i_ (coll _^<b_1990_^>b_); _^<i_Our Angry Earth_^>i_ (_^<b_1991_^>b_) with Frederik
_^<a_!T1937_POHL_^>a_._^<b_Nonfiction as editor:_^>b_ _^<i_Robots: Machines in Man's Image_^>i_ (anth _^<b_1985_^>b_) with Karen A. Frenkel; _^<i_Cosmic Critique: How and Why Ten Science Fiction Stories Work_^>i_ (anth _^<b_1990_^>b_) with
Greenberg._^<b_About the author:_^>b_ _^<i_FSF_^>i_ Oct 1966, "Special Isaac Asimov Issue"; _^<i_The Science Fiction of Isaac Asimov_^>i_ by Joseph F. Patrouch Jr (_^<b_1974_^>b_); _^<i_Asimov Analysed_^>i_ (_^<b_1972_^>b_) by Neil
_^<a_!T4736_GOBLE_^>a_; _^<i_Isaac Asimov_^>i_ (anth of critical articles _^<b_1977_^>b_) ed Joseph D. Olander and Martin H. Greenberg; _^<i_Isaac Asimov: The Foundations of Science Fiction Success_^>i_ (_^<b_1982_^>b_) by James E.
_^<a_!T4896_GUNN_^>a_._^<b_See also:_^>b_ _^<a_!T195_ANTHOLOGIES_^>a_; _^<a_!T206_APES AND CAVEMEN (IN THE HUMAN WORLD)_^>a_; _^<a_!T257_ARTS_^>a_; _^<a_!T273_ASTEROIDS_^>a_; _^<a_!T611_BIOLOGY_^>a_; _^<a_!T708_CHILDREN IN SF_^>a_;
_^<a_!T727_CITIES_^>a_; _^<a_!T752_CLICHES_^>a_; _^<a_!T768_CLUB STORY_^>a_; _^<a_!T811_COLONIZATION OF OTHER WORLDS_^>a_; _^<a_!T829_CONCEPTUAL BREAKTHROUGH_^>a_; _^<a_!T956_CRIME AND PUNISHMENT_^>a_; _^<a_!T1014_CYBERNETICS_^>a_;
_^<a_!T1209_DEVOLUTION_^>a_; _^<a_!T1239_DIMENSIONS_^>a_; _^<a_!T1245_DISCOVERY AND INVENTION_^>a_; _^<a_!T6679_ENTROPY_^>a_; _^<a_!T1412_FANTASY_^>a_; _^<a_!T1669_FUTUROLOGY_^>a_; _^<a_!T1686_GALAXY SCIENCE FICTION_^>a_; _^<a_!T4443_HISTORY OF
SF_^>a_; _^<a_!T3957_JUPITER_^>a_; _^<a_!T3960_JUVENILE SERIES_^>a_; _^<a_!T3435_LONGEVITY (IN WRITERS AND PUBLICATIONS)_^>a_; _^<a_!T3743_MEDIA LANDSCAPE_^>a_; _^<a_!T2902_MERCURY_^>a_; _^<a_!T3118_MUSIC_^>a_; _^<a_!T1743_OUTER PLANETS_^>a_;
_^<a_!T5916_TECHNOLOGY_^>a_; _^<a_!T6080_TRANSPORTATION_^>a_; _^<a_!T5281_UNDER THE SEA_^>a_; _^<a_!T5303_UTOPIAS_^>a_; _^<a_!T5351_VENUS_^>a_; _^<a_!T5372_VILLAINS_^>a_.
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ASIMOV, JANET (OPAL JEPPSON)
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(1926- ) US psychoanalyst and writer, married to Isaac _^<a_!T268_ASIMOV_^>a_ from 1973 until his death in 1992; she signed her early books J.O. Jeppson. She began to publish sf, most of it for children, with _^<i_The Second Experiment_^>i_
(_^<b_1974_^>b_) as Jeppson, as were _^<i_The Last Immortal_^>i_ (_^<b_1980_^>b_) and _^<i_The Mysterious Cure, and Other Stories of Pshrinks Anonymous_^>i_ (coll _^<b_1985_^>b_), the latter comprising comical tales of psychiatry. As JA, and in
collaboration with Isaac Asimov, she wrote the _^<b_Norby Chronicles_^>b_, a sequence of tales for younger readers about a _^<a_!T2646_ROBOT_^>a_ and the scrapes it gets into: _^<i_Norby, the Mixed-Up Robot_^>i_ (_^<b_1983_^>b_) and _^<i_Norby's
Other Secret_^>i_ (_^<b_1984_^>b_), both assembled as _^<i_The Norby Chronicles_^>i_ (omni _^<b_1986_^>b_); plus _^<i_Norby and the Lost Princess_^>i_ (_^<b_1985_^>b_) and _^<i_Norby and the Invaders_^>i_ (_^<b_1985_^>b_), both assembled as
_^<i_Norby: Robot for Hire_^>i_ (omni _^<b_1987_^>b_); plus _^<i_Norby and the Queen's Necklace_^>i_ (_^<b_1986_^>b_) and _^<i_Norby Finds a Villain_^>i_ (_^<b_1987_^>b_), both assembled as _^<i_Norby through Time and Space_^>i_ (omni
_^<b_1988_^>b_); plus _^<i_Norby Down to Earth_^>i_ (_^<b_1988_^>b_), _^<i_Norby and Yobo's Great Adventure_^>i_ (_^<b_1989_^>b_), _^<i_Norby and the Oldest Dragon_^>i_ (_^<b_1990_^>b_) and _^<i_Norby and the Court Jester_^>i_ (_^<b_1991_^>b_). Of
greater general interest is her third solo novel, _^<i_Mind Transfer_^>i_ (_^<b_1988_^>b_) as JA, which carries over her interest in robots into an adult tale involving the proposal to gift them with brain structures so sophisticated that human
minds can be transferred into the matrix provided. Sex, aliens and interstellar travel supervene, and the nature of human identity is explored with some panache. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Laughing Space: Funny Science Fiction
Chuckled Over_^>i_ (anth _^<b_1982_^>b_) as Jeppson with Isaac Asimov; _^<i_How to Enjoy Writing: A Book of Aid and Comfort_^>i_ (_^<b_1987_^>b_) with Isaac Asimov.
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ASIMOV'S SCIENCE FICTION
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_^<a_!T3816_> ISAAC ASIMOV 'S SCIENCE FICTION MAGAZINE_^>a_._^<n__^<n_
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ASNIN, SCOTT
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(? - ) US writer known exclusively for _^<i_A Cold Wind from Orion_^>i_ (_^<b_1980_^>b_), one of several near-future _^<a_!T1243_DISASTER_^>a_ novels published around 1980, and not the least effective of them. The falling object in this case is
a satellite. [JC]_^<n__^<n_
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ASPRIN, ROBERT LYNN
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(1946- ) US writer who began publishing sf with his first novel, _^<i_The Cold Cash War_^>i_ (_^<b_1977_^>b_), which alarmingly conflates _^<a_!T4597_GAME-WORLD_^>a_ antics (like fake wars between mercenaries representing rival corporations on
rented turf -- Brazil, for instance, being visualized mainly as an arena for world-dominating firms to play games in) and a political rationale to legitimize the corporate control of Earth. RLA's later novels continued to chafe against similar
real-life constraints, and it was not until the invention of the _^<b_Thieves' World_^>b_ universe that he came into his own. The individual volumes in the sequence -- a _^<a_!T2127_SHARED-WORLD_^>a_ fantasy enterpise crafted by a number of writers
-- were designed by RLA to comprise a number of stories written (or edited) so that they read as _^<a_!T4971_BRAIDS_^>a_; he may have been the first sf or fantasy editor to create a significant braided anthology or novel. The sequence comprises
_^<i_Thieves' World_^>i_ * (anth _^<b_1979_^>b_), _^<i_Tales from the Vulgar Unicorn_^>i_ * (anth _^<b_1980_^>b_) and _^<i_Shadows of Sanctuary_^>i_ * (anth _^<b_1981_^>b_) -- these three being assembled as _^<i_Sanctuary_^>i_ * (omni
_^<b_1982_^>b_) -- _^<i_Storm Season_^>i_ * (anth _^<b_1982_^>b_), _^<i_The Face of Chaos_^>i_ * (anth _^<b_1983_^>b_), with Lynn Abbey (1948- ) and _^<i_Wings of Omen_^>i_ * (anth _^<b_1984_^>b_) with Abbey -- these three being assembled as
_^<i_Cross-Currents_^>i_ * (omni _^<b_1985_^>b_) -- _^<i_The Dead of Winter_^>i_ * (anth _^<b_1985_^>b_), _^<i_Soul of the City_^>i_ * (anth _^<b_1985_^>b_) and _^<i_Blood Ties_^>i_ * (anth _^<b_1986_^>b_) -- these three all with Abbey and
assembled as _^<i_The Shattered Sphere_^>i_ * (omni _^<b_1986_^>b_) -- and _^<i_Aftermath_^>i_ * (anth _^<b_1987_^>b_), _^<i_Uneasy Alliances_^>i_ * (anth _^<b_1989_^>b_) and _^<i_Stealer's Sky_^>i_ * (anth _^<b_1989_^>b_) -- these three all with
Abbey and assembled as _^<i_The Price of Victory_^>i_* (omni _^<b_1990_^>b_). Six _^<a_!T4809_GRAPHIC-NOVEL_^>a_ versions of material from the sequence were published, all with Abbey and Tim Sale, beginning with _^<i_Thieves' World Graphics 1_^>i_
(graph _^<b_1985_^>b_), _^<i_#2_^>i_ (graph _^<b_1986_^>b_) and _^<i_#3_^>i_ (graph _^<b_1986_^>b_)._^<n__^<n_Since 1979 almost all of RLA's work has been fantasy, mostly comic, though his _^<b_Phule's Company_^>b_ sequence -- _^<i_Phule's
Company_^>i_ (_^<b_1990_^>b_) and _^<i_#2: Phule's Paradise_^>i_ (_^<b_1992_^>b_) -- deploys the eponymous passel of ragbag soldiers in a _^<a_!T2342_SPACE-OPERA_^>a_ Universe. His reputation lies mainly in the ingenuity of his braiding activities
as editor, but his comic fiction is craftsmanlike. [JC]_^<n__^<n__^<b_Other works:_^>b_ The _^<b_Myth_^>b_ sequence of fantasy adventures in an Arabian Nights universe, comprising _^<i_Another Fine Myth . . ._^>i_ (_^<b_1978_^>b_), _^<i_Myth
Conceptions_^>i_ (_^<b_1980_^>b_), _^<i_Myth Directions_^>i_ (_^<b_1982_^>b_), _^<b_Hit or Myth_^>b_ (_^<b_1983_^>b_) -- all 4 being assembled as _^<i_Myth Adventures_^>i_ (omni _^<b_1984_^>b_) -- and _^<i_Myth-ing Persons_^>i_ (_^<b_1984_^>b_),
_^<i_Little Myth Marker_^>i_ (_^<b_1985_^>b_), _^<i_M.Y.T.H. Inc. Link_^>i_ (_^<b_1986_^>b_), _^<i_Myth-Nomers and Im-pervections_^>i_ (_^<b_1987_^>b_), _^<i_M.Y.T.H. Inc in Action_^>i_ (_^<b_1990_^>b_and _^<i_Sweet MYTHtery of Life_^>i_
(_^<b_1994_^>b_) the first 6 volumes being assembled as _^<i_The Myth-ing Omnibus_^>i_ (omni _^<b_1992_^>b_ UK) and _^<i_The Second Myth-ing Omnibus_^>i_ (omni _^<b_1992_^>b_ UK), along with _^<i_Myth Adventures One_^>i_ (graph coll _^<b_1985_^>b_)
and _^<i_Myth Adventures Two_^>i_ (graph coll _^<b_1986_^>b_), both with Phil Foglio and assembling comics versions based on _^<i_Another Fine Myth . . ._^>i_; _^<i_Mirror Friend, Mirror Foe_^>i_ (_^<b_1979_^>b_) with George _^<a_!T5895_TAKEI_^>a_;
_^<i_The Bug Wars_^>i_ (_^<b_1979_^>b_); _^<i_Tambu_^>i_ (_^<b_1979_^>b_); the _^<b_Duncan and Mallory_^>b_ sequence of graphic novels, all with Mel White, comprising _^<i_Duncan and Mallory_^>i_ (graph _^<b_1986_^>b_), _^<i_The Bar-None Ranch_^>i_
(graph _^<b_1987_^>b_), and _^<i_The Raiders_^>i_ (graph _^<b_1988_^>b_); _^<i_For King and Country_^>i_ (_^<b_1991_^>b_) with Dafydd ab Hugh (1960- ); _^<i_Catwoman_^>i_ * (_^<b_1992_^>b_; vt _^<i_Catwoman: Tiger Hunt_^>i_ 1993 UK) with Lynn
Abbey, a _^<b_Batman_^>b_ tie. Further RLA work in comics, not yet collected in book form, includes _^<i_Myth Adventures #9-#12_^>i_ (all 1986) and _^<i_Myth Conceptions #1-#8_^>i_ (1985-7)._^<b_As Editor:_^>b_ Some of the _^<b_Elfquest_^>b_ series
of braided anthologies, based on the fantasy sequence created by Richard Pini, RLA's contributions being _^<i_The Blood of Ten Chiefs_^>i_ * (anth _^<b_1986_^>b_) with Lynn Abbey and Richard Pini and _^<i_#2: Wolfsong_^>i_ * (anth _^<b_1988_^>b_)
with Pini._^<b_See also:_^>b_ _^<a_!T4555_HUMOUR_^>a_.
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ASTEROIDS
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The asteroids (or minor planets) mostly lie between the orbits of Mars and Jupiter. The first to be discovered was Ceres, identified by Giuseppe Piazzi (1746-1826) in 1801; three more, including Vesta and Pallas, were discovered in the same decade,
and more than 2000 have now been catalogued. Only a few are over 150km (100 miles) in diameter, the largest (Ceres) being some 700km (435 miles) across. A once popular but now unfashionable theory originated by Heinrich Olbers (1755-1840) holds
that the asteroids may be the debris of a planet torn asunder in some long-ago cosmic disaster. A few moral tales of the 1950s -- and works of _^<a_!T2019_PSEUDO-SCIENCE_^>a_ to this day -- suggested that atomic _^<a_!T5452_WAR_^>a_ might have been
responsible. The theory features prominently in James _^<a_!T658_BLISH_^>a_'s thriller _^<i_The Frozen Year_^>i_ (_^<b_1957_^>b_; vt _^<i_Fallen Star_^>i_), while the hypothetical war transcends time to continue in the mind of a human astronaut in
"Asleep in Armageddon" (1948) by Ray _^<a_!T4963_BRADBURY_^>a_. Some asteroids have extremely eccentric orbits which take them inside -- in some cases well inside -- the orbit of Mars or even that of the Earth. One such is featured in Arthur C.
_^<a_!T736_CLARKE_^>a_'s "Summertime on Icarus" (1960), and the climax of James Blish's and Norman L. _^<a_!T4100_KNIGHT_^>a_'s _^<i_A Torrent of Faces_^>i_ (_^<b_1967_^>b_) involves a collision between Earth and asteroid Flavia._^<n__^<n_In
primitive _^<a_!T2342_SPACE OPERAS_^>a_ the asteroid belt tended to figure as a hazard for all ships venturing beyond Mars. Near misses and actual collisions were common; Isaac _^<a_!T268_ASIMOV_^>a_'s "Marooned off Vesta" (1939) begins with one
such. Modern writers, however, generally realize both that the matter in the asteroid belt is very thinly distributed and that, as the asteroids all lie roughly in the plane of the ecliptic, it is easy to fly "over" or "under" them _^<i_en
route_^>i_ to the outer planets._^<n__^<n_The asteroids figure most frequently in sf in connection with mining. In early pulp sf they became an analogue of the Klondike, where men were men and mules were second-hand spaceships. Notable examples of
this species of sub-Western space opera include Clifford D. _^<a_!T2218_SIMAK_^>a_'s "The Asteroid of Gold" (1932), Stanton _^<a_!T773_COBLENTZ_^>a_'s "The Golden Planetoid" (1935), Malcolm _^<a_!T6344_JAMESON_^>a_'s "Prospectors of Space" (1940)
and Jack _^<a_!T5629_WILLIAMSON_^>a_'s _^<i_Seetee Ship_^>i_ (1942-3; fixup _^<b_1951_^>b_; magazine stories and early editions as by Will Stewart). The analogy between the asteroid belt and the Wild West was soon extended, so that the lawless
asteroids became the perfect place for interplanetary skulduggery, and they featured frequently in space-piracy stories of the kind popularized by _^<a_!T1924_PLANET STORIES_^>a_; examples are "Asteroid Pirates" (1938) by Royal W. Heckman and "The
Prison of the Stars" (1953) by Stanley _^<a_!T3096_MULLEN_^>a_. The mythology was co-opted into juvenile sf by Asimov in _^<i_Lucky Starr and the Pirates of the Asteroids_^>i_ (_^<b_1953_^>b_ as by Paul French; vt _^<i_The Pirates of the
Asteroids_^>i_)._^<n__^<n_The use of the asteroids as alien worlds in their own right or as places fit for _^<a_!T811_COLONIZATION_^>a_ has been understandably limited: they are too small to offer much scope. Clark Ashton _^<a_!T2264_SMITH_^>a_'s
"The Master of the Asteroid" (1932) and Edmond _^<a_!T4258_HAMILTON_^>a_'s "The Horror on the Asteroid" (1933) feature humans being marooned as a result of unfortunate collisions and meeting unpleasantly strange fates. The creature in Eden
_^<a_!T1889_PHILLPOTTS_^>a_'s _^<i_Saurus_^>i_ (_^<b_1938_^>b_) was dispatched to Earth from the asteroid Hermes but, as he was still an egg at the time, he was unable later to give much of an account of life there. Asteroidal Shangri-Las are
featured in Fox B. Holden's "The Death Star" (1951) and Poul _^<a_!T169_ANDERSON_^>a_'s "Garden in the Void" (1952), but in general the most interesting sf asteroids are those which turn out to be _^<a_!T2348_SPACESHIPS_^>a_ in disguise, like the
one in Murray _^<a_!T3326_LEINSTER_^>a_'s _^<i_The Wailing Asteroid_^>i_ (_^<b_1961_^>b_). The asteroid/spaceship in Greg _^<a_!T478_BEAR_^>a_'s _^<i__^<a_!B9100_EON_^>a__^>i_ (_^<b_1985_^>b_) turns out to be pregnant with all manner of astonishing
possibilities. Jack _^<a_!T5317_VANCE_^>a_'s "I'll Build Your Dream Castle" (1947) depicts a series of asteroidal real-estate deals, but the feats of TERRAFORMING involved stretch the reader's credulity. Charles _^<a_!T1927_PLATT_^>a_'s
_^<i_Garbage World_^>i_ (_^<b_1967_^>b_) features an asteroid which serves as the dumping-ground for interplanetary pleasure resorts, but this is not to be taken too seriously. A scattered, tough-minded asteroid-belt society, the Belters, plays an
important role in Larry _^<a_!T3223_NIVEN_^>a_'s _^<b_Tales of Known Space_^>b_ series. Niven, in traditional fashion, sees the Belters as miners similar in spirit to the colonists of the Old West. One major work on this theme is Poul Anderson's
_^<i_Tales of the Flying Mountains_^>i_ (1963-5 _^<i_ASF_^>i_ as by Winston P. Sanders; fixup _^<b_1970_^>b_), an episodic novel tracing the development of the asteroid culture from its inception to its declaration of independence. (An earlier
Sanders story set in the asteroid belt was "Barnacle Bull" [1960].) A more up-to-date image of life on the belt frontier is offered in "Mother in the Sky with Diamonds" (1971) by James _^<a_!T6035_TIPTREE_^>a_ Jr, and a notable modern
_^<a_!T4288_HARD-SF_^>a_ story partly set on an unusual asteroid is _^<i_Starfire_^>i_ (_^<b_1988_^>b_) by Paul _^<a_!T1987_PREUSS_^>a_. Stories in which asteroids are removed from their natural orbits include Bob _^<a_!T2153_SHAW_^>a_'s
melodramatic _^<i_The Ceres Solution_^>i_ (_^<b_1981_^>b_), in which Ceres is used to destroy the _^<a_!T3023_MOON_^>a_, and _^<i_Farside Cannon_^>i_ (_^<b_1988_^>b_) by Roger McBride _^<a_!T115_ALLEN_^>a_, in which a similar but less desirable
collision is averted._^<n__^<n_The asteroids have become less significant as action-adventure sf has moved out into the greater galactic wilderness, but the idea that colonization of the Solar System might involve the construction of purpose-built
_^<a_!T2338_SPACE HABITATS_^>a_ rather than descents into hostile gravity-wells has suggested to some writers that hollowed-out asteroids might have their uses; the most extravagant extrapolation of this notion can be found in George
US _^<a_!T2033_PULP MAGAZINE_^>a_, 16 issues Feb 1940-Apr 1943, mostly bimonthly, published by Fictioneers, Inc., Chicago; ed Feb 1940-Sep 1941 Frederik _^<a_!T1937_POHL_^>a_ and Nov 1941-Apr 1943 Alden H. Norton._^<n__^<n_Fictioneers, Inc. was a
subsidiary of Popular Publications. After the success of this magazine and its sister publication, _^<a_!T5847_SUPER SCIENCE STORIES_^>a_, both ed by the 19-year-old Pohl, Popular Publications went on to acquire various of the Frank A.
_^<a_!T3106_MUNSEY_^>a_ magazines, including _^<i_The_^>i_ _^<a_!T225_ARGOSY_^>a_, _^<a_!T1384_FAMOUS FANTASTIC MYSTERIES_^>a_ and _^<a_!T1399_FANTASTIC NOVELS_^>a_, and put Alden H. Norton in overall control of their sf, including the two being
edited by Pohl. _^<i_AS_^>i_ was a lively and successful magazine under Pohl and his successor, publishing mainly short stories while _^<i_Super Science Stories_^>i_ emphasized novels. Although _^<i_AS_^>i_ was in part a training ground for writers
who would become famous later, its stories were surprisingly good considering how little was paid for them: the total budget per issue was $405. _^<i_AS_^>i_ was also, with a cover price of 10 cents, the cheapest sf magazine on the market. It
featured stories by, among others, Isaac _^<a_!T268_ASIMOV_^>a_, Alfred _^<a_!T568_BESTER_^>a_, Ray _^<a_!T997_CUMMINGS_^>a_, Neil R. _^<a_!T3933_JONES_^>a_ (several _^<b_Professor Jameson_^>b_ stories), Henry _^<a_!T4144_KUTTNER_^>a_, Clifford D.
_^<a_!T2218_SIMAK_^>a_ and, under pseudonyms, various _^<a_!T1665_FUTURIANS_^>a_ (including Pohl himself and C.M. _^<a_!T6353_KORNBLUTH_^>a_). A Canadian reprint edition published 3 issues in 1942. [PN]_^<n__^<n_
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ASTOR, JOHN JACOB
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(1864-1912) US writer, descendant of the celebrated fur trader; he went down with the _^<i_Titanic_^>i_. His _^<i_A Journey in Other Worlds: A Romance of the Future_^>i_ (_^<b_1894_^>b_) features an _^<a_!T198_ANTIGRAVITY_^>a_ device -- "apergy",
borrowed from Percy _^<a_!T4855_GREG_^>a_'s _^<i_Across the Zodiac_^>i_ (_^<b_1880_^>b_) -- that powers a craft in a tour of the Solar System in AD2000. Earth itself is a conventional _^<a_!T5303_UTOPIA_^>a_; _^<a_!T3957_JUPITER_^>a_ is Edenic;
Saturn is a kind of Heaven. There is much mystical speculation, the journey having as much to do with theological allegory as with scientific prophecy or the theory of parallel _^<a_!T6717_EVOLUTION_^>a_. [JC]_^<n__^<n__^<b_See also:_^>b_
US magazine, pulp-size Jan 1930-Dec 1941, _^<a_!T492_BEDSHEET_^>a_-size Jan 1942-Apr 1943, pulp size May 1943-Oct 1943, _^<a_!T1231_DIGEST_^>a_-size Nov 1943-Feb 1963, bedsheet-size Mar 1963-Mar 1965, digest-size Apr 1965 to date. It changed its
title to _^<a_!T157_ANALOG_^>a_ (details below) in 1960. Published by Publisher's Fiscal Corporation (which later became Clayton Magazines) Jan 1930-Mar 1933, _^<a_!T5789_STREET & SMITH_^>a_ Oct 1933-Jan 1961, Conde Nast Feb 1961-Aug 1980, Davis
Publications Sep 1980-1992; ed Harry _^<a_!T459_BATES_^>a_ Jan 1930-Mar 1933, F. Orlin _^<a_!T6086_TREMAINE_^>a_ Oct 1933-Nov 1937, John W. _^<a_!T5140_CAMPBELL_^>a_ Jr Dec 1937-Dec 1971, Ben _^<a_!T4943_BOVA_^>a_ Jan 1972-Nov 1978, Stanley
_^<a_!T2848_SCHMIDT_^>a_ Dec 1978-current. _^<i_ASF_^>i_ was sold to Dell Magazines, part of the _^<a_!T397_BANTAM_^>a_/ _^<a_!T1299_DOUBLEDAY_^>a_/Dell publishing group, early in 1992; the first redesigned _^<i_ASF_^>i_ under the new management is
projected to be (new logo and different cover style) was Nov 1992. By June 1995 the numeration had reached Vol. 115, no. 6._^<n__^<n__^<i_ASF_^>i_ was brought into being when the _^<a_!T2033_PULP-MAGAZINE_^>a_ publisher William Clayton suggested to
one of his editors, Harry Bates, the idea of a new monthly magazine of period-adventure stories, largely in order to fill a blank space on the sheet on which all the covers of his pulp magazines were simultaneously printed. Bates counterproposed a
magazine to be called _^<i_Astounding Stories of Super-Science_^>i_. The idea was accepted, and the first issue appeared in Jan 1930 under that title. Bates was editor, with assistant editor Desmond W. _^<a_!T4931_HALL_^>a_ and consulting editor
Douglas M. _^<a_!T1276_DOLD_^>a_ (who in 1931 became editor of the short-lived _^<a_!T2974_MIRACLE SCIENCE AND FANTASY STORIES_^>a_). Where its predecessors _^<a_!T75_AIR WONDER STORIES_^>a_, _^<a_!T141_AMAZING STORIES_^>a_ and _^<a_!T2875_SCIENCE
WONDER STORIES_^>a_ were larger than the ordinary pulp magazines and attempted a more austere respectability, in response to Hugo _^<a_!T4668_GERNSBACK_^>a_'s proselytizing desire to communicate an interest in science through
_^<a_!T2879_SCIENTIFICTION_^>a_, _^<i_ASF_^>i_ was unashamedly an action-adventure pulp magazine where "science" was present only to add a veneer of plausibility to its outrageous melodramas. The flavour is suggested by the following editorial
blurb (for "The Pirate Planet" by Charles W. Diffin, Feb 1931): "From Earth & Sub-Venus Converge a Titanic Offensive of Justice on the Unspeakable Man-Things of Torg." The covers of the Clayton _^<i_ASF_^>i_, all the work of Hans Waldemar
Wessolowski (H.W. _^<a_!T5540_WESSO_^>a_), show, typically, men (or women) menaced by giant insects or -- anticipating _^<a_!T4072_KING KONG_^>a_ (1933) -- giant apes. Regular contributors included such names as Ray _^<a_!T997_CUMMINGS_^>a_, Paul
_^<a_!T6685_ERNST_^>a_, Francis _^<a_!T1515_FLAGG_^>a_, S.P. _^<a_!T3746_MEEK_^>a_ and Victor _^<a_!T2715_ROUSSEAU_^>a_. One of the most popular authors was Anthony _^<a_!T4712_GILMORE_^>a_ (the collaborative pseudonym of Bates and Hall), whose
_^<b_Hawk Carse_^>b_ series epitomized _^<i_ASF_^>i_-style _^<a_!T2342_SPACE OPERA_^>a_._^<n__^<n_In Feb 1931 the title was abbreviated to _^<i_Astounding Stories_^>i_; the full title was resumed in Jan 1933. During late 1932 the magazine became
irregular as the Clayton chain encountered financial problems. In Mar 1933 Clayton went out of business and _^<i_ASF_^>i_ ceased publication. Although the vast majority of the stories in its first incarnation (1930-33) are deservedly forgotten,
_^<i_ASF_^>i_ was a robust and reasonably successful magazine and, because its rates were so much better than those of its competitors (two cents a word on acceptance instead of half a cent a word on publication or later), it had attracted such
authors as Murray _^<a_!T3326_LEINSTER_^>a_ and Jack _^<a_!T5629_WILLIAMSON_^>a_._^<n__^<n_The magazine's title was bought by _^<a_!T5789_STREET & SMITH_^>a_, a well established pulp chain publisher, and after a six-month gap it reappeared in Oct
1933, restored to a monthly schedule which it has ever since maintained or improved upon (it has been four-weekly since 1981) -- a record which no other magazine, even _^<i_AMZ_^>i_, can approach. Desmond Hall remained on the editorial staff for a
time, but the new editor was F. Orlin _^<a_!T6086_TREMAINE_^>a_. The first two Tremaine issues were an uneasy balance of sf, occult and straight adventure but, with the Dec 1933 issue, _^<i_ASF_^>i_ became re-established as an sf magazine (with the
Street & Smith takeover the name had once again become _^<i_Astounding Stories_^>i_). In that issue Tremaine announced the formulation of his "thought-variant" policy: each issue of _^<i_ASF_^>i_ would carry a story developing an idea which, as he
put it, "has been slurred over or passed by in many, many stories". The first such story was "Ancestral Voices" by Nat _^<a_!T2837_SCHACHNER_^>a_._^<n__^<n_Although the thought-variant policy can be seen as a publicity gimmick rather than as a
coherent intellectual design for the magazine, during 1934 Tremaine and Hall together raised _^<i_ASF_^>i_ to an indisputably pre-eminent position in its small field. The magazine's payment rates were only half what they had been, but they were
still twice as much as their competitors' and were paid promptly. _^<i_ASF_^>i_ solicited material from leading authors: in 1934 it featured Donald _^<a_!T5450_WANDREI_^>a_'s "Colossus" (Jan), Williamson's "Born of the Sun" (Mar) and _^<i_The
Legion of Space_^>i_ (Apr-Sep; _^<b_1947_^>b_), Leinster's "Sidewise in Time" (June), E.E. "Doc" _^<a_!T2270_SMITH_^>a_'s _^<i_Skylark of Valeron_^>i_ (Aug 1934-Feb 1935; _^<b_1949_^>b_), C.L. _^<a_!T3033_MOORE_^>a_'s "The Bright Illusion" (Oct),
John W. Campbell Jr's first Don A. Stuart story, "Twilight" (Nov), Raymond Z. _^<a_!T1691_GALLUN_^>a_'s "Old Faithful" (Dec) and Campbell's _^<i_The Mightiest Machine_^>i_ (Dec 1934-Apr 1935; _^<b_1947_^>b_). Furthermore, Charles
_^<a_!T1569_FORT_^>a_'s nonfiction _^<i_Lo!_^>i_ (_^<b_1931_^>b_) was serialized (Apr-Nov) and _^<i_ASF_^>i_'s covers featured some startling work by Howard V. _^<a_!T5030_BROWN_^>a_. Also during 1934 the magazine's wordage increased twice, first
by adding more pages, then by reducing the size of type. _^<i_ASF_^>i_ continued to dominate the field in the following years. Superscience epics in the Campbell style were largely phased out as the moodier stories of "Stuart" became popular.
Stanley G. _^<a_!T5506_WEINBAUM_^>a_ was a regular contributor during 1935 (the year of his death); H.P. _^<a_!T3465_LOVECRAFT_^>a_'s fiction appeared in 1936. Tremaine's intention (announced in Jan 1935) to publish _^<i_ASF_^>i_ twice a month did
not materialize, but the magazine prospered and in Feb 1936 made the important symbolic step of adopting trimmed edges to its pages, which at a stroke made its appearance far smarter than those of its ragged competitors. Other artists who began to
appear in _^<i_ASF_^>i_ included Elliott _^<a_!T1277_DOLD_^>a_ and Charles _^<a_!T2851_SCHNEEMAN_^>a_. Campbell and Willy _^<a_!T3375_LEY_^>a_ contributed articles; L. Sprague _^<a_!T1133_DE CAMP_^>a_ and Eric Frank _^<a_!T2743_RUSSELL_^>a_ had
their first stories published. At the same time, _^<i_ASF_^>i_'s competitors were ailing: both _^<i_AMZ_^>i_ and _^<a_!T6152_WONDER STORIES_^>a_ switched from monthly to bimonthly in 1935; _^<i_Wonder Stories_^>i_ was sold in the following year
(becoming _^<a_!T6004_THRILLING WONDER STORIES_^>a_), and _^<i_AMZ_^>i_ suffered the same fate in 1938. When Tremaine became editorial director at Street & Smith late in 1937 and appointed John W. _^<a_!T5140_CAMPBELL_^>a_ Jr as his successor, he
handed over a healthy and successful concern._^<n__^<n_For his first 18 months as editor Campbell did not develop the magazine significantly, although in 1938 he published the first sf stories of Lester _^<a_!T1164_DEL REY_^>a_ and L. Ron
_^<a_!T4538_HUBBARD_^>a_ and reintroduced Clifford D. _^<a_!T2218_SIMAK_^>a_. In Mar 1938 he altered the title to _^<i_Astounding Science-Fiction_^>i_. His intention was to phase out the word "Astounding", which he disliked, and to retitle the
magazine _^<i_Science Fiction_^>i_; however, the appearance in 1939 of a magazine with that title (> _^<a_!T2134_SCIENCE FICTION_^>a_) prevented him from doing so. He toyed briefly with "thought-variant" adaptations: "Mutant" issues (which would
show significant changes in the direction of _^<i_ASF_^>i_'s evolution -- and that of sf generally) and "Nova" stories (which would be "unusual in manner of presentation rather than basic theme"). Such gimmicks were soon forgotten. In Mar 1939 he
began _^<i_ASF_^>i_'s successful fantasy companion, _^<a_!T5291_UNKNOWN_^>a_._^<n__^<n_The beginning of Campbell's particular _^<a_!T4754_GOLDEN AGE OF SF_^>a_ can be pinpointed as the summer of 1939. The July _^<i_ASF_^>i_ (later reproduced as
_^<i_Astounding Science Fiction, July, 1939_^>i_ [anth _^<b_1981_^>b_] ed Campbell and Martin H. _^<a_!T4842_GREENBERG_^>a_) contained A.E. _^<a_!T5333_VAN VOGT_^>a_'s first sf story, "Black Destroyer", and Isaac _^<a_!T268_ASIMOV_^>a_'s "Trends"
(not his first story, but the first he had managed to sell to Campbell); the Aug issue had Robert A. _^<a_!T4376_HEINLEIN_^>a_'s debut, "Life-Line"; in the Sep issue Theodore _^<a_!T5810_STURGEON_^>a_'s first sf story, "Ether Breather", appeared.
During the same period Hubert _^<a_!T2666_ROGERS_^>a_ became established as _^<i_ASF_^>i_'s major cover artist. The authors that he published have frequently attested to Campbell's dynamic editorial personality. Certainly he fed them ideas, but it
was the coincidental appearance of a number of prolific and imaginative writers which gave _^<i_ASF_^>i_ its remarkable domination of the genre-sf field during the WWII years -- when, to begin with, a boom in sf-magazine publishing meant there was
more competition than ever before. The key figure in 1940 and 1941 was Heinlein. His stories alone would have made the magazine notable, as a partial listing will indicate. In 1940 there were "Requiem" (Jan), "If This Goes On -- " (Feb-Mar), "The
Roads Must Roll" (June), "Coventry" (July) and "Blowups Happen" (Sep); in 1941 _^<i_Sixth Column_^>i_ (Jan-Mar; _^<b_1949_^>b_), "And He Built A Crooked House" (Feb), "Logic of Empire" (Mar), "Universe" (May), "Solution Unsatisfactory" (May),
_^<i_Methuselah's Children_^>i_ (July-Sep; _^<b_1958_^>b_), "By His Bootstraps" (Oct), "Common Sense" (Oct). At the same time there were a number of stories by van Vogt, notably _^<i__^<a_!B9256_SLAN_^>a__^>i_ (Sep-Dec 1940; _^<b_1946_^>b_; rev
1951), and by Asimov, including "Nightfall" (Sep 1941) and the early _^<a_!T2646_ROBOT_^>a_ series. Although Campbell lost Heinlein to war work in 1942, he gained Anthony _^<a_!T4937_BOUCHER_^>a_, Fritz _^<a_!T3322_LEIBER_^>a_ and "Lewis Padgett"
(Henry _^<a_!T4144_KUTTNER_^>a_ and C.L. _^<a_!T3033_MOORE_^>a_). In Jan 1942 the magazine switched to bedsheet size -- which gave more wordage while saving paper -- but it reverted to pulp size in 1943 for a few months before becoming the first
digest-size sf magazine in Nov 1943 as paper shortages (which killed off _^<i_Unknown_^>i_) became more acute. William Timmins replaced Rogers as _^<i_ASF_^>i_'s regular cover artist._^<n__^<n__^<i_ASF_^>i_'s leadership of the field continued
through the 1940s. Most of its regular authors had popular series to reinforce their appeal: Asimov's _^<b_Robot_^>b_ and _^<b_Foundation_^>b_ stories; van Vogt's _^<b_Weapon Shops_^>b_ tales and his two _^<b_Null-A_^>b_ novels; George O.
_^<a_!T2275_SMITH_^>a_'s _^<b_Venus Equilateral_^>b_ stories; Jack Williamson's _^<b_Seetee_^>b_ stories (as by Will Stewart); "Padgett's" _^<b_Gallegher_^>b_ stories; and E.E. Smith's epic _^<b_Lensman_^>b_ series, the last two novels of which
marked the last throes of the superscience epic in _^<i_ASF_^>i_. The only serious challenge to _^<i_ASF_^>i_'s superiority came from Sam _^<a_!T2913_MERWIN_^>a_ Jr's vastly improved _^<a_!T2428_STARTLING STORIES_^>a_, which by 1948 was publishing
much good material. However, _^<i_Startling Stories_^>i_ was a particularly garish-looking pulp while _^<i_ASF_^>i_ became more sober and serious in appearance as the decade went on; the covers featuring Chesley _^<a_!T697_BONESTELL_^>a_'s
astronomical art contributed to this effect. The word "Astounding" was reduced to a small-size italic script, often coloured so as to be virtually invisible. At a casual glance it looked as if Campbell had achieved his ambition of retitling the
magazine._^<n__^<n_But, with the appearance of _^<i_The_^>i_ _^<a_!T3595_MAGAZINE OF FANTASY AND SCIENCE FICTION_^>a_ in 1949 and _^<a_!T1686_GALAXY SCIENCE FICTION_^>a_ in 1950, _^<i_ASF_^>i_'s leadership was successfully challenged. It continued
on an even, respectable keel, but the exciting new authors of the 1950s, by and large, made their mark elsewhere. The May 1950 issue of _^<i_ASF_^>i_ featured Hubbard's first article on _^<a_!T1220_DIANETICS_^>a_, which launched the
_^<a_!T2019_PSEUDO-SCIENCE_^>a_ that would later become _^<a_!T2881_SCIENTOLOGY_^>a_. This was symptomatic of Campbell's growing wish to see the ideas of sf made real, a wish that led him into a fruitless championing of backyard inventors' space
drives and _^<a_!T2020_PSIONIC_^>a_ machines. His editorials -- idiosyncratic, deliberately needling, dogmatic, sometimes uncomfortably elitist and near-racist -- absorbed much of the energy which had previously gone into the feeding of ideas to
his authors. Many of the notions propounded in the editorials were duly reworked into fiction by a stable of unexceptional regular authors such as Randall _^<a_!T4623_GARRETT_^>a_ and Raymond F. _^<a_!T3934_JONES_^>a_. _^<i_ASF_^>i_'s new
contributors included Poul _^<a_!T169_ANDERSON_^>a_, James _^<a_!T658_BLISH_^>a_, Gordon R. _^<a_!T1227_DICKSON_^>a_, Robert _^<a_!T2216_SILVERBERG_^>a_ and many others, and its new artists included, notably, Ed _^<a_!T6656_EMSHWILLER_^>a_ (Emsh),
Frank Kelly _^<a_!T1614_FREAS_^>a_ and H.R. _^<a_!T5319_VAN DONGEN_^>a_. It had settled into respectable middle age. Still popular with sf fans, it won _^<a_!T4551_HUGO_^>a_ awards in 1953, 1955, 1956 and 1957._^<n__^<n_During 1960 the magazine's
title was gradually altered to _^<i_Analog Science Fact _^>i__^<i_Science Fiction_^>i_, "Astounding" fading down as "Analog" became more visible. "That little symbol . . . is a home-invented one," wrote Campbell (Jan 1964): "In all mathematics,
etcetera, there [is] . . . no symbol meaning 'is analogous to'. We invented one . . . We do not expect our readers to enunciate our title as clearly as 'ANALOG -- Science Fact is analogous to Science Fiction' but we thought you might be interested
in why we did not use the traditional ampersand -- &." (With the Apr 1965 issue the order of the two elements changed, without explanation, so that it became sf analogous to science fact.)_^<n__^<n_Street & Smith expired and the magazine was taken
over by Conde Nast in Feb 1962. This was an important change, because it assured _^<i_ASF_^>i_ of excellent distribution (as one of a group which included such titles as _^<i_Good Housekeeping_^>i_) at a time when its rivals faced increasing
difficulties in getting distributed and displayed. In Mar 1963 the magazine adopted a very elegant bedsheet-size format but, lacking the advertising support such an expensive production required, it reverted to digest size in Apr 1965. The large
issues are most notable for Frank _^<a_!T4389_HERBERT_^>a_'s first two _^<b_Dune_^>b_ serials: "Dune World" (Dec 1963-Feb 1964) and "The Prophet of Dune" (Jan-May 1965), combined as _^<i__^<a_!B9031_DUNE_^>a__^>i_ (fixup _^<b_1965_^>b_); both were
superbly illustrated by John _^<a_!T2854_SCHOENHERR_^>a_, who became one of the magazine's regular artists of the 1960s. Other authors who became frequent contributors included Christopher _^<a_!T204_ANVIL_^>a_, Harry _^<a_!T4316_HARRISON_^>a_ and
Mack _^<a_!T2576_REYNOLDS_^>a_._^<n__^<n_The magazine won further Hugos in 1961, 1962, 1964 and 1965. Although it maintained a circulation above 100,000 (nearly twice that of its nearest rival) it continued on a slow decline into predictability.
Campbell died in July 1971, being replaced as editor by Ben _^<a_!T4943_BOVA_^>a_ (the first issue credited to Bova was that for Jan 1972). Not surprisingly, the magazine gained considerably in vitality through having a new editor after nearly 34
years. Authors such as Roger _^<a_!T6264_ZELAZNY_^>a_, who would not readily have fitted into Campbell's magazine, began to appear. While the editorial policy remained oriented towards traditional sf, a more liberal attitude prevailed, leading to
some reader protest over stories by Joe _^<a_!T4925_HALDEMAN_^>a_ and Frederik _^<a_!T1937_POHL_^>a_, which, though mild by contemporary standards, were not what some old-time readers expected to find in _^<i_ASF_^>i_. New writers like Haldeman and
George R.R. _^<a_!T3685_MARTIN_^>a_ established themselves. The range of artists was widened with the addition of Jack _^<a_!T4637_GAUGHAN_^>a_ and the discovery of Rick _^<a_!T5720_STERNBACH_^>a_ and Vincent _^<a_!T1230_DI FATE_^>a_. A first for
_^<i_ASF_^>i_ was the special women's issue (June 1977), which contained a _^<a_!T4551_HUGO_^>a_ winner, "Eyes of Amber" by Joan D. _^<a_!T5376_VINGE_^>a_, and a _^<a_!T3147_NEBULA_^>a_ winner, "The Screwfly Solution", by Raccoona Sheldon (better
known as James _^<a_!T6035_TIPTREE_^>a_ Jr). Bova won the Hugo for Best Editor (which had replaced the award for Best Magazine) every year 1973-7 and again in 1979. The magazine's circulation remained extremely healthy._^<n__^<n_Bova resigned in
1978, soon afterwards joining _^<a_!T3315_OMNI_^>a_ as fiction editor. His replacement, Stanley _^<a_!T2848_SCHMIDT_^>a_, was a _^<a_!T4288_HARD-SF_^>a_ writer whose debut had been in _^<i_ASF_^>i_ in 1968 with "A Flash of Darkness". His editing
style is quieter and more modest than Campbell's and Bova's, but he has continued the magazine with dignity. Magazine publishing, however, was becoming a less important component of the sf-publishing business (> _^<a_!T195_ANTHOLOGIES_^>a_;
_^<a_!T2130_SF MAGAZINES_^>a_), and, while subscription sales continued to hold up through the 1970s and 1980s, newsstand sales were dropping. In 1980 Conde Nast decided _^<i_ASF_^>i_ no longer fitted their list, but they had no trouble finding a
buyer. Davis Publications (whose owner, Joel Davis, was son of B.G. Davis, a partner in _^<a_!T6269_ZIFF-DAVIS_^>a_, publisher of _^<i_AMZ_^>i_) had already begun publishing sf digest periodicals in 1977 with _^<a_!T3816_ISAAC ASIMOV'S SCIENCE
FICTION MAGAZINE_^>a_. In 1980 Davis bought _^<i_ASF_^>i_, and soon changed the publication schedule from 12 to 13 issues a year, presumably in a bid to gain more newsstand space._^<n__^<n_Increasingly during the 1980s there was a feeling that
_^<i_ASF_^>i_, with its image as the last magazine bastion of the hard-sf "problem" story, was becoming a dinosaur: a still formidable anachronism, but an anachronism nevertheless. The paid circulation oscillated, but the general direction was
down, from 104,000 in 1980 to 83,000 in 1990; newsstand sales dropped from 45,000 to 15,000 during the same period. In 1990 _^<i_ASF_^>i_ nevertheless retained the highest circulation of the pure sf magazines. Though fewer of its stories were now
appearing in "Best of the Year" anthologies and lists of award winners, it still produced occasional very good work: award winners during the 1980s included "The Cloak and the Staff" (1980) by Gordon R. Dickson, "The Saturn Game" (1981) by Poul
Anderson, "Melancholy Elephants" (1982) by Spider _^<a_!T2640_ROBINSON_^>a_, "Cascade Point" (1983) by Timothy _^<a_!T6254_ZAHN_^>a_, "Blood Music" (1983) by Greg _^<a_!T478_BEAR_^>a_, "The Crystal Spheres" (1984) by David _^<a_!T4999_BRIN_^>a_ and
"The Mountains of Mourning" (1989) by Lois McMaster _^<a_!T5068_BUJOLD_^>a_. A Nebula-winning novel first serialized in _^<i_ASF_^>i_ was _^<i_Falling Free_^>i_ (1987-8 _^<i_ASF_^>i_; _^<b_1988_^>b_) by Bujold, one of _^<i_ASF_^>i_'s most popular
writers in recent years. Other writers often associated with _^<i_ASF_^>i_ in the 1980s (and after) include Michael _^<a_!T1541_FLYNN_^>a_, Charles _^<a_!T2167_SHEFFIELD_^>a_ and Harry _^<a_!T6132_TURTLEDOVE_^>a_._^<n__^<n_Campbell, Bova and
Schmidt all edited a number of anthologies drawn from _^<i_ASF_^>i_ (_^<i_see their entries for further details_^>i_). Many other anthologies have drawn extensively on the magazine; indeed, of the 35 stories contained in the first major sf
anthology, _^<i_Adventures in Time and Space_^>i_ (_^<b_1946_^>b_) ed Raymond J. _^<a_!T4364_HEALY_^>a_ and J. Francis _^<a_!T6309_MCCOMAS_^>a_, all but three were from _^<i_ASF_^>i_. The 2 vols of _^<i_The Astounding-Analog Reader_^>i_ (anths
_^<b_1972_^>b_ and _^<b_1973_^>b_) ed Harry _^<a_!T4316_HARRISON_^>a_ and Brian W. _^<a_!T87_ALDISS_^>a_ provide an informative chronological survey of _^<i_ASF_^>i_'s history. The flavour of _^<i_ASF_^>i_'s first two decades is nostalgically, if
uncritically, captured in Alva _^<a_!T2665_ROGERS_^>a_'s _^<i_A Requiem for Astounding_^>i_ (_^<b_1964_^>b_). A useful index is _^<i_The Complete Index to Astounding/Analog_^>i_ (_^<b_1981_^>b_ US) by Mike _^<a_!T265_ASHLEY_^>a_._^<n__^<n_The UK
edition, published by Atlas, appeared Aug 1939-Aug 1963. The contents were severely truncated during the 1940s, and the magazine did not appear regularly, adopting a variable bimonthly schedule. It became monthly from Feb 1952; from Nov 1953, when
it changed from pulp to digest, it was practically a full reprint (four months behind in cover date) of the US edition, although some stories and departments were omitted. [MJE/PN]_^<n__^<n_
One of the many reprint _^<a_!T1231_DIGEST_^>a_ magazines published by Sol Cohen's Ultimate Reprint Co. 2 issues were released in 1970, the second under the title _^<i_Astounding SF_^>i_. Cohen's use of such a celebrated magazine title was thought
Literally, guidance by the stars. In sf _^<a_!T5942_TERMINOLOGY_^>a_ this is the space equivalent of navigation, and the astrogator is conventionally one of the most important officers on a _^<a_!T2348_SPACESHIP_^>a_. After a jump through
_^<a_!T4574_HYPERSPACE_^>a_, perhaps, it is necessary, although less frequently now than in the _^<a_!T4754_GOLDEN AGE OF SF_^>a_, for the astrogator to identify several stars, usually through spectroscopy, to confirm the craft's position by
triangulation. [PN]_^<n__^<n_
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ASTRONOMY
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Astronomers played the key role in developing the cosmic perspective that lies at the heart of sf. Their science gave birth (not without difficulty, given the public reluctance of the Medieval Church to accept non-geocentric cosmologies) to an
understanding of the true size and nature of the Universe. To his astronomical treatise _^<i_The Discovery of a New World_^>i_ (3rd edn _^<b_1640_^>b_) John _^<a_!T5607_WILKINS_^>a_ appended a "Discourse Concerning the Possibility of a Passage
Thither", and took the notion of lunar travel out of the realms of pure fantasy into those of legitimate speculation. Johannes _^<a_!T4037_KEPLER_^>a_'s _^<i_Somnium_^>i_ (_^<b_1634_^>b_) was developed from an essay intended to popularize the
Copernican theory. The literary image of the astronomer as it developed in the 18th century was, however, by no means entirely complimentary. "The Elephant in the Moon" (1759) by Samuel "Hudibras" Butler (1613-1680) has a group of observers
witnessing what they take to be tremendous events on the Moon, but which subsequently turn out to be the activities of a mouse and a swarm of insects on the objective lens of their telescope. Jonathan _^<a_!T5873_SWIFT_^>a_'s _^<i_Gulliver's
Travels_^>i_ (_^<b_1726_^>b_) includes a sharply parodic account of the astronomers of Laputa. Samuel _^<a_!T6378_JOHNSON_^>a_'s _^<i_Rasselas_^>i_ (_^<b_1759_^>b_) features a comically mad astronomer._^<n__^<n_The revelations of astronomy inspired
19th-century writers, including Edgar Allan _^<a_!T1933_POE_^>a_, whose rhapsodic "poem" _^<i_Eureka_^>i_ (_^<b_1848_^>b_) draws heavily upon contemporary work. They also encouraged hoaxers like Richard Adams _^<a_!T3417_LOCKE_^>a_, who foisted his
imaginary descriptions of lunar life on the unwary readers of the _^<i_New York Sun_^>i_ in 1835. The development of sf in France was led by the nation's foremost astronomer, Camille _^<a_!T1516_FLAMMARION_^>a_, who was also one of the first
popularizers of the science. His _^<i_Lumen_^>i_ (_^<b_1887_^>b_; trans _^<b_1897_^>b_) is a remarkable semi-fictional vehicle for conveying the astronomer's particular sense of wonder and awe. One of the first popularizers of astronomy in the USA,
Garrett P. _^<a_!T2112_SERVISS_^>a_ -- author of _^<i_Curiosities of the Sky_^>i_ (_^<b_1909_^>b_) -- also became an early writer of scientific romances; his most notable was _^<i_A Columbus of Space_^>i_ (_^<b_1911_^>b_). The affinity between
astronomy and sf is eloquently identified by Serviss in _^<i_Curiosities of the Sky_^>i_: "What Froude says of history is true also of astronomy: it is the most impressive when it transcends explanation. It is not the mathematics, but the wonder
and mystery that seize upon the imagination . . . All [of the things described in the book] possess the fascination of whatever is strange, marvellous, obscure or mysterious, magnified, in this case, by the portentous scale of the phenomena." Sf is
the ideal medium for the communication of this kind of feeling, but it can also accommodate cautionary tales against the hubris that may come from the illusion of close acquaintance with cosmic mysteries._^<n__^<n_Astronomical discoveries
concerning the _^<a_!T3023_MOON_^>a_ were rapidly adopted into sf -- Jules _^<a_!T5355_VERNE_^>a_'s _^<i_Autour de la lune_^>i_ (_^<b_1870_^>b_; trans _^<b_1873_^>b_) is particularly rich in astronomical detail -- and observations of
_^<a_!T3677_MARS_^>a_ by Giovanni Schiaparelli (1835-1910) and Percival Lowell (1855-1916), which seemed to reveal the notorious "canals", were a powerful stimulus to the sf imagination. Many 20th-century discoveries in astronomy have been
inconvenient for sf writers, revealing as they do the awful inhospitability of our nearest neighbours in space. It was astronomers who banished Earth-clone worlds to other solar systems and made much early pulp melodrama seem ludicrous. Intriguing
and momentous discoveries in the Universe beyond the Solar System have, however, provided rich imaginative compensation (> _^<a_!T902_COSMOLOGY_^>a_). One of the best-known and least theoretically orthodox contemporary astronomers, Sir Fred
_^<a_!T4532_HOYLE_^>a_, has written a good deal of sf drawing on his expertise, including the classic _^<i_The Black Cloud_^>i_ (_^<b_1957_^>b_) and, in collaboration with his son Geoffrey, _^<i_The Inferno_^>i_ (_^<b_1973_^>b_); unkind critics
remark that Hoyle's more recent speculative nonfiction, written in collaboration with Chandra Wickramasinghe -- including _^<i_Lifecloud_^>i_ (_^<b_1978_^>b_), _^<i_Diseases from Space_^>i_ (_^<b_1979_^>b_) and _^<i_Evolution from Space_^>i_
(_^<b_1981_^>b_) -- seems even more fanciful than his fiction. The US astronomer Robert S. Richardson has also been an occasional contributor to sf magazines under the name Philip _^<a_!T4202_LATHAM_^>a_, and some of his stories are particularly
clever in dramatizing the work of the astronomer and its imaginative implications. Examples include "To Explain Mrs Thompson" (1951), "Disturbing Sun" (1959) and "The Dimple in Draco" (1967)._^<n__^<n_Modern observational astronomy has become far
more abstruse as it has diversified into radio, X-ray and other frequencies, and its visionary implications have become increasingly peculiar as its practitioners have found explanations for such enigmatic discoveries as quasars and empirical
evidence for the existence of theoretically predicted entities like _^<a_!T632_BLACK HOLES_^>a_ and _^<a_!T3160_NEUTRON STARS_^>a_. Notable sf stories featuring peculiar discoveries by astronomers include Gregory _^<a_!T526_BENFORD_^>a_'s
_^<i__^<a_!B9122_TIMESCAPE_^>a__^>i_ (_^<b_1980_^>b_) and Robert L. _^<a_!T1570_FORWARD_^>a_'s _^<i_Dragon's Egg_^>i_ (_^<b_1980_^>b_). The advent of radio astronomy has made a considerable impact on post-WWII sf in connection with the possibility
of picking up signals from an _^<a_!T98_ALIEN_^>a_ intelligence (> _^<a_!T822_COMMUNICATIONS_^>a_), a theme developed in sf novels ranging from Eden _^<a_!T1889_PHILLPOTTS_^>a_'s cautionary _^<i_Address Unknown_^>i_ (_^<b_1949_^>b_) through James
E. _^<a_!T4896_GUNN_^>a_'s enthusiastic _^<i_The Listeners_^>i_ (fixup _^<b_1972_^>b_) to Carl _^<a_!T2767_SAGAN_^>a_'s over-the-top _^<i_Contact_^>i_ (_^<b_1985_^>b_) and Jack _^<a_!T6319_MCDEVITT_^>a_'s _^<i_The Hercules Text_^>i_
(_^<b_1986_^>b_). In the real world, various projects connected with SETI (Search for Extra-Terrestrial Intelligence) have been mounted or mooted, and many stories have proposed that the receipt of such a message would be _^<i_the_^>i_ crucial
event in the history of mankind. A satirical dissent from this view can be found in Stanislaw_^<n__^<n__^<a_!T3329_LEM_^>a_'s novel _^<i_His Master's Voice_^>i_ (_^<b_1968_^>b_; trans _^<b_1983_^>b_), and there is also a _^<a_!T1795_PARANOID_^>a_
school of thought which suggests that aliens whose own SETI discovers us might easily turn out to be very unfriendly; our radio telescopes nearly become the agents of our destruction in Frank _^<a_!T959_CRISP_^>a_'s _^<i_The Ape of London_^>i_
(_^<b_1959_^>b_) and the tv serial _^<a_!T60_A FOR ANDROMEDA_^>a_ (1961)._^<n__^<n_Astronomy is sometimes confused by the ignorant with astrology. Although sf has been remarkably tolerant of some other pseudo-sciences, it has rarely tolerated
astrology. An exception is Piers _^<a_!T196_ANTHONY_^>a_'s _^<i__^<a_!B9006_MACROSCOPE_^>a__^>i_ (_^<b_1969_^>b_), which combines hard-science devices (including a hypothetical remote viewer of awesome power) with astrological analysis. Two writers
outside the genre have, however, written satirical novels based on the hypothesis that astrology might be made absolutely accurate: Edward _^<a_!T4567_HYAMS_^>a_ with _^<i_The Astrologer_^>i_ (_^<b_1950_^>b_) and John _^<a_!T5133_CAMERON_^>a_ with
(1857-1948) US novelist, biographer and historian. In a long career that extended from 1888 to 1946 she published about 50 books in a multitude of genres, her best-known fiction being _^<i_The Californians_^>i_ (_^<b_1898_^>b_; rev 1935) and her sf
novel _^<i_Black Oxen_^>i_ (_^<b_1923_^>b_). In this book, whose sexual implications caused a scandal, women (only) are rejuvenated by X-rays directed to the gonads. Though her explicitness and exuberance would not be remarked upon today in a
woman, she achieved some notoriety in her prime as an erotic writer; she was also a campaigning (though ambivalent) feminist. _^<i_The Bell in the Fog, and Other Stories_^>i_ (coll _^<b_1905_^>b_) and _^<i_The Foghorn_^>i_ (coll _^<b_1934_^>b_)
both contain fantasy stories. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_What Dreams May Come_^>i_ (_^<b_1888_^>b_) as by Frank Lin; _^<i_The White Morning: A Novel of the Power of German Women in Wartime_^>i_ (_^<b_1918_^>b_).
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(? - ) UK writer whose several very short sf novels appeared obscurely but nevertheless are of some interest. _^<i_The Man who Tilted the Earth_^>i_ (_^<b_1943_^>b_ chap) does not go quite so far as the title hints, though an atomic
disintegrator comes close to ending life on the planet. _^<i_Death in the Green Fields_^>i_ (_^<b_1944_^>b_ chap) features a death-dealing fungus. _^<i_Land of Hidden Death_^>i_ (_^<b_1944_^>b_ chap) is a _^<a_!T3460_LOST-WORLD_^>a_ tale. _^<i_The
Oasis of Sleep_^>i_ (_^<b_1944_^>b_ chap) invokes _^<a_!T5851_SUSPENDED ANIMATION_^>a_. The main story in _^<i_The Grey Beast_^>i_ (coll _^<b_1944_^>b_ chap) features an apeman (> _^<a_!T206_APES AND CAVEMEN_^>a_). [JC]_^<n__^<n__^<b_Other
(1916- ) UK writer. His _^<i_The Diary of William Carpenter_^>i_ (_^<b_1943_^>b_) is a psychological fantasy inspired by Luigi Pirandello (1867-1936). _^<i_Tomorrow Revealed_^>i_ (_^<b_1955_^>b_) is an imaginary future _^<a_!T4442_HISTORY_^>a_
reconstructed in AD5000 from a library containing the works of such writers as H.G. _^<a_!T5528_WELLS_^>a_ and C.S. _^<a_!T3368_LEWIS_^>a_. The material assembled, often taken from the works of _^<a_!T4659_GENRE-SF_^>a_ writers as well, builds a
picture of history directed towards a theological goal. _^<i_A Land Fit for 'Eros_^>i_ (_^<b_1957_^>b_) with J.B. Pick (1921- ) is fantasy. [JC/BS]_^<n__^<n_
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ATLANTIDE, L'
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> _^<i_Die_^>i_ _^<a_!T4399_HERRIN VON ATLANTIS_^>a_._^<n__^<n_
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ATLANTIS
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The legend of Atlantis, an advanced civilization on a continent in the middle of the Atlantic which was overwhelmed by some geological cataclysm, has its earliest extant source in _^<a_!T1925_PLATO_^>a_'s dialogues _^<i_Timaeus_^>i_ and
_^<i_Critias_^>i_ (_^<i_c_^>i_350BC). The legend can be seen as a parable of the Fall of Man, and writers who have since embroidered the story have generally shown less interest in the cataclysm itself than in the attributes of the prelapsarian
Atlanteans, who have often been given moral and scientific powers surpassing those of mere modern humans. Francis _^<a_!T347_BACON_^>a_'s _^<i_The New Atlantis_^>i_ (1627; _^<b_1629_^>b_) portrays Atlantean survivors as the founders of a scientific
utopia in North America. However, it was not until Ignatius _^<a_!T1285_DONNELLY_^>a_ published his _^<i_Atlantis: The Antediluvian World_^>i_ (_^<b_1882_^>b_) that the lost continent became a great popular myth. Donnelly's monomaniacal work
contained much impressive learning and professed to be nonfiction. Unlike Plato and Bacon, who had treated Atlantis as an exemplary parable, Donnelly was convinced that the continent had existed and had been the source of all civilization. In fact,
Donnelly's was a mythopoeic book of considerable power, arguably ancestral to all the _^<a_!T2019_PSEUDO-SCIENCE_^>a_ texts of the 20th century, and the inspiration for many works of fiction._^<n__^<n_Atlantis had already been used in sf by Jules
_^<a_!T5355_VERNE_^>a_. His _^<i_Twenty Thousand Leagues Under the Sea_^>i_ (_^<b_1870_^>b_; trans _^<b_1873_^>b_) contains a brief but effective scene in which Captain Nemo and the narrator explore the tumbled ruins of an Atlantean city. Some of
the fiction inspired by the theories of the Theosophists and spiritualists was less restrained -- e.g., _^<i_A Dweller on Two Planets_^>i_ (_^<b_1894_^>b_) by Phylos the Thibetan (Frederick Spencer Oliver [1866-1899]), in which the hero "remembers"
his previous incarnation as a ruler of Atlantis. Other writers used Atlantis more as a setting for rousing adventure, one of the best examples being _^<i_The Lost Continent_^>i_ (_^<b_1900_^>b_) by C.J. Cutcliffe _^<a_!T4572_HYNE_^>a_, a
first-person narrative "framed" by the discovery of an ancient manuscript in the Canaries. David M. _^<a_!T1807_PARRY_^>a_'s _^<i_The Scarlet Empire_^>i_ (_^<b_1906_^>b_), on the other hand, is set in the present (it depicts Atlantis preserved
under a huge watertight dome, an image which has since become a comic-strip cliche) and intended as a _^<a_!T2812_SATIRE_^>a_ of socialism. (Other stories about a surviving Atlantis are listed in _^<a_!T5281_UNDER THE SEA_^>a_.)_^<n__^<n_One of the
most successful of all Atlantean romances, filmed four times (> _^<i_Die_^>i_ _^<a_!T4399_HERRIN VON ATLANTIS_^>a_), was Pierre _^<a_!T536_BENOIT_^>a_'s _^<i_L'Atlantide_^>i_ (_^<b_1919_^>b_; trans as _^<i_Atlantida_^>i_ _^<b_1920_^>b_; vt _^<i_The
Queen of Atlantis_^>i_ UK) which concerns the present-day discovery of Atlantis in the Sahara. Benoit was accused of plagiarizing H. Rider _^<a_!T4911_HAGGARD_^>a_'s _^<i_The Yellow God_^>i_ (_^<b_1908_^>b_) for many of the details of his story. In
fact, the latter was not an Atlantean romance, and nor was Haggard's _^<i_When the World Shook_^>i_ (_^<b_1919_^>b_), set in Polynesia, although it has been so described. Arthur Conan _^<a_!T1312_DOYLE_^>a_ produced one Atlantis story, "The Maracot
Deep", to be found in _^<i_The Maracot Deep_^>i_ (coll _^<b_1929_^>b_), which is marred as sf by a large admixture of spiritualism. Stanton A. _^<a_!T773_COBLENTZ_^>a_'s _^<i_The Sunken World_^>i_ (1928 _^<i_Amazing Stories Quarterly_^>i_; rev
_^<b_1949_^>b_) has much in common with Parry's _^<i_The Scarlet Empire_^>i_: it involves the contemporary discovery of a domed undersea city, and the purpose of the story is largely satirical. Dennis _^<a_!T5561_WHEATLEY_^>a_'s _^<i_They Found
Atlantis_^>i_ (_^<b_1936_^>b_) contains more of the same, but without the satire._^<n__^<n_The heyday of Atlantean fiction was 1885-1930. Often a subgenre of the _^<a_!T3460_LOST-WORLD_^>a_ story, sometimes of the _^<a_!T5303_UTOPIAN_^>a_ story,
sometimes both, it was perhaps most often the vehicle for occultist speculation about spiritual powers, and therefore only marginally sf._^<n__^<n_Incidental use of the Atlantis motif by S.P. _^<a_!T3746_MEEK_^>a_ and many others became common in
US _^<a_!T3597_MAGAZINE_^>a_ sf. Many stories are set in other mythical lands cognate with Atlantis -- Mu, Lemuria, Hyperborea, Ultima Thule, etc. Fantasy writers who have used such settings include Lin _^<a_!T5194_CARTER_^>a_, Avram
_^<a_!T1082_DAVIDSON_^>a_, L. Sprague _^<a_!T1133_DE CAMP_^>a_, Robert E. _^<a_!T4524_HOWARD_^>a_, Henry _^<a_!T4144_KUTTNER_^>a_ and Clark Ashton _^<a_!T2264_SMITH_^>a_. Two sf/historical novels, _^<i_Stonehenge_^>i_ (_^<b_1972_^>b_) by Harry
_^<a_!T4316_HARRISON_^>a_ and Leon _^<a_!T5771_STOVER_^>a_ and _^<i_The Dancer from Atlantis_^>i_ (_^<b_1971_^>b_) by Poul _^<a_!T169_ANDERSON_^>a_, fit Atlantis into the Mycenean Greek world._^<n__^<n_Several UK writers continued the pursuit of
Atlantis. Francis _^<a_!T266_ASHTON_^>a_'s _^<i_The Breaking of the Seals_^>i_ (_^<b_1946_^>b_) and its follow-up, _^<i_Alas, That Great City_^>i_ (_^<b_1948_^>b_), are old-fashioned romances in which the heroes are cast backwards in time by
mystical means. Pelham _^<a_!T4881_GROOM_^>a_'s _^<i_The Purple Twilight_^>i_ (_^<b_1948_^>b_) finds that Martians destroyed Atlantis in self-defence, later almost destroying themselves by nuclear _^<a_!T5452_WAR_^>a_. John Cowper
_^<a_!T1969_POWYS_^>a_'s _^<i_Atlantis_^>i_ (_^<b_1954_^>b_) is an eccentric philosophical novel in which the aged Odysseus visits the drowned Atlantis _^<i_en route_^>i_ from Ithaca to the USA._^<n__^<n_However, for post-WWII readers Atlantis
seems to have lost its spell-binding quality, and the films in which it has appeared, like _^<a_!T291_ATLANTIS: THE LOST CONTINENT_^>a_ (1960) and _^<i_Warlords of Atlantis_^>i_ (1978) have had little to recommend them -- though more than the dire
tv series _^<i_The_^<a_!T3636_MAN FROM ATLANTIS_^>a__^>i_ (1977), which features a hero with webbed hands. An Atlantean series by Jane _^<a_!T4632_GASKELL_^>a_, colourful and inventive, but written in a gushing prose, is the _^<b_Cija_^>b_
sequence: _^<i_The Serpent_^>i_ (_^<b_1963_^>b_; vt in 2 vols _^<i_The Serpent_^>i_ 1975 and _^<i_The Dragon_^>i_ 1975), _^<i_Atlan_^>i_ (_^<b_1965_^>b_), _^<i_The City_^>i_ (_^<b_1966_^>b_) and _^<i_Some Summer Lands_^>i_ (_^<b_1977_^>b_). These
form the autobiography of a princess of Atlantis, contain a considerable amount of sexual fantasy, and are closer to popular romance than to sf proper. Taylor _^<a_!T5121_CALDWELL_^>a_'s _^<i_The Romance of Atlantis_^>i_ (_^<b_1975_^>b_; published
version written with Jess Stearn), is based, she claimed, on childhood dreams of her previous incarnation as an Atlantean empress. A very symbolic Atlantis arises again from the waves in Ursula K. _^<a_!T3318_LE GUIN_^>a_'s "The New Atlantis"
(1975) as a dystopian USA begins to sink._^<n__^<n_Where Le Guin's story gave new metaphoric life to Atlantis, most of the sunken continent's few appearances in the 1980s were romantic melodramas whose view of Atlantis was on the whole traditional.
One of these was Marion Zimmer _^<a_!T4968_BRADLEY_^>a_'s _^<b_Atlantis Chronicles_^>b_: _^<i_Web of Light_^>i_ (_^<b_1982_^>b_) and _^<i_Web of Darkness_^>i_ (_^<b_1984_^>b_), both assembled as _^<i_Web of Darkness_^>i_ (omni _^<b_1985_^>b_ UK; vt
_^<i_The Fall of Atlantis_^>i_ 1987 US). These fantasies about Atlantean conflicts between forces of light and darkness had their origin in a long, unpublished romance Bradley wrote as a teenager, and indeed their subject matter seems more
appropriate to the 1940s than the 1980s. David _^<a_!T4653_GEMMELL_^>a_'s lively post-_^<a_!T4482_HOLOCAUST_^>a_ _^<b_Sipstrassi_^>b_ series of science-fantasy novels features stones of healing and/or destruction whose source is Atlantis; Atlantis
itself plays a prominent role (through gateways between past and future) in the fourth of the series, _^<i_The Last Guardian_^>i_ (_^<b_1989_^>b_) -- a complex plan to save its destruction through changing history comes to nothing, though it does
produce Noah._^<n__^<n_A good nonfiction work on the subject is _^<i_Lost Continents: The Atlantis Theme in History, Science and Literature_^>i_ (_^<b_1954_^>b_; rev 1970) by L. Sprague de Camp. Henry M. Eichner's _^<i_Atlantean Chronicles_^>i_
(_^<b_1971_^>b_) is a bibliography with level-headed annotations. Other rational books on the subject are few and far between, but _^<i_The End of Atlantis_^>i_ (_^<b_1969_^>b_) by J.V. Luce and _^<i_The Search for Lost Worlds_^>i_ (_^<b_1975_^>b_)
by James Wellard are useful and entertaining. [DP/PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T1795_PARANOIA_^>a_.
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ATLANTIS, THE LOST CONTINENT
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Film (1961). Galaxy/MGM. Dir and prod George _^<a_!T1769_PAL_^>a_, starring Anthony Hall, Joyce Taylor, Ed Platt, John Dall. Screenplay Daniel Mainwaring, based on _^<i_Atalanta_^>i_ (1949), a play by Sir Gerald Hargreaves (1881-1972). 90 mins.
Colour._^<n__^<n_A young Greek fisherman becomes involved with a castaway who says she is a princess from Atlantis. A large, fish-shaped submarine surfaces and they are both taken there. He is enslaved and witnesses the evils of the Atlantean
culture, which include crimes against God and Nature. These lead to the eventual destruction and sinking of Atlantis by (a) a destructive ray generated from a giant crystal and (b) an erupting volcano. The scope of the special effects was obviously
affected by the low budget, but A. Arnold Gillespie and his team achieved some colourful spectacles. However, the performances are wooden and the story strictly pulp. Pal was a better producer than director; this is one of his weakest films.
Film (1957). Los Altos/Allied Artists. Dir Roger _^<a_!T884_CORMAN_^>a_, starring Richard Garland, Pamela Duncan, Russell Johnson, Leslie Bradley. Screenplay Charles B. Griffith. 70 mins cut to 64 mins. B/w._^<n__^<n_Two giant crabs, mutations
caused by radiation from an H-bomb test on an island, scuttle out of the sea and destroy all of one and most of another expedition to the island. Eerily, they take over the minds (and voices) of their victims; it is disturbing when a crab the size
of a van speaks to you in the voice of your recently deceased best friend. Vintage Corman: fast, absurd, intelligently scripted, made on a shoestring. One of the more memorable _^<a_!T3011_MONSTER MOVIES_^>a_ of the 1950s boom. [PN]_^<n__^<n_
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ATTACK OF THE GIANT LEECHES
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> Roger _^<a_!T884_CORMAN_^>a_._^<n__^<n_
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ATTACK OF THE MONSTERS
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> _^<a_!T1028_DAIKAIJU GAMERA_^>a_._^<n__^<n_
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ATTANASIO, A(LFRED) A(NGELO)
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(1951- ) US writer, BA (biochemistry), MFA (creative writing), MA (linguistics). He began publishing sf with "Once More, the Dream" as aa Attanasio for _^<i_New Worlds Quarterly #7_^>i_ (anth _^<b_1974_^>b_) ed Hilary _^<a_!T361_BAILEY_^>a_ and
Charles _^<a_!T1927_PLATT_^>a_; this tale, in its experimental heat and dark extravagance, proved typical of his short fiction in general. Not particularly attractive to the magazine markets, most of his shorter works appeared for the first time in
_^<i_Beastmarks_^>i_ (coll _^<b_1985_^>b_). AAA came to wide notice with the publication of his first novel, _^<i_Radix_^>i_ (_^<b_1981_^>b_), the first volume of the _^<b_Radix Tetrad_^>b_ sequence, which continues with _^<i_In Other Worlds_^>i_
(_^<b_1984_^>b_), _^<i_Arc of the Dream_^>i_ (_^<b_1986_^>b_) and _^<i_The Last Legends of Earth_^>i_ (_^<b_1989_^>b_). As a whole, the sequence works as a complex meditation on metamorphosis couched in _^<a_!T2342_SPACE-OPERA_^>a_ terms, so that
densely ambitious moments of poetic aspiration alternate with episodes out of the rag-and-bone shop of _^<a_!T2033_PULP-MAGAZINE_^>a_ fiction. After losing her radiation shield, which guards her against the full nakedness of the Universe, Earth
begins to mutate savagely, a transformation articulated clearly in _^<i_Radix_^>i_ itself through the story of a mutant _^<a_!T5830_SUPERMAN_^>a_, who undergoes the same transcendental jumpstart that jolts his planet through terrors and
_^<a_!T1239_DIMENSIONS_^>a_. By the time _^<i_The Last Legends of Earth_^>i_ has come to a close, long after Earth itself has become an inordinately complicated memory, human beings are strange creatures, resurrected out of dream, half-persona,
half-godling. At the same time, however, a protagonist engages in a revenge fight with spiderlike _^<a_!T102_ALIENS_^>a_._^<n__^<n_AAA's next sf novel, _^<i_Solis_^>i_ (_^<b_1994_^>b_), is a singleton whose plot and pacing initially remind one of
an early Keith _^<a_!T4206_LAUMER_^>a_adventure, but which expands upon and darkens its origins in space opera; the protagonist, after a millennium of _^<a_!T987_CRYONIC_^>a_sleep, awakens into an extremely complex and cruel world run by AIs, where
he is used for pornography and enslaved before his eventual rescue. It could not be said that AAA is a tempered writer; but the splurge and dance of his prose can be, at times, enormously enlivening._^<n__^<n_Of his other novels, _^<i_Wyvern_^>i_
(_^<b_1988_^>b_) is a pirate-punk historical, with little or no fantasy content; _^<i_Hunting the Ghost Dancer_^>i_ (_^<b_1991_^>b_) is an extremely late, and rather heated, example of prehistoric sf (> _^<a_!T197_ANTHROPOLOGY_^>a_) in which a last
Neanderthal is pitted against several of us; is an historical novel with fantasy elements; _^<i_The Dragon and the Unicorn_^>i_ (_^<b_1994_^>b_ UK), with its sequel, <Arthur> (1995 UK), comprises an Arthurian cycle; and _^<i_The Moon's Wife_^>i_
(_^<b_1993_^>b_) is a fantasy of supernatural seduction whose roots may well lie in psychosis. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T3120_MUTANTS_^>a_.
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ATTERLEY, JOSEPH
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Pseudonym of George Tucker (1775-1861), Chairman of the Faculty of the University of Virginia while Edgar Allan _^<a_!T1933_POE_^>a_ was a student there, and an influence on him. JA's _^<i_A Voyage to the Moon with Some Account of the Manners and
Customs, Science and Philosophy, of the People of Morosofia, and Other Lunarians_^>i_ (_^<b_1827_^>b_) describes a trip to eccentric lunar societies, including one _^<a_!T5303_UTOPIA_^>a_. The spacecraft is coated with the first antigravitic metal
in literature, a forerunner of H.G. _^<a_!T5528_WELLS_^>a_'s Cavorite (> _^<a_!T198_ANTIGRAVITY_^>a_). The book is true sf, including much scientific speculation. It was reprinted in 1975 -- including a review of 1828 and an introduction by David
G. _^<a_!T4329_HARTWELL_^>a_ -- as by George Tucker. Another sf work, dealing with _^<a_!T1752_OVERPOPULATION_^>a_, was _^<i_A Century Hence, or A Romance of 1941_^>i_ (_^<b_1977_^>b_), as by George Tucker, ed from his manuscript.
[JC/PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T1410_FANTASTIC VOYAGES_^>a_; _^<a_!T4443_HISTORY OF SF_^>a_; _^<a_!T3023_MOON_^>a_.
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AT THE EARTH'S CORE
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Film (1976). Amicus/AIP. Dir Kevin Connor, starring Doug McClure, Peter Cushing, Caroline Munro. Screenplay Milton Subotsky, based on _^<i_At the Earth's Core_^>i_ (_^<b_1922_^>b_) by Edgar Rice _^<a_!T5097_BURROUGHS_^>a_. 89 mins.
Colour._^<n__^<n_The success of Amicus's _^<i_The _^<a_!T4171_LAND THAT TIME FORGOT_^>a__^>i_ (also based on a Burroughs novel) inspired the making of this lightweight film, in which genially routine adventures take place inside a vast cavern
visited by a hero and a scientist in a mechanical mole. There are dinosaurs and ape-things. The wonders of Burroughs's fascinating, if illogical, _^<a_!T4474_HOLLOW-EARTH_^>a_ world-within-a-world (Pellucidar) are barely hinted at.
[JB/PN]_^<n__^<n_
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ATWOOD, MARGARET (ELEANOR)
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(1939- ) Canadian poet and novelist, some of whose poetry, like _^<i_Speeches for Doctor Frankenstein_^>i_ (_^<b_1966_^>b_ chap US), hints at sf content; but her interest as a prose writer in the form was minimal until the publication of
_^<i__^<a_!B9071_THE HANDMAID'S TALE_^>a__^>i_ (_^<b_1985_^>b_), which won the Governor General's Award in Canada and the first _^<a_!T255_ARTHUR C. CLARKE AWARD_^>a_ in 1986. The 1990 film version (> _^<i__^<a_!B9071_THE _^<a_!T4271_HANDMAID'S
TALE_^>a__^>a__^>i_) stiffly travestied the book, treating it as an improbable but ideologically "correct" _^<a_!T1370_DYSTOPIA_^>a_, rather than as a fluid nightmare requiem in the vein of George _^<a_!T1731_ORWELL_^>a_'s _^<i__^<a_!B9093_NINETEEN
EIGHTY-FOUR_^>a__^>i_ (_^<b_1949_^>b_). The tale of Offred the Handmaid, contextually placed as it is within a frame dated 200 years later, reads overwhelmingly as a personal tragedy. The venue is dystopian -- a sudden loss of fertility has
occasioned a pre-emptive _^<a_!T6337_NEAR-FUTURE_^>a_ coup against all remaining fertile women by a fundamentalist New England, to keep them from power -- and the lessons taught throughout have a sharp _^<a_!T1461_FEMINIST_^>a_ saliency. But
Offred's liquid telling of her tale, and her ambivalent disappearance into death or liberation as the book closes, make for a novel whose context leads, liberatingly, out of nightmare into the pacific Inuit culture of the frame. Despite the
occasional infelicity -- MA's attempts at the language of _^<a_!T4659_GENRE SF_^>a_ are not unembarrassing -- _^<i__^<a_!B9071_THE HANDMAID'S TALE_^>a__^>i_ soon gained a reputation as the best sf novel ever produced by a Canadian.
[JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T5141_CANADA_^>a_; _^<a_!T2812_SATIRE_^>a_; _^<a_!T5684_WOMEN SF WRITERS_^>a_.
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ATWOOD, SAM
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[s] > Thomas A. _^<a_!T6570_EASTON_^>a_._^<n__^<n_
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AUBREY, FRANK
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The first and main pseudonym of UK writer Francis Henry Atkins (1840-1927). A contributor to the pre-sf _^<a_!T2033_PULP MAGAZINESS_^>a_, he wrote three _^<a_!T3460_LOST-WORLD_^>a_ novels. The first and most successful was _^<i_Devil-Tree of El
Dorado: A Romance of British Guiana_^>i_ (_^<b_1896_^>b_), which capitalized on the contemporary interest in the Roraima Plateau. Weird themes continued in FA's writings but sf elements became more prominent: _^<i_A Queen of Atlantis: A Romance of
the Caribbean_^>i_ (_^<b_1898_^>b_) related the discovery of a telepathic race living in the Sargasso Sea; and _^<i_King of the Dead: A Weird Romance_^>i_ (_^<b_1903_^>b_) showed remnants of Earth's oldest civilization employing advanced science to
resurrect the dead of untold generations in a bid to regain their lost empire. The first two of these loosely connected novels are linked by the appearance in both of Monella, a Wandering-Jew character._^<n__^<n_Little is known about FA. There is
evidence that he was involved in a scandal at the turn of the century; following a three-year hiatus, he began to write again, now as Fenton Ash. Publisher's files indicate that his son, Frank Howard Atkins Jr (1883-1921) -- who wrote many popular
nature stories as F. St Mars -- also used this name, perhaps in collaboration. Stylistic analysis indicates that a later story as by FA, "Caught by a Comet" (1910), may have been written exclusively by Frank Atkins Jr. Many sf stories as by Fenton
Ash, all characterized by vividly imaginative but less than fully realized ideas, appeared in the _^<a_!T4958_BOYS' PAPERS_^>a_. The majority are lost-world adventures; e.g., "The Sunken Island" (1904), "The Sacred Mountain" (1904), _^<i_The Radium
Seekers, or The Wonderful Black Nugget_^>i_ (_^<b_1905_^>b_),_^<i_The Temple of Fire, or The Mysterious Island_^>i_ (_^<b_1905_^>b_ ; cut 1917 ) as Fred Ashley, "The Hermit of the Mountains" (1906-7), _^<i_By Airship to Ophir_^>i_ (_^<b_1910_^>b_),
_^<i_The Black Opal: A Romance of Thrilling Adventure_^>i_ (1906 _^<i_The Big Budget_^>i_; _^<b_1915_^>b_), "In Polar Seas" (1915-16) and _^<i_The Island of Gold_^>i_ (1915 _^<i_The Marvel_^>i_; _^<b_1918_^>b_). In two further works, "A Son of the
Stars" (1907-08 _^<i_Young England_^>i_) and _^<i_A Trip to Mars_^>i_ (1907 _^<i_The Sunday Circle_^>i_ as "A King of Mars"; _^<b_1909_^>b_), the lost-world setting shifted to a war-torn Mars, preceding Edgar Rice _^<a_!T5097_BURROUGHS_^>a_'s use
of the same idea by some years._^<n__^<n_In his chosen market FA was extremely successful and influential. Although contributing little to the sophistication of sf, he played an important role in the _^<a_!T4443_HISTORY OF SF_^>a_. [JE]_^<n__^<n_
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AUEL, JEAN M(ARIE)
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(1936- ) US writer who is known solely for her enormously successful _^<b_Earth's Children_^>b_ sequence of prehistoric-sf novels (> _^<a_!T197_ANTHROPOLOGY_^>a_; _^<a_!T1727_ORIGIN OF MAN_^>a_): _^<i_The Clan of the Cave Bear_^>i_
(_^<b_1980_^>b_), _^<i_The Valley of Horses_^>i_ (_^<b_1982_^>b_),both assembled as _^<i_The Clan of the Cave Bear/The Valley of Horses_^>i_ (omni _^<b_1994_^>b_ UK), _^<i_The Mammoth Hunters_^>i_ (_^<b_1985_^>b_) and _^<i_The Plains of
Passage_^>i_ (_^<b_1990_^>b_). It could not be suggested that the sequence is very effective as sf, or that, indeed, it is intended to be read as sf; but most of the events recounted -- as the young Cro-Magnon protagonist grows up in the
Neanderthal community which has adopted her, and begins to effect transformations in her world -- are legitimate anthropological extrapolations pastwards. The greatest displacement from what might fairly be called romantic realism -- the plots
themselves have novelettish moments -- lies in the growing capacity of the main characters to commune with animals. In any case, generic definitions aside, JMA's control over masses of detail, and her compulsive storytelling style, put the
_^<b_Earth's Children_^>b_ books on a level far above most of their very numerous predecessors. [JC]_^<n__^<n__^<n__^<n__^<b_See also:_^>b_ _^<a_!T5684_WOMEN SF WRITERS_^>a_.
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AUGUSTUS, ALBERT Jr
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> Charles _^<a_!T3266_NUETZEL_^>a_._^<n__^<n_
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AUMBRY, ALAN
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[s] > Barrington J. _^<a_!T472_BAYLEY_^>a_._^<n__^<n_
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AUREALIS
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Australian _^<a_!T2100_SEMIPROZINE_^>a_, subtitled "The Australian Magazine of Fantasy and Science Fiction", quarterly, A5 format, published by Chimaera Publications, Melbourne, ed Stephen Higgins and Dirk Strasser, dated by year only. Sep
1990-current, 14 issues to early 1995._^<n__^<n_Yet another brave attempt by an Australian _^<a_!T2261_SMALL PRESS_^>a_to publish an sf magazine in a market that has repeatedly proven itself too small to sustain one, though an initial print run of
10,000 was claimed. Some stories have been promising, few have risen to excellence. Mostly new writers mix with a sprinkling of better established names like Damien _^<a_!T5012_BRODERICK_^>a_, Terry _^<a_!T1309_DOWLING_^>a_, Leanne Frahm and
Rosaleen _^<a_!T6379_LOVE_^>a_. To have lasted over four years in this market is an achievement. [PN]_^<n__^<n_
(1947- ) US writer and translator who came to sudden attention -- after years of work -- with a series of _^<a_!T1372_FABULATIONS_^>a_ playing on detective genres and the French _^<i_nouveau roman_^>i_. _^<i_City of Glass_^>i_ (_^<b_1985_^>b_),
_^<i_Ghosts_^>i_ (_^<b_1986_^>b_) and _^<i_The Locked Room_^>i_ (_^<b_1986_^>b_), assembled as _^<i_The New York Trilogy_^>i_ (omni _^<b_1987_^>b_ UK), are not sf; but _^<i_Moon Palace_^>i_ (_^<b_1989_^>b_) comes very close to a literal reading of
its lunar metaphorical structure. _^<i_In the Country of Last Things_^>i_ (_^<b_1987_^>b_), however, is sufficiently firm about its future New York setting and the nightmarish landscape its protagonist must traverse, to rest comfortably within the
genre's increasingly commodious fringe. _^<i_Mr. Vertigo_^>i_ (_^<b_1994 _^>b_UK) is a _^<a_!T3599_MAGIC REALIST_^>a_ vision of early 20th century America as remembered by an old man who, in his elated childhood, was literally able to fly.
[JC]_^<n__^<n_
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AUSTIN, F(REDERICK) BRITTEN
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(1885-1941) UK writer and WWII army captain, most noted for his collections of stories illustrating problems for UK military security arising in future _^<a_!T5452_WARS_^>a_ from new weaponry and tactics: _^<i_In Action: Studies of War_^>i_ (coll
_^<b_1913_^>b_) and _^<i_The War-God Walks Again_^>i_ (coll _^<b_1926_^>b_). The latter volume is occasionally eloquent. FBA also wrote several volumes of linked stories, each comprising a kind of anthropological romance telling the development of
a significant aspect of Man's history through the ages; examples are _^<i_A Saga of the Sea_^>i_ (coll of linked stories _^<b_1929_^>b_), where a ship's history is told, and _^<i_A Saga of the Sword_^>i_ (coll of linked stories _^<b_1928_^>b_). The
first and last stories of each of these collections tend to infringe upon sf material and concerns. [JC]_^<n__^<n__^<b_Other works, some marginal sf:_^>b_ _^<i_Battlewrack_^>i_ (coll _^<b_1917_^>b_); _^<i_According to Orders_^>i_ (coll
_^<b_1918_^>b_); _^<i_On the Borderland_^>i_ (coll _^<b_1922_^>b_); _^<i_Under the Lens_^>i_ (coll _^<b_1924_^>b_); _^<i_Thirteen_^>i_ (coll _^<b_1925_^>b_US); _^<i_When Mankind was Young_^>i_ (coll of linked stories _^<b_1930_^>b_);
_^<i_Tomorrow_^>i_ (coll _^<i_c_^>i__^<b_1930_^>b_) _^<i_The Red Flag_^>i_ (coll of linked stories _^<b_1932_^>b_), the final tale of which is set in 1977._^<n__^<n__^<b_See also:_^>b_ _^<a_!T1727_ORIGIN OF MAN_^>a_.
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AUSTIN, RICHARD
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> Victor _^<a_!T2944_MILAN_^>a_._^<n__^<n_
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AUSTRALIA
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Much early Australian sf falls into subgenres which can be described as sf only controversially: lost-race romances, _^<a_!T5303_UTOPIAN_^>a_ novels and _^<a_!T6337_NEAR-FUTURE_^>a_ political thrillers about racial invasion._^<n__^<n_Works of
utopian speculation began appearing in Australia about the middle of the 19th century and were set, appropriately for a new society in a largely unexplored land, either in the _^<a_!T1432_FAR FUTURE_^>a_ or in Australia's deep interior (indeed,
Australia's remoteness encouraged UK and US writers to make similar use of the land as a venue for utopian speculation). Among early utopias by Australians are Joseph Fraser's _^<i_Melbourne and Mars: My Mysterious Life on Two Planets_^>i_
(_^<b_1889_^>b_) and G. _^<a_!T3547_MCIVER_^>a_'s _^<i_Neuroomia: A New Continent_^>i_ (_^<b_1894_^>b_). The lost-race (> _^<a_!T3460_LOST WORLDS_^>a_) theme was more romantically handled in novels such as Fergus _^<a_!T4554_HUME_^>a_'s _^<i_The
Expedition of Captain Flick_^>i_ (_^<b_1896_^>b_ UK) and G. Firth Scott's _^<i_The Last Lemurian_^>i_ (1896 _^<i_The Golden Penny_^>i_; exp _^<b_1898_^>b_ UK)._^<n__^<n_A _^<a_!T1461_FEMINIST_^>a_ perspective on social criticism is shown in _^<i_A
Woman of Mars, or Australia's Enfranchised Woman_^>i_ (_^<b_1901_^>b_) by Mary Ann Moore-Bentley (pseudonym of Mrs H.H. Ling). This depicts an ideal society on Mars in strongly Christian terms, and deals with an attempt to reform Earth in
conformity with the Martian model. Of more merit is an earlier novel, C.H. _^<a_!T6330_SPENCE_^>a_'s feminist utopia _^<i_Handfasted_^>i_ (written _^<i_c_^>i_1879; _^<b_1984_^>b_), which depicts a community distinguished by its advocacy of
"handfasting" -- a system of year-long "trial marriage" by contract. The book is unusual in that it explores the ways in which its central utopian idea might actually be adopted within the real-world community._^<n__^<n_From the time of the
mid-19th-century gold rushes, Australian society was marred by racial antagonism. By the end of the century, fears of Asian hordes had found their way into sf in such novels as _^<i_The Yellow Wave: A Romance of the Asiatic Invasion of
Australia_^>i_ (_^<b_1895_^>b_ UK) by Kenneth _^<a_!T3548_MACKAY_^>a_, _^<i_The Coloured Conquest_^>i_ (_^<b_1904_^>b_) by "Rata" (Thomas Roydhouse) and _^<i_The Australian Crisis_^>i_ (_^<b_1909_^>b_) by C.H. Kirmess. Novels of this kind, though
less vitriolic and racist, have persisted up to the present: see John Hooker's _^<i_The Bush Soldiers_^>i_ (_^<b_1984_^>b_) and Eric Willmot's _^<i_Up the Line_^>i_ (_^<b_1991_^>b_). _^<a_!T3796_INVASION_^>a_ by aliens of a more sciencefictional
kind is found in Robert _^<a_!T1960_POTTER_^>a_'s _^<i_The Germ Growers_^>i_ (_^<b_1892_^>b_), one of the earliest books with this theme. However, although it features space-dwelling shapechangers setting up beachheads in the Australian outback,
and thereby looks forward to _^<a_!T4659_GENRE SF_^>a_, it is also religious allegory._^<n__^<n_The various early traditions achieved their apotheosis in Erle _^<a_!T927_COX_^>a_'s _^<i_Out of the Silence_^>i_ (1919 _^<i_Argus_^>i_; _^<b_1925_^>b_;
rev 1947), in many ways a modern-seeming and sophisticated work of sf. A gentleman farmer in the outback discovers an ancient time-vault containing, in _^<a_!T5851_SUSPENDED ANIMATION_^>a_, a beautiful and powerful woman, Earani. She is one of the
last survivors of an early species of humanity which, although more highly developed than _^<i_Homo sapiens_^>i_, was ruthless: one of its cultural heroes purified the race by inventing a "Death Ray"to destroy its lower (i.e., coloured) racial
strains. What is disturbing to the modern reader is the way the novel takes racialist thinking seriously. Though it finally rejects the Nazi-like utopia it depicts, this rejection has to be earned through layers of irony and complex narrative, in
all of which Earani's attitudes are given what today seems more than their due. Indeed, she is depicted as morally cleaner than many of the 20th-century people she meets._^<n__^<n_Little Australian sf of importance was published during the 1930s
and 1940s, though the interplanetary thrillers of J.M. _^<a_!T5444_WALSH_^>a_, such as _^<i_Vandals of the Void_^>i_ (_^<b_1931_^>b_ UK), should be noted. The next real milestone is _^<i_Tomorrow and Tomorrow_^>i_ (cut _^<b_1947_^>b_; full text
_^<b_1983_^>b_ as _^<i_Tomorrow and Tomorrow and Tomorrow_^>i_) by M. Barnard _^<a_!T6610_ELDERSHAW_^>a_. Framed by a story set in the 24th century, it sophisticatedly tells, through a novel supposedly written by one of the characters, of the
tumultuous events occurring in Australian society during the late 20th century. It was cut by the censor at the time of first publication because of its supposedly subversive tendencies._^<n__^<n_Professional commercial sf is the most international
of literary forms -- although much of it has internalized distinctive US values, its strength is in imaginative extrapolation rather than in the depiction of any local experience -- and so UK and US sf, requiring no translation and readily
available, has tended to be sufficient to meet the needs of Australian readers. Thus the indigenous sf industry has never achieved critical mass in the way it has in some other countries. Nonetheless, since the 1950s there has always been interest
in genre sf among Australian writers and publishers._^<n__^<n_There was a flurry of local magazine publishing around the 1950s, with _^<a_!T6005_THRILLS, INCORPORATED_^>a_ (1950-51), _^<a_!T1660_FUTURE SCIENCE FICTION_^>a_ (1953-5),
_^<a_!T1949_POPULAR SCIENCE FICTION_^>a_ (1953-4) and _^<a_!T2131_SCIENCE FICTION MONTHLY_^>a_ (1955-7). Also during the 1950s, stories by Australian sf writers began to appear in the US and UK magazines. The work of Frank Bryning, Wynne
_^<a_!T5586_WHITEFORD_^>a_ and A. Bertram _^<a_!T5232_CHANDLER_^>a_ (whose magazine publishing began in the 1940s) represented a first consolidation of genre sf by writers in Australia. These authors expanded from their beachhead in the 1960s and
thereafter, being joined during the 1960s by John _^<a_!T470_BAXTER_^>a_, Damien _^<a_!T5012_BRODERICK_^>a_, Lee _^<a_!T4286_HARDING_^>a_, David _^<a_!T2686_ROME_^>a_ and Jack _^<a_!T6383_WODHAMS_^>a_._^<n__^<n_The Australian-UK magazine
_^<a_!T5383_VISION OF TOMORROW_^>a_ (1969-70) contained many stories by Australians, perhaps most notably Harding and Broderick. Harding developed into a thoughtful writer of sf, mainly for adolescents, whose doubts and alienation he has captured
in a series of powerful metaphors. His most successful work is _^<i_Displaced Person_^>i_ (_^<b_1979_^>b_; vt _^<i_Misplaced Persons_^>i_ US), in which the characters find themselves lost in a bewildering limbo after they start becoming invisible
to others. Other important sf for younger readers has been produced by Gillian _^<a_!T2726_RUBINSTEIN_^>a_, notably _^<i_Space Demons_^>i_ (_^<b_1986_^>b_) and _^<i_Beyond the Labyrinth_^>i_ (_^<b_1988_^>b_), and by Victor
_^<a_!T4007_KELLEHER_^>a_, such as _^<i_Taronga_^>i_ (_^<b_1986_^>b_); his _^<i_The Beast of Heaven_^>i_ (_^<b_1984_^>b_) is sf for adults._^<n__^<n_At the end of the 1960s John Baxter began a trend by editing two anthologies of Australian sf,
_^<i_The Pacific Book of Australian Science Fiction_^>i_ (anth _^<b_1968_^>b_; vt _^<i_Australian Science Fiction 1_^>i_) and _^<i_The Second Pacific Book of Australian Science Fiction_^>i_ (anth _^<b_1971_^>b_; vt _^<i_Australian Science Fiction
2_^>i_). Lee Harding's anthology _^<i_Beyond Tomorrow_^>i_ (anth _^<b_1976_^>b_) brought together stories by Australian and overseas writers, as did his further state-of-the-art anthology, _^<i_Rooms of Paradise_^>i_ (anth _^<b_1978_^>b_ UK).
Several other one-off anthologies of Australian sf were published in Australia in the 1970s and 1980s, most notably those edited by Broderick: _^<i_The Zeitgeist Machine_^>i_ (anth _^<b_1977_^>b_), _^<i_Strange Attractors_^>i_ (anth _^<b_1985_^>b_)
and _^<i_Matilda at the Speed of Light_^>i_ (anth _^<b_1988_^>b_)._^<n__^<n_In 1975 Paul _^<a_!T808_COLLINS_^>a_ began the magazine _^<a_!T5389_VOID_^>a_ (1975-81), which published original stories by Australian writers. He expanded this operation
in 1980 into the publishing house Cory and Collins (partnered by Rowena Cory). For some years this firm produced anthologies of sf and fantasy edited by Collins (as if they were numbers of _^<i_Void_^>i_) as well as novels and collections by David
_^<a_!T4156_LAKE_^>a_ (who has also published quite widely overseas), Wodhams, Whiteford and others. Collins himself is a prolific writer of short stories. A number of other _^<a_!T2261_SMALL PRESSES_^>a_ have attempted to produce either magazines
or books containing sf by Australian writers, and some still do. However, this has not generally proved to be commercially viable._^<n__^<n_Currently George _^<a_!T6130_TURNER_^>a_ is probably the most prominent Australian sf writer, having earlier
established a reputation as a mainstream novelist and as a critic. Turner has written several very serious near-future novels containing detailed social and scientific extrapolation. His most ambitious work, _^<i_The Sea and Summer_^>i_
(_^<b_1987_^>b_ UK; vt _^<i_Drowning Towers_^>i_ US), is a relentless extrapolation of social divisions, factoring in the consequences of the greenhouse effect. The novel borrows the frame-story technique of _^<i_Tomorrow and Tomorrow_^>i_, as if
to state that Turner deliberately casts himself as M. Barnard Eldershaw's successor._^<n__^<n_Damien Broderick continues to publish fiction notable for its innovation and humour, such as _^<i_The Dreaming Dragons_^>i_ (_^<b_1980_^>b_) and the comic
_^<i_Striped Holes_^>i_ (_^<b_1988_^>b_ US). Wynne Whiteford has gone from strength to strength in writing traditional sf. Australia has some claim upon the New Zealand-born Cherry _^<a_!T5600_WILDER_^>a_, who now lives in Germany but who was in
Australia for many years. Keith Taylor (1946- ) is a major fantasy writer. Philippa Maddern (1952- ), Leanne Frahm and Lucy _^<a_!T5853_SUSSEX_^>a_ have written some successful stories. Rosaleen _^<a_!T6379_LOVE_^>a_'s neat sf fables have
been collected in _^<i_The Total Devotion Machine and Other Stories_^>i_ (coll _^<b_1989_^>b_ UK). Of the newer writers, the most exciting are Terry _^<a_!T1309_DOWLING_^>a_ and Greg _^<a_!T6594_EGAN_^>a_. Most significant writers since the 1950s
have aimed their work predominantly at international markets._^<n__^<n_While there has been little success in establishing Australian sf publishing, Australia has been more notable for its efforts in two other areas, namely serious writing about sf
and, perhaps unexpectedly, film. In the former category Donald H. _^<a_!T6113_TUCK_^>a_'s _^<i_The Encyclopedia of Science Fiction and Fantasy Through 1968_^>i_ (vol 1 _^<b_1974_^>b_ US; vol 2 _^<b_1978_^>b_ US; vol 3 _^<b_1982_^>b_ US) deserves
special mention. Magazines such as John Bangsund's _^<a_!T316_AUSTRALIAN SF REVIEW_^>a_ (1966-9) and its successor, _^<a_!T317_AUSTRALIAN SCIENCE FICTION REVIEW: SECOND SERIES_^>a_ (1986-91), published by a small collective of sf fans, Bruce
_^<a_!T4703_GILLESPIE_^>a_'s _^<a_!T2060_SF COMMENTARY_^>a_ (1969-current), and _^<a_!T2052_SCIENCE FICTION: A REVIEW OF SPECULATIVE LITERATURE_^>a_ (1977-current) ed Van Ikin (1951- ) have all achieved international respect._^<n__^<n_In regard
to film, sf had its share in the renaissance in the Australian movie industry which began in the mid-1970s and continued until about 1983, with some successes still being produced. The three post-_^<a_!T4482_HOLOCAUST_^>a_ _^<b_Mad Max_^>b_ films
-- _^<a_!T3589_MAD MAX_^>a_ (1979), _^<a_!T3591_MAD MAX 2_^>a_ (1981; vt _^<i_The Road Warrior_^>i_ US) and _^<a_!T3590_MAD MAX BEYOND THUNDERDOME_^>a_ (1985) -- have been particularly well received. Unfortunately, some more recent ambitious (but
uneven) movies such as _^<i_The Time Guardian_^>i_ (1987) and _^<i_As Time Goes By_^>i_ (1987) have flopped, and the future of sf cinema in Australia is doubtful, with the film industry as a whole having been in decline for several years. One
recent sf film of note, a hit in Australia and quite successful abroad, is the comedy _^<a_!T6242_YOUNG EINSTEIN_^>a_ (1988)._^<n__^<n_Australian sf _^<a_!T856_CONVENTIONS_^>a_ have been held regularly since 1952. The 1975 and 1985 World Science
Fiction Conventions (Aussiecon and Aussiecon II) were held in Melbourne. [RuB]_^<n__^<n_
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AUSTRALIAN SF REVIEW
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Australian _^<a_!T1428_FANZINE_^>a_ (1966-9) ed John Bangsund (1939- ). _^<i_ASFR_^>i_ was one of the most literate and eclectic of the serious sf fanzines and, despite its relative isolation, was able to attract articles from such writers as
Brian W. _^<a_!T87_ALDISS_^>a_, James _^<a_!T658_BLISH_^>a_ and Harry _^<a_!T4316_HARRISON_^>a_. _^<i_ASFR_^>i_ also served as a focal point for renewed interest in sf and _^<a_!T1389_FANDOM_^>a_ in Australia, and brought attention to Australian sf
critics such as John _^<a_!T470_BAXTER_^>a_, John Foyster, Bruce _^<a_!T4703_GILLESPIE_^>a_, Lee _^<a_!T4286_HARDING_^>a_ and George _^<a_!T6130_TURNER_^>a_. _^<i_ASFR_^>i_ was twice nominated for a _^<a_!T4551_HUGO_^>a_, and won a Ditmar
_^<a_!T6321_AWARD_^>a_ in 1969. [PR]_^<n__^<n_
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AUSTRALIAN SCIENCE FICTION REVIEW: SECOND SERIES
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Australian _^<a_!T1428_FANZINE_^>a_ (Mar 1986-Autumn 1991), ed "The Science Fiction Collective" (at first Jenny Blackford (1957- ), Russell _^<a_!T630_BLACKFORD_^>a_, John Foyster, Yvonne Rousseau and Lucy _^<a_!T5853_SUSSEX_^>a_; Janeen Webb
joined and Sussex left in 1987). This worthy successor to the defunct _^<a_!T316_AUSTRALIAN SF REVIEW_^>a_ was effectively though not officially an academic critical journal, of variable but often high quality, fannishly enlivened at times by
name-calling. Spirited and regular, it had 27 issues before the collective collapsed from exhaustion. The most consistent Australian sf journal of its period, it won little support from local _^<a_!T1389_FANDOM_^>a_ who saw it as elitist, but
received a farewell Ditmar _^<a_!T6321_AWARD_^>a_ in 1991. [PN]_^<n__^<n_
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AUSTRIA
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Austrian literature must be considered a part of the larger German literature (> _^<a_!T4667_GERMANY_^>a_), although with a distinct voice; Austrian writers have always been published more by German publishing houses than by Austrian
ones._^<n__^<n_At the turn of the century, Vienna was a veritable laboratory for many of the ideas of modern times, from psychoanalysis and logical positivism to music, the arts and literature: here were found Freud, Wittgenstein, Mahler,
Schoenberg, Klimt, Schiele, Schnitzler, Karl Kraus and so on. But, while the former Austro-Hungarian Empire produced many writers important in fantastic literature (notably Gustav _^<a_!T2934_MEYRINK_^>a_, Herzmanovsky-Orlando and Leo
_^<a_!T1866_PERUTZ_^>a_), its contribution to sf has been rather modest. True, there is the one _^<a_!T5303_UTOPIA_^>a_ that became true: the Zionism of Theodor Herzl (1860-1904) and his desire for the foundation of a home country for the Jews
found a literary expression in _^<i_Altneuland_^>i_ (_^<b_1902_^>b_; trans as _^<i_Old-New Land_^>i_ _^<b_1947_^>b_). A utopia of a more parochial sociopolitical character is _^<i_Osterreich im Jahre 2020_^>i_ ["Austria in 2020 AD"]
(_^<b_1893_^>b_) by Joseph Ritter von Neupauer. The utopias _^<i_Freiland_^>i_ (_^<b_1890_^>b_; trans as _^<i_Freeland_^>i_ _^<b_1891_^>b_) and its sequel _^<i_Eine Reise nach Freiland_^>i_ (_^<b_1893_^>b_; trans as _^<i_A Visit to Freeland_^>i_
_^<b_1894_^>b_) by the economist Theodor _^<a_!T4403_HERTZKA_^>a_ were internationally successful, although the utopias of the first woman winner (1905) of the Nobel Peace Prize, Bertha von Suttner (1843-1914), such as _^<i_Der Menschheit
Hochgedanken_^>i_ ["The Exalted Thoughts of Mankind"] (_^<b_1911_^>b_), found little resonance. Under the pseudonym Ludwig Hevesi, Ludwig Hirsch (1843-1910) wrote _^<i_MacEck's sonderbare Reise zwischen Konstantinopel und San Francisco_^>i_
["MacEck's Curious Journey between Constantinople and San Francisco"] (_^<b_1901_^>b_) as well as humorous sketches of Jules _^<a_!T5355_VERNE_^>a_'s adventures in Heaven and Hell in his collection _^<i_Die funfte Dimension_^>i_ ["The Fifth
Dimension"] (coll _^<b_1906_^>b_). Hevesi was a collector of utopian literature, and upon his death his library was catalogued as "Bibiotheca Utopistica" (reprinted Munich 1977) by an antiquarian bookstore, the first such listing in the German
language. In _^<i_Im Reiche der Homunkuliden_^>i_ ["In the Empire of the Homunculids"] (_^<b_1910_^>b_), Rudolf Hawel (1860-1923), another humorist, has his protagonist Professor Voraus ["Ahead"] sleep into the year 3907, where he encounters a
world of asexual _^<a_!T2646_ROBOTS_^>a_._^<n__^<n_A curious future-_^<a_!T5452_WAR_^>a_ story is the anonymous _^<i_Unser letzter Kampf_^>i_ ["Our Last Battle"] (_^<b_1907_^>b_), presented as the "legacy of an old imperial soldier" who describes
how the Austro-Hungarian Empire perishes in a heroic fight against Serbs, Italians and Russians. There is the occasional sf story among the writings of K.H. Strobl (1877-1946) and Gustav Meyrink. Strobl's big, sprawling novel _^<i_Eleagabal
Kuperus_^>i_ (_^<b_1910_^>b_) is an apocalyptic vision of a fight between good and evil principles that involves a sciencefictional attempt by the villain to deprive humanity of oxygen; his _^<i_Gespenster im Sumpf_^>i_ ["Ghosts in the Swamp"]
(_^<b_1920_^>b_) is a nationalistic, anti-socialist and antisemitic account of the doom of Vienna, and is certainly closer to sf than is the visionary novel of the great illustrator Alfred Kubin (1877-1959), _^<i_Die andere Seite_^>i_ ["The Other
Side"] (_^<b_1909_^>b_)._^<n__^<n_At this time important work was being done at the fringes of sf. Highly ranked in world literature are the metaphysical parables of Franz _^<a_!T3963_KAFKA_^>a_, one of a group of Jewish writers from Prague writing
in German who included also Max Brod (1884-1968), Leo Perutz and Franz _^<a_!T5537_WERFEL_^>a_, who wrote his spiritual utopia _^<i_Stern der Ungeborenen_^>i_ (_^<b_1946_^>b_; trans as _^<i_Star of the Unborn_^>i_ _^<b_1946_^>b_) during his US
exile. Kafka's texts combine a total lucidity of prose with a sense of the equally total impenetrability of the world as a whole, usually seen as having a totalitarian-bureaucratic character, as in _^<i_Der Prozess_^>i_ (_^<b_1925_^>b_; trans as
_^<i_The Trial_^>i_ _^<b_1935_^>b_). The story "In der Strafkolonie" (1919; trans 1933 as "In the Penal Settlement") might be considered an anticipation of the Nazi concentration camps. Also of note is the expressionist writer Robert Muller
(1887-1924), whose _^<i_Camera Obscura_^>i_ (_^<b_1921_^>b_) is a many-levelled futuristic mystery novel. Two of the fantastic novels of the great writer Leo Perutz could be considered as psychedelic sf: _^<i_Der Meister des Jungsten Tages_^>i_
(_^<b_1923_^>b_; trans as _^<i_The Master of the Day of Judgement_^>i_ _^<b_1930) and _^>b__^<i_St Petri Schnee_^>i_ (_^<b_1933_^>b_; trans as _^<i_The Virgin's Brand_^>i_ _^<b_1934_^>b_ UK). Both involve consciousness-altering drugs. The books
have a hallucinatory quality, and currently Perutz is undergoing a revival._^<n__^<n_An acquaintance of Perutz was Oswald Levett (1889-? ), a Viennese Jewish lawyer who probably perished in a German concentration camp. His two sf novels have
recently been reprinted. _^<i_Verirrt in den Zeiten_^>i_ ["Lost in Time"] (_^<b_1933_^>b_) is a _^<a_!T6026_TIME-TRAVEL_^>a_ novel of a journey back to the Thirty Years' War and an unsuccessful attempt to change history; as in Perutz's works, the
harder the heroes try to change their fate, the more they are stuck with it. _^<i_Papilio Mariposa_^>i_ (_^<b_1935_^>b_) can be read as a fantastic allegory of the fate of the Jews: an ugly and strange individual is changed into a vampiric
butterfly; feelings of inferiority and the desire for a fantastic harmony with an inimical environment result in tragedy. In _^<i_Die Stadt ohne Juden_^>i_ ["The City without Jews"] (_^<b_1925_^>b_) by another Jewish writer, Hugo
_^<a_!T572_BETTAUER_^>a_, the expelled Jews are finally recalled to restore the prosperity of the city. Otto Soyka (1882-1955), a best-selling mystery novelist in his day but now forgotten, wrote a novel about a chemical substance that influences
people's dreams: _^<i_Die Traumpeitsche_^>i_ ["The Dream Whip"] (_^<b_1921_^>b_)._^<n__^<n_After WWII, Erich Dolezal (1902-1960) wrote a series of a dozen successful, although stiffly didactic and boring, juveniles about rocketry, starting with
_^<i_RS 11 schweigt_^>i_ ["RS 11 Doesn't Answer"] (_^<b_1953_^>b_). Somewhat better are 2 books by the chemist Friedrich Hecht (1903- ) which combine space travel with discoveries about _^<a_!T290_ATLANTIS_^>a_ and a civilization on an exploded
planet between Mars and Jupiter (> _^<a_!T273_ASTEROIDS_^>a_): _^<i_Das Reich im Mond_^>i_ ["Empire in the Moon"] (_^<b_1951_^>b_) and its sequel _^<i_Im Banne des Alpha Centauri_^>i_ ["Under the Spell of Alpha Centauri"] (_^<b_1955_^>b_). But the
best Austrian sf juvenile is the anti-utopian _^<i_Totet ihn_^>i_ ["Kill Him!"] (_^<b_1967_^>b_) by Winfried Bruckner. _^<i_Der U-Boot-Pirat_^>i_ (1951-2), _^<i_Yuma_^>i_ (1951), _^<i_Star Utopia_^>i_ (1958) and _^<i_Uranus_^>i_ (1958) were all
short-lived _^<a_!T3960_JUVENILE SERIES_^>a_. Ernst Vlcek (1941- ), a professional writer since 1970, wrote hundreds of novels in the field, especially for the _^<a_!T1863_PERRY RHODAN_^>a_ series._^<n__^<n_The physicist Herbert W.
_^<a_!T1597_FRANKE_^>a_, considered the most important living sf writer in the German language, is also Austrian. He began his career with a collection of 65 short-short stories, _^<i_Der grune Komet_^>i_ ["The Green Comet"] (coll _^<b_1960_^>b_),
in the Goldmann SF series which he at the time edited. His first novel was _^<i_Das Gedankennetz_^>i_ (_^<b_1961_^>b_; trans as _^<i_The Mind Net_^>i_ _^<b_1974_^>b_ US). Two other novels that have been translated into English are _^<i_Der
Orchideenkafig_^>i_ (_^<b_1961_^>b_; trans as _^<i_The Orchid Cage_^>i_ _^<b_1973_^>b_ US) and _^<i_Zone Null_^>i_ (_^<b_1970_^>b_; trans _^<b_1974_^>b_ US). Franke has written more than a dozen sf novels, collections and radio plays, and has
edited a number of international sf anthologies._^<n__^<n_Among younger writers are: the physicist Peter Schattschneider (1950- ), author of the two collections _^<i_Zeitstopp_^>i_ ["Time Stop"] (coll_^<n__^<n__^<b_1982_^>b_) and
_^<i_Singularitaten_^>i_ ["Singularities"] (coll _^<b_1984_^>b_); Marianne Gruber, author of many short stories and two anti-utopian novels, _^<i_Die glaserne Kugel_^>i_ ["The Glass Sphere"] (_^<b_1981_^>b_) and _^<i_Zwischenstation_^>i_
["Inter-Station"] (_^<b_1986_^>b_); Barbara Neuwirth (1958- ), who writes brooding fantasy tales, sometimes with sf elements, her first collection, _^<i_In den Garten der Nacht_^>i_ ["In the Gardens of Night"] (coll _^<b_1990_^>b_), being one of
the best to appear in many years; and Ernst Petz (1947- ) and Kurt Bracharz (1947- ), who are both writers of satirical stories._^<n__^<n_Austria's most important (and most curious) contribution to sf cinema is a propagandist effort called
_^<i_1 April 2000_^>i_ (1952; vt _^<i_April 1st, 2000_^>i_), dir Wolfgang Liebeneiner. In AD2000 Austria is still occupied by the USA, the USSR, France and the UK. When, on 1st April, she declares her independence she is accused of breaking the
peace. Forces of the world police, equipped with death-rays, descend upon her, and in a public trial she has to defend her right to exist. This is a charmingly naive period piece, sponsored by the Austrian Government and with a high-class cast,
including the Spanish Riding School and the Vienna Philharmonic Orchestra. [FR]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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AUTHENTIC SCIENCE FICTION
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UK magazine. 85 issues, 1 Jan 1951-Oct 1957, published by Hamilton & Co., Stafford, fortnightly to #8 then monthly, issues numbered consecutively, no vol numbers; ed L.G. Holmes (Gordon Landsborough) (Jan 1951-Nov 1952), H.J.
_^<a_!T5139_CAMPBELL_^>a_ (Dec 1952-Jan 1956) and E.C. _^<a_!T6112_TUBB_^>a_ (Feb 1956-Oct 1957). Pocketbook-size Jan 1951-Feb 1957, _^<a_!T1231_DIGEST_^>a_-size Mar-Oct 1957. #1 and #2 were entitled _^<i_Authentic Science Fiction Series_^>i_,
_^<i_Authentic Science Fiction Monthly_^>i_ #78-#85._^<n__^<n_This magazine began as a numbered book series, with each number containing one novel, but a serial was begun in #26 and short stories appeared from #29. H.J. Campbell, under whose
editorship the magazine considerably improved, included numerous science articles during his tenure, but E.C. Tubb gradually eliminated most of the nonfiction. The proportion of original stories relative to reprints increased. Full-length novels
were phased out and transferred to Hamilton's new paperbook line, Panther Books. The covers got off to a bad start, but from #35 many fine covers by "Davis" (art editor John Richards) and others appeared featuring space flight and
astronomy._^<n__^<n__^<i_Authentic_^>i_'s rates of payment (ps1 per 1000 words) were low even for the time, and although the magazine sold well it seldom published stories of the first rank; an exception was "The Rose" (Mar 1953) by Charles L.
_^<a_!T4298_HARNESS_^>a_. House pseudonyms were common and included Jon J. _^<a_!T1138_DEEGAN_^>a_ and Roy _^<a_!T2172_SHELDON_^>a_. The mainstay contributors, under their own names and pseudonyms, were Bryan _^<a_!T557_BERRY_^>a_, Sydney J.
_^<a_!T4940_BOUNDS_^>a_, H.K. _^<a_!T5072_BULMER_^>a_, William F. _^<a_!T5930_TEMPLE_^>a_ and Tubb. [FHP/PN]_^<n__^<n_
The idea that mechanical production processes might one day free mankind from the burden of labour is a common utopian dream, exemplified by Edward _^<a_!T514_BELLAMY_^>a_'s _^<i_Looking Backward, 2000-1887_^>i_ (_^<b_1888_^>b_) and its modern
counterpart, Mack _^<a_!T2576_REYNOLDS_^>a_'s _^<i_Looking Backward from the Year 2000_^>i_ (_^<b_1973_^>b_). But the dream has its nightmarish aspects: work can be seen as the way in which people justify their existence, and the spectres of
unemployment and redundancy, historically associated with poverty and misery, have haunted the developed countries since the days of the Industrial Revolution. The utopian dream must be set alongside the memory of the Luddite riots and the Great
Depression, and sociologists such as Jacques Ellul and Lewis Mumford have waxed eloquent upon the dangers of automation. Thus it is hardly surprising that an entirely negative view of the prospect of automation can be found in such works as
_^<i_Les condamnes a mort_^>i_ (_^<b_1920_^>b_; trans as _^<i_Useless Hands_^>i_ _^<b_1926_^>b_) by Claude _^<a_!T1440_FARRERE_^>a_. Indeed, the history of modern utopian thought (> _^<a_!T1370_DYSTOPIAS_^>a_; _^<a_!T5303_UTOPIAS_^>a_) is very
largely the history of a loss of faith in utopia-through-automation and the growth of various fears: fear that _^<a_!T3540_MACHINES_^>a_ may destroy the world by using up its resources, poisoning it with waste, or simply by making available the
means of self-destruction; fear that we may be "enslaved" by our machines, becoming "automated" ourselves through reliance upon them; and fear that total dependence on automated production might render us helpless were the machines ever to break
down. The last anxiety is the basis of one of the most famous _^<a_!T3609_MAINSTREAM_^>a_-sf stories, "The Machine Stops" (1909) by E.M. _^<a_!T1567_FORSTER_^>a_, produced in response to the optimistic futurological writings of H.G.
_^<a_!T5528_WELLS_^>a_._^<n__^<n_The wonders of automation were extensively celebrated by Hugo _^<a_!T4668_GERNSBACK_^>a_, and much is made of the mechanical provision of the necessities of life in his _^<i_Ralph 124C 41+_^>i_ (1911;
_^<b_1925_^>b_). Even in the early sf _^<a_!T2033_PULP MAGAZINES_^>a_, however, reservations were apparent in the works of such writers as David H. _^<a_!T4008_KELLER_^>a_ (e.g., "The Threat of the Robot" [1929]) and Miles J.
_^<a_!T4989_BREUER_^>a_ (e.g., "Paradise and Iron" [1930]). Laurence _^<a_!T3648_MANNING_^>a_'s and Fletcher _^<a_!T1976_PRATT_^>a_'s "City of the Living Dead" (1930) offers a striking image of the people of the future living entirely encased in
silver wires, all of their experience as well as all their needs being provided synthetically. The theme played a highly significant part in the work of John W. _^<a_!T5140_CAMPBELL_^>a_ Jr, who wrote several stories allegorizing mankind's
relationship with machinery. In "The Last Evolution" (1932) and the linked Don A. Stuart stories "Twilight" (1934) and "Night" (1935), machines outlive their builders, but in the series begun with "The Machine" (1935) mankind breaks free of the
benevolent bonds of mechanical cornucopia. Powerful images of people enslaved and automated by machines were offered in the classic film _^<a_!T2926_METROPOLIS_^>a_ (1926; novelization by Thea _^<a_!T5401_VON HARBOU_^>a_ _^<b_1926_^>b_; trans
_^<b_1927_^>b_). The notion of the leisurely, machine-supported life was ruthlessly satirized in _^<i_The Isles of Wisdom_^>i_ (_^<b_1924_^>b_) by Alexandr _^<a_!T3080_MOSZKOWSKI_^>a_ and _^<i__^<a_!B9261_BRAVE NEW WORLD_^>a__^>i_ (_^<b_1932_^>b_)
by Aldous _^<a_!T4566_HUXLEY_^>a_._^<n__^<n_One of the most significant advances in the automation of labour was anticipated in sf, and now bears the name of the story in which it appeared: Robert A. _^<a_!T4376_HEINLEIN_^>a_'s "Waldo" (1942) (>
_^<a_!T5424_WALDO_^>a_). Much attention has been devoted to _^<a_!T2646_ROBOTS_^>a_, automatic workers which have received a good deal more careful and sympathetic consideration in _^<a_!T4659_GENRE SF_^>a_ than in the moral tale which coined the
word: Karel _^<a_!T5147_CAPEK_^>a_'s _^<i_R.U.R_^>i_ (_^<b_1920_^>b_; trans _^<b_1923_^>b_). Fully automated factories are featured in several of Philip K. _^<a_!T1222_DICK_^>a_'s stories, most notably "Autofac" (1955), and Dick extended this line
of thought to consider the effects of the automation of production on the business of warfare in "Second Variety" (1953). Automated warfare is also featured in "Dr Southport Vulpes's Nightmare"(1955) by Bertrand _^<a_!T2742_RUSSELL_^>a_ and in "War
with the Robots" (1962) by Harry _^<a_!T4316_HARRISON_^>a_. The automation of the home has been taken to its logical extreme in a number of ironic sf stories, including "The Twonky" (1942) by Lewis Padgett (Henry _^<a_!T4144_KUTTNER_^>a_ and C.L.
_^<a_!T3033_MOORE_^>a_), filmed as _^<i_The_^<a_!T6144_TWONKY_^>a__^>i_ (1952), "The House Dutiful" (1948) by William _^<a_!T5932_TENN_^>a_ and "Nor Custom Stale" (1959) by Joanna _^<a_!T2741_RUSS_^>a_. Automated _^<a_!T727_CITIES_^>a_ are the
central figures in Greg _^<a_!T478_BEAR_^>a_'s _^<i_Strength of Stones_^>i_ (fixup _^<b_1981_^>b_), and one, Bellwether -- the automated city as Jewish mother -- appears satirically in _^<i_Dimension of Miracles_^>i_ (_^<b_1968_^>b_) by Robert
_^<a_!T2164_SHECKLEY_^>a_. The automation of information storage and recovery systems and calculating functions is a theme of considerable importance in its own right (> _^<a_!T826_COMPUTERS_^>a_)._^<n__^<n_The grimmer imagery of the automated
future became more extensive in the 1950s. Kurt _^<a_!T5402_VONNEGUT_^>a_ Jr's _^<i__^<a_!B9091_PLAYER PIANO_^>a__^>i_ (_^<b_1952_^>b_) tells of a hopeless revolution against the automation of human life and the human spirit. Several writers
working under John W. _^<a_!T5140_CAMPBELL_^>a_ Jr's tutelage, however, produced stories which argued passionately that robots and computers would be a tremendous asset to human life if only we could learn to use them responsibly; rhetorically
powerful examples include Jack _^<a_!T5629_WILLIAMSON_^>a_'s _^<i_The Humanoids_^>i_ (_^<b_1949_^>b_) -- whose ending decisively overturned the moral of its classic predecessor, his own "With Folded Hands . . ." (1947) -- and Mark
_^<a_!T753_CLIFTON_^>a_'s and Frank _^<a_!T2604_RILEY_^>a_'s _^<i_They'd Rather Be Right_^>i_ (1954; _^<b_1957_^>b_; vt _^<i_The Forever Machine_^>i_). Despite this stubborn defence, the encroachment of the machine upon the most essential and
sacred areas of human activity and endeavour became a common theme in post-WWII sf. Artists find themselves replaced by machines in numerous stories (> _^<a_!T257_ARTS_^>a_), most notably Walter M. _^<a_!T2960_MILLER_^>a_'s "The Darfsteller"
(1955), and _^<a_!T177_ANDROIDS_^>a_ or robots often find a place in the most intimate of human relationships._^<n__^<n_The basic idea of Campbell's "The Last Evolution" -- that automation might be the prelude to the establishment of a
self-sustaining, independently evolving mechanical life-system -- was first considered in Samuel _^<a_!T5106_BUTLER_^>a_'s _^<i_Erewhon_^>i_ (_^<b_1872_^>b_) and has been a constant preoccupation of sf writers; other early examples include Laurence
Manning's "Call of the Mech-Men" (1933) and Eric Frank _^<a_!T2743_RUSSELL_^>a_'s "Mechanistra" (1942). More recent developments of the theme include Stanisllaw _^<a_!T3329_LEM_^>a_'s _^<i_The Invincible_^>i_ (_^<b_1964_^>b_; trans _^<b_1973_^>b_)
and James P. _^<a_!T4464_HOGAN_^>a_'s _^<i_Code of the Lifemaker_^>i_ (_^<b_1983_^>b_), and such pointed _^<a_!T2812_SATIRES_^>a_ as John T. _^<a_!T2240_SLADEK_^>a_'s _^<i_The Reproductive System_^>i_ (_^<b_1968_^>b_ UK; vt
_^<i__^<a_!B8983_MECHASM_^>a__^>i_ US) and Olaf _^<a_!T3908_JOHANNESSON_^>a_'s _^<i_Sagan om den stora datamaskinin_^>i_ (_^<b_1966_^>b_; trans as _^<i_The Tale of the Big Computer_^>i_ _^<b_1968_^>b_; vt _^<i_The Great Computer_^>i_; vt _^<i_The
End of Man?_^>i_). The sinister twist added by stories dealing with evolving systems of war-machines was adapted to an interstellar stage in Fred _^<a_!T2761_SABERHAGEN_^>a_'s _^<b_Berserker_^>b_ series, whose early stories were assembled in
_^<i_Berserker_^>i_ (coll of linked stories _^<b_1967_^>b_), and the idea of a Universe-wide conflict between biological and mechanical systems has been further developed by Gregory _^<a_!T526_BENFORD_^>a_ in _^<i_Great Sky River_^>i_
(_^<b_1987_^>b_) and its sequels._^<n__^<n_The dangers of automation comprise one of the fundamental themes of modern dystopian fiction; different variations can be found in Frederik _^<a_!T1937_POHL_^>a_'s "The Midas Plague" (1954) and its sequels
(collected in _^<i_Midas World_^>i_ [fixup _^<b_1983_^>b_]), Harlan _^<a_!T6641_ELLISON_^>a_'s "'Repent, Harlequin!' said the Ticktockman" (1965), Michael _^<a_!T1610_FRAYN_^>a_'s _^<i_A Very Private Life_^>i_ (_^<b_1968_^>b_) and Gwyneth
_^<a_!T3929_JONES_^>a_'s _^<i_Escape Plans_^>i_ (_^<b_1986_^>b_). At a more intimate level, the notion of the automatization of the human psyche was a key theme in the later work of Philip K. Dick, displayed in such novels as _^<i__^<a_!B9148_DO
ANDROIDS DREAM OF ELECTRIC SHEEP?_^>a__^>i_ (_^<b_1968_^>b_) and explained in two notable essays: "The Android and the Human" (1972) and "Man, Android and Machine" (1976). The notion of an intimate hybridization of human and machine is carried
forward in many stories featuring _^<a_!T1017_CYBORGS_^>a_. [BS]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T1014_CYBERNETICS_^>a_; _^<a_!T2300_SOCIOLOGY_^>a_; _^<a_!T5916_TECHNOLOGY_^>a_.
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AVALLONE, MICHAEL (ANGELO Jr)
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(1924- ) US writer active since the early 1950s under a number of names in various genres. Although he began publishing genre fiction in 1953 with "The Man who Walked on Air" in _^<i_Weird Tales_^>i_, and though some stories of mild interest
appear in _^<i_Tales of the Frightened_^>i_ (coll _^<b_1963_^>b_; vt _^<i_Boris Karloff Presents Tales of the Frightened_^>i_ 1973) as by Sidney Stuart, his sf is comparatively limited in amount and extremely borderline in nature, usually being
restricted to such film or tv link-ups as his two _^<b_Girl from U.N.C.L.E._^>b_ ties, _^<i_The Birds of a Feather Affair_^>i_ * (_^<b_1966_^>b_) and _^<i_The Blazing Affair_^>i_ * (_^<b_1966_^>b_); his novelization of Robert
_^<a_!T661_BLOCH_^>a_'s script for the horror film of the same name, _^<i_The Night Walker_^>i_ * (_^<b_1965_^>b_) as by Sidney Stuart; the first _^<b_Man from U.N.C.L.E._^>b_ novel, _^<i_The Thousand Coffins Affair_^>i_ * (_^<b_1965_^>b_); and the
film novelization _^<i_Beneath the Planet of the Apes_^>i_ * (_^<b_1970_^>b_). Only the latter is wholehearted sf. MA's best known pseudonym has probably been Ed Noon, as whom he wrote thrillers; he has also written as Nick _^<a_!T5195_CARTER_^>a_,
Troy Conway, Priscilla Dalton, Mark Dane, Steve Michaels, Dorothea Nile, Edwina Noone and probably several other names. Of the _^<b_Coxeman_^>b_ soft-porn thrillers as by Troy Conway, only a few are sf: _^<i_The Big Broad Jump_^>i_
(_^<b_1971_^>b_), _^<i_The Craghold Curse_^>i_ (_^<b_1972_^>b_), _^<i_The Craghold Creatures_^>i_ (_^<b_1972_^>b_) and _^<i_The Craghold Crypt_^>i_ (_^<b_1973_^>b_), all as by Edwina Noone, are marginal horror novels; as Noone he also edited
_^<i_Edwina Noone's Gothic Sampler_^>i_ (anth _^<b_1967_^>b_). [JC]_^<n__^<n__^<n__^<n__^<b_Other works:_^>b_ _^<i_The Man from Avon_^>i_ (_^<b_1967_^>b_); _^<i_The Vampire Cameo_^>i_ (_^<b_1968_^>b_) as by Dorothea Nile; _^<i_Missing!_^>i_
(_^<b_1969_^>b_); _^<i_One More Time_^>i_ * (_^<b_1970_^>b_), a film tie; _^<i_The Beast with the Red Hands_^>i_ (_^<b_1973_^>b_) as by Sidney Stuart; _^<i_Where Monsters Walk: Terror Tales for People Afraid of the Dark and the Unknown_^>i_ (coll
_^<b_1978_^>b_); _^<i_Friday the 13th, Part 3, 3-D_^>i_ * (_^<b_1982_^>b_), a film tie.
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(c) 1995 John Clute and Peter Nicholls
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AVENGERS, THE
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UK tv series (1961-9). ABC TV (which became part of Thames TV in 1968). Created Sydney Newman. Prods Leonard White (seasons 1 and 2), John Bryce (seasons 2 and 3), Julian Wintle (season 4), Albert Fennell and Brian Clemens (seasons 5-7). Writers
included Clemens, Terence Feely, Dennis Spooner, Malcolm Hulke and Terrance Dicks, Eric Paice, Philip Levene, Roger Marshall, Terry _^<a_!T3140_NATION_^>a_. Dirs included Don Leaver, Peter Hammond, Roy Baker, Sidney Hayers, Gordon Flemyng, John
Moxey, Robert Day, Robert Fuest, Charles Crichton, Don Chaffey, Don Sharp, John Hough. 7 seasons, 161 50min episodes. B/w 1961-6, colour 1967-9._^<n__^<n_This series' indirect precursor, _^<i_Police Surgeon_^>i_, began in 1960; prod and written by
Julian Bond, it starred Ian Hendry as a compassionate police surgeon who spent his time helping people and solving cases. In 1961 Newman, later to be the BBC's head of drama, changed the format (making it less realistic), title (to _^<i_The
Avengers_^>i_), running time (from 25 to 50 mins) and slightly changed Hendry's character (though he was still a compassionate doctor); most importantly, he introduced Patrick Macnee as the new protagonist, secret agent John Steed, a cool, well
dressed, absurdly posh gentleman. 1962 saw the departure of Hendry and the arrival of Honor Blackman as leather-clad Cathy Gale, judo expert; at first she alternated with Julie Stevens as Venus Smith, nightclub singer, who appeared in only 6
episodes._^<n__^<n_The series, now far removed from its original format, became ever more popular as Steed and Mrs Gale battled increasingly bizarre enemies of the Crown._^<n__^<n__^<i_TA_^>i_ peaked in 1965, becoming more lavish, coincident with
its sale to US tv and Blackman's replacement as sidekick by Diana Rigg (strong-minded, intelligent, cynical and beautiful) as Emma Peel. The scripts became ever more baroque, not to say rococo. There had been occasional sf episodes from early on
(nuclear blackmail, terrorism using bubonic plague); now sf plots became the norm, involving everything from invisible men and carnivorous plants to "Cybernauts" (killer _^<a_!T2646_ROBOTS_^>a_), _^<a_!T177_ANDROIDS_^>a_, mind-control rays and
_^<a_!T6018_TIME MACHINES_^>a_, mostly connected with plots to take over the UK or the world. _^<i_TA_^>i_ had become perhaps the archetypal 1960s tv series, in its snobbery about the upper class, its stylish decadence, its high-camp and its
sometimes surreal visual ambience. Robert Fuest, who later made _^<i_The_^>i_ _^<a_!T1482_FINAL PROGRAMME_^>a_ (1974; vt _^<i_The Last Days of Man on Earth_^>i_), directed many of the later episodes; so did other mildly distinguished film-makers
such as Roy Baker, John Hough and Don Sharp. The writer most associated with the series, and responsible for much of its new look and lunatic plotting, was Brian Clemens, who became coproducer of the last 3 series. The last season (1968-9) had
Linda Thorson (playing Tara King) replacing Diana Rigg as female sidekick, and also introduced Steed's grossly fat boss, Mother, played by Patrick Newell._^<n__^<n_At least 9 original novels were based on or around _^<i_TA_^>i_, #5, #6 and #7 being
by Keith _^<a_!T4206_LAUMER_^>a_: _^<i_The Afrit Affair_^>i_ * (_^<b_1968_^>b_), _^<i_The Drowned Queen_^>i_ * (_^<b_1968_^>b_) and _^<i_The Gold Bomb_^>i_ * (_^<b_1968_^>b_). _^<i_The Complete Avengers_^>i_ (_^<b_1988_^>b_) by Dave Rogers is a
book about the series._^<n__^<n_Although _^<i_TA_^>i_ belonged spiritually to the 1960s, Albert Fenell and Brian Clemens revived the series in 1976, with French financial backing, as _^<i_The New Avengers_^>i_, again starring Patrick Macnee, with
Joanna Lumley as female sidekick Purdey and Gareth Hunt as kung-fu expert Mike Gambit. The series was made by Avengers (Film and TV) Enterprises/IDTV TV Productions, Paris, with Canadian episodes co-credited to Nielsen-Ferns Inc.; 2 seasons,
1976-7, 26 50min episodes, colour. The stories lacked the ease and panache of the 1960s version, and the sf ingredients became fewer and less inventive; the Cybernauts returned in one episode. John Steed's visible ageing must have acted as a kind
of _^<i_memento mori_^>i_ to nostalgic but dissatisfied viewers. In 1977 the entire production company moved to Canada, where the final episodes were set. [PN/JB]_^<n__^<n_
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AVENUE VICTOR HUGO
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> _^<a_!T1688_GALILEO_^>a_._^<n__^<n_
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AVERY, RICHARD
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> Edmund _^<a_!T870_COOPER_^>a_._^<n__^<n_
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AVON FANTASY READER
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US _^<a_!T1231_DIGEST_^>a_-size magazine published by Avon Books, ed Donald A. _^<a_!T5679_WOLLHEIM_^>a_, who considered it an anthology series, although it resembled a magazine. Magazine bibliographers consider it a magazine; book bibliographers
think of it as a series of books. The _^<b_Avon Fantasy Reader_^>b_ sequence was primarily devoted to reprints, although it contained also 11 original stories. With _^<a_!T5512_WEIRD TALES_^>a_ as its chief source, it presented work by such authors
as Robert E. _^<a_!T4524_HOWARD_^>a_, H.P. _^<a_!T3465_LOVECRAFT_^>a_, C.L. _^<a_!T3033_MOORE_^>a_ and Clark Ashton _^<a_!T2264_SMITH_^>a_. It was numbered rather than dated, and appeared irregularly: 5 in 1947; 3 per year 1948-51; 1 in 1952. It
was partnered by the _^<b_Avon Science Fiction Reader_^>b_ sequence. When Wollheim left Avon in 1952, both runs were terminated. Nearly two decades later, with George Ernsberger, Wollheim briefly attempted a kind of successor series, the titles in
which can be treated as anthologies: _^<i_The Avon Fantasy Reader_^>i_ (anth _^<b_1969_^>b_) and _^<i_The 2nd Avon Fantasy Reader_^>i_ (anth _^<b_1969_^>b_). [JC/MJE]_^<n__^<n_
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AVON PERIODICALS
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> _^<a_!T1749_OUT OF THIS WORLD ADVENTURES_^>a_._^<n__^<n_
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AVON SCIENCE FICTION AND FANTASY READER
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US _^<a_!T1231_DIGEST_^>a_-size magazine, 2 issues in 1953, published by Avon Books; ed Sol Cohen. A hybrid successor to the _^<a_!T328_AVON FANTASY READER_^>a_ and _^<a_!T331_AVON SCIENCE FICTION READER_^>a_, the _^<b_Avon Science Fiction and
Fantasy Reader_^>b_series started a year after those had ceased publication and had a different policy, concentrating on original stories rather than reprints. Both titles contained stories by John _^<a_!T719_CHRISTOPHER_^>a_, Arthur C.
_^<a_!T736_CLARKE_^>a_ and Milton _^<a_!T3346_LESSER_^>a_. [JC/MJE]_^<n__^<n_
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AVON SCIENCE FICTION READER
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US _^<a_!T1231_DIGEST_^>a_-size magazine, published by Avon Books, ed Donald A. _^<a_!T5679_WOLLHEIM_^>a_, and -- as with its companion series, _^<a_!T328_AVON FANTASY READER_^>a_ -- treated by Wollheim as an anthology series but by contemporary
readers as a magazine. It had a policy similar to that of its companion, but featured sf -- mostly of routine pulp quality -- rather than fantasy reprints. There were 3 issues, 2 in 1951 and 1 in 1952. Both magazines were terminated when Wollheim
left Avon Books in 1952. [JC/MJE] _^<n__^<n_
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AXLER, JAMES
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> Laurence _^<a_!T3859_JAMES_^>a_._^<n__^<n_
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AXTON, DAVID
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> Dean R. _^<a_!T4116_KOONTZ_^>a_._^<n__^<n_
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AYES, ANTHONY or WILLIAM
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[s] > William _^<a_!T2788_SAMBROT_^>a_._^<n__^<n_
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AYLESWORTH, JOHN B.
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(1938- ) Canadian-born US writer whose sf novel, _^<i_Fee, Fei, Fo, Fum_^>i_ (_^<b_1963_^>b_), is a comic story in which a pill enlarges a man to Brobdingnagian proportions. [JC]_^<n__^<n_
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AYME, MARCEL (ANDRE)
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(1902-1967) French novelist and dramatist, not generally thought of as a contributor to the sf field, though several of his best-known novels, such as _^<i_La jument verte_^>i_ (_^<b_1933_^>b_; appalling anonymous trans as _^<i_The Green Mare_^>i_
_^<b_1938_^>b_ UK; retrans N. Denny 1955), are fantasies, usually with a satirical point to make about provincial French life. _^<i_La belle image_^>i_ (_^<b_1941_^>b_; trans as _^<i_The Second Face_^>i_ _^<b_1951_^>b_ UK) comes close to sf
nightmare in its rendering of the effect of being given a second, more attractive face. _^<i_La vouivre_^>i_ (_^<b_1943_^>b_; trans as _^<i_The Fable and the Flesh_^>i_ _^<b_1949_^>b_ UK) is again a fantasy, its satirical targets again provincial.
_^<i_Across Paris and Other Stories_^>i_ (coll trans _^<b_1957_^>b_ UK; vt _^<i_The Walker through Walls_^>i_ 1962 US) assembles fantasy and the occasional sf tale. _^<i_Pastorale_^>i_ (_^<b_1931_^>b_ France) is a regressive _^<a_!T5303_UTOPIA_^>a_
that makes more articulate than is perhaps entirely comfortable the nostalgia that lies beneath MA's urbane "Gallic" style. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Clerambard_^>i_ (_^<b_1950_^>b_; trans N. Denny _^<b_1952_^>b_ UK), a play; two
children's fantasies, _^<i_The Wonderful Farm_^>i_ (_^<b_1951_^>b_ US) and _^<i_Return to the Wonderful Farm_^>i_ (_^<b_1954_^>b_ UK; vt _^<i_The Magic Pictures_^>i_ 1954 US)._^<b_See also:_^>b_ _^<a_!T2023_PSYCHOLOGY_^>a_.
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AYRE, THORNTON
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[s] > John Russell _^<a_!T1455_FEARN_^>a_._^<n__^<n_
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AYRTON, ELISABETH (WALSHE)
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(1910-1991) UK writer, best known for books on cooking, married first to Nigel _^<a_!T370_BALCHIN_^>a_, then to Michael _^<a_!T339_AYRTON_^>a_. Her sf novel, _^<i_Day Eight_^>i_ (_^<b_1978_^>b_), portrays a _^<a_!T6337_NEAR-FUTURE_^>a_ UK in
ecological _^<i_extremis_^>i_, to which Gaia responds through a sudden acceleration in the _^<a_!T6717_EVOLUTION_^>a_ of species other than humanity. [JC]_^<n__^<n_
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AYRTON, MICHAEL
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(1921-1975) UK painter and writer, married to Elisabeth _^<a_!T338_AYRTON_^>a_ until his death. He was much respected as an illustrator, stage designer, painter and sculptor; through much of this work recurred images of the Minotaur and of Daedalus,
the maker of the Labyrinth. Although little of this was in evidence in his first book of genre interest, _^<i_Tittivulus, or The Verbiage Collector_^>i_ (_^<b_1953_^>b_), which was a _^<a_!T2812_SATIRICAL_^>a_ fantasy, _^<i_The Testament of
Daedalus_^>i_ (_^<b_1962_^>b_ chap) presents in prose, verse and illustration the eponymous fabricator's reflections on the problem of flight. _^<i_The Maze Maker_^>i_ (_^<b_1967_^>b_) is a biography of Daedalus in novel form. Some of the
_^<a_!T1372_FABULATIONS_^>a_ assembled in _^<i_Fabrications_^>i_ (coll _^<b_1972_^>b_) are of sf interest. [JC]_^<n__^<n_
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BABBAGE, CHARLES
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(1792-1871) UK mathematician and inventor, a founder of the Analytical Society in 1812, and a Fellow of the Royal Society from 1816. His recognition of the necessity for accurate calculation of mathematical tables, as used in navigation and
astronomy, led in 1820-22 to his designing and building a calculating machine, using which he soon generated a table of logarithms for the positive integers up to 108,000. He then worked on a far more sophisticated machine, a full-size Difference
Engine, intended to use punched cards in the computation and printing of mathematical tables. Impatient and not unduly practical, he abandoned this device before it was completed in favour of the far more ambitious Analytical Engine which, if
built, would have been the world's first _^<a_!T826_COMPUTER_^>a_. It was this machine for which Ada, Countess Lovelace, wrote programs, as described in _^<i_Ada: The Enchantress of Numbers -- A Selection from the Letters of Lord Byron's Daughter
and her Description of the First Computer_^>i_ (_^<b_1992_^>b_) ed Betty A. Toole. (Much later the computer language Ada was so-named in her honour.) CB spent decades on the project, deriving many of the basic principles of the digital computer,
but 19th-century technology restricted him to mechanical rather than electronic components, and consequently the machine was never finished -- indeed, it was probably by definition unfinishable. The Difference Engine remains on view in the Science
Museum, London. Writers who have extrapolated a full-blown success of Babbage's machines into alternate histories (> _^<a_!T131_ALTERNATE WORLDS_^>a_; _^<a_!T5694_STEAMPUNK_^>a_) include Michael F. _^<a_!T1541_FLYNN_^>a_, in _^<i_In the Country of
the Blind_^>i_ (_^<b_1990_^>b_), and William _^<a_!T4689_GIBSON_^>a_ and Bruce _^<a_!T5717_STERLING_^>a_, in _^<i__^<a_!B9058_THE DIFFERENCE ENGINE_^>a__^>i_ (_^<b_1990_^>b_ UK), which transfers Ada's interest to the earlier machine. [JC]_^<n__^<n_
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BABITS, MIHALY
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(1883-1941) Hungarian editor, translator (from English and German) and writer, best known for his poetry, the finest example of which is probably the autobiographical _^<i_Jonas konyve_^>i_ ["The Book of Jonah"] (_^<b_1938_^>b_). His sf novel,
_^<i_Golyakalifa_^>i_ (_^<b_1916_^>b_; trans as _^<i_King's Stork_^>i_ _^<b_1948_^>b_ Hungary; retrans anon as _^<i_The Nightmare_^>i_ _^<b_1966_^>b_), is of interest in its depiction of a split personality. A utopian novel, _^<i_Elza pilota avagy
a tokeletes tarsadalom_^>i_ ["The Pilot Elza, or The Perfect Society"] (_^<b_1933_^>b_), remains untranslated. [JC]_^<n__^<n__^<n__^<n__^<b_See also:_^>b_ _^<a_!T6355_HUNGARY_^>a_.
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BACHMAN, RICHARD
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> Stephen _^<a_!T4066_KING_^>a_._^<n__^<n_
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BACK BRAIN RECLUSE
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UK _^<a_!T2100_SEMIPROZINE_^>a_, from June 1984, current, 18 issues to Mar 1991, A4 format, ed Chris Reed. Originally an A5-format xeroxed _^<a_!T1428_FANZINE_^>a_, _^<i_BBR_^>i_ developed into a professionally printed magazine, with bold design,
able to attract fiction from writers such as Michael _^<a_!T3030_MOORCOCK_^>a_, Ian _^<a_!T5484_WATSON_^>a_ and Garry _^<a_!T4059_KILWORTH_^>a_. _^<i_BBR_^>i_ is regarded as one of the more impressive semiprozines to emerge from the UK in the
1980s. [RH]_^<n__^<n_
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BACK TO THE FUTURE
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Film (1985). Amblin Entertainment/Universal. Dir Robert Zemeckis, Steven _^<a_!T2367_SPIELBERG_^>a_ among the executive prods, starring Michael J. Fox, Christopher Lloyd, Lea Thompson, Crispin Glover, Thomas F. Wilson. Screenplay Zemeckis, Bob Gale.
116 mins. Colour._^<n__^<n_One of the major sf hits of the 1980s, _^<i_BTTF_^>i_ is a disarming, calculated and intelligent comedy about _^<a_!T6026_TIME TRAVEL_^>a_. Teenage guitar-playing Marty (Fox), son of a tacky and ineffectual mother and
father (Thompson and Glover), is interrupted by Libyan terrorists while helping mad scientist Emmett Brown (Lloyd) test a _^<a_!T6018_TIME MACHINE_^>a_ mounted in a DeLorean car, and escapes to 1955. There he seeks out the young Dr Brown, but is
disturbed to find his (now teenaged) mother strongly sexually attracted to him. The oedipal and culture-clash themes are deftly worked out with great good humour and something falling mercifully short of complete good taste. After demonstrating the
power of rock'n'roll and convincing his teenage father to stand up to Biff the bully, he returns with the young Dr Brown's assistance to find a changed 1985, complete with a spruce mother and a confident father who is now a successful sf
writer._^<n__^<n_One of the few sf blockbusters made by a director wholly comfortable with the conventions of _^<a_!T4659_GENRE SF_^>a_, _^<i_BTTF_^>i_ deserved its success and won a _^<a_!T4551_HUGO_^>a_. There was a four-year wait for its two
sequels, _^<a_!T345_BACK TO THE FUTURE PART II_^>a_ and _^<a_!T346_BACK TO THE FUTURE PART III_^>a_. [PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T726_CINEMA_^>a_.
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BACK TO THE FUTURE PART II
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Film (1989). Amblin Entertainment/Universal. Dir Robert Zemeckis, with Steven _^<a_!T2367_SPIELBERG_^>a_ among the executive prods. Starring Michael J. Fox, Christopher Lloyd, Lea Thompson, Thomas F. Wilson. Screenplay Bob Gale, based on a story by
Zemeckis and Gale. 108 mins. Colour._^<n__^<n_Panned by many critics as a typically disappointing follow-up, in part because its plot remains unresolved at the end, this film and _^<a_!T346_BACK TO THE FUTURE PART III_^>a_ can properly be seen as
two halves of a single film, and indeed were shot simultaneously. In fact it is perhaps the most sophisticated _^<a_!T6026_TIME-TRAVEL_^>a_ film ever made; what was supposed by critics unfamiliar with the genre to be an incoherence of plot was in
large part the perfectly well realized convolutions of a _^<a_!T6020_TIME-PARADOX_^>a_ tale. The story, involving Marty and Brown's trip to the future, where the older Marty is interestingly a failure and his son a potential hoodlum, is too complex
for synopsis. A trip back to 1955 generates a _^<a_!T1370_DYSTOPIAN_^>a_ 1985, an _^<a_!T131_ALTERNATE WORLD_^>a_ run by Biff, the bully of the previous film. The scenario is dark; the acting suffers from Fox's tv sit-com mannerisms and Lloyd's
hamming; but the story, ambitious and intellectually complex for a popular movie, is a joy. The good aspects of the film were perhaps ahead of their time, demanding a knowledge in the audience that not enough of them had. [PN]_^<n__^<n_
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BACK TO THE FUTURE PART III
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Film (1989). Credits as for Part II, but also starring Mary Steenburgen. 119 mins. Colour._^<n__^<n_Made with Part II and released soon after, this is a hammy but enjoyable resolution of the story. Where Part II emphasizes change and darkness, this
emphasizes continuity and reconciliation. Marty digs the damaged time machine out of a cave where it was buried in the past by Dr Brown, who is "now" stranded in the Wild West town which was Hill Valley, and, to judge from a nearby gravestone, will
be shot in the back on 7 September 1885. Marty returns to that year on 2 September dressed in Western kitsch and adopting the pseudonym Clint Eastwood. He finds a rough town on the verge of transition into a decent community, and demonstrates his
irrelevant, suburban 1985 values to the 1885 avatar of Biff the bully while learning some new ones himself. There is something pleasantly narcissistic and self-referential about the _^<i_BTTF_^>i_ series embracing the past history of its own
small-town Californian setting so passionately, like a communal version of wooing your own mother, the Freudian threat of the original film. If Marty and Brown make love to their own history the right way, it is intimated, then Hill Valley will
always be a comfortable, limited, tranquil Garden of Eden. The overall vision of the three films is of a static paradise poised dangerously above the dark abyss of uncertainty and change. [PN]_^<n__^<n_
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BACON, FRANCIS, VISCOUNT ST ALBANS AND BARON VERULAM
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(1561-1626)_^<n__^<n_English statesman, philosopher and writer who practised as a barrister before embarking on a political career which ended in 1621 with his dismissal, for taking bribes, from the post of Lord High Chancellor of England. Early in
life he planned a vast work, _^<i_The Instauration of the Sciences_^>i_, a review and encyclopedia of all knowledge; the project was never completed, but FB's reputation as a philosopher rests largely on the first two parts: _^<i_De Augmentis
Scientiarum_^>i_ (_^<b_1623_^>b_ in Latin, based on _^<i_The Advancement of Learning_^>i_ [_^<b_1605_^>b_]) and _^<i_Novum Organum Scientiarum_^>i_ (_^<b_1620_^>b_ in Latin). The latter book championed observation, experiment and inductive
theorizing, arguing that the object of scientific inquiry is to discover patterns of causation. His important contribution to _^<a_!T2013_PROTO SCIENCE FICTION_^>a_, the posthumously published fragment _^<i_The New Atlantis_^>i_ (with _^<i_Sylva
Sylvarum_^>i_ 1627; _^<b_1629_^>b_), is a speculative account of possible technological progress, probably written as an advertisement for a Royal College of Science which he hoped to persuade James VI & I to endow. Though little more than a
catalogue, it is a remarkably accurate assessment of the potential of the scientific renaissance. [BS]_^<n__^<n__^<b_About the author:_^>b_ _^<i_Francis Bacon_^>i_ (_^<b_1961_^>b_ chap) by J. Max Patrick; _^<i_Francis Bacon_^>i_ (_^<b_1978_^>b_
chap) by Brian Vickers._^<b_See also:_^>b_ _^<a_!T290_ATLANTIS_^>a_; _^<a_!T611_BIOLOGY_^>a_; _^<a_!T1410_FANTASTIC VOYAGES_^>a_; _^<a_!T1669_FUTUROLOGY_^>a_; _^<a_!T3540_MACHINES_^>a_; _^<a_!T3118_MUSIC_^>a_; _^<a_!T5303_UTOPIAS_^>a_;
_^<a_!T5492_WEAPONS_^>a_.
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BACON, WALTER
-T-
[r] > _^<a_!T6332_ROBERT HALE LIMITED_^>a_._^<n__^<n_
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-A-
BADGER BOOKS
-T-
The main imprint of John Spencer & Co., used by that firm on almost all their books from about the beginning of 1955 through 1967, when the imprint was terminated. John Spencer & Co. itself was founded in 1947 and still exists; like several other UK
firms (e.g., _^<a_!T1009_CURTIS WARREN_^>a_), it specialized in the production of purpose-written paperback originals in various popular genres, though the early 1950s saw some emphasis on magazines (in small-_^<a_!T1231_DIGEST_^>a_ and pocketbook
formats), including _^<i_Out of this World_^>i_ and _^<i_Supernatural Stories_^>i_, both being amalgamated under the latter title in 1955. Some sf novels had been published, none distinguished, before the BB imprint was created; but in 1954-67
several dozen issues of _^<i_Supernatural Stories_^>i_ were released, some consisting of a number of stories by a single author under various pseudonyms, and 37 issues comprising single novels (both categories are treated in this encyclopedia as
books). More significantly, in 1958 BB began an sf series which ran until 1966 and consisted of 117 novels, almost all originals. One single author, R.L. _^<a_!T1427_FANTHORPE_^>a_, is popularly identified with BB; but although he did write most of
the titles, both sf and supernatural, he did not write them all. John S. _^<a_!T4725_GLASBY_^>a_ also wrote a number, and other writers like A.A. _^<a_!T4733_GLYNN_^>a_ produced one or two each, almost invariably under pseudonyms (_^<i_for which
see authors' individual entries_^>i_) or house names. For sf and supernatural titles, BB house names included Victor _^<a_!T4192_LA SALLE_^>a_, John E. _^<a_!T3097_MULLER_^>a_ and Karl _^<a_!T6263_ZEIGFREID_^>a_. Writers for BB worked for hire, and
technically all BB books are _^<a_!T2126_SHARECROPS_^>a_, though the publishers exercised control only over length (very rigidly), with content being a matter of some indifference._^<n__^<n_It is understood that some sf readers have trawled the BB
list for gems. Steve _^<a_!T4470_HOLLAND_^>a_ suggests that the Glasby novels written as by A.J. Merak are of some interest. [JC]_^<n__^<n__^<n__^<n__^<b_Further reading:_^>b_ _^<i_Fantasy Readers Guide 1: A Complete Index and Annotated Commentary
to the John Spencer Fantasy Publications_^>i_ (_^<b_1979_^>b_ chap) by Mike _^<a_!T265_ASHLEY_^>a_; _^<i_John Spencer and Badger Books: 1948-1967_^>i_ (_^<b_1985_^>b_ chap) by Stephen Holland.
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BADHAM, JOHN
-T-
(1939- ) US film-maker who showed a penchant for sf as far back as his early tv work on _^<a_!T2661_ROD SERLING'S NIGHT GALLERY_^>a_ (1970-72), for which he directed adaptations of stories by Basil Copper ("Camera Obscura") and Fritz
_^<a_!T3322_LEIBER_^>a_ ("The Girl with the Hungry Eyes"). For the portmanteau tv film _^<i_Three Faces of Love_^>i_ he directed Kurt _^<a_!T5402_VONNEGUT_^>a_ Jr's "Epicac", a forerunner of JB's big-screen involvement with
_^<a_!T826_COMPUTERS_^>a_ and _^<a_!T2646_ROBOTS_^>a_ which develop human characteristics. His first feature-length genre piece was _^<i_Isn't it Shocking?_^>i_ (1973), a well done made-for-tv movie about a gadget-wielding murderer preying on the
elderly._^<n__^<n_JB's first theatrical feature was _^<i_The Bingo Long Traveling All Stars and Motor Kings_^>i_ (1976). He followed up the enormous success of _^<i_Saturday Night Fever_^>i_ (1977) with a lush, romantic, somewhat shallow version of
_^<i_Dracula_^>i_ (1979) and the soapy _^<i_Who's Life Is It Anyway?_^>i_ (1981). Then in the 1980s JB turned out a commercially successful trilogy of borderline sf films on mechanist themes: _^<a_!T671_BLUE THUNDER_^>a_ (1983),
_^<a_!T5457_WARGAMES_^>a_ (1983) and _^<a_!T2194_SHORT CIRCUIT_^>a_ (1986). All three deal with superweapons -- a police helicopter, a vast military computer and a military robot -- that turn against violence, through, respectively, human
intervention, logical reasoning and a divine lightning bolt. These are _^<a_!T3540_MACHINE_^>a_ movies, dependent on the glamour of robotry while distrustful of technology without a "heart", suffused with impeccable liberal sentiment of an
increasingly stereotypical and less thoughtful variety. This is indicated by the change from the hard-edged _^<i_Blue Thunder_^>i_, a paranoid conspiracy movie, to the childish _^<i_Short Circuit_^>i_, which is essentially a reworking of Disney's
_^<i_The Love Bug_^>i_ (1969) with a robot instead of a Volkswagen. Subsequently JB has directed professional, impersonal thrillers like _^<i_Stakeout_^>i_ (1987), _^<i_Bird on a Wire_^>i_ (1990), _^<i_The Hard Way_^>i_ (1991), _^<i_Point of No
Film (1987). WingNut. Prod, dir, ed, screenplay and special effects Peter Jackson, starring Jackson, Terry Potter, Pete O'Herne, Mike Minett, Doug Wren. 92 mins cut to 91 mins. Colour._^<n__^<n__^<a_!T102_ALIENS_^>a_ invade a small town to kill
humans and use them as a meat-source in a new galactic fast-food franchise, but the _^<a_!T3796_INVASION_^>a_ is defeated, in this deliberately tasteless (hence the title) low-budget New Zealand parody of sf and _^<a_!T2374_SPLATTER MOVIES_^>a_. It
is in the same undergraduate, disgusting vein as _^<a_!T594_BIG MEAT EATER_^>a_ (1982) and _^<i_The Evil Dead_^>i_ (horror, 1982) -- drinking vomit, eating live brains -- but made much later and less proficiently. _^<i_BT_^>i_ is amateurish (made
over four years at weekends), derivative and only occasionally funny. A better made, but horribly emetic, film from the same director is _^<i_Braindead_^>i_ (1992), but this, a bloodsoaked farce about zombies, is only marginally science fiction.
[PN]_^<n__^<n_
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BAEN, JIM
-T-
Working name of US editor James Patrick Baen (1943- ) from the beginning of his career in US publishing in 1972, when he became Gothics editor at _^<a_!T20_ACE BOOKS_^>a_, though he nevertheless sometimes signed himself James Baen. He moved to
_^<a_!T1686_GALAXY SCIENCE FICTION_^>a_ in 1973 as managing editor, taking over the editorship in 1974 of both _^<i_Gal_^>i_ and _^<a_!T4583_IF_^>a_ from Ejler _^<a_!T3853_JAKOBSSON_^>a_. These magazines were then in a crisis, which resulted in
their amalgamation (as _^<i_Gal_^>i_) in January 1975. JB soon showed himself to be a capable editor, and over the next two years turned _^<i_Gal_^>i_ into one of the liveliest current magazines, introducing popular columns by Jerry
_^<a_!T1961_POURNELLE_^>a_ (science fact), Spider _^<a_!T2640_ROBINSON_^>a_ (book reviews) and Richard E. _^<a_!T4651_GEIS_^>a_ (general comment). _^<i_Gal_^>i_ also began regularly to feature the much acclaimed stories of John
_^<a_!T5339_VARLEY_^>a_, and serialized novels by Frank _^<a_!T4389_HERBERT_^>a_, Larry _^<a_!T3223_NIVEN_^>a_, Frederik _^<a_!T1937_POHL_^>a_, Roger _^<a_!T6264_ZELAZNY_^>a_ and others. In 1977 JB returned to Ace Books as sf editor, becoming
executive editor and vice-president before leaving in 1980 to join Tom Doherty's newly founded _^<a_!T6057_TOR BOOKS_^>a_ as editorial director. He retained this post until his departure in 1983 to form Baen Books, a firm which, though it
distributes its publications through Simon & Schuster, has maintained itself as a full and genuine publisher, generally specializing in military sf, though the range of authors it publishes is fairly wide, including Lois McMaster
_^<a_!T5068_BUJOLD_^>a_, John _^<a_!T1039_DALMAS_^>a_, David A. _^<a_!T1318_DRAKE_^>a_, Elizabeth _^<a_!T3023_MOON_^>a_, Niven, Pournelle, S.M. _^<a_!T5748_STIRLING_^>a_ and Timothy _^<a_!T6254_ZAHN_^>a_._^<n__^<n_As an editor of books in his own
right, JB produced some anthologies of reprints from _^<i_Gal_^>i_ and _^<i_If_^>i_, including _^<i_The Best from Galaxy III_^>i_ (anth _^<b_1975_^>b_) and _^<i_#IV_^>i_ (anth _^<b_1976_^>b_), _^<i_The Best from If III_^>i_ (anth _^<b_1976_^>b_)
and _^<i_Galaxy: The Best of My Years_^>i_ (anth _^<b_1980_^>b_). He then produced, in _^<b_Destinies_^>b_, _^<b_Far Frontiers_^>b_ (with Pournelle) and _^<b_New Destinies_^>b_, a sequence of magazine/anthologies printing original material. The
_^<a_!T1197_DESTINIES_^>a_ sequence includes _^<i_Destinies: The Paperback Magazine of Science Fiction and Speculative Fact, Volume One_^>i_ (in 4 successive "issues", anths _^<b_1979_^>b_), _^<i_Volume Two_^>i_ (in 4 successive "issues", anths
_^<b_1980_^>b_), _^<i_The Best of Destinies_^>i_ (anth _^<b_1980_^>b_) and _^<i_Volume Three_^>i_ (in 2 successive "issues", anths _^<b_1981_^>b_). The _^<a_!T1431_FAR FRONTIERS_^>a_ sequence, each co-edited with Pournelle (and, uncredited, John F.
_^<b_1986_^>b_) and _^<i_#7_^>i_ (anth _^<b_1986_^>b_). The third sequence, _^<b_New Destinies_^>b_, following on directly from the second, includes _^<i_New Destinies #1_^>i_ (anth _^<b_1987_^>b_), _^<i_#2_^>i_ (anth _^<b_1987_^>b_), _^<i_#3_^>i_
(anth _^<b_1988_^>b_), _^<i_#4_^>i_ (anth _^<b_1988_^>b_), _^<i_#6_^>i_ (anth _^<b_1988_^>b_), which comprises a special tribute to Robert A. _^<a_!T4376_HEINLEIN_^>a_ (there is no #5), _^<i_#7_^>i_ (anth _^<b_1989_^>b_), _^<i_#8_^>i_ (anth
_^<b_1989_^>b_), _^<i_#9_^>i_ (anth _^<b_1990_^>b_) and _^<i_#10_^>i_ (anth _^<b_1992_^>b_). He also edited _^<i_The Science Fiction Yearbook_^>i_ (anth _^<b_1985_^>b_) with Carr and Pournelle._^<n__^<n_With Barney _^<a_!T782_COHEN_^>a_, JB has
written one novel, _^<i_The Taking of Satcom Station_^>i_ (_^<b_1982_^>b_). [JC/MJE]_^<n__^<n__^<n__^<n__^<b_See also:_^>b_ _^<a_!T4443_HISTORY OF SF_^>a_; _^<a_!T2130_SF MAGAZINES_^>a_.
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BAEN BOOKS
-T-
> Jim _^<a_!T352_BAEN_^>a_._^<n__^<n_
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BAERLEIN, ANTHONY
-T-
(? - ) UK writer whose sf novel, _^<i_Daze, the Magician_^>i_ (_^<b_1936_^>b_), features crimes committed through the use of _^<a_!T3721_MATTER TRANSMISSION_^>a_. [JC]_^<n__^<n_
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138
CATRS
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BAGNALL, R(OBERT) D(AVID)
-T-
(1945- ) UK research chemist and writer. _^<i_The Fourth Connection_^>i_ (coll of linked stories _^<b_1975_^>b_) presents a series of dramatized speculations on the fourth _^<a_!T1239_DIMENSION_^>a_, and describes the scientific community's
response to the challenges opened up. [JC]_^<n__^<n_
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250
CATRS
-END-
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BAHL, FRANKLIN
-T-
[s] > Rog _^<a_!T1887_PHILLIPS_^>a_._^<n__^<n_
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BAHNSON, AGNEW H. Jr
-T-
(1915-_^<i_c_^>i_1964) US writer, inventor and textile-machinery manufacturer whose _^<a_!T6337_NEAR-FUTURE_^>a_ political thriller, _^<i_The Stars are too High_^>i_ (_^<b_1959_^>b_), features hoax aliens with a real _^<a_!T4817_GRAVITY_^>a_-driven
ship who try to bring peace to the world. [JC/PN]_^<n__^<n_
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232
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BAILEY, ANDREW J(ACKSON)
-T-
(1840-1927) Writer, apparently UK despite his given names, in whose _^<i_The Martian-Emperor President_^>i_ (_^<b_1932_^>b_) Earth is visited by a large spaceship containing a delegation from Mars. [JC]_^<n__^<n_
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177
CATRS
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BAILEY, CHARLES W(ALDO)
-T-
(1929- ) US writer and journalist who collaborated with Fletcher _^<a_!T4096_KNEBEL_^>a_ (_^<i_whom see for details_^>i_) on _^<i_Seven Days in May_^>i_ (_^<b_1962_^>b_). [JC]_^<n__^<n_
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136
CATRS
-END-
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BAILEY, DENNIS B.
-T-
[r] > David F. _^<a_!T618_BISCHOFF_^>a_._^<n__^<n_
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26
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BAILEY, HILARY
-T-
(1936- ) UK writer and editor, married to Michael _^<a_!T3030_MOORCOCK_^>a_ 1962-78. She has written about 15 sf and fantasy stories, including "The Fall of Frenchy Steiner" (1964) and "Everything Blowing Up: An Adventure of Una Persson, Heroine
of Time and Space" (1980), and was uncredited co-author with Moorcock of _^<i_The Black Corridor_^>i_ (_^<b_1969_^>b_). When Moorcock's _^<a_!T3182_NEW WORLDS_^>a_ died as a magazine but continued for a while in quarterly paperback book format, she
joined Charles _^<a_!T1927_PLATT_^>a_ as co-editor of _^<i_New Worlds Quarterly 7_^>i_ (anth _^<b_1974_^>b_; vt _^<i_New Worlds 6_^>i_ 1975 US), and was sole editor of _^<i_#8_^>i_ (anth _^<b_1975_^>b_), _^<i_#9_^>i_ (anth _^<b_1975_^>b_) and
_^<i_#10_^>i_ (anth _^<b_1976_^>b_). Most of her writing is mainstream fiction with occasional sf elements, as in _^<i_All the Days of my Life_^>i_ (_^<b_1984_^>b_), her almost successful bid for the bestseller market, which is essentially an
updated _^<i_Moll Flanders_^>i_ (by Daniel _^<a_!T1143_DEFOE_^>a_ [_^<b_1722_^>b_]); it begins in 1941 and ends in 1996. Also set in the very _^<a_!T6337_NEAR FUTURE_^>a_ (1991) is _^<i_A Stranger to Herself_^>i_ (_^<b_1989_^>b_). _^<i_Hannie
Richards, or The Intrepid Adventures of a Restless Wife_^>i_ (_^<b_1985_^>b_) has fantastic elements. [PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T4446_HITLER WINS_^>a_; _^<a_!T5851_SUSPENDED ANIMATION_^>a_.
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BAILEY, J(AMES) O(SLER)
-T-
(1903-1979) US scholar, professor of literature at the University of North Carolina. His _^<i_Pilgrims through Space and Time: Trends and Patterns in Scientific and Utopian Fiction_^>i_ (_^<b_1947_^>b_) was the first academic study of sf, which it
analyses primarily on a thematic basis, and without ever using the term "science fiction," referring instead to "scientific fiction" and the _^<a_!T2878_SCIENTIFIC ROMANCE_^>a_. Only a small amount of its subject matter is taken from sf magazines,
which is less surprising when one realizes that the work was based on JOB's 1934 doctoral dissertation. JOB had much trouble finding an academic publisher who would consider sf worthy of serious study; the book represents the first trickle of the
great torrent of _^<a_!T2071_SF IN THE CLASSROOM_^>a_. He was honoured when the _^<a_!T2139_SCIENCE FICTION RESEARCH ASSOCIATION_^>a_'s _^<a_!T1900_PILGRIM AWARD_^>a_ (given annually for contributions to sf scholarship) was named after his book,
and he himself was the first recipient (1970). JOB edited the 1965 edn of the _^<a_!T4474_HOLLOW-EARTH_^>a_ novel _^<i_Symzonia_^>i_ (_^<b_1820_^>b_) by Adam _^<a_!T2081_SEABORN_^>a_. [PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T963_CRITICAL AND
HISTORICAL WORKS ABOUT SF_^>a_; _^<a_!T1142_DEFINITIONS OF SF_^>a_.
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BAILEY, PAUL (DAYTON)
-T-
(1906-1987) US osteopath, publisher and editor whose _^<i_Deliver Me From Eva_^>i_ (_^<b_1946_^>b_) deals with the complications ensuing from the hero's father-in-law's capacity to increase _^<a_!T3787_INTELLIGENCE_^>a_ artificially. [JC]_^<n__^<n_
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198
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BAIR, PATRICK
-T-
(? - ) UK writer whose _^<i_Faster! Faster!_^>i_ (_^<b_1950_^>b_) is a _^<a_!T1370_DYSTOPIAN_^>a_ fable with an sf flavour in which representatives of three classes, caught on a train which goes on for ever, must work out their destinies.
_^<i_The Tribunal_^>i_ (_^<b_1970_^>b_) satirizes a _^<a_!T6337_NEAR-FUTURE_^>a_ revolution in Italy. As David Gurney, he wrote tales with a more popular slant, like _^<i_The "F" Certificate_^>i_ (_^<b_1968_^>b_), which treats of a violent UK to
come. [JC]_^<n__^<n__^<b_Other works as Gurney:_^>b_ _^<i_The Necrophiles_^>i_ (_^<b_1969_^>b_); the _^<b_Conjurers_^>b_ sequence comprising _^<i_The Conjurers_^>i_ (_^<b_1972_^>b_; vt _^<i_The Demonists_^>i_ 1977 US) and _^<i_The Devil in the
Atlas_^>i_ (_^<b_1976_^>b_); _^<i_The Evil Under the Water_^>i_ (_^<b_1977_^>b_)._^<n__^<n_
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625
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BAJLA, JAN
-T-
[r] > _^<a_!T1020_CZECH AND SLOVAK SF_^>a_._^<n__^<n_
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BAKER, SCOTT
-T-
(1947- ) US-born writer, long resident in France, whose novels are fantasy and horror with the exception of his first, _^<i_Symbiote's Crown_^>i_ (_^<b_1978_^>b_), a slyly intelligent though uneasily metaphysical _^<a_!T2342_SPACE OPERA_^>a_.
[JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Nightchild_^>i_ (_^<b_1979_^>b_; rev 1983); _^<i_Dhampire_^>i_ (_^<b_1982_^>b_); the _^<b_Firedance_^>b_ sequence comprising _^<i_Firedance_^>i_ (_^<b_1986_^>b_) and _^<i_Drink the Fire from the Flames_^>i_
(1938-1991) US author of 3 _^<a_!T1913_PLANETARY ROMANCES_^>a_ -- all set on the planet _^<b_Naphar_^>b_ -- whose richly layered _^<a_!T1412_FANTASY_^>a_ surface conceals much sf underpinning: Naphar's poisonous environment has an sf explanation;
the planet has been colonized by humans who interbred with the native race; and contacts with galactic civilization remain active. _^<i_Quarreling, They Met the Dragon_^>i_ (_^<b_1984_^>b_) describes the coming to adulthood of an escaped slave.
_^<i_Journey to Membliar_^>i_ (_^<b_1987_^>b_) and its immediate sequel _^<i_Burning Tears of Sassurum_^>i_ (_^<b_1988_^>b_) comprise a quest tale culminating in dynastic revelations in the capital city. [JC]_^<n__^<n_
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572
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BAKER, W(ILLIAM ARTHUR) HOWARD
-T-
(1925-1991) Irish journalist, editor and author, in the UK after WWII. After working as an editor of Panther Books he began to write for the _^<b_Sexton Blake Library_^>b_ in 1955, soon taking over as editor of the series for Amalgamated Press,
writing many titles under various names, and in 1965 taking the series to Mayflower Books, where it flourished briefly. He then set up his own publishing imprint, which continued to publish _^<b_Sexton Blake_^>b_ books (among others). His stable of
_^<b_Sexton Blake_^>b_ writers included Wilfred _^<a_!T3570_MCNEILLY_^>a_, whose claims (_^<i_see his entry_^>i_) to have written most of WHB's titles are false, and Jack Trevor _^<a_!T5766_STORY_^>a_. His work was brisk and brash, and he did not
waste much time seeking quality, though his war novels were of some interest; his sf -- as editor and as author -- rarely ventured beyond the routine. It is impossible to distinguish much of what he wrote from what he commissioned and what he
doctored, under his own name and others. Of sf/fantasy interest, he wrote some books under the Peter _^<a_!T2829_SAXON_^>a_ house name, including 2 _^<b_Guardians_^>b_ psychic investigator tales with McNeilly-_^<i_Dark Ways to Death_^>i_ *
(_^<b_1968_^>b_) and _^<i_The Haunting of Alan Mais_^>i_ * (_^<b_1969_^>b_) -- and one solo: _^<i_The Killing Bone_^>i_ * (_^<b_1969_^>b_). Other titles with McNeilly included _^<i_The Darkest Night_^>i_ (_^<b_1966_^>b_) and _^<i_The Torturer_^>i_
(_^<b_1966_^>b_). With Stephen _^<a_!T1592_FRANCES_^>a_ (both as Saxon) he wrote _^<i_The Disorientated Man_^>i_ (_^<b_1966_^>b_; vt _^<i_Scream and Scream Again_^>i_ 1967 US), which was filmed as _^<a_!T2077_SCREAM AND SCREAM AGAIN_^>a_(1969), and
solo he wrote _^<i_Black Honey_^>i_ (_^<b_1968_^>b_) and _^<i_Vampire's Moon_^>i_ (_^<b_1970_^>b_ US), both as Saxon. [JC]_^<n__^<n__^<b_About the author:_^>b_ "W. Howard Baker" by Jack Adrian, in _^<i_Million 3_^>i_ (1991).
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BALCH, FRANK
-T-
(1880-1937) US writer whose sf novel, _^<i_A Submarine Tour_^>i_ (_^<b_1905_^>b_) features, in its painfully Vernean progress, visits to more than one _^<a_!T3460_LOST WORLD_^>a_, including _^<a_!T290_ATLANTIS_^>a_, in a submarine which hits 80
knots. All ends safely. [JC]_^<n__^<n_
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BALCHIN, NIGEL (MARLIN)
-T-
(1908-1970) UK writer, industrialist and wartime scientific adviser to the Army Council; married for a time to Elisabeth _^<a_!T338_AYRTON_^>a_. From the beginning of WWII his fictions specialized in the creation of psychologically and physically
crippled "competent men", as in _^<i_The Small Back Room_^>i_ (_^<b_1943_^>b_), and were plotted around scientific problems at the verge of sf. Though _^<i_No Sky_^>i_ (_^<b_1934_^>b_) is of marginal genre interest, his only sf novel proper is
_^<i_Kings of Infinite Space_^>i_ (_^<b_1967_^>b_), a rather weak _^<a_!T6337_NEAR-FUTURE_^>a_ look at the US space programme. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T2337_SPACE FLIGHT_^>a_.
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BALDWIN, BEE
-T-
Working name of New Zealand writer Beatrice Lillian Baldwin (? - ). Her sf novel _^<i_The Red Dust_^>i_ (_^<b_1965_^>b_), set in her native land, deals with a typical Antipodean theme (cf Nevil _^<a_!T2200_SHUTE_^>a_'s _^<i_On the Beach_^>i_
[_^<b_1957_^>b_]): the far-reaching _^<a_!T1243_DISASTER_^>a_ whose consequences eventually embroil Southern climes. This time it is red dust. [JC]_^<n__^<n_
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BALDWIN, BILL
-T-
Working name of US writer Merl William Baldwin Jr (1935- ), known mainly for the efficient _^<b_Helmsman_^>b_ adventure-sf sequence, whose plots are deployed on a galactic scale: _^<i_The Helmsman_^>i_ (_^<b_1985_^>b_ as Merl Baldwin; as BB
(1932- ) UK writer, until 1965 a teacher and lecturer, subsequently freelance. He began publishing sf with "The Pioneer" for _^<i_NW_^>i_ in 1962, edited a juvenile anthology, _^<i_Tales of Science Fiction_^>i_ (anth _^<b_1964_^>b_), soon after,
and the next year published his first novel, _^<i_Sundog_^>i_ (_^<b_1965_^>b_), one of his better books, in which -- though restricted by _^<a_!T102_ALIENS_^>a_ to the Solar System -- mankind, in the person of space-pilot Dod, transcends its
limitations._^<n__^<n_There followed a trilogy involving an ancient Galactic Federation, its relics, _^<a_!T6026_TIME TRAVEL_^>a_, and rebirth: _^<i_Timepiece_^>i_ (_^<b_1968_^>b_), _^<i_Timepivot_^>i_ (_^<b_1970_^>b_ US) and _^<i_Timepit_^>i_
(_^<b_1971_^>b_). A second series, _^<i_The Probability Man_^>i_ (_^<b_1972_^>b_ US) and _^<i_Planet Probability_^>i_ (_^<b_1973_^>b_ US), follows the exploits of Frame-Director Spingarn in his heterodox construction of reality-spaces (frames) for
the delectation (and voluntary destruction) of billions of bored citizens. Though he sometimes aspires to the more metaphysical side of the sf tropes he utilizes, BNB's style tends to reduce these implications to routine action-adventure plots,
competently executed. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Lesson for the Damned_^>i_ (_^<b_1971_^>b_); _^<i_Devil's Peak_^>i_ (_^<b_1972_^>b_); _^<i_Night of the Robots_^>i_ (_^<b_1972_^>b_; vt _^<i_The Regiments of Night_^>i_ (_^<b_1972_^>b_
US); _^<i_Singularity Station_^>i_ (_^<b_1973_^>b_ US); _^<i_The Space Guardians_^>i_ * (_^<b_1975_^>b_), a _^<a_!T2341_SPACE 1999_^>a_ tie; _^<i_The Venomous Serpent_^>i_ (_^<b_1974_^>b_; vt _^<i_The Night Creature_^>i_ 1974 US); the two
_^<b_Keegan_^>b_ books: _^<i_The No-Option Contract_^>i_ (_^<b_1975_^>b_) and _^<i_The One-Way Deal_^>i_ (_^<b_1976_^>b_); the _^<b_Witchfinder_^>b_ series, comprising _^<i_The Mark of the Beast_^>i_ (_^<b_1976_^>b_) and _^<i_The Evil at
Holiday_^>i_ (_^<b_1977_^>b_) and _^<i_Jackson and the Magpies_^>i_ (_^<b_1978_^>b_); _^<i_The Witch in our Attic_^>i_ (_^<b_1979_^>b_); _^<i_Young Person's Guide to UFOs_^>i_ (_^<b_1979_^>b_), nonfiction; _^<i_Dennis and the Flying Saucer_^>i_
(_^<b_1980_^>b_); _^<i_The Starbuggy_^>i_ (_^<b_1983_^>b_); _^<i_The Doomship of Drax_^>i_ (_^<b_1985_^>b_); _^<i_Truant from Space_^>i_ (_^<b_1985_^>b_ chap); _^<i_Stone Age Magic_^>i_ (_^<b_1988_^>b_); _^<i_The Quest for Queenie_^>i_
(_^<b_1988_^>b_ chap).
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BALL, JOHN (DUDLEY Jr)
-T-
(1911-1988) US commercial pilot and writer, much better known for work in other genres -- like _^<i_In the Heat of the Night_^>i_ (_^<b_1965_^>b_) -- than for his sf novels, the first of which, _^<i_Operation Springboard_^>i_ (_^<b_1958_^>b_; vt
_^<i_Operation Space_^>i_ 1960 UK), is a juvenile about a space race to Venus. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Spacemaster 1_^>i_ (_^<b_1960_^>b_); _^<i_The First Team_^>i_ (_^<b_1972_^>b_).
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BALLANTINE BOOKS
-T-
US publishing company founded in 1952 by Ian Ballantine (1916-1995), who had previously helped found _^<a_!T397_BANTAM BOOKS_^>a_, and Betty Ballantine; for the first six months BB operated from their apartment. Although it was a general publisher,
an important priority was the prestigious sf list, the first of its kind in paperback, with many original works, many of which were -- until 1958 -- published simultaneously as hardbacks. BB's first sf novel was _^<i__^<a_!B9011_THE SPACE
MERCHANTS_^>a__^>i_ (_^<b_1953_^>b_) by Frederik _^<a_!T1937_POHL_^>a_ and C.M. _^<a_!T6353_KORNBLUTH_^>a_; Pohl also edited BB's Star series of _^<a_!T195_ANTHOLOGIES_^>a_. By the end of 1953, BB had also published Ray _^<a_!T4963_BRADBURY_^>a_'s
_^<i__^<a_!B9110_FAHRENHEIT 451_^>a__^>i_, Arthur C. _^<a_!T736_CLARKE_^>a_'s _^<i__^<a_!B9010_CHILDHOOD'S END_^>a__^>i_, Ward _^<a_!T3039_MOORE_^>a_'s _^<i__^<a_!B9005_BRING THE JUBILEE_^>a__^>i_, Theodore _^<a_!T5810_STURGEON_^>a_'s
_^<i__^<a_!B9221_MORE THAN HUMAN_^>a__^>i_, and others. The list of regular authors resembles an sf roll of honour: figures in later years included James _^<a_!T658_BLISH_^>a_, Fritz _^<a_!T3322_LEIBER_^>a_, Larry _^<a_!T3223_NIVEN_^>a_ and many
others. Almost 100 early Ballantine covers featured artwork by Richard _^<a_!T1966_POWERS_^>a_, much of it semi-abstract; meant to emphasize the modernity and innovative quality of the fiction, the effect was wider than that: it was as if sf had
suddenly grown up. The Powers covers were one of the symbols of sf's growth to maturity._^<n__^<n_Ballantine became a division of Random House in 1973, and the two Ballantines left in 1974. Judy-Lynn _^<a_!T1163_DEL REY_^>a_ became sf editor, and
in 1976 her husband Lester _^<a_!T1164_DEL REY_^>a_ took over the fantasy list initiated by Lin _^<a_!T5194_CARTER_^>a_. In 1977 the sf/fantasy imprint was renamed _^<a_!T1165_DEL REY BOOKS_^>a_. Since that time some sf has been published under the
original Ballantine imprint, but this has mostly been borderline sf or sometimes, as with novels by Michael _^<a_!T954_CRICHTON_^>a_, sf books for which a substantial mainstream sale is expected. In 1990 the combined imprints of Ballantine, Del Rey
and Fawcett, all under the same ownership, were running fifth in the USA in terms of the number of sf/fantasy/horror titles published. [PN/MJE]_^<n__^<n__^<b_Further reading:_^>b_ _^<i_Ballantine Books: The First Decade: A Bibliographical History &
Guide of the Publisher's Early Years_^>i_ (_^<b_1987_^>b_) by David Aronovitz._^<b_See also:_^>b_ _^<a_!T4551_HUGO_^>a_.
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BALLARD, J(AMES) G(RAHAM)
-T-
(1930- ) UK writer, born in Shanghai and as a child interned in a Japanese civilian POW camp during WWII. He first came to the UK in 1946. He later read medicine at King's College, Cambridge, but left without taking a degree._^<n__^<n_JGB
discovered sf while in Canada during his period of RAF service in the early 1950s. His first stories, "Escapement" and "Prima Belladonna", were published in E.J. _^<a_!T5170_CARNELL_^>a_'s _^<a_!T3182_NEW WORLDS_^>a_ and _^<a_!T2870_SCIENCE
FANTASY_^>a_, respectively, in 1956. His writing was influenced by the Surrealist painters and the early Pop artists. From the start, he opened a new prospect in sf; his interest in _^<a_!T2023_PSYCHOLOGY_^>a_ and in the emotional significance of
deserted landscapes and wrecked _^<a_!T5916_TECHNOLOGY_^>a_ soon became apparent in such stories as "Build-Up" (1957; vt "The Concentration City"), "Manhole 69" (1957), "The Waiting Grounds" (1959), "The Sound-Sweep" (1960) and "Chronopolis"
(1960). On the whole, he eschewed such sf themes as space travel, time travel, aliens and ESP, concentrating instead on _^<a_!T6337_NEAR-FUTURE_^>a_ decadence and _^<a_!T1243_DISASTER_^>a_. In 1962 he began using the term _^<a_!T3783_INNER
SPACE_^>a_ to describe the area of his obsessions, and stated that "the only truly alien planet is Earth". "The Voices of Time" (1960) is his most important early story, an apocalyptic view of a terrible new _^<a_!T6717_EVOLUTION_^>a_ (or
_^<a_!T1209_DEVOLUTION_^>a_) faced by the human race. As with much of his work, its impressive quality is a result of JGB's painterly eye, as shown in his moody descriptions of landscapes._^<n__^<n_With "Studio 5, the Stars" (1961) JGB returned to
the setting of "Prima Belladonna": a decaying resort, Vermilion Sands, where poets, artists and actresses pursue perverse whims. He subsequently wrote seven more stories against this background, and the series, which constitutes one of his most
popular works, was collected as _^<i_Vermilion Sands_^>i_ (coll _^<b_1971_^>b_ US; with 1 story added rev 1973 UK). JGB's first novel, _^<i_The Wind from Nowhere_^>i_ (_^<b_1962_^>b_ US), was written in a fortnight, and the money that he earned
from it enabled him to become a full-time writer. It is his only work of formula sf, the formula being that of John _^<a_!T6211_WYNDHAM_^>a_'s disaster novels. In _^<i_The Drowned World_^>i_ (_^<b_1962_^>b_ US) JGB inverted the pattern, creating a
hero who conspires with rather than fights against the disaster that is overtaking his world. It was this novel, with its brilliant descriptions of an inundated London and an _^<a_!T6576_ECOLOGY_^>a_ reverting to the Triassic, which gained JGB
acceptance as a major author. However, the self-immolating tendency of his characters drew adverse criticism; some readers, particularly devotees of _^<a_!T4659_GENRE SF_^>a_, wrote JGB off, rather simplistically, as a pessimist and a life-hater.
Certainly his next two novels, _^<i_The Burning World_^>i_ (_^<b_1964_^>b_ US; rev vt _^<i_The Drought_^>i_ 1965 UK) and _^<i__^<a_!B9119_THE CRYSTAL WORLD_^>a__^>i_ (fixup _^<b_1966_^>b_), served further to polarize opinion. Each contains a
lovingly described cataclysm towards which the protagonist holds ambiguous attitudes. Some commentators -- e.g., Kingsley _^<a_!T153_AMIS_^>a_ and Michael _^<a_!T3030_MOORCOCK_^>a_ -- praised these works very highly._^<n__^<n_JGB is regarded by
some as a better short-story writer than novelist, however, and his 1960s stories drew an enthusiastic audience. "Deep End" (1961), "Billenium" (1961) (spelt thus on its first appearance, and sometimes thereafter), "The Garden of Time" (1962), "The
Cage of Sand" (1962) and "The Watch-Towers" (1962) are among the excellent stories reprinted in his collections _^<i_The Voices of Time and Other Stories_^>i_ (coll _^<b_1962_^>b_ US), _^<i_Billenium_^>i_ (coll _^<b_1962_^>b_ US) and _^<i_The
Four-Dimensional Nightmare_^>i_ (coll _^<b_1963_^>b_; rev 1974; vt _^<i_The Voices of Time_^>i_ 1984)"The Subliminal Man", "A Question of Re-Entry" and "The Time-Tombs" (all 1963) are masterpieces of desolation and melancholy, as is "The Terminal
Beach" (1964), which shows JGB beginning to move in a new direction, towards greater compression of imagery and nonlinearity of plot. All these stories contain "properties", described objects, which have become JGB's trademarks: wrecked spacecraft,
sand-dunes, concrete deserts, broken juke-boxes, abandoned nightclubs, and military and industrial detritus in general. Sympathetic readers regard JGB's unique "properties" and landscapes as being very appropriate to the contemporary world: they
constitute a "true" dream vision of our times. (In an essay-"Myth-Maker of the 20th Century", _^<i_NW_^>i_ #142, 1964-JGB has himself acknowledged similar qualities in the work of William S. _^<a_!T5099_BURROUGHS_^>a_.)_^<n__^<n_Perhaps JGB's
strongest single collection of stories is _^<i_The Terminal Beach_^>i_ (coll _^<b_1964_^>b_ UK), not to be confused with _^<i_Terminal Beach_^>i_ (coll _^<b_1964_^>b_ US): the titles have only 2 stories in common. (The earlier US collections of
JGB's short stories are quite different from the contemporaneous UK editions, and normally have different titles. Most of the earlier short stories appear in at least two collections.) Other collections, all containing much good material, are
_^<i_Passport to Eternity_^>i_ (coll _^<b_1963_^>b_ US), _^<i_The Impossible Man_^>i_ (coll _^<b_1966_^>b_ US) and _^<i_The Disaster Area_^>i_ (coll _^<b_1967_^>b_). One story, "The Drowned Giant"(1965; vt "Souvenir"), was nominated for a
_^<a_!T3147_NEBULA_^>a_, although the fact that JGB has never won an sf _^<a_!T6321_AWARD_^>a_ is indicative of his unpopularity with _^<a_!T4288_HARD-SF_^>a_ fans. He did, however, become a figurehead of the _^<a_!T3181_NEW WAVE_^>a_ of the later
1960s: younger UK writers such as Charles _^<a_!T1927_PLATT_^>a_ and M. John _^<a_!T4319_HARRISON_^>a_ show his influence directly._^<n__^<n_"You and Me and the Continuum" (1966) inaugurated a series of stories -- "condensed novels", as JGB has
called them -- in which he explored the _^<a_!T3743_MEDIA LANDSCAPE_^>a_ of advertising, broadcasting, _^<a_!T1939_POLITICS_^>a_ and _^<a_!T5452_WAR_^>a_. Collected as _^<i__^<a_!B9073_THE ATROCITY EXHIBITION_^>a__^>i_ (coll _^<b_1970_^>b_; vt
_^<i_Love and Napalm: Export USA_^>i_ 1972 US; rev 1990 US), these are JGB's most "difficult" works, and they provoked more hostility than anything that had gone before; the collection's intended 1970 US edition, from _^<a_!T1299_DOUBLEDAY_^>a_,
was printed but, on the instructions of a panicking executive, pulped just before publication. The hostility was partly due to the fact that JGB uses real people such as Marilyn Monroe, the Kennedys and Ronald Reagan as "characters"._^<n__^<n_In
the novel _^<i_Crash_^>i_ (_^<b_1973_^>b_) JGB took his obsession with automobile accidents to a logical conclusion. Perhaps the best example of "pornographic" sf, it explores the psychological satisfactions of danger, mutilation and death on the
roads; it is also an examination of the interface between modern humanity and its _^<a_!T3540_MACHINES_^>a_. Brightly lit and powerfully written, it is a work with which it is difficult for many readers to come to terms; one publisher's reader
wrote of the manuscript: "The author of this book is beyond psychiatric help." _^<i_Concrete Island_^>i_ (_^<b_1974_^>b_) and _^<i_High-Rise_^>i_ (_^<b_1975_^>b_) are also urban disaster novels set in the present, the one concerning a driver
marooned on a traffic island between motorway embankments, the other focusing on the breakdown of social life in a multistorey apartment block. All three of these novels are about the ways in which the technological landscape may be fulfilling and
reflecting our own ambiguously "worst" desires._^<n__^<n_In the mid-1970s JGB returned to the short-story form, in which he still excelled. Such pieces as "The Air Disaster" (1975), "The Smile" (1976) and "The Dead Time" (1977) are outstanding
psychological horror stories on the fringes of sf. The collection _^<i_Low-Flying Aircraft_^>i_ (coll _^<b_1976_^>b_) contains an excellent original novella, "The Ultimate City", which projects JGB's urban obsessions of the 1970s into the future.
Later volumes of stories are _^<i_Myths of the Near Future_^>i_ (coll _^<b_1982_^>b_), _^<i_Memories of the Space Age_^>i_ (coll _^<b_1988_^>b_ US) and _^<i_War Fever_^>i_ (coll _^<b_1990_^>b_), all of which contain a good deal of sf mixed with
psychological fantasy._^<n__^<n__^<i_The Unlimited Dream Company_^>i_ (_^<b_1979_^>b_), JGB's first fully fledged fantasy novel, concerns a young man who crashes a stolen light aircraft into the River Thames, apparently dies and is reborn, finding
himself trapped in the riverside town of Shepperton (where JGB in reality makes his home). The hero discovers the ability to change himself into various beasts and birds, and to transform the sleepy suburb around him into a vivid garden of exotic
flowers. More sinisterly, he is able to "absorb" human beings into his body-before expelling them again, in the apocalyptic climax to the novel. The book is a remarkable fantasy of self-aggrandizement, colourfully and compellingly told. It was
followed by JGB's most conventional sf novel in some years, _^<i_Hello America_^>i_ (_^<b_1981_^>b_), a comparatively light work about the rediscovery of an abandoned 22nd-century USA._^<n__^<n_JGB moved away from sf again for his most commercially
successful novel to date, _^<i_Empire of the Sun_^>i_ (_^<b_1984_^>b_). Based on his childhood experiences in Lunghua POW camp near Japanese-occupied Shanghai, it gained him a vast new readership. The book has great merit as a psychological war
novel, but for the sf reader part of its interest lies in its apparent revelation of the "sources" of many of JGB's recurring images and "properties" (those drained swimming pools, abandoned buildings, low-flying aircraft, drowned landscapes --
they are all here). Although it is not at all an sf or fantasy work, it has much in common with all JGB's earlier fiction. The novel was filmed in 1987 by Steven _^<a_!T2367_SPIELBERG_^>a_, and JGB wrote a sequel, _^<i_The Kindness of Women_^>i_
(_^<b_1991_^>b_). This latter is told in the first person -- _^<i_Empire of the Sun_^>i_ is told in the third -- and covers a 50-year timespan: heavily autobiographical, it is an intriguing work for anyone interested in JGB's career, but contains
little direct reference to sf._^<n__^<n_Earlier JGB had written another psychological adventure novel, _^<i_The Day of Creation_^>i_ (_^<b_1987_^>b_). Set in an imaginary African country, it is less overtly fantastic than _^<i_The Unlimited Dream
Company_^>i_ but resembles that novel in terms of theme and imagery. The narrator inadvertently causes a new river to well up from the parched earth, transforming a barren war zone into a luxuriant, although short-lived, jungle. Like all Ballard's
novels it contains extraordinary descriptive passages embedded in a fairly simple plot peopled by perverse characters of some psychological complexity. This book was followed by an acute and entertaining novella, _^<i_Running Wild_^>i_
(_^<b_1988_^>b_ chap), a Thames Valley murder mystery of marginal sf interest._^<n__^<n_Although most of his longer work of the past decade has been outside the field, the originality and appropriateness of his vision continue to ensure JGB's
standing as one of the most important writers ever to have emerged from sf. [DP]_^<n__^<n__^<b_Other works:_^>b_ _^<i_The Drowned World and The Wind from Nowhere_^>i_ (omni 1965 US); _^<i_By Day Fantastic Birds Flew through the Petrified
Forest_^>i_ (_^<b_1967_^>b_), wall-poster incorporating text from _^<i__^<a_!B9119_THE CRYSTAL WORLD_^>a__^>i_, sometimes wrongly included in JGB bibliographies as a book or chap; _^<i_The Day of Forever_^>i_ (coll _^<b_1967_^>b_; rev 1971);
_^<i_The Overloaded Man_^>i_ (coll _^<b_1967_^>b_; rev vt _^<i_The Venus Hunters_^>i_ 1980); _^<i_Why I Want to Fuck Ronald Reagan_^>i_ (_^<b_1968_^>b_ chap); _^<i__^<a_!B9118_CHRONOPOLIS AND OTHER STORIES_^>a__^>i_ (coll _^<b_1971_^>b_ US);
_^<i_The Best of J.G. Ballard_^>i_ (coll _^<b_1977_^>b_); _^<i_The Best Short Stories of J.G. Ballard_^>i_ (coll _^<b_1978_^>b_ US); _^<i_News from the Sun_^>i_ (_^<b_1982_^>b_ chap); _^<i_The Crystal World; Crash; Concrete Island_^>i_ (omni
_^<b_1991_^>b_ US); _^<i_Rushing to Paradise_^>i_ (_^<b_1994_^>b_), associational._^<b_About the author:_^>b_ _^<i_J.G. Ballard: The First Twenty Years_^>i_ (_^<b_1976_^>b_) ed James Goddard and David _^<a_!T1995_PRINGLE_^>a_; _^<i_Earth is the
Alien Planet: J.G. Ballard's Four-Dimensional Nightmare_^>i_ (_^<b_1979_^>b_ US) by David Pringle; _^<i_J.G. Ballard: A Primary and Secondary Bibliography_^>i_ (_^<b_1984_^>b_ US) by David Pringle; _^<i_Re/Search 8/9: J.G. Ballard_^>i_
(_^<b_1984_^>b_ US) ed Vale and Andrea Juno; _^<i_J.G. Ballard: Starmont Reader's Guide 26_^>i_ (_^<b_1985_^>b_ US) by Peter Brigg; _^<i_Out of the Night and Into the Dream: A Thematic Study of J.G. Ballard_^>i_ (_^<b_1991_^>b_) by Gregory
_^<a_!T956_CRIME AND PUNISHMENT_^>a_; _^<a_!T1015_CYBERPUNK_^>a_; _^<a_!T1142_DEFINITIONS OF SF_^>a_; _^<a_!T6577_ECONOMICS_^>a_; _^<a_!T6679_ENTROPY_^>a_; _^<a_!T1410_FANTASTIC VOYAGES_^>a_; _^<a_!T1590_FRANCE_^>a_; _^<a_!T4823_GREAT AND
SMALL_^>a_; _^<a_!T4443_HISTORY OF SF_^>a_; _^<a_!T4482_HOLOCAUST AND AFTER_^>a_; _^<a_!T3823_ISLANDS_^>a_; _^<a_!T3327_LEISURE_^>a_; _^<a_!T3677_MARS_^>a_; _^<a_!T3744_MEDICINE_^>a_; _^<a_!T2918_MESSIAHS_^>a_; _^<a_!T3118_MUSIC_^>a_;
(1912-1980) US screenwriter and novelist who has also signed his books Bill S. Ballinger. His work in radio and film was successful (he won an Edgar Award in 1960), but his sf is comparatively obscure, and some listed titles are dubious. We feel
secure about listing _^<i_The 49 Days of Death_^>i_ (_^<b_1969_^>b_) and _^<i_The Ultimate Warrior_^>i_ * (_^<b_1975_^>b_), which novelizes _^<i_The_^>i_ _^<a_!T5275_ULTIMATE WARRIOR_^>a_ (1975). Other titles which have been ascribed to WSB, but
which we cannot feel secure about, include _^<i_The Fourth of Forever_^>i_ (_^<b_1963_^>b_) and _^<i_The Doom Maker_^>i_ (_^<b_1959_^>b_) as by B.X. Sanborn, the latter being more widely credited to WSB than the former. He was perhaps best known
for his detective novels under the name Frederic Freyer. [JC]_^<n__^<n_
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BALLOONS
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For some six months in 1783 Paris was the Cape Canaveral of the 18th century as Parisians watched a succession of extraordinary ascents by hot-air balloons. The first successful manned trip took place on 21 Nov, as reported by Benjamin Franklin, and
it started off a long series of speculations about the conquest of the air. Thomas Jefferson was certain that balloon _^<a_!T6080_TRANSPORTATION_^>a_ would lead to the discovery of the north pole "which is but one day's journey in a balloon, from
where the ice has hitherto stopped adventurers". Franklin was certain that the new balloons would revolutionize warfare; and L.S. _^<a_!T2901_MERCIER_^>a_ added a new chapter to the 1786 edition of his _^<i_L'an deux mille quatre cent quarante_^>i_
(_^<b_1771_^>b_; rev 1786; trans as _^<i_Memoirs of the Year Two Thousand Five Hundred_^>i_ _^<b_1772_^>b_) to show how the "aerostats" were destined to link remote Pekin to Paris in a system of world communications. When the inhabitants of major
European cities watched the new balloons drifting above, they thought they saw the beginning of a profound change in human affairs: the assurance of a growing mastery of Nature._^<n__^<n_For a brief period there were plays, poems and stories about
balloon travel -- even a space operetta, _^<i_Die Luftschiffer_^>i_, performed before Catherine II in the Imperial Court Theatre at St Petersburg. Expectations about the future carried over into occasional stories like _^<i_The Aerostatic Spy_^>i_
(_^<b_1785_^>b_), published anon, the first of the round-the-world stories that ran their course up to Jules _^<a_!T5355_VERNE_^>a_'s _^<i_Cinq semaines en ballon_^>i_ (_^<b_1863_^>b_; trans as _^<i_Five Weeks in a Balloon_^>i_ _^<b_1869_^>b_). The
balloon proved a most useful marker of the future (as the _^<a_!T2651_ROCKET_^>a_ was to do in a later period), and was used by early sf writers as a convincing way of establishing the more advanced circumstances of their future worlds. Balloons
were also the source of the first visual fantasies of the future: there were engravings of balloon battles, vast transport balloons crossing the Atlantic and airborne troops crossing the Channel. By the 1870s, however, experiments with
heavier-than-air flying machines had turned popular attention towards airships and aircraft of the future. [IFC]_^<n__^<n_
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BALMER, EDWIN
-T-
(1883-1959) US writer and editor, trained as an engineer, who wrote in a variety of genres and edited (1927-49) the magazine _^<i_Red Book_^>i_, which occasionally published sf. With his brother-in-law William MacHarg (1872-1951) he wrote _^<i_The
Achievements of Luther Trant_^>i_ (coll _^<b_1910_^>b_), a series of 9 detective stories with borderline sf elements, notably the accurate forecasting of the lie detector; some were reprinted in Hugo _^<a_!T4668_GERNSBACK_^>a_'s _^<a_!T141_AMAZING
STORIES_^>a_. EB is best known for his collaborations with Philip _^<a_!T6210_WYLIE_^>a_, _^<i_When Worlds Collide_^>i_ (_^<b_1933_^>b_), filmed as _^<a_!T5571_WHEN WORLDS COLLIDE_^>a_ (1951), and the inferior _^<i_After Worlds Collide_^>i_
(_^<b_1934_^>b_). In the first, Earth is destroyed in a collision with the planet Bronson Beta; in the second, escapees settle on the new planet, fight off some Asiatic communists, and prosper. EB's solo sf novel was _^<i_Flying Death_^>i_
(_^<b_1927_^>b_). [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_The Golden Hoard_^>i_ (_^<b_1934_^>b_) with Philip Wylie, a mystery thriller._^<b_See also:_^>b_ _^<a_!T820_COMICS_^>a_; _^<a_!T956_CRIME AND PUNISHMENT_^>a_; _^<a_!T1243_DISASTER_^>a_;
_^<a_!T6661_END OF THE WORLD_^>a_; _^<a_!T4482_HOLOCAUST AND AFTER_^>a_; _^<a_!T1979_PREDICTION_^>a_; _^<a_!T2348_SPACESHIPS_^>a_.
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BALROG AWARD
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> _^<a_!T6321_AWARDS_^>a_._^<n__^<n_
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BALSDON, (JOHN PERCY VYVIAN) DACRE
-T-
(1901-1977) UK historian and author; Fellow of Exeter College, Oxford 1927-69. His three sf novels are humorous satires on contemporary mores, little allowance being made for technological, social or behavioural change. The most imaginative,
_^<i_Sell England?_^>i_ (_^<b_1936_^>b_), is a _^<a_!T1370_DYSTOPIA_^>a_ set 1000 years hence. The UK is inhabited solely by a decadent aristocracy, the other echelons of society living in Africa under a totalitarian dictatorship. _^<i_Have a New
Master_^>i_ (_^<b_1935_^>b_) and _^<i_The Day They Burned Miss Termag_^>i_in_^<i_Oxford Life_^>i_, coll _^<b_1957_^>b_, as "Mr Botteaux's Story"; exp _^<b_1961_^>b_) are set, respectively, in a school 30 years hence and in an Oxford of the
immediate future. They have had little influence. [JE]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Bedlam House_^>i_ (_^<b_1947_^>b_), borderline SF, set in the Ministry of Anticipation;_^<i_The Pheasant Shoots Back_^>i_ (1949), a fantasy juvenile.
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BALZAC, HONORE de
-T-
(1799-1850) French writer best known for _^<b_La comedie humaine_^>b_ ["The Human Comedy"], an immense series of novels into which his _^<a_!T2013_PROTO-SCIENCE-FICTION_^>a_ story, _^<i_La recherche de l'absolu_^>i_ (in _^<i_Etudes de moeurs au XIXe
siecle_^>i_, coll _^<b_1834_^>b_; trans as _^<i_The Philosopher's Stone_^>i_ _^<b_1844_^>b_ US; vt _^<i_Balthazar, or Science & Love_^>i_ 1859; vt _^<i_The Alchemist_^>i_ 1861; vt _^<i_The Alkahest_^>i_ 1887; vt _^<i_The Quest of the Absolute_^>i_
1895 UK; vt _^<i_The Tragedy of a Genius_^>i_ 1912; new trans _^<i_Ellen Marriage as the Quest of the Absolute_^>i_ 1990 UK) fits somewhat dissonantly. Balthazar Claes invests everything into his search for a kind of universal element that lies at
the base of all other elements, but fails. [JC]_^<n__^<n__^<b_Other works:_^>b_ HdB is, like Jules _^<a_!T5355_VERNE_^>a_, a bibliographer's nightmare. Of his numerous early sensational novels, few translations seem to exist, and his later
supernatural fiction appears in very various and chameleon guises. But some titles are of genre interest: _^<i_Le Centenaire: ou les deux Behringeld_^>i_ (_^<b_1822_^>b_ as by Horace de Saint-Aubin; trans George Edgar _^<a_!T2259_SLUSSER_^>a_ as
_^<i_The Centenarian, or The Two Behringelds_^>i_ _^<b_1976_^>b_ US), a horror novel; _^<i_La Peau de chagrin_^>i_ (_^<b_1831_^>b_; trans as _^<i_Luck and Leather: A Parisian Romance_^>i_ _^<b_1842_^>b_ US; various vts; new trans Katharine Prescott
Wormeley as _^<i_The Magic Skin_^>i_ 1888 US), a fantasy; "Seraphita" (1836; trans anon _^<b_1889_^>b_ US; new trans Clara Bell 1990 US), an occult romance; "Melmoth Reconcile" (in _^<i_Etudes philosophiques_^>i_, coll _^<b_1836_^>b_; trans in coll
_^<i_The Unknown Masterpiece_^>i_ _^<b_1896_^>b_ UK), a sequel to _^<i_Melmoth the Wanderer_^>i_ (_^<b_1820_^>b_) by Charles _^<a_!T3724_MATURIN_^>a_._^<b_About the author:_^>b_ _^<i_Balzac_^>i_ (_^<b_1973_^>b_) by V.S. Pritchett._^<b_See
(1932- ) US writer whose sf novel, _^<i_The Sea is Boiling Hot_^>i_ (_^<b_1971_^>b_), deals with a large number of themes, including _^<a_!T6576_ECOLOGY_^>a_: nuclear pollution has set the seas to boiling; mankind lives in huge domed
_^<a_!T727_CITIES_^>a_; _^<a_!T826_COMPUTERS_^>a_ do the work and provide sophisticated entertainment; many citizens opt out for lobotomized relief from a boring world. The protagonist discovers how to reverse the effects of
_^<a_!T1942_POLLUTION_^>a_ by reconstituting pollutants into their original states; _^<a_!T1243_DISASTER_^>a_ routinely threatens and breaks. [JC]_^<n__^<n_
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BANCROFT, LAURA
-T-
> L. Frank _^<a_!T468_BAUM_^>a_._^<n__^<n_
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-A-
BAND, CHARLES
-T-
(1952- ) US film producer, director and entrepreneur, his ambitions often undone by underbudgeting, but responsible for a vigorous burst of sf/fantasy/horror exploitation movies in the mid-1980s. His best works indicate a lively mind and a
bizarre B-movie sensibility that has led to comparison with the Roger _^<a_!T884_CORMAN_^>a_ of the 1950s. Son of exploitation film-maker Albert Band (_^<i_I Bury the Living_^>i_ [1956] and others) and brother of prolific film composer Richard
Band, CB produced his first film, _^<i_Mansion of the Doomed_^>i_ (1976) -- a mad-_^<a_!T2880_SCIENTIST_^>a_ picture modelled on Georges Franju's _^<i_Les_^>i_ _^<a_!T6232_YEUX SANS VISAGE_^>a_ (1959) -- at the age of 21, and directed his first,
_^<i_Crash!_^>i_ (1977), a year later. With the healthy profits from a pair of derivative 3-D sf efforts that he produced and directed -- _^<i_Parasite_^>i_ (1982), a _^<a_!T3011_MONSTER MOVIE_^>a_, and _^<a_!T2922_METALSTORM: THE DESTRUCTION OF
JARED-SYN_^>a_ (1983) -- CB set up Empire International, a prolific grindhouse outfit that flourished 1983-88, many of its films shot in Italy 1984-8. When Empire had financial problems, CB sold out to Irwin Yablans, who had produced for the
company, and established a less ambitious production house, Full Moon International which after a time shot a number of films in Romania._^<n__^<n_Other sf films, many of them marginal sf/horror, with which CB was involved as a producer (sometimes
simply because Empire provided funding, sometimes with fuller creative participation) include -- the list may be incomplete -- _^<i_End of the World_^>i_ (1977), _^<i_Tourist Trap_^>i_ (1978), _^<i_The Day Time Ended_^>i_ (1978; vt
_^<a_!T2525_RE-ANIMATOR_^>a_ (1985; CB uncredited funded but did not produce), _^<a_!T6279_ZONE TROOPERS_^>a_ (1985), _^<a_!T6617_ELIMINATORS_^>a_ (1986), _^<a_!T5950_TERRORVISION_^>a_ (1986), _^<i_Mutant Hunt_^>i_ (1986), _^<i_Breeders_^>i_ (1986)
CB's first direct-to-video production, _^<a_!T1634_FROM BEYOND_^>a_ (1986), _^<i_Robot Holocaust_^>i_ (1987),_^<i_The Caller_^>i_ (1987), _^<i_Arena_^>i_ (1988) based on the Fredric BROWN 1944 short story,
"Transformations"(1988),_^<i_ShadowZone_^>i_ (1989), _^<a_!T2645_ROBOT JOX_^>a_ (1990), _^<i_Crash and Burn_^>i_ (1990) directed by CB,_^<i_Dollman_^>i_ (1990),_^<i_Doctor Mordrid_^>i_ (1992), co-directed with his father, _^<i_Bad Channels
_^>i_(1993), _^<i_Seed People _^>i_(1993), _^<i_Trancers 3: Deth Lives_^>i_ (1993, vt _^<i_Future Cop 3_^>i_), _^<i_Mandroid_^>i_ (1993), _^<i_Robot Wars_^>i_ (1993) dir Albert Band,_^<i_Prehysteria_^>i_ (1993) dir CB and his father, _^<i_Beach
Babes from Beyond Infinity_^>i_ (1993), _^<i_Arcade_^>i_(1994), _^<i_Trancers 4: Jack of Swords_^>i_ (1994, vt _^<i_Future Cop 4_^>i_), _^<i_Test Tube Teens from the Year 2000 _^>i_(1994), _^<i_Trancers 5: Sudden Death_^>i_ (1995 vt _^<i_Future Cop
5_^>i_), _^<i_Oblivion_^>i_ (1995) and _^<i_Prehysteria 2_^>i_ (1995)._^<n__^<n_Supernatural HORROR films in which CB was involved, nearly always just as producer except where noted, include -- the list is not fully complete -- _^<i_Dracula's
Dog_^>i_ (1978 vt _^<i_Zoltan: Hound of Dracula_^>i_) dir Albert Band, _^<i_Ghoulies_^>i_ (1984), _^<i_Troll _^>i_(1986), _^<i_Dreamaniac_^>i_ (1986),_^<i_Necropolis_^>i_ (1987), _^<i_Dolls_^>i_ (1987), _^<i_Ghoulies II_^>i_ (1987) dir Albert Band,
_^<i_Prison_^>i_ (1988), _^<i_Ghost Town_^>i_ (1988), _^<i_Puppetmaster_^>i_ (1989), _^<i_Catacombs _^>i_(1990, vt _^<i_Curse IV: The Ultimate Sacrifice_^>i_),_^<i_Meridian_^>i_ (1990, vt _^<i_Kiss of the Beast_^>i_) dir CB, _^<i_Puppetmaster
II_^>i_ (1990), _^<i_Demonic Toys_^>i_ (1990),_^<i_Netherworld_^>i_ (1990), _^<i_Puppetmaster III_^>i_ (1990), _^<i_Subspecies_^>i_ (1990), _^<i_The Pit and the Pendulum_^>i_(1991), _^<i_Dollman Vs. Demonic Toys_^>i_ (1993) dir CB, _^<i_Bloodstone:
Subspecies II _^>i_(1993),_^<i_Bloodlust: Subspecies III_^>i_ (1994), _^<i_Puppetmaster IV_^>i_ (1994), _^<i_Dragonworld _^>i_(1994) fantasy rather than horror, _^<i_Lurking Fear_^>i_ (1994), _^<a_!T1064_DARK ANGEL_^>a_ (1994), _^<i_Puppetmaster 5:
The Final Chapter_^>i_ (1995), _^<i_Shrunken Heads_^>i_ (1995)._^<n__^<n_While CB has certainly unleashed a torrent of middling-to-terrible product -- often featuring cheap _^<a_!T2646_ROBOTS_^>a_ or small puppet demons -- he deserves credit for
fostering such talent as director Stuart Gordon, producer Brian Yuzna, special-effects-men-turned-directors David Allen and John Carl Buechler, and writers Danny Bilson and Paul DeMeo. _^<a_!T6076_TRANCERS_^>a_ (1984; vt _^<i_Future Cop_^>i_), dir
CB from a snappy script by Bilson and DeMeo, is one of the best sf films of the decade, an imaginative _^<a_!T6026_TIME TRAVEL_^>a_ adventure that beat _^<i_The _^<a_!T5940_TERMINATOR_^>a__^>i_ to several punches and features as many ideas in its
brief running time as an Alfred _^<a_!T568_BESTER_^>a_ novel. CB also dir the disappointing sequel, _^<i_Trancers 2_^>i_ (1991; vt _^<i_Future Cop 2_^>i_)._^<n__^<n_More and more from 1987 on, CB has concentrated on direct-to-video production,
which can be profitable if budgets and shooting schedules are minimized. In the 1990s very few of his films have had theatrical release, but in the direct-to-video castle he is probably king. Full Moon built its staff up from 8 to 200 in the 1990s.
In 1993 he launched a new label, Moonbeam, specializing in children's products. With the success of _^<i_Prehysteria_^>i_ and _^<i_Dragonworld _^>i_in this label, it looks as if this is where CB's future may lie. However in 1994, CB, never one to
overlook a marketing opportunity, also launched the Torchlight label, which makes "adult" (i.e. pornographic) films. [KN/PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T4509_HORROR IN SF_^>a_.
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BANGS, JOHN KENDRICK
-T-
(1862-1922) Extremely prolific US writer under many names, most of whose books of interest were humorous fantasies, not sf. However, one of them (his most famous), _^<i_A House-Boat on the Styx: Being Some Account of the Divers Doings of the
Associated Shades_^>i_ (_^<b_1896_^>b_), provides a model for many stories featuring the famous dead as posthumous protagonists in venues that usually have an Arcadian glow. From it a suggestive line of association can be drawn through William Dean
_^<a_!T4528_HOWELLS_^>a_'s _^<i_The Seen and Unseen at Stratford-on-Avon_^>i_ (_^<b_1914_^>b_) and the works of Thorne Smith (1892-1934) down to the various _^<b_Riverworld_^>b_ tales and novels of Philip Jose _^<a_!T1435_FARMER_^>a_. The sequels
are_^<i_The Pursuit of the House-Boat_^>i_ (_^<b_1897_^>b_) and _^<i_The Enchanted Type-Writer_^>i_ (coll of linked stories _^<b_1899_^>b_). [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Roger Camerden: A Strange Story_^>i_ (_^<b_1887_^>b_); _^<i_New
Waggings of Old Tales_^>i_ (coll _^<b_1888_^>b_) with Frank Dempster Sherman, both writing as Two Wags; _^<i_Tiddlywink Tales_^>i_ (coll _^<b_1891_^>b_); _^<i_Toppleton's Client, or A Spirit in Exile_^>i_ (_^<b_1893_^>b_); _^<i_The Water Ghost_^>i_
(coll _^<b_1894_^>b_); _^<i_Mr Bonaparte of Corsica_^>i_ (_^<b_1895_^>b_); _^<i_The Idiot_^>i_ (_^<b_1895_^>b_); _^<i_A Rebellious Heroine_^>i_ (_^<b_1896_^>b_); _^<i_The Bicyclers, and Three Other Farces_^>i_ (coll _^<b_1896_^>b_);_^<i_Ghosts I
have Met and Some Others_^>i_ (coll _^<b_1898_^>b_); _^<i_The Dreamers: A Club_^>i_ (coll _^<b_1899_^>b_)_^<i_Mr Munchausen_^>i_ (_^<b_1901_^>b_); _^<i_Over the Plum-Pudding_^>i_ (coll _^<b_1901_^>b_); _^<i_Bikey the Skicycle and Other Tales of
Jimmie-Boy_^>i_ (coll _^<b_1902_^>b_), some stories being sf; _^<i_Emblemland_^>i_ (_^<b_1902_^>b_) with Charles R. Macauley, a desert-island fantasy; _^<i_Olympian Nights_^>i_ (_^<b_1902_^>b_); _^<i_The Inventions of an Idiot_^>i_ (coll
_^<b_1904_^>b_); _^<i_Alice in Blunderland: An Iridescent Dream_^>i_ (_^<b_1907_^>b_); _^<i_The Autobiography of Methuselah_^>i_ (_^<b_1909_^>b_); _^<i_Jack and the Check Book_^>i_ (_^<b_1911_^>b_); _^<i_Shylock Homes: His Posthumous Memoirs_^>i_
(coll _^<b_1973_^>b_).
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BANISTER, MANLY (MILES)
-T-
(1914-1986) US novelist and short-story writer. _^<i_Conquest of Earth_^>i_ (_^<b_1957_^>b_) is a _^<a_!T2342_SPACE OPERA_^>a_ in which a resurgent mankind learns how to conquer the _^<a_!T98_ALIEN_^>a_ Trisz. Other sf novels have been published in
magazine form only. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Eegoboo: A Fantasy Satire_^>i_ (_^<b_1957?_^>b_ chap)._^<b_See also:_^>b_ _^<a_!T2528_RECURSIVE SF_^>a_.
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BANKS, IAIN M(ENZIES)
-T-
(1954- ) Scottish writer who distinguishes between his fiction published for a general market and that aimed more directly at sf readers by signing the former books Iain Banks and the latter Iain M. Banks; although differences in register and
venue can be detected in the two categories -- as in the case of Graham Greene's "Entertainments" -- those categories tend to merge. IB's first published novel, _^<i_The Wasp Factory_^>i_ (_^<b_1984_^>b_), is a case in point: the familial
intensities brought to light as the 17-year-old protagonist awaits the return home of his crazy older brother are psychologically probing in an entirely mimetic sense, while at the same time his dreams and behaviour are rendered in terms displaced
into the surrealistic realms of modern horror. IB's second novel, _^<i_Walking on Glass_^>i_ (_^<b_1985_^>b_), even more radically engages a mixture of genres -- a mimetic rendering of an adolescent's coming of age, a paranoid's displaced and
displacing conviction that he is a warrior from the stars, and the entrapment of a "genuine" set of characters from an sf war -- in something like internecine warfare. _^<i_The Bridge_^>i_ (_^<b_1986_^>b_), perhaps IB's finest single novel, once
again conflates the literal with displacements of metaphor which are given the weight of reality, as a comatose man relives (or anticipates) his own life, which is represented in matrix form as an enormous bridge, among the interstices of which he
engages in a rather hilarious parody of _^<a_!T5875_SWORD-AND-SORCERY_^>a_ conventions. Of later IB novels, _^<i_Canal Dreams_^>i_ (_^<b_1989_^>b_) also stretches the nature of the _^<a_!T3609_MAINSTREAM_^>a_ novel by being set in
AD2000._^<n__^<n_The IMB novels (some of which were written, at least in an early form, before _^<i_The Wasp Factory_^>i_) are conspicuously more holiday in spirit and open in texture, seeming at first glance to occupy their space-opera venues
without much thought for the morrow. It is a deceptive impression, though the exuberance is genuine enough. The first four IMB novels -- _^<i_Consider Phlebas_^>i_ (_^<b_1987_^>b_), _^<i_The Player of Games_^>i_ (_^<b_1988_^>b_), _^<i_The State of
the Art_^>i_ (_^<b_1989_^>b_ US), which was assembled with other stories, some of them _^<b_Culture_^>b_ tales (see below), as _^<i_The State of the Art_^>i_ (coll _^<b_1991_^>b_), and _^<i__^<a_!B9265_USE OF WEAPONS_^>a__^>i_ (_^<b_1990_^>b_) --
comprise loose-connected segments of a sequence devoted to a portrayal of a vast, interstellar, ship-based _^<b_Culture_^>b_governed by vast, wry AIs. The underlying premises IMB uses to shape this Culture stand as a direct challenge to those
underlying most future _^<a_!T4442_HISTORIES_^>a_. Most importantly, and most unusually for _^<a_!T2342_SPACE OPERA_^>a_, the Culture has very carefully been conceived in genuine post-scarcity terms. In other words, it boasts no hierarchies bent on
maintaining power through control of limited resources. There are no Empires in the Culture, no tentacled Corporations, no Enclave whose hidden knowledge gives its inhabitants a vital edge in their attempts to maintain independence against the
military hardware of the far-off Czar at the apex of the pyramid of power. Even more remarkably, IMB represents the inhabitants of the Culture -- they are most often met monitoring and exploring the Universe in the vast _^<a_!T68_AI_^>a_-run ships
which comprise the ganglia of the colossal enterprise -- as energetic volunteers at living in the _^<a_!T5303_UTOPIA_^>a_ that has, in a sense, been created for them._^<n__^<n_The novels themselves, perhaps understandably, shy clear of any undue
focus on this complex, free-form, secular paradise, concentrating on wars between the Culture and its occasional enemies. The protagonist of _^<i_Consider Phlebas_^>i_ is a mercenary who has chosen the wrong side; in his battles against the Culture
he exposes the reader to a number of sly ironies, because the doomed civilization for which he is fighting is remarkably similar to the standard backdrop _^<a_!T1678_GALACTIC EMPIRE_^>a_ found in routine space opera. _^<i_The Player of Games_^>i_,
though more economically told than its bulbous predecessor, less challengingly pits its protagonist against a savage game-based civilization, which he causes to crumble. The novel _^<i_The State of the Art_^>i_ contrasts contemporary Earth with a
Culture mission, allowing a variety of satirical points to be made about the seamy, agonistic, death-obsessed mortals of our planet. _^<i__^<a_!B9265_USE OF WEAPONS_^>a__^>i_, constructed with some of the savage inhibiting intricacy of _^<i_Walking
on Glass_^>i_, does finally address the question of Culture guilt for its manipulation of races not yet free of scarcity-bound behaviour; its portrayal of the relationship between a Culture woman and the mercenary in her employ is tough-minded, and
provides no easy answers._^<n__^<n_The next two IMB novels move away from _^<b_Culture_^>b_ concerns. _^<i_Against a Dark Background_^>i_ (_^<b_1993_^>b_) is a singleton whose soft, walkabout middle somewhat muffles a tale of singular desolation,
in which a female protagonist is coerced into ransacking her home planet for a _^<a_!T3535_MCGUFFIN_^>a_-like treasure, and in the course of accomplishing her goal loses her companions, loses her sense of trust in her stifling family, and witnesses
the further decline of her world. _^<i_Feersum Endjinn_^>i_(_^<b_1994_^>b_) is a complex tale told at a scherzo pace, conflating several plotlines into a neatly planned climax during which a _^<a_!T1432_FAR FUTURE_^>a_ world is saved, folk are
reunited, the dead walk, and everyone is sling-shot into a new paradigm. For many readers and critics, IB/IMB was the major new UK sf writer of recent decades. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Cleaning Up_^>i_ (_^<b_1987_^>b_ chap) as IMB;
_^<i_Espedair Street_^>i_ (_^<b_1987_^>b_) as IB, associational; _^<i_The Crow Road_^>i_ (_^<b_1992_^>b_) as IB, associational _^<i_Complicity _^>i_(_^<b_1993_^>b_), associational._^<b_See also:_^>b_ _^<a_!T1714_OPTIMISM AND PESSIMISM_^>a_;
_^<a_!T2023_PSYCHOLOGY_^>a_.
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(c) 1995 John Clute and Peter Nicholls
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BANKS, MICHAEL A.
-T-
(1951- ) US writer and editor who began publishing sf with "Lost & Found", with George Wagner, for _^<i_IASFM_^>i_ in 1978, and who has since published at least 45 stories, some as by Alan Gould. His first books of sf interest were the nonfiction
_^<i_Understanding Science Fiction_^>i_ (_^<b_1982_^>b_), a primer for teachers unfamiliar with the field, and _^<i_Ultraheroes_^>i_ (_^<b_1983_^>b_), an sf interactive text for juveniles. His first sf novel as such was _^<i_The Odysseus
Solution_^>i_ (_^<b_1986_^>b_) with Dean R(odney) Lambe (1943- ), an adventure tale involving _^<a_!T102_ALIENS_^>a_; he remains best known perhaps for his "collaborations" with the late Mack _^<a_!T2576_REYNOLDS_^>a_ (_^<i_whom see for
details_^>i_), in which he edited or worked up material by Reynolds into _^<i_Joe Mauser: Mercenary from Tomorrow_^>i_ (_^<b_1986_^>b_) and _^<i_Sweet Dreams, Sweet Princes_^>i_ (_^<b_1986_^>b_). Other activities included the associate editorship
of _^<i_New Destinies_^>i_ (> _^<a_!T1197_DESTINIES_^>a_) in 1986-7. Much of his nonfiction treats material of interest to sf writers and readers. [JC]_^<n__^<n__^<b_Other works:_^>b_ MAB's nonfiction includes several computer product-training and
applications texts, as well as _^<i_DELPHI: The Official Guide_^>i_ (_^<b_1987_^>b_); _^<i_The Modem Reference_^>i_ (_^<b_1988_^>b_); _^<i_Word Processing Secrets for Writers_^>i_ (_^<b_1989_^>b_) with Ansen Dibel; and _^<i_Pournelle's Guide to PC
Communications_^>i_ (_^<b_1991_^>b_) with Jerry _^<a_!T1961_POURNELLE_^>a_.
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(c) 1995 John Clute and Peter Nicholls
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1260
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-END-
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BANNERMAN, GENE
-T-
[s] > Thomas P. _^<a_!T4011_KELLEY_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
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25
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-END-
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BANNISTER, JO
-T-
[r] > _^<a_!T6332_ROBERT HALE LIMITED_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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28
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BANNON, MARK
-T-
> Paul _^<a_!T849_CONRAD_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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15
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BANTAM BOOKS
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Large US publishing house, a general publisher, mainly of paperbacks, rather than an sf specialist. It was founded in 1945 by Ian Ballantine, but he left in 1952 to form _^<a_!T377_BALLANTINE BOOKS_^>a_ because he wanted to publish paperback
originals, whereas BB's list was almost entirely of reprints -- although one early sf paperback original (but not published as sf) from BB was _^<i_Shot in the Dark_^>i_ (anth _^<b_1950_^>b_) ed Judith _^<a_!T2908_MERRIL_^>a_. In the 1950s and
1960s BB published some sf, including original collections by Fredric _^<a_!T5028_BROWN_^>a_, but generally were not major players in sf publishing. Their sf line was expanded when Frederik _^<a_!T1937_POHL_^>a_ was hired as sf consultant in 1975;
_^<i_inter alia_^>i_ he introduced Samuel R. _^<a_!T1152_DELANY_^>a_ to the list, with _^<i__^<a_!B9021_DHALGREN_^>a__^>i_ (_^<b_1975_^>b_). Pohl was followed as sf editor by Sydny Weinberg, who was in turn succeeded in 1980 by Karen Haas. By 1981
BB was publishing over 20 sf/fantasy paperback originals a year, including such authors as David _^<a_!T4999_BRIN_^>a_ and John _^<a_!T981_CROWLEY_^>a_._^<n__^<n_Lou _^<a_!T250_ARONICA_^>a_ took over the sf line in 1982, with considerable success,
his list coming to include Thomas M. _^<a_!T1244_DISCH_^>a_, Richard _^<a_!T4806_GRANT_^>a_, Harry _^<a_!T4316_HARRISON_^>a_, Robert _^<a_!T2216_SILVERBERG_^>a_ and Norman _^<a_!T2370_SPINRAD_^>a_, and introducing Pat _^<a_!T5117_CADIGAN_^>a_,
Sheila _^<a_!T1483_FINCH_^>a_, R.A. _^<a_!T6295_MACAVOY_^>a_ and Robert Charles _^<a_!T6366_WILSON_^>a_. By 1985 BB had become one of the top five sf publishers in terms of number of books published, and in that year launched the new _^<b_Bantam
Spectra_^>b_ imprint for sf, which emphasized original publications rather than reprints and also published some hardcovers. Shawna _^<a_!T6301_MCCARTHY_^>a_ joined BB as sf editor in 1985, working for Aronica, now Publishing Director. Soon BB
authors included Karen Joy _^<a_!T1581_FOWLER_^>a_, William _^<a_!T4689_GIBSON_^>a_, Lisa _^<a_!T4762_GOLDSTEIN_^>a_, Ian _^<a_!T3513_MCDONALD_^>a_, Lewis _^<a_!T2189_SHINER_^>a_ and Connie _^<a_!T5632_WILLIS_^>a_. McCarthy left in 1988. By the
late 1980s BB had one of the most prestigious lines in sf publishing. Its anthology lines included _^<a_!T5599_WILD CARDS_^>a_ and _^<a_!T1643_FULL SPECTRUM_^>a_._^<n__^<n_In 1986 the German company Bertelsmann, which already owned BB, bought
_^<a_!T1299_DOUBLEDAY_^>a_. As a result, since 1987 Doubleday's new hardcover imprint, _^<b_Doubleday Foundation_^>b_, was closely associated with _^<b_Bantam Spectra_^>b_. In 1989 Aronica became vice-president and publisher of all BB mass-market
books, while retaining his direct control of _^<b_Bantam Spectra_^>b_. It appears (1991) that much of the _^<b_Doubleday Foundation_^>b_ list will be returned to _^<b_Bantam Spectra_^>b_._^<n__^<n_The UK Transworld Publishers, which publishes sf
and fantasy under the Corgi Books imprint, is a subsidiary of BB. [PN]_^<n__^<n_
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2306
CATRS
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-A-
BARBARELLA
-T-
_^<b_1._^>b_ _^<a_!T820_COMIC_^>a_ strip created by French artist Jean-Claude Forest (1930- ) for _^<i_V. Magazine_^>i_ in 1962. The interplanetary _^<a_!T2115_SEX_^>a_ adventures of the scantily clad blonde astronaut were collected as
_^<i_Barbarella_^>i_ (graph coll _^<b_1964_^>b_; trans Richard Seaver_^<b_1966_^>b_ US). Despite its humorous attitudes, _^<i_B_^>i_ incurred the wrath of French censorship. This row and the subsequent film version have tended to obscure the
elegance and inventive sf content of the strip. Forest's later attempts to revive it, reducing the sex and increasing the sf elements, were less successful. Among his later, lesser known comic books is the witty _^<i_La revanche d'Hypocrite_^>i_
["The Revenge of Hypocrite"] (graph _^<b_1977_^>b_)._^<n__^<n__^<b_2._^>b_ Film (1968). De Laurentiis-Marianne/Paramount. Dir Roger Vadim, starring Jane Fonda, John Phillip Law, Milo O'Shea, David Hemmings, Anita Pallenberg. Screenplay Terry
Southern, Jean-Claude Forest, Vadim, Vittorio Bonicelli, Brian Degas, Claude Brule, Tudor Gates, Clement Biddle Wood, based on the comic strip by Forest. 98 mins. Colour._^<n__^<n_Like Forest's strip, this Italian-French coproduction parodies the
conventions of _^<a_!T2033_PULP-MAGAZINE_^>a_ sf as typified by _^<a_!T1517_FLASH GORDON_^>a_ but, where Forest's work was spare, Vadim's is lush, and it loses some of Forest's sharpness. The film is sometimes funny but seldom witty, despite the
presence of Southern among the multinational crowd of eight scriptwriters. Barbarella (Fonda), agent of the Earth government, is sexually and culturally innocent in the manner of _^<a_!T5394_VOLTAIRE_^>a_'s Candide. Her search for a missing
scientist on the planet Sogo results in an ever more baroque series of (mostly sexual) encounters: with sadistic children and their carnivorous dolls, with a blind angel (Law), with an inadequate revolutionary (Hemmings), with a pleasure machine
and with the decadent lesbian Black Queen (Pallenberg), among others. Fonda -- whose clothes look as if designed by Earle K. _^<a_!T547_BERGEY_^>a_ -- is memorable for her attractively wide-eyed air, combining eroticism with bafflement.
_^<a_!T1461_FEMINIST_^>a_ critics were outraged at Vadim's exploitation of his real-life wife's sexuality in so voyeuristic a manner -- he had done it before with Brigitte Bardot -- though his evocation of the decadence he so obviously enjoys
appears adolescent rather than corrupt. The exoticism with which the planet Sogo is created is what makes _^<i_B_^>i_ a distinguished sf film; a real, if intermittent, _^<a_!T2104_SENSE OF WONDER_^>a_ is created by the sheer alienness of Mario
Garbuglia's production design and Enrico Fea's art direction, all glowingly photographed by Claude Renoir. [MJ/PN]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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CATRS
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BARBARY, JAMES
-T-
> Jack _^<a_!T495_BEECHING_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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18
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-A-
BARBEE, PHILLIPS
-T-
[s] > Robert _^<a_!T2164_SHECKLEY_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 400 SF00395.t
25
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BARBET, PIERRE
-T-
Pseudonym of Dr Claude Pierre Marie Avice (1925- ), French writer; under his real name he is a pharmacist and an expert on bionics. He has also used the pseudonyms David Maine and Olivier Sprigel. A highly prolific if derivative popular writer of sf
from 1962, PB has published over 35 novels, some of which have been translated into English: _^<i_Les grognards d'Eridan_^>i_ (_^<b_1970_^>b_; trans Stanley Hochman as _^<i_The Napoleons of Eridanus_^>i_ _^<b_1976_^>b_ US) and its sequel
_^<i_L'Empereur d'Eridan_^>i_ (trans Stanley Hochman as _^<i_The Emperor of Eridanus_^>i_ _^<b_1983_^>b_ US), which make up a series of _^<a_!T2342_SPACE OPERAS_^>a_ based on _^<b_Napoleon_^>b_; the _^<a_!T1794_PARALLEL-WORLDS_^>a_ story
_^<i_L'empire du Baphomet_^>i_ (_^<b_1971_^>b_; trans Bernard Kay as _^<i_Baphomet's Meteor_^>i_ _^<b_1972_^>b_ US) and assembled with _^<i_Croisade Stellaire_^>i_ (_^<b_1974_^>b_; trans C.J. _^<a_!T5255_CHERRYH_^>a_ as "Stellar Crusade" in
_^<i_Cosmic Crusaders_^>i_ [omni _^<b_1980_^>b_ US]); _^<i_Liane de Noldaz_^>i_ (_^<b_1973_^>b_; trans Stanley Hochman as _^<i_The Joan-of-Arc Replay_^>i_ _^<b_1978_^>b_ US); _^<i_A quoi songent les psyborgs?_^>i_ (_^<b_1971_^>b_; trans Wendayne
Ackerman as _^<i_Games Psyborgs Play_^>i_ _^<b_1973_^>b_ US); _^<i_La planete enchantee_^>i_ (_^<b_1973_^>b_; trans C.J. Richards as _^<i_The Enchanted Planet_^>i_ _^<b_1975_^>b_ US). [MJ]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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1074
CATRS
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BARBOUR, DOUGLAS (FLEMING)
-T-
(1940- ) Canadian poet and academic, a professor of English at the University of Alberta, whose "Patterns of Meaning in the SF Novels of Ursula K. Le Guin, Joanna Russ and Samuel R. Delany, 1962-1972", accepted by Queen's University in 1976, was
the first Canadian doctoral dissertation in the field of sf. Two competent published studies were spun-off from this volume: _^<i_An Opening in the Field: The SF Novels of Joanna Russ_^>i_ (_^<b_1978_^>b_ US), a necessary study of Joanna
_^<a_!T2741_RUSS_^>a_, and _^<i_Worlds Out of Words: The SF Novels of Samuel R. Delany_^>i_ (_^<b_1979_^>b_ UK). Several shorter essays, specifically those on Samuel R. _^<a_!T1152_DELANY_^>a_ and Ursula K. _^<a_!T3318_LE GUIN_^>a_, have
demonstrated DB's adhesion to a high-road view of the genre, although he has published a short piece on _^<i_The Witches of Karres_^>i_ (_^<b_1966_^>b_) by James H. _^<a_!T2849_SCHMITZ_^>a_ and has reviewed with some liberality of grasp.
(1874-1935) French writer, best known for his strongly realistic fiction, especially that concerning WWI. _^<i_Les enchainements_^>i_ (_^<b_1925_^>b_; trans as _^<i_Chains_^>i_ in 2 vols _^<b_1925_^>b_ US) attempts -- like many novels from the first
third of the century -- to present a panoramic vision of mankind's prehistory and history, in this case through the transcendental experiences of a single protagonist who is struck by his significant visions while in the middle of a staircase.
[JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T1727_ORIGIN OF MAN_^>a_.
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
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475
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BARCELO, ELIA
-T-
[r] > _^<a_!T2357_SPAIN_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
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14
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BARCELO, MIQUEL
-T-
(1948- ) Spanish (Catalan) computer-systems professor and sf/fantasy book editor with Ediciones B. Having been publisher of the sf _^<a_!T1428_FANZINE_^>a_ _^<i_Kandama_^>i_ from 1980, MB became a professional editor in 1986, and is author of
_^<i_Ciencia ficcion: Guia de lectura_^>i_ ["Science Fiction Reader's Guide"] (_^<b_1990_^>b_). He revised the _^<a_!T2357_SPAIN_^>a_ entry in this volume. [PN]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
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333
CATRS
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BARCLAY, ALAN
-T-
Pseudonym of UK writer and civil engineer George B. Tait (1910- ), who wrote some stories for _^<i_Science Fantasy_^>i_, beginning with "Enemy in their Midst" in 1952, and the _^<b_Jacko_^>b_ series -- mostly for _^<i_NW_^>i_, beginning with
"Only an Echo" (1954) and ending with "The Thing in Common" (1956). Parts of this series became his sf novel _^<i_Of Earth and Fire_^>i_ (fixup _^<b_1974_^>b_), which pits Earth's space service against _^<a_!T102_ALIEN_^>a_ intruders. He wrote his
novels exclusively for _^<a_!T6332_ROBERT HALE LIMITED_^>a_. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_The City and the Desert_^>i_ (_^<b_1976_^>b_); _^<i_No Magic Carpet_^>i_ (_^<b_1976_^>b_); _^<i_The Cruel Years of Winter_^>i_ (_^<b_1978_^>b_);
_^<i_The Guardian at Sunset_^>i_ (dated _^<b_1979_^>b_ but _^<b_1980_^>b_).
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(c) 1995 John Clute and Peter Nicholls
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646
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BARCLAY, BILL or WILLIAM
-T-
> Michael _^<a_!T3030_MOORCOCK_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
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21
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BARCLAY, GABRIEL
-T-
House pseudonym used in 1940 for 2 stories in _^<i_Astonishing Stories_^>i_ and _^<i_Super Science Stories_^>i_, 1 by Manly Wade _^<a_!T5525_WELLMAN_^>a_ and 1 by C.M. _^<a_!T6353_KORNBLUTH_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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145
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BARFIELD, (ARTHUR) OWEN
-T-
(1898- ) UK writer and philologist whose first book, _^<i_The Silver Trumpet_^>i_ (_^<b_1925_^>b_), was a fantasy. He was long involved with the Anthroposophical philosophy of Rudolf Steiner (1861-1925). A member of the Inklings group and a
long-time associate of C.S. _^<a_!T3368_LEWIS_^>a_, OB contributed to _^<i_Essays Presented to Charles Williams_^>i_ (anth _^<b_1947_^>b_), which Lewis had organized. As G.A.L. Burgeon he wrote an sf novel, _^<i_This Ever Diverse Pair_^>i_
(_^<b_1950_^>b_). Later works include _^<i_Worlds Apart_^>i_ (_^<b_1963_^>b_), described as "A Dialogue of the 1960s", and _^<i_Unancestral Voice_^>i_ (_^<b_1968_^>b_). [JC]_^<n__^<n__^<b_About the author:_^>b_ "C.S. Lewis, Owen Barfield and the
Modern Myth" by W.D. Norwood Jr in _^<i_Midwest Quarterly_^>i_ 4(2) (1967).
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(c) 1995 John Clute and Peter Nicholls
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660
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BARGONE, FREDERIC CHARLES PIERRE EDOUARD
-T-
[r] > Claude _^<a_!T1440_FARRERE_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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22
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BARJAVEL, RENE
-T-
(1911-1985) French novelist, active in later life as a screenwriter and journalist. His first novel to be translated, _^<i_Ravage_^>i_ (_^<b_1943_^>b_; trans Damon _^<a_!T4098_KNIGHT_^>a_ as _^<i_Ashes, Ashes_^>i_ _^<b_1967_^>b_ US), describes a
post-_^<a_!T4482_HOLOCAUST_^>a_ France driven inwards into rural quiescence by the sudden disappearance of electricity from the world; the corrupting effects of technology are described scathingly. The next sf work from this important early period
is _^<i_Le voyageur imprudent_^>i_ (_^<b_1944_^>b_; with postscript 1958; trans anon as _^<i_Future Times Three_^>i_ _^<b_1970_^>b_ US), a rather pessimistic _^<a_!T6026_TIME-TRAVEL_^>a_ story with the usual paradoxes, partly set in the same future
world as the previous novel. Several novels have not been translated: _^<i_L'homme fort_^>i_ ["The Strong Man"] (_^<b_1946_^>b_), about a self-created _^<a_!T5830_SUPERMAN_^>a_ whose efforts to bring happiness to humanity are doomed; and _^<i_Le
diable l'emporte_^>i_ ["The Devil Takes All"] (_^<b_1948_^>b_) and its sequel _^<i_Colomb de la Lune_^>i_ ["Columbus of the Moon"] (_^<b_1962_^>b_), about the consequences of a future _^<a_!T5452_WAR_^>a_. The epigraph to _^<i_Le diable
l'emporte_^>i_ reads, in translation, "To our grandfathers and grandchildren, the cavemen."_^<n__^<n_RB's later work decreases in intensity and is less interestingly (though almost unvaryingly) gloomy about humanity's prospects. Typical is _^<i_La
nuit des temps_^>i_ (_^<b_1968_^>b_; trans Charles Lam Markmann as _^<i_The Ice People_^>i_ _^<b_1970_^>b_ UK), a ramblingly told morality tale in which two long-frozen humans -- survivors of an eons-prior nuclear war -- revive into a
disaster-bound present age. [JC/PN]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Les enfants de l'hombre_^>i_ ["Children of the Shadows"] (coll _^<b_1946_^>b_; exp vt _^<i_Le prince blesse_^>i_ ["The Wounded Prince"] 1974); _^<i_Le grand secret_^>i_
(_^<b_1973_^>b_; trans as _^<i_The Immortals_^>i_ _^<b_1974_^>b_ US); _^<i_Jour de feu_^>i_ ["Day of Fire"] (_^<b_1974_^>b_); _^<i_Une Rose au Paradis_^>i_ ["A Rose from Paradise"] (_^<b_1981_^>b_); _^<i_La Tempete_^>i_ ["The Tempest"]
[r] > _^<a_!T6332_ROBERT HALE LIMITED_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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BARLOW, JAMES
-T-
(1921-1973) UK novelist, known mainly for such work outside the sf field as the anti-communist thriller _^<i_The Hour of Maximum Danger_^>i_ (_^<b_1962_^>b_). His sf novel, _^<i_One Half of the World_^>i_ (_^<b_1957_^>b_), presents a UK ruled by a
totalitarian leftist regime. The protagonist, finding God again, conflicts with the powers-that-be. [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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311
CATRS
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-A-
BARLOW, JAMES WILLIAM
-T-
(1826-1913) UK cleric and writer whose sf novel, _^<i_History of a World of Immortals without a God_^>i_ (_^<b_1891_^>b_ Ireland as by Antares Skorpios; vt _^<i_The Immortals' Great Quest_^>i_ 1909 UK as JWB), presents in note form its protagonist's
record of his trip to _^<a_!T5351_VENUS_^>a_, where a large population has resided in a state of happy non-Christian socialism for many thousands of years. The inhabitants of the first continent visited by the misogynist narrator find themselves,
after death, reincarnated (> _^<a_!T2548_REINCARNATION_^>a_) on a second continent far to the south, where they continue their Great Quest for an explanatory principle, or God. [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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587
CATRS
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BARLOWE, WAYNE DOUGLAS
-T-
(1958- ) US illustrator whose successful _^<i_Barlowe's Guide to Extraterrestrials_^>i_ (_^<b_1979_^>b_), in collaboration with Ian Summers (who wrote the text), was published when he was 21, only two years after he had made his first sale, a
cover for _^<i_Cosmos_^>i_. The book featured WDB's excellent paintings of many of sf's best-known _^<a_!T102_ALIENS_^>a_. The son of natural-history artists Sy and Dorothea Barlowe, WDB has a talent for creating believable surface textures,
important in creating aliens -- his attention to detail is reminiscent of Wyeth and Pyle. He works in acrylics and has done book covers, also magazine covers for _^<i_ASF_^>i_ and _^<i_IASFM_^>i_, to whose ex-editor, Shawna
_^<a_!T6301_MCCARTHY_^>a_, he is married. _^<i_Expedition: Being an Account in Words and Artwork of the 2358 A.D. Voyage to Darwin IV_^>i_ (_^<b_1990_^>b_), written and illustrated by WDB, is an interesting work of speculative
_^<a_!T6215_XENOBIOLOGY_^>a_, illustrating and describing the physiology of lifeforms on an imaginary planet. [JG/PN]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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895
CATRS
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BARNARD, MARJORIE FAITH
-T-
[r] > M. Barnard _^<a_!T6610_ELDERSHAW_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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27
CATRS
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BARNARD-ELDERSHAW, M.
-T-
> M. Barnard _^<a_!T6610_ELDERSHAW_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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23
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BARNE, LEO
-T-
[s] > L.P. _^<a_!T1089_DAVIES_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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20
CATRS
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BARNES, ARTHUR K(ELVIN)
-T-
(1911-1969) US pulp writer known also for his works outside the sf field. He was intermittently active in sf until 1946, his first story being published in 1931. His _^<b_Gerry Carlyle_^>b_ series of stories, in which Miss Carlyle and a sidekick
hunt down various alien prey, appeared originally in _^<i_TWS_^>i_. His _^<i_Interplanetary Hunter_^>i_ (1937-46 _^<i_TWS_^>i_; fixup _^<b_1956_^>b_) combines 5 of these stories, omitting "The Dual World" (1938) and "The Energy Eaters" (1939). The
latter story -- and "The Seven Sleepers" (1940), worked into the fixup -- were written with Henry _^<a_!T4144_KUTTNER_^>a_, and used his character Tony Quade. AKB sometimes used the pseudonym Kelvin _^<a_!T4031_KENT_^>a_, both alone and with
(1946- ) UK writer who has published detective novels as by Dan Kavanaugh. His most famous single novel is _^<i_Flaubert's Parrot_^>i_ (_^<b_1984_^>b_). He has written two books of sf interest. _^<i_Staring at the Sun_^>i_ (_^<b_1986_^>b_)
carries its protagonist from her birth in 1922 into an exiguous future 98 years later, but closes movingly at a moment when, still archaically alive to the real world, she gazes at the unfaded reality of the Sun. _^<i_A History of the World in
101/2 Chapters_^>i_ (coll of linked stories _^<b_1989_^>b_) begins with Noah's Ark and gradually assembles a vision of history itself as a _^<i_Narrenschiff_^>i_, or Ship of Fools, or Ark, whose message is nothing without human love. [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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635
CATRS
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BARNES, MYRA EDWARDS
-T-
(1933- ) US author of _^<i_Linguistics and Language in Science Fiction-Fantasy_^>i_ (_^<b_1975_^>b_), a reprint of her 1971 PhD dissertation. This is a useful introduction to the subject (> _^<a_!T3398_LINGUISTICS_^>a_), although not as
comprehensive as _^<i_Aliens and Linguists: Language Study and Science Fiction_^>i_ (_^<b_1980_^>b_) by Walter E. _^<a_!T2932_MEYERS_^>a_. [PN]_^<n__^<n_
(1952- ) US writer who began publishing with "Moonglow" in _^<i_Vampires, Werewolves and Other Monsters_^>i_ (anth _^<b_1974_^>b_) ed Roger _^<a_!T6648_ELWOOD_^>a_, and whose career has been associated since its early days with Larry
_^<a_!T3223_NIVEN_^>a_, SB's collaborator on most of his novels, including the first, _^<i_Dream Park_^>i_ (_^<b_1981_^>b_). The _^<b_Dream Park_^>b_ sequence -- the eponymous venue in which it is set houses a wide variety of high-tech role-playing
games (> _^<a_!T4597_GAME-WORLDS_^>a_; _^<a_!T5380_VIRTUAL REALITY_^>a_) -- continues with _^<i_The Barsoom Project_^>i_ (_^<b_1989_^>b_) and _^<i_Dream Park: The Voodoo Game_^>i_ (_^<b_1991_^>b_ UK; vt _^<i_The California Voodoo Game_^>i_ 1992
US), both also with Niven, and has moments of relatively light-hearted agility, especially perhaps in the second volume, in which a terraformed _^<a_!T3677_MARS_^>a_ (_^<i_see also_^>i_ _^<a_!T5945_TERRAFORMING_^>a_) is advertised, although the
action does not leave Earth. Further collaborations include _^<i_The Descent of Anansi _^>i_(_^<b_1982_^>b_) with Niven; the ongoing _^<b_Avalon_^>b_ sequence, comprising _^<i_The Legacy of Heorot_^>i_ (_^<b_1987_^>b_ UK) and <The Dragons of
Heorot> (1995 UK) with Niven and Jerry _^<a_!T1961_POURNELLE_^>a_, tales of planet-exploitation based on _^<i_Beowulf_^>i_ and reflecting many of Pournelle's convictions; and _^<i_Achilles' Choice_^>i_ (_^<b_1991_^>b_) with Niven alone, which
returns to a game-world atmosphere, though not it seems advertently, in a tale set at a time when athletes can aspire to join the planet-dominating corporate elite by winning at competitions, the catch being that they must "Boost" to achieve
stardom, and that only the winners are saved through real-time computer monitoring of the effects of doing so._^<n__^<n_SB's solo work has been perhaps less infected by hi-tech gloss. The _^<b_Aubry Knight_^>b_ sequence --
comprising_^<i_Streetlethal_^>i_ (_^<b_1983_^>b_), its sequel _^<i_Gorgon Child_^>i_ (_^<b_1989_^>b_), and _^<i_Firedance_^>i_ (dated 1993 but _^<b_1994_^>b_) -- are moderately down-to-earth adventure tales set in the kind of
_^<a_!T1015_CYBERPUNK_^>a_ urban venue -- in this case, post-earthquake Los Angeles -- that is always said to be gritty, with an abundance of sf instruments involved in keeping the action moving. _^<i_The Kundalini Equation_^>i_ (_^<b_1986_^>b_)
invokes its author's long interest in martial arts. It might be said that SB has acquired a good amount of skill and gear, but has yet to speak in his own voice. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T3327_LEISURE_^>a_;
_^<a_!T2348_SPACESHIPS_^>a_.
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CATRS
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BARNETT, PAUL (LE PAGE)
-T-
(1949- ) Scottish writer and editor, resident in England, who has used the pseudonym John Grant for all his published work except some short stories and a nonfiction book as by Eve Devereux and a handful of essays and reviews and a nonfiction
book translation under his own name. He entered the field through editing _^<i_Aries 1_^>i_ (anth _^<b_1979_^>b_), which contains the first and so far only sf short story by Colin _^<a_!T5638_WILSON_^>a_, with whom PB later edited the nonfiction
_^<i_The Book of Time_^>i_ (_^<b_1980_^>b_) and _^<i_The Directory of Possibilities_^>i_ (_^<b_1981_^>b_). The solo _^<i_A Directory of Discarded Ideas_^>i_ (_^<b_1981_^>b_), largely on _^<a_!T2019_PSEUDO-SCIENCE_^>a_, led directly to his
book-length fiction, _^<i_Sex Secrets of Ancient Atlantis_^>i_ (_^<b_1985_^>b_), a parody of pseudo-science in general and _^<a_!T290_ATLANTIS_^>a_ studies in particular. His first novel, _^<i_The Truth about the Flaming Ghoulies_^>i_
(_^<b_1984_^>b_), a comedy, describes in epistolary form a _^<a_!T6337_NEAR-FUTURE_^>a_ rock band whose members prove to be _^<a_!T177_ANDROIDS_^>a_. _^<i_Earthdoom!_^>i_ (_^<b_1987_^>b_) with David _^<a_!T4186_LANGFORD_^>a_ is a perhaps overly
broad parody of the _^<a_!T1243_DISASTER_^>a_-novel genre. _^<i_Albion_^>i_ (_^<b_1991_^>b_) is a fantasy novel about a _^<a_!T1932_POCKET UNIVERSE_^>a_, the first of a projected tetralogy, the second of which, _^<i_The World_^>i_ (_^<b_1992_^>b_),
is more overtly sciencefictional, depicting the fusion of two alternate universes to form a third. _^<i_Judge Dredd: The Hundredfold Problem_^>i_ * (_^<b_1994_^>b_), tied to the comic, is set in a dyson sphere (>> Freeman _^<a_!T1368_DYSON_^>a_).
By training a publisher's editor, he has served as Technical Editor for the 2nd edn of this encyclopedia. [JC/JGr]_^<n__^<n__^<b_Other works:_^>b_ The _^<b_Legends of Lone Wolf_^>b_ series of ties, _^<a_!T5875_SWORD-AND-SORCERY_^>a_ novels based on
gamebooks by Joe Dever (1956- ) and published as co-authorships: _^<i_Eclipse of the Kai_^>i_ * (_^<b_1989_^>b_), _^<i_The Dark Door Opens_^>i_ * (_^<b_1989_^>b_) -- these 2 assembled as _^<i_Legends of Lone Wolf Omnibus_^>i_ * (_^<b_1992_^>b_)
-- _^<i_The Sword of the Sun_^>i_ * (_^<b_1989_^>b_; rev in 2 vols vt _^<i_The Tides of Treachery_^>i_ * 1991 US and _^<i_The Sword of the Sun_^>i_ * 1991 US), _^<i_Hunting Wolf_^>i_ * (_^<b_1990_^>b_), _^<i_The Claws of Helgedad_^>i_ *
(_^<b_1991_^>b_), _^<i_The Sacrifice of Ruanon_^>i_ * (cut _^<b_1991_^>b_), _^<i_The Birthplace_^>i_ * (_^<b_1992_^>b_), _^<i_The Book of the Magnakai_^>i_ * (_^<b_1992_^>b_), _^<i_The Tellings_^>i_ * (coll _^<b_1993_^>b_,_^<i_The Lorestone of
Varetta_^>i_ * (_^<b_1993_^>b_, _^<i_The Secret of Kazan-oud_^>i_ * (_^<b_1994_^>b_) and _^<i_The Rotting Land_^>i_ * (_^<b_1994_^>b_), with _^<i_History Book: a "Thog the Mighty" Text_^>i_ (_^<b_1994_^>b_ chap) being an unserious appendage to the
sequence; much nonfiction, including _^<i_Dreamers: A Geography of Dreamland_^>i_ (_^<b_1984_^>b_) and _^<i_Encyclopedia of Walt Disney's Animated Characters_^>i_ (_^<b_1987_^>b_ US; exp 1993 US; further rev 1993 US)._^<b_See also:_^>b_
_^<a_!T902_COSMOLOGY_^>a_; _^<a_!T1695_GAMES AND SPORTS_^>a_; _^<a_!T3118_MUSIC_^>a_.
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(c) 1995 John Clute and Peter Nicholls
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2520
CATRS
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BARNEY, JOHN STEWART
-T-
(1868-1925) US writer whose sf novel, _^<i_L.P.M.: The End of the Great War_^>i_ (_^<b_1915_^>b_), is an unusually authoritarian _^<a_!T6580_EDISONADE_^>a_ in which an impatiently triumphal US scientist -- in this case his name is Edestone -- uses
the futuristic weaponry he has invented to defeat the warring nations of Europe and introduce to the world a government ruled by an "Aristocracy of Intelligence". [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 426 SF00421.t
364
CATRS
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BARNWELL, WILLIAM (CURTIS)
-T-
(1943- ) US author whose brief but interesting foray into the sf/fantasy genre was his well written _^<b_Blessing Trilogy_^>b_, consisting of _^<i_The Blessing Papers_^>i_ (_^<b_1980_^>b_), _^<i_Imram_^>i_ (_^<b_1981_^>b_) and _^<i_The Sigma
Curve_^>i_ (_^<b_1981_^>b_). This complex quest through a post-_^<a_!T4482_HOLOCAUST_^>a_ world, where some sort of grand design by mysterious powers is operating, at first appears lively but conventional _^<a_!T2870_SCIENCE FANTASY_^>a_. In fact,
the intellectual structure of the work is both demanding and very eccentric: a _^<a_!T2924_METAPHYSICAL_^>a_ allegory about free will and predestination. The holocaust was deliberately brought about to short-circuit humanity's
_^<a_!T1209_DEVOLUTION_^>a_ as the left and right hemispheres of the brain lost contact due to corrupting visual imagery replacing the purity of the spoken word. This may be the only apocalyptic fiction where Earth's "Falling" was directly, it
appears, due to tv programming rather than Original Sin. The books read as if produced by a member of a _^<a_!T2019_PSEUDO-SCIENCE_^>a_ cult, but it is not clear which one. [PN]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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955
CATRS
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BARON, OTHELLO
-T-
[s] > R.L. _^<a_!T1427_FANTHORPE_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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23
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BARR, DENSIL NEVE
-T-
Pseudonym of UK writer Douglas Norton Buttrey (1918- ), whose sf novel, _^<i_The Man with Only One Head_^>i_ (_^<b_1955_^>b_), develops the theme of novels like Pat _^<a_!T1595_FRANK_^>a_'s _^<i_Mr Adam_^>i_ (_^<b_1946_^>b_). Only one man is left
fertile; the subsequent moralistic World Federation set up to deal with the crisis is riddled with dissension. [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
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312
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BARR, DONALD
-T-
(1921- ) US writer and academic, former assistant dean of the Engineering School of Columbia University, and author of several nonfiction works for children as well as _^<i_Who Pushed Humpty Dumpty, or The Education of a Headmaster_^>i_
(_^<b_1971_^>b_), on US education. His sf novel, _^<i_Space Relations: A Slightly Gothic Interplanetary Tale_^>i_ (_^<b_1973_^>b_), is a _^<a_!T2342_SPACE OPERA_^>a_ interlaced amusingly with "literary" analogues to its tale of a space diplomat,
sold into slavery, who is sexually excited by fear, thus enticing a princess, and who also finds out grim secrets about an alien _^<a_!T3796_INVASION_^>a_ of Earth. _^<i_A Planet in Arms_^>i_ (_^<b_1981_^>b_) is noticeably less elated.
[JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
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603
CATRS
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BARR, GEORGE
-T-
(1937- ) US sf illustrator. One of the most meticulous of sf/fantasy artists, he is also one of the least appreciated -- at least for his professional work. GB started by illustrating sf _^<a_!T1428_FANZINES_^>a_ and was nominated five times for
the _^<a_!T4551_HUGO_^>a_ as Best Fan Artist, winning in 1968 and 1969. However, he had by then already sold his first professional illustration to _^<a_!T1394_FANTASTIC_^>a_, the cover for Mar 1961. He continued with some magazine work, but is
perhaps best known for his paperback covers for _^<a_!T20_ACE BOOKS_^>a_, _^<a_!T1100_DAW BOOKS_^>a_ and others. His often delicate, sometimes whimsical, artwork is influenced by his appreciation of the work of Arthur Rackham (1867-1939) and Hannes
_^<a_!T6322_BOK_^>a_. GB works primarily in colour, laying watercolour washes over ball-point lines. In a field that emphasizes brightness, his pastel shades are almost unique. More recently he has done many interior illustrations for
_^<a_!T3816_ISAAC ASIMOV'S SCIENCE FICTION MAGAZINE_^>a_. A showcase for his work is _^<i_Upon the Winds of Yesterday, and Other Explorations_^>i_ (_^<b_1976_^>b_). [JG/PN]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zpubz
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956
CATRS
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BARR, ROBERT
-T-
(1850-1912) Scottish editor and a popular and prolific writer. His early catastrophe story in _^<i_The_^<a_!T4581_IDLER_^>a__^>i_ (which he edited), "The Doom of London" (1892), deals with fog and _^<a_!T1942_POLLUTION_^>a_. It was reprinted in
_^<i_The Face & the Mask_^>i_ (coll _^<b_1894_^>b_), which contains several other sf and fantasy stories, as does _^<i_In a Steamer Chair and Other Shipboard Stories_^>i_ (coll _^<b_1892_^>b_). [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_From whose
Bourne_^>i_ (_^<b_1893_^>b_); _^<i_Revenge!_^>i_ (coll _^<b_1896_^>b_); _^<i_Tekla: A Romance of Love and War_^>i_ (_^<b_1898_^>b_ Canada; vt _^<i_The Countess Tekla_^>i_ 1899 UK)._^<b_See also:_^>b_ _^<a_!T5141_CANADA_^>a_.
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(c) 1995 John Clute and Peter Nicholls
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525
CATRS
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BARR, TYRONE C.
-T-
(? -? ) UK writer. His sf novel, _^<i_Split Worlds_^>i_ (_^<b_1959_^>b_; vt _^<i_The Last Fourteen_^>i_ 1960 US), sees 14 crew members of a space station survive the extermination of everyone on Earth. Eventually they must land and breed and
start again, though quarrelling furiously, in a fantastically transformed world. [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
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293
CATRS
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BARREDO, EDUARDO
-T-
[r] > _^<a_!T4204_LATIN AMERICA_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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20
CATRS
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BARREN, CHARLES
-T-
(1913- ) UK teacher and writer, best known for historical romances and co-author with R(ichard) Cox Abel of _^<i_Trivana 1_^>i_ (_^<b_1966_^>b_), in which an overpopulated Earth establishes a _^<a_!T5351_VENUS_^>a_ colony. He was chairman of the
_^<a_!T2066_SCIENCE FICTION FOUNDATION_^>a_ from its inception in 1970 until his retirement in 1980, subsequently serving as its Honorary Administrator 1980-84. [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 435 SF00430.t
347
CATRS
-END-
-A-
BARRETT, GEOFFREY JOHN
-T-
(1928- ) UK writer who has also published thrillers as Cole Rickard and Westerns as Bill Wade; his sf novels, written for _^<a_!T6332_ROBERT HALE LIMITED_^>a_ under his own name and as Edward Leighton, Dennis Summers and James Wallace, are
consistently routine. [JC]_^<n__^<n__^<b_Works: As GJB_^>b_: _^<i_The Brain of Graphicon_^>i_ (_^<b_1973_^>b_); _^<i_The Lost Fleet of Astranides_^>i_ (_^<b_1974_^>b_); _^<i_The Tomorrow Stairs_^>i_ (_^<b_1974_^>b_); _^<i_Overself_^>i_
(_^<b_1975_^>b_); _^<i_The Paradise Zone_^>i_ (_^<b_1975_^>b_); _^<i_City of the First Time_^>i_ (_^<b_1975_^>b_); _^<i_Slaver from the Stars_^>i_ (_^<b_1975_^>b_); _^<i_The Bodysnatchers of Lethe_^>i_ (_^<b_1976_^>b_); _^<i_The Night of the
Deathship_^>i_ (_^<b_1976_^>b_); _^<i_Timeship to Thebes_^>i_ (_^<b_1976_^>b_); _^<i_The Hall of the Evolvulus_^>i_ (_^<b_1977_^>b_); _^<i_The Other Side of Red_^>i_ (_^<b_1977_^>b_); _^<i_Robotria_^>i_ (_^<b_1977_^>b_); _^<i_Earth Watch_^>i_
(_^<b_1978_^>b_)._^<n__^<n__^<b_As Edward Leighton_^>b_: _^<i_Out of Earth's Deep_^>i_ (_^<b_1976_^>b_); _^<i_A Light from Tomorrow_^>i_ (_^<b_1977_^>b_); _^<i_Lord of the Lightning_^>i_ (_^<b_1977_^>b_)._^<n__^<n__^<b_As Dennis Summers_^>b_:
_^<i_A Madness from Mars_^>i_ (_^<b_1976_^>b_); _^<i_Stalker of the Worlds_^>i_ (_^<b_1976_^>b_); _^<i_The Robot in the Glass_^>i_ (_^<b_1977_^>b_); _^<i_The Master of Ghosts_^>i_ (_^<b_1977_^>b_)._^<n__^<n__^<b_As James Wallace_^>b_: _^<i_A Man
from Tomorrow_^>i_ (_^<b_1976_^>b_); _^<i_Plague of the Golden Rat_^>i_ (_^<b_1976_^>b_); _^<i_The Guardian of Krandor_^>i_ (_^<b_1977_^>b_). [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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1134
CATRS
-END-
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BARRETT, NEAL Jr
-T-
(1929- ) US writer who began publishing sf with "To Tell the Truth" for _^<i_Gal_^>i_ in 1960 and who has contributed with some regularity to the sf magazines. Though he has never been prolific in shorter forms, some of his later stories, like
"Hero" (1979), "A Day at the Fair" (1982), "Trading Post" (1986), "Sallie C" (1987), "Perpetuity Blues" (1987), "Diner" (1987), "Stairs" (1988) and "Tony Red Dog" (1989), have caused considerable stir for the dark bravura of the vision they
sometimes expose of a savaged USA. Some of these stories, though frustratingly (in the absence of a further gathering) the selection is weighted toward lighter work, are assembled in _^<i_Slightly Off Center: Eleven Extraordinarily Exhilarating
Tales _^>i_(coll _^<b_1992_^>b_). NB's first novels did not seem urgently to foretell the ambitious author of the 1980s, and titles like _^<i_Kelwin_^>i_ (_^<b_1970_^>b_), whose eponymous hero has stirring adventures in a
post-_^<a_!T4482_HOLOCAUST_^>a_ venue, the equally rambunctious _^<i_The Gates of Time_^>i_ (_^<b_1970_^>b_), and the alternate-history (> _^<a_!T131_ALTERNATE WORLDS_^>a_) tale, _^<i_The Leaves of Time_^>i_ (_^<b_1971_^>b_) -- despite the title,
not connected to the earlier volume -- seemed little more than amusing and competently told routine fare, with twists._^<n__^<n__^<i_Stress Pattern_^>i_ (_^<b_1974_^>b_), a densely constructed fable set on an alien planet whose profligate alienness
is at points reminiscent of the worlds of Stanislaw _^<a_!T3329_LEM_^>a_, was clearly more ambitious, and NB followed this striking work with the _^<b_Aldair_^>b_ series -- _^<i_Aldair in Albion_^>i_ (_^<b_1976_^>b_), _^<i_Aldair, Master of
Ships_^>i_ (_^<b_1977_^>b_), _^<i_Aldair, Across the Misty Sea_^>i_ (_^<b_1980_^>b_) and _^<i_Aldair: The Legion of Beasts_^>i_ (_^<b_1982_^>b_) -- whose baroque surface tends to disguise the alarming implications of the tale, for the hero is a
genetically engineered humanoid pig, the _^<a_!T1432_FAR-FUTURE_^>a_ Earth he travels lacks real solace, and his discovery of humans on another planet grants him no peace, for they themselves have been enslaved by a race of _^<a_!T102_ALIENS_^>a_.
In retrospect, then, _^<i__^<a_!B9120_THROUGH DARKEST AMERICA_^>a__^>i_ (_^<b_1987_^>b_) and its sequel, _^<i_Dawn's Uncertain Light_^>i_ (_^<b_1989_^>b_), which have gained NB considerable attention 30 years into his career, are a logical
development of his earlier work. Their protagonists' hegira through a most terrifyingly bleak and terminally scarred USA, though told with an exhilarating and genre-sensitive competence, conveys a sense of grieved, embedded, millennial pessimism
impossible to sidestep; and even _^<i_The Hereafter Gang_^>i_ (_^<b_1991_^>b_), which less savagely focuses this vision on the churning psyche of a middle-aged man in crisis, turns into a sharp and garish parody of a sentimentalized small-town past
over which it is easy, but dangerous, to pine -- posthumously, as it were. NB is a writer who deserves to have come into his times. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Highwood_^>i_ (_^<b_1972_^>b_ dos); _^<i_Tom Swift: Ark Two_^>i_ *
(_^<b_1982_^>b_) and _^<i_Tom Swift: The Invincible Force_^>i_ * (_^<b_1983_^>b_), two _^<b_Tom Swift_^>b_ tales as by Victor _^<a_!T214_APPLETON_^>a_; _^<i_The Hardy Boys: The Swamp Monster_^>i_* (_^<b_1985_^>b_) and _^<i_The Hardy Boys: The
Skyfire Puzzle_^>i_ * (_^<b_1985_^>b_), two _^<b_Hardy Boys _^>b_tales as by Franklin W. Dixon;_^<i_The Karma Corps_^>i_ (_^<b_1984_^>b_);_^<i_Pink Vodka Blues_^>i_ (_^<b_1992_^>b_), associational; _^<i_Batman in: the Black Egg of Atlantis_^>i_ *
(_^<b_1992_^>b_ chap), tied to _^<b_Batman_^>b_._^<b_See also:_^>b_ _^<a_!T6576_ECOLOGY_^>a_; _^<a_!T6717_EVOLUTION_^>a_; _^<a_!T3411_LIVING WORLDS_^>a_.
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
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3104
CATRS
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BARRETT, WILLIAM E(DMUND)
-T-
(1900-1986) US writer who began publishing short stories with "The Music of Madness" for _^<i_Weird Tales_^>i_ in 1926. He wrote _^<i_Flight from Youth_^>i_ (_^<b_1939_^>b_) before WWII, later incorporating it into _^<i_The Edge of Things_^>i_ (coll
_^<b_1960_^>b_), whose 3 stories all relate in some way to flying. His sf novel, _^<i_The Fools of Time_^>i_ (_^<b_1963_^>b_), unconvincingly posits an _^<a_!T3771_IMMORTALITY_^>a_ drug based on cancer. _^<i_Lady of the Lotus_^>i_ (_^<b_1975_^>b_)
is a fantasy about the Buddha and his wife. [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
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450
CATRS
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BARRETTON, GRANDALL
-T-
[s] > Randall _^<a_!T4623_GARRETT_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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22
CATRS
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BARRINGTON, MICHAEL
-T-
Collaborative pseudonym of Michael _^<a_!T3030_MOORCOCK_^>a_ and Barrington J. _^<a_!T472_BAYLEY_^>a_ on 1 story, "Peace on Earth" (1959). [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
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106
CATRS
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BARRON, D(ONALD) G(ABRIEL)
-T-
(1922- ) UK architect and writer. In _^<i_The Zilov Bombs_^>i_ (_^<b_1962_^>b_), unilateral UK nuclear disarmament has led to Soviet domination of all Europe; after five years (by 1973) the underground is putting pressure on characters like the
narrator, who ultimately solves his moral anxieties by detonating an A-bomb. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_The Man who was There_^>i_ (_^<b_1969_^>b_).
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
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344
CATRS
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BARRON, (RICHARD) NEIL
-T-
(1934- ) US bibliographer and book editor, trained as a librarian, who has produced some of the liveliest and most readable scholarship in sf, notably in the three well researched editions of _^<i_Anatomy of Wonder: A Critical Guide to Science
Fiction_^>i_ (_^<b_1976_^>b_; exp 1981; further exp 1987), which he edited and to which he contributed. These volumes discuss many individual books, both fiction (including foreign-language) and secondary literature; the 3rd edn, with over 2600
entries, is by far the most thorough work of its kind; a 4th edition is projected for 1995. Companion vols ed NB are _^<i_Fantasy Literature: A Reader's Guide_^>i_ (_^<b_1990_^>b_) and _^<i_Horror Literature: A Reader's Guide_^>i_ (_^<b_1990_^>b_).
NB founded and edited _^<a_!T2048_SCIENCE FICTION & FANTASY BOOK REVIEW_^>a_ 1979-80, and edited the same journal when it was revived by the _^<a_!T2139_SCIENCE FICTION RESEARCH ASSOCIATION_^>a_ in 1982-3. It merged with _^<a_!T1420_FANTASY
NEWSLETTER_^>a_ in 1984 to form the newly titled _^<a_!T1423_FANTASY REVIEW_^>a_ (very briefly known at first as _^<i_SF & Fantasy Review_^>i_), for which NB was review editor Jan 1984-Apr 1985. He is a regular contributor to the _^<a_!T2136_SFRA
NEWSLETTER_^>a_. NB received the 1982 _^<a_!T1900_PILGRIM AWARD_^>a_ for his contributions to sf scholarship. [PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T585_BIBLIOGRAPHIES_^>a_; _^<a_!T799_COLLECTIONS_^>a_; _^<a_!T963_CRITICAL AND HISTORICAL WORKS
ABOUT SF_^>a_.
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
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1212
CATRS
-END-
-A-
BARRY, RAY
-T-
> Dennis _^<a_!T4544_HUGHES_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
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19
CATRS
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BARTH, JOHN (SIMMONS)
-T-
(1930- ) US novelist. One of the leading fabulists (> _^<a_!T1372_FABULATION_^>a_) of his generation of writers, he is probably best known for his epic mock-picaresque _^<i_The Sot-Weed Factor_^>i_ (_^<b_1960_^>b_; rev 1967). _^<i_Giles Goat-Boy,
or The Revised New Syllabus_^>i_ (_^<b_1966_^>b_), which derives its language in part from Vladimir _^<a_!T6382_NABOKOV_^>a_ and its central metaphor of the university as the world in part from Jorge Luis _^<a_!T704_BORGES_^>a_, can, by taking the
metaphor literally, be read as sf. The hero is rendered literally as goat-horned. The novel itself is a complex _^<a_!T2812_SATIRE_^>a_ on education, human nature and knowledge, and also a remarkable _^<i_Bildungsroman_^>i_. Some of JB's later
short fiction, as assembled in _^<i_Lost in the Funhouse: Fiction for Print, Tape, Live Voice_^>i_ (coll _^<b_1968_^>b_; exp 1969), contains some intensely academic _^<a_!T1412_FANTASY_^>a_, and _^<i_Chimera_^>i_ (coll of linked stories
_^<b_1972_^>b_) hovers at the edge of the fantastic in its literalization in narrative form of the powers of mythopoeisis._^<n__^<n__^<b_Other works:_^>b_ _^<i_Letters_^>i_ (_^<b_1979_^>b_); _^<i_The Last Voyage of Somebody the Sailor_^>i_
(_^<b_1991_^>b_). [JC]
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
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994
CATRS
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BARTHELME, DONALD
-T-
(1931-1989) US writer known primarily as a surrealist and black-humorist. His novels are all _^<a_!T1372_FABULATIONS_^>a_: _^<i_Snow White_^>i_ (_^<b_1967_^>b_), an absurdist dissection of the fairy tale; _^<i_The Dead Father_^>i_ (_^<b_1975_^>b_),
in which the giant figure of a moribund Father is escorted with trauma and ritual to its final resting place; and _^<i_The King_^>i_ (_^<b_1990_^>b_), which transports King Arthur and his knights to WWII. DB's early collections especially -- like
_^<i_Come Back, Dr Caligari_^>i_ (coll _^<b_1964_^>b_), _^<i_Unspeakable Practices, Unnatural Acts_^>i_ (coll _^<b_1968_^>b_) and _^<i_City Life_^>i_ (coll _^<b_1970_^>b_) -- present in the form of discontinuous spoofs and iconoclasms a number of
ideas and themes taken from _^<a_!T3135_MYTHOLOGY_^>a_, fantasy and sf. Many of these stories have been reprinted in sf anthologies. His work as a whole is conveniently assembled in _^<i_Sixty Stories_^>i_ (coll _^<b_1981_^>b_) and _^<i_Forty
_^<i_Amateurs_^>i_ (coll _^<b_1976_^>b_); _^<i_Great Days_^>i_ (coll _^<b_1979_^>b_); _^<i_Overnight to Many Distant Cities_^>i_ (coll _^<b_1983_^>b_)._^<b_About the author:_^>b_ _^<i_Donald Barthelme's Fiction: The Ironist Saved from Drowning_^>i_
(_^<b_1982_^>b_) by Charles Molesworth.
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(c) 1995 John Clute and Peter Nicholls
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1172
CATRS
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BARTHOLOMEW, BARBARA
-T-
(1941- ) US writer whose _^<b_Timeways Trilogy_^>b_ for young adult readers-_^<i_The Time Keeper_^>i_ (_^<b_1985_^>b_), _^<i_Child of Tomorrow_^>i_ (_^<b_1985_^>b_) and _^<i_When Dreamers Cease to Dream_^>i_ (_^<b_1985_^>b_) -- traverses familiar
_^<a_!T6026_TIME-TRAVEL_^>a_ themes without undue stress. Other books for younger readers include _^<i_The Cereal Box Adventures_^>i_ (_^<b_1981_^>b_), _^<i_Flight into the Unknown_^>i_ (_^<b_1982_^>b_) and _^<i_The Great Gradepoint Mystery_^>i_
(_^<b_1983_^>b_). [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 446 SF00441.t
396
CATRS
-END-
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BARTLETT, VERNON (OLDFIELD)
-T-
(1894-1983) UK broadcaster, politician and writer, whose _^<i_If I Were Dictator_^>i_ (_^<b_1935_^>b_ chap) reflected his centrist politics -- he was an Independent MP 1938-50 -- in its reformist agenda. His sf novel proper, _^<i_Tomorrow Always
Comes_^>i_ (_^<b_1943_^>b_), describes in fictional terms the task of reconstructing a defeated Germany after the end of WWII. [JC]_^<n__^<n_
and _^<i_#4: My Way_^>i_ (_^<b_1984_^>b_)-takes its military hero through the US South and elsewhere, fighting bigots and _^<a_!T3120_MUTANTS_^>a_ and winning an Apache lass. [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 449 SF00444.t
315
CATRS
-END-
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BARTON, LEE
-T-
> R.L. _^<a_!T1427_FANTHORPE_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
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19
CATRS
-END-
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BARTON, SAMUEL
-T-
(? -? ) US writer who also published as A.B. Roker. His sf novel, _^<i_The Battle of the Swash and the Capture of Canada_^>i_ (_^<b_1888_^>b_), thought by Thomas D. _^<a_!T732_CLARESON_^>a_ to be the first US future-_^<a_!T5452_WAR_^>a_ tale,
was written to show the defencelessness of the US coasts (and incidentally the vulnerability of Canada) as the USA and UK come to blows, a conflict eventually won by the USA through the invention of self-destructing torpedo boats. He has been
claimed as a US Congressman, Samuel Barton (1785-1858), but it is extremely unlikely that _^<i_The Battle of the Swash_^>i_ could have been conceived 30+ years before its publication. [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 451 SF00446.t
586
CATRS
-END-
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BARTON, S.W.
-T-
[r] > Michael _^<a_!T4141_KURLAND_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
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23
CATRS
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BARTON, WILLIAM R(ENALD III)
-T-
(1950- ) US writer whose sf novel, _^<i_Hunting on Kunderer_^>i_ (_^<b_1973_^>b_), confronts humans with _^<a_!T98_ALIEN_^>a_ natives on a dangerous new planet, and whose _^<i_A Plague of All Cowards_^>i_ (_^<b_1976_^>b_) was also an sf
adventure. Of much greater interest was _^<i_Iris_^>i_ (_^<b_1990_^>b_) with Michael _^<a_!T5148_CAPOBIANCO_^>a_, in which a group of artists, en route to Triton, encounters the eponymous _^<a_!T4631_GAS GIANT_^>a_, which has drifted, with moons,
into the Solar System. Alien artefacts are found and epiphanies are experienced; but the novel is primarily striking for the intense directness of the prose and for the capacity of the authors to address in that prose both matters of science (which
might be expected in a _^<a_!T4288_HARD-SF_^>a_ novel) and matters of character, for the cast is deeply memorable. _^<i_Fellow Traveler_^>i_ (_^<b_1991_^>b_), also with Capobianco, is perhaps more straightforward, but again shows a remarkable grasp
of the human shape of experience, in this case a _^<a_!T6337_NEAR-FUTURE_^>a_ Soviet attempt to harness an asteroid for industrial purposes. Given the current state of the US space program, this novel is one of the very few of those caught out by
the political transformation of the USSR to make one feel that there have been losses as well as gains. _^<i_Dark Sky Legion: An Ahrimanic Novel_^>i_ (_^<b_1992_^>b_) is an ambitious, Galaxy-spanning, metaphysical, highly readable _^<a_!T2342_SPACE
OPERA_^>a_ which provides some engrossing speculations about a universe in which _^<a_!T1443_FASTER-THAN-LIGHT_^>a_ travel is impossible and over which a conservative human hegemony exercises control, ruthlessly braking the tendency of isolated
colonies to vary too far from the declared norm; there are echoes of _^<i_Wolfbane_^>i_ (1959) by C.M. _^<a_!T6353_KORNBLUTH_^>a_ and Frederic _^<a_!T1937_POHL_^>a_. WB treats this use of power with due though occasionally rather moody ambiguity.
_^<i_Yellow Matter_^>i_ (_^<b_1993_^>b_ chap) is a savage little sf fable of exogamy. [JC] _^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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1703
CATRS
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BARZMAN, BEN
-T-
(1912-1989) Canadian-born US writer and film-writer whose sf novel _^<i_Out of this World_^>i_ (_^<b_1960_^>b_ UK; vt _^<i_Twinkle, Twinkle, Little Star_^>i_ 1960 US; vt _^<i_Echo X_^>i_ 1962 US) ambitiously portrays twin Earths and tells a love
story involving people transported between them. [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
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262
CATRS
-END-
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BASIL, OTTO
-T-
(1901-1983) Austrian writer. His sf novel, _^<i_Wenn das der Fuhrer wusste_^>i_ (_^<b_1966_^>b_; cut trans Thomas Weyr as _^<i_The Twilight Men_^>i_ _^<b_1968_^>b_ US), is set in an _^<a_!T131_ALTERNATE WORLD_^>a_ in which _^<a_!T4446_HITLER
WINS_^>a_ in 1945 through the use of atomic weapons; after Hitler dies, a battle for power ensues. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T4667_GERMANY_^>a_.
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
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294
CATRS
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BASS, T.J.
-T-
Working name of US writer Thomas J. Bassler (1932- ), who began publishing sf with "Star Seeder" for _^<i_If_^>i_ in 1969. He is almost exclusively associated with the series that comprises his only book publications, _^<i_Half Past Human_^>i_
(1969-70 _^<i_Gal_^>i_ and _^<i_If_^>i_; fixup _^<b_1971_^>b_) and _^<i_The Godwhale_^>i_ (_^<b_1974_^>b_), itself expanded from an earlier story, "Rorqual Maru" (1972 _^<i_Gal_^>i_). Through a network of intricately interlinked stories, the first
novel depicts a densely overcrowded Earth where problems of _^<a_!T1752_OVERPOPULATION_^>a_ have been dealt with by settling four-toed evolved human stock called Nebishes in vast underground silos (> _^<a_!T727_CITIES_^>a_) under the control of a
_^<a_!T826_COMPUTER_^>a_ net. Outside these hives, unevolved humans eke out savage existences; but an ancient sentient starship named Olga (> _^<a_!T1017_CYBORGS_^>a_) plans to seed the stars with her beloved, five-toed, normal humans, and
eventually succeeds, though the Earth society of the Nebishes continues, oblivious to any threat. In _^<i_The Godwhale_^>i_, a complexly structured _^<a_!T2248_SLEEPER-AWAKES_^>a_ tale, Larry Dever, a human from our own near future, is mutilated in
an accident and decides to enter _^<a_!T5851_SUSPENDED ANIMATION_^>a_ to await a time when nerve regeneration is possible. However, he is found to be still incurable when awoken millennia later into an Earth society some time after the events of
the previous volume. A great long-dormant cyborg whale has registered life in the desolate ocean and has reactivated herself, longing to serve mankind and harvest the seas for him; she soon comes across humans evolved into Benthics capable of
living under water, and accepts them as human. Larry Dever escapes servitude in the silos and joins the Godwhale; the seas are alive with Benthics and lower forms of life -- quite evidently, Olga has seeded the planet. Mankind begins to inhabit the
archipelagos and the Earth will once again bear fruit._^<n__^<n_In these two books, TJB demonstrates a thorough command of biological extrapolation and a sustained delight in the creation of a witty, acronym-choked language suitable for the
description of this new environment. Though his control over the overall structure of a novel-length fiction is insecure, the abundance of his invention conveyed to readers of the 1970s a sense of TJB's potential importance as an sf writer. He has,
however, fallen silent, his series incomplete. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T6717_EVOLUTION_^>a_; _^<a_!T4447_HIVE-MINDS_^>a_; _^<a_!T5281_UNDER THE SEA_^>a_.
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BATCHELOR, JOHN CALVIN
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(1948- ) US author. His first two novels, _^<i_The Further Adventures of Halley's Comet_^>i_ (_^<b_1981_^>b_) and _^<i_The Birth of the People's Republic of Antarctica_^>i_ (_^<b_1983_^>b_), are borderline fantasy and sf respectively. He has also
published two mainstream novels, _^<i_American Falls_^>i_ (_^<b_1985_^>b_) and _^<i_Gordon Liddy is My Muse, by Tommy "Tip" Paine_^>i_ (_^<b_1990_^>b_). With John R. Hamilton he wrote _^<i_Thunder in the Dust: Images of Western Movies_^>i_
(_^<b_1987_^>b_)._^<n__^<n_JCB's novels have a gravity and consistency which mark him as a significant contemporary writer; they confront such themes as the morality of terror, the justice of ends and means, and the construction of history by its
victors. _^<i_Halley's Comet_^>i_ is an extended Pop-_^<a_!T4780_GOTHIC_^>a_ exercise. It presents a satirically and grotesquely distorted picture of Western capitalism, whose distribution of wealth and power appears as a weird latter-day version
of feudalism. _^<i_People's Republic_^>i_ begins with similar Pop grotesquerie, but transforms into an unremittingly stark _^<a_!T6337_NEAR-FUTURE_^>a_ Viking saga, its narrator a kind of doomed and bloody seawolf. There is a vast backdrop of the
collapse of civilization across Europe and massive worldwide dislocation, apparently in response to _^<a_!T5452_WAR_^>a_ in the Middle East and the virtual end of oil production. As suppressed racial and other hatreds become rampant, and the seas
fill up with refugees on an uncontemplated scale, the so-called "fleet of the damned" drifts towards the Antarctic, refused succour on any populated shore. What are left of the civilized nations carry out a massive programme of relief and
resettlement, but we are led to understand that the effort is half-hearted and serves the interests more of the donors than of the disenfranchised and dispossessed hordes on the ice. The narrative is heightened by awesome descriptions of both
natural and socially engendered cataclysm. _^<i_Peter Nevsky and the True Story of the Russian Moon Landing_^>i_ (_^<b_1993_^>b_), though told by Nevsky as an old man, is set at the time of the _^<i_Apollo 11_^>i_ Moon shot, and is a fantasy of
history rather than sf; in _^<i_Father's Day_^>i_ (_^<b_1994_^>b_), which is sf, a 21st century American president must attempt to deal with a threatened coup. [RuB]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T1243_DISASTER_^>a_.
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BATEMAN, ROBERT (MOYES CARRUTHERS)
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(1922-1973) UK writer, primarily involved in radio and tv work. He did revision work on Maurice _^<a_!T2553_RENARD_^>a_'s _^<i_The Hands of Orlac_^>i_ for the 1960 translation. His sf novel, _^<i_When the Whites Went_^>i_ (_^<b_1963_^>b_), is set in
an England where only Blacks survive a disease to which all others fall victim. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T1939_POLITICS_^>a_.
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BATES, HARRY
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Working name of US editor and writer Hiram Gilmore Bates III (1900-1981), who began his career with the Clayton chain of _^<a_!T2033_PULP MAGAZINES_^>a_ in the 1920s, working as editor of an adventure magazine. When William Clayton, the owner,
suggested that HB initiate a period-adventure companion to it, he successfully counterproposed a magazine to be called _^<i_Astounding Stories of Super-Science_^>i_, which would compete with _^<a_!T141_AMAZING STORIES_^>a_. HB edited the magazine
-- whose title was soon abbreviated to _^<i_Astounding Stories_^>i_ (>_^<a_!T277_ASTOUNDING SCIENCE-FICTION_^>a_) -- for 34 issues, Jan 1930-Mar 1933. (He later started a companion magazine, _^<a_!T5783_STRANGE TALES_^>a_ -- intended as a rival to
_^<a_!T5512_WEIRD TALES_^>a_ -- which lasted for 7 issues, Sept 1931-Jan 1933.) His was the first true sf pulp magazine, paying four times as well as its competitors and impatient with the static passages of _^<a_!T2019_PSEUDO-SCIENCE_^>a_
characteristic of Hugo _^<a_!T4668_GERNSBACK_^>a_'s magazines. As Jack _^<a_!T5629_WILLIAMSON_^>a_ put it in _^<i_The Early Williamson_^>i_ (coll _^<b_1975_^>b_): "Bates was professional . . . [he] wanted well constructed action stories about
strong, successful heroes. The 'super-science' had to be exciting and more-or-less plausible, but it couldn't take much space." HB contributed stories to _^<i_ASF_^>i_ in collaboration with his assistant editor, Desmond W. _^<a_!T4931_HALL_^>a_,
the two sometimes writing together as H.B. Winter but more famously as Anthony _^<a_!T4712_GILMORE_^>a_, under which name they produced the popular _^<b_Hawk Carse_^>b_ series, which reached book form as _^<i_Space Hawk_^>i_ (coll of linked
stories_^<b_ 1952_^>b_); the first of these stories, "Hawk Carse" (1931), was HB's first publication._^<n__^<n_After the Clayton group went bankrupt in 1933, _^<i_Strange Tales_^>i_ ceased publication and _^<i_ASF_^>i_ was bought by the
_^<a_!T5789_STREET & SMITH_^>a_ chain, which appointed F. Orlin _^<a_!T6086_TREMAINE_^>a_ editor. This ended HB's editorial connection with sf, though over the next 20 years he wrote a few short stories. Although he used the pseudonym A.R. Holmes
on occasion, it was mainly under his own name that he published such notable stories as "A Matter of Size" (1934), a story on the then popular _^<a_!T4823_GREAT-AND-SMALL_^>a_ theme, and "Alas, All Thinking" (1935). "Farewell to the Master" (1940)
was later filmed as _^<i_The _^<a_!T1112_DAY THE EARTH STOOD STILL_^>a__^>i_ (1951), although the film lost the story's ironic twist, which demonstrated the pitfalls of interpreting nonhuman relationships in human terms -- in this instance, the
relationship between a huge _^<a_!T2646_ROBOT_^>a_ and its _^<a_!T98_ALIEN_^>a_ "master". HB died in unfortunate obscurity. [MJE]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T200_ANTI-INTELLECTUALISM IN SF_^>a_; _^<a_!T6717_EVOLUTION_^>a_; _^<a_!T2130_SF
MAGAZINES_^>a_.
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BATMAN
-T-
> Neal _^<a_!T38_ADAMS_^>a_; Brian _^<a_!T689_BOLLAND_^>a_; _^<a_!T1115_DC COMICS_^>a_; Frank _^<a_!T2953_MILLER_^>a_; Alan _^<a_!T3031_MOORE_^>a_._^<n__^<n_
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*BATTERIES NOT INCLUDED
-T-
Film (1987). Amblin/Universal. Executive Prod Steven _^<a_!T2367_SPIELBERG_^>a_. Dir Matthew Robbins, starring Hume Cronyn, Jessica Tandy, Frank McCrae, Elizabeth Pena, Michael Carmine. Screenplay Brad Bird, Robbins, Brent Maddock, S.S. Wilson,
based on a story by Mick Garris. 106 mins. Colour._^<n__^<n_Originally intended as an episode of the tv series _^<a_!T141_AMAZING STORIES_^>a_, this film betrays its small-screen origins in its slightness of plot. A run-down rooming house with
diner, which occupies land desired by a property speculator, is visited by tiny saucer-shaped aliens, who help out the residents and two elderly owners, eventually (with their new offspring and other saucers) rebuilding the blown-up premises.
Escapist fantasy at best, this has no relationship other than the dubious aliens to genuine sf. The novelization is _^<i_*batteries not included_^>i_ * (_^<b_1987_^>b_) by Wayland _^<a_!T1322_DREW_^>a_. [PN]_^<n__^<n__^<b_See also:_^>b_
_^<a_!T726_CINEMA_^>a_.
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BATTLE BEYOND THE STARS
-T-
Film (1980). New World. Executive prod Roger _^<a_!T884_CORMAN_^>a_. Dir Jimmy T. Murakami, starring Richard Thomas, Robert Vaughn, John Saxon, George Peppard, Sybil Danning, Morgan Woodward, Steve Davis. Screenplay John _^<a_!T2833_SAYLES_^>a_,
based on a story by Sayles, Anne Dyer. 103 mins. Colour._^<n__^<n_New World, never slow to capitalize on a trend, hoped -- with partial success -- to woo the _^<a_!T5686_STAR WARS_^>a_ market with this space-opera replay of _^<i_The Magnificent
Seven_^>i_ (1960). It follows the pattern of its Western original right down to Robert Vaughn's reprise of his role as a world-weary gunslinger. Sayles's script is entertaining, as are Danning as the huge-breasted Valkyrie, Woodward as the
reptilian mercenary, and the heat-eating twin "Kelvin", but the emphasis is on space battles which, while better than expected, leave the story treatment perfunctory. Murakami's heavy direction muffles the lightness of the script. The special
effects were recycled in the Corman-produced _^<i_Space Raiders_^>i_ (1983), of which they are the _^<i_raison d'etre_^>i_. [PN]_^<n__^<n_
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BATTLE BEYOND THE SUN
-T-
> Roger _^<a_!T884_CORMAN_^>a_._^<n__^<n_
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BATTLE FOR THE PLANET OF THE APES
-T-
Film (1973). Apjac/20th Century-Fox. Dir J. Lee Thompson, starring Roddy McDowall, Claude Akins, Natalie Trundy, Lew Ayres, John Huston. Screenplay John William Corrington, Joyce Hooper Corrington, based on a story by Paul Dehn. 86 mins.
Colour._^<n__^<n_The fifth and last of the series beginning with _^<a_!T1919_PLANET OF THE APES_^>a_ (to which this is a "prequel") and the most disappointing. Established in their own Ape City after the near destruction of mankind in WWIII, the
social-democrat chimpanzee people, still led by Caesar (from _^<a_!T6691_ESCAPE FROM THE PLANET OF THE APES_^>a_), become involved in a three-way struggle with a community of radiation-scarred human survivors and the militant gorilla people. There
is a feeling of pointlessness about this simplistic film's attempt to squeeze a few more dollars from the series. The novelization is _^<i_Battle for the Planet of the Apes * _^>i_ (_^<b_1973_^>b_) by David _^<a_!T4671_GERROLD_^>a_.
> _^<i_Il_^<a_!T1893_PIANETA DEGLI UOMINI SPENTI_^>a__^>i_ ._^<n__^<n_
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BATTLESTAR GALACTICA
-T-
_^<b_1._^>b_ US tv series (1978). Universal Television/ABC-TV. Created by Glen A. _^<a_!T4191_LARSON_^>a_, also executive prod. Prods included John Dykstra and Don Bellisario; main writers Larson and Bellisario; dirs included Christian Nyby II and
Dan Haller. 1 season only, beginning with a 150min pilot, followed by 19 50min episodes, including 3 2-episode stories, plus one 100min episode. Colour._^<n__^<n_Perhaps the least likable of all tv sf in its ineptness, its cynicism, its
sentimentality and its contempt for and ignorance of science, _^<i_BG_^>i_ was devised by Larson (who went on to do a similar job on _^<a_!T5063_BUCK ROGERS IN THE 25TH CENTURY_^>a_) in the wake of the successful film _^<a_!T5686_STAR WARS_^>a_,
which it resembles closely in many respects; moreover, John Dykstra, who initially did the special effects for _^<i_BG_^>i_ (he soon pulled out), had supervised the miniature photography on that film. The series tells of humans (related to us
according to a _^<a_!T5397_VON DANIKEN_^>a_-derived narration) elsewhere in the Galaxy being largely wiped out by the robotic Cylons. A group of survivors, including the crew of a military craft, the _^<i_Battlestar_^>i_, search for the legendary
human colony of Earth. Space battles, the _^<i_raison d'etre_^>i_ of _^<i_BG_^>i_, were carried out by planes apparently designed for flying in atmosphere, with fiery exhausts which, Larson is quoted as saying, "make Space more acceptable to the
Midwest"._^<n__^<n_The casting of Western star Lorne Green as the patriarchal leader, Adama, emphasized the obvious subtext of wagon trains rolling west under constant attack by Indians. Other regular cast members were Dirk Benedict as Starbuck (ne
Solo), Richard Hatch as Apollo (ne Skywalker), Maren Jensen as Athena and Noah Hathaway as the cute boy, Boxie, whose nauseating robot dog (ne R2D2) may have been the low point. Ratings began well but soon fell off and, since each episode cost
three times as much as a conventional one-hour drama, the series was terminated. An attempt to resuscitate it in altered form was _^<a_!T1677_GALACTICA: 1980_^>a_. (> Glen A. _^<a_!T4191_LARSON_^>a_ for a listing of the 14 spin-off _^<i_BG_^>i_
books 1978-87, all, according to the covers, co-authored by Larson, mostly with Robert _^<a_!T6010_THURSTON_^>a_.)_^<n__^<n__^<b_2._^>b_ Film (1978). Universal. Dir Richard A. Colla, starring the regular cast plus Ray Milland, Lew Ayres. Screenplay
Glen A. Larson. 122 mins, cut to 117 mins. Colour._^<n__^<n_To recoup production costs on the tv series, Universal gave theatrical release to the (edited) pilot episode. This militaristic film (all politicians seeking peace are self-deluded
weaklings) begins the _^<i_BG_^>i_ story with a battle against the Cylons, the round-up of survivors, the beginning of the long trek to Earth, a visit to a pleasure-filled but corrupt planet where they nearly get eaten, and a second battle against
the Cylons (close relatives of _^<i_Star Wars_^>i_'s stormtroopers) -- clearly a near thing: "The Cylon fleet is five microns away and closing." The film is poor. Another two-part episode from the tv series was theatrically released as _^<i_Mission
Galactica: The Cylon Attack_^>i_ (1979); it is more cardboard still. [PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T2877_SCIENTIFIC ERRORS_^>a_.
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BAUM, L(YMAN) FRANK
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(1856-1919) US writer of children's stories, who wrote also as Floyd Akers, Laura Bancroft, John Estes Cooke, Hugh Fitzgerald, Schuyler Staunton and Edith Van Dyne. He remains famous for his long series of tales set in the land of _^<b_Oz_^>b_,
beginning with _^<i_The Wonderful Wizard of Oz_^>i_ (_^<b_1900_^>b_; vt _^<i_The New Wizard of Oz_^>i_ 1903), which served as the main source for the famous film version of 1939. The series continues with: _^<i_Ozma of Oz_^>i_ (_^<b_1907_^>b_; vt
_^<i_Princess Ozma of Oz_^>i_ 1942 UK);_^<i_The Marvelous Land of Oz_^>i_ (_^<b_1904_^>b_; vt _^<i_The Land of Oz_^>i_ 1914); _^<i_Dorothy and the Wizard of Oz_^>i_ (_^<b_1908_^>b_); _^<i_The Road to Oz_^>i_ (_^<b_1909_^>b_); _^<i_The Emerald City
of Oz_^>i_ (_^<b_1910_^>b_); _^<i_The Patchwork Girl of Oz_^>i_ (_^<b_1913_^>b_); _^<i_The Scarecrow of Oz_^>i_ (_^<b_1915_^>b_); _^<i_Rinkitink in Oz_^>i_ (_^<b_1916_^>b_); _^<i_The Lost Princess of Oz_^>i_ (_^<b_1917_^>b_); _^<i_The Tin Woodman
of Oz_^>i_ (_^<b_1918_^>b_), the eponymous lumberjack of which is _^<i_not_^>i_ a robot; _^<i_The Magic of Oz_^>i_ (_^<b_1919_^>b_); _^<i_Glinda of Oz_^>i_ (_^<b_1920_^>b_); later titles were from other hands. _^<i_Ozma of Oz_^>i_ includes the
first appearance of Tik-Tok, an intelligent clockwork man, one of the first _^<a_!T2646_ROBOTS_^>a_ in fiction; the tale was reworked as _^<i_The Tik-Tok Man of Oz_^>i_, a 1913 musical play, itself then rewritten as the novel _^<i_Tik-Tok of
Oz_^>i_ (_^<b_1914_^>b_), which features a _^<a_!T6080_TRANSPORTATION_^>a_ tube through the Earth. LFB's juvenile sf novel _^<i_The Master Key: An Electrical Fairy Tale Founded on the Mysteries of Electricity and the Optimism of its Devotees. It
was Written for Boys, but Others May Read It_^>i_ (_^<b_1901_^>b_), is an _^<a_!T6580_EDISONADE_^>a_ described rather fully by its title; the child tinkerer-hero, though his electrical gun and _^<a_!T198_ANTIGRAVITY_^>a_ device are supplied
magically, finds scientific explanations for everything he experiences. A story in _^<i_American Fairy Tales_^>i_ (coll _^<b_1901_^>b_; rev with 3 more stories 1908) describes the freezing of time in a US city. Some of LFB's other work, which was
produced very rapidly (only a sample is listed below), was fantasy. Among a wide range of authors influenced by LFB, recent examples include Gene _^<a_!T5676_WOLFE_^>a_ in "The Eyeflash Miracles" (1976) and _^<i_Free Live Free_^>i_
(_^<b_1984_^>b_), and Geoff _^<a_!T2758_RYMAN_^>a_, whose non-fantastic novel _^<i_"Was . . ."_^>i_ (_^<b_1992_^>b_; vt _^<i_Was_^>i_ 1992 US), partly set in 19th-century Kansas, constitutes a thorough examination of the roots of _^<b_Oz_^>b_.
[JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_A New Wonderland_^>i_ (_^<b_1900_^>b_; vt _^<i_The Surprising Adventures of the Magical Monarch of Mo_^>i_ 1903); _^<i_The Life and Adventures of Santa Claus_^>i_ (_^<b_1902_^>b_); _^<i_John Dough and the
Cherub_^>i_ (_^<b_1906_^>b_); _^<i_The Sea Fairies_^>i_ (_^<b_1911_^>b_) and its sequel _^<i_Sky Island_^>i_ (_^<b_1912_^>b_); _^<i_The Purple Dragon and Other Fantasies_^>i_ (1897-1905 various mags; coll _^<b_1976_^>b_); _^<i_Animal Fairy
Tales_^>i_ (1905 _^<i_The Delineator_^>i_; coll _^<b_1989_^>b_)._^<b_About the author:_^>b_ _^<i_Wizard of Oz and Who He Was_^>i_ (_^<b_1957_^>b_) by Martin _^<a_!T4611_GARDNER_^>a_ and R.B. Nye; _^<i_The Oz Scrapbook_^>i_ (_^<b_1977_^>b_) by David
L. Greene and Dick Martin._^<b_See also:_^>b_ _^<a_!T710_CHILDREN'S SF_^>a_; _^<a_!T1236_DIME-NOVEL SF_^>a_; _^<a_!T3540_MACHINES_^>a_.
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BAX, MARTIN
-T-
(1933- ) UK doctor of medicine, current (1992) editor of the literary magazine _^<i_Ambit_^>i_ and writer. In his sf novel, _^<i_The Hospital Ship_^>i_ (_^<b_1976_^>b_), which has more than a passing resemblance to the _^<i_Narrenschiff_^>i_ or
Ship of Fools, a group of experimental doctors sail the world's oceans after a _^<a_!T4482_HOLOCAUST_^>a_, curing those they can cure, stashing those they definitely cannot in the ship's mortuary, and applying a variety of techniques, many sexual,
to the in-betweens. [JC]_^<n__^<n_
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BAXTER, JOHN
-T-
(1939- ) Australian writer, who has also lived and worked in the UK and USA. He began publishing sf with "Vendetta's End" for _^<i_Science Fiction Adventures_^>i_ in 1962, and for the next four years appeared primarily in _^<i_New Worlds_^>i_; he
wrote some stories with Ron Smith (1936- ) under the joint pseudonym Martin Loran. His sf novel, _^<i_The Off-Worlders_^>i_ (_^<b_1966_^>b_ dos US; vt _^<i_The God Killers_^>i_ 1968 Aus) portrays the superstition-ridden ex-colony planet of
Merryland and a search for the lost knowledge it contains. _^<i_The Hermes Fall_^>i_ (_^<b_1978_^>b_ US) depicts with some vigour the _^<a_!T1243_DISASTER_^>a_ created when an asteroid strikes the Earth. Increasingly, JB has concentrated on writing
on the cinema, his work in this genre including the informative, though not always accurate, _^<i_Science Fiction in the Cinema_^>i_ (_^<b_1970_^>b_), and 11 titles unconnected with sf. _^<i_The Fire Came By_^>i_ (_^<b_1976_^>b_), written with
Thomas A. Atkins, a science-fact book containing some almost-sf speculations, tells of the great Siberian explosion of 1908. As editor JB produced _^<i_The Pacific Book of Australian Science Fiction_^>i_ (anth _^<b_1968_^>b_; vt _^<i_Australian
Science Fiction 1_^>i_ 1969) and _^<i_The Second Pacific Book of Australian Science Fiction_^>i_ (anth _^<b_1971_^>b_; vt _^<i_Australian Science Fiction 2_^>i_ 1971). [JC/PN]_^<n__^<n__^<b_Other works:_^>b_ _^<i_The Black Yacht_^>i_
(_^<b_1982_^>b_ US); _^<i_Torched_^>i_ (_^<b_1986_^>b_) with John _^<a_!T5020_BROSNAN_^>a_, both writing as James Blackstone, a horror novel about spontaneous combustion._^<b_See also:_^>b_ _^<a_!T726_CINEMA_^>a_.
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BAXTER, STEPHEN (M.)
-T-
(1957- ) UK writer who has also signed his name Steve Baxter and S.M. Baxter. He began publishing sf with "The Xeelee Flower" for _^<i_Interzone_^>i_ in 1987, which with most of his other short work fits into his _^<b_Xeelee Sequence_^>b_, an
ambiitious attempt at creating a Future _^<a_!T4442_HISTORY_^>a_; novels included in the sequence are _^<i_Raft_^>i_ (1989 Interzone; much exp 1991, _^<i_Timelike Infinity_^>i_ (_^<b_1992_^>b_), _^<i_Flux_^>i_ (_^<b_1993_^>b_) and _^<i_Rind_^>i_
(_^<b_1994_^>b_). The sequence -- as centrally narrated in the second and fourth volume -- follows humanity into interstellar space, where it enoucnters a complex of _^<a_!T98_ALIEN_^>a_ races; the long epic ends (being typical in this of UK sf)
darkly, many aeons hence. SB's basic mode is _^<a_!T4288_HARD SF_^>a_, and his History is unusually dense with thought-experiment environments. _^<i_Raft_^>i_, for instance, though it labors under the strain of an ineptly conceived protagonist,
effectively posits an ultra-high-gravity universe, and argues the consequences to migrant humans of living there; and _^<i_Flux_^>i_ posits a microscopic folk who live on the surface of a _^<a_!T3160_NEUTRON STAR_^>a_. The _^<a_!T6026_TIME
TRAVEL_^>a_ intricacies of _^<i_Ring_^>i_ are at points daunting; but the sweeping millennia-long tale is carried off with a genuine, sciencefictional _^<a_!T2104_SENSE OF WONDER_^>a_._^<n__^<n_ SB's only work of interest unconnected to
_^<b_Xeelee_^>b_ is _^<i_Anti-Ice_^>i_ (_^<b_1993_^>b_), an _^<a_!T130_ALTERNATE HISTORY_^>a_ tale set in an England transfigured into a _^<a_!T5694_STEAMPUNK_^>a_ dystopia by the discovery of the eponymous superconductor -- extracted from a fallen
moonlet -- which explodes with nuclear force when heated, but which is also capable of powering spaceships. There is an occasional almost metallic flatness of tone in this novel, a flatness characteristic of SB's work as a whole; this seems a
relatively small price to pay for the exhilaration of the ride. [JC]_^<n__^<n__^<b_Other works:_^>b__^<i_Chiron_^>i_ (_^<b_1993_^>b_ chap); <The Time Ships> (1995), a sequel to H. G. _^<a_!T5528_WELL_^>a_'s _^<i__^<a_!B9070_THE TIME
(1937- ) UK writer, active as a freelance under various names for many years, author of juvenile stories, picture-strips and features as well as sf, which he began to publish with "Combat's End" for _^<i_Vargo Statten Science Fiction
Magazine_^>i_ in 1954. His sf pseudonyms include P.F. Woods (at least 10 stories), Alan Aumbry (1 story), John Diamond (1 story), and (with Michael _^<a_!T3030_MOORCOCK_^>a_) Michael _^<a_!T440_BARRINGTON_^>a_ (1 story). Some early tales appear in
_^<i_The Seed of Evil_^>i_ (coll _^<b_1979_^>b_). All his sf novels have been as BJB, beginning with _^<i_Star Virus_^>i_ (1964 _^<i_NW_^>i_; exp _^<b_1970_^>b_ dos US). This complex and somewhat gloomy space epic, along with some of its
successors, has had a strong though not broadly recognized influence on such UK sf writers as M. John _^<a_!T4319_HARRISON_^>a_; perhaps because BJB's style is sometimes laboured and his lack of cheerful endings is alien to the expectations of
readers of conventional _^<a_!T2342_SPACE OPERA_^>a_, he has yet to receive due recognition for the hard-edged control he exercises over plots whose intricate dealings in _^<a_!T6020_TIME PARADOXES_^>a_ and insistent metaphysical drive make them
some of the most formidable works of their type. Though _^<i_Annihilation Factor_^>i_ (1964 as "The Patch" _^<i_NW_^>i_ as by Peter Woods; exp _^<b_1972_^>b_ dos US), _^<i_Empire of Two Worlds_^>i_ (_^<b_1972_^>b_ US) and _^<i_Collision Course_^>i_
(_^<b_1973_^>b_ US; vt _^<i_Collision with Chronos_^>i_ 1977 UK)-which utilizes the time theories of J.W. _^<a_!T1352_DUNNE_^>a_ -- are all variously successful, probably the most fully realized time-paradox space opera from his pen is _^<i_The
Fall of Chronopolis_^>i_ (_^<b_1974_^>b_ US; vt _^<i_Chronopolis_^>i_ 1979 UK), in which the Chronotic Empire jousts against a terrifying adversary in doomed attempts to maintain a stable reality; at the crux of the book it becomes evident that the
conflict is eternal, and that the same forces will oppose one another through time forever (_^<i_see also_^>i_ _^<a_!T131_ALTERNATE WORLDS_^>a_)._^<n__^<n__^<i_The Soul of the Robot_^>i_ (_^<b_1974_^>b_ US; rev 1976 UK), along with its sequel
_^<i_The Rod of Light_^>i_ (_^<b_1985_^>b_), marked a change of pace in its treatment of such _^<a_!T2646_ROBOT_^>a_ themes as the nature of self-consciousness; the book makes complex play with a number of philosophical paradoxes, though BJB's
touch here is uncharacteristically light. _^<i_The Garments of Caean_^>i_ (_^<b_1976_^>b_ US; text restored 1978 UK) utilizes some fairly sophisticated cultural _^<a_!T197_ANTHROPOLOGY_^>a_ in a space-opera tale of sentient clothing which owns the
man. But perhaps the most significant work BJB produced in the 1970s was in short fiction, most of it collected in _^<i_The Knights of the Limits_^>i_ (coll _^<b_1978_^>b_), a remarkable (though astonishingly bleak) assembly of experiments in the
carrying of story ideas to the end of their tether. Later space operas -- _^<i_The Grand Wheel_^>i_ (_^<b_1977_^>b_), _^<i_Star Winds_^>i_ (_^<b_1978_^>b_ US), _^<i_The Pillars of Eternity_^>i_ (_^<b_1982_^>b_ US), _^<i_The Zen Gun_^>i_
(_^<b_1983_^>b_ US) and _^<i_The Forest of Peldain_^>i_ (_^<b_1985_^>b_ US) -- continued to take an orrery joy in the galaxies. BJB continues to be seriously underestimated, perhaps because of his almost total restriction to pulp formats. [JC]
_^<n__^<n__^<b_Other works:_^>b_ _^<i_The Pillars of Eternity and The Garments of Caean_^>i_ (omni _^<b_1989_^>b_); _^<i_The Fall of Chronopolis and Collision with Chronos_^>i_ (omni _^<b_1989_^>b_)._^<b_About the author:_^>b_ "Knight Without
Limit: An Overview of the Work of Barrington Bayley" by Andy Darlington in _^<i_Arena 10_^>i_ (1980); _^<i_The Writings of Barrington J. Bayley_^>i_ (_^<b_1981_^>b_ chap) by Mike _^<a_!T265_ASHLEY_^>a_._^<b_See also:_^>b_ _^<a_!T257_ARTS_^>a_;
> Ned L. _^<a_!T1905_PINES_^>a_; _^<a_!T6004_THRILLING WONDER STORIES_^>a_._^<n__^<n_
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BEALE, CHARLES WILLING
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(1845-1932) US writer in whose _^<i_The Secret of the Earth_^>i_ (_^<b_1899_^>b_) aeronauts find a hole in the planet and penetrate a routine _^<a_!T4474_HOLLOW EARTH_^>a_ inhabited by a lost race (> _^<a_!T3460_LOST WORLDS_^>a_), which they fail to
contact. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_The Ghost of Guir House_^>i_ (_^<b_1897_^>b_).
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BEAN, NORMAN
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[s] > Edgar Rice _^<a_!T5097_BURROUGHS_^>a_._^<n__^<n_
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BEAR, GREG
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Working name of US writer Gregory Dale Bear (1951- ), son-in-law of Poul _^<a_!T169_ANDERSON_^>a_. He began publishing sf with "Destroyers" for _^<i_Famous Science Fiction_^>i_ in 1967, and began to write full-time in 1975. His first stories and
novels were auspicious but not remarkably so, and he gave no immediate signs of becoming one of the dominant writers of the 1980s. Between 1985 and 1990, however, he published six novels whose importance to the realm of _^<a_!T4288_HARD SF_^>a_-and
to the world of sf in general -- it would be hard to overrate; he also served as President of the _^<a_!T2147_SCIENCE FICTION WRITERS OF AMERICA_^>a_ 1988-90. Other new writers in that period, like Lucius _^<a_!T2175_SHEPARD_^>a_, had perhaps a
greater grasp of the aesthetic trials and challenges of the art of fiction; still others, like Kim Stanley _^<a_!T2637_ROBINSON_^>a_, might conceive a richer world; some, like David _^<a_!T4999_BRIN_^>a_, might be handier with galaxies; and William
_^<a_!T4689_GIBSON_^>a_, by giving _^<a_!T1015_CYBERPUNK_^>a_ a habitation, gave Bruce _^<a_!T5717_STERLING_^>a_ a home. But only Orson Scott _^<a_!T6359_CARD_^>a_ could legitimately and centrally stand with GB and manifest the voice of US
_^<a_!T4659_GENRE SF_^>a_._^<n__^<n_It would be a long trek from _^<i_Hegira_^>i_ (_^<b_1979_^>b_; rev 1987 UK), GB's first novel, a _^<a_!T1913_PLANETARY-ROMANCE_^>a_ quest tale whose venue, a huge artificial hollow world comically called Hegira,
turns out itself to be questing through space at the end of time, accompanied by a vast conglomeration of similar planets which constitute _^<i_en masse_^>i_ a singularity capable of surviving the end of the Universe, and whose task it is to carry
the burden of life into the subsequent reality. Even in the extensively revised version of 1987, the narrative is top-heavy with explanations pumped for _^<a_!T2104_SENSE OF WONDER_^>a_. Though the variegations of cast and scenery are typical of
later GB creations -- and though the biological imperatives (> _^<a_!T611_BIOLOGY_^>a_), and the transcendental _^<a_!T902_COSMOLOGY_^>a_ at novel's close, would be reiterated time and again in his work -- _^<i_Hegira_^>i_ seemed to show ambition
far beyond the reach of talent. It was an impression only slowly to be modified by the far-reaching (but frequently lame) books which followed, like _^<i_Psychlone_^>i_ (_^<b_1979_^>b_; vt _^<i_Lost Souls_^>i_ 1982), though _^<i_Beyond Heaven's
River_^>i_ (_^<b_1980_^>b_) -- a tale which carries a Japanese fighter pilot from WWII into a morally complex galactic venue 400 years hence -- manages both to create a plausible protagonist and to match his understanding of the larger picture with
ours. Set in a universe which shares some features with the one in that book are _^<i_Strength of Stones_^>i_ (fixup _^<b_1981_^>b_; rev 1988 UK) and some of the stories assembled in _^<i_The Wind from a Burning Woman_^>i_ (coll _^<b_1983_^>b_;
with 2 stories added, rev vt _^<i_The Venging_^>i_ 1992 UK) and _^<i_Tangents_^>i_ (coll _^<b_1989_^>b_) -- whose title story won both _^<a_!T4551_HUGO_^>a_ and _^<a_!T3147_NEBULA_^>a_ awards. These tales depict with some confidence venues created
by a human civilization faced with the need to balance its nearly infinite capacity to transform the Universe against ancient moral imperatives. The title story of the first collection, for instance, evokes a conflict between environmentalist
Naderites and technophilic Geshels which would echo down the aisles of _^<i__^<a_!B9100_EON_^>a__^>i_ (_^<b_1985_^>b_); and "Sisters", in the second collection, brilliantly affirms a broad-church definition of the human family._^<n__^<n_It was not,
however, until the publication of _^<i__^<a_!B9121_BLOOD MUSIC_^>a__^>i_ (_^<b_1985_^>b_) that GB began to show his true strength, which might be defined as the capacity to incorporate the hardest and most cognitively demanding of hard-sf premises
and plot-logics into tales whose protagonists display far greater complexity than anything unliving. It can be argued that the singular failure of almost all hard-sf writers to create noteworthy literature lies in their assumption that it is more
difficult to understand -- say -- plasma physics than to understand human beings. The significance of GB's later 1980s novels lies in the fact that his human beings are more difficult to describe than his physics. (It might be added that his
political views -- like most hard-sf writers he constantly expresses them -- are also graced by a lack of dreadful simplicity.) In _^<i__^<a_!B9121_BLOOD MUSIC_^>a__^>i_ -- the 1983 novella version won both Hugo and Nebula -- the hard science is
_^<a_!T4657_GENETIC ENGINEERING_^>a_, and the character who ignites the plot is a humanly ineffectual scientist who illicitly uses biochip technology to tranform RNA molecules into living computers; these join together into _^<i_Gestalts_^>i_ which
themselves combine into a single transcendental higher consciousness incorporating all of life upon the planet into one externally homogeneous biosphere. The close of the book, as the new consciousness enters into rapport with the true Universe,
has been appropriately likened to the climax of Arthur C. _^<a_!T736_CLARKE_^>a_'s _^<i__^<a_!B9010_CHILDHOOD'S END_^>a__^>i_ (_^<b_1953_^>b_)._^<n__^<n_GB's other 1985 novel _^<i__^<a_!B9100_EON_^>a__^>i_, along with its sequel _^<i_Eternity_^>i_
(_^<b_1988_^>b_), is both more conventional and more enthralling. The conventionality lies in a partial return to the large-scale enterprises of cosmological _^<a_!T2342_SPACE OPERA_^>a_, accompanied by a marked retreat from the nearly religious
transcendentalism evoked in GB by any application of information theory. The grip of the sequence lies in the remarkable fertility of the concepts presented: the hollowed-out asteroid, from an alternate timeline, whose final chamber is literally
endless; the extraordinary architectonics of GB's demonstration of the nature of this phenomenon; the enormously complex _^<a_!T826_COMPUTER_^>a_-run culture partway up the infinite corridor; the relentless expansion of perspective, in a series of
_^<a_!T829_CONCEPTUAL BREAKTHROUGHS_^>a_, as the ordering and end of the entire Universe come into question in the second volume. In the final analysis, this relentlessness works perhaps best in the earlier portions of the tale --
_^<i__^<a_!B9100_EON_^>a__^>i_ itself is perhaps the best-constructed epic of cosmology yet written in the field -- but the two volumes together amply demonstrate GB's control over scale and cognition._^<n__^<n_In something like the same spirit,
_^<i_The Forge of God_^>i_ (_^<b_1987_^>b_) tackles the _^<a_!T6661_END OF THE WORLD_^>a_ by confronting _^<a_!T6337_NEAR-FUTURE_^>a_ humanity with a sequence of _^<a_!T98_ALIEN_^>a_ intrusions, one of which proves utterly and implacably fatal to
the existence of the planet. The bulldog inexorability with which GB presents this scenario is darkly exhilarating, and seemed at the time a welcome prophylactic to the assumption embedded in most hard-sf novels that catastrophes, no matter how
grave, will be sidestepped by the fit: a sequel, however, _^<i_Anvil of Stars_^>i_ (_^<b_1992_^>b_ UK), somewhat softens the blow of the first volume by carrying a few human survivors in an alien ship on a revenge mission directed against the
apparent makers of the autonomous weapons which destroyed Earth._^<n__^<n_ Ultimately more interesting, though told with a complexity that some readers have found congested, was _^<i_Queen of Angels_^>i_ (_^<b_1990_^>b_), which embodies a wide
range of speculations about the effects of recent theories about _^<a_!T3138_NANOTECHNOLOGY_^>a_. Set mainly in a Los Angeles transformed into a kind of beehive of human and para-human activity, the book tells several kinds of story, in several
venues: a formal tale of detection (told from the complex viewpoint of a biotransformed female cop); a prose-poem leading into voodoo; a tale of _^<a_!T5380_VIRTUAL REALITY_^>a_ entrapments, and a narrative of the coming to consciousness of an
_^<a_!T68_AI_^>a_. Throughout, sustaining these strands of story, is a boding sense of transcendental transformation, a sense that _^<i_Queen of Angels_^>i_ is perhaps a snapshot of one moment in an epic which will end in the total victory of
information that GB described in _^<i__^<a_!B9121_BLOOD MUSIC_^>a__^>i_. A short novel, _^<i_Heads_^>i_ (_^<b_1990_^>b_ UK), set in something like the same Universe, concisely conflates a Moon-based search for the Absolute Zero of temperature and
the threat that a cryogenically preserved head might turn out to be that of a 20th-century guru whose manipulative sect generations earlier proved particularly attractive in some sf circles._^<i_Moving Mars_^>i_ (_^<b_1993_^>b_), which is connected
to the world depicted in _^<i_Queen of Angels_^>i_, and which won the 1995 Nebula Award, is a broader and more traditional tale. Its depiction of _^<a_!T3677_MARS_^>a_ may lack some of the resolute arguments that accompany every speculative
suggestion in Kim Stanley _^<a_!T2637_ROBINSON_^>a_'s _^<b_Mars_^>b_ sequence, but GB's novel gains a commensurate freedom of sweep in its story -- which intermixes politics and an array of scientific discoveries -- of the emancipation of Mars from
the hegemony of a paranoia-driven Earth. The title, it may be fair to add, is meant literally._^<n__^<n_It is not easy to say what might come next; it can be expected that whatever GB writes will continue to bring sf and the world together,
relentlessly. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_The Speculative Poetry Review #1_^>i_ (anth _^<b_1977_^>b_ chap), an anthology in magazine form; a _^<a_!T2429_STAR TREK_^>a_ tie, _^<i_Corona_^>i_ * (_^<b_1984_^>b_); the _^<b_Michael
Perrin_^>b_ fantasy sequence comprising _^<i_The Infinity Concerto_^>i_ (_^<b_1984_^>b_) and _^<i_The Serpent Mage_^>i_ (_^<b_1986_^>b_), both assembled as _^<i_Songs of Earth & Power_^>i_ (omni _^<b_1992_^>b_ UK; rev 1994 US), the UK edition
incorrectly implying revised status -- GB's modifications were not incorporated because of production difficulties, and appear for the first time in the US edition; _^<i_Sleepside Story_^>i_ (_^<b_1988_^>b_ chap); _^<i_Early Harvest_^>i_ (coll
_^<b_1988_^>b_), containing also some nonfiction; _^<i_Hardfought_^>i_ (1983 _^<i_IASFM_^>i_; _^<b_1988_^>b_ chap dos), reprinting the Nebula-winning story; _^<i_Bear's Fantasies_^>i_ (coll _^<b_1992_^>b_)._^<b_See also:_^>b_ _^<a_!T232_ARKHAM
_^<a_!T3120_MUTANTS_^>a_; _^<a_!T3315_OMNI_^>a_; _^<a_!T1714_OPTIMISM AND PESSIMISM_^>a_; _^<a_!T2023_PSYCHOLOGY_^>a_; _^<a_!T2338_SPACE HABITATS_^>a_; _^<a_!T5683_WOMEN AS PORTRAYED IN SCIENCE FICTION_^>a_.
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BEASON, DOUG
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(1953- ) US writer and officer in the USAF with a PhD in physics who began publishing sf with "The Man I'll Never Be" for _^<i_AMZ_^>i_ in 1987. _^<i_Return to Honor_^>i_ (_^<b_1989_^>b_), _^<i_Assault on Alpha Base_^>i_ (_^<b_1990_^>b_) and
_^<i_Strike Eagle_^>i_ (_^<b_1991_^>b_) are _^<a_!T5917_TECHNOTHRILLERS_^>a_, but _^<i_Lifeline_^>i_ (_^<b_1990_^>b_) with Kevin J. _^<a_!T166_ANDERSON_^>a_ is of sf interest, and marked both writers as names to watch. Further novels with Anderson
(_^<i_whom see for further details of both books_^>i_), _^<i_The Trinity Paradox_^>i_ (_^<b_1991_^>b_) and _^<i_Assemblers of Infinity_^>i_ (_^<b_1993_^>b_), interestingly plumb the moral perils of _^<a_!T6026_TIME TRAVEL_^>a_and examine some of
the darker implications of _^<a_!T3138_NANOTECHNOLOGY_^>a_. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T3265_NUCLEAR POWER_^>a_.
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BEAST FROM HAUNTED CAVE
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> Roger _^<a_!T884_CORMAN_^>a_._^<n__^<n_
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BEAST FROM 20,000 FATHOMS, THE
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Film (1953). Mutual Pictures/Warner Bros. Dir Eugene Lourie, starring Paul Christian, Paula Raymond, Cecil Kellaway, Kenneth Tobey. Screenplay Lou Morheim, Fred Freiberger, based on "The Fog Horn" (1951) by Ray _^<a_!T4963_BRADBURY_^>a_. 80 mins.
B/w._^<n__^<n_This was the second of the 1950s _^<a_!T3011_MONSTER MOVIES_^>a_-the first being _^<i_The_^<a_!T5973_THING_^>a__^>i_ (1951) -- and the one that established the basic formula for most of those that followed. An atomic test in the
Arctic wakes a dinosaur frozen in the ice. It swims to its ancestral breeding-grounds -- an area now covered by the city of New York. It is finally trapped and killed in an amusement park. This is the first film on which model animator Ray
_^<a_!T4322_HARRYHAUSEN_^>a_ had full control over the special effects, though these are not remarkable. Nor is the film, though it looks good: Lourie usually worked as an art director on mostly non-sf films, including some of Jean Renoir's most
distinguished; his other sf films are _^<a_!T501_BEHEMOTH, THE SEA MONSTER_^>a_ (1958), _^<i_The_^>i_ _^<a_!T812_COLOSSUS OF NEW YORK_^>a_ (1958) and _^<a_!T4778_GORGO_^>a_ (1959). [JB]_^<n__^<n_
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BEAST WITH A MILLION EYES
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> Roger _^<a_!T884_CORMAN_^>a_._^<n__^<n_
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BEAUJON, PAUL
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Pseudonym of UK writer Beatrice Lamberton Warde (1900-1969), whose sf novella, _^<i_The Shelter in Bedlem_^>i_ (_^<b_1937_^>b_ chap; rev vt _^<i_Peace Under Earth: Dialogues from the Year 1946_^>i_ 1938 chap), expressed a grim view of the
_^<a_!T1370_DYSTOPIA_^>a_ which would follow the end of conflict. [JC]_^<n__^<n_
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BEAUMONT, CHARLES
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(1929-1967) US story- and scriptwriter, born Charles Leroy Nutt but later legally changing his name to CB; he wrote some non-sf under other names. He began publishing his blend of horror and sf with "The Devil, You Say?" for _^<i_AMZ_^>i_ in 1951.
Most of his work is collected in _^<i_The Hunger_^>i_ (coll _^<b_1957_^>b_; with title story cut vt _^<i_Shadow Play_^>i_ 1964 UK), _^<i_Yonder_^>i_ (coll _^<b_1958_^>b_), _^<i_Night Ride and Other Journeys_^>i_ (coll _^<b_1960_^>b_), _^<i_The
Magic Man_^>i_ (coll _^<b_1965_^>b_) and _^<i_The Edge_^>i_ (coll _^<b_1966_^>b_ UK), which reassembles _^<i_Yonder_^>i_ and _^<i_Night Ride_^>i_; posthumously, this material was re-sorted and added to in _^<i_Best of Beaumont_^>i_ (coll
_^<b_1982_^>b_) and _^<i_Charles Beaumont: Selected Stories_^>i_ (_^<b_1988_^>b_; vt _^<i_The Howling Man_^>i_ 1992). CB's work combines humour and horror in a slick style extremely effective in underlining the grimness of his basic inspiration. As
a writer of sf, fantasy and horror movies, he scripted or coscripted _^<i_Queen of Outer Space_^>i_ (1958), _^<i_The Premature Burial_^>i_ (1962), _^<i_Burn, Witch, Burn_^>i_ (1962; vt _^<i_The Night of the Eagle_^>i_) -- based on _^<i_Conjure
Wife_^>i_ (1943; _^<b_1953_^>b_) by Fritz _^<a_!T3322_LEIBER_^>a_ -- _^<i_The Wonderful World of the Brothers Grimm_^>i_ (1962), _^<i_The Haunted Palace_^>i_ (1963), _^<i_The Seven Faces of Dr Lao_^>i_ (1964), _^<i_The Masque of the Red Death_^>i_
(1964) and _^<a_!T4973_BRAIN DEAD_^>a_ (1989). Several of these were directed by Roger _^<a_!T884_CORMAN_^>a_. His numerous tv scripts include around 19 for _^<i_The_^<a_!T6141_TWILIGHT ZONE_^>a__^>i_ . He also collaborated with Chad
_^<a_!T3306_OLIVER_^>a_ on the brief _^<b_Claude Adams_^>b_ series (_^<i_FSF_^>i_ 1955-6) and edited a horror anthology, _^<i_The Fiend in You_^>i_ (anth _^<b_1962_^>b_). He was struck in 1964 by a savage illness which ravaged and eventually killed
him. [JC]_^<n__^<n__^<b_About the author:_^>b_ _^<i_The Work of Charles Beaumont_^>i_ (2nd edn _^<b_1990_^>b_ chap) by William F. _^<a_!T3229_NOLAN_^>a_._^<b_See also:_^>b_ _^<a_!T4509_HORROR IN SF_^>a_; _^<a_!T3806_INVISIBILITY_^>a_.
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BEAUMONT, ROGER
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[r] > _^<a_!T6332_ROBERT HALE LIMITED_^>a_._^<n__^<n_
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BEAUTIFUL WOMEN AND THE HYDROGEN MAN
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> _^<a_!T597_BIJO TO EKITAI NINGEN_^>a_._^<n__^<n_
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BEAUTY AND THE BEAST
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US tv series (1987-90). A Witt-Tomas Production for CBS. Created Ron Koslow. Prods Paul Junger Witt, Tony Thomas, Koslow. Writers included George R.R. _^<a_!T3685_MARTIN_^>a_, Koslow, Shelly Moore, Linda Campanelli. Dirs included Richard Franklin,
Gus Trikonis, Ron Perlman. 3 seasons, totalling 55 50 min episodes. Colour._^<n__^<n_An urban fairytale, inspired in its make-up design if not in its commitment to magic by Jean Cocteau's film _^<i_La Belle et la Bete_^>i_ (1946), _^<i_BATB_^>i_
centres on the relationship between Catherine (Linda Hamilton), a chic Manhattan district attorney, and Vincent (Ron Perlman), a poeticizing, romantic, _^<a_!T3119_MUTANT_^>a_ lion-man who lives with his adopted father (Roy Dotrice) in a world of
derelicts in tunnels deep beneath the city. He has a telepathic link with his ladylove. Despite the involvement of distinguished sf writer George R.R. Martin as story editor, the show was a combination of soap opera and crime thriller rather than a
real sf/fantasy offering, though the idea of a fantastic city beneath the real one is interesting. The unorthodox team normally righted wrongs that could as easily have served as springboards for episodes of any other action adventure, while for
two seasons Catherine and Vincent merely pussy-footed around their relationship. The show's fragile charm being almost exhausted, the format underwent severe changes in its final season, first with the consummation of the central relationship, then
with the casual killing-off of the heroine and several other supporting cast members, motivating Vincent's character change from mutant Care Bear to raging vigilante. Catherine was replaced briefly by Diana Bennett (Jo Anderson), a police officer,
but the show never regained the-largely female -- fan following its earlier, more wistful episodes had picked up. A novelization, largely of the first episode, is _^<i_Beauty and the Beast_^>i_ * (_^<b_1989_^>b_) by Barbara _^<a_!T4255_HAMBLY_^>a_.
Working name of US writer John Ernest Bechdolt (1884-1954) for his fiction, though he used his full name for other writing. _^<i_The Lost Vikings_^>i_ (_^<b_1931_^>b_) features juveniles who discover a lost race (> _^<a_!T3460_LOST WORLDS_^>a_) of
Vikings in Alaska. _^<i_The Torch_^>i_ (1920 _^<i_Argosy_^>i_; _^<b_1948_^>b_) is a post-_^<a_!T4482_HOLOCAUST_^>a_ story set in the New York of AD3000; the torch is the Statue of Liberty's. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T727_CITIES_^>a_.
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BECK, CHRISTOPHER
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> T.C. _^<a_!T4997_BRIDGES_^>a_._^<n__^<n_
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BEDFORD, JOHN
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[r] > _^<a_!T6332_ROBERT HALE LIMITED_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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BEDFORD-JONES, H(ENRY JAMES O'BRIEN)
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(1887-1949) Canadian author, later a naturalized US citizen, who was one of the most prolific and popular pulp writers; of his more than 100 novels, a few -- e.g., _^<i_The Star Woman_^>i_ (_^<b_1924_^>b_) -- were sf adventures. His works appeared
in the _^<a_!T2033_PULP MAGAZINES_^>a_ -- _^<i_The Magic Carpet_^>i_, _^<i_Golden Fleece_^>i_, _^<i_All-Story Weekly_^>i_ and numerous others -under at least 15 pseudonyms. His fictions were primarily historical and adventure, sometimes having sf
or weird elements as a basic framework. Among his earliest fantasies are the _^<a_!T3460_LOST-WORLD_^>a_ adventures of his _^<b_John Solomon_^>b_ series (in magazine form as by HBJ, in book form as by Allan Hawkwood): _^<i_Solomon's Quest_^>i_
(_^<b_1915_^>b_); _^<i_Gentleman Solomon_^>i_ (_^<b_1915_^>b_), about an unknown Middle Eastern pygmy race; _^<i_Solomon's Carpet_^>i_ (_^<b_1915_^>b_); _^<i_The Seal of Solomon_^>i_ (1915 _^<i_Argosy_^>i_; _^<b_1924_^>b_ UK), about a community
established by Crusaders in the Arabian desert; _^<i_John Solomon_^>i_ (_^<b_1916_^>b_); _^<i_John Solomon Retired_^>i_ (_^<b_1917_^>b_); _^<i_Solomon's Son_^>i_ (_^<b_1918_^>b_); _^<i_John Solomon, Supercargo_^>i_ (_^<b_1924_^>b_ UK); _^<i_John
Solomon, Incognito_^>i_ (_^<b_1925_^>b_ UK); _^<i_The Shawl of Solomon_^>i_ (_^<b_1925_^>b_ UK); _^<i_The Wizard of the Atlas_^>i_ (_^<b_1928_^>b_ UK). In similar vein are _^<i_Splendour of the Gods_^>i_ (_^<b_1924_^>b_) and, in collaboration with
W.C. Robertson, _^<i_The Temple of the Ten_^>i_ (1921; _^<b_1973_^>b_), both of which appeared under his own name._^<n__^<n_More germane to the genre were the several series that later appeared in _^<i_The_^>i_ _^<a_!T667_BLUE BOOK MAGAZINE_^>a_.
The first of these was the _^<b_Trumpets from Oblivion_^>b_ series, 11 stories running from "The Stagnant Death" (1938) to "The Serpent People" (1939). In these tales a device capable of recording sounds and images from the past is used to
establish a rational origin for various myths and legends. A similar gadget is employed in the nine _^<b_Counterclockwise_^>b_ stories, running from "Counterclockwise" (1943) to "The Gods do not Forget" (1944). Also in _^<i_The Blue Book
Magazine_^>i_ appeared two futuristic series (as by Gordon Keyne) dealing, respectively, with the struggle to maintain peace in the post-WWII years and with a post-WWII Bureau of Missing Persons. The first, _^<b_Tomorrow's Men_^>b_, comprised
"Peace Hath her Victories" (1943), "The Battle for France" (1943), "Sahara Doom" (1943) and "Tomorrow in Egypt" (1943). The second series was _^<b_Quest, Inc._^>b_, with 12 stories from "The Affair of the Drifting Face" (1943) to "The Final Hoard"
(1945). Other series included _^<b_The Adventures of a Professional Corpse_^>b_ (1940-41 _^<a_!T5512_WEIRD TALES_^>a_), _^<b_Carson's Folly_^>b_ (1945-6 _^<i_Blue Book Magazine_^>i_) and _^<b_The Sphinx Emerald_^>b_ (1946-7 _^<i_Blue Book
Magazine_^>i_), which last traces the malign influence of a gem throughout history. [JE]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T5141_CANADA_^>a_; _^<a_!T3135_MYTHOLOGY_^>a_.
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BEDSHEET
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A term used to describe a magazine format, in contrast to pulp and _^<a_!T1231_DIGEST_^>a_. The bedsheet format -- sometimes called large pulp format -- is the largest of the three; it varies slightly but approximates 8.5 x 11.75in (216 x 298mm) --
i.e., close to A4 (210 x 297mm). It was used by some of the more prestigious _^<a_!T2033_PULP MAGAZINES_^>a_ in the 1920s and 1930s and, in a slightly narrower version, became popular again in the late 1960s with such magazines as _^<a_!T3182_NEW
WORLDS_^>a_ and _^<a_!T5383_VISION OF TOMORROW_^>a_; these, having fewer pages than the earlier bedsheet magazines, were stapled rather than glued. Magazines of this type, when printed on coated paper, are often called slicks; although the term
"slick" refers to paper quality rather than size, slicks (e.g., _^<a_!T3315_OMNI_^>a_) are normally in a smallish bedsheet format. [PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T2130_SF MAGAZINES_^>a_.
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BED-SITTING ROOM, THE
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Film (1969). Oscar Lewenstein/United Artists. Dir Richard Lester, starring Rita Tushingham, Mona Washbourne, Arthur Lowe, Ralph Richardson, Spike _^<a_!T2962_MILLIGAN_^>a_, Michael Hordern, Roy Kinnear, Peter Cook, Dudley Moore. Screenplay John
Antrobus from the play by Antrobus Milligan. 91 mins. Colour._^<n__^<n__^<i_BSR_^>i_ is a _^<a_!T1372_FABULATION_^>a_, a black comedy set in England after WWIII, where dazed survivors wander about pretending that nothing has happened, even when
some of them mutate into wardrobes, bed-sitting rooms and parrots. The original play was a much-improvised piece of slapstick, and what remains of it clashes awkwardly with chillingly bleak settings showing the realistic aftermath of an atomic war:
the shattered dome of St Paul's Cathedral protruding from a swamp, a line of wrecked cars along a disembodied length of motorway, a grim landscape dominated by great piles of sludge and heaps of discarded boots, broken plates and false teeth. The
film effectively has no plot, and its disjointedness, while pleasantly surreal, gives it an inconsequential air. [JB/PN]_^<n__^<n_
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BEEBEE, CHRIS
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(? - ) UK writer known exclusively for his _^<b_Cipola_^>b_ sequence, set in the 21st century on Earth and in a _^<a_!T2338_SPACE HABITAT_^>a_: _^<i_The Hub_^>i_ (_^<b_1987_^>b_) and _^<i_The Main Event_^>i_ (_^<b_1989_^>b_). The world of the
sequence is dominated by _^<a_!T826_COMPUTERS_^>a_, and trouble brews when the GRAIL programs go missing; the protagonist tries to cope. [JC]_^<n__^<n_
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BEECHING, JACK
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(1922- ) UK writer, mostly of poetry, and (with his first wife) of juveniles as James Barbary. His novel _^<i_The Dakota Project_^>i_ (_^<b_1968_^>b_) is a _^<a_!T5917_TECHNOTHRILLER_^>a_ whose eponymous government project contains top secrets of
borderline sf interest. [JC]_^<n__^<n_
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BEEDING, FRANCIS
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Joint pseudonym of UK writers John Leslie Palmer (1885-1944) and Hilary Saunders (1898-1951) for numerous works in various genres, mainly detective novels and thrillers; their sf novels are near-future political thrillers. In _^<i_The Seven
Sleepers_^>i_ (_^<b_1925_^>b_ US) villainous Germans are kept from starting a second world war. In its sequel, _^<i_The Hidden Kingdom_^>i_ (_^<b_1927_^>b_), Outer Mongolia is threatened with enslavement. _^<i_The One Sane Man_^>i_ (_^<b_1934_^>b_)
features a man's attempt to enforce world peace by threatening disaster, in this case via weather control. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T956_CRIME AND PUNISHMENT_^>a_.
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BEERE, PETER
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(? - ) UK writer whose _^<b_Trauma 2020_^>b_ sequence of 21st-century action thrillers-_^<i_Trauma 2020: Urban Prey_^>i_ (_^<b_1984_^>b_), _^<i_#2: The Crucifixion Squad_^>i_ (_^<b_1984_^>b_) and _^<i_#3: Silent Slaughter_^>i_ (_^<b_1985_^>b_)
-- has some efficient moments, as do his two novels for young adults, _^<i_Underworld III_^>i_ (_^<b_1992_^>b_), which is sf, and _^<i_Doom Sword_^>i_ (_^<b_1993_^>b_), which is fantasy. [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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BEESE, P.J.
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(1946- ) US writer whose sf novel, _^<i_The Guardsman_^>i_ (_^<b_1988_^>b_), with Todd Cameron Hamilton, is an unremarkable example of interstellar-empire adventure sf; its nomination for the 1989 _^<a_!T4551_HUGO_^>a_ caused some stir, and there
was evidence of block voting. When made aware of this, the authors requested that their novel be withdrawn from the ballot. [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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BEGBIE, (EDWARD) HAROLD
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(1871-1929) UK writer and journalist, author of _^<i_The Day that Changed the World_^>i_ (_^<b_1912_^>b_), as by "The Man who Was Warned", a religious fantasy in which humankind's spiritual development is sharply uplifted by divine intervention. HB
also wrote _^<i_On the Side of the Angels_^>i_ (_^<b_1915_^>b_), a reply to Arthur _^<a_!T3539_MACHEN_^>a_'s _^<i_The Bowmen_^>i_ (coll_^<b_ 1915_^>b_; rev with 2 additional stories, _^<b_1915_^>b_), and two political satires, _^<i_Clara In
Blunderland_^>i_ (_^<b_1902_^>b_) and _^<i_Lost in Blunderland: The Further Adventures of Clara_^>i_ (_^<b_1903_^>b_), both written with M.H. Temple and J. Stafford Ransome (1860-1931) under the collaborative pseudonym Caroline Lewis.
[JE]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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BEGOUEN, MAX
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(? -? ) French prehistorian and author of three prehistoric novels, of which only _^<i_Les bisons d'argile_^>i_ (_^<b_1925_^>b_; trans as _^<i_Bison of Clay_^>i_ _^<b_1926_^>b_) has been translated into English. His entry for the Prix Jules
Verne (> _^<a_!T6321_AWARDS_^>a_), _^<i_Quand le mammouth ressuscita_^>i_ ["When the Mammoth Revives"] (_^<b_1928_^>b_), although placed only second, was deemed of sufficient merit to warrant publication. [JE]_^<n__^<n__^<b_Other works:_^>b_
_^<i_Tisik et Kate, aventures de deux enfants a l'epoque du renne_^>i_ ["Tisik and Kate: The Adventures of Two Children in the Time of the Reindeer"] (_^<b_1946_^>b_)._^<b_See also:_^>b_ _^<a_!T1727_ORIGIN OF MAN_^>a_.
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(c) 1995 John Clute and Peter Nicholls
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BEHEMOTH, THE SEA MONSTER
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(vt _^<i_The Giant Behemoth_^>i_ US) Film (1959). Diamond/Allied Artists. Dir Douglas Hickox, Eugene Lourie, starring Gene Evans, Andre Morell, Jack MacGowran, Leigh Madison. Screenplay Lourie. 80 mins, cut to 72 mins. B/w._^<n__^<n_Lourie made
several _^<a_!T3011_MONSTER MOVIES_^>a_ during his career, including _^<i_The _^<a_!T481_BEAST FROM 20,000 FATHOMS_^>a__^>i_ (1953), of which _^<i_BTSM_^>i_ -- his least successful -- is a partial remake. The story is the usual one -- a prehistoric
reptile is revived by atomic radiation and immediately sets out to demolish the nearest city, in this case London. There is a good build-up of suspense in some sequences but, despite the presence of the elderly Willis H. _^<a_!T3280_O'BRIEN_^>a_
(designer of the original _^<a_!T4072_KING KONG_^>a_) on the team, the very low budget severely restricted the scope of the effects. [JB]_^<n__^<n_
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BEHOUNEK, FRANTISEK
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[r] > _^<a_!T1020_CZECH AND SLOVAK SF_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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BEKSICS, GUSZTAV
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[r] > _^<a_!T6355_HUNGARY_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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BELAYEV, A.
-T-
[r] > Alexander _^<a_!T520_BELYAEV_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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"BELCAMPO"
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> _^<a_!T524_BENELUX_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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BELDEN, DAVID (CORDEROY)
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(1949- ) Swiss-born UK writer, in the USA from 1982, whose _^<b_Galactic Collectivity_^>b_ sequence -- _^<i_Children of Arable_^>i_ (_^<b_1986_^>b_) and _^<i_To Warm the Earth_^>i_ (_^<b_1988_^>b_) -- depicts with clearly felt didactic urgency a
_^<a_!T1432_FAR-FUTURE_^>a_ Earth trapped in sterile stasis, with a stagnant galactic civilization impotently observing the dying of the mother planet. In the first volume a woman gives birth to a child, and this has a rejuvenating effect (the
novel is rich in feminist and religious discourse); in the second novel of the sequence, another female protagonist looks to a Collectivity satellite for a dubious technological fix. [JC]_^<n__^<n_
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BELGIUM
-T-
> _^<a_!T524_BENELUX_^>a_._^<n__^<n_
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BELIAEV, ALEXANDER
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[r] > Alexander _^<a_!T520_BELYAEV_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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BELIAYEV, ALEXANDER
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[r] > Alexander _^<a_!T520_BELYAEV_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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BELL, CLARE (LOUISE)
-T-
(1952- ) UK-born writer, in the USA from 1957; a test-equipment engineer for a computer firm 1978-90. She began publishing sf with _^<i_Ratha's Creature_^>i_ (_^<b_1983_^>b_), the first volume of the _^<b_Ratha Ya_^>b_ sequence of juveniles --
continued with _^<i_Clan Ground_^>i_ (_^<b_1984_^>b_) and _^<i_Ratha and Thistle-Chaser_^>i_ (_^<b_1990_^>b_)-which delineates the lives of an _^<a_!T131_ALTERNATE-WORLD_^>a_ tribe of intelligent cougar-like felines, concentrating on Ratha, a rebel
who becomes necessary for the survival of her people. _^<i_Tomorrow's Sphinx_^>i_ (_^<b_1986_^>b_), also an sf juvenile but this time about an intelligent cheetah, is set on an Earth abandoned by the humans who have devastated it. In _^<i_People of
the Sky_^>i_ (_^<b_1989_^>b_), for adults, an Amerindian star-pilot discovers a planet inhabited by Pueblos; their relationship to the indigenous insect _^<a_!T102_ALIENS_^>a_, which they ride like horses, and the puzzle of their existence generate
sufficient mystery to keep the competent narrative on the move. CB might choose to inhabit the consciousnesses of sentient animals -- as in _^<i_The Jaguar Princess_^>i_ (_^<b_1993_^>b_), a fantasy -- or of a member of a culture foreign to her own
(such as an Amerindian), but the true "aliens" in her imaginative world are the (human) representatives of technological society. In collaboration with M. Coleman _^<a_!T6569_EASTON_^>a_, with whom she lives, both writing as Clare Coleman, she has
published the _^<b_Ancient Pacific_^>b_ series, _^<i_Daughter of the Reef_^>i_ (_^<b_1992_^>b_), _^<i_Sister of the Sun _^>i_(_^<b_1993_^>b_) and _^<i_Child of the Dawn_^>i_ (_^<b_1994_^>b_); they are essentially historical in nature.
[JC]_^<n__^<n_
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BELL, ERIC TEMPLE
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[r] > John _^<a_!T5892_TAINE_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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BELL, NEIL
-T-
Pseudonym of UK writer Stephen Southwold (1887-1964), used on his early poetry and most of his later novels. Born Stephen Henry Critten, he took the name Southwold (from his birthplace) because he despised his father, for reasons made clear in the
semi-autobiographical chapters which recur in many of his novels, including _^<i_Precious Porcelain_^>i_ (_^<b_1931_^>b_) and _^<i_The Lord of Life_^>i_ (_^<b_1933_^>b_). He wrote juveniles and a few biographical novels under his adopted name, and
also used the pseudonyms Stephen Green, S.H. Lambert, Paul Martens and Miles. His first sf novel, _^<i_The Seventh Bowl_^>i_ (_^<b_1930_^>b_ as by Miles; reprinted 1934 as by NB), is a bitter future _^<a_!T4442_HISTORY_^>a_ in which the deployment
of a technology of _^<a_!T3771_IMMORTALITY_^>a_ by corrupt politicians sets in train a chain of events leading to the _^<a_!T6661_END OF THE WORLD_^>a_. His second, _^<i_The Gas War of 1940_^>i_ (_^<b_1931_^>b_ as by Miles; vt _^<i_Valiant
Clay_^>i_ 1934 as by NB), gives a more detailed account of an incident -- the use of poison gas in war -- from the same future history. The caustic outlook of these works is displayed also in the apocalyptic black comedy _^<i_The Lord of Life_^>i_
and in the stories in his first and best collection, _^<i_Mixed Pickles: Short Stories_^>i_ (coll _^<b_1935_^>b_); these include the sf stories "The Mouse" and "The Evanescence of Adrian Fulk" and the sarcastic messianic fantasy (>
_^<a_!T2918_MESSIAHS_^>a_) "The Facts About Benjamin Crede" (also in _^<i_Ten Short Stories_^>i_, coll _^<b_1948_^>b_)._^<n__^<n__^<i_Precious Porcelain_^>i_, _^<i_The Disturbing Affair of Noel Blake_^>i_ (_^<b_1932_^>b_) and _^<i_Life Comes to
Seathorpe_^>i_ (_^<b_1946_^>b_) are three similarly structured mystery stories in which peculiar happenings are ultimately revealed to have an sf explanation. _^<i_Death Rocks the Cradle_^>i_ (_^<b_1933_^>b_ as by Martens) is a hallucinatory
fantasy about a _^<a_!T5303_UTOPIA_^>a_ populated by covert sadists. _^<i_One Came Back_^>i_ (_^<b_1938_^>b_) is an interesting realistic novel which extends into the _^<a_!T6337_NEAR FUTURE_^>a_ in describing the founding of a new
_^<a_!T2551_RELIGION_^>a_ following an apparent miracle. Occasional sf or fantasy stories crop up in NB's later collections, most significantly the first of the three horror novellas in _^<i_Who Walk in Fear_^>i_ (coll _^<b_1954_^>b_) and several
items in _^<i_Alpha and Omega_^>i_ (coll _^<b_1946_^>b_); the latter collection includes an introduction descriptive of his working methods. His quirky studies in abnormal psychology, including _^<i_Portrait of Gideon Power_^>i_ (_^<b_1944_^>b_ as
by Lambert; reprinted 1962 as by NB) and _^<i_The Dark Page_^>i_ (_^<b_1951_^>b_), are of marginal interest. [BS/JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Ten-Minute Tales_^>i_ (coll _^<b_1927_^>b_ as by Southwold), children's fantasy stories;
_^<i_The Tales of Joe Egg_^>i_ (coll _^<b_1936_^>b_ as by Southwold), a non-sf juvenile story sequence narrated by a _^<a_!T2646_ROBOT_^>a_within a fantasy frame; _^<i_The Smallways Rub Along_^>i_ (coll _^<b_1938_^>b_) has 1 sf story; _^<i_Forty
Stories_^>i_ (coll _^<b_1948_^>b_) has 2 sf stories; _^<i_Three Pair of Heels_^>i_ (coll _^<b_1951_^>b_); _^<i_The House at the Crossroads_^>i_ (_^<b_1966_^>b_); _^<i_The Ninth Earl of Whitby_^>i_ (coll _^<b_1966_^>b_) has 1 sf story._^<b_About the
(1850-1898) US author and journalist, the latter from 1871, when he abandoned the practice of law before having properly begun it; no lawyers exist in the AD2000 of his most famous work, the _^<a_!T5303_UTOPIA_^>a_ _^<i_Looking Backward,
2000-1887_^>i_ (_^<b_1888_^>b_) and its sequel, _^<i_Equality_^>i_ (_^<b_1897_^>b_), whose influence in the 19th century was enormous. His early works of fiction were Gothic; though sentimental and labouredly influenced by Nathaniel
_^<a_!T4349_HAWTHORNE_^>a_, they are nevertheless strangely moving. They do not, however, show any great hint of the direction his work would take. _^<i_Dr Heidenhoff's Process_^>i_ (_^<b_1880_^>b_), although not sf, interestingly prefigures some
of the tactics of his later work; the doctor's process claims to mechanically wipe out diseased memories from those who wish for a new start. The protagonist's girl, who has been seduced by a rival, is persuaded to try the process, and is
transformed until the last pages of the novel, when it turns out that Heidenhoff and his process have simply been dreamt by the protagonist, who awakens to find that his disgraced lover has committed suicide._^<n__^<n_The emotional exorbitance and
Gothic extremity of this tale are transformed in _^<i_Looking Backward_^>i_ into a vision of a utopian society whose equally exorbitant realization is achieved while the protagonist, whose confusion upon his arrival into the world of the future is
one of the best things in this uneasy work of fiction, has been in hypnotized sleep (> _^<a_!T2248_SLEEPER AWAKES_^>a_). The people of AD2000 are devoid of irrational passions and their highly communalized society reflects a reasonableness so
radically opposed to common sense that one is tempted to posit an impulse of deep violence behind EB's creation of such a world. William _^<a_!T3066_MORRIS_^>a_ was so appalled by the bureaucratic and machine-like nature of EB's utopia that he was
instantly driven to retort with _^<i_News from Nowhere_^>i_ (_^<b_1890_^>b_ US), which described an ideal world of a very different sort. EB's book has nonetheless been extraordinarily popular, especially in the USA, which suggests a greater
receptivity to communist thought in that country than is generally recognized, and has been treated as a serious model for the positing of future societies by many thinkers and writers, including Mack _^<a_!T2576_REYNOLDS_^>a_. The sequel, an
uninspired sequence of fictionalized essays, did little to damage the effect of the earlier book. EB is more important to the history of utopian thought than he is as a writer of _^<a_!T2013_PROTO SCIENCE FICTION_^>a_. His influence on the world of
_^<a_!T4659_GENRE SF_^>a_, except on didactic writers like Hugo _^<a_!T4668_GERNSBACK_^>a_, has been indirect and diffuse. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Miss Ludington's Sister: A Romance of Immortality_^>i_ (_^<b_1884_^>b_); _^<i_The
Blindman's World and Other Stories_^>i_ (coll _^<b_1898_^>b_), especially the title story (written 1885)._^<b_About the author:_^>b_ _^<i_Utopian Novel in America, 1886-1896: The Politics of Form_^>i_ (_^<b_1985_^>b_) by Jean Pfaelzer._^<b_See
(1886-1972) US editor and writer. In his sf novel _^<i_Atta_^>i_ (_^<b_1953_^>b_) a man is struck by lightning and, after shrinking until 1/2 in (12mm) tall, combines forces with a warrior ant by the name of Atta. [JC]_^<n__^<n__^<b_See also:_^>b_
_^<a_!T6337_NEAR FUTURE_^>a_.
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BELLOC, (JOSEPH) HILAIRE (PETER)
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(1870-1953) French-born UK writer, known for his poetry -- notably his _^<i_Cautionary Tales_^>i_ (coll _^<b_1907_^>b_) for children -- his anti-Semitism, his Roman Catholic apologetics, and his novels. Most of his fiction was written either to
argue a political case or to potboil, and his habit of displacing his venues from consensual reality served both motives, for his politics are fantastical and his commercial work tends to commit acts of vengeance against the _^<i_hoi polloi_^>i_.
_^<i_Mr Clutterbuck's Election_^>i_ (_^<b_1908_^>b_), _^<i_A Change in the Cabinet_^>i_ (_^<b_1909_^>b_) and _^<i_Pongo and the Bull_^>i_ (_^<b_1910_^>b_) together make up a _^<a_!T6337_NEAR-FUTURE_^>a_ assault on Edwardian politics in a 1920s UK.
Of the several novels for which his friend and colleague G.K. _^<a_!T5261_CHESTERTON_^>a_ provided illustrations, _^<i_But Soft -- We Are Observed!_^>i_ (_^<b_1928_^>b_; vt _^<i_Shadowed!_^>i_ 1929 US) is genuine sf, a satirical tale of suspense
set in the USA and Europe in 1979, the main target once again being the parliamentary form of government. Other novels by HB of genre interest and illustrated by Chesterton are _^<i_Mr Petre_^>i_ (_^<b_1925_^>b_), _^<i_The Emerald of Catherine the
Great_^>i_ (_^<b_1926_^>b_; vt _^<i_The Emerald_^>i_ US), _^<i_The Haunted House_^>i_ (_^<b_1928_^>b_), _^<i_The Man who Made Gold_^>i_ (_^<b_1930_^>b_) and _^<i_The Postmaster-General_^>i_ (_^<b_1932_^>b_). Packed with energy though formally
negligent, HB's fiction awaits a modest revival. [JC]_^<n__^<n__^<b_About the author:_^>b_ _^<i_Hilaire Belloc_^>i_ (_^<b_1945_^>b_) by Robert Hamilton._^<b_See also:_^>b_ _^<a_!T131_ALTERNATE WORLDS_^>a_; _^<a_!T1939_POLITICS_^>a_;
_^<a_!T6026_TIME TRAVEL_^>a_.
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BELLOW, SAUL
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(1915- ) Canadian-born US novelist. Winner of the 1976 Nobel Prize for Literature, SB is perhaps the premier _^<a_!T3609_MAINSTREAM_^>a_ novelist of his generation in the USA today. Some of his books distantly resemble sf, specifically
_^<i_Henderson the Rain King_^>i_ (_^<b_1959_^>b_), a picaresque partly set in a quasimythical African kingdom. _^<i_Mr Sammler's Planet_^>i_ (_^<b_1970_^>b_) has been wrongly annexed as sf by several commentators, who perhaps relied on the title
alone; in the novel mankind's reaching of the Moon and establishment there of a utopia are matters which occur only in conversation. [JC]_^<n__^<n_
(1829-1890) French writer. Of the tales collected in English in _^<i_A Parisian Sultana_^>i_ (coll trans H. Mainwaring Dunstan in 3 vols _^<b_1879_^>b_ UK), one features a superhuman female explorer in Africa and another a _^<a_!T3460_LOST
WORLD_^>a_ of Amazons. [JC]_^<n__^<n_
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BELYAEV, ALEXANDER (ROMANOVICH)
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(1884-?1942) Russian writer whose surname has been variously transliterated; further spellings include Beliaev, Beliayev and Belyayev. His death-date is likewise insecure: he died during the German occupation of the city of Pushkin and, while his
body was discovered in January 1942, it is possible that his death was in fact in late 1941. As one of the originators of the sf genre in Soviet literature, AB's _^<a_!T5528_WELLS_^>a_- and _^<a_!T5355_VERNE_^>a_-influenced writings dominated the
field between the wars, providing models for most other Soviet practitioners of the time. His first story, _^<i_Golova Professora Douellia_^>i_ (1925 in story form; _^<b_1937_^>b_; trans Antonina W. Bouis as _^<i_Professor Dowell's Head_^>i_
_^<b_1980_^>b_ US), is both a prophetic story about organ transplantation and a dramatic account of life without motion -- the affect of the latter focus being intensified by the author's own invalid status due to incurable illness. After dealing
with traditional themes, such as that of _^<a_!T290_ATLANTIS_^>a_ in _^<i_Poslednii Tchelovek Iz Atlantidy_^>i_ ["The Last Man from Atlantis"] (_^<b_1927_^>b_), AB tackled space exploration in _^<i_Bor'ba V Efire_^>i_ (_^<b_1927_^>b_; trans Albert
Parry as _^<i_The Struggle in Space: Red Dream; Soviet-American War_^>i_ _^<b_1965_^>b_ US); he returned to this theme in _^<i_Pryzhok V Nichto_^>i_ ["Jump into Nowhere"] (_^<b_1933_^>b_) and _^<i_Zvezda KETZ_^>i_ ["The KET Star"] (_^<b_1940_^>b_),
the latter promulgating the ideas of Russian space pioneer Konstantin _^<a_!T6108_TSIOLKOVSKY_^>a_._^<n__^<n_Though the literary style and themes of AB's sf had standard pulp limitations, a personal note resounded through his otherwise orthodox
representations of potential _^<a_!T5829_SUPERMEN_^>a_, a theme seemingly encouraged by his own miserable condition. In _^<i_Tchelovek-Amfibia_^>i_ (_^<b_1929_^>b_; trans L. Kolesnikov as _^<i_The Amphibian_^>i_ _^<b_1959_^>b_ Russia), the
protagonist -- a boy with transplanted shark's gills -- is totally uncomfortable in the society of "normal people"; in _^<i_Vlastelin Mira_^>i_ ["The Master of the World"] (_^<b_1929_^>b_) a morally wicked but ingenious biophysicist tries to
control people through the use of telepathy; and in _^<i_Ariel_^>i_ (_^<b_1941_^>b_) the same dramatic incompatibility afflicts a levitating boy, the victim of another mad scientist's enthusiasms. Despite the manifest ideological content and
frequent cliches in AB's work, his books remain permanently in print, maintaining his status as the first Soviet sf "classic". [PN/VG/JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T2748_RUSSIA_^>a_; _^<a_!T5281_UNDER THE SEA_^>a_.
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BEM
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A common item of sf _^<a_!T5942_TERMINOLOGY_^>a_, being an acronym of "bug-eyed monster" and referring to the type of _^<a_!T98_ALIEN_^>a_ being, usually menacing, regularly pictured on the covers of _^<a_!T2130_SF MAGAZINES_^>a_ in the 1930s and
Film (1969). Apjac/20th Century-Fox. Dir Ted Post, starring James Franciscus, Charlton Heston, Linda Harrison, Kim Hunter. Screenplay Paul Dehn, Mort Abrahams, based on characters created by Pierre _^<a_!T4938_BOULLE_^>a_. 95 mins.
Colour._^<n__^<n_In this first and best of four sequels to _^<a_!T1919_PLANET OF THE APES_^>a_ another time-warped astronaut (Franciscus) crashlands on the ape world. Like his predecessor he is captured, befriended by the sympathetic chimpanzee
Zira (Hunter), and meets the girl savage (Harrison). But when he escapes with her underground and discovers the remains of New York City the film goes off in a blacker direction: he finds a race of deformed, telepathic _^<a_!T3120_MUTANTS_^>a_ who
worship a nuclear Doomsday Bomb, and meets the astronaut hero (Heston) of the previous film, now half-crazed and venomous, who ultimately detonates the bomb and brings about a _^<a_!T4482_HOLOCAUST_^>a_, wiping out apes, mutants and humans alike.
In its replacement of whimsical _^<a_!T2812_SATIRE_^>a_ by an altogether harsher judgement about the prospects for intelligent life on Earth, this film is arguably stronger than its original. The novelization is _^<i_Beneath the Planet of the
Apes_^>i_ * (_^<b_1970_^>b_) by Michael _^<a_!T324_AVALLONE_^>a_. [JB/PN]_^<n__^<n_
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BENELUX
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The Benelux consists of three nations: the Netherlands (Holland), Belgium and Luxembourg. The Dutch language is spoken in the Netherlands and in the northern part of Belgium, called Flanders. The French-speaking southern and eastern part of Belgium
is called Wallonia. In the field of literature Flanders and the Netherlands are one domain, and the same can be said for Wallonia and France. Flemish (from Flanders) and Walloon (from Wallonia) authors are mostly published, respectively, in the
Netherlands (Amsterdam) and in France (Paris), for reasons of prestige and because of the small number of Flemish and Walloon publishers._^<n__^<n_Dutch and Flemish sf took shape in the 1960s, when several publishers began series of translated sf,
_^<a_!T1389_FANDOM_^>a_ was organized and some Dutch and Flemish authors began to write sf novels. Before the 1960s there were isolated works (original or translated), but no real tradition of sf. Even during those periods when the fantastic was
flowering everywhere in Western literature (as in the Romantic era, and at the turn of the century), the quantity of Dutch and Flemish sf was very small and all of it has been almost totally forgotten, even by the most comprehensive histories of
Dutch and Flemish sf._^<n__^<n_The sf boom begun in the 1960s did not last very long. In the 1980s the market declined to the figures of the early 1960s. In the late 1970s, for instance, the established sf publishers together published almost 100
books a year (mostly translations); in the early 1990s this had declined to some 25 books. Most publishers discontinued their sf lines, and by 1992 only two -- Meulenhoff and Luitingh -- were really active on the sf market. So one can say that the
old situation has been restored: sf (and fantasy and horror) as genres consist of only isolated works scattered over the whole literary field._^<n__^<n_During the early stage of the Romantic era, when the influence of the Enlightenment was still
very strong, several writers produced, mostly in the form of _^<a_!T3765_IMAGINARY VOYAGES_^>a_, descriptions of a future Holland. This genre of utopian literature continued during the 19th century. In the 1890s the Dutch publisher Elsevier
produced a famous complete edition in 65 volumes of the work of Jules _^<a_!T5355_VERNE_^>a_, which was widely sold but apparently had no real influence on Dutch literature (except the juvenile market)._^<n__^<n_In the first half of the 20th
century only a few original sf works appeared, and only one of them is still in print, being considered a masterpiece of Dutch literature: _^<i_Blokken_^>i_ ["Blocks"] (_^<b_1931_^>b_) by F. Bordewijk (1884-1965). This short novel is set in a
_^<a_!T6337_NEAR-FUTURE_^>a_ Russia that has at the same time communist and fascist characteristics. In part it is a pure description of the State and its Ruling Council, in part a story about an unsuccessful revolt. A group of dissidents is
mercilessly slaughtered, but at the end it is suggested that the upheavals will continue until the State is destroyed. It is a warning not so much against communism or fascism as against every sort of totalitarian government. Bordewijk also wrote a
few sf short stories, most of which are to be found in his collection _^<i_Vertellingen van generzijds_^>i_ ["Tales from the Other Side"] (coll _^<b_1951_^>b_). Not included in this collection is the remarkable "Einde der mensheid" ["End of
Mankind"] (1959), a fictional essay in the manner of Jorge Luis _^<a_!T704_BORGES_^>a_ about a Universe that consists of layers of "positiva, neutra, and negativa" in an endless continuation. Mankind is but an unimportant phenomenon in one of the
uncountable layers, and will eventually disappear, leaving no trace at all._^<n__^<n_A writer of short fantasies and some sf stories was "Belcampo" (pseudonym of H.P. Schonfeld Wichers [1902-1990]), whose clever and witty tales are still popular.
Of his sf stories the best are the _^<a_!T2646_ROBOT_^>a_ tale "Voorland" ["Foreland"] (1935) and "Het verhaal van Oosterhuis" ["The Tale of Oosterhuis"] (1946), a curious blend of imaginary voyage, _^<a_!T5303_UTOPIA_^>a_,
_^<a_!T1370_DYSTOPIA_^>a_ and _^<a_!T3460_LOST WORLD_^>a_._^<n__^<n_In the 1960s and 1970s some _^<a_!T3609_MAINSTREAM_^>a_ novelists wrote one or two sf novels. _^<i_Het reservaat_^>i_ (_^<b_1964_^>b_; trans as _^<i_The Reservation_^>i_
_^<b_1978_^>b_ UK) by the Fleming Ward Ruyslinck (1929- ) is a bitter dystopian novel about a near-future Belgium where all dissidents are put away in reservations disguised as psychiatric clinics. The Belgian government is depicted as right-wing
and as corrupted by the political imperialism of the USA. However, the reservations are more reminiscent of repression in the former USSR. As with Bordewijk's novella, the novel is essentially an attack on repressive societies of all
kinds._^<n__^<n_Hugo Raes (1929- ), also from Flanders, wrote two imaginary voyages with sf elements, _^<i_De lotgevallen_^>i_ ["The Events"] (_^<b_1968_^>b_) and _^<i_Reizigers in de anti-tijd_^>i_ ["Voyagers in Anti-Time"] (_^<b_1971_^>b_).
His _^<i_De verwoesting van Hyperion_^>i_ ["The Destruction of Hyperion"] (_^<b_1978_^>b_) is straightforward sf, a post-_^<a_!T4482_HOLOCAUST_^>a_ novel about the nearly immortal descendants of mankind and their fight with evolved rats. Raes wrote
some fine sf short stories, most of which are collected in _^<i_Bankroet van een charmeur_^>i_ ["Bankruptcy of a Charmer"] (coll _^<b_1967_^>b_)._^<n__^<n__^<i_De toekomst van gisteren_^>i_ ["The Future of Yesterday"] (_^<b_1972_^>b_) by the
Dutchman Harry Mulisch (1927- ) is not a novel but a book-length essay in which the author explains that he has not in fact written a projected novel of that title. Had he done so, that novel would have presented an _^<a_!T131_ALTERNATE
WORLD_^>a_ in which the Germans had won WWII (_^<i_see also_^>i_ _^<a_!T4446_HITLER WINS_^>a_). Within that alternate world the protagonist is writing a novel about a world alternate to his, in which the Germans lost the war. So far the concept
shows a remarkable resemblance to Philip K. _^<a_!T1222_DICK_^>a_'s _^<i__^<a_!B9086_THE MAN IN THE HIGH CASTLE_^>a__^>i_ (_^<b_1962_^>b_), but -- unlike Dick's -- the second novel had to be fully reproduced within the text of the first. What
interested Mulisch was the difference between the real world in which the Germans lost WWII and a world in which, although the same thing has happened, the present is as imagined by a writer who has grown up in a fascist world state. In his essay
Mulisch demonstrates that the combination of alternate-world novel and novel-within-a-novel is rendered theoretically impossible by narrative restrictions. The book should be obligatory reading for alternate-world authors._^<n__^<n_Other relevant
modern Dutch authors include Rein Blijstra (1901-1975), whose 10 humorous stories about all kinds of sf _^<a_!T752_CLICHES_^>a_ are collected as _^<i_Het planetarium van Otze Otzinga_^>i_ ["The Orrery of Otze Otzinga"] (coll _^<b_1962_^>b_). The
novelist and playwright Manuel van Loggem (1916- ) has written interesting _^<a_!T1412_FANTASY_^>a_ with slight sf leanings; his best collection is _^<i_Het liefdeleven der Priargen_^>i_ ["The Love Life of the Priargs"] (coll _^<b_1968_^>b_).
The novelist and computer expert Gerrit Krol (1934- ) wrote _^<i_De man achter het raam_^>i_ ["The Man behind the Window"] (_^<b_1982_^>b_), the rather difficult story of Adam, a thinking _^<a_!T826_COMPUTER_^>a_, who contemplates the problem of
what a human being really is. When he has developed into a full human being, he undergoes the fate of all mankind and dies. It is not so much sf as a novel of ideas, or even a study (disguised as fiction) of problems of identity and
consciousness._^<n__^<n_In the late 1950s and especially in the 1970s, some authors came to the fore who can be considered true sf writers. The Dutch physicist Dionijs _^<a_!T5083_BURGER_^>a_ wrote _^<i_Bolland_^>i_ (_^<b_1957_^>b_; trans as
_^<i_Sphereland_^>i_ _^<b_1965_^>b_ US), a continuation and expansion of Edwin A. _^<a_!T8_ABBOTT_^>a_'s famous _^<i_Flatland_^>i_ (_^<b_1884_^>b_). As Abbott tried to demonstrate four-dimensional geometry by means of a story about two-dimensional
creatures, Burger tries to explain Einstein's theories about curved space and the expanding Universe. His story takes place two generations after the events described by Abbott; the narrator is a grandson of Abbott's A Square. Abbott's book may be
of higher literary quality, but Burger's is more inventive and humorous. The book has become a minor classic in the sf world._^<n__^<n__^<i_Sam of de Pluterdag_^>i_ (_^<b_1968_^>b_; trans as _^<i_Where Were You Last Pluterday?_^>i_ _^<b_1973_^>b_
US), by the Flemish author Paul _^<a_!T5324_VAN HERCK_^>a_, is a funny satirical novel about a society in which the higher social levels have access to an additional eighth day of the week, the "Pluterday". In 1972 it won the first Europa
Award._^<n__^<n_The two most prolific sf writers are the Dutchman Felix Thijssen (1933- ) and the Fleming Eddy Bertin (1944- ). Thijssen, originally a writer of adventure fiction for the juvenile market, started to write sf in 1971 when the
first volume of the so-called _^<b_Mark Stevens_^>b_ cycle appeared. This is a run-of-the-mill _^<a_!T2342_SPACE-OPERA_^>a_ series, whose first volumes seemed aimed at young adults, but which gradually became more mature. The series ended with a
good eighth volume, _^<i_De poorten van het paradijs_^>i_ ["The Gates of Paradise"] (_^<b_1974_^>b_). Later Thijssen wrote several rather more serious novels, the best of which is _^<i_Emmarg_^>i_ (_^<b_1976_^>b_), a sad story about a pregnant
female _^<a_!T98_ALIEN_^>a_ abandoned on Earth. Eddy Bertin has some reputation in the English-speaking world, thanks to his own translations of several of his stories. The _^<b_Membrane Universe_^>b_ series can be called his best work; it is
collected in three volumes: _^<i_Eenzame bloedvogel_^>i_ ["Lonely Blood-Bird"] (coll _^<b_1976_^>b_), _^<i_De sluimerende stranden van de geest_^>i_ ["The Slumbering Beaches of the Mind"] (_^<b_1981_^>b_) and _^<i_Het blinde doofstomme beest op de
kale berg_^>i_ ["The Blind Deaf-Mute Beast on the Bare Mountain"] (_^<b_1983_^>b_). The stories are interspersed with lyrics, fake documents, comments, timetables and so on. Together, they form a future _^<a_!T4442_HISTORY_^>a_ from 1970 to AD3666.
Bertin is an active fan who has been editing his own _^<a_!T1428_FANZINE_^>a_, _^<i_SF Gids_^>i_ ["SF Guide"] since 1973, and an ardent bibliographer. In addition to sf, he has written numerous horror stories, which are perhaps the better part of
his opus._^<n__^<n_A remarkable Dutch debut was _^<i_De eersten van Rissan_^>i_ ["The First of Rissan"] (_^<b_1980_^>b_) by Wim Gijsen (1893-1990), a lost-colony novel about the descendants of mankind on the planet Rissan. In the sequel, _^<i_De
koningen van weleer_^>i_ ["The Kings of Old"] (_^<b_1981_^>b_), it is discovered that the mysterious First of Rissan are the descendants of the kings of _^<a_!T290_ATLANTIS_^>a_. Both novels hold their own with the better US novels of this type.
His later novels are all young-adult fantasy._^<n__^<n_The most noteworthy forum for original sf stories in the Dutch language may have been the _^<b_Vlaamsche Filmkens_^>b_ ["Flemish Movies"] sequence of booklets written for a young-adult
audience; more than 2000 volumes have been produced in the series, which began in 1930 and continues. Of this total perhaps 200 have been sf, and many more have been fantasies. The author involved most centrally was the pseudonymous John Flanders
(? -1964), who also wrote as Jean Ray; other contributors included Eddy C. Bertin, Dries Nieuwland, Paul Van Herck and John Vermeulen._^<n__^<n_The same can be said about Walloon sf as about its Dutch/Flemish counterpart: only in the 1970s has
there been a (small) sf boom; before and after it, sf consisted of only some individual works by writers whose output was primarily non-sf. The most prolific early author was J.H. _^<a_!T2696_ROSNY _^>a_aine, most of whose work was reprinted in
France in the 1970s. He is best known for his prehistoric romances; sf proper is but a small part of his output. In 1973 his sf stories were collected as _^<i_Recits de science-fiction_^>i_ ["SF Narratives"] (coll _^<b_1973_^>b_ France); included
is his famous novella about aliens, _^<i_Les Xipehuz_^>i_ (1887), his first published work. Other authors from before WWII are Francois Leonard with _^<i_Le triomphe de l'homme_^>i_ ["The Triumph of Man"] (_^<b_1911_^>b_), a Verne-like novel in
which Earth is accidentally propelled from the Solar System and drifts away into the Universe until its final destruction; Henri-Jacques Proumen with _^<i_Le sceptre est vole aux hommes_^>i_ [The Sceptre is Stolen from the People]
("_^<b_1930_^>b_"), about a race of _^<a_!T3120_MUTANTS_^>a_ who enslave the population of a Pacific island; and the poet Marcel Thiry (1897-1977), who wrote the alternate-world novel _^<i_Echec au temps_^>i_ ["Set-Back in Time"] (written 1938;
_^<b_1945_^>b_), in which Napoleon won the Battle of Waterloo._^<n__^<n_Only one author from the 1950s and 1960s could be considered an sf writer: Jacques _^<a_!T5721_STERNBERG_^>a_ (1923- ). He is influenced by prewar Surrealism and postwar
Absurdism. His best novel is perhaps _^<i_La sortie est au fond de l'espace_^>i_ ["The Exit is at the Bottom of Space"] (_^<b_1956_^>b_): the last remaining humans leave a bacteria-infested Earth only to discover that deep space is even more
dangerous and that mankind has no real meaning in the Universe. A good story collection, available in English, is _^<i_Futurs sans avenir_^>i_ (coll _^<b_1971_^>b_; cut trans as _^<i_Future without Future_^>i_ _^<b_1974_^>b_ US)._^<n__^<n_In the
1970s a small group of young sf writers (Vincent Goffart, Paul Hanost and Yves Varende, among others) formed around the paperback publisher Marabout, and for a while it looked as if a sort of sf tradition might be beginning. However, after the
collapse of Marabout, the only sf publisher in Wallonia, most authors moved to other fields of writing._^<n__^<n_Virtually nothing is known about sf in tiny Luxembourg, the third country which forms the Benelux-except that it was the homeland of
Hugo _^<a_!T4668_GERNSBACK_^>a_, who in a sense started it all. [JAD]_^<n__^<n_
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BENET, STEPHEN VINCENT
-T-
(1898-1943) US writer, mainly of poetry and stories, much published in the _^<i_Saturday Evening Post_^>i_. He is best known for a single poem, "American Names" (whose last line, "Bury my heart at Wounded Knee", gained a peculiar and singular
resonance in the campaign for Amerindian rights), and for two fantasy stories, _^<i_The Devil and Daniel Webster_^>i_ (_^<b_1937_^>b_ chap), also published with other fantasies in _^<i_Thirteen O'Clock: Stories of Several Worlds_^>i_ (coll
_^<b_1937_^>b_), and _^<i_Johnny Pye and the Fool-Killer_^>i_ (_^<b_1938_^>b_ chap), also included with other fantasies in _^<i_Tales Before Midnight_^>i_ (coll _^<b_1939_^>b_). These collections were brought together to make up _^<i_Twenty-Five
Short Stories_^>i_ (coll _^<b_1943_^>b_), though most of their contents had already appeared in the 2-vol _^<i_Selected Works of Stephen Vincent Benet_^>i_ (coll _^<b_1942_^>b_; cut vt _^<i_The Stephen Vincent Benet Pocket Book_^>i_ 1946). Several
of SVB's stories are of genre interest, his best-known being "By the Waters of Babylon" (1937), a clever post-_^<a_!T4482_HOLOCAUST_^>a_ story about a tribal adolescent boy who discovers the ruins of a great destroyed city (_^<i_ Hyperlink to:
_^>i_ _^<a_!T727_CITIES_^>a_). It was a main source of material for what became, after WWII, a cliched subgenre in the field. [JC/PN]_^<n__^<n_
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BENFORD, GREGORY
-T-
(1941- ) US physicist and writer who graduated from the University of Oklahoma 1963 and gained his PhD from the University of California, San Diego, 1967; in 1971 he was appointed an Assistant Professor of Physics at the University of California,
Irvine, rising to full Professor in 1979. One of a pair of identical twins, he has written some stories in collaboration with his brother James. He edited a notable _^<a_!T1428_FANZINE_^>a_, _^<i_Void_^>i_, with various co-editors including Ted
_^<a_!T5582_WHITE_^>a_ and Terry _^<a_!T5182_CARR_^>a_. His first published story was "Stand-In" (1965), which won second place in a contest organized by _^<i_The_^<a_!T3595_MAGAZINE OF FANTASY AND SCIENCE FICTION_^>a__^>i_ . He wrote regular
articles on _^<b_The Science in SF_^>b_ for _^<a_!T141_AMAZING STORIES_^>a_ in collaboration with David Book 1969-72, continuing the series solo, somewhat less regularly, until 1976. GB has also written fiction as Sterling Blake._^<n__^<n_GB early
established himself as a leading writer of _^<a_!T4288_HARD SF_^>a_, although much of his writing also has a lyrical aspect reminiscent of the work of Poul _^<a_!T169_ANDERSON_^>a_. Some of his early work was with Gordon _^<a_!T6608_EKLUND_^>a_,
including the stories combined in _^<i_If The Stars are Gods_^>i_ (fixup _^<b_1977_^>b_), the title-piece of which won a _^<a_!T3147_NEBULA_^>a_ in 1975, and the less impressive _^<i_Find the Changeling_^>i_ (_^<b_1980_^>b_). His
_^<a_!T1243_DISASTER_^>a_ novel _^<i_Shiva Descending_^>i_ (_^<b_1980_^>b_) with William _^<a_!T2712_ROTSLER_^>a_ also fails to convey the imaginative and cognitive energy of his solo work. However, _^<i_Heart of the Comet_^>i_ (_^<b_1986_^>b_)
with David _^<a_!T4999_BRIN_^>a_ has moments of shared power. He also undertook a curious "collaboration" with Arthur C. _^<a_!T736_CLARKE_^>a_: _^<i_Beyond the Fall of Night_^>i_ * (omni _^<b_1990_^>b_; vt _^<i_Against the Fall of Night and Beyond
the Fall of Night_^>i_ 1991 UK), an "authorised sequel" by GB alone to Clarke's _^<i_Against the Fall of Night_^>i_ (1948; _^<b_1953_^>b_); both versions of the tie include reprints of the earlier story. GB's sequel ignores Clarke's own subsequent
revision of his novel as _^<i_The City and the Stars_^>i_ (_^<b_1956_^>b_)._^<n__^<n_GB's first solo novel was _^<i_Deeper than the Darkness_^>i_ (_^<b_1970_^>b_; rev vt _^<i_The Stars in Shroud_^>i_ 1978), one of many stories in which humanity's
confrontation with _^<a_!T102_ALIENS_^>a_ proves deeply disturbing. Another patchwork novel, _^<i__^<a_!B9040_IN THE OCEAN OF NIGHT_^>a__^>i_ (fixup _^<b_1977_^>b_), became the foundation-stone of an extending series of novels, the _^<b_Ocean_^>b_
sequence, whose titles all contain metaphorical references to water. The central character of _^<i__^<a_!B9040_IN THE OCEAN OF NIGHT_^>a__^>i_, astronaut Nigel Walmsley, reappears in _^<i_Across the Sea of Suns_^>i_ (_^<b_1984_^>b_; rev 1987),
which introduces the theme of a Universe-wide struggle between organic and inorganic "lifeforms" in which self-replicating _^<a_!T3540_MACHINES_^>a_ appear to have the upper hand; this scenario is further developed in the _^<b_Family Bishop_^>b_
sequence -- comprising _^<i_Great Sky River_^>i_ (_^<b_1987_^>b_),_^<i_Tides of Light_^>i_ (_^<b_1989_^>b_) and _^<i_Furious Gulf_^>i_ (_^<b_1994_^>b_) -- and centring upon the forced flight of human Families towards a form of sanctuary in the
heart of the galaxy, harassed all the while by the inorganic mech. Throughout the sequence, GB interestingly develops the concept of the Aspect, voluble though partial versions of human ancestors electronically stored within the minds of the
living._^<n__^<n_GB achieved something of a breakthrough with _^<i__^<a_!B9122_TIMESCAPE_^>a__^>i_ (_^<b_1980_^>b_), which won both the Nebula and the _^<a_!T3923_JOHN W. CAMPBELL MEMORIAL AWARD_^>a_. In its description of an attempt to change
history by transmitting a tachyonic message across time it offers one of the best ever fictional descriptions of scientists at work. Another _^<a_!T6337_NEAR-FUTURE_^>a_, almost _^<a_!T3609_MAINSTREAM_^>a_ novel is _^<i_Artifact_^>i_
(_^<b_1985_^>b_), in which archaeologists discover evidence of an alien visitation with almost catastrophic consequences. _^<i_Against Infinity_^>i_ (_^<b_1983_^>b_) is pure sf in terms of its plot, which involves the search for an enigmatic alien
on Ganymede, but its structure is strongly reminiscent of William Faulkner's novella "The Bear"; and the novella "To the Storming Gulf" (1985) contains strong echoes of Faulkner's _^<i_As I Lay Dying_^>i_. Comments on these parallels by critic Gary
K. _^<a_!T5675_WOLFE_^>a_ caused some controversy. _^<i_Chiller_^>i_ (_^<b_1993_^>b_) as by Sterling Blake is again a near future tale, in this case involving _^<a_!T987_CRYONICS_^>a_and a fanatic serial killer whose mission it is to prevent people
from preserving their minds._^<n__^<n_The best of GB's short fiction is collected in _^<i_In Alien Flesh_^>i_ (coll _^<b_1986_^>b_) and _^<i_Matter's End_^>i_ (coll _^<b_1994_^>b_). He has co-edited a number of anthologies with Martin Harry
II: Alternate Heroes_^>i_ (anth _^<b_1989_^>b_) -- these two assembled as _^<i_What Might Have Been, Volumes I and II_^>i_ (omni _^<b_1990_^>b_) -and _^<i_Vol III: Alternate Wars_^>i_ (anth _^<b_1991_^>b_). All but the second feature stories of
_^<a_!T131_ALTERNATE WORLDS_^>a_. [BS]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Jupiter Project_^>i_ (_^<b_1975_^>b_; rev vt _^<i_The Jupiter Project_^>i_ 1980), an intelligent Robert A. _^<a_!T4376_HEINLEIN_^>a_-esque juvenile; _^<i_Time's Rub_^>i_
(_^<b_1984_^>b_ chap); _^<i_Of Space/Time and the River_^>i_ (_^<b_1985_^>b_ chap); _^<i_At the Double Solstice_^>i_ (_^<b_1986_^>b_ chap); _^<i_We Could Do Worse_^>i_ (_^<b_1988_^>b_ chap); _^<i_Iceborn_^>i_ (1989 _^<i_Synergy 3_^>i_ as
"Proserpina's Daughter" by GB alone; _^<b_1989_^>b_ chap dos) with Paul A. _^<a_!T5196_CARTER_^>a_; _^<i_Centigrade 233_^>i_ (_^<b_1990_^>b_ chap); _^<i_Matter's End_^>i_ (_^<b_1991_^>b_ chap)._^<b_See also:_^>b_ _^<a_!T283_ASTRONOMY_^>a_;
_^<a_!T323_AUTOMATION_^>a_; _^<a_!T632_BLACK HOLES_^>a_; _^<a_!T5005_BRITISH SCIENCE FICTION AWARD_^>a_; _^<a_!T822_COMMUNICATIONS_^>a_; _^<a_!T987_CRYONICS_^>a_; _^<a_!T6661_END OF THE WORLD_^>a_; _^<a_!T6694_ESCHATOLOGY_^>a_;
_^<a_!T5945_TERRAFORMING_^>a_; _^<a_!T6022_TIMESCAPE BOOKS_^>a_; _^<a_!T5492_WEAPONS_^>a_; _^<a_!T6197_WRITERS OF THE FUTURE CONTEST_^>a_.
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BEN-NER, YITZHAK
-T-
[r] > _^<a_!T3825_ISRAEL_^>a_._^<n__^<n_
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BENNET, ROBERT AMES
-T-
(1870-1954) US writer, more often than not of Westerns, and author of three sf novels. _^<i_Thyra: A Romance of the Polar Pit_^>i_ (_^<b_1901_^>b_) is set in a clement _^<a_!T3460_LOST WORLD_^>a_, hidden near the North Pole and full of prehistoric
beasts, clairvoyant priestesses and unusually tall socialists whose lives are based on memories of old Scandinavia. The lost world of _^<i_The Forest Maiden_^>i_ (_^<b_1913_^>b_) as by Lee Robinet features a flawed _^<a_!T5830_SUPERMAN_^>a_ who
uses his _^<a_!T2021_PSI POWERS_^>a_ to create a new Eden, whose involuntary Eve is saved only when, while walking on water in search of her, he slips and sinks. _^<i_The Bowl of Baal_^>i_ (1916-17 _^<i_All Around Magazine_^>i_; _^<b_1975_^>b_)
locates the lost world of Baal, where dinosaurs survive, in Arabia. [JC]_^<n__^<n_
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BENNETT, ALFRED GORDON
-T-
(1901-1962) UK writer, documentary film-maker and founder of Pharos Books, through which he published a fantasy, _^<i_Whom the Gods Destroy_^>i_ (_^<b_1946_^>b_). His sf novel _^<i_The Demigods_^>i_ (_^<b_1939_^>b_) depicts a world menaced by giant
ants, who derive their abilities from a central controlling brain. His father was Arthur _^<a_!T530_BENNETT_^>a_. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_The Forest of Fear_^>i_ (_^<b_1924_^>b_); _^<i_The Sea of Sleep_^>i_ (_^<b_1926_^>b_; vt
_^<i_The Sea of Dreams_^>i_ 1926 US)._^<b_See also:_^>b_ _^<a_!T4447_HIVE-MINDS_^>a_.
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BENNETT, ARTHUR
-T-
(1862-1931) UK writer, father of Alfred Gordon _^<a_!T529_BENNETT_^>a_. His _^<i_A Dream of an Englishman_^>i_ (_^<b_1893_^>b_) describes in inadequately fictionalized terms the history of the world in the 20th century; _^<a_!T2337_SPACE FLIGHT_^>a_
is mooted. _^<i_The Dream of a Warringtonian_^>i_ (_^<b_1900_^>b_), self-published in Warrington, UK, describes a similar period as it applies to Warrington. [JC]_^<n__^<n_
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BENNETT, MARCIA J(OANNE)
-T-
(1945- ) US writer whose _^<b_Ni-Lach_^>b_ sequence of _^<a_!T1913_PLANETARY ROMANCES_^>a_ includes _^<i_Where the Ni-Lach_^>i_ (_^<b_1983_^>b_), _^<i_Shadow Singer_^>i_ (_^<b_1984_^>b_), _^<i_Beyond the Draak's Teeth_^>i_ (_^<b_1986_^>b_) and
_^<i_Seeking the Dream Brother_^>i_ (_^<b_1989_^>b_). The local-colour quotient is high, but the sequence itself is unremarkable. _^<i_Yaril's Children_^>i_ (_^<b_1988_^>b_), a singleton, is set on a planet inhabited by human and
_^<a_!T3119_MUTANT_^>a_ stock, and deals with the inevitable problems which ensue. [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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BENNETT, MARGOT
-T-
(1912-1980) UK writer, from 1945 mostly of detective novels, in a subtle and atmospheric style. A fantasy story, "An Old-Fashioned Poker for My Uncle's Head" (1946), was reprinted in _^<i_FSF_^>i_ in 1954. Her first sf novel, _^<i_The Long Way
Back_^>i_ (_^<b_1954_^>b_), has become well known. Long after a 1984 nuclear _^<a_!T4482_HOLOCAUST_^>a_ has ended European civilization, a reindustrialized and regimented African state sends a colonizing expedition to legendary Great Britain, where
they find White people living in caves. The denouement uneasily combines love interests, satire and adventure. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_The Furious Masters_^>i_ (_^<b_1968_^>b_)._^<b_See also:_^>b_ _^<a_!T1939_POLITICS_^>a_.
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608
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BENNETT, RICHARD M.
-T-
[r] > Granville _^<a_!T4418_HICKS_^>a_._^<n__^<n_
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BENNI, STEFANO
-T-
(1947- ) Italian journalist and writer who published several nonfiction books before releasing his first novel, _^<i_Terra!_^>i_ (_^<b_1983_^>b_; trans Annapaola Cancogni _^<b_1985_^>b_ US), set in a post-_^<a_!T4482_HOLOCAUST_^>a_ world racked
by nuclear winter; the action moves from the underground city of Paris to a race through space to occupy a new and Edenic planet. Governing the farcical tone is a genuinely satirical assault on human mores. SB has been likened to Robert
_^<a_!T2164_SHECKLEY_^>a_. [JC]_^<n__^<n_
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BENOIST, ELIZABETH S(MITH)
-T-
(1901- ) US writer in whose sf novel, _^<i_Doomsday Clock_^>i_ (_^<b_1975_^>b_), a passel of disparate characters takes refuge from nuclear _^<a_!T4482_HOLOCAUST_^>a_ in a very deep and luxurious bomb shelter, where they tell each other tales and
prepare to die. [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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BENOIT, (FERDINAND MARIE) PIERRE
-T-
(1886-1962) French writer remembered almost exclusively for _^<i_L'Atlantide_^>i_ (_^<b_1919_^>b_; trans Mary C. Tongue and Mary Ross as _^<i_The Queen of Atlantis_^>i_ _^<b_1920_^>b_ UK; vt _^<i_Atlantida_^>i_ 1920 US), a rather heated romance. Two
French Foreign Legion officers discover, in North Africa, a lost race of Atlantean survivors whose queen has a rough way with ex-lovers. The novel has several times been filmed (> _^<i_Die_^>i_ _^<a_!T4399_HERRIN VON ATLANTIS_^>a_).
(1927- ) US editor and author, his novels being usually pseudonymous. The two anthologies he has edited, _^<i_The Unknown_^>i_ (anth _^<b_1963_^>b_) and _^<i_The Unknown Five_^>i_ (anth _^<b_1964_^>b_), are both fantasy and (all but one story)
compiled from _^<a_!T5291_UNKNOWN_^>a_. He was more important within the sf field for his editorship of Pyramid Books 1957-67, a period during which that firm became a significant producer of sf novels in reprint and original forms. In 1968 he
became executive editor of Berkley Books. He moved to Dial Press in 1975, directing their _^<b_Quantum_^>b_ sf programme, and he has also acted as consulting editor for Dell Books's sf since 1977. He wrote, in _^<i_And Having Writ . . ._^>i_
(_^<b_1978_^>b_), a smoothly humorous sf novel set in an _^<a_!T131_ALTERNATE WORLD_^>a_ engendered by the survival of the _^<a_!T102_ALIENS_^>a_ whose crash-landing caused the Siberian Tunguska explosion of 1908. Thomas Alva Edison and H.G.
_^<a_!T5528_WELLS_^>a_ make appearances. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T4442_HISTORY IN SF_^>a_.
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BENSON, A(RTHUR) C(HRISTOPHER)
-T-
(1862-1925) UK essayist, poet and novelist, elder brother of E.F. _^<a_!T539_BENSON_^>a_ and Robert Hugh _^<a_!T541_BENSON_^>a_. Much of his short fiction was fantasy, and can be found in _^<i_The Hill of Trouble and Other Stories_^>i_ (coll
_^<b_1903_^>b_) and _^<i_The Isles of Sunset_^>i_ (coll _^<b_1904_^>b_) -- the two books being assembled as _^<i_Paul the Minstrel and Other Stories_^>i_ (omni _^<b_1911_^>b_) -- and in _^<i_Basil Netherby_^>i_ (coll _^<b_1926_^>b_). _^<i_The Child
of the Dawn_^>i_ (_^<b_1912_^>b_) is an _^<a_!T3771_IMMORTALITY_^>a_ tale, religiously sententious but occasionally moving. [JC]_^<n__^<n_
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BENSON, E(DWARD) F(REDERICK)
-T-
(1867-1940) UK novelist, brother of A.C. _^<a_!T538_BENSON_^>a_ and Robert Hugh _^<a_!T541_BENSON_^>a_ and by far the most prolific of them, with dozens of attractive, realistic novels and romances to his credit. His fantasy stories are well known,
and some verge on sf: they can be found in _^<i_The Room in the Tower and Other Stories_^>i_ (coll _^<b_1912_^>b_), _^<i_The Countess of Lowndes Square_^>i_ (coll _^<b_1920_^>b_), _^<i_Visible and Invisible_^>i_ (coll _^<b_1923_^>b_), _^<i_Spook
Stories_^>i_ (coll _^<b_1928_^>b_) and _^<i_More Spook Stories_^>i_ (coll _^<b_1934_^>b_). _^<i_The Tale of an Empty House_^>i_ (coll _^<b_1986_^>b_) is a convenient posthumous collection, while _^<i_The Flint Knife_^>i_ (coll _^<b_1986_^>b_) ed
Jack Adrian (1945- ) assembles mostly uncollected material, including "Sir Roger de Coverley" (1927), an sf tale which reflects the time theories of J.W. _^<a_!T1352_DUNNE_^>a_. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_The Luck of the
Vails_^>i_ (_^<b_1901_^>b_); _^<i_The Valkyries_^>i_ (_^<b_1903_^>b_); _^<i_The Image in the Sand_^>i_ (_^<b_1905_^>b_); _^<i_The Angel of Pain_^>i_ (_^<b_1905_^>b_ US); _^<i_The House of Defense_^>i_ (_^<b_1906_^>b_ Canada); _^<i_David Blaize and
the Blue Door_^>i_ (_^<b_1918_^>b_); _^<i_Across the Stream_^>i_ (_^<b_1919_^>b_); _^<i_"And the Dead Spake -- " and The Horror-Horn_^>i_ (coll _^<b_1923_^>b_ chap US); _^<i_Colin_^>i_ (_^<b_1923_^>b_) and _^<i_Colin II_^>i_ (_^<b_1925_^>b_);
_^<i_The Inheritor_^>i_ (_^<b_1930_^>b_), in which Pan and Dionysius cause conniptions in Cornwall; _^<i_Ravens' Blood_^>i_ (_^<b_1934_^>b_).
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BENSON, GORDON Jr
-T-
(1936- ) US bookseller, publisher and bibliographer. GB released the first of many solo _^<a_!T585_BIBLIOGRAPHIES_^>a_ of sf figures in 1980, and moved into partnership with UK bibliographer Phil _^<a_!T5712_STEPHENSEN-PAYNE_^>a_ (_^<i_whom see
for authors treated in collaboration_^>i_) in 1983. By the late 1980s GB had become relatively less active, although he continued to participate with Stephensen-Payne in many projects. His earlier bibliographies were sometimes technically deficient
in their presentation of data, but the material presented was scrupulously trustworthy, and later editions of early publications, as well as projects dating from about the mid-1980s, are far more user-friendly. GB's solo bibliographical work covers
the following authors (_^<i_whom see for titles_^>i_): Leigh _^<a_!T4961_BRACKETT_^>a_, A. Bertram _^<a_!T5232_CHANDLER_^>a_, Hal _^<a_!T749_CLEMENT_^>a_, Edmond _^<a_!T4258_HAMILTON_^>a_, Harry _^<a_!T4316_HARRISON_^>a_, Edgar
_^<a_!T1779_PANGBORN_^>a_, H. Beam _^<a_!T1908_PIPER_^>a_, Margaret _^<a_!T2770_ST CLAIR_^>a_, William _^<a_!T5932_TENN_^>a_, Wilson _^<a_!T6117_TUCKER_^>a_, Manly Wade _^<a_!T5525_WELLMAN_^>a_, James _^<a_!T5577_WHITE_^>a_ and Jack
_^<a_!T5629_WILLIAMSON_^>a_. [JC]_^<n__^<n_
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BENSON, ROBERT HUGH
-T-
(1871-1914) UK writer; third son of Archbishop Benson and brother of the writers A.C. _^<a_!T538_BENSON_^>a_ and E.F. _^<a_!T539_BENSON_^>a_. He was ordained in the Church of England but later converted to Catholicism. His fiction is intensely
propagandistic; many of his short stories -- including the fantasies featured in _^<i_A Mirror of Shalott, Composed of Tales Told at a Symposium_^>i_ (coll _^<b_1907_^>b_) -- use Catholic priests as central characters. In his remarkable apocalyptic
novel, _^<i_Lord of the World_^>i_ (_^<b_1907_^>b_), the Antichrist woos the world with socialism and humanism, and the remnants of the Papal hierarchy go into hiding. _^<i_The Dawn of All_^>i_ (_^<b_1911_^>b_) shows the alternative as Benson saw
it -- a future of utopian Papal rule. [BS]_^<n__^<n__^<b_Other works:_^>b_ _^<i_The Light Invisible_^>i_ (coll _^<b_1903_^>b_); _^<i_The Conventionalist_^>i_ (_^<b_1908_^>b_); _^<i_The Necromancers_^>i_ (_^<b_1909_^>b_)._^<b_See also:_^>b_
_^<a_!T1370_DYSTOPIAS_^>a_; _^<a_!T6661_END OF THE WORLD_^>a_; _^<a_!T2551_RELIGION_^>a_.
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BENTLEY, PETER
-T-
[r] > _^<a_!T6332_ROBERT HALE LIMITED_^>a_._^<n__^<n_
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zallz zauthorz
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28
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BERESFORD, J(OHN) D(AVYS)
-T-
(1873-1947) UK writer. Son of a clergyman, he was crippled in infancy by polio; both facts were influential in forming his worldview. A determined but defensive agnosticism normally guides the development of his futuristic and metaphysical
speculations, but occasionally he allowed a strong wish-fulfilment element into his work, as in _^<i_The Camberwell Miracle_^>i_ (_^<b_1933_^>b_), in which a crippled girl is cured by a faith-healer; like Arthur Conan _^<a_!T1312_DOYLE_^>a_ he
could adopt either an extremely hard-headed rationalism or a naive mysticism. JDB's first sf novel was the classic _^<i_The Hampdenshire Wonder_^>i_ (_^<b_1911_^>b_; exp vt _^<i_The Wonder_^>i_ 1917 US), a biographical account of a freak superchild
born out of his time; the theme was recapitulated in Olaf _^<a_!T2404_STAPLEDON_^>a_'s _^<i_Odd John_^>i_ (_^<b_1935_^>b_). His second, _^<i_Goslings_^>i_ (_^<b_1913_^>b_; vt _^<i_A World of Women_^>i_ 1913 US), is the first attempt to depict an
all-female society which treats the issue seriously and with a degree of sympathy. Many of his early speculative short stories were collected in _^<i_Nineteen Impressions_^>i_ (coll _^<b_1918_^>b_) and _^<i_Signs and Wonders_^>i_ (coll
_^<b_1921_^>b_). Some are allegories born of religious doubt, such as "A Negligible Experiment", in which the impending destruction of Earth is taken as evidence that God has become indifferent to mankind; others are visionary fantasies, such as
"The Cage", in which a man is telepathically linked to a prehistoric ancestor for a few seconds; and yet others are studies in abnormal _^<a_!T2023_PSYCHOLOGY_^>a_ -- an interest which also inspired the non-sf novel _^<i_Peckover_^>i_
(_^<b_1934_^>b_). _^<i_Revolution_^>i_ (_^<b_1921_^>b_) is a determinedly objective analysis of a socialist revolution in the UK._^<n__^<n_JDB began a second phase of speculative work in 1941. _^<i_"What Dreams May Come . . ."_^>i_ (_^<b_1941_^>b_)
is a powerful novel about a young man drawn into a utopian future he has experienced in his dreams, and then returned, altered in body and mind, to a hopeless messianic quest in the war-torn present. _^<i_A Common Enemy_^>i_ (_^<b_1942_^>b_) is
reminiscent of much of the work of H.G. _^<a_!T5528_WELLS_^>a_, showing the destruction of society by natural _^<a_!T1243_DISASTER_^>a_ as a prelude to utopian reform. _^<i_The Riddle of the Tower_^>i_ (_^<b_1944_^>b_), written with Esme
Wynne-Tyson (1898- ), is another wartime vision story following a future history in which utopian prospects are lost and society evolves towards "automatism", resulting in a hivelike social organization in which individuality -- and ultimately
humanity -- are lost._^<n__^<n_There are notable similarities between the methods and outlook of JDB and Wells (JDB's _^<i_H.G. Wells_^>i_, _^<b_1915_^>b_, was the first critical study of Wells's early work), but JDB never achieved the critical
acclaim he deserved, either for his mainstream fiction or for his sf. [BS]_^<n__^<n__^<b_Other works:_^>b_ _^<i_All or Nothing_^>i_ (_^<b_1928_^>b_) and _^<i_The Gift_^>i_ (_^<b_1946_^>b_, with Wynne-Tyson) are borderline fantasies about would-be
_^<a_!T2918_MESSIAHS_^>a_; _^<i_Real People_^>i_ (_^<b_1929_^>b_) has a subplot involving _^<a_!T6697_ESP_^>a_; there is 1 sf story, "The Man who Hated Flies", in _^<i_The Meeting Place_^>i_ (coll _^<b_1929_^>b_)._^<b_See also:_^>b_
_^<a_!T611_BIOLOGY_^>a_; _^<a_!T708_CHILDREN IN SF_^>a_; _^<a_!T1370_DYSTOPIAS_^>a_; _^<a_!T6576_ECOLOGY_^>a_; _^<a_!T6661_END OF THE WORLD_^>a_; _^<a_!T6697_ESP_^>a_;_^<a_!T6717_ EVOLUTION_^>a_; _^<a_!T4443_HISTORY OF SF_^>a_;
[r] > _^<a_!T6332_ROBERT HALE LIMITED_^>a_._^<n__^<n_
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BERESFORD, LESLIE
-T-
(?1891-?1937) UK author who entered the genre with _^<i_The Second Rising_^>i_ (_^<b_1910_^>b_), a future-_^<a_!T5452_WAR_^>a_ novel about the Second Indian Mutiny, and continued with two _^<a_!T5303_UTOPIAN_^>a_ novels published under the pseudonym
Pan: _^<i_The Kingdom Of Content_^>i_ (_^<b_1918_^>b_) and _^<i_The Great Image_^>i_ (_^<b_1921_^>b_). Reverting to his own name, he wrote a novel about international air piracy, _^<i_Mr Appleton Awakes_^>i_ (_^<b_1924_^>b_; cut 1932), and a
humorous novel about a sensuous _^<a_!T98_ALIEN_^>a_ with supranormal powers, _^<i_The Venus Girl_^>i_ (_^<b_1925_^>b_; cut 1933). LB was quite prolific in the magazine market, contributing "War of Revenge" (1921), "The Purple Planet" (1922) and
"The People Of The Ice" (1922) -- respectively future-war, interplanetary and _^<a_!T3460_LOST-WORLD_^>a_ adventures -- to the _^<a_!T4958_BOYS' PAPERS_^>a_, and "The Octopus Orchid" (1921) and "The Stranger from Somewhere" (1922), among others, to
the pre-sf _^<a_!T2033_PULP MAGAZINES_^>a_. [JE]_^<n__^<n__^<b_Other works:_^>b_ _^<i_The Last Woman_^>i_ (_^<b_1922_^>b_); _^<i_The Invasion of the Iron-Clad Army_^>i_ (_^<b_1928_^>b_); _^<i_The Flying Fish_^>i_ (_^<b_1931_^>b_).
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944
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BERGER, THOMAS (LOUIS)
-T-
(1924- ) US writer best known for his work outside the sf field like the Western epic _^<i_Little Big Man_^>i_ (_^<b_1964_^>b_), which combines farce and _^<a_!T1372_FABULATION_^>a_, and was notably filmed in 1970. _^<i_Regiment of Women_^>i_
(_^<b_1973_^>b_), which is sf, presents a world about a century hence where the roles of men and women have been completely reversed, direly for the men; the book is a blackly comic and chastening argument from premise, and in this prefigures most
of TB's recent work, either outside the field, like the terrifying _^<i_Neighbors_^>i_ (_^<b_1980_^>b_), or chillingly within, like _^<i_Nowhere_^>i_ (_^<b_1986_^>b_), a yawningly vacuous Erewhonian spoof, _^<i_Being Invisible_^>i_ (_^<b_1987_^>b_)
and _^<i_Changing the Past_^>i_ (_^<b_1989_^>b_), in which the laws of human nature, operating like theorems, show that all lives, even those we would aspire to could we ourselves enter a changed past, are lived in bondage to the march of
inalterable law. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Arthur Rex: A Legendary Novel_^>i_ (_^<b_1978_^>b_), a fine fantasy._^<b_See also:_^>b_ _^<a_!T131_ALTERNATE WORLDS_^>a_; _^<a_!T3806_INVISIBILITY_^>a_; _^<a_!T2300_SOCIOLOGY_^>a_;
_^<a_!T6026_TIME TRAVEL_^>a_.
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1001
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BERGEY, EARLE K(ULP)
-T-
(1901-1952) US illustrator known to fans as the "inventor of the brass brassiere". For just over a decade, starting with the Aug 1939 cover of _^<a_!T5782_STRANGE STORIES_^>a_, EKB painted covers for some of the less sophisticated and more lurid
_^<a_!T2033_PULP MAGAZINES_^>a_, especially those published by Standard Magazines: 58 covers for _^<i_Startling Stories_^>i_, 59 covers for _^<i_TWS_^>i_ and 13 covers for _^<i_Captain Future_^>i_, among others. These, often featuring half-dressed
pin-up girls in peril, represent the pulp style at its most typical and thus were singled out for ridicule by non-sf readers, and helped give the _^<a_!T2130_SF MAGAZINES_^>a_ a rubbishy reputation. In fact EKB was a skilled commercial artist,
painted faces well, and was by no means restricted to the subject matter that made him famous. He helped to change the emphasis of cover art, in which he specialized, from gadgetry to people. [PN/JG]_^<n__^<n__^<b_See also:_^>b_
_^<a_!T6004_THRILLING WONDER STORIES_^>a_.
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BERGSOE, VILHELM
-T-
[r] > _^<a_!T1177_DENMARK_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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BERGSTRESSER, MARTA
-T-
[s] > Marta _^<a_!T2489_RANDALL_^>a_._^<n__^<n_
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19
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BERK, HOWARD
-T-
(1926- ) US writer in whose interesting sf novel, _^<i_The Sun Grows Cold_^>i_ (_^<b_1971_^>b_), a man whose brain has been tampered with and whose previous lives were disastrous reawakens (> _^<a_!T2248_SLEEPER AWAKES_^>a_) in a terrifying
future world. He asks to be restored to his amnesia. HB has published in other genres. [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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291
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BERKLEY SHOWCASE, THE
-T-
Original anthology series from Berkley Books, consisting of _^<i_The Berkley Showcase: Vol 1: New Writings in Science Fiction and Fantasy_^>i_ (anth _^<b_1980_^>b_), _^<i_Vol 2_^>i_ (anth _^<b_1980_^>b_), _^<i_Vol 3_^>i_ (anth _^<b_1981_^>b_),
_^<i_Vol 4_^>i_ (anth _^<b_1981_^>b_), all ed Victoria Schochet and John _^<a_!T2209_SILBERSACK_^>a_, and _^<i_Vol 5_^>i_ (anth _^<b_1982_^>b_), ed Schochet and Melissa Singer. This shortlived but lively series published stories by up-and-comers
(Pat _^<a_!T5117_CADIGAN_^>a_, Orson Scott _^<a_!T6359_CARD_^>a_, John _^<a_!T4043_KESSEL_^>a_, Howard _^<a_!T5425_WALDROP_^>a_, Connie _^<a_!T5632_WILLIS_^>a_), established sf gurus (Thomas M. _^<a_!T1244_DISCH_^>a_, R.A.
_^<a_!T4152_LAFFERTY_^>a_), and a few surprises from almost outside the ballpark (Marge _^<a_!T1898_PIERCY_^>a_, Eric _^<a_!T5330_VAN LUSTBADER_^>a_). Indeed, some of its work may have been too close to sf's leading edge to be commercial. It was
announced in the first issue, unusually, that this "house" anthology did not expect to make money. [PN]_^<n__^<n_
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BERLYN, MICHAEL (STEVEN)
-T-
(1949- ) US writer and computer-game designer whose first novel, the sf adventure _^<i_Crystal Phoenix_^>i_ (_^<b_1980_^>b_), received some adverse comment for the amount of female torture it contains. _^<i_The Integrated Man_^>i_
(_^<b_1980_^>b_) projects a _^<a_!T1370_DYSTOPIAN_^>a_ future for urbanized humanity, with a plot based on the shunting of human consciousness into _^<a_!T826_COMPUTER_^>a_ chips, reminiscent in this of John T. _^<a_!T2240_SLADEK_^>a_'s _^<i_The
Muller-Fokker Effect_^>i_ (_^<b_1970_^>b_). _^<i_Blight_^>i_ (_^<b_1981_^>b_), as by Mark Sonders, is an sf/horror novel featuring mutated killer moths. During most of the 1980s, MB restricted himself to the creation of interactive fictions for
computers (> _^<a_!T4597_GAME-WORLDS_^>a_), including "Oo-Topos" (1982), "Cyborg" (1982), "Suspended" (1983), "Infidel" (1984), "Cutthroats" (1984), two titles in collaboration with his wife, Muffy McClung Berlyn-"Tass Times in Tonetown" (1986) and
"Dr Dumont's Wild P.A.R.T.I." (1988) -- and "Altered Destiny" (1990). He then returned to book sf with _^<i_The Eternal Enemy_^>i_ (_^<b_1990_^>b_), a tale whose dystopian undercurrents are reminiscent of his second novel. Here an
_^<a_!T98_ALIEN_^>a_ race, almost magically facile in its use of _^<a_!T4657_GENETIC-ENGINEERING_^>a_ techniques to change its members at will, takes a moribund human and transforms him into a being who can breed with them, and perhaps also carry
over humanity's inbred capacities as a killing-machine so that the aliens can defend themselves against an insatiable enemy. As with many serious-minded sf writers, MB has some tendency to hamper his effects through the use of generic plotting not
well designed to bear the burden of contemplation; but muscle may be felt in his work, and greater focus hoped for. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T6694_ESCHATOLOGY_^>a_; _^<a_!T2548_REINCARNATION_^>a_.
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BERNARD, JOHN
-T-
Pseudonym of UK writer Anna O'Meara de Vic Beamish (1883-? ), whose _^<i_The New Race of Devils_^>i_ (_^<b_1921_^>b_) describes a _^<a_!T6337_NEAR-FUTURE_^>a_ German plan to create a new race through artificial insemination. _^<i_The King's
Missal_^>i_ (_^<b_1934_^>b_) as by Noel de Vic Beamish is a fantasy. [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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252
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BERNARD, RAFE
-T-
(? -? ) UK writer whose first sf novel was _^<i_The Wheel in the Sky_^>i_ (_^<b_1954_^>b_), which datedly concerns itself with the construction of a pre-NASA-style, privately financed space station. He also wrote a
_^<i_The_^<a_!T3793_INVADERS_^>a__^>i_ tie, _^<i_The Halo Highway_^>i_ * (_^<b_1967_^>b_; vt _^<i_Army of the Undead_^>i_ 1967 US). [JC]_^<n__^<n_
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BERNAU, GEORGE (B.)
-T-
(1945- ) US writer whose two sf novels are both _^<a_!T130_ALTERNATE-HISTORY_^>a_ thrillers. In _^<i_Promises to Keep_^>i_ (_^<b_1988_^>b_) John F. Kennedy recovers from the attempt to assassinate him, and in _^<i_Candle in the Wind_^>i_
(_^<b_1990_^>b_) Marilyn Monroe survives her semi-accidental overdose. [JC]_^<n__^<n_
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BERRY, ADRIAN
-T-
(1937- ) UK science journalist (often in the London _^<i_Daily Telegraph_^>i_) and occasional sf writer. His sf novels _^<i_Koyama's Diamond_^>i_ (_^<b_1982_^>b_) and its sequel _^<i_Labyrinth of Lies_^>i_ (_^<b_1984_^>b_), set in a
_^<a_!T1432_FAR-FUTURE_^>a_ planetary system with much political intrigue, have some interesting ideas and plot turns, but are written in a lurid style reminiscent of 1930s _^<a_!T2033_PULP MAGAZINES_^>a_. His more important service to sf has been
the publication of a number of nonfiction science books about the future (> _^<a_!T1669_FUTUROLOGY_^>a_), including the bestselling _^<i_The Next Ten Thousand Years: A Vision of Man's Future in the Universe_^>i_ (_^<b_1974_^>b_) as well as _^<i_The
Iron Sun: Crossing the Universe through Black Holes_^>i_ (_^<b_1977_^>b_) and _^<i_From Apes to Astronauts_^>i_ (coll _^<b_1980_^>b_). The topics discussed in these books -- mostly to do with physics and speculative technology -- are among those
much exploited by _^<a_!T4288_HARD-SF_^>a_ writers in the 1970s and since. [PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T632_BLACK HOLES_^>a_; _^<a_!T5945_TERRAFORMING_^>a_.
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912
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BERRY, BRYAN
-T-
(1930-1955) UK author who was active for only a few years. Along with such writers as John Russell _^<a_!T1455_FEARN_^>a_, E.C. _^<a_!T6112_TUBB_^>a_ and Kenneth _^<a_!T5073_BULMER_^>a_, he contributed many _^<a_!T2033_PULP-MAGAZINE_^>a_-style sf
novels to obscure paperback houses, most notably the _^<b_Venus_^>b_ trilogy as by Rolf Garner. _^<i_And the Stars Remain_^>i_ (_^<b_1952_^>b_) confronts men and Martians with a superior force. _^<i_Born in Captivity_^>i_ (_^<b_1952_^>b_) presents
a rigid post-WWIII society. Other novels include _^<i_Return to Earth_^>i_ (_^<b_1951_^>b_), _^<i_Dread Visitor_^>i_ (_^<b_1952_^>b_) and _^<i_The Venom Seekers_^>i_ (_^<b_1953_^>b_). The _^<b_Venus_^>b_ trilogy -- _^<i_Resurgent Dust_^>i_
(_^<b_1953_^>b_), _^<i_The Immortals_^>i_ (_^<b_1953_^>b_) and _^<i_The Indestructible_^>i_ (_^<b_1954_^>b_) -- portrays in bold strokes mankind's fate on _^<a_!T5351_VENUS_^>a_ after the destruction of life on Earth: the man who eventually
eliminates tyranny becomes Lord Kennet of Gryllaar. BB was closely associated with _^<a_!T319_AUTHENTIC SCIENCE FICTION_^>a_ and also with _^<a_!T6143_TWO COMPLETE SCIENCE-ADVENTURE BOOKS_^>a_, both of which published some of his novel-length
fiction. "Aftermath" (1952) in the former became "Mission to Marakee" (1953) in the latter; as in the first case the story occupied the space allotted to fiction for an entire issue, it might better be listed as _^<i_Aftermath_^>i_
(_^<b_1952_^>b_). [JC]_^<n__^<n_
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BERRY, JAMES R.
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(1933- ) US writer most noted for juveniles, beginning with _^<i_Dar Tellum: Stranger from a Distant Planet_^>i_ (_^<b_1973_^>b_) for younger children, in which the eponymous _^<a_!T98_ALIEN_^>a_ cures Earth of carbon-dioxide poisoning. _^<i_The
Galactic Invaders_^>i_ (_^<b_1976_^>b_ Canada) and _^<i_Quas Starbrite_^>i_ (_^<b_1981_^>b_) are sf-adventure novels, and _^<i_Magicians of Erianne_^>i_ (_^<b_1988_^>b_) is an Arthurian fantasy for older children. [JC]_^<n__^<n_
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BERRY, STEPHEN AMES
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(1947- ) US writer whose _^<b_John Harrison_^>b_ sequence of space-_^<a_!T5452_WAR_^>a_ adventures comprises _^<i_The Biofab War_^>i_ (_^<b_1984_^>b_), _^<i_The Battle for Terra Two_^>i_ (_^<b_1986_^>b_), _^<i_The AI War_^>i_ (_^<b_1987_^>b_) and
_^<i_Final Assault_^>i_ (_^<b_1988_^>b_); military engagements predominate throughout. [JC]_^<n__^<n_
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BERRYMAN, JOHN
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(c1919-1988) US writer and engineer, author of many stories in _^<i_ASF_^>i_ and elsewhere from the late 1930s to the mid-1980s. As Walter Bupp he also wrote a series of linked telekinesis tales (> _^<a_!T6697_ESP_^>a_) for _^<i_ASF_^>i_ in the
early 1960s. JB is not the poet John Berryman (1914-1972), and Walter Bupp is not a pseudonym for Randall _^<a_!T4623_GARRETT_^>a_, as often listed. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T3398_LINGUISTICS_^>a_.
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BERTIN, EDDY
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[r] > _^<a_!T524_BENELUX_^>a_._^<n__^<n_
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BERTIN, JACK
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Pseudonym of Italian-born writer Giovanni Bertignono (1904-1963), who early moved to the USA and who published frequently from the late 1920s in various _^<a_!T2033_PULP MAGAZINES_^>a_. His only sf novel, _^<i_Brood of Helios_^>i_ (_^<b_1966_^>b_),
is an unremarkable adventure. _^<i_The Pyramids from Space_^>i_ (_^<b_1970_^>b_) and _^<i_The Interplanetary Adventurers_^>i_ (_^<b_1970_^>b_), both signed JB and both likewise unremarkable, were in fact written by the executor of his estate, Peter
B. Germano. [JC]_^<n__^<n_
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BERTRAM, NOEL
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Pseudonym of Noel Boston (1910-1966), and not, as has often been thought, of his friend R.L. _^<a_!T1427_FANTHORPE_^>a_. NB privately published some supernatural stories as _^<i_Yesterday Knocks_^>i_ (coll _^<b_1954_^>b_) and 10 tales 1960-62 in
_^<i_Supernatural Stories_^>i_, the _^<a_!T349_BADGER BOOKS_^>a_ magazine whose contents were mostly written by Fanthorpe. [SH]_^<n__^<n_
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BESANT, Sir WALTER
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(1836-1901) UK writer known primarily for his work outside the sf field; founder member of the Society of Authors; knighted 1895. His early novels were written in collaboration with James Rice (1843-1882); their _^<i_The Case of Mr Lucraft and Other
Tales_^>i_ (coll _^<b_1876_^>b_) contains several fantasies, including the bizarre title story about a man who leases out his appetite. _^<i_The Revolt of Man_^>i_ (_^<b_1882_^>b_ anon; 1897 as WB) is an anti-suffragette novel depicting a
female-dominated society of the future; it exemplifies the sexual attitudes and imagination of the Victorian gentleman in a fashion which modern readers might find unwittingly funny. _^<i_The Inner House_^>i_ (_^<b_1888_^>b_) is a significant early
_^<a_!T1370_DYSTOPIA_^>a_ in which a technology of _^<a_!T3771_IMMORTALITY_^>a_ results in social stagnation. _^<i_The Doubts of Dives_^>i_ (_^<b_1889_^>b_; reprinted in _^<i_Verbena Camellia Stephanotis_^>i_ coll _^<b_1892_^>b_) is an earnest
identity-exchange fantasy. _^<i_Uncle Jack etc._^>i_ (coll _^<b_1886_^>b_) includes "Sir Jocelyn's Cap", an F. _^<a_!T194_ANSTEY_^>a_-esque fantasy novella written in collaboration with Walter Herries Pollock (1850-1926). _^<i_A Five Years'
Tryst_^>i_ (coll _^<b_1902_^>b_) includes the sf story "The Memory Cell". WB's abiding interests in social reform and abnormal psychology bring a few of his other novels close to the sf borderline, most notably the dual-personality story _^<i_The
Ivory Gate_^>i_ (_^<b_1892_^>b_); his credulity concerning _^<a_!T6697_ESP_^>a_ is responsible for the introduction of (very minor) fantastic elements into several others. [BS]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T189_ANONYMOUS SF AUTHORS_^>a_;
(1956- ) US writer who also writes as Rosemary Edghill, and who began publishing work of genre interest with "Casablanca" for _^<i_Hydrospanner Zero_^>i_ in 1981; the tale became part of her first novel, _^<i_Hellflower_^>i_ (fixup
_^<b_1991_^>b_), featuring _^<b_Butterfly St Cyr_^>b_, a female space pilot whose smuggling activities embroil her in an interstellar plot involving dynasties and a young prince. The second novel in the sequence, _^<i_Darktraders_^>i_
(_^<b_1992_^>b_), is less energetic, though complicated; the final volume, _^<i_Archangel Blues _^>i_(_^<b_1993_^>b_), some _^<a_!T5380_VIRTUAL REALITY_^>a_ riffs are explored, and the enormously complicated plot is wrapped up. _^<i_Speak Daggers
to Her_^>i_ (_^<b_1994_^>b_) as by Rosemary Edghill, is a mystery with borderline sf elements. [JC]_^<n__^<n_
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BEST, (OSWALD) HERBERT
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(1894-1981) UK author of an sf novel, _^<i_The Twenty-Fifth Hour_^>i_ (_^<b_1940_^>b_), in which, after a 1965 _^<a_!T1243_DISASTER_^>a_, two survivors -- a North American female and a European male -- come together to participate in a
_^<a_!T5303_UTOPIA_^>a_ founded in Alexandria, Egypt. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T5452_WAR_^>a_.
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BESTER, ALFRED
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(1913-1987) US writer and editor, born into a Jewish family in New York, a city with which he was always closely associated. Educated in both humanities and sciences -- including _^<a_!T2023_PSYCHOLOGY_^>a_, perhaps the most important "science" in
his sf -- at the University of Pennsylvania, AB entered sf when he submitted a story to _^<a_!T6004_THRILLING WONDER STORIES_^>a_. Mort _^<a_!T5515_WEISINGER_^>a_, the editor, helped AB to polish it, and then suggested he submit it for an amateur
story competition that _^<i_TWS_^>i_ was running. AB did so and won. The story was "The Broken Axiom" (Apr 1939 _^<i_TWS_^>i_)._^<n__^<n_AB published another 13 sf stories to 1942, and then followed his friend Weisinger, along with Otto
_^<a_!T607_BINDER_^>a_, Manly Wade _^<a_!T5525_WELLMAN_^>a_ and others, into the field of _^<a_!T820_COMIC_^>a_ books, working on such _^<a_!T1115_DC COMICS_^>a_ titles as _^<a_!T5830_SUPERMAN_^>a_, _^<i_The Green Lantern_^>i_ and _^<i_Batman_^>i_.
He worked successfully for four years on comics outlines and dialogue, later working on _^<a_!T5154_CAPTAIN MARVEL_^>a_, and then moved into radio, scripting for such serials as _^<i_Charlie Chan_^>i_ and _^<i_The Shadow_^>i_. After the intensive
course in action plotting this career had given him, AB returned (part-time) to the sf magazines in 1950, by now more mature as a writer. (His main job at the time was scripting the new tv series _^<a_!T6044_TOM CORBETT: SPACE CADET_^>a_.) There
ensued over the next six years a series of stories and novels which are considered to be among the greatest creations of genre sf._^<n__^<n_AB was never prolific in sf, which was more of a hobby than a career for him, publishing only 13 more short
stories -- mostly in _^<i_FSF_^>i_ -- before 1960. (One of the five "Quintets" in _^<i_FSF_^>i_ Sep 1959 was by AB writing as Sonny Powell.) But these alone would have secured him a place in the sf pantheon. Most of his stories were originally
issued in book form in two collections, _^<i_Starburst_^>i_ (coll _^<b_1958_^>b_) and _^<i_The Dark Side of the Earth_^>i_ (coll _^<b_1964_^>b_). These collections were reassembled with 6 stories dropped, and one older novella-"Hell is Forever" --
and 3 quite recent stories added along with the amusing autobiographical essay "My Affair with Science Fiction" (1975), in two further collections, _^<i_The Light Fantastic_^>i_ (coll _^<b_1976_^>b_) and _^<i_Star Light, Star Bright_^>i_ (coll
_^<b_1976_^>b_), which were in turn reissued as an omnibus volume, _^<i_Starlight: The Great Short Fiction of Alfred Bester_^>i_ (omni _^<b_1976_^>b_). This last is the best available collection._^<n__^<n_AB's talents were evident from the
beginning. At least three stories from his 1939-42 period are memorable: "Adam and No Eve" (1941) (> _^<a_!T29_ADAM AND EVE_^>a_; _^<a_!T6661_END OF THE WORLD_^>a_), "The Push of a Finger" (1942) and "Hell is Forever" (1942). The latter, a long
novella for _^<a_!T5291_UNKNOWN_^>a_, exhibits in a slightly sophomoric way the qualities for which AB would later be celebrated: it is cynical, baroque and aggressive, produces hard, bright images in quick succession, and deals with obsessive
states of mind. The most notable later story is "Fondly Fahrenheit" (1954), a breathless story of a man and his _^<a_!T178_ANDROID_^>a_ servant whose personalities intermesh in a homicidal _^<i_folie a deux_^>i_. Also memorable are "Of Time and
Third Avenue" (1951), "Disappearing Act" (1953) and "The Men who Murdered Mohammed" (1958), which is perhaps the most concentratedly witty twist on the _^<a_!T6020_TIME-PARADOX_^>a_ story ever written. At about the time of this story AB addressed
an sf symposium at the University of Chicago; his paper is one of the four reprinted in the anonymously edited _^<i_The Science Fiction Novel: Imagination and Social Criticism_^>i_ (anth _^<b_1959_^>b_; intro by Basil
_^<a_!T1076_DAVENPORT_^>a_)._^<n__^<n_AB's first two sf novels, _^<i__^<a_!B9094_THE DEMOLISHED MAN_^>a__^>i_ (_^<b_1953_^>b_) and _^<i_Tiger! Tiger!_^>i_ (_^<b_1956_^>b_ UK; rev vt _^<i_The Stars My Destination_^>i_ 1957 US), are among the few
genuine classics of genre sf. They are the sf equivalent of the Jacobean revenge drama: both feature malcontent figures, outsiders from society bitterly cognizant of its corruption, but themselves partly ruined by it, just as in _^<i_The Revenger's
Tragedy_^>i_ or _^<i_The Duchess of Malfi_^>i_; like them, too, AB's novels blaze with a sardonic imagery, mingling symbols of decay and new life -- rebirth is a recurrent theme of AB's -- with a creative profligacy._^<n__^<n__^<i__^<a_!B9094_THE
DEMOLISHED MAN_^>a__^>i_, which won the first _^<a_!T4551_HUGO_^>a_ for Best Novel in 1953, tells a story which in synopsis is straightforward: industrialist Ben Reich commits murder (in a society where murder is almost unknown because telepathic
_^<a_!T6698_ESPERS_^>a_ can detect the idea before the act is carried out), almost gets away with it, is ultimately caught by Esper detective Linc Powell, and is committed to curative brainwashing, "demolition" (> _^<a_!T956_CRIME AND
PUNISHMENT_^>a_). It is the pace, the staccato style, the passion and the pyrotechnics that make the novel extraordinary. The future society is evoked in marvellously hard-edged details; the hero is a driven, resourceful man whose obsessions are
explained in Freudian terms that might seem too glib if they were given straight, but are evoked with the same New Yorker's painful, ironic scepticism that informs the whole novel. AB's mainstream novel _^<i_Who He?_^>i_ (_^<b_1953_^>b_; vt
_^<i_The Rat Race_^>i_ 1956), about the tv and advertising businesses, sheds some light on the milieu of _^<i__^<a_!B9094_THE DEMOLISHED MAN_^>a__^>i_._^<n__^<n__^<i_Tiger! Tiger!_^>i_ tells the story of the now legendary Gully Foyle, whose passion
for revenge transforms him from an illiterate outcast to a transcendent, ambiguous, quasi-_^<a_!T5830_SUPERMAN_^>a_ in "an age of freaks, monsters and grotesques". Like the first novel, this one lives as much through the incidentals of the setting
-- in a lurid, crumbling, 25th-century world-as in the plot itself, which AB confesses, too modestly, was borrowed from Alexandre Dumas's _^<i_The Count of Monte Cristo_^>i_ (_^<b_1844-5_^>b_). The first vol of a _^<a_!T4809_GRAPHIC-NOVEL_^>a_
version by Howard V. _^<a_!T5252_CHAYKIN_^>a_ (adaptation by Byron _^<a_!T1982_PREISS_^>a_), was _^<i_The Stars My Destination Vol 1_^>i_ (graph _^<b_1979_^>b_); the second vol, though widely bruited, was not in fact published until it appeared,
with the first, in _^<i_The Stars My Destination_^>i_ (_^<b_1992_^>b_)._^<n__^<n_In the late 1950s AB was taken on by _^<i_Holiday_^>i_ magazine as a feature writer, ultimately becoming senior literary editor, a post he held until the magazine
ceased publication in the 1970s, at which time he returned to sf. "The Four-Hour Fugue" (1974) shows the old extraordinary assurance and inventiveness, and just a trace of over-facility. Two decades after his last, his new novel, _^<i_The Computer
Connection_^>i_ (1974 _^<i_ASF_^>i_ as "The Indian Giver"; _^<b_1975_^>b_; vt _^<i_Extro_^>i_ UK), while full of incidental felicities, did not quite recapture the old drive in its ornate story of a group of immortals and an omniscient
_^<a_!T826_COMPUTER_^>a_; perhaps it lacked a natural "Besterman" as focus. The pace and complexity were still there, but somehow looking like self-parody._^<n__^<n_The next book, _^<i_Golem(100)_^>i_ (_^<b_1980_^>b_), was more ambitious, had a
more authentic Bester flavour, and was regarded by AB as his best novel. It expands "The Four-Hour Fugue" into an extraordinary but overheated tale of the jungle of New York in AD2175, with diabolism, depth psychology (a Monster from the Id), bee
superwomen, pheromones, perverse sex, and overall a miasma of death. But the 1960s-style radicalism now looked a little out of date, and what used to be spare and sinewy in his work had begun to seem prolix; the craziness looked like ornamentation
rather than what it once was, structural. His last sf novel was _^<i_The Deceivers_^>i_ (_^<b_1981_^>b_), which features a Synergist hero who can perceive patterns; sadly, but interestingly in the light of AB's fame, the sf press almost unanimously
failed to review this, presumably out of respect for his feelings. It is not good. When he died six years later, after a long period of ill health, he willed his house and literary estate to his bartender. The posthumously published _^<i_Tender
Loving Rage_^>i_ (_^<b_1991_^>b_), written more than 20 years earlier, is a mainstream novel set in 1959, and appropriately features a scientist adopted by the New York advertising/tv people._^<n__^<n_AB's innovative, ferocious, magpie (his word)
talent has certainly been influential in _^<a_!T4659_GENRE SF_^>a_, on writers as disparate as James _^<a_!T658_BLISH_^>a_, Samuel R. _^<a_!T1152_DELANY_^>a_ and Michael _^<a_!T3030_MOORCOCK_^>a_. In many respects his work was a forerunner of
_^<a_!T1015_CYBERPUNK_^>a_. He is one of the very few genre-sf writers to have bridged the chasm between the old and the _^<a_!T3181_NEW WAVE_^>a_, by becoming a legendary figure for both -- perhaps because in his sf imagery he conjured up, with
bravura, both outer and _^<a_!T3783_INNER SPACE_^>a_. [PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T829_CONCEPTUAL BREAKTHROUGH_^>a_; _^<a_!T6697_ESP_^>a_; _^<a_!T1686_GALAXY SCIENCE FICTION_^>a_; _^<a_!T4754_GOLDEN AGE OF SF_^>a_; _^<a_!T4780_GOTHIC
SF_^>a_; _^<a_!T4443_HISTORY OF SF_^>a_; _^<a_!T4555_HUMOUR_^>a_; _^<a_!T4595_IMAGINARY SCIENCE_^>a_; _^<a_!T3398_LINGUISTICS_^>a_; _^<i_The_^>i_ _^<a_!T3595_MAGAZINE OF FANTASY AND SCIENCE FICTION_^>a_; _^<a_!T3147_NEBULA_^>a_;
_^<a_!T1714_OPTIMISM AND PESSIMISM_^>a_; _^<a_!T1743_OUTER PLANETS_^>a_; _^<a_!T1851_PERCEPTION_^>a_; _^<a_!T2021_PSI POWERS_^>a_; _^<a_!T2071_SF IN THE CLASSROOM_^>a_; _^<a_!T5843_SUPERNATURAL CREATURES_^>a_; _^<a_!T6080_TRANSPORTATION_^>a_;
_^<a_!T5372_VILLAINS_^>a_.
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BETANCOURT, JOHN GREGORY
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(1963- ) US editor and writer who became involved in _^<a_!T2261_SMALL-PRESS_^>a_ publishing in his teens, his first professional sf sale-"Vernon's Dragon" for _^<i_100 Great Fantasy Short-Short Stories_^>i_ (anth _^<b_1984_^>b_) ed Isaac
_^<a_!T268_ASIMOV_^>a_, Terry _^<a_!T5182_CARR_^>a_ and Martin H. _^<a_!T4842_GREENBERG_^>a_ -- being a reprint from a fan magazine. In the early 1980s he worked with editor George _^<a_!T2884_SCITHERS_^>a_ at _^<i_AMZ_^>i_, soon founding a
literary agency with Scithers and Darrell _^<a_!T2867_SCHWEITZER_^>a_; in 1987 the three of them relaunched _^<a_!T5512_WEIRD TALES_^>a_. In 1989 JGB became an editor for Byron _^<a_!T1982_PREISS_^>a_ Visual Publications, Inc., an important sf
packager. His first novel, _^<i_Starskimmer_^>i_ * (_^<b_1986_^>b_), is a game tie. _^<i_Rogue Pirate_^>i_ (_^<b_1987_^>b_) is fantasy, as is the more impressive _^<i_The Blind Archer_^>i_ (_^<b_1988_^>b_), in whose ornate venue -- the vast city of
Zelloque -- the _^<a_!T768_CLUB STORIES_^>a_assembled in _^<i_Slab's Tavern and Other Uncanny Places_^>i_ (coll _^<b_1990_^>b_ chap) are also set. His first book of direct sf interest, _^<i_Johnny Zed_^>i_ (_^<b_1988_^>b_), embeds a somewhat
desultory political analysis of revolutionary movements in a portrait of a _^<a_!T6337_NEAR-FUTURE_^>a_ USA whose Congress has become a hereditary gift of the rich, and whose populace has become lassitudinous. The sf devices of his second novel of
interest, _^<i_Rememory_^>i_ (_^<b_1990_^>b_), include brain-scans and the bio-engineering of humans into animal shapes, but the mystery plot that sends the cat-person protagonist down the mean streets of a corrupt government does not, in itself,
generate much interest. JGB seems an author of very ample skill but limited perspective -- a sense of his career which, given his clear intelligence and ambition, could change overnight. [JC]_^<n__^<n__^<b_Other works:_^>b_ A tied instalment in the
_^<b_Dr Bones_^>b_ enterprise, _^<i_Dr Bones #4: The Dragons of Komako_^>i_ * (_^<b_1989_^>b_)._^<b_As Editor:_^>b_ Issues of _^<i_Weird Tales_^>i_, all with George Scithers and Darrell Schweitzer, are _^<i_Weird Tales: Spring 1988_^>i_, _^<i_Weird
Tales: Winter 1990_^>i_ and _^<i_Weird Tales #290_^>i_ (1988) through _^<i_Weird Tales #299, Winter 1990/1991_^>i_ (1991); contributions to the Bryon _^<a_!T1982_PREISS_^>a_ _^<b_Ultimate_^>b_ sequence, including_^<i_The Ultimate Frankenstein_^>i_
(anth _^<b_1991_^>b_) and _^<i_The Ultimate Werewolf_^>i_ (anth _^<b_1991_^>b_), both with David Keller, Megan Miller and Byron Preiss, and _^<i_The Ultimate Zombie_^>i_ (anth _^<b_1993_^>b_) and _^<i_The Ultimate Witch _^>i_(anth _^<b_1993_^>b_),
both with Preiss alone; _^<i_Letters of the Alien Publisher_^>i_ (coll _^<b_1991_^>b_) with Charles C. _^<a_!T2755_RYAN_^>a_; _^<i_Performance Art_^>i_ (coll _^<b_1992_^>b_ chap)._^<b_As Jeremy Kingston:_^>b_ A tied contribution to the _^<b_Time
Tours_^>b_ sequence, _^<i_Robert Silverberg's Time Tours #6: Caesar's Time Legions_^>i_ * (_^<b_1991_^>b_).
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BETHKE, BRUCE
-T-
(1955- ) US writer best known for his short stories, in particular his first professional publication, "Cyberpunk" (1983), which appeared in _^<i_AMZ_^>i_ after circulating in manuscript and almost certainly inspiring Gardner
_^<a_!T1313_DOZOIS_^>a_'s use of the term _^<a_!T1015_CYBERPUNK_^>a_ to designate the new movement. A novel based on this story has been projected for some time under the title <Def Cyberpunk> but BB's only book to date is a
[s] > Robert _^<a_!T2216_SILVERBERG_^>a_._^<n__^<n_
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BETTAUER, HUGO
-T-
(1877-1925) Austrian writer whose sf novel, _^<i_Die Stadt ohne Juden_^>i_ (_^<b_1925_^>b_; trans Salomea Neumark Brainin as _^<i_The City Without Jews: a Novel of our Time_^>i_ _^<b_1926_^>b_ US), hopefully predicts that Gentiles will comprehend
the worth of Jews to civilzation, and will revoke their blanket expulsion from civic life. HB was murdered. [JC]_^<n__^<n_
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BETTER PUBLICATIONS
-T-
> _^<a_!T5151_CAPTAIN FUTURE_^>a_; Ned L. _^<a_!T1905_PINES_^>a_; _^<a_!T2428_STARTLING STORIES_^>a_; _^<a_!T5782_STRANGE STORIES_^>a_; _^<a_!T6004_THRILLING WONDER STORIES_^>a_._^<n__^<n_
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CATRS
-END-
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BEVAN, ALISTAIR
-T-
[s] > Keith _^<a_!T2619_ROBERTS_^>a_._^<n__^<n_
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CATRS
-END-
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BEVERLEY, BARRINGTON
-T-
(? -? ) UK writer in whose sf novel _^<i_The Space Raiders_^>i_ (_^<b_1936_^>b_) the League of Nations defends the world from an alien invasion. [JC]_^<n__^<n__^<b_Other work:_^>b_ _^<i_The Air Devil_^>i_ (_^<b_1934_^>b_).
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BEVIS, H(ERBERT) U(RLIN)
-T-
(1902- ) US house-painter, author of a series of unremarkable sf adventures including _^<i_Space Stadium_^>i_ (_^<b_1970_^>b_), which features wargames in space, _^<i_The Time Winder_^>i_ (_^<b_1970_^>b_), whose protagonists escape killer
_^<a_!T2646_ROBOTS_^>a_ by _^<a_!T6026_TIME TRAVEL_^>a_, _^<i_The Star Rovers_^>i_ (_^<b_1970_^>b_), _^<i_To Luna with Love_^>i_ (_^<b_1971_^>b_) and _^<i_The Alien Abductors_^>i_ (_^<b_1972_^>b_). [JC]_^<n__^<n_
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CATRS
-END-
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BEWARE THE BLOB
-T-
> _^<i_The_^>i_ _^<a_!T660_BLOB_^>a_._^<n__^<n_
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-END-
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BEYER, W(ILLIAM) G(RAY)
-T-
(? -? ) US writer, active before WWII in only one magazine, _^<i_The Argosy_^>i_, where he published all his novels. _^<i_Minions of the Moon_^>i_ (1939 _^<i_Argosy_^>i_; _^<b_1950_^>b_), along with three further serials, "Minions of Mars"
(1940), "Minions of Mercury" (1940), and "Minions of the Shadow" (1941), make up the _^<b_Minions_^>b_ series of interplanetary _^<a_!T2342_SPACE-OPERA_^>a_ adventures involving humans and aliens. [JC]_^<n__^<n_
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CATRS
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BEYNON, JOHN
-T-
> John _^<a_!T6211_WYNDHAM_^>a_._^<n__^<n_
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-END-
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BEYOND FANTASY FICTION
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US _^<a_!T1231_DIGEST_^>a_-size magazine. 10 issues, July 1953-Jan 1955, published by Galaxy Publishing Corp., ed H.L. _^<a_!T4752_GOLD_^>a_._^<n__^<n_A companion magazine to _^<a_!T1686_GALAXY SCIENCE FICTION_^>a_, _^<i_BFF_^>i_ was a fantasy
magazine conceived in the same spirit as _^<a_!T5291_UNKNOWN_^>a_ (to which Gold had contributed). It began promisingly, its first issue featuring such stories as Theodore _^<a_!T5810_STURGEON_^>a_'s ". . . And My Fear is Great" and Damon
_^<a_!T4098_KNIGHT_^>a_'s "Babel II", but could maintain this standard only fitfully. #2 contained Theodore R. _^<a_!T781_COGSWELL_^>a_'s classic "The Wall Around the World". Notable later stories included "The Watchful Poker Chip" by Ray
_^<a_!T4963_BRADBURY_^>a_ (1954) and "The Green Magician", a _^<b_Harold Shea_^>b_ story by L. Sprague _^<a_!T1133_DE CAMP_^>a_ and Fletcher _^<a_!T1976_PRATT_^>a_ (1954). The first 8 issues were bimonthly and dated; the last 2, undated, were
titled _^<i_Beyond Fiction_^>i_. _^<i_BFF_^>i_ was drab in appearance with uninspired cover paintings. _^<i_Beyond_^>i_ (anth _^<b_1963_^>b_), no editor named, reprinted 9 stories. An abridged UK edition of the first 4 issues was published by
Strato Publications, 1953-4. [MJE]_^<n__^<n_
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BEYOND FICTION
-T-
> _^<a_!T580_BEYOND FANTASY FICTION_^>a_._^<n__^<n_
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-END-
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BEYOND INFINITY
-T-
US _^<a_!T1231_DIGEST_^>a_-size magazine. 1 issue, Dec 1967, published by I.D. Publications, Hollywood; ed Doug Stapleton. The fantasy element was stronger than the sf in this rapidly aborted and not very strong magazine. [FHP]_^<n__^<n_
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-END-
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BEYOND WESTWORLD
-T-
> _^<a_!T5557_WESTWORLD_^>a_._^<n__^<n_
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-END-
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"BIBLES"
-T-
> _^<a_!T2127_SHARED WORLDS_^>a_._^<n__^<n_
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BIBLIOGRAPHIES
-T-
Until the academic acceptance of sf there was no profit in bibliographies. Compiling them was a labour of love, very often carried out by fans or sometimes by book and magazine dealers; the first, tiny sf bibliography of all, _^<i_Science Fiction
Bibliography_^>i_ (_^<b_1935_^>b_ chap), was produced by The Science Fiction Syndicate, a group of fans. Until recent decades, few academically trained bibliographers paid any attention to fantastic literature; it was only the proliferation of work
from about 1975 onwards that justified the publication of _^<i_Reference Guide to Science Fiction, Fantasy, and Horror_^>i_ (_^<b_1992_^>b_) by Michael Burgess (Robert _^<a_!T2543_REGINALD_^>a_), which annotates and comments upon more than 550
relevant studies._^<n__^<n__^<i_The Checklist of Fantastic Literature: A Bibliography of Fantasy, Weird and Science Fiction Books Published in the English Language_^>i_ (_^<b_1948_^>b_) by Everett F. _^<a_!T654_BLEILER_^>a_, the earliest important
bibliography in the field, made no distinction between sf and fantasy, was incomplete and had inevitable errors, and contained no information on contents. It was nevertheless invaluable for researchers from the first, although to look at it in 1995
is to contemplate the distance traversed since, both by the field as a whole and, in particular, by its author -- who has since concentrated on more specialized bibliographical work (see below). For many years the only comparable general effort was
_^<i_"333": A Bibliography of the Science-Fantasy Novel_^>i_ (_^<b_1953_^>b_ chap) by Joseph H. Crawford Jr (1932- ) assisted by James J. Donahue and the publisher Donald M. Grant (1927- ); this, though restricted to the titular total,
provided valuable synopses of the 333 selected books, categorizing them with considerable acumen. Bleiler's _^<i_Checklist_^>i_ was first added to by Bradford M. _^<a_!T1102_DAY_^>a_ in his _^<i_The Supplemental Checklist of Fantastic
Literature_^>i_ (_^<b_1963_^>b_), which contained 3000 additional titles; Bleiler himself then thoroughly reworked his original research, publishing the result as _^<i_The Checklist of Science-Fiction and Supernatural Fiction (1800-1948)_^>i_
(_^<b_1978_^>b_), which presented, alongside the corrected list, a useful category coding for most books included. But Bleiler's interest had by this point shifted to more specialized studies, and his checklist had in any case been
superseded._^<n__^<n_Research in a field like sf, the basic texts of which are often elusive, depends initially on the existence of one central tool: the comprehensive checklist. Bleiler's selective version served well for nearly three decades, and
Marshall B. _^<a_!T6150_TYMN_^>a_, in _^<i_American Fantasy & Science Fiction: Toward a Bibliography of Works Published in the United States, 1948-1973_^>i_ (_^<b_1979_^>b_), gave selective coverage up to 1973. In the same year, however, the
definitive work was published: this was Reginald's 2-vol _^<i_Science Fiction and Fantasy Literature: A Checklist, 1700-1974, with Contemporary Science Fiction Authors II_^>i_ (_^<b_1979_^>b_), which listed, according to fairly strict criteria of
eligibility, three times the number of titles Bleiler covered and included a biographical dictionary based on Reginald's earlier _^<i_Stella Nova: The Contemporary Science Fiction Authors_^>i_ (_^<b_1970_^>b_) and _^<i_Contemporary Science Fiction
Authors_^>i_ (_^<b_1974_^>b_). Reginald later supplemented the checklist portion of this work in _^<i_Science Fiction and Fantasy Literature, 1975-1991: a Bibliography of Science Fiction, Fantasy, and Horror Fiction Books and Nonfiction
Monographs_^>i_ (_^<b_1992_^>b_) with Mary Wickizer Burgess (1938- ) and Daryl F. _^<a_!T3625_MALLETT_^>a_, which takes into account some errors (very few) and omissions from the 1979 volumes while adding almost 22,000 new titles -- more new
titles in 17 years, it might be noted, than had appeared in the previous 250. Although -- unlike Bleiler's later work -- the Reginald checklists do not code cited texts according to the genres and subgenres contained within the broad field of the
fantastic, they now constitute the central bibliographical resource for any sf/fantasy library._^<n__^<n_Also at the end of the 1970s appeared L.W. _^<a_!T1001_CURREY_^>a_'s _^<i_Science Fiction and Fantasy Authors: A Bibliography of First
Printings of their Fiction_^>i_ (_^<b_1979_^>b_), a genuine first-edition bibliography which covered about 200 of the principal genre writers (a second volume is projected) and intensified Reginald's coverage; and George _^<a_!T3416_LOCKE_^>a_'s
remarkably accurate (and intriguingly anecdotal) _^<i_A Spectrum of Fantasy: The Bibliography and Biography of a Collection of Fantastic Literature_^>i_ (_^<b_1980_^>b_), which suggested _^<i_en passant_^>i_ several titles that plausibly
supplemented the Reginald _^<i_Checklist_^>i_; _^<i_A Spectrum of Fantasy: Volume 2: Acquisitions to a Collection of Fantastic Literature, 1980-1993_^>i_ (_^<b_1994_^>b_) continues the invaluable enterprise._^<n__^<n_Other forms of extensive
coverage were of varying use. The _^<i_Dictionary Catalog of the J. Lloyd Eaton Collection of Science Fiction and Fantasy Literature_^>i_ (_^<b_1982_^>b_) in 3 vols is a photographic record of the 37,500 cards recording the 20,000 items then in the
_^<a_!T3906_J. LLOYD EATON COLLECTION_^>a_ (it is now badly out of date). In 1988, Kurt Baty began to produce what was intended to constitute a comprehensive index in loose-leaf form entitled _^<i_The Whole Science Fiction Data Base Quarterly_^>i_;
by the end of 1991 about a third of the alphabet had been traversed, though only in draft form, with a vast proportion of titles omitted or only partially ascribed, and the project has become embarrassingly dormant._^<n__^<n_After gaining some
control over the field as a whole, the sf researcher would then find her/himself needing more specialized aids as well. Sf was for many years a genre dominated, in the USA at least, by the _^<a_!T3597_MAGAZINES_^>a_, and magazine indexes are an
essential tool. The publication of an exhaustive index from Stephen T. Miller and William G. _^<a_!T854_CONTENTO_^>a_ has been projected for several years; but partial indexes do exist, and have served well. They include: Bill
_^<a_!T6707_EVANS_^>a_'s _^<i_The Gernsback Forerunners_^>i_ (_^<b_1944_^>b_ chap), which indexes sf in _^<i_Modern Electrics _^>i_and other journals founded by Hugo _^<a_!T4668_GERNSBACK_^>a_ before _^<i_AMZ_^>i_;_^<i_Index to the Science Fiction
Magazines 1926-50_^>i_ (_^<b_1952_^>b_) by Donald B. _^<a_!T1103_DAY_^>a_; _^<i_The Index of Science Fiction Magazines 1951-1965_^>i_ (_^<b_1968_^>b_) by Norman _^<a_!T2925_METCALF_^>a_ or, for the same period, _^<i_The MIT Science Fiction
Society's Index to the S-F Magazines_^>i_ (_^<b_1966_^>b_) by Erwin S. _^<a_!T5788_STRAUSS_^>a_; _^<i_Index to the Science Fiction Magazines 1966-70_^>i_ (_^<b_1971_^>b_) by the New England Science Fiction Association; and _^<i_The N.E.S.F.A. Index
to the Science Fiction Magazines and Original Anthologies 1971-1972_^>i_ (_^<b_1973_^>b_). Since then N.E.S.F.A. has brought out magazine indexes usually on an annual basis and usually compiled by Anthony R. _^<a_!T3364_LEWIS_^>a_, either alone or
in collaboration. More specialized productions include _^<i_Monthly Terrors: An Index to the Weird Fantasy Magazines Published in the United States and Great Britain_^>i_ (_^<b_1985_^>b_) by Mike _^<a_!T265_ASHLEY_^>a_ and Frank H. Parnell (1916-
), and _^<i_Mystery, Detective, and Espionage Fiction: A Checklist of Fiction in U.S. Pulp Magazines, 1915-1974_^>i_ (_^<b_1988_^>b_), in two vols, by Michael L. Cook and Stephen T.Miller. Indexes to individual magazines -- like _^<i_The Complete
Index to Astounding/Analog_^>i_ (_^<b_1981_^>b_) by Ashley and Terry Jeeves (1922- ) -- are cited in this encyclopedia in the relevant magazine entries._^<n__^<n_Of course stories are not published solely in magazines. In an ongoing project
complementary to his projected story index, Contento has produced, in _^<i_Index to Science Fiction Anthologies and Collections_^>i_ (_^<b_1978_^>b_) and _^<i_Index to Science Fiction Anthologies and Collections, 1977-1983_^>i_ (_^<b_1984_^>b_), a
highly usable reference source which, in addition to listing stories not initially published in magazine form, also covers those published originally in magazines and for one reason or another thought worthy of being made more generally available
in book form. His _^<i_Indexes_^>i_, therefore, are an aid to the researcher, as the stories they catalogue are both valued and available; but Contento should be used with caution in this regard. He does not himself make any qualitative claims
about the stories he lists in this format, nor is he complete within his declared remit, and no researcher should assume that unlisted stories are necessarily less rewarding. Contento's indexes for coverage of the years after 1983 appear in the
_^<a_!T3419_LOCUS_^>a_ annuals (see below)._^<n__^<n_From yet another angle of approach, Jack L. _^<a_!T5223_CHALKER_^>a_ and Mark _^<a_!T1755_OWINGS_^>a_ (1945- ), in _^<i_The Index to the Science-Fantasy Publishers_^>i_ (_^<b_1966_^>b_; rev vt
_^<i_Index to the SF Publishers_^>i_ 1979; very much exp vt _^<i_The Science-Fantasy Publishers: A Critical and Bibliographic History_^>i_ 1991), provides a checklist of (and anecdotal commentary on) almost every title released by the specialist sf
houses, arranged by publisher. The 1991 version, 10 times the size of the first edition, gives its users an invaluable grasp of the shape -- though it is less secure on the detail -- of sf _^<a_!T2026_PUBLISHING_^>a_ through the 20th century;
inconveniently, that first edition has been several times revised in successive small unmarked reprintings, with the result that readers cannot know the status of the volume they have in front of them._^<n__^<n_Two ongoing index series by Hal W.
_^<a_!T4933_HALL_^>a_ are also essential. The first -- comprising, the _^<i_Science Fiction Book Review Index, 1923-1973_^>i_ (_^<b_1975_^>b_), _^<i_Science Fiction Book Review Index, 1974-1979_^>i_ (_^<b_1981_^>b_) and _^<i_Science Fiction and
Fantasy Book Review Index, 1980-1984_^>i_ (_^<b_1985_^>b_) -- along with its annual supplements -- released under the full latter title, and covering, as of the volume published in 1994, the years up to 1990 -- functions as an accurate if
incomplete bibliography of sf criticism. And Hall's 2-vol _^<i_Science Fiction and Fantasy Reference Index, 1878-1985_^>i_ (_^<b_1987_^>b_), which incorporates early reference guides, covers non-review research and criticism in the field;
supplemental volumes, including _^<i_Science Fiction and Fantasy Research Index, Volume 7_^>i_ (_^<b_1987_^>b_), covering 1986, and _^<i_Volume 8_^>i_ (_^<b_1990_^>b_), covering 1987 (and see below), were incorporated into _^<i_Science Fiction and
Fantasy Reference Index, 1985-1991_^>i_ (_^<b_1993_^>b_)._^<n__^<n_In the late 1980s, perhaps following Contento's lead, Hall made a significant publishing decision. Although his _^<i_Book Review Index_^>i_ remained a separate production, he
incorporated further issues of his _^<i_Reference Index_^>i_ into Charles N. _^<a_!T5026_BROWN_^>a_'s and Contento's ongoing _^<i_Locus_^>i_ annual _^<b_Science Fiction, Fantasy, & Horror_^>b_ series, from the 1988 volume (published _^<b_1989_^>b_)
onwards. The Brown/Contento production -- each annual volume being subtitled _^<i_A Comprehensive Bibliography of Books and Short Fiction Published in the English Language_^>i_ -- extends from coverage year 1984 to coverage year 1991, the last year
covered representing the end of the sequence. Although it does not precisely replace comprehensive bibliographies like Reginald's (see above), it has served to supply sf readers and researchers with an enormous amount of information for the years
1984-1991; it is unlikely (unless the series is restarted) that any other period in sf history will ever be treated to as thorough and convenient a coverage. Its main deficiency as a research resource lay for several years in the fact that it was
based on a localized books-received (rather than a books-published) basis, only books received for review by Brown's _^<i_Locus_^>i_ magazine during a particular calendar year tending to be entered in the Brown/Contento volume for that year. As
there is a very considerable difference between books _^<i_received_^>i_ during a year by one magazine and books actually _^<i_published_^>i_ during that year, early volumes of the series needed some getting used to. But in later volumes, a
considerable effort was made to search out books not actually received for review, and, once the researcher understands this gradual change for the better, Brown/Contento begins to seem even more irreplaceable._^<n__^<n_Moving from comprehensive
bibliographies whose remit is to encompass the field rather than to evaluate it, we come to research aids which are designed to provide a critical commentary. _^<i_The Encyclopedia of Science Fiction and Fantasy through 1968_^>i_ in 3 vols
(_^<b_1974_^>b_, _^<b_1978_^>b_, _^<b_1982_^>b_) by Donald H. _^<a_!T6113_TUCK_^>a_ engagingly annotated a wide variety of texts, but its author frequently cross-referred readers to Bleiler for fuller listings. The first edition of the
_^<i_Encyclopedia of Science Fiction_^>i_ (_^<b_1979_^>b_) ed Peter _^<a_!T3189_NICHOLLS_^>a_ attempted to list or mention all sf or fantasy books published by the approximately 1700 fiction authors treated, but the ascriptions in that edition and
in this second edition (which treats about 3000 authors) are not arranged in checklist form, and are not intended primarily for bibliographical reference. _^<i_Twentieth-Century Science-Fiction Writers_^>i_ (_^<b_1981_^>b_; rev 1986; rev 1991),
first 2 edns ed Curtis C. _^<a_!T2266_SMITH_^>a_, 3rd edn ed Paul E. Schellinger (1962- ) and Noelle Watson (1958- ), though valuable for its biographical and critical sections, could not be recommended for its checklists, which were
eccentrically conceived, inaccurate, and which remained complacently uncorrected from one edition to the next. _^<i_The New Encyclopedia of Science Fiction_^>i_ (_^<b_1988_^>b_) ed James E. _^<a_!T4896_GUNN_^>a_ lists without bibliographic detail
selected titles by those authors (about 500) given entries._^<n__^<n_Broadest in scope of the non-encyclopedic projects are the three volumes ed Neil _^<a_!T442_BARRON_^>a_. The most relevant of these is _^<i_Anatomy of Wonder: A Critical Guide to
Science Fiction_^>i_ (_^<b_1976_^>b_; exp 1981; further exp 1987; fourth edition projected for 1995), which is a selective (but very broad) bibliography of the field, complete with critical annotations on each volume chosen. The other Barron
productions, _^<i_Fantasy Literature: A Reader's Guide_^>i_ (_^<b_1990_^>b_) and _^<i_Horror Literature: A Reader's Guide_^>i_ (_^<b_1990_^>b_), are smaller and less definitive; but, it can be presumed, will also grow. Bibliography-based studies of
particular periods have begun to appear, to date concentrating -- very appropriately, considering the sf field's state of ignorance a decade ago about its earlier years -- on the 19th and early 20th centuries. Darko _^<a_!T5858_SUVIN_^>a_'s
_^<i_Victorian Science Fiction in the UK: The Discourses of Knowledge and of Power_^>i_ (_^<b_1983_^>b_) and Thomas D. _^<a_!T732_CLARESON_^>a_'s _^<i_Science Fiction in America, 1870s-1930s: An Annotated Bibliography of Primary Sources_^>i_
(_^<b_1984_^>b_) supply complementary coverages from widely differing critical perspectives. And Everett F. Bleiler, in his enormous _^<i_Science-Fiction: The Early Years_^>i_ (dated 1990 but _^<b_1991_^>b_) provides what may be a definitive
coverage of the period up to 1930 in the form of story synopses._^<n__^<n_Some thematic bibliographies had begun to appear before the end of the 1970s, including _^<i_Atlantean Chronicles_^>i_ (_^<b_1971_^>b_) by Henry M. Eichner, _^<i_Voyages in
Space: A Bibliography of Interplanetary Fiction 1801-1914_^>i_ (_^<b_1975_^>b_) by George Locke, and _^<i_Tale of the Future_^>i_ (_^<b_1961_^>b_; exp 1972; further exp 1978) by I.F. _^<a_!T739_CLARKE_^>a_. More appeared in the 1980s, including
_^<i_Nuclear Holocaust: Atomic War in Fiction, 1895-1984_^>i_ (_^<b_1987_^>b_) by Paul Brians (1942- ), _^<i_The First Gothics: A Critical Guide to the English Gothic Novel_^>i_ (_^<b_1987_^>b_) by Frederick S. Frank (1935- ), and Lyman Tower
_^<a_!T2807_SARGENT_^>a_'s _^<i_British and American Utopian Literature, 1516-1985_^>i_ (_^<b_1988_^>b_). But there remains room for much further work of this sort._^<n__^<n_Specialized bibliographies of individual authors have proliferated since
the late 1970s (many are cited at the foot of the relevant author entries in this encyclopedia), often being published by sf houses like _^<a_!T705_BORGO PRESS_^>a_ and _^<a_!T2417_STARMONT HOUSE_^>a_, or by individuals like Phil
_^<a_!T5712_STEPHENSEN-PAYNE_^>a_ in collaboration with Gordon _^<a_!T540_BENSON_^>a_ Jr and like Chris _^<a_!T1327_DRUMM_^>a_, or by academic presses like _^<a_!T4613_GARLAND_^>a_, G.K. Hall and Meckler. Several pseudonym guides specifically
devoted to sf and fantasy writers have also appeared, including James A. Rock's not entirely reliable but intriguing _^<i_Who Goes There_^>i_ (_^<b_1979_^>b_) and Roger _^<a_!T2639_ROBINSON_^>a_'s fuller _^<i_Who's Hugh?_^>i_ (_^<b_1987_^>b_).
Interestingly, although the fan bibliographers in general exhibit a wide variety of ascription techniques (some of these being of Rube Goldbergian complexity), they have often accomplished the most interesting work, and their productions are very
much more likely to be up-to-date than those which appear, sometimes years after completion, from the staider firms._^<n__^<n_No volume like this encyclopedia could be properly written without the benefit of original research on the part of its
authors. But, equally, no volume like this encyclopedia could hope to exist without the constant support and reassurance of every book mentioned above, and of 10 times again as many. The editors of this book are in debt to them all; specific
acknowledgements can be found in the Introduction. [JC/PN]_^<n__^<n_
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BICKHAM, JACK M(ILES)
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(1930- ) US writer who began publishing sf with _^<i_Kane's Odyssey_^>i_ (_^<b_1976_^>b_ Canada) as by Jeff Clinton, and who later wrote two sf novels under his own name. _^<i_ARIEL_^>i_ (_^<b_1984_^>b_) posits a _^<a_!T826_COMPUTER_^>a_ whose
_^<a_!T68_AI_^>a_ is both alarming and charming. _^<i_Day Seven_^>i_ (_^<b_1988_^>b_) is a _^<a_!T5917_TECHNOTHRILLER_^>a_. [JC]_^<n__^<n_
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BIEMILLER, CARL L(UDWIG Jr)
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(1912-1979) US businessman, journalist and writer, of sf interest for his two series of novels for older children: the _^<b_Jonny_^>b_ sequence comprising _^<i_The Magic Ball from Mars_^>i_ (_^<b_1953_^>b_) and _^<i_Starboy_^>i_ (_^<b_1956_^>b_);
and, more interestingly, the post-_^<a_!T4482_HOLOCAUST_^>a_ _^<b_Hydronauts_^>b_ sequence -- _^<i_The Hydronauts_^>i_ (_^<b_1970_^>b_), _^<i_Follow the Whales: The Hydronauts Meet the Otter People_^>i_ (_^<b_1973_^>b_) and _^<i_Escape from the
Crater_^>i_ (_^<b_1974_^>b_)-focusing on the aquatic adventures of a group of trainees in the Ranger Service, which controls oceanic food production after radiation has devastated land-based farming. [JC]_^<n__^<n_
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BIERBOWER, AUSTIN
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(1844-1913) US writer whose anthropological (> _^<a_!T197_ANTHROPOLOGY_^>a_) sf novel, _^<i_From Monkey to Man, or Society in the Tertiary Age: A Story of the Missing Link_^>i_ (_^<b_1894_^>b_), suggests the Ice Age as the effective cause of the
Missing Link's expulsion from the Garden of Eden, and struggles with snakes as the basis for the symbol of the Serpent as evil. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T6717_EVOLUTION_^>a_; _^<a_!T1727_ORIGIN OF MAN_^>a_.
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BIERCE, AMBROSE (GWINETT)
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(1842-_^<i_c_^>i_1914) US journalist and writer of short stories and _^<a_!T2812_SATIRES_^>a_, deeply affected by his experiences in the American Civil War (he was breveted major for bravery and wounded twice). Like Bret Harte (1836-1902), he went
to California and became a journalist, and also like Harte he soon went abroad, spending 1872-6 in the UK, publishing several volumes of sketches as Dod Grile, most notably the savage little fables assembled as _^<i_Cobwebs from an Empty Skull_^>i_
(coll dated 1874 but _^<b_1873_^>b_ UK; vt _^<i_Cobwebs: Being the Fables of Zambri, the Parsee_^>i_ _^<i_c_^>i_1873 UK); but afterwards -- unlike Harte, who had permanently departed the thin cultural pickings there -- he returned to California. At
the close of 1913, after a hectic career and some notably intemperate journalism, he disappeared into Mexico, then in the middle of its own civil war. He is perhaps best known for _^<i_The Cynic's Word Book_^>i_ (coll _^<b_1906_^>b_; vt _^<i_The
Devil's Dictionary_^>i_ 1911; exp vt _^<i_The Enlarged Devil's Dictionary_^>i_ 1967), a collection of brilliantly cynical word "definitions". His numerous sketches and stories far more closely approach the canons of _^<a_!T1412_FANTASY_^>a_ than of
sf, though, like Mark _^<a_!T6135_TWAIN_^>a_'s similar efforts, the speculative environment they create is often sufficiently displaced to encourage the interest of sf readers. AB's single most famous tale, "An Occurrence at Owl Creek Bridge", in
which a condemned spy believes he has escaped the rope and returned to his wife the instant after his fall from the bridge and before the noose tightens, appears in _^<i_Tales of Soldiers and Civilians_^>i_ (coll _^<b_1891_^>b_; vt _^<i_In the
Midst of Life_^>i_ 1892 UK; exp under first title 1898 US). The early _^<a_!T2646_ROBOT_^>a_ story "Moxon's Master", perhaps the closest thing to genuine sf he ever wrote, in which a _^<a_!T2880_SCIENTIST_^>a_'s death is apparently caused by a
chess-playing automaton, appears in _^<i_Can Such Things Be?_^>i_ (coll _^<b_1893_^>b_). The same volume contains the notable story of monstrous _^<a_!T3806_INVISIBILITY_^>a_, "The Damned Thing", which offers a scientific explanation of the
phenomenon, and "Charles Ashmore's Trail", the story of a man who vanishes, much as AB seemed to do himself, into another _^<a_!T1239_DIMENSION_^>a_. This and such similar volumes as _^<i_Fantastic Fables_^>i_ (coll _^<b_1899_^>b_) have since been
republished in a number of forms. _^<i_The Collected Writings of Ambrose Bierce_^>i_ (coll _^<b_1946_^>b_) is valuable, though not complete; _^<i_Ghost and Horror Stories of Ambrose Bierce_^>i_ (coll _^<b_1964_^>b_, ed Everett F.
_^<a_!T654_BLEILER_^>a_) is probably the best single assemblage of his works of interest to the reader of sf or fantasy. _^<i_The Collected Short Stories_^>i_ (coll _^<b_1970_^>b_) and _^<i_The Devil's Advocate: An Ambrose Bierce Reader_^>i_ (coll
_^<b_1987_^>b_) are also of value. [JC/PN]_^<n__^<n__^<b_Other works:_^>b_ _^<i_The Fiend's Delight_^>i_ (coll _^<b_1873_^>b_ UK) and _^<i_Nuggets and Dust Panned Out in California_^>i_ (coll _^<b_1873_^>b_ UK), both as Dod Grile._^<b_About the
author:_^>b_ _^<i_Ambrose Bierce, the Devil's Lexicographer_^>i_ (_^<b_1951_^>b_) by Paul Fatout; _^<i_Ambrose Bierce_^>i_ (_^<b_1970_^>b_) by M.C. Grenander._^<b_See also:_^>b_ _^<a_!T4780_GOTHIC SF_^>a_; _^<a_!T4509_HORROR IN SF_^>a_;
An unfailingly popular theme in sf is the discovery, usually by humans, of vast enigmatic objects in space or on other planets. These have normally been built by a mysterious, now-disappeared race of _^<a_!T98_ALIEN_^>a_ intellectual giants, and
humans can only guess at their purpose, though the very fact of being confronted by such artefacts regularly modifies or confounds their mental programming and brings them that much closer to a _^<a_!T829_CONCEPTUAL BREAKTHROUGH_^>a_ into a more
transcendent state of intellectual awareness (_^<i_see also_^>i_ _^<a_!T2104_SENSE OF WONDER_^>a_)._^<n__^<n_The enormous constructs described in the titles and contents of Larry _^<a_!T3223_NIVEN_^>a_'s _^<i__^<a_!B9015_RINGWORLD_^>a__^>i_
(_^<b_1970_^>b_) and Bob _^<a_!T2153_SHAW_^>a_'s _^<i_Orbitsville_^>i_ (_^<b_1975_^>b_) are typical: artificial biospheres orbiting alien suns (Shaw's is a _^<a_!T1369_DYSON SPHERE_^>a_) and having a surface area millions of times that of Earth.
Not so big but every bit as enigmatic is the derelict _^<a_!T2348_SPACESHIP_^>a_ Rama, a still-functioning technological artefact hugely in advance of anything we could build, in Arthur C. _^<a_!T736_CLARKE_^>a_'s _^<i__^<a_!B9055_RENDEZVOUS WITH
RAMA_^>a__^>i_ (_^<b_1973_^>b_). More recently Greg _^<a_!T478_BEAR_^>a_ topped this with another space habitat, bigger on the inside than the outside, one section of which is infinite in extent, projecting through time as well as space, in
_^<i__^<a_!B9100_EON_^>a__^>i_ (_^<b_1985_^>b_) and _^<i_Eternity_^>i_ (_^<b_1988_^>b_); exhausted by the sheer problems of scale he paused in the hiatus between these books to write _^<i_The Forge of God_^>i_ (_^<b_1987_^>b_) in which we are
visited by alien spacecraft modestly disguised as very small mountains._^<n__^<n_John _^<a_!T5339_VARLEY_^>a_'s _^<b_Gaean_^>b_ trilogy -- _^<i_Titan_^>i_ (_^<b_1979_^>b_), _^<i_Wizard_^>i_ (_^<b_1980_^>b_) and _^<i_Demon_^>i_ (_^<b_1984_^>b_) --
is also set in a space habitat, this one as large as a medium-sized moon, containing a whole set of lesser, but still biggish, dumb objects within, including the convenient staircases attached to its 600km (375-mile) spokes and at one point a 15m
(50ft) Marilyn Monroe. The habitat is owned by, and in effect is an extension of the body of, a "goddess", Gaea, herself a construct (makers unknown) but sentient (> _^<a_!T4740_GODS AND DEMONS_^>a_). This makes her a _^<a_!T3411_LIVING WORLD_^>a_
and hence not truly dumb. Self-awareness in BDOs, Varley correctly calculated, was the next logical step._^<n__^<n_BDOs go back a long way in the history of written sf: the sun and planets within the Earth in Ludvig _^<a_!T4466_HOLBERG_^>a_'s
_^<i_Nicolai Klimii iter Subterraneum_^>i_ (_^<b_1741_^>b_ in Latin; trans as _^<i_A Journey to the World Under-Ground by Nicolas Klimius_^>i_, _^<b_1742_^>b_), not actually artificial but still awesome, are proto-BDOs._^<n__^<n_BDOs have proved
surprisingly difficult to create in film. The difficulty is one of scale: the screen itself is not huge, so tiny humans have to be superimposed on BDOs in order to create the apparent enormity through contrast. Surprisingly, given the expertise of
special-effects crews through the 1980s and the nearly universal use of the wide-screen format, one of the very best BDOs preceded all this (in a smaller format) by decades. This was the enigmatic machinery of the Krel in _^<a_!T1551_FORBIDDEN
PLANET_^>a_ (1956), extending in a perspective to the vanishing point._^<n__^<n_BDOs can also be plural in nature, and not restricted to orbiting a solitary star. There are many of these, a good example, demonstrating the recent popularity of
grand-scale sentience, being "the swarm of the ten thousand moon-brains of the Solid State Entity" in David _^<a_!T6272_ZINDELL_^>a_'s _^<i_Neverness_^>i_ (_^<b_1988_^>b_). (Many BDOs, as here, have been built by quasi-gods.) Charles
_^<a_!T2167_SHEFFIELD_^>a_'s dubious strategy in _^<i_Summertide: Book One of the Heritage Universe_^>i_ (_^<b_1990_^>b_), whose title gives fair warning, is to have 1200 or so gigantic artefacts scattered through our spiral arm of the Galaxy,
necessitating a number of quotes from the "_^<i_Lang Universal Artifact Catalog_^>i_ Fourth Edition". This comes close to BDO self-parody. To be fair, Sheffield concentrates on only one, a mildly spectacular bridge connecting the two worlds of a
double-planet system._^<n__^<n_The most endearing aspect of BDO stories is the disjunction between the gigantic scale of the BDO and the comparatively trite fictional events taking place on, in or about it. The sf imagination usually, if
charmingly, falls short at this point, and many BDOs become backdrops for soap operas. For all that, they retain an archetypal power, no matter what crudenesses they may encompass. Sf's much vaunted _^<a_!T2104_SENSE OF WONDER_^>a_ is seldom more
potently evoked than in a good BDO story. The mystery, only to be explained by a new Carl Gustav Jung, is why, even when these tales are awash with a bathetic failure to live up to their own heroic ambitions, they nearly always work._^<n__^<n_The
BDO story has certainly become a new subgenre within sf, its parameters already clearly defined. Newspaper critics of sf, in the face of the stupendous, have shown a shameful failure of creativity in not having found an adequate neologism to
describe the BDO genre in a single, terse word. It is not wholly certain which critic first used the phrase "Big Dumb Object" to describe the subject of these tales -- it may have been Roz _^<a_!T3994_KAVENEY_^>a_ in "Science Fiction in the 1970s"
in _^<a_!T1577_FOUNDATION_^>a_ #22, 1981 -- but the term is now commonplace in describing megalotropic sf. [PN]_^<n__^<n_
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BIGFOOT AND THE HENDERSONS
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> _^<a_!T4321_HARRY AND THE HENDERSONS_^>a_._^<n__^<n_
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BIGGLE, LLOYD Jr
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(1923- ) US author and musicologist, with a PhD in musicology from the University of Michigan. His interest in _^<a_!T3118_MUSIC_^>a_ and the other _^<a_!T257_ARTS_^>a_, perhaps watered down more than necessary in an effort to make such concerns
palatable to his readers, appears throughout his sf, which began to appear in 1956 with "Gypped", on a music theme, in _^<i_Gal_^>i_. His first novel, _^<i_The Angry Espers_^>i_ (1959 _^<i_AMZ_^>i_ as "A Taste of Fire"; rev with cuts restored
_^<b_1961_^>b_ dos), features an Earthman involved in complicated adventures on an alien planet, and sets the tone for much of his subsequent work in the field. The _^<b_Jan Darzek_^>b_ sequence -- _^<i_All the Colors of Darkness_^>i_
(_^<b_1963_^>b_), _^<i_Watchers of the Dark_^>i_ (_^<b_1966_^>b_), _^<i_This Darkening Universe_^>i_ (_^<b_1975_^>b_), _^<i_Silence is Deadly_^>i_ (_^<b_1977_^>b_) and _^<i_The Whirligig of Time_^>i_ (_^<b_1979_^>b_) -- recounts the adventures of a
late-20th-century private eye who moves from investigating aliens to chairing the Council of Supreme, which itself governs the home Galaxy; by the third volume he is pitted against the inimical Udef, a Dark Force destroying civilization after
civilization in the Smaller Magellanic Cloud. A similarly palatable Galaxy (LB's clearest affinity in his novels is to writers like Murray _^<a_!T3326_LEINSTER_^>a_) provides a backdrop and sounding board for the _^<b_Cultural Survey_^>b_ featured
in _^<i_The Still, Small Voice of Trumpets_^>i_ (1961 _^<i_ASF_^>i_ as "Still Small Voice"; exp _^<b_1968_^>b_) and _^<i_The World Menders_^>i_ (_^<b_1971_^>b_). _^<i_Monument_^>i_ (1962 _^<i_ASF_^>i_; exp _^<b_1974_^>b_) is an effective (though
ultimately amiable) space-opera parable about imperialism. Selections of his stories, most of which are competent but undemanding, appear in _^<i_The Rule of the Door and Other Fanciful Regulations_^>i_ (coll _^<b_1967_^>b_; vt _^<i_Out of the
Silent Sky_^>i_ 1977; vt _^<i_The Silent Sky_^>i_ 1979 UK), _^<i_The Metallic Muse_^>i_ (coll _^<b_1972_^>b_), which contains some of his best arts-related tales, and _^<i_A Galaxy of Strangers_^>i_ (coll _^<b_1976_^>b_). As a writer of
_^<a_!T2342_SPACE OPERA_^>a_, LB is seldom less than relaxed and entertaining; it may be intellectual snobbery to ask for anything more, but his stories often convey the sense of an unrealized greater potential, and Orson Scott
_^<a_!T6359_CARD_^>a_ argues his merits in his introduction to _^<i_The Tunesmith_^>i_ (1957 _^<i_If_^>i_; _^<b_1991_^>b_ chap dos). LB has been an active member of the _^<a_!T2147_SCIENCE FICTION WRITERS OF AMERICA_^>a_, and edited _^<i_Nebula
Award Stories Seven_^>i_ (anth _^<b_1972_^>b_). [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_The Fury Out of Time_^>i_ (_^<b_1965_^>b_); _^<i_The Light that Never Was_^>i_ (_^<b_1972_^>b_); _^<i_Alien Main_^>i_ (_^<b_1985_^>b_) with T.L.
_^<a_!T2181_SHERRED_^>a_ (_^<i_whom see for details_^>i_); two _^<b_Sherlock Holmes_^>b_ pastiches -- _^<i_The Quailsford Inheritance: A Memoir of Sherlock Holmes from the Papers of Edward Porter Jones, his Late Assistant_^>i_ * (_^<b_1986_^>b_)
and _^<i_The Glendower Conspiracy: A Memoir of Sherlock Holmes from the Papers of Edward Porter Jones, his Late Assistant_^>i_ * (_^<b_1990_^>b_); _^<i_Interface for Murder_^>i_ (_^<b_1987_^>b_) ,_^<i_A Hazard of Losers_^>i_ (_^<b_1991_^>b_), and
Film (1982). BCD Entertainment. Dir Chris Windsor, starring George Dawson, Big Miller, Howard Taylor, Andrew Gillies. Screenplay Windsor, Laurence Keane. 82 mins. Colour._^<n__^<n_This Canadian musical pastiche of sf and horror films -- a sort of
designer midnight movie about an _^<a_!T3796_INVASION_^>a_ by two _^<a_!T102_ALIENS_^>a_ of a small town in the 1950s -- waves its low budget like a flag and, despite incoherences, is cheerfully enjoyable. The aliens are played by toy robots. The
plot, which defies description, involves a tank of disgusting waste from the butcher's shop in which is being formed radioactive baloneum (much desired by the aliens), a huge, murderous butcher's assistant who sings jolly songs like "Bagdad
Boogie", the reanimated corpse of Mayor Rigatoni, a universal language, a car turned into a _^<a_!T2348_SPACESHIP_^>a_, and other absurdities. The target audience appears similar to that for _^<i_The _^<a_!T2656_ROCKY HORROR PICTURE SHOW_^>a__^>i_.
Everyone in the film seems to be having a very good time. [PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T3118_MUSIC_^>a_.
UK tv serial (1962). BBC. Prod Terence Dudley. Written Robert Gould. Starring William Dexter, June Tobin, Susan Purdie, Frederick Treves. 6 30-min episodes. B/w._^<n__^<n_This fondly remembered thriller about alien _^<a_!T3796_INVASION_^>a_, quite
generously budgeted, has an astronaut returning to Earth after contamination by something strange in the Van Allen belts. There follow a series of strange "fusions" in which pairs of humans, one "dead" and one disappeared, return as single, altered
individuals. [PN]_^<n__^<n_
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BIJO TO EKITAI NINGEN
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(_^<b_vt_^>b_ _^<i_The H-Man_^>i_; vt _^<i_Beautiful Women and the Hydrogen Man_^>i_) Film (1958). Toho. Dir Inoshiro Honda, starring Yumi Shirakawa, Kenji Sahara, Akihiko Hirata, Koreya Senda. Screenplay Takeshi Kimura, based on a story by Hideo
Kaijo. 87 mins, cut to 79 mins. Colour._^<n__^<n_This Japanese film is, coincidentally, similar to _^<i_The _^<a_!T660_BLOB_^>a__^>i_ (also 1958) but is more ingenious and sinister. Fishermen examining a drifting freighter find only empty suits of
clothing -- empty except for the captain's uniform, from which a pool of green slime emerges and immediately runs up the leg of the nearest fisherman to dissolve him on the spot. The freighter has entered a cloud of fallout from an H-bomb and the
crew has been transformed into a group organism. The monster reaches Tokyo but, unlike Toho's typical prehistoric _^<a_!T3013_MONSTERS_^>a_ (also awakened by radiation; > _^<a_!T4750_GOJIRA_^>a_), does not knock over buildings; instead it slithers
in and out of drains, under doors and through windows, dissolving and absorbing anyone it can catch. There are good special effects by Eiji Tsuburaya, moody photography in the sewers, and rather too much attention paid to a subplot involving
gangsters; all in all, a good, slightly surreal _^<i_film noir_^>i_. [JB]_^<n__^<n_
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BILAL, ENKI
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(1951- ) Yugoslav/French illustrator, a very distinctive, innovative and original creator of sensuous, decadent futures. EB was born in Belgrade, moving with his family to France in 1961. He attended the Academie des Beaux Arts briefly in the
early 1970s. In 1971 he won a competition to create an sf _^<a_!T820_COMIC_^>a_-strip story run by the magazine _^<i_Pilote_^>i_, in which he subsequently published a number of strips later collected in book form as _^<i_L'appel des etoiles_^>i_
["The Call of the Stars"] (graph coll _^<b_1974_^>b_; vt _^<i_Le bol maudit_^>i_ ["The Cursed Bowl"] 1982). A further collection was _^<i_Memoires d'outre espace_^>i_ (graph coll _^<b_1978_^>b_; trans as _^<i_Outer States_^>i_ _^<b_1990_^>b_ US).
In 1973 he met and teamed up with sf writer Pierre Christin (1938- ) to produce 5 graphic novels: _^<i_La croisiere des oublies_^>i_ (graph _^<b_1975_^>b_; trans in _^<i_Heavy Metal_^>i_ Apr-Nov 1982 as "The Voyage of Those Forgotten"), _^<i_Le
vaisseau de pierre_^>i_ (graph _^<b_1976_^>b_; trans in _^<i_Heavy Metal_^>i_ July-Nov 1980 as "Progress"), _^<i_La ville qui n'existait pas_^>i_ (graph _^<b_1977_^>b_; trans in _^<i_Heavy Metal_^>i_ Mar-Sep 1983 as "The City that Didn't Exist"),
_^<i_Les phalanges de l'ordre noir_^>i_ (graph _^<b_1979_^>b_; trans as _^<i_The Ranks of the Black Order_^>i_ _^<b_1989_^>b_ US) and _^<i_Partie de chasse_^>i_ (graph _^<b_1982_^>b_; trans in _^<i_Heavy Metal_^>i_ June 1984-Mar 1985 as "The
Hunting Party"). He collaborated with writer Pierre Dionnet to produce _^<i_Exterminateur 17_^>i_ (graph _^<b_1979_^>b_; trans in _^<i_Heavy Metal_^>i_ Oct 1977-Mar 1978 as _^<i_Exterminator 17_^>i_; _^<b_1986_^>b_). In 1981 he began to write and
draw an as yet unfinished trilogy, so far consisting of _^<i_La foire aux immortels_^>i_ (graph _^<b_1983_^>b_; trans as _^<i_Gods in Chaos_^>i_ _^<b_1985_^>b_) and _^<i_La femme piege_^>i_ (graph _^<b_1986_^>b_; trans as _^<i_The Woman Trap_^>i_
_^<b_1986_^>b_). In 1989-90 he collaborated with Christin on a series of reportage fictions from five different cities, under the series title _^<b_Coeurs sanglants_^>b_ ["Bleeding Hearts"], for which his illustrations comprised photographs with
additional features drawn or painted in. Since then (until mid-1992) he has published only a series of limited-edition prints._^<n__^<n_EB has collaborated with French film-maker Alain Resnais, providing set designs for _^<i_La vie est un
roman_^>i_ (1983; vt _^<i_Life is a Bed of Roses_^>i_), and contributed design work to Michael Mann's film _^<i_The Keep_^>i_ (1983) and to the film version of _^<i_The Name of the Rose_^>i_ (1986), based on the novel by Umberto
_^<a_!T6575_ECO_^>a_. He also directed the sf movie _^<i_Bunker Palace Hotel_^>i_ (1990), a thriller set in the future and involving _^<a_!T2646_ROBOTS_^>a_. [RT]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T4370_HEAVY METAL_^>a_;
(1756-1831) Dutch writer of poetry and nonfiction on many subjects. His one work of fiction was the novella _^<i_Kort verhaal van eene aanmerklijke luchtreis en nieuwe planeetokdekking_^>i_ (_^<b_1813_^>b_ anon; trans Paul Vincent as _^<i_A Short
Account of a Remarkable Aerial Voyage and Discovery of a New Planet_^>i_ _^<b_1989_^>b_ UK), in which a balloonist is cast away on a small satellite orbiting within the Earth's atmosphere. Its flora and fauna are described, and he finds the remains
of an earlier castaway before undertaking a perilous homeward journey. The text acknowledges a debt to the satirical tradition of _^<a_!T1410_FANTASTIC VOYAGES_^>a_, but is authentic sf, and has good claims to be considered the first such work.
[BS]_^<n__^<n_
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BILENKIN, DMITRI (ALEKSANDROVICH)
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(1933-1987) Russian geologist and author of both fiction and popular-science books. For most of his career he concentrated on short stories -- assembled as _^<i_Marsianskii Priboi_^>i_ ["The Surf of Mars"] (coll _^<b_1967_^>b_), _^<i_Notch
Kontrabandoi_^>i_ ["Night of Contraband"] (coll _^<b_1971_^>b_), _^<i_Proverka NA Razumonst'_^>i_ ["Test for a Reason"] (coll _^<b_1974_^>b_), _^<i_Snega Olimpa_^>i_ ["The Snows of Olympus"] (coll _^<b_1980_^>b_), _^<i_Litso V Tolpe_^>i_ ["A Face
in the Crowd"] (coll _^<b_1985_^>b_) and _^<i_Sila sil'nykh_^>i_ ["The Power of Power"] (coll _^<b_1986_^>b_) - which were generally more scientific than fictional but never boring or ill written. Some of his typical work was assembled as _^<i_The
Uncertainty Principle_^>i_ (coll trans Antonina W. Bouis _^<b_1978_^>b_ US); some stories also appeared in _^<i_World's Spring_^>i_ (anth _^<b_1981_^>b_ US) ed Vladimir _^<a_!T1676_GAKOV_^>a_. DB's longer works are _^<i_Pustynia Zhizni_^>i_ ["The
Life Desert"] (_^<b_1984_^>b_), a provoking comparison of different historical/cultural human types on a future Earth transformed by mysterious "timequakes", and an intellectual _^<a_!T2342_SPACE OPERA_^>a_, _^<i_Prikliuchenia Polynova_^>i_
Film (1989). Interscope Communications/Soisson-Murphey/De Laurentiis. Dir Stephen Herek, starring Keanu Reeves, Alex Winter and George Carlin. Screenplay Chris Matheson, Ed Solomon. 89 mins. Colour._^<n__^<n_Because the tranquillity of future life
depends on the cultural changes brought about by a late-20th-century rock band, Wyld Stallyns, a _^<a_!T6018_TIME MACHINE_^>a_ is sent back to help the two teenaged future band-leaders pass their history test, thus ensuring their continuing
partnership. The boys successfully collect Abraham Lincoln, Genghis Khan, Joan of Arc, Napoleon, etc., to give colour to their history presentation. This charming, silly film, made by a relative newcomer who had previously directed
_^<a_!T965_CRITTERS_^>a_ (1986), does not strain for credibility, but within its own relaxed, adolescent terms is done with great conviction. The running joke is linguistic: the boys speak a Southern Californian argot, "Valley Speak", so that, for
example, bad things are "heinous" and "egregious", good things "excellent" and "bodacious". Their innocence (and ignorance) enables them, with a simple "Party on, dudes", to survive perilous situations. There is a bodacious new twist on the
_^<a_!T6020_TIME PARADOX_^>a_, and a splendid scene where Napoleon discovers the joys of water slides._^<n__^<n_The sequel, _^<i_Bill and Ted's Bogus Journey_^>i_ (1991), dir Pete Hewitt but with the same screenwriters, has the two boys visiting
Hell and Heaven and outwitting the Grim Reaper (William Sadler) and a megalomaniac leader (Joss Ackland). Though amusing, it lacks the freshness of its predecessor. [PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T726_CINEMA_^>a_.
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BILLIAS, STEPHEN
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(? - ) US writer whose first novel, _^<i_The American Book of the Dead_^>i_ (_^<b_1987_^>b_), makes use of Zen points of view to approach an understanding of holocaust. _^<i_Quest for the 36_^>i_ (_^<b_1988_^>b_) rather similarly convokes the
36 just men from Jewish folklore to see if, together again, they can save the world from fantasy-tinged chaos. SB's third and fourth novels were ties: _^<i_Deryni Challenge: A Crossroads Adventure in the World of Katherine Kurtz's Deryni_^>i_ *
(_^<b_1988_^>b_), and _^<i_Rune Sword #4: Horrible Humes_^>i_ * (_^<b_1991_^>b_). [JC]_^<n__^<n_
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BINDER, EANDO
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Most famous of the joint pseudonyms used by the brothers Earl Andrew Binder (1904-1965) and Otto Oscar Binder (1911-1975), though they both used other pseudonyms as well; after about 1940, when Earl became inactive as a writer, Otto continued to
sign himself EB, so that some EB books are collaborative and some by Otto alone. Together, the brothers also wrote 11 stories as John Coleridge and one as Dean D. O'Brien. Alone, Otto also wrote as Gordon A. Giles and, later, as Ione Frances (or
Ian Francis) Turek, did some work under the house name Will _^<a_!T4627_GARTH_^>a_, and finally published a couple of novels under his own name. A third brother, Jack, an illustrator, did much of the early drawing on _^<a_!T5154_CAPTAIN
MARVEL_^>a_, which was regularly scripted by Otto._^<n__^<n_The two brothers' best-known works were all published as by EB, beginning with "The First Martian" for _^<i_AMZ_^>i_ in 1932. The _^<b_Adam Link_^>b_ series, by Otto alone, is EB's most
important work in the sf field: Adam Link, a sentient _^<a_!T2646_ROBOT_^>a_, narrates his own tales, quite feelingly. Most of his story appears in _^<i_Adam Link -- Robot_^>i_ (1939-42 _^<i_AMZ_^>i_; fixup _^<b_1965_^>b_); uncollected stories,
also from _^<i_AMZ_^>i_, are "Adam Link Fights a War" (1940), _^<i_Adam Link in the Past_^>i_ (1941 _^<i_AMZ_^>i_; _^<b_1950_^>b_ chap Australia) and "Adam Link Faces a Revolt" (1941). Link is highly anthropomorphic; though Isaac
_^<a_!T268_ASIMOV_^>a_'s somewhat more austere sense of the nature of robots and robotics was soon to establish itself in the sf field as an almost unbreakable convention, the _^<b_Adam Link_^>b_ sequence is an important predecessor, significantly
treating its robot hero (and his wife, Eve Link) with sympathy. The brothers' other main series, the _^<b_Anton York_^>b_ tales, all collected in book form as _^<i_Anton York, Immortal_^>i_ (1937-40 _^<i_TWS_^>i_; fixup _^<b_1965_^>b_), tells how
Anton and his wife achieve _^<a_!T3771_IMMORTALITY_^>a_ and live with it. Also as EB, the brothers published less interesting magazine serials in the 1930s which were only gradually to see book publication. Notable among them are _^<i_Enslaved
Brains_^>i_ (1934 _^<i_Wonder Stories_^>i_; rev 1951 _^<i_Fantastic Story Quarterly_^>i_; _^<b_1965_^>b_) and _^<i_Lords of Creation_^>i_ (1939 _^<i_Argosy_^>i_; _^<b_1949_^>b_); in the latter, Overlords rule Earth but are resisted with ultimate
success. As Gordon A. Giles, Otto wrote a series for _^<i_TWS_^>i_ 1937-42 (the last story as by EB) in which a spaceship from Earth explores the Solar System, finding Martian pyramids on each planet; known as the _^<b_Via_^>b_ series (after their
individual titles, which always begin with "Via"), these stories were assembled as _^<i_Puzzle of the Space Pyramids_^>i_ (fixup _^<b_1971_^>b_) as by EB. Alone and in collaboration, Otto wrote a large number of additional stories that were not
part of any sequence; appearing in the _^<a_!T2033_PULP MAGAZINES_^>a_ 1933-42, these were typical of the field before the revolution in quality symbolized (and in part caused) by the arrival of John W. _^<a_!T5140_CAMPBELL_^>a_ Jr at
_^<i_ASF_^>i_. After 1940, Otto did script work on both _^<b_Captain Marvel_^>b_ and _^<a_!T5830_SUPERMAN_^>a_ comics, and late in life he published under his own name a graphic-novel version of Jules _^<a_!T5355_VERNE_^>a_'s _^<i_The Mysterious
Island_^>i_ (graph _^<b_1974_^>b_). Though his fiction production decreased, he did considerable nonfiction work as well as taking on editorial tasks. He became interested in _^<a_!T5273_UFOS_^>a_. He began publishing sf stories again, briefly,
1953-4, but a significant proportion of the books published in the 1960s and 1970s contain material from before WWII. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_The Cancer Machine_^>i_ (_^<b_1940_^>b_ chap); _^<i_Martian Martyrs_^>i_
(_^<i_c_^>i__^<b_1942_^>b_ chap) and _^<i_The New Life_^>i_ (_^<i_c_^>i__^<b_1942_^>b_ chap), both as by John Coleridge; _^<i_The Three Eternals_^>i_ (1939 _^<i_TWS_^>i_; _^<b_1949_^>b_ chap Australia); _^<i_Where Eternity Ends_^>i_ (1939
_^<i_Science Fiction_^>i_; _^<b_1950_^>b_ chap Australia); _^<i_Dracula_^>i_ * (graph _^<b_1966_^>b_) with Craig Tennis; _^<i_The Avengers Battle the Earth-Wrecker_^>i_ * (_^<b_1967_^>b_) as OOB; the _^<b_Saucer_^>b_ series comprising _^<i_Menace
of the Saucers_^>i_ (_^<b_1969_^>b_) and _^<b_Night of the Saucers (_^>b__^<b_1971_^>b_); _^<i_The Impossible World_^>i_ (1939 _^<i_Startling Stories_^>i_; _^<b_1970_^>b_); _^<i_Five Steps to Tomorrow_^>i_ (1940 _^<i_Startling Stories_^>i_;
_^<b_1970_^>b_); _^<i_The Double Man_^>i_ (_^<b_1971_^>b_); _^<i_Get Off My World_^>i_ (_^<b_1971_^>b_); _^<i_Secret of the Red Spot_^>i_ (_^<b_1971_^>b_); _^<i_Terror in the Bay_^>i_ (_^<b_1971_^>b_) as Ione Frances Turek; _^<i_The Mind from Outer
Space_^>i_ (_^<b_1972_^>b_); _^<i_The Forgotten Colony_^>i_ (_^<b_1972_^>b_) as OOB; _^<i_The Hospital Horror_^>i_ (_^<b_1973_^>b_) as OOB; _^<i_The Frontier's Secret_^>i_ (_^<b_1973_^>b_) as Ian Francis Turek, associational._^<b_See also:_^>b_
Pseudonym of Bruce Bingham Cassiday (1920- ), US editor and writer, who worked as editor with various _^<a_!T2033_PULP-MAGAZINE_^>a_ publishers before going freelance in 1954. His three sf works are ties: _^<i_Gorgo_^>i_ * (_^<b_1960_^>b_),
_^<i_Flash Gordon 4: The Time Trap of Ming XIII_^>i_ * (_^<b_1974_^>b_), as by Con _^<a_!T5702_STEFFANSON_^>a_, and _^<i_Flash Gordon 5: The Witch Queen of Mongo_^>i_ * (_^<b_1974_^>b_). The first, based on the film _^<a_!T4778_GORGO_^>a_ (1959),
is notable for the added sex scenes, a custom of Monarch's film adaptations. [PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T1517_FLASH GORDON_^>a_; Dean _^<a_!T1754_OWEN_^>a_.
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BIOLOGICAL ENGINEERING
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> _^<a_!T4657_GENETIC ENGINEERING_^>a_._^<n__^<n_
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BIOLOGY
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The growth of knowledge in the biological sciences has lagged behind that in the physical sciences; Newton's synthesis of _^<a_!T1892_PHYSICS_^>a_ and _^<a_!T283_ASTRONOMY_^>a_ anticipated the linking of biology and chemistry by 200 years. The age
of mechanical inventions began in the early 19th century, that of biological inventions is only just beginning, in the wake of the elucidation (during the 1960s) of the "genetic code" which controls naturally occurring biological processes of
manufacture. Writers of speculative fiction have always been interested in biological hypotheses but, while the fundamentals of the science still remained mysterious, their handling of them was of necessity markedly different from their deployment
of ideas borrowed from physical science. It is only in the last 20-30 years that sf writers have begun thinking seriously about bio_^<i_technology_^>i_ (> _^<a_!T5916_TECHNOLOGY_^>a_), and the prospect of a usurpation of those mechanisms of organic
production previously the sole prerogative of natural species has not been universally welcomed. As speculative writers have awakened to the awesome possibilities inherent in the notion of _^<a_!T4657_GENETIC ENGINEERING_^>a_ there has been a
compensating investment of concepts like _^<a_!T6576_ECOLOGY_^>a_ and the biosphere with a quasireligious significance. James Lovelock's observations regarding the existence of long-term homeostatic mechanisms in the biosphere have helped to
re-personify the biosphere as "Gaia", whose suitability as an object of worship seems to be taken seriously by many. There is in modern sf an evident dialectical tension between opposing trends towards the demystification and remystification of
biological ideas._^<n__^<n_Early works of _^<a_!T2013_PROTO SCIENCE FICTION_^>a_ which feature biological speculations include Johannes _^<a_!T4037_KEPLER_^>a_'s _^<i_Somnium_^>i_ (_^<b_1634_^>b_), which concludes with an interesting attempt to
design a lunar biology, and Francis _^<a_!T347_BACON_^>a_'s _^<i_New Atlantis_^>i_ (_^<b_1629_^>b_), which foresees significant advances in _^<a_!T3744_MEDICINE_^>a_ and agronomy. The positive outlook of the latter was, however, rarely found in
works more obviously fictional. Even the anticipation of progress in medicine was capable of generating a particularly intimate kind of anxiety. Where experiments in physical science tended to be seen, even by cynics who thought no good could come
of them, as perfectly legitimate adventures of human inquiry, those in human biology frequently seemed blasphemous. The undeniable fascination which many writers found in the possibilities of biological science is characteristically tinged with a
sense of threat, if not an attitude of horror. This is very evident in Mary _^<a_!T2173_SHELLEY_^>a_'s _^<i_Frankenstein_^>i_ (_^<b_1818_^>b_), whose eponymous hero is led to despair and destruction by the monster he creates, and in several of
Nathaniel _^<a_!T4349_HAWTHORNE_^>a_'s allegorical stories, particularly "The Birthmark" (1843) and "Rappaccini's Daughter" (1844), where experiments on people have tragic results. Later examples of the same reactionary response include Robert
Louis _^<a_!T5731_STEVENSON_^>a_'s _^<i_Strange Case of Dr Jekyll and Mr Hyde_^>i_ (_^<b_1886_^>b_) and Harriet _^<a_!T2408_STARK_^>a_'s _^<i_The Bacillus of Beauty_^>i_ (_^<b_1900_^>b_). This suggestion of blasphemy is one of the reasons why
envisaged technologies that produce such at least superficially desirable effects as _^<a_!T3771_IMMORTALITY_^>a_ get such a bad press in fiction._^<n__^<n_The biological idea most widely discussed in the late 19th century was, of course,
_^<a_!T6717_EVOLUTION_^>a_, and the conflict of ideas provoked by that subject was an important stimulus to the development of sf. The response to the controversy took several forms. Evolutionary speculation turned towards both the _^<a_!T1432_FAR
FUTURE_^>a_ and the distant past (> _^<a_!T197_ANTHROPOLOGY_^>a_; _^<a_!T1727_ORIGIN OF MAN_^>a_). The notion of evolution as an adaptive process inspired several attempts to imagine life adapted to circumstances different from those on Earth (>
_^<a_!T102_ALIENS_^>a_; _^<a_!T3385_LIFE ON OTHER WORLDS_^>a_). A rather more modest version of this same inspiration encouraged a number of fantasies about exotic Earthly creatures, of which the most notable are the sea stories of William Hope
_^<a_!T4459_HODGSON_^>a_ and the stories in _^<i_In Search of the Unknown_^>i_ (coll _^<b_1904_^>b_) by Robert W. _^<a_!T5229_CHAMBERS_^>a_. Exotic survivals from prehistory (usually dinosaurs) became a common feature of exploratory melodramas,
most notably in Jules _^<a_!T5355_VERNE_^>a_'s _^<i_Voyage au centre de la terre_^>i_ (_^<b_1864_^>b_; trans as _^<i_Journey to the Centre of the Earth_^>i_ _^<b_1872_^>b_) and Arthur Conan _^<a_!T1312_DOYLE_^>a_'s _^<i_The Lost World_^>i_
(_^<b_1912_^>b_). Other early sf writers who made prolific use of biological speculations in their work include H.G. _^<a_!T5528_WELLS_^>a_, J.H. _^<a_!T2696_ROSNY AiNe_^>a_ and J.D. _^<a_!T543_BERESFORD_^>a_._^<n__^<n_Evolutionary fantasy remained
the dominant species of biological sf for many years, overshadowing fiction dealing with experimental biology. Speculations related to medical science tended to engage increasingly well defined _^<a_!T752_CLICHES_^>a_: new plagues and cures for all
diseases. The notion of biological engineering did appear in such novels as Wells's _^<i_The Island of Dr Moreau_^>i_ (_^<b_1896_^>b_), but the methods involved were either crude or very vague. One real-world development which provoked a
considerable response was the discovery of the mutagenic properties of radiation. The idea of mutation was implicitly intriguing (> _^<a_!T3120_MUTANTS_^>a_), and was made important by its crucial role in evolutionary theory. Sf writers were
already entranced with "rays" for a variety of melodramatic reasons (> _^<a_!T1968_POWER SOURCES_^>a_;_^<a_!T5492_WEAPONS_^>a_) and their recruitment to biological speculation resulted in the swift growth of the "mutagenic romance". John
_^<a_!T5892_TAINE_^>a_ was a prolific author of such romances._^<n__^<n_Few of the early pulp-sf writers had any knowledge of the biological sciences, and for the most part they handled biological ideas -- when they did at all -- in a careless and
cavalier fashion. The principal exceptions were Taine, Stanley G. _^<a_!T5506_WEINBAUM_^>a_, who employed his expertise mainly in connection with designing exotic life-systems for alien worlds, and David H. _^<a_!T4008_KELLER_^>a_, a doctor who
became a psychiatrist yet whose medical training did nothing to render his accounts of biological experiments -- including the graphic eugenic fantasy "Stenographer's Hands" (1928) -- less negative. _^<a_!T141_AMAZING STORIES_^>a_ reprinted "The
Tissue-Culture King" (1927) by biologist Julian Huxley (1887-1975), but biological sf in the pulps very rarely transcended the deployment of standardized cliches: loathsome alien invaders, man-eating plants, people driven horribly mad by attempts
to save them from death via brain-transplantation. Contemporary UK material, though much more sober in tone and serious in intent, was hardly less negative. The ideas in J.B.S. _^<a_!T4923_HALDANE_^>a_'s prophetic manifesto for biotechnology,
_^<i_Daedalus, or Science and the Future_^>i_ (_^<b_1924_^>b_) were transformed by Aldous _^<a_!T4566_HUXLEY_^>a_ into the nightmarishly satirical substance of _^<i__^<a_!B9261_BRAVE NEW WORLD_^>a__^>i_ (_^<b_1932_^>b_), and there are several
horrific stories of the "no good will come of it all" school in S. Fowler _^<a_!T6194_WRIGHT_^>a_'s _^<i_The New Gods Lead_^>i_ (coll _^<b_1932_^>b_). Neil _^<a_!T512_BELL_^>a_ and John _^<a_!T4729_GLOAG_^>a_ also dealt extensively with biological
inventions in their sf, but their approach was determinedly cautionary. UK scientific romance from the period between the wars could find hope for the future only in a radical transformation of human nature, but even Wells had lost whatever faith
he had had in the ability of 20th-century mankind to begin the work of remaking its own nature in a planned and profitable manner. In the eyes of the sf writers of the 1930s the real _^<a_!T5830_SUPERMAN_^>a_-to-come was destined to be a freak of
benevolent nature; his time was not yet, and attempts to hurry it by scientific endeavour were invariably disastrous._^<n__^<n__^<a_!T4659_GENRE SF_^>a_'s handling of biological ideas improved dramatically after WWII. Several new writers of the
1940s were trained in biology, most notably Isaac _^<a_!T268_ASIMOV_^>a_, who held an academic post in biochemistry, and (although he did not begin to publish prolifically until the 1950s) James _^<a_!T658_BLISH_^>a_, who had studied zoology at
college and worked for a while as a medical technician. Blish was the first genre-sf writer to import biological ideas on a considerable scale and apply them with real ingenuity. A significant early attempt was "There Shall Be No Darkness" (1950),
about a kind of werewolf, one of a group of stories which attempted to recruit biological ideas to the rationalization of symbols borrowed from the supernatural imagination (> _^<a_!T5843_SUPERNATURAL CREATURES_^>a_); other examples include Jack
_^<a_!T5629_WILLIAMSON_^>a_'s _^<i__^<a_!B9246_DARKER THAN YOU THINK_^>a__^>i_ (1940; exp _^<b_1948_^>b_) -- more lycanthropy -- and Richard _^<a_!T3718_MATHESON_^>a_'s _^<i_I am Legend_^>i_ (_^<b_1954_^>b_), about vampires. It was Blish's
_^<a_!T1784_PANTROPY_^>a_ series, ultimately collected in _^<i__^<a_!B9127_THE SEEDLING STARS_^>a__^>i_ (fixup _^<b_1957_^>b_), which first treated the idea of man-remade-by-Man seriously and sympathetically._^<n__^<n_As genre sf matured in the
1950s there was a gradual increase in the sophistication of biological analogies. _^<a_!T98_ALIEN_^>a_ beings were still characteristically described and defined by reference to the diversity of Earthly lifeforms, but the subtlety with which this
was done increased dramatically in the 1950s. Many stories appeared which used the strange reproductive habits of the lower organisms as models for the construction of exotic situations involving humans and aliens. Authors who made fruitful use of
this kind of analogy included Philip Jose _^<a_!T1435_FARMER_^>a_, notably in _^<i_The Lovers_^>i_ (1952; exp _^<b_1961_^>b_), "Open to Me, My Sister" (1960; vt "My Sister's Brother") and "Strange Compulsion" (1953), and Theodore
_^<a_!T5810_STURGEON_^>a_, especially in "The Perfect Host" (1948), "The Sex Opposite" (1952) and "The Wages of Synergy" (1953). More recent users of the same strategy include James _^<a_!T6035_TIPTREE_^>a_ Jr, in "Your Haploid Heart" (1969) and "A
Momentary Taste of Being" (1975). This kind of analogical device illustrates the manner in which biological ideas are usually deployed in sf. In all these stories exotic biological relationships are transformed into metaphors applicable to social
relationships (or _^<i_vice versa_^>i_), relationships between humans and other intelligent beings or even, in a psychological sense, relationships between humans and their environment. This is, of course, a totally unscientific use of scientific
ideas, but it can be very effective as a literary device. It is applied not only to such hypothetical biological ideas as _^<a_!T3411_LIVING WORLDS_^>a_ but also to such concepts as _^<a_!T4447_HIVE-MINDS_^>a_, _^<a_!T6576_ECOLOGY_^>a_ (_^<i_see
also_^>i_ _^<a_!T811_COLONIZATION OF OTHER WORLDS_^>a_) and _^<a_!T1797_PARASITISM AND SYMBIOSIS_^>a_. Thus, for example, the hive-mind becomes in sf not so much a mode of social organization pertaining to insect species as a metaphor for
considering possible states of human society. Similarly, symbiosis becomes symbolic of an idealized relationship between humans, or between human and other beings. This misapplication of ideas extends into the real world where, in common usage as
in much sf, terms like "ecology" have come to be symbolic of some abstract and quasimetaphysical notion of harmony between humanity and environment._^<n__^<n_This constant quest to find biological metaphors has always tended to sidetrack or pervert
realistic speculation about likely developments in the biological sciences. Symbolism, metaphor and crude analogical thinking dominate exploration in sf of such notions as _^<a_!T177_ANDROIDS_^>a_, _^<a_!T761_CLONES_^>a_, _^<a_!T1017_CYBORGS_^>a_,
_^<a_!T4657_GENETIC ENGINEERING_^>a_, _^<a_!T3771_IMMORTALITY_^>a_ and _^<a_!T2115_SEX_^>a_. Although much contemporary sf seems to be intimately concerned with current trends in biology, hardly any of this speculation can be said to be
extrapolative in a purely rational fashion. These observations should not be taken as altogether pejorative: this method of using ideas is certainly not uninteresting and is often applied with considerable artistry. But one can certainly argue that
sf's enduring inability to get to grips with the real possibilities of biotechnology, and to explore those possibilities in a reasonably scrupulous fashion, is a lamentable failure of the sciencefictional imagination._^<n__^<n_The last decade has
produced a number of attempts to be more positive about the possible rewards of biotechnology (many are noted in the entry on _^<a_!T3771_IMMORTALITY_^>a_), but there remains an excessive reliance on the benevolence of chance. Such works as Greg
_^<a_!T478_BEAR_^>a_'s _^<i_Blood Music_^>i_ (_^<b_1985_^>b_), in which the apocalyptic consequences of a biotechnologist's recklessness are declared by the author to be happy ones (though many readers remain unconvinced), cannot reasonably be said
to constitute sensible apologias. Paul _^<a_!T1987_PREUSS_^>a_'s _^<i_Human Error_^>i_ (_^<b_1985_^>b_) and Charles _^<a_!T2167_SHEFFIELD_^>a_'s _^<i_Sight of Proteus_^>i_ (fixup _^<b_1978_^>b_) and _^<i_Proteus Unbound_^>i_ (_^<b_1989_^>b_) are
other works which rely heavily on unplanned ecocatastrophes to generate optimistic outcomes. Even an enthusiastic propagandist for biotechnology like Brian M. _^<a_!T2385_STABLEFORD_^>a_ finds it easier to produce sarcastic fantasies of
biotechnological experiments gone awry than utopian accounts of future humanity redeemed by careful effort, as evidenced by _^<i_Sexual Chemistry: Sardonic Tales of the Genetic Revolution_^>i_ (coll 1991); and even a calculatedly optimistic writer
like David _^<a_!T4999_BRIN_^>a_ awards a minor and relatively ineffectual role to biological science in describing responses to ecological crisis in his bold and extravagant novel _^<i_Earth_^>i_ (_^<b_1990_^>b_)._^<n__^<n_The recent boom in
_^<a_!T4509_HORROR_^>a_ fiction has involved a massive borrowing of ideas from sf, many of which involve extrapolations of biological science; writers like Robin _^<a_!T862_COOK_^>a_ and Dean R. _^<a_!T4116_KOONTZ_^>a_ have produced very effective
thrillers in this vein. The overwhelmingly negative image of biological experimentation conveyed by such fiction is only to be expected; it is the task of horror writers to horrify. It is perhaps surprising, though, that so little genre sf
counterbalances that negative image with a more evenhanded investigation of the possible benefits of such experiments. One horror novel which regards its depicted biotechnological breakthrough -- a potential cure for AIDS using a virus found in
vampires' blood -- with optimism is Dan _^<a_!T2219_SIMMONS_^>a_'s _^<i_Children of the Night_^>i_ (_^<b_1992_^>b_)._^<n__^<n_The use of biological ideas as metaphors to apply to specifically human situations is inevitable, and the particular
anxiety which attends speculation about experiments in human biology is entirely appropriate, but a too-ready acceptance of the horrified conviction that all biological experimentation is a sin against God or Gaia which will inevitably be punished
by dire misfortune is a kind of intellectual cowardice. In its handling of biological ideas, then, sf has not yet attained a true maturity. [BS]_^<n__^<n_
US tv series (1976-8). Harve Bennett Productions and Universal for ABC. Created and prod Kenneth Johnson, starring Lindsay Wagner. 3 seasons, 57 50 min episodes. Colour._^<n__^<n_In this spinoff from the successful series _^<i_The_^<a_!T2232_SIX
MILLION DOLLAR MAN_^>a__^>i_ -- its first episode being Part 2 of a story begun in the parent series -- Jaime Sommers is the former childhood sweetheart of the bionic man, Steve Austin. After a serious accident she, too, has part of her body
artificially rebuilt and works for Oscar Goldman (Richard Anderson), head of a government intelligence agency. Unlike Steve Austin, who has a bionic eye, she has a bionic ear with which she can eavesdrop from a mile away. There is a bionic dog
called Max. Several episodes involve _^<a_!T102_ALIENS_^>a_. The acting of the lead role is notably superior to that in the parent series. Two book ties were published: _^<i_The Bionic Woman #1: Welcome Home Jaime_^>i_ * (_^<b_1976_^>b_ by Eileen
_^<a_!T3462_LOTTMAN_^>a_; vt _^<i_Double Identity_^>i_ 1976 UK as by Maud Willis) and _^<i_#2: Extracurricular Activities_^>i_ * (_^<b_1977_^>b_ by Lottman; vt _^<i_A Question of Life_^>i_ 1977 UK as by Willis). [JB/PN]_^<n__^<n_
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BIOY CASARES, ADOLFO
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(1914- ) Argentine writer, noted from his first book, _^<i_Prologo_^>i_ ["Prologue"] (_^<b_1929_^>b_), for the surreal displacements of his work, which uses sf or detective forms in an abstract, parodic fashion, and is generally metaphysical in
intent. _^<i_La invencion de Morel_^>i_ (_^<b_1940_^>b_; trans Ruth I.C. Simms in _^<i_The Invention of Morel and Other Stories_^>i_ _^<b_1964_^>b_ US), tells in this fashion of its protagonist's eventually successful search through appearances and
realities for _^<a_!T3771_IMMORTALITY_^>a_; it was filmed in Italy as _^<i_L'Invenzione di Morel_^>i_, dir Emidio Greco, in 1974. _^<i_Plan de evasion_^>i_ (_^<b_1945_^>b_; trans Suzanne Jill Levine as _^<i_A Plan for Escape_^>i_ _^<b_1975_^>b_ US)
had close thematic links with the earlier novel. ABC's "El Perjurio de la Nieve" was filmed by Leopoldo Torre Nilsson as _^<i_El Crimen de Oribe_^>i_ (1950), and features a house whose occupants are caught in a time-loop. ABC's most substantial
novel, _^<i_El sueno del los heroes_^>i_ (_^<b_1954_^>b_; trans Diana Thorold as _^<i_The Dream of the Heroes_^>i_ _^<b_1987_^>b_ US), features the saving of a workman from death by a mysterious figure, possibly supernatural, and the repetition of
the same events years later, but without any intervention. _^<i_Dormir al sol_^>i_ (_^<b_1973_^>b_; trans Suzanne Jill Levine as _^<i_Asleep in the Sun_^>i_ _^<b_1978_^>b_ US), which has soul-transplants, conflates the transformations of
psychosurgery with totalitarianism._^<n__^<n_ABC met Jorge Luis _^<a_!T704_BORGES_^>a_ in 1932. They became close literary friends, and under the shared pseudonym H. Bustos Domecq published _^<i_Seis problemas para Don Isidro Parodi_^>i_ (coll
_^<b_1942_^>b_; trans Norman Thomas di Giovanni as _^<i_Six Problems for Don Isidro Parodi_^>i_ 1981 US), a set of introvertive detections. Both authors, with ABC's wife Silvina Ocampo (1903- ), collaborated in the editing of a fantasy
collection, _^<i_Antologia de la Literatura Fantastica_^>i_ (anth _^<b_1940_^>b_; rev 1976; trans as _^<i_The Book of Fantasy_^>i_ _^<b_1976_^>b_ US). If ABC has for some years lived in the shadow of his famous friend, the continuing translation of
his work may rectify a misprision. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T3823_ISLANDS_^>a_; _^<a_!T4204_LATIN AMERICA_^>a_; _^<a_!T1794_PARALLEL WORLDS_^>a_.
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BIRD, CORDWAINER
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[s] > Harlan _^<a_!T6641_ELLISON_^>a_._^<n__^<n_
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BIRD, WILLIAM HENRY FLEMING
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(1896-1971) UK art lecturer and writer who published some magazine sf in the 1950s under his own name, beginning with "Critical Age" for _^<i_Futurist Science Stories_^>i_ in 1953, and also as John Toucan and John Eagle, a house name under which two
novels almost certainly by WHFB appeared, _^<i_Reckless Journey_^>i_ (_^<b_1947_^>b_ chap) and _^<i_Brief Interlude_^>i_ (_^<i_c_^>i__^<b_1947_^>b_ chap); his later work was almost exclusively written for the firm of _^<a_!T1009_CURTIS WARREN_^>a_
and was also released under house names: _^<i_War of Argos_^>i_ (_^<b_1952_^>b_) as by Rand _^<a_!T3336_LE PAGE_^>a_; _^<i_Two Worlds_^>i_ (_^<b_1952_^>b_) as by Paul _^<a_!T3451_LORRAINE_^>a_; _^<i_Operation Orbit_^>i_ (_^<b_1953_^>b_) as by Kris
_^<a_!T3487_LUNA_^>a_; _^<i_Cosmic Conquest_^>i_ (_^<b_1953_^>b_) as by Adrian Blair and _^<i_The Third Mutant_^>i_ (_^<b_1953_^>b_) as by Lee _^<a_!T6626_ELLIOT_^>a_. Most featured interstellar espionage agents fighting revolutionary
_^<a_!T3120_MUTANTS_^>a_. The later _^<i_Blast-off into Space_^>i_ (_^<b_1966_^>b_) -- not a Curtis Warren title -- was written under a personal pseudonym, Harry Fleming, and exhibits more character. [JC]_^<n__^<n_
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BIRDS, THE
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Film (1963). Universal. Dir Alfred Hitchcock, starring Rod Taylor, Tippi Hedren, Jessica Tandy, Suzanne Pleshette. Screenplay Evan _^<a_!T4558_HUNTER_^>a_, based on "The Birds" (1952) by Daphne _^<a_!T1342_DU MAURIER_^>a_. 119 mins.
Colour._^<n__^<n_Ordinary birds in a small seaside town suddenly and without explanation launch a series of murderous attacks on people. The appearance of menace out of a clear sky is paralleled, symbolically, by the eruption of strong feeling in
the too-perfectly groomed heroine of the Freudian love story that runs through the film. It is the arrival of this woman which apparently precipitates the bird attacks, and she herself is later imaged as a bird in a cage. The attacks are
set-pieces, and carry considerable conviction, achieved with skilled editing and through use of a combination of real birds, models and process work by the veteran animator Ub Iwerks (1900-1971), an early colleague of Walt Disney and co-creator of
Mickey Mouse. Although very much more sophisticated than usual, this famous film belongs formally and classically to the _^<a_!T3011_MONSTER-MOVIE_^>a_ genre, where the fragility of human hegemony over Nature and the world is conventionally imaged
by a tranquil landscape ravaged without warning by some monstrous, inexplicable fury. The film is not strictly sf, since interestingly it neither seeks nor provides any rational explanation for its furies in terms of scientific meddling, atomic
radiation or anything else. But not only is its central metaphor of human control vs natural disorder central to sf, historically it was a focal point of the genre as the catalyst for a whole series of revenge-of-Nature films over the next two
(1951- ) US writer who began publishing sf with "The Sky's an Oyster; The Stars are Pearls" in 1975, and who quickly established himself as a versatile and adaptable novelist, though his practice of working in collaboration has tended to muffle
any sense that he has, in his own right, either a distinctive style or concerns which could be thought of as personal. His first novel, _^<i_The Seeker_^>i_ (_^<b_1976_^>b_ Canada) with Chris _^<a_!T4164_LAMPTON_^>a_, is in a sense, therefore,
typical, for there is nothing in particular to remember about this competent sf adventure featuring a fugitive _^<a_!T98_ALIEN_^>a_ on Earth and a chase. _^<i_Forbidden World_^>i_ (fixup _^<b_1978_^>b_) with Ted _^<a_!T5582_WHITE_^>a_ is, in the
same way, efficiently anonymous; and the _^<b_Dragonstar_^>b_ sequence -- _^<i_Day of the Dragonstar_^>i_ (_^<b_1983_^>b_), _^<i_Night of the Dragonstar_^>i_ (_^<b_1985_^>b_) and _^<i_Dragonstar Destiny_^>i_ (_^<b_1989_^>b_), all with Thomas F.
_^<a_!T3019_MONTELEONE_^>a_ -- explores with impersonal ingenuity a giant artificial-world-cum-zoo in space (see _^<a_!T590_BIG DUMB OBJECTS_^>a_) full of escaped menaces and a hidden agenda or two. The most memorable of his collaborations are
_^<i_Tin Woodman_^>i_ (_^<b_1979_^>b_) with Dennis R. Bailey -- a complex adventure involving a telepathic human, a living alien starship, a convincingly psychopathic villain, and a galactic chase -- and _^<i_The Selkie_^>i_ (_^<b_1982_^>b_) with
Charles _^<a_!T2167_SHEFFIELD_^>a_, a fantasy._^<n__^<n_Much the same impression of a genial but impersonal skilfulness is generated by some of DFB's solo fiction, too, although _^<i_Nightworld_^>i_ (_^<b_1979_^>b_) interestingly combines elements
of _^<a_!T2528_RECURSIVE SF_^>a_ -- in the shape of an ancient _^<a_!T178_ANDROID_^>a_ who replicates the physique and personality of H.G. _^<a_!T5528_WELLS_^>a_ -- and _^<a_!T2870_SCIENCE FANTASY_^>a_ as the protagonist, Wells and a girl who must
grow up combine to brave the _^<a_!T826_COMPUTER_^>a_-generated vampires of the forgotten colony planet of Styx; but the sequel, _^<i_The Vampires of Nightworld_^>i_ (_^<b_1981_^>b_), merely exploits the already-established venue. Set on a starship
with a cosmic troubleshooting mission, the _^<b_Star Fall_^>b_ books -- _^<i_Star Fall: A Space Fantasy_^>i_ (_^<b_1980_^>b_) and _^<i_Star Spring: A Space Operetta_^>i_ (_^<b_1982_^>b_) -- show an uneasy lightness of tone, though the
_^<a_!T5380_VIRTUAL-REALITY_^>a_-like shuffling of pulp venues at its heart is enjoyable. The _^<b_Star Hounds_^>b_ sequence -- _^<i_The Infinite Battle_^>i_ (_^<b_1985_^>b_), _^<i_Galactic Warriors_^>i_ (_^<b_1985_^>b_) and _^<i_The Macrocosmic
Conflict_^>i_ (_^<b_1986_^>b_)-drifts dangerously close to the routine. On the other hand the _^<b_UFO Conspiracy_^>b_ sequence -- _^<i_Abduction: The UFO Conspiracy_^>i_ (_^<b_1990_^>b_), _^<i_Deception_^>i_ (_^<b_1991_^>b_) and
_^<i_Revelation_^>i_ (_^<b_1991_^>b_) -- is a gripping excursion into camp _^<a_!T1795_PARANOIA_^>a_. Companionable and chameleon, DFB seems at the time of writing (1992) to be a jack-of-all-trades who might well, one day, speak out on his own.
[JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Quest_^>i_ (anth _^<b_1977_^>b_ chap); _^<i_Strange Encounters_^>i_ (anth _^<b_1977_^>b_ chap); _^<i_The Phantom of the Opera_^>i_ * (_^<b_1977_^>b_), a juvenile version; _^<i_Mandala_^>i_ (1983 in
_^<i_Chrysalis 10_^>i_, anth ed Roy Torgeson as "The Warmth of the Stars"; exp _^<b_1983_^>b_); _^<i_WarGames_^>i_ * (_^<b_1983_^>b_), a film tie; a _^<b_Time Machine_^>b_ tie, _^<i_Time Machine #2: Search for Dinosaurs_^>i_ * (_^<b_1984_^>b_);
_^<i_The Crunch Bunch_^>i_ (_^<b_1985_^>b_); the _^<b_Gaming Magi_^>b_ fantasy sequence, comprising _^<i_The Destiny Dice_^>i_ (_^<b_1985_^>b_), _^<i_Wraith Board_^>i_ (_^<b_1985_^>b_) and _^<i_The Unicorn Gambit_^>i_ (_^<b_1986_^>b_); _^<i_A
Personal Demon_^>i_ (fixup _^<b_1985_^>b_) with Rich Brown (1942- ) and Linda Richardson (1944- ), comprising several stories published in _^<i_Fantastic_^>i_ as by Michael F.X. Milhaus; _^<i_The Manhattan Project_^>i_ * (_^<b_1986_^>b_), a film
tie; _^<i_Some Kind of Wonderer_^>i_ (_^<b_1987_^>b_); _^<i_The Blob_^>i_ * (_^<b_1988_^>b_), a film tie; _^<i_Gremlins 2: The New Batch_^>i_ * (_^<b_1990_^>b_), a film tie; two contributions to the sequence of _^<b_Bill, the Galactic Hero_^>b_
tied sequels, _^<i_Bill, the Galactic Hero on the Planet of Tasteless Pleasures_^>i_ * (_^<b_1991_^>b_) and _^<i_Bill, the Galactic Hero on the Planet of Ten Thousand Bars_^>i_ * (_^<b_1991_^>b_; vt _^<i_Bill, the Galactic Hero on the Planet of the
Hippies from Hell_^>i_ 1993 UK), both with Harry _^<a_!T4316_HARRISON_^>a_; the _^<b_Mutants Amok_^>b_ sequence, comprising _^<i_Mutants Amok_^>i_ (_^<b_1991_^>b_), _^<i_#2: Mutant Hell_^>i_ (_^<b_1991_^>b_), _^<i_#3: Rebel Attack_^>i_
(_^<b_1991_^>b_), _^<i_#4: Holocaust Horror_^>i_ (_^<b_1991_^>b_) and _^<i_#5: Mutants Amok at Christmastime_^>i_ (_^<b_1992_^>b_), all as by Mark Grant; _^<i_Daniel M. Pinkwater's Melvinge of the Megaverse #1: Night of the Living Shark!_^>i_ *
(_^<b_1991_^>b_) (> Daniel M. _^<a_!T1906_PINKWATER_^>a_); _^<i_Star Trek, the Next Generation: Grounded_^>i_ * (_^<b_1993_^>b_); the _^<b_Dr. Dimension_^>b_ sequence of comic science fantasies comprising _^<i_Dr.Dimension_^>i_ (_^<b_1993_^>b_) and
_^<i_Dr. Dimension: Masters of Spacetime_^>i_ (_^<b_1994_^>b_), both with John _^<a_!T1135_DECHANCIE_^>a_; two _^<b_Aliens_^>b_ ties: _^<i_Aliens: Genocide_^>i_ * (_^<b_1993_^>b_) and _^<i_Aliens Vs. Predator: Hutner's Planet_^>i_ *
(_^<b_1994_^>b_); _^<i_seaQuest DSV: The Ancient_^>i_ * (_^<b_1994_^>b_), tied to the televisions series._^<b_See also:_^>b_ _^<a_!T3013_MONSTERS_^>a_; _^<a_!T5273_UFOS_^>a_.
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BISHOP, MATTHEW
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[r] > M.H. _^<a_!T6280_ZOOL_^>a_._^<n__^<n_
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BISHOP, MICHAEL
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(1945- ) US writer, much travelled in childhood, with an MA in English from the University of Georgia, where he did a thesis on the poetry of Dylan Thomas. He began publishing sf with "Pinon Fall" for _^<i_Gal_^>i_ in 1970, and in a short period
established himself as one of the significant new writers of the 1970s. Though his early stories and novels display considerable intellectual complexity, and do not shirk the downbeat implications of their anthropological
(>_^<a_!T197_ANTHROPOLOGY_^>a_) treatment of _^<a_!T102_ALIENS_^>a_ and alienating milieux, there remained a sense in which MB could not be treated as one of those writers, like Edward _^<a_!T5055_BRYANT_^>a_, whose primary influences could be seen
as the US _^<a_!T3181_NEW WAVE_^>a_ of the 1960s combined with the liberating influence of the numerous writing workshops of the succeeding decade. MB's first novel, for instance, _^<i_A Funeral for the Eyes of Fire_^>i_ (_^<b_1975_^>b_; rev vt
_^<i_Eyes of Fire_^>i_ 1980; under original title with revs retained and new introduction 1989 UK), is written ostensibly within the terms of _^<a_!T4288_HARD SF_^>a_, though laced with splashy Gothicisms (most of them removed as part of the
extensive revision): on an alien planet, the protagonist must perform wonders or be sent back to a despotic Earth. But, _^<i_inter alia_^>i_, MB mounts the first of his complex and sometimes moving analyses of alien cultures. The finest of these
anthropology-based interrogatory tales is _^<i__^<a_!B9279_TRANSFIGURATIONS_^>a__^>i_ (1973 _^<i_Worlds of If_^>i_ as "Death and Designation among the Asadi"; fixup _^<b_1979_^>b_), where the colonizing impact of a "superior" culture upon less
technologically advanced natives is complexly contrasted -- in a story which owes much to Joseph _^<a_!T847_CONRAD_^>a_ -- with the recursive unknowableness of the Other. _^<i_And Strange at Ecbatan the Trees_^>i_ (_^<b_1976_^>b_; vt _^<i_Beneath
the Shattered Moons_^>i_ 1977; vt as coll _^<i_Beneath the Shattered Moons and The White Otters of Childhood_^>i_ 1978 UK), is a somewhat less convincing _^<a_!T1432_FAR-FUTURE_^>a_ tale dealing with a world most of whose people, long ago
genetically engineered (> _^<a_!T4657_GENETIC ENGINEERING_^>a_) into stoicism, are now apparently incapable of aggression or any other display of emotion. _^<i_Stolen Faces_^>i_ (_^<b_1977_^>b_), again set on an alien planet, darkly offers a
culture so diseased that its inhabitants must designate themselves through gross mutilations._^<n__^<n_However, while publishing these novels and many of the stories collected in _^<i_Blooded on Arachne_^>i_ (coll _^<b_1982_^>b_) and _^<i_One
Winter in Eden_^>i_ (coll _^<b_1984_^>b_), MB was increasingly focusing his sharp, earnest, exploratory vision upon the eerier provinces of the US South. In _^<i_A Little Knowledge_^>i_ (_^<b_1977_^>b_) and its sequel, _^<i_Catacomb Years_^>i_
(fixup _^<b_1979_^>b_), a theocratic regime repressively dominates a _^<a_!T6337_NEAR-FUTURE_^>a_ Atlanta, Georgia, until the conversion of some apparent aliens begins to destabilize society; the vision of Atlanta as a domed city whose various
levels and intersections literally map the new social order may be cognitively daring, but it thins out in the mind's eye when described. However, MB's most public success soon followed. _^<i__^<a_!B9253_NO ENEMY BUT TIME_^>a__^>i_
(_^<b_1982_^>b_), which won a _^<a_!T3147_NEBULA_^>a_, intensified the movement of his imagination to a local habitat, and for the first time introduced a protagonist of sufficient racial (and mental) complexity to carry a storyline immured in the
particular and haunted by the exotic. In this case, dogged by dreams of the Pleistocene, the new MB protagonist -- who is not dissimilar to the Habiline who later featured in the less successful and overextended tale of Atlanta and Haiti,
_^<i_Ancient of Days_^>i_ (_^<b_1985_^>b_) (> _^<a_!T206_APES AND CAVEMEN_^>a_) -- is enlisted into a _^<a_!T6026_TIME-TRAVEL_^>a_ project, returns to the Africa of his vision, fathers a child in the dawn of time, and returns with her to the
battering world._^<n__^<n_Through the 1980s, MB continued to strive for an adequate form to engage his humanist sympathies, the sociological (and anthropological) eye which found in the South perhaps all too much material, the lurking humorist
within the preacher. _^<i_Who Made Stevie Crye?_^>i_ (_^<b_1984_^>b_) is a strangely unengaged horror novel, with laughs; _^<i_The Secret Ascension_^>i_ (_^<b_1987_^>b_; vt _^<i_Philip K. Dick is Dead, Alas_^>i_ 1988 UK), set in an
_^<a_!T131_ALTERNATE-WORLDS_^>a_ USA, homages and stars _^<a_!T1222_DICK_^>a_ (_^<i_see also_^>i_ _^<a_!T2528_RECURSIVE SF_^>a_); _^<i_Unicorn Mountain_^>i_ (_^<b_1988_^>b_), once again set partly in Atlanta, is a fantasy in which the dying of
unicorns from another dimension and the problem of AIDS in this world intersect encouragingly; and _^<i_Count Geiger's Blues_^>i_ (_^<b_1992_^>b_), another fantasy -- set in the Atlanta-like Salonika, capital of the imaginary southern state of
Oconee -- was similarly told in MB's uneasily humorous, highly individual voice. Though full of energy and strongly willed, these novels do not feel entirely comfortably in focus.On the other hand, _^<i_Brittle Innings_^>i_ (_^<b_1994_^>b_) gives a
powerful sense of smoothly released energies; retelling the story of the _^<a_!T1600_FRANKENSTEIN MONSTER_^>a_ within a _^<a_!T4780_GOTHIC SF_^>a_ frame -- it is set in the American South, and the Monster is a professional baseball player -- it
amply confirms a sense that MB, having been in search of a strong world to illuminate, had found one. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Windows & Mirrors: A Chapbook of Poetry to Deep South Con XV_^>i_ (coll _^<b_1977_^>b_ chap); _^<i_Under
Heaven's Bridge_^>i_ (dated 1980 but _^<b_1981_^>b_ UK) with Ian _^<a_!T5484_WATSON_^>a_; _^<i_Close Encounters with the Deity_^>i_ (coll _^<b_1986_^>b_); _^<i_To a Chimp Held Captive for Purposes of Research_^>i_ (_^<b_1986_^>b_ broadsheet);
_^<i_Within the Walls of Tyre_^>i_ (1978 _^<i_Weirdbook 13_^>i_; rev as screenplay _^<b_1989_^>b_ chap UK); _^<i_Apartheid, Superstrings, and Mordecai Thubana_^>i_ (_^<b_1989_^>b_ chap); _^<i_Emphatically Not Sf, Almost_^>i_ (coll _^<b_1991_^>b_);
_^<i_The Quickening_^>i_ (1981 _^<i_Universe 11_^>i_; _^<b_1991_^>b_ chap), which won a Nebula for 1981._^<b_As Editor:_^>b_ _^<i_Changes: Stories of Metamorphosis_^>i_ (anth _^<b_1983_^>b_) with Ian Watson; _^<i_Light Years and Dark_^>i_ (anth
_^<b_1984_^>b_); _^<i_Nebula Awards 23_^>i_ (anth _^<b_1989_^>b_); _^<i_Nebula Awards 24_^>i_ (anth _^<b_1990_^>b_); _^<i_Nebula Awards 25_^>i_ (anth _^<b_1991_^>b_)._^<b_About the author:_^>b_ _^<i_Michael Bishop: A Working Bibliography_^>i_
(_^<b_1988_^>b_ chap) by Gordon _^<a_!T540_BENSON_^>a_ Jr._^<b_See also:_^>b_ _^<a_!T206_APES AND CAVEMEN (IN THE HUMAN WORLD)_^>a_; _^<a_!T232_ARKHAM HOUSE_^>a_; _^<a_!T590_BIG DUMB OBJECTS_^>a_; _^<a_!T902_COSMOLOGY_^>a_;
(1942- ) US author who has also worked as a New York publishing copy-writer. His first novel, _^<i_Wyrldmaker_^>i_ (_^<b_1981_^>b_), is a too-rapidly told but intermittently dazzling _^<a_!T4655_GENERATION STARSHIP_^>a_ tale told in the guise of
an heroic fantasy. With his second, _^<i_Talking Man_^>i_ (_^<b_1986_^>b_), he comes into his full powers as a novelist whose narrative voice is urgently and lucidly that of a teller of tales. The figure at the heart of _^<i_Talking Man_^>i_ -- who
does not talk -- seems at the story's beginning to be nothing more than a bemusedly eccentric rural Kentuckian with a knack for repairing motors; as the novel develops into a quest west and then north across a USA more and more radically
transformed the further the search proceeds, the talking man takes on qualities of Trickster and Redeemer, and eventually seems to contain the world's reality in his hands. The tale closes back home, but home is now an American South changed
magically into a clement _^<a_!T5303_UTOPIA_^>a_. In _^<i__^<a_!B8999_FIRE ON THE MOUNTAIN_^>a__^>i_ (_^<b_1988_^>b_), which is in no ostensible sense a sequel, this same utopia proves to be an _^<a_!T131_ALTERNATE WORLD_^>a_ born from a different
course of US history. The enslaved Blacks of the Southern states had successfully revolted during the course of the Civil War, founded an independent Southern country, and by the late 20th century have established an unracist, beneficent,
courteous, livable comity. Those parts of the tale set during this period are perhaps less convincing -- and certainly less moving -- than the central passages of the book, which represent the reminiscences of one of the Black revolutionaries; his
descriptions of the successful campaign to free his people intensely invokes the haunted heartlands of the Civil War upriver from Washington, though subtly and upliftingly transformed._^<n__^<n_TB's fourth novel, _^<i_Voyage to the Red Planet_^>i_
(_^<b_1990_^>b_), complicatedly combines spoof and elegy. In the 21st century the USA has declined severely, and the _^<i_Mary Poppins_^>i_, an umbrella-shaped spaceship once destined to take humanity to Mars, is in a mothball orbit. But an
entrepreneur decides that a good film could be made of an actual trip to Mars, using the original ageing crew; and this is done. The portrait of a spineless, privatized USA is scathing; but the ship and the voyage -- both described with
considerable versimilitude -- evoke a powerful sense of genuine but wasted opportunity, while generating at the same time a sense that humanity's dream of travelling outwards was not yet, perhaps, over. TB wrote no stories during the 1980s, but
beginning in 1990 became a significant author of short fiction, with work like "Bears Discover Fire" (1990), which won a _^<a_!T3147_NEBULA_^>a_, a _^<a_!T4551_HUGO_^>a_ and a _^<a_!T5963_THEODORE STURGEON MEMORIAL AWARD_^>a_. The tale once again
elegizes the land, the loss of the dream of America; it is also very funny. TB's short work is assembled as _^<i_Bears Discover Fire_^>i_ (coll _^<b_1993_^>b_). Fluent and moral and wry, TB has become one of the writers whose sf speaks to the
(1923- ) US writer and editor; an extremely prolific story-writer, though relatively little of his work is sf. Pseudonyms used on magazine stories include Jay B. Drexel, Harry Neal and Alger _^<a_!T2685_ROME_^>a_, the last in collaboration with
Algis _^<a_!T5064_BUDRYS_^>a_. His stories include many Westerns; he has also written sf and horror screenplays and teleplays, including _^<a_!T3836_IT! THE TERROR FROM BEYOND SPACE_^>a_ (1958), _^<i_Curse of the Faceless Man_^>i_ (1958), the
original script, later rewritten, for _^<a_!T1409_FANTASTIC VOYAGE_^>a_ (1966), and several episodes of _^<a_!T2429_STAR TREK_^>a_; he claims that Isaac _^<a_!T268_ASIMOV_^>a_'s _^<i_Fantastic Voyage II: Destination Brain_^>i_ (_^<b_1987_^>b_) was
based on a treatment by him. JB edited _^<a_!T1924_PLANET STORIES_^>a_ Summer 1950-July 1951 and initiated its companion magazine, _^<a_!T6143_TWO COMPLETE SCIENCE-ADVENTURE BOOKS_^>a_, editing its first 3 issues; he also worked on
_^<a_!T1686_GALAXY SCIENCE FICTION_^>a_, _^<a_!T6004_THRILLING WONDER STORIES_^>a_, _^<a_!T2428_STARTLING STORIES_^>a_ and several comics. He began publishing sf with "Tubemonkey" for _^<i_Planet Stories_^>i_ in 1949, and collected much of his
output in this genre in _^<i_Space by the Tale_^>i_ (coll _^<b_1964_^>b_). _^<i_Devil's Scrapbook_^>i_ (coll _^<b_1964_^>b_; vt _^<i_Call for an Exorcist_^>i_ 1974) is horror and fantasy. His widely anthologized and best-known story is sf/horror:
"It's a _^<i_Good _^>i_Life" (1953), about a malignant superchild with _^<a_!T2021_PSI POWERS_^>a_ (_^<i_see also_^>i_ _^<a_!T708_CHILDREN IN SF_^>a_); it was dramatized on tv in _^<i_The _^<a_!T6141_TWILIGHT ZONE_^>a__^>i_, and later as an
episode, directed by Joe _^<a_!T1056_DANTE_^>a_, of _^<i_Twilight Zone: The Movie_^>i_ (1983). His work is professional, as evidenced by his perfectly competent _^<b_Star Trek_^>b_ novel, _^<i_Day of the Dove_^>i_ * (_^<b_1978_^>b_), but not of
great significance in the field. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T3118_MUSIC_^>a_; _^<a_!T2023_PSYCHOLOGY_^>a_; _^<a_!T5830_SUPERMAN_^>a_.
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BIZARRE
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US _^<a_!T2100_SEMIPROZINE_^>a_. 1 issue (Jan 1941), ed Walter E. Marconette and J. Chapman Miske, effectively a continuation of Marconette's earlier _^<a_!T1428_FANZINE_^>a_ _^<i_Scienti-Snaps_^>i_. Professional in appearance, with a colour cover
by Hannes _^<a_!T6322_BOK_^>a_, it is remembered mainly for publishing for the first time the original but previously unused ending of A. _^<a_!T2912_MERRITT_^>a_'s novel _^<i_Dwellers in the Mirage_^>i_ (_^<b_1932_^>b_; rev 1953), which ending has
been in use ever since. _^<i_B_^>i_ also ran a discussion by John W. _^<a_!T5140_CAMPBELL_^>a_ Jr about writing styles. [PN/FHP]_^<n__^<n_
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BIZARRE! MYSTERY MAGAZINE
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US _^<a_!T1231_DIGEST_^>a_-size magazine. 3 issues (Oct and Nov 1965, Jan 1966), published by Pamar Enterprises, ed John Poe. _^<i_B!MM_^>i_ had a strong horror/sf element overriding the ostensible mystery content, and included reprint work by
Pierre _^<a_!T4938_BOULLE_^>a_ and new stories by Thomas M. _^<a_!T1244_DISCH_^>a_, Avram _^<a_!T1082_DAVIDSON_^>a_, James H. _^<a_!T2849_SCHMITZ_^>a_ and Arthur C. _^<a_!T736_CLARKE_^>a_. [FHP/PN]_^<n__^<n_
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BJAZIC, MLADEN
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[r] > _^<a_!T6246_YUGOSLAVIA_^>a_._^<n__^<n_
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BLACK, LADBROKE (LIONEL DAY)
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(1877-1940) UK writer of much boys' fiction, often as Lionel Day or Paul Urquhart. He began publishing novels in 1902. _^<i_The Buried World_^>i_ (_^<b_1928_^>b_), as by Lionel Day, is a _^<a_!T3460_LOST-WORLD_^>a_ juvenile; the head in _^<i_The
Gorgon's Head_^>i_ (_^<b_1932_^>b_) turns modern Britons to stone for a while; and _^<i_The Poison War_^>i_ (_^<b_1933_^>b_) is a future-_^<a_!T5452_WAR_^>a_ novel in which the UK is attacked by chemical weapons. LB was not an innovative writer.
[JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_The Wager_^>i_ (_^<b_1927_^>b_), a _^<a_!T2737_RURITANIAN_^>a_ tale.
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BLACK, ROBERT
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> Robert P. _^<a_!T4468_HOLDSTOCK_^>a_._^<n__^<n_
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BLACK AFRICAN SF
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Only a small amount of sf is published in the Black African nations. What follows is more a sampler than a full survey, since very few researchers have even looked at the topic._^<n__^<n_Much of what is published is in English, and most of that is
juvenile. Typical are the novelette _^<i_Journey to Space_^>i_ (_^<b_1980_^>b_ chap), by the Nigerian Flora Nwapa, and a novel about a scientist who discovers _^<a_!T198_ANTIGRAVITY_^>a_, _^<i_The Adventures of Kapapa_^>i_ (_^<b_1976_^>b_) by the
Ghanaian J.O. Eshun. One of the rare sf books for adults, a play, is _^<i_The Chosen Ones_^>i_ (_^<b_1969_^>b_) by Azize Asgarally of Mauritius; it is set partly in the 30th century._^<n__^<n_More common are adventure and spy novels for adults
containing sf elements, much in the style of the _^<b_James Bond_^>b_ movies based on Ian _^<a_!T1524_FLEMING_^>a_'s books. Such is _^<i_The Mark of Cobra_^>i_ (_^<b_1980_^>b_), by Valentine Alily of Nigeria, in which a secret agent fights against
a multimillionaire seeking world domination by use of a "solar weapon". David G. Maillu of Kenya is a prolific writer of adventure novels, of which some are sf; in his _^<i_The Equatorial Assignment_^>i_ (_^<b_1980_^>b_), for example, a secret
agent penetrates a criminal conspiracy which is trying to control the whole of Africa by the use of fantastic weapons. More sf can be found in the so-called Onitsha market literature; a typical example is the Nigerian adaptation of George
_^<a_!T1731_ORWELL_^>a_'s _^<i__^<a_!B9093_NINETEEN EIGHTY-FOUR_^>a__^>i_ (_^<b_1949_^>b_) done by Bala Abdullahi Funtua in the mid-1970s._^<n__^<n_Sf in other languages is rare. Sony Labou Tansi is Congolese; his _^<a_!T6337_NEAR-FUTURE_^>a_ sf
novel, set in a fictitious African country in 1995, is in French: _^<i_Conscience de tracteur_^>i_ ["Consciousness of the Tractor"] (_^<b_1979_^>b_). Another adaptation of Orwell, this time of _^<i_Animal Farm_^>i_ (_^<b_1945_^>b_), is _^<i_Pitso
ea liphoofolo tsa hae_^>i_ ["The Meeting of the Domestic Animals"] (_^<b_1956_^>b_); this, by Libakeng Maile, was published in the Southern Sotho language. A children's sf book written in Hausa, one of the languages of Nigeria, is _^<i_Tauraruwa
mai wutsiya_^>i_ ["The Comet"] (_^<b_1969_^>b_) by Umaru A. Dembo; it tells of the travels in space of a small boy, and of his encounter with a friendly _^<a_!T98_ALIEN_^>a_. [JO]_^<n__^<n_
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BLACKBURN, JOHN (FENWICK)
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(1923-1993) UK writer and antiquarian book dealer, author of many novels whose ambience of _^<a_!T4509_HORROR_^>a_ derives from a calculated use of material from several genres, including sf. His early books, such as his first, _^<i_A Scent of
New-Mown Hay_^>i_ (_^<b_1958_^>b_; a reported vt _^<i_The Reluctant Spy_^>i_ 1966 US, is possibly a ghost title), _^<i_A Sour Apple Tree_^>i_ (_^<b_1958_^>b_), _^<i_Broken Boy_^>i_ (_^<b_1959_^>b_) and _^<i_A Ring of Roses_^>i_ (_^<b_1965_^>b_; vt
_^<i_A Wreath of Roses_^>i_ 1965 US) tended to use themes from espionage and thriller fiction to buttress and ultimately provide explanations for tales whose effects were fundamentally _^<a_!T4780_GOTHIC_^>a_ horror and fantasy. Ex-Nazis often
cropped up in these books, as in the first, where a German scientist spreads around the world a mutated plague-bearing fungus with the eponymous aroma. Even in later stories, like _^<i_The Face of the Lion_^>i_ (_^<b_1976_^>b_), which again
(characteristically) deals with abominable disease, loathsome though by now rather elderly SS officers make their dutiful bows. JFB's use of sf is usually borderline, though not in _^<i_Children of the Night_^>i_ (_^<b_1966_^>b_), one of his better
works, where an underground lost race (> _^<a_!T3460_LOST WORLDS_^>a_) in northern England kills by telepathic powers. Often what seem to be sf plot devices on introduction are satisfactorily explained in terms of contemporary science by the
story's close, or are _^<a_!T3535_MCGUFFINS_^>a_ or red herrings like the atom-bomb conspiracy in _^<i_The Face of the Lion_^>i_. Though his use of sf situations is often ingenious, and though even his most straightforward novels are prone to
internal generic mutations from one form to another, it would be unduly stretching matters to describe JFB as a genuine sf writer. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Dead Man Running_^>i_ (_^<b_1960_^>b_); _^<i_The Gaunt Woman_^>i_
(_^<b_1962_^>b_); _^<i_Blue Octavo_^>i_ (_^<b_1963_^>b_; vt _^<i_Bound to Kill_^>i_ 1963 US); _^<i_Colonel Bogus_^>i_ (_^<b_1964_^>b_; vt _^<i_Packed for Murder_^>i_ 1964 US); _^<i_The Winds of Midnight_^>i_ (_^<b_1964_^>b_; vt _^<i_Murder at
Midnight_^>i_ 1964 US); _^<i_The Young Man from Lima_^>i_ (_^<b_1968_^>b_); _^<i_Nothing But the Night_^>i_ (_^<b_1968_^>b_); _^<i_Bury Him Darkly_^>i_ (_^<b_1969_^>b_); _^<i_Blow the House Down_^>i_ (_^<b_1970_^>b_); _^<i_The Household
Traitors_^>i_ (_^<b_1971_^>b_); _^<i_For Fear of Little Men_^>i_ (_^<b_1972_^>b_); _^<i_Devil Daddy_^>i_ (_^<b_1972_^>b_); a series comprising _^<i_Deep among the Dead Men_^>i_ (_^<b_1973_^>b_), _^<i_Mister Brown's Bodies_^>i_ (_^<b_1975_^>b_) and
_^<i_The Cyclops Goblet_^>i_ (_^<b_1977_^>b_); _^<i_Our Lady of Pain_^>i_ (_^<b_1974_^>b_); _^<i_Dead Man's Handle_^>i_ (_^<b_1978_^>b_); _^<i_The Sins of the Father_^>i_ (_^<b_1979_^>b_); _^<i_A Beastly Business_^>i_ (_^<b_1982_^>b_); _^<i_A Book
of the Dead_^>i_ (_^<b_1984_^>b_) and _^<i_The Bad Penny_^>i_ (_^<b_1985_^>b_)._^<b_See also:_^>b_ _^<a_!T4780_GOTHIC SF_^>a_; _^<a_!T3135_MYTHOLOGY_^>a_.
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BLACKFORD, RUSSELL (KENNETH)
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(1954- ) Australian industrial advocate, writer and critic. The best of his small output of sf may be "Glass Reptile Breakout" (1985), the title story of _^<i_Glass Reptile Breakout_^>i_ (anth _^<b_1990_^>b_) ed Van Ikin, a
_^<a_!T1015_CYBERPUNK_^>a_ tale of self-healing teenagers. His only novel, _^<i_The Tempting of the Witch King_^>i_ (_^<b_1983_^>b_), is ironic fantasy. Co-editor of _^<a_!T317_AUSTRALIAN SCIENCE FICTION REVIEW: SECOND SERIES_^>a_, RB has two
William Atheling Jr _^<a_!T6321_AWARDS_^>a_ for criticism. With David King he edited _^<i_Urban Fantasies_^>i_ (anth _^<b_1985_^>b_), sf and fantasy stories, and, with Jenny Blackford (1957- ), Lucy Sussex (1957- ) and Norman Talbot (1936-
), _^<i_Contrary Modes_^>i_ (anth _^<b_1985_^>b_), essays on sf. [PN]_^<n__^<n_
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BLACK HOLE, THE
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Film (1979). Walt Disney. Dir Gary Nelson, starring Maximilian Schell, Anthony Perkins, Robert Forster, Joseph Bottoms, Yvette Mimieux, Ernest Borgnine. Screenplay Jeb RoseBrook, Gerry Day, based on a story by Rosebrook, Bob Barbash, Richard Landau.
98 mins. Colour._^<n__^<n_The disappointment of its year in sf movies, this was a ludicrous though expensive reprise in space of Disney's _^<a_!T6139_20,000 LEAGUES UNDER THE SEA_^>a_ (1954). Astronauts enter a derelict survey vessel orbiting a
_^<a_!T632_BLACK HOLE_^>a_ (painted red so that we can see it better); they find a Captain-Nemo-like figure (Schell) served by a killer _^<a_!T2646_ROBOT_^>a_ and _^<a_!T178_ANDROID_^>a_ henchmen, who turn out to be the original crew evilly
transformed by the mad _^<a_!T2880_SCIENTIST_^>a_. His desire is to venture within the hole. After adventures involving two post-_^<a_!T5686_STAR WARS_^>a_ cute robots and a strike by a meteor (although the size of a house, it fails to bring about
the decompression of the spacecraft), all enter the hole, which appears to Schell like _^<a_!T1057_DANTE ALIGHIERI_^>a_'s Inferno and to the good guys like a kitschy cathedral. The screenwriters, who appear to have no knowledge of science even to
primary-school level, give all the fanatical oratory to Schell, leaving the remainder of the cast quite wooden. The novelization is _^<i_The Black Hole_^>i_ * (_^<b_1979_^>b_) by Alan Dean _^<a_!T1572_FOSTER_^>a_. [PN]_^<n__^<n_
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BLACK HOLES
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Item of sf _^<a_!T5942_TERMINOLOGY_^>a_ borrowed from _^<a_!T902_COSMOLOGY_^>a_. The term was coined by physicist John Wheeler (1911-_^<n__^<n_) in 1969 and adopted immediately and enthusiastically by sf writers. The concept of the black hole is
quite complex, and is best approached by the layman through a reliable book of scientific popularization such as _^<i_A Brief History of Time: From the Big Bang to Black Holes_^>i_ (_^<b_1988_^>b_) by Stephen W. Hawking (1942- ), one of the
theoretical physicists to have done fundamental work on the concept. The scientific element of the present discussion has been much simplified._^<n__^<n_The possibility that a lump of matter might be compressible to the point at which its surface
gravity would be so powerful that not even light could escape from it was first pointed out in the late 18th century by John Michell (_^<i_c_^>i_1724-1793) and then by Pierre Simon, Marquis de Laplace (1749-1827). It was resuscitated in the 20th
century when the implications of General Relativity became clear. It was not until the 1960s, however, that physicists began to speculate as to whether a collapsing star of sufficient mass, about three times that of the Sun, might pass beyond even
the _^<a_!T3160_NEUTRON-STAR_^>a_ state of collapsed matter to become a black hole of this kind, centred on a singularity (a point where infinite gravity crushed matter and energy entirely out of existence) and bounded by an event horizon (defined
by the distance from the singularity at which the escape velocity is that of light; the name "event horizon" derives from the fact that it is of course impossible to observe from outside any events occurring closer to the singularity than
this)._^<n__^<n_Many early sf stories dealing with the theme seized upon the extreme relativistic time-dilatation effect associated with objects falling towards the event horizons of such holes; examples include Poul _^<a_!T169_ANDERSON_^>a_'s
"Kyrie" (1968), Brian W. _^<a_!T87_ALDISS_^>a_'s "The Dark Soul of the Night" (1976) and Frederik _^<a_!T1937_POHL_^>a_'s _^<i__^<a_!B9035_GATEWAY_^>a__^>i_ (_^<b_1977_^>b_). These stories make interesting metaphorical connections between physics
and psychology, perhaps helping to cast some light on the intriguing question of why the black-hole concept has become one of the most charismatic ideas in contemporary physics. Few other notions have had such an immediate imaginative impact, or
spawned so many exercises in lyrical quasi-scientific philosophizing. John Taylor's _^<i_Black Holes: The End of the Universe?_^>i_ (_^<b_1973_^>b_), one of several books which helped to popularize the notion in the 1970s, is a rather eccentric
ideative rhapsody built on the supposition that "the black hole requires a complete rethinking of our attitudes to life"._^<n__^<n_Further tense psychological melodramas using black holes to develop analogies between extraordinary physics and
mental processes include Robert _^<a_!T2216_SILVERBERG_^>a_'s "To the Dark Star" (1968), Barry N. _^<a_!T3629_MALZBERG_^>a_'s _^<i__^<a_!B9184_GALAXIES_^>a__^>i_ (_^<b_1975_^>b_) and John _^<a_!T5339_VARLEY_^>a_'s "Lollipop and the Tar Baby" (1977)
-- which features an intelligent black hole -- but stories of this kind soon petered out. Familiarity bred contentment if not contempt, and the black hole was soon domesticated by sf writers into a standard image of no great moment. The idea
proved, however, to be surprisingly adaptable. At first it seemed that anything falling into a black hole was destined for certain destruction, but this narrative inconvenience was frequently sidestepped. It was independently and for different
reasons hypothesized by cosmologists and sf writers alike that -- supposing one _^<i_could_^>i_ travel through a black hole -- the point of emergence might be far removed from the point of entry. Because this property of black holes offered an
apparent means of dodging the relativistic limitations on getting around the Universe at _^<a_!T1443_FASTER-THAN-LIGHT_^>a_ speeds, they quickly began to crop up as "star gates" -- rapid transit systems -- as in Joan D. _^<a_!T5376_VINGE_^>a_'s
_^<i__^<a_!B9235_THE SNOW QUEEN_^>a__^>i_ (_^<b_1980_^>b_). Early examples of stories in which they perform this function tend, in order to obscure the fundamental problem, to use fudge-names for them: George R.R. _^<a_!T3685_MARTIN_^>a_'s "The
Second Kind of Loneliness" (1972) speaks of a "nullspace vortex" while Joe _^<a_!T4925_HALDEMAN_^>a_'s _^<i__^<a_!B9095_THE FOREVER WAR_^>a__^>i_ (_^<b_1974_^>b_) refers to "collapsars". Obliging physicists soon began to speculate about the
possibility of avoiding destruction within a black hole. According to some theoretical physicists, some solutions of the equations of General Relativity as they apply to rotating (rather than static) black holes offer the slim possibility that a
spacecraft that entered such a hole might be able to avoid the naked singularity and so, rather than being crushed out of existence, might instantaneously re-emerge elsewhere in the Universe (travelling via a hypothetical bridge or tunnel known as
a wormhole) -- the word "elsewhere" referring to some other place, some other time (which would create havoc with the principle of causality), or both. Some physicists went further, proposing that the re-emergence might be into a
_^<i_different_^>i_ universe. Sf writers gladly accepted the imaginative warrant provided by these ideas, which were popularized by such bold works of "speculative nonfiction" as Adrian _^<a_!T556_BERRY_^>a_'s _^<i_The Iron Sun: Crossing the
Universe through Black Holes_^>i_ (_^<b_1977_^>b_). Stories in which starships simply dived into black holes and passed through wormholes to distant parts of the Universe or to other universes began to appear in some profusion. The popularity of
the theme was further boosted by the film _^<i_The_^<a_!T632_BLACK HOLE_^>a__^>i_ (1979), and quickly became so routine that recent writers have had to work hard to sustain the melodramatic potential of the notion. A notable example of
conscientious work of this kind is Paul J. _^<a_!T6293_MCAULEY_^>a_'s _^<i_Eternal Light_^>i_ (_^<b_1991_^>b_), while a more casual approach is manifest in Roger MacBride _^<a_!T115_ALLEN_^>a_'s _^<i_The Ring of Charon_^>i_ (_^<b_1991_^>b_), in
which the Earth is kidnapped through a wormhole. The idea of a return journey from a black hole is more ingeniously deployed in Ian _^<a_!T5435_WALLACE_^>a_'s _^<i_Heller's Leap_^>i_ (_^<b_1979_^>b_)._^<n__^<n_Although black holes formed through
stellar collapse would have to be at least three times the mass of the Sun, the concept of miniature black holes emerged in the early 1970s, first in technical papers and then in sf. They were featured in "The Hole Man" (1973) by Larry
_^<a_!T3223_NIVEN_^>a_ and adapted for use in a _^<a_!T2348_SPACESHIP_^>a_ drive in Arthur C. _^<a_!T736_CLARKE_^>a_'s _^<i_Imperial Earth_^>i_ (_^<b_1975_^>b_), but they really came into their own when theorists attempting to figure out the
mechanics of the Big Bang decided that vast numbers of tiny black holes might have been created at that time (along with even more peculiar black-hole-like entities called cosmic strings). However, it was soon theorized mathematically (Hawking
described some of this work in a seminar in 1973) that mini black holes would be unstable, slowly decaying as a result of "quantum leakage" of radiation. (Such leakage would affect all black holes, of course, but only in the case of mini black
holes would it be significant.) Any primordial black hole whose initial mass was less than about a billion tons would already have disappeared, although more massive (but still mini) primordial black holes might still exist. However, sf writers
have had little difficulty in imagining accessory stabilizing methods, such as the one featured in Gregory _^<a_!T526_BENFORD_^>a_'s thriller _^<i_Artifact_^>i_ (_^<b_1985_^>b_). David _^<a_!T4999_BRIN_^>a_'s _^<i_Earth_^>i_ (_^<b_1990_^>b_) simply
ties neat knots in cosmic strings in order to make them available for mind-boggling high jinks of various kinds; the knotting of cosmic strings had earlier been examined less reverently by Rudy _^<a_!T2727_RUCKER_^>a_ in "The Man who was a Cosmic
String" (1987)._^<n__^<n_Brin's _^<i_Earth_^>i_ mentions an idea encountered elsewhere: that even tiny black holes might qualify as entire universes in their own right (thus, perhaps, re-opening some potential for the kind of microcosmic romance
that Ray _^<a_!T997_CUMMINGS_^>a_ used to write; > _^<a_!T4823_GREAT AND SMALL_^>a_). Pohl, having introduced black holes into _^<i__^<a_!B9035_GATEWAY_^>a__^>i_, continued to explore their potential in subsequent volumes of his _^<b_Heechee_^>b_
series; the mysterious Heechee turn out to be hiding inside one in _^<i_Beyond the Blue Event Horizon_^>i_ (_^<b_1980_^>b_) and venture forth again in _^<i_Heechee Rendezvous_^>i_ (_^<b_1984_^>b_). Pohl's fascination with the notion is further
extended in _^<i_The Singers of Time_^>i_ (_^<b_1991_^>b_), with Jack _^<a_!T5629_WILLIAMSON_^>a_, which involves interuniversal travel via wormholes and includes a series of rhapsodic infodump chapters celebrating the wonders of modern theoretical
physics._^<n__^<n_A series of theoretical papers in the 1970s suggested that for every black hole there must somewhere else (perhaps at the end of a wormhole) be a corresponding white hole gushing energy out into the Universe in the same way that a
black hole would suck it in. The idea was popularized by John _^<a_!T4864_GRIBBIN_^>a_ in his "speculative nonfiction" _^<i_White Holes: Cosmic Gushers in the Universe_^>i_ (_^<b_1977_^>b_), but suffered from the disadvantage that, although white
holes should be by definition among the most visible objects in the Universe, none had (or has) been detected. One pleasing notion, however, equated the Big Bang with a white hole. The white-hole idea never had quite the same success in sf as its
black-hole counterpart, but the New Sun in Gene Wolfe's _^<b_Book of the New Sun_^>b_ series appears to be a white hole._^<n__^<n_Yet another variant on the black-hole theme is based on the concept that a low-density black hole of enormous mass --
perhaps 100,000 times greater than that of the Sun -- might commonly occur at the centre of galaxies, our own included; there is considerable astronomical evidence that this is indeed the case. The physics constraining the properties of such
low-density black holes seems to admit the possibility that whole stars and planets could go on existing inside them. Even more massive black holes, of perhaps 100,000,000 times solar mass, might exist at the heart of those incredibly distant,
highly energetic galaxies known to astronomers as Seyfert galaxies and quasars. (The term quasar derives from their earlier description as "quasi-stellar radio sources".) The immense black hole at the galactic core has become almost a
_^<a_!T752_CLICHE_^>a_ of contemporary _^<a_!T2342_SPACE OPERA_^>a_._^<n__^<n_Other uses of black holes continue to be found. They become ultimate weapons in David _^<a_!T4186_LANGFORD_^>a_'s _^<i_The Space Eater_^>i_ (_^<b_1982_^>b_) and others,
and Gregory Benford, in _^<i_Beyond the Fall of Night_^>i_ (_^<b_1990_^>b_), his sequel to Arthur C. Clarke's classic _^<i_Against the Fall of Night_^>i_ (1948; _^<b_1953_^>b_), uses one as a prison for the Mad Mind from the earlier novel, where
Clarke describes it as the "strange artificial star called the Black Sun." It remains to be seen whether the changes have now been comprehensively rung, or whether there is further narrative colour yet to be discovered in the notion._^<n__^<n_It is
disappointing to learn that, while there is strong empirical and overwhelming theoretical evidence, there is as yet no concrete proof that even a single black hole exists anywhere in the real Universe. It is difficult to explain such phenomena as
Seyfert galaxies and quasars without invoking black holes, and the existence of black holes seems inevitable in the light of our current understanding of the ways in which matter/energy behaves, but such theorizing is no substitute for proof. It is
generally supposed by astronomers, however, that by far the likeliest explanation for certain intense periodic X-ray sources in our Galaxy (the first discovered being Cygnus X-1, in 1971) is that the X-rays are being emitted from particles falling
towards a black hole which is in orbital partnership with a supergiant star. It is known that the objects concerned are too massive to be white dwarfs or neutron stars, and they seem to be invisible. [BS/PN]_^<n__^<n_
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BLACK MOON RISING
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> John _^<a_!T5176_CARPENTER_^>a_._^<n__^<n_
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BLACK SCORPION, THE
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Film (1957). Warner Bros. Dir Edward Ludwig, starring Richard Denning, Mara Corday. Screenplay David _^<a_!T1346_DUNCAN_^>a_, Robert Blees. 88 mins. B/w._^<n__^<n_Giant scorpions and a rather good spider emerge from a cavern under the Mexican desert
in this slow-moving, low-budget _^<a_!T3011_MONSTER MOVIE_^>a_ obviously inspired by _^<a_!T5960_THEM!_^>a_ (1954). The stop-motion animation of the scorpions, supervised by Willis H. _^<a_!T3280_O'BRIEN_^>a_ at the age of 70, is vivid but does not
really redeem the wooden performances and routine direction. [JB/PN]_^<n__^<n_
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BLACKS IN SF
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> _^<a_!T1939_POLITICS_^>a_._^<n__^<n_
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BLACKSTONE, JAMES
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> John _^<a_!T470_BAXTER_^>a_; John _^<a_!T5020_BROSNAN_^>a_._^<n__^<n_
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BLACK SUN, THE
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> _^<a_!T5928_TEMNE SLUNCE_^>a_._^<n__^<n_
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BLACKWOOD, ALGERNON
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(1869-1951) UK writer who spent a decade in Canada and the USA from the age of 20. His work is essentially fantasy, though his tales of occult pantheism -- best exemplified in _^<i_The Centaur_^>i_ (_^<b_1911_^>b_), which builds on the theories of
Gustav Fechner (1801-1887) in its projections of a sentient Mother Earth -- tend to argue a logic of history which might seem sufficiently rational for his work to count as sf. His novels tend to the ponderous; his very numerous short stories,
beginning with _^<i_A Mysterious House_^>i_ (1889 _^<i_Belgravia_^>i_; _^<b_1987_^>b_ chap ed Richard Dalby), are his best work and, though frequently overlong, often reach heights of morose lyricism. It is in his short stories, too, that AB most
often became explicitly sciencefictional in his treatment of the concepts of time and of _^<a_!T1794_PARALLEL WORLDS_^>a_. He was a friend of J.W. _^<a_!T1352_DUNNE_^>a_, whose theories about the Serial Universe he espoused in stories like "The
Willows" (1907), "Wayfarers" (1912), "The Pikestaffe Case" (1923), "The Man who was Milligan" (1923), "Full Circle" (1925) and "The Man who Lived Backwards" (1930). His short work is collected in _^<i_The Empty House and Other Ghost Stories_^>i_
(coll _^<b_1906_^>b_), _^<i_The Listener and Other Stories_^>i_ (coll _^<b_1907_^>b_), _^<i_The Lost Valley and Other Stories_^>i_ (coll _^<b_1910_^>b_), _^<i_Pan's Garden: A Volume of Nature Stories_^>i_ (coll _^<b_1910_^>b_), _^<i_Incredible
Adventures_^>i_ (coll _^<b_1914_^>b_), _^<i_Ten Minute Stories_^>i_ (coll _^<b_1914_^>b_), _^<i_Day and Night Stories_^>i_ (coll _^<b_1917_^>b_), _^<i_The Wolves of God and Other Fey Stories_^>i_ (coll _^<b_1921_^>b_), with Wilfred Wilson, and
_^<i_Tongues of Fire, and Other Sketches_^>i_ (coll _^<b_1924_^>b_). With the exception of _^<i_The Doll and One Other_^>i_ (coll _^<b_1946_^>b_ US), later collections rearranged earlier material (though AB in fact continued to produce new work
until the year before his death); the best of these are _^<i_Strange Stories_^>i_ (coll _^<b_1929_^>b_), _^<i_The Tales of Algernon Blackwood_^>i_ (coll _^<b_1938_^>b_) and _^<i_Tales of the Uncanny and Supernatural_^>i_ (coll _^<b_1949_^>b_). In
later years, AB enjoyed a rebirth of fame on UK _^<a_!T2480_RADIO_^>a_ and tv. His occult detective _^<b_John Silence_^>b_, some of whose adventures are collected in _^<i_John Silence, Physician Extraordinary_^>i_ (coll _^<b_1908_^>b_), uses some
_^<a_!T2019_PSEUDO-SCIENTIFIC_^>a_ techniques. The recurrent theme of _^<a_!T2548_REINCARNATION_^>a_ is developed most notably in _^<i_Julius Le Vallon: An Episode_^>i_ (_^<b_1916_^>b_) and its sequel _^<i_The Bright Messenger_^>i_ (_^<b_1921_^>b_)
and in _^<i_The Wave: An Egyptian Aftermath_^>i_ (_^<b_1916_^>b_) and _^<i_Karma: A Re-incarnation Play_^>i_ (_^<b_1918_^>b_) with Violet Pearn. [JC/MA]_^<n__^<n__^<b_Other works:_^>b_ _^<i_The Education of Uncle Paul_^>i_ (_^<b_1909_^>b_) and its
sequel, _^<i_A Prisoner in Fairyland_^>i_ (_^<b_1913_^>b_); _^<i_Jimbo_^>i_ (_^<b_1909_^>b_); _^<i_The Human Chord_^>i_ (_^<b_1910_^>b_); _^<i_The Extra Day_^>i_ (_^<b_1915_^>b_); _^<i_The Garden of Survival_^>i_ (_^<b_1918_^>b_); _^<i_The Promise
of Air_^>i_ (_^<b_1919_^>b_); _^<i_Dudley and Gilderoy_^>i_ (_^<b_1928_^>b_); _^<i_The Fruit Stoners_^>i_ (_^<b_1934_^>b_); _^<i_Tales of the Supernatural_^>i_ (coll_^<b_ 1983_^>b_) and _^<i_The Magic Mirror: Lost Tales and Mysteries_^>i_ (coll
_^<b_1989_^>b_), both ed Mike _^<a_!T265_ASHLEY_^>a_._^<b_About the author:_^>b_ _^<i_Algernon Blackwood: A Bio-Bibliography_^>i_ (_^<b_1987_^>b_) by Mike Ashley._^<b_See also:_^>b_ _^<a_!T1239_DIMENSIONS_^>a_; _^<a_!T4509_HORROR IN SF_^>a_.
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BLADE, ALEXANDER
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One of the longest-lasting _^<a_!T6269_ZIFF-DAVIS_^>a_ house names, originally the personal pseudonym of David Vern (David V. _^<a_!T2535_REED_^>a_), whose contributions under the name have not been identified, though probably "The Strange Adventure
of Victor MacLeigh" (1941 _^<i_AMZ_^>i_) is by him. The name was later used by Howard _^<a_!T5040_BROWNE_^>a_, Millen Cooke, Chester S. _^<a_!T4649_GEIER_^>a_, Randall _^<a_!T4623_GARRETT_^>a_ with Robert _^<a_!T2216_SILVERBERG_^>a_ (who also wrote
solo under the name), Roger P. Graham (Rog _^<a_!T1887_PHILLIPS_^>a_), Edmond _^<a_!T4258_HAMILTON_^>a_, Heinrich Hauser, Berkeley _^<a_!T3409_LIVINGSTON_^>a_, Herb Livingston, William P. McGivern, David Wright _^<a_!T3274_O'BRIEN_^>a_, Louis H.
Sampliner, Richard S. _^<a_!T2151_SHAVER_^>a_, Don _^<a_!T5597_WILCOX_^>a_ and Leroy _^<a_!T6231_YERXA_^>a_. Approximately 50 stories were published as by AB, most in _^<i_AMZ_^>i_ and _^<i_Fantastic Adventures_^>i_ and some in
_^<i_Imagination_^>i_, _^<i_Imaginative Tales_^>i_ and _^<i_Science Fiction Adventures_^>i_. [JC]_^<n__^<n_
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BLADE RUNNER
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Film (1982). Blade Runner Partnership-Ladd Co.-Sir Run Run Shaw/Warner. Dir Ridley _^<a_!T2897_SCOTT_^>a_, starring Harrison Ford, Rutger Hauer, Sean Young, Daryl Hannah, William Sanderson. Screenplay Hampton Fancher, David Peoples, based on
_^<i__^<a_!B9148_DO ANDROIDS DREAM OF ELECTRIC SHEEP?_^>a__^>i_ (_^<b_1968_^>b_) by Philip K. _^<a_!T1222_DICK_^>a_. 117 mins (US). Colour._^<n__^<n_In a future Los Angeles, Rick Deckard (Ford), whose job it is to destroy renegade "replicants"
(_^<a_!T177_ANDROIDS_^>a_), has to hunt down a particularly dangerous group of advanced androids designed as slaves; their anger against humanity is all the greater because they have been given only a very limited lifespan._^<n__^<n_The screenplay
and the film itself went through a number of stages, with Peoples radically rewriting Fancher's original script only to see much of his filling-out material lost. The first US cut released (preview audiences only) was much longer than the 117min
final US cut, and then for the UK/Europe distribution the film was hardened again with some of the more brutal sequences restored. Some important themes from Dick's book survive in a mystifying way: it is never explained in the film that most
healthy humans have emigrated off a pollution-ridden Earth -- though the prematurely ageing robotics expert, Sebastian (Sanderson), is meant to be one of the sick ones that stayed home; nor is the destruction of nearly all animal life explained --
most surviving animals being artificial -- though references to it are made throughout, notably in the android empathy test, where lack of sensitivity to animal life is a key clue to the androids' supposed lack of real feeling. Strangest of all,
the possibility that Deckard himself may be a "replicant" exists in the final cut only as a subtext, unmistakable once pointed out, but missed by almost all audiences except, Ridley Scott has said, the French. Scott's own revisionist version,
_^<i_Blade Runner: The Director's Cut _^>i_(1992, 114 mins), makes the subtext a little clearer and deletes the voice-over narration, though it was somewhat less changed from the original than many people expected._^<n__^<n__^<i_BR_^>i_ has many
narrative flaws, including a happy ending tacked on allegedly against the director's wishes, but remains one of the most important sf movies made. The density of information given right across the screen in the future setting (production designer
Lawrence Paull, visual consultant Syd Mead, special-photographic-effects supervisor Douglas Trumbull, with Scott himself being primarily responsible for the look of the film) is extraordinary, showing almost for the first time -- though fans had
spent years hoping -- how visually sophisticated sf in film form can be. _^<i_BR_^>i_'s _^<i_film-noir mise-en-scene_^>i_, with its ubiquitous advertisements (and rain), its Los Angeles dominated by an oriental population, its punk female android
(Hannah), its high-tech traffic alongside bicycles, its steam and smoke, its shabbiness and glitter cheek-by-jowl, is film's first (and still best) precursor of the movement we now call _^<a_!T1015_CYBERPUNK_^>a_. _^<i_BR_^>i_ is even better,
particularly in the director's cut, and much more ambitious, than Scott's previous sf film, _^<a_!T98_ALIEN_^>a_, and is especially interesting in its treatment of the central theme: whether "humanity" is something innate or whether it can be
"programmed" in -- or, indeed, out. [PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T726_CINEMA_^>a_; _^<a_!T4482_HOLOCAUST AND AFTER_^>a_; _^<a_!T4551_HUGO_^>a_; _^<a_!T3118_MUSIC_^>a_.
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BLAINE, JOHN
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Pseudonym of US writer Harold Leland Goodwin (1914-1990) who specialized in sf-adventure novels for teenage readers. His books tended to emphasize the nuts and bolts of science and technology, and were more carefully written than most series books
for teens. As Blake Savage he also wrote an sf novel for teens, _^<i_Rip Foster Rides the Gray Planet_^>i_ (_^<b_1952_^>b_; vt _^<i_Assignment in Space with Rip Foster_^>i_ 1958; vt _^<i_Rip Foster in Ride the Gray Planet_^>i_ 1969). Under his own
name, Goodwin wrote some popular-science texts, including _^<i_The Real Book About Stars_^>i_ (_^<b_1951_^>b_), _^<i_The Science Book of Space Travel_^>i_ (_^<b_1955_^>b_) and _^<i_Space: Frontier Unlimited_^>i_ (_^<b_1962_^>b_). He remains best
known for the long _^<b_Rick Brant Science Adventure_^>b_ sequence, all as JB, a series of tales -- some incorporating _^<a_!T6580_EDISONADE_^>a_ elements -- which feature a teenage inventor on and off the planet: _^<i_The Rocket's Shadow_^>i_
(_^<b_1947_^>b_) with Peter J. Harkins writing together as JB; _^<i_The Lost City_^>i_ (_^<b_1947_^>b_) with Harkins; _^<i_Sea Gold_^>i_ (_^<b_1947_^>b_) with Harkins; _^<i_100 Fathoms Under_^>i_ (_^<b_1947_^>b_); _^<i_The Whispering Box
Mystery_^>i_ (_^<b_1948_^>b_); _^<i_The Phantom Shark_^>i_ (_^<b_1949_^>b_); _^<i_Smuggler's Reef_^>i_ (_^<b_1950_^>b_); _^<i_The Caves of Fear_^>i_ (_^<b_1951_^>b_); _^<i_Stairway to Danger_^>i_ (_^<b_1952_^>b_); _^<i_The Golden Skull_^>i_
(_^<b_1954_^>b_); _^<i_The Wailing Octopus_^>i_ (_^<b_1956_^>b_); _^<i_The Electronic Mind Reader_^>i_ (_^<b_1957_^>b_); _^<i_The Scarlet Lake Mystery_^>i_ (_^<b_1957_^>b_); _^<i_The Pirates of Shan_^>i_ (_^<b_1958_^>b_) (not to be confused with
Below!_^>i_ (_^<b_1968_^>b_) with Philip Harkins (who may have been the same as Peter J. Harkins, above) writing together as JB; _^<i_The Magic Talisman_^>i_ (written 1969; _^<b_1990_^>b_). [JC]_^<n__^<n_
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BLAIR, ANDREW
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(? -1885) Scottish medical doctor and writer whose _^<i_Annals of the Twenty-Ninth Century, or The Autobiography of the Tenth President of the World-Republic_^>i_ (_^<b_1874_^>b_) celebrates, at times ponderously, Earth-boring, the complete
ecospheric control of the planet, and interplanetary travels during which the protagonist visits several worlds whose human inhabitants demonstrate various levels of spiritual perfection. [BS/JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T189_ANONYMOUS SF
AUTHORS_^>a_; _^<a_!T811_COLONIZATION OF OTHER WORLDS_^>a_.
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BLAIR, HAMISH
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Pseudonym of Andrew James Frazer Blair (1872-1935), Scottish author, journalist and editor, resident in India for many years. In _^<i_1957_^>i_ (_^<b_1930_^>b_) he described how air power overcomes the Second Indian Mutiny. In its sequel,
_^<i_Governor Hardy_^>i_ (_^<b_1931_^>b_), he focused on the ensuing international intrigues and _^<a_!T5452_WAR_^>a_. A third futuristic novel, _^<i_The Great Gesture_^>i_ (_^<b_1931_^>b_), optimistically depicts the events leading to the founding
in 1941 of a United States of Europe. [JE]_^<n__^<n_
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BLAIR, JOHN (M.)
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(1961- ) US writer and poet who began publishing sf with _^<i_A Landscape of Darkness_^>i_ (_^<b_1990_^>b_), an sf adventure in which a mercenary on a colony planet must pit himself against an _^<a_!T98_ALIEN_^>a_ who wears the guise of a
Japanese warrior. Though a plot of this sort offers many opportunities for action routines, JB generally avoids the temptation. His second novel, _^<i_Bright Angel_^>i_ (_^<b_1992_^>b_), similarly concentrates upon the complex psychology of a
central figure invested with human responses and a planet-shaking burden; in this case the protagonist must attempt to uncover a possible correlation between his unwilled, sudden awakening in a _^<a_!T1370_DYSTOPIAN_^>a_ Earth after surviving the
onset of a fierce Ice Age on a colony planet and the beginning of similar conditions in the Antarctic. At times, JB has demonstrated a virtuoso control over complicated plot-lines and their implications. [JC]_^<n__^<n_
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BLAKE, KEN
-T-
> Kenneth _^<a_!T5073_BULMER_^>a_; Robert P. _^<a_!T4468_HOLDSTOCK_^>a_._^<n__^<n_
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BLAKE, ROBERT
-T-
[s] > L.P. _^<a_!T1089_DAVIES_^>a_._^<n__^<n_
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20
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BLAKENEY, JAY D.
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Pseudonym of US writer Deborah A. Chester (1957- ), whose _^<b_Anthi_^>b_ sequence -- _^<i_The Children of Anthi_^>i__^<n__^<n_(_^<b_1985_^>b_) and _^<i_Requiem for Anthi_^>i_ (_^<b_1990_^>b_) -- aroused some interest. It is a far-reaching and
moderately complex vision of humanity's future _^<a_!T6717_EVOLUTION_^>a_, guided by the eponymous _^<a_!T68_AI_^>a_, into a form that is half-flesh and half-electronics. Set on a heavily populated galactic stage, the sequence demonstrates JDB's
sensitivity to the potential differentness from 1990 of so multifarious a venue. Two singletons, _^<i_The Omcri Matrix_^>i_ (_^<b_1987_^>b_) and _^<i_The Goda War_^>i_ (_^<b_1989_^>b_), are less remarkable. JDB seemed to be a writer to watch with
some interest, but the _^<b_Operation StarHawks_^>b_ sf adventures, all written as by Sean Dalton, were not engrossing: _^<i_Operation StarHawks #1: Space Hawks_^>i_ (_^<b_1990_^>b_), _^<i_#2: Code Name Peregrine_^>i_ (_^<b_1990_^>b_), _^<i_#3:
Beyond the Void_^>i_ (_^<b_1991_^>b_), _^<i_#4: The Rostma Lure_^>i_ (_^<b_1991_^>b_), _^<i_#5: Destination: Mutiny_^>i_ (_^<b_1991_^>b_) and _^<i_#6: The Salukan Gambit_^>i_ (_^<b_1992_^>b_). The _^<b_Time-Trap _^>b_sequence --
comprising_^<i_Time-Trap_^>i_ (_^<b_1992_^>b_), _^<i_Showdown_^>i_ (_^<b_1992_^>b_), _^<i_Pieces of Eight_^>i_ (_^<b_1992_^>b_) and _^<i_Restoration_^>i_ (_^<b_1994_^>b_) -- begins with a man from the future trapped in 14th-century Greece, and
continues in other periods. [JC]_^<n__^<n_
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BLAKE'S SEVEN
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UK tv series (1978-81). BBC TV. Created by Terry _^<a_!T3140_NATION_^>a_. Prods David Maloney (seasons 1-3), Vere Lorrimer (season 4). Script editor Chris Boucher. Writers included Nation (all episodes in the first season), Boucher, James
_^<a_!T1544_FOLLETT_^>a_, Robert Holmes, Tanith _^<a_!T4234_LEE_^>a_. Starring Gareth Thomas (Blake), Paul Darrow (Avon), Michael Keating (Vila), Jan Chappell (Cally), Jacqueline Pearce (Servalan), Stephen Grief (Travis, season 1), Brian Croucher
(Travis, season 2), Steven Pacey (Tarrant). 52 50min episodes. Colour._^<n__^<n_The series -- whose title is given on-screen as _^<i_Blakes Seven_^>i_ (sans apostrophe) -- began rather crudely with some hoary sf _^<a_!T752_CLICHES_^>a_ (political
rebels against the totalitarian Federation are sent to a prison planet) but picked up considerably in later episodes of the first season, where Blake and his allies take part in spirited _^<a_!T2342_SPACE-OPERA_^>a_ adventures in a miraculous
spaceship (later to be operated by an ill tempered computer called Orac) which they find conveniently abandoned in space. Although_^<n__^<n_free-spirited-rebels-vs-oppressive-empire is a theme straight from _^<a_!T5686_STAR WARS_^>a_ --
coincidentally, since the UK premiere of both was on the same day -- the feeling is very different. Blake's crew are quarrelsome, depressive, pessimistic and -- especially Avon -- cynical. Blake himself disappeared at the end of the second season,
to reappear, apparently now on the wrong side, only at the very end. After the first season _^<i_BS_^>i_ degenerated into sub-_^<i_DR WHO_^>i_ tackiness, with much popping off of ray-guns in extraterrestrial quarries and poaching of secondhand
plots (_^<i_The Picture of Dorian Gray_^>i_, etc.). The fourth season wound up on a depressing note as the bulk of the somewhat-changed cast were killed off by the villains. Despite this falling off, the series was addictive, and notable for the
sense of doomed helplessness with which the rebels managed to inflict mere pin-pricks on the seemingly indestructible Federation-no doubt a reflection of the times, and seemingly not too off-putting for the audience, for _^<i_BS_^>i_ developed a
large and passionate fan following, which it still retains. [PN/KN]_^<n__^<n_
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BLANCHARD, H(ENRY) PERCY
-T-
(1862-1939) US writer whose sf novel, _^<i_After the Cataclysm: A Romance of the Age to Come_^>i_ (_^<b_1909_^>b_), features a _^<a_!T2248_SLEEPER AWAKENING_^>a_ into 1934 to find the world become an electricity-run _^<a_!T5303_UTOPIA_^>a_, founded
after the near passage of a small planet in 1914 destroyed socialism and ended a world war caused by Zionists. [JC]_^<n__^<n_
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BLASTER
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In sf _^<a_!T5942_TERMINOLOGY_^>a_, the hand-gun that blasts had an early place of honour along with the _^<a_!T1128_DEATH RAY_^>a_, ray-gun and _^<a_!T1247_DISINTEGRATOR_^>a_. Blasters were standard-issue _^<a_!T5492_WEAPONS_^>a_ in early
_^<a_!T2342_SPACE OPERA_^>a_, like six-guns in Westerns. [PN]_^<n__^<n_
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BLAYLOCK, JAMES P.
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(1950- ) US writer, based in California, whose first published sf was "The Red Planet" (1977) in _^<a_!T5284_UNEARTH_^>a_ #3. JPB's first books were two fantasies in his _^<b_Elfin_^>b_ series, _^<i_The Elfin Ship_^>i_ (_^<b_1982_^>b_) and
_^<i_The Disappearing Dwarf_^>i_ (_^<b_1983_^>b_). The series, which includes the later and more assured _^<i_The Stone Giant_^>i_ (_^<b_1989_^>b_), is remarkable for its geniality and quirkiness, and the general likeability of most of the
characters, even the unreliable ones. Though dwarfs and elves are featured, it is difficult to imagine a fantasy series less like J.R.R. _^<a_!T6041_TOLKIEN_^>a_'s in tone._^<n__^<n_A similar tone continued in JPB's next two books, which more
closely resemble sf: _^<i_The Digging Leviathan_^>i_ (_^<b_1984_^>b_) and _^<i__^<a_!B8994_HOMUNCULUS_^>a__^>i_ (_^<b_1986_^>b_), the latter being the winner of the _^<a_!T1884_PHILIP K. DICK AWARD_^>a_ for best paperback original (coincidentally
appropriate, since JPB was a friend of Philip K. _^<a_!T1222_DICK_^>a_ during Dick's last years). It was by now clear that JPB's talent was strong, but sufficiently weird and literary as to be unlikely to attract a mass-market readership. Among his
obvious and acknowledged influences are Laurence Sterne's _^<i_Tristram Shandy_^>i_ (9 vols _^<b_1759-67_^>b_), Robert Louis _^<a_!T5731_STEVENSON_^>a_ and Charles _^<a_!T1223_DICKENS_^>a_. His books feature grotesques and eccentrics viewed with
whimsical affection. These people often have crotchets and obsessions, and live in mutable worlds subject to curiosities and wonders whose explications -- while sometimes earnestly scientific -- are seen as hopelessly inadequate in the face of
their absolute strangeness. The events of JPB's books fall into odd patterns rather than linear plots, though the later works have a stronger narrative drive. _^<i_The Digging Leviathan_^>i_ is set in a modern Los Angeles, beneath which is a giant
underground sea, and some of whose inhabitants hope to penetrate the centre of the _^<a_!T4474_HOLLOW EARTH_^>a_. _^<i__^<a_!B8994_HOMUNCULUS_^>a__^>i_, a kind of prequel to the previous work, is set in a Dickensian 19th-century London, and
likewise features the spirit of scientific or alchemical inquiry, along with space vehicles, zombies and the possibility of _^<a_!T3771_IMMORTALITY_^>a_ through essence of carp; _^<i_Lord Kelvin's Machine_^>i_(1985 _^<i_IASFM_^>i_; exp
_^<b_1992_^>b_), a sequel, carries on in the same vein. These spirited concoctions are reminiscent of the work of JPB's good friend Tim _^<a_!T1967_POWERS_^>a_, though even more lunatic; they both write at times (as do others) a sort of sf set in
the 19th century, featuring knowing pastiche -- or at least reconstruction -- of all sorts of early pulp-sf stereotypes. This has been a sufficiently marked phenomenon that the neologism _^<a_!T5694_STEAMPUNK_^>a_ has been coined for it. (JPB's
books, in fact, could be regarded as belonging to the same metaseries as Powers's; they feature certain characters in common, including the 19th-century poet William Ashbless, who apparently originated as a pseudonym used by JPB and Powers for
poetry they published while at college.) Like many of his _^<a_!T1958_POSTMODERNIST_^>a_ generation of writers, including Powers and another of his friends, K.W. _^<a_!T3901_JETER_^>a_, JPB has no interest at all in generic purity, mixing tropes
from _^<a_!T1412_FANTASY_^>a_, _^<a_!T4509_HORROR_^>a_, sf, magic realism, adventure fiction and _^<a_!T3609_MAINSTREAM_^>a_ literature with great aplomb, as if it were the most natural thing in the world. One could call his stories
_^<a_!T1372_FABULATIONS_^>a_._^<n__^<n_JPB's next novel, _^<i_Land of Dreams_^>i_ (_^<b_1987_^>b_), again mingles fantasy and sf tropes (mostly fantasy) with something of a dying fall, as does the more cheerful _^<i_The Last Coin_^>i_
(_^<b_1988_^>b_), which features an ex-travelling salesman who turns out to be the Wandering Jew, and is anxious that the 30 pieces of silver used to betray Christ should be kept from the hands of a Mr Pennyman, who will use them for apocalyptic
purposes. _^<i_Land of Dreams_^>i_ is set in the same fantastic northern-Californian coastal setting as JPB's excellent short story _^<i_Paper Dragons_^>i_ (1985 in anth _^<i_Imaginary Lands _^>i_ed Robin McKinley; _^<b_1992_^>b_ chap), which won a
World Fantasy _^<a_!T6321_AWARD_^>a_. _^<i_The Paper Grail_^>i_ (_^<b_1991_^>b_) is a quest novel, also set in northern California, mingling Arthurian Legend, Hokusai paintings, pre-Raphaelites and goodness knows what else. A children's book,
_^<i_The Magic Spectacles_^>i_ (_^<b_1991_^>b_ UK), containing a magic window, an _^<a_!T131_ALTERNATE WORLD_^>a_ and goblins, is less successfully childlike than some of his work for adults. It may be that JPB's unquenchable relish for sheer
oddity will inhibit his artistic growth, but meanwhile he is among the most enjoyable genre writers to have emerged from the 1980s. [PN]_^<n__^<n__^<b_Other works:_^>b_ _^<i_The Shadow on the Doorstep_^>i_ (1986 _^<i_IASFM_^>i_; _^<b_1987_^>b_ chap
dos with short stories by Edward _^<a_!T5055_BRYANT_^>a_); _^<i_Night Relics_^>i_ (_^<b_1994_^>b_); _^<i_Doughnuts_^>i_ (_^<b_1994_^>b_ chap)._^<b_See also:_^>b_ _^<a_!T1165_DEL REY BOOKS_^>a_; _^<a_!T4780_GOTHIC SF_^>a_; _^<a_!T4823_GREAT AND
SMALL_^>a_.
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4050
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BLAYNE, HUGO
-T-
> John Russell _^<a_!T1455_FEARN_^>a_._^<n__^<n_
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BLAYRE, CHRISTOPHER
-T-
Pseudonym of UK biologist and author Edward Heron-Allen (1861-1943) who, under his own name, wrote _^<i_The Princess Daphne_^>i_ (_^<b_1885_^>b_), a novel of psychic vampirism, and _^<i_A Fatal Fiddle_^>i_ (coll _^<b_1890_^>b_), which includes a
story centred on telepathy (> _^<a_!T6697_ESP_^>a_). After a long period away from fiction he returned as CB with a series of short weird and sf stories set in the _^<a_!T6337_NEAR FUTURE_^>a_ in the University of Cosmopoli. They appeared in
_^<i_The Purple Sapphire_^>i_ (coll _^<b_1921_^>b_; vt with other stories added _^<i_The Strange Papers of Dr Blayre_^>i_ 1932), _^<i_The Cheetah-Girl_^>i_ (_^<b_1923_^>b_) (a story deleted from the previous volume), and _^<i_Some Women of the
University_^>i_ (coll _^<b_1932_^>b_), the latter two titles being privately published. All are of high quality, but they have had little influence._^<n__^<n_Similarities in style, content and sense of humour have led to speculation that CB was
responsible for the weird fantasies appearing under the pseudonyms _^<a_!T1330_DRYASDUST_^>a_ and M.Y. _^<a_!T4930_HALIDOM_^>a_. Hard evidence is, however, lacking. [JE]_^<n__^<n_
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BLEILER, EVERETT F(RANKLIN)
-T-
(1920- ) US editor and bibliographer who for many years remained best known as the compiler of _^<i_The Checklist of Fantastic Literature:_^>i__^<i_ A Bibliography of Fantasy, Weird and Science Fiction Books Published in the English Language_^>i_
(_^<b_1948_^>b_; rev vt _^<i_The Checklist of Science-Fiction and Supernatural Fiction_^>i_ 1978), which _^<a_!T2149_SHASTA PUBLISHERS_^>a_ was formed to produce, and which soon became recognized as the cornerstone of modern sf
_^<a_!T585_BIBLIOGRAPHY_^>a_. The fact that other works -- like R. _^<a_!T2543_REGINALD_^>a_'s _^<i_Science Fiction and Fantasy Literature_^>i_ (_^<b_1979_^>b_ edn) -- have hugely expanded on its coverage (5000 books listed from the period
1800-1948) does not diminish the significance of EFB's original work. In two further books he has himself expanded upon that work: _^<i_The Guide to Supernatural Fiction_^>i_ (_^<b_1983_^>b_), solo, and _^<i_Science Fiction: The Early Years_^>i_
(dated 1990 but _^<b_1991_^>b_), with the assistance of his son, Richard _^<a_!T655_BLEILER_^>a_, bibliographies of the categories designated, are both annotated with an extraordinary thoroughness; they are essential reference sources for any
student of the field; any otherwise unsourced quotations from EFB to be found in this encyclopedia -- to which he has also contributed several entries -- come from these two volumes. Two large edited studies -- _^<i_Science Fiction Writers:
Critical Studies of the Major Authors from the Early Nineteenth Century to the Present Day_^>i_ (anth _^<b_1982_^>b_) and _^<i_Supernatural Fiction Writers: Fantasy and Horror_^>i_ (anth in 2 vols _^<b_1985_^>b_) -- cover much the same area, again
thoroughly._^<n__^<n_In collaboration with T.E. _^<a_!T1232_DIKTY_^>a_, EFB produced in the late 1940s the first series of best-of-the-year _^<a_!T195_ANTHOLOGIES_^>a_: _^<i_The Best Science Fiction Stories, 1949_^>i_ (anth _^<b_1949_^>b_) and
_^<i_The Best Science Fiction Stories, 1950_^>i_ (anth _^<b_1950_^>b_; cut vt _^<i_The Best Science Fiction Stories_^>i_ 1951 UK), both being assembled as _^<i_Science Fiction Omnibus_^>i_ (omni _^<b_1952_^>b_); _^<i_The Best Science Fiction
Stories, 1951_^>i_ (anth _^<b_1951_^>b_; cut vt _^<i_The Best Science Fiction Stories, Second Series_^>i_ 1952 UK; further cut vt _^<i_The Mindworm_^>i_ 1967 UK); _^<i_The Best Science-Fiction Stories, 1952_^>i_ (anth _^<b_1952_^>b_; cut vt
_^<i_The Best Science Fiction Stories, Third Series_^>i_ 1953 UK); _^<i_The Best Science-Fiction Stories, 1953_^>i_ (anth _^<b_1953_^>b_; cut vt _^<i_The Best Science Fiction Stories, Fourth Series_^>i_ 1955 UK) and _^<i_The Best Science Fiction
Stories, 1954_^>i_ (anth _^<b_1954_^>b_; cut vt _^<i_The Best Science Fiction Stories, Fifth Series_^>i_ 1956 UK) (the varying hyphenation of the titles is _^<i_sic_^>i_). _^<i_Frontiers in Space_^>i_ (anth _^<b_1955_^>b_) presented a selection
from the second, third and fourth volumes. A second series presented a selection of longer stories: _^<i_Year's Best Science Fiction Novels, 1952_^>i_ (anth _^<b_1952_^>b_; cut vt _^<i_Year's Best Science Fiction Novels_^>i_ 1953 UK); _^<i_Year's
Best Science Fiction Novels, 1953_^>i_ (anth _^<b_1953_^>b_; cut vt _^<i_Category Phoenix_^>i_ 1955 UK) and _^<i_Year's Best Science Fiction Novels, 1954_^>i_ (anth _^<b_1954_^>b_; cut vt _^<i_Year's Best Science Fiction Novels, Second Series_^>i_
1955 UK)._^<n__^<n_EFB joined Dover Publications in 1955, rising to Executive Vice-President in 1967, and retiring in 1977. Beginning with _^<i_Ghost and Horror Stories of Ambrose Bierce_^>i_ (coll _^<b_1964_^>b_), he edited for the firm a series
of well produced, cogently introduced and sometimes revelatory editions and anthologies of a wide range of fantasy writers, some of whom had been forgotten. The anthologies _^<i_per se_^>i_ included _^<i_Three Gothic Novels_^>i_ (omni
_^<b_1960_^>b_), _^<i_Five Victorian Ghost Novels_^>i_ (omni _^<b_1971_^>b_), _^<i_Three Supernatural Novels of the Victorian Period_^>i_ (omni _^<b_1975_^>b_) and _^<i_A Treasury of Victorian Ghost Stories_^>i_ (omni _^<b_1981_^>b_). Of more
original importance than any of these, perhaps, was EFB's edition of _^<i_The Frank Reade Library_^>i_ (omni _^<b_1979-86_^>b_) in 10 vols, which reprinted the complete sequence (> _^<a_!T1606_FRANK READE LIBRARY_^>a_; Luis
_^<a_!T2101_SENARENS_^>a_). He has also translated works from Danish, Dutch, French, German, Italian, Latin, Polish and Swedish; his _^<i_Prophecies and Enigmas of Nostradamus_^>i_ (trans _^<b_1979_^>b_ US) as by Liberte E. LeVert (an anagram of
Everett Bleiler) was of some genre interest. EFB won the _^<a_!T1900_PILGRIM AWARD_^>a_ in 1984. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Imagination Unlimited_^>i_ (anth _^<b_1952_^>b_) ed with T.E. Dikty; editions of the work of Algernon
_^<a_!T638_BLACKWOOD_^>a_, P. Busson, Robert W. _^<a_!T5229_CHAMBERS_^>a_, Arthur Conan _^<a_!T1312_DOYLE_^>a_, Lord _^<a_!T1353_DUNSANY_^>a_, M.R. James, Sheridan Le Fanu, H.P. _^<a_!T3465_LOVECRAFT_^>a_, G. _^<a_!T2934_MEYRINK_^>a_, G.M.W.
Reynolds, Mrs J.H. Riddell and H.G. _^<a_!T5528_WELLS_^>a_._^<b_See also:_^>b_ _^<a_!T189_ANONYMOUS SF AUTHORS_^>a_; _^<a_!T963_CRITICAL AND HISTORICAL WORKS ABOUT SF_^>a_; _^<a_!T1245_DISCOVERY AND INVENTION_^>a_; _^<a_!T4443_HISTORY OF SF_^>a_;
(1959- ) US bibliographer whose _^<i_The Index to Adventure Magazine_^>i_ (2 vols _^<b_1990_^>b_) and _^<i_The Annotated Index to The Thrill Book_^>i_ (_^<b_1991_^>b_) are invaluable explorations into rich sources of pulp literature hitherto left
generally unexamined. Of more direct sf interest is his collaboration with his father, Everett F. _^<a_!T654_BLEILER_^>a_ (_^<i_whom see for details_^>i_), on the definitive _^<i_Science Fiction: The Early Years_^>i_ (dated 1990 but
_^<b_1991_^>b_). RB has contributed several entries to this encyclopedia. [JC]_^<n__^<n_
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BLIJSTRA, REIN
-T-
[r] > _^<a_!T524_BENELUX_^>a_._^<n__^<n_
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BLIPVERTS
-T-
> _^<a_!T3729_MAX HEADROOM_^>a_._^<n__^<n_
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BLISH, JAMES (BENJAMIN)
-T-
(1921-1975) US writer. JB's early career in sf followed the usual pattern. He was a fan during the 1930s. His first short story, "Emergency Refueling" (1940), was published in _^<a_!T5847_SUPER SCIENCE STORIES_^>a_. He belonged to the well known New
York fan group the _^<a_!T1665_FUTURIANS_^>a_, where he became friendly with such writers as Damon _^<a_!T4098_KNIGHT_^>a_ and C.M. _^<a_!T6353_KORNBLUTH_^>a_. He studied microbiology at Rutgers, graduating in 1942, and was then drafted, serving as
a medical laboratory technician in the US Army. In 1945-6 he carried out postgraduate work in zoology at Columbia University, abandoning this to become a writer. He was married to Virginia _^<a_!T4054_KIDD_^>a_ 1947-63 and then, from 1964 until his
death, to Judith Ann _^<a_!T4213_LAWRENCE_^>a_. Three of his early short stories, two of them collaborations, were written under the pseudonyms Donald _^<a_!T4209_LAVERTY_^>a_, John _^<a_!T3521_MACDOUGAL_^>a_ and Arthur Merlyn._^<n__^<n_JB worked
hard to develop his craft, but not until 1950, when the first of his _^<b_Okie_^>b_ stories appeared in _^<a_!T277_ASTOUNDING SCIENCE-FICTION_^>a_, did it became clear that he could become an sf writer of unusual depth. The _^<b_Okie_^>b_ stories
featured flying _^<a_!T727_CITIES_^>a_, powered by _^<a_!T198_ANTIGRAVITY_^>a_ devices called _^<a_!T2368_SPINDIZZIES_^>a_, moving through the Galaxy looking for work, much as the Okies did in the 1930s when they escaped from the dustbowl. The
first _^<b_Okie_^>b_ book, a coherent if episodic novel, was _^<i_Earthman, Come Home_^>i_ (1950-53 var mags; fixup _^<b_1955_^>b_; cut 1958 ). Three more followed: _^<i_They Shall Have Stars_^>i_ (1952-4 _^<i_ASF_^>i_; fixup _^<b_1956_^>b_UK; rev
vt _^<i_Year 2018!_^>i_ 1957 US), _^<i_The Triumph of Time_^>i_ (_^<b_1958_^>b_; vt _^<i_A Clash of Cymbals_^>i_ UK) and _^<i_A Life for the Stars_^>i_ (_^<b_1962_^>b_). These four books were finally brought together in a single volume,
_^<i__^<a_!B9125_CITIES IN FLIGHT_^>a__^>i_ (omni _^<b_1970_^>b_), where they appeared in the order of their internal chronology: _^<i_They Shall Have Stars_^>i_, _^<i_A Life for the Stars_^>i_, _^<i_Earthman, Come Home_^>i_ and _^<i_The Triumph of
Time_^>i_. Underpinning the pulp-style plotting of much of this series is a serious and pessimistic interest in the cyclic nature of _^<a_!T4442_HISTORY_^>a_, partly derived from JB's reading of Oswald Spengler (1880-1936), especially _^<i_The
Decline of the West_^>i_ (_^<b_1918-22_^>b_). The cycle is carried, at the end of _^<i_The Triumph of Time_^>i_, from the death of our Universe to the birth of the next, in a memorable passage where Mayor Amalfi becomes, literally, the deep
structure of the new Universe._^<n__^<n_The years 1950-58 were extraordinarily productive for JB, and many of his best short stories were published in this period, including "Beanstalk" (1952), "Surface Tension" (1952), "Common Time" (1953), which
is probably his most praised story, "Beep" (1954) and "A Work of Art" (1956). Several appear in his first collection, _^<i_Galactic Cluster_^>i_ (coll _^<b_1959_^>b_; with 3 stories cut and "Beanstalk" added, rev 1960 UK). JB's own choice was
published as _^<i_Best Science Fiction Stories of James Blish_^>i_ (coll _^<b_1965_^>b_UK; with 1 story cut and 2 added, rev 1973 UK; rev vt _^<i_The Testament of Andros_^>i_UK). 6 of the 8 stories in this collection, along with an introduction by
Robert A.W. _^<a_!T3472_LOWNDES_^>a_, appear with 6 new stories in the posthumous _^<i__^<a_!B9126_THE BEST OF JAMES BLISH_^>a__^>i_ (coll _^<b_1979_^>b_ US)._^<n__^<n_These years also saw the publication of his first novel in book form, _^<i_Jack
of Eagles_^>i_ (_^<i_TWS_^>i_ 1949 as "Let the Finder Beware"; rev _^<b_1952_^>b_; cut 1953; full text vt _^<i_ESP-er_^>i_ 1958). It was followed by _^<i_The Warriors of Day_^>i_ (1951 _^<i_Two Complete Science Adventure Books_^>i_ as "Sword of
Xota"; _^<b_1953_^>b_), _^<i__^<a_!B9127_THE SEEDLING STARS_^>a__^>i_ (1952-6 var mags; coll of linked stories _^<b_1957_^>b_), _^<i_The Frozen Year_^>i_ (_^<b_1957_^>b_; vt _^<i_Fallen Star_^>i_ UK), _^<i__^<a_!B9016_A CASE OF CONSCIENCE_^>a__^>i_
(part 1 in _^<i_If_^>i_, 1953; _^<b_1958_^>b_) and _^<i_VOR_^>i_ (part 1949 _^<i_TWS_^>i_ with Damon Knight; exp _^<b_1958_^>b_). _^<i_Jack of Eagles_^>i_ contains one of the few attempts in sf to give a scientific rationale for telepathy.
_^<i__^<a_!B9016_A CASE OF CONSCIENCE_^>a__^>i_, which won the 1959 _^<a_!T4551_HUGO_^>a_ for Best Novel, was one of the first serious attempts to deal with _^<a_!T2551_RELIGION_^>a_ in sf, and remains one of the most sophisticated in its tale of a
priest faced with a planet whose inhabitants seem free of the concept of Original Sin. In _^<i__^<a_!B9127_THE SEEDLING STARS_^>a__^>i_ and other stories of the period, JB introduced biological themes (> _^<a_!T611_BIOLOGY_^>a_). This area of
science had previously been rather neglected in sf in favour of the "harder" sciences -- physics, astronomy, technology, etc. _^<i__^<a_!B9127_THE SEEDLING STARS_^>a__^>i_ is an important roadmarker in the early development of sf about
_^<a_!T4657_GENETIC ENGINEERING_^>a_._^<n__^<n_JB was interested in _^<a_!T2924_METAPHYSICS_^>a_, and some critics regard as his most important work the trilogy _^<b_After Such Knowledge_^>b_: _^<i__^<a_!B9016_A CASE OF CONSCIENCE_^>a__^>i_,
_^<i_Doctor Mirabilis_^>i_ (_^<b_1964_^>b_UK; rev 1971 US), and _^<i_Black Easter; or, Faust Aleph-Null_^>i_ (_^<b_1968_^>b_) and _^<i_The Day after Judgment_^>i_ (_^<b_1971_^>b_); he regarded the last two books as one novel, and indeed they were
so published in _^<i_Black Easter and The Day After Judgement_^>i_ (omni _^<b_1980_^>b_US; vt _^<i_The Devil's Day_^>i_ 1990 US) -- hence his use of the term "trilogy". _^<b_After Such Knowledge_^>b_ poses a question once expressed by JB: "Is the
desire for secular knowledge, let alone the acquisition and use of it, a misuse of the mind, and perhaps even actively evil?" This is one of the fundamental themes of sf, and is painstakingly explored in _^<i_Doctor Mirabilis_^>i_, an historical
novel which treats the life of the 13th-century scientist and theologian Roger Bacon (_^<i_c_^>i_1214-1292). It deals with the archetypal sf theme of _^<a_!T829_CONCEPTUAL BREAKTHROUGH_^>a_ from one intellectual model of the Universe to another,
more sophisticated model. _^<i_Black Easter_^>i_, a better and more unified work than its sequel _^<i_The Day After Judgment_^>i_, is a strong fantasy in which black _^<a_!T3598_MAGIC_^>a_ -- treated here as a science or, as JB has it, a "scholium"
-- releases Satan into the world again; Satan rules Heaven in the sequel. The four books were collected in _^<i_After Such Knowledge_^>i_ (omni _^<b_1991_^>b_ UK)._^<n__^<n_As a writer, JB was thrifty -- to the point of parsimony in his later
years. He returned to many of his best stories to revise and expand them, sometimes into novel form. Apart from those already mentioned, he also used this treatment on an early short story, "Sunken Universe" (1942 as by Arthur Merlyn), and built it
into another story, "Surface Tension" (1952 _^<i_Gal_^>i_), which revised again became part of _^<i__^<a_!B9127_THE SEEDLING STARS_^>a__^>i_; "Surface Tension" was his most popular and most anthologized story. Other examples are _^<i_Titan's
Daughter_^>i_ (1952, in _^<i_Future Tense_^>i_, ed Kendell Foster _^<a_!T978_CROSSEN_^>a_, as "Beanstalk"; vt "Giants in the Earth" in _^<i_The Original Science Fiction Stories_^>i_ 1956; exp _^<b_1961_^>b_) and _^<i_The Quincunx of Time_^>i_ (1954
_^<i_Gal_^>i_ as "Beep"; exp _^<b_1973_^>b_)._^<n__^<n_JB wrote two not very successful sf novels in collaboration: _^<i_The Duplicated Man_^>i_ (1953 _^<i_Dynamic SF_^>i_; _^<b_1959_^>b_) with Robert A.W. _^<a_!T3472_LOWNDES_^>a_ and _^<i_A
Torrent of Faces_^>i_ (fixup _^<b_1967_^>b_) with Norman L. _^<a_!T4100_KNIGHT_^>a_. The latter is a tale of Earth suffering from, but to a degree coping with, _^<a_!T1752_OVERPOPULATION_^>a_._^<n__^<n_JB's later years were much preoccupied with
the _^<a_!T2429_STAR TREK_^>a_ books. These are _^<i_Star Trek_^>i_ * (coll _^<b_1967_^>b_), _^<i_Star Trek 2_^>i_ * (coll _^<b_1968_^>b_), _^<i_#3_^>i_ * (coll _^<b_1969_^>b_), _^<i_#4_^>i_ * (coll _^<b_1971_^>b_), _^<i_#5_^>i_ * (coll
They are based on the original tv scripts, and hence are in fact collaborations, but _^<i_Spock Must Die_^>i_ * (_^<b_1970_^>b_) is an original work, the first original adult _^<b_Star Trek_^>b_ novel (it was preceded by Mack
_^<a_!T2576_REYNOLDS_^>a_'s _^<i_Mission to Horatius_^>i_ * [_^<b_1968_^>b_], a juvenile). The posthumous _^<i_Star Trek 12_^>i_ (coll _^<b_1977_^>b_) contained two adaptations (out of five) completed by Judith Ann Lawrence, who also completed some
of the work in _^<i_#11_^>i_. Omnibus editions include: _^<i_The Star Trek Reader_^>i_ * (omni _^<b_1976_^>b_), containing _^<i_#2_^>i_, _^<i_#3_^>i_ and _^<i_#8_^>i_; _^<i_The Star Trek Reader II_^>i_ * (omni _^<b_1977_^>b_), containing
_^<i_#1_^>i_, _^<i_#4_^>i_ and _^<i_#9_^>i_; _^<i_The Star Trek Reader III_^>i_ * (omni _^<b_1977_^>b_), containing _^<i_#5_^>i_, _^<i_#6_^>i_ and _^<i_#7_^>i_; _^<i_The Star Trek Reader IV_^>i_ * (omni _^<b_1978_^>b_), containing _^<i_#10_^>i_,
_^<i_#12_^>i_ and _^<i_Spock Must Die_^>i_. Re-sorted in order of tv appearance, they were reassembled as _^<i_Star Trek: The Classic Episodes #1_^>i_ * (coll _^<b_1991_^>b_) with J.A. Lawrence, 27 first-season episodes, _^<i_Star Trek: The Classic
Episodes #2_^>i_ * (coll _^<b_1991_^>b_), 25 second-season episodes, and _^<i_Star Trek: The Classic Episodes #3_^>i_ * (coll _^<b_1991_^>b_) with J.A. Lawrence, 24 third-season episodes._^<n__^<n_Aside from _^<i_Spock Must Die_^>i_ and _^<i_A Life
for the Stars_^>i_ (_^<b_1962_^>b_), the fourth of the _^<b_Okie_^>b_ books, JB wrote four more juvenile novels, none very successful. These are a short and rather didactic series -- _^<i_The Star Dwellers_^>i_ (_^<b_1961_^>b_) and _^<i_Mission to
the Heart Stars_^>i_ (_^<b_1965_^>b_) -- along with _^<i_Welcome to Mars!_^>i_ (_^<b_1967_^>b_) and, the weakest of them, _^<i_The Vanished Jet_^>i_ (_^<b_1968_^>b_)._^<n__^<n_JB's output remained fairly steady during the 1960s and 1970s, but the
overall standard of his work had dropped, although his penultimate serious work was interesting. This was _^<i_Midsummer Century_^>i_ (_^<b_1972_^>b_US; with 2 stories added, as coll 1974 US), in which the disembodied consciousness of a scientist
is cast forward into a _^<a_!T1432_FAR FUTURE_^>a_ where it meets different forms of _^<a_!T68_AI_^>a_ and intervenes in an evolutionary struggle. It is hard to read this story of active mental life cut off from the physical world without thinking
of the frail JB's last years. He had a successful operation for throat cancer in the 1960s but died from lung cancer in 1975, characteristically turning out an essay on Spengler and sf on his deathbed -- its _^<a_!T1142_DEFINITION OF SF_^>a_ is
"the internal (intracultural) form taken by syncretism in the West". JB was also one of the earliest and most influential of sf critics, under the pseudonym William Atheling Jr. Much of his criticism was collected in two books, _^<i_The Issue at
Hand_^>i_ (coll _^<b_1964_^>b_) and _^<i_More Issues at Hand_^>i_ (coll _^<b_1970_^>b_). It is notably stern in many cases, often pedantic, but intelligent and written from a much wider perspective than was usual for fan criticism of his era.
Further essays, including that on Spengler noted above, appear in the posthumous, curate's egg collection _^<i_The Tale that Wags the God_^>i_ (coll _^<b_1987_^>b_; published as by JB), ed Cy Chauvin. As anthologist, JB edited _^<i_New Dreams this
Morning_^>i_ (anth _^<b_1966_^>b_), _^<i_Nebula Award Stories 5_^>i_ (anth _^<b_1970_^>b_) and _^<i_Thirteen O'Clock_^>i_ (coll _^<b_1972_^>b_), a collection of short stories by C.M. Kornbluth. He also edited the only issue of the sf magazine
_^<a_!T5322_VANGUARD SCIENCE FICTION_^>a_ (June 1958)._^<n__^<n_JB did much to encourage younger writers, and was one of the founders of the _^<a_!T2947_MILFORD SCIENCE FICTION WRITERS' CONFERENCE_^>a_ (he and J.A. Lawrence also founded the UK
Milford workshop), and an active charter member of the _^<a_!T2147_SCIENCE FICTION WRITERS OF AMERICA_^>a_. He also became, in 1970, one of the founder members of the _^<a_!T2066_SCIENCE FICTION FOUNDATION_^>a_ in the UK. The latter organization
named the James Blish _^<a_!T6321_AWARD_^>a_ for excellence in sf criticism in honour of him after his death. The first award went in 1977 to Brian W. _^<a_!T87_ALDISS_^>a_, but it then lapsed for lack of funds._^<n__^<n_His dominant intellectual
passions, which often recur in his writing, were, aside from Spengler, the works of Ezra Pound, James Joyce (he published papers on both of them) and James Branch _^<a_!T5115_CABELL_^>a_ (he edited the Cabell Society magazine _^<i_Kalki_^>i_), the
music of Richard Strauss, and relativistic physics. JB was an interesting example of a writer with an enquiring mind and a strong literary bent -- with some of the crotchets of the autodidact -- who turned his attention to fundamentally pulp
_^<a_!T4659_GENRE-SF_^>a_ materials and in so doing transformed them. His part in the transformation of pulp sf to something bigger is historically of the first importance. Nonetheless, he was not a naturally easy or harmonious writer; his style
was often awkward, and in its sometimes anomalous displays of erudition it could appear cold. On the other hand, there was a visionary, romantic side to JB which, though carefully controlled, is often visible below the surface._^<n__^<n_JB had a
scholastic temperament, and in 1969 emigrated to England to be close to Oxford, where he is buried. His manuscripts and papers are in the Bodleian Library. These include several unpublished works of both mainstream fiction and sf.
[PN]_^<n__^<n__^<b_Other works:_^>b_ _^<i_So Close to Home_^>i_ (coll _^<b_1961_^>b_); _^<i_The Night Shapes_^>i_ (_^<b_1962_^>b_); _^<i_Anywhen_^>i_ (coll _^<b_1970_^>b_; with 1 story added, rev _^<b_1971_^>b_ UK); _^<i_. . . And All the Stars a
Stage_^>i_ (1960 _^<i_AMZ_^>i_; exp _^<b_1971_^>b_); _^<i_Get Out of My Sky, and There Shall Be No Darkness_^>i_ (coll _^<b_1980_^>b_ UK); _^<i_The Seedling Stars/Galactic Cluster_^>i_ (omni _^<b_1983_^>b_)._^<b_About the author:_^>b_ By far the
most complete critical and biographical account is _^<i_Imprisoned in a Tesseract: The Life and Work of James Blish_^>i_ (_^<b_1988_^>b_) by David _^<a_!T4045_KETTERER_^>a_; also essential is _^<i_A Clash of Cymbals: The Triumph of James Blish_^>i_
(chap _^<b_1979_^>b_) by Brian M. _^<a_!T2385_STABLEFORD_^>a_; relevant are "_^<i_After Such Knowledge_^>i_: James Blish's Tetralogy" by Bob Rickard in _^<i_A Multitude of Visions_^>i_ (anth _^<b_1975_^>b_) ed Cy Chauvin, and the special Blish
issue of _^<i_FSF_^>i_ (April 1972)._^<b_See also:_^>b_ _^<a_!T29_ADAM AND EVE_^>a_; _^<a_!T102_ALIENS_^>a_; _^<a_!T200_ANTI-INTELLECTUALISM IN SF_^>a_; _^<a_!T257_ARTS_^>a_; _^<a_!T273_ASTEROIDS_^>a_; _^<a_!T710_CHILDREN'S SF_^>a_;
_^<a_!T811_COLONIZATION OF OTHER WORLDS_^>a_; _^<a_!T822_COMMUNICATIONS_^>a_; _^<a_!T826_COMPUTERS_^>a_; _^<a_!T902_COSMOLOGY_^>a_; _^<a_!T963_CRITICAL AND HISTORICAL WORKS ABOUT SF_^>a_; _^<a_!T1245_DISCOVERY AND INVENTION_^>a_; _^<a_!T6661_END OF
THE WORLD_^>a_; _^<a_!T6717_EVOLUTION_^>a_; _^<a_!T1410_FANTASTIC VOYAGES_^>a_; _^<a_!T1443_FASTER THAN LIGHT_^>a_; _^<a_!T1678_GALACTIC EMPIRES_^>a_; _^<a_!T4655_GENERATION STARSHIPS_^>a_; _^<a_!T4754_GOLDEN AGE OF SF_^>a_; _^<a_!T4780_GOTHIC
SF_^>a_; _^<a_!T4817_GRAVITY_^>a_; _^<a_!T4823_GREAT AND SMALL_^>a_; _^<a_!T4443_HISTORY OF SF_^>a_; _^<a_!T4595_IMAGINARY SCIENCE_^>a_; _^<a_!T3771_IMMORTALITY_^>a_; _^<a_!T3957_JUPITER_^>a_; _^<a_!T3435_LONGEVITY (IN WRITERS AND
PUBLICATIONS)_^>a_; _^<i_The_^>i_ _^<a_!T3595_MAGAZINE OF FANTASY AND SCIENCE FICTION_^>a_; _^<a_!T3677_MARS_^>a_; _^<a_!T3717_MATHEMATICS_^>a_; _^<a_!T2918_MESSIAHS_^>a_; _^<a_!T3013_MONSTERS_^>a_; _^<a_!T3118_MUSIC_^>a_; _^<a_!T1727_ORIGIN OF
_^<a_!T6080_TRANSPORTATION_^>a_; _^<a_!T5281_UNDER THE SEA_^>a_; _^<a_!T5303_UTOPIAS_^>a_; _^<a_!T5492_WEAPONS_^>a_.
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_^<b_1._^>b_ Film (1958). Tonylyn/Paramount. Dir Irvin S. Yeaworth Jr, starring Steve McQueen, Aneta Corseaut, Earl Rowe. Screenplay Theodore Simonson, Kate Phillips. 85 mins. Colour._^<n__^<n_An _^<a_!T98_ALIEN_^>a_ Blob which grows by absorbing
flesh reaches Earth in a hollow meteorite and begins to consume the inhabitants of a small US town. Constantly enlarging, it is finally defeated by a young man who discovers that extreme cold renders it harmless. The special effects are by Barton
Sloane. Simple, moderately well made, _^<i_TB_^>i_ is now affectionately remembered as one of the definitive _^<a_!T3011_MONSTER MOVIES_^>a_ of the period. A 1971 sequel, _^<i_Beware the Blob_^>i_ (vt _^<i_Son of Blob_^>i_ US), was dir Larry
Hagman, better known as J.R. of the tv soap opera _^<i_Dallas_^>i_. A black-comedy spoof, it is only mildly amusing._^<n__^<n__^<b_2._^>b_ Film (1988). Palisades California/TriStar. Dir Chuck Russell, starring Shawnee Smith, Kevin Dillon, Donovan
Leitch, Del Close. Screenplay Russell, Frank Darabont. 95 mins. Colour._^<n__^<n_This remake, which nowhere credits its 1958 predecessor, follows the original story quite closely. Proficient and exciting, with good and expensive state-of-the-art
horror special effects (imploding faces, a man sucked down a plughole) and a spunky heroine (Smith), it is nonetheless rigidly formulaic. All the main changes (the Blob is now the result of a US Government experiment in biological warfare) are
derived from other films, notably _^<i_The_^>i_ _^<a_!T945_CRAZIES_^>a_ (1973). Distance may have lent too much charm to the original; this has none at all. The novelization is _^<i_The Blob_^>i_ * (_^<b_1988_^>b_) by David
(1917-1994) US writer of _^<a_!T1412_FANTASY_^>a_, _^<a_!T4509_HORROR_^>a_, thrillers and a relatively small amount of sf. Born in Chicago, RB was extremely active from 1935 in his several areas of specialization, but is best known for
_^<i_Psycho_^>i_ (_^<b_1959_^>b_), from which Alfred Hitchcock made the famous film (1960), and to which RB wrote two sequels, _^<i_Psycho II_^>i_ (_^<b_1982_^>b_) -- not related to the 1983 film sequel of the same name -- and _^<i_Psycho
House_^>i_ (_^<b_1990_^>b_)._^<n__^<n_RB began as a devotee of the work of H.P. _^<a_!T3465_LOVECRAFT_^>a_, who treated him with kindness. His first published story was "Lilies" (1934) in the semi-professional _^<a_!T3700_MARVEL TALES_^>a_; his
first important sale, "The Secret in the Tomb" (1935), appeared in _^<i_Weird Tales_^>i_, the magazine which, along with _^<i_Fantastic Adventures_^>i_, published most of the over 100 stories he wrote in the first decade of his career. Towards the
end of this period he contributed the 22 _^<b_Lefty Feep_^>b_ fantasy stories to _^<i_Fantastic Adventures_^>i_ (1942-6); most were later assembled as _^<i_Lost in Time and Space with Lefty Feep_^>i_ (coll _^<b_1987_^>b_). He published a booklet in
the _^<a_!T146_AMERICAN FICTION_^>a_ series, _^<i_Sea-Kissed_^>i_ (coll _^<b_1945_^>b_ chap UK), the title story of which was originally "The Black Kiss" (1937) by RB and Henry _^<a_!T4144_KUTTNER_^>a_; but his first book-length volume, collecting
much of his best early fantasy and horror and published by _^<a_!T232_ARKHAM HOUSE_^>a_, was _^<i_The Opener of the Way_^>i_ (coll _^<b_1945_^>b_; in 2 vols as _^<i_The Opener of the Way_^>i_ 1976 UK and _^<i_House of the Hatchet_^>i_ 1976 UK);
confusingly, a US compilation volume was published with a very similar UK vt, _^<i_Yours Truly, Jack the Ripper_^>i_ (coll _^<b_1962_^>b_; vt _^<i_The House of the Hatchet, and Other Tales of Horror_^>i_ 1965 UK), extracting a different mix of
stories from _^<i_The Opener of the Way_^>i_ plus some from the later _^<i_Pleasant Dreams -- Nightmares_^>i_ (coll _^<b_1960_^>b_; cut vt _^<i_Nightmares_^>i_ 1961; with fewer cuts and some additions vt _^<i_Pleasant Dreams_^>i_ 1979); _^<i_Yours
Truly, Jack the Ripper_^>i_ was accompanied by _^<i_More Nightmares_^>i_ (coll _^<b_1962_^>b_), selected from the same sources. These titles have fortunately been superseded as overviews of his career by _^<i_The Selected Stories of Robert
Bloch_^>i_ (coll _^<b_1988_^>b_ in 3 vols: _^<i_Final Reckonings_^>i_ -- which single volume is misleadingly vt _^<i_The Complete Stories of Robert Bloch, Volume 1: Final Reckonings_^>i_ 1990 -- _^<i_Bitter Ends_^>i_ and _^<i_Last Rites_^>i_).
During this period and afterwards, RB remained an active sf and fantasy fan; a collection of fanzine articles, _^<i_The Eighth Stage of Fandom_^>i_ (coll _^<b_1962_^>b_), ed Earl _^<a_!T4020_KEMP_^>a_, was assembled for the 1962 World Science
Fiction _^<a_!T856_CONVENTION_^>a_. It is quite likely that his use of the term _^<a_!T3783_INNER SPACE_^>a_, in his 1948 World Science Fiction Convention speech, was the first formulation of the concept later articulated by J.B.
_^<a_!T1991_PRIESTLEY_^>a_ and J.G. _^<a_!T378_BALLARD_^>a_; the speech was printed in the Torcon Report, issued by the convention committee. In the first decade of his career RB also turned to radio work: _^<i_Stay Tuned for Terror_^>i_ (1945), a
39-episode syndicated programme of adapted RB stories, became popular. RB sometimes used the pseudonym Tarleton Fiske during this period, and also contributed work to sf and horror magazines under various house names, including E.K.
_^<a_!T3874_JARVIS_^>a_ and later Will Folke, Wilson _^<a_!T3977_KANE_^>a_ and John Sheldon. His best-known story from this time was _^<i_Yours Truly, Jack the Ripper_^>i_ (1943 _^<i_Weird Tales_^>i_; _^<b_1991_^>b_ chap); much later he amplified
his treatment of the fog-shrouded phenomenon of 1888 in _^<i_The Night of the Ripper_^>i_ (_^<b_1984_^>b_). After the 1940s he continued to produce a wide variety of material, though less prolifically than before. Much of his later work, after the
success of _^<i_Psycho_^>i_, was in Hollywood. His numerous collections published from 1960 combine old and new work, so that much of his pre-WWII work has become available._^<n__^<n_His output of sf proper has been comparatively slender; the
stories assembled in _^<i_Atoms and Evil_^>i_ (coll _^<b_1962_^>b_) are representative. A witty, polished craftsman, he laced his horror with a wry humour which only occasionally slips into whimsy. For half a century he was active as an sf fan and
patron, and his writing shows complete professional control over sf themes when the need arises; _^<i_Once Around the Bloch: an Unauthorized Autobiography_^>i_ _^<b_1993_^>b_) reveals a humorous, self-deprecating person fully -- but modestly --
aware of his wide competence. He was awarded a 1959 _^<a_!T4551_HUGO_^>a_ for Best Short Story for "That Hell-Bound Train" (1958), though strictly speaking it is fantasy, not sf; and was given a Special Award in 1984. [JC]_^<n__^<n__^<b_Other
works:_^>b_ _^<i_Terror in the Night and Other Stories_^>i_ (coll _^<b_1958_^>b_); _^<i_Blood Runs Cold_^>i_ (coll _^<b_1961_^>b_; with 4 stories cut 1963 UK); _^<i_Horror-7_^>i_ (coll _^<b_1963_^>b_); _^<i_Bogey Men_^>i_ (coll _^<b_1963_^>b_);
_^<i_Tales in a Jugular Vein_^>i_ (coll _^<b_1965_^>b_); _^<i_The Skull of the Marquis de Sade_^>i_ (coll _^<b_1965_^>b_), the title story of which was filmed as _^<i_The Skull_^>i_ (1965) and later published separately as _^<i_The Skull of the
Marquis de Sade_^>i_ (1945 _^<i_Weird Tales_^>i_; _^<b_1992_^>b_ chap); _^<i_Chamber of Horrors_^>i_ (coll _^<b_1966_^>b_); _^<i_The Living Demons_^>i_ (coll _^<b_1967_^>b_); _^<i_This Crowded Earth_^>i_ (1958 _^<i_AMZ_^>i_; _^<b_1968_^>b_ dos) and
_^<i_Ladies' Day_^>i_ (_^<b_1968_^>b_ dos), bound together; _^<i_Dragons and Nightmares_^>i_ (coll _^<b_1968_^>b_), humorous fantasies; _^<i_Bloch and Bradbury_^>i_ (anth _^<b_1969_^>b_; vt _^<i_Fever Dream and Other Fantasies_^>i_ 1970 UK);
_^<i_Fear Today, Gone Tomorrow_^>i_ (coll _^<b_1971_^>b_); _^<i_It's All in Your Mind_^>i_ (1955 _^<i_Imaginative Tales_^>i_ as "The Big Binge"; _^<b_1971_^>b_); _^<i_Sneak Preview_^>i_ (1959 _^<i_AMZ_^>i_; _^<b_1971_^>b_); _^<i_The King of
Terrors_^>i_ (coll _^<b_1977_^>b_); _^<i_Cold Chills_^>i_ (coll _^<b_1977_^>b_); _^<i_The Best of Robert Bloch_^>i_ (coll _^<b_1977_^>b_); _^<i_Strange Eons_^>i_ (_^<b_1978_^>b_); _^<i_Out of the Mouths of Graves_^>i_ (coll _^<b_1978_^>b_);
_^<i_Such Stuff as Screams are Made Of_^>i_ (coll _^<b_1979_^>b_); _^<i_Mysteries of the Worm: All the Cthulhu Mythos Stories of Robert Bloch_^>i_ (coll _^<b_1981_^>b_); _^<i_The Twilight Zone: The Movie_^>i_ * (coll of linked stories
_^<b_1983_^>b_), screenplay adaptations; _^<i_Out of my Head_^>i_ (coll _^<b_1986_^>b_); _^<i_Midnight Pleasures_^>i_ (coll _^<b_1987_^>b_); _^<i_Fear and Trembling_^>i_ (coll _^<b_1989_^>b_); _^<i_Lori_^>i_ (_^<b_1989_^>b_), horror; _^<i_The
Jekyll Legacy_^>i_ * (_^<b_1990_^>b_) with Andre _^<a_!T3243_NORTON_^>a_, a sequel to the Robert Louis _^<a_!T5731_STEVENSON_^>a_ novella; _^<i_Psycho-Paths_^>i_ (anth _^<b_1991_^>b_) and _^<i_Monsters in our Midst_^>i_ (anth _^<b_1993_^>b_), both
with (anon) Martin Harry _^<a_!T4842_GREENBERG_^>a_; _^<i_The Early Fears _^>i_(coll _^<b_1994_^>b_), mostly early work reprinted elsewhere._^<b_Associational:_^>b_ Two omnibuses conveniently assemble RB's most interesting non-genre novels:
_^<i_Unholy Trinity: Three Novels of Suspense_^>i_ (omni _^<b_1986_^>b_), which contains _^<i_The Scarf_^>i_ (_^<b_1947_^>b_; vt _^<i_The Scarf of Passion_^>i_ 1949; rev 1966), _^<i_The Deadbeat_^>i_ (_^<b_1960_^>b_) and _^<i_The Couch_^>i_ *
(_^<b_1962_^>b_), from the 1962 film; and _^<i_Screams: Three Novels of Terror_^>i_ (omni _^<b_1989_^>b_), which contains _^<i_The Will to Kill_^>i_ (_^<b_1954_^>b_), _^<i_Firebug_^>i_ (_^<b_1961_^>b_) and _^<i_The Star Stalker_^>i_
(_^<b_1968_^>b_). Further associational titles of interest include _^<i_The Kidnapper_^>i_ (_^<b_1954_^>b_), _^<i_Spiderweb_^>i_ (_^<b_1954_^>b_), _^<i_Shooting Star_^>i_ (_^<b_1958_^>b_ dos), _^<i_Terror_^>i_ (_^<b_1962_^>b_), _^<i_The Todd
Dossier_^>i_ (_^<b_1969_^>b_) as by Collier Young, _^<i_Night-World_^>i_ (_^<b_1972_^>b_), _^<i_American Gothic_^>i_ (_^<b_1974_^>b_), _^<i_There is a Serpent in Eden_^>i_ (_^<b_1979_^>b_; vt _^<i_The Cunning_^>i_ 1981)._^<b_About the author:_^>b_
"Robert Bloch" in _^<i_Seekers of Tomorrow_^>i_ (_^<b_1966_^>b_) by Sam _^<a_!T3074_MOSKOWITZ_^>a_; _^<i_The Complete Robert Bloch: An Illustrated, Comprehensive Bibliography_^>i_ (_^<b_1987_^>b_) by Randall D. Larson._^<b_See also:_^>b_
_^<a_!T1412_FANTASY_^>a_; _^<a_!T3540_MACHINES_^>a_; _^<i_The_^>i_ _^<a_!T3595_MAGAZINE OF FANTASY AND SCIENCE FICTION_^>a_; _^<a_!T2551_RELIGION_^>a_; _^<a_!T2646_ROBOTS_^>a_; _^<a_!T2071_SF IN THE CLASSROOM_^>a_; _^<a_!T2115_SEX_^>a_;
_^<a_!T2300_SOCIOLOGY_^>a_.
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BLOCK, THOMAS H(ARRIS)
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(1945- ) US writer whose novels are often borderline _^<a_!T5917_TECHNOTHRILLERS_^>a_, especially _^<i_Mayday_^>i_ (_^<b_1980_^>b_) and the _^<a_!T6337_NEAR-FUTURE_^>a_ _^<i__^<a_!B9281_ORBIT_^>a__^>i_ (_^<b_1982_^>b_), in which a 3900mph
(6275kph) airliner is gimmicked by saboteurs into flying into orbit. _^<i_Airship Nine_^>i_ (_^<b_1984_^>b_) is a full-fledged post-_^<a_!T4482_HOLOCAUST_^>a_ tale, with soldiers in Antarctica fending off nuclear winter and preparing to repopulate
(1930- ) US academic and writer, best known for his Freudian analysis of the relationship between strong male authors and predecessor authors over the last several centuries of Western literature; _^<i_The Anxiety of Influence_^>i_
(_^<b_1973_^>b_) and its several increasingly talmudic sequels have become central critical texts. His only novel, _^<i_The Flight to Lucifer_^>i_ (_^<b_1979_^>b_), was described as a Gnostic fantasy, accurately. Of the many anthologies of critical
pieces ed HB, several are of sf interest: _^<i_Mary Shelley_^>i_ (anth _^<b_1985_^>b_), _^<i_Edgar Allan Poe_^>i_ (anth _^<b_1985_^>b_), _^<i_Ursula K. Le Guin_^>i_ (anth _^<b_1986_^>b_) and _^<i_Ursula K. Le Guin's The Left Hand of Darkness_^>i_
Pseudonym of US writer William Simpson (? -? ). In his sf novel _^<i_The Man from Mars: His Morals, Politics and Religion_^>i_ (_^<b_1891_^>b_) the eponymous telepathic traveller tells of his _^<a_!T5303_UTOPIAN_^>a_ world. Unfortunately -- if
his desire was to communicate widely -- the human he contacts is a hermit. [JC]_^<n__^<n_
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BLUE BOOK MAGAZINE, THE
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US _^<a_!T2033_PULP MAGAZINE_^>a_ published by the Story-Press Corporation; ed Donald Kennicott, Maxwell Hamilton and others. It first appeared May 1905 as _^<i_The Monthly Story Magazine_^>i_, became _^<i_The Monthly Story Blue Book Magazine_^>i_
Sep 1906, _^<i_The Blue Book Magazine_^>i_ May 1907, and _^<i_Bluebook_^>i_ Feb 1952. Later issues had no sf content._^<n__^<n_This general-fiction pulp, a major competitor of the Frank A. _^<a_!T3106_MUNSEY_^>a_ group, had a long history of
publishing sf and fantasy, with works by George Allan _^<a_!T6673_ENGLAND_^>a_, William Hope _^<a_!T4459_HODGSON_^>a_ and others appearing in its opening years. Its heyday came in the late 1920s and early 1930s, when it published serializations of
many novels by Edgar Rice _^<a_!T5097_BURROUGHS_^>a_ as well as others by Edwin _^<a_!T383_BALMER_^>a_ and Philip _^<a_!T6210_WYLIE_^>a_, James Francis _^<a_!T1361_DWYER_^>a_ and Edgar _^<a_!T3894_JEPSON_^>a_, with additional short stories from Ray
_^<a_!T997_CUMMINGS_^>a_. Later Nelson _^<a_!T695_BOND_^>a_ came into prominence with his _^<b_Squaredeal Sam_^>b_ (1943-51) and _^<b_Pat Pending_^>b_ (1942-8) series. [JE]_^<n__^<n_
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BLUEJAY BOOKS
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US publishing house founded by James R. _^<a_!T1620_FRENKEL_^>a_, who had previously been the editor of Dell's sf line. BB began publishing in 1983, their books being distributed by St Martin's Press. Among their titles were Gardner
_^<a_!T1313_DOZOIS_^>a_'s best-of-the-year anthologies (> _^<a_!T195_ANTHOLOGIES_^>a_), books by Frenkel's wife Joan D. _^<a_!T5376_VINGE_^>a_, Dan _^<a_!T2219_SIMMONS_^>a_'s first novel _^<i_The Song of Kali_^>i_ (_^<b_1985_^>b_), Patti Perret's
book of photographic studies _^<i_The Faces of Science Fiction_^>i_ (_^<b_1984_^>b_) and Greg _^<a_!T478_BEAR_^>a_'s _^<i__^<a_!B9100_EON_^>a__^>i_ (_^<b_1985_^>b_). Other authors included Jack _^<a_!T1055_DANN_^>a_, K.W. _^<a_!T3901_JETER_^>a_,
Nancy _^<a_!T4129_KRESS_^>a_, Rudy _^<a_!T2727_RUCKER_^>a_, Theodore _^<a_!T5810_STURGEON_^>a_, Vernor _^<a_!T5377_VINGE_^>a_, Connie _^<a_!T5632_WILLIS_^>a_ and Timothy _^<a_!T6254_ZAHN_^>a_. It was a strong list, concentrating on hardcovers and
trade paperbacks, with over 50 new sf, fantasy and horror titles as well as a number of reprints published during the company's short life; but this attempt of a small specialist publisher to enter the mass-marketing field, traditionally difficult
especially as regards distribution, was apparently undercapitalized. BB ceased trading in 1986. [PN]_^<n__^<n_
Film (1977). Ellanby/Blue Sunshine Co. Written and dir Jeff Lieberman, starring Zalman King, Deborah Winters, Mark Goddard, Robert Walden. 95 mins. Colour._^<n__^<n_Lieberman's first film was a witty (if disgusting) _^<a_!T3011_MONSTER MOVIE_^>a_,
_^<i_Squirm_^>i_ * (1976) -- the last word on killer worms; its novelization was _^<i_Squirm_^>i_ (_^<b_1976_^>b_) by Richard A. _^<a_!T1006_CURTIS_^>a_. _^<i_BS_^>i_, Lieberman's second feature, is also unusually sharp and amusing for a low-budget
exploitation movie. Middle-class ex-hippies inexplicably lose their hair and turn homicidal. The culprit turns out to be Blue Sunshine, an LSD variant -- the bad acid they dropped a decade earlier has taken its toll on their chromosomes. As Kim
_^<a_!T3173_NEWMAN_^>a_ puts it in _^<i_Nightmare Movies_^>i_ (_^<b_1984_^>b_; rev 1988), "the flower children have become the Living Dead". The dialogue is good, the metaphor potent. _^<i_BS_^>i_ is as pointed a film of sf social commentary as any
that appeared in its decade, though its theme of human metamorphosis through corrupt _^<a_!T5916_TECHNOLOGY_^>a_ perhaps owes something to David _^<a_!T970_CRONENBERG_^>a_. [PN]_^<n__^<n_
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BLUE THUNDER
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Film (1983). Rastar/Gordon Carroll Productions. Dir John _^<a_!T350_BADHAM_^>a_, starring Roy Scheider, Warren Oates, Candy Clark, Daniel Stern, Malcolm McDowell. Screenplay Dan O'Bannon, Don Jakoby. 110 mins. Colour._^<n__^<n_Borderline sf set in a
very _^<a_!T6337_NEAR-FUTURE_^>a_ Los Angeles, _^<i_BT_^>i_ tells the story of Murphy (Scheider), a helicopter-based police officer, asked to try out a new supercopter: it can see through walls, fire missiles, fly at 200 knots and hear
conversations from far away. Murphy gradually unravels a government conspiracy to create rioting among Blacks and Chicanos as a justification for the introduction of new, draconian police methods of surveillance and riot control. The
post-Watergate, post-Vietnam _^<a_!T1795_PARANOIA_^>a_ of the plot is rather unconvincing, in part because of McDowell's overacting as a right-wing extremist, and there is much moral confusion between the overt theme -- the dangers of using new
_^<a_!T5916_TECHNOLOGY_^>a_ as an instrument of oppression -- and the subtext, which says that this same technology is exciting and beautiful. _^<i_BT_^>i_ is well made, suspenseful and meretricious, and owes altogether too much to
_^<a_!T1493_FIREFOX_^>a_. Columbia TV produced a disappointing tv series of the same title, _^<i_Blue Thunder_^>i_, starring James Farentino, which ran briefly for 11 episodes in 1984; in it the same supercopter becomes merely a useful aid for
(1932- ) US writer involved in early drug research, which is reflected in his sf novel, _^<i_The Simultaneous Man_^>i_ (_^<b_1970_^>b_). A convict's mind is erased and the memories and identity of a research scientist are substituted, rather as
in Robert _^<a_!T2216_SILVERBERG_^>a_'s _^<i_The Second Trip_^>i_ (_^<b_1972_^>b_). The relationship between the scientist and his "twin" is complex, and ends tragically for him in the USSR, where he himself becomes a subject for experimentation.
Of borderline interest is _^<i_Old Glory and the Real-Time Freaks_^>i_ (_^<b_1972_^>b_). _^<i_The Book of Runes_^>i_ (_^<b_1982_^>b_) is nonfiction. [JC]_^<n__^<n_
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BLUMENFELD, F. YORICK
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(1932- ) UK writer whose _^<i_Jenny Ewing: My Diary_^>i_ (_^<b_1981_^>b_ chap; vt _^<i_Jenny: My Diary_^>i_ 1982 chap US) offers an exceedingly grim vision of the UK after a nuclear _^<a_!T4482_HOLOCAUST_^>a_, as seen by the reluctant survivor
whose journal, written in a shelter, makes up the text. The book was first published as by Jenny herself. [JC]_^<n__^<n_
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BLUMLEIN, MICHAEL
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(1948- ) US medical doctor and writer whose output in the latter capacity, though still restricted to two published books, has had considerable impact on the field. His first published story was "Tissue Ablation and Variant Regeneration: A Case
Report" for _^<i_Interzone_^>i_ in 1984. This tale remains one of the most astonishingly savage political assaults ever published. The target is Ronald Reagan, whose living body is eviscerated without anaesthetic by a team of doctors, partly to
punish him for the evils he has allowed to flourish in the world and partly to make amends for those evils through the biologically engineered growth and transformation of the ablated tissues into foodstuffs and other goods ultimately derived from
the flesh, which are then sent to the impoverished of the Earth. "Tissue Ablation" and other remarkable tales including "The Brains of Rats" (1986) and "The Wet Suit" (1989) were assembled as _^<i_The Brains of Rats_^>i_ (coll _^<b_1989_^>b_), a
publication that demonstrates the very considerable thematic and stylistic range of modern sf, and shows how very far from reassuring it can be._^<n__^<n_MB's only published novel, _^<i_The Movement of Mountains_^>i_ (_^<b_1987_^>b_), is told in a
more immediately accessible style than some of his short _^<a_!T1372_FABULATIONS_^>a_, though at moments the narrative form of the text -- related by a doctor in the form of a confessional memoir -- and some of the ornate chill of the narrator's
mind are reminiscent of the darker tales of Gene _^<a_!T5676_WOLFE_^>a_. The tale begins in a familiar, congested _^<a_!T6337_NEAR-FUTURE_^>a_ California, moves to a colony planet mined by "mountainous", biologically engineered, short-lived slaves
-- whom the doctor helps liberate while at the same time analysing the plague which has killed his lover -- and finally returns to Earth, where the doctor, having discovered that the plague has the effect of transforming humans into gestalt
configurations, disseminates it in secret in order to bring down a repressive government. _^<i_X,Y_^>i_ (_^<b_1993_^>b_) is horror._^<n__^<n_At his best, MB writes tales in which, with an air of remote sang-froid, he makes unrelenting assaults on
public issues (and figures). He writes as though his aesthetic demands justice; as though, in other words, beauty demands truth. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T3791_INTERZONE_^>a_; _^<a_!T3744_MEDICINE_^>a_.
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BLYTH, JAMES
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(1864-1933) UK writer, a fairly prolific author of popular fiction who is best remembered in the field for _^<i_The Tyranny_^>i_ (_^<b_1907_^>b_), a _^<a_!T6337_NEAR-FUTURE_^>a_ tale of a UK dominated by a tyrant and at war with Germany.
_^<i_Ichabod_^>i_ (_^<b_1910_^>b_), which is defaced by an antisemitism that seemed "robust" even for the UK of 1910, grants victory to the UK against an unholy alliance of Jews and Germans through a _^<a_!T3721_MATTER TRANSMITTER_^>a_ and a
machine which reads malign thoughts. _^<i_The Shadow of the Unseen_^>i_ (_^<b_1907_^>b_) with Barry _^<a_!T1764_PAIN_^>a_, a tale of the supernatural, was infused with JB's love of the motor car. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_With a
View to Matrimony and Other Stories_^>i_ (coll _^<b_1904_^>b_); _^<i_The Aerial Burglars_^>i_ (_^<b_1906_^>b_), in which thieves use a flying motor car for nefarious purposes; _^<i_The Irrevocable and Other Stories_^>i_ (coll _^<b_1907_^>b_);
_^<i_The Smallholder _^>i_(_^<b_1908_^>b_), a supernatural fiction;_^<i_The Swoop of the Vulture_^>i_ (_^<b_1909_^>b_); _^<i_A Haunted Inheritance_^>i_ (_^<b_1910_^>b_); _^<i_My Haunted Home_^>i_ (_^<b_1914_^>b_); _^<i_The Weird Sisters_^>i_
(_^<b_1919_^>b_).
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BOARDMAN, TOM
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Working name of UK publisher and editor Thomas Volney Boardman (1930- ), who went to work for the family publishing company, T.V. Boardman, in 1949, and stayed on as managing director when the company changed ownership in 1954. The company
published primarily mysteries, with some sf. TB was sf adviser, successively, to _^<a_!T4765_GOLLANCZ_^>a_, Four Square Books, Macdonald and New English Library. He was business manager of _^<i_SF Horizons_^>i_. He edited the anthologies
_^<i_Science Fiction Stories_^>i_ (anth _^<b_1979_^>b_), the latter for children. He then worked in educational publishing. [MJE]_^<n__^<n_
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BODE, VAUGHN (FREDERICK)
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(1941-1975) US _^<a_!T820_COMICS_^>a_ artist and writer with a bold, loose line who created a world of charming and whimsical -- if somewhat cutesy -- fantasy characters; the most famous of these were Cheech Wizard -- a strange figure almost
entirely engulfed in a star-spangled hat -- a bevy of little busty sexpots and a number of almost indistinguishable reptilian characters. VB began by providing amateur material for _^<a_!T1428_FANZINES_^>a_, and in 1969 won a _^<a_!T4551_HUGO_^>a_
for Best Fan Artist. From 1970 until his premature death he worked professionally for _^<i_Cavalier_^>i_ and _^<i_National Lampoon_^>i_, and published his own comic book, _^<i_Junkwaffel_^>i_ (1972-4), creating a number of oddball joke strips and
short stories, plus a few longer ones. He won a Yellow Kid Award in 1975. His sf creations -- apart from 14 covers for sf magazines (1967 onward), such as _^<i_If_^>i_ and _^<i_Gal_^>i_-included the strips _^<b_Zooks_^>b_ (1983), _^<b_Sunpot_^>b_
(1984; _^<i_see also_^>i_ _^<a_!T1686_GALAXY SCIENCE FICTION_^>a_) and _^<b_Cobalt 60_^>b_, the latter being continued after VB's death, rather poorly, by his son Mark Bode in _^<i_Epic_^>i_. [RT]_^<n__^<n__^<b_See also:_^>b_
(1937- ) Danish writer and journalist, author of several novels of suspense. _^<i_Villa Sunset_^>i_ ["Villa Sunset"] (_^<b_1964_^>b_) is a _^<a_!T6337_NEAR-FUTURE_^>a_ tale of Fimbul-Winter and glacial transformation. _^<i_Frysepunktet_^>i_
(_^<b_1969_^>b_; trans Joan Tate as _^<i_Freezing Point_^>i_ _^<b_1971_^>b_ UK; vt _^<i_Freezing Down_^>i_ 1971 US) is also sf. Its protagonist is incurably sick, and is frozen until he can be cured (> _^<a_!T987_CRYONICS_^>a_). The world to which
he awakens, complexly and satirically described in AB's intense manner, offers him ambivalent (and restricted) choices between an idle life (with death inevitable) and a life of drudgery (with access to spare parts). It is a dark story, told
urgently, using a wide range of literary techniques. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T1177_DENMARK_^>a_; _^<a_!T3771_IMMORTALITY_^>a_.
Pseudonym of Russian writer and political thinker Alexander (Alexandrovich) Malinovsky (1873-1928); he survived criticism from Vladimir Lenin only to die in a blood-transfusion experiment. He is remembered for a _^<a_!T5303_UTOPIAN_^>a_ sequence --
_^<i_Krasnaia Zvezda_^>i_ ["The Red Star"] (_^<b_1908_^>b_) and _^<i_Inzhener Menni_^>i_ ["Engineer Menni"] (_^<b_1913_^>b_), both assembled with a 1924 poem as _^<i_The Red Star: The First Bolsehvik Utopia_^>i_ (omni trans Charles Rougle
_^<b_1984_^>b_ US) -- depicting the flight of its protagonist, a Russian revolutionary, to Mars where a technocratic utopia, based on principles of "rational management" is built. The first volume was reprinted just after the Socialist Revolution
in 1917, and perhaps for that reason was thought of as the first authentic example of "Soviet" sf; however, it was not again reprinted until 1977, when it was purged of episodes describing "free love" in the utopia. The second volume includes
interesting speculations that adumbrated the relationship of _^<a_!T1014_CYBERNETICS_^>a_ to modern management and also anticipated the need for a _^<a_!T826_COMPUTER_^>a_ on _^<a_!T2348_SPACESHIPS_^>a_, describing the ship itself as being driven
by atomic energy. [VG]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T2748_RUSSIA_^>a_.
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BOGORAS, WALDEMAR
-T-
> Vladimir Germanovitch _^<a_!T685_BOGORAZ_^>a_._^<n__^<n_
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BOGORAZ, VLADIMIR GERMANOVITCH
-T-
(1865-1936) Soviet anthropologist whose novel _^<i_Zhertvy drakona_^>i_ (_^<b_1927_^>b_; trans Stephen Graham as _^<i_Sons of the Mammoth_^>i_ _^<b_1929_^>b_ US as by Waldemar Bogoras) reflects his professional concerns in a prehistoric tale in
which Neanderthals encounter rising human stock and a "mysterious" beast that turns out to be natural. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T1727_ORIGIN OF MAN_^>a_.
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(c) 1995 John Clute and Peter Nicholls
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BOISGILBERT, EDMUND
-T-
> Ignatius _^<a_!T1285_DONNELLY_^>a_._^<n__^<n_
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BOLAND, (BERTRAM) JOHN
-T-
(1913-1976) UK author and journalist, a prolific story producer, although rarely of sf. His sf novels, _^<i_White August_^>i_ (_^<b_1955_^>b_) and _^<i_No Refuge_^>i_ (_^<b_1956_^>b_), are both set in frigid conditions. The first is a
_^<a_!T1243_DISASTER_^>a_ tale, dealing with the dire effects of a botched attempt at weather control. _^<i_No Refuge_^>i_ depicts an Arctic _^<a_!T5303_UTOPIA_^>a_ into which two criminals accidentally irrupt; after a good deal of discussion they
are dealt with properly. _^<i_Holocaust_^>i_ (_^<b_1974_^>b_) has a solar-cell satellite running amuck, spraying heat-rays, and being lusted after by the great powers as a weapon. A further novel, _^<i_Operation Red Carpet_^>i_ (_^<b_1959_^>b_),
has some borderline sf components. [JC]_^<n__^<n_
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BOLDIZSAR, IVAN
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[r] > _^<a_!T6355_HUNGARY_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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16
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BOLLAND, BRIAN (JOHN)
-T-
(1951- ) UK _^<a_!T820_COMIC_^>a_-book artist highly regarded for his smooth line and meticulous, sculptural drawing style. His first strip work appeared in the underground magazine _^<i_Oz_^>i_ in 1971. In 1975-7 he drew _^<b_Powerman_^>b_, a
Black _^<a_!T5829_SUPERHERO_^>a_, for the Nigerian market, his episodes alternating with those by Dave _^<a_!T4682_GIBBONS_^>a_, and then he began producing covers for _^<a_!T6145_2,000 AD_^>a_. His most lasting contribution to date has been his
development of _^<a_!T3951_JUDGE DREDD_^>a_: BB's first _^<b_Judge Dredd_^>b_ strip appeared in _^<i_2,000 AD_^>i_ #41 (26 Nov 1977), and in all he drew 40, the last appearing in #244 (26 Dec 1981); he also provided a run of 40 covers for Eagle
Comics's _^<i_2,000 AD_^>i_ and _^<i_Judge Dredd_^>i_ reprints 1983-6._^<n__^<n_He began to produce cover artwork for _^<a_!T1115_DC COMICS_^>a_ with _^<i_Green Lantern_^>i_ #127 (Apr 1980). For DC he also drew a number of short sf strips as well
as a 12-issue series, _^<i_Camelot 3,000_^>i_, Dec 1982-Apr 1985. He produced _^<i_Batman -- The Killing Joke_^>i_ (graph _^<b_1988_^>b_), a very successful 48pp quality comic book written by Alan _^<a_!T3031_MOORE_^>a_. Since then he has
concentrated on artwork for covers, including 48 (to early 1992) for _^<i_Animal Man_^>i_ and those for the Titan Books editions of the _^<a_!T5599_WILD CARDS_^>a_ graphic novels in 1991._^<n__^<n_He has also written and drawn 48 12-panel strips
featuring _^<b_Mr Mamoulian_^>b_, a mournful middle-aged man with a hangdog expression who seems to be permanently seated on a park bench. These have been published in the UK in _^<i_Escape_^>i_ as well as in Spain (_^<i_Cimoc_^>i_), Sweden
(_^<i_Pox_^>i_) and the USA (_^<i_Cheval Noir_^>i_). Of his other strip, _^<i_The Actress and the Bishop_^>i_, written in rhyme, only two sections have appeared (in _^<i_A1_^>i_). [RT]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T4593_ILLUSTRATION_^>a_.
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BOLTON, CHARLES E.
-T-
(1841-1901) US writer whose posthumously published sf novel, _^<i_The Harris-Ingram Experiment_^>i_ (_^<b_1905_^>b_), conflates capitalist accomplishments, romantic love, a genius inventor and _^<a_!T5303_UTOPIAN_^>a_ experiments. [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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197
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BOLTON, JOHANNA M.
-T-
(? - ) US writer whose first novel, _^<i_The Alien Within_^>i_ (_^<b_1988_^>b_), carries its revenge-seeking female protagonist through a crumbling Galactic Federation, introducing her to a variety of _^<a_!T98_ALIEN_^>a_ empires. JMB's second
novel, _^<i_Mission: Tori_^>i_ (_^<b_1990_^>b_), also featuring a bereaved female protagonist, addresses but does not solve the mysteries surrounding the mineral-rich and much desired planet of Tori. [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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392
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BONANATE, UGO
-T-
[r] > _^<a_!T3826_ITALY_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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14
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BONANNO, MARGARET WANDER
-T-
(1950- ) US writer whose first books were volumes of poetry. After a mainstream novel,_^<i_A Certain Slant of Light_^>i_ (_^<b_1979_^>b_), she made her mark on sf with a highly successful _^<b_Star Trek_^>b_ tie, _^<i_Dwellers in the
Crucible_^>i_ * (_^<b_1985_^>b_). Two others followed -- _^<i_Strangers from the Sky_^>i_ * (_^<b_1987_^>b_) and _^<i_Probe_^>i_ * (_^<b_1992_^>b_), which latter she claimed had been extensively rewritten, and disavowed -- but MWB's main
achievement lay in _^<b_The Others_^>b_, a _^<a_!T1913_PLANETARY-ROMANCE_^>a_ sequence comprising _^<i_The Others_^>i_ (_^<b_1990_^>b_) ,_^<i_Otherwhere_^>i_ (_^<b_1991_^>b_) and _^<i_Otherwise _^>i_(_^<b_1993_^>b_), in which the eponymous aliens,
stranded on an Earthlike world, must attempt, through telepathy and intermittent bouts of interracial breeding, to survive the onslaughts of jealous, inferior humanlike natives. MWB has written two novels under the house name Rick North in the
_^<b_Young Astronauts_^>b_ sequence: _^<i_#4: Destination Mars_^>i_ * (_^<b_1991_^>b_) and _^<i_#6: Citizens of Mars_^>i_ * (_^<b_1991_^>b_). [JC]_^<n__^<n_
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BOND, J. HARVEY
-T-
> Russ R. _^<a_!T5657_WINTERBOTHAM_^>a_._^<n__^<n_
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BOND, NELSON S(LADE)
-T-
(1908- ) US writer and in later years philatelist, publishing works in that field. He began his career in public relations, coming to sf in 1937 with "Down the Dimensions" for _^<i_ASF_^>i_. Later in that year he published "Mr Mergenthwirker's
Lobblies" in _^<i_Scribner's Magazine_^>i_, a fantasy which became a radio series, was made into a tv play (_^<b_1957_^>b_), and in its original form was collected in _^<i_Mr Mergenthwirker's Lobblies and Other Fantastic Tales_^>i_ (coll
_^<b_1946_^>b_). It served as a model for the "nutty" fiction that NSB wrote for _^<i_Fantastic Adventures_^>i_ in the early 1940s, comic tales involving implausible inventions and various pixillated doings, sometimes with an effect of excessive
coyness. He wrote only two stories under pseudonyms, one as George Danzell (1940) and one as Hubert Mavity (1939)._^<n__^<n_NSB's active career in the magazines extended into the 1950s; his markets were not restricted to the sf _^<a_!T2033_PULP
MAGAZINES_^>a_, and he became strongly associated with _^<i_The_^<a_!T667_BLUE BOOK MAGAZINE_^>a__^>i_ for stories and series usually combining sf and fantasy elements, often featuring trick endings reminiscent of O. Henry. Further collections,
assembling most of his best work, are _^<i_The 31st of February_^>i_ (coll _^<b_1949_^>b_), _^<i_No Time Like the Future_^>i_ (coll _^<b_1954_^>b_) and _^<i_Nightmares and Daydreams_^>i_ (coll _^<b_1968_^>b_). Since the early 1950s he has been
relatively inactive as a writer._^<n__^<n_His most famous single series, the _^<b_Lancelot Biggs_^>b_ stories concerning an eccentric space traveller, appeared 1939-43 in various magazines; it was published, with most stories revised, as _^<i_The
Remarkable Exploits of Lancelot Biggs, Spaceman_^>i_ (coll of linked stories _^<b_1950_^>b_). A similar series, about _^<b_Pat Pending_^>b_ and his peculiar inventions, appeared 1942-57, all but the last in _^<i_Bluebook_^>i_; it remains
uncollected. The _^<b_Squaredeal Sam McGhee_^>b_ stories, also in _^<i_Bluebook_^>i_ (1943-51), are tall tales, not sf. A series of three stories about _^<b_Meg the Priestess_^>b_, a young girl who comes to lead a post-_^<a_!T4482_HOLOCAUST_^>a_
tribe, appeared in various magazines, 1939-42; they remain uncollected, as do the four _^<b_Hank Horse-Sense_^>b_ stories, which appeared in _^<i_AMZ_^>i_ 1940-42._^<n__^<n_NSB's only novel in book form, _^<i_Exiles of Time_^>i_ (1940 _^<i_Blue
Book Magazine_^>i_; _^<b_1949_^>b_) is a darkly told story about the end of things in Mu (> _^<a_!T1243_DISASTER_^>a_), told in a sometimes allegorical fashion. Perhaps because of the number of his markets, NSB established a less secure reputation
in the sf/fantasy world than less versatile writers; not dissimilar in his wit and fantasticality to Robert _^<a_!T661_BLOCH_^>a_ or Fredric _^<a_!T5028_BROWN_^>a_, he is considerably less well known than either, though his work is attractive and
often memorable. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_The Monster_^>i_ (coll _^<b_1953_^>b_ chap Australia); _^<i_State of Mind: A Comedy in Three Acts_^>i_ (_^<b_1958_^>b_ chap), a comic fantasy play; _^<i_Animal Farm: A Fable in Two
Acts_^>i_ (_^<b_1964_^>b_ chap), a play based on the 1945 novel by George _^<a_!T1731_ORWELL_^>a_; and the supplemental material to James N. Hall's _^<i_James Branch Cabell: A Complete Bibliography_^>i_, with a Supplement of Current Values of
Cabell Books (_^<b_1974_^>b_)._^<b_See also:_^>b_ _^<a_!T29_ADAM AND EVE_^>a_; _^<a_!T141_AMAZING STORIES_^>a_; _^<a_!T1245_DISCOVERY AND INVENTION_^>a_; _^<a_!T3411_LIVING WORLDS_^>a_.
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BONE, J(ESSE) F(RANKLIN)
-T-
(1916-1986) US writer and professor of veterinary medicine who began publishing sf with "Survival Type" for _^<i_Gal_^>i_ in 1957. His first sf novel, _^<i_The Lani People_^>i_ (_^<b_1962_^>b_), is his most memorable, later works being routine. It
deals with an _^<a_!T98_ALIEN_^>a_ people whose suffering from human exploitation is graphically related. His short fiction-about 30 stories in all -- remains uncollected. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Legacy_^>i_ (_^<b_1976_^>b_);
_^<i_The Meddlers_^>i_ (_^<b_1976_^>b_); _^<i_Gift of the Manti_^>i_ (_^<b_1977_^>b_) with Ray Myers (an almost certainly unintended pseudonym for Roy _^<a_!T2931_MEYERS_^>a_); _^<i_Confederation Matador_^>i_ (_^<b_1978_^>b_)._^<b_See also:_^>b_
_^<a_!T257_ARTS_^>a_.
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(c) 1995 John Clute and Peter Nicholls
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BONESTELL, CHESLEY
-T-
(1888-1986) US astronomical illustrator. CB studied as an architect in San Francisco, his birthplace, but never graduated; he was employed by many architectural firms and aided in the design of the Golden Gate Bridge. He worked as a matte artist to
produce special effects and background paintings for 14 films, including _^<i_Citizen Kane_^>i_ (1941), _^<a_!T1194_DESTINATION MOON_^>a_ (1950), _^<a_!T5571_WHEN WORLDS COLLIDE_^>a_ (1951), _^<a_!T5465_WAR OF THE WORLDS_^>a_ (1953) and
_^<i_The_^<a_!T842_CONQUEST OF SPACE_^>a__^>i_ (1955). In the early 1940s he began astronomical painting on a major scale, much of his work being used in _^<i_Life_^>i_ magazine, and during 1949-72 completed astronomical artwork for 10 books,
including the classic science-fact book _^<i_The Conquest of Space_^>i_ (_^<b_1949_^>b_), with text by Willy _^<a_!T3375_LEY_^>a_. In 1950-51 CB painted for the Boston Museum of Science a 10 x 40ft (about 3 x 12m) mural; it was transferred to the
National Air and Space Museum of the Smithsonian Institution in 1976. His space paintings were used as cover illustrations for _^<i_ASF_^>i_ (12 covers) and _^<i_FSF_^>i_ (38 covers) from 1947 onwards; he became a favourite of sf fans in this
period. His style was a photographic realism, showing great attention to correctness of perspective and scale in conformity with the scientific knowledge of the day, and some of his Moon paintings, for example, were truly prophetic in their
accuracy. But, more than that, his work held great beauty and drama in its stillness and depth. Many book lovers of the post-WWII generation can trace back their fascination for space exploration as much to CB's paintings as to their reading of
either science or sf. The recipient of many awards, he earned a Special Achievement _^<a_!T4551_HUGO_^>a_ in 1974. [JG/PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T277_ASTOUNDING SCIENCE-FICTION_^>a_.
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BONFIGLIOLI, KYRIL
-T-
[r] > _^<a_!T2870_SCIENCE FANTASY_^>a_._^<n__^<n_
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23
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BONHAM, FRANK
-T-
(1914-1988) US writer, most of whose adult novels were Westerns, and who wrote in various modes for younger readers. _^<i_The Missing Persons League_^>i_ (_^<b_1976_^>b_), set in a starving _^<a_!T1370_DYSTOPIAN_^>a_ USA, presents its young
protagonist with the chance to find a better world. _^<i_The Forever Formula_^>i_ (_^<b_1979_^>b_) is a strong sf tale in which a young man awakens from _^<a_!T5851_SUSPENDED ANIMATION_^>a_ to find himself torn between opposing factions: those who
wish for his father's _^<a_!T3771_IMMORTALITY_^>a_ formula, to which he has the secret, and those who wish for normal mortality. _^<i_Premonitions_^>i_ (_^<b_1984_^>b_) is a fantasy. [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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556
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BOOTH, IRWIN
-T-
[s] > Edward D. _^<a_!T4454_HOCH_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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23
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BOOTHBY, GUY (NEWELL)
-T-
(1867-1905) Australian-born writer, permanently in the UK from 1894, who remains best known for his _^<b_Dr Nikola_^>b_ sequence: _^<i_A Bid for Fortune_^>i_ (_^<b_1895_^>b_; rev vt _^<i_Dr Nikola's Vendetta_^>i_ 1908 US; vt _^<i_Enter Dr.
Nikola!_^>i_ 1975 US), _^<i_Doctor Nikola_^>i_ (_^<b_1896_^>b_), _^<i_The Lust of Hate_^>i_(_^<b_1898_^>b_),_^<i_Dr Nikola's Experiment_^>i_ (_^<b_1899_^>b_) and _^<i_"Farewell, Nikola"_^>i_ (_^<b_1901_^>b_). The heart of the series is devoted to
the Doctor's convoluted search for a Tibetan process that will resuscitate the dead and ensure _^<a_!T3771_IMMORTALITY_^>a_ in the living, and there are some hints that -- unhampered by compunctions, armed with _^<a_!T2021_PSI POWERS_^>a_, and
blessed with a powerful experimental intellect -- he may have reached his goal. Of GB's 50 or so novels, several further titles were of fantasy interest. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Pharos, the Egyptian_^>i_ (_^<b_1899_^>b_); _^<i_The
Curse of the Snake_^>i_ (_^<b_1902_^>b_); _^<i_Uncle Joe's Legacy, and Other Stories_^>i_ (coll _^<b_1902_^>b_); _^<i_The Lady of the Island_^>i_ (coll _^<b_1904_^>b_); _^<i_A Crime of the Under-Seas_^>i_ (_^<b_1905_^>b_), a fantastic-invention
tale.
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BORDEN, MARY
-T-
(1886-1968) US-born writer and journalist, in the UK for the last half-century of her life. After funding and running a field hospital in WWI, she began to write novels and nonfiction, some of the latter being of _^<a_!T1461_FEMINIST_^>a_ interest.
Her sf novel, _^<i_Jehovah's Day_^>i_ (_^<b_1928_^>b_), is a fable about the emergence of humanity, carrying its narrative from the earliest times to a _^<a_!T6337_NEAR-FUTURE_^>a_ catastrophe which destroys London. Throughout, the mysterious
figure of Eryops the Mud Puppy makes emblematic appearances. [JC]_^<n__^<n_
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BORDEWIJK, F.
-T-
[r] > _^<a_!T524_BENELUX_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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BORGES, JORGE LUIS
-T-
(1899-1986) Argentine short-story writer, poet, essayist and university professor, known primarily for his work outside the sf field. Though much of his fiction is local and drawn from Argentine history and events, Borges is best known in the
English-speaking world for his short fantasies. _^<i_Ficciones_^>i_ (coll _^<b_1944_^>b_; rev 1961; trans Anthony Kerrigan _^<b_1962_^>b_ US) and _^<i_El Aleph_^>i_ (coll _^<b_1949_^>b_; rev 1952) contain his most important short stories, including
most of those considered closest to sf. Most of the contents of these books, with some additional material, can be found in English in _^<i_Labyrinths_^>i_ (coll trans _^<b_1962_^>b_; rev 1964). Another translated collection -- the author
collaborating on the translation -- is _^<i_The Aleph and Other Stories 1933-1969_^>i_ (coll trans with Norman Thomas di Giovanni _^<b_1970_^>b_ US), which is not a translation of _^<i_El Aleph_^>i_, containing a quite different selection of
stories._^<n__^<n_JLB has argued that "the compilation of vast books is a laborious and impoverishing extravagance" and claims to have read few novels himself -- and then only out of a "sense of duty". His stories are accordingly brief, but contain
a bewildering number of ideas. Many are technically interesting, exploiting such forms as fictional reviews and biographies to summarize complex and equally fictional books and characters, or using the precise styles of the fable or the detective
story to encapsulate involved ideas._^<n__^<n_Among his most famous fantasies are: "The Library of Babel" (1941), which describes a vast library or Universe of books containing all possible combinations of the alphabet, and thus all possible
gibberish alongside all possible wisdom; "The Garden of Forking Paths" (1941), which examines the potentials of _^<a_!T131_ALTERNATE WORLDS_^>a_; "The Babylon Lottery", which details the history of a game of chance that gradually becomes so complex
and universal that it is indistinguishable from real life; "Tlon, Uqbar, Orbis Tertius" (1941), which chronicles the emergence in and takeover of everyday life by an entirely fictional and fabricated world; "The Circular Ruins", which portrays a
character dreaming and giving life to a man, only to realize that he in turn is another man's dream; and "Funes, the Memorious" (1942), which describes a man with such perfect memory that the past is as accessible to him as the present. (All the
above appear in _^<i_Ficciones_^>i_.) The profound influence of these -- and other stories -- on Gene _^<a_!T5676_WOLFE_^>a_ is reflected in _^<i_The Book of the New Sun_^>i_ (_^<b_1980-83_^>b_), where they are all made use of._^<n__^<n_JLB's
interest in _^<a_!T2924_METAPHYSICS_^>a_ is apparent in these stories, and his examination, through _^<a_!T1412_FANTASY_^>a_, of the nature of reality associates his fiction with that of many modern US authors, such as Philip K.
_^<a_!T1222_DICK_^>a_, Thomas _^<a_!T2040_PYNCHON_^>a_ and Kurt _^<a_!T5402_VONNEGUT_^>a_ Jr. He is an important influence on the more sophisticated recent sf writers, especially those dealing with _^<a_!T18_ABSURDIST_^>a_ themes and paradoxes of
_^<a_!T1851_PERCEPTION_^>a_. His interest in puzzles and labyrinths is another stimulus that has led him to fantasy and the detective story as media for expressing his ideas in fiction._^<n__^<n_JLB has published other collections of stories and
sketches, some on the borderline of fantasy, as well as a fantastic bestiary, _^<i_Manual de zoologia fantastica_^>i_ (_^<b_1957_^>b_ Mexico; exp vt _^<i_El libro do los seres imaginarios_^>i_ 1967; the latter trans Norman Thomas di Giovanni and
JLB as _^<i_The Book of Imaginary Beings_^>i_ _^<b_1969_^>b_ US). With Silvina Ocampo (1903- ) and Adolfo _^<a_!T614_BIOY CASARES_^>a_ he also edited a fantasy collection, _^<i_Antologia de la Literatura Fantastica_^>i_ (_^<b_1940_^>b_; rev
1965; further rev 1976; trans as _^<i_The Book of Fantasy_^>i_ _^<b_1976_^>b_ US; rev 1988 with intro by Ursula K. _^<a_!T3318_LE GUIN_^>a_), and revealed a first-hand (if inaccurate) knowledge of sf by including H.P. _^<a_!T3465_LOVECRAFT_^>a_,
Robert A. _^<a_!T4376_HEINLEIN_^>a_, A.E. _^<a_!T5333_VAN VOGT_^>a_ and Ray _^<a_!T4963_BRADBURY_^>a_ in his _^<i_Introduction to American Literature_^>i_ (_^<b_1967_^>b_; trans Keating and Evans _^<b_1971_^>b_). Translation of JLB's work into
English is complex, and there is no definitive collection. A number of his early works have been reprinted in sf anthologies. [PR]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Historia universal de la infamia_^>i_ (coll _^<b_1935_^>b_; trans Norman Thomas
di Giovanni as _^<i_A Universal History of Infamy_^>i_ _^<b_1972_^>b_ US); _^<i_Seis problemas para Don Isidro Parodi_^>i_ (coll _^<b_1942_^>b_; trans Norman Thomas di Giovanni as _^<i_Six Problems for Don Isidro Parodi_^>i_ _^<b_1981_^>b_ US) with
Adolfo Bioy Casares; _^<i_Cronicos de Busto Domecq_^>i_ (coll _^<b_1967_^>b_; trans Norman Thomas di Giovanni as _^<i_Chronicles of Bustos Domecq_^>i_ _^<b_1976_^>b_ US) with Bioy Casares; _^<i_El hacedor_^>i_ (coll _^<b_1960_^>b_; trans M. Boyer
and H. Morland as _^<i_Dreamtigers_^>i_ _^<b_1964_^>b_ US); _^<i_Antologia personal_^>i_ (coll _^<b_1961_^>b_; trans Anthony Kerrigan as _^<i_A Personal Anthology_^>i_ _^<b_1961_^>b_ US); _^<i_El informe sobre Brodie_^>i_ (coll _^<b_1970_^>b_;
trans Norman Thomas di Giovanni as _^<i_Doctor Brodie's Report_^>i_ _^<b_1972_^>b_), his last collection of original work; _^<i_El libro del arena_^>i_ (coll _^<b_1975_^>b_; trans Norman Thomas di Giovanni as _^<i_The Book of Sand_^>i_
_^<b_1977_^>b_ US; exp 1979 UK); _^<i_Borges: A Reader_^>i_ (coll _^<b_1981_^>b_); _^<i_Atlas_^>i_ (coll _^<b_1984_^>b_; trans Anthony Kerrigan _^<b_1985_^>b_ US)._^<b_About the author:_^>b_ _^<i_Jorge Luis Borges_^>i_ (_^<b_1970_^>b_) by M.S.
Stabb; _^<i_Jorge Luis Borges: An Annotated Primary and Secondary Bibliography_^>i_ (_^<b_1984_^>b_) by D.W. Foster; _^<i_A Dictionary of Borges_^>i_ (_^<b_1990_^>b_) by Evelyn Fishburn and Psiche Hughes._^<b_See also:_^>b_ _^<a_!T4204_LATIN
AMERICA_^>a_.
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BORGO PRESS
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US publishing house, a _^<a_!T2261_SMALL PRESS_^>a_ with a fairly extensive list, based in California, founded in 1975 by R. _^<a_!T2543_REGINALD_^>a_, as publisher and editor, and his wife, Mary Wickizer Burgess (1938- ), who played an
increasingly large role from the mid-1980s as co-publisher and managing editor. BP began by publishing 35 64-page chapbooks on sf authors in the late 1970s in the _^<b_The Milford Series: Popular Writers of Today_^>b_, which began with _^<i_Robert
A. Heinlein: Stranger in his Own Land_^>i_ (_^<b_1976_^>b_ chap; rev 1977) by George Edgar _^<a_!T2259_SLUSSER_^>a_, as well as 10 full-length novels by Piers _^<a_!T196_ANTHONY_^>a_, D.G. _^<a_!T823_COMPTON_^>a_, and others through 1979. In 1980
BP turned from the trade to the academic market, moving to full-size books, and introducing other monographic series of sf interest, including the _^<b_I.O.Evans Studies in the Philosophy and Criticism of Literature_^>b_ (from
1982),_^<b_Bibliographies of Modern Authors_^>b_(from 1984, biblios of individual writers), _^<b_Essays on Fantastic Literature_^>b_ (from 1986) and _^<b_Classics of Fantastic Literature_^>b_ (from 1994, comprising original and reprint sf works).
In 1991 BP purchased Brownstone Books, Sidewinder Press, and St. Willibrord's Press, which it continued to operate as separate imprints; and in 1993 acquired 100 titles of sf interest from _^<a_!T2417_STARMONT HOUSE_^>a_ and _^<a_!T1452_FAX
COLLECTOR'S EDITIONS_^>a_ when those lines ceased operation, plus 30 unpublished manuscripts. New imprints were begun in the 1990s, including Burgess & Wickizer, Emeritus Enterprises, and Unicorn & Son (revived from Reginald's 1970 one-shot
imprint). BP also distributes over 1000 books from other lines, mostly not sf. The firm has published 205 books through 1994, 2/3rds of sf relevance; and after a period of slow releases now issues about 30-40 titles annually, making it the largest
single publisher (currently and cumulatively) of sf critical works and bibliographies [JC/PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T2071_SF IN THE CLASSROOM_^>a_.
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BORIS
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> Boris _^<a_!T5311_VALLEJO_^>a_._^<n__^<n_
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BORN IN FLAMES
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Film (1983). Lizzie Borden/Jerome Foundation/CAPS/Young Filmmakers. Written, prod, ed and dir Lizzie Borden, starring Honey, Adele Bertei, Jeanne Satterfield, Flo Kennedy, Kathryn Bigelow. 80 mins. Colour._^<n__^<n_This underground movie, made over
five years on 16mm film and video, was deservedly given quite wide distribution. 10 years after a peaceful social-democratic revolution in the USA, the Party is in power, the position of women in society is still not much improved, and unemployment
(especially of women) is widespread. Radical _^<a_!T1461_FEMINIST_^>a_ groups (whose differing political positions are shown with a sort of cartoon clarity) are at first at odds; as disenchantment with the Party builds up they are drawn together
and a new revolution begins. Stereotyped conceptions of feminists as humourless refugees from the middle classes are shaken (on several grounds) by this pleasing and lively film, whose near-future _^<a_!T1370_DYSTOPIA_^>a_ was imaginatively shot
(out of low-budget necessity, a little as with _^<a_!T127_ALPHAVILLE_^>a_) in contemporary New York. [PN]_^<n__^<n_
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CHILDREN IN SF
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In his essay "The Embarrassments of Science Fiction" (in _^<i_Science Fiction at Large_^>i_ ed Peter _^<a_!T3189_NICHOLLS_^>a_ anth _^<b_1976_^>b_; vt _^<i_Explorations of the Marvellous_^>i_) Thomas M. _^<a_!T1244_DISCH_^>a_ asserts, tongue only
partly in cheek, that sf is a branch of children's literature-because most lovers of the genre begin reading it in their early teens, and because many sf stories are _^<i_about_^>i_ children. Whether or not sf is essentially juvenile in its appeal,
there is no doubt that many of its writers are fascinated by childhood and its thematic corollaries: innocence and potentiality._^<n__^<n_There are many types of sf story about children, but four particularly popular variants are of special
interest. The first is the story of children with benign _^<a_!T2021_PSI POWERS_^>a_. Examples are: A.E. _^<a_!T5333_VAN VOGT_^>a_'s _^<i__^<a_!B9256_SLAN_^>a__^>i_ (1940 _^<i_ASF_^>i_; _^<b_1946_^>b_), about a nascent community of telepathic
_^<a_!T5830_SUPERMEN_^>a_; Theodore _^<a_!T5810_STURGEON_^>a_'s _^<i_The Dreaming Jewels_^>i_ (_^<b_1950_^>b_; vt _^<i_The Synthetic Man_^>i_), about a strange boy adopted by a carnival, and _^<i__^<a_!B9221_MORE THAN HUMAN_^>a__^>i_
(_^<b_1953_^>b_), about a gestalt consciousness composed of children; Wilmar H. _^<a_!T2190_SHIRAS_^>a_'s _^<i_Children of the Atom_^>i_ (fixup _^<b_1953_^>b_); John _^<a_!T6211_WYNDHAM_^>a_'s _^<i_The Chrysalids_^>i_ (_^<b_1955_^>b_; vt
_^<i_Re-Birth_^>i_ US), about telepathic _^<a_!T3119_MUTANT_^>a_ children after an atomic war; and such later works in a similar vein as Richard _^<a_!T925_COWPER_^>a_'s _^<i_Kuldesak_^>i_ (_^<b_1972_^>b_) and "The Piper at the Gates of Dawn"
(1976). The abilities of these children seem benign because the stories are usually narrated from the child's point of view. The societies depicted in these tales may persecute the children, but the latter generally win through and constitute their
own, "higher" societies, with the reader's approval._^<n__^<n_The second type is the reverse of the first: the story of monstrous children, frequently with malign psychic powers. Examples are: Ray _^<a_!T4963_BRADBURY_^>a_'s "The Small Assassin"
(1946), about a baby which murders its parents; Richard _^<a_!T3718_MATHESON_^>a_'s "Born of Man and Woman" (1950), about a hideously mutated boy; and Jerome _^<a_!T622_BIXBY_^>a_'s "It's a _^<i_Good_^>i_ Life" (1953), about an infant who
terrorizes a whole community with his awesome paranormal abilities. J.D. _^<a_!T543_BERESFORD_^>a_'s _^<i_The Hampdenshire Wonder_^>i_ (_^<b_1911_^>b_; vt _^<i_The Wonder_^>i_ US) is an early example of this sort of story, in that the child prodigy
is seen entirely from the outside and thus takes on a frightening aspect. In tales of this type, society is usually threatened by the child and the reader is encouraged to take society's side. _^<i_Brain Child_^>i_ (_^<b_1991_^>b_ US) by George
_^<a_!T6130_TURNER_^>a_ is difficult to characterize, as its superchildren, created by an _^<a_!T3787_INTELLIGENCE_^>a_-enhancing experiment in biological and psychological engineering, appear as both appalling and attractive. The purely monstrous
child became a _^<a_!T752_CLICHE_^>a_ of _^<a_!T4509_HORROR_^>a_ fiction, especially in the 1980s, a decade when, perhaps for some as-yet-undiagnosed sociological reason, sf itself showed a distinct falling off in the number of stories devoted to
superchildren._^<n__^<n_The third type, which overlaps the first two, concerns children in league with aliens, to good or ill effect. Examples include Henry _^<a_!T4144_KUTTNER_^>a_'s "Mimsy Were the Borogoves" (1943), in which alien educational
toys provide two children with an escape route from their parents; Ray Bradbury's "Zero Hour" (1947), in which children side with alien invaders; Arthur C. _^<a_!T736_CLARKE_^>a_'s _^<i__^<a_!B9010_CHILDHOOD'S END_^>a__^>i_ (_^<b_1953_^>b_), in
which the alien "Overlords" supervise the growth of a new generation, whose capacities are unknowable by ordinary humans and may be exercised among the stars; Edgar _^<a_!T1779_PANGBORN_^>a_'s _^<i__^<a_!B9192_A MIRROR FOR OBSERVERS_^>a__^>i_
(_^<b_1954_^>b_), in which Martians compete for control of a child's mind; and John Wyndham's _^<i_The Midwich Cuckoos_^>i_ (_^<b_1957_^>b_; vt _^<i_Village of the Damned_^>i_ 1960 US), about the alien impregnation of Earthwomen and the terrifying
powers of the amoral children they bear, and his later novel _^<i_Chocky_^>i_ (1963 _^<i_AMZ_^>i_; exp _^<b_1968_^>b_), about a boy with an alien "brother" living in his head. Zenna _^<a_!T4382_HENDERSON_^>a_'s stories about the _^<b_People_^>b_,
most of which are collected in _^<i_Pilgrimage_^>i_ (coll _^<b_1961_^>b_) and _^<i_The People: No Different Flesh_^>i_ (coll _^<b_1966_^>b_), belong here since they are largely concerned with sympathetic aliens who appear to be normal human
children (their alien parents usually make only fleeting appearances). Jack _^<a_!T5629_WILLIAMSON_^>a_'s _^<i_The Moon Children_^>i_ (_^<b_1972_^>b_) and Gardner _^<a_!T1313_DOZOIS_^>a_'s "Chains of the Sea" (1973) also belong in this category.
Greg _^<a_!T478_BEAR_^>a_'s _^<i_Anvil of Stars_^>i_ (_^<b_1992_^>b_) features a community of adolescent children -- but no adults -- on a starship, undergoing tuition by aliens for making war against genocidal superbeings. This novel is
interesting in its creation of an all-adolescent culture._^<n__^<n_The fourth type of story is concerned not so much with a conflict between the child and adult society as with the child's attempts to prove himself worthy of joining that society.
Much of Robert A. _^<a_!T4376_HEINLEIN_^>a_'s relevant work falls into this "initiation" category-e.g., his early story "Misfit" (1939), about a boy whose prodigious mathematical ability enables him to save the spaceship in which he is a very
junior crew member. Most of Heinlein's teenage novels, from _^<i_Rocket Ship Galileo_^>i_ (_^<b_1947_^>b_) to _^<i_Have Space-Suit -- Will Travel_^>i_ (_^<b_1958_^>b_), fit this pattern, as does the later _^<i_Podkayne of Mars_^>i_
(_^<b_1963_^>b_). Precocious children, adults before their time, also feature in James H. _^<a_!T2849_SCHMITZ_^>a_'s _^<b_Telzey_^>b_ stories, such as "Novice" (1962), in Alexei _^<a_!T1782_PANSHIN_^>a_'s _^<i__^<a_!B8981_RITE OF PASSAGE_^>a__^>i_
(_^<b_1968_^>b_), and in much of Samuel R. _^<a_!T1152_DELANY_^>a_'s work. Delany's novels -- e.g., _^<i__^<a_!B9048_NOVA_^>a__^>i_ (_^<b_1968_^>b_) -- are characteristically, in Algis _^<a_!T5064_BUDRYS_^>a_'s words, about "the progress of the
Magic Kid . . . the divine innocent whose naive grace and intuitive deftness attract the close attention of all". The "Magic Kid", who gains the acceptance of adult society through sheer charm (rather than discipline in the manner of Heinlein), has
appeared in the work of other writers, as in John _^<a_!T5339_VARLEY_^>a_'s "In the Bowl" (1975). More in the Heinlein tradition are a number of 1980s novels by Orson Scott _^<a_!T6359_CARD_^>a_, whose stories regularly feature the transition from
a troubled adolescence to a maturity forced by circumstance, most famously in _^<i__^<a_!B9135_ENDER'S GAME_^>a__^>i_ (1977 _^<i_ASF_^>i_; exp _^<b_1985_^>b_) and again in _^<i_The Memory of Earth_^>i_ (_^<b_1992_^>b_). However, many of the books
listed above in this category feature post-pubertal teenagers rather than children proper. Such protagonists are so common in sf, their rite of passage being one of sf's basic themes, that there is little point in prolonging the list, although it
is worth mentioning Doris _^<a_!T1911_PISERCHIA_^>a_, who in books like _^<i_Earthchild_^>i_ (_^<b_1977_^>b_) seems to use sf imagery precisely because it provides objective correlatives for pubertal anguish._^<n__^<n_As in literature generally,
the child's point of view has frequently been used by sf writers because it is a convenient angle from which to see the world anew. Thus, Kingsley _^<a_!T153_AMIS_^>a_ makes good use of his choirboy hero in the _^<a_!T131_ALTERNATE-WORLD_^>a_ novel
_^<i_The Alteration_^>i_ (_^<b_1976_^>b_). Ray Bradbury transmutes his own childhood experience into the nostalgic and horrific _^<a_!T1412_FANTASY_^>a_ of _^<i__^<a_!B9044_THE MARTIAN CHRONICLES_^>a__^>i_ (_^<b_1950_^>b_; vt _^<i_The Silver
Locusts_^>i_ 1951 UK) and _^<i_Something Wicked This Way Comes_^>i_ (_^<b_1962_^>b_). Gene _^<a_!T5676_WOLFE_^>a_ repeatedly uses a child's-eye view to haunting effect in such tales as "The Island of Dr Death and Other Stories" (1970), "The Fifth
Head of Cerberus" (1972) and "The Death of Dr Island" (1973), and childhood memories haunt and shape the memoir structure of several of his novels such as _^<i_Peace_^>i_ (_^<b_1975_^>b_) and _^<b_The Book of the New Sun_^>b_ (_^<b_1980-3_^>b_).
Harlan _^<a_!T6641_ELLISON_^>a_'s fantasy "Jeffty is Five" (1977), about a boy who is perpetually five years old, uses the child's viewpoint to make a statement about the apparent decline in quality of US popular culture. William
_^<a_!T4689_GIBSON_^>a_'s _^<i_Mona Lisa Overdrive_^>i_ (_^<b_1988_^>b_) is at its most successful and moving when filtering the bewildering events of its voodoo-in-_^<a_!T1016_CYBERSPACE_^>a_ story through the consciousness of the one of its four
protagonists who is an actual child, the Japanese girl Kumiko. There are numerous other examples._^<n__^<n_An interesting subgenre is the story that opposes a world of childhood and a world of adulthood as if they were, anthropologically, two
different cultures whose clash is bound to cause pain. This is the fundamental strategy of much of Stephen _^<a_!T4066_KING_^>a_'s horror fiction and also his sf. It forms a particularly grim element in James Patrick _^<a_!T4016_KELLY_^>a_'s "Home
Front" (1988), in which kids interact, eat hamburgers, and get drafted for an endless, meaningless war occurring offstage._^<n__^<n_Although sf about children was not especially common in the 1980s in book form, it was popular in the cinema.
Obviously relevant films include _^<a_!T6704_E.T.: THE EXTRATERRESTRIAL_^>a_ (1982), _^<a_!T6729_EXPLORERS_^>a_ (1985), _^<a_!T1072_D.A.R.Y.L._^>a_ (1985), _^<a_!T1532_FLIGHT OF THE NAVIGATOR_^>a_ (1986) and a variety of "teen" movies, a number of
which are listed in the _^<a_!T726_CINEMA_^>a_ entry._^<n__^<n_Anthologies devoted entirely to stories about children include _^<i_Children of Wonder_^>i_ (anth _^<b_1953_^>b_; vt _^<i_Outsiders: Children of Wonder_^>i_ 1954) ed William
_^<a_!T5932_TENN_^>a_, _^<i_Tomorrow's Children_^>i_ (anth _^<b_1966_^>b_) ed Isaac _^<a_!T268_ASIMOV_^>a_, _^<i_Demon Kind_^>i_ (anth _^<b_1973_^>b_) and _^<i_Children of Infinity_^>i_ (anth _^<b_1973_^>b_) ed Roger _^<a_!T6648_ELWOOD_^>a_,
_^<i_Analog Anthology Number 3: Children of the Future_^>i_ (anth _^<b_1982_^>b_; vt _^<i_Analog's Children of the Future_^>i_) ed Stanley _^<a_!T2848_SCHMIDT_^>a_, and _^<i_Children of the Future_^>i_ (anth _^<b_1984_^>b_) ed Asimov, Martin Harry
_^<a_!T4842_GREENBERG_^>a_ and Charles G. _^<a_!T5488_WAUGH_^>a_. [DP/PN]_^<n__^<n_
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CHILDREN OF THE DAMNED
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(vt _^<i_Horror!_^>i_) Film (1963). MGM. Dir Anton M. Leader, starring Ian Hendry, Alan Badel, Barbara Ferris, Bessie Love. Screenplay Jack Briley, based on _^<i_The Midwich Cuckoos_^>i_ (_^<b_1957_^>b_) by John _^<a_!T6211_WYNDHAM_^>a_. 90 mins.
B/w._^<n__^<n_This UK film is not a sequel to the successful _^<a_!T5371_VILLAGE OF THE DAMNED_^>a_ (1960); it is a remake, though much more remotely based on Wyndham's novel. This time the setting is urban. Once again, children are born with
mysterious powers. They are gathered in London for investigation from different parts of the world. Where in the first film the children were malevolent, here they are treated more sympathetically; they remain children despite their superhuman
qualities, and their destruction is a consequence of human fear and ignorance, not any hostile actions of their own. Moody use is made of the shadowy, ruined church where much of the action takes place. Though low-key and made with almost too much
UK restraint, _^<i_COTD_^>i_ is sadder and more pungent than its predecessor in its story of (literal) alienation. [JB/PN]_^<n__^<n_
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CHILDREN'S SF
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Sf written with a specifically juvenile audience in mind is almost as old as the genre itself. The _^<b_Voyages extraordinaires_^>b_ of Jules _^<a_!T5355_VERNE_^>a_, over 60 novels published between 1863 and 1920, were largely marketed as for
adolescent boys, though they found an adult readership also. Contemporaneous with Verne's works were the early _^<a_!T1236_DIME NOVELS_^>a_ in the USA, also in the main written for children, and it was not long before _^<a_!T4958_BOYS' PAPERS_^>a_
with a strong sf content came along, followed by such _^<a_!T3960_JUVENILE SERIES_^>a_ as Victor _^<a_!T214_APPLETON_^>a_'s _^<a_!T6048_TOM SWIFT_^>a_ stories. The juvenile series written under the floating pseudonym Roy _^<a_!T2655_ROCKWOOD_^>a_,
_^<b_The Great Marvel Series_^>b_, published much sf between 1906 and 1935. These topics are discussed in greater detail under separate entries in this encyclopedia, as is children's sf written for the _^<a_!T820_COMICS_^>a_._^<n__^<n_From 1890 to
1920 at least, and to some extent later on, most children's sf was aimed at boys rather than girls and was largely dedicated to the themes of the _^<a_!T3460_LOST WORLD_^>a_, future _^<a_!T5452_WAR_^>a_ and _^<a_!T1245_DISCOVERY AND INVENTION_^>a_
(_^<i_see also_^>i_ _^<a_!T6580_EDISONADE_^>a_). L. Frank _^<a_!T468_BAUM_^>a_, writer of the celebrated _^<b_Oz_^>b_ books, wrote an early work in the latter category -- _^<i_The Master Key: An Electrical Fairy Tale_^>i_ (_^<b_1901_^>b_) -- but of
course fantastic inventions had already played an important role in the stories featuring Frank Reade, Jr (> _^<a_!T1606_FRANK READE LIBRARY_^>a_)._^<n__^<n_Children's sf has been and is written for a variety of age groups. Here we generally regard
sf written for children of 11 and under as outside our range, although nostalgic reference must be made to the following: the splendidly bizarre _^<i_Doctor Dolittle in the Moon_^>i_ (_^<b_1928_^>b_) by Hugh Lofting; the _^<b_Professor
Branestawm_^>b_ books by Norman _^<a_!T4560_HUNTER_^>a_, beginning with _^<i_The Incredible Adventures of Professor Branestawm_^>i_ (_^<b_1933_^>b_), all featuring the ridiculous adventures of the eponymous eccentric scientist; the minor children's
classic _^<i_My Friend Mr Leakey_^>i_ (coll of linked stories _^<b_1937_^>b_) by the biologist J.B.S. _^<a_!T4923_HALDANE_^>a_, a fantasy combining elements of magic and sf; a better known classic series for younger children, the seven
_^<b_Narnia_^>b_ books by C.S. _^<a_!T3368_LEWIS_^>a_, beginning with _^<i_The Lion, the Witch and the Wardrobe_^>i_ (_^<b_1950_^>b_) and ending with _^<i_The Last Battle_^>i_ (_^<b_1956_^>b_) -- these stories are basically religious allegory cum
_^<a_!T1412_FANTASY_^>a_, but contain such sf elements as _^<a_!T1794_PARALLEL WORLDS_^>a_ and _^<a_!T6026_TIME TRAVEL_^>a_; and _^<i_The Twenty-One Balloons_^>i_ (_^<b_1946_^>b_) by William Pene _^<a_!T1333_DU BOIS_^>a_, an amusing Pacific-island
scientific _^<a_!T5303_UTOPIA_^>a_._^<n__^<n_As noted, the above are primarily for younger children, but they point up a difficulty which exists also in sf stories for older children: the fact that there is little generic purity in children's
literature. Much children's fantasy contains sf elements, and conversely much children's sf is written with a disregard for scientific accuracy, whether from hauteur or from ignorance, which effectively renders it fantasy. Time travel, for example,
has long been an important theme in children's literature, going back at least as far as _^<i_The Cuckoo Clock_^>i_ (_^<b_1877_^>b_) by Mrs Mary Molesworth (1839-1921), and continuing to the present day, through _^<i_A Traveller in Time_^>i_
(_^<b_1939_^>b_) by Alison Uttley (1884-1976), several of the _^<b_Green Knowe_^>b_ stories by Lucy Boston (1892-1990) and, perhaps the greatest of such novels, _^<i_Tom's Midnight Garden_^>i_ (_^<b_1958_^>b_) by Philippa Pearce (1920- ); this
latter is the moving and subtle story of a boy who travels back in time, always to slightly more recent periods, to find the 19th-century child with whom he falls in love growing older, and away from him; finally, in an overwhelming surprise
ending, she meets him in the present day. But in all these examples the time travel is an essentially magic device used in the service of fantasy._^<n__^<n_Indeed, sadly for sf purists, most sf works of distinction since the 1960s have been at the
fantastic end of the sf spectrum. A fine piece of such peripheral sf is _^<i_Earthfasts_^>i_ (_^<b_1966_^>b_) by William _^<a_!T3738_MAYNE_^>a_, one of the best children's writers of the period, in which an 18th-century drummer boy emerges from the
ground to be met by a sceptical, scientifically inclined present-day youth._^<n__^<n_There may be a sociological reason for the comparative scarcity of good _^<a_!T4288_HARD SF_^>a_ for children in the recent period, or it may simply be the
arbitrary preference of the handful of writers who led the renaissance of juvenile fiction that has taken place since the 1960s. Certainly their creative imagination has fed as fiercely on _^<a_!T3135_MYTHOLOGY_^>a_ as on 20th-century breakthroughs
in scientific understanding -- breakthroughs that in the period of the Cold War, with the ever-present threat of nuclear _^<a_!T1243_DISASTER_^>a_, seemed equivocal in their results. Signs of the renaissance are many: children's books generally and
books for adolescents specifically are less patronizing; they more commonly contain a sardonic or even ironic realism; they have become, overall, more subtle, more evocative, more various, more original and more ready to confront problems of pain,
or loss, or even sexual love. The new realism is evident even with those writers of _^<a_!T4396_HEROIC FANTASY_^>a_ who have followed in the footsteps of J.R.R. _^<a_!T6041_TOLKIEN_^>a_; notable among them are Joy Chant (1945- ) and especially
Patricia _^<a_!T3558_MCKILLIP_^>a_, although the latter, whose spectacular debut years were devoted to fantasy, seems to write better the further she keeps her distance from sf._^<n__^<n_The key theme in children's sf is _^<a_!T3598_MAGIC_^>a_, and
several important children's works are discussed in that entry. Sometimes the magic is given a kind of pseudo-scientific rationale, with talk of dimensional gates and so on, as in Andre _^<a_!T3243_NORTON_^>a_'s many _^<b_Witch World_^>b_ books,
some of which are among her best work; e.g., _^<i_Warlock of the Witch World_^>i_ (_^<b_1967_^>b_). (Norton has also written many colourful books for adolescents which are towards the hard-sf end of the spectrum, sometimes dealing with relations
between _^<a_!T102_ALIENS_^>a_ and humans.) Ursula K. _^<a_!T3318_LE GUIN_^>a_'s _^<b_Earthsea _^>b_books, beginning with _^<i_The Wizard of Earthsea_^>i_ (_^<b_1968_^>b_), have combined sf and fantasy by making her magic obey such rigorous laws
that it may be seen as a kind of _^<a_!T4595_IMAGINARY SCIENCE_^>a_; it adheres, for example, to the law of conservation of energy._^<n__^<n_Many critics regard the _^<b_Earthsea_^>b_ books as the finest sf work for children of the postwar period.
Some of Alan _^<a_!T4615_GARNER_^>a_'s novels would also rank very high. Apart from using teenage protagonists, Garner's _^<i_Red Shift_^>i_ (_^<b_1973_^>b_) is an adult book in every respect, narrating a battle against intellectual and physical
impotence considerably more demanding than would be found in most supposedly adult romances. It qualifies as marginal sf through its consistent use, from the title onwards, of scientific metaphor and because it depends structurally on a form of
psychic time travel (focused on a neolithic stone axe)._^<n__^<n_More recently the work of Diana Wynne _^<a_!T3926_JONES_^>a_ has also been consistently distinguished, more playful than Le Guin's and more ebullient than Garner's, but as fully aware
as either of the difficulties of life both for children and for grown-ups. Much of her work, which treats generic boundaries with disdain, is more fantasy than sf. The more sciencefictional books include _^<i_The Homeward Bounders_^>i_
(_^<b_1981_^>b_), _^<i_Archer's Goon_^>i_ (_^<b_1984_^>b_) and _^<i_A Tale of Time City_^>i_ (_^<b_1987_^>b_), which, with varying degrees of sciencefictional rigour, all revolve around causal paradoxes and problems created by travel through time
or between alternate worlds, and often with more narrative sophistication than is common in sf for adults. The lunacies of book marketing have never been more clear than in the consignment of such distinguished works as the above, and many others,
to what Le Guin has called "the kiddylit ghetto". The paradox is visible in the fact that occasionally US editions of UK children's books have been marketed as for adults, and vice versa._^<n__^<n_Other important children's sf writers at the
fantasy end of the spectrum whose works are discussed in greater detail under their own entries are Susan _^<a_!T872_COOPER_^>a_, Peter _^<a_!T1224_DICKINSON_^>a_, Tanith _^<a_!T4234_LEE_^>a_, Madeleine _^<a_!T3330_L'ENGLE_^>a_ and T.H.
_^<a_!T5583_WHITE_^>a_. Australia seems to produce such writers more liberally than it does their counterparts for adults: interesting work has been produced by Isobelle _^<a_!T5167_CARMODY_^>a_, Lee _^<a_!T4286_HARDING_^>a_, Victor
_^<a_!T4007_KELLEHER_^>a_ and Gillian _^<a_!T2726_RUBINSTEIN_^>a_. Most Kelleher novels are impossible to pigeonhole with any confidence as either sf or fantasy; they have elements of both, and do not appear to suffer as a result. Rubinstein's tone
falters -- it is a sadly common symptom of writers of sf/fantasy for adolescents -- when she approaches pure sf motifs, such as the visiting _^<a_!T98_ALIEN_^>a_ in _^<i_Beyond the Labyrinth_^>i_ (_^<b_1988_^>b_), but her books remain hard-edged
and angry._^<n__^<n_When we turn to hard sf, most work for children has been less distinguished. Carl _^<a_!T744_CLAUDY_^>a_ wrote some exciting books in the 1930s. More recent writers of some quality whose production has been in significant part
for children are Paul _^<a_!T5149_CAPON_^>a_, John _^<a_!T719_CHRISTOPHER_^>a_, John Keir _^<a_!T974_CROSS_^>a_, Tom _^<a_!T1148_DE HAVEN_^>a_, Sylvia Louise _^<a_!T6668_ENGDAHL_^>a_, Nicholas _^<a_!T1506_FISK_^>a_, Douglas _^<a_!T4426_HILL_^>a_,
H.M. _^<a_!T4496_HOOVER_^>a_, Monica _^<a_!T4546_HUGHES_^>a_, Philip _^<a_!T4202_LATHAM_^>a_, Alice _^<a_!T3388_LIGHTNER_^>a_, M.E. _^<a_!T1814_PATCHETT_^>a_, Ludek _^<a_!T1867_PESEK_^>a_, Donald _^<a_!T5817_SUDDABY_^>a_, Jean and Jeff
_^<a_!T5856_SUTTON_^>a_, Hugh _^<a_!T5447_WALTERS_^>a_, Robert _^<a_!T5548_WESTALL_^>a_, Leonard _^<a_!T5592_WIBBERLY_^>a_ and Cherry _^<a_!T5600_WILDER_^>a_. Between them even these more recent writers span close to 40 years of hard-sf adventure
writing for children. Christopher, Engdahl, Fisk, Hoover, Pesek, Westall and Wilder are probably the most important names here, along with Andre Norton. Between them they have written much thoughtful and stimulating work, but the extent of the list
is disappointing when set alongside the quantity, range and variety of adult sf from the same period. The difficulty is, of course, that the intellectual level of a book is not necessarily expressed by a marketing label. Much adult sf -- the works
of E.E. "Doc" _^<a_!T2269_SMITH_^>a_ or Isaac _^<a_!T268_ASIMOV_^>a_, for example -- is of great appeal to older children, and is to some extent directed at them. To the degree that older children are able to enjoy adult sf that is well within
their reading capacity, the size of the potential market in sf specifically labelled as juvenile obviously dwindles._^<n__^<n_By far the most celebrated case of the unreal distinction between "juvenile" and "adult" concerns Robert A.
_^<a_!T4376_HEINLEIN_^>a_, almost half of whose novels were originally marketed for children. They have been re-released for many years now as if for adults. There are 13 in all, among the best being _^<i_Starman Jones_^>i_ (_^<b_1953_^>b_),
_^<i_The Star Beast_^>i_ (_^<b_1954_^>b_) and _^<i__^<a_!B9165_CITIZEN OF THE GALAXY_^>a__^>i_ (_^<b_1957_^>b_). Heinlein's direct style, his solid science, the naturalness and ease with which he creates a societal background with just a few
strokes, all help to make his juveniles among his best works; but their basic strength comes from the repeated theme of the rite of passage, the initiation ceremony, the growing into adulthood through the taking of decisions and the assumption of a
burden of moral responsibility. This theme Heinlein made peculiarly and at times brilliantly his own; his is the most consistently distinguished of all hard sf written for young readers._^<n__^<n_Heinlein is exceptional in that there was no
falling-off in quality when he wrote for children. Other sf writers could not quite manage the trick. Isaac Asimov's _^<b_Lucky Starr_^>b_ books are well below his best; James _^<a_!T658_BLISH_^>a_'s juveniles are generally disappointing, with the
exception of _^<i_A Life for the Stars_^>i_ (_^<b_1962_^>b_), the second of the _^<b_Cities in Flight_^>b_ tetralogy; Ben _^<a_!T4943_BOVA_^>a_, Arthur C. _^<a_!T736_CLARKE_^>a_, Gordon R. _^<a_!T1227_DICKSON_^>a_, Harry _^<a_!T4316_HARRISON_^>a_,
Evan _^<a_!T4558_HUNTER_^>a_ and Robert _^<a_!T2216_SILVERBERG_^>a_ all write better for grown-ups, although Hunter's children's books are unusual and interesting. Alan E. _^<a_!T3253_NOURSE_^>a_, on the other hand, seems more relaxed when writing
for younger people, and some of his best work is in his future-_^<a_!T3744_MEDICINE_^>a_ books._^<n__^<n_A more recent writer, Robert C. _^<a_!T3279_O'BRIEN_^>a_, wrote two distinguished sf works for children. The witty and sympathetic _^<i_Mrs
Frisby and the Rats of NIMH_^>i_ (_^<b_1971_^>b_), about experimental rats which have developed super-_^<a_!T3787_INTELLIGENCE_^>a_, is for younger children, and in the talking-animal line is preferred by some _^<i_aficionados_^>i_ to Richard
Adams's more celebrated _^<i_Watership Down_^>i_ (_^<b_1972_^>b_). O'Brien's _^<i_Z for Zachariah_^>i_ (_^<b_1975_^>b_) is a post-_^<a_!T4482_HOLOCAUST_^>a_ novel for older children; humane, touching and sometimes frightening. Also excellent, and
very funny, is the _^<b_Book of the Nomes_^>b_ trilogy by Terry _^<a_!T1974_PRATCHETT_^>a_, beginning with _^<i_Truckers_^>i_ (_^<b_1989_^>b_), about aliens trying to live invisibly in a human world._^<n__^<n_Certain sf themes crop up again and
again in recent sf for adolescents. Post-holocaust stories and stories of rebellion against totalitarian societies (which often practise degrading forms of social engineering) are both very common, as in the work of John Christopher, whose sf for
children deservedly won him a new readership when he ceased writing sf _^<a_!T1243_DISASTER_^>a_ novels for adults. Stories about contact between humans and aliens are often used to impress on children an attitude of cultural open-mindedness which
has a clear bearing on problems of racism, sexism and other isms of the real world. Cherry Wilder's _^<b_Torin_^>b_ series is of this kind, but Wilder knows better than to preach. This is more than can be said of much modern juvenile sf, which has
perhaps become, from the mid-1970s, the most ethically intransigent and propagandist since the juvenile fiction of the Victorian era. The familiar voice of the children's author calling for universal harmony can, paradoxically, come to seem
hectoring; the list of "antis" is often and easily extended by many children's authors -- nostalgically looking back to the seemingly more self-reliant lifestyles of a past age -- to include anti-technology and anti-science (>
_^<a_!T200_ANTI-INTELLECTUALISM IN SF_^>a_)._^<n__^<n_The theme of _^<a_!T2021_PSI POWERS_^>a_ is often found in conjunction with work of this sort. It appeals strongly to children, whose sense of weakness and entrapment in a world where they are
by and large subject to adult control, whether wisely or not, can be eased by intimations of an inner superiority -- and sensitivity -- that may be available to them. Typically psi powers (from within) are seen as opposed, and morally preferable,
to scientific and technological powers (from without). Isobelle Carmody's _^<i_Scatterlings_^>i_ (_^<b_1991_^>b_), for example, has an urban scientific elite, remnants of those who polluted and nearly destroyed Earth through greed, opposed to the
rural, tribalized but radiation-resistant and honest folk descended from the greenies and working-class outcasts the original scientists exploited. _^<a_!T6576_ECOLOGY_^>a_-conscious people versus corrupted technocrats; country versus town; psi
powers versus science: these had, by 1990, become the dominant themes of adolescent sf as a whole. The ecology theme now appears almost as a religious motif in sf, and indeed, in the Gaea-worshipping form it sometimes takes, it has already become a
secular religion in the real world._^<n__^<n_An important commercial area of sf publishing for juveniles is series books, often based on films or tv shows. The _^<a_!T2429_STAR TREK_^>a_ books and the _^<a_!T1268_DR WHO_^>a_ books are two of the
longest-running and most successful (the former series is not specifically marketed for children, but the latter is); they contain less hackwork than most of their competition in this sort of area._^<n__^<n_Some distinguished writers of juvenile
fiction, like Philippa Pearce, are not given separate entries in this volume, even though their work may contain some sf imagery: we do not have the space to give comprehensive coverage to children's writers, and our emphasis is on sf rather than
fantasy. But many writers of sf for adolescents do receive entries, often because they have also written sf for adults or because, like Alan Garner, their work is likely to have repercussions in adult sf. [PN]_^<n__^<n_
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> _^<a_!T4204_LATIN AMERICA_^>a_._^<n__^<n_
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CHILSON, ROB
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Working name of US writer Robert Dean Chilson (1945- ). His first sf story was "The Mind Reader" (1968) in _^<i_ASF_^>i_._^<n__^<n_Of his novels, which generally fail to step beyond the routine, _^<i_As the Curtain Falls_^>i_ (_^<b_1974_^>b_) is a
_^<a_!T1432_FAR-FUTURE_^>a_ adventure with some highly coloured moments, _^<i_The Star-Crowned Kings_^>i_ (_^<b_1975_^>b_) is a _^<a_!T2342_SPACE OPERA_^>a_ about a member of a subject race who has latent _^<a_!T6697_ESP_^>a_ powers, and
_^<i_Rounded with Sleep_^>i_ (_^<b_1990_^>b_) confronts its hero with an Earth in the guise -- and under the computerized control -- of a fantasy-role-playing game (>_^<a_!T1696_GAMES AND TOYS_^>a_). _^<i_The Shores of Kansas_^>i_ (_^<b_1976_^>b_),
perhaps (along with his first) RC's most interesting work, tells of a man with a natural, consciously controlled talent for _^<a_!T6026_TIME TRAVEL_^>a_ and his resulting psychological problems. [JC/PN]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Isaac
Asimov's Robot City, Book 5: Refuge_^>i_ * (_^<b_1988_^>b_); _^<i_Men like Rats_^>i_ (_^<b_1989_^>b_).
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CHILTON, CHARLES (FREDERICK WILLIAM)
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(1927- ) UK _^<a_!T2480_RADIO_^>a_ producer and scriptwriter whose three sf novels comprise a juvenile trilogy based on his BBC radio serials about _^<b_Jet Morgan_^>b_ and his companions as they protect Earth against Martians and other menaces ;
the books are _^<i_Journey Into Space_^>i_ * (_^<b_1954_^>b_), _^<i_The Red Planet_^>i_ * (_^<b_1956_^>b_) and _^<i_The World in Peril_^>i_ * (_^<b_1960_^>b_). He also wrote further _^<b_Jet Morgan_^>b_ adventures for a _^<a_!T820_COMIC_^>a_ strip
in _^<i_Express Weekly_^>i_ 1956-7. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T3023_MOON_^>a_; _^<a_!T2480_RADIO_^>a_; _^<a_!T2337_SPACE FLIGHT_^>a_.
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CHILTON, H(ENRY) HERMAN
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(1863-? ) Belgian-born UK writer, apparently active as late as 1943. His first sf novel, _^<i_Woman Unsexed_^>i_ (_^<b_1892_^>b_), melodramatically depicts a 1925 world ruined by women's right to work. _^<i_The Lost Children_^>i_ (_^<b_1931_^>b_)
visits the _^<a_!T3460_LOST WORLD_^>a_ to which the children of Hamelin followed the Pied Piper; there they have founded a _^<a_!T5303_UTOPIA_^>a_. _^<i_Talking Totem_^>i_ (_^<b_1938_^>b_) is a fantasy. [JC]_^<n__^<n_
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CHINA SYNDROME, THE
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Film (1979). IPC Films. Dir James Bridges, starring Jane Fonda, Jack Lemmon, Michael Douglas, Wilford Brimley. Screenplay Mike Gray, T.S. Cook, Bridges. 122 mins. Colour._^<n__^<n_Made by the production company with which Jane Fonda was associated
(Indochina Peace Campaign), this is the first of two crusading borderline-sf films starring her, the other being _^<a_!T2681_ROLLOVER_^>a_ (1981). Here she plays a tv reporter hoping to do more "hard" news stories who stumbles across an "event"
(crisis) caused by cost-cutting engineering in a nuclear power plant; this could (and almost does) lead to meltdown and the radioactive pollution of Southern California. Corporate bosses attempt, violently, to suppress the potential expose. What
looked at first like mere science fiction looked a lot more like science fact only weeks later, with the nuclear disaster at Three Mile Island -- an apposite if unfortunate coincidence that made _^<i_TCS_^>i_ a commercial hit. The subgenre of the
near-future technological-disaster film (see, for example, _^<a_!T6659_ENDANGERED SPECIES_^>a_ and _^<a_!T5457_WARGAMES_^>a_) is a kind of fringe sf, though usually made in the manner of the conspiracy thriller. _^<i_TCS_^>i_ is well crafted and
well acted. [PN]_^<n__^<n_
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CHINESE SF
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Chinese literature has a long tradition of the fantastic that prepared the way for, and leads up to, modern Chinese sf. It is believed that the earliest actual sf publication in China was the serialization in 1904 in the magazine _^<i_Portrait
Fiction_^>i_ of "Yueqiu zhimindi xiaoshuo" ["Tales of Moon Colonization"] by Huangjiang Diaosuo. Around 130,000 Chinese words long, this novel describes a group of Earthlings settling on the Moon. Another important sf work of the early period is Xu
Nianci's "Xinfalu xiansheng tan" ["New Tales of Mr Absurdity"] (1905), which deals with the separation of body and soul. Lao She's _^<i_Maocheng ji_^>i_ ["Cat Country"] (_^<b_1933_^>b_; reprinted 1947) remains one of the most significant Chinese sf
novels; this _^<a_!T1370_DYSTOPIA_^>a_ about catlike Martians is in fact a biting satire of the Old China under its reactionary rule. Lao She wrote this novel without being aware of the genre, but at much the same time Gu Junzheng was consciously
writing sf, even acknowledging the influence of Jules _^<a_!T5355_VERNE_^>a_ and H.G. _^<a_!T5528_WELLS_^>a_. His _^<i_Heping de meng_^>i_ ["Dream of Peace"] (coll _^<b_1940_^>b_) prints four of his sf short stories. Like Hugo
_^<a_!T4668_GERNSBACK_^>a_, Gu Junzheng advocated the popularization of science through sf, and all his stories try to stimulate readers' interest in science and technology._^<n__^<n_The People's Republic of China was founded in 1949. Soon after
that, Soviet sf works were translated into Chinese in great numbers. Also as a result of Soviet influence, the Chinese Youth Press systematically published selections of Verne's sf throughout the 1950s and into the 1960s. From 1949 through the
1960s, almost all Chinese sf stories were for juvenile readers. Representative works include Zheng Wenguang's "Cong Diqiu dao Huxing" ["From Earth to Mars"] (1954), Yu Zhi's "Shizong de gege" ["The Missing Elder Brother"] (1957), Xiao Jianheng's
"Buke de qiyu" ["Pup Buke's Adventures"] (1962) and Liu Xinshi's "Beifang de yun" ["Northern Clouds"] (1962)._^<n__^<n_During the 10 years of the notorious "Cultural Revolution" not a trace of sf could be found in China. However, 1978-83 saw a
remarkable resurgence of sf creation. Among nearly 1000 titles are Jin Tao's "Yueguangdao" ["The Moonlit Island"] (1980), Tong Enzheng's "Shanhudao shang de siguang" ["Death Ray on a Coral Island"] (1978), Zheng Wenguang's _^<i_Feixiang
Renmazuo_^>i_ ["Forward to Sagittarius"] (_^<b_1979_^>b_), Meng Weizai's _^<i_Fangwen shizongzhe_^>i_ ["Calling on the Missing People"] (_^<b_1981_^>b_), Wang Xiaoda's "Shenmi de bo" ["The Mysterious Wave"] (1980), Wei Yahua's "Wenrou zhixiang de
meng" ["Conjugal Happiness in the Arms of Morpheus"] (1981) and Ye Yonglie's _^<i_Heiying_^>i_ ["The Black Shadow"] (_^<b_1981_^>b_)._^<n__^<n_Sf during this period also found expression in other media, such as films, tv, radio broadcasts and comic
books. In films, _^<i_Shanhudao shang de siguang_^>i_ ["Death Ray on a Coral Island"], based on Tong Enzheng's story, was released in 1980, and Ji Hongxu's _^<i_Qianying_^>i_ ["The Hidden Shadow"] in 1982. On tv, "Zuihou yige aizheng sizhe" ["The
Last Man who Dies of Cancer"] by Zhou Yongnian, Zhang Fengjiang and Jia Wanchao and "Yinxing ren " ["The Invisible Man"] by Wu Boze were both dramatized in 1980. _^<i_Xiongmao jihua_^>i_ ["The Panda Project"] by Ye Yonglie was dramatized on tv in
1983. The same author's _^<i_An dou_^>i_ ["Veiled Strife"] (_^<b_1981_^>b_) and _^<i_Mimi zhongdui_^>i_ ["The Secret Column"] (_^<b_1981_^>b_) were broadcast on radio daily as serials in 1981. And in comic books, Ye Yonglie's sf detective series,
12 booklets with 8 million copies printed, was published by Popular Science Press in 1982 under the series title _^<b_The Scientific Sherlock Holmes_^>b_._^<n__^<n_1978-83 also saw widespread publication of foreign sf in China. Among the famous sf
writers from many parts of the world who were introduced to the Chinese reading public were Mary _^<a_!T2173_SHELLEY_^>a_, Robert A. _^<a_!T4376_HEINLEIN_^>a_, Isaac _^<a_!T268_ASIMOV_^>a_, Jack _^<a_!T5629_WILLIAMSON_^>a_, Poul
_^<a_!T169_ANDERSON_^>a_, Michael _^<a_!T954_CRICHTON_^>a_, Clifford D. _^<a_!T2218_SIMAK_^>a_, Frederik _^<a_!T1937_POHL_^>a_, Arthur C. _^<a_!T736_CLARKE_^>a_, Brian W. _^<a_!T87_ALDISS_^>a_, Alexander _^<a_!T520_BELYAEV_^>a_ and Sakyo
_^<a_!T4114_KOMATSU_^>a_._^<n__^<n_However, the 1983 political drive against "spiritual pollution" hurt sf writers so badly that their already small contingent quickly shrank. Since then Chinese sf has developed only slowly. There is just one
mainland magazine devoted to sf, _^<i_Kehuan Shijia_^>i_ ["SF World"]. In Taiwan there is the sf magazine _^<i_Huanxiang_^>i_ ["Mirage"], ed and published by Dr Zhang Xiguo, a computer specialist who teaches at the University of Pittsburgh in the
USA but shows much concern about the development of Chinese sf; there are about a dozen titles under his name. Another major sf writer in Taiwan is Huang Hai, best known for his high literary quality and for his scientific speculation. His first
publication, "Hangxiang wuya de lucheng" ["A Boundless Voyage"], appeared in 1968. His best works are reckoned to be _^<i_10101_^>i_ ["The Year 10101"] (_^<b_1969_^>b_) and _^<i_Xinshiji zhelu_^>i_ ["Voyage to a New Era"]
(_^<b_1972_^>b_)._^<n__^<n_The most productive sf writer in Hong Kong is Ni Kuang, who often writes under the pseudonym Wei Shili. His sf works number about 25 titles, but most are marginal, being _^<a_!T5875_SWORD AND SORCERY_^>a_ -- indeed, some
critics doubt if his works belong to the sf genre at all._^<n__^<n_There are 15 Chinese members of _^<a_!T6172_WORLD SF_^>a_, whose 1991 annual meeting was held in Chengdu. An introduction to Chinese sf for English readers is _^<i_Science Fiction
from China_^>i_ (anth _^<b_1989_^>b_ US) ed _^<a_!T6199_WU DINGBO_^>a_ and Patrick Murphy, which contains several of the stories mentioned above. [WD]_^<n__^<n_
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Film (1974). Alpine-Churubusco/Metromedia. Dir Sutton Roley, starring Jackie Cooper, Richard Jaeckel, Alex Cord, Bradford Dillman. Screenplay H.B. Cross, Joe Reb Moffly, based on a story by Cross. 99 mins. Colour._^<n__^<n_This US/Mexico
coproduction is a small-scale, inventive little exploitation movie whose plot-line is purest _^<a_!T1795_PARANOIA_^>a_. In a government test on stress reactions, 11 people are hoaxed into believing that nuclear war is devastating the world. These
"chosen survivors" are forced by the army into an elaborate bomb-shelter deep beneath the desert. Once locked in, they learn -- this seems not to be part of the experiment -- that lethal vampire bats have been trapped inside with them. Character
conflicts and bat attacks ensue in an unpretentious piece from a director more commonly associated with tv. [PN/JB]_^<n__^<n_
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CHOWN, MARCUS
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(1959- ) UK writer, currently reviews editor for _^<i_New Scientist_^>i_, whose sf novels, both in collaboration with John _^<a_!T4864_GRIBBIN_^>a_, are _^<i_Double Planet_^>i_ (_^<b_1988_^>b_), a competent _^<a_!T4288_HARD-SF_^>a_ tale about a
conflict of political interests over a comet which may or may not be about to strike the Earth, and its remote sequel, _^<i_Reunion_^>i_ (_^<b_1991_^>b_), set 1000 years later, in which the lunar population has come under the influence of a cult
claiming to hold the secret of how to replenish the _^<a_!T3023_MOON_^>a_'s atmosphere: the book is the story of a woman's fight against this church. [MB]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Stars and Planets_^>i_ (_^<b_1987_^>b_), a children's
book on astronomy.
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CHRISTOPHER, JOHN
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Working name of UK writer Christopher Samuel Youd (1922- ), active as an sf fan before WWII, in which he served; he began publishing sf proper with "Christmas Story" for _^<i_ASF_^>i_ in 1949, writing as Christopher Youd. His first novel,
_^<i_The Winter Swan_^>i_ (_^<b_1949_^>b_), again as by Youd, was a fantasy. His first sf book, _^<i_The Twenty-Second Century_^>i_ (coll _^<b_1954_^>b_; with 1 story dropped and 1 added, rev 1962 US) as JC, assembles his early work; but, after the
success of his first sf novel, _^<i_The Year of the Comet_^>i_ (_^<b_1955_^>b_; vt _^<i_Planet in Peril_^>i_ 1959 US), and the even greater impact of his second, _^<i_The Death of Grass_^>i_ (_^<b_1956_^>b_; vt _^<i_No Blade of Grass_^>i_ 1957 US),
he concentrated for some years on adult novels, soon becoming perceived as John _^<a_!T6211_WYNDHAM_^>a_'s rival and successor as the premier writer of the post-WWII UK _^<a_!T1243_DISASTER_^>a_ novel in the decade 1955-65._^<n__^<n_The disaster
which changes the face of England (and of the world) in _^<i_The Death of Grass_^>i_ (filmed in 1970 by Cornel Wilde as _^<a_!T3225_NO BLADE OF GRASS_^>a_) is, as the title makes clear, an upset in the balance of Nature which causes the extinction
of all grass and related food plants, with catastrophic effects. Where Wyndham's novels featured protagonists whose middle-class indomitability signalled to the reader that the crisis would somehow come out right in the end, JC's characters -- as
witness John Custance's gradual hardening and deterioration of personality in this novel -- inhabit and respond to a darker, less secure universe. It is a harshness of perspective characteristic of most of his work at this time: _^<i_The World in
Winter_^>i_ (_^<b_1962_^>b_; vt _^<i_The Long Winter_^>i_ 1962 US), _^<i_A Wrinkle in the Skin_^>i_ (_^<b_1965_^>b_; vt _^<i_The Ragged Edge_^>i_ 1966 US) and _^<i_Pendulum_^>i_ (_^<b_1968_^>b_ US) all deal decks similarly stacked against political
or environmental complacency, and their protagonists concentrate on the grim business of staying alive and making a life fit to live in a post-_^<a_!T4482_HOLOCAUST_^>a_ world stripped of culture and security._^<n__^<n_When JC turned to other kinds
of stories his touch was less assured, though _^<i_Sweeney's Island_^>i_ (_^<b_1964_^>b_ US; vt _^<i_Cloud on Silver_^>i_ 1964 UK) plausibly updates the traditional _^<a_!T3823_ISLAND_^>a_ theme as the eponymous tycoon creates a
_^<a_!T1370_DYSTOPIAN_^>a_ microcosm under stress. However, in 1967 JC successfully inaugurated a fresh phase of his sf career, this time in the juvenile market, with the _^<b_Tripods_^>b_ sequence: _^<i_The White Mountains_^>i_ (_^<b_1967_^>b_),
_^<i_The City of Gold and Lead_^>i_ (_^<b_1967_^>b_) and _^<i_The Pool of Fire_^>i_ (_^<b_1968_^>b_), assembled as _^<i_The Tripods Trilogy_^>i_ (omni _^<b_1980_^>b_ US); a prequel, _^<i_When the Tripods Came_^>i_ (_^<b_1988_^>b_ US), followed much
later. In these books, the alien tripods control all adults. However, the young protagonists avoid their thrall, discover their secret and save Earth (whose adults revert to their distressing old ways). Other juveniles followed: _^<i_The Lotus
Caves_^>i_ (_^<b_1969_^>b_), _^<i_The Guardians_^>i_ (_^<b_1970_^>b_) -- which appropriately won the _^<i_Guardian_^>i_ award for best children's book of the year -- _^<i_Dom and Va_^>i_ (_^<b_1973_^>b_), much expanded from _^<i_In the
Beginning_^>i_ (_^<b_1972_^>b_ chap), a tale for smaller children, _^<i_Wild Jack_^>i_ (_^<b_1974_^>b_ US), _^<i_Empty World_^>i_ (_^<b_1977_^>b_), the _^<b_Fireball_^>b_ trilogy -- _^<i_Fireball_^>i_ (_^<b_1981_^>b_), _^<i_New Found Land_^>i_
(_^<b_1983_^>b_) and _^<i_Dragon Dance_^>i_ (_^<b_1986_^>b_) -- set in a _^<a_!T1794_PARALLEL-WORLD_^>a_ version of Roman Britain and elsewhere and _^<i_A Dusk of Demons_^>i_ (_^<b_1993_^>b_), set in a post-holocaust Scotland. _^<i_The Prince in
Waiting_^>i_ (_^<b_1970_^>b_), _^<i_Beyond the Burning Lands_^>i_ (_^<b_1971_^>b_) and _^<i_The Sword of the Spirits_^>i_ (_^<b_1972_^>b_), assembled as _^<i_The Swords of the Spirits Trilogy_^>i_ (omni _^<b_1980_^>b_ US; vt _^<i_The Prince in
Waiting Trilogy_^>i_ 1983 UK), is _^<a_!T1412_FANTASY_^>a_. As with his adult sf, most of JC's juveniles are set in a post-_^<a_!T1243_DISASTER_^>a_ situation, in which the romantic individualism of young protagonists finds itself pitted against
some kind of conformist or even brainwashed system, sometimes symbolized as a struggle between the country and the city. They have been remarkably and deservedly popular. [JC/PN]_^<n__^<n__^<b_Other works:_^>b_ _^<i_The Caves of Night_^>i_
(_^<b_1958_^>b_ US), marginal; _^<i_The Long Voyage_^>i_ (_^<b_1960_^>b_; vt _^<i_The White Voyage_^>i_ 1961 US), a juvenile; _^<i_The Possessors_^>i_ (_^<b_1964_^>b_ US); _^<i_The Little People_^>i_ (_^<b_1966_^>b_ US)._^<b_About the author:_^>b_
_^<i_Christopher Samuel Youd, Master of All Genres: A Working Bibliography_^>i_ (_^<b_1990_^>b_ chap) by Phil _^<a_!T5712_STEPHENSEN-PAYNE_^>a_._^<b_See also:_^>b_ _^<a_!T710_CHILDREN'S SF_^>a_; _^<a_!T6576_ECOLOGY_^>a_; _^<a_!T4823_GREAT AND
US original anthology series, 1977-83, 10 vols, ed Roy _^<a_!T6058_TORGESON_^>a_. The first 7 were paperback originals from Zebra Books; the remaining 3 had hardcover first editions from _^<a_!T1299_DOUBLEDAY_^>a_. They were _^<i_Chrysalis 1_^>i_
_^<i_#8_^>i_ (anth _^<b_1980_^>b_), _^<i_#9_^>i_ (anth _^<b_1981_^>b_) and _^<i_#10_^>i_ (anth _^<b_1983_^>b_). Torgeson's editorial policy was eclectic, perhaps too much so; he published sf, fantasy and horror by a mixture of new and established
writers. The series title was intended to suggest something developing and changing and about to give birth to beauty. Although C published a number of interesting stories, including four each by Orson Scott _^<a_!T6359_CARD_^>a_ and Australian
writer Leanne Frahm, it never developed a very strong personality, and it is perhaps surprising (though admirable) that it lasted as long as it did. [PN]_^<n__^<n_
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CHURCHILL, JOYCE
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[s] > M. John _^<a_!T4319_HARRISON_^>a_._^<n__^<n_
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CHURCHILL, R(EGINALD) C(HARLES)
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(1916- ) UK writer whose _^<i_A Short History of the Future_^>i_ (_^<b_1955_^>b_), like John _^<a_!T288_ATKINS_^>a_'s _^<i_Tomorrow Revealed_^>i_ (_^<b_1955_^>b_), is an imaginary _^<a_!T4442_HISTORY_^>a_, in this case set about AD7000, and
similarly draws on genuine contemporary sources, mainly George _^<a_!T1731_ORWELL_^>a_, into an unusually witty accounting of the course of history; in RCC's version, history comes in great cycles. [JC]_^<n__^<n_
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CICELLIS, KAY
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Working name of Catherine Mathilda Cicellis (1926- ),French-born writer of Greek descent who writes in English. Her sf novel _^<i_The Day The Fish Came Out_^>i_ * (_^<b_1967_^>b_), which novelizes _^<i_The_^<a_!T1113_DAY THE FISH CAME
OUT_^>a__^>i_ (1967), is about an H-bomb and the consequences of its loss off a Greek island; it is not up to the standard of her serious work. [JC]_^<n__^<n_
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CIDONCHA, CARLOS SAIZ
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[r] > _^<a_!T2357_SPAIN_^>a_._^<n__^<n_
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CINEFANTASTIQUE
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US film magazine, specializing in sf, fantasy and horror _^<a_!T726_CINEMA_^>a_, and occasionally tv; published and ed Frederick S. Clarke from Illinois. Fall 1970-current. It had reached Vol 26, no 4, by June 1995. Slick _^<a_!T492_BEDSHEET_^>a_
format, well illustrated in both colour and b/w. The production schedule has varied from 4 to 6 numbers a year, currently bimonthly. This is by far the most useful US fantastic-cinema magazine, being less juvenile in orientation and (apparently)
less dependent on the studios for pictorial material, and thus more independent in its judgments, than magazines like _^<a_!T2413_STARLOG_^>a_. Critical standards range from merely eccentric to excellent. Coverage is good on films with wide
theatrical release, but patchy on films that go straight to video release and on tv programmes, with good coverage of tv STAR TREK programmes, rather weak coverage of most other tv shows.. Features range from interviews through articles on
production problems and on how special effects are worked to occasional retrospectives (usually good) on famous genre movies of the past. Reviews became briefer and weaker in the 1990s, with many films and tv shows omitted altogether (and many
credits misspelled or simply not given), so that _^<i_C_^>i_'s usefulness as a comprehensive magazine of record was becoming dubious. [PN]_^<n__^<n_
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CINEMA
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The basis on which films and film-makers have been selected for inclusion in this volume is discussed in the Introduction._^<n__^<n_From the outset, the cinema specialized in illusion to a degree that had been impossible on the stage. Sf itself
takes as its subject matter that which does not exist, now, in the real world (though it might one day), so it has a natural affinity with the cinema: the illusory qualities of film are ideal for presenting fictions about things that are not yet
real. The first sf film-maker of any consequence -- indeed, one of the very first film-makers -- was Georges _^<a_!T3755_MELIES_^>a_, who used trick photography to take his viewers to the Moon in _^<i_Le_^<a_!T5412_VOYAGE DANS LA LUNE_^>a__^>i_
(1902; vt _^<i_A Trip to the Moon_^>i_). What they saw there -- chorus girls and lobster-clawed Selenites -- was not exactly high art, but it was, for the time, wonderful. The ability of sf cinema to evoke wonders, for which it is often criticized
as being a modern equivalent of a carnival freak show, is also its strength. Wonders themselves may pall, or be dismissed as childish, but nevertheless they are at the heart of sf; sf, no matter how sophisticated, by definition must feature
something new, some alteration from the world as we know it (though of course newness can easily become mere novelty). Film, from this viewpoint, is sf's ideal medium._^<n__^<n_But from another point of view film is _^<i_far from_^>i_ the ideal
medium. Sf as literature is analytic and deals with ideas; film is the opposite of analytic, and has trouble with ideas. The way film deals with ideas is to give them visual shape, as images which may carry a metaphoric charge, but metaphors are
tricky things, and, while the ideas of sf cinema may be potent, they are seldom precise. Also, film is a popular artform which, its producers often believe, is unlikely to lose money by underestimating the intelligence of the public. So, on its
surface, sf cinema has often been simplistic, even though complex currents may trouble the depths where its subtexts glide._^<n__^<n_In fact, sf cinema in the silent period did become surprisingly sophisticated, though to the modern eye, which
prefers the illusion of photographic realism, the theatrical Expressionism of much early sf cinema -- especially in Russia and Germany -- is as strange a convention as having people talk in blank verse. Two important early sf films came from those
countries and that convention, _^<a_!T58_AELITA_^>a_ (1924) from Russia and _^<a_!T2926_METROPOLIS_^>a_ (1926) from Germany. Nonetheless, _^<i_Metropolis_^>i_ -- the first indubitable classic of sf cinema -- is, for all the apparent triteness of
its story, striking even today, with its towering city of the future, its cowed lines of shuffling workers, its chillingly lovely female _^<a_!T2646_ROBOT_^>a_. Fritz _^<a_!T4177_LANG_^>a_, who made it, also made one of the first space movies,
_^<i_Die_^<a_!T1609_FRAU IM MOND_^>a__^>i_ (1929; vt _^<i_The Woman in the Moon_^>i_). The debut film of Rene Clair (1898-1981), one day to be a very famous director, was also sf: _^<a_!T1799_PARIS QUI DORT_^>a_ (1923; vt _^<i_The Crazy Ray_^>i_),
but this was an altogether lighter piece, a charming story of Parisians frozen in time._^<n__^<n_Many people remember the sf-movie booms of the 1950s and the late 1970s, but the first sf boom, that of the 1930s, is often forgotten. Though some sf
films were made in Europe at this time, it was in the USA that the most influential were produced: _^<a_!T6350_JUST IMAGINE_^>a_ (1930), _^<a_!T1599_FRANKENSTEIN_^>a_ (1931), _^<a_!T3819_ISLAND OF LOST SOULS_^>a_ (1932), _^<a_!T1261_DR JEKYLL AND
HANDE_^>a_) and _^<a_!T3455_LOST HORIZON_^>a_ (1936). _^<i_Just Imagine_^>i_ is a forgotten futuristic musical, and _^<i_Deluge_^>i_ is a _^<a_!T1243_DISASTER_^>a_ movie which, like the earlier French _^<i_La_^<a_!T1484_FIN DU MONDE_^>a__^>i_
(1931; vt _^<i_The End of the World_^>i_), is primarily interested in the effect of apocalypse on human morals. _^<i_King Kong_^>i_ is of course an early and classic monster movie, with a sympathetic monster. Similarly, _^<i_Lost Horizon_^>i_ is
the most famous _^<a_!T3460_LOST-WORLD_^>a_ film, though the theme has never been very important in sf movies._^<n__^<n_It is interesting that the remainder -- all six of them good films, and mostly well remembered -- have in common the
over-reaching scientist destroyed by his own creation. This theme, which could be called the Promethean theme (after the hero who stole fire from the Gods -- a literal parallel in the case of the _^<b_Frankenstein_^>b_ films, where scientists steal
lightning to create new life), remains a central theme in sf cinema today; it is a familiar paradox that much sf cinema is anti-science, even anti-intellectual (> _^<a_!T200_ANTI-INTELLECTUALISM IN SF_^>a_), and (especially in the 1930s) cast in
the _^<a_!T4780_GOTHIC_^>a_ mode, which typically sees the limitation of science as being its reliance on Reason in a world of mysteries not susceptible to rational analysis -- indeed, most of the _^<a_!T2880_SCIENTISTS_^>a_ who appear in the above
films are seen as literally mad. This is true also of several European films of the time, including the archetypally Gothic German film _^<a_!T128_ALRAUNE_^>a_ (1930; vt _^<i_Daughter of Evil_^>i_). It is, of course, a _^<a_!T752_CLICHE_^>a_ of
early sf generally and of sf in the cinema especially that scientists are mad, so much so that we seldom pause to analyse the oddness of this. It is as if these films were telling us that the brain, the seat of reason, is so delicate an instrument
that its overuse leads to the very opposite, unreason. Although all these films are undeniably sf, they are generally and rightly categorized as _^<a_!T4509_HORROR_^>a_. Also archetypal of the sf cinema is their clear Luddite subtext: the results
of science are terrifying. This pessimistic view gave way to _^<a_!T1714_OPTIMISM_^>a_ later in the 1930s, but returned with new vigour when the real-world results of scientific advance -- the bombing of Hiroshima and Nagasaki-proved to be so
terrifying. The Bomb was the image that was to loom behind the _^<a_!T3011_MONSTER MOVIES_^>a_ of the 1950s, especially -- not surprisingly -- those made in _^<a_!T3872_JAPAN_^>a_._^<n__^<n_In the later 1930s few sf films were made, the most
obvious new theme being _^<a_!T2342_SPACE OPERA_^>a_, though this was mainly confined to cheerful juvenile serials such as _^<a_!T1517_FLASH GORDON_^>a_ (1936, with sequels in 1938 and 1940) and _^<a_!T5063_BUCK ROGERS IN THE 25TH CENTURY_^>a_
(1939). The one adult film made about the conquest of space, the hifalutin', rhetorical and romantic _^<a_!T5975_THINGS TO COME_^>a_ (1936), was from the UK; although it flopped, with hindsight we can see it as a milestone of sf film-making. While
ultimately optimistic, its vision of the future has many dark aspects, and in this respect the movie is the inheritor of the _^<a_!T1370_DYSTOPIAN_^>a_ theme of _^<i_Metropolis_^>i_._^<n__^<n_The 1940s, by contrast, were empty years for sf cinema,
though they started well with the sinister _^<a_!T1260_DR CYCLOPS_^>a_ (1940), whose villain shrank people. Medical sf/horror was well represented by _^<i_The_^<a_!T4149_LADY AND THE MONSTER_^>a__^>i_ (1944), about a sinister excised brain kept
alive by science. More typical was comic sf, mostly weak, as in the ever more slapstick sequels to the _^<b_Frankenstein_^>b_ and _^<b_Invisible Man_^>b_ movies, both unnatural beings winding up as co-stars, in 1948 and 1951 respectively, with Bud
Abbott and Lou Costello. _^<i_The_^<a_!T1856_PERFECT WOMAN_^>a__^>i_ (1949) is a UK comedy interesting in its exploitation of sf to sexist ends: its underclothes fetishism would have been unthinkable had its robot heroine, played by a real woman,
been a real woman. Prehistoric fantasy, which continues as a minor genre today, had a good start with _^<a_!T1704_ONE MILLION B.C._^>a_ (1940). There was not much else._^<n__^<n_The sf-movie boom of the 1950s, which figures largely in our cultural
nostalgia today -- even among viewers too young to have seen the originals when they first came out -- was largely made up of _^<a_!T3011_MONSTER MOVIES_^>a_ (_^<i_which see for details_^>i_), but the theme of space exploration hit the screens even
earlier and was also popular. (There were few monster movies before 1954, the first being _^<i_The_^<a_!T5973_THING_^>a__^>i_ in 1951.) The first 1950s space film to be released was _^<a_!T2652_ROCKETSHIP X-M_^>a_, which was rushed out in 1950 to
capitalize on the pre-publicity for _^<a_!T1194_DESTINATION MOON_^>a_; it was the latter, however, that was successful. It was followed by such spacecraft-oriented films as _^<i_The_^<a_!T1112_DAY THE EARTH STOOD STILL_^>a__^>i_ (1951),
_^<a_!T5571_WHEN WORLDS COLLIDE_^>a_ (1951), _^<a_!T3794_INVADERS FROM MARS_^>a_ (1953), _^<a_!T3828_IT CAME FROM OUTER SPACE_^>a_ (1953), _^<a_!T5465_WAR OF THE WORLDS_^>a_ (1953), _^<a_!T2596_RIDERS TO THE STARS_^>a_ (1954),
_^<i_The_^<a_!T842_CONQUEST OF SPACE_^>a_ _^>i_ (1955), _^<a_!T5977_THIS ISLAND EARTH_^>a_ (1955), _^<i_The_^<a_!T2451_QUATERMASS XPERIMENT_^>a__^>i_ (1955), _^<a_!T1551_FORBIDDEN PLANET _^>a_(1956), and _^<a_!T6565_EARTH VS. THE FLYING
SAUCERS_^>a_ (1956). In six of these, probably more for budgetary than for ideological reasons, the spacecraft bring _^<a_!T102_ALIENS_^>a_ to Earth; all are monstrous except for the Christlike alien in _^<i_The Day the Earth Stood Still_^>i_, who
dies and rises again before (in a manner more appropriate to the Old Testament than the New) threatening Earth with destruction if it does not repent its sins. In the remainder the urge for the conquest of space is apparent (as it was coming to be
in the real world, with the first orbital satellite, Sputnik 1, launched in 1957), although the religious subtext of much 1950s sf cinema is found also in _^<i_When Worlds Collide_^>i_ (a Noah's space-ark is used to save a remnant of humanity from
God's wrath made manifest as cataclysm) and _^<i_The Conquest of Space_^>i_ (the captain of a spacecraft goes mad because he believes space travel is an intrusion into the sphere of God). The only full-blooded space operas of the period appeared
moderately late on, with _^<i_This Island Earth_^>i_ and _^<i_Forbidden Planet_^>i_, but even in these tales the central image is of the destruction that can be wrought by science._^<n__^<n_One of the most memorable sf films of the 1950s boom is at
first glance not sf at all: the _^<b_Mickey Spillane_^>b_ _^<i_film noir_^>i_ _^<a_!T4090_KISS ME DEADLY_^>a_ (1955), dir Robert Aldrich (1918-1983), in which the central object is a box which, when opened, emits a fiery light and unleashes
destruction on the world. The film effortlessly and pessimistically links by metaphor the petty spites and bestialities that disfigure individuals with the greater capacity for destruction symbolized by the Pandora's Box which, in this case,
appears to unbind, like the Bomb, a cleansing radioactivity to greet the fallen world._^<n__^<n_The monster movie, of course, is even more obviously fearful of science: its text is "science breeds monsters". Political _^<a_!T1795_PARANOIA_^>a_, a
quite different theme (and one to be developed further in the 1960s) also found a niche in much 1950s sf, especially in those films in which creatures that look just like us on the outside turn out on the inside to be monsters or alien puppets
(often identifiable as metaphoric stand-ins for such other secret worms in the apple of Western society as communist agents). _^<i_Invaders from Mars_^>i_ (1953), one of the earliest and best of these (> _^<a_!T3011_MONSTER MOVIES_^>a_ and
_^<a_!T1795_PARANOIA_^>a_ for other films on this theme), added a touch of Freudian fear to the paranoid brew by making Mummy and Daddy among the first humans to be rendered monstrous and emotionless by alien control. The most famous example is
_^<a_!T3802_INVASION OF THE BODY SNATCHERS_^>a_ (1956), in which, as in most of its kind, the slightly diagrammatic fear of communism is surely secondary to the fear of the loss of affect: the monstrous quasi-humans have no emotions; they are like
cogs in a remorseless machine. It is interesting that, although with hindsight we see the Eisenhower years precisely as years of conformity, it was fear of that very conformity that played so prominent a role in the US popular culture of those
years._^<n__^<n_Where in the 1940s only a handful of sf films were made, in the 1950s there were 150 to 200, their numbers increasing in inverse proportion to their quality: although the years 1957-9 had more sf movies than the years 1950-56, they
were mostly B-movies from "Poverty Row", which, despite the fact that they include such old favourites as _^<a_!T297_ATTACK OF THE CRAB MONSTERS_^>a_, _^<i_The_^<a_!T3777_INCREDIBLE SHRINKING MAN_^>a__^>i_ , _^<a_!T2450_QUATERMASS II_^>a_ and
_^<i_The_^<a_!T3005_MONOLITH MONSTERS_^>a__^>i_ (all 1957) and _^<i_The_^<a_!T1537_FLY_^>a__^>i_ , _^<i_The_^<a_!T660_BLOB_^>a__^>i_ and _^<a_!T3769_I MARRIED A MONSTER FROM OUTER SPACE_^>a_ (all 1958), leave an overall impression of sf cinema as
both sensationalist and tacky. The year 1959, however, while producing genre movies that were mostly forgettable exploitation material, also produced three films which, while obviously intended for a mainstream audience, had an sf theme:
_^<a_!T3945_JOURNEY TO THE CENTER OF THE EARTH_^>a_, _^<i_The_^<a_!T6178_WORLD, THE FLESH AND THE DEVIL_^>a__^>i_ and _^<a_!T1707_ON THE BEACH_^>a_. At last some sf themes (_^<a_!T3460_LOST WORLDS_^>a_, the _^<a_!T4482_HOLOCAUST AND AFTER_^>a_ and
the _^<a_!T6661_END OF THE WORLD_^>a_), it seemed, were sufficiently familiar to general audiences to risk the involvement of big-name stars: James Mason, Harry Belafonte and Gregory Peck. None of these films was especially good, but as
sociological signposts each has some importance._^<n__^<n_Another phenomenon of the 1950s was the rise of Japanese sf cinema, built largely on the success of _^<a_!T4750_GOJIRA_^>a_ (1954; vt _^<i_Godzilla_^>i_), a monster movie. Many further
monster movies followed, nearly all from Toho studios, which began working in the space-opera and alien-invasion genres later, as with _^<a_!T5266_CHIKYU BOIEGUN_^>a_ (1957; vt _^<i_The Mysterians_^>i_)._^<n__^<n_By the later 1950s the major
studios were abandoning genre sf, and most memorable productions of the period were made by such low-budget independent producers as Roger _^<a_!T884_CORMAN_^>a_; the earlier 1950s, by contrast, had been dominated by studios like Universal, Warner
Bros. and Paramount, which had sometimes used specialist producers like George _^<a_!T1769_PAL_^>a_ or even, in the case of Universal, developed their own specialist sf director, Jack _^<a_!T248_ARNOLD_^>a_. For the decades since then it has been
arguable that much of the inventive energy of sf cinema has continued to bubble up from the marshes of "Poverty Row"._^<n__^<n_Sf films were quite numerous through most of the 1960s, without many clear lines of evolution being visible, although
individual films sometimes showed real creativity (but see below for developments in the cinema of paranoia, and for the new wave of _^<a_!T1370_DYSTOPIAN_^>a_ films). Hollywood remained fairly uneventful so far as sf was concerned through the
years 1960-67, with silly, colourful films like _^<i_The_^<a_!T6018_TIME MACHINE_^>a__^>i_ (1960), _^<i_The_^<a_!T16_ABSENT-MINDED PROFESSOR_^>a__^>i_ (1961) and _^<a_!T1409_FANTASTIC VOYAGE_^>a_ (1966). Jerry Lewis made a surprisingly effective sf
campus comedy out of the Jekyll and Hyde theme, _^<i_The_^<a_!T3270_NUTTY PROFESSOR_^>a__^>i_ (1963). Roger Corman's low-budget, independent sf features became less common, but one of the last was one of the best: _^<a_!T6218_X -- THE MAN WITH THE
X-RAY EYES_^>a_ (1963). By far the best commercial movie in the genre belonged to it only marginally: Alfred Hitchcock's _^<i_The_^<a_!T617_BIRDS_^>a__^>i_ (1963). A revenge-of-Nature film which began a whole trend, this is a particularly surreal
monster movie whose paranoid element -- intimate sharers of our own world becoming the monsters -- showed that the paranoia theme was continuing strongly in sf cinema, as it has ever since, but with a shift in emphasis. In the 1950s the monster
movie had been comparatively innocent, and -- not surprisingly with the Cold War being at its height and Hollywood itself about to become subject to investigations designed to weed out left-wingers -- regularly featured monsters from outside normal
experience; foreigners, so to speak. These films often opened with scenes of tranquillity -- children playing, farmers hoeing, lovers strolling. The subsequent violence was almost a metaphor for the irrational forces which peaceful US citizens
feared might enter their lives, forces beyond their control, such as (in real life) the Bomb or invasion. By contrast, the subtext of _^<i_The Birds_^>i_ can, with hindsight, be seen as changing the focus of unease away from the alien monster
towards the domestic monster. In the 1960s, elements of decay and division in Western society, especially US society, were becoming more obvious, and 1960s sf reflected this. Working like Hitchcock on the margins of sf cinema, John
_^<a_!T1598_FRANKENHEIMER_^>a_ was perhaps the most distinguished Hollywood director of 1960s politically paranoid sf, with _^<i_The_^<a_!T3632_MANCHURIAN CANDIDATE_^>a__^>i_ (1962), _^<i_Seven Days in May_^>i_ (1964) and _^<a_!T2090_SECONDS_^>a_
(1966). Conspiracy-theory paranoia of the most extreme kind is the occasion for black comedy in Theodore Flicker's _^<i_The_^<a_!T1985_PRESIDENT'S ANALYST_^>a__^>i_ (1967), in which the Telephone Company is out to rule the world. Even George Pal,
of all people, had a very effective exercise in paranoia with _^<i_The_^<a_!T1964_POWER_^>a__^>i_ (1967), a story of amoral superhumans disguised as ordinary people. Stanley _^<a_!T4135_KUBRICK_^>a_, working outside the Hollywood system, made his
memorably black and funny sf debut with _^<a_!T1267_DR STRANGELOVE OR: HOW I LEARNED TO STOP WORRYING AND LOVE THE BOMB_^>a_ (1964), and Hollywood exile Joseph Losey made his nightmare of alienation and radioactivity,
_^<i_The_^<a_!T1044_DAMNED_^>a__^>i_ (1961), in the UK. In all of these, it is our own society that is frightening, not some alien import._^<n__^<n_The 1960s were, famously, a decade of radicalism and social change, but the English-speaking cinema
was slow to reflect this, being more interested in the miniskirt than in, say, the growing power of young people as a political force. Movies of youth revolution like _^<a_!T1999_PRIVILEGE_^>a_ [1967], _^<a_!T5602_WILD IN THE STREETS_^>a_ [1968]
and _^<a_!T4634_GAS-S-S-S_^>a_ [1970] came only at the end of the decade, in a perhaps cynical attempt to cash in on the flower-power phenomenon, and there were never many of them. Spy movies were immensely popular -- a phenomenon perhaps
reflecting the idea of a society riddled with secrets and conspiracies -- but there is nothing remotely radical or even modern about the _^<b_James Bond_^>b_ series of films inaugurated with _^<a_!T1265_DR NO_^>a_ (1962) and going on to include
many other borderline-sf films like _^<a_!T6244_YOU ONLY LIVE TWICE_^>a_ (1967); indeed, their central image of mad _^<a_!T2880_SCIENTISTS_^>a_ out to rule the world derives from the pulp sf of the 1920s and 1930s (_^<i_see also_^>i_
_^<a_!T956_CRIME AND PUNISHMENT_^>a_). In Europe, however, especially in France, the so-called New Wave cinema was indeed revolutionizing the medium with lasting effect. Many New Wave directors made marginal sf films, typically incorporating sf
tropes into a supposedly future but apparently contemporary setting. These included Chris Marker with _^<i_La_^<a_!T3900_JETEE_^>a__^>i_ (1963), Jean-Luc Godard with _^<a_!T127_ALPHAVILLE_^>a_ (1965) and _^<a_!T5503_WEEKEND_^>a_ (1968), Francois
Truffaut with _^<a_!T1376_FAHRENHEIT 451_^>a_ (1966) and Alain Resnais with _^<a_!T3899_JE T'AIME, JE T'AIME_^>a_ (1967), all eccentric and interesting; Truffaut was perhaps the odd man out, as the director least comfortable with future scenarios.
The exploitation cinema in Italy had no critical agenda of reform like the New Wave in France, but it had plenty of intelligence and inventiveness, though the results were often extremely uneven; much of the Italian work was
_^<a_!T4509_HORROR_^>a_, but this often overlapped with sf, as in Mario Bava's _^<a_!T5947_TERRORE NELLO SPAZIO_^>a_ (1965; vt _^<i_Planet of the Vampires_^>i_). Further east, both _^<a_!T2748_RUSSIA_^>a_ and Czechoslovakia (> _^<a_!T1020_CZECH AND
SLOVAK SF_^>a_) made quite a few sf films, including Russia's _^<a_!T1912_PLANETA BUR_^>a_ (1962; vt _^<i_Planet of Storms_^>i_) and Czechoslovakia's _^<a_!T4588_IKARIE XB-1_^>a_ (1963). The sf business in the UK was normally a matter of low-budget
B-movies, but some respectable films emerged -- e.g., _^<i_The_^<a_!T1111_DAY THE EARTH CAUGHT FIRE_^>a__^>i_ (1961), _^<a_!T709_CHILDREN OF THE DAMNED_^>a_ (1963), _^<a_!T2447_QUATERMASS AND THE PIT_^>a_ (1967) and Peter _^<a_!T5479_WATKINS_^>a_'s
_^<i_The_^<a_!T5456_WAR GAME_^>a__^>i_ (1965). This last was made for tv but banned from tv for giving too realistic a picture of nuclear _^<a_!T4482_HOLOCAUST_^>a_; even today it comes across at least as powerfully as _^<i_The_^<a_!T1106_DAY
AFTER_^>a__^>i_ (1983), made for US tv two decades later._^<n__^<n_The single most important year in the history of sf cinema is 1968. Before then sf was not taken very seriously either artistically or commercially; since then it has remained, much
of the time, one of the most popular film genres, and has produced many more good films. Simply to list the main sf films of 1968 gives some idea of the year's significance: _^<a_!T398_BARBARELLA_^>a_, _^<a_!T5243_CHARLY_^>a_, _^<a_!T3206_NIGHT OF
THE LIVING DEAD_^>a_, _^<a_!T1919_PLANET OF THE APES_^>a_ and _^<a_!T6146_2001: A SPACE ODYSSEY_^>a_. (Less important were _^<a_!T914_COUNTDOWN_^>a_, _^<i_The_^<a_!T4592_ILLUSTRATED MAN_^>a__^>i_ , _^<i_The_^<a_!T3454_LOST CONTINENT_^>a__^>i_ and
_^<i_The_^<a_!T3002_MONITORS_^>a__^>i_ .) George A. _^<a_!T2687_ROMERO_^>a_'s _^<i_Night of the Living Dead_^>i_ is the exception here in being a low-budget, independent production, but, while it was seen by some contemporaries as being merely
another milestone in making the cinema of horror more luridly graphic and disgusting -- a key moment in the evolution of the _^<a_!T2374_SPLATTER MOVIE_^>a_ -- its image of humans reduced to deranged, cannibalistic zombies has an undeniable
metaphoric power and even a dark poetry, and it was revolutionary in its discomforting refusal to offer any solace throughout, nor any happy ending. The other four films were commercially reputable products, and interesting for different reasons.
_^<i_Barbarella_^>i_ is second-generation, spoof sf, the sort of film that can be made only when genre materials have already been thoroughly absorbed into the cultural fabric. _^<i_Charly_^>i_ won its financier and star, Cliff Robertson, the first
Oscar for Best Actor given to a performance in an sf movie, a good measure of sf's increasing respectability; the film was based on Daniel _^<a_!T4050_KEYES_^>a_'s _^<i__^<a_!B9064_FLOWERS FOR ALGERNON_^>a__^>i_ (1959 _^<i_FSF_^>i_; exp
_^<b_1966_^>b_). _^<i_Planet of the Apes_^>i_ and _^<i_2001: A Space Odyssey_^>i_ are good films -- the latter arguably one of the great classics of the genre -- both notable for their commercial success and for their use of nonpatronizing
screenplays that demanded thought from the audience. Though there were plenty of bad films still to come, sf cinema now had to be taken seriously, definitely by the money-men and to a degree by the critics._^<n__^<n_To jump ahead for a moment, it
would be another decade before the commercial potential of sf cinema was thoroughly confirmed, partly in response to the technical developments in special effects that took place during that period. In 1977 _^<a_!T5686_STAR WARS_^>a_, a smash hit,
inaugurated a new boom in space-opera movies, and in the same year _^<a_!T764_CLOSE ENCOUNTERS OF THE THIRD KIND_^>a_ also did very well with its blend of sentiment and _^<a_!T5271_UFO_^>a_ mysticism, inaugurating the friendly-_^<a_!T98_ALIEN_^>a_
theme which the film's director, Steven _^<a_!T2367_SPIELBERG_^>a_, was to exploit with even greater effect in _^<a_!T6704_E.T.: THE EXTRATERRESTRIAL_^>a_ (1982). Another money-maker that began a trend was _^<a_!T5830_SUPERMAN_^>a_ (1978), which
led to a succession of ever-more-disappointing _^<a_!T5829_SUPERHERO_^>a_ movies. These films remain among the most financially successful ever made. In 1971 the cinema of the fantastic (sf, horror, fantasy, surrealism) accounted for about 5 per
cent of US box-office takings; by 1982 this figure had risen amazingly to approach 50 per cent, and it remained as high as about 30 per cent in 1990._^<n__^<n_Though special effects were to usher in a period of sf cinema whose spectacle was more
overwhelming than its intelligence, in the late 1960s no vast teenage audience had as yet accumulated to drag down the genre with the commercial demand that it should remain always suitable for kids. A majority of the sf films of 1969-79 were
downbeat and even gloomy, and even in the adventure films their heroes were hard pressed just to survive, let alone survive cheerfully. The three main themes were the dystopian, the Luddite and the post-_^<a_!T4482_HOLOCAUST_^>a_._^<n__^<n_Luddite
films included practically everything made or written by Michael _^<a_!T954_CRICHTON_^>a_, notably _^<a_!T5557_WESTWORLD_^>a_ (1973), _^<i_The_^<a_!T5939_TERMINAL MAN_^>a__^>i_ (1974) and _^<a_!T818_COMA_^>a_ (1978). He has a gift for cinematic
narrative, but his tireless replaying of the theme made him seem something of a one-note director. (John _^<a_!T350_BADHAM_^>a_, in the 1980s, would be another director to make a career out of Luddite sf movies, with _^<a_!T5457_WARGAMES_^>a_
[1983], _^<a_!T671_BLUE THUNDER_^>a_ [1983] and _^<a_!T2194_SHORT CIRCUIT_^>a_ [1986].) Other films about the triumph of technology and the subsequent enslavement of humanity (whether actual or metaphorical) included: _^<a_!T813_COLOSSUS, THE
FORBIN PROJECT_^>a_ (1969), computer takes over; _^<a_!T2247_SLEEPER_^>a_ (1973), machines run amok; _^<a_!T4056_KILLDOZER_^>a_ (1974), a bulldozer goes mad; _^<a_!T1663_FUTUREWORLD_^>a_ (1976), robots take over; _^<a_!T1173_DEMON SEED_^>a_ (1977),
computer as rapist and voyeur; _^<i_The_^<a_!T715_CHINA SYNDROME_^>a__^>i_ (1979), nuclear power station almost blows up; _^<i_La_^<a_!T3072_MORT EN DIRECT_^>a__^>i_ (1979), intrusive journalist whose eyes are cameras. In _^<a_!T1067_DARK STAR_^>a_
(1974), the feature-film debut of John _^<a_!T5176_CARPENTER_^>a_ and one of the wittiest sf films yet made, a computerized bomb undertakes phenomenological arguments with the crew of a starship._^<n__^<n_Dystopian films ranged from the terrible --
_^<a_!T2211_SILENT RUNNING_^>a_ (1971), we've destroyed all plant life; _^<a_!T2680_ROLLERBALL_^>a_ (1975), sport is the opium of the people; _^<a_!T3423_LOGAN'S RUN_^>a_ (1976), everyone over 30 is killed -- through the interesting if exaggerated
-- _^<a_!T2328_SOYLENT GREEN_^>a_ (1973), overpopulation; _^<i_The_^<a_!T5710_STEPFORD WIVES_^>a__^>i_ (1974), robot wives replace human wives -- to the excellent -- THX 1138 (1970), the debut of George _^<a_!T3477_LUCAS_^>a_;
_^<i_A_^<a_!T760_CLOCKWORK ORANGE_^>a__^>i_ (1971), brainwashing; _^<i_The_^<a_!T3655_MAN WHO FELL TO EARTH_^>a__^>i_ (1976), the corrupting influence of human society on an alien; _^<a_!T2393_STALKER_^>a_ (1979 Russia), alien leavings turn out to
be fairy gold in a trash-heap world._^<n__^<n_Life after the holocaust had been an occasional theme in sf cinema for some time. Stories of survivors and the detritus they live among were becoming more numerous by the 1970s; the iconography of
disaster cinema regularly includes a few rusting or ivy-clad ruins of 20th-century civilization, as in _^<a_!T4728_GLEN AND RANDA_^>a_ (1971), _^<i_Logan's Run_^>i_ (1976) or, with more bravura, _^<i_A_^<a_!T4950_BOY AND HIS DOG_^>a__^>i_ (1975).
_^<i_The_^<a_!T5275_ULTIMATE WARRIOR_^>a__^>i_ (1975) fights in the rubble, and _^<a_!T523_BENEATH THE PLANET OF THE APES_^>a_ (1970) mutants live in it. In _^<a_!T6257_ZARDOZ_^>a_ (1974) the greater part of the population has reverted to
superstitious barbarism. We see this reversion taking place in _^<a_!T3589_MAD MAX_^>a_ (1979) and its two entertaining designer-barbarism sequels. Other examples from the 1970s include _^<i_The_^<a_!T493_BED-SITTING ROOM_^>a__^>i_ (1969),
_^<a_!T3225_NO BLADE OF GRASS_^>a_ (1970), _^<i_The_^<a_!T3313_OMEGA MAN_^>a__^>i_ (1971) and _^<a_!T1043_DAMNATION ALLEY_^>a_ (1977). This is a theme that suits low-budget movies, which nearly all these are, since the real world produces settings
of extraordinary dereliction in profusion._^<n__^<n_In the 1970s the low-budget, independent exploitation-movie end of the film business was quite busy making sf movies of other kinds, too, usually borderline-sf/_^<a_!T4509_HORROR_^>a_, including
_^<a_!T2077_SCREAM AND SCREAM AGAIN_^>a_ (1969), _^<a_!T1125_DEATH LINE_^>a_ (1972; vt _^<a_!T2507_RAW MEAT_^>a_), George A. Romero's _^<i_The_^<a_!T945_CRAZIES_^>a__^>i_ (1973), _^<a_!T670_BLUE SUNSHINE_^>a_ (1977), _^<a_!T1909_PIRANHA_^>a_ (1978)
-- a witty partnership between screenwriter John _^<a_!T2833_SAYLES_^>a_ and director Joe _^<a_!T1056_DANTE_^>a_ -- and _^<a_!T1879_PHANTASM_^>a_ (1979). But the two outstanding independent directors of exploitation sf in the 1970s (and after) were
Larry _^<a_!T783_COHEN_^>a_ and David _^<a_!T970_CRONENBERG_^>a_. The deeply eccentric social satirist Cohen is the inventor of the monster baby, in _^<a_!T3833_IT'S ALIVE_^>a_ (1973), where it is played by a doll pulled along by a string, and the
Christ-figure, in _^<a_!T4741_GOD TOLD ME TO_^>a_ (1976; vt _^<a_!T1171_DEMON_^>a_), who is an alien-fathered hermaphrodite. Cronenberg, whose biological metamorphoses almost constitute a new cinematic genre, has become perhaps the most important
director associated with sf cinema; his work of the 1970s consists of chaotic, horrific comedies, including _^<i_The_^<a_!T1796_PARASITE MURDERS_^>a__^>i_ (1974; vt _^<i_They Came from Within_^>i_; vt _^<i_Shivers_^>i_), _^<a_!T2473_RABID_^>a_
(1976) and _^<i_The_^<a_!T5015_BROOD_^>a__^>i_ (1979)._^<n__^<n_One of the most complex and moving sf films to date is _^<a_!T2305_SOLARIS_^>a_ (1972), the first sf film of Andrei _^<a_!T5909_TARKOVSKY_^>a_, with its delicate meshing of images from
inner and outer space. Other films of the decade that at least stimulated discussion -- none is outstanding-are _^<a_!T2244_SLAUGHTERHOUSE 5_^>a_ (1972), _^<i_The_^<a_!T1109_DAY OF THE DOLPHIN_^>a__^>i_ (1973), _^<i_The_^<a_!T2656_ROCKY HORROR
PICTURE SHOW_^>a__^>i_ (1975), _^<i_The_^<a_!T4957_BOYS FROM BRAZIL_^>a__^>i_ (1978) and _^<a_!T2430_STAR TREK: THE MOTION PICTURE_^>a_ (1979). More influential than any of these was the very successful and much imitated _^<a_!T98_ALIEN_^>a_
(1979), the first sf feature by Ridley _^<a_!T2897_SCOTT_^>a_, but this was part of the big-budget sf-feature boom of the late 1970s, discussed above, and belongs in spirit more to the 1980s than the 1970s._^<n__^<n_An interesting film of 1978,
_^<a_!T3802_INVASION OF THE BODY SNATCHERS_^>a_, was a successful remake of the classic 1956 film. Along with _^<a_!T4072_KING KONG_^>a_ (1976) this introduced a series of sf remakes in the 1980s which, contrary to cliche, contain a good deal of
interesting work. The time was ripe for remakes because, in the post _^<i_Star Wars_^>i_ period, sf was proving such a hot area of Hollywood movie-making. If you've had a success once, what more natural than to try to repeat it? The two best
remakes were probably John Carpenter's _^<i_The_^<a_!T5973_THING_^>a__^>i_ (1982) and David Cronenberg's _^<i_The_^<a_!T1537_FLY_^>a__^>i_ (1986). Also better than expected were _^<i_The_^<a_!T660_BLOB_^>a__^>i_ (1988) and _^<i_The_^<a_!T1538_FLY
II_^>a__^>i_ (1989). Others, mostly poor, were _^<a_!T5063_BUCK ROGERS IN THE 25TH CENTURY_^>a_ (1979), _^<a_!T1517_FLASH GORDON_^>a_ (1980), _^<a_!T4751_GOJIRA 1985_^>a_ (1985; vt _^<i_Godzilla 1985_^>i_), _^<a_!T3794_INVADERS FROM MARS_^>a_
(1986), _^<a_!T3445_LORD OF THE FLIES_^>a_ (1990), _^<a_!T3206_NIGHT OF THE LIVING DEAD_^>a_ (1990) and _^<a_!T3251_NOT OF THIS EARTH_^>a_ (1988)._^<n__^<n_A less welcome phenomenon of the 1980s was the number of successful films to which sequels
were made almost as a matter of course, almost never as good as their originals, an observation that spans a variety of films including _^<i_Critters 2: The Main Course_^>i_, _^<i_It's Alive III: Island of the Alive_^>i_, _^<a_!T4422_HIGHLANDER II:
THE QUICKENING_^>a_, _^<i_Bronx Warriors II_^>i_, _^<a_!T6147_2010_^>a_, _^<i_Phantasm II_^>i_, _^<i_Re-Animator 2_^>i_, _^<i_Robocop 2_^>i_, _^<i_Short Circuit 2_^>i_, _^<i_Toxic Avenger 2_^>i_ and _^<i_Future Cop 2_^>i_. Indeed, the list includes
the most expensive film ever made, _^<a_!T5941_TERMINATOR 2: JUDGMENT DAY_^>a_ (1991), which, though quite good, is less uncompromising than its predecessor. Two sequels better than their originals are _^<a_!T3591_MAD MAX 2_^>a_ (1981; vt _^<i_The
Road Warrior_^>i_) and _^<a_!T1978_PREDATOR 2_^>a_ (1990). As of 1992 there have been five _^<b_Planet of the Apes_^>b_ films, six _^<b_Star Trek_^>b_ films and four _^<b_Superman_^>b_ films (plus _^<a_!T5828_SUPERGIRL_^>a_, etc.) in the cycle
begun by _^<i_Superman_^>i_ (1978). The Japanese, however, probably have the record with their endless _^<b_Gojira_^>b_ and _^<b_Gamera_^>b_ films, two series that began in the 1950s (> _^<a_!T4750_GOJIRA_^>a_; _^<a_!T1028_DAIKAIJU
GAMERA_^>a_)._^<n__^<n_The disappointment of the 1980s and the early 1990s was that, sf boom or no sf boom, many spectacular productions were the filmic equivalent of fast food, offering no lasting satisfaction. Also, too much US product seemed to
more astringent foreign tastes to be suffused with an oversweet sentimentality, especially following the success of Spielberg's _^<i_E.T._^>i_ Films tainted in this way, some of them otherwise quite good, included _^<a_!T2568_RETURN OF THE
JEDI_^>a_ (1983), with its Ewoks, _^<a_!T2416_STARMAN_^>a_ (1984), with its Christlike alien, _^<a_!T776_COCOON_^>a_ (1985), with its rejuvenated oldies, _^<a_!T6729_EXPLORERS_^>a_ (1985), with its cute alien kids, _^<a_!T3784_INNERSPACE_^>a_
(1987), with a wimp finding true manhood with the help of a miniaturized macho astronaut, * _^<a_!T461_BATTERIES NOT INCLUDED_^>a_ (1987), with nauseating baby flying saucers, _^<a_!T2434_STAR TREK V: THE FINAL FRONTIER_^>a_ (1989), the nadir of
the geriatric-buddy movie, and _^<i_The_^<a_!T19_ABYSS_^>a__^>i_ (1989), whose threatening aliens turn out to be real friendly Tinker Bells._^<n__^<n_At the very beginning of the 1980s, films of some interest included _^<a_!T129_ALTERED STATES_^>a_
(1980), _^<a_!T462_BATTLE BEYOND THE STARS_^>a_ (1980), especially _^<i_The_^<a_!T6653_EMPIRE STRIKES BACK_^>a__^>i_ (1980), _^<a_!T6690_ESCAPE FROM NEW YORK_^>a_ (1981), _^<a_!T1744_OUTLAND_^>a_ (1981) and _^<a_!T3761_MEMOIRS OF A SURVIVOR_^>a_
(1981). But by far the most influential sf film was the superbly designed _^<a_!T640_BLADE RUNNER_^>a_ (1982), Ridley Scott's second sf feature, whose shabby, lively, media-saturated city of the near future was an early manifestation of
_^<a_!T1015_CYBERPUNK_^>a_; a more knowing Japanese version of the cyberpunk ethos -- by then almost an sf _^<a_!T752_CLICHE_^>a_ -- would be found years later in the animated film _^<a_!T79_AKIRA_^>a_ (1990). Curiously, not many commercial films
between these two partook full-bloodedly of cyberpunk thinking, though several small independent productions (see below), including _^<a_!T5368_VIDEODROME_^>a_ (1982) and _^<a_!T4290_HARDWARE_^>a_ (1990), did so. However, the cyberpunk theme of
_^<a_!T5380_VIRTUAL REALITY_^>a_ -- the notion of consensual hallucination, or of humans entering _^<a_!T1014_CYBERNETIC_^>a_ systems and reading their networks (or being read by them) not just as maps but as the territory itself -- became quite
popular in cinema. A far from comprehensive list includes the made-for-tv movie _^<i_The_^<a_!T4203_LATHE OF HEAVEN_^>a__^>i_ (1980; based on the 1971 novel by Ursula _^<a_!T3318_LE GUIN_^>a_), _^<a_!T6102_TRON_^>a_ (1982),
_^<a_!T4974_BRAINSTORM_^>a_ (1983), _^<a_!T1320_DREAMSCAPE_^>a_ (1984) and _^<i_The_^<a_!T4200_LAST STARFIGHTER_^>a__^>i_ (1984)._^<n__^<n_There are many other examples of thematic clusters in the 1980s. Hollywood (and other film centres) had
seldom been so narcissistically absorbed -- often stupidly -- by its own previous productions, with each box-office breakthrough spawning multiple imitations. Hundreds of films featured a slow camera track along a giant spaceship (_^<i_2001, Star
Wars_^>i_) or an alien parasite bursting bloodily from a human body (_^<i_Alien_^>i_)._^<n__^<n_A big hit, starting at the beginning of the decade with _^<a_!T2817_SATURN 3_^>a_ (1980), _^<a_!T177_ANDROID_^>a_ (1982) and _^<a_!T2731_RUNAWAY_^>a_
(1984), was the killer-robot movie, mostly after the success of _^<a_!T2643_ROBOCOP_^>a_ (1987); examples are _^<i_Hardware_^>i_ (1990), _^<a_!T743_CLASS OF 1999_^>a_ (1990), _^<a_!T2644_ROBOCOP 2_^>a_ (1990), _^<a_!T2645_ROBOT JOX_^>a_ (1990) and
_^<a_!T6714_EVE OF DESTRUCTION_^>a_ (1991), but the best by far was _^<i_The_^<a_!T5940_TERMINATOR_^>a__^>i_ (1984), which in turn spawned _^<i_Terminator 2: Judgement Day_^>i_ (1991)._^<n__^<n_More seriously gruesome, but not without soap-opera
elements, was the spate of nuclear-death films beginning with _^<i_The_^<a_!T1106_DAY AFTER_^>a__^>i_ , _^<a_!T2361_SPECIAL BULLETIN_^>a_ and _^<a_!T5953_TESTAMENT_^>a_ (all 1983), the first two made for tv. They were followed by, among others,
_^<a_!T6000_THREADS_^>a_ (1985), also made for tv, and the cartoon feature _^<a_!T5569_WHEN THE WIND BLOWS_^>a_ (1986)._^<n__^<n_A subgenre of the 1980s was a bastard form, the teen-sf movie, of which the three best were probably _^<a_!T2522_REAL
GENIUS_^>a_ (1985), _^<a_!T602_BILL & TED'S EXCELLENT ADVENTURE_^>a_ (1988) and _^<a_!T6563_EARTH GIRLS ARE EASY_^>a_ (1988), along with the _^<b_Back to the Future_^>b_ series (see below). Others were _^<a_!T1116_DEAD KIDS_^>a_ (1981),
_^<a_!T729_CITY LIMITS_^>a_ (1984), _^<a_!T3204_NIGHT OF THE COMET_^>a_ (1984), _^<a_!T3129_MY SCIENCE PROJECT_^>a_ (1985), _^<a_!T5511_WEIRD SCIENCE_^>a_ (1985), _^<a_!T1532_FLIGHT OF THE NAVIGATOR_^>a_ (1986), _^<a_!T2331_SPACE CAMP_^>a_ (1986),
_^<a_!T6242_YOUNG EINSTEIN_^>a_ (1988), _^<a_!T3130_MY STEPMOTHER IS AN ALIEN_^>a_ (1988), _^<a_!T4493_HONEY, I SHRUNK THE KIDS_^>a_ (1989) and _^<a_!T2334_SPACED INVADERS_^>a_ (1989)._^<n__^<n__^<a_!T6026_TIME-TRAVEL_^>a_ movies made a big
comeback in the 1980s, many of them (> Introduction) being not technically sf since their means of time travel was fantastic. Among the genuine sf the best are _^<a_!T344_BACK TO THE FUTURE_^>a_ (1985) and its two sequels, all directed by Robert
Zemeckis. _^<i_Bill & Ted's Excellent Adventure_^>i_ (1988) and its sequel, _^<i_Bill & Ted's Bogus Journey_^>i_ (1991), are both charming. Others are the entertaining _^<i_The_^<a_!T1883_PHILADELPHIA EXPERIMENT_^>a__^>i_ (1984) and two
disappointments, _^<i_The_^<a_!T1481_FINAL COUNTDOWN_^>a__^>i_ (1980) and _^<a_!T2950_MILLENNIUM_^>a_ (1989)._^<n__^<n_After the success of _^<a_!T5185_CARRIE_^>a_ (1976), based on Stephen _^<a_!T4066_KING_^>a_'s 1974 novel about a persecuted
schoolgirl with _^<a_!T2021_PSI POWERS_^>a_, films about paranormal abilities, though never becoming overwhelmingly popular, nevertheless remained as a persistent subgenre. The best is probably Cronenberg's remorseless _^<a_!T2835_SCANNERS_^>a_
(1980). Others include _^<i_The_^<a_!T1649_FURY_^>a__^>i_ (1978), _^<i_The_^<a_!T2102_SENDER_^>a__^>i_ (1982), _^<i_The_^<a_!T1119_DEAD ZONE_^>a__^>i_ (1983), also directed by Cronenberg, and the dire _^<a_!T1494_FIRESTARTER_^>a_
(1984)._^<n__^<n_The oddest subgenre was probably the alien-human buddy movie. _^<a_!T6666_ENEMY MINE_^>a_ (1985), one of the earlier ones, is set on another planet, but many examples are set on Earth. Not just two but _^<i_four_^>i_ of them
feature partnerships between alien and Earth police: _^<a_!T101_ALIEN NATION_^>a_ (1988), _^<i_The_^<a_!T4419_HIDDEN_^>a__^>i_ (1988), _^<a_!T2312_SOMETHING IS OUT THERE_^>a_ (1988; a tv miniseries released on videotape as a feature film) and
_^<a_!T4580_I COME IN PEACE_^>a_ (1989; vt _^<i_Dark Angel_^>i_)._^<n__^<n_Other 1980s and 1990s films of interest but not fitting neatly into any of the above categories were _^<a_!T4251_HALLOWEEN III: SEASON OF THE WITCH_^>a_ (1983),
_^<i_The_^<a_!T2650_ROCKETEER_^>a__^>i_ (1991). _^<i_Aliens_^>i_ and _^<i_Brazil_^>i_ are the most distinguished of these, the former directed by James _^<a_!T5131_CAMERON_^>a_, the most important sf director to emerge during the 1980s, the latter
a perhaps too lovingly designed dystopia. _^<i_Monkey Shines_^>i_, also memorable, showed that George A. Romero was still a director of real power._^<n__^<n_Once again, however, the lesson of the 1970s was in the main repeated. If you want to see
what the commercial cinema will be doing next decade, take a good close look at what the low-budget cinema, even the exploitation cinema, is doing right now. For every film as inventive as _^<i_Blade Runner_^>i_ produced by companies with access to
very large sums of money, there are half a dozen thrown up by the shoestring independents. In the latter category, the 1980s produced _^<i_Scanners_^>i_ (1980), _^<a_!T118_ALLIGATOR_^>a_ (1981), _^<i_Android_^>i_ (1982), _^<a_!T3403_LIQUID SKY_^>a_
(1982), _^<i_Videodrome_^>i_ (1982), _^<i_Der_^<a_!T3386_LIFT_^>a__^>i_ (1983), _^<i_The_^<a_!T5022_BROTHER FROM ANOTHER PLANET_^>a__^>i_ (1984), _^<i_The Terminator_^>i_, _^<a_!T2555_REPO MAN_^>a_ (1984), _^<a_!T6076_TRANCERS_^>a_ (1984),
_^<i_The_^<a_!T5809_STUFF_^>a__^>i_ (1985), _^<a_!T2525_RE-ANIMATOR_^>a_ (1985),_^<n__^<n__^<a_!T1634_FROM BEYOND_^>a_ (1986), _^<a_!T3617_MAKING MR RIGHT_^>a_ (1987), _^<a_!T5970_THEY LIVE_^>a_ (1988) and _^<a_!T2299_SOCIETY_^>a_ (1989). If sf
cinema were represented by these films alone it would have to be diagnosed as in vigorous health, though somewhat disreputable and threatening in appearance._^<n__^<n_But, alas, by the late 1980s the increasingly floundering commercial film
industries of the USA and the UK seemed caught in a desperate spiral of attempting to recapture past splendours by dint of colourful (and expensive) violence while giving ideological offence to none. Thus even death and destruction become anodyne.
By 1990 the commercial sf cinema-especially in the USA -- seemed to have lost not just whatever integrity it had had but also its common sense. As grave financial problems began to spread through Hollywood, it seemed possible to predict that 1991
might prove to have been the last year of insanely inflated film budgets. [PN]_^<n__^<n_This indeed proved to be the case. Even the big sf hit of the next few years, Steven Spielberg's entertaining but silly dinosaur theme-park movie,
_^<a_!T6433_JURASSIC PARK_^>a_ (1993), did not have a stratospheric budget. There were few big sf glamour spectaculars 1992-1994; others included the very watchable _^<a_!T6418_STARGATE_^>a_ (1994), and, on a rather smaller scale, several movies
about future musclemen, _^<a_!T6429_DEMOLITION MAN_^>a_ (1993) with Stallone, _^<a_!T6537_TIMECOP_^>a_ (1994) with Van Damme and -- a smaller budget again -- _^<a_!T6543_UNIVERSAL SOLDIER_^>a_ (1992) with Van Damme and Lundgren. Cut-rate spectacle
was also the order of the day with Kirk's (William _^<a_!T2150_SHATNER_^>a_'s) presumptive last gasp in the _^<a_!T2429_STAR TREK_^>a_ movies: _^<a_!T6419_STAR TREK: GENERATIONS_^>a_ (1994), and with the once adult _^<i_Robocop_^>i_ series, now
aimed largely at a younger audience on the evidence of _^<a_!T6412_ROBOCOP 3_^>a_ (1993)._^<n__^<n_One continuing paranoiac rivulet of films deals with humans kidnapped by aliens in _^<a_!T5273_UFO_^>a_s; this theme received a shot in the arm back
in the 1980s with _^<a_!T6400_COMMUNION_^>a_ (1989), based on Whitley _^<a_!T5794_STRIEBER_^>a_'s supposedly factual best-seller, and continued with a neat little film called _^<a_!T6407_FIRE IN THE SKY_^>a_ (1993), but it was in tv, not movies,
that this particular theme had its apotheosis, with the cult success _^<a_!T6426_THE X-FILES_^>a_ (1993- )._^<n__^<n_Despite the long history of failure in this sub-genre, producers insisted on making yet more supposedly humorous sf movies,
which included the dire _^<a_!T6405_ENCINO MAN_^>a_ (1992, vt _^<i_California Man_^>i_), equally unfunny _^<a_!T6401_ CONEHEADS _^>a_(1994) and the slightly better _^<a_!T6542_HONEY, I BLEW UP THE KID_^>a_ (1992); gentler and funnier than any of
these was _^<a_!T6410_THE METEOR MAN_^>a_ (1993); there was a slight sense of strain about the mixture of comedy and drama in Joe _^<a_!T6409_DANTE'S MATINEE_^>a_ (1993), which examines the cultural roots of sf/horror pics in scary real-life
events, in this case the Cuban missile crisis. A successful French black comedy set after the _^<a_!T4482_HOLOCAUST_^>a_ was _^<a_!T6526_DELICATESSAN_^>a_ (1990)._^<n__^<n_It became obvious in the 1990s that films spinning off from successes in
other media, notably _^<a_!T1696_GAMES_^>a_, _^<a_!T820_COMICS_^>a_ and _^<a_!T5926_TELEVISION_^>a_ -- and even including _^<a_!T2480_RADIO_^>a_ -- was a growing part of the business, in part nostalgia driven, and unlikely to go away. From radio
and the _^<a_!T2033_PULPS_^>a_ came _^<i_The Shadow_^>i_ (_^<b_1994_^>b_). From the world of games came _^<a_!T6422_SUPER MARIO BROS_^>a_(1993), and _^<i_Double Dragon_^>i_, _^<i_Street Fighter_^>i_ and _^<i_Mortal Kombat_^>i_ are on the way.
Comics -- which had already fed into films with movies like _^<i_Flash Gordon_^>i_, deeply influenced or begat many more films in the 1990s, most of them fantasy rather than sf, including the two vastly successful _^<i_ Batman _^>i_movies,
_^<i_Timecop_^>i_, _^<i_The Mask _^>i_(_^<b_1994_^>b_), _^<i_The Crow_^>i_, (_^<b_1994_^>b_), the Japanese _^<a_!T6424_TETSUO_^>a_ (1989) and many Japanese _^<i_anime_^>i_, with _^<a_!T3951_JUDGE DREDD_^>a_ and _^<i_Tank Girl_^>i_ having film
spin-offs in production as of 1995. From television nostalgia came _^<i_The Beverly Hillbillies_^>i_(_^<b_1993_^>b_) and _^<i_The Flintstones_^>i_ (_^<b_1994)_^>b_, among others; and also, of course, the continuing run of _^<i_Star Trek
_^>i_movies. One problem with most of these genres is that they have narrative conventions (generally) as rigid and stagey as those of a Japanese _^<i_noh_^>i_ drama, and this static quality runs counter to what sf does best, which is kinesis:
opening out, dealing with change and transformation._^<n__^<n_Although the exploitation-movie end of the market is often highly inventive, there was not much evidence of this in cheap and bloody futuristic thrillers like _^<a_!T6397_AMERICAN
CYBORG: STEEL WARRIOR_^>a_ (1992), _^<a_!T6411_NEMESIS _^>a_(1993) and _^<a_!T6544_MAN'S BEST FRIEND_^>a_, or two (rather better) future-prison escape movies, _^<a_!T6559_FORTRESS_^>a_ (1993) and _^<a_!T6435_NO ESCAPE _^>a_ (1994 , vt _^<i_Penal
Colony_^>i_, vt _^<i_The Prison Colony_^>i_, vt _^<i_Escape from Absalom_^>i_)._^<n__^<n_In this period remakes and spin-offs from earlier films included the so-so tv movie _^<a_!T6427_ATTACK OF THE 50 FT. WOMAN_^>a_ (1993), the rather good but
black _^<a_!T6428_BODY SNATCHERS_^>a_ (1993), and for intellectuals who like their action both bloody and operatic, the strange but semi-successful Kenneth Branagh film, _^<a_!T6546_MARY SHELLEY'S FRANKENSTEIN_^>a_ (1994)._^<n__^<n_Time travel
remained a popular theme -- several titles belonging to this category having already been mentioned -- and while the weepie melodrama _^<a_!T6408_FOREVER YOUNG_^>a_ (1992) may have disappointed, there were two small gems in the period. The first
was a small-scale but spirited time-paradox film _^<a_!T6528_DISASTER IN TIME_^>a_ (1991, vt _^<i_Grand Tour: Disaster in Time_^>i_, vt _^<i__^<a_!B9122_TIMESCAPE_^>a__^>i_), which proved that not everything made for cable tv is awful. The second
was a comedy set in a small American town, _^<a_!T6538_GROUNDHOG DAY_^>a_ (1993), an almost faultless and very amusing study in predestination vs free will as mediated by a time-loop. [PN]_^<n__^<n__^<b_Further reading:_^>b_ The following reading
list is highly selective. An early but still useful reference work on sf cinema is the 3-vol _^<i_Reference Guide to Fantastic Films: Science Fiction, Fantasy & Horror 1_^>i_ (vol 1 _^<b_1972_^>b_, vol 2 _^<b_1973_^>b_, vol 3 _^<b_1974_^>b_)
compiled by Walt _^<a_!T4236_LEE_^>a_. There is much information, with some rather brief and disappointing capsule comments, in _^<i_Horror and Science Fiction Films: A Checklist_^>i_ (_^<b_1972_^>b_), _^<i_Vol II_^>i_ (_^<b_1982_^>b_) and _^<i_Vol
III_^>i_ (_^<b_1984_^>b_) by Donald C. Willis. Although it does not cover as many titles as these two, _^<i_The Aurum Film Encyclopedia: Science Fiction_^>i_ (_^<b_1984_^>b_; rev 1991) ; rev vt _^<i_The Overlook Film Encyclopedia: Science Fiction
_^>i_1994 US) ed Phil _^<a_!T4292_HARDY_^>a_ is far more than a listing with credits; the best 1-vol guide, it is the fullest coverage of sf cinema to contain detailed description and critical analysis (generally very good), and, with upwards of
1400 films described in the revised editions, covers at least twice as many sf movies as any other critical book on the subject. Even more useful to the researcher is a run of the journal _^<i_Monthly Film Bulletin_^>i_, published by the British
Film Institute, which gives (even after its incorporation during 1991 into its sister journal, _^<i_Sight and Sound_^>i_) full credits for all films it covers (all films released in the UK), and normally more complete critical discussion than
anything available in book form; its sf critics include Kim _^<a_!T3173_NEWMAN_^>a_, Philip _^<a_!T5792_STRICK_^>a_ and Tom Milne. This was the secondary source most consulted for films from the 1960s onwards in the compilation of this
encyclopedia; its critical appreciations of sf films from earlier periods are briefer and far more conservative, and it does not cover the silent period (Hardy's book does). One other reference work extraordinarily useful for its period is
_^<i_Keep Watching the Skies! American Science Fiction of the Fifties: Volume I 1950-57_^>i_ (_^<b_1982_^>b_) and _^<i_Volume II 1958-62_^>i_ (_^<b_1986_^>b_) by Bill _^<a_!T5468_WARREN_^>a_.The quality of most general discussions of sf cinema in
books is not high; many are coffee-table books of little value, or are aimed at a juvenile fan market. An early study of some interest (despite irritating factual errors) is the pioneering _^<i_Science Fiction in the Cinema_^>i_ (_^<b_1970_^>b_) by
John _^<a_!T470_BAXTER_^>a_, the first book to attempt some kind of critical sorting of its subject matter. _^<i_Science Fiction Movies_^>i_ (_^<b_1976_^>b_) by Philip Strick is witty, well informed and critically astute, but does not linger long
enough on individual films. John _^<a_!T5020_BROSNAN_^>a_'s _^<i_Future Tense: The Cinema of Science Fiction_^>i_ (_^<b_1978_^>b_; rev vt _^<i_The Primal Screen: A History of Science Fiction Film_^>i_ _^<b_1991_^>b_) contains judgments, albeit at
greater length, that will already be familiar to readers of the first edition of this volume, for which Brosnan wrote many of the film entries. Peter _^<a_!T3189_NICHOLLS_^>a_'s _^<i_Fantastic Cinema_^>i_ (_^<b_1984_^>b_ UK; vt _^<i_The World of
Fantastic Films_^>i_ US) is an illustrated survey, only partially devoted to sf, which attempts to establish a critical canon for fantastic films. _^<i_Omni's Screen Flights/Screen Fantasies: The Future According to Science Fiction Cinema_^>i_
(anth _^<b_1984_^>b_) ed Danny Peary is probably the best collection of essays and interviews on sf cinema. _^<i_Harlan Ellison's Watching_^>i_ (coll _^<b_1989_^>b_) by Harlan _^<a_!T6641_ELLISON_^>a_ collects most of his film criticism from 1965
on, much of it about sf movies. Academic and theoretical books on sf cinema -- there are not many -- have generally disappointed, and occasionally been crippled by a technical jargon that is the reverse of precise, as in some of the essays in
_^<i_Alien Zone: Cultural Theory and Contemporary Science Fiction Cinema_^>i_ (coll _^<b_1990_^>b_) ed Annette Kuhn; a rather more accessible collection of critical essays is _^<i_Shadows of the Magic Lamp: Fantasy and Science Fiction in Film_^>i_
(coll _^<b_1985_^>b_) ed George E. _^<a_!T2259_SLUSSER_^>a_ and Eric S. _^<a_!T2474_RABKIN_^>a_. But of these academic books the most challenging may be Vivian _^<a_!T2296_SOBCHACK_^>a_'s _^<i_Screening Space: The American Science Fiction Film_^>i_
(_^<b_1986_^>b_), a radical expansion of her earlier _^<i_The Limits of Infinity_^>i_ (_^<b_1980_^>b_); it is worth persevering with, jargon and all, for the intellectual strength it brings to bear in its attempt to define sf cinema in a
_^<a_!T1958_POSTMODERNIST_^>a_ context. Finally _^<i_An Illustrated History of the Horror Film_^>i_ (_^<b_1967_^>b_) by Carlos Clarens and _^<i_Nightmare Movies_^>i_ (_^<b_1984_^>b_; rev vt _^<i_Nightmare Movies: A Critical History of the Horror
Film, 1968-88_^>i_) by Kim Newman are two stimulating books that have a good deal to say, _^<i_en passant_^>i_, about sf films.
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CITIES
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The city is the focal point of our civilization, and images of the city of the future bring into sharp relief the expectations and fears with which we imagine the future of civilization. Disenchantment with metropolitan life was evident even while
_^<a_!T5303_UTOPIAN_^>a_ optimism remained strong, and became remarkably exaggerated in _^<a_!T1370_DYSTOPIAN_^>a_ images of the future. The growth of the cities during the Industrial Revolution created filthy slums where crime, ill-health and vice
flourished, and a new kind of poverty reigned; thus even the most devoted disciples of progress can and do lament the state of the industrial city, which has little in common with such utopian city-states as Tommaso _^<a_!T5136_CAMPANELLA_^>a_'s
_^<i_City of the Sun_^>i_ (_^<b_1637_^>b_) or the cities of L.S. _^<a_!T2901_MERCIER_^>a_'s _^<i_Memoirs of the Year Two Thousand Five Hundred_^>i_ (_^<b_1771_^>b_; trans _^<b_1772_^>b_). Speculative thinkers who were not utopians found the
evolution of the great cities a powerful argument against progress -- a view strongly advanced in _^<i_After London_^>i_ (_^<b_1885_^>b_) by Richard _^<a_!T3882_JEFFERIES_^>a_, in which the cities have died but their remains still poison the
Earth._^<n__^<n_In much early sf the city is the same place of contrasts that it was in reality, with the rich and poor living in close but separate worlds, architectural grandeur masking squalor. This is evident in _^<i_Caesar's Column_^>i_
(_^<b_1890_^>b_) by Ignatius _^<a_!T1285_DONNELLY_^>a_, in "A Story of the Days to Come" (1897) and _^<i_When the Sleeper Wakes_^>i_ (_^<b_1899_^>b_) by H.G. _^<a_!T5528_WELLS_^>a_, and in Fritz _^<a_!T4177_LANG_^>a_'s film
_^<a_!T2926_METROPOLIS_^>a_ (1926). Wells, the most determined prophet of technological supercivilization, frequently imagined the destruction of the present-day cities as a prelude to utopian rebuilding. (Many of the real-life urban utopian
schemes of the late 19th century demanded that cities be built anew, cleansed of their manifest evils.) However, the splendid vision of the city as an architectural miracle which had inspired early utopians was a vision ever-present in early
_^<a_!T2033_PULP MAGAZINE_^>a_ sf, thanks largely to the artwork of Frank R. _^<a_!T1819_PAUL_^>a_, who was far better at drawing wonderful cities than human beings; his distinctive images contributed much to the flavour of Gernsbackian
sf._^<n__^<n_Modern sf has made extravagant use of three stereotyped images of the future city: one exaggerates the contrast between the city and a surrounding wilderness, often enclosing the city in a huge plastic dome, polarizing the opposition
between city life and rural life; a second displays once-proud cities fallen into ruins, decaying and dying; and the third presents a vivid characterization of the future-city environment in which humans move in the shadow of awesomely impersonal
and implicitly hostile artefacts._^<n__^<n_The theme of stories of the first kind -- for which E.M. _^<a_!T1567_FORSTER_^>a_'s "The Machine Stops" (1909) provided a prototype -- is usually that of _^<i_escape_^>i_ from the claustrophobic,
initiative-killing comfort to the wilderness, which offers evolutionary opportunity through the struggle to survive. Simple expositions of the theme include _^<i_The Hothouse World_^>i_ (1931; _^<b_1965_^>b_) by Fred _^<a_!T3546_MACISAAC_^>a_,
_^<i_The Adventure of Wyndham Smith_^>i_ (_^<b_1938_^>b_) by S. Fowler _^<a_!T6194_WRIGHT_^>a_, _^<i_Beyond the Sealed World_^>i_ (_^<b_1965_^>b_) by Rena _^<a_!T5307_VALE_^>a_, _^<i_From Carthage then I Came_^>i_ (_^<b_1966_^>b_; vt _^<i_Eight
against Utopia_^>i_) by Douglas R. _^<a_!T3704_MASON_^>a_, _^<i_Magellan_^>i_ (_^<b_1970_^>b_) by Colin _^<a_!T162_ANDERSON_^>a_, _^<i_Wild Jack_^>i_ (_^<b_1974_^>b_) by John _^<a_!T719_CHRISTOPHER_^>a_, _^<i_The Crack in the Sky_^>i_
(_^<b_1976_^>b_) by Richard _^<a_!T3493_LUPOFF_^>a_ and _^<i_Terrarium_^>i_ (_^<b_1985_^>b_) by Scott Russell _^<a_!T2794_SANDERS_^>a_. More sophisticated variants include _^<i_The City and the Stars_^>i_ (_^<b_1956_^>b_; exp from _^<i_Against the
Fall of Night_^>i_ [1948; _^<b_1953_^>b_]) by Arthur C. _^<a_!T736_CLARKE_^>a_, _^<i_The World Inside_^>i_ (_^<b_1971_^>b_) by Robert _^<a_!T2216_SILVERBERG_^>a_, _^<i_The Eye of the Heron_^>i_ (1978; _^<b_1982_^>b_) by Ursula K. _^<a_!T3318_LE
GUIN_^>a_ and _^<i_Out on Blue Six_^>i_ (_^<b_1989_^>b_) by Ian _^<a_!T3513_MCDONALD_^>a_. Interesting inversions of the schema can be found in Harlan _^<a_!T6641_ELLISON_^>a_'s "A Boy and His Dog" (1969) and Greg _^<a_!T478_BEAR_^>a_'s
_^<i_Strength of Stones_^>i_ (fixup _^<b_1981_^>b_)._^<n__^<n_Images of the ruined city are often remarkable for their exaggerated romanticism. Early examples include Jefferies's _^<i_After London_^>i_, George Allan _^<a_!T6673_ENGLAND_^>a_'s
_^<i_Darkness and Dawn_^>i_ (_^<b_1914_^>b_) and Stephen Vincent _^<a_!T525_BENET_^>a_'s "By the Waters of Babylon" (1937). The ruins themselves may become charismatic and symbolic, as exemplified by the torch of the Statue of Liberty in _^<i_The
Torch_^>i_ (1920; _^<b_1948_^>b_) by Jack _^<a_!T488_BECHDOLT_^>a_. There is a surprisingly strong vein of similar romanticism in _^<a_!T4659_GENRE SF_^>a_. Much of Clifford D. _^<a_!T2218_SIMAK_^>a_'s work -- especially the episodic
_^<i__^<a_!B9054_CITY_^>a__^>i_ (1944-51; fixup _^<b_1952_^>b_) -- rejoices in the decline and decay of cities, as do Theodore _^<a_!T5810_STURGEON_^>a_'s "The Touch of Your Hand" (1953), J.G. _^<a_!T378_BALLARD_^>a_'s "Chronopolis" (1960) and "The
Ultimate City" (1976), Charles _^<a_!T1927_PLATT_^>a_'s _^<i_The City Dwellers_^>i_ (_^<b_1970_^>b_ UK; vt _^<i_Twilight of the City_^>i_ 1977 US) and Samuel R. _^<a_!T1152_DELANY_^>a_'s _^<i__^<a_!B9021_DHALGREN_^>a__^>i_ (_^<b_1975_^>b_). This
rejoicing is not usually based on any naive glorification of living wild and free; more often it reflects a hope that human beings will some day outgrow the need for cities. The probable inescapability of city life is, however, ironically reflected
in two curious stories of nomadic cultures which must carry their cities with them: Christopher _^<a_!T1990_PRIEST_^>a_'s _^<i__^<a_!B9050_INVERTED WORLD_^>a__^>i_ (_^<b_1974_^>b_) and Drew _^<a_!T3764_MENDELSON_^>a_'s _^<i_Pilgrimage_^>i_
(_^<b_1981_^>b_)._^<n__^<n_The third stereotype involves not merely the representation of city life as unpleasant or alienating but a strategic exaggeration of the city's form and aspects to stress its frightening and claustrophobic qualities. The
"caves" of Isaac _^<a_!T268_ASIMOV_^>a_'s _^<i_The Caves of Steel_^>i_ (_^<b_1954_^>b_) are literally as well as metaphorically claustrophobic. Cities which cover the entire surface of planets are commonplace: Asimov's Trantor, in the
_^<b_Foundation_^>b_ trilogy (1942-50; _^<b_1951-3_^>b_), set an important example. The impersonality of the megalopolis is ingeniously exaggerated in such stories as J.G. Ballard's "Build-Up" (1957; vt "The Concentration City") and R.A.
_^<a_!T4152_LAFFERTY_^>a_'s "The World as Will and Wallpaper" (1973), and stories in this vein are often outrightly surreal-examples are Fritz _^<a_!T3322_LEIBER_^>a_'s "You're All Alone" (1950; exp vt _^<i_The Sinful Ones_^>i_ _^<b_1953_^>b_) and
Ted _^<a_!T5582_WHITE_^>a_'s "It Could Be Anywhere" (1969). In extreme cases the city may become personalized, as in Robert Abernathy's "Single Combat" (1955), Robert _^<a_!T2164_SHECKLEY_^>a_'s "Street of Dreams, Feet of Clay" (1968), Harlan
Ellison's "The Whimper of Whipped Dogs" (1973) and John _^<a_!T2191_SHIRLEY_^>a_'s _^<i_City Come a-Walkin'_^>i_ (_^<b_1980_^>b_)._^<n__^<n_The stress of life in a crowded environment is the subject of many stories of
_^<a_!T1752_OVERPOPULATION_^>a_, notably Thomas M. _^<a_!T1244_DISCH_^>a_'s _^<i__^<a_!B9077_334_^>a__^>i_ (fixup _^<b_1972_^>b_ UK) and Felix C. _^<a_!T4782_GOTSCHALK_^>a_'s _^<i_Growing Up in Tier 3000_^>i_ (_^<b_1975_^>b_). Such novels tend to
visualize the city of the future as a conglomerate of vast tower-blocks. Silverberg dubs these urbmons; Philip K. _^<a_!T1222_DICK_^>a_ calls them conapts; more recently the term "arcology" has become widespread. Some writers, however, preserve a
more optimistic view of life in such edifices, notably Mack _^<a_!T2576_REYNOLDS_^>a_ in _^<i_The Towers of Utopia_^>i_ (_^<b_1975_^>b_) and Larry _^<a_!T3223_NIVEN_^>a_ and Jerry _^<a_!T1961_POURNELLE_^>a_ in _^<i_Oath of Fealty_^>i_
(_^<b_1981_^>b_)._^<n__^<n_Outside the _^<a_!T4659_GENRE-SF_^>a_ establishment, attempts to characterize the city and identify its alienating forces are mostly grimly realistic, but some tend to the fabular; examples include _^<i_Le citta
invisibili_^>i_ (_^<b_1972_^>b_; trans as _^<i_Invisible Cities_^>i_ _^<b_1974_^>b_) by Italo _^<a_!T5127_CALVINO_^>a_, in which Marco Polo offers Kublai Khan an account of the great range of the possible products of civilization, _^<i_Les
geants_^>i_ (_^<b_1973_^>b_; trans as _^<i_The Giants_^>i_ _^<b_1975_^>b_) by J.M. _^<a_!T4227_LE CLEZIO_^>a_, in which the central image is that of the great shopping-centre Hyperbolis, and Alasdair _^<a_!T4818_GRAY_^>a_'s stories "The Start of
the Axletree" (1979; vt "The Origin of the Axletree") and "The End of the Axletree" (1983)._^<n__^<n_One striking exception -- in which the city becomes the symbol of escape and freedom rather than the oppressive environment to be escaped -- is in
the novels making up James _^<a_!T658_BLISH_^>a_'s _^<b_Cities in Flight_^>b_ series (omni _^<b_1970_^>b_), in which _^<a_!T198_ANTIGRAVITY_^>a_ devices, _^<a_!T2368_SPINDIZZIES_^>a_, lift whole cities from the Earth's surface to roam the Universe
(although even this dream comes to a dead end in one section of _^<i_Earthman Come Home_^>i_ [fixup _^<b_1955_^>b_], the part first published in 1953 as "Sargasso of Lost Cities"). And the charismatic quality of cities is paid adequate homage in sf
stories which celebrate the sleazy decadent grandeur of various imaginary cities. These include: the eponymous cities of Edward _^<a_!T5055_BRYANT_^>a_'s _^<i_Cinnabar_^>i_ (coll _^<b_1976_^>b_) and Terry _^<a_!T5182_CARR_^>a_'s _^<i_Cirque_^>i_
(_^<b_1977_^>b_); M. John _^<a_!T4319_HARRISON_^>a_'s fabulous city of Viriconium, first glimpsed in _^<i_The Pastel City_^>i_ (_^<b_1971_^>b_) but far more elaborately portrayed in _^<i__^<a_!B9164_A STORM OF WINGS_^>a__^>i_ (_^<b_1980_^>b_),
_^<i_In Viriconium_^>i_ (_^<b_1982_^>b_; vt _^<i_The Floating Gods_^>i_) and _^<i_Viriconium Nights_^>i_ (coll _^<b_1985_^>b_); and C.J. _^<a_!T5255_CHERRYH_^>a_'s Merovingen, displayed in _^<i_Angel with the Sword_^>i_ (_^<b_1985_^>b_). Brian W.
_^<a_!T87_ALDISS_^>a_'s _^<i_The Malacia Tapestry_^>i_ (_^<b_1976_^>b_) is similarly ambivalent about the splendour and sickness of cities._^<n__^<n_The possible futures of specific real cities are sometimes tracked by sf writers with interest and
respect; examples include the Chicago of _^<i_The Time-Swept City_^>i_ (_^<b_1977_^>b_) by Thomas F. _^<a_!T3019_MONTELEONE_^>a_ and the New York of Frederik _^<a_!T1937_POHL_^>a_'s _^<i_Years of the City_^>i_ (_^<b_1984_^>b_). C.J. Cherryh's
_^<i_Sunfall_^>i_ (coll _^<b_1981_^>b_) sets stories in far-futuristic versions of six major cities. Michael _^<a_!T3030_MOORCOCK_^>a_'s work -- including his non-sf -- uses many different images of London._^<n__^<n_In both sf writing and sf art,
the city is one of the most important recurrent images, and carries with it one of the richest, densest clusters of associations to be found in the whole sf iconography. Relevant theme anthologies include _^<i_Cities of Wonder_^>i_ (anth
_^<b_1966_^>b_) ed Damon _^<a_!T4098_KNIGHT_^>a_, _^<i_Future City_^>i_ (anth _^<b_1973_^>b_) ed Roger _^<a_!T6648_ELWOOD_^>a_, and _^<i_The City: 2000 A.D._^>i_ (anth _^<b_1976_^>b_) ed Ralph Clem, Martin Harry _^<a_!T4842_GREENBERG_^>a_ and
Joseph _^<a_!T3303_OLANDER_^>a_. [BS]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T323_AUTOMATION_^>a_; _^<a_!T2300_SOCIOLOGY._^>a_
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CITY BENEATH THE SEA
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(vt _^<i_One Hour to Doomsday_^>i_) _^<b_1._^>b_ Made-for-tv film (1970). 20th Century-Fox TV Productions for NBC TV. Dir Irwin _^<a_!T113_ALLEN_^>a_, starring Stuart Whitman, Robert Wagner, Joseph Cotton, Rosemary Forsyth, Richard Basehart, Robert
Colbert, Sugar Ray Robinson. Screenplay John Meredyth Lucas from a story by Allen. 100 mins, cut to 93 mins. Colour._^<n__^<n_Released outside the USA as a feature film called _^<i_One Hour to Doomsday_^>i_, this was a pilot for a tv series that
was never made. In an incoherent jumble of over-familiar sf situations, the citizens of 21st-century Pacifica have to contend with a super-H-bomb to be exploded somewhere within their underwater city, invasion by an "unfriendly foreign power", a
sea monster, rebellion, the theft of a shipment of gold from Fort Knox, and imminent destruction by the impact of a planetoid approaching Earth. This is Irwin-Allen plotting at its most typical, foretelling the _^<a_!T1243_DISASTER_^>a_ movies
which would become his speciality. All ends happily. [JB/PN]_^<n__^<n__^<b_2._^>b_ UK tv serial for children (1962). ABC TV. Written John Lucarotti. Prod Guy Verney. 7 25min episodes. B/w. This told of a reporter and his young sidekick kidnapped to
the underwater base of a mad scientist intent on world control._^<n__^<n_CBTS was the sequel to Plateau of Fear (1961). ABC TV. Written Malcolm Stuart Fellows, Sutherland Ross. Prod Guy Verney. 6 25min episodes. B/w. Thriller set in the Andes where
a reporter and young sidekick investigate a strange beast thought responsible for attacks on a nuclear power plant; the true villain is a general who wants the plant for military purposes._^<n__^<n_The sequel to CBTS was Secret Beneath the Sea
(1963). ABC TV. Written John Lucarotti. Prod Guy Verney. 6 25min episodes. B/w. Again in the undersea city of Aegira, the plot revolves around an ex-U-boat commander (from the earlier story) and rare metals vital for space research. [SH]_^<n__^<n_
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CITY LIMITS
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Film (1984). Sho Films/Videoform/Island Alive. Dir Aaron Lipstadt, starring John Stockwell, Darrell Larson, Kim Cattrall, Rae Dawn Chong. Screenplay Don Opper, from a story by Lipstadt and James Reigle. 85 mins. Colour._^<n__^<n_Disappointing
exploitation movie from the writer and director of the first-rate _^<a_!T178_ANDROID_^>a_ (1982). Fifteen years after the USA has been almost wiped out by plague, two biker gangs in the sort of trendy post-_^<a_!T4482_HOLOCAUST_^>a_ fashions
associated with the _^<a_!T3589_MAD MAX_^>a_ movies live in the City, basing their culture on comic books. A manipulative quasigovernmental agency attempts to murder the whole of one gang and conscript the other (the sociology of this being wholly
unbelievable), but the kids win out with the help of kind old Black man James Earl Jones, so that the City is left safe in the hands of comics-reading Youth. [PN]_^<n__^<n_
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CLAGETT, JOHN (HENRY)
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(1916- ) US writer whose first sf novel, _^<i_A World Unknown_^>i_ (_^<b_1975_^>b_), is of some interest for its portrayal of an _^<a_!T131_ALTERNATE-WORLD_^>a_ USA dominated by a Latin civilization that has never been influenced by Christianity
-- Jesus having never existed. In _^<i_The Orange R_^>i_ (_^<b_1978_^>b_), mutants known as "Roberts" are forced to live in the radioactive wastelands of a _^<a_!T1370_DYSTOPIAN_^>a_ future America. [JC]_^<n__^<n_
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CLAREMONT, CHRIS
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Working name of US writer Christopher Simon Claremont (1950- ). He first became known through his revitalization from 1975 of _^<a_!T3694_MARVEL COMICS_^>a_'s _^<a_!T6217_X-MEN_^>a_, a title which had been temporarily retired but now became the
bestselling comic in the field; CC scripted the title until he left Marvel in 1993 to begin work with Dark Horse comics. The series deals with a constantly expanding group of mutant _^<a_!T5829_SUPERHEROES_^>a_, several female, whose relationships
and conflicts are densely complicated, and who inspire sympathy both because they are adolescents with typical family problems and because society tends to reject them. CC's style, though consistent with the Marvel Group's experimental house-style,
is often rather clumsy, and manifestly represents an earlier phase in the rapid evolution of the comic book than that of _^<a_!T4809_GRAPHIC-NOVEL_^>a_ writers like Frank _^<a_!T2953_MILLER_^>a_ and Alan _^<a_!T3031_MOORE_^>a_. _^<i_God Loves, Man
Kills_^>i_ (graph _^<b_1982_^>b_) was an original tale; _^<i_The Uncanny X-Men_^>i_ (graph _^<b_1987_^>b_) was assembled from the comic. The three _^<b_Nicole Shea_^>b_ novels -- _^<i_FirstFlight_^>i_ (_^<b_1987_^>b_), _^<i_Grounded!_^>i_
(_^<b_1991_^>b_; vt _^<i_Grounded_^>i_ 1991 UK) -- cover much of the same emotional and stylistic territory, tracing the adventures of a NASA astronaut in a _^<a_!T6337_NEAR-FUTURE_^>a_ Solar System. [NT/JC]_^<n__^<n__^<b_Other works:_^>b_ As with
many writers and illustrators involved in the fast-moving and hectic world of comics publishing, CC's bibliography is anything but easy to fix; the following titles have been confirmed: _^<i_Wolverine_^>i_ (1985; graph coll _^<b_1988_^>b_) with
Frank _^<a_!T2953_MILLER_^>a_; _^<i_The Savage Land_^>i_ (graph _^<b_1990_^>b_); and various _^<b_X-Men_^>b_ graphic presentations, including _^<i_X-Men: Asgardian Wars_^>i_ (graph _^<b_1990_^>b_); _^<i_X-Men: From the Ashes_^>i_ (graph
_^<b_1990_^>b_); _^<i_Dragon Moon_^>i_ (_^<b_1994_^>b_) with Beth Fleisher, a fantasy.
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CLARESON, THOMAS D(EAN)
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(1926-1993) US editor, critic and professor of English. By the time he took his PhD at the University of Pennsylvania, (1956) he had published his first sf criticism (_^<i_Science Fiction Quarterly_^>i_ 1954). He was perhaps best known for editing
_^<a_!T6730_EXTRAPOLATION_^>a_ continuously from its founding in Dec 1959 to Winter 1989, at which point he handed over the reins to his then co-editor, Donald M. _^<a_!T4335_HASSLER_^>a_; the rare first 10 years' issues of this journal, the oldest
established academic journal about sf, were reprinted in _^<i_Extrapolation; A Science Fiction Newsletter, Vols 1-10_^>i_ (anth _^<b_1978_^>b_) ed TDC; although inconveniently packaged -- there are no running heads, and pagination is not continuous
-- its contents remain valuable. He was also a pioneer in editing _^<a_!T195_ANTHOLOGIES_^>a_ of sf criticism in book form: _^<i_SF: The Other Side of Realism_^>i_ (anth _^<b_1971_^>b_); _^<i_Voices for the Future: Essays on Major Science Fiction
Writers Vol 1_^>i_ (anth _^<b_1976_^>b_) and its sequels _^<i_Vol 2_^>i_ (anth _^<b_1979_^>b_) and _^<i_Vol 3_^>i_ (anth _^<b_1983_^>b_), the latter with Thomas L. Wymer; and _^<i_Many Futures, Many Worlds: Theme and Form in Science Fiction_^>i_
(anth _^<b_1977_^>b_). His _^<i_SF Criticism: An Annotated Checklist_^>i_ (_^<b_1972_^>b_) began a specialist research series which would be continued by Marshall B. _^<a_!T6150_TYMN_^>a_ and Roger _^<a_!T2845_SCHLOBIN_^>a_. TDC also edited a story
anthology with notes, intended to be used in education: _^<i_A Spectrum of Worlds_^>i_ (anth _^<b_1972_^>b_)._^<n__^<n_TDC's most important research was in early US sf. He wrote the chapter "The Emergence of the Scientific Romance" in Neil
_^<a_!T442_BARRON_^>a_'s _^<i_Anatomy of Wonder: Science Fiction_^>i_ (_^<b_1976_^>b_; rev 1981; rev 1987), revised in later editions as "The Emergence of Science Fiction: The Beginnings to the 1920s". He was general editor of _^<a_!T4852_GREENWOOD
PRESS_^>a_'s (somewhat incomplete) microfilm reprint series of sf _^<a_!T2033_PULP MAGAZINES_^>a_ and, also from Greenwood, the large, wide-ranging collection _^<i_Early Science Fiction Novels: A Microfiche Collection_^>i_ (coll _^<b_1984_^>b_).
Perhaps his two most important works are _^<i_Science Fiction in America, 1870s-1930s: An Annotated Bibliography of Primary Sources_^>i_ (_^<b_1984_^>b_) and _^<i_Some Kind of Paradise: The Emergence of American Science Fiction_^>i_ (dated 1985 but
_^<b_1986_^>b_). The latter -- a historical and thematic survey rather than a critical study -- is a breakthrough book in an area that was previously codified poorly and erratically; one of TDC's strategies, perhaps necessary in so little known a
field, is the inclusion of much plot synopsis. This is precisely the strength of the former book, too, whose annotations are of real use to researchers who may find copies of the original works difficult to locate. In TDC's more recent book,
_^<i_Understanding American Science Fiction: The Formative Period, 1926-1970_^>i_ (_^<b_1990_^>b_), the subject matter is much more familiar._^<n__^<n_TDC was chairman of the first Modern Language Association Seminar on sf in 1958, and first
President of the _^<a_!T2139_SCIENCE FICTION RESEARCH ASSOCIATION_^>a_, 1970-76. In recognition of his services to the academic study of sf he received the _^<a_!T1900_PILGRIM AWARD_^>a_ in 1977. [PN]_^<n__^<n__^<b_Other works:_^>b_ _^<i_SF: A
Dream of Other Worlds_^>i_ (chap _^<b_1973_^>b_); _^<i_Robert Silverberg_^>i_ (chap _^<b_1983_^>b_); _^<i_Robert Silverberg: A Primary and Secondary Bibliography_^>i_ (_^<b_1983_^>b_); _^<i_Frederik Pohl_^>i_ (_^<b_1987_^>b_)._^<b_See also:_^>b_
_^<a_!T585_BIBLIOGRAPHIES_^>a_; _^<a_!T829_CONCEPTUAL BREAKTHROUGH_^>a_; _^<a_!T963_CRITICAL AND HISTORICAL WORKS ABOUT SF_^>a_; _^<a_!T1590_FRANCE_^>a_; _^<a_!T4443_HISTORY OF SF_^>a_; _^<a_!T3460_LOST WORLDS_^>a_.
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CLARION SCIENCE FICTION WRITERS' WORKSHOP
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This long-standing workshop enrols beginning writers who are interested in writing sf. It consists of intensive writing and discussion sessions under the direction of known sf writers, who have included Orson Scott _^<a_!T6359_CARD_^>a_, Terry
_^<a_!T5182_CARR_^>a_, Samuel _^<a_!T1152_DELANY_^>a_, Thomas M. _^<a_!T1244_DISCH_^>a_, Harlan _^<a_!T6641_ELLISON_^>a_, Karen Joy _^<a_!T1581_FOWLER_^>a_, John _^<a_!T4043_KESSEL_^>a_, Damon _^<a_!T4098_KNIGHT_^>a_, Ursula K. _^<a_!T3318_LE
GUIN_^>a_, Tim _^<a_!T1967_POWERS_^>a_, Lewis _^<a_!T2189_SHINER_^>a_ and Kate _^<a_!T5606_WILHELM_^>a_. The first three sessions were held at Clarion State College in Pennsylvania in the summers of 1968-70. In 1971 "Clarion East" was held in
Tulane University and "Clarion West" in Seattle. Clarion West soon folded, but was later re-established in Seattle (8 sessions to 1991). In 1972 Clarion East moved to Michigan State University, where it remains (as just Clarion; 24 sessions to
1991). Clarion has been more successful than many writers' workshops and has produced notable alumni, including Ed _^<a_!T5055_BRYANT_^>a_, F.M. _^<a_!T5100_BUSBY_^>a_, Octavia E. _^<a_!T5105_BUTLER_^>a_, Gerard F. _^<a_!T857_CONWAY_^>a_, George
Alec _^<a_!T6592_EFFINGER_^>a_, Vonda N. _^<a_!T3545_MCINTYRE_^>a_, Kim Stanley _^<a_!T2637_ROBINSON_^>a_, Lucius _^<a_!T2175_SHEPARD_^>a_ and Lisa _^<a_!T6134_TUTTLE_^>a_. The original director of Clarion was Robin Scott _^<a_!T5645_WILSON_^>a_,
who also edited the first three anthologies of students' and teachers' work: _^<i_Clarion_^>i_ (anth _^<b_1971_^>b_), _^<i_#II_^>i_ (anth _^<b_1972_^>b_) and _^<i_#III_^>i_ (anth _^<b_1973_^>b_). _^<i_Clarion SF_^>i_ (anth _^<b_1977_^>b_) was ed
Kate Wilhelm; _^<i_The Clarion Awards_^>i_ (anth _^<b_1984_^>b_) ed Damon Knight covers the previous six years of Clarion. [PN]_^<n__^<n_
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CLARK, CURT
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> Donald E. _^<a_!T5552_WESTLAKE_^>a_._^<n__^<n_
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CLARK, RONALD W(ILLIAM)
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(1916-1987) UK writer and journalist, active mainly with nonfiction since before WWII. He began publishing sf with "The Man who Went Back" for the London _^<i_Evening Standard_^>i_ in 1949, but has not been a prolific contributor to the genre. His
first sf novel, _^<i_Queen Victoria's Bomb: The Disclosures of Professor Franklin Huxtable, MA, Cantab._^>i_ (_^<b_1967_^>b_), achieved some success, and was one of the numerous contributions to the subgenre of sf works that exhibit nostalgia for a
previous generation's view of the future; it could be regarded as a precursor to _^<a_!T5694_STEAMPUNK_^>a_. _^<i_The Bomb that Failed_^>i_ (_^<b_1969_^>b_; vt _^<i_The Last Year of the Old World_^>i_ 1970 UK) is a kind of sequel, in which a failed
nuclear test at Alamagordo changes history. [JC]_^<n__^<n__^<b_Other works (nonfiction):_^>b_ _^<i_The Huxleys_^>i_ (_^<b_1968_^>b_); _^<i_J.B.S.: The Life and Work of J.B.S. Haldane_^>i_ (_^<b_1968_^>b_); _^<i_Einstein: The Life and Times_^>i_
(_^<b_1971_^>b_); _^<i_The Life of Bertrand Russell_^>i_ (_^<b_1975_^>b_), all nonfiction._^<n__^<n__^<b_See also:_^>b_ _^<a_!T131_ALTERNATE WORLDS_^>a_; _^<a_!T3265_NUCLEAR POWER_^>a_.
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CLARKE, ARTHUR C(HARLES)
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(1917- ) UK author, resident since 1956 in Sri Lanka. Born in Minehead, Somerset, after leaving school ACC came to London in 1936 to work as a civil-servant auditor with HM Exchequer. He was active in fan circles before WWII, in which he served
(1941-6) as a radar instructor with the RAF, rising to the rank of flight-lieutenant. After WWII he entered King's College, London, in 1948 taking his BSc with first-class honours in physics and mathematics._^<n__^<n_ACC's strong interest in the
frontiers of science was evident early. He was chairman of the British Interplanetary Society 1946-7, and again 1950-53. His first professionally published sf story was "Loophole" for _^<i_ASF_^>i_ in Apr 1946, though his first sale was "Rescue
Party", which appeared in _^<i_ASF_^>i_ in May 1946. In his early years as a writer he three times used the pseudonym Charles Willis, and wrote once as E.G. O'Brien. These four stories all appeared in UK magazines 1947-51. Four of ACC's early
stories, written for _^<a_!T1428_FANZINES_^>a_ (1937-42), were reprinted in _^<i_The Best of Arthur C. Clarke 1937-71_^>i_ (coll _^<b_1973_^>b_ UK; reissued in 2 vols, _^<b_1977_^>b_, the first being inaccurately titled _^<i_1932-1955_^>i_) ed
Angus _^<a_!T5526_WELLS_^>a_; a 1930s poem and essay appear in _^<i_The Fantastic Muse_^>i_ (coll _^<b_1992_^>b_ chap). ACC also worked as adviser for the comic _^<a_!T1046_DAN DARE -- PILOT OF THE FUTURE_^>a_ for its first six months in
1950._^<n__^<n_ACC's early stories are very much _^<a_!T4659_GENRE SF_^>a_, neatly constructed, usually turning on a single scientific point, often ending with a sting in the tail. Some are rather ponderously humorous. His first two novels were
published in 1951: _^<i_Prelude to Space_^>i_ (_^<b_1951_^>b_ US; rev 1953 UK; rev 1954 US; vt _^<i_Master of Space_^>i_ 1961 US; vt _^<i_The Space Dreamers_^>i_ 1969 US), being _^<a_!T1687_GALAXY SCIENCE FICTION NOVEL_^>a_ #3, and _^<i_The Sands
of Mars_^>i_ (_^<b_1951_^>b_). Both suffer from the rather wooden prose which ACC later fashioned into a more flexible instrument, though he was never able to escape an occasional stiffness in his writing. They are, in effect, works of optimistic
propaganda for science (> _^<a_!T1714_OPTIMISM AND PESSIMISM_^>a_), with human problems rather mechanically worked out against a background of scientific discovery. It was with the science that ACC's imagination flared into life. _^<i_Islands in
the Sky_^>i_ (_^<b_1952_^>b_ US) followed the same pattern; it is a juvenile about a boy in an orbital space station._^<n__^<n_A new note appeared in _^<i_Expedition to Earth_^>i_ (coll _^<b_1953_^>b_ US). This includes the short story "The
Sentinel", which had appeared in _^<i_10 Story Fantasy_^>i_ in 1951 as "Sentinel of Eternity". A simple but haunting story, it tells of the discovery of an _^<a_!T98_ALIEN_^>a_ artefact, created by an advanced race millions of years earlier,
standing enigmatically on top of a mountain on the Moon. Many years later this story became the basis of _^<a_!T6146_2001: A SPACE ODYSSEY_^>a_ (1968), for which ACC wrote the script with Stanley _^<a_!T4135_KUBRICK_^>a_. The novelization,
_^<i_2001: A Space Odyssey_^>i_ * (_^<b_1968_^>b_ US; with 2 related stories added, rev as coll 1990 UK), was written by ACC alone on the basis of the script after the film had been made. An account of ACC's connection with the film can be found in
his _^<i_The Lost Worlds of 2001_^>i_ (_^<b_1972_^>b_ US), which also prints alternative script versions of key scenes._^<n__^<n_With "The Sentinel" came the first clear appearance of the ACC paradox: the man who of all sf writers is most closely
identified with knowledgeable, technological _^<a_!T4288_HARD SF_^>a_ is strongly attracted to the metaphysical, even to the mystical; the man who in sf is often seen as standing for the boundless optimism of the soaring human spirit, and for the
idea (strongly presented in John W. _^<a_!T5140_CAMPBELL_^>a_ Jr's _^<i_ASF_^>i_) that there is nothing humanity cannot accomplish, is best remembered for the image of mankind being as children next to the ancient, inscrutable wisdom of alien
races. There is something attractive, even moving, in what can be seen in Freudian terms as an unhappy mankind crying out for a lost father; certainly it is the closest thing sf has yet produced to an analogy for _^<a_!T2551_RELIGION_^>a_, and the
longing for God._^<n__^<n_Although this theme is well seen in "The Sentinel", and even better seen in the iconography of the film _^<i_2001: A Space Odyssey_^>i_, at the end of which mankind is seen literally as a foetus, ACC gave it its most
potent literary expression in two more books from 1953 which are still considered by many critics to be his finest, and in which he comes closest to continuing the tradition of the UK _^<a_!T2878_SCIENTIFIC ROMANCE_^>a_. They are _^<i_Against the
Fall of Night_^>i_ (1948 _^<i_Startling Stories_^>i_; _^<b_1953_^>b_ US; exp and much rev vt _^<i_The City and the Stars_^>i_ _^<b_1956_^>b_ US) -- also assembled with "The Lion of Comarre" (1949 _^<i_TWS_^>i_) as _^<i_The Lion of Comarre and
Against the Fall of Night_^>i_ (coll _^<b_1968_^>b_ US) -- and _^<i__^<a_!B9010_CHILDHOOD'S END_^>a__^>i_ (1950 _^<i_NW_^>i_ as "Guardian Angel"; exp _^<b_1953_^>b_ US; rev 1990 UK)._^<n__^<n_Both the original and the longer versions of
_^<i_Against the Fall of Night_^>i_ are readily available. Indeed, the shorter version was republished in _^<i_Beyond the Fall of Night_^>i_ (omni _^<b_1990_^>b_ US misleadingly credited -- since it appears from the cover to be a single novel -- to
ACC and Gregory Benford; vt _^<i_Arthur C Clarke -- Against the Fall of Night/Gregory Benford -- Beyond the Fall of Night_^>i_ UK 1991), along with a sequel, very different in tone and theme, by Gregory _^<a_!T526_BENFORD_^>a_. The longer version,
_^<i_The City and the Stars_^>i_, is one of the strongest tales of _^<a_!T829_CONCEPTUAL BREAKTHROUGH_^>a_ in genre sf. Alvin, a young man in the enclosed utopian city of Diaspar, on Earth in the _^<a_!T1432_FAR FUTURE_^>a_, becomes impatient at
the _^<a_!T5916_TECHNOLOGY_^>a_-mediated stasis of the perfect life, and after many adventures makes his way outside the city to Lys, another _^<a_!T5303_UTOPIA_^>a_ but of a different kind, which stresses closeness to Nature. Ultimately Alvin
finds an alien spaceship left behind millennia ago, visits the stars, and finally discovers the true nature of the cosmic perspective which has been hidden from both Lys and Diaspar. The final passages blend a sense of loss and of transcendence
with an almost mystical intensity. ACC began working on this story as early as 1937, and it is clearly central to all his thinking and feeling; it is perhaps his most memorable work, and distinctly superior to the more awkward earlier version. It
owes something to the evolutionary perspective of Olaf _^<a_!T2404_STAPLEDON_^>a_, whose works ACC greatly admired, as does _^<i__^<a_!B9010_CHILDHOOD'S END_^>a__^>i_, in which mankind reaches transcendence under the tutelage of satanic-seeming
aliens, eventually to fuse with a cosmic overmind which is an apotheosis forever to be denied both to their parents, who are ordinary humans, and to the alien tutors._^<n__^<n_ACC continued to publish sf with some frequency over the next decade,
with _^<i_Earthlight_^>i_ (1951 _^<i_TWS_^>i_; exp _^<b_1955_^>b_ US), _^<i_Reach for Tomorrow_^>i_ (coll _^<b_1956_^>b_ US), _^<i_The Deep Range_^>i_ (1954 _^<i_Star SF #3_^>i_; exp _^<b_1957_^>b_ US), _^<i_Tales from the White Hart_^>i_ (coll of
linked stories _^<b_1957_^>b_ US), _^<i_The Other Side of the Sky_^>i_ (coll _^<b_1958_^>b_ US), _^<i_A Fall of Moondust_^>i_ (_^<b_1961_^>b_ US), _^<i_Tales of Ten Worlds_^>i_ (coll _^<b_1962_^>b_ US), _^<i_Dolphin Island_^>i_ (_^<b_1963_^>b_ US),
a juvenile, and _^<i_Glide Path_^>i_ (_^<b_1963_^>b_ US), ACC's only non-sf novel, about the development of radar. The most interesting of these are _^<i_The Deep Range_^>i_, about _^<a_!T6337_NEAR-FUTURE_^>a_ farming _^<a_!T5281_UNDER THE
SEA_^>a_, containing some of ACC's most evocative writing, and _^<i_A Fall of Moondust_^>i_, a realistic account -- in the light of theories about the Moon's surface now known to have been mistaken -- of an accident to a surface transport on a
lightly colonized Moon. ACC's "The Star" (1955), a short story of great pathos describing the discovery that the star put in the sky by God to prefigure the Birth at Bethlehem was a supernova that destroyed an entire alien race, won a
_^<a_!T4551_HUGO_^>a_._^<n__^<n_By the 1960s most of ACC's creative energies had gone into writing nonfiction books and articles, many of them -- not listed here -- about undersea exploration; he was an enthusiastic skin-diver himself, one reason
for his residence in Sri Lanka. His popularizations of science, which won him the UNESCO Kalinga Prize in 1962, are closely related to his fiction, in that the stories often fictionalize specific ideas discussed in the factual pieces. His most
important nonfiction works, interesting still though some are rather out-of-date, are: _^<i_Interplanetary Flight_^>i_ (_^<b_1950_^>b_; rev 1960), _^<i_The Exploration of Space_^>i_ (_^<b_1951_^>b_; rev 1959; original text with new intro 1979),
_^<i_The Exploration of the Moon_^>i_ (_^<b_1954_^>b_), _^<i_The Young Traveller in Space_^>i_ (_^<b_1954_^>b_; vt _^<i_Going into Space_^>i_ US; vt _^<i_The Scottie Book of Space Travel_^>i_ UK; rev with Robert _^<a_!T2216_SILVERBERG_^>a_ vt
_^<i_Into Space_^>i_ 1971 US), _^<i_The Making of a Moon: The Story of the Earth Satellite Programme_^>i_ (_^<b_1957_^>b_; rev 1958 US), _^<i_Voice Across the Sea_^>i_ (coll _^<b_1958_^>b_ UK; rev 1974 UK; much rev, vt _^<i_How the World was One:
Beyond the Global Village_^>i_ 1992 UK), _^<i_The Challenge of the Space Ship_^>i_ (coll _^<b_1959_^>b_ US), _^<i_Profiles of the Future_^>i_ (coll _^<b_1962_^>b_; rev 1973; rev 1984), _^<i_Man and Space_^>i_ (_^<b_1964_^>b_; with the Editors of
_^<i_Life_^>i_), _^<i_Voices From the Sky_^>i_ (coll _^<b_1965_^>b_ US), _^<i_The Promise of Space_^>i_ (_^<b_1968_^>b_), _^<i_Beyond Jupiter: The Worlds of Tomorrow_^>i_ (_^<b_1972_^>b_ US; with Chesley _^<a_!T697_BONESTELL_^>a_), _^<i_Report on
Planet 3 and other Speculations_^>i_ (coll _^<b_1972_^>b_), _^<i_The View from Serendip_^>i_ (coll _^<b_1977_^>b_ US), _^<i_1984: Spring: A Choice of Futures_^>i_ (coll _^<b_1984_^>b_ US) and _^<i_Ascent to Orbit: A Scientific Autobiography: The
Technical Writings of Arthur C. Clarke_^>i_ (coll _^<b_1984_^>b_ US). ACC's early professional experience as assistant editor of _^<i_Science Abstracts_^>i_ 1949-50, before he became a full-time writer, has amply paid off. _^<i_The Exploration of
Space_^>i_ won a nonfiction _^<a_!T3788_INTERNATIONAL FANTASY AWARD_^>a_ in 1952. His science writing is lucid and interesting; his only rival as an sf writer of significance who is also of importance as a scientific journalist is Isaac
_^<a_!T268_ASIMOV_^>a_. ACC became well known all over the world when he appeared as commentator on CBS TV for the Apollo 11, 12 and 15 Moon missions._^<n__^<n_A good retrospective collection of stories, all but one reprinted from collections
listed above, is _^<i_The Nine Billion Names of God_^>i_ (coll _^<b_1967_^>b_ US). Since 1962 only a small amount of fiction by ACC has appeared in sf magazines, though two of his most interesting stories date from this period: "Sunjammer" (1965;
vt "The Wind from the Sun"), which is about the _^<a_!T2306_SOLAR WIND_^>a_, and _^<i_A Meeting with Medusa_^>i_ (1971 _^<i_Playboy_^>i_; _^<b_1988_^>b_ chap dos US), winner of a _^<a_!T3147_NEBULA_^>a_ in 1972 for Best Novella, the story of a
_^<a_!T1017_CYBORG_^>a_ explorer meeting _^<a_!T98_ALIEN_^>a_ life in the atmosphere of _^<a_!T3957_JUPITER_^>a_. Both stories are reprinted in _^<i_The Wind from the Sun_^>i_ (coll _^<b_1972_^>b_ US; with 3 vignettes added rev 1987 US), his sixth
and most recent collection (not counting reprint volumes). The most comprehensive, though by no means complete, selection of ACC's short fiction is the misleadingly titled _^<i_More than One Universe: The Collected Stories of Arthur C. Clarke_^>i_
(omni _^<b_1991_^>b_ US), collecting _^<i_Tales of Ten Worlds_^>i_, _^<i_The Other Side of the Sky_^>i_, _^<i_The Nine Billion Names of God_^>i_ and _^<i_The Wind from the Sun_^>i_, with several stories dropped._^<n__^<n_After the success of
_^<i_2001: A Space Odyssey_^>i_, ACC became perhaps the best-known sf writer in the world, and in the USA by far and away the most popular foreign sf writer. A few years later he signed a contract, for a sum of money larger than anything previously
paid in sf publishing, to write three further novels. These turned out to be _^<i_Rendezvous with Rama_^>i_ (_^<b_1973_^>b_ UK), _^<i_Imperial Earth: A Fantasy of Love and Discord_^>i_ (cut _^<b_1975_^>b_; with 10,000 words restored 1976 US) and
_^<i_The Fountains of Paradise_^>i_ (_^<b_1979_^>b_ UK; with exp afterword 1989). All were bestsellers; all had a mixed critical reception, though _^<i_Rendezvous with Rama_^>i_ scooped the awards: the Hugo, Nebula, _^<a_!T3923_JOHN W. CAMPBELL
MEMORIAL AWARD_^>a_ and _^<a_!T5005_BRITISH SCIENCE FICTION AWARD_^>a_. To what extent the book deserved it, and to what extent the awards merely celebrated the return of a much loved figure to the field after many years' comparative silence is
unclear. All the old ACC themes are there in the story of a huge, apparently derelict alien spaceship which enters the Solar System, and its exploration by a party of humans. As an artefact, the spaceship is a symbol of almost mythic significance,
enigmatic, powerful and fascinating (> _^<a_!T590_BIG DUMB OBJECTS_^>a_; _^<a_!T1245_DISCOVERY AND INVENTION_^>a_), and the book derives considerable power from its description. The human characterization, on the other hand, is rather reminiscent
of boys' fiction from an earlier era. _^<i_Imperial Earth_^>i_ tells of relations between Earth and the _^<a_!T1743_OUTER PLANETS_^>a_, and contains a rather meandering intrigue involving _^<a_!T761_CLONES_^>a_; there are some interesting
speculations about _^<a_!T632_BLACK HOLES_^>a_. _^<i_Fountains of Paradise_^>i_, a much better book than _^<i_Imperial Earth_^>i_ -- it won the 1980 Hugo for Best Novel -- tells of the construction on Earth of a space elevator 36,000km high, and
combines ACC's favourite themes of technological evolution and mankind's apotheosis with moving directness; it is the most considerable work of the latter part of ACC's career._^<n__^<n_The 1980s and 1990s provided an astonishing coda to all of
this. They have -- in terms of the number of books appearing with ACC's name on the cover-been unexpectedly productive, unexpectedly because ACC was well into his 60s, and had previously announced that _^<i_Fountains of Paradise_^>i_ would be his
last work of fiction. However, soon there appeared _^<i_2010: Odyssey Two_^>i_ (_^<b_1982_^>b_ US), a sequel to _^<i_2001: A Space Odyssey_^>i_. This was made into a film directed by Peter Hyams, _^<a_!T6147_2010_^>a_ (1984). Neither book nor film
is as distinguished as the original, but the book is better than the film. It was followed by _^<i_2061: Odyssey Three_^>i_ (_^<b_1988_^>b_ UK), which being open-ended suggests that the _^<b_Odyssey_^>b_ saga of alien intervention may not yet be
complete. A little earlier ACC had published _^<i_The Songs of Distant Earth_^>i_ (_^<b_1986_^>b_ US), which greatly expands on the story of the same title published in _^<i_If_^>i_ in 1958. Quietly and without much action it recounts the meeting
of an isolated human colony on a remote planet with one of the last spaceships to leave a doomed Earth, and the cultural clashes that follow._^<n__^<n_In the mid-1980s ACC had developed a debilitating and continuing illness affecting the nervous
system, but despite this he maintained considerable literary activity. His illness meant that much of his work was necessarily collaborative. While some of this was found disappointing by the critics, and even reviled, there is considerable
gallantry in his having made the effort at all, more especially as the profit, it has been said, is intended to shore up various charitable enterprises ACC has founded, in order to render them financially secure after his death. The collaborative
enterprises have included _^<i_Cradle_^>i_ (_^<b_1988_^>b_ UK) with Gentry _^<a_!T4229_LEE_^>a_ and, also with Lee, three sequels to _^<i__^<a_!B9055_RENDEZVOUS WITH RAMA_^>a__^>i_: _^<i_Rama II_^>i_ (_^<b_1989_^>b_ UK), _^<i_The Garden of
Rama_^>i_ (_^<b_1991_^>b_ US) and _^<i_Rama Revealed_^>i_ (_^<b_1993_^>b_). Most of the writing seems to have been Lee's, whose style is less compact and more stereotyped than ACC's. All these books have moments of embarrassing prose reminiscent of
popular romance, though they are progressively more confidently written. A more interesting partnership was that between Gregory Benford and Clarke, the former (as noted above) writing a sequel to the latter's 1948 novella _^<i_Against the Fall of
Night_^>i_. ACC has also franchised out (>_^<a_!T2127_SHARED WORLDS_^>a_) the _^<b_Venus Prime_^>b_ series to Paul _^<a_!T1987_PREUSS_^>a_ (_^<i_whom see for titles_^>i_), each novel having some basis in an ACC short story. The series begins with
_^<i_Arthur C. Clarke's Venus Prime, Volume 1: Breaking Strain_^>i_ (_^<b_1987_^>b_), based on ACC's "Breaking Strain" (_^<i_TWS_^>i_ 1949). The fact-and-fiction anthology _^<i_Project Solar Sail_^>i_ (anth _^<b_1990_^>b_ US) has a cover which says
it is ed ACC, but a reading of the title page suggests the true ed, here "Managing Editor", was David _^<a_!T4999_BRIN_^>a_._^<n__^<n_During the period since 1988 there have been, moreover, two books by ACC alone. The first is _^<i_Astounding Days:
A Science Fictional Autobiography_^>i_ (_^<b_1989_^>b_), consisting of enjoyable reminiscences of his own literary life, with a good amount of material on other writers, both these topics being often seen in relation to the magazine
_^<a_!T277_ASTOUNDING SCIENCE-FICTION_^>a_. The second, somewhat surprisingly after all the collaborations, was another solo novel, _^<i_The Ghost from the Grand Banks_^>i_ (_^<b_1990_^>b_ UK), an interesting tale of an attempt to raise the
_^<i_Titanic_^>i_ in the early 21st century; it is indubitably Clarkean, though itself a little ghostlike, much of the story pared to the bone, though typically containing a technical (and neatly symbolic) diversion into the mathematics of the
Mandelbrot set. _^<i_The Hammer of God_^>i_ (1992 _^<i_Time Magazine_^>i_; exp _^<b_1993_^>b_), which hangs a number of speculations on a thin narrative involving an asteroid bent on colliding with Earth, is also telegraphic in effect._^<n__^<n_ACC
is patron of the _^<a_!T2066_SCIENCE FICTION FOUNDATION_^>a_, and at the ceremony proclaiming the housing of its research collection with the University of Liverpool, he received an honorary doctorate from the University, by videolink. He has
received many awards, including the Association of Space Explorers' Special Achievement Award. He has presented a number of tv programmes, including the series _^<i_Arthur C. Clarke's Mysterious World_^>i_ at the beginning of the 1980s. He received
a Nebula Grand Master Award in 1986._^<n__^<n_For many readers ACC is the very personification of sf. Never a "literary" author, he nonetheless writes always with lucidity and candour, often with grace, sometimes with a cold, sharp evocativeness
that has produced some of the most memorable images in sf. He is deservedly seen as a central figure in the development of post-WWII sf, especially in his liberal, optimistic view of the possible benefits of technology (though one that is by no
means unaware of its dangers), and in his development of the Stapledonian theme of cosmic perspective, in which mankind is seen as reaching out like a child to an alien Universe which may treat us as a godlike father would, or may respond with cool
indifference. [PN]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Across the Sea of Stars_^>i_ (omni _^<b_1959_^>b_ US of 18 short stories from previous colls and the novels _^<i__^<a_!B9010_CHILDHOOD'S END_^>a__^>i_ and _^<i_Earthlight_^>i_); _^<i_From the
Ocean, From the Stars_^>i_ (omni _^<b_1961_^>b_ US of _^<i_The Deep Range_^>i_, _^<i_The Other Side of the Sky_^>i_ and _^<i_The City and the Stars_^>i_); _^<i_Prelude to Mars_^>i_ (omni _^<b_1965_^>b_ US of 16 stories from previous collections
plus _^<i_Prelude to Space_^>i_ and _^<i_The Sands of Mars_^>i_); _^<i_An Arthur C. Clarke Omnibus_^>i_ (omni _^<b_1965_^>b_ UK of _^<i_Childhood's End_^>i_, _^<i_Prelude to Space_^>i_ and _^<i_Expedition to Earth_^>i_); _^<i_An Arthur C. Clarke
Second Omnibus_^>i_ (omni _^<b_1968_^>b_ UK of _^<i_A Fall of Moondust_^>i_, _^<i_Earthlight_^>i_ and _^<i_The Sands of Mars_^>i_); _^<i_Of Time and Stars_^>i_ (coll _^<b_1972_^>b_ UK), a collection for children, all reprinted from previous
collections; _^<i_Four Great SF Novels_^>i_ (omni _^<b_1978_^>b_ UK); _^<i_The Sentinel_^>i_ (coll _^<b_1983_^>b_ US), reprints; _^<i_Tales From Planet Earth_^>i_ (coll _^<b_1989_^>b_ UK) ed anon by Martin H. _^<a_!T4842_GREENBERG_^>a_, the only
previously uncollected story being "On Golden Seas" (1987 _^<i_Omni_^>i_)._^<b_Nonfiction:_^>b_ _^<i_Arthur C. Clarke's Mysterious World_^>i_ (_^<b_1980_^>b_) and _^<i_Arthur C. Clarke's World of Strange Powers_^>i_ (_^<b_1985_^>b_), both with
Simon Welfare and John Fairley, both tv-series spin-offs largely written by Welfare and Fairley; _^<i_The Odyssey File_^>i_ (_^<b_1985_^>b_ UK) with Peter Hyams, communications exchanged between author and director about the making of the film
_^<i_2010_^>i_; _^<i_Arthur C. Clarke's July 20, 2019: A Day in the Life of the 21st Century_^>i_ (_^<b_1986_^>b_ US), illustrated; _^<i_Arthur C. Clarke's Chronicles of the Strange and Mysterious_^>i_ (_^<b_1987_^>b_), again with Welfare and
Fairley; _^<i_The Fantastic Muse_^>i_ (coll _^<b_1992_^>b_ chap), fanzine material from the 1930s; _^<i_How the World Was One: Beyond the Global Village_^>i_ (coll _^<b_1992_^>b_; vt _^<i_How the World Was One: The Turbulent History of Global
Communications_^>i_ 1993), partially based on _^<i_Voices Across the Sea_^>i_ (_^<b_1958_^>b_ US); _^<i_By Space Possessed: Essays on the Exploration of Space_^>i_ (coll _^<b_1993_^>b_), mostly assembled from previous books; _^<i_The Snows of
Olympus: A Garden on Mars_^>i_ (_^<b_1994_^>b_), which advocates the terraforming of Mars._^<b_As Editor:_^>b_ _^<i_Time Probe_^>i_ (anth _^<b_1966_^>b_ US); _^<i_The Coming of the Space Age_^>i_ (anth of nonfiction pieces _^<b_1967_^>b_);
_^<i_Science Fiction Hall of Fame, Vol 4_^>i_ (anth _^<b_1981_^>b_ as ed by ACC; vt _^<i_Science Fiction Hall of Fame, Vol III: Nebula Winners 1965-69_^>i_ US 1981 as ed by ACC with Geo W. _^<a_!T2005_PROCTOR_^>a_ -- Proctor did the actual
editing)._^<b_About the author:_^>b_ _^<i_Arthur C. Clarke_^>i_ (anth _^<b_1977_^>b_) ed Joseph D. _^<a_!T3303_OLANDER_^>a_ and Martin Harry _^<a_!T4842_GREENBERG_^>a_; _^<i_Arthur C. Clarke: Starmont Readers' Guide No 1_^>i_ (chap _^<b_1979_^>b_)
by Eric S. _^<a_!T2474_RABKIN_^>a_; _^<i_Arthur C. Clarke: A Primary and Secondary Bibliography_^>i_ (_^<b_1984_^>b_) by David N. _^<a_!T2789_SAMUELSON_^>a_; _^<i_The Odyssey of Arthur C. Clarke: An Authorized Biography_^>i_ (_^<b_1992_^>b_) by
Neil McAleer._^<b_See also:_^>b_ _^<a_!T255_ARTHUR C. CLARKE AWARD_^>a_; _^<a_!T273_ASTEROIDS_^>a_; _^<a_!T708_CHILDREN IN SF_^>a_; _^<a_!T710_CHILDREN'S SF_^>a_; _^<a_!T727_CITIES_^>a_; _^<a_!T768_CLUB STORY_^>a_; _^<a_!T811_COLONIZATION OF OTHER
WORLDS_^>a_; _^<a_!T826_COMPUTERS_^>a_; _^<a_!T1165_DEL REY BOOKS_^>a_; _^<a_!T1239_DIMENSIONS_^>a_; _^<a_!T6661_END OF THE WORLD_^>a_; _^<a_!T6694_ESCHATOLOGY_^>a_; _^<a_!T6717_EVOLUTION_^>a_; _^<a_!T1410_FANTASTIC VOYAGES_^>a_;
_^<a_!T1412_FANTASY_^>a_; _^<a_!T1669_FUTUROLOGY_^>a_; _^<a_!T4655_GENERATION STARSHIPS_^>a_; _^<a_!T4740_GODS AND DEMONS_^>a_; _^<a_!T4754_GOLDEN AGE OF SF_^>a_; _^<a_!T4817_GRAVITY_^>a_; _^<a_!T4443_HISTORY OF SF_^>a_;
_^<a_!T4447_HIVE-MINDS_^>a_; _^<a_!T4555_HUMOUR_^>a_; _^<a_!T3796_INVASION_^>a_; _^<a_!T3327_LEISURE_^>a_; _^<a_!T3435_LONGEVITY (IN WRITERS AND PUBLICATIONS)_^>a_; _^<a_!T3598_MAGIC_^>a_; _^<a_!T3677_MARS_^>a_; _^<a_!T3717_MATHEMATICS_^>a_;
(1918- ) Intelligence officer and code-cracker during WWII, and retired Professor of English (from 1964) at the University of Strathclyde in Glasgow. His first major publication was the _^<a_!T585_BIBLIOGRAPHY_^>a_ _^<i_The Tale of the Future:
From the Beginning to the Present Day: A Checklist of those Satires, Ideal States, Imaginary Wars and Invasions, Political Warnings and Forecasts, Interplanetary Voyages and Scientific Romances -- All Located in an Imaginary Future Period -- that
have been Published in the UK between 1644 and 1960_^>i_ (_^<b_1961_^>b_; rev 1972; rev 1978); the third edition carries the story to 1976. This work is very useful but not always reliable, being occasionally weak on variant titles and plot
summaries, and is far from comprehensive. These weaknesses lie primarily in the period from 1940 on, and IFC-whose work in the earlier period was pioneering-has since publicly regretted the fact that he did not stop at the year 1939._^<n__^<n_IFC's
next important contribution to sf studies was _^<i_Voices Prophesying War 1763-1984_^>i_ (_^<b_1966_^>b_; rev vt _^<i_Voices Prophesying War: Future Wars 1763-3749 _^>i_1992), by a long way the most comprehensive account of the
future-_^<a_!T5452_WAR_^>a_ story. This was followed by _^<i_The Pattern of Expectation: 1644-2001_^>i_ (_^<b_1979_^>b_), which ranges widely through the literature of the future from its earliest days to the most recent forecasts of
_^<a_!T1669_FUTUROLOGY_^>a_, and takes in much work which tends to be ignored by historians of genre sf. This book broke new ground in the history and sociology of ideas, focusing on the interrelation between differing expectations and
_^<a_!T1979_PREDICTIONS_^>a_ of the future in different historical periods and the characteristic future images they yielded, in pictures as well as in words. In most respects it supersedes W.H.G. _^<a_!T240_ARMYTAGE_^>a_'s _^<i_Yesterday's
Tomorrows_^>i_ (_^<b_1967_^>b_). [PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T963_CRITICAL AND HISTORICAL WORKS ABOUT SF_^>a_; _^<a_!T1370_DYSTOPIAS_^>a_; _^<a_!T4443_HISTORY OF SF_^>a_; _^<a_!T3796_INVASION_^>a_; _^<a_!T6337_NEAR FUTURE_^>a_;
Working name of Helen Worrell Clarkson McCloy (1904-1993), most of whose works are detective novels written as Helen McCloy. Her sole sf work, _^<i_The Last Day: A Novel of the Day After Tomorrow_^>i_ (_^<b_1959_^>b_), tellingly describes a nuclear
_^<a_!T4482_HOLOCAUST_^>a_ from the viewpoint of an isolated woman, whose island retreat proves in the end no refuge against the consequences of final war. [JC]_^<n__^<n_
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CLASS OF 1999
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Film (1990). Lightning/Original/Vestron. Prod and dir Mark L. Lester, starring Bradley Gregg, Traci Lin, John P. Ryan, Pam Grier, Patrick Kilpatrick, Stacy Keach, Malcolm McDowell. Screenplay C. Courtney Joyner, based on a story by Lester. 98 mins.
Colour. In the USA of 1999 most _^<a_!T727_CITIES_^>a_ have no-go "Free Fire" zones ruled by teenage gangs, and many schools are closed. As an experiment, the Department of Educational Defense uses ex-military _^<a_!T177_ANDROIDS_^>a_ for teachers,
re-opening a school in Seattle. The androids -- even the attractive Black "chemistry teacher from Hell" (Grier) -- revert to military conditioning and run amok with disciplinary measures against the drug-taking, gang-warring students, killing many.
This violent, amusingly over-the-top exploitation movie features every killer-_^<a_!T2646_ROBOT_^>a_ cliche found in movies from _^<a_!T5557_WESTWORLD_^>a_ (1973) to _^<i_The_^<a_!T5940_TERMINATOR_^>a__^>i_ (1984), but for a low-budget film Eric
Allard's mechanical effects are good, and the direction is capable. The sequel is _^<i_Class of 1999 II: The Substitute_^>i_(1993), dir Spiro Razatos, screenplay Mark Sevi, starring Sasha Mitchell, Nick Cassavetes, Caitlin Dulany, Jack Knight and
Rick Hill, 87 mins. This is a more modest film, quite well made, with an interesting plot twist that calls into question the science fictionality of the whole thing. The story tells, or appears to, of yet another battle 'droid masquerading as a
substitute teacher and wreaking havoc among particularly unpleasant and violent high-school students. [PN]_^<n__^<n_
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CLAUDY, CARL H(ARRY)
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(1879-1957) US author of some 20 sf stories, all for the magazine _^<i_American Boy_^>i_. Four were revised and expanded into a series of juvenile novels with the general heading _^<b_Adventures in the Unknown_^>b_: _^<i_The Mystery Men of Mars_^>i_
(_^<b_1933_^>b_), _^<i_A Thousand Years a Minute_^>i_ (_^<b_1933_^>b_), _^<i_The Land of No Shadow_^>i_ (_^<b_1933_^>b_) and _^<i_The Blue Grotto Terror_^>i_ (_^<b_1934_^>b_). This was probably the most vigorous and imaginative juvenile sf book
series up to that time. Two of these stories in their original magazine form, together with "Tongue of the Beast" (1939), appeared in _^<i_The Year after Tomorrow_^>i_ (anth _^<b_1954_^>b_) ed Lester _^<a_!T1164_DEL REY_^>a_, Carl Carmer
(1939- ) US writer, most of whose work consists of a long series of science-fantasy _^<a_!T2342_SPACE OPERAS_^>a_ of extended quests in highly coloured venues. The sequence divides into the _^<b_Diadem_^>b_ books -- _^<i_Diadem from the
Stars_^>i_ (_^<b_1977_^>b_), which romantically sets out the epic adventures of a young girl electronically attached to the power-bestowing diadem of the title, as she searches for the planet which is the home of her mother's
_^<i_The Snares of Ibex_^>i_ (_^<b_1984_^>b_) and _^<i_Quester's Endgame_^>i_ (_^<b_1986_^>b_) -- and the volumes dedicated to _^<b_Shadith's Quest_^>b_: _^<i_Shadowplay_^>i_ (_^<b_1990_^>b_), _^<i_Shadowspeer_^>i_ (_^<b_1990_^>b_ and
_^<i_Shadowkill_^>i_ (_^<b_1991_^>b_). The speculative element in these titles does not significantly figure; but the differing venues, reminiscent of the worlds of Leigh _^<a_!T4961_BRACKETT_^>a_, are depicted with some richness. _^<i_Shadow of
the Warmaster_^>i_ (_^<b_1988_^>b_) is an sf novel with thriller elements. [JC]_^<n__^<n__^<b_Other works:_^>b_ The _^<b_Duel of Sorcery_^>b_ books, comprising _^<i_Moongather_^>i_ (_^<b_1982_^>b_), _^<i_Moonscatter_^>i_ (_^<b_1983_^>b_) and
_^<i_Changer's Moon_^>i_ (_^<b_1985_^>b_), followed by the connected _^<b_Dancer_^>b_'s sequence, comprising _^<i_Dancer's Rise_^>i_ (_^<b_1993_^>b_), _^<i_Serpent Waltz _^>i_(_^<b_1994_^>b_) and _^<i_Dance Down the Stars_^>i_ (_^<b_1994_^>b_);
_^<i_A Bait of Dreams: a Five-Summer Quest_^>i_ (fixup _^<b_1985_^>b_); the _^<b_Skeen_^>b_ sequence, comprising _^<i_Skeen's Leap_^>i_ (_^<b_1986_^>b_), _^<i_Skeen's Return_^>i_ (_^<b_1987_^>b_) and _^<i_Skeen's Search_^>i_ (_^<b_1987_^>b_);
_^<i_Drinker of Souls_^>i_ (_^<b_1986_^>b_), _^<i_Blue Magic_^>i_ (_^<b_1988_^>b_) and _^<i_A Gathering of Stones_^>i_ (_^<b_1989_^>b_), these three assembled as _^<i_The Soul Drinker_^>i_ (omni _^<b_1989_^>b_), followed by the _^<b_Wild Magic
Working name used for his sf by US writer Harry Clement Stubbs (1922- ); he uses his surname for science articles and paints as George Richard. He holds degrees in astronomy, chemistry and education, and was long employed as a highschool science
teacher. From the beginning of his career HC was associated with _^<i_ASF_^>i_, where his first story, "Proof", appeared in 1942, at the peak of the _^<a_!T4754_GOLDEN AGE OF SF_^>a_. His work has from the first been characterized by the complexity
and compelling interest of the scientific (or at any rate scientifically literate) ideas which dominate each story. He is not noted as a stylist, nor is his interest in character depiction very strong. Many of his books can for pages read like a
dramatized exposition of ideas, absorbing though at times disconcerting for the novel reader. This is certainly the case with _^<i_Needle_^>i_ (1949 _^<i_ASF_^>i_; exp _^<b_1950_^>b_; vt _^<i_From Outer Space_^>i_ 1957), his first novel, a rather
ponderous alien-_^<a_!T3796_INVASION_^>a_ story with detection elements and a juvenile protagonist in a tale where the invader is a police-parasite chasing another (malign) parasite that has possessed the boy's father; the boy, with the good alien
in tow, helps to drive the bad alien from his Dad. It is a highly loaded theme, but is told without any of the necessary resonance, nor does its sequel, _^<i_Through the Eye of a Needle_^>i_ (_^<b_1978_^>b_), written as a juvenile, manage to cope
any better with the human implications of its material._^<n__^<n_HC's most famous -- and far better -- work is contained in his main series, a loose sequence consisting of _^<i__^<a_!B9041_MISSION OF GRAVITY_^>a__^>i_ (_^<i_ASF_^>i_ 1953; cut
_^<b_1954_^>b_; text restored with additions and 1 added story, as coll 1978), _^<i_Close to Critical_^>i_ (1958 _^<i_ASF_^>i_; _^<b_1964_^>b_) and _^<i_Star Light_^>i_ (_^<b_1971_^>b_). The third volume is a direct sequel to the first, while some
of the characters in the second appear in the third as well, Elise ("Easy") Rich in _^<i_Close to Critical_^>i_ being the "Easy" Hoffman of _^<i_Star Light_^>i_, 25 years older. _^<i__^<a_!B9041_MISSION OF GRAVITY_^>a__^>i_, one of the best loved
novels in sf, is set on the intriguingly plausible high-gravity planet of Mesklin, inhabited by HC's most interesting _^<a_!T102_ALIENS_^>a_. The plot concerns the efforts of the Mesklinite Captain Barlennan and his crew to assist a human team in
extracting a vital component from a crashed space probe; the humans cannot perform the feat, because Mesklin's _^<a_!T4817_GRAVITY_^>a_ varies from an equatorial 3g to a polar 700g. Barlennan's arduous trek is inherently fascinating, but perhaps
even more engaging is HC's presentation of the captain as a kind of Competent Man _^<i_in extremis_^>i_, a born engineer, a lover of knowledge. These characteristics permeate the texts of everything that HC writes, even those stories whose
protagonists are no more than pretexts for the unfolding of the genuine text -- which is the physical Universe itself._^<n__^<n_HC's most successful novels apply the basic plot of _^<i__^<a_!B9041_MISSION OF GRAVITY_^>a__^>i_ to fundamentally
similar basic storylines -- a character, usually human, must cope with an alien environment, with or without the help of natives, as in _^<i_Iceworld_^>i_ (_^<b_1953_^>b_), _^<i_Cycle of Fire_^>i_ (_^<b_1957_^>b_) and the stories assembled in
_^<i_Natives of Space_^>i_ (coll _^<b_1965_^>b_) and _^<i_Small Changes_^>i_ (coll _^<b_1969_^>b_; vt _^<i_Space Lash_^>i_ 1969). HC's only collaboration, "Planet for Plunder" (1957) with Sam _^<a_!T2913_MERWIN_^>a_ Jr, demonstrates his fascination
with alien environments and viewpoints, as he initially wrote the story entirely from a nonhuman standpoint; Merwin, acting for _^<i_Satellite Magazine_^>i_, where it appeared, wrote an additional 10,000 words from a human standpoint._^<n__^<n_HC
brought a new seriousness to the extrapolative _^<a_!T4288_HARD-SF_^>a_ physical-sciences story, and his vividness of imagination -- his sense that the Universe is wonderful -- has generally overcome the awkwardness of his narrative technique. He
is a figure of importance to the genre. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Ranger Boys in Space_^>i_ (_^<b_1956_^>b_), a juvenile; _^<i_Some Notes on XI Bootis_^>i_ (_^<b_1960_^>b_ chap), a lecture; _^<i_First Flights to the Moon_^>i_ (anth
_^<b_1970_^>b_), nonfiction; _^<i_Ocean on Top_^>i_ (1967 _^<i_If_^>i_; _^<b_1973_^>b_); _^<i_The Best of Hal Clement_^>i_ (coll _^<b_1979_^>b_); _^<i_The Nitrogen Fix_^>i_ (_^<b_1980_^>b_); _^<i_Intuit_^>i_ (coll of linked stories _^<b_1987_^>b_),
four _^<b_Laird Cunningham_^>b_ tales; _^<i_Still River_^>i_ (_^<b_1987_^>b_); _^<i_Isaac's Universe: Fossil_^>i_* (_^<b_1993_^>b_), tied to the works of Isaac _^<a_!T268_ASIMOV_^>a_._^<b_About the author:_^>b_ _^<i_Hal Clement_^>i_
(_^<b_1982_^>b_) by Donald M. _^<a_!T4335_HASSLER_^>a_; _^<i_Hal Clement, Scientist with a Mission: A Working Bibliography_^>i_ (_^<b_1989_^>b_ chap) by Gordon _^<a_!T540_BENSON_^>a_ Jr._^<b_See also:_^>b_ _^<a_!T829_CONCEPTUAL BREAKTHROUGH_^>a_;
_^<a_!T956_CRIME AND PUNISHMENT_^>a_; _^<a_!T6576_ECOLOGY_^>a_; _^<a_!T1410_FANTASTIC VOYAGES_^>a_; _^<a_!T1797_PARASITISM AND SYMBIOSIS_^>a_; _^<a_!T6332_ROBERT HALE LIMITED_^>a_; _^<a_!T2877_SCIENTIFIC ERRORS_^>a_; _^<a_!T2422_STARS_^>a_;
_^<a_!T5825_SUN_^>a_; _^<a_!T5281_UNDER THE SEA_^>a_.
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CLEMENTS, DAVID
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[r] > _^<a_!T6332_ROBERT HALE LIMITED_^>a_._^<n__^<n_
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CLEVE, JOHN
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Pseudonym used mainly by Andrew J. _^<a_!T3296_OFFUTT_^>a_ for several erotic sf novels and for the first 6 vols of the 19-vol _^<b_Spaceways_^>b_ sequence; most of the rest were jointly authored. Offutt's collaborators included G.C.
_^<a_!T6583_EDMONDSON_^>a_, Roland _^<a_!T4837_GREEN_^>a_, Jack C. _^<a_!T4924_HALDEMAN_^>a_, Robin Kincaid, Victor _^<a_!T4112_KOMAN_^>a_, Geo W. _^<a_!T2005_PROCTOR_^>a_ and Dwight V. _^<a_!T5860_SWAIN_^>a_._^<n__^<n_
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CLICHES
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Sf cliches have developed, perhaps, partly out of a need for identification of stories as genuine sf -- readers know where they are with a time-space warp -- but mainly out of the lazy and parsimonious recycling of ideas at every level. The most
obvious are cliche gadgets (_^<a_!T650_BLASTER_^>a_, _^<a_!T178_ANDROID_^>a_, _^<a_!T4574_HYPERSPACE_^>a_ drive, _^<a_!T1017_CYBORG_^>a_, _^<a_!T6018_TIME MACHINE_^>a_, brain suspended in aquarium, _^<a_!T1554_FORCE FIELD_^>a_, food pill,
_^<a_!T198_ANTIGRAVITY_^>a_ shield, translating machine, judiciary _^<a_!T826_COMPUTER_^>a_), but major sf cliche themes are also old friends (daring conquest of the Galaxy; scientist goes too far; witch-hunt for telepaths;
post-_^<a_!T4482_HOLOCAUST_^>a_ barbarism; triumph of Yankee knowhow). A list of sf cliche characters might begin with mad _^<a_!T2880_SCIENTISTS_^>a_ (Frankenstein to Dr Strangelove), though scientists may also be either young, muscular and
idealistic or else elderly, absentminded and eccentric. Cliche _^<a_!T5683_WOMEN AS PORTRAYED IN SF_^>a_ normally have no character above the neck (> _^<a_!T2115_SEX_^>a_). Some are sexy and helpless (often lab assistants or daughters of elderly
scientists, rescued from danger by young scientists), break into hysterical laughter and need a slap, faint during critical fight scenes, and twist their fragile ankles during the flight through the jungle. Others are sexy and threatening (Amazon
Queens from _^<i_She_^>i_ to _^<i_Wonder Woman_^>i_) or sexy but ignorant tomboys (as in _^<a_!T1551_FORBIDDEN PLANET_^>a_). Since the advent of _^<a_!T1461_FEMINISM_^>a_, however, women are less commonly weak ("She flexed her mighty thews").
Cliche _^<a_!T708_CHILDREN IN SF_^>a_ are hardly more variable: some are _^<a_!T3119_MUTANT_^>a_ geniuses, possess magical or _^<a_!T2021_PSI POWERS_^>a_, or prove mankind's only link with alien invaders by virtue of their innocence. With "The
Small Assassin" (1946), Ray _^<a_!T4963_BRADBURY_^>a_ began a new line of sf cliche kids who, after menacing mankind in many of his stories, turned up to menace again in John _^<a_!T6211_WYNDHAM_^>a_'s _^<i_The Midwich Cuckoos_^>i_ (_^<b_1957_^>b_;
vt _^<i_Village of the Damned_^>i_) and in the film _^<a_!T3833_IT'S ALIVE!_^>a_ Sf cliche _^<a_!T3540_MACHINE_^>a_ characters must be comic (in many Isaac _^<a_!T268_ASIMOV_^>a_ stories), horrifying (from the _^<a_!T4763_GOLEM_^>a_ to the
_^<a_!T1035_DALEKS_^>a_) or sometimes both (from Nathaniel _^<a_!T4349_HAWTHORNE_^>a_'s dancing partner in "The Artist of the Beautiful" [1844] to HAL in _^<i_2001: A SPACE ODYSSEY_^>i_ [1968]); they are seldom allowed as much thought or emotion as
even _^<a_!T521_BEMS_^>a_ or other minatory extraterrestrials. Among _^<a_!T3013_MONSTERS_^>a_, giantism, dwarfism, scales, hair, slime, claws and tentacles prevail. H.G. _^<a_!T5528_WELLS_^>a_ first used octopuses in "The Sea Raiders" (1897);
other writers kept the loathsome tentacles waving for half a century, up to and beyond _^<a_!T3827_IT CAME FROM BENEATH THE SEA_^>a_ [1955]._^<n__^<n_Sf cliche plots and plot devices are so numerous that any list must be incomplete. We have the
feeble old nightwatchman left to guard the smouldering meteorite crater overnight ("I'll be all right, yessirree"); the doomed society of lotus-eaters; civilization's future depending upon the outcome of a chess game, the answer to a riddle, or the
discovery of a simple formula ("a one-in-a-million chance, but so crazy it just might work!"); shapeshifting aliens ("one of us aboard this ship is not human"); invincible aliens ("the billion-megaton blast had no more effect than the bite of a
Sirian flea"); alien invaders finally stopped by ordinary water (as in films of both _^<i_The_^<a_!T1110_DAY OF THE TRIFFIDS_^>a__^>i_ [1963] and _^<i_The Wizard of Oz_^>i_ [1939]); the _^<a_!T178_ANDROID_^>a_ spouse who cuts a finger and bleeds
machine-oil; the spouse possessed or hypnotized by aliens ("darling, you've been acting so strangely since your trip to Ganymede"); the disguised alien sniffed out by "his" pet dog, who never acted this way before; destruction of giant computer
brain by a simple paradox ("when is a door not a door?"); robot rebellion ("yes, 'Master'"); a _^<i_Doppelganger_^>i_ in the corridors of time ("it was -- _^<i_himself_^>i_!"); Montagues and Capulets living in _^<a_!T1794_PARALLEL WORLDS_^>a_; evil
Master of the World stopping to smirk before killing hero; everyone controlled by alien mind-rays _^<i_except one man_^>i_; Oedipus kills great-great-grandad; world is saved by instant technology ("it may have looked like just a hunk of breadboard,
a few widgets and wires -- but wow!"); a youth elixir -- but at what terrible price?; thick-headed scientist tampers unwittingly with elemental forces better left in the hands of the Deity; _^<a_!T3771_IMMORTALITY_^>a_ tempts Nature to a terrible
revenge; monster destroys its creator; dying alien race must breed with earthling models and actresses; superior aliens step in to save mankind from self-destruction (through H-bombs, _^<a_!T1942_POLLUTION_^>a_, fluoridation, decadence); Dr X's
laboratory (_^<a_!T3823_ISLAND_^>a_, planet) goes up in flames ..._^<n__^<n_Pulp can always be recycled._^<n__^<n_But, then again, it is always possible to add new pulp to old, as happened in the 1980s, when new cliches appeared while most of the
old ones continued. They were mostly found in films, but some were in books, too: kids playing with computers start or wage actual wars without knowing it; Japanese advertising appears everywhere from posters to retinas; _^<a_!T4657_GENETIC
ENGINEERING_^>a_ produces warring subcultures; expanding _^<a_!T632_BLACK HOLES_^>a_ at the galactic centre are the legacy of wars between superbeings; kids _^<a_!T6026_TIME-TRAVEL_^>a_ into the past and invent rock'n'roll; alien cops buddy up with
Earth cops to nab alien criminals; unemotional teachers and scientists turn out to be killer android/robots; vast alien artefacts prove to have extensions infinite in time and/or space or to lead somewhere else (> _^<a_!T590_BIG DUMB OBJECTS_^>a_);
future people obsessed with 1950s rock'n'roll (Stephen _^<a_!T4066_KING_^>a_, Allen _^<a_!T5698_STEELE_^>a_); God is an _^<a_!T68_AI_^>a_; an alien virus turns us all into cannibalistic zombies; transplant technology leads to sex orgies (severed
heads have cunnilingus, penis grafts increase libido). An old cliche that returns more regularly than Halley's Comet, but especially at around the same time, has gigantic objects in space impacting with Earth. Two promising new cliches that could
not have been predicted are spacefaring trees (Stephen _^<a_!T471_BAXTER_^>a_, Larry _^<a_!T3223_NIVEN_^>a_, Dan _^<a_!T2219_SIMMONS_^>a_) and romantic poets such as Keats, Byron and Shelley meeting either separately or together with monsters, AIs
and so on (Brian W. _^<a_!T87_ALDISS_^>a_, William _^<a_!T4689_GIBSON_^>a_, Tim _^<a_!T1967_POWERS_^>a_, Dan Simmons and others). [JS/PN]_^<n__^<n_
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CLIFTON, MARK
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(1906-1963) US writer and businessman, for many years occupied in personnel work, putting together many thousands of case histories from which he extrapolated conclusions after the fashion of Kinsey and Sheldon; these conclusions MC reportedly used
to shape the arguments of his sf, most of which was published in _^<i_ASF_^>i_, beginning with "What Have I Done?" (1952)._^<n__^<n_Much of his fiction is comprised of two series. The _^<b_Bossy_^>b_ sequence -- "Crazy Joey" (1953) with Alex
Apostolides (1924- ), "Hide! Hide! Witch!" (1953) with Apostolides, and _^<i_They'd Rather be Right_^>i_ (1954 _^<i_ASF_^>i_; edited version _^<b_1957_^>b_; vt _^<i_The Forever Machine_^>i_ 1958; text restored under original title 1982) with
Frank _^<a_!T2604_RILEY_^>a_ -- concerns an advanced _^<a_!T826_COMPUTER_^>a_ named Bossy who is almost made ineffective by the fears of mankind about her, even though she is capable of conferring _^<a_!T3771_IMMORTALITY_^>a_. _^<i_They'd Rather be
Right_^>i_ won the 1955 _^<a_!T4551_HUGO_^>a_ award for Best Novel. MC's second series, the _^<b_Ralph Kennedy_^>b_ sequence -- "What Thin Partitions" (1953) with Alex Apostolides, "Sense from Thought Divide" (1955), "How Allied" (1957),
"Remembrance and Reflection" (1958) and _^<i_When They Come from Space_^>i_ (_^<b_1962_^>b_) -- is rather lighter in tone, focusing initially on Kennedy's dealings with psi phenomena (> _^<a_!T2021_PSI POWERS_^>a_) in his role as the investigative
personnel director for a cybernetics firm, and moving on in the novel which concludes the series to deal with a typical _^<i_ASF_^>i_ target, inflated Federal bureaucracy. The long-suffering Kennedy is appointed "extraterrestrial psychologist" and
is forced to cope with a team of aliens which is mounting hoax _^<a_!T3796_INVASIONS_^>a_._^<n__^<n_MC's only out-of-series novel is _^<i_Eight Keys to Eden_^>i_ (_^<b_1960_^>b_), in which an E-man, or Extrapolator, is sent to the colony planet of
Eden to extricate it from an apparently insuperable problem: the problem turns out to be normal human civilization, not the paradise. Despite a slightly awkward prose style and an occasionally heavy wit, MC's novels and stories -- a convenient
selection is _^<i_The Science Fiction of Mark Clifton_^>i_ (coll _^<b_1980_^>b_) under the editorship and advocacy of Barry N. _^<a_!T3629_MALZBERG_^>a_ -- convey a comfortable lucidity and optimism about the relation between technology and
progress; his attempts to apply the tone of _^<a_!T4288_HARD SF_^>a_ to subjects derived from the _^<a_!T2302_SOFT SCIENCES_^>a_ reflect _^<i_ASF_^>i_'s philosophical bent in the 1950s under John W. _^<a_!T5140_CAMPBELL_^>a_ Jr's editorial
guidance. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T323_AUTOMATION_^>a_; _^<a_!T811_COLONIZATION OF OTHER WORLDS_^>a_; _^<a_!T1239_DIMENSIONS_^>a_; _^<a_!T6576_ECOLOGY_^>a_; _^<a_!T3787_INTELLIGENCE_^>a_; _^<a_!T1812_PASTORAL_^>a_.
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CLINE, C(HARLES) TERRY, Jr
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(1935- ) US writer of, among others, three borderline-sf novels -- _^<i_Damon_^>i_ (_^<b_1975_^>b_), about _^<a_!T3119_MUTANT_^>a_ superchildren, _^<i_Death Knell_^>i_ (_^<b_1977_^>b_), which deals interestingly with
_^<a_!T2548_REINCARNATION_^>a_, and _^<i_Cross Current_^>i_ (_^<b_1979_^>b_), and one sf tale, _^<i_Mindreader_^>i_ (_^<b_1981_^>b_), whose protagonist, while in hiding, unremarkably uses _^<a_!T6697_ESP_^>a_ to save the rest of us.
(1918- ) US writer and book-collector who never worked as a full-time author. Since beginning to publish her shapely stories in 1952 with "Minister without Portfolio" for _^<i_FSF_^>i_ she was as strongly associated with that magazine as was
Zenna _^<a_!T4382_HENDERSON_^>a_. _^<i_A Cupful of Space_^>i_ (coll _^<b_1961_^>b_) reflects this association in the frequency of stories included which wed a literate tone to a sometimes sentimental cuteness. [JC]_^<n__^<n__^<b_See also:_^>b_
_^<a_!T5684_WOMEN SF WRITERS_^>a_.
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CLINTON, DIRK
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[s] > Robert _^<a_!T2216_SILVERBERG_^>a_._^<n__^<n_
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CLINTON, JEFF
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> Jack M. _^<a_!T586_BICKHAM_^>a_._^<n__^<n_
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CLIVE, DENNIS
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> John Russell _^<a_!T1455_FEARN_^>a_._^<n__^<n_
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CLOCK, HERBERT
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(1890-1979) US writer, apparently the senior collaborator with Eric Boetzel on _^<i_The Light in the Sky_^>i_ (_^<b_1929_^>b_), an sf tale set in a _^<a_!T3460_LOST WORLD_^>a_ under Mexico, where Aztecs retreated after the genocidal onslaught of the
Spanish and have constructed, over the centuries, a culture dominated by high science, telepathy, and -- apparently -- human sacrifice. The immortal Aztec genius behind the throne is in fact benevolent, and plans to benefit humankind; but the usual
terminal _^<a_!T1243_DISASTER_^>a_ puts an end to this. [JC]_^<n__^<n_
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CLOCKWORK ORANGE, A
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Film (1971). Polaris/Warner Bros. Dir Stanley _^<a_!T4135_KUBRICK_^>a_, starring Malcolm McDowell, Patrick Magee, Warren Clarke, Michael Bates, Aubrey Morris. Screenplay Kubrick, based on _^<i__^<a_!B9068_A CLOCKWORK ORANGE_^>a__^>i_
(_^<b_1962_^>b_) by Anthony _^<a_!T5084_BURGESS_^>a_. 137 mins. Colour._^<n__^<n_This controversial adaptation of Burgess's novel about mind control tells of Alex (McDowell), a teenage thug in a tawdry _^<a_!T6337_NEAR FUTURE_^>a_ -- dehumanizing
and luridly presented -- who is cured of his violent ways by a sadistic form of aversion therapy. It was the (arguable) glamorizing of Alex's anarchic sex and violence (in contrast to the book) that provoked so much angry reaction in the media,
though otherwise Kubrick's adaptation is moderately faithful. The film is not in fact amoral, though its moral is controversial: _^<i_ACO_^>i_ is a religious allegory with a _^<a_!T1599_FRANKENSTEIN_^>a_ theme -- it warns humankind not to try to
compete with God -- but Burgess reverses the theme, showing it to be as evil to unmake a monster, by removing his free will, as to make one. _^<i_ACO_^>i_ is an intensely visual _^<i_tour de force_^>i_, deploying clinically a spectrum of powerful
cinematic effects. As in Kubrick's _^<a_!T6146_2001: A SPACE ODYSSEY_^>a_, some sequences were rendered even more disturbing by the use of _^<a_!T3118_MUSIC_^>a_ contrasting wildly with the visual content, most famously in Alex's rendition of
"Singing in the Rain" while kicking in the ribs of the husband of a woman he is about to rape._^<n__^<n__^<i_ACO_^>i_ received the 1972 _^<a_!T4551_HUGO_^>a_ for Best Dramatic Presentation. [JB/PN]_^<n__^<n_
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CLONES
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A clone is a group of individuals comprising the asexually produced offspring of a single individual. A pair of identical twins is a clone because the twin cells are produced by the asexual fission of the fertilized ovum. Asexual reproduction is
very common among protozoa and some groups of invertebrates, but is much rarer in vertebrates. The possibility of cloning humans by transplanting the nucleus of a somatic cell from a donor into an ovum which can then be replaced in a host womb has
attracted much attention, although no such operation has yet been performed in the real world._^<n__^<n_Clones of various kinds have long been common in sf, though not always recognized or labelled as such. The replication of individuals by
matter-duplicator (> _^<a_!T3721_MATTER TRANSMISSION_^>a_), as in William F. _^<a_!T5930_TEMPLE_^>a_'s _^<i_Four-Sided Triangle_^>i_ (_^<b_1949_^>b_), Fletcher _^<a_!T1976_PRATT_^>a_'s _^<i_Double Jeopardy_^>i_ (_^<b_1952_^>b_) and Primo
_^<a_!T3358_LEVI_^>a_'s "Some Applications of the Mimer" (1966; trans 1990), is a kind of cloning, as is replication via _^<a_!T6020_TIME PARADOX_^>a_, as in Robert A. _^<a_!T4376_HEINLEIN_^>a_'s "By His Bootstraps" (1941) and David
_^<a_!T4671_GERROLD_^>a_'s _^<i_The Man who Folded Himself_^>i_ (_^<b_1973_^>b_). The mechanism by which Gilbert Gosseyn was given so many genetically identical bodies in A.E. _^<a_!T5333_VAN VOGT_^>a_'s _^<i_The World of A_^>i_ (1945;
_^<b_1948_^>b_; vt _^<i_The World of Null-A_^>i_) is unclear, but a series of clone members is the result. All-female societies whose members reproduce by parthenogenesis, as in Poul _^<a_!T169_ANDERSON_^>a_'s _^<i_Virgin Planet_^>i_
(_^<b_1959_^>b_) and Charles Eric _^<a_!T3606_MAINE_^>a_'s _^<i_World without Men_^>i_ (_^<b_1958_^>b_; rev vt _^<i_Alph_^>i_ 1972), also consist of clones. Ironically, the first sf story prominently to display the term -- _^<i_The Clone_^>i_
(_^<b_1965_^>b_) by Theodore L. _^<a_!T5986_THOMAS_^>a_ and Kate _^<a_!T5606_WILHELM_^>a_ -- is irrelevant to the theme, the eponymous monster being an all-consuming cell-mass produced by pollution-induced mutation._^<n__^<n_Long before the word
"clone" became popular, sf writers had considered the possibility of duplicating people for eugenic purposes. Poul Anderson's "UN-Man" (1953) refers to its cloning process as "exogenesis". Here and in John Russell _^<a_!T1455_FEARN_^>a_'s _^<i_The
Multi-Man_^>i_ (_^<b_1954_^>b_ as by Vargo Statten) the idea is used as a gimmick, and the possible consequences of such technological development are left unexplored. A more ambitious application of the notion is found in "When You Care, When You
Love" (1962) by Theodore _^<a_!T5810_STURGEON_^>a_, in which a rich woman attempts to reproduce her dead lover by growing him anew from one of the cancer cells which have destroyed him. Among the nonfiction books that popularized the term was
Gordon Rattray Taylor's _^<i_The Biological Time-Bomb_^>i_ (_^<b_1968_^>b_), which commented on the implications of experiments carried out by F.C. Steward in the early 1960s on the cloning of plants: "It is not mere sensationalism to ask whether
the members of human clones may feel particularly united, and be able to cooperate better, even if they are not in actual supersensory communication with one another." This possibility has been widely explored in such stories as Ursula K.
_^<a_!T3318_LE GUIN_^>a_'s "Nine Lives" (1969), Pamela _^<a_!T2808_SARGENT_^>a_'s _^<i_Cloned Lives_^>i_ (_^<b_1976_^>b_), Kate Wilhelm's _^<i__^<a_!B9245_WHERE LATE THE SWEET BIRDS SANG_^>a__^>i_ (_^<b_1976_^>b_) and Fay _^<a_!T5522_WELDON_^>a_'s
_^<i_The Cloning of Joanna May_^>i_ (_^<b_1989_^>b_), in which intimate human relations are explored in depth and with some sensitivity. Stories of this kind often exaggerate the probable psychological effects of growing up as one of a clone (after
all, identical twins have been doing it for centuries!). Even though clones are genetically identical, each member inhabits from the moment of implantation an environment subtly different from its fellows; it is a very naive kind of genetic
determinism that leads writers occasionally to argue that an adult donor and his or her environmentally differentiated clone-offspring may be reckoned "identical". One of the few sf novels fully to recognize this is Ira _^<a_!T3361_LEVIN_^>a_'s
_^<i_The Boys from Brazil_^>i_ (_^<b_1976_^>b_), in which neo-Nazis raise a batch of clones derived from Hitler but can make only absurdly inadequate attempts to reproduce the kind of environment that made Hitler what he was._^<n__^<n_The concept
of clone-identity in the stories cited above is best considered as a metaphor, enabling the authors to pose questions about the nature of individuality and the narcissistic aspects of intimate relationships. Other works which employ the notion in
such a fashion include Gene _^<a_!T5676_WOLFE_^>a_'s _^<i__^<a_!B9092_THE FIFTH HEAD OF CERBERUS_^>a__^>i_ (_^<b_1972_^>b_), Jeremy _^<a_!T3354_LEVEN_^>a_'s _^<i_Creator_^>i_ (_^<b_1980_^>b_) and C.J. _^<a_!T5255_CHERRYH_^>a_'s extraordinarily
elaborate _^<i__^<a_!B9137_CYTEEN_^>a__^>i_ (_^<b_1988_^>b_). This kind of theme seems to be particularly attractive to female writers; others to have written significant clone stories include Naomi _^<a_!T2989_MITCHISON_^>a_, author of the
_^<a_!T1370_DYSTOPIAN_^>a_ _^<i_Solution Three_^>i_ (_^<b_1975_^>b_), Nancy _^<a_!T1615_FREEDMAN_^>a_, whose _^<i_Joshua, Son of None_^>i_ (_^<b_1973_^>b_) is about the cloning of John F. Kennedy, and Anna Wilson, whose _^<i_Hatching Stones_^>i_
(_^<b_1991_^>b_) suggests that human males might lose all interest in ordinary sexual reproduction if they were able to raise clone-duplicates of themselves instead._^<n__^<n_Male authors have tended to use cloning in more conventional
action-adventure stories, exploiting its potential for establishing dramatic confrontations. Richard _^<a_!T925_COWPER_^>a_'s _^<i_Clone_^>i_ (_^<b_1972_^>b_) is a satirical account of events following a child's recovery of his memory of being one
of a batch of superpowered clones. In Norman _^<a_!T2370_SPINRAD_^>a_'s _^<i_The Iron Dream_^>i_ (_^<b_1972_^>b_) the narcissistic aspect of clonal reproduction is recruited by Hitler in his sf power-fantasy "Lord of the Swastika"; as the Earth
dies, ships blast off for the stars to populate the Galaxy with duplicates of the pure-bred Aryan members of the SS. Cloning is used in Arthur C. _^<a_!T736_CLARKE_^>a_'s _^<i_Imperial Earth_^>i_ (_^<b_1975_^>b_) to perpetuate a dynasty of space
pioneers. Ben _^<a_!T4943_BOVA_^>a_'s _^<i_The Multiple Man_^>i_ (_^<b_1976_^>b_) is a thriller in which the clonal duplicates of the US President keep turning up dead -- a murder mystery recalling Maurice _^<a_!T2553_RENARD_^>a_'s and Albert
Jean's _^<i_Le singe_^>i_ (_^<b_1925_^>b_; trans as _^<i_Blind Circle_^>i_ _^<b_1928_^>b_). John _^<a_!T5339_VARLEY_^>a_'s "The Phantom of Kansas" (1976) is another clone-based murder mystery; his _^<i__^<a_!B9039_THE OPHIUCHI HOTLINE_^>a__^>i_
(_^<b_1977_^>b_) deploys the idea more ingeniously. Michael _^<a_!T5494_WEAVER_^>a_'s _^<i_Mercedes Nights_^>i_ (_^<b_1987_^>b_) features a conspiracy devoted to the cloning of a famous sex-object; the conspirators in Wolfgang
_^<a_!T3897_JESCHKE_^>a_'s _^<i_Midas_^>i_ (trans _^<b_1990_^>b_) stick mostly to cloning famous scientists._^<n__^<n_The idea of another self -- an _^<i_alter ego_^>i_ or _^<i_Doppelganger_^>i_ -- has always been a profoundly fascinating one, and
recurs insistently in occult _^<a_!T1412_FANTASY_^>a_ and _^<a_!T2023_PSYCHOLOGY_^>a_. Recent speculation about the cloning of humans has made the notion available to sf writers for detailed and intensive examination, and the stories thus inspired
are of considerable psychological interest. [BS]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T611_BIOLOGY_^>a_; _^<a_!T708_CHILDREN IN SF_^>a_; _^<a_!T4657_GENETIC ENGINEERING_^>a_; _^<a_!T3744_MEDICINE_^>a_.
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CLONING OF JOANNA MAY, THE
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UK tv miniseries (1991). Granada/ITV. Prod Gub Neal, dir Philip Saville, screenplay Ted Whitehead, from _^<i_The Cloning of Joanna May_^>i_ (_^<b_1989_^>b_) by Fay _^<a_!T5522_WELDON_^>a_. Starring Patricia Hodge as Joanna May, Brian Cox as Carl
May, Billie Whitelaw as Mavis, Siri Neal as Bethany, and Emma Hardy, Helen Adie and Laura Eddy as the three clones._^<n__^<n_Weldon's comic-romantic melodrama about an obsessive business tycoon who effectively clones his wife, then repudiates her
when she is unfaithful -- with the aim of taking one of the three clones as his new wife when they have grown up -- is already painted in broad strokes. The three-hour tv dramatization is even broader, though not unwitty, with finely over-the-top
performances all round. [PN]_^<n__^<n_
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CLOSED UNIVERSE
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This term is in no sense a synonym for _^<a_!T1932_POCKET UNIVERSE_^>a_, a literary term which describes a particular kind of story; nor is it here used in its cosmological sense. A closed universe is a work or series whose characters and venues
remain strictly under its author's control, and which is not open to fans or others to make uncopyrighted use of in _^<a_!T1428_FANZINES_^>a_. In this sense, a _^<a_!T2127_SHARED-WORLD_^>a_ enterprise may still be a closed universe, if its owners
restrict its use to other professionals on a contractual basis-indeed, most are. It should perhaps be assumed by sf readers that any work of art is a closed universe unless otherwise signposted. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T1708_OPEN
UNIVERSE_^>a_.
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CLOSE ENCOUNTERS OF THE THIRD KIND
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Film (1977). Columbia. Dir Steven _^<a_!T2367_SPIELBERG_^>a_, starring Richard Dreyfuss, Francois Truffaut, Teri Garr, Melinda Dillon, Cary Guffey, Bob Balaban. Screenplay Spielberg. 135 mins. Colour._^<n__^<n_After _^<a_!T5686_STAR WARS_^>a_ came
the second major sf film production of 1977, at over twice the cost but with a story which, while lacking the comic-book appeal of _^<i_Star Wars_^>i_, perhaps cuts deeper in its evocation, rare in sf _^<a_!T726_CINEMA_^>a_, of a _^<a_!T2104_SENSE
OF WONDER_^>a_. A power company technician (Dreyfuss) witnesses a series of _^<a_!T5271_UFO_^>a_ appearances and develops an obsession with them which is almost religious in its nature and intensity. He becomes convinced that aliens plan to land
one of their craft on an oddly shaped mountain in Wyoming. A parallel plot concerns a secret group of scientific and military experts also engaged in uncovering the secret of the UFOs. The film ends in a barrage of special effects when the
spacecraft arrives; communication between the two species is achieved by means of bursts of light and music. The hero enters the mother ship, much as Tam Lin once entered the Fairy Mound, and is taken to the Heavens in a glowing apotheosis; the
elfishness of the slim aliens supports a reading in which UFO occupants are mythically equivalent to fairies. _^<i_CEOTTK_^>i_ has flaws, but remains an intensely evocative work, certainly one of the half dozen best sf films to date. Despite the
pressure from Columbia to produce a financial blockbuster, Spielberg did not take the easy way out but made an intelligent and relatively complex film, maintaining the high standards he had set himself in _^<i_Duel_^>i_ (1971) and _^<i_Jaws_^>i_
(1978). The special effects are excellent. A different version, _^<a_!T765_CLOSE ENCOUNTERS OF THE THIRD KIND -- THE SPECIAL EDITION_^>a_, was released in 1980._^<n__^<n_The novelization, _^<i_Close Encounters of the Third Kind_^>i_ *
(_^<b_1977_^>b_), is as by Spielberg. [JB]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T4443_HISTORY OF SF_^>a_; _^<a_!T3398_LINGUISTICS_^>a_; _^<a_!T3118_MUSIC_^>a_.
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CLOSE ENCOUNTERS OF THE THIRD KIND -- THE SPECIAL EDITION
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Film (1980). Credits as for _^<a_!T764_CLOSE ENCOUNTERS OF THE THIRD KIND_^>a_. 132 mins._^<n__^<n_This slightly shorter, re-edited version of _^<a_!T2367_SPIELBERG_^>a_'s huge 1977 success, which contains some new footage, represents a curious
piece of cinematic history. Many critics saw it as inferior to the original, though the idea was that Spielberg now had so much commercial clout that he could, at last, release the film exactly as he had always wanted it. New material includes a
scene where Neary, the UFO-obsessed power worker, makes his family hysterical; a surrealistic shot of an ocean liner left stranded by puckish aliens in the Gobi Desert; and a sequence inside the mother ship (so-so special effects) with an
ill-judged soundtrack of "When You Wish Upon a Star" from Walt Disney's _^<i_Pinocchio_^>i_ (1940). The new Neary sequences darken the film; the new ending, in contrast, lightens it by emphasizing its fairy-tale aspect. Whatever, the new version,
which is the one now normally shown, made a lot of money. [PN]_^<n__^<n_
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CLOUD OF ANDROMEDA, THE
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> _^<a_!T6119_TUMANNOST ANDROMEDY_^>a_._^<n__^<n_
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CLOUSTON, J(OSEPH) STORER
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(1870-1944) Scottish magistrate and usually humorous author. JSC began writing works of genre interest with _^<i_Tales of King Fido_^>i_ (coll _^<b_1909_^>b_), a Graustarkian fantasy (> _^<a_!T2737_RURITANIA_^>a_). His books of genre interest
include _^<i_Two's Two_^>i_ (_^<b_1916_^>b_), an F. _^<a_!T194_ANSTEY_^>a_-like fantasy about an embodied _^<i_alter ego_^>i_; _^<i_Button Brains_^>i_ (_^<b_1933_^>b_), about a _^<a_!T2646_ROBOT_^>a_ that is taken for the human upon which it was
modelled, with comic consequences; _^<i_The Chemical Baby_^>i_ (_^<b_1934_^>b_), marginal as the baby turns out to be natural; _^<i_Not Since Genesis_^>i_ (_^<b_1938_^>b_), a satirical look at the European nations faced by a meteoritic
_^<a_!T1243_DISASTER_^>a_; and _^<i_The Man in Steel_^>i_ (_^<b_1939_^>b_), a _^<a_!T6026_TIME-TRAVEL_^>a_ tale. [JE/JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T177_ANDROIDS_^>a_; _^<a_!T4555_HUMOUR_^>a_.
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CLUB STORY
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It is almost certainly no coincidence that volumes of club stories should have become popular in the UK towards the end of the 19th century. The classic club story may be described as a tall tale told by one man to other men in a sanctum restricted
to those of similar outlook, who agree to believe in the story for their mutual comfort; and it was precisely during the _^<i_fin de siecle_^>i_, and the years leading up to WWI, that the great march of history began to seem problematical to
socially dominant white UK males, whose sense of reality now began to fray under the assault of women, and Darwin, and dark rumours of Freud, and Marx, and Zola, and Flaubert . . . and Henry James. Though it is no more a true club story than Joseph
_^<a_!T847_CONRAD_^>a_'s "Heart of Darkness" (1902) or _^<i_Chance_^>i_ (_^<b_1914_^>b_), James's "The Turn of the Screw" (1898) is indeed a tale told at a club, and it is indeed a tall tale. But James uses the convention of the story told within a
frame to underline the unreliability of his narrator, and to make forever problematical the "true" reading of his tale; "The Turn of the Screw" is a preview of the epistemological insecurities of the dawning new world. The conventional club story,
on the other hand, by foregrounding the security of the sanctum itself, sidesteps the question of the believability of the tall tale (and sidesteps most of the 20th century as well). In the conventional club story, that tale is accepted by the
males to whom it is addressed not for its intrinsic plausibility but as part of a shared conspiracy to maintain an inward-looking, mutually supportive consensus._^<n__^<n_The great counterexample to this model is -- perhaps inevitably -- the work
of H.G. _^<a_!T5528_WELLS_^>a_, who often imitated popular modes of storytelling in his early writings, but almost always to subversive effect. _^<i__^<a_!B9070_THE TIME MACHINE_^>a__^>i_ (_^<b_1895_^>b_ USA; exp 1895 UK) does certainly exhibit
some club-story features -- a group of men gather together to hear the Time Traveller tell his tall tale -- but in this case the ambience is far from consolatory, and the Traveller's dark report from the future seems all the darker when it is
evident that his hearers may be _^<i_forced_^>i_ to believe it. Some of Wells's early short stories, too, are club tales -- notably "The Truth about Pyecraft" (1903) -- though in name only. It should come as no surprise that the most typical club
stories were composed by men of a very different cast of mind than Wells's, and that most club stories are conservative in both style and content. Though precursors to the convention can be adduced almost indefinitely -- from Chaucer's
_^<i_Canterbury Tales_^>i_ and Boccaccio's _^<i_Decameron_^>i_ to Charles Dickens's _^<i_Master Humphrey's Clock_^>i_ (_^<b_1840-41_^>b_) -- the first collection to express the ambience of the genuine club story is perhaps Robert Louis
_^<a_!T5731_STEVENSON_^>a_'s _^<i_New Arabian Nights_^>i_ (coll _^<b_1882_^>b_ in 2 vols; 1st vol only vt _^<i_The Suicide Club, and The Rajah's Diamond_^>i_ 1894) and its successor, _^<i_More New Arabian Nights: The Dynamiter_^>i_ (coll
_^<b_1885_^>b_) with Fanny Van de Grift Stevenson. As early a work as Jerome K. Jerome's _^<i_After Supper Ghost Stories_^>i_ (coll _^<b_1891_^>b_), although set not in a club but around the table after Christmas Eve dinner, parodies the club-story
format and the tales told therein. Some of the exploits recounted in Andrew _^<a_!T4176_LANG_^>a_'s _^<i_The Disentanglers_^>i_ (coll of linked stories _^<b_1902_^>b_) are of sf interest, though more frequently -- as in G.K.
_^<a_!T5261_CHESTERTON_^>a_'s _^<i_The Club of Queer Trades_^>i_ (coll _^<b_1905_^>b_) -- early examples of the form read more like lubricated _^<a_!T2812_SATIRE_^>a_ than fantasy. Alfred _^<a_!T3260_NOYES_^>a_'s _^<i_Tales of the Mermaid
Tavern_^>i_ (coll _^<b_1914_^>b_) is a set of narrative poems told in Shakespeare's pub; while sequences like P.G. _^<a_!T5668_WODEHOUSE_^>a_'s _^<b_Mulliner_^>b_ books (from 1927) heavily emphasize the tall-tale element, and _^<i_The Salzburg
Tales_^>i_ (coll _^<b_1934_^>b_) by Christina Stead (1902-1983) evoke Boccaccio. Of greater genre interest are _^<a_!T2779_SAKI_^>a_'s _^<i_The Chronicles of Clovis_^>i_ (coll _^<b_1907_^>b_), John Buchan's _^<i_The Runagates' Club_^>i_ (coll
_^<b_1928_^>b_), the five _^<b_Jorkens_^>b_ books by Lord _^<a_!T1353_DUNSANY_^>a_, beginning with _^<i_The Travel Tales of Mr Joseph Jorkens_^>i_ (coll _^<b_1931_^>b_) and continuing for two decades, and T.H. _^<a_!T5582_WHITE_^>a_'s _^<i_Gone to
Ground_^>i_ (coll of linked stories _^<b_1935_^>b_), which -- as these tales are told by survivors of a final _^<a_!T4482_HOLOCAUST_^>a_ -- stretches to its limit the capacity of the form to comfort._^<n__^<n_In "Sites for Sore Souls: Some
Science-Fictional Saloons" (1991 _^<i_Extrapolation_^>i_), Fred Erisman suggests that sf club stories -- or in his terms saloon stories -- respond to a human need for venues in which an "informal public life" can be led. Although Erisman assumes
that the paucity of such venues in the USA is reflected in the UK, and therefore significantly undervalues the unspoken but clearly felt ambience of the pub in Arthur C. _^<a_!T736_CLARKE_^>a_'s cosily _^<a_!T2528_RECURSIVE_^>a_ _^<i_Tales from the
White Hart_^>i_ (coll _^<b_1957_^>b_ US), his comments are clearly helpful in understanding the persistence of the club story in US sf. Beginning with L. Sprague _^<a_!T1133_DE CAMP_^>a_'s and Fletcher _^<a_!T1976_PRATT_^>a_'s _^<i_Tales from
Gavagan's Bar_^>i_ (coll _^<b_1953_^>b_; exp 1978), it has been a feature of magazine sf for nearly half a century -- perhaps partly because imaginary US saloons and the genuine affinity groups that generate and consume US sf are similar kinds of
informal public space. Further examples of the club story in the USA are assembled in Isaac _^<a_!T268_ASIMOV_^>a_'s several volumes of _^<b_Black Widowers_^>b_ tales, starting with _^<i_Tales of the Black Widowers_^>i_ (coll _^<b_1974_^>b_),
Sterling _^<a_!T4188_LANIER_^>a_'s _^<i_The Peculiar Exploits of Brigadier Ffellowes_^>i_ (coll _^<b_1972_^>b_) and _^<i_The Curious Quests of Brigadier Ffellowes_^>i_ (coll _^<b_1986_^>b_), Larry _^<a_!T3223_NIVEN_^>a_'s _^<b_Draco Tavern_^>b_
tales, which appear mostly in _^<i_Convergent Series_^>i_ (coll _^<b_1979_^>b_) and _^<i_Limits_^>i_ (coll _^<b_1985_^>b_), and Spider _^<a_!T2640_ROBINSON_^>a_'s _^<b_Callahan_^>b_ books, starting with _^<i_Callahan's Crosstime Saloon_^>i_ (coll
_^<b_1977_^>b_). There are many others; some individual stories are assembled in Darrell _^<a_!T2867_SCHWEITZER_^>a_'s and George _^<a_!T2884_SCITHERS_^>a_'s _^<i_Tales from the Spaceport Bar_^>i_ (anth _^<b_1987_^>b_) and _^<i_Another Round at the
(1940- ) Canadian novelist and sf critic; in the UK from 1969. His first professional publication, a long sf-tinged poem called "Carcajou Lament", appeared in _^<i_Triquarterly_^>i_ in 1959. He began publishing sf proper with "A Man Must Die" for
_^<i_NW_^>i_ (1966), where much of his earlier criticism also appeared; further criticism and reviews have appeared in _^<i_FSF_^>i_, _^<i_Washington Post_^>i_, _^<i_Omni_^>i_, _^<i_Times Literary Supplement_^>i_, _^<i_New York Times_^>i_,
_^<a_!T3185_NEW YORK REVIEW OF SCIENCE FICTION_^>a_, _^<a_!T3791_INTERZONE_^>a_, _^<i_Los Angeles Times_^>i_, _^<i_Observer_^>i_ and elsewhere. Selections from this work appear in _^<i_Strokes: Essays and Reviews 1966-1986_^>i_ (coll _^<b_1988_^>b_
US) and <Look at the Evidence: Essays and Reviews> (coll 1995). In 1960 he was Associate Editor of _^<i_Collage_^>i_, an ill fated Chicago-based "slick" magazine which in its 2 issues did manage to publish early work by Harlan
_^<a_!T6641_ELLISON_^>a_ and R.A. _^<a_!T4152_LAFFERTY_^>a_. He served as Reviews Editor of _^<a_!T1577_FOUNDATION_^>a_ 1980-90, and was a founder of _^<i_Interzone_^>i_ in 1982; he remains Advisory Editor of that magazine and since 1986 has
contributed a review column. JC's criticism, despite some studiously flamboyant obscurities, remains essentially practical; it has appeared mostly in the form of reviews, some of considerable length. He was the Associate Editor of the first edition
of this encyclopedia (_^<b_1979_^>b_) and is Co-Editor of the current version, for which he shared a 1994 _^<a_!T4551_HUGO_^>a_ with Peter _^<a_!T3189_NICHOLLS_^>a_. In 1994 he also received a _^<a_!T1900_PILGRIM AWARD_^>a_. <SF: The Illustrated
Encyclopedia> (1995) is a narrative survey unconnected to this encyclopedia. His novel, _^<i_The Disinheriting Party_^>i_ (1973 _^<i_NW_^>i_; exp _^<b_1977_^>b_), is not sf. [JC]_^<n__^<n__^<b_Other works as editor:_^>b_ _^<i_The Aspen Poetry
Handbill_^>i_ (portfolio _^<b_1965_^>b_ chap US), associational; _^<i_Interzone: The 1st Anthology_^>i_ (anth _^<b_1985_^>b_) with Colin _^<a_!T4847_GREENLAND_^>a_ and David _^<a_!T1995_PRINGLE_^>a_; _^<i_Interzone: The 2nd Anthology_^>i_ (anth
_^<b_1987_^>b_) with Greenland and Pringle; _^<i_Interzone: The 3rd Anthology_^>i_ (anth _^<b_1988_^>b_) with Pringle and Simon Ounsley; _^<i_Interzone: The 4th Anthology_^>i_ (anth _^<b_1989_^>b_) with Pringle and Simon Ounsley; _^<i_Interzone
V_^>i_ (anth _^<b_1991_^>b_) with Lee Montgomerie and Pringle._^<n__^<n__^<b_See also:_^>b_ _^<a_!T5141_CANADA_^>a_; _^<a_!T799_COLLECTIONS_^>a_; _^<a_!T963_CRITICAL AND HISTORICAL WORKS ABOUT SF_^>a_; _^<a_!T1142_DEFINITIONS OF SF_^>a_;
_^<a_!T4443_HISTORY OF SF_^>a_; _^<a_!T3118_MUSIC_^>a_; _^<a_!T3182_NEW WORLDS_^>a_; _^<a_!T2104_SENSE OF WONDER_^>a_.
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COATES, ROBERT M(YRON)
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(1897-1973) US writer, primarily associated throughout his career with the _^<i_New Yorker_^>i_, on which he worked, and to which he contributed many stories. He is primarily of interest to the sf field for his first novel, _^<i_The Eater of
Darkness_^>i_ (_^<b_1926_^>b_ France), which, written before he had fully assimilated the sometimes restrictive urbanity of _^<i_New Yorker_^>i_ style, quite brilliantly applies a wide arsenal of literary devices, some of them surrealistic, to the
exaggeratedly spoof-like tale of a master criminal and his absurd super-_^<a_!T5492_WEAPON_^>a_, which sees through solids and applies remote-control heat to kill people invisibly; beneath the spoofing and the cosmopolitan style lies a sense of
horror. _^<i_The Hour after Westerly and Other Stories_^>i_ (coll _^<b_1957_^>b_) contains some fantasy of interest, though in general his later work lacks some of the fire of his first book. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_The Farther
(? -? ) US businessman and writer who specialized in dime novels (> _^<a_!T1236_DIME-NOVEL SF_^>a_), working mainly _^<i_c_^>i_1866-_^<i_c_^>i_1902. Tales of sf interest include _^<i_A Wonder Worker, or The Search for the Splendid City_^>i_
(1894 _^<i_Golden Hours_^>i_; _^<b_1907_^>b_), which combines travel and invention after a fashion typical of the genre, and two _^<a_!T6580_EDISONADES_^>a_, _^<i_At War With Mars, or The Boys who Won_^>i_ (_^<b_1897_^>b_), and _^<i_To Mars With
Tesla, or The Mystery of Hidden Worlds_^>i_ (_^<b_1901_^>b_), the latter featuring, in place of Thomas Alva Edison, his great rival Nikola Tesla (1856-1943). Amusingly, the lad who carries most of the action goes by the name of Young Edison.
[EFB/JC]_^<n__^<n_
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COBBAN, J(AMES) MacLAREN
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(1849-1903) UK writer, of some interest for _^<i_Master of his Fate_^>i_ (_^<b_1890_^>b_), whose protagonist, tortured by the need to drain the life energy of others to maintain his own _^<a_!T3771_IMMORTALITY_^>a_, confesses all to an expert in the
field of animal magnetism; and then kills himself. _^<i_The Tyrants of Kool-Sim_^>i_ (_^<b_1896_^>b_) is a _^<a_!T3460_LOST-WORLD_^>a_ tale featuring dwarfs with poisonous blood and brave British lads who prevail. [JC]_^<n__^<n_
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COBLENTZ, STANTON A(RTHUR)
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(1896-1982) US novelist and polemically traditionalist poet. He began his career in the early 1920s, after gaining an MA in English literature, with book reviews for New York papers and a volume of poems, _^<i_The Thinker and Other Poems_^>i_ (coll
_^<b_1923_^>b_); he also wrote considerable nonfiction. He began publishing sf with _^<i_The Sunken World_^>i_ (1928 _^<i_AMZ Quarterly_^>i_; _^<b_1948_^>b_), a _^<a_!T5303_UTOPIA_^>a_ set in a glass-domed _^<a_!T290_ATLANTIS_^>a_, in which
satirical points are made against both the egalitarian Atlanteans and the contemporary USA, though the obtuse narrator (of the sort found in most utopias) tends to blur some of these issues. SAC was never a smooth stylist, nor an imaginative
plotter, as all his five novels for _^<i_AMZ Quarterly_^>i_ tend to show, though at the same time he had a strong gift for the description of ingeniously conceived _^<a_!T98_ALIEN_^>a_ environments, so that he was often regarded as one of the
writers best capable of conveying the _^<a_!T2104_SENSE OF WONDER_^>a_ so rightly valued by the readers of US _^<a_!T2033_PULP-MAGAZINE_^>a_ sf between the two world wars. _^<i_The Sunken World_^>i_ was followed by _^<i_After 12,000 Years_^>i_
(1929 _^<i_AMZ Quarterly_^>i_; _^<b_1950_^>b_), "Reclaimers of the Ice" (1930 _^<i_AMZ Quarterly_^>i_), _^<i_The Blue Barbarians_^>i_ (1931 _^<i_AMZ Quarterly_^>i_; _^<b_1958_^>b_) and "The Man from Tomorrow" (1933 _^<i_AMZ Quarterly_^>i_). Other
novels from the same general period, like _^<i_The Wonder Stick_^>i_ (_^<b_1929_^>b_), a prehistoric tale, and _^<i_Hidden World_^>i_ (1935 _^<i_Wonder Stories_^>i_ as "In Caverns Below"; _^<b_1957_^>b_; vt "In Caverns Below" 1975), share similar
virtues and faults. _^<i_Hidden World_^>i_, for instance, is another _^<a_!T2812_SATIRE_^>a_, set in an underground venue, with fascinating descriptions but cardboard characters. Later novels, like _^<i_Under the Triple Suns_^>i_ (_^<b_1955_^>b_),
failed to show much stylistic development, and were not successful. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_The Pageant of Man_^>i_ (_^<b_1936_^>b_); _^<i_Youth Madness_^>i_ (_^<i_c_^>i__^<b_1944_^>b_ chap); _^<i_When the Birds Fly South_^>i_
(_^<b_1945_^>b_); _^<i_Into Plutonian Depths_^>i_ (1931 _^<i_Wonder Stories Quarterly_^>i_; _^<b_1950_^>b_); _^<i_The Planet of Youth_^>i_ (1932 _^<i_Wonder Stories_^>i_; _^<b_1952_^>b_ chap); _^<i_Next Door to the Sun_^>i_ (_^<b_1960_^>b_);
_^<i_The Runaway World_^>i_ (_^<b_1961_^>b_); _^<i_The Moon People_^>i_ (_^<b_1964_^>b_) and its sequel, _^<i_The Crimson Capsule_^>i_ (_^<b_1967_^>b_; rev vt _^<i_The Animal People_^>i_ 1970); _^<i_The Last of the Great Race_^>i_ (_^<b_1964_^>b_)
and _^<i_The Lost Comet_^>i_ (1930 _^<i_AMZ_^>i_ as "Reclaimers of the Ice"; cut _^<b_1964_^>b_), both apparently severely edited; _^<i_The Lizard Lords_^>i_ (_^<b_1964_^>b_); _^<i_Lord of Tranerica_^>i_ (1939 _^<i_Dynamic Science Stories_^>i_;
_^<b_1966_^>b_); _^<i_The Day the World Stopped_^>i_ (_^<b_1968_^>b_); _^<i_The Island People_^>i_ (_^<b_1971_^>b_)._^<b_About the author:_^>b__^<i_Adventures of a Freelancer: the Literary Exploits and Autobiography of Stanton A. Coblentz_^>i_
(_^<b_1993_^>b_) by SAC with Dr. Jeffrey M. _^<a_!T6624_ELLIOT_^>a_._^<b_See also:_^>b_ _^<a_!T273_ASTEROIDS_^>a_; _^<a_!T1410_FANTASTIC VOYAGES_^>a_; _^<a_!T3460_LOST WORLDS_^>a_; _^<a_!T1743_OUTER PLANETS_^>a_; _^<a_!T1939_POLITICS_^>a_;
_^<a_!T2300_SOCIOLOGY_^>a_; _^<a_!T5281_UNDER THE SEA_^>a_; _^<a_!T5351_VENUS_^>a_.
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COCHRAN, MOLLY
-T-
[r] > Warren B. _^<a_!T3114_MURPHY_^>a_._^<n__^<n_
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COCHRANE, WILLIAM E(UGENE)
-T-
(1926- ) US writer who began publishing sf with "How High on the Ladder" for _^<i_Fantasy Book_^>i_ in 1950, writing as Leo Paige. As S. Kye Boult from 1971, and also under his own name from 1973, he began to publish in _^<i_Analog_^>i_ the
hard-edged sf adventures, like "Whalekiller Grey" (1973) as WEC, for which he became known. After _^<i_Solo Kill_^>i_ (1972 _^<i_Analog_^>i_; exp _^<b_1977_^>b_) as by Boult, he used his own name exclusively. _^<i_Class Six Climb_^>i_
(_^<b_1980_^>b_), told from the viewpoint of a giant god-tree, is perhaps his most sustained effort. He was inactive during the 1980s, but new work is (1992) projected. [JC]_^<n__^<n_
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COCOON
-T-
Film (1985). Fox-Zanuck-Brown. Dir Ron Howard, starring Don Ameche, Wilford Brimley, Hume Cronyn, Jack Gilford, Steve Guttenberg, Maureen Stapleton, Jessica Tandy, Gwen Verdon, Tahnee Welch. Screenplay Tom Benedek from a story by David Saperstein.
117 mins. Colour._^<n__^<n__^<a_!T102_ALIENS_^>a_ disguised as humans come to Earth to revive their kinfolk who were abandoned millennia ago in cocoons on the ocean floor; the swimming pool prepared for their revival is discovered and used by
occupants of a neighbouring old people's home, who are (to a degree) rejuvenated by it. Some leave Earth for a new life with the aliens. _^<i_C_^>i_ was aptly described by critic Tom Milne as "_^<i_Peter Pan _^>i_for the senior citizen". Directed
with intermittent panache, it oscillates between the whimsical, the genuinely touching and the merely vulgar. A saccharine sequel with a soap-opera plot, _^<i_Cocoon: The Return_^>i_ (1988), dir Daniel Petrie, is dispiriting. [PN]_^<n__^<n_
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COCOON: THE RETURN
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> _^<a_!T776_COCOON_^>a_._^<n__^<n_
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CODE NAME TRIXIE
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> _^<i_The_^<a_!T945_CRAZIES_^>a__^>i_._^<n__^<n_
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COEURL AWARD
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> _^<a_!T5141_CANADA_^>a_._^<n__^<n_
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COFFEY, BRIAN
-T-
> Dean R. _^<a_!T4116_KOONTZ_^>a_._^<n__^<n_
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COGSWELL, THEODORE R(OSE)
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(1918-1987) US writer and academic, an ambulance driver on the Republican side in the Spanish Civil War. He began publishing sf in 1952 with what proved to be one of his most successful stories, "The Specter General" for _^<i_ASF_^>i_. In this long,
amusing tale -- much in the vein Keith _^<a_!T4206_LAUMER_^>a_ was later to make his own -- a long-forgotten maintenance division of the Galactic Protectorate reinvigorates a decadent Space Navy. In 1959, he founded and edited a
_^<a_!T1428_FANZINE_^>a_ for professional writers called _^<i_Publications of the Institute of Twenty-First Century Studies_^>i_ but universally pronounced _^<i_PITFCS_^>i_; it ran through 1962, with a final number in 1979; became quickly famed for
the informative frankness of its contents; and was assembled as _^<i_PITFCS: Proceedings of the Institute for Twenty-First Century Studies_^>i_ (anth _^<b_1992_^>b_). TRC's two volumes of stories, _^<i_The Wall around the World_^>i_ (coll
_^<b_1962_^>b_) and _^<i_The Third Eye_^>i_ (coll _^<b_1968_^>b_), contain most of his fiction; his work is polished, enjoyable and, though it sticks closely to fantasy and sf genre formats, gives off a sense that it was written for pleasure. "The
Wall around the World" (1953) was one of TRC's most popular stories; the tale of a boy who lives in a place where _^<a_!T3598_MAGIC_^>a_ seems to work, and discovers the true, _^<a_!T1932_POCKET-UNIVERSE_^>a_ nature of his world, is an archetypal
rendering of the experience of _^<a_!T829_CONCEPTUAL BREAKTHROUGH_^>a_. [JC/PN]_^<n__^<n__^<b_Other works:_^>b__^<i_Spock, Messiah!_^>i_ * (_^<b_1976_^>b_) with Charles A. Spano, a _^<a_!T2429_STAR TREK_^>a_ novel._^<b_See also:_^>b_
_^<a_!T2127_SHARED WORLDS_^>a_.
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COHEN, BARNEY
-T-
(? - ) US writer whose first novel of genre interest was _^<i_The Night of the Toy Dragons_^>i_ (_^<b_1977_^>b_). His _^<i_The Taking of Satcon Station_^>i_ (_^<b_1982_^>b_) with Jim _^<a_!T352_BAEN_^>a_ is an engagingly over-the-top
application of private-eye idioms and plots (Dashiell Hammett's _^<i_The Maltese Falcon_^>i_ [_^<b_1930_^>b_] being much in evidence) to the _^<a_!T6337_NEAR FUTURE_^>a_ and near space, the eponymous satellite being the focus for the climax.
_^<i_Blood on the Moon_^>i_ (_^<b_1984_^>b_) is similar but grimmer. [JC]_^<n__^<n_
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COHEN, LARRY
-T-
(1938- ) US film-maker. A cult figure as much for the wildness of his ideas as for the sporadic brilliance of his direction, LC has never tried to graduate to the mainstream in the way contemporaries like David _^<a_!T970_CRONENBERG_^>a_ or Brian
De Palma have, and turns out as many curate's eggs as low-budget masterpieces. Originally a tv writer, he early discovered _^<a_!T1795_PARANOIA_^>a_ in his creation of the Western show _^<i_Branded_^>i_ (1965-6) and the sf show
_^<i_The_^<a_!T3793_INVADERS_^>a__^>i_ (1967-8), both featuring on-the-run protagonists, perhaps modelled on _^<i_The Fugitive_^>i_ (1963-7). He continued to write for tv, including prestigious series like _^<i_The Defenders_^>i_ and
_^<i_Columbo_^>i_, turning also to film writing with Westerns and suspense dramas. He made his directorial debut with the _^<a_!T18_ABSURDIST_^>a_ thriller _^<i_Bone_^>i_ (1972; vt _^<i_Dial Rat for Terror_^>i_; vt _^<i_Beverly Hills
Nightmare_^>i_). Nearly all his films are written, prod and dir by LC and made by his own production company, Larco, which he founded in 1965._^<n__^<n_He made the superior Black action movies _^<i_Black Caesar_^>i_ (1973; vt _^<i_The Godfather of
Harlem_^>i_) and _^<i_Hell up in Harlem_^>i_ (1973) before discovering the sf _^<a_!T3011_MONSTER MOVIE_^>a_ with _^<a_!T3833_IT'S ALIVE_^>a_ (1974), a compound of ecological, familial and 1950s sf ideas about a mutant killer baby on the loose in
Los Angeles. LC has subsequently developed the theme in two sequels, _^<a_!T3831_IT LIVES AGAIN_^>a_ (1978; vt _^<i_It's Alive II_^>i_) and _^<i_It's Alive III: Island of the Alive_^>i_ (1986), and alternated between sf, _^<a_!T4509_HORROR_^>a_ and
suspense in a series of gritty, oddball pictures: _^<a_!T4741_GOD TOLD ME TO_^>a_ (1976; vt _^<i_Demon_^>i_), in which a modern "Jesus" is shown to have been a hermaphrodite homicidal maniac from outer space; _^<i_The Private Files of J. Edgar
Hoover_^>i_ (1976), a fascinating political-psychological autopsy of Hoover's USA; _^<i_Full Moon High_^>i_ (1982), a werewolf comedy; _^<a_!T2437_Q_^>a_ (1983; vt _^<i_The Winged Serpent_^>i_; vt _^<i_Q: The Winged Serpent_^>i_), an ingenious
different take on the giant-monster theme; _^<i_Blind Alley_^>i_ (1984), a Hitchcockian thriller; _^<i_Special Effects_^>i_ (1984), a psycho-horror drama in a film milieu; _^<i_The_^<a_!T5809_STUFF_^>a__^>i_ (1985), a sloppy but amiable parody of
_^<i_The_^<a_!T660_BLOB_^>a__^>i_ (1958) in which the formless monster disguises itself as an addictive fast food; _^<i_Return to Salem's Lot_^>i_ (1987), a clever variant on the village-of-vampires concept; _^<i_Wicked Stepmother_^>i_ (1989), a
farcical witch story; and _^<i_The Ambulance_^>i_ (1990), a striking slice of medical paranoia and urban nightmare._^<n__^<n_Energetic and often lopsided, LC's films benefit from unusual characterizations, wayward plotting, cleverly cast familiar
faces and a determination not to do things the accepted way. [KN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T726_CINEMA_^>a_; _^<a_!T4555_HUMOUR_^>a_.
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COHEN, MATT
-T-
Working name of Canadian novelist Matthew Cohen (1942- ), best known for short stories and novels set among disturbed urban_^<n__^<n_dwellers in contemporary Ontario. _^<i_Too Bad Galahad_^>i_ (_^<b_1972_^>b_ chap), however, is an Arthurian
_^<a_!T1372_FABULATION_^>a_, and several of the stories assembled in _^<i_Columbus and the Fat Lady_^>i_ (coll _^<b_1972_^>b_) and _^<i_Night Flights_^>i_ (coll _^<b_1978_^>b_) are fantasy. _^<i_The Colours of War_^>i_ (_^<b_1977_^>b_) is a
_^<a_!T6337_NEAR-FUTURE_^>a_ tale of civil strife for which the Ontario countryside serves as a not ungrim backdrop. [JC]_^<n__^<n_
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COLD NIGHT'S DEATH, A
-T-
Made-for-tv film (1973). Spelling Goldberg/ABC. Dir Jerrold Freedman, starring Eli Wallach, Robert Culp. Teleplay Christopher Knopf. 73 mins. Colour._^<n__^<n_Interesting, atmospheric but ponderous yarn with a bizarre premise about two quarrelsome
scientists, one emotional (Wallach) and one dispassionately rational (Culp), in a remote Arctic station. Their experimental chimpanzees (> _^<a_!T206_APES AND CAVEMEN_^>a_) turn the tables and start conducting stress tests on the scientists
themselves. [PN]_^<n__^<n_
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COLE, ADRIAN (CHRISTOPHER SYNNOT)
-T-
(1949- ) UK writer, most of whose books lace fantasy and horror venues with sf devices, but which in the final analysis read essentially as fantasies. He began publishing work of genre interest with "Wired Tales" for _^<i_Dark Horizons_^>i_ in
1973, and several stories soon followed about a not entirely unusual Cursed Warrior named _^<b_The Voidal_^>b_, culminating perhaps in _^<i_The Coming of the Voidal_^>i_ (_^<b_1977_^>b_ chap). The quasi-sf _^<b_Dream Lords_^>b_
_^<a_!T1412_FANTASY_^>a_ sequence -- _^<i_A Plague of Nightmares_^>i_ (_^<b_1975_^>b_ US), _^<i_Lord of the Nightmares_^>i_ (_^<b_1975_^>b_ US) and _^<i_Bane of Nightmares_^>i_ (_^<b_1976_^>b_ US) -- was followed by the fantasy _^<b_Omaran
Saga_^>b_ -- _^<i_A Place among the Fallen_^>i_ (_^<b_1986_^>b_), _^<i_Throne of Fools_^>i_ (_^<b_1987_^>b_), _^<i_The King of Light and Shadows_^>i_ (_^<b_1988_^>b_) and _^<i_The Gods in Anger_^>i_ (_^<b_1988_^>b_). The _^<b_Star Requiem_^>b_
sequence, which is sf -- _^<i_Mother of Storms_^>i_ (_^<b_1989_^>b_), _^<i_Thief of Dreams_^>i_ (_^<b_1989_^>b_), _^<i_Warlord of Heaven_^>i_ (_^<b_1990_^>b_) and _^<i_Labyrinth of Worlds_^>i_ (_^<b_1990_^>b_) -- demonstrates in a
_^<a_!T1913_PLANETARY-ROMANCE_^>a_ setting AC's moderate familiarity with sf tropes (like the flight of a remnant of humanity from genocide, and the relentless search for that remnant by genocidal aliens) and a smooth style broken by intermittent
moments of inattention. For collaborative stories he has also signed himself Adrian Bryant. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Madness Emerging_^>i_ (_^<b_1976_^>b_), which combines sf and horror, as does _^<i_Paths in Darkness_^>i_
(_^<b_1977_^>b_); _^<i_Longborn the Inexhaustible_^>i_ (_^<b_1978_^>b_ chap); _^<i_The LUCIFER Experiment_^>i_ (_^<b_1981_^>b_); _^<i_Wargods of Ludorbis_^>i_ (_^<b_1981_^>b_); _^<i_Moorstones_^>i_ (_^<b_1982_^>b_) and _^<i_The Sleep of Giants_^>i_
(1983), both juveniles; _^<i_Blood Red Angel_^>i_ (_^<b_1993_^>b_)._^<b_See also:_^>b_ _^<a_!T6332_ROBERT HALE LIMITED_^>a_.
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COLE, ALLAN
-T-
(1943- ) US tv scriptwriter and journalist. His sf sequence featuring _^<b_Sten_^>b_, a rebel who becomes a military hero in the defence of a _^<a_!T1678_GALACTIC EMPIRE_^>a_ under threat, comprises _^<i_Sten_^>i_ (_^<b_1982_^>b_), _^<i_The Wolf
Worlds_^>i_ (_^<b_1984_^>b_), _^<i_Court of a Thousand Suns_^>i_ (_^<b_1985_^>b_), _^<i_Fleet of the Damned_^>i_ (_^<b_1988_^>b_), _^<i_Revenge of the Damned_^>i_ (_^<b_1989_^>b_), _^<i_The Return of the Emperor_^>i_
(_^<b_1990_^>b_),_^<i_Vortex_^>i_ (_^<b_1993_^>b_) and _^<i_Empire's End _^>i_(_^<b_1993_^>b_), all written with Chris Bunch. _^<i_The Far Kingdoms_^>i_ (_^<b_1993_^>b_), and its sequel, _^<i_The Warrior's Tale_^>i_(_^<b_1994_^>b_), both also with
Bunch, are fantasy. [JC]_^<n__^<n_
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COLE, BURT
-T-
Pseudonym of US writer Thomas Dixon (1930- ), author of _^<i_The Funco File_^>i_ (_^<b_1969_^>b_), in which a world-dominating _^<a_!T826_COMPUTER_^>a_ is pitted against anarchic opposing forces. His other titles of genre interest are _^<i_Subi:
The Volcano_^>i_ (_^<b_1957_^>b_), a savage tale set in an Asia dominated by a _^<a_!T5452_WAR_^>a_ much like that in Vietnam a decade later, and _^<i_Blood Knot_^>i_ (_^<b_1980_^>b_). _^<i_The Quick_^>i_ (_^<b_1989_^>b_) is an extremely expert and
iconoclastic exercise in military sf. [JC]_^<n__^<n_
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COLE, CYRUS
-T-
(? -? ) US author. In his eccentrically interesting _^<i_The Auroraphone: A Romance_^>i_ (_^<b_1890_^>b_), messages from Saturn are received on the eponymous instrument; life there is _^<a_!T5303_UTOPIAN_^>a_ in many ways, although a
_^<a_!T2646_ROBOT_^>a_ revolt is under way. A later message includes recordings, for the benefit of the enthralled terrestrial listeners, of famous events on Earth, including the Battle of Gettysburg. [PN]_^<n__^<n_
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COLE, EVERETT B.
-T-
(1910-1977) US writer, formerly a professional soldier. He began publishing sf in 1951 with the first of a series, "Philosophical Corps", in _^<i_ASF_^>i_, which ceased there in 1956 before reappearing much later with "Here, There Be Witches" (1970
_^<i_ASF_^>i_) and "Philosophical Corps!" (1970 _^<i_ASF_^>i_). _^<i_The Philosophical Corps_^>i_ (1951-5 _^<i_ASF_^>i_: fixup _^<b_1961_^>b_) is based on the first story and two others; the remaining stories are "These Shall Not Be Lost" (1953),
"Exile" (1954), "Millennium" (1955), "Final Weapon" (1955) and "The Missionaries" (1956). The philosopher protagonist of the series, Commander A-Riman, brooks no nonsense from aliens and the like, whom he re-educates in course of his
_^<a_!T2342_SPACE-OPERA_^>a_ adventures. A second novel, "The Best Made Plans" (_^<i_ASF_^>i_ 1959), has not reached book form. [JC]_^<n__^<n_
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COLE, ROBERT W(ILLIAM)
-T-
(? -? ) UK author. His first novel, _^<i_The Struggle for Empire: A Story of the Year 2236_^>i_ (_^<b_1900_^>b_), took the future-_^<a_!T5452_WAR_^>a_ novel to its logical conclusion. In a _^<a_!T5303_UTOPIAN_^>a_ future the Anglo-Saxon
Federation has expanded into other solar systems when interstellar warfare breaks out between Earth and a superior race from the Sirius system. The descriptions of space battles, and of an Earth surrounded by a barrage of space torpedoes and mines
while scientists struggle to perfect the ultimate weapon, make it the equal of many of the _^<a_!T2342_SPACE-OPERA_^>a_ stories of the 1930s. RWC's later novels are anticlimactic. _^<i_His Other Self_^>i_ (_^<b_1906_^>b_) is a mildly humorous tale
of a physical _^<i_alter ego_^>i_; _^<i_The Death Trap_^>i_ (_^<b_1907_^>b_) is a mundane though harsh account of an invasion of the UK; _^<i_The Artificial Girl_^>i_ (_^<b_1908_^>b_) is not of genre interest. [JC]_^<n__^<n__^<b_See also:_^>b_
_^<a_!T811_COLONIZATION OF OTHER WORLDS_^>a_; _^<a_!T1410_FANTASTIC VOYAGES_^>a_; _^<a_!T1678_GALACTIC EMPIRES_^>a_; _^<a_!T2422_STARS_^>a_.
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COLE, WALTER R(ANDALL)
-T-
(1933- ) US sf fan and bibliographer, compiler of _^<i_A Checklist of Science-Fiction Anthologies_^>i_ (_^<b_1964_^>b_), reissued in facsimile -- it was originally stencilled -- by _^<a_!T249_ARNO PRESS_^>a_ in 1975. It has now been superseded
and updated by William _^<a_!T854_CONTENTO_^>a_'s indexes of_^<n__^<n__^<a_!T195_ANTHOLOGIES_^>a_. [PN]_^<n__^<n_
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COLEMAN, CLARE
-T-
> Clare _^<a_!T510_BELL_^>a_._^<n__^<n_
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COLEMAN, JAMES NELSON
-T-
(? -? ) US writer of two sf novels, _^<i_Seeker from the Stars_^>i_ (_^<b_1967_^>b_) and _^<i_The Null-Frequency Impulser_^>i_ (_^<b_1969_^>b_), both routine adventure stories with _^<a_!T102_ALIENS_^>a_ and superscience providing much of the
With sf/fantasy now a subject for academic study, especially in the USA, many major institutional collections have been built up, a process which has supplemented but in no sense supplanted the large number of private collections amassed by fans and
scholars. From the first, _^<a_!T4659_GENRE SF_^>a_ has tended to be published in formats significantly (and foolishly) slighted in the accession policies of every category of institutional library -- from university libraries to libraries of
record like the Library of Congress and the British Library; and without private collections much of the research undertaken in recent years would have been impossible to conduct successfully. Some private collections -- notably those of Forrest J.
_^<a_!T22_ACKERMAN_^>a_ in Los Angeles and Sam _^<a_!T3074_MOSKOWITZ_^>a_ in Newark -- are extremely well known, extremely large, and accessible to visitors, but they tend not to be thoroughly catalogued. Individual researchers in sf and fantasy
almost invariably maintain their own store of material, on a scale rather larger than probably necessary in cognate fields. Entirely typical of such research collections are those held, for instance, by the editors of this volume: John
_^<a_!T769_CLUTE_^>a_ with 12,000 items, Peter _^<a_!T3189_NICHOLLS_^>a_ with 7000 items, and Associate Editor Brian _^<a_!T2385_STABLEFORD_^>a_ with 15,000 items._^<n__^<n_The strongest library collection in the USA is the _^<a_!T3906_J. LLOYD
EATON COLLECTION_^>a_. For important library holdings in other countries, > _^<a_!T3610_MAISON D'AILLEURS_^>a_ (Switzerland, extremely strong on French sf), _^<a_!T2909_MERRIL COLLECTION OF SCIENCE FICTION, SPECULATION AND FANTASY_^>a_, formerly
the Spaced Out Library (Canada), _^<a_!T2066_SCIENCE FICTION FOUNDATION_^>a_ (UK) and _^<a_!T5290_UNIVERSITY OF SYDNEY LIBRARY_^>a_ (Australia). A number of other large institutional collections exist. In the USA these include: the University of
Arizona Library; California State University Library at Fullerton (which holds important research material on Philip K. _^<a_!T1222_DICK_^>a_); Dallas Public Library; Louisiana State University Library; University of Louisville Library (very large
Edgar Rice _^<a_!T5097_BURROUGHS_^>a_ collection); MIT Science Fiction Society Library at the Massachusetts Institute of Technology; San Francisco Academy of Comic Art Library; Texas A & M University Library._^<n__^<n_Also important to sf
researchers are the great libraries of record, such as the US Library of Congress (which, shortsightedly, does not normally catalogue its separately warehoused, inaccessible mass-market paperback fiction) and, in the UK, the British Library and the
Bodleian Library. These, however, tend to be weak on ephemera (fanzines, comics, pulp magazines); in some cases their book and magazine collections have suffered depredation through theft._^<n__^<n_Further data on large sf collections can be found
in _^<i_Anatomy of Wonder: A Critical Guide to Science Fiction: Third Edition_^>i_ (_^<b_1987_^>b_) ed Neil _^<a_!T442_BARRON_^>a_ and in _^<i_Science/Fiction Collections: Fantasy, Supernatural and Weird Tales_^>i_ (_^<b_1983_^>b_) ed Hal W.
_^<a_!T4933_HALL_^>a_. [PN/JC]_^<n__^<n_
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COLLIER, JOHN (HENRY NOYES)
-T-
(1901-1980) UK novelist, poet and short-story writer who also spent time in the USA writing filmscripts. He was known mainly for his sophisticated though sometimes rather precious short stories, generally featuring acerbic snap endings; many of
these stories have strong elements of fantasy or sf, in particular _^<i_No Traveller Returns_^>i_ (_^<b_1931_^>b_ chap), whose protagonist visits a _^<a_!T1370_DYSTOPIAN_^>a_ future, and _^<i_The Devil and All_^>i_ (coll _^<b_1934_^>b_), whose
contents are exclusively _^<a_!T1412_FANTASY_^>a_. His best-known title, _^<i_Fancies and Goodnights_^>i_ (coll _^<b_1951_^>b_ US; cut vt _^<i_Of Demons and Darkness_^>i_ 1965 UK), assembles new material plus a selection of tales from
_^<i_Presenting Moonshine_^>i_ (coll _^<b_1941_^>b_) and _^<i_The Touch of Nutmeg_^>i_ (coll _^<b_1943_^>b_ US)-itself a compendium drawn from the previous volume and from _^<i_The Devil and All_^>i_; until the release of _^<i_The John Collier
Reader_^>i_ (coll _^<b_1972_^>b_ US; cut vt _^<i_The Best of John Collier_^>i_ 1975 US), _^<i_Fancies and Goodnights_^>i_ remained the handiest presentation of the kind of short fiction with which JC has been identified: highly polished magazine
stories, adroit, world-weary, waspish, often insubstantial. It won the first _^<a_!T3788_INTERNATIONAL FANTASY AWARD_^>a_._^<n__^<n_Radically dissimilar to his most familiar work is _^<i_Tom's A-Cold_^>i_ (_^<b_1933_^>b_; vt _^<i_Full Circle_^>i_
1933 US), a remarkably effective post-_^<a_!T4482_HOLOCAUST_^>a_ novel set in the 1990s, long after an unexplained disaster has decimated England's (and presumably the world's) population and thrust mankind back into rural barbarism, a condition
out of which the eldest survivors, who remember civilization, are trying to educate the young third generation. The simple plot plays no tricks on the reader: the young protagonist, a born leader, rises through raids and conflict to the
chieftainship, undergoes a tragedy, and reconciles himself at the novel's close to the burdens of a government which will improve the lot of his people. Throughout the novel, very movingly, JC renders the reborn, circumambient natural world with a
hallucinatory visual intensity found nowhere else in his work. Along with Alun _^<a_!T3412_LLEWELLYN_^>a_'s _^<i_The Strange Invaders_^>i_ (_^<b_1934_^>b_), _^<i_Tom's A-Cold_^>i_ can be seen, in its atmosphere of almost loving conviction, as a
genuine successor to Richard _^<a_!T3882_JEFFERIES_^>a_'s _^<i_After London_^>i_ (_^<b_1885_^>b_); and it contrasts markedly with JC's earlier _^<i_No Traveller Returns_^>i_ (_^<b_1931_^>b_ chap), a harsh dystopian novella set in a deadened world.
[JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_His Monkey Wife, or Married to a Chimp_^>i_ (_^<b_1930_^>b_), a fantasy; _^<i_Green Thoughts_^>i_ (_^<b_1932_^>b_ chap) and _^<i_Variation on a Theme_^>i_ (_^<b_1935_^>b_ chap), both assembled with other
stories in _^<i_Green Thoughts and Other Strange Tales_^>i_ (coll _^<b_1943_^>b_ US); _^<i_Witch's Money_^>i_ (_^<b_1940_^>b_ chap US); _^<i_Pictures in the Fire_^>i_ (coll _^<b_1958_^>b_); _^<i_Milton's "Paradise Lost": Screenplay for Cinema of
the Mind_^>i_ * (_^<b_1973_^>b_)._^<b_See also:_^>b_ _^<a_!T206_APES AND CAVEMEN (IN THE HUMAN WORLD)_^>a_; _^<a_!T1243_DISASTER_^>a_; _^<a_!T6573_EC COMICS_^>a_; _^<a_!T4443_HISTORY OF SF_^>a_; _^<a_!T4555_HUMOUR_^>a_; _^<a_!T2812_SATIRE_^>a_.
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COLLIER'S WEEKLY
-T-
US "slick" magazine published by Crowell-Collier Publishing Co, ed William L. Chenery, Walter Davenport and others. Weekly from 28 Apr 1888 as _^<i_Collier's Once A Week_^>i_, became _^<i_CW_^>i_ in Dec 1904, continuing weekly to 25 Jul 1953, then
biweekly to 4 Jan 1957._^<n__^<n__^<i_CW_^>i_ published sf -- e.g., H.G. _^<a_!T5528_WELLS_^>a_'s "A Moonlight Fable" (1909) and George Allan _^<a_!T6673_ENGLAND_^>a_'s "June 6, 2016" (1916) -- only intermittently until the 1920s and 1930s, when
numerous serializations of works by Sax _^<a_!T2675_ROHMER_^>a_ appeared. Later well remembered sf publications were: "There Will Come Soft Rains" (1950), "A Sound of Thunder" (1952) and other stories by Ray _^<a_!T4963_BRADBURY_^>a_; _^<i_The Day
of the Triffids_^>i_ (_^<b_1951_^>b_) by John _^<a_!T6211_WYNDHAM_^>a_; and many early stories by Jack _^<a_!T1491_FINNEY_^>a_ from 1951, including his most famous novel _^<i_The Body Snatchers_^>i_ (1954 Collier's; _^<b_1955_^>b_; vt _^<i_Invasion
of the Body Snatchers_^>i_). [JE/PN]_^<n__^<n_
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COLLINGS, MICHAEL R(OBERT)
-T-
(1947- ) US poet, story writer and author of a number of nonfiction studies of sf and fantasy writers, including several on various aspects of the work of Stephen _^<a_!T4066_KING_^>a_. In _^<i_Naked to the Sun: Dark Visions of Apocalypse_^>i_
(coll _^<b_1986_^>b_ chap) and _^<i_Dark Transformations: Deadly Visions of Change_^>i_ (coll _^<b_1990_^>b_ chap), he published _^<a_!T1934_POETRY_^>a_ which tended to use sf and fantasy motifs as premises for metamorphic brooding. His nonfiction
includes _^<i_Piers Anthony_^>i_ (_^<b_1984_^>b_ chap), _^<i_Brian W. Aldiss_^>i_ (_^<b_1986_^>b_) and _^<i_In the Image of God: Theme, Characterization, and Landscape in the Fiction of Orson Scott Card_^>i_ (_^<b_1990_^>b_), plus the various books
on King: _^<i_Stephen King as Richard Bachman_^>i_ (_^<b_1985_^>b_), _^<i_The Shorter Works of Stephen King_^>i_ (_^<b_1985_^>b_) with David Engebretson, _^<i_The Many Facets of Stephen King_^>i_ (_^<b_1986_^>b_), _^<i_The Films of Stephen
King_^>i_ (_^<b_1986_^>b_), _^<i_The Stephen King Phenomenon_^>i_ (_^<b_1987_^>b_) and <The Work of Stephen King: An Annotated Bibliography and Guide< (1992). His criticism tends to be theme-oriented. He edited _^<i_Reflections on the Fantastic:
Selected Essays from the Fourth International Conference on the Fantastic in the Arts_^>i_ (anth _^<b_1987_^>b_). [JC]_^<n__^<n_
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COLLINGWOOD, HARRY
-T-
Pseudonym of UK writer William Joseph Cosens Lancaster (1851-1922), most of whose fiction was for boys and featured nautical settings. He remains best known for his "_^<b_Flying Fish_^>b_" sequence of sf tales: _^<i_The Log of the "Flying Fish": A
Story of Aerial and Submarine Peril and Adventure_^>i_ (_^<b_1887_^>b_), _^<i_With Airship and Submarine_^>i_ (_^<b_1907_^>b_) and _^<i_The Cruise of the "Flying Fish": The Air-Ship-Submarine_^>i_ (_^<b_1924_^>b_). The eponymous vehicle is a ship
which operates in the air, on the surface and _^<a_!T5281_UNDER THE SEA_^>a_, and which takes the tales' protagonists back and forth across the Earth, leading them to a _^<a_!T3460_LOST WORLD_^>a_, to inner Africa and elsewhere. The third volume,
in which a dreadnought successor to the ship fails to be built in time to affect WWI, is anticlimactic. Other HC tales include _^<i_Geoffrey Harrington's Adventures_^>i_ (_^<b_1907_^>b_), _^<i_Harry Escombe: A Tale of Adventure in Peru_^>i_
(_^<b_1910_^>b_) and _^<i_A Pair of Adventurers in Search of El Dorado_^>i_ (_^<b_1915_^>b_; vt _^<i_In Search of El Dorado_^>i_ 1925). [JC]_^<n__^<n_
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COLLINS, CLARK
-T-
[s] > Mack _^<a_!T2576_REYNOLDS_^>a_._^<n__^<n_
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COLLINS, GILBERT
-T-
(1900-? ) UK writer in various genres, whose two _^<a_!T3460_LOST-WORLD_^>a_ novels are of sf interest. _^<i_The Valley of Eyes Unseen_^>i_ (_^<b_1923_^>b_) finds a Tibetan hidden valley inhabited by scientifically advanced descendants of
Alexander the Great's Greeks, from whom the protagonist eventually escapes using purloined mechanical wings. In _^<i_The Starkenden Quest_^>i_ (_^<b_1925_^>b_) the valley is located in Indochina, the primordial dwarf inhabitants are enthralled by
an immortal blonde priestess (who nevertheless dies), and a great flood ends the tale. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Flower of Asia: A Novel of Nihon_^>i_ (_^<b_1922_^>b_), a fantasy of Japan.
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COLLINS, HUNT
-T-
> Evan _^<a_!T4558_HUNTER_^>a_._^<n__^<n_
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COLLINS, MICHAEL
-T-
> Dennis _^<a_!T3503_LYNDS_^>a_._^<n__^<n_
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COLLINS, PAUL
-T-
(1954- ) Australian editor, publisher, writer and bookseller. At an early age he began publishing and editing a _^<a_!T2100_SEMIPROZINE_^>a_, _^<a_!T5389_VOID SCIENCE FICTION AND FANTASY_^>a_ (1975-81), which in due course transmuted into a
series of original _^<a_!T195_ANTHOLOGIES_^>a_, including _^<i_Envisaged Worlds_^>i_ (anth _^<b_1978_^>b_), _^<i_Ron Graham Presents Other Worlds_^>i_ (anth _^<b_1978_^>b_), _^<i_Alien Worlds_^>i_ (anth _^<b_1979_^>b_), _^<i_Distant Worlds_^>i_
(anth _^<b_1981_^>b_) and _^<i_Frontier Worlds_^>i_ (anth _^<b_1983_^>b_); a later anthology is _^<i_Metaworlds: Best Australian Science Fiction_^>i_ (anth _^<b_1994_^>b_). His debut novel, _^<i_Hot Lead -- Cold Sweat_^>i_ (_^<b_1975_^>b_), not sf,
was published by his own _^<a_!T2261_SMALL PRESS_^>a_, Void Publications. With Peter Wilfert he edited _^<i_Sf aus Australien_^>i_ ["Australian SF"] (anth _^<b_1982_^>b_ Germany). In 1980 he set up a second small press, Cory & Collins, in
partnership with Rowena Cory. Despite execrable production standards, this was of some importance in providing a platform for Australian sf and fantasy novelists -- authors included Russell _^<a_!T630_BLACKFORD_^>a_, A. Bertram
_^<a_!T5232_CHANDLER_^>a_, David _^<a_!T4156_LAKE_^>a_, Wynne N. _^<a_!T5586_WHITEFORD_^>a_ and Jack _^<a_!T6383_WODHAMS_^>a_ -- but the venture ceased in 1985 after 14 books. PC's sf-writing career began with "The Test" for _^<i_Weirdbook_^>i_ 12
in 1977, and he has since been remarkably prolific, with over 50 sf stories published, mostly in Australia but some overseas, though even in Australia he has not made the impression on sf readers that his craftsmanlike work may at its best deserve.
(1936- ) Canadian author and editor of over 80 books, notably anthologies of Canadiana and works of popular reference. Books with sf relevance include: _^<i_CDN SF&F: A Bibliography of Canadian Science Fiction and Fantasy_^>i_ (_^<b_1979_^>b_
chap) with Michael Richardson, Alexandre L. Amprimoz and John Bell; _^<i_Blackwood's Books: A Bibliography_^>i_ (_^<b_1981_^>b_); _^<i_Years of Light: a Celebration of Leslie A. Croutch_^>i_ (_^<b_1982_^>b_); and _^<i_Mostly Monsters_^>i_ (coll
_^<b_1977_^>b_), fantastic _^<a_!T1934_POETRY_^>a_. _^<i_Other Canadas_^>i_ (anth _^<b_1979_^>b_) was the first anthology of Canadian sf, and _^<i_Not to be Taken at Night_^>i_ (anth _^<b_1981_^>b_) likewise for Canadian _^<a_!T4509_HORROR_^>a_
fiction. [PN]_^<n__^<n__^<b_Other works as editor:_^>b_ _^<i_Friendly Aliens_^>i_ (anth _^<b_1981_^>b_); _^<i_Windigo_^>i_ (anth _^<b_1982_^>b_)._^<n__^<n__^<b_Nonfiction:_^>b_ _^<i_Colombo's Book of Marvels_^>i_ (_^<b_1979_^>b_; exp vt
The idea of colonizing the other worlds of the Solar System has had an uncertain history because the optimism of sf writers has constantly been subverted and contradicted by the discoveries of _^<a_!T283_ASTRONOMY_^>a_. The attractions of the idea
have, however, always overridden cautionary pessimism, and the reluctant acceptance of the inhospitability of local planets has served only to increase interest in colonizing the worlds of other stars (>_^<a_!T1678_GALACTIC
EMPIRES_^>a_)._^<n__^<n_The example of the British Empire was insufficient to inspire many early UK sf writers to speculate about its extension into space. The most important of those who did was Andrew _^<a_!T642_BLAIR_^>a_, whose _^<i_Annals of
the Twenty-Ninth Century_^>i_ (_^<b_1874_^>b_) was the most extravagant of early future _^<a_!T4442_HISTORIES_^>a_. H.G. _^<a_!T5528_WELLS_^>a_ used the example of the UK's colonial history as an analogy for the Martians' conduct in
_^<i__^<a_!B9242_THE WAR OF THE WORLDS_^>a__^>i_ (_^<b_1898_^>b_) but never considered the idea of mankind's colonizing _^<a_!T3677_MARS_^>a_, although Robert W. _^<a_!T791_COLE_^>a_ did in _^<i_The Struggle for Empire_^>i_ (_^<b_1900_^>b_). Later
writers of _^<a_!T2878_SCIENTIFIC ROMANCE_^>a_ were almost completely uninterested in the conquest of space; both J.B.S. _^<a_!T4923_HALDANE_^>a_ in "The Last Judgement" (1927) and Olaf _^<a_!T2404_STAPLEDON_^>a_ in _^<i__^<a_!B9080_LAST AND FIRST
MEN_^>a__^>i_ (_^<b_1930_^>b_) imagined mankind migrating to other worlds but only under extreme duress, as Earth became uninhabitable. The avoidance of the notion may be connected with a sense of shame about the methods employed in colonizing
terrestrial lands; the parallel which Wells drew between the European invasion of Tasmania and the Martian invasion of Earth is a harsh one, and the brutality of the _^<a_!T1939_POLITICS_^>a_ of colonization has always been a key issue in sf
stories, even in the US _^<a_!T2033_PULP-MAGAZINE_^>a_ sf that made the conquest of space its central myth. Early cautionary allegories include Edmond _^<a_!T4258_HAMILTON_^>a_'s "Conquest of Two Worlds" (1932) and Robert A.
_^<a_!T4376_HEINLEIN_^>a_'s grim "Logic of Empire" (1941), although it was not until the 1950s that such lurid polemics as Avram _^<a_!T1082_DAVIDSON_^>a_'s "Now Let Us Sleep" (1957) and Robert _^<a_!T2216_SILVERBERG_^>a_'s _^<i_Invaders from
Earth_^>i_ (_^<b_1958_^>b_ dos) could be published, and not until the 1970s that mature and effective moral tales like Silverberg's _^<i_Downward to the Earth_^>i_ (_^<b_1970_^>b_) and Ursula K. _^<a_!T3318_LE GUIN_^>a_'s _^<i__^<a_!B9179_THE WORD
FOR WORLD IS FOREST_^>a__^>i_ (1972; _^<b_1976_^>b_) became commonplace. These stories of genocide, slavery and exploitation are the harshest critiques of human behaviour found in US sf; they often embody a strong sense of guilt regarding the fate
of the inhabitants of pre-Columbian North America. Mike _^<a_!T2559_RESNICK_^>a_'s bitter study of spoliation in _^<i_Paradise_^>i_ (_^<b_1989_^>b_) is an effective transfiguration of the history of Kenya._^<n__^<n_Political issues are at the heart
of another recurrent colonization theme, which deals with the relationship between colonies and the mother world. Here history provides -- at least for US writers -- much more attractive parallels, and the War of Independence has frequently been
refought, from the early "Birth of a New Republic" (1930) by Miles J. _^<a_!T4989_BREUER_^>a_ and Jack _^<a_!T5629_WILLIAMSON_^>a_ to Isaac _^<a_!T268_ASIMOV_^>a_'s "The Martian Way" (1952), Robert A. Heinlein's _^<i__^<a_!B9167_THE MOON IS A HARSH
MISTRESS_^>a__^>i_ (_^<b_1966_^>b_) and Poul _^<a_!T169_ANDERSON_^>a_'s _^<i_Tales of the Flying Mountains_^>i_ (coll _^<b_1970_^>b_). UK writers have been less enthusiastic about the notion of colonial defection, and sometimes develop images of a
very uneasy relationship between Earth and its colonies; examples include Arthur C. _^<a_!T736_CLARKE_^>a_'s _^<i_The Songs of Distant Earth_^>i_ (_^<b_1986_^>b_) and Paul J. _^<a_!T6293_MCAULEY_^>a_'s _^<i_Of the Fall_^>i_ (_^<b_1989_^>b_; vt
_^<i_Secret Harmonies_^>i_)._^<n__^<n_The pioneer spirit is something much celebrated in sf at all levels. The mythology of the conquest of the Old West is often transcribed into sf so literally that even the covered wagon is retained.
_^<a_!T141_AMAZING STORIES_^>a_ once published a novel -- "Outlaw in the Sky" (1953) by Guy Archette (Chester S. _^<a_!T4649_GEIER_^>a_) -- in which only half a dozen words had been modified in making the transposition from Western to sf; a more
recent example is the "pioneer" sequence of Heinlein's _^<i_Time Enough for Love_^>i_ (_^<b_1973_^>b_). Celebrations of the heroism of colonists fighting tremendous odds to tame hostile environments include Henry _^<a_!T4144_KUTTNER_^>a_'s
_^<i_Fury_^>i_ (_^<b_1950_^>b_; vt _^<i_Destination: Infinity_^>i_), Walter M. _^<a_!T2960_MILLER_^>a_'s "Crucifixus Etiam" (1953), E.C. _^<a_!T6112_TUBB_^>a_'s _^<i_Alien Dust_^>i_ (_^<b_1955_^>b_) and Harry _^<a_!T4316_HARRISON_^>a_'s
_^<i_Deathworld_^>i_ (_^<b_1960_^>b_). It is often difficult to offer a convincing motivation for the colonists, and so various reasons are commonly devised to compel colonization, as in _^<i_The Survivors_^>i_ (_^<b_1958_^>b_; vt _^<i_Space
Prison_^>i_) by Tom _^<a_!T4745_GODWIN_^>a_, _^<i_Orbit Unlimited_^>i_ (coll _^<b_1961_^>b_) by Poul Anderson, _^<i_Mutiny in Space_^>i_ (_^<b_1964_^>b_) by Avram Davidson, _^<i_Castaways' World_^>i_ (_^<b_1963_^>b_ dos; rev as _^<i_Polymath_^>i_
1974) by John _^<a_!T5049_BRUNNER_^>a_ and _^<i_Farewell, Earth's Bliss_^>i_ (_^<b_1966_^>b_) by D.G. _^<a_!T823_COMPTON_^>a_. A frequent subtheme deals with native populations that resist colonization, sometimes consciously and sometimes by virtue
of the fact that the _^<a_!T6576_ECOLOGY_^>a_ of the planet has no suitable niche for the colonists. Many stories by Poul Anderson fall into this category, as do "You'll Never Go Home Again" (1951; vt "Beachhead") and "Drop Dead" (1956) by Clifford
D. _^<a_!T2218_SIMAK_^>a_ and "Colony" (1953) by Philip K. _^<a_!T1222_DICK_^>a_._^<n__^<n_One of the most significant uses which sf writers have found for human colonies on alien worlds is in building distorted societies, sometimes for
_^<a_!T2812_SATIRE_^>a_ and sometimes for thought experiments in _^<a_!T2300_SOCIOLOGY_^>a_. Notable satirical exercises include _^<i_Search the Sky_^>i_ (_^<b_1954_^>b_) by Frederik _^<a_!T1937_POHL_^>a_ and C.M. _^<a_!T6353_KORNBLUTH_^>a_,
_^<i_The Perfect Planet_^>i_ (_^<b_1962_^>b_) by Evelyn E. _^<a_!T2271_SMITH_^>a_, _^<i_A Planet for Texans_^>i_ (_^<b_1958_^>b_) by H. Beam _^<a_!T1908_PIPER_^>a_ and John J. _^<a_!T3536_MCGUIRE_^>a_, and many short stories by Eric Frank
_^<a_!T2743_RUSSELL_^>a_, including the justly celebrated ". . . And Then There Were None" (1951). More straightforward sociological treatments include Poul Anderson's _^<i_Virgin Planet_^>i_ (_^<b_1959_^>b_), John _^<a_!T3851_JAKES_^>a_'s
_^<i_Mask of Chaos_^>i_ (_^<b_1970_^>b_), Harry Harrison's _^<i_Planet of the Damned_^>i_ (_^<b_1962_^>b_; vt _^<i_Sense of Obligation_^>i_) and such remarkable novels as _^<i__^<a_!B8985_THE LEFT HAND OF DARKNESS_^>a__^>i_ (_^<b_1969_^>b_) by
Ursula K. Le Guin, _^<i__^<a_!B9092_THE FIFTH HEAD OF CERBERUS_^>a__^>i_ (_^<b_1972_^>b_) by Gene _^<a_!T5676_WOLFE_^>a_ and _^<i__^<a_!B8986_AND CHAOS DIED_^>a__^>i_ (_^<b_1970_^>b_) by Joanna _^<a_!T2741_RUSS_^>a_. In many of these stories the
colonies are isolated worlds within a _^<a_!T1678_GALACTIC EMPIRE_^>a_. The notion of an extended chain of remote colony worlds is used in A. Bertram _^<a_!T5232_CHANDLER_^>a_'s _^<b_Rim Worlds_^>b_ novels and Murray _^<a_!T3326_LEINSTER_^>a_'s
_^<b_Med Ship_^>b_ stories._^<n__^<n_Two fundamental classes of colonization story can be easily distinguished: the "romantic" and the "realistic". The first derives from a tradition which makes much of the exotic qualities of alien environments.
Here the alien worlds are exotic Earths, little different from the distant lands of travellers' tales. Human and humanoid alien co-exist. The politics of exploitation is not the focal point of the story but may serve to turn the wheels of the plot
as the hero, alienated from his or her own kind, champions the downtrodden natives against the horrors of vulgar commercialism. Women writers have been particularly prolific in this vein: Leigh _^<a_!T4961_BRACKETT_^>a_ often used it, as has Marion
Zimmer _^<a_!T4968_BRADLEY_^>a_ in her _^<b_Darkover_^>b_ novels. Anne _^<a_!T6298_MCCAFFREY_^>a_'s _^<b_Pern_^>b_ novels likewise belong to the romantic school, and Jack _^<a_!T5317_VANCE_^>a_ has written many novels featuring a less stylized
romanticism. Some of the most impressive works in the romantic vein are Cordwainer _^<a_!T2265_SMITH_^>a_'s stories of Old North Australia and his _^<i_Quest of the Three Worlds_^>i_ (fixup _^<b_1966_^>b_). Recent examples often emphasize
quasimystical processes of adaptation to the alien environment: a reharmonization of mankind and nature that often covertly echoes the Eden myth (> _^<a_!T6576_ECOLOGY_^>a_; _^<a_!T3385_LIFE ON OTHER WORLDS_^>a_; _^<a_!T1812_PASTORAL_^>a_). A
simple example is _^<i_Outpost Mars_^>i_ (_^<b_1952_^>b_; vt _^<i_Sin in Space_^>i_) by Cyril Judd (C.M. Kornbluth and Judith _^<a_!T2908_MERRIL_^>a_); a more complex one is _^<i_Eight Keys to Eden_^>i_ (_^<b_1960_^>b_) by Mark
_^<a_!T753_CLIFTON_^>a_. The archetype of the species is Ray _^<a_!T4963_BRADBURY_^>a_'s "The Million-Year Picnic" (1946). The image of a lost Eden plays an important part in many of the otherwise realistic colonization novels of Michael G.
_^<a_!T833_CONEY_^>a_, tingeing them with a peculiar nostalgia; examples include _^<i_Mirror Image_^>i_ (_^<b_1972_^>b_), _^<i_Syzygy_^>i_ (_^<b_1973_^>b_) and _^<i_Brontomek!_^>i_ (_^<b_1976_^>b_)._^<n__^<n_The "realistic" school, whose authors
concentrate on blood, sweat and tears rather than glamorous exotica, developed in the post-WWII era, although Edmond Hamilton's archetypal "What's it Like out There?" (1952) was written in the 1930s. This school won its early successes outside the
sf magazines, being extensively developed by Heinlein and Arthur C. Clarke in stories published in general-fiction magazines and in (often juvenile) novels. Heinlein's contributions include _^<i_Red Planet_^>i_ (_^<b_1949_^>b_), _^<i_Farmer in the
Sky_^>i_ (_^<b_1950_^>b_) and many of the stories in _^<i_The Green Hills of Earth_^>i_ (coll _^<b_1951_^>b_). Clarke's include the _^<b_Venture to the Moon_^>b_ series of vignettes in the London _^<i_Evening Standard_^>i_ and the novels _^<i_The
Sands of Mars_^>i_ (_^<b_1951_^>b_) and _^<i_Earthlight_^>i_ (_^<b_1955_^>b_). Patrick _^<a_!T3035_MOORE_^>a_'s series of juveniles, including _^<i_Domes of Mars_^>i_ (_^<b_1956_^>b_) and _^<i_Voices of Mars_^>i_ (_^<b_1957_^>b_), also belongs to
this tradition. These juvenile novels take great pains to achieve some kind of authenticity, but "realism" in the magazines was much more a matter of literary posturing, consisting mainly of ultra-tough novels with a strong seasoning of cynicism:
_^<i_Police Your Planet_^>i_ (_^<b_1956_^>b_ as by Erik van Lhin; rev 1975) by Lester _^<a_!T1164_DEL REY_^>a_ is a cardinal example. Realistic treatment of colonization methods remains a common theme in sf; it plays a subsidiary but important role
in, for example, _^<i_Mindbridge_^>i_ (_^<b_1976_^>b_) by Joe _^<a_!T4925_HALDEMAN_^>a_ and _^<i__^<a_!B9035_GATEWAY_^>a__^>i_ (_^<b_1977_^>b_) by Frederik Pohl. The realistic school has suffered somewhat where it has conscientiously remained
within the boundaries of a Solar System whose hostility has become increasingly apparent, but it has been saved from extinction not only by the idea of domed colonies with self-enclosed ecologies but also by the notion of
_^<a_!T5945_TERRAFORMING_^>a_, significantly treated in such works as Kim Stanley _^<a_!T2637_ROBINSON_^>a_'s _^<i__^<a_!B9199_RED MARS_^>a__^>i_ (_^<b_1992_^>b_ UK), Pamela _^<a_!T2808_SARGENT_^>a_'s _^<i__^<a_!B9023_VENUS OF DREAMS_^>a__^>i_
(_^<b_1986_^>b_) and _^<i_Venus of Shadows_^>i_ (_^<b_1988_^>b_), and Ian _^<a_!T3513_MCDONALD_^>a_'s _^<i_Desolation Road_^>i_ (_^<b_1988_^>b_), which features a remarkable juxtaposition of the ultra-romantic and cynically realistic modes. Other
writers have favoured the idea that colonists need not bother with worlds at all; Konstantin _^<a_!T6108_TSIOLKOVSKY_^>a_, the pioneer of _^<a_!T2651_ROCKET_^>a_ research, proposed that we might build artificial satellites to contain orbital
colonies, and this notion of _^<a_!T2338_SPACE HABITATS_^>a_ has been sophisticated in recent times by such nonfiction writers as Gerard K. O'Neill. Sf stories displaying such ideas include a series of novels by Mack Reynolds begun with
_^<i_Lagrange Five_^>i_ (_^<b_1979_^>b_; later novels in the series are ed Dean _^<a_!T6342_ING_^>a_), Lois McMaster _^<a_!T5068_BUJOLD_^>a_'s _^<i__^<a_!B9131_FALLING FREE_^>a__^>i_ (_^<b_1988_^>b_), and the satellite-tv soap opera _^<i_Jupiter
Moon_^>i_ (1990)._^<n__^<n_Terraforming adapts worlds to colonists, but one might logically expect it to be much easier to adapt colonists to worlds. Relatively little attention has been given to this approach. Biological-engineering methods were
applied to the business of colonization by James _^<a_!T658_BLISH_^>a_ in the stories making up _^<i__^<a_!B9127_THE SEEDLING STARS_^>a__^>i_ (fixup _^<b_1957_^>b_) (> _^<a_!T1784_PANTROPY_^>a_) and by Poul Anderson in "Call Me Joe" (1957), and
were investigated in more detail by Frederik Pohl in _^<i__^<a_!B9090_MAN PLUS_^>a__^>i_ (_^<b_1976_^>b_), but increasing interest in _^<a_!T4657_GENETIC ENGINEERING_^>a_ has yet to bring forth prolific speculation in this vein._^<n__^<n_Theme
anthologies concerning colonization include _^<i_The Petrified Planet_^>i_ (anth _^<b_1952_^>b_) ed anon Fletcher _^<a_!T1976_PRATT_^>a_ and _^<i_Medea: Harlan's World_^>i_ (anth _^<b_1985_^>b_) ed Harlan _^<a_!T6641_ELLISON_^>a_.
Film (1958). William Alland Productions/Paramount. Dir Eugene Lourie, starring John Baragrey, Mala Powers, Otto Kruger, Charles Herbert, Ed Wolff. Screenplay Thelma Schnee, based on a story by Willis Goldbeck. 70 mins. B/w._^<n__^<n_A curious little
film about a man killed in an accident whose brain is transferred by his scientist father into an 8ft (2.4m) _^<a_!T2646_ROBOT_^>a_ body. Without a human body his mind both loses all compassion and resents it in others; hence he decides to destroy
good guys at the UN. But his lingering humanity asserts itself and he asks his son (who doesn't know who he is) to turn him off. _^<i_TCONY_^>i_ has been praised, but most see it as a routine potboiler. Shooting took eight days, and its director
claims he can barely remember making it. [PN]_^<n__^<n_
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COLOSSUS, THE FORBIN PROJECT
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(vt _^<i_The Forbin Project_^>i_) Film (1969). Universal. Dir Joseph Sargent, starring Eric Braeden, Susan Clark, Gordon Pinsent, William Schallert. Screenplay James Bridges, based on _^<i_Colossus_^>i_ (_^<b_1966_^>b_) by D.F.
_^<a_!T3925_JONES_^>a_. 100 mins. Colour._^<n__^<n_A supercomputer, Colossus, is designed by Dr Forbin to take control of the US defence network but, once activated, develops ambitions of its own and ignores all commands. Unlike the neurotic HAL in
_^<a_!T6146_2001: A SPACE ODYSSEY_^>a_ (1968), Colossus is a _^<a_!T826_COMPUTER_^>a_ of the old school -- emotionless, arrogant and practically omnipotent. It forms an alliance with its Russian equivalent and the film ends with the two computers
in charge and likely to stay that way. The subtext is the usual one: better to be human and idiotic, even at the risk of nuclear _^<a_!T5452_WAR_^>a_, than to surrender our autonomy to machines. The scenes showing Colossus in vast caverns beneath
the Rocky Mountains have a powerful admonitory charge. This is a neat, well made film. [JB/PN]_^<n__^<n_
(1912-1975) UK writer and journalist whose sf novel is _^<i_Domesday Village_^>i_ (_^<b_1948_^>b_), set in a _^<a_!T6337_NEAR-FUTURE_^>a_ UK with a socialist regime. [JC]_^<n__^<n_
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COLVIN, JAMES
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House name used primarily by Michael _^<a_!T3030_MOORCOCK_^>a_ for book reviews and stories in _^<i_NW_^>i_ (and for one independent collection of stories), and occasionally by others for book reviews. Moorcock has also written at least one story as
Warwick Colvin Jr, who is identified as JC's nephew. [JC]_^<n__^<n_
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COLVIN, WARWICK Jr
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[s] > James _^<a_!T816_COLVIN_^>a_._^<n__^<n_
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COMA
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Film (1978). MGM. Dir Michael _^<a_!T954_CRICHTON_^>a_, starring Genevieve Bujold, Michael Douglas, Rip Torn, Richard Widmark. Screenplay Crichton, based on _^<i_Coma_^>i_ (_^<b_1977_^>b_) by Robin _^<a_!T862_COOK_^>a_. 113 mins.
Colour._^<n__^<n_Crichton's most commercially successful film, _^<i_C_^>i_ is a present-day thriller with one sf element: the use of hospital patients, deliberately put into irreversible coma by using poisoned anaesthetic, as living repositories of
body parts which are profitably sold for use in transplant surgery -- a scheme, it has been alleged, that by the 1980s had real-life counterparts. Bujold is good as the resourceful young woman doctor -- the film was praised at the time by the
Women's Movement -- who uncovers the plot in this stylish but wholly implausible paranoid melodrama. Crude but effective visual symbolism equates medicine with the meat trade, which cannot have pleased those of Dr Crichton's old colleagues still in
US _^<a_!T2033_PULP MAGAZINE_^>a_; 5 issues, Dec 1940-July 1941, bimonthly after Jan 1941. Published by H-K Publications; ed F. Orlin _^<a_!T6086_TREMAINE_^>a_. Tremaine, former editor of _^<i_ASF_^>i_, made a brief and undistinguished return to
sf-magazine editing with this title. Contributors included Eando _^<a_!T604_BINDER_^>a_, Frank Belknap _^<a_!T3430_LONG_^>a_ and Harl _^<a_!T5375_VINCENT_^>a_. The last issue contained "The Vortex Blaster", the first story of E.E.
_^<a_!T2269_SMITH_^>a_'s series of that name. A continuing feature was "The Spacean", an imaginary future newspaper which betrayed the magazine's juvenile slant. _^<i_C_^>i_ had little visual appeal; its cover layout was particularly ungainly.
[MJE]_^<n__^<n_
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COMICS
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This rubric covers the comic strip in daily and Sunday newspapers, European comic papers and the US-style comic book; it does not cover the _^<a_!T4809_GRAPHIC NOVEL_^>a_ _^<i_per se_^>i_, although clearly there is overlap between the two
categories. Strip-cartoon stories use some interaction of text and picture, as opposed to the established "storybook" use of words plus illustrations of the words. Design, drawing style, caption and word-balloon continuity all serve to make the
strip cartoon a medium with its own syntax and frame of reference, one which may have been best defined by Scott McCloud (1960- ) -- in his seminal _^<i_Understanding Comics: The Invisible Art_^>i_ (graph _^<b_1993_^>b_) -- as "Juxtaposed
pictorial and other images in deliberate sequence, intended to convey information and/or to produce an aesthetic response in the viewer."_^<n__^<n_Like the history of sf, the history of the comic strip is far more complex, and extends much further
into the past, than had been assumed until recent decades, when researchers (see _^<b_Further Reading_^>b_ list below) began properly to examine the record, and to establish a continuity between the graphic work of the 18th century and the comic
papers and Sunday newspaper supplements which flourished so conspicuously in the USA a century later. Sf comic strips as such, however, were slow to develop. By the end of the 19th century, though the comic strip had achieved very considerable
sophistication and was capable of treating very widely varied subject matter, there was virtually no sf presented in a credible manner, nor would there be for another 30 years. Prior to this, the emphasis on humour in the comic strips had relegated
sf to the realms of fantasy, as in _^<i_Our Office Boy's Fairy Tales_^>i_ (1895 _^<i_The Funny Wonder_^>i_), an anonymous UK series depicting a family on Mars facing totally impossible hardships and jubilations. More mature in its approach was
Winsor _^<a_!T6302_MCCAY_^>a_'s fantasy _^<i_Little Nemo in Slumberland_^>i_ (1st series 1905-11 _^<i_New York Herald_^>i_), which depicted the dream adventures of a young boy and an ever-increasing array of characters from the court of King
Morpheus. McCay's manipulation of the size, shape and position of each panel, together with his use of perspective, gave added emphasis to the narrative and indicated how artistic technique could augment the text. (This attribute of the comic strip
was sometimes itself used to create the fantasy element, as in _^<i_Krazy Kat_^>i_ [1911-44] by George Herriman [1880-1944], where the scenic background, changing from panel to panel, created a surrealistically alien environment, or in _^<i_Felix
The Cat_^>i_ [1923 onwards] by Otto Messmer [1892-1983], where the eponymous feline gave substance to his imagination by treating the contents of his thought balloons as physical realities.) McCay's fantasies were perhaps topped only by the
expressionist whimsy of his contemporary, Lyonel Feininger (1871-1956), in _^<i_Wee Willy Winky's World_^>i_ and _^<i_The Kin-Der Kids_^>i_._^<n__^<n_In the 1920s, when economic depression brought about a change in public outlook, a demand was
created for action-adventure strips, making publication of outright sf comic strips feasible. The transition came with _^<a_!T5063_BUCK ROGERS IN THE 25TH CENTURY_^>a_ (1929-67), an adult comic strip inspired by a novel in _^<a_!T141_AMAZING
STORIES_^>a_; it spawned several rivals, among them _^<a_!T4991_BRICK BRADFORD_^>a_ (1933 onwards), _^<a_!T1517_FLASH GORDON_^>a_ (1934 onwards), _^<i_Speed Spaulding_^>i_ (1939), adapted from Edwin _^<a_!T383_BALMER_^>a_'s and Philip
_^<a_!T6210_WYLIE_^>a_'s _^<i_When Worlds Collide_^>i_ (_^<b_1933_^>b_) and illustrated by Marvin Bradley, and not forgetting Frank Godwin's _^<a_!T837_CONNIE_^>a_ (1927-44), which in the mid-1930s abandoned its everyday terrestrial setting for
outer-space intrigue. These all drew their plots extensively from the epics of classical literature, modernized by the inclusion of _^<a_!T2348_SPACESHIPS_^>a_ and ray-guns, and distanced from reality by being located in the far future or remote
past._^<n__^<n_Similar innovations occurred in Europe following the reprintings there of the major US comic strips. High points were the appearances of: in France, _^<i_Futuropolis_^>i_ (1937-8 _^<i_Junior_^>i_) and _^<i_Electropolis_^>i_ (1939
_^<i_Jean-Pierre_^>i_), both written and illustrated by Rene Pellos; in Italy, _^<i_Saturno Contro la Terra_^>i_ (1937-43), written by F. Pedrocchi and illustrated by G. Scolari; and, in the UK, _^<a_!T4627_GARTH_^>a_ (1943 onwards)._^<n__^<n_The
growth in the number of sf comic strips was, however, largely a reflection of the increased number of comic strips in general; they were now so popular in the USA that new methods of packaging them were being explored. Out of this experimentation
developed the comic book. Initially comic books contained merely reprints of the newspaper strips-e.g., _^<i_Buck Rogers_^>i_ in _^<i_Famous Funnies_^>i_ (1934-55) and _^<i_Flash Gordon_^>i_ and _^<i_Brick Bradford_^>i_ in _^<i_King Comics_^>i_
(1936-51)-but soon the available existing strips were used up, and comic books featuring original strips were the inevitable second stage. In the first issue of one of these new titles, _^<i_Action Comics_^>i_ (1938 onwards; > _^<a_!T1115_DC
COMICS_^>a_), _^<a_!T5830_SUPERMAN_^>a_ appeared. Featuring a larger-than-life figure, omnipotent (mostly) in the face of all adversity, _^<i_Superman_^>i_ (1939 onwards) proved so popular that numerous imitation _^<a_!T5829_SUPERHEROES_^>a_
appeared, from Batman through _^<a_!T5154_CAPTAIN MARVEL_^>a_ to the many heroes featured by the modern _^<a_!T3694_MARVEL COMICS_^>a_ group, all being variations on the same basic theme._^<n__^<n_In many of these comic books a central sf story was
backed up by strips from outside the genre, but some comics were entirely devoted to sf. The first sf comic book was _^<i_Amazing Mystery Funnies_^>i_ (1938-40), which contained a pot-pourri of superhero and _^<a_!T2342_SPACE-OPERA_^>a_ strips, its
artists including Bill Everett (1917-1973), Will Eisner (1917-_^<n__^<n_) and Basil Wolverton (1909-1979). Hugo _^<a_!T4668_GERNSBACK_^>a_ briefly entered the field with _^<i_Superworld Comics_^>i_ (1939). _^<i_Buck Rogers_^>i_ (1940-43) and
_^<i_Flash Gordon_^>i_ (intermittently 1943-53) also appeared as titles. Most successful was _^<i_Planet Comics_^>i_ (1940-54), a companion to _^<a_!T1924_PLANET STORIES_^>a_, which featured _^<i_Star Pirate_^>i_ by Murphy Anderson (1926- ),
_^<i_Lost World_^>i_ by George Evans (1920- ), _^<i_Auro, Lord of Jupiter_^>i_ by Graham Ingels (1915-1991) and other memorable strips._^<n__^<n_In such a competitive market it was inevitable that publishers would turn to the sf _^<a_!T2033_PULP
MAGAZINES_^>a_ for help. National Periodicals (DC Comics) offered Mort _^<a_!T5515_WEISINGER_^>a_, then editor of _^<a_!T6004_THRILLING WONDER STORIES_^>a_, an editorial post. Accepting it, he worked initially on _^<i_Superman_^>i_, using authors
of the calibre of Alfred _^<a_!T568_BESTER_^>a_, Edmond _^<a_!T4258_HAMILTON_^>a_, Henry _^<a_!T4144_KUTTNER_^>a_ and Manly Wade _^<a_!T5525_WELLMAN_^>a_ to help compete with the rival publication, _^<i_Captain Marvel_^>i_, scripted by Otto Binder
(> Eando _^<a_!T604_BINDER_^>a_). Well known artists from the sf magazines were also used. Alex _^<a_!T2858_SCHOMBURG_^>a_ appeared in _^<i_Startling Comics_^>i_ (1940-51), Edd _^<a_!T5198_CARTIER_^>a_ in _^<i_Shadow Comics_^>i_ (1940-50) and
_^<i_Red Dragon_^>i_, 2nd series (1947-8), and Virgil _^<a_!T1488_FINLAY_^>a_ in _^<i_Real Fact Comics_^>i_ (1946-9). Similarly, in the UK Serge Drigin, artist on _^<a_!T2885_SCOOPS_^>a_ and _^<a_!T1412_FANTASY_^>a_, illustrated _^<i_Space
Police_^>i_ (1940 _^<i_Everyday Novels and Comics_^>i_)._^<n__^<n_By the early 1950s numerous sf comic books were appearing, among them: _^<i_Lars of Mars_^>i_ (1951) and _^<i_Space Patrol_^>i_ (1952), both issued by _^<a_!T6269_ZIFF-DAVIS_^>a_,
publishers of _^<a_!T141_AMAZING STORIES_^>a_ and _^<a_!T1395_FANTASTIC ADVENTURES_^>a_; and _^<i_Rocket to the Moon_^>i_ (1951) and _^<i_An Earthman on Venus_^>i_ (1952), both published by Avon and featuring adaptations of, respectively, Otis
Adelbert _^<a_!T4094_KLINE_^>a_'s _^<i_Maza of the Moon_^>i_ (_^<b_1930_^>b_) and Ralph Milne _^<a_!T1434_FARLEY_^>a_'s _^<i_The Radio Man_^>i_ (1924 _^<i_Argosy All-Story Weekly_^>i_; _^<b_1948_^>b_; vt _^<i_An Earthman on Venus_^>i_ 1950); and an
anti-communist propaganda sf comic book, _^<i_Is This Tomorrow?_^>i_ (1947). More durable were _^<i_Mystery in Space_^>i_ (1951-66) and _^<i_Strange Adventures_^>i_ (1950-73), both from DC, _^<i_Harvey's Race for the Moon_^>i_ (1956) and Richard E.
Hughes's _^<i_Forbidden Worlds_^>i_ (1951-67), all of which managed some consistency, albeit of a distinctly juvenile nature. Distinguished artwork came from the likes of Sid Greene, Carmine Infantino, (1925- ), Gil Kane (1926- ), Jack
_^<a_!T4084_KIRBY_^>a_, Mike Sekowsky, Al Williamson (1931- ) and sometime _^<i_Buck Rogers_^>i_ illustrator Murphy Anderson (1926- ). All the while, new sf comic strips were appearing in newspapers, two of the better titles being _^<i_Beyond
Mars_^>i_ (1951-3 _^<i_New York Sunday News_^>i_), scripted by Jack _^<a_!T5629_WILLIAMSON_^>a_ from his two novels _^<i_Seetee Shock_^>i_ (_^<b_1950_^>b_) and _^<i_Seetee Ship_^>i_ (_^<b_1951_^>b_), with illustrations by Lee Elias (1920- ), and
_^<i_Twin Earths_^>i_ (1951-4), a counter-Earth story created and written by Oskar Lebeck illustrated by Alden McWilliams (1916- ) -- not to forget _^<i_Sky Masters_^>i_ (1959-61), drawn by Kirby and written by Bob and Dick Wood, doing their
best to second-guess a space programme that still lay 10 years in the future._^<n__^<n_The most important of this period, however, were the sf comic books published by _^<a_!T6573_EC COMICS_^>a_. Appearing initially at the suggestion of Harry
_^<a_!T4316_HARRISON_^>a_, who had been working in comics as artist and scriptwriter since 1946, _^<i_Weird Science_^>i_ (1950-53) and _^<i_Weird Fantasy_^>i_ (1950-53) -- which later merged to form _^<i_Weird Science Fantasy_^>i_ (1953-5) before
being finally renamed _^<i_Incredible Science Fiction_^>i_ (1955-6) -- published the most sophisticated sf stories yet to appear in the comic books, often featuring wry endings in the manner of Philip K. _^<a_!T1222_DICK_^>a_. Illustrated by such
well known sf artists as George Evans, Frank _^<a_!T1612_FRAZETTA_^>a_, Roy G. _^<a_!T4128_KRENKEL_^>a_, Bernard Krigstein (1919-1990), Al Williamson and Wallace _^<a_!T6160_WOOD_^>a_, they often included adaptations of stories by popular sf
authors, in particular Ray _^<a_!T4963_BRADBURY_^>a_. With the imposition of the Comics Code in 1955, these and many other titles ceased, and comics then went through a period of restraint and unoriginality._^<n__^<n_A similar boom in sf comic
books was taking place in Europe. Included in these titles were _^<i_Super Science Thrills_^>i_ (1945), _^<i_Tit-Bits Science Fiction Comics_^>i_ (1953) and _^<i_The Jet Comic_^>i_ (1953), a companion to _^<a_!T319_AUTHENTIC SCIENCE FICTION_^>a_,
which appeared in the UK, and _^<i_Espace_^>i_ (1953-54) and _^<i_L'An 2,000_^>i_ (1953-4), in France. Also of interest was _^<i_Tarzan Adventures_^>i_ (1953-9) which, under Michael _^<a_!T3030_MOORCOCK_^>a_'s editorship from 1957, published
several sf comic strips, including James _^<a_!T5217_CAWTHORN_^>a_'s _^<i_Peril Planet_^>i_. It was in the weekly comic papers, however, that the best-drawn and -plotted sf comic strips were to appear. Foremost was _^<a_!T1046_DAN DARE_^>a_
(1950-67 _^<i_Eagle_^>i_). With its clean linework by Frank _^<a_!T4267_HAMPSON_^>a_, this became the UK's most influential sf comic strip, inspiring several rivals -- including _^<a_!T3884_JEFF HAWKE_^>a_, _^<i_Captain Condor_^>i_ (1952-5
_^<i_Lion_^>i_), at one time illustrated by Brian _^<a_!T3365_LEWIS_^>a_ (who also did many _^<a_!T3182_NEW WORLDS_^>a_ covers), and _^<i_Jet-Ace Logan_^>i_ (1956-9 _^<i_Comet_^>i_; 1959-60 _^<i_Tiger_^>i_), written by Frank S. Pepper (1910-1988)
and, later, by Moorcock (who also scripted _^<i_Rick Random, Space Ace_^>i_, drawn by Rowland [Ron] Turner (1922- ) for _^<b_Thriller Picture Library_^>b_). Equally notable was _^<i_Rocket_^>i_ (1956), an sf comic paper which featured US
reprints and others, including _^<i_Escape from Earth_^>i_, _^<i_Seabed Citadel_^>i_ and _^<i_Captain Falcon_^>i_; it ran to 32 issues. More successful was _^<i_Boy's World_^>i_ (1963-4) which, prior to its merger with _^<i_Eagle_^>i_, published
_^<i_Wrath of the Gods_^>i_, initially written by Moorcock and illustrated by Ron Embleton (1930-1988), then by John M. Burns (1938- ), _^<i_Ghost World_^>i_, illustrated by Frank Bellamy (1917-1976), and _^<i_The Angry Planet_^>i_, an
adaptation of Harry Harrison's _^<i_Deathworld_^>i_ (_^<b_1960_^>b_) plotted by Harrison and scripted by Kenneth _^<a_!T5073_BULMER_^>a_. Mention should also be made of _^<i_TV Century 21_^>i_ (1965-9), which published material based on Gerry
_^<a_!T164_ANDERSON_^>a_'s tv puppet shows _^<a_!T5747_STINGRAY_^>a_, _^<a_!T1492_FIREBALL XL5_^>a_, _^<a_!T6007_THUNDERBIRDS_^>a_ and _^<a_!T5158_CAPTAIN SCARLET AND THE MYSTERONS_^>a_ and on Terry _^<a_!T3140_NATION_^>a_'s horrors, the
_^<a_!T1035_DALEKS_^>a_. In 1977 the first truly UK sf comic arrived in the shape of _^<a_!T6145_2,000 AD_^>a_, starring the quasi-fascist supercop _^<a_!T3951_JUDGE DREDD_^>a_._^<n__^<n_A turning point was the publication by _^<a_!T3694_MARVEL
COMICS_^>a_ -- which had published innumerable horror, fantasy and sf anthology titles throughout the 1950s and early 1960s -- of _^<i_The Fantastic Four_^>i_ (1961 onwards), whose success heralded a new wave of superhero comics, starring new
characters and heroes (like Captain America and Sub-Mariner) resuscitated from Marvel productions of the period during and immediately after WWII. National Periodicals (DC Comics), publishers of _^<i_Superman_^>i_, was already in the process of
expanding its superhero list, so DC and Marvel very soon became established as the "Big Two" in the field. Another trend was the growing number of adaptations of sf _^<a_!T5926_TELEVISION_^>a_ series, notably _^<a_!T2429_STAR TREK_^>a_ and
_^<a_!T1268_DR WHO_^>a_, which both appeared in a variety of publications. Innovations appeared in the "underground" comics, where sf supplied an ideal framework for scatological examinations of society's neuroses and phobias; original artistic
styles were developed by Richard _^<a_!T876_CORBEN_^>a_, Vaughn _^<a_!T677_BODE_^>a_ and others. Roger _^<a_!T6648_ELWOOD_^>a_ edited _^<i_Starstream Comics_^>i_ (1976) in an attempt to introduce adaptations of work by Poul
_^<a_!T169_ANDERSON_^>a_, Larry _^<a_!T3223_NIVEN_^>a_, Robert _^<a_!T2216_SILVERBERG_^>a_ and others, but this venture apparently failed to attract any substantial readership. A similar fate befell a slightly earlier series, _^<i_Unknown Worlds of
Science Fiction_^>i_ (1975) ed Roy Thomas, which adapted stories by Moorcock, Bob _^<a_!T2153_SHAW_^>a_, Stanley G. _^<a_!T5506_WEINBAUM_^>a_ and others. Published by the Marvel Comics group and with the byline "Stan Lee Presents" (> Stan
_^<a_!T4233_LEE_^>a_), it ran for 6 issues in 1975. Several other sf comics appeared in the mid-1970s, notably Charlton Comics's _^<i_Space 1999 Magazine_^>i_ (a companion to the Gerry Anderson tv series _^<a_!T2341_SPACE 1999_^>a_), the
apocalyptic colour comic _^<i_Doomsday Plus 1_^>i_ (recently reprinted, due to the popularity of artist John Byrne [1950- ], by Fantagraphics) and Marvel's _^<i_Planet of the Apes_^>i_ magazine (based on the 1968 movie _^<a_!T1919_PLANET OF THE
APES_^>a_ and its sequels), which was immensely popular in the UK in 1975. Mike Friedrich's titles _^<i_Star Reach_^>i_ (1975-8) and _^<i_Imagine_^>i_ (1976-8), which graduated in 1977 from underground comics to small-magazine format, had a heavy
sf and fantasy bias. Friedrich's list of contributors reads like a who's who of comics experimenters and stars: Howard V. _^<a_!T5252_CHAYKIN_^>a_, Michael T. Gilbert, Lee Marrs, P. Craig Russell (1950- ) (well remembered for his work on Marvel's
_^<i_Killraven_^>i_ space opera -- see below -- which ran in _^<i_Amazing Adventures_^>i_ 1975-6 and was republished as a graphic novella, _^<b_1983_^>b_), Jim Starlin (1949- ). . . the list is a long one. Mention should also be made of Marvel's
1977 adaptation of the 1968 film _^<a_!T6146_2001: A SPACE ODYSSEY_^>a_, done by Jack Kirby, who also had a 100pp novella, _^<i_The Silver Surfer_^>i_ (graph _^<b_1977_^>b_), co-authored with Stan _^<a_!T4233_LEE_^>a_, published in that
year._^<n__^<n_In the UK interest in _^<i_Jeff Hawke_^>i_ had waned sufficiently for the London _^<i_Daily Express_^>i_, the national newspaper in which it had appeared, to discontinue the strip -- although the _^<i_Express_^>i_'s sister newspaper,
the _^<i_Scottish Daily Record_^>i_, missed _^<i_Jeff Hawke_^>i_ enough that it commissioned a new and exceptionally similar strip from Sidney Jordan: this was _^<i_Lance McLane_^>i_, which ran from 1976 until the mid-1980s. Earlier, in 1973,
writer Richard O'Neill and artist John M. Burns had created a Philip Jose _^<a_!T1435_FARMER_^>a_-style fantasy, _^<i_Danielle_^>i_ (1973-4; brief revival in 1978; graph coll as _^<i_Danielle_^>i_ _^<b_1984_^>b_), for the _^<i_London Evening
News_^>i_. In the USA Gil Kane and Ron _^<a_!T4785_GOULART_^>a_ embarked on a daily space-adventure strip, _^<i_Star Hawks_^>i_ (1977-81), cleverly jumping in before the release, later that year, of the movie space opera _^<a_!T5686_STAR
WARS_^>a_._^<n__^<n_With the success of that film came a renewed interest in sf proper, rather than the fringe-sf of the superhero adventure. The 1970s had seen their fair share of interesting though often short-lived features, such as: Mike
Kaluta's elegant adaptation of Edgar Rice _^<a_!T5097_BURROUGHS_^>a_'s _^<b_Carson of Venus_^>b_ adventures in _^<i_Korak_^>i_ (1972-4); _^<i_Killraven_^>i_ (_^<i_Amazing Adventures_^>i_ 1973-6) by Don MacGregor, initially drawn by Howard V.
Chaykin and after 1975 by Russell, which was an attempt at a sequel to H.G. _^<a_!T5528_WELLS_^>a_'s _^<i__^<a_!B9242_THE WAR OF THE WORLDS_^>a__^>i_ (_^<b_1898_^>b_); _^<i_Monark Starstalker_^>i_ by Chaykin; _^<i_Deathlok_^>i_; _^<i_Star
Hunters_^>i_; _^<i_Warlock_^>i_ and _^<a_!T5154_CAPTAIN MARVEL_^>a_, both these latter by Jim Starlin; _^<i_Guardians of the Galaxy_^>i_ (written by Steve Gerber); _^<i_Starfire_^>i_ and _^<i_The Eternals_^>i_ (inspired by the notions of Erich von
_^<a_!T5397_DANIKEN_^>a_) -- as well as the many excellent stories published by James Warren in his black-and-white magazines _^<i_Eerie_^>i_ (1965-83), _^<i_Creepy_^>i_ (1965-83), _^<i_1984_^>i_ (1978-80) and _^<i_Comix International_^>i_
(1974-7). Baronet Books issued _^<i_The Illustrated Roger Zelazny_^>i_ (graph _^<b_1978_^>b_) by Gray _^<a_!T3069_MORROW_^>a_ and followed up with _^<i_The Illustrated Harlan Ellison_^>i_. _^<a_!T4370_HEAVY METAL_^>a_ -- a US avatar of France's
_^<a_!T2921_METAL HURLANT_^>a_ -- opened many eyes to European comics stars such as Moebius (Jean _^<a_!T4718_GIRAUD_^>a_), later creator of _^<i_The Airtight Garage_^>i_ (graph coll trans _^<b_1987_^>b_), and Philippe _^<a_!T1326_DRUILLET_^>a_,
with _^<i_Lone Sloane_^>i_ (graph _^<b_1967_^>b_) and _^<i_Delirius_^>i_ (graph _^<b_1973_^>b_). _^<i_Star Wars_^>i_ and, to a lesser extent, _^<a_!T3423_LOGAN'S RUN_^>a_ (1976) began the deluge of late 1970s/early 1980s sf on film and tv.
_^<a_!T98_ALIEN_^>a_, _^<a_!T467_BATTLESTAR GALACTICA_^>a_, _^<a_!T640_BLADE RUNNER_^>a_, _^<a_!T5063_BUCK ROGERS IN THE 25TH CENTURY_^>a_, _^<a_!T1744_OUTLAND_^>a_, _^<a_!T6147_2010_^>a_ and _^<a_!T5271_UFO_^>a_ all had comics adaptations.
_^<i_Star Wars_^>i_'s own comic series ran for 10 years (1977-86); and, despite its having to change publishers several times, there has been a _^<i_Star Trek_^>i_ comic book running continuously right through the 1970s and 1980s to today's
_^<i_Star Trek: The Next Generation_^>i_. In the UK at this time it was the tv-related magazines that produced the best comic-strip sf. _^<i_Countdown_^>i_ (later renamed _^<i_TV Action_^>i_ 1970-74) ran a _^<b_Dr Who_^>b_ strip and another based
loosely on _^<i_2001: A Space Odyssey_^>i_, and _^<i_Look In_^>i_ had some excellent stories ranging from _^<i_The_^>i_ _^<a_!T6047_TOMORROW PEOPLE_^>a_ through _^<b_Buck Rogers in the 25th Century_^>b_ to _^<i_The_^<a_!T2232_SIX MILLION DOLLAR
MAN_^>a__^>i_ ._^<n__^<n_Smaller independent companies like First Comics brought us items such as: _^<i_Mars_^>i_ (1984) by Marc Hempel (1957- ) and Mark Wheatley (1954- ), a tale of Earth science and colonists versus Martian Mother Nature;
_^<a_!T3187_NEXUS_^>a_ (1981-91) by Mike Baron (1949- ) and Steve Rude (1956- ), possibly the ultimate mixture of _^<a_!T4288_HARD SF_^>a_ and superhero genres; _^<a_!T147_AMERICAN FLAGG!_^>a_ (1983-8; 2nd series 1988-9), Chaykin's
_^<a_!T1370_DYSTOPIAN_^>a_ masterpiece (there were 3 collections: _^<i_Hard Times_^>i_ [graph _^<b_1984_^>b_], _^<i_Southern Comfort_^>i_ [graph _^<b_1986_^>b_] and _^<i_State of the Union_^>i_ [graph _^<b_1987_^>b_]), followed by his two stylish
_^<b_Time (2)_^>b_ novellas, _^<i_The Epiphany_^>i_ (graph _^<b_1986_^>b_) and _^<i_The Satisfaction of Black Mariah_^>i_ (graph _^<b_1987_^>b_). First Comics also continued the comics adaptations of Michael Moorcock's _^<b_Elric_^>b_ books after
Pacific Comics had expired -- _^<i_Elric of Melnibone_^>i_ (1984), _^<i_Sailor on the Seas of Fate_^>i_ (1985-6), _^<i_Weird of the White Wolf_^>i_ (1986-7), _^<i_The Vanishing Tower_^>i_ (1987-8) and _^<i_Bane of the Black Sword_^>i_ (1988-9) --
as well as initiating further Moorcock series: _^<i_Hawkmoon_^>i_ (5 series, 1986-9) and _^<i_Corum_^>i_ (1987-9). Marvel Comics brought out a glossy magazine in the _^<i_Heavy Metal_^>i_ mould called _^<i_Epic Illustrated_^>i_ (1980-86; rev 1992),
and this led Marvel to set up in 1984 a separate imprint, Epic Comics, which has put out some excellent material: _^<i_Starstruck_^>i_ (1985-6; graph exp vt _^<i_Starstruck: The Expanding Universe_^>i_ _^<b_1990-91_^>b_); also adapted as a stage
play) by Elaine Lee and Mike Kaluta; _^<i_Void Indigo_^>i_ (1984-5) by Steve Gerber, which dealt with a few too many _^<a_!T5888_TABOOS_^>a_ and was left unfinished; _^<i_Alien Legion_^>i_ (1984-current); and _^<i_Plastic Forks_^>i_ (1990), a
Philip K. Dick-style adventure by Ted McKeever. Epic Comics is currently publishing McKeever's apocalyptic story _^<i_Metropol_^>i_ (1991-current). Other items of interest include: Frank _^<a_!T2953_MILLER_^>a_ Inc.'s story _^<i_Ronin_^>i_ (1983-4;
graph coll _^<b_1987_^>b_), a fascinating mixture in which post-_^<a_!T4482_HOLOCAUST_^>a_ techno-principality (New York) meets Samurai drama; and comics's answer to Fritz _^<a_!T4177_LANG_^>a_'s _^<a_!T2926_METROPOLIS_^>a_ (1926), _^<a_!T2979_MR
X_^>a_ (1984-91) by Dean Motter and Paul Rivoche, issued by Canadian publisher Vortex and produced briefly by the _^<a_!T3464_LOVE AND ROCKETS_^>a_ creators Gilbert (1957- ), Jaime (1959- ) and Mario Hernandez, with a collection published as
_^<i_The Return of Mr X_^>i_ (graph coll _^<b_1985_^>b_). The comic-book company Innovation has recently published several sf and fantasy adaptations based on work by (among others) Piers _^<a_!T196_ANTHONY_^>a_, Terry _^<a_!T1974_PRATCHETT_^>a_,
Anne Rice (1941- ) and Gene _^<a_!T5676_WOLFE_^>a_._^<n__^<n__^<a_!T3872_JAPAN_^>a_ -- home of martial-arts epics, _^<a_!T4750_GOJIRA_^>a_ and gargantuan _^<a_!T2646_ROBOTS_^>a_ -- deserves special discussion. The robots usually have an initial
_^<i_manga_^>i_ (comic-strip) incarnation. The ancestor of them all is Osamu _^<a_!T5955_TEZUKA_^>a_'s _^<i_Tetsuwan Atom_^>i_ (vt _^<i_Astroboy_^>i_). This diminutive hero's comic-strip adventures date back to 1952, and his tv cartoon show, first
aired in 1963, marked the birth of tv animation in Japan. As well as robo-colossi such as _^<i_Mazinger X_^>i_ and _^<i_The Shogun Warriors_^>i_, space operas like _^<i_Space Cruiser Yamato_^>i_ and _^<i_Galaxy Express 999_^>i_ and the space piracy
of _^<i_by Masamune Shirow, the closely-guarded pseudonym of a Japanese writer/artist (1962- ) Captain Harlock_^>i_ (all created by Reiji Matsumoto) were very popular in 1970s _^<i_manga_^>i_ and on tv. More recently speculative _^<i_manga_^>i_
have been given a chance to diversify a little as evidenced by _^<i_Mai the Psychic Girl_^>i_ (trans graph coll _^<b_1990_^>b_ UK); Rumiko Takahashi's _^<i_Lum_^>i_ (1989-90), a sort of sf farce; the serene _^<a_!T4288_HARD SF_^>a_ of Yukinobu
Hoshino's _^<i_2001 Nights_^>i_ (trans graph _^<b_1990_^>b_);_^<i_Appleseed_^>i_ (trans graph coll, vol 1 _^<b_1990_^>b_, vol 2 _^<b_1991_^>b_, vol 3 _^<b_1992_^>b_)by Masamune Shirow, the closely-guarded pseudonym of a Japanese writer/artist
(1962- ); and Katsuhiro _^<a_!T1739_OTOMO_^>a_'s phenomenally successful _^<i_Akira_^>i_ (1982 onwards), filmed as _^<a_!T79_AKIRA_^>a_ (1987), whose nearly 2000 pages are being published in colour in English by Epic Comics (1989
onwards)._^<n__^<n_In the 1990s the "adult" cartoon strip has finally begun to find its way into bookshops and away from the "funnies" sections of the newspapers. Reading _^<i_V for Vendetta_^>i_ (graph _^<b_1990_^>b_) by Alan
_^<a_!T3031_MOORE_^>a_ and artist David Lloyd (1950- ) is not the simple, lowest-common-denominator entertainment that was once the norm for comic books; reading the _^<b_Luther Arkwright_^>b_ trilogy (graph coll _^<b_1989_^>b_) by Bryan Talbot
(1952- ) involves an understanding of the language of comics, especially in layout; reading Matthias Schultheiss's _^<i_Bell's Theorem_^>i_ (graph in 3 vols _^<b_1989_^>b_) really does hinge on an understanding of the eponym. Of course, there is
no shortage of trashy adventure comics and fatuous newspaper strips, just like 50 years ago. The difference is that now there are intelligent comic strips, comic books and graphic novels as well._^<n__^<n_For a list of all comics and comics-related
entries > Introduction. [JE/SW/SH/JC]_^<n__^<n__^<b_Further reading:_^>b_ The best studies of the comic strip before the end of the 19th century are, both by David Kunzle, _^<i_The Early Comic Strip_^>i_ (_^<b_1974_^>b_) and _^<i_The History of the
Comic Strips: The 19th Century_^>i_ (_^<b_1992_^>b_), the first 2 vols of an extended and intensive overview; and _^<i_The American Comic Book Catalogue: The Evolutionary Era, 1884-1939_^>i_ (_^<b_1990_^>b_) by Denis Gifford (1927- ), which
lists nearly 500 separate titles and series, is an important aid. For later periods, see _^<i_The Comics_^>i_ (_^<b_1947_^>b_; reissued 1990) by Coulton Waugh; _^<i_The Penguin Book of Comics_^>i_ (_^<b_1967_^>b_; rev 1971; rev 1990) by George
Perry and Alan Aldridge; _^<i_A History of the Comic Strip_^>i_ (_^<b_1968_^>b_) by P. Couperie and Maurice Horn; _^<i_The World Encyclopedia of Comics_^>i_ (_^<b_1967_^>b_) by Maurice Horn; _^<i_The Adventurous Decade: Comic Strips in the
Thirties_^>i_ (_^<b_1976_^>b_) by Ron _^<a_!T4785_GOULART_^>a_; _^<i_The World Encyclopedia of Comics_^>i_ (_^<b_1976_^>b_) ed M. Horn; _^<i_Smithsonian Collection of Newspaper Comics_^>i_ (_^<b_1977_^>b_) ed Bill Blackbeard and Martin Williams;
_^<i_Smithsonian Book of Comic Book Comics_^>i_ (_^<b_1979_^>b_) ed Blackbeard; _^<i_The International Book of Comics_^>i_ (_^<b_1984_^>b_) by Denis Gifford; _^<i_Encyclopedia of Comic Characters_^>i_ (_^<b_1987_^>b_) by Denis Gifford;_^<i_Comics:
Ideology, Power and the Critics_^>i_ (_^<b_1989_^>b_) by Martin Barker; _^<i_The Encyclopedia of Comic Books_^>i_ (_^<b_1991_^>b_) by Ron Goulart; _^<i_Adult Comics: An Introduction_^>i_ (_^<b_1993_^>b_) by Roger Sabin; _^<i_The Comic Book: The One
Essential Guide for Comic Book Fans Everywhere_^>i_ (_^<b_1994_^>b_) by Paul Sassienie; the important annual bibliography _^<i_The Overstreet Comic Book Price Guide_^>i_ by Robert M. Overstreet.
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US tv series (1955). Republic Studios/Hollywood Television Service for NBC TV. Prod Mel Tucker, Franklyn Adreon, dir Fred Bannon, Harry Keller. Written by Ronald Davidson, Barry Shipman. Weekly. 25 mins per episode. B/w._^<n__^<n_Despite the title,
the hero of this short-lived children's tv series was more likely to be found riding in a four-door sedan than travelling around the Universe. A cross between the Lone Ranger and Captain Midnight (his rival crime-fighter on CBS), Cody wore a
costume that looked as if its previous owner had been in the German High Command and a mask whose function was unclear. Cody (here played by Judd Holdren) and his sidekick Joan (Aline Towne) had previously appeared in two Republic Studios film
serials, _^<i_Radar Men from the Moon_^>i_ (1952; 12 episodes), in which Cody was played by George Wallace, and _^<i_Commando Cody_^>i_ (1953; 12 episodes), starring Holdren. Equipped with several secret laboratories, a spaceship and an ordinary
revolver, Cody fought conventional gangsters and, occasionally, the Ruler, an evil genius from outer space. Unsurprisingly reminiscent of the absurdities of the movie serials, _^<i_CC_^>i_ was more entertaining than the slicker _^<a_!T5155_CAPTAIN
MIDNIGHT_^>a_. [JB/PN]_^<n__^<n_
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COMMUNICATIONS
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Many aspects of communication in sf are dealt with under separate entries in this volume. The most familiar form of communication is through language, for a discussion of which> _^<a_!T3398_LINGUISTICS_^>a_. Direct mental communication, or
telepathy, is discussed under _^<a_!T6697_ESP_^>a_. For communication in the sense of travel > _^<a_!T3721_MATTER TRANSMISSION_^>a_ and _^<a_!T6080_TRANSPORTATION_^>a_. For communications networks> _^<a_!T826_COMPUTERS_^>a_,
_^<a_!T1015_CYBERPUNK_^>a_ and _^<a_!T3743_MEDIA LANDSCAPE_^>a_._^<n__^<n_Once the implications of Relativity were absorbed by _^<a_!T4659_GENRE SF_^>a_ it was realized that most _^<a_!T2342_SPACE OPERAS_^>a_ and any story involving a
_^<a_!T1678_GALACTIC EMPIRE_^>a_ faced the problem that messages from one star system to another might take many lifetimes to deliver. The issues raised here are discussed under _^<a_!T1443_FASTER THAN LIGHT_^>a_ (_^<i_see also_^>i_
_^<a_!T4574_HYPERSPACE_^>a_), and two of the best known sf devices invented by writers to cope with it are discussed under _^<a_!T191_ANSIBLE_^>a_ and _^<a_!T1242_DIRAC COMMUNICATOR_^>a_. Communication within our Solar System has been dealt with in
many stories, mostly earlier, notably those collected in _^<i_Venus Equilateral_^>i_ (coll of linked stories _^<b_1947_^>b_) by George O. _^<a_!T2275_SMITH_^>a_._^<n__^<n_Messages can be sent forwards in time using time capsules. Sending them
backwards in time is trickier, but the apparent prohibition against sending such messages implied by Relativity may be sidestepped by using the (theoretical) elementary particle called the _^<a_!T5890_TACHYON_^>a_, which can travel only faster than
light. Sending messages to the past in this way (_^<i_see also_^>i_ _^<a_!T6026_TIME TRAVEL_^>a_) is central to _^<i__^<a_!B9122_TIMESCAPE_^>a__^>i_ (_^<b_1980_^>b_) by Gregory _^<a_!T526_BENFORD_^>a_. Indeed, messages from the future to the past
are not uncommon in sf, a recent example, with bewilderingly rococo detail, being provided by Dan _^<a_!T2219_SIMMONS_^>a_'s _^<b_Hyperion_^>b_ books, _^<i__^<a_!B9211_HYPERION_^>a__^>i_ (_^<b_1989_^>b_) and _^<i_The Fall of Hyperion_^>i_
(_^<b_1990_^>b_), in which a titanic struggle across the ages by different but ultimate _^<a_!T68_AI_^>a_s involves such sometimes contradictory time messages as the lethal Shrike (a God of Pain), mysterious Time Tombs, and Moneta, the goddess of
backwards memory who lives backwards in time, along with what appears to be reversed predestination where the future determines the past. All such stories worryingly violate the Principle of Causality which states, to put it simply, that causes
precede effects._^<n__^<n_The most common communications scenario in sf-often but not always linguistic -- involves the meeting of humans with _^<a_!T102_ALIENS_^>a_. These are often called first-contact stories, and perhaps the best known of them
is "First Contact" (1945) by Murray _^<a_!T3326_LEINSTER_^>a_; an anthology of such stories is _^<i_First Contact_^>i_ (anth _^<b_1971_^>b_) ed Damon _^<a_!T4098_KNIGHT_^>a_. Among some of the alien-contact stories most relevant to communication
are "A Martian Odyssey" (1934) by Stanley G. _^<a_!T5506_WEINBAUM_^>a_, "The Big Front Yard" (1958) by Clifford D. _^<a_!T2218_SIMAK_^>a_ and _^<i__^<a_!B9191_THE MOTE IN GOD'S EYE_^>a__^>i_ (_^<b_1974_^>b_) by Larry _^<a_!T3223_NIVEN_^>a_ and
Jerry _^<a_!T1961_POURNELLE_^>a_._^<n__^<n_Aside from the areas of communications which are dealt with in greater detail elsewhere in this volume, there remains that of nonlinguistic communication, though the distinction is merely semantic, in that
many writers would take linguistics to include, for example, mathematical symbology and sign language (> _^<a_!T3717_MATHEMATICS_^>a_). In many nonfiction works -- an early example, for the lay reader, being _^<i_We Are Not Alone_^>i_
(_^<b_1964_^>b_) by Walter Sullivan -- there is discussion of the possibility of using universal mathematical symbols to communicate with aliens, and this idea is by no means restricted to sf: it was used, for example, as the basis for the symbols
inscribed on the first space capsule whose course would take it outside the Solar System. The best of all stories about talking to aliens via mathematics may be _^<i_Neverness_^>i_ (_^<b_1988_^>b_) by David _^<a_!T6272_ZINDELL_^>a_, in which the
Solid State Entity, a godlike consciousness formed by an ordering of space and matter comprehending thousands of star systems, is talked to -- at length and very convincingly, even movingly -- in this manner._^<n__^<n_There was not much emphasis on
communication problems in early sf. Most nonlinguistic communication stories are post-WWII, by which time there had already been much discussion of information theory, especially in the context of _^<a_!T1014_CYBERNETICS_^>a_. Any message consists
of coded information: whether in the form of words, mathematical symbols, signs, modulated electromagnetic waves, intermittent laser beams or even the chemical pheromones used for communication by animals. A number of sf communication stories,
then, have been in effect code-cracking stories. In James _^<a_!T658_BLISH_^>a_'s _^<i_VOR_^>i_ (_^<b_1958_^>b_) an alien communicates by changing the colours of a patch on his head (VOR stands for violet, orange, red). Jack
_^<a_!T5317_VANCE_^>a_'s "The Gift of Gab" (1955) turns on whether a squid-like alien creature is intelligent; his intelligence is proven when he learns to use a semaphore language -- invented for the purpose -- by waving his tentacles. Vance's
stories persistently invent new communication systems, usually linked with the nature of alien cultures. Messages in various of his stories are passed by masks, music, smells, colours or signs. (A number of stories of this general type are
discussed under _^<a_!T197_ANTHROPOLOGY_^>a_.) Suzette Haden _^<a_!T6615_ELGIN_^>a_ is another writer whose stories blend cultural anthropology with communication problems; she has a PhD in linguistics. Naomi _^<a_!T2989_MITCHISON_^>a_ has written
a notable book in this area, _^<i__^<a_!B9187_MEMOIRS OF A SPACEWOMAN_^>a__^>i_ (_^<b_1962_^>b_), centred on a research worker whose job it is to understand and if possible communicate with alien species; Mitchison's aliens are more vivid and
convincing than usual, perhaps because of her background in _^<a_!T611_BIOLOGY_^>a_. Communication with aliens is, of course, a popular theme in sf, and many books, such as _^<i_Conscience Interplanetary_^>i_ (_^<b_1972_^>b_) by Joseph
_^<a_!T4832_GREEN_^>a_, have dealt with it at a less demanding level._^<n__^<n_Fred _^<a_!T4532_HOYLE_^>a_ has several times tackled the problem of decoding alien messages, most interestingly in _^<i_The Black Cloud_^>i_ (_^<b_1957_^>b_) but also
in _^<i_A for Andromeda_^>i_ (_^<b_1962_^>b_), written with John _^<a_!T6625_ELLIOT_^>a_. The latter story tells of the cracking of a binary code picked up on a radio telescope and its interpretation as instructions for building an artificial
person. One of the purest stories of this kind is James E. _^<a_!T4896_GUNN_^>a_'s _^<i_The Listeners_^>i_ (_^<b_1972_^>b_), which concentrates on the motivation behind attempts to pick up messages from the stars, and brings in many questions of
human communication as well. Decoding alien communication also occurs in Michael P. _^<a_!T4133_KUBE-MCDOWELL_^>a_'s debut novel _^<i_Emprise_^>i_ (_^<b_1985_^>b_), a first-contact story, in Carl _^<a_!T2767_SAGAN_^>a_'s bestselling
_^<i_Contact_^>i_ (_^<b_1985_^>b_) and in Jack _^<a_!T6319_MCDEVITT_^>a_'s _^<i_The Hercules Text_^>i_ (_^<b_1986_^>b_). Sagan's book has some good detail on the physics of communication and contains the entertaining notion that hidden within the
number pi, with its endless succession of apparently random numbers after the decimal point, is a message from the original geometers of the Universe. This outdoes Kurt _^<a_!T5402_VONNEGUT_^>a_ Jr who, in _^<i__^<a_!B9038_THE SIRENS OF
TITAN_^>a__^>i_ (_^<b_1959_^>b_), reports the discovery that many great human events and artefacts are in fact coded messages from the alien Tralfamadorians. Stonehenge, when viewed from above and decoded, means "Replacement part being rushed with
all possible speed"._^<n__^<n_Much closer to home, a popular theme has been attempts to communicate with species on our own planet, notably in _^<i_The Day of the Dolphin_^>i_ (_^<b_1967_^>b_; trans _^<b_1969_^>b_) by Robert _^<a_!T2906_MERLE_^>a_
and _^<i_Clickwhistle_^>i_ (_^<b_1973_^>b_) by William Jon _^<a_!T5480_WATKINS_^>a_. Both of these owe much to the well known work carried out by the scientist John Cunningham Lilly, author of _^<i_The Mind of the Dolphin: A Nonhuman
Intelligence_^>i_ (_^<b_1968_^>b_). Ian _^<a_!T5484_WATSON_^>a_ adopts a rather different method of cetacean communication in _^<i_The Jonah Kit_^>i_ (_^<b_1975_^>b_) -- indeed, most of Watson's books dramatize methods of transcending the
limitations of spoken human communication._^<n__^<n_There are plenty of communication problems in our own society, even without aliens. D.G. _^<a_!T823_COMPTON_^>a_ makes one of the best uses of a familiar idea in
_^<i__^<a_!B8996_SYNTHAJOY_^>a__^>i_ (_^<b_1968_^>b_), a well written and serious story about what happens when a machine is built which records emotional experiences and can be plugged into other minds. And, of course, there are many stories, both
in the mainstream and in sf -- too many to list here -- about the effect of _^<a_!T1325_DRUGS_^>a_ in assisting (or militating against) genuine human communication._^<n__^<n_Some of the most interesting sf communication stories are those which
stress the ambiguity that may be involved in interspecies communication. Three particularly enigmatic novels on this theme are _^<i__^<a_!B9052_ROGUE MOON_^>a__^>i_ (_^<b_1960_^>b_) by Algis _^<a_!T5064_BUDRYS_^>a_,
_^<i__^<a_!B9183_SOLARIS_^>a__^>i_ (_^<b_1961_^>b_ Poland; trans _^<b_1970_^>b_) by Stanislaw _^<a_!T3329_LEM_^>a_ and _^<i_Whipping Star_^>i_ (_^<b_1970_^>b_) by Frank _^<a_!T4389_HERBERT_^>a_. The Stanley _^<a_!T4135_KUBRICK_^>a_ film
_^<a_!T6146_2001: A SPACE ODYSSEY_^>a_ (1968) also comes into this group. In _^<i__^<a_!B9052_ROGUE MOON_^>a__^>i_ a labyrinthine artefact, apparently meaningful, is found on the Moon's surface. However, those who walk through it, some penetrating
further than others, have all died. These slaughters may in one sense be acts of communication also; they are given a number of human analogies by Budrys, who seems to see all communication as fraught with difficulty. (Alien-artefact stories are
further discussed under _^<a_!T590_BIG DUMB OBJECTS_^>a_ and _^<a_!T1245_DISCOVERY AND INVENTION_^>a_.) Lem's _^<i__^<a_!B9183_SOLARIS_^>a__^>i_ tells of the living planet of Solaris; humans in an orbital laboratory hope to communicate with the
(hypothetical) planetary intelligence; when communication arrives it takes the form of replicating figures from the scientists' subconscious minds. All efforts at communication are thwarted by the anthropomorphism of the observers, and the novel
asks the pessimistic question: will it _^<i_ever_^>i_ be possible to transcend our human-centred view of the Universe, or is communication with the alien a contradiction in terms? Herbert's _^<i_Whipping Star_^>i_ is frivolous by comparison, but
its ingenious array of semantic confusions -- as humans attempt to communicate with entities whose corporeal form, it turns out, is as stars -- poses some sharp questions. Kubrick ducked the question altogether in what has become the most famous
sequence in sf _^<a_!T726_CINEMA_^>a_; when the mysterious alien intelligence of _^<i_2001_^>i_ does communicate, the audience is given only an enigmatic and incomprehensible collage of lights, fragmentary landscapes, an unexpected 18th-century
room and a foetus. We are given to understand that communication is achieved, but we receive only the static that surrounds it. _^<a_!T764_CLOSE ENCOUNTERS OF THE THIRD KIND_^>a_ (1977) is another film which ends on a comparable note, the
communication here being between humans and the occupants of a _^<a_!T5271_UFO_^>a_ by means of lights and musical notes; the climax is a kaleidoscope of colour and sound._^<n__^<n_
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COMPTON, D(AVID) G(UY)
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(1930- ) UK writer, born of parents who were both in the theatre; he has lived in the USA since 1981. DGC's novels are almost always set in the _^<a_!T6337_NEAR FUTURE_^>a_, and each presents a moral dilemma. The future is used as a device for
bringing contemporary trends into a clearer focus. Most of the interest lies in personal relationships and the behaviour of people under stress; minor characters are observed with humour which frequently arises from class differences. Endings are
ambiguous or deliberately inconclusive. Later novels have varying modes of narrative technique. DGC's rare public utterances confirm the impression that he is not interested in the staple concerns of _^<a_!T4659_GENRE SF_^>a_._^<n__^<n_DGC's first
sf novel was _^<i_The Quality of Mercy_^>i_ (_^<b_1965_^>b_; rev 1970 US), concerning a genocidal plot, using a biological weapon, to combat _^<a_!T1752_OVERPOPULATION_^>a_. In _^<i_The Silent Multitude_^>i_ (_^<b_1967_^>b_) the crumbling of a
cathedral city reflects a disintegration in the human spirit. _^<i_Farewell, Earth's Bliss_^>i_ (_^<b_1966_^>b_; rev 1971 US) shows the plight of social misfits transported to _^<a_!T3677_MARS_^>a_. _^<i__^<a_!B8996_SYNTHAJOY_^>a__^>i_
(_^<b_1968_^>b_), a more complex novel, brought DGC wider notice, particularly in the USA. A surgeon and an electronics engineer develop tapes which enable unremarkable people to enjoy the experiences of those who are more gifted or fortunate. This
basic idea is a premise for the exploration of a moral problem and the observation of human beings in extreme situations. _^<i_The Steel Crocodile_^>i_ (_^<b_1970_^>b_ US; vt _^<i_The Electric Crocodile_^>i_ 1970 UK) presents the danger of new
knowledge and its application. _^<i_Chronocules_^>i_ (_^<b_1970_^>b_; vt _^<i_Hot Wireless Sets, Aspirin Tablets, the Sandpaper Sides of Used Matchboxes, and Something that Might have been Castor Oil_^>i_ 1971 UK; a further apparent vt, as
_^<i_Chronicules_^>i_ 1976 UK, is almost certainly a publisher's misspelling) is a _^<a_!T6026_TIME-TRAVEL_^>a_ story. _^<i_The Missionaries_^>i_ (_^<b_1972_^>b_ US) describes the efforts of some evangelizing aliens with a good deal of social
comedy._^<n__^<n_DGC's strengths as a writer are all displayed in the much admired _^<i_The Continuous Katherine Mortenhoe_^>i_ (_^<b_1974_^>b_; edited version vt _^<i_The Unsleeping Eye_^>i_ 1974 US; vt _^<i_Death Watch_^>i_ 1981 UK). A woman in
her 40s is given four weeks to live. A reporter with eyes replaced by tv cameras has the job of watching her decline for the entertainment of a pain-starved public in a world where illness is almost unknown. The reporter sees one of the
transmissions and realizes that the camera cannot tell the truth; the recorded film is without mind and therefore without compassion. The sequel, _^<i_Windows_^>i_ (_^<b_1979_^>b_ US), depicts the consequences of the reporter's decision to opt for
the oxymoron of literal blindness; neither character in the end is allowed to escape into solitude. The former novel was filmed as _^<i_La_^<a_!T3072_MORT EN DIRECT_^>a__^>i_ (1979). In DGC's most recent solo novel of real interest,
_^<i_Ascendencies_^>i_ (_^<b_1980_^>b_ US), manna-like free energy begins to fall from space, but the side-effects include profound displacements, both physical and in the domestic psyches whose traumas have always inspired his best work.
_^<i_Ragnarok_^>i_ (_^<b_1991_^>b_) with John _^<a_!T4864_GRIBBIN_^>a_ shows DGC's grasp of character depiction, but its near-future plot -- a scientist brings on a nuclear winter in an attempt to enforce disarmament -- owes much to his
collaborator's grasp of scientific process. But _^<i_Nomansland_^>i_ (_^<b_1993_^>b_) and _^<i_Justice City_^>i_ (_^<b_1994_^>b_) each increasingly demonstrates his recapture of the humane smoothness with which, in earlier books, he so eloquently
anatomized the near future. [MA/JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_The Palace_^>i_ (_^<b_1969_^>b_); _^<i_A Dangerous Malice_^>i_ (_^<b_1978_^>b_) as by Frances Lynch; _^<i_A Usual Lunacy_^>i_ (_^<b_1978_^>b_ US); _^<i_Scudder's Game_^>i_
(_^<b_1985_^>b_ Germany, in German; English text _^<b_1988_^>b_); _^<i_Radio Plays_^>i_ (coll _^<b_1988_^>b_ chap)._^<b_See also:_^>b_ _^<a_!T811_COLONIZATION OF OTHER WORLDS_^>a_; _^<a_!T822_COMMUNICATIONS_^>a_; _^<a_!T826_COMPUTERS_^>a_;
> Joseph Compton _^<a_!T2595_RICKETT_^>a_._^<n__^<n_
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COMPUTERS
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The computer revolution in the real world has been so recent and so rapid that sf has had to struggle hard to keep up with actual developments. Although Charles _^<a_!T340_BABBAGE_^>a_'s attempts to develop a mechanical computer have lately
attracted attention in such _^<a_!T5694_STEAMPUNK_^>a_ novels as _^<i__^<a_!B9058_THE DIFFERENCE ENGINE_^>a__^>i_ (_^<b_1990_^>b_ UK) by William _^<a_!T4689_GIBSON_^>a_ and Bruce _^<a_!T5717_STERLING_^>a_, they failed to inspire the 19th-century
literary imagination. In fiction the notion of "mechanical brains" first evolved as a corollary to that of mechanical men (> _^<a_!T2646_ROBOTS_^>a_) -- an early one is featured in Edward Page _^<a_!T2984_MITCHELL_^>a_'s "The Ablest Man in the
World" (1879) -- but this tacit acceptance of the notion of powerful skull-sized computers contrasts oddly with the tendency to imagine advanced computers as huge machines the size of buildings, cities or even planets. Sf writers who had been
awakened to the advent of computers by the building of ENIAC in the late 1940s failed utterly to foresee the eventual development of the microprocessor. A partial exception is Howard _^<a_!T1441_FAST_^>a_'s "The Martian Shop" (1959), which features
a computer that fits into a 6in (15cm) cube; however, the point made is that such tininess (which anyway does not seem so tiny today) could not be achieved using foreseeable human technology._^<n__^<n_In the early sf _^<a_!T2033_PULP
MAGAZINES_^>a_, artificial brains, like robots, showed a distinct tendency to go mad and turn against their creators; examples include "The Metal Giants" (1926) by Edmond _^<a_!T4258_HAMILTON_^>a_ and "Paradise and Iron" (1930) by Miles J.
_^<a_!T4989_BREUER_^>a_. But clever machines featured in more sympathetic roles in several stories by John W. _^<a_!T5140_CAMPBELL_^>a_ Jr, who went on from "The Metal Horde" (1930) to write such stories as the series begun with "The Machine" (1935
as by Don A. Stuart), in which a benevolently inclined machine intelligence finally bids farewell to the human race in order to prevent mankind from stagnating through dependence upon its generosity. Revolutions against a mechanical mind which
rules society more-or-less benignly have long been commonplace in sf; examples include Francis G. _^<a_!T2511_RAYER_^>a_'s _^<i_Tomorrow Sometimes Comes_^>i_ (_^<b_1951_^>b_), Philip K. _^<a_!T1222_DICK_^>a_'s _^<i_Vulcan's Hammer_^>i_
(_^<b_1960_^>b_ dos) and Ira _^<a_!T3361_LEVIN_^>a_'s _^<i_This Perfect Day_^>i_ (_^<b_1970_^>b_). The _^<i_New York Times_^>i_ commissioned Isaac _^<a_!T268_ASIMOV_^>a_'s satirical explication of the theme, "The Life and Times of MULTIVAC" (1975),
which questions whether such a rebellion would be desirable or necessary; Asimov had been consistently favourable towards the idea of a machine-run society ever since his early advocacy in "The Evitable Conflict" (1950). Another strongly
pro-computer story from the 1950s, redolent of the conflict and confrontation typical of the period, is _^<i_They'd Rather Be Right_^>i_ (_^<b_1957_^>b_; vt _^<i_The Forever Machine_^>i_) by Mark _^<a_!T753_CLIFTON_^>a_ and Frank
_^<a_!T2604_RILEY_^>a_. Hysterical fear of computers is satirized in "The Man who Hated Machines" (1957) by Pierre _^<a_!T4938_BOULLE_^>a_._^<n__^<n_The idea that machine intelligence might be reckoned the logical end product of
_^<a_!T6717_EVOLUTION_^>a_ on Earth has a long history in sf, extending from Campbell's "The Last Evolution" (1930) to _^<i_Sagan om den stora datamaskinin_^>i_ (_^<b_1966_^>b_; trans as _^<i_The Tale of the Big Computer_^>i_ _^<b_1968_^>b_; vt
_^<i_The Great Computer_^>i_; vt _^<i_The End of Man?_^>i_) by Olof _^<a_!T3908_JOHANNESSON_^>a_. The notion of computers evolving to become literally Godlike is featured in Fredric _^<a_!T5028_BROWN_^>a_'s "Answer" (1954), Isaac Asimov's "The Last
Question" (1956), Dino _^<a_!T5110_BUZZATI_^>a_'s _^<i_Il Grande Ritratto_^>i_ (_^<b_1960_^>b_; trans as _^<i_Larger than Life_^>i_ _^<b_1962_^>b_) and Frank _^<a_!T4389_HERBERT_^>a_'s _^<i_Destination: Void_^>i_ (_^<b_1966_^>b_). Other accounts of
huge computers with delusions of grandeur and the power to back them up include _^<i_The God Machine_^>i_ (_^<b_1968_^>b_) by Martin _^<a_!T5119_CAIDIN_^>a_, _^<i_Colossus_^>i_ (_^<b_1966_^>b_) and its sequels by D.F. _^<a_!T3925_JONES_^>a_,
_^<i_Mayflies_^>i_ (_^<b_1979_^>b_) by Kevin _^<a_!T3289_O'DONNELL_^>a_ Jr, _^<i_The Judas Mandala_^>i_ (_^<b_1982_^>b_) by Damien _^<a_!T5012_BRODERICK_^>a_ and _^<i_The Venetian Court_^>i_ (_^<b_1984_^>b_) by Charles L. _^<a_!T4298_HARNESS_^>a_.
The computer incarnation of the Father of Lies in Jeremy _^<a_!T3354_LEVEN_^>a_'s _^<i_Satan_^>i_ (_^<b_1982_^>b_) is, by contrast, humble and unassuming. The notion that the computer might be the answer to all our problems is ironically
encapsulated in Arthur C. _^<a_!T736_CLARKE_^>a_'s fantasy "The Nine Billion Names of God" (1953), in which a computer rapidly and easily completes the task for which God created mankind._^<n__^<n_The idea that computers might one day be endowed
with -- or spontaneously evolve -- self-awareness has generated a whole series of speculative exercises in machine existentialism, which inevitably tend to the anthropocentric. Notable examples include "Mike" in _^<i__^<a_!B9167_THE MOON IS A HARSH
MISTRESS_^>a__^>i_ (_^<b_1966_^>b_) by Robert A. _^<a_!T4376_HEINLEIN_^>a_ and the central characters of _^<i_When Harlie was One_^>i_ (_^<b_1972_^>b_) by David _^<a_!T4671_GERROLD_^>a_, _^<i_The Adolescence of P-1_^>i_ by Thomas J.
_^<a_!T2756_RYAN_^>a_ (_^<b_1977_^>b_), and _^<i_Valentina: Soul in Sapphire_^>i_ (_^<b_1984_^>b_) by Joseph H. _^<a_!T1151_DELANEY_^>a_ and Marc _^<a_!T5741_STIEGLER_^>a_. In recent years the notion has become so commonplace as to be intensively
recomplicated in such novels as Rudy _^<a_!T2727_RUCKER_^>a_'s _^<i_Software_^>i_ (_^<b_1982_^>b_) and _^<i_Wetware_^>i_ (_^<b_1988_^>b_), although Rucker earlier treated the notion sceptically in _^<i_Spacetime Donuts_^>i_ (_^<b_1981_^>b_).
William Gibson's eponymous _^<i_Neuromancer_^>i_ (_^<b_1984_^>b_) kicked off a new trend in sentient software, carried forward by other _^<a_!T1015_CYBERPUNK_^>a_ writers and fellow-travellers, including Kim _^<a_!T3173_NEWMAN_^>a_ in _^<i_The
Night Mayor_^>i_ (_^<b_1989_^>b_). Autobiographical statements are offered by nascently sentient machines in "Going Down Smooth" (1968) by Robert _^<a_!T2216_SILVERBERG_^>a_, _^<i_Arrive at Easterwine_^>i_ (_^<b_1971_^>b_) by R.A.
_^<a_!T4152_LAFFERTY_^>a_ and -- most impressively -- _^<i_Queen of Angels_^>i_ (_^<b_1990_^>b_) by Greg _^<a_!T478_BEAR_^>a_._^<n__^<n_The fear of computers "taking over" our lives remains a powerful influence, manifest across a broad spectrum of
story types. These range from straightforward foul-up stories -- e.g., "Computers Don't Argue" (1965) by Gordon R. _^<a_!T1227_DICKSON_^>a_ -- to surreal extravaganzas like "I Have No Mouth, and I Must Scream" (1967) by Harlan
_^<a_!T6641_ELLISON_^>a_. D.G. _^<a_!T823_COMPTON_^>a_'s _^<i_The Steel Crocodile_^>i_ (_^<b_1970_^>b_; vt _^<i_The Electric Crocodile_^>i_) and John _^<a_!T5049_BRUNNER_^>a_'s _^<i_The Shockwave Rider_^>i_ (_^<b_1975_^>b_) offer striking examples
of computers being used, with good intentions but repressively, by _^<a_!T6337_NEAR-FUTURE_^>a_ politico-technocratic elites. On the other hand, _^<i_Man Plus_^>i_ (_^<b_1976_^>b_) by Frederik _^<a_!T1937_POHL_^>a_ presents a secret computer
take-over as not necessarily a bad thing, and _^<i_Michaelmas_^>i_ (_^<b_1977_^>b_) by Algis _^<a_!T5064_BUDRYS_^>a_ proposes that the dictatorship of the machine-based system might in the end be benevolent. A metaphysical (>
_^<a_!T2924_METAPHYSICS_^>a_) species of take-over is displayed in stories in which computers literally absorb human personalities. Interesting examples are _^<i_The Ring of Ritornel_^>i_ (_^<b_1968_^>b_) by Charles L. _^<a_!T4298_HARNESS_^>a_,
_^<i_Midsummer Century_^>i_ (_^<b_1972_^>b_) by James _^<a_!T658_BLISH_^>a_ and _^<i_Catchworld_^>i_ (_^<b_1975_^>b_) by Chris _^<a_!T4951_BOYCE_^>a_. In recent years the idea of "downloading" human personalities into machinery has been used very
promiscuously indeed, being one of the key corollaries of the notion of "cyberspace"; it is featured in Vernor _^<a_!T5377_VINGE_^>a_'s proto-cyberpunk story _^<i_True Names_^>i_ (1981; _^<b_1981_^>b_ dos), and had become a virtual cliche by the
time Frederik Pohl's _^<i_Heechee Rendezvous_^>i_ (_^<b_1984_^>b_) and Greg _^<a_!T478_BEAR_^>a_'s _^<i_Eon_^>i_ (_^<b_1985_^>b_) proposed that software afterlives might one day be universally on offer. The attractions of this possibility are
obvious, if slightly dubious._^<n__^<n_Real-world developments in computer games have had a considerable influence on sf (> _^<a_!T1695_GAMES AND SPORTS_^>a_; _^<a_!T1696_GAMES AND TOYS_^>a_); Rob _^<a_!T5874_SWIGART_^>a_'s novel _^<i_Portal: A
Dataspace Retrieval_^>i_ (_^<b_1988_^>b_) is eccentrically modelled on such a game. Computer _^<a_!T2880_SCIENTISTS_^>a_ are nowadays common characters in sf stories and, despite the late start made by sf writers in getting in on the computer boom,
it now seems that ideas developed by William Gibson and those who have followed his example are proving a significant inspiration to real computer scientists._^<n__^<n_Relevant theme anthologies include _^<i_Science Fiction Thinking Machines_^>i_
(anth _^<b_1954_^>b_) ed Groff _^<a_!T834_CONKLIN_^>a_; _^<i_Computers, Computers, Computers: In Fiction and in Verse_^>i_ (anth _^<b_1977_^>b_) ed D. Van Tassel; _^<i_Machines that Think_^>i_ (anth _^<b_1984_^>b_) ed Isaac Asimov, Patricia S.
_^<a_!T5471_WARRICK_^>a_ and Martin H. _^<a_!T4842_GREENBERG_^>a_; _^<i_Computer Crimes and Capers_^>i_ (anth _^<b_1985_^>b_) ed Asimov, Greenberg and Charles G. _^<a_!T5488_WAUGH_^>a_; _^<i_Microworlds: SF Stories of the Computer Age_^>i_ (anth
_^<b_1984_^>b_) ed Thomas F. _^<a_!T3019_MONTELEONE_^>a_; and _^<i_Digital Dreams_^>i_ (anth _^<b_1990_^>b_) ed David V. Barrett. [BS]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T323_AUTOMATION_^>a_; _^<a_!T1014_CYBERNETICS_^>a_; _^<a_!T1017_CYBORGS_^>a_;
_^<a_!T3787_INTELLIGENCE_^>a_.
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(c) 1995 John Clute and Peter Nicholls
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COMSTOCK, JARROD
-T-
> Sharon _^<a_!T3875_JARVIS_^>a_._^<n__^<n_
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COMYNS, BARBARA
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Working name of UK writer Barbara Comyns-Carr (1909-1992), whose style's transfixed _^<i_faux-naive_^>i_ simplicity urged much of her work into a tone of pregnant magic realism (> _^<a_!T1372_FABULATION_^>a_). _^<i_The Vet's Daughter_^>i_
(_^<b_1959_^>b_) describes the emotional distress of its doomed narrator, Alice Rowlands, in such a deadpan fashion that the violent scene of fatal levitation which culminates the tale seems totally unfantasticated. _^<i_The Juniper Tree_^>i_
(_^<b_1985_^>b_) is a retelling, in hallucinated modern garb, of a fable from the Brothers Grimm. [JC]_^<n__^<n_
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CONCEPTUAL BREAKTHROUGH
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The legends of Prometheus and of Dr Faustus contain a central image which is still vigorous in sf: the hero in his lust for knowledge goes against the will of God and, though he succeeds in his quest, he is finally punished for his overweening pride
and disobedience. Adam eating the forbidden apple is another version of the legend. Its reverberations resonate throughout the whole of literature._^<n__^<n_Of all the forms which the quest for knowledge takes in modern sf, by far the most
important, in terms of both the quality and the quantity of the work that dramatizes it, is conceptual breakthrough. It is amazing that the importance and centrality of this idea in sf has had so little in the way of critical recognition, though an
essay by Gary K. _^<a_!T5675_WOLFE_^>a_, "The Known and the Unknown: Structure and Image in Science Fiction" (in _^<i_Many Futures, Many Worlds_^>i_ [anth _^<b_1977_^>b_] ed Thomas D. _^<a_!T732_CLARESON_^>a_), points towards
it._^<n__^<n_Conceptual breakthrough can best be explained in terms of "paradigms", as that term is used by philosophers of science. A paradigm is a generally held way of looking at and interpreting the world; it consists of a set of often unspoken
and unargued assumptions -- for example, before Nicolas Copernicus (1473-1543) the paradigm saw Earth as the centre of the Universe. All the most exciting scientific revolutions have taken the form of breaking down a paradigm and substituting
another. Often the old paradigm is eroded slowly at first, through discovery of lots of little puzzling anomalies, before the new paradigm can take over. Such an altered perception of the world, sometimes in terms of science and sometimes in terms
of society, is what sf is most commonly about, and few sf stories do not have at least some element of conceptual breakthrough._^<n__^<n_An important subset of conceptual-breakthrough stories consists of those in which the world is not what it
seems. The structure of such stories is often that of a quest in which an intellectual nonconformist questions apparent certainties. Quite a number have been stories in which the world turns out to be a _^<a_!T4655_GENERATION STARSHIP_^>a_, as in
"Universe" (1941) by Robert A. _^<a_!T4376_HEINLEIN_^>a_, _^<i_Non-Stop_^>i_ (_^<b_1958_^>b_; vt _^<i_Starship_^>i_ US-the US title giving the game away) by Brian W. _^<a_!T87_ALDISS_^>a_, and _^<i_Captive Universe_^>i_ (_^<b_1969_^>b_) by Harry
_^<a_!T4316_HARRISON_^>a_. In "The Pit" (1975) by D. West the world turns out to be inside an artificial asteroid. In "Outside" (1955), by Aldiss, a suburban house turns out to be an experimental laboratory in which shape-changing aliens are
incarcerated. In several stories the world is artificial, either literally or because its inhabitants have been brainwashed into seeing it wrongly, as in _^<i_Time out of Joint_^>i_ (_^<b_1959_^>b_) by Philip K. _^<a_!T1222_DICK_^>a_. Philip Jose
_^<a_!T1435_FARMER_^>a_'s _^<b_Riverworld_^>b_ books deal throughout with conceptual breakthrough; the first breakthrough is the realization that, despite all the resurrected dead who populate it, Riverworld is not Heaven; the second is the
recognition that the inhabitants are being manipulated. There is a touch of _^<a_!T1795_PARANOIA_^>a_ here ("we are property"), quite common in conceptual-breakthrough stories, as in those where the world turns out to be a construct to aid market
research; e.g., "The Tunnel Under the World" (1955) by Frederik _^<a_!T1937_POHL_^>a_ and _^<i_Counterfeit World_^>i_ (_^<b_1964_^>b_; vt _^<i_Simulacron-3 _^>i_US) by Daniel F. _^<a_!T1692_GALOUYE_^>a_._^<n__^<n_Closely allied to the above are
stories where information about the world turns out to be not so much wrong as incomplete. The classic example here is "Nightfall" (1941) by Isaac _^<a_!T268_ASIMOV_^>a_, in which the constant presence of suns in the sky of another planet has
prevented knowledge of the stars, and everyone panics every 21,049 years when five suns set and the sixth is eclipsed. Arthur C. _^<a_!T736_CLARKE_^>a_'s _^<i_The City and the Stars_^>i_ (_^<b_1956_^>b_) has two breakthroughs, the first out of a
beautiful but static utopian city into the greater world, and the second into a knowledge of civilizations in the stars. Another post-WWII classic is "Surface Tension" (1952) by Blish, in which the hero breaks out of his underwater microcosm to
discover a great world arching over his puddle. (Blish always recognized the shift from one paradigm to another as the essence of sf, and said as much in "The Science in Science Fiction" [1971; reprinted in _^<i_The Tale that Wags the God_^>i_ coll
_^<b_1987_^>b_ ed Cy Chauvin]. His novel about Roger Bacon, _^<i_Doctor Mirabilis_^>i_ [_^<b_1964_^>b_], which takes conceptual breakthrough as its theme, has, therefore, the flavour of sf even though based on historical fact.) Daniel F. Galouye's
_^<i_Dark Universe_^>i_ (_^<b_1961_^>b_) is perhaps the best of many stories in which an underground community has lost its memory of the surface. In _^<i__^<a_!B9047_LORD OF LIGHT_^>a__^>i_ (_^<b_1967_^>b_) by Roger _^<a_!T6264_ZELAZNY_^>a_ the
breakthrough is into an understanding of the true nature of an artificial heaven._^<n__^<n_All stories where the apparently complete world of the story's beginning, whether a generation starship or an underground community, turns out to be only
part of a greater whole can be termed pocket-universe stories. (> _^<a_!T1932_POCKET UNIVERSE_^>a_, where the case is made that many conceptual-breakthrough stories of this sort can be linked with the passage from the constrictions of childhood to
the freedoms of adulthood.) The archetype of all such stories is _^<i_The History of Rasselas_^>i_ (_^<b_1759_^>b_) by Samuel _^<a_!T6378_JOHNSON_^>a_, in which the hero, walled into a tranquil Abyssinian valley by mountains, finds his yearning for
knowledge of the outside world obsessing him, not letting him enjoy the happiness he sees all around him. He escapes; the world outside is less happy than his own, but it is interesting. _^<i_Rasselas_^>i_ provides the template for the whole
subgenre; moreover, the intellectual discontent and formless yearnings of its hero are among the commonest qualities of sf _^<a_!T4395_HEROES_^>a_, and Johnson's mild pessimism -- which recognizes that, even though the new world-picture may be
uglier than the old, we need to know about it -- captures exactly the accepting tone which was to permeate so much sf. It is a romantic, if often melancholy, form of striving, and sf never reveals its romantic origins more clearly than when it uses
the tropes of conceptual breakthrough._^<n__^<n_Sometimes the breakthrough is transcendent, and can be given to the reader only by analogy, inasmuch as the new state cannot be described in a terminology which itself belongs to the old paradigm.
Such a state is commonly attained by the heroes of A.E. _^<a_!T5333_VAN VOGT_^>a_ and Alfred _^<a_!T568_BESTER_^>a_, and more recently those of Ian _^<a_!T5484_WATSON_^>a_, all of whose works centre on a conceptual breakthrough of some kind. Such,
too, are the end of the film _^<a_!T6146_2001: A SPACE ODYSSEY_^>a_ (1968), where kaleidoscopic imagery of hypnagogic intensity is an emblem of the incomprehensible, and the vastly superior _^<a_!T3787_INTELLIGENCE_^>a_ attained by the hero of
_^<i__^<a_!B9062_CAMP CONCENTRATION_^>a__^>i_ (_^<b_1968_^>b_) by Thomas M. _^<a_!T1244_DISCH_^>a_, a book which alludes with some subtlety to every celebrated literary variant of the Faust myth. In Algis _^<a_!T5064_BUDRYS_^>a_'s extraordinary
novel _^<i__^<a_!B9052_ROGUE MOON_^>a__^>i_ (_^<b_1960_^>b_) conceptual breakthrough (in the attempt to understand a labyrinthine artefact on the Moon) seems invariably accompanied by death, and this too recalls the Faustian theme, transcendence
being linked to mortality. A similar consequence occurs in _^<i_The Black Cloud_^>i_ (_^<b_1957_^>b_) by Fred _^<a_!T4532_HOYLE_^>a_._^<n__^<n_Sometimes conceptual breakthrough is ambiguous: the objective nature of the new paradigm cannot be
understood because of the subjective nature of _^<a_!T1851_PERCEPTION_^>a_. A joke version of this occurs in "The Yellow Pill" (1958) by Rog _^<a_!T1887_PHILLIPS_^>a_, where one character believes himself to be in a room, the other in a spaceship,
and both are tempted to break down the other's version of reality; one walks, fatally, through what he believes to be a door. Paradoxes of this kind were enjoyed by Philip K. Dick, as in "Impostor" (1953) -- where a man who believes himself
unjustly persecuted as a machine breaks through to the realization that he is indeed a robot with a bomb in his belly -- and also in, among others, _^<i_Eye in the Sky_^>i_ (_^<b_1957_^>b_), _^<i_Martian Time-Slip_^>i_ (_^<b_1964_^>b_),
_^<i_Ubik_^>i_ (_^<b_1969_^>b_) and _^<i_A Maze of Death_^>i_ (_^<b_1970_^>b_). A subjective, disturbing form of conceptual breakthrough is the basis for many of J.G. _^<a_!T378_BALLARD_^>a_'s stories, such as "Build-Up" (1957; vt "The
Concentration City"), "Manhole 69" (1959), "Thirteen to Centaurus" (1962) and even "The Drowned Giant" (1964; vt "Souvenir"). One of the most remarkable conceptual-breakthrough stories of recent years -- whose author, Christopher
_^<a_!T1990_PRIEST_^>a_, saw the work as in part a homage to Aldiss's _^<i_Non-Stop_^>i_ -- is _^<i__^<a_!B9050_INVERTED WORLD_^>a__^>i_ (_^<b_1974_^>b_). In this book a city is constantly and painfully pushed forward on rails because the
world-picture of its inhabitants is of a hyperboloid where time and space are progressively distorted both north and south of an always moving optimum line. The probable truth turns out to be very different. As in many such stories, the
breakthrough is inner as well as outer; the book adopts the Berkeleyan view that the world is what we see it as being; changes in objective truth are changes in perception; there is no such thing as pure scientific truth._^<n__^<n_The forms taken
by conceptual breakthrough in sf are almost impossible to enumerate. David _^<a_!T3395_LINDSAY_^>a_'s _^<i__^<a_!B9079_A VOYAGE TO ARCTURUS_^>a__^>i_ (_^<b_1920_^>b_) is structurally an ironic series of such breakthroughs, with each new truth seen
in turn to be as inadequate as the previous one, until the grim, rather nihilistic and ultimate reality is revealed at the end. John _^<a_!T1583_FOWLES_^>a_'s _^<i_The Magus_^>i_ (_^<b_1965_^>b_; rev 1977) achieves a similar effect in a non-sf
context. C.S. _^<a_!T3368_LEWIS_^>a_'s _^<i_Perelandra_^>i_ (_^<b_1944_^>b_; vt _^<i_Voyage to Venus_^>i_) has some moments of startling beauty when the hero tries to accommodate his perceptions to the alien configurations of Venus. William
_^<a_!T4758_GOLDING_^>a_'s _^<i_The Inheritors_^>i_ (_^<b_1955_^>b_) has the breakthrough symbolized in the confrontation between Neanderthal and Cro-Magnon. Many of Ray _^<a_!T997_CUMMINGS_^>a_'s _^<a_!T2033_PULP-MAGAZINE_^>a_ stories deal with
the realization (based, ironically, on a now discredited paradigm) that an infinite series of worlds can exist, each within the atoms of the next higher in the series. Various conceptual leaps take place in most of Samuel R.
_^<a_!T1152_DELANY_^>a_'s stories, notably "The Star Pit" (1967) and _^<i__^<a_!B8976_BABEL-17_^>a__^>i_ (_^<b_1966_^>b_). In the latter story the breakthrough, ultimately conceptual, is initially _^<a_!T3398_LINGUISTIC_^>a_. Delany sees paradigms
as actually existing within, and created by, language itself, a common view in linguistic sf and one found also in Ian Watson's _^<i__^<a_!B9057_THE EMBEDDING_^>a__^>i_ (_^<b_1973_^>b_). In Theodore _^<a_!T5810_STURGEON_^>a_'s "Who?" (1955; vt
"Bulkhead") a spaceship pilot, frightened of the unknown outside his ship, is cheered by the voice of his unreachable companion beyond the bulkhead; only at the end does he find that the other crewman is a mental projection of his own younger self,
and that the bulkhead is, metaphorically, in his own mind. Hal _^<a_!T749_CLEMENT_^>a_'s _^<i_Mission of Gravity_^>i_ (_^<b_1954_^>b_) takes place on a high-gravity planet whose natives are forced to understand their world through human eyes, and
vice versa. The _^<a_!T5875_SWORD-AND-SORCERY_^>a_ milieu of John _^<a_!T981_CROWLEY_^>a_'s _^<i_The Deep_^>i_ (_^<b_1975_^>b_), accepted by the reader as a literary convention, turns out to have a quite different explanation, necessitating a
wrench to the reader's view of the novel as well as the hero's view of his world. Ursula K. _^<a_!T3318_LE GUIN_^>a_'s _^<i_The Dispossessed_^>i_ (_^<b_1974_^>b_) is structured around parallel breakthroughs in political understanding and
fundamental physics; the crossing of walls is the book's central image. The hero of Daniel _^<a_!T4050_KEYES_^>a_'s _^<i_Flowers for Algernon_^>i_ (1959 _^<i_FSF_^>i_; exp _^<b_1966_^>b_) begins as a moron, comes to understand the nature of the
world as no other human can, then tragically has the gift of intelligence taken away. The breakthrough in "Strangers" (1974) by Gardner _^<a_!T1313_DOZOIS_^>a_ is in cultural understanding, and is accomplished only after the death of the
protagonist's alien lover. The breakthrough at the end of _^<i_Orbitsville_^>i_ (_^<b_1975_^>b_) by Bob _^<a_!T2153_SHAW_^>a_ takes place in an almost unimaginably huge _^<a_!T1369_DYSON SPHERE_^>a_, whose nature puts human evolutionary struggle
into a new perspective._^<n__^<n_Examples could be multiplied endlessly, and have been given extensively to demonstrate how all-pervasive the theme is in sf; no adequate _^<a_!T1142_DEFINITION OF SF_^>a_ can be formulated that does not somehow take
it into account. It is present, regardless of the usual boundaries, in old wave and _^<a_!T3181_NEW WAVE_^>a_, _^<a_!T4396_HEROIC FANTASY_^>a_ and _^<a_!T4288_HARD SF_^>a_, _^<a_!T4659_GENRE SF_^>a_ and sf by _^<a_!T3609_MAINSTREAM_^>a_ writers. It
recurs so compulsively, and so much of the feeling and passion of sf is generated by it, that it must be seen as springing from a deep-rooted human need: to reach out, escape mental traps, prefer movement to stasis; to understand. Sf is
pre-eminently the literature of the intellectually discontented, those who need to feel there must be more to life than this; and therein lies its maturity, which by a paradox can be seen as a perpetual adolescent yearning._^<n__^<n_The
breakthrough is often merely implicit in the text, and sometimes easy enough to miss. In these cases it is the readers themselves whose perceptions are shifted through their reading of clues. An extreme case is that of Gene _^<a_!T5676_WOLFE_^>a_,
whose _^<b_Book of the New Sun_^>b_ series is set in a quasimedieval-seeming heroic-fantasy milieu, but the readers' genre expectations are rudely broken as they realize that the book is pure sf, not fantasy; that the time is the far future, not
the distant past; that the tower in which apprentice torturers are educated is in fact a derelict spaceship. Wolfe enjoys such coded jolts, as in _^<i_The Fifth Head of Cerberus_^>i_ (_^<b_1972_^>b_), in which the narrator who at the outset was a
human anthropologist has towards the end been supplanted by a shape-shifting native of the planet. The exact textual point of the breakthrough can be identified, but only by a careful reader. Thus conceptual breakthrough is not just the subject of
much sf: it is also, quite often, its designed effect._^<n__^<n_Conceptual breakthrough remained as popular a theme as ever in the 1980s and 1990s, though seldom provoking quite the same shock of surprise. The breakthrough in recent sf is often
catalysed by confrontation with alien artefacts (> _^<a_!T590_BIG DUMB OBJECTS_^>a_; _^<a_!T1245_DISCOVERY AND INVENTION_^>a_). The pre-eminent conceptual-breakthrough writer of the 1980s is Greg _^<a_!T478_BEAR_^>a_, notably in
_^<i__^<a_!B9121_BLOOD MUSIC_^>a__^>i_ (1985), a story of evolutionary transcendence mediated by a new form of microorganism. Nancy _^<a_!T4129_KRESS_^>a_'s _^<i__^<a_!B9273_AN ALIEN LIGHT_^>a__^>i_ (_^<b_1988_^>b_) contains a whole string of
conceptual breakthroughs as two rival human cultures and one alien culture make a series of discoveries about each other's initially incomprehensible modes of thinking and patterns of behaviour._^<n__^<n_Robert _^<a_!T2216_SILVERBERG_^>a_ is an
interesting case of a writer who -- often -- no sooner evokes a conceptual breakthrough than he morosely contemplates its drawbacks for people who just want to be ordinary human beings. Such is his _^<i_The Face of the Waters_^>i_ (_^<b_1991_^>b_),
in which the revelation that all native life on a planet is linked in a single, godlike, transcendent organism is followed by _^<i_angst_^>i_ on the part of the humans who may be allowed to join it. One feels that had Silverberg overheard Galileo
muttering "Eppur si muove" ["And yet it moves"] he would have responded: "Yes, I agree, but I wish it didn't." [PN]_^<n__^<n_
(1915- ) US writer, formerly in advertising, best-known for works outside the sf field such as _^<i_Money is Love_^>i_ (_^<b_1975_^>b_), a rococo fantasy, though many, including most notably _^<i_The Manchurian Candidate_^>i_ (_^<b_1959_^>b_),
employ some sf elements in the complex generic mix characteristic of his fiction. Later made into a well known film, _^<i_The_^<a_!T3632_MANCHURIAN CANDIDATE_^>a__^>i_ (1962), this novel combines a superior kind of brainwashing and elements of the
political thriller (> _^<a_!T1939_POLITICS_^>a_) in a story of the attempted assassination of the US President. So extreme is RC's rendering (and rending) of the US political scene that it is fair to think of much of his work as occupying a series
of _^<a_!T131_ALTERNATE WORLDS_^>a_, as in the savage _^<i_Winter Kills_^>i_ (_^<b_1974_^>b_), which features the assassination of a JFK-like US President at the behest of his own father; in _^<i_Mile High_^>i_ (_^<b_1969_^>b_), which argues the
premise that Prohibition was created as the Mafia's answer to market insecurity; in _^<i_The Star Spangled Crunch_^>i_ (_^<b_1974_^>b_), in which a 142-year-old tycoon manipulates the world through oil crises; in _^<i_The Whisper of the Axe_^>i_
(_^<b_1976_^>b_), which augurs a successful overturning of the US Government, as does _^<i_The Emperor of America_^>i_ (_^<b_1990_^>b_); in _^<i_Death of a Politician_^>i_ (_^<b_1978_^>b_), which castigates unto death with Swiftian (> Jonathan
_^<a_!T5873_SWIFT_^>a_) vigour a Nixon-like figure; and in _^<i_The Final Addiction_^>i_ (_^<b_1991_^>b_), which is set in a grotesquely corrupt _^<a_!T6337_NEAR FUTURE_^>a_. All presume a USA subtly but distinctly other than our own. In all of
RC's work, an almost magic-realist intensity of attention to the turns of plot combines with an unerring eye for the hypnotic surface of things to gloss over his profound cynicism about the human animal. But the abyss beneath never shelves.
[JC]_^<n__^<n__^<b_About the author:_^>b_ "Fantastic Non-Fantastic: Richard Condon's Waking Nightmares" by Joe Sanders, _^<i_Extrapolation_^>i_ 25.2 (1984)._^<b_See also:_^>b_ _^<a_!T1412_FANTASY_^>a_; _^<a_!T1795_PARANOIA_^>a_.
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CONDRAY, BRUNO G.
-T-
Pseudonym of UK writer Leslie George Humphrys (1921- ), known only as the possible author of _^<i_Odyssey in Space_^>i_ (_^<b_1953_^>b_), as by Vektis _^<a_!T4960_BRACK_^>a_, and of _^<i_The Dissentizens_^>i_ (_^<b_1954_^>b_ chap) and _^<i_Exile
from Jupiter_^>i_ (_^<b_1955_^>b_ chap). [JC]_^<n__^<n_
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CONEY, MICHAEL G(REATREX)
-T-
(1932- ) UK-born writer, resident in Canada since 1973, working for the British Columbia Forest Service until his retirement in 1989. He was the manager of the Jabberwock Hotel in Antigua when he published his first story, "Sixth Sense" for
_^<i_Visions of Tomorrow_^>i_ in 1969; several more followed rapidly. His first novel, _^<i_Mirror Image_^>i_ (_^<b_1972_^>b_ US) features _^<a_!T98_ALIEN_^>a_ "amorphs" who can so perfectly mimic humans that, when they have done so, they believe
themselves to be in fact human; the amorphs reappear in _^<i_Brontomek!_^>i_ (_^<b_1976_^>b_ UK), which won the _^<a_!T5005_BRITISH SCIENCE FICTION AWARD_^>a_. The ecological (> _^<a_!T6576_ECOLOGY_^>a_) puzzle story _^<i_Syzygy_^>i_
(_^<b_1973_^>b_ US) is set on the same world. Another novel loosely connected to these is _^<i_Charisma_^>i_ (_^<b_1975_^>b_ UK), a _^<a_!T1794_PARALLEL-WORLDS_^>a_ story whose chief locale is a Cornish fishing village; similar seaside towns, often
transplanted to other planets, commonly feature in his work. _^<i_The Hero of Downways_^>i_ (_^<b_1973_^>b_ US) is a more stereotyped action-adventure story, but _^<i_Friends Come in Boxes_^>i_ (fixup _^<b_1973_^>b_ US; rev 1974 UK) is a
fascinatingly grim account of an unorthodox solution to the problem of _^<a_!T1752_OVERPOPULATION_^>a_. Perhaps the best of his early books are _^<i_Winter's Children_^>i_ (_^<b_1974_^>b_ UK), a post-_^<a_!T4482_HOLOCAUST_^>a_ novel, and _^<i_Hello
Summer, Goodbye_^>i_ (_^<b_1975_^>b_ UK; vt _^<i_Rax_^>i_ 1975 US; vt _^<i_Pallahaxi Tide_^>i_ 1990 Canada), a wistful story of adolescent love in an alien environment. A series of stories somewhat reminiscent in their setting of J.G.
_^<a_!T378_BALLARD_^>a_'s _^<b_Vermilion Sands_^>b_ includes several which were amalgamated into _^<i_The Girl with a Symphony in her Fingers_^>i_ (fixup _^<b_1975_^>b_ UK; vt _^<i_The Jaws that Bite, the Claws that Catch_^>i_ 1975
US)._^<n__^<n_After _^<i_Brontomek!_^>i_ there was a considerable gap in MGC's writing career, the two books published during the hiatus, the _^<a_!T1370_DYSTOPIAN_^>a_ _^<i_The Ultimate Jungle_^>i_ (_^<b_1979_^>b_ UK) and the
_^<a_!T5281_UNDER-THE-SEA_^>a_ adventure _^<i_Neptune's Children_^>i_ (_^<b_1981_^>b_ US), being books written earlier that had not sold on first submission. His more recent work is bound together by a _^<a_!T1432_FAR-FUTURE_^>a_ background
developed in the two-decker novel _^<b_The Song of Earth_^>b_: _^<i_The Celestial Steam Locomotive_^>i_ (_^<b_1983_^>b_ US) and _^<i_Gods of the Greataway_^>i_ (_^<b_1984_^>b_ US). Here humans co-exist with other humanoid species, living out a kind
of languid dream thanks to the manipulation by a _^<a_!T826_COMPUTER_^>a_, Rainbow, of the Ifalong (a multiverse of _^<a_!T131_ALTERNATE WORLDS_^>a_) despite the interference of the godlike alien Starquin. Publication of this was preceded by the
spinoff novel _^<i_Cat Karina_^>i_ (_^<b_1982_^>b_ US). MGC then employed the highly flexible metaphysical context to frame two eccentric Arthurian fantasies, _^<i_Fang the Gnome_^>i_ (_^<b_1988_^>b_ US) and its sequel _^<i_King of the Scepter'd
Isle_^>i_ (_^<b_1989_^>b_ US). [MJE/BS]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Monitor Found in Orbit_^>i_ (coll _^<b_1974_^>b_ US); the _^<b_British Columbia_^>b_sequence comprising _^<i_A Tomcat Called Sabrina_^>i_ (_^<b_1992_^>b_) and _^<i_No
Place for a Sealion_^>i_ (_^<b_1992_^>b_), each containing fantasy elements._^<b_See also:_^>b_ _^<a_!T257_ARTS_^>a_; _^<a_!T811_COLONIZATION OF OTHER WORLDS_^>a_; _^<a_!T1695_GAMES AND SPORTS_^>a_; _^<a_!T1913_PLANETARY ROMANCE_^>a_;
_^<a_!T2548_REINCARNATION_^>a_; _^<a_!T5281_UNDER THE SEA_^>a_.
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CONKLIN, (EDWARD) GROFF
-T-
(1904-1968) US editor who began his career as manager of Doubleday Book Stores 1930-34, and who intermittently held various editing positions, in and out of commercial publishing, for the rest of his life; he was, however, primarily a freelance. The
first of his many sf _^<a_!T195_ANTHOLOGIES_^>a_ was _^<i_The Best of Science Fiction_^>i_ (anth _^<b_1946_^>b_), a huge compendium which vied in size and potential influence with Raymond J. _^<a_!T4364_HEALY_^>a_'s and J. Francis
_^<a_!T6309_MCCOMAS_^>a_'s _^<i_Adventures in Time and Space_^>i_ (_^<b_1946_^>b_), although the latter book was contracted earlier and had first pick of the material. Nevertheless, _^<i_The Best of Science Fiction_^>i_ and its successors from the
same publisher -- _^<i_A Treasury of Science Fiction_^>i_ (anth _^<b_1948_^>b_; much cut 1957), _^<i_The Big Book of Science Fiction_^>i_ (anth _^<b_1950_^>b_; much cut 1957) and _^<i_The Omnibus of Science Fiction_^>i_ (anth _^<b_1952_^>b_; much
cut vt _^<i_Science Fiction Omnibus_^>i_ 1952; much cut vt _^<i_Strange Travels in Science Fiction_^>i_ 1953; much cut vt _^<i_Strange Adventures in Science Fiction_^>i_ 1954 UK; cut 1986 -- all cut versions differing in their excisions) -- are
rewarding compilations. GC wrote a book-review column for _^<a_!T1686_GALAXY SCIENCE FICTION_^>a_ from #1 (Oct 1950) until Oct 1955. He also edited for Grosset & Dunlap a series of $1 hardcover sf novels, starting in 1950 with novels by A.E.
_^<a_!T5333_VAN VOGT_^>a_, Jack _^<a_!T5629_WILLIAMSON_^>a_ and others. The series included the first book publication of Henry _^<a_!T4144_KUTTNER_^>a_'s _^<i_Fury_^>i_ (1947 _^<i_ASF_^>i_ as Lawrence O'Donnell; _^<b_1950_^>b_) with an
introduction by GC which has been reprinted in subsequent editions. GC produced anthologies on various themes, including _^<a_!T3796_INVASION_^>a_ in _^<i_Invaders of Earth_^>i_ (anth _^<b_1952_^>b_; much cut 1953 UK; much cut 1955 US; much cut
1962 US; much cut in 2 vols vt _^<i_Invaders of Earth_^>i_ 1962 UK and _^<i_Enemies in Space_^>i_ 1962 UK -- all cut versions differing in their excisions), _^<a_!T6026_TIME TRAVEL_^>a_ and _^<a_!T1794_PARALLEL WORLDS_^>a_ in _^<i_Science Fiction
Adventures in Dimension_^>i_ (anth _^<b_1953_^>b_; cut vt _^<i_Adventures in Dimension_^>i_ 1955 UK; cut under original title 1965 US), _^<a_!T2646_ROBOTS_^>a_, _^<a_!T177_ANDROIDS_^>a_ and _^<a_!T826_COMPUTERS_^>a_ in _^<i_Science Fiction Thinking
Machines_^>i_ (anth _^<b_1954_^>b_; cut vt _^<i_Selections from Science Fiction Thinking Machines_^>i_ 1955) and _^<a_!T3120_MUTANTS_^>a_ in _^<i_Science Fiction Adventures in Mutation_^>i_ (anth _^<b_1955_^>b_; cut 1955). Later GC became
consultant sf editor to Collier Books, for whom he produced the notable anthologies _^<i_Great Science Fiction by Scientists_^>i_ (anth _^<b_1962_^>b_) and _^<i_Fifty Short Science Fiction Tales_^>i_ (anth _^<b_1963_^>b_), the latter with Isaac
_^<a_!T268_ASIMOV_^>a_. GC's anthologies were never definitive but were always considered and capable. [MJE/JC]_^<n__^<n__^<b_Other works as editor:_^>b_ _^<i_The Science Fiction Galaxy_^>i_ (anth _^<b_1950_^>b_); _^<i_Possible Worlds of Science
Fiction_^>i_ (anth _^<b_1951_^>b_); _^<i_In the Grip of Terror_^>i_ (anth _^<b_1951_^>b_); _^<i_Crossroads in Time_^>i_ (anth _^<b_1953_^>b_); _^<i_The Supernatural Reader_^>i_ (anth _^<b_1953_^>b_) with Lucy Conklin; _^<i_6 Great Short Novels of
Science Fiction_^>i_ (anth _^<b_1954_^>b_), not the same collection as _^<i_Six Great Short Science Fiction Novels_^>i_ (anth _^<b_1960_^>b_), though both are from the same publisher; _^<i_Science Fiction Terror Tales_^>i_ (anth _^<b_1955_^>b_);
_^<i_Operation Future_^>i_ (anth _^<b_1955_^>b_); _^<i_The Graveyard Reader_^>i_ (anth _^<b_1958_^>b_); _^<i_4 for the Future_^>i_ (anth _^<b_1959_^>b_); _^<i_Br-r-r-!_^>i_ (anth _^<b_1959_^>b_); _^<i_13 Great Stories of Science Fiction_^>i_ (anth
_^<b_1960_^>b_); _^<i_Twisted_^>i_ (anth _^<b_1962_^>b_); _^<i_Worlds of When_^>i_ (anth _^<b_1962_^>b_); _^<i_12 Great Classics of Science Fiction_^>i_ (anth _^<b_1963_^>b_); _^<i_17 x Infinity_^>i_ (anth _^<b_1963_^>b_); _^<i_Dimenson 4_^>i_
_^<i_13 Above the Night_^>i_ (anth _^<b_1965_^>b_); _^<i_Another Part of the Galaxy_^>i_ (anth _^<b_1966_^>b_); _^<i_Seven Come Infinity_^>i_ (anth _^<b_1966_^>b_); _^<i_Science Fiction Oddities_^>i_ (anth _^<b_1966_^>b_; cut vt _^<i_Science
Fiction Oddities, Second Series_^>i_ 1969 UK); _^<i_Elsewhere and Elsewhen_^>i_ (anth _^<b_1968_^>b_; vt in 2 vols _^<i_Science Fiction Elsewhen_^>i_ 1970 UK and _^<i_Science Fiction Elsewhere_^>i_ 1970 UK); _^<i_Seven Trips through Time and
[r] > Robert C. _^<a_!T3279_O'BRIEN_^>a_._^<n__^<n_
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CONNER, MIKE
-T-
Working name of US writer Michael Conner (1951- ), who used his full name for the first half decade or so of his career, beginning to publish work of genre interest with "Extinction of Confidence, the Exercise of Honesty" in _^<i_New
Constellations_^>i_ (anth _^<b_1976_^>b_) ed Thomas M. _^<a_!T1244_DISCH_^>a_ and Charles Naylor. His first novel, _^<i_I am Not the Other Houdini_^>i_ (_^<b_1978_^>b_; vt _^<i_The Houdini Directive_^>i_ 1989), is a burlesque flirtation with
apocalypse set in California in the 21st century. _^<i_Groupmind_^>i_ (_^<b_1984_^>b_) is less eccentric; but _^<i_Eye of the Sun_^>i_ (_^<b_1988_^>b_), told with the genre-mixing abundance of many _^<a_!T1913_PLANETARY ROMANCES_^>a_, follows the
careening adolescence of three royal children as their _^<a_!T1432_FAR-FUTURE_^>a_ world totters into a religious crisis which threatens a long-sustained matriarchy. He won a 1992 _^<a_!T3147_NEBULA_^>a_ for "Guide Dog" (1991). [JC]_^<n__^<n_
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CONNIE
-T-
US sf _^<a_!T820_COMIC_^>a_ strip, written and drawn by Frank Godwin (1889-1959) from its beginnings in 1927 until 1944, when it was terminated after several years of dwindling success. The early years of the strip, which featured throughout the
madcap adventures of its eponymous flapper heroine, were relatively mundane, but by the mid-1930s Connie had become involved in _^<a_!T3460_LOST-WORLDS_^>a_ tales, encounters with mad _^<a_!T2880_SCIENTISTS_^>a_, interplanetary missions and
_^<a_!T6026_TIME TRAVEL_^>a_. Godwin was not much admired for his writing, but his complex illustrations, both painterly and draughtsmanlike, made the strip memorable. [JC]_^<n__^<n_
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CONNINGTON, J.J.
-T-
Pseudonym for all his fiction of UK writer and chemistry professor Alfred Walter Stewart (1880-1947), best known for his detective novels. His one sf novel was _^<i_Nordenholt's Million_^>i_ (_^<b_1923_^>b_). A prototype story of
world-_^<a_!T1243_DISASTER_^>a_ being surmounted, it is realistic, reasoned, sociologically observed and credible. Fireball-mutated denitrifying bacteria destroy the world's vegetation, then die out. A multimillionaire secures the dictatorship of
the UK, selects five million people, segregates them in the Clyde valley with supplies, and engineers the collapse of the rest of the country. On the Clyde, nitrogen is synthesized, moral crises take place, there is an atomic-energy breakthrough at
the cost of lives, and the exhausted dictator dies. New cities are built. JJC's intellect tackles the scenario seriously and with feeling; though he is occasionally over-"literary", his imagination is firmly anchored in reality. Under his own name
he wrote publications on chemistry and, about himself, _^<i_Alias J.J. Connington_^>i_ (_^<b_1947_^>b_). [DIM]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T6661_END OF THE WORLD_^>a_; _^<a_!T4443_HISTORY OF SF_^>a_; _^<a_!T4482_HOLOCAUST AND AFTER_^>a_.
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CONNOLLY, ROY
-T-
(? - ) UK writer of whom nothing is known beyond his collaboration with the equally diffident Frank McIlraith on one sf novel, _^<i_Invasion from the Air: A Prophetic Novel_^>i_ (_^<b_1934_^>b_), which depicts with some vividness the effects on
London of raids using poison gas and incendiaries. The consequences, it is suggested, will include revolution (> _^<a_!T5452_WAR_^>a_). [JC]_^<n__^<n_
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CONQUEST, JOAN
-T-
(?1883-1941) UK writer of floridly euphemistic novels of high romance, typical of which are _^<i_Leonie of the Jungle_^>i_ (_^<b_1921_^>b_), whose eponymous heroine escapes the hypnotic thrall of the goddess Kali in the nick of time, and _^<i_Love's
Curse_^>i_ (_^<b_1936_^>b_), in which the spirit of an Egyptian pharaoh curses two 20th-century lovers. Her two sf novels are _^<i_The Reckoning_^>i_ (_^<b_1931_^>b_), in which it is presumed that artificial insemination will result in females
lacking both morality and reproductive organs, and _^<i_With the Lid Off_^>i_ (_^<b_1936_^>b_), a future-_^<a_!T5303_UTOPIA_^>a_ in which a benevolent Christian dictatorship holds sway. [JC]_^<n__^<n_
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CONQUEST, (GEORGE) ROBERT (ACWORTH)
-T-
(1917- ) UK writer, poet, critic and editor, most active as an sf figure in the latter capacity, editing with Kingsley _^<a_!T153_AMIS_^>a_ (_^<i_whom see for details_^>i_) the _^<b_Spectrum_^>b_ _^<a_!T195_ANTHOLOGIES_^>a_ , though some sf
essays and reviews of interest appear in _^<i_The Abomination of Moab_^>i_ (coll _^<b_1979_^>b_), a non- fiction collection. RC was educated at Oxford (DLitt), was a member of the Diplomatic Corps 1946-56, and was later literary editor of the
_^<i_Spectator_^>i_. He has an OBE. In addition to much poetry, political history and a non-sf novel, _^<i_The Egyptologists_^>i_ (_^<b_1965_^>b_) with Amis, he published _^<i_A World of Difference_^>i_ (_^<b_1955_^>b_), an sf tale whose
complicated and discursive plot combines poltical (> _^<a_!T1939_POLITICS_^>a_) speculation with a remotely told scientific adventure centred on a new space drive destined to give humanity a chance to reach beyond the Solar System.
[JC]_^<n__^<n__^<b_Other work as editor:_^>b_ _^<i_The Robert Sheckley Omnibus_^>i_ (coll _^<b_1973_^>b_)._^<n__^<n_
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CONQUEST OF SPACE, THE
-T-
Film (1955). Paramount. Prod George _^<a_!T1769_PAL_^>a_, dir Byron _^<a_!T4333_HASKIN_^>a_, starring Walter Brooke, Eric Fleming, Ross Martin, Mickey Shaughnessy. Screenplay James O'Hanlon, based remotely on _^<i_Weltraumfahrt_^>i_ (_^<b_1952_^>b_;
trans H.J. White as _^<i_The Mars Project_^>i_ _^<b_1953_^>b_ US), by Wernher von Braun (1912-1977). 80 mins. Colour._^<n__^<n_The title of this film is taken from the popular-science book _^<i_The Conquest of Space_^>i_ (_^<b_1949_^>b_) by Chesley
_^<a_!T697_BONESTELL_^>a_ and Willy _^<a_!T3375_LEY_^>a_. Though supposedly based on a work of science fact by von Braun, the story, set in the 1980s, of a military research expedition to Mars and back is riddled with implausibilities, both
scientific (an asteroid burning in the vacuum of space) and human (the commander, regarded as the only person capable of sustaining the mission, becomes a twitching religious fanatic -- at one point uttering the celebrated line: "There are some
things that Man is not meant to do"). There is a strange but irrelevant Oedipal conflict, ending with the son killing his father, the commander, when the latter tries to sabotage the ship. The special effects are quite ambitious but clumsily
executed, in particular the matte work. A truly awful film, _^<i_TCOS_^>i_ is probably Pal's worst production; it was his last for Paramount. [JB/PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T2338_SPACE HABITATS_^>a_.
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CONQUEST OF THE EARTH
-T-
> _^<a_!T1677_GALACTICA: 1980_^>a_._^<n__^<n_
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CONQUEST OF THE PLANET OF THE APES
-T-
Film (1972). Apjac/20th Century-Fox. Dir J. Lee Thompson, starring Roddy McDowall, Don Murray, Natalie Trundy, Hari Rhodes. Screenplay Paul Dehn, based on characters created by Pierre _^<a_!T4938_BOULLE_^>a_. 86 mins. Colour._^<n__^<n_This was the
fourth in the ever-weakening series of films beginning in 1968 with _^<a_!T1919_PLANET OF THE APES_^>a_. Caesar (McDowall), the ape born in _^<a_!T6691_ESCAPE FROM THE PLANET OF THE APES_^>a_ (1971), is being kept in a circus but comes to resent
the human exploitation of apes so much that, with the help of a sympathetic and all too symbolic Black man (Rhodes), he incites his fellow primates to revolt. The film ends with apes victorious over humans after a bloody battle, thus laying the
ground for the future situation (there has been a time-warp) of _^<i_Planet of the Apes_^>i_. All this is crudely simplistic. The novelization is _^<i_Conquest of the Planet of the Apes_^>i_ * (_^<b_1974_^>b_) by John _^<a_!T3851_JAKES_^>a_.
[JB]_^<n__^<n_
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CONRAD, EARL
-T-
(1912-1986) US writer, fairly prolific and sometimes controversial. His sf comprises a _^<a_!T6337_NEAR-FUTURE_^>a_ novel, _^<i_The Premier_^>i_ (_^<b_1963_^>b_), and a collection of short stories, _^<i_The Da Vinci Machine: Tales of the Population
(1857-1924) Naturalized UK writer, born in Poland. His full name was Josef Teodor Konrad Nalecz Korzeniowski. For most of his life he laboured under the misprision of his early reputation as a teller of"mere" sea tales; but posthumously he has
received due attention for more complex later works like _^<i_Nostromo_^>i_ (_^<b_1904_^>b_) and _^<i_The Secret Agent_^>i_ (_^<b_1907_^>b_). Though it is not sf, "Heart of Darkness" (1902), a dense and potently shaped allegory of guilt,
colonialism, alienation and false epiphany in the abyss of Africa, has more than once served as a model for modern sf writers, like Michael _^<a_!T620_BISHOP_^>a_ and Lucius _^<a_!T2175_SHEPARD_^>a_, obsessed by similar concerns: whenever an sf
explorer comes across a ravaged cod-godling "white man" in the tropical heart of an alien planet, JC's memory has shaped the tale. Another story, "The Secret Sharer" (1912), has similarly been embraced by Robert _^<a_!T2216_SILVERBERG_^>a_ in
_^<i_The Secret Sharer_^>i_ (_^<b_1988_^>b_). With Ford Madox _^<a_!T1557_FORD_^>a_ JC wrote _^<i_The Inheritors: An Extravagant Story_^>i_ (_^<b_1901_^>b_); the people of the title represent a future race, the "Dimensionists", who will come to
supersede ordinary mankind. Though the novel is primarily political _^<a_!T2812_SATIRE_^>a_ in its projection of the cold, practical, manipulative future humans, it is genuine sf in its use of themes of other _^<a_!T1239_DIMENSIONS_^>a_ and
_^<a_!T6717_EVOLUTION_^>a_. [JC/PN]_^<n__^<n__^<b_About the author:_^>b_ "Joseph Conrad's Forgotten Role in the Emergence of Science Fiction" by Elaine L. Kleiner, in _^<a_!T6730_EXTRAPOLATION_^>a_, Dec 1973._^<b_See also:_^>b_ _^<a_!T768_CLUB
STORY_^>a_.
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[r] > _^<a_!T4667_GERMANY_^>a_._^<n__^<n_
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CONRAD, PAUL
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Preferred pseudonym of UK writer and journalist Albert King (1924- ), an extremely prolific writer in various genres under a series of names: for his _^<a_!T6332_ROBERT HALE LIMITED_^>a_ sf he has used PC, his own name, Mark Bannon, Floyd Gibson,
Scott Howell, Christopher King and Paul Muller. Born in Northern Ireland, he left school at the age of 14. He is the author of about 120 Westerns, 44 thrillers and 29 romances in addition to his production of 16 sf titles (over 2 years), of which
the most notable are perhaps _^<i_Ex Minus_^>i_ (_^<b_1974_^>b_), as by PC, and _^<i_The World of Jonah Klee_^>i_ (_^<b_1976_^>b_), as by Christopher King. Most of his work is routine adventure. [JC]_^<n__^<n__^<b_Other works as PC:_^>b_ _^<i_Last
Man on Kluth V_^>i_ (_^<b_1975_^>b_); _^<i_The Slave Bug_^>i_ (_^<b_1975_^>b_)._^<n__^<n__^<b_As Albert King:_^>b_ _^<i_Stage Two_^>i_ (_^<b_1974_^>b_)._^<n__^<n__^<b_As Mark Bannon:_^>b_ _^<i_The Wayward Robot_^>i_ (_^<b_1974_^>b_); _^<i_The
(_^<b_1975_^>b_)._^<n__^<n__^<b_As Scott Howell:_^>b_ _^<i_Menace from Magor_^>i_ (_^<b_1974_^>b_); _^<i_Passage to Oblivion_^>i_ (_^<b_1975_^>b_)._^<n__^<n__^<b_As Christopher King:_^>b_ _^<i_Operation Mora_^>i_ (_^<b_1974_^>b_)._^<n__^<n__^<b_As
Paul Muller:_^>b_ _^<i_The Man from Ger_^>i_ (_^<b_1974_^>b_); _^<i_Brother Gib_^>i_ (_^<b_1975_^>b_)._^<n__^<n_
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CONSTANTINE, MURRAY
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> Katherine _^<a_!T5080_BURDEKIN_^>a_._^<n__^<n_
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CONSTANTINE, STORM
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(1956- ) UK writer whose name, initially a pseudonym, is now her name for all purposes. Her most successful work to date is probably the _^<b_Wraeththu_^>b_ trilogy which began her career: _^<i_The Enchantments of Flesh and Spirit_^>i_
(_^<b_1987_^>b_), _^<i_The Bewitchments of Love and Hate_^>i_ (_^<b_1988_^>b_) and _^<i_The Fulfilments of Fate and Desire_^>i_ (_^<b_1989_^>b_), all three assembled as _^<i_Wraeththu_^>i_ (omni _^<b_1993_^>b_). The sequence follows the rise of a
hermaphroditic race from men (not, at least initially, from women), who take possession of a post-_^<a_!T4482_HOLOCAUST_^>a_ Earth devastated by war and pollution. The books focus on the question of whether the Wraeththu, mystically aware and
symbolically balanced between male and female yet frequently fascinated by violence and destruction, will prove to be any better than the humans they replace. _^<i_The Monstrous Regiment_^>i_ (dated 1989 but _^<b_1990_^>b_) is set on a colony world
where _^<a_!T1461_FEMINISM_^>a_ has gone disastrously wrong and the psychotic ruler -- the Dominatrix -- plans to confine all men to compounds and milk them for semen to produce children. The sequel, _^<i_Aleph_^>i_ (_^<b_1991_^>b_), is less
inflamed. In _^<i_Hermetech_^>i_ (_^<b_1991_^>b_) a woman saves an ecologically damaged Earth by means of a sexual coupling, the energies from which are technologically redirected into the planet's "consciousness". SC's novels, which are not really
set within an sf framework, give equal weight to the underlying assumptions of science and modern pagan magick. They are all fundamentally concerned with sex and gender (especially androgyny), approached through the realities and potentials of both
the male and female experience, a technique very considerably sophisticated in _^<i_Calenture_^>i_ (_^<b_1994_^>b_), whose immortal protagonist (>_^<a_!T3771_IMMORTALITY_^>a_) traces -- in his imagination, and ultimately in truth -- two characters
he has in a sense created as they trek through a world of _^<a_!T727_CITIES_^>a_ whose wild divergences offer considerable scope for loose but invigorating _^<a_!T2812_SATIRE_^>a_. Her writing continues to be vigorous, erotic, highly visual,
aesthetically informed by a late punk/Goth sensibility, occasionally somewhat crudely executed, and linguistically shaped by an unusual fusion of intensely contemporary slang and ritualistic "High Style". [NT]_^<n__^<n__^<b_Other works:_^>b_
_^<i_Burying the Shadow_^>i_ (_^<b_1992_^>b_); _^<i_When the Angels Came_^>i_ (_^<b_1992_^>b_ chap); _^<i_Sign for the Sacred_^>i_ (_^<b_1993_^>b_)._^<b_See also:_^>b_ _^<a_!T1015_CYBERPUNK_^>a_; _^<a_!T6697_ESP_^>a_; _^<a_!T4596_GAMES
> _^<a_!T853_CONTAMINATION: ALIEN ARRIVA SULLA TERRA_^>a_._^<n__^<n_
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CONTAMINATION: ALIEN ARRIVA SULLA TERRA
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(vt _^<i_Contamination_^>i_; vt _^<i_Alien Contamination_^>i_) Film (1981). Cannon. Dir Luigi Cozzi, starring Ian McCulloch, Louise Marleau, Siegfried Rauch, Martin Mase, Lisa Hahn. Screenplay Cozzi. 85 mins. Colour._^<n__^<n_"In Italy," says Cozzi,
"when you bring your script to a producer, the first question he asks is . . . What film is your film like?" This is one of several competing Italian attempts to exploit the success of _^<a_!T98_ALIEN_^>a_ (1979). Its opening imitates Lucio Fulci's
_^<i_Zombi 2_^>i_ (1979) (mysteriously deserted ship with monstrous cargo docked in New York, and the use of actor McCulloch); and a lot is borrowed from _^<a_!T2450_QUATERMASS II_^>a_ (1957). A tolerably lively effort, which repeats too often its
image of an alien parasite making characters' stomachs explode in a flurry of guts and blood, this has a Martian _^<a_!T3008_MONSTER_^>a_ and a hypnotized astronaut disseminating alien seed-pods around the globe. There's a loud score by Goblin, and
some well staged action as resourceful heroes take on zombified alien slaves and an especially ridiculous last-reel monster. [KN]_^<n__^<n_
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CONTENTO, WILLIAM G(UY)
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(1947- ) US hardware technical support engineer for Cray Research at Lawrence Livermore National Laboratory, and bibliographer. His books, beginning with _^<i_Index to Science Fiction Anthologies and Collections_^>i_ (_^<b_1978_^>b_) and
_^<i_Index to Science Fiction Anthologies and Collections: 1977-1983_^>i_ (_^<b_1984_^>b_), are essential tools of reference. Researchers wishing to know where to locate short stories in collections and _^<a_!T195_ANTHOLOGIES_^>a_ (and also what
books of or about sf were published in a given year) after this period would normally then turn to the annual series compiled by Charles N. _^<a_!T5026_BROWN_^>a_ and WGC, and published by _^<a_!T3419_LOCUS_^>a_ Press, beginning, in terms of
coverage year, with _^<i_Science Fiction, Fantasy, & Horror: 1984_^>i_ (_^<b_1990_^>b_), and going on through _^<i_Science Fiction in Print: 1985_^>i_ (_^<b_1986_^>b_), _^<i_Science Fiction, Fantasy, & Horror: 1986_^>i_ (_^<b_1987_^>b_),
Horror: 1990_^>i_ (_^<b_1991_^>b_) and _^<i_Science Fiction, Fantasy, & Horror: 1991_^>i_ (_^<b_1992_^>b_), the last of the series. Despite very occasional omissions, these are still by far the most comprehensive annual
_^<a_!T585_BIBLIOGRAPHIES_^>a_ available, containing useful comment about the nature of each title. They are even more useful from _^<i_1988_^>i_ (_^<b_1989_^>b_) onwards, as the later volumes contain a Research Index by Hal W.
_^<a_!T4933_HALL_^>a_. WGC has also compiled, with Martin H. _^<a_!T4842_GREENBERG_^>a_, _^<i_Index to Crime and Mystery Anthologies_^>i_ (_^<b_1990_^>b_). [PN]_^<n__^<n_
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CONTINENTAL PUBLICATIONS
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> _^<a_!T6152_WONDER STORIES_^>a_._^<n__^<n_
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CONVENTIONS
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One of the principal features of sf _^<a_!T1389_FANDOM_^>a_, conventions are usually weekend gatherings of fans and authors, frequently with a programme of sf discussion and events. In _^<a_!T1392_FAN LANGUAGE_^>a_ conventions are usually referred
to as cons. They are informal, not professionally organized, and with no delegated attendants or, usually, paid speakers. Typical activities include talks, auctions, films, panel discussions, masquerades and banquets._^<n__^<n_Although some US sf
fans date the first convention to 1936, when a group of fans from New York spent a day with a group from Philadelphia (including Oswald _^<a_!T6074_TRAIN_^>a_), the first formally planned sf convention took place in Leeds, UK, in 1937. Since then
regular conventions have been established around the world. In the UK the major annual convention is known as Eastercon (inaugurated 1948), though it was held at Whitsun until 1955 (except 1950, when there was no convention), and has had up to 900
attending; recent venues have included Liverpool, Leeds, Glasgow, Jersey and Blackpool. A second convention, Novacon, was added to the calendar in 1971; it takes place every November in Birmingham and attracts some 300 people. Since the late 1970s
there has been an explosion in the number of small conventions held in the UK._^<n__^<n_The first US convention was held in New York in 1938 and the first Worldcon, now the premier sf convention, took place there in 1939 (though it was originally
so-named because of the World's Fair in New York that year). Worldcon, at which the _^<a_!T4551_HUGO_^>a_ Awards are presented, is held annually, usually in the USA, where it has attracted as many as 8000 attending. It has also gone once each to
Germany (1970) and Holland (1990), twice each to Canada (1948 and 1973) and Australia (1975 and 1985), and four times to the UK (1957, 1965, 1979 and 1987). Annual regional conventions have also been long established in North America: major events
include Westercon (inaugurated 1948), Midwestcon (inaugurated 1950), Deepsouthcon (inaugurated 1963), Disclave (Washington; inaugurated 1950), Lunacon (New York; inaugurated 1957), Boskone (Boston; inaugurated 1964) and Windycon (Chicago;
inaugurated 1974). There are also national conventions in _^<a_!T315_AUSTRALIA_^>a_, _^<a_!T3872_JAPAN_^>a_ and several European countries, including _^<a_!T1487_FINLAND_^>a_, _^<a_!T1590_FRANCE_^>a_, _^<a_!T4667_GERMANY_^>a_,
_^<a_!T3826_ITALY_^>a_, the _^<a_!T3159_NETHERLANDS_^>a_ and _^<a_!T3247_NORWAY_^>a_. In 1976 one of the international Eurocons (inaugurated 1971) was held in _^<a_!T1938_POLAND_^>a_, the first sf convention in what was then the communist
bloc._^<n__^<n_Sf conventions are now very numerous, especially in the USA: taking the whole world into account, there are about 150 a year. There are similarities and a degree of overlap between sf cons and those held by fans of
_^<a_!T820_COMICS_^>a_, _^<a_!T1412_FANTASY_^>a_ and horror, and also the specialist conventions held by fans of, for example, _^<a_!T2429_STAR TREK_^>a_ and _^<a_!T1268_DR WHO_^>a_. [PR/RH]_^<n__^<n_
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CONWAY, GERARD F.
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(1952- ) US writer who began publishing sf with "Through the Dark Glass" for _^<i_AMZ_^>i_ in 1970. His first sf novel was _^<i_The Midnight Dancers_^>i_ (_^<b_1971_^>b_). _^<i_Mindship_^>i_ (1971 _^<i_Universe_^>i_; exp _^<b_1974_^>b_) is a
_^<a_!T2342_SPACE OPERA_^>a_: the mindships of the title are spaceships coordinated by the _^<a_!T2021_PSI POWERS_^>a_ of specially trained "corks". Not untypically of sf novels of the time, by the end of the book a gestalt state has been achieved
between one cork and his captain. As Wallace Moore, GFC wrote the _^<b_Balzan of the Cat People_^>b_ series: _^<i_The Bloodstone_^>i_ (_^<b_1974_^>b_), _^<i_The Caves of Madness_^>i_ (_^<b_1975_^>b_) and _^<i_The Lights of Zetar_^>i_
(_^<b_1975_^>b_). [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T1443_FASTER THAN LIGHT_^>a_.
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CONWAY, TROY
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> Michael _^<a_!T324_AVALLONE_^>a_._^<n__^<n_
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COOK, GLEN (CHARLES)
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(1944- ) US writer who began his sf career with orthodox stories like his first, "Song from a Forgotten Hill", in _^<i_Clarion_^>i_ (anth _^<b_1971_^>b_), and with the sf novel _^<i_The Heirs of Babylon_^>i_ (_^<b_1972_^>b_), in which an
authoritarian religious government takes over after the _^<a_!T4482_HOLOCAUST_^>a_. However, he soon became best known for his high _^<a_!T1412_FANTASY_^>a_, especially the _^<b_Dread Empire_^>b_ series, which was notable for its concerted military
set-pieces, moderately complex plotting, violence, and a sense of undue haste -- he has been exceedingly prolific. The series includes: _^<i_A Shadow of All Night Falling_^>i_ (_^<b_1979_^>b_); _^<i_October's Baby_^>i_ (_^<b_1980_^>b_); _^<i_All
Darkness Met_^>i_ (_^<b_1980_^>b_); "Soldier of an Empire Unacquainted with Defeat" (1980); a 2-vol subsequence made up of _^<i_The Fire in his Hands_^>i_ (_^<b_1984_^>b_) and _^<i_With Mercy Toward None_^>i_ (_^<b_1985_^>b_); _^<i_Reap the East
Wind_^>i_ (_^<b_1987_^>b_); _^<i_An Ill Fate Marshalling_^>i_; (_^<b_1988_^>b_). A further, similar series, the _^<b_Chronicles of the Black Company_^>b_, perhaps stands out; the first 3 vols -- _^<i_The Black Company_^>i_ (_^<b_1984_^>b_),
_^<i_Shadows Linger_^>i_ (_^<b_1984_^>b_) and _^<i_The White Rose_^>i_ (_^<b_1985_^>b_) -- were assembled as _^<i_Annals of the Black Company_^>i_ (omni _^<b_1986_^>b_), and were followed by a second sequence, the _^<b_Book of the South_^>b_,
comprising _^<i_Shadow Games_^>i_ (_^<b_1989_^>b_) and _^<i_Dreams of Steel_^>i_ (_^<b_1990_^>b_); _^<i_The Silver Spike_^>i_ (_^<b_1989_^>b_) is set in the same world. A series of humorous fantasies, starring a Chandleresque private eye named
Garrett, provides a somewhat relentless light relief, with titles derivative of John D. _^<a_!T3514_MACDONALD_^>a_: _^<i_Sweet Silver Blues_^>i_ (_^<b_1987_^>b_), _^<i_Bitter Gold Hearts_^>i_ (_^<b_1988_^>b_), _^<i_Cold Copper Tears_^>i_
(_^<b_1988_^>b_) -- all three assembled as _^<i_The Garrett Files_^>i_ (omni _^<b_1988_^>b_) -- _^<i_Old Tin Sorrows_^>i_ (_^<b_1989_^>b_), _^<i_Dread Brass Shadows_^>i_ (_^<b_1990_^>b_), _^<i_Red Iron Nights_^>i_ (_^<b_1991_^>b_) and _^<i_Deadly
Quicksilver Lies_^>i_ (_^<b_1994_^>b_). Of his singletons, _^<i_A Matter of Time_^>i_ (_^<b_1985_^>b_), a _^<a_!T6026_TIME-TRAVEL_^>a_ tale starring detective figures, and _^<i_The Tower of Fear_^>i_ (_^<b_1989_^>b_), a strongly plotted fantasy,
are the most notable. GC is a writer of considerable energy but little patience. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_The Swap Academy_^>i_ (_^<b_1970_^>b_) as by Greg Stevens, GC's first novel, a non-genre erotica title; _^<i_The
Swordbearer_^>i_ (_^<b_1982_^>b_); the _^<b_Starfishers_^>b_ sequence, comprising _^<i_Shadowline_^>i_ (_^<b_1982_^>b_), _^<i_Starfishers_^>i_ (_^<b_1982_^>b_) and _^<i_Stars' End_^>i_ (_^<b_1982_^>b_), which is related to _^<i_Passage at Arms_^>i_
(_^<b_1985_^>b_); the _^<b_Darkwar_^>b_ trilogy: _^<i_Doomstalker_^>i_ (_^<b_1985_^>b_), _^<i_Warlock_^>i_ (_^<b_1985_^>b_) and _^<i_Ceremony_^>i_ (_^<b_1986_^>b_); _^<i_The Dragon Never Sleeps_^>i_ (_^<b_1988_^>b_), a _^<a_!T2342_SPACE OPERA_^>a_;
_^<i_Sung in Blood_^>i_ (_^<b_1990_^>b_), a fantasy._^<b_About the author:_^>b_ _^<i_A Glen Cook Bibliography_^>i_ (_^<b_1983_^>b_ chap) by Cook and Roger C. _^<a_!T2845_SCHLOBIN_^>a_.
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COOK, HUGH (MURRAY WILLIAM)
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(1957- ) _^<a_!T3186_NEW ZEALAND_^>a_ author, known primarily for his mildly competent and sometimes inventive fantasy series, _^<b_Chronicles of an Age of Darkness_^>b_, which seems intended for a young-adult readership. His only sf novel,
_^<i_The Shift_^>i_ (_^<b_1986_^>b_ UK), a finalist in the 1985 Young Writers' Competition run by _^<i_The Times_^>i_ (London) with publishers Jonathan Cape, is a confused tale of deeply undergraduate humour about an alien _^<a_!T3796_INVASION_^>a_
and a machine that selectively alters human history. [PN]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Plague Summer_^>i_ (_^<b_1980_^>b_), not sf; the _^<b_Chronicles of an Age of Darkness_^>b_ fantasy series, comprising _^<i_#1: The Wizards and the
Warriors_^>i_ (_^<b_1986_^>b_ UK; vt _^<i_Wizard War_^>i_ 1987 US), _^<i_#2: The Wordsmiths and the Warguild, or The Questing Hero_^>i_ (_^<b_1987_^>b_ UK; in 2 vols vt _^<i_The Questing Hero_^>i_ 1987 US and _^<i_The Hero's Return_^>i_ 1988 US),
_^<i_#3: The Women and the Warlords_^>i_ (_^<b_1987_^>b_ UK; vt _^<i_The Oracle_^>i_ 1987 US), _^<i_#4: The Walrus and the Warwolf_^>i_ (_^<b_1988_^>b_ UK; cut vt _^<i_Lords of the Sword _^>i_1991 US), _^<i_#5: The Wicked and the Witless_^>i_
(_^<b_1989_^>b_ UK), _^<i_#6: The Wishstone and the Wonderworkers_^>i_ (_^<b_1990_^>b_ UK), _^<i_#7: The Wazir and the Witch_^>i_ (_^<b_1990_^>b_ UK), _^<i_#8: The Werewolf and the Wormlord_^>i_ (_^<b_1991_^>b_), _^<i_#9: The Worshippers and the
Way_^>i_ (_^<b_1992_^>b_)and _^<i_#10: The Witchlord and the Weaponmaster_^>i_(_^<b_1992_^>b_).
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COOK, PAUL H(ARLIN)
-T-
(1950- ) US poet and novelist whose infrequent sf stories began with "The Character Assassin" in _^<i_Other Worlds #1_^>i_ (anth _^<b_1979_^>b_) ed Roy _^<a_!T6058_TORGESON_^>a_. In his first novel, _^<i_Tintagel_^>i_ (_^<b_1981_^>b_), a virus
transports its victims, by actualizing their response to _^<a_!T3118_MUSIC_^>a_, into fantasy worlds from which the immune protagonist must rescue them. _^<i_Duende Meadow_^>i_ (_^<b_1985_^>b_) depicts the post-_^<a_!T4482_HOLOCAUST_^>a_ return of
North Americans to the surface of the world, where they find Russian farmers. The lure of transcendence marks PHC's books; if their focus sharpens, they may become substantial. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_The Alejandra Variations_^>i_
(_^<b_1984_^>b_); _^<i__^<a_!B9284_HALO_^>a__^>i_ (_^<b_1986_^>b_); _^<i_On the Rim of the Mandala_^>i_ (_^<b_1987_^>b_), a congested _^<a_!T2342_SPACE OPERA_^>a_._^<b_See also:_^>b_ _^<a_!T6717_EVOLUTION_^>a_; _^<a_!T3118_MUSIC_^>a_.
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COOK, ROBIN
-T-
_^<b_1._^>b_Working name of UK writer Robert William Arthur Cook (1931-1994), resident for some years in France (in order, he intimated, to put distance between himself and gangland acquaintances) before returning to the UK a year or so before his
death . He wrote thrillers as Derek Raymond, a name he began to use when his career was flagging and his own name was eclipsed by _^<b_2._^>b_ His last novel as RC, _^<i_A State of Denmark, or A Warning to the Incurious_^>i_ (_^<b_1970_^>b_), is a
savage and scatological depiction of a _^<a_!T6337_NEAR-FUTURE_^>a_ welfare _^<a_!T1370_DYSTOPIA_^>a_ in the UK._^<n__^<n__^<b_2._^>b_ (1940- ) US writer of medical horror thrillers whose premises are often extracted from sf. His best-known
novel is his first, _^<i_Coma_^>i_ (_^<b_1977_^>b_), filmed as _^<a_!T818_COMA_^>a_ (1978) by his medical-_^<a_!T4509_HORROR_^>a_ confrere Michael _^<a_!T954_CRICHTON_^>a_. Others include _^<i_Brain_^>i_ (_^<b_1981_^>b_), _^<i_Fever_^>i_
and _^<i_Terminal _^>i_(_^<b_1993_^>b_). [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T611_BIOLOGY_^>a_; _^<a_!T4657_GENETIC ENGINEERING_^>a_; _^<a_!T3744_MEDICINE_^>a_; _^<a_!T5917_TECHNOTHRILLER_^>a_.
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COOK, WILLIAM WALLACE
-T-
(1867-1933) US writer, reportedly pseudonymous, much of whose production appeared after the turn of the century in such magazines as _^<i_The_^>i_ _^<a_!T225_ARGOSY_^>a_, and only later in book form, in a stapled format reminiscent of
_^<a_!T1236_DIME-NOVEL SF_^>a_. Noteworthy among these books are _^<i_A Round Trip to the Year 2000, or A Flight Through Time_^>i_ (1903 _^<i_The Argosy_^>i_; _^<b_1925_^>b_), in which various contemporary writers travel by _^<a_!T5851_SUSPENDED
ANIMATION_^>a_ to AD2000, where they observe social conditions, and find themselves popular, and _^<i_Adrift in the Unknown, or Adventures in a Queer Realm_^>i_ (1904-5 _^<i_The Argosy_^>i_; _^<b_1925_^>b_), a satire on US capitalism in which a
burglar goes along for the ride with a reformist scientist in his spaceship to _^<a_!T2902_MERCURY_^>a_, where he teaches the kidnapped capitalists he has brought with him some lessons in social justice. WWC was a crude writer, but is of interest
in his attempts to combine adventure plots and _^<a_!T2812_SATIRE_^>a_. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Castaway at the Pole_^>i_ (1904 _^<i_The Argosy_^>i_; _^<b_1926_^>b_); _^<i_Marooned in 1492, or Under Fortune's Flag_^>i_ (1905
_^<i_The Argosy_^>i_; _^<b_1925_^>b_); _^<i_The Eighth Wonder, or Working for Miracles_^>i_ (1906-7 _^<i_The Argosy_^>i_; _^<b_1925_^>b_); _^<i_Around the World in Eighty Hours_^>i_ (_^<b_1925_^>b_)._^<b_See also:_^>b_ _^<a_!T1245_DISCOVERY AND
INVENTION_^>a_; _^<a_!T4443_HISTORY OF SF_^>a_; _^<a_!T2646_ROBOTS_^>a_; _^<a_!T6026_TIME TRAVEL_^>a_.
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COOKE, ARTHUR
-T-
Collaborative pseudonym used on "The Psychological Regulator" (1941) by C.M. _^<a_!T6353_KORNBLUTH_^>a_, Robert _^<a_!T3472_LOWNDES_^>a_, John Michell (1917-1969), Elsie Balter and Donald A. _^<a_!T5679_WOLLHEIM_^>a_. [JC]_^<n__^<n_
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COOKE, JOHN ESTES
-T-
> L. Frank _^<a_!T468_BAUM_^>a_._^<n__^<n_
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COON, HORACE
-T-
(1897-1961) US writer in whose _^<i_43,000 Years Later_^>i_ (_^<b_1958_^>b_) _^<a_!T102_ALIENS_^>a_ come to a post-_^<a_!T4482_HOLOCAUST_^>a_ Earth, become intrigued by the civilization that had gone before, and, through records, explore the
20th-century world to satirical effect. [JC]_^<n__^<n_
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COON, SUSAN
-T-
Pseudonym of US writer Susan Plunkett (1945- ), whose _^<b_Living Planet_^>b_ sequence -- _^<i_Rahne_^>i_ (_^<b_1980_^>b_), _^<i_Cassilee_^>i_ (_^<b_1980_^>b_), _^<i_The Virgin_^>i_ (_^<b_1981_^>b_) and _^<i_Chiy-Une_^>i_ (_^<b_1982_^>b_) --
skids rather loosely about a _^<a_!T1678_GALACTIC-EMPIRE_^>a_ setting, only to terminate in an abrupt and complicated coming-together of humans and _^<a_!T102_ALIENS_^>a_ on the sentient world which gave its name to the final volume. [JC]_^<n__^<n_
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COOPER, C. EVERETT
-T-
> R. _^<a_!T2543_REGINALD_^>a_._^<n__^<n_
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COOPER, COLIN (SYMONS)
-T-
(1926- ) UK writer, active as a scriptwriter for _^<a_!T5926_TELEVISION_^>a_ and _^<a_!T2480_RADIO_^>a_. His first sf was a 6-part BBC serial, "Host Planet Earth" (1967). His somewhat downbeat sf novels, _^<i_The Thunder and Lightning Man_^>i_
(_^<b_1968_^>b_) and _^<i_Outcrop_^>i_ (_^<b_1970_^>b_), have not had a strong impact on the field. _^<i_Dargason_^>i_ (_^<b_1977_^>b_) is a story of the _^<a_!T6337_NEAR FUTURE_^>a_ in which, for mysterious reasons, listeners to
_^<a_!T3118_MUSIC_^>a_ become severely affected by a variety of psychologically extreme states; it was perhaps the only sf thriller before Paul H. _^<a_!T861_COOK_^>a_'s _^<i_Tintagel_^>i_ (_^<b_1981_^>b_) to posit music as a
(1926-1982) UK writer who served in the British Merchant Navy 1939-45 and who began to publish stories of genre interest with "The Unicorn" (1951), producing a considerable amount of short fiction in the 1950s, much of it assembled (with
considerable overlap) in _^<i_Tomorrow's Gift_^>i_ (coll _^<b_1958_^>b_ US), _^<i_Voices in the Dark_^>i_ (coll _^<b_1960_^>b_) and _^<i_Tomorrow Came_^>i_ (coll _^<b_1963_^>b_). His early pseudonyms included Martin Lester; George Kinley, under
which name he published his first sf novel, _^<i_Ferry Rocket_^>i_ (_^<b_1954_^>b_); and Broderick Quain. For a later sf adventure series (see listing below) he used the name Richard Avery._^<n__^<n_It was as a novelist that EC became most highly
regarded, and it was for his earlier novels that he was most appreciated, though later works like _^<i_The Overman Culture_^>i_ (_^<b_1971_^>b_) showed a continuing (if reluctant) facility in newer modes; in his persistent use of
post-nuclear-_^<a_!T4482_HOLOCAUST_^>a_ settings he was probably expressing his own conviction about the future course of events. His first novel under his own name, _^<i_The Uncertain Midnight_^>i_ (_^<b_1958_^>b_; vt _^<i_Deadly Image_^>i_ 1958
US), describes a post-holocaust world in which _^<a_!T177_ANDROIDS_^>a_ are gradually threatening to supplant humankind. _^<i_Seed of Light_^>i_ (_^<b_1959_^>b_) is a _^<a_!T4655_GENERATION-STARSHIP_^>a_ novel in which a small group manages to
escape from a devastated Earth. Other novels to incorporate the basic premise that the planet has been rendered to a greater or lesser degree uninhabitable include _^<i_The Last Continent_^>i_ (_^<b_1969_^>b_ US), _^<i_The Tenth Planet_^>i_
(_^<b_1973_^>b_ US) and _^<i_The Cloud Walker_^>i_ (_^<b_1973_^>b_), which was his best received novel (certainly in the USA) and the last to be much praised. Its message was perhaps conventional, but was competently delivered: even though two
nuclear holocausts have afflicted England, the Luddite response of a new church is inappropriate, and the young protagonist properly wins the day with an invention which he uses to defend his village from assailants. As the novel closes, the march
of progress is seen to resume._^<n__^<n_In general, however, EC's later work lacked much _^<i_joie de vivre_^>i_, while an anti-_^<a_!T1461_FEMINIST_^>a_ point of view -- he was quoted as saying of women: "Let them compete against men, they'll see
that they can't make it"-became explicit in his novels _^<i_Five to Twelve_^>i_ (_^<b_1968_^>b_) and _^<i_Who Needs Men?_^>i_ (_^<b_1972_^>b_; vt _^<i_Gender Genocide_^>i_ 1973 US), and implicit elsewhere. These attitudes were neither politic, in
the heightened atmosphere of the 1970s, nor in fact intrinsically becoming. The stories assembled in _^<i_Merry Christmas, Ms Minerva!_^>i_ (coll _^<b_1978_^>b_) failed to help. EC died with his reputation at a low ebb; but he was a competent and
prolific writer, and a better balance may some day be reached. [MJE/JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Wish Goes to Slumberland_^>i_ (_^<b_1960_^>b_ chap), a fantasy for children; _^<i_Transit_^>i_ (_^<b_1964_^>b_); _^<i_All Fools' Day_^>i_
(_^<b_1966_^>b_); _^<i_A Far Sunset_^>i_ (_^<b_1967_^>b_); _^<i_News from Elsewhere_^>i_ (coll _^<b_1968_^>b_); _^<i_Sea-Horse in the Sky_^>i_ (_^<b_1969_^>b_); _^<i_Son of Kronk_^>i_ (_^<b_1970_^>b_; vt _^<i_Kronk_^>i_ 1971 US); _^<i_The Square
Root of Tomorrow_^>i_ (coll _^<b_1970_^>b_); _^<i_Unborn Tomorrow_^>i_ (coll _^<b_1971_^>b_); _^<i_The Slaves of Heaven_^>i_ (_^<b_1974_^>b_ US); _^<i_Prisoner of Fire_^>i_ (_^<b_1974_^>b_); _^<i_Jupiter Laughs_^>i_ (coll _^<b_1980_^>b_); _^<i_A
World of Difference_^>i_ (coll _^<b_1980_^>b_)._^<b_As Richard Avery:_^>b_ The _^<b_Expendables_^>b_ sequence of _^<a_!T2342_SPACE OPERAS_^>a_, comprising _^<i_The Deathworms of Kratos_^>i_ (_^<b_1975_^>b_), _^<i_The Rings of Tantalus_^>i_
(_^<b_1975_^>b_), _^<i_The War Games of Zelos_^>i_ (_^<b_1975_^>b_) and _^<i_The Venom of Argus_^>i_ (_^<b_1976_^>b_)._^<b_About the author:_^>b_ "Hope for the Future: The Science Fiction Novels of Edmund Cooper" and "An Interview with Edmund
Cooper" both by James Goddard, in _^<i_Science Fiction Monthly_^>i_ vol 2 #4._^<b_See also:_^>b_ _^<a_!T197_ANTHROPOLOGY_^>a_; _^<a_!T1243_DISASTER_^>a_; _^<a_!T1743_OUTER PLANETS_^>a_; _^<a_!T2054_SCIENCE FICTION BOOK CLUB_^>a_;
_^<a_!T2115_SEX_^>a_; _^<a_!T2300_SOCIOLOGY_^>a_.
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COOPER, JAMES FENIMORE
-T-
(1789-1851) US writer, best known for the _^<b_Leather-Stocking Tales_^>b_ sequence in a gentlemanly frontier-adventure tale style, which includes _^<i_The Last of the Mohicans_^>i_ (_^<b_1826_^>b_) and many other widely read novels featuring the
woodsman Natty Bumppo. In JFC's sf novel, _^<i_The Monikins_^>i_ (_^<b_1835_^>b_), an English gentleman purchases several captured specimens from an articulate monkey civilization located in a _^<a_!T3460_LOST WORLD_^>a_ in the Antarctic, which
they describe to him so vividly that he returns there with them, only to find that the monkey civilization parodies 19th-century human politics. As in many _^<a_!T2013_PROTO-SCIENCE-FICTION_^>a_ tales of this sort, the protagonist then awakens.
_^<i_The Crater, or Vulcan's Peak_^>i_ (_^<b_1847_^>b_; vt _^<i_Man's Reef, or The Crater_^>i_ 1868 UK) is a _^<a_!T5303_UTOPIA_^>a_ set on an _^<a_!T3823_ISLAND_^>a_, which sinks. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T206_APES AND CAVEMEN (IN
THE HUMAN WORLD)_^>a_.
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COOPER, SUSAN (MARY)
-T-
(1935- ) UK writer, a graduate in English studies from Oxford, for some time a journalist; now resident in the USA. In her sf novel _^<i_Mandrake_^>i_ (_^<b_1964_^>b_) the eponymous politician takes over a distressed _^<a_!T6337_NEAR-FUTURE_^>a_
England and, in mystical league with the forces of Nature, begins the process of cleansing the Earth of Man, but is stopped just in time. Her juvenile _^<a_!T1412_FANTASY_^>a_ series, _^<b_The Dark is Rising_^>b_, is made up of _^<i_Over Sea, Under
Stone_^>i_ (_^<b_1965_^>b_), _^<i_The Dark is Rising_^>i_ (_^<b_1973_^>b_ US), _^<i_Greenwitch_^>i_ (_^<b_1974_^>b_ US), _^<i_The Grey King_^>i_ (_^<b_1975_^>b_ US) and _^<i_Silver on the Tree_^>i_ (_^<b_1977_^>b_ US). It is thought by many critics
to be one of the most distinguished of the mythological fantasy series which, following the success of J.R.R. _^<a_!T6041_TOLKIEN_^>a_'s work, were published in a spate during the 1960s and 1970s. The hero of the series, Will Stanton, is at once a
small boy and a vessel of ancient powers, and SC shows great skill in blending in him a perfectly natural, unsentimentalized, childish innocence and the sophistication of a mage. The series owed much to Anglo-Saxon and Celtic
_^<a_!T3135_MYTHOLOGY_^>a_, but also uses such sf tropes as _^<a_!T131_ALTERNATE WORLDS_^>a_, _^<a_!T6020_TIME PARADOXES_^>a_ and time stasis. _^<i_The Grey King_^>i_ won the 1976 Newbery Award. _^<i_Seaward_^>i_ (_^<b_1983_^>b_ US) once again
utilizes Celtic material, this time in a dark hegira into the world of death. [JC/PN]_^<n__^<n__^<b_Other works:_^>b_ _^<i_J.B. Priestley: Portrait of an Author_^>i_ (_^<b_1970_^>b_) and _^<i_Stars in our Hands_^>i_ (_^<b_1977_^>b_ chap Canada),
both nonfiction; _^<i_Jethro and the Jumbie_^>i_ (_^<b_1979_^>b_ chap) and _^<i_The Silver Cow_^>i_ (_^<b_1983_^>b_), both fantasies for young children; _^<i_The Boggart_^>i_(_^<b_1993_^>b_ US)._^<b_See also:_^>b_ _^<a_!T710_CHILDREN'S SF_^>a_.
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COOVER, ROBERT (LOWELL)
-T-
(1932- ) US writer who has established a considerable reputation with his novels, in which _^<a_!T1372_FABULATION_^>a_ and political scatology mix fruitfully. His work might be seen to represent a _^<a_!T1958_POSTMODERNIST_^>a_ intensification of
the same milieu excoriated by Richard _^<a_!T831_CONDON_^>a_. _^<i_The Origin of the Brunists_^>i_ (_^<b_1965_^>b_) subverts the millennial fantasy tropes at its heart. _^<i_The Universal Baseball Association Inc., J. Henry Waugh, Prop._^>i_
(_^<b_1968_^>b_) also denatures its _^<a_!T1412_FANTASY_^>a_ premise, the eponymous dreamer's creation of a baseball world to be safe in. _^<i_The Public Burning_^>i_ (_^<b_1977_^>b_) can be read as an alternate history (> _^<a_!T131_ALTERNATE
WORLDS_^>a_) of the early 1950s, taking in the death of the Rosenbergs and examining Richard Nixon -- a figure RC also anatomized in _^<i_Whatever Happened to Gloomy Gus of the Chicago Bears?_^>i_ (_^<b_1987_^>b_). _^<i_A Night at the Movies, or
You Must Remember This_^>i_ (_^<b_1987_^>b_) is a Hollywood fantasia. In _^<i_Pinocchio in Venice_^>i_ (_^<b_1991_^>b_) the Pinocchio of human flesh, slowly reverting to wood in his old age, returns to his origins. _^<i_Pricksongs and Descants_^>i_
(coll _^<b_1969_^>b_) contains some stories of sf interest. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Aesop's Forest_^>i_ (_^<b_1986_^>b_ chap dos); _^<i_A Political Fable_^>i_ (1968 _^<i_New American Review_^>i_ as "The Cat in the Hat for
President"; rev _^<b_1980_^>b_ chap).
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COPLEY, FRANK BARKLEY
-T-
(? -? ) US writer in whose _^<i_The Impeachment of President Israels_^>i_ (_^<b_1912_^>b_) a future Jewish US president is impeached for refusing on ethical grounds to make war on Germany, but is vindicated. [JC]_^<n__^<n_
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COPPEL, ALFRED (JOSE Jr)
-T-
(1921- ) Prolific US author (and wartime fighter pilot) who has written also as Robert Cham Gilman and Sol Galaxan (for 1 story only, 1953). He began publishing sf with "Age of Unreason" for _^<i_ASF_^>i_ in 1947, and published a good deal of
magazine fiction in the next decade, though he was in fact producing considerably more in other genres with such action novels as _^<i_Hero Driver_^>i_ (_^<b_1954_^>b_). His first sf novel was _^<i_Dark December_^>i_(_^<b_1960_^>b_), an extremely
effective post-_^<a_!T4482_HOLOCAUST_^>a_ quest story set in a nuclear-war-devastated USA and featuring the protagonist's search for his lost family. As Gilman, AC published the _^<b_Rhada_^>b_ _^<a_!T2342_SPACE-OPERA_^>a_ sequence for tough, older
children: _^<i_The Rebel of Rhada_^>i_ (_^<b_1968_^>b_), _^<i_The Navigator of Rhada_^>i_ (_^<b_1969_^>b_) and _^<i_The Starkahn of Rhada_^>i_ (_^<b_1970_^>b_) are not easy reading, and neither is the prequel _^<i_The Warlock of Rhada_^>i_
(_^<b_1985_^>b_). _^<i_The Burning Mountain: A Novel of the Invasion of Japan_^>i_ (_^<b_1983_^>b_) embodies an orthodox alternate-history (> _^<a_!T131_ALTERNATE WORLDS_^>a_) premise in thriller dress, told grippingly: the A-bomb fizzles,
necessitating a land invasion of Japan to end WWII; after some delay, a rejuvenated bomb stops the mayhem in 1946. Although AC's energies have been, for most of his career, focused on non-sf projects, the recent and ongoing _^<b_Goldenwing
Cycle_^>b_-- comprising _^<i_Glory _^>i_(_^<b_1993_^>b_) and <Glory's War> (1995), with further volumes projected -- is a series of glowingly mature space opera tales structured around the travels of the eponymous FTL ship, itself intricately
realized. AC's return to sf has been revelatory. [JC]_^<n__^<n__^<b_Other works:_^>b_ Four marginal political thrillers set in the immediate future: _^<i_Thirty-Four East_^>i_ (_^<b_1974_^>b_) _^<i_The Dragon_^>i_ (_^<b_1977_^>b_); _^<i_The
(1940- ) US illustrator and film animator. He attended the Kansas City Art Institute, and worked for almost a decade with a Kansas City animation company, doing sf illustration (a cover for _^<i_FSF_^>i_ in 1967 was his first sale) and
underground _^<a_!T820_COMICS_^>a_ on the side. He became a full-time freelance illustrator in 1972. Better known as a comic-book artist than as an sf illustrator, RC in fact combines the fields in his work: his sf art can look cartoonish, while
his comics art has the solid feel of sf illustration. While his men tend to look like "sacks filled with potatoes" and his women are ridiculously huge-breasted, he has a genius for surface texture and for three-dimensional solidity achieved with
shading. Much of his best work in sf has been for the _^<a_!T2054_SCIENCE FICTION BOOK CLUB_^>a_ and _^<a_!T1299_DOUBLEDAY_^>a_, and, in comics, for _^<a_!T2921_METAL HURLANT_^>a_, especially his two series _^<b_Den_^>b_ and _^<b_Rowlff_^>b_. He
contributed a sequence to the animated film _^<i_Heavy Metal_^>i_ (1981), published the _^<a_!T4809_GRAPHIC NOVEL_^>a_ _^<i_Bloodstar_^>i_ (1976) and, with Jan Strnad, produced _^<i_New Tales of the Arabian Nights_^>i_ (_^<b_1979_^>b_). A somewhat
fannish study, with 80 pages of colour illustration and many more in b/w, is _^<i_Richard Corben: Flights into Fantasy_^>i_ (_^<b_1982_^>b_) by Fershid Bharuch. _^<b_Richard Corben's Art Book_^>b_ (graph coll _^<b_1990_^>b_) is useful. _^<b_Richard
Corben's Art Book_^>b_ (graph coll _^<b_1990_^>b_) is useful. [PN/JG]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Vic and Blood_^>i_ (graph coll _^<b_1989_^>b_) with Harlan _^<a_!T6641_ELLISON_^>a_.
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CORBETT, CHAN
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[s] > Nat _^<a_!T2837_SCHACHNER_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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CORBETT, JAMES
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(? -? ) UK author of popular thrillers specifically written for the lending-library market. His _^<i_The Devil Man from Mars_^>i_ (_^<b_1935_^>b_) is an interplanetary novel with a poor scientific background (or perhaps it was intended as a
parody) in which a Martian, equipped with death rays and hypnotic powers, travels to Earth with, literally, the wind at his back all the way. More sophisticated in content is _^<i_The Man who Saw the Devil_^>i_ (_^<b_1934_^>b_), a rewrite of Robert
Louis _^<a_!T5731_STEVENSON_^>a_'s _^<i_Strange Case of Dr. Jekyll and Mr. Hyde_^>i_ (_^<b_1886_^>b_), in which neither personality is aware of the other's existence. Many of his other works contain some elements of sf and the weird-_^<i_Vampire of
the Skies_^>i_ (_^<b_1932_^>b_), _^<i_The Monster of Dagenham Hall_^>i_ (_^<b_1935_^>b_), _^<i_The Death Pool_^>i_ (_^<b_1936_^>b_), _^<i_The Man They Could not Kill_^>i_ (_^<b_1936_^>b_), _^<i_The Man with Nine Lives_^>i_ (_^<b_1938_^>b_) _^<i_The
Moon Killer_^>i_ (_^<b_1938_^>b_) and _^<i_The Ghost Plane_^>i_ (_^<b_1939_^>b_) -- but none has any real importance. [JE]_^<n__^<n_
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CORELLI, MARIE
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(1855-1924) UK writer, almost certainly born Mary (nicknamed "Minnie") Mackay, though she was secretive about her birth, which may have been illegitimate. She wrote extremely popular bestsellers (selling, in her prime, 100,000-copy editions),
although her first novel, _^<i_A Romance of Two Worlds_^>i_ (_^<b_1886_^>b_; rev 1887) -- in which interstellar travel is accomplished at about the turn of the century, through "personal electricity" -- and its sequel, _^<i_Ardath: The Story of a
Dead Self_^>i_ (_^<b_1889_^>b_), were only moderately successful. _^<i_The Sorrows of Satan_^>i_ (_^<b_1895_^>b_), in which a Corelli-like protagonist charismatically cures the Devil of evil, reaches perhaps her peculiar peak. By 1900 her odd brand
of sublimated sex, heated religiosity, self-absorbed "female frailty" and unctuous fantasy had begun to lose its appeal; by her death she had been virtually forgotten. Most of her early work can be read as fantasy, though careful explication of the
texts may derive a form of religious (> _^<a_!T2551_RELIGION_^>a_) explanation for the most extraordinary events. Also of sf interest are _^<i_The Young Diana: An Experiment of the Future_^>i_ (_^<b_1918_^>b_), about a scientific experiment to make
a woman (and hence Woman in general) beautiful, and _^<i_The Secret Power: A Romance of the Present_^>i_ (_^<b_1921_^>b_), featuring a huge airship and a secret power that triggers a great earthquake in California. [JC]_^<n__^<n__^<b_Other
works:_^>b_ _^<i_The Soul of Lilith_^>i_ (_^<b_1892_^>b_); _^<i_Barabbas: A Dream of the World's Tragedy_^>i_ (_^<b_1893_^>b_); _^<i_Ziska_^>i_ (_^<b_1897_^>b_); _^<i_Song of Miriam and Other Stories_^>i_ (coll _^<b_1898_^>b_); _^<i_The
Master-Christian_^>i_ (_^<b_1900_^>b_); _^<i_The Strange Visitation of Josiah McNason: A Christmas Ghost Story_^>i_ (_^<b_1904_^>b_ chap; vt _^<i_The Strange Visitation_^>i_ 1912 chap); _^<i_The Devil's Motor_^>i_ (in _^<i_A Christmas
Greeting_^>i_, coll _^<b_1901_^>b_;_^<b_1910_^>b_ chap); _^<i_The Life Everlasting_^>i_ (_^<b_1911_^>b_)._^<b_About the author:_^>b_ _^<i_Now Barabbas was a Rotter_^>i_ (_^<b_1978_^>b_) by Brian Masters; "Yesterday's Bestsellers, 1: Marie Corelli"
by Brian _^<a_!T2385_STABLEFORD_^>a_ in _^<i_Million, #1_^>i_ (1991)._^<b_See also:_^>b_ _^<a_!T4740_GODS AND DEMONS_^>a_.
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COREY, PAUL (FREDERICK)
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(1903-1992) US writer in various genres, active from as early as 1934, though his first sf story, "Operation Survival" for _^<i_NW_^>i_, did not appear until 1962. Most of his early novels are set on farms in the US Middle West; the title of one of
them, _^<i_Acres of Antaeus_^>i_ (_^<b_1946_^>b_), deceptively suggests sf content. His sf novel, _^<i_The Planet of the Blind_^>i_ (_^<b_1968_^>b_), written for _^<a_!T6332_ROBERT HALE LIMITED_^>a_, is a variation on the theme of the one-eyed man
in the country of the blind inaugurated (for sf) by H.G. _^<a_!T5528_WELLS_^>a_ in "The Country of the Blind" (1904). [JC]_^<n__^<n_
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CORLETT, WILLIAM
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(1938- ) UK actor, playwright and novelist, in the latter capacity mostly for older children. He is of sf interest mainly for the _^<b_Gate_^>b_ trilogy -- _^<i_The Gate of Eden_^>i_ (_^<b_1974_^>b_), _^<i_The Land Beyond_^>i_ (_^<b_1975_^>b_)
and _^<i_Return to the Gate_^>i_ (_^<b_1975_^>b_) -- set in a bleak _^<a_!T1370_DYSTOPIAN_^>a_ UK of the _^<a_!T6337_NEAR FUTURE_^>a_: social disintegration prefigures the moments of hope and rebuilding in the final volume. _^<i_The Dark Side of
the Moon_^>i_ (_^<b_1976_^>b_) ingeniously parallels the experiences of a kidnapped child with those of an astronaut spiritually adrift in deep space. The _^<b_Magician's House_^>b_ sequence-comprising _^<i_The Steps up the Chimney_^>i_
(_^<b_1990_^>b_),_^<i_The Door in the Tree_^>i_(_^<b_1991_^>b_), _^<i_The Tunnel behind the Waterfall_^>i_ (_^<b_1991_^>b_) and _^<i_The Bridge in the Clouds_^>i_ (_^<b_1993_^>b_) -- is fantasy. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_The Summer
of the Haunting_^>i_ (_^<b_1993_^>b_).
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CORLEY, EDWIN
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(1931-1981) US writer whose _^<i_Siege_^>i_ (_^<b_1969_^>b_) resembles several other US novels of the period in its depiction of a Black revolution centred-as in John _^<a_!T5618_WILLIAMS_^>a_'s _^<i_Sons of Darkness, Sons of Light_^>i_
(_^<b_1969_^>b_) -- on Manhattan. His other novels of sf interest include _^<i_The Jesus Factor_^>i_ (_^<b_1970_^>b_) -- which factor prevents the detonation of nuclear weapons, Hiroshima being a hoax intended to prevent future wars --
_^<i_Acapulco Gold_^>i_ (_^<b_1972_^>b_), _^<i_Sargasso_^>i_ (_^<b_1977_^>b_), and _^<i_The Genesis Rock_^>i_ (_^<b_1980_^>b_, which foresees a _^<a_!T6337_NEAR-FUTURE_^>a_ volcanic eruption under New York. [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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CORLEY, JAMES
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(1947- ) UK writer and computer programmer whose first novel, _^<i_Benedict's Planet_^>i_ (_^<b_1976_^>b_), combines _^<a_!T2342_SPACE OPERA_^>a_ and some rather technical speculations about the possibility of _^<a_!T1443_FASTER-THAN-LIGHT_^>a_
travel in a somewhat overcrowded tale in which the discoverer of a new source of fuel runs into complex trouble. Neither _^<i_Orsini Godbase_^>i_ (_^<b_1978_^>b_) nor _^<i_Sundrinker_^>i_ (_^<b_1980_^>b_), written for _^<a_!T6332_ROBERT HALE
LIMITED_^>a_, proved significantly more ambitious as novels. [JC]_^<n__^<n_
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CORMAN, ROGER
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(1926- ) US film-maker, a number of whose films are sf. Born in Los Angeles, he graduated in engineering from Stanford University in 1947, and spent a period in the US Navy and a term at Oxford University before going to Hollywood, where he began
to write screenplays; his first sale was _^<i_Highway Dragnet_^>i_ (1954), a picture he coproduced. He soon formed his own company and launched his spectacularly low-budget career. From 1956 he was regularly associated with American International
Pictures, a distribution company specializing in cheap exploitation films, often made to fit an already-planned advertising campaign. In 1959 he founded Filmgroup, which distributed its own product, but he returned to AIP in the 1960s for his Edgar
Allan _^<a_!T1933_POE_^>a_ movies (discussed below). In 1970, with brother Gene and Larry Woolner, Corman founded New World Pictures, which soon overtook AIP as the leading producer and distributor of exploitation films; he sold his share of the
company in 1983._^<n__^<n_RC's B-movies -- mainly Westerns and sf/horror stories at first, later also thrillers, road movies and drugs and rock'n'roll movies, most aimed specifically at teenagers -- did much to redefine the various
exploitation-movie genres, but only by the 1970s did they begin to attract attention from radical film critics. At first he served only as a producer, but in 1955 he began directing. Sf films he has directed -- the dates are those of first release
-- include _^<i_The_^>i_ _^<a_!T1114_DAY THE WORLD ENDED_^>a_ (1956), _^<a_!T3829_IT CONQUERED THE WORLD_^>a_ (1956), _^<a_!T3251_NOT OF THIS EARTH_^>a_ (1957), _^<a_!T297_ATTACK OF THE CRAB MONSTERS_^>a_ (1957), _^<i_War of the Satellites_^>i_
(1958), _^<i_Teenage Caveman_^>i_ (1958; vt _^<i_Prehistoric World_^>i_; vt _^<i_Out of the Darkness_^>i_), _^<i_The_^<a_!T5474_WASP WOMAN_^>a__^>i_ (1959), _^<a_!T4201_LAST WOMAN ON EARTH_^>a_ (1960), _^<i_The Little Shop of Horrors_^>i_ (1960),
_^<i_Creature From the Haunted Sea_^>i_ (1961), _^<a_!T6218_X -- THE MAN WITH THE X-RAY EYES_^>a_ (1963), _^<a_!T4634_GAS-S-S-S, OR IT BECAME NECESSARY TO DESTROY THE WORLD IN ORDER TO SAVE IT_^>a_ (1970) and _^<a_!T1602_FRANKENSTEIN UNBOUND_^>a_
(1990). The boom for sf films which had begun in the 1950s was dying out by 1963, after which year RC and other quickie-producers made far fewer of them. RC-directed films are rare after 1970; throughout the 1970s and 1980s he concentrated on
producing because directing had stopped being fun._^<n__^<n_Sf-oriented films he has produced, sometimes only as executive producer, include _^<i_Monster from the Ocean Floor_^>i_ (1954; vt _^<i_Monster Maker_^>i_), _^<i_Beast with a Million
Eyes_^>i_ (1955), _^<a_!T3203_NIGHT OF THE BLOOD BEAST_^>a_ (1958), _^<i_Beast from Haunted Cave_^>i_ (1959; uncredited), _^<i_Attack of the Giant Leeches_^>i_ (1960; vt _^<i_Demons of the Swamp_^>i_), _^<a_!T1127_DEATH RACE 2000_^>a_ (1975),
_^<a_!T1909_PIRANHA_^>a_ (1978), _^<i_Deathsport_^>i_ (1978), _^<i_Humanoids from the Deep_^>i_ (1980; vt _^<i_Monster_^>i_), _^<a_!T462_BATTLE BEYOND THE STARS_^>a_ (1980), _^<i_Galaxy of Terror_^>i_ (1981; vt _^<i_Mindwarp: An Infinity of
Terror_^>i_ _^<i_; vt Planet of Horrors_^>i_), _^<a_!T1552_FORBIDDEN WORLD_^>a_ (1982; vt _^<i__^<a_!B9176_MUTANT_^>a__^>i_), _^<i_Space Raiders_^>i_ (1983), _^<a_!T3251_NOT OF THIS EARTH_^>a_ (1988 remake), _^<i_Crime Zone_^>i_ (1988), _^<i_Lords
of the Deep_^>i_ (1989), _^<i_Time Trackers_^>i_ (1989), _^<a_!T4973_BRAIN DEAD_^>a_ (1989) and _^<i_Welcome to Oblivion_^>i_ (1990)._^<n__^<n_In the 1960s, RC furthered the practice (pioneered by the 1956 US release of _^<a_!T4750_GOJIRA_^>a_) of
buying up foreign-language films with spectacular effects and reshooting inserts with well-known US performers to create wholly new films, often farming out the revision jobs to up-and-coming young talent. This explains the presence in the
filmographies of Francis Ford Coppola, Peter Bogdanovich and Curtis Harrington of, respectively, _^<i_Battle Beyond the Sun_^>i_ (1963), _^<i_Voyage to the Planet of Prehistoric Women_^>i_ (1966; vt _^<i_Gill Woman_^>i_) and _^<i_Voyage to the
Prehistoric Planet_^>i_ (1965); Harrington also made _^<i_Queen of Blood_^>i_ (1966; vt _^<i_Planet of Blood_^>i_) in this way. These four films drew on footage from the Soviet films _^<i_Niebo Zowiet_^>i_ (1959; vt _^<i_The Sky Calls_^>i_; vt
_^<i_The Heavens Call_^>i_) and _^<a_!T1912_PLANETA BUR_^>a_ (1962; vt _^<i_Planet of Storms_^>i_; vt _^<i_Storm Planet_^>i_; vt _^<i_Cosmonauts on Venus_^>i_). Throughout his career, indeed, RC has been known for his fostering of young
film-makers: as well as Coppola, Bogdanovich and Harrington there have been Martin Scorsese, Monte Hellman, Jonathan Demme, Paul Bartel and Jonathan Kaplan; in the sf-film world specifically he was mentor to James _^<a_!T5131_CAMERON_^>a_, Joe
_^<a_!T1056_DANTE_^>a_, Irvin Kershner and John _^<a_!T2833_SAYLES_^>a_._^<n__^<n_During his proprietorship of New World, RC became known also as the US distributor of prestigious films by Kurosawa, Bergman, Fellini and Truffaut, but he was up to
his old tricks with the US release of _^<a_!T3220_NIPPON CHINBOTSU_^>a_ (1973; vt _^<i_The Submersion of Japan_^>i_) as a truncated travesty, _^<i_Tidal Wave_^>i_ (1974). However, he presided over an inspired re-use of miles of New World footage in
_^<i_Hollywood Boulevard_^>i_ (1976), dir Joe Dante and Allan Arkush; this is a skit on low-budget film-making revolving round the production of an sf exploitationer called _^<i_Atomic War Brides_^>i_._^<n__^<n_As a director, RC also worked in the
field of supernatural _^<a_!T4509_HORROR_^>a_. _^<i_The Undead_^>i_ (1957) has a _^<a_!T6026_TIME-TRAVEL_^>a_ theme in its tale of a prostitute, the _^<a_!T2548_REINCARNATION_^>a_ of an executed medieval witch, travelling back into the past but
refusing to intervene in her own earlier death because by so doing she would destroy many futures. Later, RC attracted much critical praise with his series of films based (often insecurely) on the works of Edgar Allan Poe, beginning with _^<i_House
of Usher_^>i_ (1960) and mostly starring Vincent Price, of which one of the finest is _^<i_The Tomb of Ligeia_^>i_ (1964), written by Robert Towne, later one of Hollywood's major screenwriters. Only _^<i_The Haunted Palace_^>i_ (1963)-actually
based on a story by H.P. _^<a_!T3465_LOVECRAFT_^>a_ despite the Poe title -- has sf elements: deformed _^<a_!T3120_MUTANTS_^>a_. RC also produced a second Lovecraft adaptation, _^<i_The Dunwich Horror_^>i_ (1969), which was mediocre._^<n__^<n_The
argument over RC's true worth as a film-maker continues. It is clear that by the 1970s he was mostly pursuing rather than setting trends. His work has attracted a cult following and considerable attention from that school of film critics which
holds that there is often a freshness and inventiveness in B-grade films lacking from more "respectable" Hollywood productions. In an interview he said of his sf films: "I was never really satisfied with my work in this field." His autobiography is
_^<i_How I Made a Hundred Movies in Hollywood and Never Lost a Dime_^>i_ (_^<b_1990_^>b_). He played a bit part (as FBI Director Hayden Burke) in the 1991 hit film _^<i_The Silence of the Lambs_^>i_. [PN/KN]_^<n__^<n__^<b_Further reading:_^>b_
_^<i_The Films of Roger Corman: Brilliance on a Budget_^>i_ (_^<b_1982_^>b_) by Ed _^<a_!T3136_NAHA_^>a_; _^<i_Roger Corman_^>i_ (_^<b_1985_^>b_) by Gary Morris; _^<i_Roger Corman: The Best of the Cheap Acts_^>i_ (_^<b_1988_^>b_) by Mark
(1874-1951) UK writer in whose sf novel, _^<i_The Woman who Stopped War_^>i_ (_^<b_1935_^>b_), the eponymous heroine sacrifices her virtue in order to gain money to fund the Women's Save the Race League as another _^<a_!T5452_WAR_^>a_ approaches.
War is halted. But was it worth the cost? [JC]_^<n__^<n_
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CORPSICLE
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One of the wittiest items of sf _^<a_!T5942_TERMINOLOGY_^>a_. The coinage, credited to Frederik _^<a_!T1937_POHL_^>a_ by Larry _^<a_!T3223_NIVEN_^>a_ in his essay "The Words in Science Fiction" (in _^<i_The Craft of Science Fiction_^>i_ [anth
_^<b_1976_^>b_] ed Reginald _^<a_!T4987_BRETNOR_^>a_), was first used by Niven in "Rammer" (1971). Formed on the analogy of "popsicle", a US ice-lolly, the word refers to a frozen dead person, preserved in the hope of resuscitation in a medically
[r] > _^<a_!T6332_ROBERT HALE LIMITED_^>a_._^<n__^<n_
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CORWIN, CECIL
-T-
[s] > C.M. _^<a_!T6353_KORNBLUTH_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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CORY, HOWARD L.
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Collaborative writing name of Jack Owen Jardine (1931- ) and Julie Ann Jardine (1926- ), then married; the name was taken from her stage name, Corrie Howard. _^<i_The Sword of Lankor_^>i_ (_^<b_1966_^>b_), in which natives of a
high-_^<a_!T4817_GRAVITY_^>a_ planet unknowingly extract valuable crystals for genially manipulative spacefarers, is swashbuckling. In _^<i_The Mind Monsters_^>i_ (_^<b_1966_^>b_ dos) a crash-landed Terran takes over a peculiar alien planet. Jack
Owen Jardine's solo sf was written as by Larry _^<a_!T3583_MADDOCK_^>a_. [JC]_^<n__^<n_
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CORY & COLLINS
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> Paul _^<a_!T808_COLLINS_^>a_._^<n__^<n_
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CORYELL, JOHN RUSSELL
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[r] > Nick _^<a_!T5195_CARTER_^>a_; Bernarr _^<a_!T3528_MACFADDEN_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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COSGROVE, RACHEL
-T-
[r] > E.L. _^<a_!T218_ARCH_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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COSMIC MONSTER, THE
-T-
> _^<i_The_^<a_!T5784_STRANGE WORLD OF PLANET X_^>a__^>i_ ._^<n__^<n_
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COSMIC SCIENCE FICTION
-T-
> _^<a_!T900_COSMIC STORIES_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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COSMIC SCIENCE STORIES
-T-
UK _^<a_!T2033_PULP MAGAZINE_^>a_. 1 undated issue, _^<i_c_^>i_June 1950, published by Popular Press, London; an abridged reprint of the Sep 1949 issue of _^<a_!T5847_SUPER SCIENCE STORIES_^>a_. The lead novelette was "Minions of Chaos" by John D.
_^<a_!T3514_MACDONALD_^>a_. [FHP]_^<n__^<n_
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COSMIC STORIES
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US _^<a_!T2033_PULP MAGAZINE_^>a_. 3 bimonthly issues, Mar-July 1941. Published by Albing Publications; ed Donald A. _^<a_!T5679_WOLLHEIM_^>a_. _^<i_CS_^>i_ was one of 2 companion magazines (the other being _^<a_!T5749_STIRRING SCIENCE STORIES_^>a_)
started by Wollheim in 1941. It was cheaply produced (lacking full-colour covers) and had a microscopic editorial budget -- most of the stories were not paid for at all, being solicited by Wollheim from his fellow _^<a_!T1665_FUTURIANS_^>a_. The
first issue contained a story by Isaac _^<a_!T268_ASIMOV_^>a_, "The Secret Sense"; C.M. _^<a_!T6353_KORNBLUTH_^>a_ contributed a number of stories under various pseudonyms. The title changed with the second issue to _^<i_Cosmic Science
Fiction_^>i_, but the whole venture proved abortive and the magazine was dead within 6 months. [MJE]_^<n__^<n_
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COSMIC STRINGS
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> _^<a_!T632_BLACK HOLES_^>a_._^<n__^<n_
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COSMOLOGY
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Cosmology is the study of the Universe as a whole, its nature and its origins. It is a speculative science (there being little opportunity for experiment) and in discussing past writings on the subject it is occasionally difficult to distinguish
essays and fictions. Johannes _^<a_!T4037_KEPLER_^>a_'s _^<i_Somnium_^>i_ (_^<b_1634_^>b_) is basically an essay inspired by the heliocentric theory of the Universe, opposing the Aristotelian system then favoured by the Church (> _^<a_!T2013_PROTO
SCIENCE FICTION_^>a_). Works of a similar nature include Gabriel _^<a_!T1051_DANIEL_^>a_'s _^<i_Voyage du monde de Descartes_^>i_ (_^<b_1690_^>b_; trans as _^<i_A Voyage to the World of Cartesius_^>i_ _^<b_1692_^>b_), which popularized the
cosmological (and other) theories of Rene Descartes (1596-1650), and Bernard le Bovyer de _^<a_!T1548_FONTENELLE_^>a_'s _^<i_Entretiens sur la pluralite des mondes habites_^>i_ (_^<b_1686_^>b_; trans as _^<i_The Plurality of Worlds_^>i_
_^<b_1929_^>b_). An early attempt to describe an infinite Universe with habitable worlds surrounding all the stars was presented as a revelation by Emanuel _^<a_!T5869_SWEDENBORG_^>a_ in _^<i_De Telluribus_^>i_ (_^<b_1758_^>b_; trans as (short
title) _^<i_The Earths in Our Solar System and the Earths in the Starry Heavens_^>i_ _^<b_1787_^>b_). There are several important 19th-century works belonging to this tradition of "semi-fiction". Edgar Allan _^<a_!T1933_POE_^>a_'s _^<i_Eureka_^>i_
(_^<b_1848_^>b_), elaborating ideas first laid out in "A Mesmeric Revelation" (1844), is a poetic vision embodying intuitive hypotheses about the nature and origins of the Universe; Camille _^<a_!T1516_FLAMMARION_^>a_'s _^<i_Lumen_^>i_
(_^<b_1887_^>b_; trans _^<b_1897_^>b_) combines religious notions with a powerful scientifically inspired imagination, and J.H. _^<a_!T2696_ROSNY _^>a_aine's _^<i_La legende sceptique_^>i_ ["The Sceptical Legend"] (_^<b_1889_^>b_) belongs to the
same class of works. Edgar _^<a_!T1448_FAWCETT_^>a_'s _^<i_The Ghost of Guy Thyrle_^>i_ (_^<b_1895_^>b_) includes a cosmic vision, and H.G. _^<a_!T5528_WELLS_^>a_ offered a brief -- and somewhat ironic -- account of a cosmic vision in "Under the
Knife" (1896)._^<n__^<n_In the 20th century this tradition petered out. William Hope _^<a_!T4459_HODGSON_^>a_'s _^<i_The House on the Borderland_^>i_ (_^<b_1908_^>b_) is better regarded as a late addition to the 19th-century corpus, combining a
curious moral allegory with a spectacular vision of the _^<a_!T6661_END OF THE WORLD_^>a_. R.A. _^<a_!T4029_KENNEDY_^>a_'s curious philosophical fantasia, _^<i_The Triuneverse_^>i_ (_^<b_1912_^>b_), introduced the microcosm and the macrocosm to
speculative fiction (> _^<a_!T4823_GREAT AND SMALL_^>a_) but is far too absurd to be taken seriously. There is only one cosmic-vision story comparable in scope and ambition to _^<i_Eureka_^>i_ and _^<i_La legende sceptique_^>i_: Olaf
_^<a_!T2404_STAPLEDON_^>a_'s classic _^<i__^<a_!B9214_STAR MAKER_^>a__^>i_ (_^<b_1937_^>b_; part of discarded first draft published as _^<i_Nebula Maker_^>i_, _^<b_1976_^>b_)._^<n__^<n_The early _^<a_!T4659_GENRE-SF_^>a_ sf writers were highly
ambitious in the scope and scale of their fantasies, but their attitude was conspicuously different from that of the cosmic visionaries. They were interested in adventure, and the viewpoints of their stories remained tied to the experience of their
characters. Protagonists sometimes caught brief visionary glimpses of the cosmos, but these were rarely extrapolated at any length. There is a curious narrowness about the tales of the infinite Universe pioneered by E.E. "Doc"
_^<a_!T2269_SMITH_^>a_'s _^<i_Skylark of Space_^>i_ (1928; _^<b_1946_^>b_), and even such macrocosmic romances as Donald _^<a_!T5450_WANDREI_^>a_'s "Colossus" (1934). The bathetic quality of attempts by pulp writers to tune in to the infinite is
amply illustrated by the first pulp sf story to develop the idea of the expanding Universe: Edmond _^<a_!T4258_HAMILTON_^>a_'s "The Accursed Galaxy" (1935). Hamilton "explained" the expansion by proposing that all the other galaxies might be
fleeing in horror from our own, because ours is afflicted with a terrible disease (life). A.E. _^<a_!T5333_VAN VOGT_^>a_'s "The Seesaw" (1941; incorporated into _^<i__^<a_!B9228_THE WEAPON SHOPS OF ISHER_^>a__^>i_ fixup _^<b_1951_^>b_), in which
the formation of the Solar System results from an unfortunate accident whereby a man is caught in a temporal "seesaw", is another example of the tendency of sf writers to minimize the issues of cosmology; ironically, a parodic version of this in
_^<i_Earthdoom!_^>i_ (_^<b_1987_^>b_) by David _^<a_!T4186_LANGFORD_^>a_ and John Grant (> Paul _^<a_!T425_BARNETT_^>a_), in which the Big Bang is "triggered" by an unwitting time traveller, has a far more plausible scientific grounding. The kind
of joke embodied in L. Ron _^<a_!T4538_HUBBARD_^>a_'s "Beyond the Black Nebula" (1949 as by Rene Lafayette), in which it is discovered that our Universe is somewhere in the alimentary tract of a macrocosmic worm, is echoed in several other works,
including Damon _^<a_!T4098_KNIGHT_^>a_'s "God's Nose" (1964) and Robert _^<a_!T2495_RANKIN_^>a_'s _^<i_Armageddon -- The Musical_^>i_ (_^<b_1990_^>b_)._^<n__^<n_More earnest cosmological visions have been inserted into a number of sf novels,
sometimes by means of unusual literary devices. Examples include James _^<a_!T658_BLISH_^>a_'s _^<i_The Triumph of Time_^>i_ (_^<b_1958_^>b_; vt _^<i_A Clash of Cymbals_^>i_), Poul _^<a_!T169_ANDERSON_^>a_'s _^<i_Tau Zero_^>i_ (_^<b_1970_^>b_) and
an episode in Bob _^<a_!T2153_SHAW_^>a_'s _^<i_Ship of Strangers_^>i_ (fixup _^<b_1978_^>b_). Ian _^<a_!T5484_WATSON_^>a_'s _^<i_The Jonah Kit_^>i_ (_^<b_1975_^>b_) casually suggests that the actual cosmos might be a mere shadowy echo of the
original creation, while dramatic and symbolic use of the steady-state theory is made in _^<i__^<a_!B9029_THE RING OF RITORNEL_^>a__^>i_ (_^<b_1968_^>b_) by Charles L. _^<a_!T4298_HARNESS_^>a_. Eccentric cosmological speculations are used to good
effect in Philip Jose _^<a_!T1435_FARMER_^>a_'s _^<i_The Unreasoning Mask_^>i_ (_^<b_1981_^>b_) and in several novels by Barrington J. _^<a_!T472_BAYLEY_^>a_, including _^<i_The Pillars of Eternity_^>i_ (_^<b_1982_^>b_) and _^<i_The Zen Gun_^>i_
(_^<b_1983_^>b_)._^<n__^<n_Among cosmologists who have dabbled in sf are George _^<a_!T4599_GAMOW_^>a_, who included some cosmological fantasies in his book of didactic fictions _^<i_Mr Tomkins in Wonderland_^>i_ (_^<b_1939_^>b_), and Fred
_^<a_!T4532_HOYLE_^>a_, who incorporated visionary moments into _^<i_The Black Cloud_^>i_ (_^<b_1957_^>b_) and _^<i_The Inferno_^>i_ (_^<b_1973_^>b_, with Geoffrey _^<a_!T4533_HOYLE_^>a_)._^<n__^<n_An _^<i_avant-garde_^>i_ story featuring a
juxtaposition between the minutiae of everyday existence and cosmological notions is Pamela _^<a_!T6277_ZOLINE_^>a_'s "The Heat-Death of the Universe" (1967). Italo _^<a_!T5127_CALVINO_^>a_ produced several eccentric cosmological fantasies, some of
which are in _^<i_Le Cosmicomiche_^>i_ (coll of linked stories _^<b_1965_^>b_; trans as _^<i__^<a_!B9063_COSMICOMICS_^>a__^>i_ _^<b_1968_^>b_). Surreal exercises in "alternative cosmology" include Lester _^<a_!T1164_DEL REY_^>a_'s _^<i_The Sky is
Falling_^>i_ (_^<b_1963_^>b_), which deals with a pseudo-Aristotelian closed Universe, and two stories in which the Universe is mostly solid, with habitable lacunae: Barrington J. Bayley's "Me and My Antronoscope" (1973) and David
_^<a_!T4156_LAKE_^>a_'s _^<i_The Ring of Truth_^>i_ (_^<b_1982_^>b_)._^<n__^<n_20th-century _^<a_!T283_ASTRONOMY_^>a_ has, of course, gradually revealed the true strangeness of the cosmos; it has popularized such notions as _^<a_!T6679_ENTROPY_^>a_
and the Big Bang, and has produced such curious images as that of a hyperspherical Universe which is finite in dimension but infinite in extent. The idea that the Universe may contain vast numbers of _^<a_!T632_BLACK HOLES_^>a_ which themselves may
contain universes-in-miniature has lent a new respectability to microcosmic romance, while the notion of _^<a_!T1794_PARALLEL WORLDS_^>a_ is thought by some modern physicists to be a likely consequence of quantum theory. The kind of visionary
extravagance found in Poe's and Flammarion's cosmological essays pales into insignificance beside such modern popular essays on cosmology as Steven Weinberg's _^<i_The First Three Minutes_^>i_ (_^<b_1977_^>b_), Paul _^<a_!T1090_DAVIES_^>a_'s
_^<i_Other Worlds_^>i_ (_^<b_1980_^>b_) and Stephen Hawking's _^<i_A Brief History of Time_^>i_ (_^<b_1988_^>b_). The discoveries and speculations reported in such books as these have posed a challenge to contemporary sf writers, several of whom
have made interesting attempts to devise fantasies which can contain and do justice to a distinctively modern cosmic perspective. Worthy attempts include George _^<a_!T6261_ZEBROWSKI_^>a_'s _^<i_Macrolife_^>i_ (_^<b_1979_^>b_), Charles
_^<a_!T2167_SHEFFIELD_^>a_'s _^<i_Between the Strokes of Night_^>i_ (_^<b_1985_^>b_) and Greg _^<a_!T478_BEAR_^>a_'s _^<i_Eternity_^>i_ (_^<b_1988_^>b_). The inspiration provided by modern cosmology has been adequate to bring about something of a
renaissance in the cosmic-vision story; further examples include Michael _^<a_!T620_BISHOP_^>a_'s "Close Encounter with the Deity" (_^<b_1986_^>b_), the visionary sequences in Brian M. _^<a_!T2385_STABLEFORD_^>a_'s _^<i_The Centre Cannot Hold_^>i_
(_^<b_1990_^>b_) and _^<i_The Angel of Pain_^>i_ (_^<b_1991_^>b_) and David Langford's "Waiting for the Iron Age" (1991). [BS]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T283_ASTRONOMY_^>a_; _^<a_!T632_BLACK HOLES_^>a_; _^<a_!T6694_ESCHATOLOGY_^>a_;
_^<a_!T1443_FASTER THAN LIGHT_^>a_; _^<a_!T2924_METAPHYSICS_^>a_; _^<a_!T1892_PHYSICS_^>a_.
_^<b_1._^>b_ US _^<a_!T1231_DIGEST_^>a_-size magazine. 4 issues, irregular, Sep 1953-July 1954, published by Star Publications; ed L.B. Cole. This was an unremarkable magazine of moderate standard which published no memorable fiction; the actual
editing was done by Laurence M. _^<a_!T3867_JANIFER_^>a_. There was a scoop in #2, "Visitor from Nowhere", an sf story by the mysterious writer of Westerns, B. Traven (?1882-1969)._^<n__^<n__^<b_2._^>b_ US _^<a_!T492_BEDSHEET_^>a_-size magazine. 4
issues, bimonthly, May-Nov 1977. Published by Baronet Publishing Co.; ed David G. _^<a_!T4329_HARTWELL_^>a_. _^<i_CSFFM_^>i_ contained a sophisticated mixture of sf and fantasy in an elegant format which included full-colour interior illustration.
It serialized a short novel in Fritz _^<a_!T3322_LEIBER_^>a_'s _^<b_Fafhrd and the Gray Mouser_^>b_ series, "Rime Isle"; ran Michael _^<a_!T620_BISHOP_^>a_'s "The House of Compassionate Sharers"; and featured a number of other major authors; there
was a book-review column by Robert _^<a_!T2216_SILVERBERG_^>a_. _^<i_CSFAFM_^>i_ had one of the most promising launches of the decade but, undercapitalized and suffering distribution problems, it folded. [FHP/MJE/PN]_^<n__^<n_
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COSTA RICA
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> _^<a_!T4204_LATIN AMERICA_^>a_._^<n__^<n_
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COSTELLO, P.F.
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One of the many _^<a_!T6269_ZIFF-DAVIS_^>a_ house names, this appeared on over 40 magazine stories 1941-58, but until the late 1940s exclusively for stories by William P. McGivern (1921-1982). It was then sometimes used by Chester S.
_^<a_!T4649_GEIER_^>a_, later by Roger P. Graham (Rog _^<a_!T1887_PHILLIPS_^>a_) and probably others still unidentified. "Secret of the Flaming Ring" (1951) and "Space is for Suckers" (1958) have both been attributed to Graham. [PN]_^<n__^<n_
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COSY CATASTROPHE
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A term coined by Brian W. _^<a_!T87_ALDISS_^>a_ in _^<i_Billion Year Spree_^>i_ (_^<b_1973_^>b_) to describe the comforting ambience shed by the sort of _^<a_!T1243_DISASTER_^>a_ tale told by UK writers like John _^<a_!T6211_WYNDHAM_^>a_ (_^<i_see
also_^>i_ _^<a_!T4482_HOLOCAUST AND AFTER_^>a_). [JC]_^<n__^<n_
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COTE, DENIS
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(1954- ) Canadian author whose first two novels, marketed like their successors as juveniles, were _^<i_Les Hockeyeurs cybernetiques_^>i_ (_^<b_1983_^>b_; trans Jane Brierley as _^<i_Shooting for the Stars_^>i_ _^<b_1990_^>b_), a tale marked by a
high degree of invention, and _^<i_Les Paralleles celestes_^>i_ ["The Celestial Parallels"] (_^<b_1983_^>b_), which demonstrates considerable literary ambition and talent. The former book begins the _^<b_Inactifs_^>b_ sequence, further volumes
including _^<i_L'idole des inactifs_^>i_ ["A Star for the Idle Masses"] (_^<b_1989_^>b_), _^<i_La Revolte des inactifs_^>i_ ["The Rebellion of the Idle Masses"] (_^<b_1990_^>b_) and _^<i_Le Retour des inactifs_^>i_ ["The Return of the Idle Masses"]
(_^<b_1991_^>b_). DC won the 1984 Canada Council Award and the Grand prix de la science-fiction et du Fantastique Quebecois. Some of DC's short stories are non-juvenile. [LP]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Les Geants de blizzard_^>i_ ["The
Giants in the Blizzard"] (_^<b_1985_^>b_); _^<i_La Penombre jaune_^>i_ ["Yellow Shadow"] (_^<b_1986_^>b_); _^<i_Nocturnes pour Jessie_^>i_ ["Nocturnes for Jessie"] (_^<b_1987_^>b_); _^<i_Les Prisonniers du zoo_^>i_ ["Prisoners of the Zoo"]
[s] > John Russell _^<a_!T1455_FEARN_^>a_._^<n__^<n_
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COULSON, JUANITA (RUTH WELLONS)
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(1933- ) US writer, briefly a schoolteacher, who began publishing sf with "Another Rib" in _^<i_FSF_^>i_ in 1963 with Marion Zimmer _^<a_!T4968_BRADLEY_^>a_ under the shared pseudonym John Jay Wells. With her husband, Robert
_^<a_!T913_COULSON_^>a_, she won the 1965 Best Amateur Publication _^<a_!T4551_HUGO_^>a_ for their long-running fanzine _^<a_!T6223_YANDRO_^>a_. JC's first novel, _^<i_Crisis on Cheiron_^>i_ (_^<b_1967_^>b_ dos), like her second, _^<i_The Singing
Stones_^>i_ (_^<b_1968_^>b_ dos), is set on a primitive planet in a human-dominated Galaxy; the oppressed species of each planet needs help to survive the inimical influence of large corporations and the like. _^<i_Unto the Last Generation_^>i_
_^<b_1975_^>b_ Canada) deals negatively with population control; _^<i_Space Trap_^>i_ (_^<b_1976_^>b_ Canada) is a First-Contact tale. The romantic coloration of her work is more evident in the _^<b_Children of the Stars_^>b_ family saga of
exploration and survival: _^<i_Tomorrow's Heritage_^>i_ (_^<b_1981_^>b_), _^<i_Outward Bound_^>i_ (_^<b_1982_^>b_), _^<i_Legacy of Earth_^>i_ (_^<b_1989_^>b_) and _^<i_The Past of Forever_^>i_ (_^<b_1989_^>b_). _^<i_Star Sister_^>i_
(_^<b_1990_^>b_) continues in the same mode. She has also written _^<a_!T1412_FANTASY_^>a_ and Gothic novels. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_The Secret of Seven Oaks_^>i_ (_^<b_1972_^>b_), _^<i_Door into Terror_^>i_ (_^<b_1972_^>b_),
_^<i_Stone of Blood_^>i_ (_^<b_1975_^>b_) and _^<i_Fear Stalks the Bayou_^>i_ (_^<b_1976_^>b_), Gothics; the _^<b_Krantin_^>b_ fantasy series, comprising _^<i_The Web of Wizardry_^>i_ (_^<b_1978_^>b_) and _^<i_The Death-God's Citadel_^>i_
(_^<b_1980_^>b_); _^<i_Dark Priestess_^>i_ (_^<b_1977_^>b_), historical and marginal.
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COULSON, ROBERT (STRATTON)
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(1928- ) US writer, a long-time fan who edited, with his wife Juanita _^<a_!T912_COULSON_^>a_, the fanzine _^<a_!T6223_YANDRO_^>a_, winner of a 1965 _^<a_!T4551_HUGO_^>a_. With the exception of _^<i_To Renew the Ages_^>i_ (_^<b_1976_^>b_ Canada),
a mildly anti-_^<a_!T1461_FEMINISM_^>a_ post-_^<a_!T4482_HOLOCAUST_^>a_ adventure, and the less interesting _^<i_High Spy_^>i_ (_^<b_1987_^>b_), his sf novels have been written with Gene _^<a_!T1210_DEWEESE_^>a_. They include _^<i_Gates of the
Universe_^>i_ (_^<b_1975_^>b_ Canada; rev vt _^<i_Nightmare Universe_^>i_ 1985 US), a mildly amusing _^<a_!T2342_SPACE OPERA_^>a_, but more notably the _^<b_Joe Karns_^>b_ sequence of _^<a_!T2528_RECURSIVE_^>a_ tales spoofing sf and sf
_^<a_!T856_CONVENTIONS_^>a_, _^<i_Now You See It/Him/Them_^>i_ (_^<b_1975_^>b_) and _^<i_Charles Fort Never Mentioned Wombats_^>i_ (_^<b_1977_^>b_). His revision of _^<i_But What of Earth?_^>i_ (_^<b_1976_^>b_ Canada) from the Piers
_^<a_!T196_ANTHONY_^>a_ manuscript, published as a collaboration, proved controversial. Anthony (_^<i_see his entry_^>i_) has argued his sense of the matter at great length; neither author, in fact, approved of the final editing by
_^<a_!T4194_LASER BOOKS_^>a_. [JC]_^<n__^<n__^<b_Other works:_^>b_ Two _^<b_Man from U.N.C.L.E._^>b_ novelizations with DeWeese, writing together as Thomas Stratton: _^<i_The Invisibility Affair_^>i_ * (_^<b_1967_^>b_) and _^<i_The Mind-Twisters
Affair_^>i_ * (_^<b_1967_^>b_).
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COUNTDOWN
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Film (1968). William Conrad Productions. Dir Robert Altman, starring Robert Duvall, James Caan. Screenplay Loren Mandel, based on _^<i_The Pilgrim Project_^>i_ (_^<b_1964_^>b_) by Hank _^<a_!T2088_SEARLS_^>a_. 101 mins cut to 73 mins for UK.
Colour._^<n__^<n_A year later, _^<i_C_^>i_ would have looked like documentary, for it concerns the first landing on the Moon, which actually took place in 1969. The film's struggle between the USSR and USA to be first to reach the Moon strays from
the real-life facts (Searls's original novel was published in 1964), but the behind-the-scenes planning on which the film focuses is gripping. The idiosyncratic, vivid view of personal relationships -- here among astronauts and technicians -- that
typifies Altman's work brings life to the soap-opera elements (astronaut's wife takes to drink, etc.). _^<i_C_^>i_'s climax is authentically exciting. This is early Altman, and he had no way of preventing a clumsy re-edit or the butchery of the UK
print. A number of the later films of Robert Altman (1925- ) were fantasy or sf: _^<i_Brewster McCloud_^>i_ (1970), _^<i_3 Women_^>i_ (1977), _^<a_!T2471_QUINTET_^>a_ (1979) and _^<i_Popeye_^>i_ (1980) most obviously. [PN]_^<n__^<n_
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COUPER, STEPHEN
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> Stephen _^<a_!T1689_GALLAGHER_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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COUPLING, J.J.
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[s] > John R. _^<a_!T1896_PIERCE_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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COURTENEY, LUKE
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> Alfred Taylor _^<a_!T2855_SCHOFIELD_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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COURTIER, S(IDNEY) H(OBSON)
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[r] > _^<a_!T6332_ROBERT HALE LIMITED_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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COUTINHO, ALBINO
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[r] > _^<a_!T4204_LATIN AMERICA_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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COVER, ARTHUR BYRON
-T-
(1950- ) US writer. He was involved in the _^<a_!T733_CLARION SCIENCE FICTION WRITERS' WORKSHOP_^>a_ in 1971-2, and began publishing sf with "Gee, Isn't He the Cutest Little Thing?" in Stephen _^<a_!T4756_GOLDIN_^>a_'s _^<i_Alien Condition_^>i_
(anth _^<b_1973_^>b_). His first novel, _^<i_Autumn Angels_^>i_ (_^<b_1975_^>b_), with intro by Harlan _^<a_!T6641_ELLISON_^>a_, depicts in hallucinated language a _^<a_!T1432_FAR-FUTURE_^>a_ Earth, with _^<a_!T3398_LINGUISTIC_^>a_ and cultural
jokes proliferating rather exhaustingly. The sequel, _^<i_An East Wind Coming_^>i_ (_^<b_1979_^>b_), continues to introduce to the end of time cultural icons in pastiche. The stories in _^<i_Platypus of Doom and Other Nihilists_^>i_ (coll of linked
stories _^<b_1976_^>b_) similarly -- though with a modest induction of calm -- features a sequence of somewhat unhinged parodies of popular figures. Of these early books, only _^<i_The Sound of Winter_^>i_ (_^<b_1976_^>b_), a love story set in a
mutation-riddled post-_^<a_!T1243_DISASTER_^>a_ wonderland, attempts to create a more humanly moving outcome. Parody is technically not far removed from novelization, and ABC's next novel, _^<i_Flash Gordon_^>i_ * (_^<b_1980_^>b_), novelizing the
film of that name, was thus perhaps a logical move. Subsequently ABC has written for Byron _^<a_!T1982_PREISS_^>a_ some _^<b_Time Machine_^>b_ sharecrops -- _^<i_The Rings of Saturn_^>i_ * (_^<b_1985_^>b_), _^<i_American Revolutionary_^>i_ *
(_^<b_1985_^>b_) and _^<i_Blade of the Guillotine_^>i_ * (_^<b_1986_^>b_) -- as well as two sharecrops -_^<i_Planetfall_^>i_ * (_^<b_1988_^>b_) and _^<i_Stationfall_^>i_ * (_^<b_1989_^>b_) -- derived from computer games. Other sharecrops include
_^<i_Isaac Asimov's Robot City, Book 4: Prodigy_^>i_ * (_^<b_1987_^>b_) and _^<i_Robert Silverberg's Time Tours #5: The Dinosaur Trackers_^>i_ * (_^<b_1992_^>b_). [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 920 SF00916.t
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CATRS
-END-
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COVILLE, BRUCE
-T-
(1950- ) US writer of sf and fantasy, almost exclusively juveniles. Of some interest are: _^<i_Murder in Orbit_^>i_ (_^<b_1987_^>b_ UK; vt _^<i_Space Station ICE-3_^>i_ 1987); _^<i_My Teacher is an Alien_^>i_ (_^<b_1989_^>b_) and its sequels,
_^<i_My Teacher Fried my Brains_^>i_ (_^<b_1991_^>b_), _^<i_My Teacher Glows in the Dark_^>i_(_^<b_1991_^>b_) and _^<i_My Teacher Flunked the Planet _^>i_(_^<b_1992_^>b_); _^<i_Philip Jose Farmer's The Dungeon #2: The Dark Abyss_^>i_ *
(_^<b_1989_^>b_), a tie; and the _^<b_A.I. Gang_^>b_ sequence for children -- _^<i_Operation Sherlock_^>i_ (_^<b_1986_^>b_), _^<i_Robot Trouble_^>i_ (_^<b_1986_^>b_) and _^<i_Forever Begins Tomorrow_^>i_ (_^<b_1986_^>b_). [JC]_^<n__^<n__^<b_Other
works:_^>b_ _^<i_Eyes of the Tarot_^>i_ (_^<b_1983_^>b_); _^<i_Spirits and Spells_^>i_ (_^<b_1983_^>b_); _^<i_Waiting Spirits_^>i_ (_^<b_1984_^>b_); _^<i_Amulet of Doom_^>i_ (_^<b_1985_^>b_); _^<i_The Monster's Ring_^>i_ (_^<b_1987_^>b_); _^<i_The
Ghost in the Third Row_^>i_ (_^<b_1987_^>b_); _^<i_The Ghost Wore Gray_^>i_ (_^<b_1988_^>b_); _^<i_The Unicorn Treasury_^>i_ (anth _^<b_1988_^>b_); _^<i_How I Survived my Summer Vacation_^>i_ (_^<b_1988_^>b_); _^<i_Some of my Best Friends are
Monsters_^>i_ (_^<b_1988_^>b_); _^<i_Monster of the Year_^>i_ (_^<b_1989_^>b_); _^<i_Jeremy Thatcher, Dragon Hatcher_^>i_ (_^<b_1991_^>b_); _^<i_The Ghost in the Big Brass Bed_^>i_ (_^<b_1991_^>b_); _^<i_Jennifer Murdley's Toad_^>i_
(_^<b_1992_^>b_); _^<i_Space Brat_^>i_ (_^<b_1992_^>b_); _^<i_Aliens Ate my Homework _^>i_(_^<b_1993_^>b_); _^<i_The Dragonslayers_^>i_ (_^<b_1994_^>b_); _^<i_I Left my Sneakers in Dimension X_^>i_ (_^<b_1994_^>b_); _^<i_Oddly Enough_^>i_ (coll
_^<b_1994_^>b_); _^<i_Bruce Coville's Book of Monsters: Tales to Give you the Creeps_^>i_ (anth _^<b_1994_^>b_); _^<i_Bruce Coville's Book of Aliens: Tales to Warp your Mind_^>i_ (anth _^<b_1994_^>b_); the _^<b_Unicorn Chronicles_^>b_ sequence
beginning with _^<i_Into the Land of Unicorns_^>i_ (_^<b_1994_^>b_).
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 921 SF00917.t
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COWAN, FRANK
-T-
(1844-1905) US writer whose _^<i_Revi-Lona: A Romance of Love in a Marvelous Land_^>i_ (_^<b_1879_^>b_), is a parody of the lost-race (> _^<a_!T3460_LOST WORLDS_^>a_) novels so popular in the late 19th century. It is set, like many of them, in
Antarctica, where a council of matriarchs falls under the narrator's sexual sway. The results are syphilis and suicide, death and disaster, and the escape of the hero. Some sharp points are made about _^<a_!T5303_UTOPIAS_^>a_. [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 922 SF00918.t
396
CATRS
-END-
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COWAN, JAMES
-T-
(1870-1943) US writer whose sf novel, _^<i_Daybreak: A Romance of an Old World_^>i_ (_^<b_1896_^>b_), features an ambulatory _^<a_!T3023_MOON_^>a_ which deposits upon _^<a_!T3677_MARS_^>a_ a balloon whose passengers discover there a new defence of
Christianity in the form of parallel _^<a_!T6717_EVOLUTION_^>a_ and the multiple incarnation of Christ. [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 923 SF00919.t
276
CATRS
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COWIE, DONALD (JOHN)
-T-
(1911- ) UK writer (blind since 1984), long resident in Switzerland, author of several crabbed visions of a century in decay. _^<i_Prose & Verse_^>i_ (coll _^<b_1945_^>b_) with Julian Mountain contains some fantasy stories; of sf interest are
_^<i_The Indiscretions of an Infant, or The Baby's Revenge_^>i_ (_^<b_1945_^>b_) and _^<i_The Rape of Man, or The Zoo Let Loose_^>i_ (_^<b_1947_^>b_), in which the other mammals of the world shake off the human yoke. [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 924 SF00920.t
405
CATRS
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COWPER, RICHARD
-T-
Pseudonym of UK writer John Middleton Murry Jr (1926- ), son of the famous critic; RC also published four non-sf novels under the name Colin Murry, beginning with _^<i_The Golden Valley_^>i_ (_^<b_1958_^>b_); and, as Colin Middleton Murry --
Colin being a nickname -- two autobiographical volumes, _^<i_One Hand Clapping_^>i_ (_^<b_1975_^>b_; vt _^<i_I at the Keyhole_^>i_ 1975 US), which deals mainly with his relationship with his father, and _^<i_Shadows on the Grass_^>i_
(_^<b_1977_^>b_)._^<n__^<n_After working for some years as a teacher, and finding his non-sf novels to be only moderately successful, he adopted the Cowper pseudonym for _^<i_Breakthrough_^>i_ (_^<b_1967_^>b_). Not conventional _^<a_!T4659_GENRE
SF_^>a_, being more richly characterized and romantic than is usual, its story of _^<a_!T6697_ESP_^>a_ and a kind of reverse _^<a_!T2548_REINCARNATION_^>a_ is sensitively told and given unusual reverberations by its use of a leitmotif from Keats.
It remains one of RC's finest works, and its romantic theme -- of the power of the mind to sense _^<a_!T131_ALTERNATE WORLDS_^>a_, and of the flimsiness and limitations of this one's reality, crops up often in his work, sometimes in images of deja
vu; as does its venue, a _^<a_!T6337_NEAR-FUTURE_^>a_ Southern England on the cusp of transformation. These characteristics feature in many of the short stories assembled in _^<i_The Custodians_^>i_ (coll _^<b_1976_^>b_), _^<i_The Web of the
Magi_^>i_ (coll _^<b_1980_^>b_) and _^<i_The Tithonian Factor_^>i_ (coll _^<b_1984_^>b_), the title story of the first of these collections being much praised in the USA and nominated for several awards. They also inform what is generally
considered his best singleton, _^<i_The Twilight of Briareus_^>i_ (_^<b_1974_^>b_); in this tale England has been transformed, through a disruption in world weather caused by a supernova explosion, into a snowbound Arcadia; from the same apparent
source later come psychic influences which lead to complex interaction between humans and _^<a_!T102_ALIENS_^>a_. The story -- like all of RC's best work -- is charged with a strange, expectant vibrancy. Its explorations of human
_^<a_!T1851_PERCEPTION_^>a_ demonstrate an openness not unlike that described in John Keats's remarks about "negative capability" -- remarks that RC has quoted in print. Keats's plea was for a kind of waiting expectancy of the mind, which should be
kept free of preconceptions. RC does not usually link telepathy with the idea of the _^<a_!T5830_SUPERMAN_^>a_, as is more normally found in US sf uses of the convention; instead, it can be seen in his work as an analogue of "negative
capability"._^<n__^<n_Although the air and style of RC's sf is a long way from traditional _^<a_!T4288_HARD SF_^>a_, its content uses traditional themes. _^<i_Kuldesak_^>i_ (_^<b_1972_^>b_) deals with an underground society on a
post-_^<a_!T4482_HOLOCAUST_^>a_ Earth (> _^<a_!T1932_POCKET UNIVERSE_^>a_), and one man who finds the surface against the will of an all-powerful _^<a_!T826_COMPUTER_^>a_. _^<i_Clone_^>i_ (_^<b_1972_^>b_), which saw RC's first real breakthrough
into the US market, is an amusing near-future _^<a_!T2812_SATIRE_^>a_. _^<i_Time out of Mind_^>i_ (_^<b_1973_^>b_), like the earlier _^<i_Domino_^>i_ (_^<b_1971_^>b_), rather mechanically applies psi tropes (> _^<a_!T2021_PSI POWERS_^>a_) to
thriller-like plots involving _^<a_!T6026_TIME TRAVEL_^>a_ and the rescue of a future UK from the totalitarian implications of the 20th century. _^<i_Worlds Apart_^>i_ (_^<b_1974_^>b_) is a not wholly successful comedy, burlesquing several sf
_^<a_!T752_CLICHES_^>a_ in a story of an alien world on which an sf novel is being written about Urth, while back on Earth an sf writer writes about the alien world. _^<i_Profundis_^>i_ (_^<b_1979_^>b_) places RC's now-expected mild-mannered
telepathic Christ-figure in a huge submarine which has survived nuclear holocaust and is being led around the world by dolphins anxious to keep human violence at bay._^<n__^<n_RC remains best known for his _^<b_Corlay_^>b_ trilogy --
_^<i__^<a_!B9084_THE ROAD TO CORLAY_^>a__^>i_ (_^<b_1978_^>b_; with "Piper at the Gates of Dawn"1976 added, as coll 1979 US), _^<i_A Dream of Kinship_^>i_ (_^<b_1981_^>b_) and _^<i_A Tapestry of Time_^>i_ (_^<b_1982_^>b_) -- in which what might be
called the pathos of expectancy typical of his best work is finally resolved, for the essential parts of the sequence take place in an England 1000 years after changing sea-levels have inundated much low-lying country, creating an archipelago-like
venue which hearkens -- perhaps consciously -- back to Richard _^<a_!T3882_JEFFERIES_^>a_'s _^<i_After London, or Wild England_^>i_ (_^<b_1885_^>b_), and which also clearly resembles the West Country featured in Christopher
_^<a_!T1990_PRIEST_^>a_'s coeval _^<i_A Dream of Wessex_^>i_ (_^<b_1977_^>b_). In this land, an oppressive theocracy is threatened by the solace offered through a young lad's redemptive visions of a new faith, whose emblem is the White Bird of
Kinship. The sequence proceeds through the establishment of a new church, its stiffening into its own repressive rituals, and its rebirth. Throughout, a sweet serenity of image and storytelling instinct -- RC has always been a gripping teller of
tales -- transfigure conventional plot-patterns into testament. The _^<b_Corlay_^>b_ books so clearly sum up RC's imaginative sense of a redeemed England that it is perhaps unsurprising that he has written relatively little since.
[PN/JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Phoenix_^>i_ (_^<b_1968_^>b_); _^<i_Domino_^>i_ (_^<b_1971_^>b_); _^<i_Out There Where the Big Ships Go_^>i_ (coll _^<b_1980_^>b_ US); _^<i_The Story of Pepita and Corindo_^>i_ (_^<b_1982_^>b_ chap US);
_^<i_The Young Student_^>i_ (_^<b_1982_^>b_ chap US); _^<i_The Unhappy Princess_^>i_ (_^<b_1982_^>b_ chap US); _^<i_The Missing Heart_^>i_ (_^<b_1982_^>b_ chap US); _^<i_Shades of Darkness_^>i_ (_^<b_1986_^>b_); _^<i_The Magic Spectacles, and Other
Tales_^>i_ (coll _^<b_1986_^>b_ chap)._^<b_As Colin Murry:_^>b_ _^<i_Recollections of a Ghost_^>i_ (_^<b_1960_^>b_); _^<i_A Path to the Sea_^>i_ (_^<b_1961_^>b_); _^<i_Private View_^>i_ (_^<b_1972_^>b_), written at the same time as the other non-sf
novels._^<b_About the author:_^>b_"Backwards Across the Frontier" by RC in _^<a_!T1577_FOUNDATION_^>a_ 9, 1975._^<b_See also:_^>b_ _^<a_!T708_CHILDREN IN SF_^>a_; _^<a_!T761_CLONES_^>a_; _^<a_!T1243_DISASTER_^>a_; _^<a_!T6694_ESCHATOLOGY_^>a_;
_^<a_!T2551_RELIGION_^>a_; _^<a_!T5281_UNDER THE SEA_^>a_.
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 925 SF00921.t
5440
CATRS
3972
-END-
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COX, ADRIAN
-T-
[r] > M.H. _^<a_!T6280_ZOOL_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 926 SF00922.t
19
CATRS
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COX, ERLE
-T-
(1873-1950) Australian novelist and journalist who reviewed for _^<i_The Argus_^>i_ and the _^<i_Australasian_^>i_ 1918-46. His best-known sf novel is _^<i_Out of the Silence_^>i_ (1919 _^<i_The Argus_^>i_; _^<b_1925_^>b_; cut 1947), about the
attempt by a representative of an otherwise extinct super-race to rule first Australia and then the world. The novel exhibits some racist overtones. _^<i_Fool's Harvest_^>i_ (_^<b_1939_^>b_) warned against a future _^<a_!T3796_INVASION_^>a_ of
_^<a_!T315_AUSTRALIA_^>a_. _^<i_The Missing Angel_^>i_ (_^<b_1947_^>b_) is a fantasy about foxing the Devil. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T5851_SUSPENDED ANIMATION_^>a_.
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 927 SF00923.t
503
CATRS
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COX, JOAN (IRENE)
-T-
(1942- ) US rancher and author whose first sf novel, _^<i_Mindsong_^>i_ (_^<b_1979_^>b_), features a planet terraformed into a Hellenic Eden. Her second, _^<i_Star Web_^>i_ (_^<b_1980_^>b_), is somewhat less engaging. [JC]_^<n__^<n__^<b_See
also:_^>b_ _^<a_!T1443_FASTER THAN LIGHT_^>a_.
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 928 SF00924.t
217
CATRS
-END-
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CRACKEN, JAEL
-T-
[s] > Brian W. _^<a_!T87_ALDISS_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 929 SF00925.t
23
CATRS
-END-
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CRACK IN THE WORLD
-T-
Film (1965). Security Pictures/Paramount. Dir Andrew Marton, starring Dana Andrews, Janette Scott, Kieron Moore, Alexander Knox. Screenplay J.M. White, Julian Halevy. 96 mins. Colour._^<n__^<n_An attempt to tap the energy at the Earth's core causes
a large and ever increasing crack in the crust. A bid to halt the process with a nuclear explosion sends into space a large chunk of the Earth, which forms a new moon. This ambitious _^<a_!T1243_DISASTER_^>a_ movie, filmed in Spain, is undermined
by too small a budget, but is suspensefully directed. [JB/PN]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zfilmz
-C- 930 SF00926.t
496
CATRS
-END-
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CRAIG, A.A.
-T-
[s] > Poul _^<a_!T169_ANDERSON_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 931 SF00927.t
22
CATRS
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CRAIG, ALEXANDER
-T-
(? -? ) Author of the lost-race (> _^<a_!T3460_LOST WORLDS_^>a_) novel _^<i_Ionia: Land of Wise Men and Fair Women_^>i_ (_^<b_1898_^>b_). Ionia is a singularly pious and anti-Semitic Greek colony in the Himalayas boasting prohibition, eugenics
and communism. He is not to be confused with Alexander George Craig (1897- ), author of _^<i_The Voice of Merlin_^>i_ (_^<b_1946_^>b_) as Alec Craig, a book-length poem on Arthurian themes. [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 932 SF00928.t
377
CATRS
-END-
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CRAIG, BRIAN
-T-
> Brian M. _^<a_!T2385_STABLEFORD_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 933 SF00929.t
23
CATRS
-END-
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CRAIG, DAVID
-T-
Pseudonym of UK writer and journalist Allan James Tucker (1929- ), whose _^<b_Roy Rickman_^>b_ series -- _^<i_The Alias Man_^>i_ (_^<b_1968_^>b_), _^<i_Message Ends_^>i_ (_^<b_1969_^>b_) and _^<i_Contact Lost_^>i_ (_^<b_1970_^>b_) -- a mundane
jeremiad about the coming 1970s world crisis, with the UK becoming a Soviet satellite, is sufficiently displaced into sf to be of some interest. [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 934 SF00930.t
330
CATRS
-END-
-A-
CRAIG, RANDOLPH
-T-
[s] > Norvell W. _^<a_!T1758_PAGE_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 935 SF00931.t
24
CATRS
-END-
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CRAIG, WEBSTER
-T-
[s] > Eric Frank _^<a_!T2743_RUSSELL_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 936 SF00932.t
27
CATRS
-END-
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CRAIG, WILLIAM
-T-
Working name of UK writer Charles William Thurlow-Craig (1901- ), whose two _^<a_!T6337_NEAR-FUTURE_^>a_ sf novels, _^<i_Plague Over London_^>i_ (_^<b_1939_^>b_) and _^<i_The Tashkent Crisis_^>i_ (_^<b_1971_^>b_), demonstrate a fine consistency
of mind through three decades, for in each the Russians are the villains who, with secret weapons and unflagging spite, threaten the world. [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 937 SF00933.t
331
CATRS
-END-
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CRAIGIE, DAVID
-T-
Pseudonym used by illustrator and writer Dorothy M. Craigie (1908- ) on her books for young adults. As Dorothy Craigie, she wrote numerous stories for younger children, from _^<i_Summersalts Circus_^>i_ (_^<b_1947_^>b_) to _^<i_Nicky and Nigger
Join the Circus_^>i_ (_^<b_1960_^>b_); also as Dorothy Craigie she illustrated children's books, including Graham Greene's four in the genre._^<n__^<n_As DC, she wrote two sf novels with young protagonists. In _^<i_The Voyage of the Luna 1_^>i_
(_^<b_1948_^>b_), which she illustrated under her real name, the two children of famous explorers more or less hijack a Moon-bound rocket and encounter various strange species there. _^<i_Dark Atlantis_^>i_ (_^<b_1951_^>b_) takes its protagonist
three miles down to an _^<a_!T290_ATLANTIS_^>a_ inhabited by intelligent reptiles. [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz zpubz
-C- 938 SF00934.t
713
CATRS
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CRAMER, JOHN G(LEASON)
-T-
(1934- ) US experimental physicist (Professor of Physics at the University of Washington) and writer; father of Kathryn _^<a_!T6440_CRAMER_^>a_; author of the _^<b_Alternate View_^>b_ series of science articles in _^<i_ASF_^>i_ from the 1980s
onwards. His _^<a_!T4288_HARD-SF_^>a_ novel, _^<i_Twistor_^>i_(_^<b_1989_^>b_), engagingly describes the eponymous invention, which sends folk into other _^<a_!T1239_DIMENSIONS_^>a_, where they find copious supplies of food, while a villainous
corporation attempts -- in the end unsuccessfully -- to corner the device for its own ends. As the novel closes, several new and virgin worlds stand at the brink of being used by humans. [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 939 SF00935.t
582
CATRS
-END-
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CRAMER, MILES
-T-
[s] > Thomas Calvert _^<a_!T6303_MCCLARY_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 940 SF00936.t
29
CATRS
-END-
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CRANE, ROBERT
-T-
Pseudonym of Bernard Glemser (1908-1990), UK novelist who worked for his government in the USA after WWII, remaining there after his resignation. Under his own name he wrote several non-genre novels, at least two of which feature a protagonist named
Robert Crane. As RC he began to write sf with "The Purple Fields" in 1953, but is best remembered for _^<i_Hero's Walk_^>i_ (_^<b_1954_^>b_) -- the basis for a tv play, "The Voices" (1954) -- an intelligent and realistically conceived tale in which
superior _^<a_!T102_ALIENS_^>a_ quarantine a militaristic Earth and eventually bomb it to rubble. There is some hope at the novel's close that humanity will be permitted to survive and mature. [JC]_^<n__^<n_
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CRAWFORD, NED
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(? - ) UK writer whose _^<i_Naming the Animals: A Haunting_^>i_ (_^<b_1980_^>b_) congestedly depicts a _^<a_!T1370_DYSTOPIAN_^>a_ future, out of which, freighted in symbol, a new Eden implausibly emerges. [JC]_^<n__^<n_
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CRAWFORD, WILLIAM L(EVI)
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(1911-1984) US publisher and editor, one of the first sf fans to become a publisher, editing and producing two _^<a_!T2100_SEMIPROZINES_^>a_: _^<a_!T5294_UNUSUAL STORIES_^>a_ -- ambitiously announced in 1933 but more or less still-born -- and
_^<a_!T3700_MARVEL TALES_^>a_, which came out in 1934. At about the same time, after a chapbook anthology assembling "Men of Avalon" by David H. _^<a_!T4008_KELLER_^>a_ and "The White Sybil" by Clark Ashton _^<a_!T2264_SMITH_^>a_, he published, in
_^<i_Mars Mountain_^>i_ (coll _^<b_1935_^>b_) by Eugene George _^<a_!T4049_KEY_^>a_, one of the first US _^<a_!T4659_GENRE-SF_^>a_ books to be produced by a US _^<a_!T2261_SMALL PRESS_^>a_ founded for that purpose, and the first to be released with
any expectation that copies would be sold to buyers who did not know the author personally. A second novel, which would have been Andre _^<a_!T3243_NORTON_^>a_'s first published sf, was accepted for publication in 1934 but stayed in manuscript --
except for a few excerpts -- until WLC finally released it 38 years later as _^<i_Garan the Eternal_^>i_ (_^<b_1972_^>b_). This first press, Fantasy Publications, was followed by Visionary Press, which published _^<i_The Shadow over Innsmouth_^>i_
(_^<b_1936_^>b_) by H.P. _^<a_!T3465_LOVECRAFT_^>a_; but various projects then foundered, and WLC became successfully active again only in 1945, when as Crawford Publications he released some booklets, including Clifford D. _^<a_!T2218_SIMAK_^>a_'s
_^<i_The Creator_^>i_ _^<b_1946_^>b_ chap) and an anthology, _^<i_The Garden of Fear_^>i_ (anth _^<b_1945_^>b_ chap); 2 further anthologies, _^<i_Griffin Booklet One_^>i_ (anth 1949) and _^<i_The Machine-God Laughs_^>i_ (anth _^<b_1949_^>b_), both
ed WLC, were under the Griffin Publishing Co. imprint. These enterprises all proved less significant than _^<a_!T1422_FANTASY PUBLISHING COMPANY, INC_^>a_. (or FPCI), which WLC was instrumental in founding in 1947, along with the magazine
_^<a_!T1415_FANTASY BOOK_^>a_ (editing the latter under the pseudonym Garrett Ford). FPCI was one of the central fan presses of the era, publishing L. Sprague _^<a_!T1133_DE CAMP_^>a_'s _^<i_The Undesired Princess_^>i_ (_^<b_1951_^>b_), L. Ron
_^<a_!T4538_HUBBARD_^>a_'s _^<i_Death's Deputy_^>i_ (_^<b_1948_^>b_), A.E. _^<a_!T5333_VAN VOGT_^>a_'s and E. Mayne _^<a_!T4552_HULL_^>a_'s _^<i_Out of the Unknown_^>i_ (coll _^<b_1948_^>b_) and other titles of importance; it failed in the end only
through incompetent management._^<n__^<n_WLC soldiered on through the 1950s and afterwards, hand to mouth, always hopeful and full of projects, some of which were at least partially realized. He edited _^<i_Science and Sorcery_^>i_ (anth
_^<b_1953_^>b_) as Garrett Ford; launched the magazine _^<a_!T2354_SPACEWAY_^>a_ in 1953; became publisher of the magazine _^<i_Witchcraft & Sorcery_^>i_ (formerly _^<i_Coven 13_^>i_) in the 1970s; and became in the mid-1970s a
_^<a_!T856_CONVENTIONS_^>a_ entrepreneur. Also, various stray pamphlets appeared. WLC's diverse projects included the publishing of some scarce and interesting material, and it may well have been the unattractive, amateurish production values which
characterized all his work that caused his general lack of commercial success; certainly he knew sf, and loved it. [JC/MJE]_^<n__^<n_
(vt _^<i_Code Name Trixie_^>i_) Film (1973). Cambist Films. Dir George _^<a_!T2687_ROMERO_^>a_, starring Lane Carroll, W.G. McMillan, Harold Wayne Jones. Screenplay Romero, based on a story by Paul McCollough. 104 mins. Colour._^<n__^<n_A plane
carrying germ-warfare material crashes near a small US town and pollutes the drinking-water, causing an epidemic of homicidal and psychopathic behaviour in the inhabitants. The army moves in and the crazed brutality of the soldiers as they shoot
victims of the virus (or trapped innocents) is as bad as the lunacy of their targets. There are strong similarities between this and Romero's best-known film, _^<a_!T3206_NIGHT OF THE LIVING DEAD_^>a_ (1968), in that both involve a small group of
trapped "normal" people surrounded by nightmare. Romero's exploitation movies are more ambitious than most -- wittier, too -- and this, as usual, has, half-visible through the blood, a political/cultural subtext about an uncaring society.
[JB/PN]_^<n__^<n_
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CRAZY RAY, THE
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> _^<a_!T1799_PARIS QUI DORT_^>a_._^<n__^<n_
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CREASEY, JOHN
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(1908-1973) UK author, publisher and literary agent who began writing for the _^<a_!T4958_BOYS' PAPERS_^>a_ in 1926, turning to adult thrillers in 1932. He wrote 564 books under (it is widely reported) 28 pseudonyms, but it is doubtful if all were
exclusively by him (Michael _^<a_!T3030_MOORCOCK_^>a_ was at one time approached to do writing for JC). Like George _^<a_!T4871_GRIFFITH_^>a_ with his future-_^<a_!T5452_WAR_^>a_ novels, JC exploited contemporary fears of organized crime and of
terrorist and revolutionary activities, often including sf elements as an additional horror-for example, his first novel, _^<i_Seven Times Seven_^>i_ (_^<b_1932_^>b_; rev 1970), depicts a criminal gang equipped with "freezing gas". In later works,
beginning with _^<i_Dangerous Quest_^>i_ (_^<b_1943_^>b_; rev 1965), a futuristic novel about an underground Gestapo group in liberated Yugoslavia, and continuing in his _^<b_Dr Palfrey_^>b_ series (see listing below), sf themes came to the fore.
Midget aircraft piloted by zombie-like children attack the world's cities in _^<i_The Children of Hate_^>i_ (_^<b_1952_^>b_; rev vt _^<i_The Children of Despair_^>i_ 1958 UK; vt _^<i_The Killers of Innocence_^>i_ 1971 US). Human-induced world
_^<a_!T1243_DISASTER_^>a_ was imminent in _^<i_The Flood_^>i_ (_^<b_1955_^>b_) and others, while an alien _^<a_!T3796_INVASION_^>a_ was defeated in _^<i_The Unbegotten_^>i_ (_^<b_1971_^>b_). All were sensational in nature, contributing nothing to
the genre, and were influential only on the cheap-thriller market. [JE]_^<n__^<n__^<b_Other works include:_^>b_ _^<i_The Death Miser_^>i_ (_^<b_1932_^>b_; rev 1965); _^<i_Men, Maids and Murder_^>i_ (_^<b_1933_^>b_; rev 1972); _^<i_The Mark of the
Crescent_^>i_ (_^<b_1935_^>b_; rev 1967); _^<i_Death Round the Corner_^>i_ (_^<b_1935_^>b_); _^<i_The Mystery Plane_^>i_ (_^<b_1936_^>b_); _^<i_Thunder in Europe_^>i_ (_^<b_1936_^>b_; rev 1968); _^<i_The Air Marauders_^>i_ (_^<b_1937_^>b_);
(_^<b_1938_^>b_); _^<i_Menace!_^>i_ (_^<b_1938_^>b_; rev 1971); _^<i_Panic!_^>i_ (_^<b_1939_^>b_; rev 1969); _^<i_Death by Night_^>i_ (_^<b_1940_^>b_); _^<i_The Island of Peril_^>i_ (_^<b_1940_^>b_; rev 1968); _^<i_The Peril Ahead_^>i_
(_^<b_1940_^>b_; rev 1964); _^<i_Death in Flames_^>i_ (_^<b_1943_^>b_; rev 1973 as by Gordon Ashe); _^<i_Dark Peril_^>i_ (_^<b_1944_^>b_; rev 1958); _^<i_The League of Dark Men_^>i_ (_^<b_1947_^>b_; rev 1965); _^<i_Department of Death_^>i_
(_^<b_1951_^>b_); _^<i_Four of the Best_^>i_ (coll _^<b_1955_^>b_); _^<i_The Black Spiders_^>i_ (_^<b_1957_^>b_); _^<i_A Shadow of Death_^>i_ (_^<b_1968_^>b_); _^<i_A Blast of Trumpets_^>i_ (_^<b_1975_^>b_). _^<b_Dr Palfrey_^>b_ stories:
_^<i_Traitors' Doom_^>i_ (_^<b_1942_^>b_), _^<i_The Valley of Fear_^>i_ (_^<b_1943_^>b_; vt _^<i_The Perilous Country_^>i_ 1949), _^<i_The Legion of the Lost_^>i_ (_^<b_1943_^>b_), _^<i_The Hounds of Vengeance_^>i_ (_^<b_1945_^>b_; rev 1967),
_^<i_Death in the Rising Sun_^>i_ (_^<b_1945_^>b_), _^<i_Shadow of Doom_^>i_ (_^<b_1946_^>b_), _^<i_The House of the Bears_^>i_ (_^<b_1946_^>b_; rev 1962), _^<i_Dark Harvest_^>i_ (_^<b_1947_^>b_; rev 1962), _^<i_Sons of Satan_^>i_ (_^<b_1948_^>b_;
rev 1970), _^<i_The Wings of Peace_^>i_ (_^<b_1948_^>b_; rev 1964), _^<i_The Dawn of Darkness_^>i_ (_^<b_1949_^>b_), _^<i_The League of Light_^>i_ (_^<b_1949_^>b_; rev 1963), _^<i_The Man who Shook the World_^>i_ (_^<b_1950_^>b_; rev 1958),
_^<i_The Prophet of Fire_^>i_ (_^<b_1951_^>b_), _^<i_The Touch of Death_^>i_ (_^<b_1954_^>b_), _^<i_The Mists of Fear_^>i_ (_^<b_1955_^>b_), _^<i_The Plague of Silence_^>i_ (_^<b_1958_^>b_), _^<i_The Drought_^>i_ (_^<b_1959_^>b_; vt _^<i_Dry
Film (1954). Universal. Dir Jack _^<a_!T248_ARNOLD_^>a_, starring Richard Carlson, Julia Adams, Richard Denning. Screenplay Harry Essex, Arthur Ross, from a story by Maurice Zimm. 3-D. 79 mins. B/w._^<n__^<n_A humanoid creature with gills
successfully resists attempts by three scientists -- attracted to the area by the discovery of a fossilized hand with fins -- to take him from his native lagoon in the upper Amazon. One (Denning) is ready to kill it; another (Carlson) hopes to keep
it alive. The Gill-Man -- lumbering on land but remarkably graceful in the underwater sequences -- became one of the icons of Universal's _^<a_!T3011_MONSTER MOVIES_^>a_. Shot in 3-D, the film is richly atmospheric despite its routine script. It
became an archetype of the genre through the bizarre eroticism of the Creature's fascination with the third scientist (Adams), especially in the balletic sequence where he swims unseen beneath her in a sensuous mime of intercourse. In some respects
Steven _^<a_!T2367_SPIELBERG_^>a_'s successful _^<i_Jaws_^>i_ (1975) was a remake of _^<i_TCFTBL_^>i_. The film had two sequels: _^<a_!T2571_REVENGE OF THE CREATURE_^>a_ (1954) and _^<i_The_^<a_!T951_CREATURE WALKS AMONG US_^>a__^>i_
(1956)._^<n__^<n_The novelization is _^<i_Creature from the Black Lagoon_^>i_ * (_^<b_1954_^>b_) by Vargo Statten (> John Russell _^<a_!T1455_FEARN_^>a_). [PN/JB]_^<n__^<n_
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CREATURE FROM THE HAUNTED SEA
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> Roger _^<a_!T884_CORMAN_^>a_._^<n__^<n_
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CREATURE WALKS AMONG US, THE
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Film (1956). Universal. Dir John Sherwood, starring Jeff Morrow, Rex Reason, Leigh Snowden. Screenplay Arthur Ross. 78 mins. B/w._^<n__^<n_This is the second, inferior sequel to _^<i_The_^<a_!T949_CREATURE FROM THE BLACK LAGOON_^>a__^>i_ (1954) --
the first being _^<a_!T2571_REVENGE OF THE CREATURE_^>a_ (1954); it was not shot in 3-D, and had a new director. Here the Creature is transformed by fire into a land monster, complete with lungs (and, later, clothes), thereby depriving him of
precisely the qualities that made him popular. There is a ludicrous plot about an exploitative scientist (Morrow) making money out of the space programme by building up the Creature's red corpuscles and thus (!) altering his gene structure.
[PN/JB]_^<n__^<n_
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CREDITS
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In sf _^<a_!T5942_TERMINOLOGY_^>a_, a credit is a unit of _^<a_!T3001_MONEY_^>a_. Credits are used widely in tales of the future. [PN]_^<n__^<n_
(1942- ) US writer and film director; he graduated with an MD from Harvard Medical School. He began publishing sf under the pseudonym John Lange with _^<i_Drug of Choice_^>i_ (_^<b_1968_^>b_). Most of the Lange books are thrillers; _^<i_A Case of
Need_^>i_ (_^<b_1968_^>b_), published as by Jeffery Hudson, won an Edgar Award for Best Mystery Novel of the year. Some of MC's Lange books, like _^<i_Zero Cool_^>i_ (_^<b_1969_^>b_) and _^<i_Binary_^>i_ (_^<b_1972_^>b_), make perfunctory use of sf
devices in a way typical of the modern post-James-Bond thriller. _^<i_Binary_^>i_ was filmed for tv in MC's directorial debut as _^<a_!T2039_PURSUIT_^>a_ (1972). Of greater interest are the novels he has written under his own name, many of which
are sf or fantasy, beginning with _^<i_The Andromeda Strain_^>i_ (_^<b_1969_^>b_), an immediate bestseller soon filmed as _^<i_The_^<a_!T181_ANDROMEDA STRAIN_^>a__^>i_ (1971), in which microscopic spores from space attack the US West (>
_^<a_!T1243_DISASTER_^>a_). MC's medical background is evident in much of his work (> _^<a_!T3744_MEDICINE_^>a_). _^<i_The Terminal Man_^>i_ (_^<b_1972_^>b_) speculates fascinatingly on the morality and effects of electronic brain implants as a
control device, and was the basis of the film _^<i_The_^<a_!T5939_TERMINAL MAN_^>a__^>i_ (1974), dir Mike Hodges. _^<i_Eaters of the Dead_^>i_ (_^<b_1976_^>b_) recounts a savage conflict between Vikings and strange Neolithic people; it is in fact a
retelling of the _^<i_Beowulf_^>i_ legend. _^<i_Congo_^>i_ (_^<b_1980_^>b_) is a _^<a_!T3460_LOST-WORLD_^>a_ story set in Africa, and reads like updated H. Rider _^<a_!T4911_HAGGARD_^>a_. _^<i_Sphere_^>i_ (_^<b_1987_^>b_) is an
_^<a_!T5281_UNDER-THE-SEA_^>a_ thriller about the discovery of a long-sunken spacecraft, anticipating _^<i_The_^<a_!T19_ABYSS_^>a__^>i_ (1989). _^<i__^<a_!B9142_JURASSIC PARK_^>a__^>i_ (_^<b_1990_^>b_) is a return to the theme of
_^<a_!T5557_WESTWORLD_^>a_ (discussed below): it effectively argues the risks inherent in uncontrolled _^<a_!T4657_GENETIC ENGINEERING_^>a_, "done in secret, and in haste, and for profit", though the plot itself -- dinosaurs reconstituted from
genetic scraps cause havoc in the theme park they have been created to stock -- is little more than a _^<a_!T3535_MCGUFFIN_^>a_; it was filmed as _^<i__^<a_!B9142_JURASSIC PARK_^>a__^>i_ (1993) by Steven _^<a_!T2367_SPIELBERG_^>a_. All of these
novels read a little like film treatments._^<n__^<n_After _^<i_Pursuit_^>i_, MC determined to exercise artistic control over screen adaptations of his work and though he did not do so in the case of _^<i_The Terminal Man_^>i_, he both scripted and
directed _^<a_!T5557_WESTWORLD_^>a_ (1973), an intelligent and cleverly commercial film about a _^<a_!T2646_ROBOT_^>a_-manned reconstruction of the Old West (_^<i_see also_^>i_ _^<a_!T3327_LEISURE_^>a_) that falls apart at the seams when a robot
gunslinger runs amuck; the screenplay was published as _^<i_Westworld_^>i_ (_^<b_1974_^>b_). He scored his biggest commercial hit as a director with _^<a_!T818_COMA_^>a_ (1978), based on Robin _^<a_!T862_COOK_^>a_'s marginally sf novel, a further
exploration of MC's technophobic, _^<a_!T1795_PARANOID_^>a_ vision, drawing on his medical background for a conspiracy thriller about a high-tech organ-transplant business that draws its raw material from hospital beds. After a meticulous and
underrated period re-creation, _^<i_The Great Train Robbery_^>i_ (1979; vt _^<i_The First Great Train Robbery_^>i_), adapted from his own novel -- not sf -- of the same title, MC has rather lost ground as a director, with _^<a_!T3439_LOOKER_^>a_
(1981) and _^<a_!T2731_RUNAWAY_^>a_ (1984) both failing at the box-office. However, these films, for all their plot failings, are interesting explorations of his fascination with and distrust of an increasingly mechanized society. _^<i_Looker_^>i_
deals with image-generation technology, while _^<i_Runaway_^>i_ casts Tom Selleck as a future policeman whose speciality is tackling dangerously malfunctional household robots. _^<i_Physical Evidence_^>i_ (1989), a non-sf thriller, is his least
interesting or personal film to date._^<n__^<n_An efficient and intelligent writer and director, MC is capable of producing remarkable work. [JC/PN/KN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T206_APES AND CAVEMEN (IN THE HUMAN WORLD)_^>a_;
_^<a_!T726_CINEMA_^>a_; _^<a_!T4509_HORROR IN SF_^>a_; _^<a_!T3135_MYTHOLOGY_^>a_; _^<a_!T5372_VILLAINS_^>a_.
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CRICHTON, NEIL
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(1932- ) Canadian photographer and writer in whose sf novel, _^<i_Rerun_^>i_ (_^<b_1976_^>b_), a man from 1990 goes back 15 years into his own life of the mid-1970s but does not ultimately profit from his foreknowledge. [JC]_^<n__^<n_
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CRIME AND PUNISHMENT
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Genre fiction concerned with crime may be roughly divided into detections and thrillers. The former are problem stories; the latter exploit the melodramatic potential of the conflicts inherent in criminal deviation._^<n__^<n_Detective stories depend
very heavily on ingenuity and generally require very fine distinctions between what is possible and what is not. It is not easy to combine sf and the detective story because in sf the boundary between the possible and the impossible is so flexible,
but futuristic detective stories can work, given a sufficiently rigid set of ground rules; thus Isaac _^<a_!T268_ASIMOV_^>a_ was able to create intriguing detections based on the restrictions of his three laws of robotics, most notably _^<i_The
Naked Sun_^>i_ (_^<b_1957_^>b_), and Randall _^<a_!T4623_GARRETT_^>a_ was able to write his ingenious _^<b_Lord D'Arcy_^>b_ stories about an _^<a_!T131_ALTERNATE-WORLD_^>a_ detective who must use his powers of ratiocination to solve crimes in which
rigorously defined magical laws feature, often being used forensically. There was also a subgenre of early detective stories featuring "scientific detectives" armed not only with the scientific methods of thought made famous by Sherlock Holmes but
also with the equipment and arcane knowledge of advanced science; notable works in this vein include _^<i_The Achievements of Luther Trant_^>i_ (coll _^<b_1910_^>b_) by Edwin _^<a_!T383_BALMER_^>a_ and William MacHarg and the many _^<b_Craig
Kennedy_^>b_ adventures chronicled by Arthur B. _^<a_!T2541_REEVE_^>a_, including _^<i_The Poisoned Pen_^>i_ (coll _^<b_1911_^>b_) and _^<i_The Dream Doctor_^>i_ (fixup _^<b_1914_^>b_). Hugo _^<a_!T4668_GERNSBACK_^>a_'s short-lived
_^<a_!T2876_SCIENTIFIC DETECTIVE MONTHLY_^>a_ published fiction of this sort, but the speculative aspects of the stories are understandably tentative._^<n__^<n_Crime is much more commonly and effectively exploited in sf for its melodramatic
potential; the imaginative freedom of sf allows both criminals and crime-fighters to become exotic, and their schemes grandiose, a pattern which underlies Jules _^<a_!T5355_VERNE_^>a_'s great creations: Captain Nemo, who features in _^<i_Vingt
mille lieues sous les mers_^>i_ (_^<b_1870_^>b_; trans as _^<i_Twenty Thousand Leagues under the Seas_^>i_ _^<b_1872_^>b_ UK) and its sequel _^<i_L'ile mysterieuse_^>i_ (_^<b_1874-5_^>b_; trans as _^<i_The Mysterious Island_^>i_ _^<b_1875_^>b_ UK);
and Robur the Conqueror, who features in _^<i_Robur le conquerant_^>i_ (_^<b_1886_^>b_; trans as _^<i_The Clipper of the Clouds_^>i_ _^<b_1887_^>b_ UK; vt _^<i_Robur the Conqueror_^>i_ 1887 US) and its sequel _^<i_Maitre du monde_^>i_
(_^<b_1904_^>b_; trans anon as _^<i_Master of the World_^>i_ _^<b_1914_^>b_ UK). _^<a_!T2033_PULP-MAGAZINE_^>a_ sf grew up alongside increasingly exotic detective pulps which featured the prototypes of the _^<a_!T5829_SUPERHEROES_^>a_ who would
ultimately come into their own in _^<a_!T820_COMIC_^>a_ books, most notably _^<a_!T1258_DOC SAVAGE_^>a_. In the early days of scientific romance the scientific supercriminal (often embittered by the world's failure to recognize and reward his
genius) was a common character, frequently holding the world (or large parts of it) to ransom. Robert _^<a_!T969_CROMIE_^>a_'s _^<i_The Crack of Doom_^>i_ (_^<b_1895_^>b_) and Fred T. _^<a_!T3866_JANE_^>a_'s _^<i_The Violet Flame_^>i_
(_^<b_1899_^>b_) feature early examples of world-threatening superscientists. There was a glut of such stories in the 1930s, including _^<i_Power_^>i_ (_^<b_1931_^>b_) by S. Fowler _^<a_!T6194_WRIGHT_^>a_, _^<i_The One Sane Man_^>i_
(_^<b_1934_^>b_) by Francis _^<a_!T496_BEEDING_^>a_ and _^<i_I'll Blackmail the World_^>i_ (_^<b_1935_^>b_) by S. Andrew _^<a_!T6158_WOOD_^>a_. Few apocalyptic threats were fully carried out in such novels, although Neil _^<a_!T512_BELL_^>a_'s
_^<i_The Lord of Life_^>i_ (_^<b_1933_^>b_) is a flamboyant exception. (The tradition is kept alive today by, among others, the plots of the many _^<b_James Bond _^>b_movies.) Disenchantment with the state of the world allowed many writers of the
1930s to sympathize with world-blackmailers whose demands were humanitarian; C.S. _^<a_!T1561_FORESTER_^>a_'s _^<i_The Peacemaker_^>i_ (_^<b_1934_^>b_) is a notable example, and C.J. Cutcliffe _^<a_!T4572_HYNE_^>a_'s _^<i_Man's Understanding_^>i_
(coll _^<b_1933_^>b_) includes two black comedies suggesting that even the most destructive and unreasonable mad _^<a_!T2880_SCIENTIST_^>a_ would be no worse than the actual rulers of the world. Later examples include the atom-bomb story _^<i_The
Maniac's Dream_^>i_ (_^<b_1946_^>b_) by F. Horace _^<a_!T2691_ROSE_^>a_ and the _^<b_Dr Palfrey_^>b_ novels by John _^<a_!T947_CREASEY_^>a_._^<n__^<n_Among the early _^<a_!T4659_GENRE-SF_^>a_ writers to make use of the stereotyped supercriminal was
Murray _^<a_!T3326_LEINSTER_^>a_, whose many versions of it include "A Thousand Degrees Below Zero" (1919), "Darkness on Fifth Avenue" (1929), "The Racketeer Ray" (1932) and "The Earth-Shaker" (1933). John W. _^<a_!T5140_CAMPBELL_^>a_ Jr used the
formula in "Piracy Preferred" (1930), but he armed his heroes as well as his villain (who reformed and joined the heroes for several sequels). The game of interplanetary super-cops vs super-robbers was pioneered by Edmond _^<a_!T4258_HAMILTON_^>a_
in the _^<b_Interstellar Patrol_^>b_ stories, some of which were reprinted in _^<i_Outside the Universe_^>i_ (1929; _^<b_1964_^>b_) and _^<i_Crashing Suns_^>i_ (1928-30; coll _^<b_1965_^>b_), and extravagantly carried forward by E.E. "Doc"
_^<a_!T2269_SMITH_^>a_ in the _^<b_Skylark_^>b_ series and _^<i_Spacehounds of IPC_^>i_ (1934; _^<b_1947_^>b_). The conflict in the _^<b_Skylark of Space_^>b_ books, between Richard Seaton and the impressively villainous Blackie DuQuesne, was
vigorously sustained; and the later _^<b_Lensmen_^>b_ series (in book form _^<b_1948-54_^>b_), featured perhaps the most famous genre-sf criminal organization of all: the Eddorian-run interstellar cartel known as Boskone._^<n__^<n_Pulp sf writers
imagined that future crime would follow much the same pattern as crime today, although they were happy to imagine that romantic crimes like piracy might come back into fashion in outer space -- or even in time, as in Ross
_^<a_!T2654_ROCKLYNNE_^>a_'s "Pirates of the Time Trail" (1943). Retribution, too, tended to follow well established tracks, although one or two writers used sealed time-loops and other gimmicks to design punishments to fit particular crimes;
Lester _^<a_!T1164_DEL REY_^>a_'s "My Name is Legion" (1942) suggests an appropriate fate for Hitler. One magazine story of the 1940s which attempts to make a significant statement about deviancy and penology is Robert A.
_^<a_!T4376_HEINLEIN_^>a_'s "Coventry" (1940), which imagines a curious kind of exile, then proceeds to develop one of the most annoying of sf _^<a_!T752_CLICHES_^>a_: the idea that selfish deviants might be harassed as a kind of test to prove
their suitability for recruitment into the social elite of a stable society._^<n__^<n_When sf writers took to building all kinds of eccentric totalitarian societies for their future scenarios in the 1940s and 1950s, the rectitude of deviancy became
a much more open question. As forms of conformity became stranger, so did forms of nonconformity. In Fritz _^<a_!T3322_LEIBER_^>a_'s _^<i__^<a_!B9083_GATHER, DARKNESS!_^>a__^>i_ (1943; _^<b_1950_^>b_) the establishment's superscience masquerades as
_^<a_!T2551_RELIGION_^>a_, leading the rebels to disguise their own superscience as witchcraft. More sophisticated studies of odd forms of deviancy in warped societies include Wyman _^<a_!T4893_GUIN_^>a_'s "Beyond Bedlam" (1951), whose heroine
rebels against the obligation to share tenancy of her body with her split personality's _^<i_alter ego_^>i_, Ray _^<a_!T4963_BRADBURY_^>a_'s _^<i__^<a_!B9110_FAHRENHEIT 451_^>a__^>i_ (_^<b_1953_^>b_), whose meek rebels learn books by heart to save
them from would-be burners, and Philip Jose _^<a_!T1435_FARMER_^>a_'s _^<i_Dayworld_^>i_ (_^<b_1985_^>b_) and its sequels, in which "daybreakers" exceed their allotted active time in an overcrowded world._^<n__^<n_In the 1950s, new ideas regarding
the treatment of deviants began to appear in some profusion. In "Two-Handed Engine" (1955), by Henry _^<a_!T4144_KUTTNER_^>a_ and C.L. _^<a_!T3033_MOORE_^>a_, criminals are attended by robot "furies" to monitor their actions and symbolize their
guilt. In Damon _^<a_!T4098_KNIGHT_^>a_'s "The Country of the Kind" (1956) criminals are outcast, free to do as they will but utterly lonely -- an idea explored with greater intensity in Robert _^<a_!T2216_SILVERBERG_^>a_'s "To See the Invisible
Man" (1963). Robert _^<a_!T2164_SHECKLEY_^>a_'s _^<i_The Status Civilization_^>i_ (_^<b_1960_^>b_) is a satirical extrapolation of the penal-colony theme, imagining the kind of society which criminals might establish in reaction against the one
which exiles them. The notion of the prison colony is taken to a terrible extreme in Cordwainer _^<a_!T2265_SMITH_^>a_'s "A Planet Named Shayol" (1961), in which criminals are made to grow extra limbs and organs for harvesting and use in
transplants. A much more humane view of the issues involved in crime and punishment is featured in Alfred _^<a_!T568_BESTER_^>a_'s classic sf novel based on Fyodor Dostoyevsky's _^<i_Crime and Punishment_^>i_ (_^<b_1866_^>b_), _^<i__^<a_!B9094_THE
DEMOLISHED MAN_^>a__^>i_ (_^<b_1953_^>b_), in which the obsessed villain ultimately fails to avoid detection by a telepathic policeman, but finds the prospect of punitive "demolition" less terrible than its name implies. Bester's "Fondly
Fahrenheit" (1954) is another forceful study in homicidal psychology. New fashions in the real-world treatment of prisoners -- especially the notion of "brainwashing" -- were extensively featured in borderline-sf thrillers, and taken to surreal
lengths in the tv series _^<i_The_^<a_!T1996_PRISONER_^>a__^>i_ , whose theme was sensitively novelized by Thomas M. _^<a_!T1244_DISCH_^>a_ in _^<i_The Prisoner_^>i_ * (_^<b_1969_^>b_)._^<n__^<n_Exotic police forces were featured in heroic roles in
many sf stories and series in the 1950s. An alien policeman pursues a criminal to Earth in _^<i_Needle_^>i_ (_^<b_1950_^>b_) by Hal _^<a_!T749_CLEMENT_^>a_, requiring to inhabit the body of an earthly host in order to do so. Time police --
patrolling and protecting history -- became commonplace, as in _^<i_The End of Eternity_^>i_ (_^<b_1955_^>b_) by Isaac Asimov, _^<i_Guardians of Time_^>i_ (1955-60; fixup _^<b_1960_^>b_) by Poul _^<a_!T169_ANDERSON_^>a_, and H. Beam
_^<a_!T1908_PIPER_^>a_'s _^<b_Paratime Police_^>b_ series. Asimov's first sf detective story, _^<i_The Caves of Steel_^>i_ (_^<b_1954_^>b_), was followed a few years later by the first murder mystery in which Earth is the corpse: Poul Anderson's
_^<i_After Doomsday_^>i_ (_^<b_1962_^>b_). Realistic futuristic police-procedural stories were pioneered by Rick _^<a_!T2500_RAPHAEL_^>a_ in an effective series of stories dealing with road-traffic law enforcement in the near future, _^<i_Code
Three_^>i_ (fixup _^<b_1966_^>b_), and were carried forward by such novels as Lee _^<a_!T4057_KILLOUGH_^>a_'s _^<i_The Doppelganger Gambit_^>i_ (_^<b_1979_^>b_), but law enforcers of a rather less conventional kind have understandably remained
dominant. Joe Clifford _^<a_!T1446_FAUST_^>a_'s _^<i_A Death of Honour_^>i_ (_^<b_1987_^>b_) imagines that the 21st-century police might be simply too busy to investigate a murder. The vast majority of the novels of Ron _^<a_!T4785_GOULART_^>a_
feature crime and detectives in some quirky fashion or other; most notable among them are the _^<b_Chameleon Corps_^>b_ books. (John E. _^<a_!T5750_STITH_^>a_ is another writer who mixes _^<a_!T4555_HUMOUR_^>a_, crime and sf, but with less accent
on the humour than Goulart.) Although the world of sf crime has remained male-dominated, female detectives have made significant appearances in Rosel George _^<a_!T5037_BROWN_^>a_'s _^<i_Sibyl Sue Blue_^>i_ (_^<b_1966_^>b_; vt _^<i_Galactic Sibyl
Sue Blue_^>i_) and the _^<b_St Cyr Interplanetary Detective_^>b_ series begun by Ian _^<a_!T5435_WALLACE_^>a_ in _^<i_Deathstar Voyage_^>i_ (_^<b_1969_^>b_). _^<a_!T5829_SUPERHERO_^>a_ crime-fighters made relatively little impact in written sf
until the advent of George R.R. _^<a_!T3685_MARTIN_^>a_'s _^<a_!T2127_SHARED-WORLD_^>a_ anthology series begun with _^<i_Wild Cards_^>i_ (anth _^<b_1986_^>b_), but an interesting precursor was featured in Doris _^<a_!T1911_PISERCHIA_^>a_'s
_^<i_Mister Justice_^>i_ _^<b_1973_^>b_); _^<i_Temps_^>i_ (anth _^<b_1991_^>b_), "created by" Neil _^<a_!T1675_GAIMAN_^>a_ and Alex Stewart, was the first of a series of shared-world anthologies featuring the crime-fighting escapades of part-time
and/or limited-ability superheroes._^<n__^<n_A more romantic view of crime is preserved by picaresque sf stories. Although muted for a long time by editorial _^<a_!T5888_TABOOS_^>a_, a considerable body of sf makes heroes of social outsiders and
deviants. An early example is Charles L. _^<a_!T4298_HARNESS_^>a_'s _^<i_Flight into Yesterday_^>i_ (1949; _^<b_1953_^>b_; vt _^<i_The Paradox Men_^>i_), and much of Harness's work features similar heroic outsiders, who tend to be artists when they
are not rogues, and are often both. Much of the work of Jack _^<a_!T5317_VANCE_^>a_ falls into a similar category. Far less romantic is the eponymous antihero of Harry _^<a_!T4316_HARRISON_^>a_'s _^<i_The Stainless Steel Rat_^>i_ (1957-60; fixup
_^<b_1961_^>b_) and its sequels. Philip Jose Farmer wrote a series featuring _^<b_John Carmody_^>b_, a criminal who reformed to become a priest, the most notable being _^<i_Night of Light_^>i_ (_^<b_1966_^>b_). As the taboos eased there appeared
criminal heroes who remained both unrepentant and charismatic, including the protagonist of Roger _^<a_!T6264_ZELAZNY_^>a_'s _^<i_Jack of Shadows_^>i_ (_^<b_1971_^>b_) and the narrator of Samuel R. _^<a_!T1152_DELANY_^>a_'s "Time Considered as a
Helix of Semi-Precious Stones" (1968); Delany is another writer who almost invariably uses miscreant artists as heroes. The most extravagant example of a charismatic criminal in sf is probably the protagonist of Mike _^<a_!T2559_RESNICK_^>a_'s
_^<i_Santiago_^>i_ (_^<b_1986_^>b_), who is pursued across the Galaxy by assorted exotic bounty-hunters, most of whom are certainly no better than he turns out to be._^<n__^<n_The relativity of crime and the idea of evil in societies which have
very different values is widely featured. Earnest variants can be found in such stories as "The Sharing of Flesh" (1968) by Poul Anderson and _^<i_Speaker for the Dead_^>i_ (_^<b_1986_^>b_) by Orson Scott _^<a_!T6359_CARD_^>a_, in which alien
societies license or compel acts which seem to us utterly horrific. Robert Sheckley often addresses the question ironically, as in "Watchbird" (1953), a moral fable about a mechanical law-enforcer's tendency to exceed its brief, and "The Monsters"
(1953), which features an alien society in which wife-murder is a moral act. The blackest sf comedy in this vein is probably Piers _^<a_!T196_ANTHONY_^>a_'s "On the Uses of Torture" (1981)._^<n__^<n_Despite the welter of criminal activity in sf
there are very few new crimes, although such _^<a_!T1370_DYSTOPIAS_^>a_ as Yegevny _^<a_!T6256_ZAMIATIN_^>a_'s _^<i_My_^>i_ (written 1920; trans as _^<i_We_^>i_ _^<b_1924_^>b_) and George _^<a_!T1731_ORWELL_^>a_'s _^<i__^<a_!B9093_NINETEEN
EIGHTY-FOUR_^>a__^>i_ (_^<b_1949_^>b_) have taken the rooting-out of political deviance to new extremes in making "thoughtcrimes" detectable and remediable. Crimes of nonconformity often take bizarre forms, as in such J.G. _^<a_!T378_BALLARD_^>a_
stories as "Billenium" (1961), in which the existence of an empty room is wickedly but futilely concealed, and "Chronopolis" (1960), in which the hero illegally winds clocks. Tampering with history is a crime which features only in sf -- matched by
the singularly appropriate punishment of historical erasure in Robert Silverberg's _^<i_Up the Line_^>i_ (_^<b_1969_^>b_) -- but even this is no more than an extreme of subversive activity. A more original crime is committed by the protagonist of
Piers Anthony's _^<i_Chthon_^>i_ (_^<b_1967_^>b_), although the extremely nasty prison colony to which he is condemned for it is ordinary in kind. The same situation pertains in the design of punishments, and has done ever since Arthur Conan
_^<a_!T1312_DOYLE_^>a_'s "The Los Amigos Fiasco" (1892), which anticipated the use of the world's first electric chair but made the consequences of its use exaggeratedly melodramatic. Numerous sf stories have anticipated the use of "electronic
tagging", although usually the tags are capable of administering on-the-spot punishment. An early example (although here the "tags" are created by mental conditioning) is featured in "The Analogues" (1952) by Damon Knight; others are in _^<i_The
Reefs of Space_^>i_ (_^<b_1964_^>b_) by Frederik _^<a_!T1937_POHL_^>a_ and Jack _^<a_!T5629_WILLIAMSON_^>a_ and _^<i_The Ring_^>i_ (_^<b_1968_^>b_) by Piers Anthony and Robert E. _^<a_!T3662_MARGROFF_^>a_. When the merits of punitive, retributive
and rehabilitative theories of penology are compared in sf, the extremism of plausible examples often makes the argument starkly dramatic; examples of Swiftian "modest proposals" abound. An interesting polemical work on penological theory is John
J. _^<a_!T3536_MCGUIRE_^>a_'s "Take the Reason Prisoner" (1963), and a macabre combination of the punitive and retributive theories is featured in those of Larry _^<a_!T3223_NIVEN_^>a_'s stories in which the crime of "organlegging" co-exists with a
new penal code whereby criminals are broken up for bodily spare parts. Several of Niven's stories on these lines are among the best examples of the sf detective story; some are collected in _^<i_The Long ARM of Gil Hamilton_^>i_ (coll
_^<b_1976_^>b_)._^<n__^<n_Since Sherlock Holmes fell into the public domain he has been a popular character in sf stories, appearing in key roles in _^<i_Morlock Night_^>i_ (_^<b_1979_^>b_) by K.W. _^<a_!T3901_JETER_^>a_, _^<i_Sherlock Holmes' War
of the Worlds_^>i_ (_^<b_1975_^>b_) by Manly Wade and Wade _^<a_!T5525_WELLMAN_^>a_, _^<i_Dr Jekyll and Mr Holmes_^>i_ (_^<b_1979_^>b_) by Loren D. Estleman and _^<i_Time for Sherlock Holmes_^>i_ (_^<b_1983_^>b_) by David _^<a_!T1358_DVORKIN_^>a_.
Another Victorian figure, from the opposite end of the moral spectrum, who has exerted a similar fascination upon modern writers is the prototypical serial killer Jack the Ripper; several of the stories in the centenary anthology _^<i_Ripper!_^>i_
(anth _^<b_1988_^>b_; vt _^<i_Jack the Ripper_^>i_ UK) ed Susan _^<a_!T5206_CASPER_^>a_ and Gardner _^<a_!T1313_DOZOIS_^>a_ are sf._^<n__^<n_Theme anthologies concerned with sf crime stories include _^<i_Space Police_^>i_ (anth _^<b_1956_^>b_) ed
Andre _^<a_!T3243_NORTON_^>a_; _^<i_Space, Time and Crime_^>i_ (anth _^<b_1964_^>b_) ed Miriam Allen _^<a_!T1145_DEFORD_^>a_; and _^<i_Computer Crimes and Capers_^>i_ (anth _^<b_1985_^>b_) ed Isaac Asimov, Martin H. _^<a_!T4842_GREENBERG_^>a_ and
Charles G. _^<a_!T5488_WAUGH_^>a_. [BS]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T2300_SOCIOLOGY_^>a_; _^<a_!T5303_UTOPIAS_^>a_.
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Film (1970). Emergent Films. Prod, dir, written and photographed David _^<a_!T970_CRONENBERG_^>a_, starring Ronald Mlodzik, Tania Zolty, Jon Lidolt, Jack Messinger. 70 mins. Colour._^<n__^<n_This cheaply made, inventive Canadian film, something
between an underground and a commercial movie, is chiefly of interest as ushering in -- along with _^<i_Stereo_^>i_ (1969) -- Cronenberg's distinguished, eccentric and (according to some) disgusting career in sf cinema. With hindsight, we can see
many Cronenberg strategies and themes here in embryo: deliberately tasteless _^<a_!T2812_SATIRE_^>a_, the moral corruption of society, human metamorphosis created by irresponsible _^<a_!T5916_TECHNOLOGY_^>a_, sexual metaphor at the heart of the
argument, and the contrast of sterile settings with ravages and mutations of the flesh. The film is set in a _^<a_!T6337_NEAR FUTURE_^>a_ where humans are devolving (> _^<a_!T1209_DEVOLUTION_^>a_) and all women of child-bearing age have been killed
by an epidemic spread through a cosmetics additive created by a mad dermatologist (in the House of Skin), thus making procreative pedophilia a likely "crime of the future" and putting a 5-year-old girl (Zolty) at the centre of the barely
comprehensible plot. [PN]_^<n__^<n_
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> Roger _^<a_!T884_CORMAN_^>a_._^<n__^<n_
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CRISP, FRANK R(OBSON)
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(1915- ) UK writer, at one time in the Merchant Navy. His sf novels, _^<i_The Ape of London_^>i_ (_^<b_1959_^>b_) and _^<i_The Night Callers_^>i_ (_^<b_1960_^>b_), are routine adventures deploying thriller and horror elements; their sf
displacement is inconsiderable. The latter, involving an alien _^<a_!T3796_INVASION_^>a_, was filmed as _^<i_The_^<a_!T3200_NIGHT CALLER_^>a__^>i_ (1965). [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T283_ASTRONOMY_^>a_; _^<a_!T1797_PARASITISM AND
SYMBIOSIS_^>a_.
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CRISPIN, A(NN) C(AROL)
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(1950- ) US writer who was first known as a competent author of ties, including three for the _^<b_Star Trek_^>b_ enterprise -- _^<i_Yesterday's Son_^>i_ * (_^<b_1983_^>b_) and its direct sequel _^<i_Time for Yesterday_^>i_ * (_^<b_1988_^>b_),
along with _^<i_Star Trek, The Next Generation #13: The Eyes of the Beholder_^>i_ * (_^<b_1990_^>b_) -- and three for the _^<b_"V"_^>b_ sequence -- _^<i_"V"_^>i_ * (_^<b_1984_^>b_), _^<i_East Coast Crisis_^>i_ * (_^<b_1984_^>b_) with Howard
_^<a_!T5509_WEINSTEIN_^>a_ and _^<i_Death Tide_^>i_ * (_^<b_1985_^>b_) with Deborah A. Marshall (> _^<a_!T5304_"V"_^>a_). She also collaborated with Andre _^<a_!T3243_NORTON_^>a_ on a _^<b_Witch World_^>b_ novel, _^<i_Gryphon's Eyrie_^>i_
(_^<b_1984_^>b_), before embarking on her first independent work of significance, the _^<b_StarBridge_^>b_ sequence for older children: _^<i_StarBridge_^>i_ (_^<b_1989_^>b_), _^<i_Silent Dances_^>i_ (_^<b_1990_^>b_) with Kathleen
_^<a_!T3312_O'MALLEY_^>a_ and _^<i_Shadow World_^>i_ (_^<b_1991_^>b_) with Jannean (L.) Elliott. The first volume of the series (projected to contain at least5 vols) follows the exploits of an extremely bright teenaged girl who becomes involved in
problems of galactic scope, and participates in the founding of an Academy for youngsters like herself. The second, rather more interestingly, puts a deaf Academy member of Native American background on an ominous planet where only she can read the
signs of _^<a_!T98_ALIEN_^>a_ intelligence. In the third, an alienated male Academy member finds, in a short-lived alien race, challenges that are precisely adapted to his needs. Through these well planned if not strikingly original tales ACC has
demonstrated a consistent professionalism about her trade, and considerable generosity about giving good value. [JC]_^<n__^<n_
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Pseudonym for his literary work of UK composer, writer and editor Robert Bruce Montgomery (1921-1978), who remains best known for his nine _^<b_Gervase Fen_^>b_ detective novels. He also reviewed crime fiction for the _^<i_Sunday Times_^>i_ and, as
a composer, under his real name wrote the music for many UK films of the 1950s and 1960s, including several of the _^<b_Carry On_^>b_ series. EC did not write sf, but his work as an sf anthologist was of great influence. When _^<i_Best SF_^>i_
(anth _^<b_1955_^>b_) appeared it was unique in several ways: its editor was a respected literary figure; its publisher (Faber & Faber) was a prestigious one; and it made no apologies or excuses for presenting sf as a legitimate form of writing.
Moreover, EC's selection of stories showed him to be thoroughly familiar with sf in both magazine and book form, and his introductions to this and succeeding volumes were informed and illuminating. _^<i_Best SF_^>i_ was followed by _^<i_Best SF
Two_^>i_ (anth _^<b_1956_^>b_), _^<i_Three_^>i_ (anth _^<b_1958_^>b_), _^<i_Four_^>i_ (anth _^<b_1961_^>b_), _^<i_Five_^>i_ (anth _^<b_1963_^>b_), _^<i_Six_^>i_ (anth _^<b_1966_^>b_) and _^<i_Seven_^>i_ (anth _^<b_1970_^>b_). It would be difficult
to exaggerate the importance of the early volumes in this series in establishing sf in the UK as a respectable branch of literature. EC also edited two sf _^<a_!T195_ANTHOLOGIES_^>a_ for schools, _^<i_The Stars and Under_^>i_ (anth _^<b_1968_^>b_)
and _^<i_Outwards from Earth_^>i_ (anth _^<b_1974_^>b_), as well as _^<i_Best Tales of Terror_^>i_ (anth _^<b_1962_^>b_) and _^<i_Best Tales of Terror Two_^>i_ (anth _^<b_1965_^>b_). [MJE]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T5004_BRITISH SCIENCE
FICTION ASSOCIATION_^>a_; _^<a_!T3435_LONGEVITY (IN WRITERS AND PUBLICATIONS)_^>a_; _^<a_!T3118_MUSIC_^>a_.
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CRISTABEL
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Pseudonym of US nurse, professor of nursing, and author Christine Elizabeth Abrahamsen (1916- ), who wrote at least one Gothic as Kathleen Westcott. She began publishing sf with the florid _^<b_Veltakin_^>b_ sequence of sf adventures:
_^<i_Manalacor of Veltakin_^>i_ (_^<b_1970_^>b_) and _^<i_The Cruachan and the Killane_^>i_ (_^<b_1970_^>b_). Her singletons were _^<i_The Mortal Immortals_^>i_ (_^<b_1971_^>b_) and _^<i_The Golden Olive_^>i_ (_^<b_1972_^>b_). All are written in a
style that crosses the romance genre with boys' fiction. [PN/JC]_^<n__^<n_
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CRITICAL AND HISTORICAL WORKS ABOUT SF
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This entry restricts itself to works which generalize about sf, and only in passing mentions books or articles about specific authors or themes (_^<i_for which see relevant entries_^>i_)._^<n__^<n_The range and sophistication of sf studies have
expanded greatly. Before 1970 very little useful material was available, but since then, and especially during the 1980s, the publication of secondary materials on sf has become an industry. The first work of criticism devoted to US sf is
_^<i_Hammer and Tongs_^>i_ (coll _^<b_1937_^>b_ chap) by Clyde F. Beck (? -1985), which collects still-readable essays from a fanzine, _^<i_The Science Fiction Critic_^>i_; the first important study, _^<i_Pilgrims through Space and Time: Trends and
Patterns in Scientific and Utopian Fiction_^>i_ (_^<b_1947_^>b_), by J.O. _^<a_!T362_BAILEY_^>a_, is historical and thematic, dealing mostly with work published decades previously; value judgments are almost absent, and trivia are discussed
alongside works of lasting interest. Despite its limitations, this was a valuable pioneering work. The _^<a_!T1900_PILGRIM AWARD_^>a_ for excellence in sf studies was named after it._^<n__^<n_Bailey was an academic, but for the next several decades
most books about sf were written by fans rather than academic critics. While this meant that their scholarly and critical procedures were often eccentric, and sometimes of indifferent quality, it also introduced considerable vigour into the early
days of debate about sf, along with a willingness to plunge into areas of research (ephemeral publications-magazines and _^<a_!T1428_FANZINES_^>a_ -- as well as books, along with the recording of reminiscences by authors, editors and publishers)
avoided by academia; such knowledge of the _^<a_!T4443_HISTORY OF SF_^>a_ as is now available to us is very much a product of their initial work. Research is still shallow in many areas of sf's past, and no consensus history yet
exists._^<n__^<n_The next serious study after Bailey's was _^<i_New Maps of Hell_^>i_ (_^<b_1960_^>b_ US) by Kingsley _^<a_!T153_AMIS_^>a_, a celebrated novelist with an academic background but, so far as sf was concerned, a fan. Brief and
unscholarly, it is nevertheless witty, critical and suggestive; Amis regarded the essential aspects of modern sf as satirical and dystopian (> _^<a_!T1370_DYSTOPIAS_^>a_; _^<a_!T2812_SATIRE_^>a_). Unlike Bailey, he took most of his examples from
contemporary _^<a_!T4659_GENRE SF_^>a_. Less literary in their approach, and more sober though passionate in their way, were the historical studies of sf by Sam _^<a_!T3074_MOSKOWITZ_^>a_, which, while adopting simplistic critical criteria and not
always accurate in detail, were nevertheless important in the huge amount of research they codified for the first time, especially regarding sf in early magazines, but going well beyond that. Three collections of his essays which are often taken to
be models of fan scholarship are _^<i_Explorers of the Infinite_^>i_ (coll _^<b_1963_^>b_), _^<i_Seekers of Tomorrow_^>i_ (coll _^<b_1966_^>b_) and _^<i_Strange Horizons_^>i_ (coll _^<b_1976_^>b_); also of note are his _^<i_Science Fiction by
Gaslight: A History and Anthology of Science Fiction in the Popular Magazines 1891-1911_^>i_ (anth _^<b_1968_^>b_) and _^<i_Under the Moons of Mars: A History and Anthology of "The Scientific Romance" in the Munsey Magazines, 1912-1920_^>i_ (anth
_^<b_1970_^>b_), with their long, informative introductions._^<n__^<n_Two well known writers of sf, Damon _^<a_!T4098_KNIGHT_^>a_ and James _^<a_!T658_BLISH_^>a_, often took time out to write shrewd, well informed criticism, the latter under the
pseudonym William Atheling Jr. Much of Knight's critical work was collected in _^<i_In Search of Wonder_^>i_ (coll _^<b_1956_^>b_; exp 1967) and of Atheling's in _^<i_The Issue at Hand_^>i_ (coll _^<b_1964_^>b_) and _^<i_More Issues at Hand_^>i_
(coll _^<b_1970_^>b_). These books were published by _^<a_!T52_ADVENT: PUBLISHERS_^>a_, a _^<a_!T2261_SMALL PRESS_^>a_ specifically set up to publish books about sf by fan scholars. It was with Knight and Blish that some sort of critical consensus
began to emerge about what constituted sf and who were its most influential writers. The first of three critical symposia ed Reginald _^<a_!T4987_BRETNOR_^>a_, also featuring the critical views of sf writers themselves, appeared very early:
_^<i_Modern Science Fiction: Its Meaning and its Future_^>i_ (anth _^<b_1953_^>b_; rev 1979). It was followed by his _^<i_Science Fiction, Today and Tomorrow_^>i_ (anth _^<b_1974_^>b_) and _^<i_The Craft of Science Fiction_^>i_ (anth
_^<b_1976_^>b_)._^<n__^<n_The cautious interest being shown in sf by the US academic world bore its first fruits in 1959, in the shape of the critical journal _^<a_!T6730_EXTRAPOLATION_^>a_. For many years this was stencilled, not printed, which
suggested that the financial support it was receiving from academia at large was small; nevertheless it lived on. Two further academic magazines about sf followed, both (in different ways) a little livelier: _^<a_!T1577_FOUNDATION: THE REVIEW OF
SCIENCE FICTION_^>a_ in the UK (1972) and _^<a_!T2143_SCIENCE-FICTION STUDIES_^>a_ in the USA (1973). The former -- as much fannish as academic -- emphasized reviews and critical and sociological studies of contemporary and post-WWII sf; the latter
-- more strictly academic -- concentrated on writers of sf's past plus only the more academically acceptable of the present, with good coverage of European sf and some interesting and, to many, unexpected Marxist criticism. A newcomer has been
_^<a_!T3941_JOURNAL OF THE FANTASTIC IN THE ARTS_^>a_ (1988)._^<n__^<n_Some of the best critical writing about sf has appeared in these journals, and also in a great many _^<a_!T1428_FANZINES_^>a_. Unfortunately, fanzines tend to be produced
cheaply (and as a result often disintegrate rapidly) and have low circulations; back copies are usually therefore extremely difficult to obtain. Some of the more interesting critical fanzines and _^<a_!T2100_SEMIPROZINES_^>a_ from the 1940s through
the 1980s were (and in many cases still are) _^<a_!T95_ALGOL_^>a_, _^<a_!T317_AUSTRALIAN SCIENCE FICTION REVIEW_^>a_, _^<a_!T1416_FANTASY COMMENTATOR_^>a_, _^<a_!T1420_FANTASY NEWSLETTER_^>a_, _^<a_!T1423_FANTASY REVIEW_^>a_,
_^<a_!T3869_JANUS/AURORA_^>a_, _^<a_!T3419_LOCUS_^>a_, _^<a_!T3488_LUNA MONTHLY_^>a_, _^<a_!T3185_NEW YORK REVIEW OF SCIENCE FICTION_^>a_, _^<a_!T2443_QUARBER MERKUR_^>a_, _^<a_!T2610_RIVERSIDE QUARTERLY_^>a_, _^<a_!T2048_SCIENCE FICTION & FANTASY
_^<a_!T6006_THRUST_^>a_, _^<a_!T5341_VECTOR_^>a_ and _^<a_!T5458_WARHOON_^>a_. The professional sf magazines, too, have regularly published sf criticism, that of _^<i_FSF_^>i_ in particular often being of a high quality, as has been (beginning much
later) that of _^<a_!T3791_INTERZONE_^>a_._^<n__^<n_By the 1970s a large body of sf criticism had been built up, though much of it was and is difficult to get hold of. The earlier notion that sf should be judged by criteria different from those
normally applied to conventional literature began steadily to lose ground in the 1970s to the view that sf is strong enough to be gauged by the same standards that prevail elsewhere in literary criticism. Very naturally, however, the literary
analysis of sf tends to this day to be argued thematically and structurally, and to eschew a criticism grounded in concepts of psychological realism on the one hand or metaphorical power on the other. Although this is inevitable, mimetic realism
and good characterization being qualities somewhat marginalized by the very nature of sf, it does help explain why even now sf criticism has not generally developed a vocabulary enabling judgmental distinctions to be well made; that is, when
explaining why some books and stories are worse than others (an explanation that sf criticism feels called upon to make more seldom than is healthy), it does not usually do the job with much conviction._^<n__^<n_The trickle of sf criticism in book
form became a small spate around the mid-1970s and something of a torrent later on, but already by 1974 a number of new books had appeared, including studies by Sam J. _^<a_!T3492_LUNDWALL_^>a_ and Donald A. _^<a_!T5679_WOLLHEIM_^>a_ in the USA. A
major tributary joined the river with _^<i_Billion Year Spree_^>i_ (_^<b_1973_^>b_) by Brian W. _^<a_!T87_ALDISS_^>a_; Aldiss later revised and updated this work with David _^<a_!T5653_WINGROVE_^>a_ as _^<i_Trillion Year Spree_^>i_
(_^<b_1986_^>b_), a version that won them both a _^<a_!T4551_HUGO_^>a_. The book is idiosyncratic in some respects, with genuine scholarship of an autodidact kind, although not remotely academic. Many reviewers observed that, in the earlier version
of the book, Aldiss's account of the post-WWII period was hurried and not very informative, but this remains an important book, especially in the literary and cultural context it gives for sf ever since the days of Mary _^<a_!T2173_SHELLEY_^>a_,
who is Aldiss's candidate for the position of the first _^<i_bona fide_^>i_ sf writer. His cheerful, informal raconteur's tone enlivens without cheapening his many serious points, and comes as a relief after the ponderousness of some previous
studies of sf and the defensive fannish enthusiasm of others._^<n__^<n_The next important book on sf for the general reader was also by a professional writer from the genre: James E. _^<a_!T4896_GUNN_^>a_'s _^<i_Alternate Worlds: The Illustrated
History of Science Fiction_^>i_ (_^<b_1975_^>b_), a balanced and intelligent survey (although coverage of later writers tends to be confined to long lists) which strongly emphasizes the Campbellian tradition of magazine sf in the USA. This book was
part of a sudden rush of handsome, illustrated books about sf, some of which are listed under _^<a_!T4593_ILLUSTRATION_^>a_._^<n__^<n_A collection of essays by Alexei and Cory _^<a_!T1782_PANSHIN_^>a_, _^<i_SF in Dimension_^>i_ (coll
_^<b_1976_^>b_), argued a coherent if controversial viewpoint. Alexei Panshin had earlier published an interesting study of Robert A. _^<a_!T4376_HEINLEIN_^>a_, and he and his wife would later publish _^<i_The World Beyond the Hill: Science Fiction
and the Quest for Transcendence_^>i_ (_^<b_1989_^>b_), a long book full of incidental insights but whose overall thesis is open to argument. It elicited a devastating review from John _^<a_!T769_CLUTE_^>a_, always a pungent critic of sf, in
_^<i_New York Review of Science Fiction_^>i_ (July 1991), which in turn prompted a correspondence whose overall implication may be that the US-centred, magazine-centred, somewhat inbred and sentimental view of the development of the genre which had
dominated sf historians for decades was now being rejected by a new generation of sf critics and scholars. Clute's own book of sf criticism, _^<i_Strokes: Essays and Reviews 1966-1986_^>i_ (coll _^<b_1988_^>b_ US), was an example of the development
of a wider perspective on sf, dealing as it does with sf's concerns in terms of their metaphoric resonance -- their subtexts -- as well as their literal meaning. A sometimes thuddingly literal-minded reading of sf themes, from robots to the
colonization of other worlds, had characterized many of the books and articles published on sf prior to the 1980s._^<n__^<n_Numerous sf writers apart from those already mentioned have also written well informed and lively sf criticism and essays in
sf scholarship; many of these, like Thomas M. _^<a_!T1244_DISCH_^>a_, Gardner _^<a_!T1313_DOZOIS_^>a_, Joanna _^<a_!T2741_RUSS_^>a_, Robert _^<a_!T2216_SILVERBERG_^>a_ and Ian _^<a_!T5484_WATSON_^>a_, have not yet had their critical pieces
collected in book form. Among those who have are: Algis _^<a_!T5064_BUDRYS_^>a_, with _^<i_Benchmarks: Galaxy Bookshelf_^>i_ (coll _^<b_1985_^>b_); Samuel R. _^<a_!T1152_DELANY_^>a_, with _^<i_The Jewel-Hinged Jaw: Notes on the Language of Science
Fiction_^>i_ (_^<b_1977_^>b_) and _^<i_Starboard Wine: More Notes on the Language of Science Fiction_^>i_ (coll _^<b_1984_^>b_), whose structuralist and sometimes _^<a_!T1958_POSTMODERNIST_^>a_ criticism is dense and difficult, irritating and
interesting; Ursula K. _^<a_!T3318_LE GUIN_^>a_, with _^<i_The Language of the Night: Essays on Fantasy and Science Fiction_^>i_ (coll _^<b_1979_^>b_; rev 1989 UK); Barry N. _^<a_!T3629_MALZBERG_^>a_, whose _^<i_The Engines of the Night: Science
Fiction in the Eighties_^>i_ (_^<b_1982_^>b_) may not have had the attention it deserves; Norman _^<a_!T2370_SPINRAD_^>a_, with _^<i_Science Fiction in the Real World_^>i_ (coll _^<b_1990_^>b_), which collects many of his critical columns from
_^<a_!T3816_ISAAC ASIMOV'S SCIENCE FICTION MAGAZINE_^>a_; and Brian M. _^<a_!T2385_STABLEFORD_^>a_, whose several well researched books on the subject, including _^<i_Scientific Romance in Britain 1890-1950_^>i_ (_^<b_1985_^>b_), have done much to
dispel the view that sf was primarily a product of _^<a_!T2033_PULP MAGAZINES_^>a_ and specialist _^<a_!T2130_SF MAGAZINES_^>a_._^<n__^<n_A phenomenon largely of the 1980s was the production of large, multi-author reference works containing
critical assessments of sf, of which one of the earliest was the first edition of this encyclopedia (_^<b_1979_^>b_). The first edition of Neil _^<a_!T442_BARRON_^>a_'s _^<i_Anatomy of Wonder: A Critical Guide to Science Fiction_^>i_
(_^<b_1976_^>b_; rev 1981; rev 1987) was earlier still, and the book remains one of the best and most accessible critical guides. Others include: the desperately uneven 5-vol _^<i_Survey of Science Fiction Literature_^>i_ (anth _^<b_1979_^>b_) ed
Frank N. Magill, though the actual editing and organization was largely the work of associate editor Keith _^<a_!T3153_NEILSON_^>a_; the largely excellent _^<i_Science Fiction Writers: Critical Studies of the Major Authors from the Early Nineteenth
Century to the Present Day_^>i_ (anth _^<b_1982_^>b_) ed E.F. _^<a_!T654_BLEILER_^>a_; the 2-vol _^<i_Twentieth-Century American Science-Fiction Writers_^>i_ (anth _^<b_1981_^>b_) ed David Cowart and Thomas L. Wymer; and _^<i_Twentieth-Century
Science-Fiction Writers_^>i_ (anth _^<b_1981_^>b_; rev 1986; rev 1991) first two edns ed Curtis C. _^<a_!T2266_SMITH_^>a_, with its useful essays badly compromised by poor presentation of bibliographical data. Most of these books are reference
works from specialist publishers at prices that may deter lay sf readers, but they are readily located in academic libraries._^<n__^<n_None of these books is purely academic in its authorship, but in most of them many of the essays are by academic
specialists -- for honourable reasons but also, naturally enough, because the publish-or-perish syndrome will always ensure academic contributors willing to work for little or nothing -- and it is in the field of academic books on sf that the
largest expansion of book publishing on sf has taken place, especially in the 1980s. Long before that there were, aside from Bailey's, two other important early works of academic sf scholarship: _^<i_The Imaginary Voyage in Prose Fiction: A History
of its Criticism and a Guide for its Study, with an Annotated Check List of 215 Imaginary Voyages from 1700 to 1800_^>i_ (_^<b_1941_^>b_) by Philip Babcock _^<a_!T4789_GOVE_^>a_, and _^<i_Voyages to the Moon_^>i_ (_^<b_1948_^>b_) by Marjorie Hope
_^<a_!T3195_NICOLSON_^>a_. After a long gap, the next academic works of importance (apart from studies of single authors such as of H.G. _^<a_!T5528_WELLS_^>a_ and Aldous _^<a_!T4566_HUXLEY_^>a_) were _^<i_Voices Prophesying War 1763-1984_^>i_
(_^<b_1966_^>b_) by I.F. _^<a_!T739_CLARKE_^>a_, who followed this work with other studies of sf, and _^<i_Yesterday's Tomorrows_^>i_ (_^<b_1968_^>b_) by W.H.G. _^<a_!T240_ARMYTAGE_^>a_. Running concurrently with all these publications, and
beginning much earlier, have been the many books on literary _^<a_!T5303_UTOPIAS_^>a_._^<n__^<n_Next in the academic line came _^<i_Into the Unknown: The Evolution of Science Fiction from Francis Godwin to H.G. Wells_^>i_ (_^<b_1970_^>b_) by Robert
M. _^<a_!T1890_PHILMUS_^>a_. In the 1970s Darko _^<a_!T5858_SUVIN_^>a_ came to the fore as an influential academic critic of sf, his earliest full-scale book being first published in French: _^<i_Pour une poetique de la science-fiction_^>i_
(_^<b_1977_^>b_ Canada; exp in English as _^<i_Metamorphoses of Science Fiction: On the Poetics and History of a Literary Genre_^>i_ _^<b_1979_^>b_ US). Two important later books by Suvin are _^<i_Victorian Science Fiction in the U.K.: The
Discourses of Knowledge and of Power_^>i_ (_^<b_1983_^>b_ US) and _^<i_Positions and Presuppositions in Science Fiction_^>i_ (coll _^<b_1988_^>b_ US)._^<n__^<n_After 1974 the pace of academic publishing increased. The most important studies of the
mid-1970s were _^<i_New Worlds for Old_^>i_ (_^<b_1974_^>b_) by David _^<a_!T4045_KETTERER_^>a_, _^<i_Visions of Tomorrow_^>i_ (coll _^<b_1975_^>b_) by David _^<a_!T2789_SAMUELSON_^>a_ and _^<i_Structural Fabulation_^>i_ (_^<b_1975_^>b_) by Robert
_^<a_!T2856_SCHOLES_^>a_. Scholes went on to collaborate with Eric S. _^<a_!T2474_RABKIN_^>a_ on _^<i_Science Fiction: History, Science, Vision_^>i_ (_^<b_1977_^>b_), one of the best semi-popular accounts of the genre. Rabkin has since published
widely in the field._^<n__^<n_Scholes's work was much influenced by _^<i_Introduction a la litterature fantastique_^>i_ (_^<b_1970_^>b_ France; trans as _^<i_The Fantastic: A Structural Approach to a Literary Genre_^>i_ _^<b_1973_^>b_) by Tzvetan
_^<a_!T6038_TODOROV_^>a_, a work which has aroused controversy and much interest. Sf criticism, primarily Marxist, structuralist or both, is flourishing in Europe. Other notable European critics are Michel _^<a_!T5108_BUTOR_^>a_, Boris Eizykman
(1949- ), Vladimir _^<a_!T1676_GAKOV_^>a_, Jorg Hienger (1927- ), Jean-Henri Holmberg (> _^<a_!T2834_SCANDINAVIA_^>a_), Julius _^<a_!T3966_KAGARLITSKI_^>a_, Gerard _^<a_!T4093_KLEIN_^>a_, Stanislaw _^<a_!T3329_LEM_^>a_, Carlo
_^<a_!T1762_PAGETTI_^>a_, Franz _^<a_!T2713_ROTTENSTEINER_^>a_, Martin Schwonke (1923- ), Jacques van Herp (1923- ) and Pierre _^<a_!T5359_VERSINS_^>a_. Rottensteiner, who also publishes in English, is one of the most renowned European
critics; unfortunately, his best-known book in English, _^<i_The Science Fiction Book: An Illustrated History_^>i_ (_^<b_1975_^>b_), is not quite up to his own usually high standard. Some exceptionally controversial criticism by Stanislaw
_^<a_!T3329_LEM_^>a_ has been published in English, although his much-discussed _^<i_Fantastyka i futurologia_^>i_ (_^<b_1970_^>b_ Poland), a full-length study of sf, has yet to be translated in full; a small part appeared, with other work, in
_^<i_Microworlds_^>i_ (coll trans _^<b_1985_^>b_ US)._^<n__^<n_Back in the USA, the appearance in the 1970s of many academic courses about sf (> _^<a_!T2071_SF IN THE CLASSROOM_^>a_) had repercussions in the publication of anthologies of critical
essays. A pioneer editor in this field was Thomas D. _^<a_!T732_CLARESON_^>a_ with _^<i_SF: The Other Side of Realism_^>i_ (anth _^<b_1971_^>b_), _^<i_Voices for the Future: Essays on Major Science Fiction Writers Vol. 1_^>i_ (anth _^<b_1976_^>b_)
and its two sequels, and _^<i_Many Futures, Many Worlds: Theme and Form in Science Fiction_^>i_ (anth _^<b_1977_^>b_). Clareson has also published books of his own, his most important work being on the early _^<a_!T4443_HISTORY OF SF_^>a_, as in
_^<i_Some Kind of Paradise: The Emergence of American Science Fiction_^>i_ (_^<b_1985_^>b_), which is more a historical and thematic survey than a critical study. Two critical anthologies about sf aimed at the general reader rather than at the
student or teacher are _^<i_Science Fiction at Large_^>i_ (anth _^<b_1976_^>b_; vt _^<i_Explorations of the Marvellous_^>i_) ed Peter _^<a_!T3189_NICHOLLS_^>a_ and _^<i_Turning Points: Essays on the Art of Science Fiction_^>i_ (anth _^<b_1977_^>b_)
ed Damon Knight. The former book contains several essays which, in their readiness to see shortcomings in sf, may be a particular example of a general lessening of the rather tedious boosterism in many earlier books about the field. Another good,
academic critical anthology of the 1970s was _^<i_Science Fiction: A Critical Guide_^>i_ (anth _^<b_1979_^>b_) ed Patrick _^<a_!T6328_PARRINDER_^>a_._^<n__^<n_In the 1980s a great many critical anthologies about sf were published, often choosing
their contents from the proceedings of academic conferences or from academic-track programming at sf _^<a_!T856_CONVENTIONS_^>a_. A number of these are listed in the entries of such individual editors as Martin H. _^<a_!T4842_GREENBERG_^>a_, Donald
_^<a_!T4335_HASSLER_^>a_, Eric S. _^<a_!T2474_RABKIN_^>a_ and George E. _^<a_!T2259_SLUSSER_^>a_. Many of the academics who have edited such books have also written studies of their own. Among them are perhaps the two most stimulating US academic
theoreticians about sf to have risen to prominence in the 1980s: Mark _^<a_!T2693_ROSE_^>a_ and Gary K. _^<a_!T5675_WOLFE_^>a_. Rose is the author of _^<i_Alien Encounters: Anatomy of Science Fiction_^>i_ (_^<b_1981_^>b_), which in its discussion
of what he sees as the central paradigms in sf breaks new ground, if controversially. Wolfe is the author of many articles and several books, including _^<i_The Known and the Unknown: The Iconography of Science Fiction_^>i_ (_^<b_1979_^>b_),
perhaps the major study of sf in the recent period, and comes as close as any critic ever has to defining, in useful and quite rigorous theoretical terms, the _^<a_!T2104_SENSE OF WONDER_^>a_ that fans so often use to describe what they seek for
and find in sf. Unlike many of his academic colleagues, Wolfe writes with clarity, grace and wit, and avoids the jargon that makes so much recent academic analysis of sf so inaccessible to the ordinary reader -- and so boring, sometimes, to even
the academically trained reader._^<n__^<n_The books of two other academic critics of considerable interest have been more narrowly focused than most of the above: H. Bruce _^<a_!T1604_FRANKLIN_^>a_ and W. Warren _^<a_!T5422_WAGAR_^>a_. Both write
well. Franklin has written, from a Marxist perspective unusual in US criticism, _^<i_Robert A. Heinlein: America as Science Fiction_^>i_ (_^<b_1980_^>b_) and _^<i_War Stars: The Superweapon and the American Imagination_^>i_ (_^<b_1988_^>b_). Wagar
is the author of a book which is as much a contribution to the history of ideas as it is an analysis of sf specifically: _^<i_Terminal Visions: The Literature of Last Things_^>i_ (_^<b_1982_^>b_)._^<n__^<n_In the early 1970s anybody interested in
the history and criticism of sf could have found very little to read on the subject. Now there is too much to cope with, and the difficulty is in locating what might be available and interesting. The "interesting" criterion remains a lottery, but
the "availability" criterion can be helped considerably. Here the _^<b_Science Fiction and Fantasy Reference Indexes _^>b_of Hal W. _^<a_!T4933_HALL_^>a_ are very useful, as is _^<b_The Year's Scholarship in Science Fiction and Fantasy _^>b_series
compiled by Marshall B. _^<a_!T6150_TYMN_^>a_ and Roger C. _^<a_!T2845_SCHLOBIN_^>a_ (_^<i_see their entries for details_^>i_). An earlier reference is _^<i_Science Fiction Criticism: An Annotated Checklist_^>i_ (_^<b_1972_^>b_) compiled by
Clareson._^<n__^<n_Further discussion of secondary materials for the sf researcher will be found in _^<a_!T585_BIBLIOGRAPHIES_^>a_, _^<a_!T726_CINEMA_^>a_, _^<a_!T1142_DEFINITIONS OF SF_^>a_ and _^<a_!T1958_POSTMODERNISM AND SF_^>a_, and in
selected author and theme entries throughout. [PN]_^<n__^<n_
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CRITICAL WAVE
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UK _^<a_!T2100_SEMIPROZINE_^>a_ (1987-current) ed Martin Tudor and Steve Green. _^<i_CW_^>i_ is a bimonthly sf and fantasy newsletter -- the schedule often slips by a month -- with reviews plus news items covering fantasy, horror and comics as well
as sf; it also features interviews and articles. Originally a mimeographed _^<a_!T1428_FANZINE_^>a_, _^<i_CW_^>i_ became professionally printed with #9 and is said to have a circulation above 1000. The editors clearly want it to become the UK
equivalent of _^<a_!T3419_LOCUS_^>a_; as of 1992, it still had some way to go. [RH]_^<n__^<n_
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CRITTERS
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Film (1986). New Line/Smart Egg/Sho films. Dir Stephen Herek, starring Dee Wallace Stone, M. Emmet Walsh, Billy Green Bush, Scott Grimes, Don Opper. Screenplay Herek, Dominic Muir, with additions by Opper. 86 mins, cut to 85 mins.
Colour._^<n__^<n_Small furry carnivorous aliens with voracious appetites and large teeth (very clearly modelled on the creatures in Joe _^<a_!T1056_DANTE_^>a_'s _^<i_Gremlins_^>i_ [1984]) besiege a farmhouse in Kansas and are driven off with the
help of alien bounty-hunters. This wholly derivative film has some charm and competence, however, and was a not disastrous debut for director Herek, who went on to make _^<a_!T602_BILL & TED'S EXCELLENT ADVENTURE_^>a_ (1989). The sequel,
_^<i_Critters 2: The Main Course_^>i_ (1988; vt _^<i_Critters 2_^>i_), dir Mick Garris, has all the sparkle of a second-generation photocopy, and demonstrates nicely how the 1980s video market had such an insatiable appetite for teenage horror
movies that even imitations bred imitations. It was Garris's first film as director, though he was already known as a writer on the tv series _^<a_!T141_AMAZING STORIES_^>a_. Two further straight-to-video sequels followed. _^<i_Critters 3_^>i_
(1991), dir Kristine Peterson, 81 mins, reprises the beasties in an apartment block setting. _^<i_Critters 4: Critters in Space_^>i_ (1992), dir Rupert Harvey, screenplay Joseph Lyle and David Schow, 90 mins, continues to star Opper as chief
critter-hunter, and also stars Brad Dourif. This last instalment, still low-budget, takes place on a spaceship, and can claim to be the most genuine sf episode of the series, but is in other respects only slightly superior to the second and third.
The usual homages to _^<a_!T98_ALIEN_^>a_ occur. [PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T3011_MONSTER MOVIES_^>a_.
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CRITTERS 2: THE MAIN COURSE
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> _^<a_!T965_CRITTERS_^>a_._^<n__^<n_
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CROHMALNICEANU, OVID S.
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[r] > _^<a_!T2683_ROMANIA_^>a_._^<n__^<n_
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CROLY, [Reverend] GEORGE
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(1780-1860) UK clergyman whose novel of _^<a_!T3771_IMMORTALITY_^>a_ _^<i_Salathiel: A Story of the Past, the Present and the Future_^>i_ (_^<b_1826_^>b_; vt _^<i_Salathiel the Wandering Jew_^>i_ 1843 US; vt _^<i_Salathiel the Immortal_^>i_ 1855 UK;
vt _^<i_Tarry Thou Till I Come_^>i_ 1901 US) was published anon but soon acknowledged. [JC]_^<n__^<n_
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CROMIE, ROBERT
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(1856-1907) Irish author of the well known interplanetary sf novel _^<i_A Plunge Into Space_^>i_ (_^<b_1890_^>b_) in which visitors travel by _^<a_!T198_ANTIGRAVITY_^>a_ to _^<a_!T3677_MARS_^>a_, where they discover humans living under
_^<a_!T5303_UTOPIAN_^>a_ conditions and a fatal romance ensues; the 1891 edition includes a preface by Jules _^<a_!T5355_VERNE_^>a_. In _^<i_The Crack of Doom_^>i_ (_^<b_1895_^>b_) something very like atomic energy rather intriguingly threatens the
world (the first test of the substance, thousands of years earlier, destroyed the fifth planet to create the _^<a_!T273_ASTEROIDS_^>a_); though hazily described, RC's use in this novel of a nuclear device to shake civilization marks the first
occurrence of a theme which would dominate the next century. Two volumes of a cluttered future _^<a_!T4442_HISTORY_^>a_ -- _^<i_For England's Sake_^>i_ (_^<b_1889_^>b_) and _^<i_The Next Crusade_^>i_ (_^<b_1897_^>b_) -- fail, like his remaining
works, to retain much interest. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_The King's Oak and Other Stories_^>i_ (coll _^<b_1897_^>b_); _^<i_A New Messiah_^>i_ (_^<b_1902_^>b_); _^<i_El Dorado_^>i_ (_^<b_1904_^>b_; vt _^<i_From the Cliffs of
Croaghaun_^>i_ 1904 US)._^<b_See also:_^>b_ _^<a_!T956_CRIME AND PUNISHMENT_^>a_; _^<a_!T6661_END OF THE WORLD_^>a_; _^<a_!T4443_HISTORY OF SF_^>a_; _^<a_!T1968_POWER SOURCES_^>a_; _^<a_!T2348_SPACESHIPS_^>a_.
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CRONENBERG, DAVID
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(1943- ) Canadian film-maker. Crucially a writer as well as a director, DC can be claimed as one of the most important practitioners of sf, in any medium, of the last quarter of the 20th century. From his early student and underground films --
_^<i_Transfer_^>i_ (1966), _^<i_From the Drain_^>i_ (1967), _^<i_Stereo_^>i_ (1969) and _^<a_!T957_CRIMES OF THE FUTURE_^>a_ (1970), the tv short _^<i_Secret Weapons_^>i_ (1972) -- through his gutsy, increasingly surreal exploitation movies --
_^<i_The_^<a_!T1796_PARASITE MURDERS_^>a__^>i_ (1974; vt _^<i_They Came From Within_^>i_; vt _^<i_Shivers_^>i_), _^<a_!T2473_RABID_^>a_ (1976), _^<i_The_^<a_!T5015_BROOD_^>a__^>i_ (1979), _^<a_!T2835_SCANNERS_^>a_ (1980) and
_^<a_!T5368_VIDEODROME_^>a_ (1982) -- to his more mainstream ventures -- _^<i_The_^<a_!T1119_DEAD ZONE_^>a__^>i_ (1983; from Stephen _^<a_!T4066_KING_^>a_'s novel), _^<i_The_^<a_!T1537_FLY_^>a__^>i_ (1986; a remake of the 1958 _^<a_!T3011_MONSTER
MOVIE_^>a_), _^<i_Dead Ringers_^>i_ (1989), _^<i_The Naked Lunch_^>i_368992; based on William S. _^<a_!T5099_BURROUGHS_^>a_'s 1959 novel), and his projected film of J.G. _^<a_!T378_BALLARD_^>a_'s _^<i_Crash_^>i_ (_^<b_1973_^>b_) -- DC has shown a
remarkably consistent visual and intellectual style, dealing with the mind-body divide, near-future social, religious and chemical taboos, the _^<a_!T3743_MEDIA LANDSCAPE_^>a_, and the extremes of experience. DC has also worked as an actor, in John
Landis's _^<i_Into the Night_^>i_ (1985) and, more notably, Clive Barker's _^<i_Nightbreed_^>i_ (1990). The odd man out in his own filmography is _^<i_Fast Company_^>i_ (1977), an efficient but nondescript movie about drag racing. The highly
bizarre violence and mutation, often sexual in nature, of mid-period DC -- especially the phallic parasites of _^<i_The Parasite Murders_^>i_ and the sadomasochist visions of _^<i_Videodrome_^>i_ -- won him a reputation as the most uncompromising
genre _^<i_auteur_^>i_ of his generation, but _^<i_The Brood_^>i_, an interior-directed family-trauma drama, revealed a vein of icy sensitivity that later yielded _^<i_The Fly_^>i_, an extraordinarily moving rereading of its hackneyed premise which
abjures monster-on-the-loose melodrama for a quietly affecting study of the process of physical change, and _^<i_Dead Ringers_^>i_, an entirely psychological and non-sf variation on DC's habitual themes that demonstrates how he has created his own
category -- the Cronenberg Movie -- rather than inhabited the sf or _^<a_!T4509_HORROR_^>a_ genres in the way that contemporaries like George A. _^<a_!T2687_ROMERO_^>a_ and Wes Craven have done. On being hailed as "the King of Venereal Horror", DC
commented: "It's a small field, Venereal Horror, but at least I'm king of it." Although DC is reported to have said around 1993 that he will no longer be working in horror or science fiction, his films are likely to retain the very distinctive DC
tone, as could be said of his film -- an adaptation of Henry David Hwang's successful play -- _^<i_M. Butterfly_^>i_ (1993), about a diplomat who falls in love with an apparently female Chinese opera singer, not realizing she is actually male. An
interesting book of interviews is _^<i_Cronenberg on Cronenberg_^>i_ (coll _^<b_1991_^>b_) ed Chris Rodley. [KN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T726_CINEMA_^>a_; _^<a_!T1015_CYBERPUNK_^>a_; _^<a_!T4555_HUMOUR_^>a_; _^<a_!T3013_MONSTERS_^>a_;
_^<a_!T1797_PARASITISM AND SYMBIOSIS_^>a_; _^<a_!T2019_PSEUDO-SCIENCE_^>a_; _^<a_!T2115_SEX_^>a_.
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CRONIN, CHARLES BERNARD
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[r] > Eric _^<a_!T3241_NORTH_^>a_._^<n__^<n_
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CROOK, COMPTON N.
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[r] > Stephen _^<a_!T5901_TALL_^>a_._^<n__^<n_
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CROSBY, HARRY C.
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[r] > Christopher _^<a_!T204_ANVIL_^>a_._^<n__^<n_
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CROSS, JOHN KEIR
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(1914-1967) UK writer of _^<a_!T2480_RADIO_^>a_ scripts before WWII, and later of novels and tv adaptations (one of them being of John _^<a_!T6211_WYNDHAM_^>a_'s _^<i_The Kraken Wakes_^>i_) for the BBC. Some of his books for younger children,
written as Stephen MacFarlane, are fantasies; _^<i_Lucy Maroon, the Car that Loved a Policeman_^>i_ (_^<b_1944_^>b_) and _^<i_Mr Bosanko and Other Stories_^>i_ (coll _^<b_1944_^>b_) are typical. All his sf novels are for older children; they
include _^<i_The Angry Planet_^>i_ (_^<b_1945_^>b_) and its sequel, _^<i_SOS from Mars_^>i_ (_^<b_1954_^>b_; vt _^<i_The Red Journey Back_^>i_ 1954 US), both of which represent JKC's transcription of manuscripts "by Stephen MacFarlane" encompassing
the first three expeditions to Mars, which discover the vegetable life there to have suffered a Manichaean _^<a_!T6717_EVOLUTION_^>a_ into alternative races. _^<i_The Owl and the Pussycat_^>i_ (_^<b_1946_^>b_; vt _^<i_The Other Side of Green
Hills_^>i_ 1947 US) is a fantasy, while _^<i_The Flying Fortunes in an Encounter with Rubberface!_^>i_ (_^<b_1952_^>b_; vt _^<i_The Stolen Sphere_^>i_ 1953 US) has an orbital satellite as a _^<a_!T3535_MCGUFFIN_^>a_. Though he wrote several novels
as JKC, including _^<i_The White Magic_^>i_ (_^<b_1947_^>b_) -- not a fantasy, although often recorded as such -- his best-known work under his own name is _^<i_The Other Passenger_^>i_ (coll _^<b_1944_^>b_; cut vt _^<i_Stories from The Other
Passenger_^>i_ 1961 US), a collection of subtle fantasy tales for adults. He edited _^<i_Best Horror Stories_^>i_ (anth _^<b_1956_^>b_), _^<i_Best Black Magic Stories_^>i_ (anth _^<b_1960_^>b_) and _^<i_Best Horror Stories 2_^>i_ (anth
(1937- ) US writer who began publishing sf with "The Story of Three Cities" in _^<i_New Worlds 6_^>i_ (anth _^<b_1973_^>b_) ed Michael _^<a_!T3030_MOORCOCK_^>a_ and Charles _^<a_!T1927_PLATT_^>a_; the tale's steely moroseness characterizes much
of his work in shorter forms. His first novel, _^<i_Prisoners of Paradise_^>i_ (_^<b_1988_^>b_), bleakly generates a sense that the _^<b_Fantasy-Island_^>b_-type trap it depicts is not to be escaped from. The _^<b_Eternal Guardians _^>b_sequence --
comprising _^<i_The Fourth Guardian_^>i_ (_^<b_1994_^>b_) and <The Lost Guardian> (1995), with further volumes projected -- is a fantasy of history. [JC]_^<n__^<n_
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CROSS, VICTORIA
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Pseudonym under which UK novelist Annie Sophie ("Vivian") Cory (1868-?1952) published all her work, using the spelling "Crosse" until the death of Queen Victoria; she was briefly notorious for _^<i_The Woman who Didn't_^>i_ (_^<b_1895_^>b_), written
in response to Grant _^<a_!T111_ALLEN_^>a_'s _^<i_The Woman who Did_^>i_ (_^<b_1895_^>b_). Her only known sf is _^<i_Marty Brown, M.P.: A Girl of Tomorrow_^>i_ (_^<b_1935_^>b_), which depicts relationships in a 30th-century UK ruled by women:
unemployment, war and pollution do not exist, nor is meat eaten, and there is no prostitution because love is free. [RB]_^<n__^<n_
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CROSSEN, KENDELL FOSTER
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(1910-1981) US writer and editor, active under various names in various _^<a_!T2033_PULP-MAGAZINE_^>a_ markets, perhaps most notably as an author of detective stories, his best work being published under his own name and as M.E. Chaber. Though the
_^<b_Green Lama_^>b_ series of early 1940s thrillers, published in _^<i_Double Detective_^>i_ as by Richard Foster, and _^<i_Murder Out of Mind_^>i_ (_^<b_1945_^>b_) as by Ken Crossen, slip close to the fantastic, he only began publishing sf proper
with two stories in Feb 1951: "The Boy who Cried Wolf 359" in _^<i_AMZ_^>i_ and "Restricted Clientele" in _^<i_TWS_^>i_. Towards the end of their existences he published a large amount of material with _^<i_Startling Stories_^>i_ and _^<i_TWS_^>i_;
much of this material is intendedly comic, in particular the _^<b_Manning Draco_^>b_ series about an interstellar salesman and his amusing experiences with _^<a_!T102_ALIENS_^>a_: _^<i_Once Upon a Star_^>i_ (1951-2 _^<i_TWS_^>i_, fixup
_^<b_1953_^>b_) plus 4 additional stories, "Assignment to Aldebaran" (1953), "Whistle Stop in Space" (1953), "Mission to Mizar" (1953) and "The Agile Algolian" (1954). _^<i_Year of Consent_^>i_ (_^<b_1952_^>b_), about a _^<a_!T826_COMPUTER_^>a_
that controls the West, expressively conveys the _^<a_!T1795_PARANOIA_^>a_ of much US fiction of the period. _^<i_The Rest Must Die_^>i_ (_^<b_1959_^>b_), as by Foster, follows the story of those who have survived a nuclear attack on New York by
happening to be underground in subways or cellars: conflicts ensue. KFC's _^<a_!T195_ANTHOLOGIES_^>a_ -- _^<i_Adventures in Tomorrow_^>i_ (anth _^<b_1951_^>b_; UK edn omits 2 stories) and _^<i_Future Tense_^>i_ (anth _^<b_1952_^>b_; UK edn omits 7
stories) -- include some original stories, are competently selected, and were influential in their time. [JC]_^<n__^<n_
(1925- ) UK writer whose _^<i_The Fallen Sky_^>i_ (_^<b_1954_^>b_) describes a post-_^<a_!T4482_HOLOCAUST_^>a_ London reverted to barbarism and a sociologist's attempt to cure himself of violence while simultaneously founding a new civilization.
_^<i_Monster_^>i_ (_^<b_1980_^>b_ US) is a horror tale. [JC]_^<n__^<n_
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CROWLEY, JOHN
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(1942- ) US writer who has also worked in documentary films and tv since 1966. His sf novels have had a considerable impact on the field, and his fantasies have established him as a figure whose work markedly stretches the boundaries of genre
literature._^<n__^<n_His first sf novel, _^<i_The Deep_^>i_ (_^<b_1975_^>b_), is set on a flat discworld resting on a pillar that extends beyond measurement into the circumambient Deep, in which very few stars are visible. On this disc complex
feudal conflicts, which seem interminably to repeat a bad year from the Wars of the Roses, are regulated, maintained and when necessary fomented for its own pleasure by the mysterious Being who originally transported to this strange new domain its
present inhabitants -- humans whose own world was dying. Though the story is told from various points of view, the reader's main perspective is through the eyes of a damaged _^<a_!T178_ANDROID_^>a_ with memory problems sent to record events by the
disc's peculiar God. Using sources as widely divergent as James Branch _^<a_!T5115_CABELL_^>a_'s _^<b_Biography of the Life of Manuel_^>b_, Philip Jose _^<a_!T1435_FARMER_^>a_'s _^<b_World of Tiers_^>b_ novels and E.R. _^<a_!T6579_EDDISON_^>a_'s
_^<i_The Worm Ouroboros_^>i_ (_^<b_1922_^>b_), JC constructed a story whose free and supple use of numerous generic conventions marks it as the sort of tale possible only late in the life of any genre._^<n__^<n__^<i_Beasts_^>i_ (_^<b_1976_^>b_)
somewhat more conventionally depicts a balkanized USA, but with a complex deployment of sf themes, notable among which are the uses made of biologically transformed animals and of the potential for genuine interspecies empathy. The chilly
belatedness of these two books -- like all his work they depict worlds caught in the iron claws of a prior authority or Author -- warms very considerably in the third, _^<i__^<a_!B9267_ENGINE SUMMER_^>a__^>i_ (_^<b_1979_^>b_), whose title neatly
epitomizes JC's abiding central concerns and whose plot -- its protagonist finds that his life in a dying post-_^<a_!T4482_HOLOCAUST_^>a_ pastoral USA is nothing but a memory interminably replayed, and that he himself is no more than a crystal
device replaying those memories on command -- exudes a cruel melancholy. But the story which Rush That Speaks represents in his being (and tells) is powerfully moving; and his sleep at the close (though he will soon be turned on again to play
himself) is earned._^<n__^<n_A similar grave cruelty infuses the _^<a_!T6026_TIME TRAVEL_^>a_ cul-de-sacs uncovered in _^<i_Great Work of Time_^>i_ (_^<b_1991_^>b_), a tale which depicts the desolate consequences of attempting to control history;
it first appeared in _^<i__^<a_!B9045_NOVELTY_^>a__^>i_ (coll _^<b_1989_^>b_), along with some shorter fantasies and "In Blue" a _^<a_!T1370_DYSTOPIAN_^>a_ parable. Further short work is assembled in _^<i_Antiquities: Seven Stories_^>i_ (coll
_^<b_1993_^>b_)._^<n__^<n_His major single novel, the grave and eloquent _^<i_Little, Big_^>i_ (_^<b_1981_^>b_), is primarily a fantasy; partly set in a _^<a_!T6337_NEAR-FUTURE_^>a_ USA, this large work puts into definitive form JC's steely
nostalgia for the long arm of immortal law. The title itself -- which condenses a message repeated throughout the text: "The further in you go, the bigger it gets" -- is a restatement in fantasy terms of the process of _^<a_!T829_CONCEPTUAL
BREAKTHROUGH_^>a_ central to much sf. The story embeds in the centrifugal world of US fantasy a UK tale of harrowing centripetal inwardness; Smoky Barnable's book-long attempt to enter the world of faerie ends, as it must, in something like death.
In the meantime, as the century itself closes, a reborn Barbarossa ravages an unsavable USA. The Renaissance Art of Memory-later utilized by Gene _^<a_!T5676_WOLFE_^>a_, Mary _^<a_!T4660_GENTLE_^>a_ and Michael _^<a_!T5864_SWANWICK_^>a_, among
others -- significantly shapes the geography of the book, with the result that the metamorphoses suffered by its protagonists seem both mathematically foreordained (Lewis _^<a_!T5188_CARROLL_^>a_ is a constant presence in the text) and symbolically
potent. _^<i_Little, Big_^>i_ has permeated the field. As much cannot be said, perhaps, for _^<i__^<a_!B9024_AEGYPT_^>a__^>i_ (_^<b_1987_^>b_) and _^<i_Love & Sleep_^>i_ (_^<b_1994_^>b_), the first two of the projected _^<b_Aegypt_^>b_ sequence
examining Renaissance neoplatonism with hallucinated concentration, and seemingly moving towards a millennial shift in the reality-determining Story of the world; but even the torso of this sequence confirms JC's very considerable shaping power,
which is his most significant gift to genre literature. The novelty of his work is less important than the magnetism of the synthesis it represents. [JC]_^<n__^<n__^<b_Other work:_^>b_ _^<i_Beasts/Engine Summer/Little, Big_^>i_ (omni
_^<b_1991_^>b_)._^<n__^<n__^<b_See also:_^>b_ _^<a_!T29_ADAM AND EVE_^>a_; _^<a_!T131_ALTERNATE WORLDS_^>a_; _^<a_!T1410_FANTASTIC VOYAGES_^>a_; _^<a_!T1412_FANTASY_^>a_; _^<a_!T1432_FAR FUTURE_^>a_; _^<a_!T4740_GODS AND DEMONS_^>a_;
_^<a_!T4823_GREAT AND SMALL_^>a_; _^<a_!T3598_MAGIC_^>a_; _^<a_!T2924_METAPHYSICS_^>a_; _^<a_!T3135_MYTHOLOGY_^>a_; _^<a_!T3315_OMNI_^>a_; _^<a_!T1714_OPTIMISM AND PESSIMISM_^>a_; _^<a_!T1812_PASTORAL_^>a_; _^<a_!T1851_PERCEPTION_^>a_;
_^<a_!T1932_POCKET UNIVERSE_^>a_; _^<a_!T2870_SCIENCE FANTASY_^>a_; _^<a_!T5875_SWORD AND SORCERY_^>a_; _^<a_!T6020_TIME PARADOXES_^>a_.
(1862-1935) UK writer whose sf novel, _^<i_The Red King Dreams, 1946-1948_^>i_ (_^<b_1931_^>b_), rather demurely satirizes the university life of the _^<a_!T6337_NEAR FUTURE_^>a_. [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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-END-
-A-
CRUMP, (JAMES) IRVING
-T-
(1887-1979) US writer known almost exclusively for his sequence of prehistoric-sf novels for older children, set in Europe and featuring the resourceful _^<b_Og_^>b_, who introduces fire to his tribe, fights off giant reptiles and comports himself
with commendable dignity throughout: _^<i_Og -- Son of Fire_^>i_ (_^<b_1922_^>b_), _^<i_Og -- Boy of Battle_^>i_ (_^<b_1925_^>b_), _^<i_Og of the Cave People_^>i_ (_^<b_1935_^>b_) and _^<i_Og, Son of Og_^>i_ (_^<b_1965_^>b_). The series was
extended into graphic form, in _^<i_Og, Son of Fire _^>i_(graph _^<b_1937_^>b_), a Big Little Book; and as in _^<a_!T820_COMICS_^>a_ form from 1936 in _^<i_The Funnies (1936-1942)._^>i_ _^<i_Mog the Mound Builder_^>i_ (_^<b_1931_^>b_) is set in the
Americas. [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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-C- 985 SF00981.t
624
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-END-
-A-
CRYOGENICS
-T-
From a Greek root meaning "cold-producing", this word is used in physics to mean the production of extremely low temperatures and the study of phenomena at those temperatures. The shorter word _^<a_!T987_CRYONICS_^>a_ is more commonly used in sf
_^<a_!T5942_TERMINOLOGY_^>a_, especially when, as is usual, it is people or other organic materials that are frozen. [PN]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz ztermz
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322
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-A-
CRYONICS
-T-
A term coined in the 1960s by Karl Werner, referring to techniques for preserving the human body by supercooling. R.C.W. Ettinger's _^<i_The Prospect of Immortality_^>i_ (_^<b_1964_^>b_) popularized the idea that the corpses of terminally ill people
might be "frozen down" in order to preserve them until such a time as medical science would discover cures for all ills and a method of resurrecting the dead. Many sf stories have extrapolated the notion._^<n__^<n_The preservative effects of low
temperatures have been known for a long time. The notion of reviving human beings accidentally entombed in ice was first developed as a fictional device by W. Clark _^<a_!T2746_RUSSELL_^>a_ in _^<i_The Frozen Pirate_^>i_ (_^<b_1887_^>b_). In Louis
_^<a_!T4941_BOUSSENARD_^>a_'s _^<i_Dix mille ans dans un bloc de glace_^>i_ (_^<b_1889_^>b_; trans as _^<i_10,000 Years in a Block of Ice_^>i_ _^<b_1898_^>b_) a contemporary man visits the future as a result of a similar accident. Edgar Rice
_^<a_!T5097_BURROUGHS_^>a_'s "The Resurrection of Jimber Jaw" (1937) is a satirical account of the revival of a prehistoric man and his experiences in the civilized world; Richard Ben _^<a_!T2801_SAPIR_^>a_'s _^<i_The Far Arena_^>i_
(_^<b_1978_^>b_) is a modern variant involving a Roman gladiator. Freezing is still sf's most popular means of achieving _^<a_!T5851_SUSPENDED ANIMATION_^>a_ (_^<i_see also_^>i_ _^<a_!T2248_SLEEPER AWAKES_^>a_), but recent debate about cryonics
relates also to the themes of _^<a_!T2548_REINCARNATION_^>a_ and _^<a_!T3771_IMMORTALITY_^>a_. The Cryonics Society of California began freezing newly dead people in 1967, and the movement seems to have survived the setback it suffered when a power
failure caused a number of frozen bodies to thaw out in 1981, sparking off a chain of lawsuits. The rumour that Walt Disney's body is in a deep-freeze somewhere remains unconfirmed. Interest in the theme is by no means confined to the USA, and two
of the major fictional examinations of the prospect are European: Nikolai _^<a_!T155_AMOSOV_^>a_'s _^<i_Zapiski iz budushchego_^>i_ (_^<b_1967_^>b_; trans as _^<i_Notes from the Future_^>i_ _^<b_1970_^>b_) and Anders _^<a_!T678_BODELSEN_^>a_'s
_^<i_Frysepunktet_^>i_ (_^<b_1969_^>b_; trans as _^<i_Freezing Point_^>i_ _^<b_1971_^>b_; vt _^<i_Freezing Down_^>i_ US). Cryonic preservation is still used in stories of _^<a_!T6026_TIME TRAVEL_^>a_ into the future, including Frederik
_^<a_!T1937_POHL_^>a_'s _^<i_The Age of the Pussyfoot_^>i_ (_^<b_1969_^>b_), Mack _^<a_!T2576_REYNOLDS_^>a_'s _^<a_!T5303_UTOPIAN_^>a_ _^<i_Looking Backward, from the Year 2000_^>i_ (_^<b_1973_^>b_) and the Woody Allen film _^<a_!T2247_SLEEPER_^>a_
(1973). It is also a common device in stories of slower-than-light _^<a_!T2351_SPACE TRAVEL_^>a_: in E.C. _^<a_!T6112_TUBB_^>a_'s _^<b_Dumarest_^>b_ series interstellar travel may by "high" or "low", depending upon whether time is absorbed by the
use of drugs or more hazardous cryonic procedures, while James _^<a_!T5577_WHITE_^>a_'s _^<i_The Dream Millennium_^>i_ (_^<b_1974_^>b_) explores hypothetical psychological effects of long-term freezing._^<n__^<n_The possible social problems
associated with large-scale cryonic projects are explored in various sf stories. Clifford D. _^<a_!T2218_SIMAK_^>a_'s _^<i_Why Call Them Back from Heaven?_^>i_ (_^<b_1967_^>b_) imagines a time when a person can be tried for delaying the freezing of
a corpse, permitting "ultimate death", and the financial estates of the frozen have become a political power-bloc, inviting criminal manipulation. A cynical account of the politics of dealing with the dead is offered in Larry
_^<a_!T3223_NIVEN_^>a_'s "The Defenseless Dead" (1973), which points out that the living have all the votes and that the dead might be an exploitable resource; it was Niven who first used in print Pohl's term _^<a_!T887_CORPSICLES_^>a_ to denote
the deep-frozen dead. Ernest _^<a_!T6013_TIDYMAN_^>a_'s satirical thriller _^<i_Absolute Zero_^>i_ (_^<b_1971_^>b_), about a financier who builds up a vast cryonics industry, is similarly cynical. As might be expected, most stories depicting people
who try to "cheat" death by having themselves frozen down find suitably ironic ways to thwart them. In "Ozymandias" (1972) by Terry _^<a_!T5182_CARR_^>a_ people who take to the cryonic vaults in order to avoid a war fall victim, like the mummified
pharaohs of ancient Egypt before them, to professional "tomb-robbers". In Gregory _^<a_!T526_BENFORD_^>a_'s now-anachronistic "Doing Lennon" (1975) an unfrozen John Lennon turns out not to be what he appears or aspires to be; much more ambitiously,
Benford's _^<i_Chiller_^>i_ (_^<b_1993_^>b_) as by Sterling Blake comprehensively (and very sympathetically) describes a near-future development of the cryonics movement under threat from a psychotic anti-freezer campaign conducted by a serial
killer. And in ". . . And He not Busy Being Born" (1987) by Brian M. _^<a_!T2385_STABLEFORD_^>a_ a bold entrepreneur who succeeds against the odds in delivering himself into a world of immortals find that he still cannot evade his destiny.
[BS]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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-C- 987 SF00983.t
4231
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4012
-END-
-A-
CSERNA, JOZSEF
-T-
[r] > _^<a_!T6355_HUNGARY_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 988 SF00984.t
16
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-END-
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CSERNAI, ZOLTAN
-T-
[r] > _^<a_!T6355_HUNGARY_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
-S-
zallz zauthorz
-C- 989 SF00985.t
16
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-END-
-A-
CUBA
-T-
> _^<a_!T4204_LATIN AMERICA_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zallz
-C- 990 SF00986.t
16
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-END-
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CUISCARD, HENRI
-T-
[s] > Charles _^<a_!T1155_DE LINT_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 991 SF00987.t
24
CATRS
-END-
-A-
CULBREATH, MYRNA
-T-
(1938- ) US writer known almost exclusively for her collaborations with Sondra _^<a_!T3679_MARSHAK_^>a_ as a producer of ties for _^<a_!T2429_STAR TREK_^>a_, including _^<i_Star Trek: The New Voyages_^>i_ * (coll _^<b_1976_^>b_) and its direct
sequel _^<i_Star Trek: The New Voyages 2_^>i_ * (anth _^<b_1978_^>b_), _^<i_The Price of the Phoenix_^>i_ * (_^<b_1977_^>b_) and its direct sequel _^<i_The Fate of the Phoenix_^>i_ * (_^<b_1979_^>b_), _^<i_The Prometheus Design_^>i_ *
(_^<b_1982_^>b_) and _^<i_Triangle_^>i_ * (_^<b_1983_^>b_), as well as _^<i_Shatner: Where No Man . . . : The Authorized Biography of William Shatner_^>i_ (_^<b_1979_^>b_) with William _^<a_!T2150_SHATNER_^>a_. [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 992 SF00988.t
524
CATRS
-END-
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CULLINGWORTH, N(ICHOLAS) J(OHN)
-T-
> _^<a_!T6332_ROBERT HALE LIMITED_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 993 SF00989.t
24
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CULTURAL ENGINEERING
-T-
A phrase not especially common in sf _^<a_!T5942_TERMINOLOGY_^>a_, although what it refers to is fundamental to the genre. The idea of humans deliberately altering the nature of alien cultures (or of aliens doing it to us), or indeed of doing the
same to isolated cultures on Earth, is often evoked in sf, sometimes approvingly, more often disapprovingly. This is especially so in stories in which _^<a_!T197_ANTHROPOLOGY_^>a_, _^<a_!T811_COLONIZATION OF OTHER WORLDS_^>a_ and
_^<a_!T2300_SOCIOLOGY_^>a_ are dominant themes. A common form of cultural engineering in sf is the _^<a_!T6026_TIME-TRAVEL_^>a_ or _^<a_!T1794_PARALLEL-WORLDS_^>a_ story (often both at once) in which some sort of time-police force attempts to
engineer past, future or _^<a_!T131_ALTERNATE WORLDS_^>a_ into the most stable and productive conformations. Sf itself can be seen as a form of sublimated cultural engineering in its persistent modelling of societies that differ from our own.
[PN]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz ztermz
-C- 994 SF00990.t
816
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-END-
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CULVER, TIMOTHY J.
-T-
> Donald E. _^<a_!T5552_WESTLAKE_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 995 SF00991.t
22
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CUMMINGS, M(ONETTE) A.
-T-
(1914- ) US writer of short stories in various genres who began publishing sf with "The Bridges of Ool" in _^<i_Planet Stories_^>i_ in 1955. Her collection is _^<i_Exile and Other Tales of Fantasy_^>i_ (coll _^<b_1968_^>b_). [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 996 SF00992.t
206
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CUMMINGS, RAY
-T-
Working name of US writer Raymond King Cummings (1887-1957), author of over 750 stories under various names in various genres; he was one of the few writers active during the heyday of US _^<a_!T2033_PULP-MAGAZINE_^>a_ sf (1930-50) to have begun his
career before Hugo _^<a_!T4668_GERNSBACK_^>a_ launched _^<i_AMZ_^>i_ in 1926. His first sf of any note is also his best-known story, "The Girl in the Golden Atom" (1919), which appeared, as did much of his early work, in _^<i_All-Story Weekly_^>i_
(> _^<i_The_^<a_!T122_ALL-STORY_^>a__^>i_ ); with its sequel, "People of the Golden Atom", serialized in the same magazine in 1920, this famous story -- about a young man who takes a size-diminishing drug and has extraordinary adventures on a
microscopic world-became _^<i_The Girl in the Golden Atom_^>i_ (fixup _^<b_1922_^>b_ UK; exp 1923 US) and proved the cornerstone both of RC's reputation and of much of his work from this time on, for he used the idea of the size-diminishing drug
and the microscopic world, with many variations, for the rest of his long career (> _^<a_!T4823_GREAT AND SMALL_^>a_). _^<i_The Girl in the Golden Atom_^>i_ also constitutes the "Matter" segment of RC's _^<b_Matter, Space and Time_^>b_ trilogy; the
"Space" segment contains _^<i_The Princess of the Atom_^>i_ (1929 _^<i_The Argosy_^>i_; _^<b_1950_^>b_) and "The Fire People" (1922 _^<i_The Argosy_^>i_); the "Time" segment takes in _^<i_The Man who Mastered Time_^>i_ (1924 _^<i_The Argosy_^>i_;
_^<b_1929_^>b_), _^<i_The Shadow Girl_^>i_ (1929 _^<i_The Argosy_^>i_; _^<b_1946_^>b_ UK) and _^<i_The Exile of Time_^>i_ (1931 _^<i_ASF_^>i_; _^<b_1964_^>b_)._^<n__^<n_After the successes of his early years, RC remained prolific, but his
mechanical style and the general rigidity of his stories gradually lost him popularity until, in the 1960s, some of his books were nostalgically revived. Typical of his journeyman prose and uneven quality are the _^<b_Tama_^>b_ novels: _^<i_Tama of
the Light Country_^>i_ (1930 _^<i_The Argosy_^>i_; _^<b_1965_^>b_) and _^<i_Tama, Princess of Mercury_^>i_ (1931 _^<i_The Argosy_^>i_; _^<b_1966_^>b_), the heroine of which does very well after being kidnapped from Earth to
_^<a_!T2902_MERCURY_^>a_. _^<i_Brigands of the Moon_^>i_ (_^<b_1931_^>b_), later published in Canada with a mistaken attribution to John W. _^<a_!T5140_CAMPBELL_^>a_ Jr, and its sequel _^<i_Wandl the Invader_^>i_ (1932 _^<i_ASF_^>i_; _^<b_1961_^>b_
dos) are examples of his _^<a_!T2342_SPACE-OPERA_^>a_ output, in which space pirates tend to proliferate and humans to defeat terrifying alien monsters._^<n__^<n_RC was fundamentally a pulp writer; unlike some of those only a little younger -- for
example, Murray _^<a_!T3326_LEINSTER_^>a_ and Edmond _^<a_!T4258_HAMILTON_^>a_ -- he was never capable of adapting himself to the changing times, either scientifically or stylistically. His later works could be interchanged with his earliest with
very little adjustment. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_The Sea Girl_^>i_ (_^<b_1930_^>b_); _^<i_Tarrano the Conqueror_^>i_ (1925 _^<i_Science and Invention_^>i_; _^<b_1930_^>b_); _^<i_Into the Fourth Dimension_^>i_ (1926 _^<i_Science and
Invention_^>i_; anth _^<b_1943_^>b_ UK), made up of the title novel plus stories by other hands, and not to be confused with _^<i_Into the 4th Dimension_^>i_ (_^<b_1981_^>b_ chap), which reprints only the 1926 tale; _^<i_The Man on the Meteor_^>i_
(1924 _^<i_Science and Invention_^>i_; _^<b_1944_^>b_ UK); _^<i_Beyond the Vanishing Point_^>i_ (1931 _^<i_ASF_^>i_; _^<b_1958_^>b_ chap dos); _^<i_Beyond the Stars_^>i_ (1928 _^<i_The Argosy_^>i_; _^<b_1963_^>b_); _^<i_A Brand New World_^>i_ (1928
_^<i_The Argosy_^>i_; _^<b_1964_^>b_); _^<i_Explorers into Infinity_^>i_ (1927-8 _^<i_Weird Tales_^>i_; fixup _^<b_1965_^>b_); _^<i_The Insect Invasion_^>i_ (1932 _^<i_The Argosy_^>i_; _^<b_1967_^>b_); "The Snow Girl" (1929 _^<i_The Argosy_^>i_; in
_^<i_Famous Fantastic Classics No 1_^>i_ [anth _^<b_1974_^>b_]); _^<i_Tales of the Scientific Crime Club_^>i_ (1925 _^<i_The Sketch_^>i_; coll _^<b_1979_^>b_)._^<b_See also:_^>b_ _^<a_!T277_ASTOUNDING SCIENCE-FICTION_^>a_; _^<a_!T632_BLACK
US writer who has not been traced with any security, but if precocious was almost certainly the HOC whose dates are (1884-1973). Of those stories collected in _^<i_Welsh Rarebit Tales_^>i_ (coll _^<b_1902_^>b_) at least 4, including "The Man who
Made a Man" and "The Space Annihilator", have considerable sf interest. In the latter story a _^<a_!T3721_MATTER TRANSMITTER_^>a_ is introduced. Other tales are generally _^<a_!T1412_FANTASY_^>a_, some showing the influence of Ambrose
_^<a_!T589_BIERCE_^>a_. [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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-C- 998 SF00994.t
418
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-END-
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CUNHA, FAUSTO
-T-
[r] > _^<a_!T4204_LATIN AMERICA_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
-S-
zallz zauthorz
-C- 999 SF00995.t
20
CATRS
-END-
-A-
CUNNINGHAM, E.V.
-T-
> Howard _^<a_!T1441_FAST_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
-S-
zallz zauthorz
-C- 1000 SF00996.t
15
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-END-
-A-
CURREY, L(LOYD) W(ESLEY)
-T-
(1942- ) US specialist bookseller (since 1968) and bibliographer. With David G. _^<a_!T4329_HARTWELL_^>a_ he published _^<i_SF-I: A Selective Bibliography_^>i_ (_^<b_1971_^>b_ chap), both writing as Kilgore _^<a_!T6104_TROUT_^>a_; with Hartwell
founded (1973) and operated Dragon Press, a _^<a_!T2261_SMALL PRESS_^>a_ publishing books about sf, fantasy and horror; the partnership was dissolved in 1979, leaving Hartwell sole owner. Also with Hartwell, he co-edited the _^<a_!T4856_GREGG
PRESS_^>a__^<b_Science Fiction Reprint_^>b_ series 1975-81; alone he edited the Gregg Press _^<b_Masters of Science Fiction and Fantasy_^>b_ author _^<a_!T585_BIBLIOGRAPHIES_^>a_ 1980-83. LWC's books are: _^<i_A Research Guide to Science Fiction
Studies: An Annotated Checklist of Primary and Secondary Sources for Fantasy and Science Fiction_^>i_(_^<b_1977_^>b_) with Marshall B. _^<a_!T6150_TYMN_^>a_ and Roger _^<a_!T2845_SCHLOBIN_^>a_; _^<i_Index to Stories in Thematic Anthologies of
Science Fiction_^>i_ (_^<b_1978_^>b_) with Tymn, Martin H. _^<a_!T4842_GREENBERG_^>a_ and Joseph D. _^<a_!T3303_OLANDER_^>a_; and _^<i_Science Fiction and Fantasy Authors: A Bibliography of their Fiction and Selected Nonfiction_^>i_
(_^<b_1979_^>b_). This last is his most important work, a standard text which brought new standards of accuracy and scholarship to sf bibliography. Listings for newly covered authors are often published in _^<a_!T3185_NEW YORK REVIEW OF SCIENCE
FICTION_^>a_. A second edition of the bibliography is in preparation_^<i_Science Fiction, Utopian, Fantasy & Horror Literature (1705-1938)_^>i_ (_^<b_1993_^>b_), offered as his antiquarian bookseller's catalogue #94, is an extensively annotated
checklist of almost 1000 texts from the library of Donald A._^<a_!T5679_WOLLHEIM_^>a_. [PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T2071_SF IN THE CLASSROOM_^>a_.
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(c) 1995 John Clute and Peter Nicholls
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-C- 1001 SF00997.t
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CURSE OF FRANKENSTEIN
-T-
> _^<a_!T1599_FRANKENSTEIN_^>a_._^<n__^<n_
-R-
(c) 1995 John Clute and Peter Nicholls
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zallz zfilmz
-C- 1002 SF00998.t
17
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-END-
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CURSE OF THE FLY
-T-
Film (1965). Lippert. Dir Don Sharp, starring Brian Donlevy, George Baker, Carole Gray. Screenplay Harry Spalding, based on characters created by George _^<a_!T4185_LANGELAAN_^>a_. 86 mins. Colour._^<n__^<n_This UK film is the sequel to the two US
films _^<i_The_^<a_!T1537_FLY_^>a__^>i_ (1958) and _^<a_!T2565_RETURN OF THE FLY_^>a_ (1959). The confused script is largely a rehash of them, but Sharp's direction, which concentrates on the mental disintegration of the mad
_^<a_!T2880_SCIENTIST_^>a_'s wife (Gray), is -- occasionally -- visually powerful. The results of failed _^<a_!T3721_MATTER TRANSMISSION_^>a_ experiments, kept in outhouses in the garden, provide a nice touch. The critical consensus that this is
the worst of the three films probably needs revision. [PN]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zfilmz
-C- 1003 SF00999.t
647
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-END-
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CURTIES, [Captain] HENRY
-T-
(1860-? ) UK writer whose first sf novel, _^<i_Tears of Angels_^>i_ (_^<b_1907_^>b_), features its protagonist's conveyance to Alpha Centauri on an angel, who is perhaps weeping; from the star he gains a perspective on Earth, then returns home to
find himself in an _^<a_!T131_ALTERNATE-WORLD_^>a_ version of the future. _^<i_Out of the Shadows_^>i_ (_^<b_1908_^>b_) is a detection with occult elements. _^<i_When England Slept_^>i_ (_^<b_1909_^>b_) is a future-_^<a_!T5452_WAR_^>a_ tale.
[JC]_^<n__^<n_
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CURTIS, JEAN-LOUIS
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Pseudonym of French writer Louis Lafitte (1917- ). His collection of five satirical sf stories, _^<i_Un saint au neon_^>i__^<n__^<n_(coll _^<b_1956_^>b_; trans Humphrey Hare as _^<i_The Neon Halo: The Face of the Future_^>i_ _^<b_1958_^>b_ UK), very
sharply depicts a _^<a_!T6337_NEAR-FUTURE_^>a_ world whose centre cannot hold. The tone is vivacious, didactic, circumstantial; its wit is distanced in the _^<i_recit_^>i_ fashion long favoured by French satirists. [JC]_^<n__^<n_
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CURTIS, RICHARD A(LAN)
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(1937- ) US editor, literary agent and writer, known mainly in the first capacity for his anthology _^<i_Future Tense_^>i_ (anth _^<b_1968_^>b_), which is not to be confused with Kendell Foster _^<a_!T978_CROSSEN_^>a_'s _^<i_Future Tense_^>i_
(anth _^<b_1952_^>b_). He has also published short work, beginning with "Introduction to 'The Saint'" for _^<i_Cavalier_^>i_ in 1968, as well as _^<i_Squirm_^>i_ (_^<b_1976_^>b_), an sf film novelization (> _^<a_!T670_BLUE SUNSHINE_^>a_). He wrote
1980-92 the _^<b_Agent's Corner_^>b_ column in _^<a_!T3419_LOCUS_^>a_, which has been adapted into book form as _^<i_Beyond the Bestseller_^>i_ (coll _^<b_1989_^>b_). [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_How to Prosper in the Coming
Apocalypse_^>i_ (_^<b_1981_^>b_); _^<i_How to be Your Own Literary Agent_^>i_ (coll _^<b_1983_^>b_; exp 1984); _^<i_A Fool for an Agent: Publishing Satires and Verses_^>i_ (coll _^<b_1992_^>b_ chap).
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CURTIS, WADE
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> Jerry _^<a_!T1961_POURNELLE_^>a_._^<n__^<n_
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CURTIS, WARDON ALLAN
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(1867-1940) US writer, a contributor to several pre-sf fiction magazines. His most important sf is a short story about a brain transplant, "The Monster of Lake LaMetrie" (1899 _^<i_The Windsor Magazine_^>i_), in which the brain is human and the
recipient body that of a prehistoric survival from a bottomless lake that may lead into a _^<a_!T4474_HOLLOW EARTH_^>a_. WAC also wrote an Arabian-Nights fantasy, "The Seal of Solomon the Great" (1901 _^<i_Argosy_^>i_) and _^<i_The Strange
Adventures of Mr Middleton_^>i_ (coll _^<b_1903_^>b_), which contains a mixture of Oriental fantasy and bizarre mystery. [JE]_^<n__^<n_
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CURTIS WARREN
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Founded in 1948, one of several UK publishing firms which flourished in the decade after WWII by releasing dozens of purpose-written paperback originals in various popular genres. Before it foundered in 1954, CW had published over 500 novels, 98 of
them sf, all of them composed strictly according to length restrictions: in 1948-50, CW books were of 24 or 32pp; in 1950-53, they were of 112 or 128pp; from 1953, 160pp volumes were the rule. CW gained some posthumous fame for having published
John _^<a_!T5049_BRUNNER_^>a_'s first novel, _^<i_Galactic Storm_^>i_ (_^<b_1951_^>b_) under the house name Gill _^<a_!T4557_HUNT_^>a_; but their most reliable and prolific author was Dennis _^<a_!T4544_HUGHES_^>a_: as with some of his stablemates,
little is known about this author beyond the titles he wrote, mostly under CW house names. Other authors associated with CW (_^<i_see their entries for personal pseudonyms_^>i_) included William Henry Fleming _^<a_!T616_BIRD_^>a_, Kenneth
_^<a_!T5073_BULMER_^>a_, John Russell _^<a_!T1455_FEARN_^>a_, John S. _^<a_!T4725_GLASBY_^>a_, David _^<a_!T4873_GRIFFITHS_^>a_, Brian _^<a_!T4473_HOLLOWAY_^>a_, John W. _^<a_!T3887_JENNISON_^>a_ and E.C. _^<a_!T6112_TUBB_^>a_. As well as Gill
Hunt, house names used for CW sf titles included Berl _^<a_!T5128_CAMERON_^>a_, Neil _^<a_!T5240_CHARLES_^>a_, Lee _^<a_!T6626_ELLIOT_^>a_, Brad _^<a_!T4030_KENT_^>a_, King _^<a_!T4179_LANG_^>a_, Rand _^<a_!T3336_LE PAGE_^>a_, Paul
_^<a_!T3451_LORRAINE_^>a_, Kris _^<a_!T3487_LUNA_^>a_, Van _^<a_!T2540_REED_^>a_ and Brian _^<a_!T2154_SHAW_^>a_._^<n__^<n_It cannot be assumed that _^<i_all_^>i_ books published by CW were written on hire as _^<a_!T2126_SHARECROPS_^>a_; but almost
certainly _^<i_almost_^>i_ all of them were. It remains a possibility that some of the 98 titles might have some intrinsic interest, the most likely candidates being those by Fearn, Glasby and Tubb. [JC]_^<n__^<n__^<b_About the publisher:_^>b_
_^<i_Curtis Warren and Grant Hughes_^>i_ (_^<b_1985_^>b_ chap) by Stephen _^<a_!T4470_HOLLAND_^>a_._^<n__^<n_
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CURTONI, VITTORIO
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[r] > _^<a_!T3826_ITALY_^>a_._^<n__^<n_
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CURVAL, PHILIPPE
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Pseudonym used by journalist Philippe Tronche (1929- ), French writer. PC has since the 1950s been associated with the growth of sf in France as bookseller, magazine editor, photographer, chronicler and author. He is a fine stylist whose work is
exemplified by a sensual, poetic mood and great affection for his characters. He has written over 20 stories, the first appearing in 1955. _^<i_Cette Chere Humanite_^>i_ (_^<b_1976_^>b_; trans Steve Cox as _^<i_Brave Old World_^>i_ _^<b_1981_^>b_
UK), which won the 1977 Prix Apollo (> _^<a_!T6321_AWARDS_^>a_), conflates the personal extension of lifespans with the artificial isolation of a future EEC. _^<i_Le ressac de l'espace_^>i_ ["The Breakers of Space"] (_^<b_1962_^>b_) won the Prix
Jules Verne in 1963 and _^<i_L'homme a rebours_^>i_ ["Backwards Man"] (_^<b_1974_^>b_) was selected as Best French SF Novel of 1974. [MJ/JC]_^<n__^<n__^<b_Other works:_^>b__^<i_Les fleurs de Venus_^>i_ ["Flowers of Venus"] (_^<b_1960_^>b_); _^<i_La
fortresse de coton_^>i_ ["The Cotton Fortress"] (_^<b_1967_^>b_); _^<i_Les sables de Falun_^>i_ ["The Sands of Falun"] (_^<b_1970_^>b_); _^<i_Attention les yeux_^>i_["Watch Out!"] (_^<b_1972_^>b_);_^<i_Un souvenir de Pierre Loti_^>i_"In Remembrance
of Pierre Loti"(_^<b_1975_^>b_); _^<i_Un soupcon de neant_^>i_ ["A Hint of Nothingness"] (_^<b_1977_^>b_)_^<i_La Face cachee du desir_^>i_ ["The Dark Side of Desire"] (_^<b_1978_^>b_); _^<i_Y a quelqu'un? _^>i_["Anybody Home?"] (_^<b_1979_^>b_);
_^<i_Le dormeur s'eveillera-t-il?_^>i_ ["Will the Sleeper Awake?"] (_^<b_1979_^>b_); _^<i_Rut aux etoiles_^>i_ ["The Astral Mating Season"] (_^<b_1979_^>b_); _^<i_Regarde, fiston, s'il y a un extra- terrestre derriere la bouteille de vin_^>i_
["Take a Look, Boy, If There's an Alien Behind the Wine Bottle"] (coll _^<b_1980_^>b_); _^<i_Le Livre d'or de la science fiction: Philippe Curval_^>i_ ["The Golden Book of Science Fiction: Philippe Curval"] (coll _^<b_1980_^>b_); _^<i_L'Odeur de la
bete_^>i_ ["The Scent of the Beast"] (_^<b_1981_^>b_); _^<i_Tous vers l'exstase_^>i_ ["All Together to Ecstasy"] (_^<b_1981_^>b_); _^<i_En souvenir du futur_^>i_ ["Remembrance of Time to Come"] (_^<b_1982_^>b_); _^<i_Ah! Que c'est beau New
York!_^>i_ ["Ah! New York is so Beautiful!"] (_^<b_1982_^>b_); _^<i_Debout les morts, le train fantome entre la gare_^>i_ ["On your Feet, Dead Men, the Phantom Train is Pulling in"] (coll _^<b_1984_^>b_); _^<i_Comment jouer a L'Homme invisible en
Trois Lecons_^>i_ ["How to Play The Invisible Man in Three Lessons"] (_^<b_1986_^>b_); _^<i_Akiloe_^>i_(_^<b_1988_^>b_); _^<i_Habite-t-on reellement quelque part?_^>i_ ["Do we Really Live Somewhere?"] (coll _^<b_1990_^>b_)._^<b_See
also:_^>b__^<a_!T1590_FRANCE_^>a_.
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CUSH, GEOFFREY
-T-
(1956- ) New Zealand-born writer and journalist, in the UK from the late 1970s. His first novel, _^<i_God Help the Queen_^>i_ (_^<b_1987_^>b_), was an sf _^<a_!T2812_SATIRE_^>a_ about the UK of AD2003, which is in such lamentable condition that
only Queen Britannia herself can save it from doublethink and Yankees. [JC]_^<n__^<n_
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CUSSLER, CLIVE (ERIC)
-T-
(1931- ) US writer, some titles in whose _^<b_Dirk Pitt_^>b_ sequence of _^<a_!T5917_TECHNOTHRILLERS_^>a_ are of sf interest. Supremely competent, irresistible to women, slightly sadistic, Pitt is Special Projects Director for the (fictional)
American National Underwater and Marine Agency, which engages in spectacular underwater salvage operations involving exotic technologies. Relevant titles include _^<i_Raise the Titanic!_^>i_ (_^<b_1976_^>b_), filmed in 1980 as _^<i_Raise the
Titanic!_^>i_ dir Jerry Jameson, _^<i_Vixen 03_^>i_ (_^<b_1978_^>b_), which deals with the hunt for a "Doomsday virus", _^<i_Night Probe!_^>i_ (_^<b_1981_^>b_), _^<i_Pacific Vortex!_^>i_ (_^<b_1983_^>b_), which features human divers with artificial
gills,_^<i_Deep Six_^>i_ (_^<b_1984_^>b_), _^<i_Cyclops_^>i_ (_^<b_1986_^>b_), in which a secret _^<a_!T3023_MOON_^>a_ colony figures, _^<i_Treasure_^>i_ (_^<b_1988_^>b_), a tale of _^<a_!T6337_NEAR-FUTURE_^>a_ political manoeuvrings,
_^<i_Dragon_^>i_(_^<b_1990_^>b_), _^<i_Sahara_^>i_(_^<b_1992_^>b_) and _^<i_Inca Gold_^>i_(_^<b_1994_^>b_).[NT]_^<n__^<n_
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CYBERNETICS
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In sf _^<a_!T5942_TERMINOLOGY_^>a_ this is a word so often misused that its real meaning is in danger of being devalued or forgotten._^<n__^<n_The term "cybernetics", derived from a Greek word meaning helmsman or controller, was coined by the
distinguished mathematician Norbert _^<a_!T5594_WIENER_^>a_ in 1947 to describe a new science on which he and others had been working since 1942. The word first passed into general usage with the publication of his _^<i_Cybernetics_^>i_
(_^<b_1948_^>b_; rev 1961), subtitled "Control and Communication in the Animal and the Machine". Cybernetics was cross-disciplinary from the beginning; it developed when Wiener and others noticed that certain parallel problems persistently arose in
scientific disciplines normally regarded as separate: statistical mechanics, information theory, electrical engineering and neurophysiology were four of the most important._^<n__^<n_Cybernetics has much in common with the parallel study of General
Systems Theory, founded by Ludwig von Bertalanffy in 1940. It is concerned with the way systems work, the way they govern themselves, the way they process information (often through a process known as "feedback") in order to govern themselves, and
the way they can best be designed. The system in question can be a machine or, equally, a human body. The trouble, Wiener found, was that the terminology with which engineers discussed machines led to a very mechanistic approach when applied to
human systems, and, conversely, biological terminology led to an over-anthropomorphic approach in discussion of machines (or economic or ecological systems, two other areas where cybernetics is useful). The trick was to construct a new science
which would not be biased towards either the mechanical or the biological. In his _^<i_An Introduction to Cybernetics_^>i_ (_^<b_1956_^>b_), W. Ross Ashby remarked that "cybernetics stands to the real machine -- electronic, mechanical, neural or
economic -- much as geometry stands to a real object in our terrestrial space"; that is, cybernetics is an abstracting, generalizing science. However, science being what it is, always tending towards specialization, the original idea of cybernetics
as a cross-disciplinary study is in danger of being forgotten, and now we have specialists in, for example, engineering cybernetics and biological cybernetics. The latter is usually called "bionics", although this word, coined in 1960, is actually
a contraction of "biological electronics"._^<n__^<n_If we use the broad, scientifically accepted definition of "cybernetics", it cannot be delimited as a separate theme in this encyclopedia. Most of the stories discussed under the entries
_^<a_!T177_ANDROIDS_^>a_, _^<a_!T323_AUTOMATION_^>a_, _^<a_!T822_COMMUNICATION_^>a_, _^<a_!T826_COMPUTERS_^>a_, _^<a_!T1017_CYBORGS_^>a_, _^<a_!T3787_INTELLIGENCE_^>a_ and _^<a_!T2646_ROBOTS_^>a_ will, by definition, be cybernetics stories also.
For example, Kurt _^<a_!T5402_VONNEGUT_^>a_ Jr's _^<i__^<a_!B9091_PLAYER PIANO_^>a__^>i_ (_^<b_1952_^>b_) has at its heart an image of humans incorporated in and subject to an impersonal, machine-like system (> _^<a_!T323_AUTOMATION_^>a_); they
effectively become components or "bits" in a cybernetic system._^<n__^<n_However, in sf the term "cybernetics" is most often used to mean something narrower -- generally the creation of artificial intelligence, or _^<a_!T68_AI_^>a_. This is indeed
a central problem in real-world cybernetics, but by no means the only one. Some cyberneticians hope that analysis of neural systems (i.e., the brain) might lead to the synthesis of simulated intelligences which begin as machines but go on to become
self-programming, or even, as in Greg _^<a_!T478_BEAR_^>a_'s _^<i_Queen of Angels_^>i_ (_^<b_1990_^>b_), self-aware. The first step towards AI in real life is the computer, which is why all computer stories are cybernetics stories
also._^<n__^<n_Cybernetics also enters sf in the form of the word "cyborg", a contraction of "cybernetic organism". This usage is taken from an area of cybernetics not necessarily related to AI: a person with a wooden leg is a kind of very simple
cyborg, because the melding of mechanical and human parts necessitates, whether consciously or not, the use of feedback devices (i.e., it is cybernetic). The study of cybernetics is, at bottom, the study of just such devices, whether they be
servo-mechanisms or the messages that travel between eye and hand when we pick up a book from a table._^<n__^<n_Surprisingly few sf stories attack the problem of AI directly; far more commonly, the problem is sidetracked by conjuring up a magic
word from the air. Isaac _^<a_!T268_ASIMOV_^>a_ said his robots were _^<a_!T1955_POSITRONIC_^>a_, and left it at that. One of the most comprehensive (if not always comprehensible) cybernetics works in sf is _^<i_Destination: Void_^>i_
(_^<b_1966_^>b_) by Frank _^<a_!T4389_HERBERT_^>a_, in which the problem is that of building not just a very complex computer but a machine that could be said to be conscious. Herbert actually spells out some of the steps through which this might
conceivably be possible, and also goes on to ask those philosophical questions about autonomy and free will which must inevitably hover in the background of any cybernetics story of this kind. Much of the book's terminology is borrowed from
Wiener's nonfiction _^<i_God & Golem, Inc. _^>i_(_^<b_1964_^>b_). Interestingly, the question "In what respect can a machine be said to have free will?" engenders a parallel question about humans themselves, at least for readers and writers who
take the materialist view that the human mind is itself no more than a complex cybernetics system; this "anti-vitalist" view of humanity is common among cybernetics writers. The whole thrust of cybernetics as a study is to point up the resemblances
between sciences superficially dissimilar, and the attempt by neurocyberneticians to analyse the mind as a system has led to impassioned attack from people who believe that humanness mystically transcends its own physical constituents._^<n__^<n_In
real life, attempts to simulate _^<a_!T3787_INTELLIGENCE_^>a_ in machines have mainly taken the route of the heuristic programming of computers. This is a way of showing a computer how to solve a problem not by painstakingly going through every
possible combination that might lead to a solution -- this would take a computer billions of years in an ordinary chess game -- but by programming short-cuts into the machine, so that it can gauge the most likely or fruitful directions for
analysis. Humans do it automatically; machines have to be taught, but this teaching is the first step towards training a machine how to make choices, a vital step towards consciousness._^<n__^<n_The first important sf work to use the terminology of
cybernetics was Bernard _^<a_!T5674_WOLFE_^>a_'s _^<i__^<a_!B9089_LIMBO_^>a__^>i_ (_^<b_1952_^>b_; vt _^<i_Limbo '90_^>i_ UK); he used its basic ideas (sometimes with hostility) in the wide sense, as they relate to computers, war-games, industrial
management and the workings of the brain. Cybernetics terminology is used very loosely by Raymond F. _^<a_!T3934_JONES_^>a_ in _^<i_The Cybernetic Brains_^>i_ (1950 _^<i_Startling Stories_^>i_; _^<b_1962_^>b_), which tells of human brains
integrated with computers. Although Jones probably used the term more because it was fine-sounding than for any other reason, this is nonetheless a legitimate cybernetics subject, and is also deployed notably in _^<i_Wolfbane_^>i_ (_^<b_1959_^>b_)
by Frederik _^<a_!T1937_POHL_^>a_ and C.M. _^<a_!T6353_KORNBLUTH_^>a_, _^<i_Catchworld_^>i_ (_^<b_1975_^>b_) by Chris _^<a_!T4951_BOYCE_^>a_ and many other stories._^<n__^<n_A number of stories about the development of consciousness in computers
carry cybernetic implications, though few as far-ranging as those in _^<i_Destination: Void_^>i_. Some early examples can be found in _^<i_Science Fiction Thinking Machines_^>i_ (anth _^<b_1954_^>b_) ed Groff _^<a_!T834_CONKLIN_^>a_; also relevant
are _^<i_The God Machine_^>i_ (_^<b_1968_^>b_) by Martin _^<a_!T5119_CAIDIN_^>a_, _^<i_Vulcan's Hammer_^>i_ (_^<b_1960_^>b_) by Philip K. _^<a_!T1222_DICK_^>a_, _^<i_Sagan om den stora datamaskin_^>i_ (_^<b_1966_^>b_ Sweden; trans as _^<i_The Tale
of the Big Computer_^>i_ 1966; vt _^<i_The Great Computer, A Vision_^>i_ 1968 UK; vt _^<i_The End of Man?_^>i_) by Olof _^<a_!T3908_JOHANNESSON_^>a_, _^<i__^<a_!B9167_THE MOON IS A HARSH MISTRESS_^>a__^>i_ (_^<b_1966_^>b_) by Robert A.
_^<a_!T4376_HEINLEIN_^>a_, _^<i_When Harlie Was One_^>i_ (_^<b_1972_^>b_) by David _^<a_!T4671_GERROLD_^>a_ and "Synth" (1966) by Keith _^<a_!T2619_ROBERTS_^>a_. The reverse progression, of human into machine, occurs in the vignettes of
_^<i_Moderan_^>i_ (coll of linked stories _^<b_1971_^>b_) by David R. _^<a_!T5078_BUNCH_^>a_._^<n__^<n_Already-developed machine consciousnesses appear in Roger _^<a_!T6264_ZELAZNY_^>a_'s story "For a Breath I Tarry" (1966), _^<i_Cyberiada_^>i_
(coll of linked stories _^<b_1967_^>b_ Poland; trans as _^<i_The Cyberiad: Fables for the Cybernetic Age_^>i_ _^<b_1974_^>b_ US) by Stanislaw _^<a_!T3329_LEM_^>a_, all the _^<b_Berserker_^>b_ stories by Fred _^<a_!T2761_SABERHAGEN_^>a_, _^<i_The
Siren Stars_^>i_ (_^<b_1971_^>b_) by Richard and Nancy _^<a_!T5186_CARRIGAN_^>a_ and _^<i_The Cybernetic Samurai_^>i_ (_^<b_1985_^>b_) by Victor _^<a_!T2944_MILAN_^>a_. Of these -- and they are only a tiny proportion of the total -- Lem's fables
are the ones that most directly confront the various philosophical paradoxes that machine intelligence involves. A particularly vast, Galaxy-spanning machine consciousness, literally a _^<i_deus ex machina_^>i_, features in Dan
_^<a_!T2219_SIMMONS_^>a_'s _^<i__^<a_!B9211_HYPERION_^>a__^>i_ (_^<b_1989_^>b_) and its sequel._^<n__^<n__^<i_The Steel Crocodile_^>i_ (_^<b_1970_^>b_; vt _^<i_The Electric Crocodile_^>i_ UK) by D.G. _^<a_!T823_COMPTON_^>a_ is interesting from a
cybernetics viewpoint; it is about computer systems, but also analyses the nature of human social systems and examines how the two kinds intermesh. _^<i_Gray Matters_^>i_ (_^<b_1971_^>b_) by William _^<a_!T4448_HJORTSBERG_^>a_ examines disembodied
human brain systems linked up in a network. _^<i_Spacetime Donuts_^>i_ (_^<b_1981_^>b_) by Rudy _^<a_!T2727_RUCKER_^>a_ is one of many variants on the theme of a human society controlled repressively by a benevolent computer. _^<i_The Black
Cloud_^>i_ (_^<b_1957_^>b_) by Fred _^<a_!T4532_HOYLE_^>a_ dramatizes communication between a human mind and an inorganic intelligence in space; it also raises a number of cybernetic issues. _^<i_The Jonah Kit_^>i_ (_^<b_1975_^>b_) by Ian
_^<a_!T5484_WATSON_^>a_ asks cybernetic questions in that part of the story dealing with the imprinting of a human consciousness onto the mind of a whale._^<n__^<n_Various compound words have been formed, with dubious etymological exactness, from
"cybernetics" -- we have already met"cyborg" . There are the "Cybermen" and "Cybernauts" -- two varieties of dangerous _^<a_!T2646_ROBOTS_^>a_ -- in the tv series _^<a_!T1269_DR WHO_^>a_ and _^<i_The_^<a_!T325_AVENGERS_^>a__^>i_ , respectively;
here the "cyber" component is merely a buzzword synonym for robot. Two terms where the "cyber" component has considerably more force, _^<a_!T1015_CYBERPUNK_^>a_ and _^<a_!T1016_CYBERSPACE_^>a_, warrant their own entries._^<n__^<n_The only book that
analyses cybernetics issues from an sf perspective is _^<i_The Cybernetic Imagination in Science Fiction_^>i_ (_^<b_1980_^>b_) by Patricia S. _^<a_!T5471_WARRICK_^>a_, interesting when talking about cybernetic ideas as they are used in sf -- often
inaccurately in her view -- but on less sure ground when discussing the literary quality of the results. "Cyborgs and Cybernetic Intertexts: On Postmodern Phantasms of Body and Mind" by Gabriele Schwab in _^<i_Intertextuality and Contemporary
American Fiction_^>i_ (anth _^<b_1989_^>b_), ed Patrick O'Donnell, is an academic essay on the subject. [PN]_^<n__^<n_
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Term used to describe a school of sf writing that developed and became popular during the 1980s. The word was almost certainly coined by Bruce _^<a_!T570_BETHKE_^>a_ in his story "Cyberpunk" (1983 _^<i_AMZ_^>i_), which had for some time before
publication been circulating in manuscript. The term was picked up, either directly or indirectly, by writer and editor Gardner _^<a_!T1313_DOZOIS_^>a_ and used by him to characterize a literary movement whose main exponents, at first -- in stories
from about 1981-2 onwards -- were seen as being Bruce _^<a_!T5717_STERLING_^>a_ and William _^<a_!T4689_GIBSON_^>a_, along with Rudy _^<a_!T2727_RUCKER_^>a_, Lewis _^<a_!T2189_SHINER_^>a_ and perhaps John _^<a_!T2191_SHIRLEY_^>a_. It was not long
after the publication of Gibson's first novel, _^<i__^<a_!B8984_NEUROMANCER_^>a__^>i_ (_^<b_1984_^>b_), that the term began to come into general use, and _^<i__^<a_!B8984_NEUROMANCER_^>a__^>i_ was the book that definitively shaped our sense of the
subgenre to which "cyberpunk" refers._^<n__^<n_The "cyber" part of the word relates to _^<a_!T1014_CYBERNETICS_^>a_: to a future where industrial and political blocs may be global (or centred in _^<a_!T2338_SPACE HABITATS_^>a_) rather than
national, and controlled through information networks; a future in which machine augmentations of the human body are commonplace, as are mind and body changes brought about by _^<a_!T1325_DRUGS_^>a_ and biological engineering. Central to cyberpunk
fictions is the concept of _^<a_!T5380_VIRTUAL REALITY_^>a_, as in Gibson's _^<b_Neuromancer_^>b_ sequence, where the world's data networks form a kind of machine environment into which a human can enter by jacking into a cyberspace deck and
projecting "his disembodied consciousness into the consensual hallucination that was the matrix" (> _^<a_!T1016_CYBERSPACE_^>a_). The "punk" part of the word comes from the rock'n'roll terminology of the 1970s, "punk" meaning in this context young,
streetwise, aggressive, alienated and offensive to the Establishment. A punk disillusion, often multiple -- with progressive layers of illusion being peeled away -- is a major component of these works._^<n__^<n_Data networks are more than just a
part of cyberpunk's subject matter. Density of information, often slipped into stories by near-subliminal means, has from the outset strongly characterized cyberpunk's actual _^<i_style_^>i_. An important cyberpunk forebear was the film
_^<a_!T640_BLADE RUNNER_^>a_ (1982), whose _^<a_!T6337_NEAR-FUTURE_^>a_ milieu -- mean, drizzling, populous streets lit up by enormous advertisements for Japanese products, alternating street junk with hi-tech -- is, in the intensity of its visual
infodumps, like a template for a cyberpunk scenario. Even more central to the cyberpunk ethos, however, are the films of David _^<a_!T970_CRONENBERG_^>a_, whose _^<a_!T5368_VIDEODROME_^>a_ (1982) in particular is a central cyberpunk document in its
emphasis on bodily metamorphosis, media overload and destructive sex._^<n__^<n_Cyberpunk did not spring full-grown from Gibson's forehead, of course. Indeed, unfriendly critics have rejoiced in locating cyberpunk ancestors, as if this somehow
devalued the entire movement; obviously cyberpunk can be read as the apotheosis of various idea-clusters that appeared earlier, but this seems neither surprising nor damaging. Ancestral texts include Bernard _^<a_!T5674_WOLFE_^>a_'s
_^<i__^<a_!B9089_LIMBO_^>a__^>i_ (_^<b_1952_^>b_; vt _^<i_Limbo 90_^>i_ UK), with its prosthetic ironies, Alfred _^<a_!T568_BESTER_^>a_'s _^<i_Tiger! Tiger!_^>i_ (_^<b_1956_^>b_ UK; rev vt _^<i_The Stars My Destination_^>i_ 1957 US), with its
protopunk antihero, William S. _^<a_!T5099_BURROUGHS_^>a_'s _^<i_The Soft Machine_^>i_ (_^<b_1961_^>b_ France; rev 1966 US) and its various quasi-sequels, with their drug and biological fantasias, Samuel R. _^<a_!T1152_DELANY_^>a_'s
_^<i__^<a_!B9048_NOVA_^>a__^>i_ (_^<b_1968_^>b_), with its streetwise _^<a_!T1017_CYBORGS_^>a_, James _^<a_!T6035_TIPTREE_^>a_ Jr's "The Girl who was Plugged In" (1973), with its painful ironies about altered body-image, and Ted
_^<a_!T3027_MOONEY_^>a_'s _^<i_Easy Travel to Other Planets_^>i_ (_^<b_1981_^>b_), with its interspecies sex and its information sickness. Other forebears would include J.G. _^<a_!T378_BALLARD_^>a_, John _^<a_!T5049_BRUNNER_^>a_ -- notably with
_^<i__^<a_!B9129_THE SHOCKWAVE RIDER_^>a__^>i_ (_^<b_1975_^>b_) -- Norman _^<a_!T2370_SPINRAD_^>a_, John _^<a_!T5339_VARLEY_^>a_ and perhaps even Thomas _^<a_!T2040_PYNCHON_^>a_._^<n__^<n_Cyberpunk is often seen as a variety of Postmodernist
fiction, a point made by the title of _^<i_Storming the Reality Studio: A Casebook of Cyberpunk and Postmodern Science Fiction_^>i_ (anth _^<b_1992_^>b_) ed Larry McCaffery. Many of _^<a_!T1958_POSTMODERNISM_^>a_'s allegedly principal qualities fit
cyberpunk like a glove._^<n__^<n_The sense that cyberpunk was almost a political movement, not just a form of fiction, came in part from outside the fictions themselves. There had been nothing like it in the sf world since the
_^<a_!T3181_NEW-WAVE_^>a_ arguments of the 1960s. In convention panels, in magazines (especially from 1987 in a critical semiprozine, _^<a_!T2063_SCIENCE FICTION EYE_^>a_ ed Stephen P. Brown) -- in all sorts of media -- passionate and sometimes
heated arguments took place from about 1985 affirming the cyberpunks as shapers and movers in the sluggish, complacent world of sf publishing. Bruce Sterling's fervour in polemic of this sort was messianic, and it was he who edited the first
influential anthology of the movement: _^<i__^<a_!B9219_MIRRORSHADES: THE CYBERPUNK ANTHOLOGY_^>a__^>i_ (anth _^<b_1986_^>b_), whose preface resembles a manifesto. The arguments of Sterling and various of his colleagues have been not merely
vigorous but also intelligent about the changing shape of our world (particularly as regards information technology and biological engineering), and many readers must have been attracted by the sense that here was a bunch of writers doing what sf
authors are supposed to do best, surf-riding on the big breakers of change and the future. On the other hand, some of the cyberpunk propaganda was so aggressive that it irresistibly reminded older observers of the mid-century politics of the
extreme international-socialist left: enjoyable, but tiring to watch._^<n__^<n_Some other sf writers, not part of the movement, were a bit taken aback by all the fuss -- as well they might have been given the comparatively small amount of published
fiction that was receiving such vast hype (the media picked up on cyberpunk in a big way around 1988). On the whole, cyberpunk received a friendly reception, although several of these outside writers seemed to see it as a matter more of tone than
of content. Orson Scott _^<a_!T6359_CARD_^>a_ wrote a cyberpunk pastiche, "Dogwalker" (1989), that was apparently intended to make a point about this. In his comment on this story when it appeared in his _^<i_Maps in a Mirror_^>i_ (coll
_^<b_1990_^>b_), Card wrote: "But the worst thing about cyberpunk was the shallowness of those who imitated it. Splash some drugs onto brain-and-microchip interface, mix it up with some vague sixties-style counterculture, and then use really
self-conscious, affected language, and you've got cyberpunk." This was unfair to much of it, though certainly cyberpunk produced instant _^<a_!T752_CLICHEES_^>a_, as in books like _^<i_Hardwired_^>i_ (_^<b_1986_^>b_) by Walter Jon
_^<a_!T5628_WILLIAMS_^>a_ (although he rendered them rather well, and is by no means the most cynical-seeming of those who climbed or were hauled onto the bandwagon)._^<n__^<n_In a magazine piece, "The Neuromantics" (1986; reprinted in _^<i_Science
Fiction in the Real World_^>i_ coll _^<b_1990_^>b_), Norman Spinrad argued cogently that the "romance" component of Gibson's triple-punning title _^<i__^<a_!B8984_NEUROMANCER_^>a__^>i_ ("neuro" as in nervous system; "necromancer"; "new romancer")
is basic to the cyberpunk form. Spinrad proposed ingeniously that the cyberpunk authors should in fact be called "neuromantics" (nobody seems to have taken him up on this), for their fiction is "a fusion of the romantic impulse with science and
technology". (Spinrad sees romanticism and science as having been damagingly split during the New Wave vs _^<a_!T4288_HARD SF_^>a_ debates of the 1960s; only with cyberpunk, he argues, did they fuse together again.) He also argues, correctly, that
Greg _^<a_!T478_BEAR_^>a_ is -- despite his denials -- a cyberpunk writer, and an important one. Certainly the romance element is strong in Bear's work, as is the cyberpunk theme of literally remaking humanity. Gibson is not just mildly romantic:
he is deeply so, as affirmed by the continuing homage his earlier work paid to the detective fiction of Raymond Chandler (1888-1959). On the other hand, Sterling's work -- notably his _^<b_Shaper/Mechanist_^>b_ stories -- is not very romantic at
all. Sterling's cool fictions are perhaps the strangest and most estranging of the cyberpunk stories in that their embracing of the future leaves remarkably few lifelines whereby readers might connect themselves back to the present; his prose, too,
is more machine-like than Gibson's (which is notably stylish). All this, while making Sterling's work rather formidable for the reader, goes to show that Spinrad's definition, like most definitions of literary movements, has major exceptions to its
rule (> _^<a_!T1142_DEFINITIONS OF SF_^>a_)._^<n__^<n_Cyberpunk has been accused of being a phallocratic movement, and certainly only one woman writer, Pat _^<a_!T5117_CADIGAN_^>a_, is regularly associated with it in the public mind. But surely
cyberpunk influence can be seen in the work of, for example, Candas Jane _^<a_!T1297_DORSEY_^>a_, especially in her fine "(Learning About) Machine Sex" (1988), Elizabeth _^<a_!T4269_HAND_^>a_, in _^<i__^<a_!B9276_WINTERLONG_^>a__^>i_
(_^<b_1990_^>b_), and even perhaps Kathy _^<a_!T21_ACKER_^>a_, although arguably she influenced cyberpunk more than it influenced her. Other candidates might be Storm _^<a_!T851_CONSTANTINE_^>a_ and _^<a_!T2976_MISHA_^>a_._^<n__^<n_Many further
writers have been associated with cyberpunk, centrally so in the instances of Tom _^<a_!T3585_MADDOX_^>a_ and Richard _^<a_!T3961_KADREY_^>a_, perhaps more marginally so with George Alec _^<a_!T6592_EFFINGER_^>a_, K.W. _^<a_!T3901_JETER_^>a_,
Michael _^<a_!T5864_SWANWICK_^>a_ and Jack _^<a_!T5681_WOMACK_^>a_; this is far from a fully comprehensive list. These authors, however, along with the others cited above, are by and large sufficiently distinguished to make it clear why cyberpunk
made such a splash. To contemplate them all is certainly to evoke a sense of where some of the most exciting US sf action was during the 1980s._^<n__^<n_Towards the end of that decade, however, it became clear that the term "cyberpunk" no longer
pleased all those whose work it had come to envelop. Perhaps it had begun to represent too many cliches, too many literary constraints, too big a readership wanting more and more of the same. If cyberpunk is dead in the 1990s -- as several critics
have claimed -- it is as a result of euthanasia from within the family. Certainly the effects of cyberpunk, both within sf and in the world at large, have been invigorating; and, since most of its authors still continue to write -- if not
necessarily under that label -- we can safely assume that the spirit of cyberpunk lives on. [PN]_^<n__^<n_
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CYBERSPACE
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An item of sf _^<a_!T5942_TERMINOLOGY_^>a_ introduced by William _^<a_!T4689_GIBSON_^>a_ in his novel _^<i__^<a_!B8984_NEUROMANCER_^>a__^>i_ (_^<b_1984_^>b_). He takes quite an old sf idea, also much discussed by scientists, in imagining a
_^<a_!T6337_NEAR-FUTURE_^>a_ era in which the human brain and nervous system (biological) can interface directly with the global information network (electrical) by jacking neurally implanted electrodes directly into a networked
_^<a_!T826_COMPUTER_^>a_ (or "cyberdeck"). The network then entered by the human mind is perceived by it, Gibson tells us, as if it were an actual territory, almost a landscape, the "consensual hallucination that was the matrix". This is
cyberspace. Gibson goes on to imagine that cyberspace might contain not only human minds but also human or godlike simulacra, artefacts of the system created, perhaps accidentally, by _^<a_!T68_AI_^>a_s. The term "cyberspace" has since been used by
other writers. It refers in fact to an imaginary but not wholly impossible special case of _^<a_!T5380_VIRTUAL REALITY_^>a_, which is in our contemporary world a more commonly used term for machine-generated scenarios perceived, in varying degrees,
as "real" by those who watch or "enter" them. [PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T4740_GODS AND DEMONS_^>a_.
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CYBORGS
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The term "cyborg" is a contraction of "cybernetic organism" and refers to the product of human/machine hybridization. David Rorvik popularized the idea in _^<i_As Man Becomes Machine_^>i_ (_^<b_1971_^>b_), writing of the "melding" of human and
machine and of a "new era of participant evolution". Elementary medical cyborgs -- people with prosthetic limbs or pacemakers -- are already familiar, and have been extrapolated in fiction in such works as Bernard _^<a_!T5674_WOLFE_^>a_'s
_^<i__^<a_!B9089_LIMBO_^>a__^>i_ (_^<b_1952_^>b_; vt _^<i_Limbo '90_^>i_ UK) and Martin _^<a_!T5119_CAIDIN_^>a_'s _^<i_Cyborg_^>i_ (_^<b_1972_^>b_); the tv series _^<i_The_^<a_!T2232_SIX-MILLION DOLLAR MAN_^>a__^>i_ -- which popularized the term
"bionic man" -- was based on the latter. A more recent example of the cyborg _^<a_!T5830_SUPERMAN_^>a_ can be found in Richard _^<a_!T3493_LUPOFF_^>a_'s _^<i_Sun's End_^>i_ (_^<b_1984_^>b_) and _^<i_Galaxy's End_^>i_
(_^<b_1988_^>b_)._^<n__^<n_There are two other common classes of cyborg in sf: functional cyborgs are people modified mechanically to perform specific tasks, usually a job of work; adaptive cyborgs are people redesigned to operate in an alien
environment, sometimes so completely that their humanity becomes problematic. The subject of the earliest major cyborg novel, _^<i_The Clockwork Man_^>i_ (_^<b_1923_^>b_) by E.V. _^<a_!T3287_ODLE_^>a_, belongs to the latter category, featuring a
man of the future who has a clockwork mechanism built into his head which is supposed to regulate his whole being, and which gives him access to a multidimensional world (> _^<a_!T1239_DIMENSIONS_^>a_). The most common form of cyborg portrayed in
the early sf _^<a_!T2033_PULP MAGAZINES_^>a_ was an extreme version of the medical cyborg (> _^<a_!T3744_MEDICINE_^>a_), consisting of a human brain in a mechanical envelope. These are featured in Edmond _^<a_!T4258_HAMILTON_^>a_'s "The Comet Doom"
(1928) and _^<a_!T5151_CAPTAIN FUTURE_^>a_ series, in Neil R. _^<a_!T3933_JONES_^>a_'s _^<b_Professor Jameson_^>b_ series, and in Raymond F. _^<a_!T3933_JONES_^>a_'s _^<i_The Cybernetic Brains_^>i_ (1950; _^<b_1962_^>b_). Brains immortalized by
mechanical preservation often became monstrous, like the ones in Lloyd Arthur _^<a_!T6696_ESHBACH_^>a_'s "The Time Conqueror" (1932; vt "Tyrant of Time") and Curt _^<a_!T2229_SIODMAK_^>a_'s much-filmed _^<i_Donovan's Brain_^>i_ (_^<b_1943_^>b_).
Some later writers approached the existential situation of humans in mechanized bodies in a much more careful and sophisticated manner; outstanding examples include C.L. _^<a_!T3033_MOORE_^>a_'s "No Woman Born" (1944) and Algis
_^<a_!T5064_BUDRYS_^>a_'s _^<i__^<a_!B9087_WHO?_^>a__^>i_ (_^<b_1958_^>b_), both of which focus on the problems of re-establishing identity once the familiar emblems are gone. Existential problems are also to the fore in _^<i_The Continuous
Katherine Mortenhoe_^>i_ (_^<b_1974_^>b_; vt _^<i_The Unsleeping Eye_^>i_) by D.G. _^<a_!T823_COMPTON_^>a_, which features a man with tv cameras implanted in his eyes._^<n__^<n_An early example of the functional cyborg is strikingly displayed in
"Scanners Live in Vain" (1950) by Cordwainer _^<a_!T2265_SMITH_^>a_, which features cyborgs designed for _^<a_!T2337_SPACE FLIGHT_^>a_; this particular theme dominates stories of both functional and adaptive cyborgs. Cyborg spaceships are central
to Thomas N. _^<a_!T2887_SCORTIA_^>a_'s "Sea Change" (1956), Anne _^<a_!T6298_MCCAFFREY_^>a_'s _^<i_The Ship who Sang_^>i_ (coll of linked stories _^<b_1969_^>b_), Kevin _^<a_!T3289_O'DONNELL_^>a_ Jr's _^<i_Mayflies_^>i_ (_^<b_1979_^>b_) and Gordon
R. _^<a_!T1227_DICKSON_^>a_'s _^<i_The Forever Man_^>i_ (_^<b_1986_^>b_), while Vonda _^<a_!T3545_MCINTYRE_^>a_'s _^<i_Superluminal_^>i_ (_^<b_1983_^>b_) features space pilots who require mechanical replacement hearts. Stories dealing with the use
of adaptive cyborgs to explore other worlds include Arthur C. _^<a_!T736_CLARKE_^>a_'s "A Meeting with Medusa" (1971), Frederik _^<a_!T1937_POHL_^>a_'s _^<i__^<a_!B9090_MAN PLUS_^>a__^>i_ (_^<b_1976_^>b_) and Paul J. _^<a_!T6293_MCAULEY_^>a_'s
"Transcendence" (1988). Barrington J. _^<a_!T472_BAYLEY_^>a_'s _^<i_The Garments of Caean_^>i_ (_^<b_1976_^>b_) has two races of cyborgs adapted to the environment of outer space. Another major theme in stories dealing with functional cyborgs
concerns their adaptation to the needs of espionage and war; examples include "I-C-a-BEM" (1961) by Jack _^<a_!T5317_VANCE_^>a_, "Kings who Die" (1962) by Poul _^<a_!T169_ANDERSON_^>a_ and _^<i_A Plague of Demons_^>i_ (_^<b_1965_^>b_) by Keith
_^<a_!T4206_LAUMER_^>a_. Relatively few stories treat more mundane manipulative functions, although Samuel R. _^<a_!T1152_DELANY_^>a_'s _^<i__^<a_!B9048_NOVA_^>a__^>i_ (_^<b_1968_^>b_) makes significant observations _^<i_en passant_^>i_. Many
recent stories feature humans modified in such a way as to be able to plug in directly to _^<a_!T826_COMPUTERS_^>a_, sometimes working in harness with them to do many kinds of work. Particularly graphic images of this kind can be found in
_^<i_ORA:CLE_^>i_ (_^<b_1984_^>b_) by Kevin O'Donnell Jr, _^<i__^<a_!B9218_SCHISMATRIX_^>a__^>i_ (_^<b_1985_^>b_) by Bruce _^<a_!T5717_STERLING_^>a_, _^<i_Hardwired_^>i_ (_^<b_1986_^>b_) by Walter Jon _^<a_!T5628_WILLIAMS_^>a_ and _^<i_Escape
Plans_^>i_ (_^<b_1986_^>b_) by Gwyneth _^<a_!T3929_JONES_^>a_; the notion is a staple background element of _^<a_!T1015_CYBERPUNK_^>a_. Not all functional cyborgs involve human flesh: _^<i_The Godwhale_^>i_ (_^<b_1974_^>b_) by T.J.
_^<a_!T456_BASS_^>a_ features a massive food-collecting cetacean cyborg._^<n__^<n_Sf in the cinema and on tv has often used the cyborg as a convenient figure of menace; examples include the _^<a_!T1035_DALEKS_^>a_ and Cybermen of _^<a_!T1268_DR
WHO_^>a_. Images of cyborg evil in written sf include the Cyclan in E.C. _^<a_!T6112_TUBB_^>a_'s _^<b_Dumarest_^>b_ novels and Palmer Eldritch in Philip K. _^<a_!T1222_DICK_^>a_'s _^<i__^<a_!B9152_THE THREE STIGMATA OF PALMER ELDRITCH_^>a__^>i_
(_^<b_1964_^>b_). A more sympathetic cyborg is featured in Dick's _^<i_Dr Bloodmoney_^>i_ (_^<b_1965_^>b_), and tv has presented at least one memorable sympathetic image in Harlan _^<a_!T6641_ELLISON_^>a_'s _^<i_The_^>i_ _^<a_!T1742_OUTER
LIMITS_^>a_ script "Demon with a Glass Hand" (1964)._^<n__^<n_One work which transcends categorization to deal in semi-allegorical fashion with the relationship between human and machine via the symbol of the cyborg is David R.
_^<a_!T5078_BUNCH_^>a_'s _^<i_Moderan_^>i_ (1959-70; fixup _^<b_1971_^>b_), an assemblage of vignettes about a world where machine-men gradually forsake their "fleshstrips" and retire into mechanized "strongholds" to plot the destruction of their
fellows._^<n__^<n_A relevant theme anthology is _^<i_Human Machines_^>i_ (anth _^<b_1976_^>b_) ed Thomas N. Scortia and George _^<a_!T6261_ZEBROWSKI_^>a_. [BS]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T1014_CYBERNETICS_^>a_; _^<a_!T2646_ROBOTS_^>a_.
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CYBORG 2087
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Made-for-tv film (1966). Feature Film Corp. Dir Franklin Adreon, starring Michael Rennie, Karen Steele, Wendell Corey, Warren Stevens, Eduard Franz. Screenplay Arthur C. Pierce. 86 mins. Colour._^<n__^<n_This film, which though made for tv achieved
theatrical release, has a renegade _^<a_!T1017_CYBORG_^>a_ (Rennie) from AD2087 going back to 1966 to prevent a scientist (Franz) from creating a device that will later be used by a totalitarian government for a mind-control programme to which the
cyborgs themselves are central. He is followed back in time by two government agents, both cyborgs, but he overcomes them and persuades the scientist to destroy his invention, though he knows that by doing so he will eliminate the possibility of
his own existence. When the device is indeed destroyed, he disappears along with everybody's memories of his visit. The narrative has a better grasp of _^<a_!T6020_TIME PARADOXES_^>a_ than usual for tv, but the performances are weak. The plot bears
a similarity to that of the much later film _^<a_!T5941_TERMINATOR 2: JUDGMENT DAY_^>a_ (1991). [JB]_^<n__^<n_
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CYRANO de BERGERAC
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The form of his name under which French soldier and writer Savinien Cyrano de Bergerac (1619-1655) is best known. He is famous as the hero of a play by Edmond Rostand (1868-1918), _^<i_Cyrano de Bergerac_^>i_ (_^<b_1898_^>b_ UK), which made legends
of his swordsmanship and the size of his nose. He fought with the Gascon Guard but retired after sustaining bad wounds. Only parts of his major work of _^<a_!T2013_PROTO SCIENCE FICTION_^>a_, _^<i_L'autre monde_^>i_, were published in posthumous
versions, censored (to tone down their heretical elements) by CdB's friend Henri le Bret. _^<i_Histoire comique, par Monsieur de Cyrano Bergerac, contenant les etats et empires de la lune_^>i_ (_^<b_1657_^>b_ France; trans Tho. St Serf as
_^<i_Selenarchia: The Government of the World in the Moon_^>i_ _^<b_1659_^>b_) is complete, but the text of _^<i_Fragment d'Histoire comique par Monsieur de Cyrano Bergerac, contenant les etats et empires du soleil_^>i_ (_^<b_1662_^>b_ France;
trans A. Lovell together with the former item as _^<i_The Comical History of the States and Empires of the Moon and Sun_^>i_, coll _^<b_1687_^>b_) is partial. Some of the censored text is restored in a French edition of Cyrano's complete works
(_^<i_Oeuvres_^>i_ [coll _^<b_1957_^>b_], and both books -- _^<i_Moon_^>i_ and _^<i_Sun_^>i_ -- are translated from that edition in _^<i_Other Worlds_^>i_:_^<i_ The Comical History of the States and Empires of the Moon and Sun_^>i_ (trans Geoffrey
Strachan omni _^<b_1965_^>b_). It is possible that the remainder of the second part and the third part (_^<i_The History of the Stars_^>i_) were written but subsequently lost or destroyed._^<n__^<n_The hero of the comic histories attempts
_^<a_!T2337_SPACE FLIGHT_^>a_ by several absurd methods, including _^<a_!T2651_ROCKET_^>a_ power. His adventures are _^<a_!T2812_SATIRES_^>a_ interrupted by discourses and dialogues regarding contemporary issues in natural philosophy. A classic
sequence in the second history has the hero tried for the crimes of humanity by a court of birds. The histories influenced several later satirists, including Jonathan _^<a_!T5873_SWIFT_^>a_ and _^<a_!T5394_VOLTAIRE_^>a_. The first part borrows
Domingo Gonsales from Francis _^<a_!T4742_GODWIN_^>a_'s _^<i_The Man in the Moone_^>i_ (_^<b_1638_^>b_), and in the second part Tommaso _^<a_!T5136_CAMPANELLA_^>a_ appears as the hero's guide. [BS]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T1410_FANTASTIC
VOYAGES_^>a_; _^<a_!T1590_FRANCE_^>a_; _^<a_!T4443_HISTORY OF SF_^>a_; _^<a_!T3023_MOON_^>a_; _^<a_!T2551_RELIGION_^>a_.
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In Czechoslovakia there are two main groups, the Czechs and the Slovaks, speaking different languages. Sf is written in both._^<n__^<n_The history of Czech sf begins in the 19th century, with the first true sf work probably being _^<i_Zivot na
Mesici_^>i_ ["Life on the Moon"] (_^<b_1881_^>b_) by Karel Pleskac. Also of interest are some of the works of the famous mainstream author Svatopluk Cech; for example, _^<i_Hanuman_^>i_ (_^<b_1884_^>b_; trans W.W. Strickland _^<b_1894_^>b_ UK),
depicting a civil war between two factions of apes (> _^<a_!T206_APES AND CAVEMEN_^>a_), and _^<i_Pravy vylet pana Broucka do Mesice_^>i_ ["The True Trip of Mr Broucek to the Moon"] (_^<b_1888_^>b_). Another important ancestral figure was Jakub
Arbes, who wrote a series of _^<i_romanetos _^>i_(short novels) on fantastic themes, including _^<i_Newtonuv mozek _^>i_(_^<b_1877_^>b_; trans Jiri Kral as "Newton's Brain" in _^<i_Poet's Lore _^>i_[anth _^<b_1982_^>b_ US]), which prefigures the
theme of _^<a_!T6026_TIME TRAVEL_^>a_._^<n__^<n_The first author to write sf systematically was Karel Hloucha, author of seven novels and story collections, including _^<i_Zakleta zeme_^>i_ ["Enchanted Country"] (_^<b_1910_^>b_) and _^<i_Slunecni
vuz_^>i_ ["The Solar Waggon"] (_^<b_1921_^>b_). Aliens that can take the shape of human beings play an important role in Metod Suchdolsky's novel _^<i_Rusove na Martu_^>i_ ["Russians on Mars"] (_^<b_1907_^>b_)._^<n__^<n_In 1920, the first sf book
by Karel _^<a_!T5147_CAPEK_^>a_ was published: the play _^<i_R.U.R._^>i_ (_^<b_1920_^>b_; trans _^<b_1923_^>b_) introduced the word _^<a_!T2646_ROBOT_^>a_ into the genre. The 1920s and 1930s were rich in sf novels; each year several titles
appeared, with a variety of themes from technological inventions to the political and social aspects of future societies. Among the writers active in this period were Tomas Hruby, Jiri Haussmann, Marie Grubhofferova, J.M. Troska (the pseudonym of
Jan Matzal) and others. Troska was the most influential, especially with his _^<a_!T2342_SPACE OPERA_^>a_ trilogy _^<b_Zapas s nebem_^>b_ ["Struggle With the Skies"] (1940-41). At the opposite pole stood Jan Weiss (1890-1972) with his dreamlike
mainstream sf novel _^<i_Dum o 1000 patrech_^>i_ ["The Thousand-Storey House"] (_^<b_1929_^>b_)._^<n__^<n_After WWII (and especially after the communist coup in 1948) the production of Czech sf decreased, and those few, mainly juvenile works which
were published described a more "realistic" _^<a_!T6337_NEAR FUTURE_^>a_. Frantisek Behounek, a well known scientist, wrote seven _^<a_!T4288_HARD-SF_^>a_ novels about the apotheosis of science in a communist future, examples being _^<i_Akce L_^>i_
["Operation L"] (_^<b_1956_^>b_) and _^<i_Robinsoni vesmiru_^>i_ ["The Space Family Robinson"] (_^<b_1958_^>b_)._^<n__^<n_The leading figure of the 1960s, and the symbol of the rebirth of sf, was Josef _^<a_!T3158_NESVADBA_^>a_, whose work is well
known also in the English-speaking world. Perhaps the most popular writer of this period, however, was Ludvik Soucek (1926-1978), author of nine witty sf-adventure novels and a few story collections, often with elements of the detective story. The
first and most popular were the trilogy _^<b_Cesta slepych ptaku_^>b_ ["Voyage of the Blind Birds"] (_^<b_1964_^>b_) and the collection _^<i_Bratri cerne planety_^>i_ ["Brethren of the Black Planet"] (coll _^<b_1969_^>b_); his last novel,
_^<i_Blazni z Hepteridy_^>i_ ["The Madmen from Hepteris"] (_^<b_1980_^>b_), was published posthumously. Two _^<a_!T1370_DYSTOPIAS_^>a_ by mainstream writers are of interest: Jiri Marek's _^<i_Blazeny vek_^>i_ ["Cheerful Era"] (_^<b_1967_^>b_) and
Cestmir Vejdelek's _^<i_Navrat z Raje_^>i_ ["Return from Paradise"] (_^<b_1961_^>b_). The latter is a complex novel of high literary standard describing the inhabitants of a computer-ruled society who are unaware of their status as slaves. Other
interesting writers of the period were Josef Koenigsmark, Vaclav Kajdos and Ivan Foustka._^<n__^<n_After the heightened activity of the 1960s, the so-called "normalization" of Czech culture following the invasion of Czechoslovakia by the Warsaw
Pact countries in 1968 meant that there was another decrease in Czech sf in the first half of the 1970s. At the end of that decade, however, a new wave of writers appeared. The most significant authors of short fiction are Jaroslav Veis (1946-
), Zdenek Volny and Ondrej Neff (1945- ); each has published several books. Veis's _^<i_Pandorina skrinka_^>i_ ["Pandora's Box"] (coll _^<b_1979_^>b_) is very widely admired. Neff, after the success of his first collection, _^<i_Vejce
naruby_^>i_ ["An Inside-Out Egg"] (coll _^<b_1985_^>b_), turned to novels: his _^<i_Mesic meho zivota_^>i_ ["The Moon of My Life"] (_^<b_1988_^>b_), set in a colony of Moon-miners, is among the best Czech sf. Another fine book from the period, from
the usually mainstream writer (although he has also produced four sf novels) Vladimir Paral, is the dystopian _^<i_Zeme zen_^>i_ ["The Country of Women"] (_^<b_1987_^>b_). The most important publications for this generation of sf writers were the
twin anthologies _^<i_Lide ze souhvezdi Lva_^>i_ ["People from the Constellation of Leo"] (anth _^<b_1983_^>b_) and _^<i_Zelezo prichazi z hvezd_^>i_ ["Iron Comes from the Stars"] (anth _^<b_1983_^>b_), both ed Vojtech Kantor._^<n__^<n_The
establishment in 1982 of the Karel Capek _^<a_!T6321_AWARD_^>a_ for the best sf work by new authors encouraged the arrival of a still younger generation of writers -- Josef Pecinovsky, Frantisek Novotny, Eduard Martin and Jan Hlavicka are the most
significant. Although they have published collections, this group's work primarily attained popularity through anthologies: _^<i_Navrat na planetu Zemi_^>i_ ["Return to Planet Earth"] (anth _^<b_1985_^>b_) and _^<i_Stalo se zitra_^>i_ ["It Happened
Tomorrow"] (anth _^<b_1985_^>b_), both ed Ivo Zelezny._^<n__^<n_A few sf works have been written by Czech authors in exile, an example being _^<i_Maso_^>i_ ["Meat"] (coll _^<b_1981_^>b_ Canada), a collection of two novellas by Martin Harnicek.
Another author in exile, Ludek _^<a_!T1867_PESEK_^>a_, is published in German and sometimes in English, although he writes in Czech. One novel by Ivo _^<a_!T1340_DUKA_^>a_ (pseudonym of Ivo Duchacek and Helena Koldova) was published in English:
_^<i_Martin and his Friend from Outer Space_^>i_ (_^<b_1955_^>b_). Pavel _^<a_!T4109_KOHOUT_^>a_, who left Czechoslovakia in 1968, later published an sf novel (_^<i_see his entry for its long title_^>i_)._^<n__^<n_Sf written in Slovak does not have
as continuous a tradition, and there are noticeably fewer works. Sf featuring social comment and adventure was published in the 1930s and 1940s by Peter Suchansky, Dezo S. Turcan and Jan Kresanek-Ladcan. After WWII the production of Slovak sf was
sporadic and its nature naive, as in _^<i_Luna 2 neodpoveda_^>i_ ["Luna 2 Doesn't Answer"] (_^<b_1958_^>b_), one of the three sf novels written by Jan Bajla. Only one author from the 1960s stands out: Jozef Tallo, whose collection is _^<i_Vlasy
Bereniky_^>i_ ["The Hair of Berenice"] (coll _^<b_1962_^>b_). Many more writers emerged in the 1980s: Alta Vasova, Jan Fekete, Jozef Repko and others; they write mainly juvenile fiction. The most successful may be the
post-_^<a_!T4482_HOLOCAUST_^>a_ novel _^<i_Po_^>i_ ["After"] (_^<b_1979_^>b_) by Vasova and three juvenile novels by Jozef Zarnay, including _^<i_Kolumbovia zo zakladne Ganymedes_^>i_ ["Columbuses from Ganymede Space Station"]
(_^<b_1983_^>b_)._^<n__^<n_More than 50 sf films have been made in Czechoslovakia, the first of them in the early 1920s. The earliest of real interest are adaptations of stories by Karel Capek; they are _^<i_Bila nemoc_^>i_ ["_^<b_The White
Plague_^>b_"] (1937; vt _^<i_Skeleton on Horseback_^>i_), dir Hugo Haas, and _^<i_Krakatit_^>i_ (1948), dir Otakar Vavra. From the mid-1950s to 1970, several sf films with animation and live action combined, based loosely on novels by Jules
_^<a_!T5355_VERNE_^>a_ and using original drawings from French editions of his books, were made by director and animator Karel Zeman: _^<i_Cesta do praveku_^>i_ (1955; vt _^<i_Journey to the Beginning of Time_^>i_), _^<a_!T5418_VYNALEZ ZKAZY_^>a_
(1958; vt _^<i_Weapons of Destruction_^>i_), _^<i_Baron Prasil_^>i_ (1961; vt _^<i_Baron Munchhausen_^>i_), _^<i_Ukradena vzducholod_^>i_ (1966; vt _^<i_The Stolen Airship_^>i_) and _^<i_Na komete_^>i_ (1970; vt _^<i_On the Comet_^>i_). A
completely animated Czech/French coproduction was _^<i_La_^<a_!T1915_PLANETE SAUVAGE_^>a__^>i_ (1973; vt _^<i_Fantastic Planet_^>i_)._^<n__^<n_The tradition of Czech sf comedies was launched by Oldrich Lipsky with a comedy set in "the 5th century
after Sputnik": _^<i_Muz z prvniho stoleti_^>i_ ["Man from the First Century"] (1961; vt _^<i_Man in Outer Space_^>i_). Lipsky's other sf films include: a _^<a_!T6026_TIME-TRAVEL_^>a_ comedy, _^<i_Zabil jsem Einsteina, panove!_^>i_ (1969; vt _^<i_I
Killed Einstein, Gentlemen!_^>i_); a parody of pre-WWII pulp detective fiction involving Nick _^<a_!T5195_CARTER_^>a_ and a carnivorous plant, perhaps his best film, _^<i_Adela jeste nevecerela_^>i_ (1977; vt _^<i_Adele Hasn't Eaten Yet_^>i_); a
Jules _^<a_!T5355_VERNE_^>a_ adaptation, _^<i_Tajemstvi hradu v Karpatech_^>i_ ["Mystery of the Carpathian Castle"] (1981); and _^<i_Srdecny pozdrav ze Zemekoule_^>i_ ["Cordial Greetings from Earth"] (1982). Milos Macourek has had a hand in several
good sf comedies, notably _^<a_!T3997_KDO CHCE ZABIT JESSII?_^>a_ (1965; vt _^<i_Who Would Kill Jessie?_^>i_) and _^<i_Coz takhle dat si spenat_^>i_ (1976; vt _^<i_What Would You Say to Some Spinach?_^>i_), and also cowrote the screenplay of
_^<a_!T6274_ZITRA VSTANU A OPARIM SE CAJEM_^>a_ (1977; vt _^<i_Tomorrow I'll Wake up and Scald Myself with Tea_^>i_), one of a number of Czech sf films, several of them comedies, based on Josef Nesvadba's stories and novels._^<n__^<n_Not many Czech
films are "serious" sf, or even straight sf, but those that are include: the space opera _^<a_!T4588_IKARIE XB-1_^>a_ (1963; vt _^<i_Voyage to the End of the Universe_^>i_); the post-_^<a_!T4482_HOLOCAUST_^>a_ story _^<a_!T4115_KONEC SRPNA V HOTELU
OZON_^>a_ (1966; vt _^<i_The End of August at the Hotel Ozone_^>i_); a film about a visit from deep space, _^<i_Akce Bororo_^>i_ ["Operation Bororo"] (1972), dir Otakar Fuka; a children's film about First Contact with _^<a_!T102_ALIENS_^>a_,
_^<i_Odysseus a hvezdy_^>i_ ["Odysseus and the Stars"] (1974), dir Ludvik Raza; a free adaptation of Capek's _^<i_Krakatit_^>i_ (_^<b_1924_^>b_), _^<a_!T5928_TEMNE SLUNCE_^>a_ (1980; vt _^<i_The Black Sun_^>i_); and, from Slovakia, ecological space
sf in _^<i_Treti Sarkan_^>i_ ["The Third Dragon"] (1985), dir Peter Hledik._^<n__^<n_Sf dramas are quite frequent on Czech tv, especially for children. One of the better serials has been_^<n__^<n__^<i_Navstevnici_^>i_ ["The Visitors"] (1984), in
which an expedition from AD2484, when Earth is endangered by a comet, returns to 1984 to seek help; it was dir Jindrich Polak._^<n__^<n_Sf is very popular in Czechoslovakia. It has a wide readership, and print-runs of books by well known authors
have been up to 100,000; however, the worsening economic situation in the early 1990s is likely to change that figure dramatically for the worse. On the positive side, a monthly sf magazine, _^<i_Ikarie_^>i_, was launched in June 1990 under the
editorship of Ondrej Neff, who has also edited, with Jaroslav _^<a_!T3309_OLSA_^>a_ jr, <Encyklopedie science fiction> ["Encyclopedia of Science Fiction"] (1992). [IA/JO]_^<n__^<n_
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> _^<a_!T1020_CZECH AND SLOVAK SF_^>a_._^<n__^<n_
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Da CRUZ, DANIEL
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(1921-1991) US writer, formerly known for numerous men's action-adventure tales, who began publishing sf with _^<i_The Grotto of the Formigans_^>i_ (_^<b_1980_^>b_), a novel about African grotto _^<a_!T3013_MONSTERS_^>a_, and who came to more
general notice with his _^<b_Republic of Texas_^>b_ or _^<b_Forte Family_^>b_ sequence: _^<i_The Ayes of Texas_^>i_ (_^<b_1982_^>b_), _^<i_Texas on the Rocks_^>i_ (_^<b_1986_^>b_) and _^<i_Texas Triumphant_^>i_ (_^<b_1987_^>b_). The political
premises underlying the series -- in the late 1990s the USSR, having hoodwinked the supinely liberal US media, has come to dominate the world -- have dated, but the exuberance of the tales themselves remains winning. The protagonist, a
triple-amputee WWII veteran from the newly free Republic of Texas, arms an old battleship (itself called _^<i_Texas_^>i_), and sails off to fight the Russians. Much blood is spilt, and a good time is had by all. _^<i_F-Cubed_^>i_ (_^<b_1989_^>b_)
is a less entrancing _^<a_!T5917_TECHNOTHRILLER_^>a_; but _^<i_Mixed Doubles_^>i_ (_^<b_1989_^>b_) enjoyably depicts the attempts of a contemporary failed composer who travels back in time to steal _^<a_!T3118_MUSIC_^>a_ from those more talented
than himself. [JC]_^<n__^<n_
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DAGMAR
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> Lou _^<a_!T5135_CAMERON_^>a_._^<n__^<n_
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DAGMAR, PETER
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> Frank J. _^<a_!T1903_PINCHIN_^>a_._^<n__^<n_
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DAGNOL, JULES N.
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[r] > _^<a_!T6332_ROBERT HALE LIMITED_^>a_._^<n__^<n_
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DAHL, ROALD
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(1916-1990) Welsh-born writer of Norwegian parents who spent periods of his life in the USA, but lived in the UK in his later years; married to the actress Patricia Neal 1953-83. Though his enormous success as an author of children's stories tended
to dominate perceptions of his career, he was in fact long best known for his eerie, exquisitely crafted, somewhat poisonous adult tales, many of them fantasies, assembled in _^<i_Someone Like You_^>i_ (coll _^<b_1953_^>b_ US; exp 1961 UK),
_^<i_Kiss Kiss_^>i_ (coll _^<b_1960_^>b_ US), _^<i_Switch Bitch_^>i_ (coll _^<b_1974_^>b_ US) and several later collections which often included previous material: _^<i_The Best of Roald Dahl_^>i_ (coll _^<b_1978_^>b_ US); _^<i_Tales of the
Unexpected_^>i_ (coll _^<b_1979_^>b_) and _^<i_More Roald Dahl Tales of the Unexpected_^>i_ (coll _^<b_1980_^>b_; vt _^<i_More Tales of the Unexpected_^>i_ 1980; vt _^<i_Further Tales of the Unexpected_^>i_ 1981), both assembled as _^<i_Roald
Dahl's Completely Unexpected Tales_^>i_ (omni _^<b_1986_^>b_); _^<i_Two Fables_^>i_ (coll _^<b_1986_^>b_ chap); _^<i_Ah, Sweet Mystery of Life_^>i_ (coll _^<b_1989_^>b_); and the posthumous _^<i_The Collected Short Stories_^>i_ (coll
_^<b_1991_^>b_), which includes further work. Not infrequently these stories make use of borderline sf images, such as the unpleasant metamorphosis of human into bee in "Royal Jelly" (1960); but more generally it is the _^<i_threat_^>i_ of sf or
supernatural displacement that powers them._^<n__^<n_RD's first title was a children's fantasy, _^<i_The Gremlins_^>i_ (_^<b_1943_^>b_ chap US), a short story that became famous because Walt Disney dickered for a time with making an animated film
of it (there is no connection with the much later Joe _^<a_!T1056_DANTE_^>a_ film _^<i_Gremlins_^>i_). His only sf novel, _^<i_Some Time Never: A Fable for Supermen_^>i_ (_^<b_1948_^>b_ US), by some margin his worst book, recasts the tale for an
adult audience. After attempting to sabotage humanity during WWII, the long-submerged gremlins see that we ourselves are doing the job quite adequately; they take back control of the planet after the nuclear WWIV, but then become extinct in a world
bare of humanity. The strained and sour whimsy of this "fable" might be seen -- according to RD's critics -- as passing directly into his juvenile fantasies, though it would probably be fairer to acknowledge a world of difference between adult
spitefulness and the exuberant child's-eye view of grown-ups and the meting of justice unto them presented in _^<i_James and the Giant Peach_^>i_ (_^<b_1961_^>b_ US) and all its successors, the most famous being _^<i_Charlie and the Chocolate
Factory_^>i_ (_^<b_1964_^>b_ US), filmed as _^<i_Willie Wonka and the Chocolate Factory_^>i_ (1971); it was assembled with its sequel, _^<i_Charlie and the Great Glass Elevator_^>i_ (_^<b_1972_^>b_ US), as _^<i_The Complete Adventures of Charlie
and Mr Willy Wonka_^>i_ (omni _^<b_1987_^>b_). RD also wrote the screenplay for the _^<b_James Bond_^>b_ film _^<a_!T6244_YOU ONLY LIVE TWICE_^>a_ (1967). One late novel for adults followed, the quasi-historical,
borderline-_^<a_!T5694_STEAMPUNK_^>a_ _^<i_My Uncle Oswald_^>i_ (_^<b_1979_^>b_), which plays with the notion of "tapping" geniuses such as Freud and Shaw for purposes of artificial insemination -- spermpunk, in short._^<n__^<n_But the adult work
was, in the end, miserly; the stories for children were, in the end, generously wicked gifts of fable. [JC]_^<n__^<n__^<b_Other works for adults:_^>b_ _^<i_Over to You_^>i_ (coll _^<b_1946_^>b_ US), associational; _^<i_Twenty-Nine Kisses from Roald
Dahl_^>i_ (coll _^<b_1969_^>b_), a compilation; _^<i_Boy: Tales of Childhood_^>i_ (_^<b_1984_^>b_) and _^<i_Going Solo_^>i_ (_^<b_1986_^>b_), autobiographical; _^<i_Roald Dahl's Book of Ghost Stories_^>i_ (anth _^<b_1983_^>b_)._^<n__^<n__^<b_For
children:_^>b_ _^<i_The Magic Finger_^>i_ (_^<b_1966_^>b_ chap US); _^<i_Fantastic Mr Fox_^>i_ (_^<b_1970_^>b_ chap); _^<i_Danny, the Champion of the World_^>i_ (_^<b_1975_^>b_); _^<i_The Wonderful Story of Henry Sugar and Six More_^>i_ (coll
_^<b_1977_^>b_; vt _^<i_The Wonderful World of Henry Sugar_^>i_ 1977 US); _^<i_The Enormous Crocodile_^>i_ (_^<b_1978_^>b_); _^<i_The Twits_^>i_ (_^<b_1980_^>b_ chap); _^<i_George's Marvellous Medicine_^>i_ (_^<b_1981_^>b_); _^<i_The BFG_^>i_
(_^<b_1982_^>b_); _^<i_The Witches_^>i_ (_^<b_1983_^>b_); _^<i_The Giraffe and the Pelly and Me_^>i_ (_^<b_1985_^>b_); _^<i_Matilda_^>i_ (_^<b_1988_^>b_); _^<i_Esio Trot_^>i_ (_^<b_1990_^>b_ chap), associational; _^<i_The Minipins_^>i_
(_^<b_1991_^>b_ chap)._^<n__^<n__^<b_About the author:_^>b_ _^<i_Roald Dahl_^>i_ (_^<b_1983_^>b_) by Chris Dowling._^<b_See also:_^>b_ _^<a_!T4555_HUMOUR_^>a_; _^<a_!T2812_SATIRE_^>a_.
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DAIBER, ALBERT
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[r] > _^<a_!T4667_GERMANY_^>a_._^<n__^<n_
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DAIKAIJU GAMERA
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(vt _^<i_Gamera_^>i_) Film (1966). Daiei. Dir Noriaki Yuasa, starring Eiji Funakoshi, Harumi Kiritachi (and, in the US version, Brian Donlevy, Albert Dekker, Diane Findlay). Screenplay Fumi Takahashi. 88 mins. Colour._^<n__^<n_This was Daiei
Studios' answer to the enormously successful _^<a_!T4750_GOJIRA_^>a_ ["Godzilla"] films from Toho Studios. Gamera is a giant prehistoric turtle, restored to life by nuclear testing. It attacks Tokyo, naturally, but is captured and sent into space.
The US version had extra footage showing Americans, not Japanese, discovering how to eliminate Gamera! The _^<b_Gamera_^>b_ films were, apart from the _^<b_Gojira_^>b_ films, Japan's most successful _^<a_!T3011_MONSTER MOVIES_^>a_. The 6 sequels,
all dir Yuasa except the first (for which he did the special effects), are: _^<i_Gamera Tai Barugon_^>i_ (1966), dir Shigeo Tanaka, released in English as _^<i_Gamera vs. Barugon_^>i_, in which Gamera returns from space, now apparently
jet-propelled, and fights a giant lizard that has a lethal rainbow field around it; _^<i_Gamera Tai Gaos_^>i_ (1967; vt _^<i_Daikaiju Kuchusen_^>i_), released in English as _^<i_Gamera vs. Gaos_^>i_ (vt _^<i_The Return of the Giant Monsters_^>i_),
in which Gaos is a bad scaly monster that hates sunlight and Gamera (like Godzilla, he rapidly became a good monster) saves children; _^<i_Gamera Tai Viras_^>i_ (1968; vt _^<i_Gamera Tai Uchukaiju Bairasu_^>i_), released in English as _^<i_Gamera
vs. Viras_^>i_ (vt _^<i_Gamera Versus Outer Space Monster Viras_^>i_; vt _^<i_Destroy All Planets_^>i_), in which two boy scouts save Gamera from alien control; _^<i_Gamera Tai Guiron_^>i_ (1969), released in English as _^<i_Gamera vs. Guiron_^>i_
(vt _^<i_Attack of the Monsters_^>i_), in which Gamera saves children from brain-eating female aliens and their knife-headed monster; _^<i_Gamera Tai Daimaju Jaiga_^>i_ (1970), released in English as _^<i_Gamera vs. Jiger_^>i_ (vt _^<i_Gamera vs.
Monster X_^>i_; vt _^<i_Monsters Invade Expo 70_^>i_), in which nasty Jiger lays an egg inside Gamera, a parasite hatches and starts sucking his blood, and children in a mini-submarine enter his veins to help out; and _^<i_Gamera Tai Shinkai Kaiju
Jigura_^>i_ (1971), released in English as _^<i_Gamera vs. Zigra_^>i_ (vt _^<i_Gamera Versus the Deep Sea Monster Zigra_^>i_), in which there is an anti-pollution theme, bad aliens, and a very bad script. [PN]_^<n__^<n__^<b_See also:_^>b_
_^<a_!T726_CINEMA_^>a_.
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DAIKAIJU KUCHUSEN
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> _^<a_!T1028_DAIKAIJU GAMERA_^>a_._^<n__^<n_
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DAIL, C(HARLES) C(URTIS)
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(1851-1902) US writer and lawyer whose _^<i_Willmoth the Wanderer, or The Man from Saturn_^>i_ (_^<b_1890_^>b_; rev _^<i_c_^>i_1891) is a real oddity. Though told with no great skill, its narrative, purporting to be that of Willmoth the Saturnian as
told towards the end of his several-million-year lifespan, is an eventful affair. Willmoth proceeds from Saturn to Venus (travel via _^<a_!T198_ANTIGRAVITY_^>a_) and, late in the book, to a prehistoric Earth, whose primitive inhabitants he breeds
into _^<i_Homo sapiens_^>i_. CCD's episodic second novel, _^<i_The Stone Giant: A Story of the Mammoth Cave_^>i_ (_^<b_1898_^>b_), lies within the overarching context of the first book. It is presented as a translation (by Willmoth) of memoirs by
the prehistoric ruler Wymorian, an 8ft (2.4m) giant and founder of _^<a_!T290_ATLANTIS_^>a_, who is given (by ancient descendants of Willmoth) an elixir of life. There is much talk about the ethics of the _^<a_!T3771_IMMORTALITY_^>a_ experiment,
which on the whole is a failure -- as, notoriously, was Atlantis. [PN/JC]_^<n__^<n_
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DAIN, ALEX
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Pseudonym of Alex Lukeman (? -? ), US writer whose sf novel is _^<i_The Bane of Kanthos_^>i_ (_^<b_1969_^>b_ dos), a _^<a_!T2342_SPACE OPERA_^>a_. [JC]_^<n__^<n_
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DAKE, CHARLES ROMYN
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(? -? ) US writer whose lost-race (> _^<a_!T3460_LOST WORLDS_^>a_) novel, _^<i_A Strange Discovery_^>i_ (_^<b_1899_^>b_), features a Roman colony in the Antarctic and is notable in that it continues the story of Edgar Allan
_^<a_!T1933_POE_^>a_'s Gordon Pym. [JC]_^<n__^<n_
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DALE, ADAM
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> Brian _^<a_!T4473_HOLLOWAY_^>a_._^<n__^<n_
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DALE, FLOYD D.
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(? - ) US writer whose first work, _^<i_A Hunter's Fire_^>i_ (_^<b_1989_^>b_), is a post-_^<a_!T4482_HOLOCAUST_^>a_ military-sf adventure. [JC]_^<n__^<n_
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DALEKS
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These sinister _^<a_!T102_ALIENS_^>a_, bent on universal conquest, mutated and rendered immobile by radioactivity, inhabit metal transporters to become _^<a_!T1017_CYBORGS_^>a_. They were introduced in the tv series _^<a_!T1268_DOCTOR WHO_^>a_ by
writer Terry _^<a_!T3140_NATION_^>a_ in _^<i_The Dead Planet_^>i_ (1963-4), the long-running programme's second story, later filmed as _^<a_!T1269_DR WHO AND THE DALEKS_^>a_ (1965); another 1964 tv story was filmed as _^<a_!T1036_DALEKS: INVASION
EARTH 2150 A.D._^>a_ (1966). The Daleks returned in many _^<b_Dr Who_^>b_ tv episodes, being the most popular feature of its first decade; only in 1975 did we learn, in _^<i_Genesis of the Daleks_^>i_, that they had been created by an evil,
crippled genius, Davros. [PN]_^<n__^<n_
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DALEKS: INVASION EARTH 2150 A.D.
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(vt _^<i_Invasion Earth 2150 A.D._^>i_) Film (1966). AARU. Dir Gordon Flemyng, starring Peter Cushing, Bernard Cribbins, Roberta Tovey, Jill Curzon. Screenplay Milton Subotsky, based on a 6-episode _^<a_!T1268_DR WHO_^>a_ tv story by Terry
_^<a_!T3140_NATION_^>a_, _^<i_The Dalek Invasion of Earth_^>i_ (1964). 84 mins. Colour._^<n__^<n_This was the second movie made by coproducers Milton Subotsky and Max J. Rosenberg to cash in on the popularity of the _^<b_Dr Who_^>b_ tv series, the
first being _^<a_!T1269_DR WHO AND THE DALEKS_^>a_ (1965). The _^<a_!T1035_DALEKS_^>a_, almost 200 years on, have invaded Earth (largely unchanged since the 1960s) intending to empty its core and use it as a giant spaceship, but Dr Who and his
colleagues, who include a London bobby (Cribbins) from 1966, thwart their plan in a story devoid of dramatic tension or science: Earth's north and south magnetic fields, we are told, meet below Bedfordshire, and can be used to suck the Daleks into
oblivion at Earth's centre. The greatest ineptness of the screenplay is its failure to give Dr Who, here played as a doddery old gent by Cushing, anything at all to do. [PN]_^<n__^<n_
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DALEY, BRIAN C.
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(1947- ) US writer whose first novels were the _^<a_!T2870_SCIENCE-FANTASY_^>a_ _^<b_Coramonde_^>b_ sequence -- _^<i_The Doomfarers of Coramonde_^>i_ (_^<b_1977_^>b_) and _^<i_The Starfollowers of Coramonde_^>i_ (_^<b_1979_^>b_) -- which puts
into an _^<a_!T131_ALTERNATE-WORLD_^>a_ setting a tale of _^<a_!T3598_MAGIC_^>a_, court politics and quest, starring a Vietnam veteran who helps his friend, the rightful ruler, fight off an evil sorcerer. Of slightly greater sf interest is the
_^<b_Alacrity FitzHugh_^>b_ sequence -- _^<i_Requiem for a Ruler of Worlds_^>i_ (_^<b_1985_^>b_), _^<i_Jinx on a Terran Inheritance_^>i_ (_^<b_1985_^>b_) and _^<i_Fall of the White Ship Avatar_^>i_ (_^<b_1986_^>b_) -- whose hero, Alacrity, hurtles
through sf adventures on a galactic scale. BCD's best single novel has perhaps been _^<i_A Tapestry of Magics_^>i_ (_^<b_1983_^>b_), a fantasy whose central conceit -- a tapestry which is also a magical singularity -- recursively recruits into the
tale, from various eons and realities, characters both real and fictional, including some of Robert A. _^<a_!T4376_HEINLEIN_^>a_'s, perhaps in acknowledgement of Heinlein's own _^<a_!T2528_RECURSIVE_^>a_ later fiction._^<n__^<n_BCD remains best
known, however, for his highly competent and colourful _^<b_Star Wars_^>b_ ties, _^<i_Han Solo at Star's End_^>i_ * (_^<b_1979_^>b_), _^<i_Han Solo's Revenge_^>i_ * (_^<b_1979_^>b_) and _^<i_Han Solo and the Lost Legacy_^>i_ * (_^<b_1980_^>b_),
which admirably set out to infill Solo's pre-saga life, and which were assembled as _^<i_Star Wars: The Han Solo Adventures _^>i_(omni _^<b_1992_^>b_); _^<i_Star Wars: The NPR Radio Dramatization_^>i_ *(_^<b_1994_^>b_) is a radio play. Other ties
include _^<i_Tron_^>i_ * (_^<b_1982_^>b_) (> _^<a_!T6102_TRON_^>a_) and the two sequences of _^<b_Robotech_^>b_ tv ties with James Luceno, writing together as Jack McKinney: the first comprises _^<i_Robotech #1: Genesis_^>i_ * (_^<b_1987_^>b_),
Cross_^>i_ * (_^<b_1987_^>b_), _^<i_#8: Metal Fire_^>i_ * (_^<b_1987_^>b_), _^<i_#9: The Final Nightmare_^>i_ * (_^<b_1987_^>b_), _^<i_#10: Invid Invasion_^>i_ * (_^<b_1987_^>b_), _^<i_#11: Metamorphosis_^>i_ * (_^<b_1987_^>b_) and _^<i_#12:
Symphony of Light_^>i_ * (_^<b_1987_^>b_); the second sequence, the _^<b_Sentinels_^>b_ books, comprises _^<i_The Sentinels #1: The Devil's Hand_^>i_ * (_^<b_1988_^>b_), _^<i_#2: Dark Powers_^>i_ * (_^<b_1988_^>b_), _^<i_#3: Death Dance_^>i_ *
(_^<b_1988_^>b_), _^<i_#4: World Killers_^>i_ * (_^<b_1988_^>b_) and _^<i_#5: Rubicon_^>i_ * (_^<b_1988_^>b_); both sequences conclude with _^<i_Robotech: The End of the Circle_^>i_ * (_^<b_1990_^>b_). Luceno and BCD, both still writing as Jack
McKinney, continued with some independent titles: _^<i_Kaduna Memories_^>i_ (_^<b_1990_^>b_), about a detective in 21st-century Manhattan, and the first volumes of the _^<b_Black Hole Travel Agency_^>b_ sequence, _^<i_Event Horizon_^>i_
(_^<b_1991_^>b_),_^<i_Artifact of the System_^>i_ (_^<b_1991_^>b_),_^<i_The Big Empty_^>i_ (_^<b_1993_^>b_) and _^<i_The Shadow_^>i_ * (_^<b_1994_^>b_), a film tie. It could not be argued that BCD has much built upon the promise of his first books,
but nor could it be said that he has ever given bad value. He has become one of the necessary journeymen. [JC]_^<n__^<n_
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DALGAARD, NIELS
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(1956- ) Danish academic and sf critic whose PhD research into Danish sf is the first on such a topic to be funded by the Danish Research Council for the Humanities. ND is sf reviewer for the newspaper _^<i_Politiken_^>i_ and editor of the
critical journal _^<i_Proxima_^>i_ (since 1981). He wrote the _^<a_!T1177_DENMARK_^>a_ entry in this volume. [PN]_^<n__^<n_
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DALMAS, JOHN
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Pseudonym for all his fiction of US writer John R(obert) Jones (1926- ), whose first career was as a research ecologist for the US Forest Service. He began publishing with _^<i_The Yngling_^>i_ (1969 _^<i_ASF_^>i_; fixup _^<b_1971_^>b_; rev
1984), which, with its prequel, _^<i_Homecoming_^>i_ (_^<b_1984_^>b_) -- both assembled as _^<i_The Orc Wars _^>i_(omni _^<b_1992_^>b_) -- depicts a barbarian future whose history echoes that of the eponymous Norse kings of legend; eventually the
hero of the saga leads his neo-Vikings south from the encroaching ice, though their ideal community is soon under threat; <The Yngling and the Circle of Power> (1992) is a prequel. In the _^<b_Fanglith_^>b_ series -- _^<i_Fanglith_^>i_
(_^<b_1985_^>b_) and _^<i_Return to Fanglith_^>i_ (_^<b_1987_^>b_) -- the planet to which criminals are exiled turns out to be Earth; much of JD's work similarly transforms _^<a_!T2342_SPACE-OPERA_^>a_ venues into arenas where ironies (or the gods)
have free play. In both _^<i_The Reality Matrix_^>i_ (_^<b_1986_^>b_) and, with Rod Martin (1928- ), _^<i_The Playmasters_^>i_ (_^<b_1986_^>b_) this drift of implication becomes explicit. The _^<b_Regiment _^>b_sequence -- comprising_^<i_The
Regiment_^>i_ (_^<b_1987_^>b_), _^<i_The White Regiment_^>i_ (_^<b_1990_^>b_) and _^<i_The Regiment's War_^>i_ (_^<b_1993_^>b_) -- tells, a group of mercenaries from a military planet sent off to fight until they all die -- characters, once again,
who are players in others' games. _^<i_The General's President_^>i_ (_^<b_1988_^>b_) interestingly assumes that a US civilian puppet-leader might convincingly fox his military backers. Though his work is teasingly close to routine, JD is too
various and lively to dismiss._^<n__^<n__^<b_Other works:_^>b_ _^<i_The Varkaus Conspiracy_^>i_ (_^<b_1983_^>b_); _^<i_Touch the Stars: Emergence_^>i_ (_^<b_1983_^>b_) with Carl Martin (1950- ); _^<i_The Scroll of Man_^>i_ (_^<b_1985_^>b_);
(1835-? ) UK writer, active to about 1890, whose sf novel _^<i_Lesbia Newman_^>i_ (_^<b_1889_^>b_) depicts a profound change in UK social attitudes after a disastrous 1890s loss of territory to European powers and the USA, as a consequence of
which the eponymous female manages to seduce the Ecumenical Council of 1900 into proclaiming the worship of women. [JC]_^<n__^<n_
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DALTON, SEAN
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> Jay D. _^<a_!T647_BLAKENEY_^>a_._^<n__^<n_
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DALY, HAMLIN
-T-
[s] > E. Hoffmann _^<a_!T1988_PRICE_^>a_._^<n__^<n_
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DAMNATION ALLEY
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Film (1977). Landers-Roberts/Zeitman/20th Century-Fox. Dir Jack Smight, starring Jan-Michael Vincent, George Peppard, Dominique Sanda. Screenplay Alan Sharp, Lukas Heller, based on _^<i_Damnation Alley_^>i_ (_^<b_1969_^>b_) by Roger
_^<a_!T6264_ZELAZNY_^>a_. 95 mins cut to 91 mins. Colour._^<n__^<n_In this travesty the solitary, snarling, Hell's Angel protagonist of Zelazny's novel has become four fairly decent Air Force officers. There are almost no survivors of WWIII. The
officers set out from the western USA to cross the country eastwards in "land-mobiles", seeking viable communities. The _^<a_!T4482_HOLOCAUST_^>a_ has tilted Earth's axis, turning the sky into a display of glowing radiation and electrical storms,
represented by astonishingly garish and inadequate process work from an obviously low-budget special-effects department. The encounter with mutated, carnivorous cockroaches stands out in an otherwise wholly laughable and random series of
stereotyped adventures with murderous hillbillies, floods, a girl, a feral boy and several deaths. [PN]_^<n__^<n_
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DAMNED, THE
-T-
(vt _^<i_These Are the Damned_^>i_) Film (1961). Hammer/Swallow. Dir Joseph Losey, starring MacDonald Carey, Oliver Reed, Shirley Ann Field, Viveca Lindfors, Alexander Knox. Screenplay Evan Jones, based on _^<i_The Children of Light_^>i_
(_^<b_1960_^>b_) by Henry L. _^<a_!T4213_LAWRENCE_^>a_. 96 mins, cut to 87 mins (UK) and to 77 mins (US). B/w._^<n__^<n_Made in the UK by expatriate US director Losey, this film so dismayed the distributors, Columbia, that they kept it on the shelf
for two years before releasing it, and then with major cuts. A US visitor to an English seaside town (Carey) becomes involved with the sister (Field) of the leader of some tough, local bikers. The pair accidentally learn of a secret, illegal
military project to irradiate children kept in underground isolation, thereby rendering them capable of surviving nuclear _^<a_!T4482_HOLOCAUST_^>a_. (The otherwise powerful film is partly devalued by Losey's casual approach to science; gaffes
include the belief that the irradiated children would have abnormally low body temperatures but be otherwise healthy!) Ironically, Carey and Field are fatally contaminated by the very children they seek to free. Losey's moral indignation has a
paranoid streak, but the film's evocative, allusive imagery is strong, in particular when the children communicate with their obsessed, scientist "father" (Knox) by tv and in the final shots, showing a helicopter hovering like a giant carrion bird
over the small boat carrying the dying couple -- echoing the grotesque, sometimes bird-like sculptures executed by the scientist's lover (in reality by distinguished sculptress Elisabeth Frink), which stand on the clifftops nearby. _^<i_TD_^>i_ is
one of the most memorable sf films of a period when few really good directors would come within miles of the genre. [JB/PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T726_CINEMA_^>a_; _^<a_!T1795_PARANOIA_^>a_.
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DAMRON, HILLEL
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[r] > _^<a_!T3825_ISRAEL_^>a_._^<n__^<n_
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DAN DARE -- PILOT OF THE FUTURE
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UK sf _^<a_!T820_COMIC_^>a_-strip character, distinguished in appearance by his long chin and by the zigzag on the outer end of each eyebrow. DD was created by Frank _^<a_!T4267_HAMPSON_^>a_ for the weekly boys' comic _^<i_Eagle_^>i_, in which --
with the sobriquet "Pilot of the Future" -- he appeared with his Lancastrian batman Digby from 1950 until the comic's demise in 1969. Hampson supervised a team of writers, artists, model-makers and photographers to create a totally convincing
scenario of the future, as governed by the United Nations Organization. Writers included Eric Eden, David Motton, Alan Stranks and Chad Varah; artists included Frank Bellamy, Bruce Cornwell, Eric Eden, Donald Harley, Harold Johns, Desmond Walduck
and Keith Watson. _^<i_DD_^>i_ stories generally dealt with the exploration of the Solar System, individual stories often centring on conflicts between DD and the Mekon, a green-skinned, dome-headed Venusian despot. Under Hampson's firm control,
pictorial authenticity was achieved through the use of scale models, and characters were drawn from photographs of real people; stories were scrutinized for scientific accuracy (Arthur C. _^<a_!T736_CLARKE_^>a_ was adviser for the first six
months)._^<n__^<n_After Hampson's departure in 1959 the writers extended their themes beyond the limitations of the original conception in a series of less convincing adventures across the Galaxy. Continuity became strained and, despite a period of
revitalization at the hands of Keith Watson, the strip declined, no new material being published after Jan 1967. A _^<i_DD_^>i_ newspaper strip of 7 frames per week was published in the UK Sunday newspaper _^<i_The People_^>i_ 3 May-26 Nov
1964._^<n__^<n_Written by Tom Tulley and drawn at first by Massimo Belardinelli and subsequently by Dave _^<a_!T4682_GIBBONS_^>a_, the character was revived in name only in _^<a_!T6145_2,000 AD_^>a_ (from #1, 26 Feb 1977). The voluble adverse
reaction to this from fans of the original strip, along with news of plans for a nostalgic _^<i_DD_^>i_ tv series (to be produced by Paul de Savary), persuaded IPC, _^<i_Eagle_^>i_'s erstwhile publisher, to relaunch _^<i_Eagle_^>i_ in 1982 as a
weekly pulp comic with new _^<i_DD_^>i_ stories featuring the "great grandson" of the original DD. At first top-line artists were used -- Gerry Embleton (although he quickly became disillusioned by inconsistent editorial directives and left) and
then Ian Kennedy (until 1984) -- but the series failed to recreate the credibility of the original, and for a time IPC used less able artists on it until, for a six-week period in 1989, they returned once more to Hampson's original conception (with
Keith Watson as artist). The new incarnation of _^<i_Eagle_^>i_ failed to achieve significant sales and became a monthly, reprinting earlier strips alongside new _^<i_DD_^>i_ stories written by Tom Tulley and drawn by David Pugh; it still (early
1992) survives._^<n__^<n_In 1982 de Savary's tv series was abandoned unfinished, although a different _^<i_DD_^>i_ tv series is (early 1992) in the process of production by Zenith Films. There have been two _^<a_!T2480_RADIO_^>a_ adaptations: the
first, starring Noel Johnson, ran continuously on Radio Luxembourg 2 July 1951-25 May 1956; the second, starring Nick Ward, adapted _^<i_Eagle_^>i_'s original _^<i_DD_^>i_ story and was broadcast by BBC Radio 4 in 1990. Book-length reprints of
Hampson's _^<i_DD_^>i_ stories have been published by Dragon's Dream -- _^<i_The Man from Nowhere_^>i_ (graph _^<b_1979_^>b_), _^<i_Rogue Planet_^>i_ (graph _^<b_1980_^>b_) and _^<i_Reign of the Robots_^>i_ (graph _^<b_1981_^>b_) -- and by Hawk
Books -- _^<i_Pilot of the Future_^>i_ (graph _^<b_1987_^>b_), _^<i_Red Moon Mystery & Marooned on Mercury_^>i_ (graph omni _^<b_1988_^>b_), _^<i_Operation Saturn_^>i_ (graph _^<b_1989_^>b_), _^<i_Prisoners of Space_^>i_ (graph _^<b_1990_^>b_) and
_^<i_The Man from Nowhere_^>i_ (graph _^<b_1991_^>b_). DD also starred in a political-_^<a_!T2812_SATIRE_^>a_ comic strip written by Grant Morrison and drawn by Rian Hughes, which appeared 1990-91 in _^<i_Revolver_^>i_ and _^<i_Crisis_^>i_ and was
published in book form as _^<i_Dare_^>i_ (graph _^<b_1991_^>b_). A comic-strip parody of _^<i_DD_^>i_, lampooning contemporary UK politics, ran as _^<i_Dan Dire -- Pilot of the Future_^>i_ in 1991 in the satirical magazine _^<i_Private Eye_^>i_.
There have also been two novels: _^<i_Dan Dare on Mars_^>i_ * (_^<b_1956_^>b_) by Basil Dawson and _^<i_Dan Dare -- Pilot of the Future_^>i_ * (_^<b_1977_^>b_) by Angus Allen, the latter a novelization of the original _^<i_Eagle_^>i_
story._^<n__^<n_For more on _^<i_DD_^>i_'s creator read _^<i_The Man who Drew Tomorrow_^>i_ (_^<b_1985_^>b_) by Alastair Crompton, and for more on the character read _^<i_The Dan Dare Dossier_^>i_ (_^<b_1990_^>b_)._^<n__^<n_ [RT/ABP/JE]_^<n__^<n_
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DANE, CLEMENCE
-T-
Pseudonym of UK playwright and novelist Winifred Ashton (1888-1965), best remembered for _^<i_Broome Stages_^>i_ (_^<b_1931_^>b_), a tale of the theatre. She became known to the sf world late in life when she edited the _^<b_Novels of Tomorrow_^>b_
series in 1955-6 for Michael Joseph Ltd, publishing work by John _^<a_!T719_CHRISTOPHER_^>a_, Harold _^<a_!T3741_MEAD_^>a_ and Arthur _^<a_!T2099_SELLINGS_^>a_. Some of her own fiction was of genre interest. _^<i_Legend_^>i_ (_^<b_1919_^>b_)
concerns a supernatural relationship between a dead writer and her biographer. _^<i_The Babyons_^>i_ (_^<b_1927_^>b_) traces a curse through four generations. _^<i_The Arrogant History of White Ben_^>i_ (_^<b_1939_^>b_), set in a beleaguered
_^<a_!T6337_NEAR FUTURE_^>a_, gives an animate scarecrow the task of leading the UK out of trouble. In _^<i_The Saviours_^>i_ (coll of linked plays _^<b_1942_^>b_) Merlin attempts to revitalize Britain by giving Arthur's heirs good advice. Some of
the stories assembled in _^<i_Fate Cries Out_^>i_ (coll _^<b_1935_^>b_) are of genre interest. [JC]_^<n__^<n_
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DANGER: DIABOLIK
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> _^<a_!T1218_DIABOLIK_^>a_._^<n__^<n_
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DANGERFIELD, PAUL
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> Victor _^<a_!T3248_NORWOOD_^>a_._^<n__^<n_
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DANGEROUS VISIONS
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Original _^<a_!T195_ANTHOLOGY_^>a_ ed Harlan _^<a_!T6641_ELLISON_^>a_. _^<i_DV_^>i_ (_^<b_1967_^>b_) was a massive and influential anthology of 33 stories and copious prefatory material; it became strongly identified with the _^<a_!T3181_NEW
WAVE_^>a_ in the USA. Among its stories, "Aye, and Gomorrah . . ." by Samuel R. _^<a_!T1152_DELANY_^>a_, "Gonna Roll the Bones" by Fritz _^<a_!T3322_LEIBER_^>a_ and "Riders of the Purple Wage" by Philip Jose _^<a_!T1435_FARMER_^>a_ won major
awards. _^<i_DV_^>i_ was followed by _^<i_Again, Dangerous Visions_^>i_ (anth _^<b_1972_^>b_), which was larger still, although it created less stir. It contained two more major-award winners, "When It Changed" by Joanna _^<a_!T2741_RUSS_^>a_ and
_^<i__^<a_!B9179_THE WORD FOR WORLD IS FOREST_^>a__^>i_ (1972; _^<b_1976_^>b_) by Ursula K. _^<a_!T3318_LE GUIN_^>a_, among its 46 stories. _^<i_ADV_^>i_ used only authors who had not appeared in _^<i_DV_^>i_. A third and still unpublished
instalment, again with wholly new authors -- <The Last Dangerous Visions> -- has become legendary for its many postponements over 19 years (to 1992), although Ellison is on record (1979) as saying that over 100 stories were bought for it. One
sternly adversarial account of its history is the widely discussed _^<i_The Last Deadloss Visions_^>i_ (_^<b_1987_^>b_ chap; rev 1987) compiled/written and published by Christopher_^<n__^<n__^<a_!T1990_PRIEST_^>a_. [MJE/PN]_^<n__^<n__^<b_See
also:_^>b_ _^<a_!T5888_TABOOS_^>a_.
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DANIEL, GABRIEL
-T-
(1649-1728) French writer whose _^<i_Voyage du Monde de Descartes_^>i_ (_^<b_1690_^>b_; trans T. Taylor as _^<i_A Voyage to the World of Cartesius_^>i_ _^<b_1692_^>b_ UK) is a _^<a_!T1409_FANTASTIC VOYAGE_^>a_ whose purpose was to popularize the
ideas of the philosopher Rene Descartes (1596-1650) on _^<a_!T902_COSMOLOGY_^>a_ and other matters. [PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T2013_PROTO SCIENCE FICTION_^>a_; _^<a_!T2337_SPACE FLIGHT_^>a_.
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DANIEL, YULI (MARKOVICH)
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(1925-1988) Russian author who wrote as Nikolai Arzhak; he lived in exile after having been imprisoned in 1966 along with his dissident friend, Andrey _^<a_!T2228_SINYAVSKY_^>a_ (Abram Tertz), for the writings translated as _^<i_This is Moscow
Speaking, and Other Stories_^>i_ (written before 1966; trans Stuart Hood and others _^<b_1968_^>b_ UK). The title story is of sf interest: 10 August 1960 is declared to be Public Murder Day; the point is satirical. The eponymous character in "The
Man from MINAP" has the power of predetermining the sex of any child from his loins. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T5888_TABOOS_^>a_.
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DANIELS, LOUIS G.
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[s] > Daniel F. _^<a_!T1692_GALOUYE_^>a_._^<n__^<n_
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DANIELS, MAX
-T-
Pseudonym of US writer Roberta Leah Jacobs Gellis (1927- ), who wrote non-sf as Leah Jacobs. As MD she published two unremarkable sf adventures, _^<i_The Space Guardian_^>i_ (_^<b_1978_^>b_) and _^<i_Offworld_^>i_ (_^<b_1979_^>b_). [JC]_^<n__^<n_
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DANN, JACK (MAYO)
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(1945- ) US writer and anthologist, with a BA in social/political science, who began publishing sf in 1970 with two stories for _^<i_Worlds of If_^>i_ with George _^<a_!T6261_ZEBROWSKI_^>a_, "Dark, Dark the Dead Star" and "Traps". Among his best
and most revealing stories of this period was _^<i_Junction_^>i_ (1973 _^<i_Fantasy_^>i_; exp _^<b_1981_^>b_), a _^<a_!T3147_NEBULA_^>a_-award finalist in its early form; its young protagonist must leave the eponymous village, the last place on
Earth to remain physically stable, to explore the "Hell" of mutability outside. The expansion cogently dramatizes what Gregory _^<a_!T1456_FEELEY_^>a_ has suggested is JD's central theme: the rousing of a young man from disaffected solipsism into
awareness of the marvels of the noosphere. _^<i_Starhiker_^>i_ (fixup _^<b_1977_^>b_), set in a heightened _^<a_!T2342_SPACE-OPERA_^>a_ venue, similarly puts a young human singer-bard escapee from alien-occupied Earth into an alien spaceship, where
he undergoes a series of revelatory experiences (including near self-transcendence on a sentient planet) before returning to his depressed home. The stories assembled in _^<i_Timetipping_^>i_ (coll _^<b_1980_^>b_) reiterate this basic pattern. Only
with _^<i__^<a_!B9143_THE MAN WHO MELTED_^>a__^>i_ (_^<b_1984_^>b_) did JD expand his canvas by introducing a human subject -- his lost wife -- for whom the protagonist must search through a baroque world rendered savagely mutable through
collective psychoses which have a binding effect on reality._^<n__^<n_Despite the clear though strait attainments of his fiction, JD soon became -- and has remained -- best known as an editor of several strong anthologies: _^<i_Wandering Stars_^>i_
(anth _^<b_1974_^>b_) and _^<i_More Wandering Stars_^>i_ (anth _^<b_1981_^>b_) feature sf about Jews; _^<i_Faster than Light_^>i_ (anth _^<b_1976_^>b_), with George Zebrowski; _^<i_Future Power_^>i_ (anth _^<b_1976_^>b_), with Gardner
_^<a_!T1313_DOZOIS_^>a_, the first of many collaborations with Dozois (see listing below), _^<i_Immortals: Short Novels of the Transhuman Future_^>i_ (anth _^<b_1980_^>b_); the impressive _^<i_In the Field of Fire_^>i_ (anth _^<b_1987_^>b_) with
Jeanne Van Buren Dann, about Vietnam. Much of his effort in the 1980s was devoted to a long non-genre novel, with _^<a_!T3599_MAGIC-REALIST_^>a_ elements, <Counting Coup>, which remained unpublished because of the collapse of _^<a_!T668_BLUEJAY
BOOKS_^>a_. _^<i_Echoes of Thunder_^>i_ (_^<b_1991_^>b_ chap dos) with Jack C. _^<a_!T4924_HALDEMAN_^>a_ II -- a _^<a_!T6057_TOR BOOKS_^>a_ Double originally designed for _^<a_!T1298_DOS _^>a_publication, but ultimately released in the format of a
conventional two-item anthology -- was much expanded as _^<i_High Steel_^>i_ (_^<b_1993_^>b_), a virtuoso _^<a_!T6337_NEAR FUTURE_^>a_ tale which begins with its American Indian protagonist's experiences as a shanghaied worker constructing a space
station, but soon expands in various directions, as the hero evolves into a _^<a_!T5830_SUPERMAN_^>a_, apocalyptic hallucinations afflict Earth's normals, and an enigmatic message left by _^<a_!T102_ALIENS_^>a_ promises the secret of FTL travel.
But with the exception of this remarkable exercise, it seems that, after climaxing his genre career with the creation of a rich and humanized world in _^<i__^<a_!B9143_THE MAN WHO MELTED_^>a__^>i_, JD has lost his need to write sf.
[JC]_^<n__^<n__^<b_Other works:_^>b_ JD also collaborated with Gardner Dozois on seven of the stories assembled in the latter's _^<i_Slow Dancing through Time_^>i_ (coll _^<b_1990_^>b_)._^<b_Other works as editor:_^>b_ An exclamatory series, all
_^<i_Invaders!_^>i_ (anth _^<b_1993_^>b_) and _^<i_Horses!_^>i_ (anth _^<b_1994_^>b_)._^<b_About the author:_^>b_ _^<i_The Work of Jack Dann: An Annotated Bibliography & Guide_^>i_ (_^<b_1990_^>b_) by Jeffrey M. _^<a_!T6624_ELLIOT_^>a_._^<b_See
(1947- ) US film-maker. Originally a fan writer, JD entered the film industry working for Roger _^<a_!T884_CORMAN_^>a_'s New World in the trailers department, making Filipino movies look more exciting by inserting stock shots of exploding
helicopters. His first feature, codirected with Allan Arkush, was _^<i_Hollywood Boulevard_^>i_ (1976), a brisk and breezy _^<a_!T2812_SATIRE_^>a_ on low-budget schlock movies featuring many cameo roles, ranging from Dick Miller to Godzilla (>
_^<a_!T4750_GOJIRA_^>a_), inaugurating JD's tradition of movie-buff in-jokes._^<n__^<n_With writer John _^<a_!T2833_SAYLES_^>a_, JD made _^<a_!T1909_PIRANHA_^>a_ (1978) and _^<i_The Howling_^>i_ (1981), a pair of effective _^<a_!T3011_MONSTER
MOVIES_^>a_ with amusing satirical twists (the latter not really sf), and then he gravitated into the orbit of Steven _^<a_!T2367_SPIELBERG_^>a_ to direct an episode of _^<i_Twilight Zone: The Movie_^>i_ (adapted from "It's a _^<i_Good_^>i_ Life"
[1953] by Jerome _^<a_!T622_BIXBY_^>a_) and more famously _^<i_Gremlins_^>i_ (1984), a nasty anecdote in which anarchic monsters chew away at the foundations of a Spielberg-cum-Capra small town._^<n__^<n_Following the box-office disappointment of
his most personal film, _^<a_!T6729_EXPLORERS_^>a_ (1985), a meditation on the _^<a_!T2104_SENSE OF WONDER_^>a_ informed by the cultural legacy of Forrest J. _^<a_!T22_ACKERMAN_^>a_, JD has had less independent control, but has nevertheless
delivered a lively, self-aware run of comedies with an edge: _^<a_!T3784_INNERSPACE_^>a_ (1987) is a feature-length parody of _^<a_!T1409_FANTASTIC VOYAGE_^>a_ (1966), _^<i_The 'burbs_^>i_ (1989) a psychotic neighbourhood comedy, and _^<i_Gremlins
II: The New Batch_^>i_ (1990). JD has also contributed episodes to the omnibus film of sf skits, _^<i_Amazon Women on the Moon_^>i_ (1987), and to the tv series _^<a_!T141_AMAZING STORIES_^>a_ (1985-7), _^<i_The_^<a_!T6141_TWILIGHT ZONE_^>a__^>i_
(2nd series, 1985-7) and _^<i_Police Squad_^>i_ (1982). In 1991 JD became creative consultant for, and directed 5 episodes of, _^<i_Eerie, Indiana_^>i_ (1991), an NBC tv series about a Tom-Sawyer-type kid and his sidekick who conduct supernatural
investigations in a seemingly average but actually weird town. ]_^<n__^<n_JD's next feature was the amusing _^<i__^<a_!T6409_MATINEE_^>a__^>i_ (1993), a coming-of-age film set in Key West, 1962, during the Cuban missile crisis, in which much of the
action is connected to a new sf exploitation movie premiering in town, "Mant", about a man who becomes a giant ant creature. _^<i_Matinee_^>i_ is a kind of critique of early 1960s _^<a_!T3011_MONSTER MOVIES_^>a_ and their cultural background.
[KN/PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T726_CINEMA_^>a_; _^<a_!T1461_FEMINISM_^>a_; _^<a_!T4509_HORROR IN SF_^>a_.
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DANTE ALIGHIERI
-T-
(1265-1321) Italian poet. His _^<i_La divina commedia_^>i_ (_^<i_c_^>i_1304-21 in manuscript; many translations as _^<i_The Divine Comedy_^>i_) is an epic poem of 100 cantos in 3 books, each of 33 cantos, with an introduction; the books are
_^<i_Inferno_^>i_, _^<i_Purgatorio_^>i_ and _^<i_Paradiso_^>i_. It has profoundly affected not only the religious imagination but all subsequent allegorical creation of imaginary worlds in literature generally. For that reason it can (with
hindsight) be said to be a work of _^<a_!T2013_PROTO SCIENCE FICTION_^>a_ (although it stands at the head of other traditions much older than the sciencefictional); indeed, it _^<i_is_^>i_ sf in the strict sense, albeit the science is medieval. Its
subject is cosmological (>_^<a_!T902_COSMOLOGY_^>a_) -- it offers us in its worlds of Hell, Purgatory and Heaven (and Earth, Sun and stars) a picture of the way the Universe is structured. The obvious objection to such a view is that the work is
theological and philosophical in intent; this is so, but there was no distinction between science and _^<a_!T2551_RELIGION_^>a_ when Dante wrote, and he did so with the eye of a scientist, transcending the rational but not deserting it. The
tradition that led to sf has _^<i_The Divine Comedy_^>i_ as an ancestor. [PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T4740_GODS AND DEMONS_^>a_; _^<a_!T3826_ITALY_^>a_; _^<a_!T3118_MUSIC_^>a_.
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DANVERS, JACK
-T-
Writing name of Camille Auguste Marie Caseleyr (1909- ), a Belgian who, after WWII, emigrated to Australia, where he set his sf novel, _^<i_The End of it All_^>i_ (_^<b_1962_^>b_ UK). The tale depicts a nuclear _^<a_!T5452_WAR_^>a_ and climaxes
in doomed Australian attempts to cope with epidemics unleashed by the opposing forces. In the end extinction is total. [JC]_^<n__^<n_
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DANZELL, GEORGE
-T-
[s] > Nelson S. _^<a_!T695_BOND_^>a_._^<n__^<n_
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DARE, ALAN
-T-
> George _^<a_!T4767_GOODCHILD_^>a_._^<n__^<n_
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D'ARGENTEUIL, PAUL
-T-
Pseudonym of unidentified US author of _^<i_The Trembling of Borealis_^>i_ (_^<b_1899_^>b_), set in the USA after a war with Cuba and featuring a revolt of the working classes which brings about a welfare state and the disenfranchisement of Blacks.
Given the socialist -- albeit racist -- bent of the tale, the author's pseudonym can be read as linking wealth to work. [JC]_^<n__^<n_
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d'ARGYRE, GILLES
-T-
> Gerard _^<a_!T4093_KLEIN_^>a_._^<n__^<n_
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DARIU, AL. N.
-T-
[r] > _^<a_!T2683_ROMANIA_^>a_._^<n__^<n_
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DARK ANGEL
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> _^<a_!T4580_I COME IN PEACE_^>a_._^<n__^<n_
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DARKE, JAMES
-T-
> Laurence _^<a_!T3859_JAMES_^>a_._^<n__^<n_
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DARKMAN
-T-
Film (1990). Universal. Dir Sam Raimi, starring Liam Neeson, Frances McDormand, Colin Friels, Larry Drake. Screenplay Chuck Pfarrer, Sam Raimi, Ivan Raimi, Daniel Goldin, Joshua Goldin, from a story by Raimi. 91 mins. Colour._^<n__^<n_In its
violence and simple, over-the-top characterization this is essentially the film equivalent of a comic-book, an "origin of a _^<a_!T5829_SUPERHERO_^>a_" story of sadism and revenge. Darkman, patterned on the Phantom of the Opera (with visual quotes
reminding us of other early Universal _^<a_!T4509_HORROR_^>a_ films), has had his face and hands horribly mutilated in a gangster attack, and the nerves that transmit pain and pleasure have been severed in hospital. He returns as a half-mad
avenger. The sf element -- synthetic skin that lasts exactly 99 mins and permits Darkman to duplicate exactly his gangster enemies or appear as briefly normal to his girlfriend -- is borrowed from the old sf movie _^<a_!T1270_DOCTOR X_^>a_ (1932).
There are bravura opening and closing sequences, but _^<i_D_^>i_ is badly constructed (too many writers?) and uninvolving, lacking the insane vigour of Raimi's debut film, _^<i_The Evil Dead_^>i_ (1982). [PN]_^<n__^<n_
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DARK STAR
-T-
Film (1974). Jack H. Harris Enterprises. Dir John _^<a_!T5176_CARPENTER_^>a_, starring Brian Narelle, Dan O'Bannon, Joe Saunders, Dre Pahich. Screenplay Carpenter, O'Bannon. 83 mins. Colour._^<n__^<n_This cult success, Carpenter's debut, was
originally a 45min film shot on 16mm by students at the University of Southern California for $6000, but producer Jack H. Harris provided cash for new footage and for transfer to 35mm film stock. _^<i_DS_^>i_ is a _^<a_!T2812_SATIRE_^>a_ on space
films: the _^<i_Dark Star_^>i_ is a _^<a_!T2348_SPACESHIP_^>a_ in which four men are endlessly roaming the Universe on a tedious mission to locate "unstable" worlds and destroy them with thermostellar bombs. Conditions have deteriorated -- the
_^<a_!T826_COMPUTER_^>a_ is malfunctioning, the life-support systems acting up, the crew in various stages of psychosis, the cryonically maintained captain "dead" but still partly conscious, the ship's mascot (an _^<a_!T98_ALIEN_^>a_ like a beach
ball with claws) increasingly belligerent and, worst of all, one of the sentient thermostellar bombs has to be continually coaxed out of exploding prematurely by debates about phenomenology. _^<i_DS_^>i_ ends apocalyptically ("Let there be light!"
the bomb decides), with each crew member reaching his desired apotheosis, one board-riding through space and a second undergoing ecstatic union with the stars in an asteroid shower._^<n__^<n_Described by one critic as "a _^<i_Waiting for Godot_^>i_
in outer space", _^<i_DS_^>i_ is a sophisticated mixture of black comedy and genuine sf. Technically quite good, its sets and effects are superior to those of sf films costing 10 times its (eventual) $60,000 budget. The novelization is _^<i_Dark
Star_^>i_ * (_^<b_1974_^>b_) by Alan Dean _^<a_!T1572_FOSTER_^>a_. [JB/PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T726_CINEMA_^>a_; _^<a_!T2812_SATIRE_^>a_.
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DARLTON, CLARK
-T-
Pseudonym of German writer, translator and editor Walter Ernsting (1920- ); he has also written as F. MacPatterson. In the 1950s he edited the German _^<i_Utopia-Magazin_^>i_ (launched 1955), providing it with much original and translated
material. In 1957 he began a series of sf publications, _^<b_Terra-Sonderband_^>b_, and was one of the founding editors and writers, with K.-H. _^<a_!T2840_SCHEER_^>a_, of the _^<a_!T1863_PERRY RHODAN_^>a_ series of _^<a_!T2342_SPACE OPERAS_^>a_
from 1961. Over 1600 of these booklets had appeared, on a weekly basis, by mid-1992; a slightly expurgated series of English-language translations began with _^<i_Enterprise Stardust_^>i_ (trans _^<b_1969_^>b_ US) and continued through 141 further
instalments to _^<i_Phantom Horde_^>i_ (trans _^<b_1979_^>b_ US). [JC/PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T4667_GERMANY_^>a_.
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DARNAY, ARSEN (JULIUS)
-T-
(1936- ) Hungarian-born writer, in the USA from 1953 and a US citizen from 1961. His first sf story, "Such is Fate", appeared in _^<i_If_^>i_ in 1974; his first novel, _^<i_A Hostage for Hinterland_^>i_ (_^<b_1976_^>b_), set the pattern for much
of his work: in a post-_^<a_!T4482_HOLOCAUST_^>a_ USA, where floating _^<a_!T727_CITIES_^>a_ depend upon land-dwelling ecofreak tribesmen for the helium that cools their reactors, crisis erupts into a bleak and somewhat metaphysical confrontation,
at the end of which the cities die. A similarly abstract dichotomy, set on a _^<a_!T2605_RIMWORLD_^>a_, is destabilized in _^<i_The Siege of Faltara_^>i_ (_^<b_1978_^>b_). _^<i_The Splendid Freedom_^>i_ (coll of linked stories _^<b_1980_^>b_)
carries its protagonists, who are linked through _^<a_!T2548_REINCARNATION_^>a_, into a variety of _^<a_!T1370_DYSTOPIAS_^>a_. AD has not published fiction since 1981. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Karma: A Novel of Retribution and
(1940- ) UK writer whose sf novels are _^<i_The God Killers_^>i_ (_^<b_1970_^>b_) with Tony Halliwell, both authors signing as James Ross, and _^<i_Gravitor_^>i_ (_^<b_1971_^>b_), which features an oppressed world and a scientific plot to
increase _^<a_!T4817_GRAVITY_^>a_, causing chaos . . . to the advantage of the plotters. [JC]_^<n__^<n_
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DARWIN, ERASMUS
-T-
(1731-1802) UK physician, philosopher and poet; grandfather of Charles Darwin (1809-1882). It is for his poetry that ED is of interest to the sf field; in particular, _^<i_The Botanic Garden: A Poem, in Two Parts; Part 1: The Economy of Vegetation;
Part II: The Loves of the Plants_^>i_ (as separate poems _^<b_1792_^>b_ and _^<b_1789_^>b_; _^<b_1795_^>b_) conveys through its wooden but occasionally powerful couplets a serious speculative message about the chronological depth of
_^<a_!T6717_EVOLUTION_^>a_, for which he argued in abominable rhyme -- examples of his verse can be found in _^<i_The Stuffed Owl_^>i_ (anth _^<b_1930_^>b_), ed D.B. Wyndham Lewis (1894-1969) and Charles Lee -- clearly presaging the revolutionary
thoughts of his grandson._^<n__^<n_ED's prose work _^<i_Zoonomia: Of the Laws of Organic Life_^>i_ (_^<b_1796_^>b_) and the posthumously published poem _^<i_The Temple of Nature_^>i_ (_^<b_1802_^>b_) both extend the argument, with a wealth of
technological and scientific imagery. The extent to which science fired ED's imagination, together with his contemporary popularity, make him an important figure in _^<a_!T2013_PROTO SCIENCE FICTION_^>a_ and his work an early outstanding success in
terms of sf _^<a_!T1979_PREDICTION_^>a_. He belonged to the period when the imagery of science first entered the consciousness of laymen in general. [JC/PN]_^<n__^<n__^<b_About the author:_^>b_ _^<i_Erasmus Darwin_^>i_ (_^<b_1963_^>b_) by Desmond
King-Hele; Brian W. _^<a_!T87_ALDISS_^>a_ discusses ED at length in _^<i_Trillion Year Spree: The History of Science Fiction_^>i_ (_^<b_1986_^>b_) with David _^<a_!T5653_WINGROVE_^>a_.
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D.A.R.Y.L.
-T-
Film (1985). World Film Services/Columbia. Dir Simon Wincer, starring Mary Beth Hurt, Michael McKean, Kathryn Walker, Josef Sommer, Barret Oliver. Screenplay David Ambrose, Allan Scott, Jeffrey Ellis. 100 mins. Colour._^<n__^<n_D.A.R.Y.L. is a Data
Analysing Robot Youth Lifeform but, when "he" (Oliver) wakes up amnesiac in the woods, he thinks he is just a small boy, Daryl. Adopted by a pleasant family, he learns not to show his superintelligence and coordination too obviously and makes local
friends, but then is located by the scientists who made him, almost terminated by the military, escapes . . . and so forth. There is a happy ending. This film is fairly obviously aimed at children and is competently and even engagingly made, but it
never ignites; even those sf riffs proven successful by Steven _^<a_!T2367_SPIELBERG_^>a_ and here borrowed from him (most obviously -- > _^<a_!T6704_E.T._^>a_ -- the alien being sheltered in suburbia who undergoes death and resurrection) remain
comparatively inert. [PN]_^<n__^<n_
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DATLOW, ELLEN (SUE)
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(1949- ) US editor, fiction editor of _^<i_Omni_^>i_ from Oct 1981, and editor of two sequences of spin-off anthologies from that magazine 1983-9 (> _^<a_!T3315_OMNI_^>a_ _^<i_for details_^>i_); _^<i_Omni Visions One_^>i_ (anth _^<b_1993_^>b_)
and _^<i_Omni Visions Two_^>i_ (anth _^<b_1994_^>b_), on the other hand, contain mostly original stories. The combination of a decent budget and good critical taste have made ED one of the more influential US sf (and fantasy) editors, and she has
by no means restricted her story-buying to work from already established writers. Aside from the _^<b_Omni_^>b_ anthologies she has edited _^<i_Blood is Not Enough: 17 Stories of Vampirism_^>i_ (anth _^<b_1989_^>b_)_^<i_Alien Sex_^>i_ (anth
_^<b_1990_^>b_), a strong collection of both sf and fantasy (> _^<a_!T2115_SEX_^>a_); _^<i_A Whisper of Blood_^>i_ (anth _^<b_1991_^>b_) and _^<i_Little Deaths: 24 Tales of Sex and Horror_^>i_ (anth _^<b_1994_^>b_ UK; <cut 1995 US>). With Terri
_^<a_!T5650_WINDLING_^>a_ ED has edited the _^<b_Year's Best Fantasy_^>b_ anthology series: _^<i_The Year's Best Fantasy: First Annual Collection_^>i_ (anth _^<b_1988_^>b_; vt _^<i_Demons and Dreams: The Best Fantasy and Horror 1_^>i_ UK), _^<i_The
Year's Best Fantasy: Second Annual Collection_^>i_ (anth _^<b_1989_^>b_; vt _^<i_Demons and Dreams 2_^>i_ UK), _^<i_#3_^>i_ (anth _^<b_1990_^>b_), _^<i_#4_^>i_ (anth _^<b_1991_^>b_),_^<i_#5_^>i_ (_^<b_1992_^>b_), _^<i_#6_^>i_ (anth _^<b_1993_^>b_)
and _^<i_#7_^>i_ (anth _^<b_1994_^>b_). These are certainly the best of their kind -- the first two won World Fantasy _^<a_!T6321_AWARDS_^>a_ -- being very big, very wide-ranging and intelligently selected; ED mainly looks after the horror,
Windling the fantasy. This division of responsibilities is less apparent in _^<i_Snow White, Blood Red _^>i_(anth _^<b_1993_^>b_) and _^<i_Black Thorn, White Rose_^>i_ (anth _^<b_1994_^>b_), two linked anthologies comprising original stories, all
twice-told re-visions of traditional folk material. [PN]_^<n__^<n_
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DAUDET, LEON
-T-
[r] > _^<a_!T1590_FRANCE_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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DAUGHTER OF DESTINY
-T-
> _^<a_!T128_ALRAUNE_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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-C- 1075 SF01071.t
11
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DAVENPORT, BASIL
-T-
(1905-1966) US academic and anthologist. His connection with sf began with _^<i_An Introduction to Islandia, its History, Custom, Laws, Language, and Geography, as Prepared by Basil Davenport from Islandia_^>i_ (_^<b_1942_^>b_ chap), a book about
_^<i_Islandia_^>i_ (_^<b_1942_^>b_) by Austin Tappan _^<a_!T6189_WRIGHT_^>a_. Then came a short critical and historical study, _^<i_Inquiry into Science Fiction_^>i_ (_^<b_1955_^>b_chap). BD also introduced the anonymously edited critical anthology
_^<i_The Science Fiction Novel: Imagination and Social Criticism_^>i_ (anth _^<b_1959_^>b_; rev 1964), which contains lectures delivered by Alfred _^<a_!T568_BESTER_^>a_, Robert _^<a_!T661_BLOCH_^>a_, Robert A. _^<a_!T4376_HEINLEIN_^>a_ and C.M.
_^<a_!T6353_KORNBLUTH_^>a_ at a 1957 symposium at the University of Chicago. His anthologies are in the main fantasy rather than sf. Three were compiled with the aid of Albert Paul Blaustein (Allen _^<a_!T1147_DE GRAEFF_^>a_), uncredited:
_^<i_Deals with the Devil_^>i_ (anth _^<b_1958_^>b_; cut vt _^<i_Twelve Stories from Deals with the Devil: An Anthology_^>i_ 1959), _^<i_Invisible Men_^>i_ (anth _^<b_1960_^>b_) and _^<i_Famous Monster Tales_^>i_ (anth _^<b_1967_^>b_). His other
anthologies are _^<i_Ghostly Tales to be Told_^>i_ (anth _^<b_1950_^>b_), _^<i_Tales to be Told in the Dark_^>i_ (anth _^<b_1953_^>b_; cut vt _^<i_Horror Stories from Tales to be Told in the Dark_^>i_ 1960) and _^<i_13 Ways to Dispose of a
Body_^>i_ (anth _^<b_1966_^>b_). [PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T2071_SF IN THE CLASSROOM_^>a_.
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DAVENPORT, BENJAMIN RUSH
-T-
(? -? ) US writer whose best-known novel is the future-_^<a_!T5452_WAR_^>a_ tale _^<i_Anglo-Saxons, Onward! A Romance of the Future_^>i_ (_^<b_1898_^>b_), in which, led by the US president, Anglo-Saxons dominate the world, including Spain -- cf
the contemporaneous Spanish-US War. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_"Uncle Sam's" Cabins: A Story of American Life, Looking Forward a Century_^>i_ (_^<b_1895_^>b_); _^<i_Blood Will Tell: The Strange Story of a Son of Ham_^>i_
(_^<b_1902_^>b_).
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(c) 1995 John Clute and Peter Nicholls
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DAVENPORT, GUY (MATTISON)
-T-
(1927- ) US academic, translator and short-story writer, long a teacher at the University of Kentucky, known for his translations from the Greek, his poetry, his literary essays -- collected primarily in _^<i_The Geography of the Imagination_^>i_
(coll _^<b_1981_^>b_) and _^<i_Every Force Evolves a Form_^>i_ (coll _^<b_1987_^>b_) -- and for the _^<a_!T1372_FABULATIONS_^>a_ assembled in _^<i_Tatlin!_^>i_ (coll _^<b_1974_^>b_), _^<i_Da Vinci's Bicycle_^>i_ (coll _^<b_1979_^>b_), _^<i_Trois
Caprices _^>i_(coll _^<b_1981_^>b_ chap), _^<i_Eclogues_^>i_ (coll _^<b_1981_^>b_), _^<i_The Bowmen of Shu_^>i_ (_^<b_1983_^>b_ chap), which also appears in _^<i_Apples and Pears_^>i_ (coll _^<b_1984_^>b_), _^<i_The Bicycle Rider_^>i_
(_^<b_1985_^>b_ chap), which also appears in _^<i_The Jules Verne Steam Balloon_^>i_ (coll _^<b_1987_^>b_) and_^<i_ The Drummer of the Eleventh North Devonshire Fusiliers_^>i_ (coll_^<b_ 1990_^>b_). Although J.G. _^<a_!T378_BALLARD_^>a_ and others
had insinuated a fascination with French Surrealism into their _^<a_!T3181_NEW-WAVE_^>a_ tales, GD's own collaged and hallucinated conflations of data and visuals and _^<i_Sehnsucht_^>i_ -- as in "Tatlin!" (1974), the novel-length "The Dawn in
Erewhon" (1974), "Au Tombeau de Charles Fourier" (1975), "The Richard Nixon Freischutz Rag" (1976) and "Christ Preaching at the Henley Regatta" (1980) -- mediate neatly between the solitary despair of the 1960s work of Ballard and others and the
more broadly socialized and nostalgic vision of sf writers like Howard _^<a_!T5425_WALDROP_^>a_. Indeed GD's work can be seen as an important adumbration of the sudden late 1980s growth in alternate-history tales (> _^<a_!T131_ALTERNATE
WORLDS_^>a_) which plunder the earlier 20th century for icons and protagonists and for moments of haunting significance. [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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DAVENTRY, LEONARD (JOHN)
-T-
(1915- ) UK writer whose first sf novel, _^<i_A Man of Double Deed_^>i_ (_^<b_1965_^>b_), began the _^<b_Claus Coman_^>b_ series of tales set on an Earth partly recovered from nuclear _^<a_!T1243_DISASTER_^>a_ and run by telepaths, one of whom,
the protagonist, is assigned the task of solving various problems. The sequel is _^<i_Reflections in a Mirage, and The Ticking is in Your Head_^>i_ (coll _^<b_1969_^>b_ US), two book-length stories, published separately as _^<i_Reflections in a
Mirage_^>i_ (_^<b_1969_^>b_) and _^<i_The Ticking is in Your Head_^>i_ (_^<b_1970_^>b_). _^<i_Terminus_^>i_ (_^<b_1971_^>b_) is a grim _^<a_!T1370_DYSTOPIA_^>a_. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Twenty-One Billionth Paradox_^>i_
(_^<b_1971_^>b_ US); _^<i_Degree XII_^>i_ (_^<b_1972_^>b_); _^<i_You Must Remember Us -- ?_^>i_ (_^<b_1980_^>b_).
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DAVEY, (HENRY) NORMAN
-T-
(1888-? ) UK writer whose _^<i_Yesterday: A Tory Fairy-Tale_^>i_ (_^<b_1924_^>b_) describes the _^<a_!T6337_NEAR-FUTURE_^>a_ secession of the Isle of Wight. Although proof copies of the novel exist entitled <Perhaps> and dated 1914, there is no
evidence of the text having actually been published then. ND's other genre works are fantasies; they include the _^<b_Matthew Sumner_^>b_ books: _^<i_The Pilgrim of a Smile_^>i_ (_^<b_1921_^>b_) and _^<i_The Penultimate Adventure_^>i_
(_^<b_1924_^>b_ chap) -- both assembled as _^<i_The Pilgrim of a Smile_^>i_ (omni _^<b_1933_^>b_) -- _^<i_Judgment Day_^>i_ (_^<b_1928_^>b_) and _^<i_Pagan Parable: an Allegory in Four Acts_^>i_ (_^<b_1936_^>b_). [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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DAVID, PETER (ALLEN)
-T-
(1956- ) US writer, many of whose books are signed David Peters. As PD he has concentrated on fantasies like _^<i_Knight Life_^>i_ (_^<b_1987_^>b_), a tale in which Arthur is put into the modern world, and _^<i_Howling Mad: A Tale of Relenting
Horror_^>i_ (_^<b_1989_^>b_); on film ties like _^<i_The Return of Swamp Thing_^>i_ * (_^<b_1989_^>b_),_^<i_The Rocketeer_^>i_ * (_^<b_1991_^>b_) and _^<i_Alien Nation: Body and Soul_^>i_ * (_^<b_1993_^>b_), tied to a cancelled tv series; and on
_^<b_Star Trek_^>b_ ties, _^<a_!T2429_STAR TREK_^>a_ novels including_^<i_The Rift_^>i_ * (_^<b_1991_^>b_), _^<i_The Disinherited_^>i_ * (_^<b_1992_^>b_) with Michael Jan _^<a_!T1626_FRIEDMAN_^>a_ and Robert Greenberger, and _^<i_Who Killed Captain
Kirk?_^>i_ * (graph _^<b_1993_^>b_) illus Tom Sutton and Gordon Purcell; several _^<a_!T2436_STAR TREK: THE NEXT GENERATION _^>a_tales: _^<i_Strike Zone_^>i_ * (_^<b_1989_^>b_), _^<i_A Rock and a Hard Place_^>i_ * (_^<b_1990_^>b_),
_^<i_Vendetta_^>i_ * (_^<b_1991_^>b_),_^<i_Q-in-Law_^>i_ * (_^<b_1991_^>b_), _^<i_Imzadi_^>i_ * (_^<b_1992_^>b_), _^<i_Starfleet Academy: Whorf's First Adventure_^>i_ * (_^<b_1993_^>b_), _^<i_Starfleet Academy: Line of Fire_^>i_ * (_^<b_1993_^>b_),
_^<i_Starfleet Academy: Survival_^>i_ *(_^<b_1993_^>b_) and _^<i_Q-Squared_^>i_ * (_^<b_1994_^>b_)._^<n__^<n_As David Peters, he is responsible for two sequences: the _^<b_Photon_^>b_ game-tie series -- _^<i_Photon: For the Glory_^>i_ *
(_^<b_1987_^>b_), _^<i_#2: High Stakes_^>i_ * (_^<b_1987_^>b_), _^<i_#3: In Search of Mom_^>i_ * (_^<b_1987_^>b_), _^<i_#4: This is Your Life, Bhodi Li_^>i_ * (_^<b_1987_^>b_), _^<i_#5: Exile_^>i_ * (_^<b_1987_^>b_) and _^<i_#6: Skin Deep_^>i_ *
(_^<b_1988_^>b_) -- and the _^<b_Psi-Man_^>b_ series -- _^<i_Psi-Man_^>i_ (_^<b_1990_^>b_), _^<i_Psi-Man: Deathscape_^>i_ (_^<b_1991_^>b_), _^<i_#3: Main Street D.O.A._^>i_ (_^<b_1991_^>b_), _^<i_#4: The Chaos Kid_^>i_ (_^<b_1991_^>b_), _^<i_#5:
Stalker_^>i_ (_^<b_1991_^>b_) and _^<i_#6: Haven_^>i_ (_^<b_1991_^>b_). [JC]_^<n__^<n_
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DAVIDSON, AVRAM (JAMES)
-T-
(1923-1993) US writer and editor, born in Yonkers, New York; he served in the US Navy 1941-5 and with the Israeli forces in the 1948-9 Arab-Israeli War. An orthodox Jew, though his faith found direct expression very rarely in his stories, he began
publishing sf with "My Boy Friend's Name is Jello" (1954) in _^<i_FSF_^>i_, and early established a reputation for a sometimes obtrusive literacy and considerable wit. "Or All the Seas with Oysters" (1958) won a _^<a_!T4551_HUGO_^>a_. Much of his
early fiction appeared in _^<i_FSF_^>i_, which he edited 1962-4 -- it won a Hugo in 1963 -- and producing as part of his job _^<i_The Best of Fantasy and Science Fiction, 12th Series_^>i_ (anth _^<b_1963_^>b_), _^<i_13th Series_^>i_ (anth
_^<b_1964_^>b_) and _^<i_14th Series_^>i_ (anth _^<b_1965_^>b_). His first novel was _^<i_Joyleg_^>i_ (_^<b_1962_^>b_) with Ward _^<a_!T3039_MOORE_^>a_ (_^<i_whom see for details_^>i_)._^<n__^<n_AD's first solo novel, _^<i_Mutiny in Space_^>i_
(_^<b_1964_^>b_), immediately established his credentials as a writer of superior _^<a_!T2342_SPACE OPERA_^>a_ rather in contrast to the manner and style of his short works. Other novels with a similarly straightforward effect include
_^<i_Rork!_^>i_ (_^<b_1965_^>b_), _^<i_The Enemy of My Enemy_^>i_ (_^<b_1966_^>b_) and, most notably, _^<i_Masters of the Maze_^>i_ (_^<b_1965_^>b_), an intricate _^<a_!T1794_PARALLEL-WORLDS_^>a_ adventure with sharply characterized humans involved
in barring interdimensional transit to a remarkably vivid _^<a_!T98_ALIEN_^>a_ race. _^<i_The Kar-Chee Reign_^>i_ (_^<b_1966_^>b_ dos) and _^<i_Rogue Dragon_^>i_ (_^<b_1965_^>b_) share a relaxedly pan-Galactic _^<a_!T1432_FAR-FUTURE_^>a_
perspective on their Earthly venue; _^<i_Clash of Star-Kings_^>i_ (_^<b_1966_^>b_ dos), which along with _^<i_Rogue Dragon_^>i_ was nominated for a _^<a_!T3147_NEBULA_^>a_, is set in a richly realized Mexico which becomes a venue for a game of war
amongst returning alien "gods". But even these relatively active tales tend to subordinate plot to the play of language and a visible affection for the phenomenal world, characteristics increasingly found in his later fiction, where an air of
combined flamboyance and meditative calm enriches -- but does not always manage to enliven -- ornate fantasies like _^<i_The Phoenix and the Mirror, or The Enigmatic Speculum_^>i_ (1966 _^<i_AMZ_^>i_; _^<b_1969_^>b_), which opens the _^<b_Vergil
Magus_^>b_ sequence in a medieval _^<a_!T131_ALTERNATE WORLD_^>a_ whose universal scholastic worldview, encompassing everything from geography to alchemy, turns out to be literally accurate (AD has always been fascinated by
_^<a_!T2019_PSEUDO-SCIENCE_^>a_). Vergil goes through a number of adventures in this ornately humanized environment in search of a "virgin mirror" to trade for his stolen virility, but the novel closes without coming to a satisfactory climax, nor
does _^<i_Vergil in Averno_^>i_ (_^<b_1987_^>b_), published as a sequel but in fact set prior to the earlier novel, bring things to a close. This tale, set in a factory town inside a volcano, is a rich and wry parable of the birth of the
Renaissance mentality (with the magus himself rather jumping the gun). The _^<b_Peregrine_^>b_ series -- _^<i_Peregrine: Primus_^>i_ (_^<b_1971_^>b_) and _^<i_Peregrine: Secundus_^>i_ (_^<b_1981_^>b_) -- even more relaxedly conveys its protagonist
through a wide and intriguing world reminiscent of Classical Rome. _^<i_The Island Under the Earth_^>i_ (_^<b_1969_^>b_) began a series not yet continued._^<n__^<n_AD's notable short fiction has been assembled in several volumes: _^<i_Or All the
Seas with Oysters_^>i_ (coll _^<b_1962_^>b_), _^<i_What Strange Stars and Skies_^>i_ (coll _^<b_1965_^>b_), _^<i_Strange Seas and Shores_^>i_ (coll _^<b_1971_^>b_), _^<i_The Enquiries of Doctor Eszterhazy_^>i_ (coll of linked stories
_^<b_1975_^>b_; exp vt _^<i_The Adventures of Doctor Eszterhazy_^>i_ 1990), set in an _^<a_!T131_ALTERNATE-WORLD_^>a_, _^<a_!T2737_RURITANIAN_^>a_ version of late-19th-century Europe, and _^<i_The Redward Edward Papers_^>i_ (coll _^<b_1978_^>b_),
re-sorted in _^<i__^<a_!B9144_THE BEST OF AVRAM DAVIDSON_^>a__^>i_ (coll _^<b_1979_^>b_) ed Michael _^<a_!T4141_KURLAND_^>a_, and _^<i_Avram Davidson: Collected Fantasies_^>i_ (coll _^<b_1982_^>b_) ed John _^<a_!T2209_SILBERSACK_^>a_. AD's wit and
bookish allusiveness -- he is perhaps sf's most explicitly literary author -- shine most persuasively in his shorter works, where constraints in length seem to keep him from floundering or self-indulgence and the narrative thread stays in view; the
focus supplied by length constraints also has a concentrating effect on the disquisitory 1980s essays, published in _^<i_IASFM_^>i_ and elsewhere, and assembled as _^<i_Adventures in Unhistory: Conjectures on the Factual Foundations of Several
Ancient Legends_^>i_ (coll _^<b_1993_^>b_). Working in short compass seems, too, to excite his extraordinary sense of humour. It is hard to imagine the genre that could encompass him; it is even more difficult to imagine fantasy or sf without him.
[JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_And on the Eighth Day_^>i_ (_^<b_1964_^>b_) and _^<i_The Fourth Side of the Triangle_^>i_ (_^<b_1965_^>b_), both as by Ellery Queen, both detections; _^<i_Ursus of Ultima Thule_^>i_ (fixup _^<b_1973_^>b_);
_^<i_Polly Charms the Sleeping Woman_^>i_ (1975 _^<i_FSF_^>i_; _^<b_1977_^>b_ chap), an _^<b_Eszterhazy_^>b_ tale; _^<i_Magic for Sale_^>i_ (anth _^<b_1983_^>b_); _^<i_And Don't Forget the One Red Rose_^>i_ (1975 _^<i_Playboy_^>i_; _^<b_1986_^>b_
chap); _^<i_Marco Polo and the Sleeping Beauty_^>i_ (_^<b_1988_^>b_) with Grania (Eve) Davis (1943- )._^<b_See also:_^>b_ _^<a_!T290_ATLANTIS_^>a_; _^<a_!T811_COLONIZATION OF OTHER WORLDS_^>a_; _^<a_!T1412_FANTASY_^>a_; _^<a_!T1686_GALAXY
SCIENCE FICTION_^>a_; _^<i_The_^<a_!T3595_MAGAZINE OF FANTASY AND SCIENCE FICTION_^>a__^>i_ ; _^<a_!T1812_PASTORAL_^>a_.
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DAVIDSON, HUGH
-T-
[s] > Edmond _^<a_!T4258_HAMILTON_^>a_._^<n__^<n_
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DAVIDSON, JOHN
-T-
(1857-1909) UK poet, playwright and story-writer, best known in the first capacity for _^<i_Fleet Street Eclogues_^>i_ (coll _^<b_1893_^>b_). _^<i_Miss Armstrong's and Other Circumstances_^>i_ (coll _^<b_1896_^>b_) contains "An Interregnum in
Fairyland", a fantasy tale. "Eagle's Shadow", a future-_^<a_!T5452_WAR_^>a_ story, and "The Salvation of Nature", a spoof tale ending in worldwide _^<a_!T1243_DISASTER_^>a_, both feature in the _^<b_The Great Men_^>b_ cycle of
_^<a_!T768_CLUB-STORIES_^>a_ collected in _^<i_The Great Men, and A Practical Novelist_^>i_ (omni _^<b_1891_^>b_), the second title not being of genre interest; both these stories also appear in _^<i_The Pilgrimage of Strongsoul and Other
Stories_^>i_ (coll _^<b_1896_^>b_). _^<i_A Full and True Account of the Wonderful Mission of Earl Lavender_^>i_ (_^<b_1895_^>b_) is a _^<a_!T2812_SATIRE_^>a_ about a self-appointed Nietzschean overman; and the _^<b_Testaments_^>b_ series of poems
-- especially _^<i_The Testament of a Vivisector_^>i_ (_^<b_1901_^>b_) -- also make use of Nietzsche._^<n__^<n_ [JC/BS]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T6661_END OF THE WORLD_^>a_.
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DAVIDSON, LIONEL
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(1922- ) UK-born writer, resident in Israel, best known for his thrillers, beginning with _^<i_The Night of Wenceslas_^>i_ (_^<b_1960_^>b_). His second, _^<i_The Rose of Tibet_^>i_ (_^<b_1962_^>b_), has a lost-race (> _^<a_!T3460_LOST
WORLDS_^>a_) plot-line. _^<i_The Sun Chemist_^>i_ (_^<b_1976_^>b_) is borderline sf: the lost formula of Israeli scientist and president Chaim Weizmann (1874-1952) uses the sweet potato as a means of tapping the Sun's power; there is an adventurous
quest to find it. _^<i_Under Plum Lake_^>i_ (_^<b_1980_^>b_) is a fantasy for children with a trip to Paradise under sea and in outer space. [PN]_^<n__^<n_
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DAVIDSON, MICHAEL
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(?1944- ) US author of two sf novels: _^<i_The Karma Machine_^>i_ (_^<b_1975_^>b_), a dystopian vision of a _^<a_!T826_COMPUTER_^>a_-dominated world, and _^<i_Daughter of Is: A Science Fiction Epic: An "Else-when"Parable_^>i_ (_^<b_1978_^>b_), an
(1909-1984) UK writer and academic whose surrealist novel _^<i_Petron_^>i_ (_^<b_1935_^>b_) is, at least retroactively, of some value to sf writers and readers as an early model for contemporary attempts at the rendering of _^<a_!T3783_INNER
SPACE_^>a_. _^<i_The Papers of Andrew Melmoth_^>i_ (_^<b_1960_^>b_) is an interesting story about the _^<a_!T6717_EVOLUTION_^>a_ of _^<a_!T3787_INTELLIGENCE_^>a_ in rats, quite different, in its quiet literary tone, from the Gothic treatment such
subjects normally evoke. [JC/PN]_^<n__^<n_
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DAVIES, L(ESLIE) P(URNELL)
-T-
(1914- ) UK writer who has worked also as a pharmacist and as a painter; he now lives in the Canary Isles. His consistently borderline sf often permits a delusional-frame interpretation of the events it depicts, so that frequently it is difficult
to distinguish among the genres he utilizes, which include horror, fantasy, suspense thriller and sf. Along with John _^<a_!T629_BLACKBURN_^>a_ and John _^<a_!T3500_LYMINGTON_^>a_, both of whose writing his sometimes resembles, LPD has in a sense
founded a new generic amalgam: tales whose slippage among various genres is in itself a characteristic point of narrative interest, with the reader kept constantly in suspense about the generic nature of any climaxes or explanations to be
presented._^<n__^<n_LPD began publishing sf with "The Wall of Time" for _^<i_London Mystery Magazine_^>i_ in 1960, and published fiction under a number of pseudonyms, including Leo Barne, Robert Blake, Richard Bridgeman, Morgan Evans, Ian
Jefferson, Lawrence Peters, Thomas Phillips, G.K. Thomas, Leslie Vardre and Rowland Welch._^<n__^<n_His first novel, _^<i_The Paper Dolls_^>i_ (_^<b_1964_^>b_), televised in 1968, sets a mystery involving telepathy and murder in the depths of the
English countryside, a venue he uses frequently. _^<i_Man out of Nowhere_^>i_ (_^<b_1965_^>b_; vt _^<i_Who is Lewis Pinder?_^>i_ 1966 US) and _^<i_The Artificial Man_^>i_ (_^<b_1965_^>b_) can both be read as delusional-frame tales; the latter,
about a _^<a_!T6337_NEAR-FUTURE_^>a_ secret agent immured in a "fake" English village while his unconscious is probed, was made into the film _^<i_Project X_^>i_ (1968), not to be confused with _^<a_!T2008_PROJECT X_^>a_ (1987). LPD's subsequent
novels have been, as to genre, variously marketed, but they share an ambivalence in the way they can be read, an occasional glibness of effect, and narrative skill. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Psychogeist_^>i_ (_^<b_1966_^>b_);
_^<i_The Lampton Dreamers_^>i_ (_^<b_1966_^>b_); _^<i_Tell it to the Dead_^>i_ (_^<b_1966_^>b_ as by Leslie Vardre in UK; vt _^<i_The Reluctant Medium_^>i_ 1967 US); _^<i_Twilight Journey_^>i_ (_^<b_1967_^>b_); _^<i_The Nameless Ones_^>i_
(_^<b_1967_^>b_ as by Leslie Vardre in UK; vt _^<i_A Grave Matter_^>i_ 1968 US); _^<i_The Alien_^>i_ (_^<b_1968_^>b_; vt _^<i_The Groundstar Conspiracy_^>i_ 1972), filmed as _^<i_The Groundstar Conspiracy_^>i_ (1972); _^<i_Stranger to Town_^>i_
(_^<b_1969_^>b_); _^<i_Dimension A_^>i_ (_^<b_1969_^>b_); _^<i_Genesis Two_^>i_ (_^<b_1969_^>b_); _^<i_The White Room_^>i_ (_^<b_1969_^>b_); _^<i_The Shadow Before_^>i_ (_^<b_1970_^>b_); _^<i_Give Me Back Myself_^>i_ (_^<b_1971_^>b_); _^<i_What Did
I Do Tomorrow?_^>i_ (_^<b_1972_^>b_); _^<i_Assignment Abacus_^>i_ (_^<b_1975_^>b_); _^<i_Possession_^>i_ (_^<b_1976_^>b_); _^<i_The Land of Leys_^>i_ (_^<b_1979_^>b_ US)._^<b_See also:_^>b_ _^<a_!T2023_PSYCHOLOGY_^>a_.
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DAVIES, PAUL (CHARLES WILLIAMS)
-T-
(1946- ) UK physicist (currently [1992] Professor of Mathematical Physics at the University of Adelaide in Australia), science writer and sf author whose scientific nonfiction is perhaps more distinguished than his sf. His novel
_^<i_Fireball_^>i_ (_^<b_1987_^>b_) has _^<a_!T201_ANTIMATTER_^>a_ pellets impacting Earth and creating chaos; although their actual source is an _^<a_!T98_ALIEN_^>a_ spacecraft, they are interpreted by the USA as a Soviet weapon. The ideas are
interesting, the thriller elements routine. However, his academic science books, signed P.C.W. Davies, and his popular science books, signed Paul Davies, are very good. In the former category are _^<i_Space and Time in the Modern Universe_^>i_
(_^<b_1977_^>b_), _^<i_The Forces of Nature_^>i_ (_^<b_1979_^>b_), _^<i_The Search for Gravity Waves_^>i_ (_^<b_1980_^>b_) and _^<i_The Accidental Universe_^>i_ (_^<b_1982_^>b_), among others. In the latter category are _^<i_The Runaway
Universe_^>i_ (_^<b_1978_^>b_; vt _^<i_Stardoom_^>i_ 1979 UK), _^<i_Other Worlds_^>i_ (_^<b_1980_^>b_), _^<i_The Edge of Infinity_^>i_ (_^<b_1981_^>b_), _^<i_God and the New Physics_^>i_ (_^<b_1983_^>b_), _^<i_The Matter Myth_^>i_ (_^<b_1991_^>b_)
with John _^<a_!T4864_GRIBBIN_^>a_, _^<i_The Mind of God: The Scientific Basis for a Rational World_^>i_ (_^<b_1992_^>b_), _^<i_The Last Three Minutes: Latest Thinking About the Ultimate Fate of the Universe _^>i_(_^<b_1994_^>b_) and _^<i_Are We
Alone?: Philosophical Implications of the discovery of Extraterrestrial Life_^>i_ (_^<b_1995_^>b_), among others. The speculations tend more towards the theological in the later works. The pungency of his theological/cosmological writings is
confirmed by the award to PD in 1995 of the Templeton Prize for Progress in Religion worth over one million US dollars, a prize in its field comparable to the Nobel. [PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T902_COSMOLOGY_^>a_;
(1959- ) UK writer whose first novel, _^<i_The Last Election_^>i_ (_^<b_1986_^>b_), depicts with singular ferocity a _^<a_!T6337_NEAR-FUTURE_^>a_ UK ruled by the Money Party and its senile Nanny; _^<a_!T1752_OVERPOPULATION_^>a_ and the total loss
of a manufacturing base lead to the government's dissemination of a painkiller which causes premature ageing in the poor. The final election, won by Nanny with the aid of a powerful advertising agency, is soon over. In _^<i_Dollarville_^>i_
(_^<b_1989_^>b_ US), refocusing his Swiftian rage on less local targets, PD constructs an impressively surreal though unspecific venue, a world polluted beyond redemption in which the rich are inconceivably corrupt; in this environment, a
decent-hearted advertising man attempts to save a woman ecologist from a porno king; but the world ends. [JC]_^<n__^<n_
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DAVIES, WALTER C.
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[s] > C.M. _^<a_!T6353_KORNBLUTH_^>a_._^<n__^<n_
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DAVIES, W.X.
-T-
Pseudonym of the unidentified US author of the _^<b_Countdown WWIII_^>b_ sequence of military-sf adventures: _^<i_Countdown WWIII: Operation North Africa_^>i_ (_^<b_1984_^>b_), _^<i_#2: Operation Black Sea_^>i_ (_^<b_1984_^>b_), _^<i_#3: Operation
Choke Point_^>i_ (_^<b_1984_^>b_) and _^<i_#4: Operation Persian Gulf_^>i_ (_^<b_1984_^>b_). [JC]_^<n__^<n_
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DAVIS, ELLIS JAMES
-T-
[r] > _^<a_!T189_ANONYMOUS SF AUTHORS_^>a_._^<n__^<n_
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DAVIS, FREDERICK C(LYDE)
-T-
(1902-1977) US writer of pulp fiction, sometimes under pseudonyms. His first book was _^<i_The Smiling Killer_^>i_ (coll _^<i_c_^>i__^<b_1935_^>b_ chap UK). His most interesting early work was the _^<b_Moon Man_^>b_ sequence, first published from
1933 in _^<i_Ten Detective Aces_^>i_; after the publication, decades later, of one tale as _^<i_The Moon Man_^>i_ (_^<b_1974_^>b_ chap), the sequence began to be released in book form with _^<i_The Night Nemesis: The Complete Adventures of the Moon
Man, Volume One_^>i_ (coll _^<b_1985_^>b_) ed Gary Hoppenstand and Garyn G. Roberts; however, no further volumes appeared. Under the house name Curtis _^<a_!T5699_STEELE_^>a_, FCD was responsible for the lead novels in the magazine
_^<a_!T1712_OPERATOR # 5 _^>a_from Apr 1934 to Nov 1935. 13 of these appeared in book form in 3 separate paperback series: (a) _^<i_Legions of the Death Master_^>i_ (_^<b_1966_^>b_), _^<i_The Army of the Dead_^>i_ (_^<b_1966_^>b_), _^<i_The
Invisible Empire_^>i_ (_^<b_1966_^>b_; vt _^<i_Operator 5 #2: The Invisible Empire_^>i_ 1974), _^<i_Master of Broken Men_^>i_ (_^<b_1966_^>b_), _^<i_Hosts of the Flaming Death_^>i_ (_^<b_1966_^>b_), _^<i_Blood Reign of the Dictator_^>i_
(_^<b_1966_^>b_), _^<i_March of the Flame Marauders_^>i_ (_^<b_1966_^>b_), and _^<i_Invasion of the Yellow Warlords_^>i_ (_^<b_1966_^>b_); (b) the original first 3 magazine novels republished in chronological order as _^<i_The Masked Invasion_^>i_
(_^<b_1974_^>b_), _^<i_The Invisible Empire_^>i_ (see above) and _^<i_The Yellow Scourge_^>i_ (_^<b_1974_^>b_); (c) _^<i_Cavern of the Damned _^>i_(_^<b_1980_^>b_), _^<i_Legions of Starvation_^>i_ (_^<b_1980_^>b_) and _^<i_Scourge of the Invisible
Death_^>i_ (_^<b_1980_^>b_). [JC/PN]_^<n__^<n__^<b_Other work:_^>b_ _^<i_The Mole Men Want Your Eyes_^>i_ (_^<b_1976_^>b_ chap)._^<n__^<n_
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DAVIS, GERRY
-T-
(1930-1991) UK writer, primarily for tv, who collaborated with Kit _^<a_!T1834_PEDLER_^>a_ on three sf novels: _^<i_Mutant 59: The Plastic-Eater_^>i_ * (_^<b_1971_^>b_), derived from their _^<a_!T1289_DOOMWATCH_^>a_ tv series, _^<i_Brainrack_^>i_
(_^<b_1974_^>b_) and _^<i_The Dynostar Menace_^>i_ (_^<b_1975_^>b_). GD also wrote children's novelizations tied to the _^<a_!T1268_DR WHO_^>a_ tv series. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T1243_DISASTER_^>a_; _^<a_!T4657_GENETIC
New York publishing imprint started by Donald A. _^<a_!T5679_WOLLHEIM_^>a_ in 1972 (after his departure from _^<a_!T20_ACE BOOKS_^>a_) with assistance from New American Library. DB (the name derived from Wollheim's initials) publishes only sf and
_^<a_!T1412_FANTASY_^>a_, producing 4-5 titles per month. The editorial policy is similar to that followed by Wollheim at Ace: mostly adventure fiction, with a sprinkling of serious works. There has been much series fiction, particularly fantasy
and _^<a_!T5875_SWORD AND SORCERY_^>a_, by such authors as Alan Burt Akers (Kenneth _^<a_!T5073_BULMER_^>a_), Marion Zimmer _^<a_!T4968_BRADLEY_^>a_, Lin _^<a_!T5194_CARTER_^>a_, Michael _^<a_!T3030_MOORCOCK_^>a_, John _^<a_!T3236_NORMAN_^>a_ and
E.C. _^<a_!T6112_TUBB_^>a_, many of whom had followed Wollheim from Ace Books. Major discoveries were C.J. _^<a_!T5255_CHERRYH_^>a_ and the fantasy writer Tad Williams (1957- ), and DB also did much to promote the career of Tanith
_^<a_!T4234_LEE_^>a_. An anthology series was _^<b_Annual World's Best SF_^>b_ (> _^<a_!T5679_WOLLHEIM_^>a_ _^<i_for details_^>i_). Wollheim's daughter Betsy Wollheim became president in 1985, when her father was seriously ill; by the time of his
death in 1990 the number of books published annually by DB was rather lower than it had been early in the 1980s._^<n__^<n_ [PN/MJE]_^<n__^<n__^<b_Further reading:_^>b_ _^<i_Future and Fantastic Worlds: A Bibliographic Retrospective of DAW Books
(1972-1987)_^>i_ (dated 1987 but _^<b_1988_^>b_) by Sheldon _^<a_!T3848_JAFFERY_^>a_; _^<i_An Index to DAW Books_^>i_ (_^<b_1989_^>b_ chap) by Ian Covell.
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DAWN OF THE DEAD
-T-
(vt _^<i_Zombie_^>i_ Italy; vt _^<i_Zombies_^>i_ UK) Film (1978). Laurel. Dir George _^<a_!T2687_ROMERO_^>a_, starring David Emge, Ken Foree, Scott H. Reininger, Gaylen Ross. Screenplay Romero, with Dario Argento (who also cowrote the music) as
script consultant. 127 mins, cut to 125 mins. Colour._^<n__^<n_The first of two sequels to _^<a_!T3206_NIGHT OF THE LIVING DEAD_^>a_ (1968) -- the other was _^<a_!T1108_DAY OF THE DEAD_^>a_ (1985) -- this was (unusually) premiered in Italy, under
the title _^<i_Zombie_^>i_. _^<i_DOTD_^>i_ is true sf, not just because of the pseudo-scientific explanation for zombiism but because Romero is interested in zombies not only as occasions for horror -- though _^<i_DOTD_^>i_ remains primarily a
_^<a_!T4509_HORROR_^>a_ film -- but also as phenomena (their sociology, their possible intelligence) in the way that an sf writer might be interested in _^<a_!T102_ALIENS_^>a_. Where the first film was unremittingly black, this has a comic-strip
and satirical humour about it, as four survivors hole up in a shopping mall besieged by zombies and bikers. Jokes about the death of capitalism, even while the capitalist instinct survives, are focused on the many goods displayed in the spotless
temple of consumerism. The subtext (we, the working class, are, or could be, the zombies) is spirited though unsubtle, and the film is remembered by most for its violent, brilliantly choreographed action. [PN]_^<n__^<n__^<b_See also:_^>b_
_^<a_!T2812_SATIRE_^>a_.
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DAY, BRADFORD M(ARSHALL)
-T-
(1916- ) US sf collector and book-dealer whose bibliographical work is one of the foundations on which modern sf scholarship has been built (> _^<a_!T585_BIBLIOGRAPHIES_^>a_). His _^<i_The Complete Checklist of Science-Fiction Magazines_^>i_
(_^<b_1961_^>b_ chap) defines sf widely and lists a number of hero-villain, fantasy and foreign magazines. _^<i_The Supplemental Checklist of Fantastic Literature_^>i_ (_^<b_1963_^>b_) is a compilation of many titles omitted by or published after
the period covered by Everett F. _^<a_!T654_BLEILER_^>a_'s _^<i_The Checklist of Fantastic Literature_^>i_ (_^<b_1948_^>b_), itself widely revised in 1978. Other works by BMD are _^<i_The Checklist of Fantastic Literature in Paperbound Books_^>i_
(_^<b_1965_^>b_), _^<i_Bibliography of Adventure: Mundy, Burroughs, Rohmer, Haggard_^>i_ (_^<b_1964_^>b_) and _^<i_An Index on the Weird and Fantastica in Magazines_^>i_ (_^<b_1953_^>b_), which indexes most of the Frank A. _^<a_!T3106_MUNSEY_^>a_
pulps and many other general-fiction _^<a_!T2033_PULP MAGAZINES_^>a_. All the above were originally published in stencilled format by BMD himself; several have been republished since. [PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T189_ANONYMOUS SF
AUTHORS_^>a_.
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DAY, DONALD B(YRNE)
-T-
(1909-1978) Pioneer sf indexer, resident in Oregon. His _^<i_Index to the Science Fiction Magazines 1926-1950_^>i_ (_^<b_1952_^>b_), since reissued, has become, along with its successors compiled by other hands (> _^<a_!T585_BIBLIOGRAPHIES_^>a_), an
essential tool for sf research. [PN]_^<n__^<n_
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DAY, (GERALD WILLIAM) LANGSTON
-T-
(1894-? ) UK writer whose _^<i_Magic Casements_^>i_ (coll _^<b_1951_^>b_) assembles mythological fantasies, and whose _^<i_The Deep Blue Ice_^>i_ (_^<b_1960_^>b_) features the experiences of a Victorian mountaineer who is frozen in ice for half a
century, and on revival (> _^<a_!T2248_SLEEPER AWAKES_^>a_) must face the present day. [JC]_^<n__^<n_
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DAY, LIONEL
-T-
> Ladbroke _^<a_!T626_BLACK_^>a_._^<n__^<n_
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DAY AFTER, THE
-T-
Made-for-tv film (1983). ABC. Dir Nicholas Meyer, starring Jason Robards, Jo-Beth Williams, Steven Guttenberg, John Lithgow, Lori Lethin, William Allen Young and a dozen others. Screenplay Edward Hume. 121 mins. Colour._^<n__^<n_Set in Lawrence,
Kansas, the film tells of a massive nuclear exchange between the USA and USSR. Many of the missiles hit Kansas and Missouri, targeted because of their numerous Minuteman silos. _^<i_TDA_^>i_ opens a week before nuclear war begins, and ends around
six weeks later. The film instantly became a media event, and was hugely publicized and discussed. It was widely -- justly but irrelevantly -- criticized, especially abroad, for its soap-opera treatment. Meyer's purpose was to bring home a
propaganda message to ordinary people, which is precisely what soap-opera characters are perceived to be by most viewers. The film, as the final titles tell us, does give a remarkably mild account of the consequences of atomic war, gruelling though
it is. Nevertheless, it was an act of courage for ABC to make this expensive film at all, since nuclear issues at that time were barely touched on by US tv, being unattractive to advertisers, and the nuclear debate was probably quite foreign to
many viewers. Also, _^<i_TDA_^>i_ could hardly be seen as apolitical (despite disclaimers by ABC executives): Meyer himself said "the movie tells you that civil defence is useless", and observed that ABC gave him "millions of dollars to go on
prime-time tv and call Ronald Reagan a liar". Much of the film is routine in treatment if not subject matter, but it contains several outstanding sequences: the housewife who won't go into the cellar until she finishes cleaning the house; the
lecture to increasingly furious farmers about implausible methods of "decontaminating soil"; a street packed with radiation victims on makeshift mattresses as far as the eye can see. [PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T726_CINEMA_^>a_.
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DAY MARS INVADED EARTH, THE
-T-
Film (1962). API/20th Century-Fox. Dir Maury Dexter, starring Kent Taylor, Marie Windsor, William Mims, Betty Beall. Screenplay Harry Spalding. 70 mins. B/w._^<n__^<n_In this mediocre B-movie, Martians -- who consist of pure energy -- travel to
Earth via radio beam. As in _^<a_!T3802_INVASION OF THE BODY SNATCHERS_^>a_ (1956), from which this clearly borrows, they duplicate human beings, killing off the originals, to the horror of a scientist who returns from vacation to find alien minds
in the apparent bodies of friends and family and human-shaped ashes in the swimming pool. Unusually, the film ends with the Martians triumphant. [PN/JB]_^<n__^<n_
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DAY OF THE DEAD
-T-
Film (1985). Laurel. Dir George _^<a_!T2687_ROMERO_^>a_, starring Lori Cardille, Terry Alexander, Joseph Pilato, Richard Liberty, Howard Sherman. Screenplay Romero. 101 mins, cut to 100 mins. Colour._^<n__^<n_Romero's plan, after showing the initial
zombie attacks (_^<a_!T3206_NIGHT OF THE LIVING DEAD_^>a_ [1968]) and the total breakdown of society (_^<a_!T1101_DAWN OF THE DEAD_^>a_ [1978]), was to complete the trilogy with a film showing a new coalition between humans and controlled zombies.
Partly for budgetary reasons, he settled for something less ambitious. An underground military/storage base is used by a small company of scientists and soldiers in their desperately rushed study of zombie behaviour. Can they be controlled? What
causes the infection? The behaviour of both groups becomes increasingly psychotic, with one scientist (Liberty) profaning the military dead by using their bodies to reward zombies in a B.F. _^<a_!T2236_SKINNER_^>a_-style attempt at conditioning,
and the senior military officer (Pilato) treating the scientists with insane violence and contempt. One almost likeable zombie, well played by Sherman, shows signs of human memory. Only three people, including the intelligent woman scientist
(Cardille) who is the point-of-view character, escape to uncertain sanctuary in this small-scale, beautifully paced, claustrophobic film. _^<i_DOTD_^>i_, copiously illustrated with scenes of dismemberment and cannibalism, is sickening, but as ever
Romero contrives to give metaphoric resonance to his exploitation-movie images. [PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T3011_MONSTER MOVIES_^>a_.
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DAY OF THE DOLPHIN, THE
-T-
Film (1973). Avco-Embassy. Dir Mike Nichols, starring George C. Scott, Trish Van Devere, Paul Sorvino, Fritz Weaver. Screenplay Buck Henry, based on _^<i_Un animal doue de raison_^>i_ (_^<b_1967; trans as _^>b__^<i_The Day of the Dolphin_^>i_
_^<b_1969_^>b_) by Robert _^<a_!T2906_MERLE_^>a_. 105 mins. Colour._^<n__^<n_This above-average film, from a director well known for social comedy but new to sf, concerns a marine biologist who succeeds in teaching dolphins to speak English. The
first half deals seriously and convincingly with this historic contact between two intelligent species, and conveys the genuine _^<a_!T2104_SENSE OF WONDER_^>a_ found in the best sf, but the rest of the story concentrates less interestingly on an
attempt by a right-wing group to betray the innocent human-dolphin relationship and use the dolphins to plant mines to assassinate the US President. [JB]_^<n__^<n_
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DAY OF THE TRIFFIDS, THE
-T-
_^<b_1._^>b_ Film (1963). Security Pictures/Allied Artists. Dir Steve Sekely (uncredited), Freddie Francis, starring Howard Keel, Nicole Maurey, Janette Scott, Kieron Moore. Screenplay Philip Yordan, based on _^<i_The Day of the Triffids_^>i_
(_^<b_1951_^>b_) by John _^<a_!T6211_WYNDHAM_^>a_. 94 mins. Colour._^<n__^<n_This unsuccessful version of a good novel had a moderately generous budget, but no sense whatever of how sf works. Thus there is plenty of preaching, lots of florid love
interest, but only intermittent attention paid to the basic situation, which, while silly, should have been interesting: most of England's population blinded by light from a meteor shower, and a small group, still sighted, trying to cope with
attacks from lethal 7ft (2.1m) mobile vegetables. The triffids are more absurd than frightening._^<n__^<n__^<b_2._^>b_ UK tv serial (1981). BBC. Dir Ken Hannam, adapted from Wyndham's novel by Douglas Livingstone, starring John Duttine, Emma Relph.
6 30min episodes (aired outside the UK as a 2-part miniseries). Colour. This was a low-key but successful dramatization of the story, much better than the film. [JB/PN]_^<n__^<n_
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DAY THE EARTH CAUGHT FIRE, THE
-T-
Film (1961). British Lion/Pax/Universal. Prod and dir Val Guest, starring Edward Judd, Janet Munro, Leo McKern. Screenplay Wolf Mankowitz, Guest. 99 mins, cut to 90 mins (US). B/w._^<n__^<n_Val Guest, who had made _^<i_The_^<a_!T2451_QUATERMASS
XPERIMENT_^>a__^>i_ (1956) and other sf/horror films for Hammer in the 1950s, excelled himself with this intelligent _^<a_!T1243_DISASTER_^>a_ movie about the Earth falling into the Sun after a reckless series of H-bomb tests have knocked it out of
orbit. Only more nuclear explosions, properly placed, can save it. The film is made in a crisp, low-key, pseudo-documentary manner, with much of the action set in the offices of the London _^<i_Daily Express_^>i_ newspaper (with former editor
Arthur Christiansen playing himself). Les Bowie's low-budget special effects are surprisingly good, including shots of the Thames completely evaporating in the heat. The novelization is _^<i_The Day the Earth Caught Fire_^>i_ * (_^<b_1961_^>b_) by
Barry Wells. [JB/PN]_^<n__^<n_
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DAY THE EARTH STOOD STILL, THE
-T-
Film (1951). 20th Century-Fox. Dir Robert _^<a_!T5659_WISE_^>a_, starring Michael Rennie, Patricia Neal, Hugh Marlowe, Sam Jaffe. Screenplay Edmund H. North, based on "Farewell to the Master" (1940) by Harry _^<a_!T459_BATES_^>a_. 92 mins.
B/w._^<n__^<n_Produced at the beginning of the sf boom of the 1950s, this is generally regarded as a classic, though its ethics might be regarded as intemperate; it is, however, directed with pace and impressive economy. An emissary from outer
space arrives by flying saucer in Washington, accompanied by an 8ft (2.4m) _^<a_!T2646_ROBOT_^>a_. The military gets very excited. The soft-spoken, human-seeming _^<a_!T98_ALIEN_^>a_, Klaatu, has come to warn Earth that his people will not tolerate
an extension of human violence into space, but before he can deliver the message he is wounded by a soldier, escapes, and takes a room in a boarding house, where he learns about ordinary people. Later he arranges a demonstration of his powers --
the stopping of all electrical equipment, all over the world. Then, his warning still undelivered, he is again shot, this time fatally. But like Christ -- the parallel seems deliberate -- he rises again and gives his message: unless human violence
is curbed the true masters, who are in fact the robots, will "reduce this Earth of yours to a burnt-out cinder". Submission to the rule of implacable, disinterested robots is an authoritarian proposal for a supposedly liberal film.
[PN/JB]_^<n__^<n_
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DAY THE FISH CAME OUT, THE
-T-
Film (1967). Michael Cacoyannis Productions/20th Century-Fox. Dir Michael Cacoyannis, starring Tom Courtenay, Sam Wanamaker, Colin Blakely, Candice Bergen, Ian Ogilvy. Screenplay Michael Cacoyannis. 109 mins. Colour._^<n__^<n_This
_^<a_!T6337_NEAR-FUTURE_^>a_ Greek/UK film takes off from a real-life incident in which the US Air Force accidentally lost two H-bombs off the coast of Spain. A NATO bomber crashes into the sea near a small Greek island, losing two H-bombs and a
"Doomsday weapon". To keep a low profile, the NATO recovery team arrives disguised as holiday-makers, but this creates the impression that the island is the "in" place to visit, and soon it is swarming with real tourists. Then lethal viruses are
released from a metal box found by a fisherman. A strange mixture of slapstick and grim satire, _^<i_TDTFCO_^>i_ is not very coherent, but the final scenes, showing dead fish floating in the black sea while all the tourists, already doomed
themselves, dance with frenzied abandon on the beach, are forceful. The novelization is _^<i_The Day the Fish Came Out_^>i_ * (_^<b_1967_^>b_) by Kay _^<a_!T723_CICELLIS_^>a_. [JB]_^<n__^<n_
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DAY THE WORLD ENDED, THE
-T-
Film (1956). Golden State/ARC. Prod and dir Roger _^<a_!T884_CORMAN_^>a_, starring Richard Denning, Adele Jergens, Lori Nelson, Touch (Mike) Connors. Screenplay Lou Rusoff. 81 mins, cut to 79 mins. B/w._^<n__^<n_The first sf/horror film to be
directed by Corman (although in 1954 he had produced _^<i_Monster from the Ocean Floor_^>i_), this was, like most of his 1950s films, shot fast (less than a week) on an amazingly small budget (_^<i_c_^>i_$40,000). _^<i_TDTWE_^>i_ tells of a small
group of atomic-war survivors menaced by a _^<a_!T3119_MUTANT_^>a_ (created by the radiation) with a bulbous head, three eyes and a taste for human flesh. Corman later improved as a director. [JB/PN]_^<n__^<n_
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DC COMICS
-T-
US _^<a_!T820_COMIC_^>a_-book publishing company, based in New York, owing much of its commercial success to its ownership of the copyrights in the _^<a_!T5829_SUPERHEROES_^>a_ Batman, who is not quite an sf figure, and _^<a_!T5830_SUPERMAN_^>a_,
who is._^<n__^<n_In Feb 1935 Major Malcolm _^<a_!T5565_WHEELER-NICHOLSON _^>a_published the first US comic book to contain all-new material rather than reprints from newspaper comics sections. His comic book, _^<i_New Fun_^>i_, ran for 5 issues
Feb-Oct 1935, and was reborn in 1936 as _^<i_More Fun_^>i_ (June 1936-Dec 1947). By 1938 Nicholson was publishing _^<i_New Adventure Comics_^>i_ and _^<i_Detective Comics_^>i_; these were the first comic books to feature regular characters in a
series of adventures. However, they didn't pay the bills, and Nicholson eventually settled his debts by handing his company, National Comics, over to his printers, Harry Donenfeld and Jack Leibowitz. Its next publication was _^<i_Action
Comics_^>i_, #1 of which (June 1938) featured the first appearance of the character _^<b_Superman_^>b_, created by Jerry _^<a_!T2204_SIEGEL_^>a_ and Joe Shuster. In May 1939 _^<i_Detective Comics_^>i_ #27 saw the debut of _^<b_The Batman_^>b_,
drawn by Bob Kane and written by Bill Finger. The future of the company was assured._^<n__^<n__^<i_Detective Comics_^>i_ was the first all-new comic book of which each issue was devoted to a single theme. This approach was an instant success, and
so the company adopted the initials DC as a trademark, featuring it boldly on (eventually) all of its covers. It bought up Max Gaines's All American Comics in 1945. Donenfeld pioneered the distribution of comic books in the USA, and his efforts
were backed up by those of National's stable of editors, writers and artists, who included Alfred _^<a_!T568_BESTER_^>a_, Otto Binder (> Eando _^<a_!T604_BINDER_^>a_), Gardner _^<a_!T1584_FOX_^>a_, Edmond _^<a_!T4258_HAMILTON_^>a_ and Mort
_^<a_!T5515_WEISINGER_^>a_. These produced a flood of memorable characters and series including _^<b_Aquaman_^>b_, _^<b_Enemy Ace_^>b_, _^<b_The Flash_^>b_, _^<b_Green Lantern_^>b_, _^<b_Hawkman_^>b_, _^<b_Sgt Rock_^>b_, _^<b_Sugar & Spike_^>b_ and
_^<a_!T6155_WONDER WOMAN_^>a_, and _^<i_Mystery in Space_^>i_, _^<i_Rex the Wonder Dog_^>i_, _^<i_Robin the Boy Wonder_^>i_ and _^<i_Strange Adventures_^>i_._^<n__^<n_The 1950s saw a change of name to National Periodical Publications and the
introduction of romance titles (_^<i_Girls Love_^>i_), sf (_^<i_Strange Adventures_^>i_), Westerns (_^<i_Hopalong Cassidy_^>i_) and licensed character humour (_^<i_Bob Hope_^>i_, _^<i_Jackie Gleason_^>i_ and _^<i_Dean Martin & Jerry Lewis_^>i_). In
the mid-1950s there was a resurgence in the popularity of superheroes, and many characters abandoned in the previous decade were revived and revamped. This popularity burgeoned in the 1960s and 1970s, and such material constituted a substantial
proportion of the company's output, even though there were new titles in the horror, gothic romance and _^<a_!T5875_SWORD-AND-SORCERY_^>a_ genres. In 1968 the company was taken over by Warner Bros., and in the early 1980s its official name finally
became DC Comics Inc._^<n__^<n_The 1980s saw a great expansion of new publishing formats, including limited-series books, softcover and hardcover collections, and _^<a_!T4809_GRAPHIC-NOVEL_^>a_ adaptations of the works of leading sf writers such as
Larry _^<a_!T3223_NIVEN_^>a_ and Robert _^<a_!T2216_SILVERBERG_^>a_. A major contributing factor to the company's recent success has been its exploitations of _^<b_The Batman_^>b_ (now usually known just as _^<b_Batman_^>b_), allowing artists and
writers -- including Frank _^<a_!T2953_MILLER_^>a_, and Alan _^<a_!T3031_MOORE_^>a_ and Brian _^<a_!T689_BOLLAND_^>a_ -- to evolve a number of highly individual interpretations of his character and milieu. Batman's popularity has, of course,
benefited from the films _^<i_Batman_^>i_ (1966), _^<i_Batman_^>i_ (1989) and _^<i_Batman Returns_^>i_ (1992). [RT/SW]_^<n__^<n_
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DEAD KIDS
-T-
(vt _^<i_Strange Behavior_^>i_) Film (1981). Endeavour/Bannon Glenn/Hemdale. Dir Michael Laughlin, starring Michael Murphy, Louise Fletcher, Dan Shor, Fiona Lewis, Arthur Dignam. Screenplay Laughlin, William Condon. 99 mins, cut to 93 mins.
Colour._^<n__^<n_This Australian/New Zealand exploitation sf/_^<a_!T4509_HORROR_^>a_ movie is set in the US Midwest and has a largely US cast, but was actually shot in New Zealand. It is the first of a projected trilogy (linked by theme only) of
which the second is _^<a_!T5778_STRANGE INVADERS_^>a_ (1983). At a research centre teenage kids are acting as guinea pigs in experiments in behavioural conditioning (the film is consciously anti-B.F. _^<a_!T2236_SKINNER_^>a_) via a drug injected
into the brain -- on one occasion, through the eyeball. Some of them become homicidal and murder the children of a now-dead mad _^<a_!T2880_SCIENTIST_^>a_'s old enemies. The mad scientist is revealed to be not dead after all. The film -- part of
the teenage _^<a_!T2374_SPLATTER-MOVIE_^>a_ subgenre of the time -- has plenty of gore but also wit and intelligence, as well as a rather 1950s style that would be featured again in _^<i_Strange Invaders_^>i_. [PN]_^<n__^<n_
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DEADLY INVENTION, THE
-T-
> _^<a_!T5418_VYNALEZ ZKAZY_^>a_._^<n__^<n_
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DEADLY RAY FROM MARS, THE
-T-
> _^<a_!T1517_FLASH GORDON_^>a_._^<n__^<n_
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DEAD ZONE, THE
-T-
Film (1983). Dino De Laurentiis/Lorimar. Dir David _^<a_!T970_CRONENBERG_^>a_, starring Christopher Walken, Brooke Adams, Tom Skerritt, Herbert Lom, Anthony Zerbe, Martin Sheen. Screenplay Jeffrey Boam, based on _^<i_The Dead Zone_^>i_
(_^<b_1979_^>b_) by Stephen _^<a_!T4066_KING_^>a_. 103 mins. Colour._^<n__^<n_Borderline-sf movie about John Smith (Walken), who has an accident, spends five years in a coma, and wakes to learn he has developed a _^<a_!T2021_PSI POWER_^>a_,
precognition. The "dead zone" is a blank spot in his visions which may represent the possibility of the future being changed. The more Smith uses his powers, which he is loath to do because of the cargo of pain his visions often carry (and because
they age him), the more cut off he becomes from ordinary humanity. He performs several minor miracles, solves an ugly murder mystery, and ultimately prevents WWIII by thwarting the election of a smooth, narcissistic politician (Sheen) who might
otherwise, in the future, have plunged the world into holocaust. Cronenberg's least typical and most commercial work, perhaps because King's sprawling novel is a long way removed from the personal material he normally uses, _^<i_TDZ_^>i_ is
nevertheless a good and powerful film, notable for its sad, insistent images of winter, correlating with Smith's retreat from life and also with the dead zone of the title. Walken's performance in the main role is admirably lost and icy.
[PN]_^<n__^<n_
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DEAMER, (MARY ELIZABETH KATHLEEN) DULCIE
-T-
(1890-1972) New Zealand-born writer, in Australia from about 1922, where in association with Norman Lindsay (1879-1969) and others she ruffled some provincial dovecotes. Some of the content of _^<i_In the Beginning: Six Studies of the Stone Age and
Other Stories_^>i_ (coll _^<b_1909_^>b_) reappears in _^<i_As It Was in the Beginning_^>i_ (_^<b_1929_^>b_), an exercise in prehistoric sf set in Australia, illus Lindsay. _^<i_The Devil's Saint_^>i_ (_^<b_1924_^>b_ UK) is a historical novel with
greater elements of _^<a_!T1412_FANTASY_^>a_ than normal in her work. _^<i_Holiday_^>i_ (_^<b_1940_^>b_) is a fantasy of _^<a_!T2548_REINCARNATION_^>a_. [JC]_^<n__^<n_
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DEAN, MAL
-T-
(1941-1974) UK illustrator who died young, of cancer. MD was well known in the jazz world (he illustrated for _^<i_Melody Maker_^>i_) and in sf for the work he did for _^<a_!T3182_NEW WORLDS_^>a_ in the late 1960s and early 1970s; it was especially
associated with the _^<b_Jerry Cornelius_^>b_ stories by Michael _^<a_!T3030_MOORCOCK_^>a_ and others. His work was mainly in black-and-white with a broad line and much cross-hatching; it was strong, often deliberately unpolished, but the reverse
of artless. He favoured surreal juxtapositions, and often worked in the grotesque satirical tradition of Hogarth. [PN]_^<n__^<n_
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DEAN, MARTYN
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[r] > Roger _^<a_!T1123_DEAN_^>a_; Christopher _^<a_!T6708_EVANS_^>a_._^<n__^<n_
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DEAN, ROGER
-T-
(1944- ) UK illustrator. Primarily a commercial designer, especially of record-album covers, RD has done some sf and fantasy _^<a_!T4593_ILLUSTRATION_^>a_, and his album and poster art shows a strong fantasy influence. His style is strong,
romantic and mannered; he contrasts very finely detailed figures and machines against loosely structured backgrounds. His book _^<i_Views_^>i_ (_^<b_1975_^>b_) shows his development from a student at the Canterbury School of Art onwards.
_^<i_Views_^>i_ was published by Dragon's Dream, a specialist publishing house devoted primarily to UK fantasy illustrators, founded by RD and his brother Martyn Dean; it also publishes under the Paper Tiger imprint. The book _^<i_Magnetic
Storm_^>i_ (_^<b_1984_^>b_), ed Roger and Martyn Dean, details many of the design and publishing projects -- often fantastic or sciencefictional -- with which they have been associated. RD has been an important influence on UK fantasy illustration,
as has his brother, who is more closely associated with book publishing than RD. [JG/PN]_^<n__^<n__^<b_Other Works:_^>b_ _^<i_The Flights of Icarus_^>i_ (_^<b_1987_^>b_) with Donald Lehmkuhl_^<n__^<n_
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DEARMER, GEOFFREY
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(1893- ) UK writer, and a WWI poet of some note. His _^<i_Saint on Holiday_^>i_ (_^<b_1933_^>b_) presents a _^<a_!T6337_NEAR-FUTURE_^>a_ UK in which the government is dominated by ministries designed to be of benefit to citizens; it was couched
as a topsy-turvydom _^<a_!T2812_SATIRE_^>a_. In _^<i_They Chose to be Birds_^>i_ (_^<b_1935_^>b_) a preacher of closed mind is unsettlingly duped into "becoming" a bird, and as such learns some Wellsian lessons about the true nature of the world.
[JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Three Short Plays_^>i_ (coll _^<b_1928_^>b_), two of which are fantasies.
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DEATH LINE
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(vt _^<i_Raw Meat_^>i_ US) Film (1972). K-L Productions. Dir Gary Sherman, starring Donald Pleasence, Hugh Armstrong, Norman Rossington, David Ladd, Sharon Gurney. Screenplay Ceri Jones, from a story by Sherman. 87 mins. Colour._^<n__^<n_In the late
19th century a group of construction workers building an extension to London's underground railway system are buried in a cave-in. In the present, late-night travellers at Russell Square tube station are being murdered (and eaten) by, we slowly
learn, troglodytic descendants of the entombed workers who have found their way up, and are now supplementing their diet of rats with human meat. What raises this exploitation movie out of the ordinary is its unexpected shift of perspective -- the
dawning sympathy we are made to feel for the troglodytes (nearly all of whom have died of a leprosy-like disease): they have almost lost the use of language, but are still able to feel grief and love. [PN]_^<n__^<n__^<b_See also:_^>b_
Film (1975). New World. Prod Roger _^<a_!T884_CORMAN_^>a_. Dir Paul Bartel, starring David Carradine, Simone Griffith, Louisa Moritz, Sylvester Stallone, Mary Woronov. Screenplay Robert Thom, Charles Griffith, based on a story by Ib Melchior. 80
mins. Colour._^<n__^<n_In this low-budget black _^<a_!T2812_SATIRE_^>a_ about a car race across the USA in the year 2000, the winner is the driver who kills the most pedestrians. "Frankenstein" (Carradine) -- who has supposedly been in so many
crashes that most of his body has been replaced with artificial parts -- is the nation's favourite driver, and surprises everyone at the end by running over the US President as a political gesture. The film's fast pace and lively ironies led many
critics to judge it superior to _^<a_!T2680_ROLLERBALL_^>a_ (1975), a much more expensive production about the use of brutal sports as an opiate for the masses. A cult classic, _^<i_DR2000_^>i_ has been much imitated. [JB/PN]_^<n__^<n_
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DEATH RAYS
-T-
Rays that could kill, whether by heat or by disintegration, were the staple _^<a_!T5492_WEAPONS_^>a_ of pulp sf in the 1920s and 1930s and became a central item of sf _^<a_!T5942_TERMINOLOGY_^>a_. At about the time death rays became old-fashioned in
sf, scientists in the real world saw fit to invent the laser, thus retroactively justifying one of sf's fantasies. The death ray always, however, had a basis in historical fact. After the well publicized discoveries of X-rays by Wilhelm Konrad
Roentgen (1845-1923) in 1895 and of radioactive emissions by Antoine Henri Becquerel (1852-1908) -- he too called them rays -- in 1896, the word "ray" entered the popular imagination. One of the earliest literary examples is the "heat ray" used by
the Martians in H.G. _^<a_!T5528_WELLS_^>a_'s _^<i__^<a_!B9242_THE WAR OF THE WORLDS_^>a__^>i_ (_^<b_1898_^>b_). [PN]_^<n__^<n_
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DEATHSPORT
-T-
> Roger _^<a_!T884_CORMAN_^>a_._^<n__^<n_
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DEATH WATCH
-T-
> _^<i_Le_^<a_!T3072_MORT EN DIRECT_^>a__^>i_ ._^<n__^<n_
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de BERGERAC, CYRANO
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> _^<a_!T1019_CYRANO DE BERGERAC_^>a_._^<n__^<n_
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De CAMP, CATHERINE A. CROOK
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[r] > L. Sprague _^<a_!T1133_DE CAMP_^>a_._^<n__^<n_
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De CAMP, L(YON) SPRAGUE
-T-
(1907- ) US writer, married from 1939 to Catherine A(delaide) Crook (1907- ), who has collaborated on a number of his books, sometimes without printed credit, although always freely acknowledged by LSDC; the two are increasingly seen to have
been a creative team for many years (she is referred to below as CACDC). LSDC was educated at the California Institute of Technology, where he studied aeronautical engineering, and at Stevens Institute of Technology, where he gained a master's
degree in 1933. He went to work for a company dealing with patenting, and his first published work was a cowritten textbook on the subject. He then met P. Schuyler _^<a_!T2957_MILLER_^>a_, with whom he collaborated on a novel, _^<i_Genus Homo_^>i_
(1941 _^<i_Super Science Stories_^>i_; _^<b_1950_^>b_), which failed to find a publisher for several years. His first published story was "The Isolinguals" (1937) in _^<i_ASF_^>i_; this was before the arrival of John W. _^<a_!T5140_CAMPBELL_^>a_ Jr
as editor, but when that happened the two men proved highly compatible, and LSDC soon became a central figure of the _^<a_!T4754_GOLDEN AGE OF SF_^>a_, writing prolifically for _^<i_ASF_^>i_ over the next few years (on one occasion using the
pseudonym Lyman R. Lyon), his contributions including the _^<b_Johnny Black_^>b_ series about an intelligent bear: "The Command" (1938), "The Incorrigible" (1939), "The Emancipated" (1940) and "The Exalted" (1940). Some of the better stories from
this period were collected in _^<i_The Best of L. Sprague de Camp_^>i_ (coll _^<b_1978_^>b_)._^<n__^<n_It was, however, the appearance in 1939 of _^<i_ASF_^>i_'s fantasy companion _^<a_!T5291_UNKNOWN_^>a_ which stimulated his most notable early
work, including _^<i__^<a_!B9145_LEST DARKNESS FALL_^>a__^>i_ (1939 _^<i_Unknown_^>i_; _^<b_1941_^>b_; rev 1949), in which an involuntary time-traveller to 6th-century Rome attempts to prevent the onset of the Dark Ages; this was the most
accomplished early excursion into _^<a_!T4442_HISTORY_^>a_ in magazine sf, and is regarded as a classic. Other contributions to _^<i_Unknown_^>i_ included "None but Lucifer" (1939) with H.L. _^<a_!T4752_GOLD_^>a_, _^<i_Solomon's Stone_^>i_ (1942
_^<i_Unknown_^>i_; _^<b_1956_^>b_) and the long title stories of _^<i_Divide and Rule_^>i_ (coll _^<b_1948_^>b_) -- the title story alone being republished as _^<i_Divide and Rule_^>i_ (1939 _^<i_ASF_^>i_; _^<b_1990_^>b_ chap dos) -- _^<i_The
Wheels of If_^>i_ (coll _^<b_1948_^>b_), an _^<a_!T131_ALTERNATE-WORLDS_^>a_ story, also cited below in reissued form, and _^<i_The Undesired Princess_^>i_ (coll _^<b_1951_^>b_), the title story alone being republished in _^<i_The Undesired
Princess and The Enchanted Bunny_^>i_ (anth _^<b_1990_^>b_), the second story being by David A. _^<a_!T1318_DRAKE_^>a_. LSDC was most successful in his collaborations with Fletcher _^<a_!T1976_PRATT_^>a_, whom he met in 1939. Pratt conceived the
idea behind their successful _^<b_Incomplete Enchanter_^>b_ series of humorous fantasies in which the protagonist, Harold Shea, is transported into a series of _^<a_!T131_ALTERNATE WORLDS_^>a_ based on various myths and legends. As usual with LSDC,
the publication sequence is complex. The main titles are: _^<i_The Incomplete Enchanter_^>i_ (1940 _^<i_Unknown_^>i_; _^<b_1941_^>b_; vt _^<i_The Incompleat Enchanter_^>i_ 1979 UK), _^<i_The Castle of Iron_^>i_ (1941 _^<i_Unknown_^>i_;
_^<b_1950_^>b_) and _^<i_The Wall of Serpents_^>i_ (fixup _^<b_1960_^>b_; vt _^<i_The Enchanter Compleated_^>i_ 1980 UK). The first two titles were then assembled as _^<i_The Compleat Enchanter: The Magical Misadventures of Harold Shea_^>i_ (omni
_^<b_1975_^>b_), and all three were eventually put together as _^<i_The Intrepid Enchanter_^>i_ (omni _^<b_1988_^>b_ UK; vt _^<i_The Complete Compleat Enchanter_^>i_ 1989 US); _^<i_Sir Harold and the Gnome King_^>i_ (_^<b_1991_^>b_ chap) was
subsequently added to the _^<b_Enchanter_^>b_ canon. Other collaborations with Pratt were _^<i_The Land of Unreason_^>i_ (_^<b_1942_^>b_) and _^<i_The Carnelian Cube_^>i_ (_^<b_1948_^>b_), the latter being published several years after it was
written. In 1950, LSDC and Pratt (_^<i_whom see for details_^>i_) began their _^<b_Gavagan's Bar_^>b_ series of _^<a_!T768_CLUB STORIES_^>a_, assembled in _^<i_Tales From Gavagan's Bar_^>i_ (coll _^<b_1953_^>b_; exp 1978)._^<n__^<n_LSDC joined the
US Naval Reserve in 1942, spending the war working in the Philadelphia Naval Yard alongside Isaac _^<a_!T268_ASIMOV_^>a_ and Robert A. _^<a_!T4376_HEINLEIN_^>a_. Afterwards he published a few articles, but hardly any new fiction until "The Animal
Cracker Plot" (1949) introduced his _^<b_Viagens Interplanetarias_^>b_ stories, a loosely linked series set in a future where Brazil has become the dominant world power, the stories themselves being sited mainly on three worlds which circle the
star Tau Ceti and are named after the Hindu gods Vishnu, Ganesha and Krishna; the planet Krishna was a romantically barbarian world on which LSDC could set, as sf, the kind of _^<a_!T1913_PLANETARY ROMANCES_^>a_ he had previously written as
fantasy, the market for pure fantasy having disappeared with _^<i_Unknown_^>i_ in 1943. Other planets circling other stars included Osiris, Isis and Thoth. Many of the short stories in the series were included in _^<i_The Continent Makers and Other
Tales of the Viagens_^>i_ (coll _^<b_1953_^>b_); others appeared in _^<i_Sprague de Camp's New Anthology of Science Fiction_^>i_ (coll _^<b_1953_^>b_ UK), and "The Virgin of Zesh" (1953) was assembled together with _^<i_The Wheels of If_^>i_ (1940
_^<i_Unknown_^>i_; _^<b_1990_^>b_ chap dos) in _^<i_The Virgin and the Wheels_^>i_ (coll _^<b_1976_^>b_). _^<i_Rogue Queen_^>i_ (_^<b_1951_^>b_), a novel in the series, depicts a matriarchal humanoid society based on a hive structure; it is, with
_^<i__^<a_!B9145_LEST DARKNESS FALL_^>a__^>i_, LSDC's most highly regarded sf work. The remaining novels, an internal series all set on _^<b_Krishna_^>b_, were _^<i_Cosmic Manhunt_^>i_ (1949 _^<i_ASF_^>i_ as "The Queen of Zamba"; _^<b_1954_^>b_
dos; vt _^<i_A Planet Called Krishna_^>i_ 1966 UK; with restored text and with "Perpetual Motion" added, rev vt as coll _^<i_The Queen of Zamba_^>i_ 1977 US); _^<i_The Search for Zei_^>i_ (1950 _^<i_ASF_^>i_ as the first half of "The Hand of Zei";
_^<b_1962_^>b_; vt _^<i_The Floating Continent_^>i_ 1966 UK) and _^<i_The Hand of Zei_^>i_ (1950 _^<i_ASF_^>i_ as the second half of "The Hand of Zei"; _^<b_1963_^>b_; cut 1963), both titles finally being superseded by publication of the full
original novel, _^<i_The Hand of Zei_^>i_ (1950 _^<i_ASF_^>i_; _^<b_1982_^>b_); _^<i_The Tower of Zanid_^>i_ (1958 _^<i_Science Fiction Stories_^>i_; cut _^<b_1958_^>b_; with "The Virgin of Zesh" added, vt as coll _^<i_The Virgin of Zesh/The Tower
of Zanid_^>i_ 1983); _^<i_The Hostage of Zir_^>i_ (_^<b_1977_^>b_); _^<i_The Bones of Zora_^>i_ (_^<b_1983_^>b_) with CACDC; and _^<i_The Swords of Zinjaban_^>i_ (_^<b_1991_^>b_) with CACDC. They contain a blend of intelligent, exotic adventure and
wry humour characteristic of LSDC's better work, though they do not explore any too deeply either the romantic or the human-condition ironies available to aspiring authors of the planetary romance._^<n__^<n_LSDC was in any case not to write much
more sf, his later career increasingly being devoted to outright fantasy and to _^<a_!T5875_SWORD AND SORCERY_^>a_. He had gained an interest in the latter category through reading Robert E. _^<a_!T4524_HOWARD_^>a_'s _^<b_Conan_^>b_ stories, and
worked extensively on editing and adding to that series. _^<i_Tales of Conan_^>i_ (coll _^<b_1955_^>b_; vt _^<i_The Flame Knife_^>i_ 1981) consists of unfinished Howard manuscripts converted into _^<b_Conan_^>b_ stories and completed by LSDC (for
remaining titles, see listing below). His nonfiction writings on the sword-and-sorcery genre have been published as _^<i_The Conan Reader_^>i_ (coll _^<b_1968_^>b_), _^<i_Literary Swordsmen and Sorcerers_^>i_ (_^<b_1976_^>b_) and _^<i_Blond
Barbarians and Noble Savages_^>i_ (_^<b_1975_^>b_ chap). He also edited the anthologies _^<i_Swords and Sorcery_^>i_ (anth _^<b_1963_^>b_), _^<i_The Spell of Seven_^>i_ (anth _^<b_1965_^>b_), _^<i_The Fantastic Swordsmen_^>i_ (anth _^<b_1967_^>b_)
and _^<i_Warlocks and Warriors_^>i_ (anth _^<b_1970_^>b_), and co-edited the critical anthologies _^<i_The Conan Swordbook_^>i_ (anth _^<b_1969_^>b_) and _^<i_The Conan Grimoire_^>i_ (anth _^<b_1972_^>b_), both with George H.
_^<a_!T2884_SCITHERS_^>a_. LSDC's own first sword-and-sorcery effort was the _^<b_Pusadian_^>b_ sequence of tales assembled as _^<i_The Tritonian Ring and Other Pusadian Tales_^>i_ (coll _^<b_1953_^>b_); the title novel was later published alone as
_^<i_The Tritonian Ring_^>i_ (1951 _^<i_Two Complete Science-Fiction Adventure Books_^>i_; _^<b_1968_^>b_). Later he wrote several stories set in the imaginary world of _^<b_Novaria_^>b_: _^<i_The Goblin Tower_^>i_ (_^<b_1968_^>b_), which is his
most substantial novel of this type, _^<i_The Clocks of Iraz_^>i_ (_^<b_1971_^>b_), _^<i_The Fallible Fiend_^>i_ (_^<b_1973_^>b_), _^<i_The Unbeheaded King_^>i_ (_^<b_1983_^>b_) and _^<i_The Honorable Barbarian_^>i_ (_^<b_1989_^>b_) -- the first,
second and fourth of these five being assembled as _^<i_The Reluctant King_^>i_ (omni _^<b_1984_^>b_)._^<n__^<n_LSDC's most notable sf writings after about 1950 were stories like _^<i_The Glory that Was_^>i_ (1952 _^<i_Startling Stories_^>i_;
_^<b_1960_^>b_) and the 1956 title story of _^<i_A Gun for Dinosaur_^>i_ (coll _^<b_1963_^>b_), which also included "Aristotle and the Gun" (1958). The first and third of these tales use history themes, in the case of the third combined with
_^<a_!T6026_TIME TRAVEL_^>a_, in a manner similar to _^<i__^<a_!B9145_LEST DARKNESS FALL_^>a__^>i_; the second is a straightforward time-travel story. LSDC produced one of the earliest books about modern sf, _^<i_Science Fiction Handbook_^>i_
(_^<b_1953_^>b_; rev 1975) with CACDC; a useful compendium of information and advice for aspiring writers in its original edition, it gained little from its subsequent revision -- indeed, the revised version omitted some material of interest.
Otherwise he wrote historical novels and nonfiction works, including a book on _^<a_!T3598_MAGIC_^>a_ with CACDC: _^<i_Spirits, Stars and Spells_^>i_ (_^<b_1966_^>b_). His opinions about the nature of _^<a_!T1412_FANTASY_^>a_ and the appropriate
decorum necessary to write within the genre were expressed in an energetic, if sometimes reactionary, fashion in his many articles. He also wrote definitive lives of H.P. _^<a_!T3465_LOVECRAFT_^>a_ -- _^<i_Lovecraft: A Biography_^>i_
(_^<b_1975_^>b_; cut 1976) -- and of Robert E. Howard -- _^<i_Dark Valley Destiny: The Life of Robert E. Howard_^>i_ (_^<b_1983_^>b_) with CCDC and Jane Whittington Griffin, the latter book having been preceded by _^<i_The Miscast Barbarian_^>i_
(_^<b_1975_^>b_ chap). In the 1980s, and into his own ninth decade, more and more often in explicit collaboration with CACDC, he maintained a remarkable reputation for consistency of output. He was given the Gandalf (Grand Master) Award for 1976
and the Nebula Grand Master Award for 1978. His recent work seems agelessly smiling. [MJE/JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Lands Beyond_^>i_ (_^<b_1952_^>b_) with Willy _^<a_!T3375_LEY_^>a_, nonfiction, awarded an _^<a_!T3788_INTERNATIONAL
FANTASY AWARD_^>a_; _^<i_Lost Continents_^>i_ (_^<b_1954_^>b_), nonfiction about _^<a_!T290_ATLANTIS_^>a_ and others; _^<i_Demons and Dinosaurs_^>i_ (_^<b_1970_^>b_), poetry; _^<i_The Reluctant Shaman and Other Fantastic Tales_^>i_ (coll
_^<b_1970_^>b_); _^<i_3000 Years of Fantasy and Science Fiction_^>i_ (anth _^<b_1972_^>b_) with CACDC; _^<i_Scribblings_^>i_ (coll _^<b_1972_^>b_); _^<i_Tales beyond Time_^>i_ (anth _^<b_1973_^>b_) with CACDC; _^<i_The Great Fetish_^>i_
(_^<b_1978_^>b_); _^<i_The Purple Pterodactyls: The Adventures of W. Wilson Newbury, Ensorcelled Financier_^>i_ (coll of linked stories _^<b_1979_^>b_); _^<i_The Ragged Edge of Science_^>i_ (_^<b_1980_^>b_), nonfiction; _^<i_Footprints on Sand_^>i_
(coll _^<b_1981_^>b_) with CACDC; _^<i_Heroes and Hobgoblins_^>i_ (coll _^<b_1981_^>b_); _^<i_The Incorporated Knight_^>i_ (fixup _^<b_1987_^>b_) and its sequel, _^<i_The Pixilated Peeress_^>i_ (_^<b_1991_^>b_), both with CACDC; _^<i_The Stones of
Nomuru_^>i_ (_^<b_1988_^>b_) with CACDC; _^<i_The Venom Trees of Sunga_^>i_ (_^<b_1992_^>b_); _^<i_Rivers of Time_^>i_ (coll _^<b_1993_^>b_)._^<b_Conan:_^>b_ In terms of internal chronology: _^<i_Conan_^>i_ (coll _^<b_1967_^>b_) with Lin
_^<a_!T5194_CARTER_^>a_ and Robert E. Howard, _^<i_Conan of Cimmeria_^>i_ (coll _^<b_1969_^>b_) with Carter and Howard and_^<i_Conan the Freebooter_^>i_ (coll _^<b_1968_^>b_) with Howard, all three being assembled as _^<i_The Conan Chronicles_^>i_
(omni _^<b_1989_^>b_ UK);_^<i_Conan the Wanderer_^>i_ (coll _^<b_1968_^>b_) with Carter and Howard, _^<i_Conan the Adventurer_^>i_ (coll _^<b_1966_^>b_) with Howard, and _^<i_Conan the Buccaneer_^>i_ (_^<b_1971_^>b_) with Carter, all three being
assembled as _^<i_The Conan Chronicles_^>i_ (omni _^<b_1990_^>b_ UK); _^<i_Conan the Warrior_^>i_ (anth _^<b_1967_^>b_); _^<i_Conan the Usurper_^>i_ (coll _^<b_1967_^>b_) with Howard; Howard's own _^<i_Conan the Conqueror_^>i_ (1967 edn) ed LSDP;
_^<i_The Return of Conan_^>i_ (_^<b_1957_^>b_; vt _^<i_Conan the Avenger_^>i_ 1968) with Howard and Bjorn Nyberg; _^<i_Conan of Aquilonia_^>i_ (coll _^<b_1977_^>b_); _^<i_Conan of the Isles_^>i_ (_^<b_1968_^>b_) with Carter; _^<i_Conan the
Swordsman_^>i_ (coll _^<b_1978_^>b_) with Carter and Nyberg; _^<i_Conan the Liberator_^>i_ (_^<b_1979_^>b_) with Carter; _^<i_The Blade of Conan_^>i_ (anth _^<b_1979_^>b_); _^<i_The Spell of Conan_^>i_ (anth _^<b_1980_^>b_); _^<i_Conan and the
Spider God_^>i_ (_^<b_1980_^>b_); _^<i_Treasure of Tranicos_^>i_ (_^<b_1980_^>b_) with Howard; _^<i_Conan the Barbarian_^>i_ * (_^<b_1982_^>b_) with Carter, a film tie. (_^<i_For other_^>i_ _^<b_Conan_^>b_ _^<i_books, > Robert E._^>i_
_^<a_!T4524_HOWARD_^>a_.)_^<b_About the author:_^>b_ "Neomythology" by Lin Carter (introduction to LSDC's _^<i_Literary Swordsmen and Sorcerers_^>i_); _^<i_Seekers of Tomorrow_^>i_ (_^<b_1965_^>b_) by Sam _^<a_!T3074_MOSKOWITZ_^>a_, Chapter 9;
_^<i_De Camp: An L. Sprague de Camp Bibliography_^>i_ (_^<b_1983_^>b_) by Charlotte Laughlin and Daniel J.H. _^<a_!T3353_LEVACK_^>a_._^<b_See also:_^>b_ _^<a_!T206_APES AND CAVEMEN (IN THE HUMAN WORLD)_^>a_; _^<a_!T1245_DISCOVERY AND
INVENTION_^>a_; _^<a_!T6580_EDISONADE_^>a_; _^<a_!T6661_END OF THE WORLD_^>a_; _^<a_!T6717_EVOLUTION_^>a_; _^<a_!T1487_FINLAND_^>a_; _^<a_!T4447_HIVE-MINDS_^>a_; _^<a_!T4555_HUMOUR_^>a_; _^<a_!T3398_LINGUISTICS_^>a_; _^<a_!T3435_LONGEVITY (IN
(1911-1995) UK writer whose sf novel, _^<i_The Teetotalitarian State_^>i_ (_^<b_1947_^>b_), is a not particularly bad-tempered _^<a_!T2812_SATIRE_^>a_ set in the _^<a_!T6337_NEAR FUTURE_^>a_ and directed at the Labour Party, then in power in the UK.
The contemporary researcher obsessed by the life of Julian, in _^<i_Bring Back the Gods: The Epic Career of the Emperor Julian the Great_^>i_ (_^<b_1962_^>b_), eventually comes to share the experiences of the Roman. [JC]_^<n__^<n_
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DeCHANCIE, JOHN
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(1946- ) US writer who worked in tv in various capacities before beginning to publish sf with his _^<b_Skyway Trilogy_^>b_: _^<i_Starrigger_^>i_ (_^<b_1983_^>b_), _^<i_Red Limit Freeway_^>i_ (_^<b_1984_^>b_) and _^<i_Paradox Alley_^>i_
(_^<b_1986_^>b_). Based on a truckers-in-space premise with some comic potential, the already crowded tale is complicated by _^<a_!T6020_TIME PARADOXES_^>a_, godlings and much more; the ensuing epic is at points extremely funny. A second comic sf
sequence, the _^<b_USS Recluse_^>b_ stories, began with _^<i_The Kruton Interface_^>i_ (_^<b_1993_^>b_); and a third, the _^<b_Dr. Dimension_^>b_ series in collaboration with David _^<a_!T618_BISCHOFF_^>a_, began with _^<i_Dr. Dimension_^>i_
(_^<b_1993_^>b_) and _^<i_Dr. Dimension: Masters of Spacetime_^>i_ (_^<b_1994_^>b_), both containing _^<a_!T2528_RECURSIVE SF _^>a_elements._^<i_Crooked House_^>i_ (_^<b_1987_^>b_) with Thomas F. _^<a_!T3019_MONTELEONE_^>a_ is a horror novel, and
the Zelaznyesque _^<b_Castle Perilous_^>b_ sequence -- _^<i_Castle Perilous_^>i_ (_^<b_1988_^>b_), _^<i_Castle for Rent_^>i_ (_^<b_1989_^>b_), _^<i_Castle Kidnapped_^>i_ (_^<b_1989_^>b_), _^<i_Castle War!_^>i_ (_^<b_1990_^>b_), _^<i_Castle
Murders_^>i_ (_^<b_1991_^>b_),_^<i_Castle Dreams_^>i_ (_^<b_1992_^>b_) and _^<i_Castle Spellbound_^>i_ (_^<b_1992_^>b_) -- is fantasy, as is _^<i_MagicNet _^>i_(_^<b_1993_^>b_). JDC has also written two biographies: _^<i_Peron_^>i_ (_^<b_1987_^>b_)
and _^<i_Nasser_^>i_ (_^<b_1987_^>b_). [JC]_^<n__^<n_
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DECIMA VITTIMA, LA
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(vt _^<i_The Tenth Victim_^>i_) Film (1965). Champion/Concordia. Dir Elio Petri, starring Marcello Mastroianni, Ursula Andress, Elsa Martinelli, Massimo Serato. Screenplay Petri, Ennio Flaiano, Tonino Guerra, Giorgio Salvione, based on "The Seventh
Victim" (1953) by Robert _^<a_!T2164_SHECKLEY_^>a_. 92 mins. Colour._^<n__^<n_This French-Italian coproduction is based loosely on Sheckley's story about a future world where, as a safety valve for latent aggression, the government has legalized
duels to the death. In the film two participants (Mastroianni and Andress) are highly trained individuals alternating as "hunter" and "victim", each aiming for the 10-kill score that will bring unlimited privileges. The _^<a_!T1370_DYSTOPIAN_^>a_
possibilities are neglected in favour of the then-fashionable _^<b_James Bond_^>b_/thriller approach, with black jokes and posturing in extravagant costumes. The novelization is _^<i_The Tenth Victim_^>i_ * (_^<b_1966_^>b_) by Robert Sheckley.
Working name of US writer Roger Dee Aycock (1914- ) for his fiction, which he began writing with "The Wheel is Death" for _^<i_Planet Stories_^>i_ in 1949; he was a prolific contributor to the sf magazines of the early 1950s. His sf novel,
_^<i_An Earth Gone Mad_^>i_ (_^<b_1954_^>b_ dos), is a routine adventure. [JC]_^<n__^<n_
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DEEGAN, JON J.
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House name created by Gordon Landsborough, editor of _^<a_!T319_AUTHENTIC SCIENCE FICTION_^>a_, and used almost exclusively by UK writer Robert (George) Sharp (? -? ) for novels published in that journal, which for some time early in its run
filled each issue with one long story. The _^<b_Old Growler_^>b_ series, beginning with "Reconnoitre Krellig II" in 1951, was signed as by JJD, and three of its sequels (all by Sharp) were published in book form as _^<i_Amateurs in Alchemy_^>i_
(_^<b_1952_^>b_), _^<i_Antro, the Life-Giver_^>i_ (_^<b_1953_^>b_) and _^<i_The Great Ones_^>i_ (_^<b_1953_^>b_). Sharp wrote also a _^<a_!T6026_TIME-TRAVEL_^>a_ trilogy, _^<i_Corridors of Time_^>i_ (_^<b_1953_^>b_), _^<i_Beyond the Fourth
Door_^>i_ (_^<b_1954_^>b_) and _^<i_Exiles in Time_^>i_ (_^<b_1954_^>b_). Of further JJD titles, _^<i_Underworld of Zello_^>i_ (_^<b_1952_^>b_) is by Sharp; authorship of _^<i_The Singing Spheres_^>i_ (_^<b_1952_^>b_) is unconfirmed. The much
earlier _^<i_Horror Castle_^>i_ (_^<b_1936_^>b_) was published under Sharp's own name, which he generally used for his crime thrillers. [JC]_^<n__^<n_
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DEEPING, (GEORGE) WARWICK
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(1877-1950) UK popular novelist, the first of whose many books, _^<i_Uther & Igraine_^>i_ (_^<b_1903_^>b_), was an Arthurian fantasy, as were _^<i_The Man on the White Horse_^>i_ (_^<b_1934_^>b_); _^<i_The Man who Went Back_^>i_ (_^<b_1940_^>b_),
the latter being a timeslip epic which takes its protagonist from the 20th-century UK to the time of the Romans, and returns him wiser and better able to cope with the Nazis; and _^<i_The Sword and the Cross_^>i_ (_^<b_1957_^>b_). _^<i_I Live
Again_^>i_ (_^<b_1942_^>b_) is a _^<a_!T2548_REINCARNATION_^>a_ fantasy that likewise terminates heroically in the Blitz. [JC]_^<n__^<n_
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DEEPSTAR SIX
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Film (1988). Carolco/Tri-Star. Dir and coprod Sean S. Cunningham, starring Joyce Collins, Greg Evigan, Taurean Blacque, Miguel Ferrer. Screenplay Lewis Abernathy, Geof Miller, based on a story by Abernathy. 99 mins. Colour._^<n__^<n_A deep-sea
missile base is being installed by underwater station DeepStar Six. Explosives open a vast cavern under the ocean floor, in which dwells a monstrous arthropod; it destroys two submersibles, enters the station, and kills most of the crew one by one.
This no-better-than-competent _^<a_!T3011_MONSTER MOVIE_^>a_ was the first of the strange-things-in-the-ocean sf films of the period, others being _^<i_Lords of the Deep_^>i_ (1989), _^<a_!T3359_LEVIATHAN_^>a_ (1989) and
_^<i_The_^<a_!T19_ABYSS_^>a__^>i_ (1989). Once revealed, the crayfish-thing is anticlimactic. [PN]_^<n__^<n_
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DEER, M.J.
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> George H. _^<a_!T2273_SMITH_^>a_._^<n__^<n_
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DEFINITIONS OF SF
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The term "science fiction" came into general use in the 1930s, an early appearance being in Hugo _^<a_!T4668_GERNSBACK_^>a_'s editorial to #1 of _^<a_!T2875_SCIENCE WONDER STORIES_^>a_ (June 1929). Long before, however, several writers (> Edgar
_^<a_!T1448_FAWCETT_^>a_; Edgar Allan _^<a_!T1933_POE_^>a_; William _^<a_!T5648_WILSON_^>a_) had made attempts to define species of literary production similar to sf, and other early speculative writers had their own manifestos. Only since the
founding of the specialist sf _^<a_!T2033_PULP MAGAZINES_^>a_ in the USA has there been any measure of agreement._^<n__^<n_The category first referred to by Gernsback as _^<a_!T2879_SCIENTIFICTION_^>a_ was described by him thus in the editorial to
#1 of _^<a_!T141_AMAZING STORIES_^>a_ (Apr 1926): "By 'scientifiction' I mean the Jules Verne, H.G. Wells and Edgar Allan Poe type of story -- a charming romance intermingled with scientific fact and prophetic vision . . . Not only do these amazing
tales make tremendously interesting reading -- they are always instructive. They supply knowledge . . . in a very palatable form . . . New adventures pictured for us in the scientifiction of today are not at all impossible of realization tomorrow .
. . Many great science stories destined to be of historical interest are still to be written . . . Posterity will point to them as having blazed a new trail, not only in literature and fiction, but progress as well."_^<n__^<n_This notion of sf as a
didactic and progressive literature with a solid basis in contemporary knowledge was soon revised as other pulp editors abandoned some of Gernsback's pretensions, but the emphasis on science remained. A new manifesto was drawn up by John W.
_^<a_!T5140_CAMPBELL_^>a_ Jr for _^<i_Astounding Stories_^>i_, which, as _^<a_!T277_ASTOUNDING SCIENCE-FICTION_^>a_, would dominate the field in the 1940s. He proposed that sf should be regarded as a literary medium akin to science itself:
"Scientific methodology involves the proposition that a well-constructed theory will not only explain away known phenomena, but will also predict new and still undiscovered phenomena. Science fiction tries to do much the same -- and write up, in
story form, what the results look like when applied not only to machines, but to human society as well."_^<n__^<n_Within a few years of the creation of the term "science fiction" a subculture had evolved composed of writers, magazine editors (and,
later, book editors), reviewers and fans; stories and novels written within this subculture shared certain assumptions, linguistic and thematic codes which were embedded in the growing literature, and a sense of isolation from the external
"mundane" world for which those codes remained cryptic. This whole living matrix, not just the fictional texts that had initially occasioned it, came to be called "science fiction" (> _^<a_!T4659_GENRE SF_^>a_)._^<n__^<n_Once the publishing
category had been established, readers and critics began using the term with reference to older works, bringing together all stories which seemed to fit the specifications. However, the first major study of the field's ancestry was undertaken by a
person from outside it, the academic J.O. _^<a_!T362_BAILEY_^>a_ in _^<i_Pilgrims through Space and Time_^>i_ (_^<b_1947_^>b_). He identified his material thus: "A piece of scientific fiction is a narrative of an imaginary invention or discovery in
the natural sciences and consequent adventures and experiences . . . It must be a scientific discovery -- something that the author at least rationalizes as possible to science."_^<n__^<n_Many further sf researchers and writers attempted to
generate definitions of the form which would demarcate the contemporary genre and assimilate any theoretically eligible earlier work. These definitions included attempts by James _^<a_!T658_BLISH_^>a_, Reginald _^<a_!T4987_BRETNOR_^>a_, Robert A.
_^<a_!T4376_HEINLEIN_^>a_, Damon _^<a_!T4098_KNIGHT_^>a_ and Theodore _^<a_!T5810_STURGEON_^>a_, from within the field, and, from scholars and critics more or less closely associated it, by Kingsley _^<a_!T153_AMIS_^>a_ and Sam
_^<a_!T3074_MOSKOWITZ_^>a_. Judith _^<a_!T2908_MERRIL_^>a_ echoed Campbell's prospectus while borrowing Heinlein's preferred terminology, which replaced the term "science fiction" by "speculative fiction": "Speculative fiction: stories whose
objective is to explore, to discover, to _^<i_learn_^>i_, by means of projection, extrapolation, analogue,hypothesis-and-paper-experimentation, something about the nature of the universe, of man, or 'reality' . . . I use the term 'speculative
fiction' here specifically to describe the mode which makes use of the traditional 'scientific method' (observation, hypothesis, experiment) to examine some postulated approximation of reality, by introducing a given set of changes -- imaginary or
inventive -- into the common background of 'known facts', creating an environment in which the responses and perceptions of the characters will reveal something about the inventions, the characters, or both."_^<n__^<n_The emphasis in all of these
earlier definitions falls on the presence of "science", or at least scientific method, as a necessary part of the fiction. The Merril definition, however, clearly (by shifting from science itself to the idea of extrapolation) is rather wider, since
it would include stories which depict social change without necessarily making much fuss over scientific development; and indeed such stories were becoming very popular in the magazines during the 1950s and 1960s, the period during which Merril did
most of her writing and editing._^<n__^<n_Oddly enough, the most obvious element in the magazine sf that is the initial focus of nearly all of these earlier definitions is not much mentioned in them: the overwhelming majority of the sf of this
period -- especially in the USA -- was set in the future. (By contrast, most 19th- and early-20th-century sf was displaced from the normal world through space rather than time.) With an enjoyable lack of responsibility about using the future to
teach us about the present, writers like E.E. "Doc" _^<a_!T2269_SMITH_^>a_, in his _^<b_Lensman_^>b_ series, freed the future for "itself", and the effect of this new freedom was, in literary terms, explosive. From this the characteristic (and
addictive) flavour of US sf derives: its relaxed embracing of scale and technology, its narrative fluency and, perhaps, its secret impatience with reason. Most descriptive definitions of sf from the period 1940-70 look with hindsight surprisingly
unsatisfactory and rather constricting -- damagingly indifferent, in fact, to the actual shape of sf texts._^<n__^<n_In the 1960s a new line of thought, stemming in large part from the UK, saw sf re-emphasized as a global literature with
19th-century roots rather than as a purely US phenomenon nurtured in the pulp magazines from the 1920s onwards. This wider perspective on sf tends to de-emphasize its science/technology component. The term "science fiction" itself came in for
criticism from Brian W. _^<a_!T87_ALDISS_^>a_, who commented that sf is no more written for scientists than ghost stories are for ghosts. J.G. _^<a_!T378_BALLARD_^>a_ remarked in 1969 that "the idea that a magazine like Astounding, or Analog as
it's now called, has anything to do with the sciences is ludicrous. You have only to pick up a journal like _^<i_Nature_^>i_, say, or any scientific journal, and you can see that science belongs in a completely different world." In _^<i_Billion
Year Spree_^>i_ (_^<b_1973_^>b_; rev vt _^<i_Trillion Year Spree_^>i_ 1986 by Aldiss and David _^<a_!T5653_WINGROVE_^>a_) Aldiss offered the remark -- it seems more an observation describing a philosophical outlook than a definition -- that
"science fiction is the search for a definition of man and his status in the universe which will stand in our advanced but confused state of knowledge (science), and is characteristically cast in the Gothic or post-Gothic mode" (>
_^<a_!T4780_GOTHIC SF_^>a_). By placing Mary _^<a_!T2173_SHELLEY_^>a_'s _^<i_Frankenstein_^>i_ (_^<b_1818_^>b_) at the head of this tradition, Aldiss effectively (and influentially) argued that sf was a child begotten upon Gothic Romance by the
Industrial and Scientific Revolution of the early 19th century. More recent critics, like Brian M. _^<a_!T2385_STABLEFORD_^>a_ in _^<i_Scientific Romance in Britain 1890-1950_^>i_ (_^<b_1985_^>b_), have likewise somewhat undercut those definitions
that appear to fit most closely an idea of sf as a genre first cultured in US magazines (> _^<a_!T2878_SCIENTIFIC ROMANCE_^>a_)._^<n__^<n_The 1970s as a whole witnessed a great upsurge of academic interest in sf (> _^<a_!T2071_SF IN THE
CLASSROOM_^>a_), especially in the USA, and with it, naturally enough, came more rigorous and formal attempts to define sf. To teach a subject you need to know what it is; and, especially in the case of sf (which blurs so easily into
_^<a_!T1412_FANTASY_^>a_ on one side and _^<a_!T1958_POSTMODERNIST_^>a_ fictions-_^<a_!T1372_FABULATIONS_^>a_ -- on another, _^<a_!T5917_TECHNOTHRILLERS_^>a_ and political thrillers on a third, mainstream works about scientific discovery on a
fourth, not to mention _^<a_!T3460_LOST-WORLD_^>a_ stories or _^<a_!T5303_UTOPIAS_^>a_ or future-_^<a_!T5452_WAR_^>a_ stories or stories set in the prehistoric past), you also need to know what it isn't. Thus in academic definitions there was a new
emphasis on drawing the boundaries of sf more precisely, in terms of its literary strategies as well as its ideational content, sometimes using a vocabulary already developed in different spheres of literary criticism by structuralist and other
critics._^<n__^<n_In 1972 Darko _^<a_!T5858_SUVIN_^>a_ defined sf as "a literary genre whose necessary and sufficient conditions are the presence and interaction of estrangement and cognition, and whose main formal device is an imaginative
framework alternative to the author's empirical environment". By "cognition" Suvin appears to mean the seeking of rational understanding, and by "estrangement" something akin to Bertolt Brecht's _^<i_Verfremdungseffekt_^>i_, defined in 1948 thus:
"A representation which estranges is one which allows us to recognize its subject, but at the same time make it seem unfamiliar." Perhaps the most important part of Suvin's definition, and the easiest with which to agree, is the emphasis he puts on
what he and others have called a "novum", a new thing -- some difference between the world of the fiction and what Suvin calls the "empirical environment", the real world outside. The presence of a novum is insufficient in itself, of course, to
define sf, since the different and older tradition of fantasy likewise depends on the novum. Peter _^<a_!T3189_NICHOLLS_^>a_, pointing to this particularly blurred demarcation line, argues that sf must by definition follow natural law whereas
fantasy may and mostly does suspend it. Fantasy need not be susceptible to "natural" or cognitive explanation; indeed, _^<i_super_^>i_natural explanation is at fantasy's heart. (Suvin claims that the commercial linking of sf and fantasy is "a
rampantly pathological phenomenon". This dividing line is further discussed under _^<a_!T3598_MAGIC_^>a_.) As to estrangement, it arguably has little to do with at least the US tradition of sf (although a great deal to do with European traditions
of _^<a_!T2812_SATIRE_^>a_), in which an important component is nostalgia for the familiar -- even the familiarly new (> _^<a_!T752_CLICHES_^>a_) -- and estrangement is significantly absent. John _^<a_!T769_CLUTE_^>a_ has argued that much sf seeks
to create the exact opposite of estrangement; that is, it works to make the incredible seem plausible and familiar. Nonetheless, while Suvin's definition would find few who agreed with all of it, it is challenging and has perhaps been the most
useful of all in catalysing debate on the issue._^<n__^<n_It is to be expected that disagreements of this sort should take place, since sf itself is not homogeneous, and at different times -- sometimes both at once -- its strategy is either to
comment on our own world through the use of metaphor and extrapolation or to create genuine imaginative alternatives to our own world._^<n__^<n_The first of these alternatives is the one emphasized in _^<i_Structural Fabulation_^>i_
(_^<b_1975_^>b_) by Robert _^<a_!T2856_SCHOLES_^>a_, who defines _^<a_!T1372_FABULATION_^>a_ as "fiction that offers us a world clearly and radically discontinuous from the one we know, yet returns to confront that known world in some cognitive
way". Unqualified, the definition would fit not only _^<a_!T4659_GENRE SF_^>a_ but also the fabulations of John _^<a_!T444_BARTH_^>a_, Richard _^<a_!T4979_BRAUTIGAN_^>a_, Jorge Luis _^<a_!T704_BORGES_^>a_ and Thomas _^<a_!T2040_PYNCHON_^>a_, works
which are quite often annexed to sf though having a different characteristic flavour. Scholes recognizes this when he goes on to the specific case of "structural fabulation" (yet another term substituting for "science fiction" and sharing the
initials "sf") in which "the tradition of speculative fiction is modified by an awareness of the universe as a system of systems, a structure of structures, and the insights of the past century of science are accepted as fictional points of
departure. Yet structural fabulation is neither scientific in its methods nor a substitute for actual science. It is a fictional exploration of human situations made perceptible by the implications of recent science. Its favourite themes involve
the impact of developments or revelations derived from the human or physical sciences upon the people who must live with those revelations or developments."_^<n__^<n_All definitions of sf have a component of prescription (what sf writers
_^<i_ought_^>i_ to do, and what their motives, purposes and philosophies _^<i_ought_^>i_ to be) as well as description (what they habitually _^<i_do_^>i_ do, and what kind of things tend to accumulate under the label). It is, however, only in the
later academic definitions by authors like Suvin and Scholes, who are noticeably reticent as regards what sf is actually _^<i_about_^>i_, that we find prescription getting the upper hand. It is possible with almost all definitions, especially of
the prescriptive sort, to find examples which do not fit the prescription. No one has yet emerged with a prescription sufficiently inclusive to satisfy all or even most readers. (If the editors of this encyclopedia have erred, it has been on the
side of inclusiveness.)_^<n__^<n_Some other academic definitions have been less inclusive than Suvin's or Scholes's. Leslie _^<a_!T1475_FIEDLER_^>a_, for example, argues (in _^<i_Partisan Review_^>i_ Fall 1965) that the myth of sf is the dream of
apocalypse, "the myth of the end of man, of the transcendence or transformation of the human -- a vision quite different from that of the extinction of our species by the Bomb, which seems stereotype rather than archetype". In his _^<i_New Worlds
for Old: The Apocalyptic Imagination, Science Fiction and American Literature_^>i_ (_^<b_1974_^>b_) David _^<a_!T4045_KETTERER_^>a_ expands on Fiedler's point at length, dividing sf into three categories (according to the type of extrapolation
involved) and concentrating on the third: "Philosophically oriented science fiction, extrapolating on what we know in the context of our vaster ignorance, comes up with a startling _^<i_donnee_^>i_, or rationale, that puts humanity in a radically
new perspective." This he sees as a subcategory of "apocalyptic literature" which, by "the creation of other worlds", causes a "metaphorical destruction of [the] 'real' world in the reader's head"._^<n__^<n_Alvin _^<a_!T6039_TOFFLER_^>a_, author of
_^<i_Future Shock_^>i_ (_^<b_1970_^>b_), a study of the increasing rate of change in the real world, wrote in 1974 that sf, "by dealing with possibilities not ordinarily considered -- alternative worlds, alternative visions -- widens our repertoire
of possible responses to change". Here is the beginning of a definition of sf in terms of its social function rather than of its intrinsic nature, a little more sophisticated than Marshall McLuhan's earlier comment in _^<i_The Medium and the
Massage_^>i_ (_^<b_1967_^>b_): "Science fiction writing today presents situations that enable us to perceive the potential of new technologies."_^<n__^<n_In 1987 Kim Stanley _^<a_!T2637_ROBINSON_^>a_ wrote in _^<a_!T1577_FOUNDATION: THE REVIEW OF
SCIENCE FICTION_^>a_ that sf was "an historical literature . . . In every sf narrative, there is an explicit or implicit fictional history that connects the period depicted to our present moment, or to some moment of our past." Commenting in 1992
in the _^<a_!T3185_NEW YORK REVIEW OF SCIENCE FICTION_^>a_ on this formulation, John Clute suggested that it underlined the sense US sf conveyed of being connected to the linear, time-bound logic of the Western World._^<n__^<n_Unfortunately, the
clearest (or most aggressive) definitions are often the least definitive, although many sceptics have been attracted to Damon Knight's "Science fiction is what we point to when we say it" or Norman _^<a_!T2370_SPINRAD_^>a_'s "Science fiction is
anything published as science fiction". Both these "definitions" have a serious point, of course: that, whatever else sf may be, it is certainly a publishing category, and in the real world this is of more pragmatic importance than anything the
theorists may have to say about it. On the other hand, the label "sf" on a book is wholly subject to the whims of publishers and editors, and the label has certainly appeared on some very unlikely books. An additional complication arises because
some writers fight hard to avoid the label, perhaps feeling that it might deleteriously affect their sales and/or reputations (e.g., Kurt _^<a_!T5402_VONNEGUT_^>a_ Jr, John _^<a_!T6211_WYNDHAM_^>a_). Publishers apply similar cautionary measures to
potential bestsellers, which are seldom labelled as sf even when that is exactly what they are (although this has been less true in the post-_^<a_!T5686_STAR WARS_^>a_ period than in, say, the 1970s), on the grounds that genre sf when so labelled,
while normally selling steadily, rarely enters the bestseller class._^<n__^<n_There is really no good reason to expect that a workable definition of sf will ever be established. None has been, so far. In practice, there is much consensus about what
sf looks like in its centre; it is only at the fringes that most of the fights take place. And it is still not possible to describe sf as a homogeneous form of writing. Sf is arguably not a genre in the strict sense at all -- and why should it be?
Historically, it grew from the merging of many distinct genres, from utopias to space adventures. Instinctively, however, we may feel that, if sf ever loses its sense of the fluidity of the future and the excitement of our scientific attempts to
understand our Universe -- in short, as more conservative fans would put it with enthusiasm though conceptual vagueness, its _^<a_!T2104_SENSE OF WONDER_^>a_ -- then it may no longer be worth fighting over. If things fall apart and the centre
cannot hold, mere structural fabulation may be loosed upon the world!_^<n__^<n_For a listing of many definitions, including some of those referred to but not actually quoted above, a good source is the "Science Fiction" entry in _^<i_Critical Terms
for Science Fiction and Fantasy_^>i_ (_^<b_1986_^>b_) by Gary K. _^<a_!T5675_WOLFE_^>a_. [BS/JC/PN]_^<n__^<n_
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DEFOE, DANIEL
-T-
(1660-1731) UK merchant, professional spy and writer, extremely prolific author of many works of various kinds, though the huge canon of unsigned works attributed to him has in recent years been convincingly diminished. He is best known today for
his novel _^<i_The Life and Strange Surprizing Adventures of Robinson Crusoe of York, Mariner_^>i_ (_^<b_1719_^>b_) and its sequels, which, while not sf, provided a fundamental model for many sf stories (> _^<a_!T2641_ROBINSONADE_^>a_). Of interest
to students of _^<a_!T2013_PROTO SCIENCE FICTION_^>a_ is _^<i_The Consolidator, or Memoirs of Sundry Transactions from the World of the Moon_^>i_ (_^<b_1705_^>b_; various savagely cut edns under vts 1705-41), in which a mechanical spirit-driven
flying machine, the Consolidator, enables various satirical (> _^<a_!T2812_SATIRE_^>a_) observations to be made from a lunar viewpoint. _^<i_A Journal of the Plague Year_^>i_ (_^<b_1722_^>b_), in effect a historical novel set in 1665, a year DD
could presumably barely remember, is a prototype of the _^<a_!T1243_DISASTER_^>a_ novel. Some associational short work can be found in _^<i_Tales of Piracy, Crime, and Ghosts_^>i_ (coll _^<b_1945_^>b_ US). [JC/PN]_^<n__^<n__^<b_See also:_^>b_
(1814-1856) French writer whose _^<i_Star, ou Psi de Cassiopee_^>i_ (_^<b_1854_^>b_; trans P.J. Sokolowski as _^<i_Star_^>i_ _^<b_1975_^>b_ US, with intro by Pierre _^<a_!T5359_VERSINS_^>a_) describes the discovery in the Himalayas of a box full of
information about life on another planet. The biological and anthropological speculation is interesting; the translation lacks the inventive fluency of the original. [JC/PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T2422_STARS_^>a_.
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deFORD, MIRIAM ALLEN
-T-
(1888-1975) US writer, a newspaper reporter for many years; probably known better for her many mystery stories (some award-winning) than for the sf of her later years. Her publications also include such nonfiction as _^<i_The Real Bonnie and
Clyde_^>i_ (_^<b_1968_^>b_) and her work as contributing editor to _^<i_The Humanist_^>i_. She edited _^<i_Space, Time and Crime_^>i_ (anth _^<b_1964_^>b_), a collection of sf stories with mystery elements. As an author of sf stories in her own
right, she published over 30 items -- beginning with "Last Generation" in 1946 for _^<i_Harper's Magazine_^>i_ -- in various magazines, though most of the stories in her two collections, _^<i_Xenogenesis_^>i_ (coll _^<b_1969_^>b_) and
_^<i_Elsewhere, Elsewhen, Elsehow_^>i_ (coll _^<b_1971_^>b_), had first appeared in _^<i_FSF_^>i_. Her examinations of themes such as nuclear devastation and sexual roles is conducted in a crisp, clearcut style that sometimes lacks grace but never
vigour. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T5684_WOMEN SF WRITERS_^>a_.
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DEGAL, ALDION
-T-
[r] > _^<a_!T6246_YUGOSLAVIA_^>a_._^<n__^<n_
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De GRAEFF, ALLEN
-T-
Pseudonym of Albert Paul Blaustein (1921- ), professor of law at Rutgers from 1955, under which he edited _^<i_Human and Other Beings_^>i_ (anth _^<b_1963_^>b_). He was uncredited co-compiler of three anthologies with his friend Basil
_^<a_!T1076_DAVENPORT_^>a_: _^<i_Deals with the Devil_^>i_ (anth _^<b_1958_^>b_), _^<i_Invisible Men_^>i_ (anth _^<b_1960_^>b_) and _^<i_Famous Monster Tales_^>i_ (anth _^<b_1967_^>b_). [PN]_^<n__^<n_
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De HAVEN, TOM
-T-
(1949- ) US writer who began publishing sf with his first novel, _^<i_Freaks' Amour_^>i_ (_^<b_1979_^>b_), set in 1988 among a group of _^<a_!T3120_MUTANTS_^>a_ created by an atomic mishap, and following their lives as itinerant performers. A
similar inclination to place a large connected cast in a surreally threatening world impels the otherwise very different _^<i_Funny Papers_^>i_ (_^<b_1985_^>b_), a kind of urban fantasy/alternate history set at the end of the 19th century in a
magic-realist New York (> _^<a_!T131_ALTERNATE WORLDS_^>a_; _^<a_!T1372_FABULATION_^>a_) and concentrating on the newspaper business at the point when _^<a_!T820_COMIC_^>a_ strips were first becoming widely popular. In the long third section of
_^<i_Sunburn Lake_^>i_ (coll of linked stories _^<b_1988_^>b_), TDH applied his easy fabulistic manner to 21st-century New Jersey. Towards the end of the 1980s, however, TDH gave some sense that he was dissipating his energies, producing a sharp
but unremarkable tie in _^<i_U.S.S.A. Book 1_^>i_ * (_^<b_1987_^>b_), a juvenile, _^<i_Joe Gosh_^>i_ (_^<b_1988_^>b_), which may have been _^<a_!T2126_SHARECROPPED_^>a_, and _^<i_Neuromancer: The Graphic Novel: Volume 1_^>i_ * (graph
_^<b_1989_^>b_) illus Bruce Jensen. But the fantasy sequence _^<b_Chronicles of the King's Tramp_^>b_ represented a significant return of energy: _^<i_Walker of Worlds_^>i_ (_^<b_1990_^>b_),_^<i_The End-of-Everything Man_^>i_ (_^<b_1991_^>b_), and
_^<i_The Last Human_^>i_ (_^<b_1992_^>b_) traverse familiar territory -- a sequence of _^<a_!T1794_PARALLEL WORLDS_^>a_ nested into an ontological hierarchy -- with panache and knowing clarity. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Jersey
Working name of Leonard Cyril Deighton (1929- ), UK writer of spy novels, cookery books and some other nonfiction, still perhaps best known for his early espionage thrillers, such as _^<i_The Ipcress File_^>i_ (_^<b_1962_^>b_), several of which
feature the same undisciplined secret agent. The fourth volume of the series, _^<i_Billion-Dollar Brain_^>i_ (_^<b_1966_^>b_), is set in an indeterminate _^<a_!T6337_NEAR FUTURE_^>a_ and deals with a super-_^<a_!T826_COMPUTER_^>a_ and a private
preventive war launched on Russia across the ice from Finland by a mad tycoon; it was filmed as _^<i_Billion Dollar Brain_^>i_ (1967) dir Ken Russell. In _^<i_SS-GB_^>i_ (_^<b_1978_^>b_) the UK suffers German occupation from 1941 (>
_^<a_!T4446_HITLER WINS_^>a_). [JC]_^<n__^<n_
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DELAIRE, JEAN
-T-
Pseudonym of Mrs Muirson Blake (? -? ), whose date of birth has been listed as an improbably late 1888, editor of _^<i_Christian Theosophist_^>i_. JD's _^<i_Around a Distant Star_^>i_ (_^<b_1904_^>b_) has two young fellows travelling on an
electrically propelled _^<a_!T1443_FASTER-THAN-LIGHT_^>a_ spacecraft to a planet about 1900 light years away, so that, after avoiding carnivorous plants, they can witness through a supertelescope the death and resurrection of Christ.
[PN]_^<n__^<n__^<b_Other works:_^>b_ _^<i_A Pixie's Adventures in Humanland_^>i_ (_^<b_1926_^>b_).
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DELANEY, JOSEPH H(ENRY)
-T-
(1932- ) US lawyer and writer, associated through most of his career with _^<i_ASF_^>i_, for which magazine he began publishing sf with "Brainchild" in 1982 (> _^<a_!T206_APES AND CAVEMEN_^>a_). He made considerable impact with his second story,
"In the Face of My Enemy"(1983), which became part of his first solo novel, _^<i_In the Face of my Enemy_^>i_ (fixup _^<b_1985_^>b_), a _^<a_!T2342_SPACE OPERA_^>a_ featuring an immortal shape-changer. His first novel, _^<i_Valentina: Soul in
Sapphire_^>i_ (fixup _^<b_1984_^>b_) with Marc _^<a_!T5741_STIEGLER_^>a_, rather more grippingly depicts the efforts of the eponymous _^<a_!T68_AI_^>a_ to gain memory space in networked mainframes across the world, and to prove her selfhood.
_^<i_Lords Temporal_^>i_ (_^<b_1987_^>b_) is a _^<a_!T6029_TIME-TRAVEL_^>a_ tale of some ingenuity. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T826_COMPUTERS_^>a_.
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DELANY, SAMUEL R(AY)
-T-
(1942- ) US author and critic, one of the most influential and most discussed within the genre; he has taught at several universities from 1975, and from 1988 has been professor of Comparative Literature at the University of Massachusetts. He has
a somewhat mixed cultural background: he is Black, born and raised in Harlem, New York, and therefore familiar with the Black ghetto; but his father, a wealthy funeral-parlour proprietor, had the family brought up in privileged, upper-middle-class
circumstances -- SRD was educated at the prestigious Bronx High School of Science (although he left college after only one term). This double background is evident in all his writing._^<n__^<n_He became famous as one of the youthful prodigies of
sf. Unusually, his first published sf was a novel, published when he was 20: _^<i_The Jewels of Aptor_^>i_ (_^<b_1962_^>b_ dos; restored 1968; rev 1971 UK); the later versions restore the third of the book which had originally been excised at
_^<a_!T20_ACE BOOKS_^>a_. This was followed by the _^<b_The Fall of the Towers_^>b_ trilogy: _^<i_Captives of the Flame_^>i_ (_^<b_1963_^>b_ dos; rev vt _^<i_Out of the Dead City_^>i_ 1968 UK), _^<i_The Towers of Toron_^>i_ (_^<b_1964_^>b_ dos; rev
1968 UK) and _^<i_City of a Thousand Suns_^>i_ (_^<b_1965_^>b_; rev 1969 UK), all assembled as _^<i_The Fall of the Towers_^>i_ (omni of rev texts _^<b_1970_^>b_). Another early novel was _^<i_The Ballad of Beta-2_^>i_ (_^<b_1965_^>b_ dos; text
corrected 1977)._^<n__^<n_The early novels had certain similarities, and some of the themes initiated in them have recurred regularly in SRD's work. The plot structure is almost invariably that of a quest, or some form of _^<a_!T1409_FANTASTIC
VOYAGE_^>a_. Physically and psychologically damaged participants are common. An economical use of colourful detail, often initially surprising but logical when considered, is used to flesh out the social background of the stories. There is an
interest in _^<a_!T3135_MYTHOLOGY_^>a_, taking the form of metaphorical allusion to existing myths or of an investigation of the way new myths are formed; this is central to _^<i_The Ballad of Beta-2_^>i_, in which a student anthropologist
investigates the facts behind a folk song garnered from a primitive Earth culture which has gone voyaging in a fleet of _^<a_!T4655_GENERATION STARSHIPS_^>a_. This novel also shows an interest in problems of _^<a_!T822_COMMUNICATIONS_^>a_ and
_^<a_!T3398_LINGUISTICS_^>a_ which was to become central to SRD's work. _^<b_The Fall of the Towers_^>b_, too, is full of colourful cultural speculation, although its melodramatic story of war, mutations, mad computers and a malign cosmic
intelligence is moderately conventional. The original three volumes of _^<b_The Fall of the Towers_^>b_ were set in the same post-_^<a_!T4482_HOLOCAUST_^>a_ Earth as _^<i_The Jewels of Aptor_^>i_; however, the linking references were removed in the
revised edition._^<n__^<n_SRD published two more novels in 1966: _^<i_Empire Star_^>i_ (_^<b_1966_^>b_ dos; text corrected 1977) and _^<i__^<a_!B8976_BABEL-17_^>a__^>i_ (_^<b_1966_^>b_; rev 1969 UK). Both, especially the latter, which won a
_^<a_!T3147_NEBULA_^>a_, reveal a notable advance in sophistication. _^<i__^<a_!B8976_BABEL-17_^>a__^>i_, whose chapters carry epigraphs from the work of SRD's wife (1961-80), the poet Marilyn Hacker (1942- ), is about language, and has a poet
heroine. In a future galactic society, radio broadcasts in an apparently alien language are received; they are thought to be connected with sabotage and alien invasion. Much of the novel is to do with cracking the language. SRD believes that our
_^<a_!T1851_PERCEPTION_^>a_ of reality is partly formed by our languages; the invention of different societies in this novel, more intense and imaginative than his previous work, is mostly rendered in terms of thought- and
speech-patterns._^<n__^<n_In 1967 he began publishing short stories also. Algis _^<a_!T5064_BUDRYS_^>a_ (_^<i_Gal_^>i_ Jan 1969) called him "the best science-fiction writer in the world". He was generally seen as being in the forefront of the
_^<a_!T3181_NEW WAVE_^>a_, emphasizing cultural speculation, the soft sciences, psychology and mythology over technology and _^<a_!T4288_HARD SF_^>a_. The short story "Aye, and Gomorrah . . ." (1967) won a Nebula, and the novelette "Time Considered
as a Helix of Semi-Precious Stones" (1969) won both _^<a_!T4551_HUGO_^>a_ and Nebula. These two, with _^<i__^<a_!B8976_BABEL-17_^>a__^>i_ and _^<i__^<a_!B8988_THE EINSTEIN INTERSECTION_^>a__^>i_, his other Nebula-winning novel, can be found in his
_^<i_The Complete Nebula Award-Winning Fiction_^>i_ (omni _^<b_1986_^>b_)._^<n__^<n_It can be argued that _^<i__^<a_!B8988_THE EINSTEIN INTERSECTION_^>a__^>i_ (_^<b_1967_^>b_; 1 chapter restored 1968 UK) is his most satisfying work, along with the
next novel, _^<i__^<a_!B9048_NOVA_^>a__^>i_ (_^<b_1968_^>b_; text corrected 1969) and the novella _^<i_The Star Pit_^>i_ (1967; _^<b_1988_^>b_ chap dos). The latter can be found in SRD's excellent first collection
_^<i__^<a_!B9252_DRIFTGLASS_^>a__^>i_ (coll _^<b_1971_^>b_) together with all of his best shorter work of the period. _^<i__^<a_!B8988_THE EINSTEIN INTERSECTION_^>a__^>i_ is remarkably compressed and densely patterned with allusive imagery. Earth
has lost its humans (_^<i_how_^>i_ is never made clear) and their corporeal form has been taken on by a race of aliens who, in an attempt to make coherent sense of the human artefacts among which they live, take on human traditions, too. Avatars of
Ringo Starr, Billy the Kid and Christ appear; the hero, a Black musician who plays tunes on his murderous machete, is Orpheus and Theseus. The book is a _^<i_tour de force_^>i_, though a cryptic one, since the bafflement of the protagonists trying
to make sense of their transformed lives tends to transfer to the reader. SRD's own diaries provide part of the text of the novel. _^<i__^<a_!B9048_NOVA_^>a__^>i_ is the Prometheus story and the Grail story combined in an ebulliently inventive
space opera/quest; the fire from the heavens, the glowing heart of the Grail, is found only at the heart of an exploding nova. Passages of high rhetoric are mingled (as they often are, too, in the work of SRD's contemporary Roger
_^<a_!T6264_ZELAZNY_^>a_) with relaxed slang and thieves' argot. The book features a characteristic SRD protagonist, thecriminal/outcast/musician/artist whose literary genealogy goes back through Jean Genet (1910-1986) all the way to Francois
Villon (1431-1485). The variety of cultures in these and other novels by SRD has the effect of making morality and ethics seem relative, pluralistic. Divers forms of bizarre human behaviour, many of which would have been seen as antisocial in US
society of the time, emerge as natural in the circumstances created. _^<i_The Star Pit_^>i_, too, is a highly structured work; its central image is that of ant-colony/cage/trap/micro-ecology, and escape is seen to be intimately linked with
emotional mutilation, even psychosis._^<n__^<n_SRD's next novel -- not sf, though with elements of the fantastic -- was the pornographic _^<i_The Tides of Lust_^>i_ (_^<b_1973_^>b_; vt _^<i_Equinox_^>i_ 1994); the title was not his. (A second
pornographic novel, _^<i_Hogg_^>i_, remains unpublished, though _^<i_The Mad Man_^>i_ (_^<b_1994_^>b_), which continues in the same vein, has seen print.) It is likely to shock most readers in its evocation of extreme sado-masochism in imagery
which is sometimes poetic and often disgusting -- and so intended -- perhaps as a Baudelairean ritual of passage. It was, indeed, in the mid-1970s that it became generally known that SRD was bisexual. Certainly, all his later work is deeply
concerned with the cultural mechanisms -- actual, theoretical and sometimes labyrinthine -- of eroticism and love. Much light is thrown on the relationship between SRD's own sexuality and the sf he wrote in the 1960s by his much later book,
_^<i_The Motion of Light in Water: Sex and Science Fiction Writing in the East Village 1957-65_^>i_ (_^<b_1988_^>b_; exp vt _^<i_The Motion of Light in Water: East Village Sex and Science Fiction Writing: 1960-65; with The Column at the Market's
Edge_^>i_ 1990 UK). This book, frank and priapic to the verge of the scabrous, won a Hugo for Best Non-Fiction._^<n__^<n_SRD's next two novels were _^<i__^<a_!B9021_DHALGREN_^>a__^>i_ (_^<b_1975_^>b_; 6th impression has many typographical errors
rectified; text further corrected 1977) and _^<i_Triton_^>i_ (_^<b_1976_^>b_). After a six-year gap in which SRD had published little or no sf, _^<i__^<a_!B9021_DHALGREN_^>a__^>i_ was controversial. It is very long, and his critics see it as
perilously self-indulgent and flabby, lacking the old economy of effect. It became a bestseller, however, and other critics saw it as his most successfully ambitious work to date. An anonymous youth, the Kid, comes to the violent, nihilist city of
Bellona, where order has fled and there are two moons in the sky, though the rest of the _^<a_!T6337_NEAR-FUTURE_^>a_ USA is apparently normal. He becomes an artist, couples and fights, and writes a book that might be
_^<i__^<a_!B9021_DHALGREN_^>a__^>i_ before leaving the city. The opening sentence completes the unfinished final sentence and an enigmatic circle. It is a book primarily about the possibilities and difficulties of a youth culture, and partly about
being a writer. _^<i_Triton_^>i_ is more traditionally structured, but in some ways more sophisticated. It presents a series of future societies differentiated mainly along sexual lines; the male protagonist, who begins by displaying a rather
insensitive, traditional machismo, ultimately chooses to become a woman, but remains alienated. Triton (a moon of Neptune) is an "ambiguous heterotopia" with a bewildering variety of available lifestyles. The book poses interesting questions about
sexuality, and also about freedom of choice._^<n__^<n_Since then SRD has published one singleton novel, _^<i_Stars in My Pocket Like Grains of Sand_^>i_ (_^<b_1984_^>b_), and four books in the _^<b_Neveryon_^>b_ series, which masquerades as
_^<a_!T5875_SWORD-AND-SORCERY_^>a_ fantasy: _^<i_Tales of Neveryon_^>i_ (coll of linked stories _^<b_1979_^>b_; rev 1988); _^<i_Neveryona_^>i_ (_^<b_1983_^>b_; rev 1989 UK); _^<i_Flight from Neveryon_^>i_ (coll of linked stories _^<b_1985_^>b_; rev
1989 UK) and _^<i_The Bridge of Lost Desire_^>i_ (coll of linked stories _^<b_1987_^>b_; rev vt _^<i_Return to Neveryon_^>i_ 1989 UK). _^<i_Stars in My Pocket Like Grains of Sand_^>i_, the first volume of a projected diptych, is an exotic piece set
in a galactic civilization. A complex narrative again asks questions about the arbitrary and parochial nature of our ethical expectations, using various forms of enjoyed degradation to make the point. It is probably SRD's most important work of the
1980s. The _^<b_Neveryon_^>b_ books adopt a similar strategy of culture-building, and play both with and against the readers' expectations. They are, in fact, sf in the sense that they invent alien societies, though technically they are
_^<a_!T1412_FANTASY_^>a_, being set in a distant, fantastic, pre-industrial past, and to a degree act as both critique and re-creation of the Mighty-Thewed Barbarian genre. SRD's treatment of the idea of bondage, for example, is infinitely more
sophisticated, and somewhat more elusive, than that of, say, John _^<a_!T3236_NORMAN_^>a_ in the _^<b_Gor_^>b_ books. Many ideas are explored, from the erotic to the economic, the concept of slavery appearing in both these idea-sets, and the
slave-collar itself coming to be the prime erotically charged symbol; the later volumes make clear reference to the AIDS epidemic. Though allusive, ambitious, self-reflexive, seriously intended books, they do return in style to something
reminiscent of the wittier, more economic, more playful SRD of the 1960s, and are among the more accessible works of his past two decades._^<n__^<n_During the six-year hiatus (from about 1969) in his own fiction, SRD began to pay more attention to
other people's. Much of the resulting critical and semiotic writing has been collected in four books: _^<i_The Jewel-Hinged Jaw: Notes on the Language of Science Fiction_^>i_ (coll _^<b_1977_^>b_), _^<i_The American Shore: Meditations on a Tale of
Science Fiction by Thomas M. Disch -- Angouleme_^>i_ (_^<b_1978_^>b_), _^<i_Starboard Wine: More Notes on the Language of Science Fiction_^>i_ (coll _^<b_1984_^>b_) and _^<i_The Straits of Messina_^>i_ (coll _^<b_1989_^>b_). Delany's criticism is
often post-structuralist and to a degree _^<a_!T1958_POSTMODERNIST_^>a_, very aware of a contemporary literary context that goes well beyond sf, sometimes very wordy, but important in its persistent attempt to describe sf in terms of the protocols
required for reading it. As SRD said in his acceptance speech after receiving the 1985 _^<a_!T1900_PILGRIM AWARD_^>a_ for excellence in sf criticism, "We must learn to read science fiction as science fiction." The second of the four books, an
analysis of the structure and images of the short story "Angouleme" (1971; later incorporated in _^<i__^<a_!B9077_334_^>a__^>i_ [fixup _^<b_1972_^>b_]) by Thomas M. _^<a_!T1244_DISCH_^>a_, is written with a spectacularly microscopic fastidiousness.
_^<i_The Straits of Messina_^>i_ collects mostly pieces by SRD that were originally published as by K. Leslie Steiner, a pseudonym he uses when writing about his own work. The first and third books, essays on the language of sf, are perhaps of the
most general interest. A fifth critical book, _^<i_Wagner/Artaud: A Play of 19th and 20th Century Critical Fictions_^>i_ (_^<b_1988_^>b_ chap), does not bear directly on sf; though a sixth, _^<i_Silent Interviews: On Language, Race, Sex, Science
Fiction, and Some Comics_^>i_ (coll _^<b_1994_^>b_) contained material of genre interest; _^<n__^<n_With Marilyn Hacker SRD edited a series of original anthologies, _^<a_!T2444_QUARK_^>a_, preferring the term "speculative fiction" to "science
fiction", and emphasizing experimental writing. There were 4 vols 1970-71._^<n__^<n_With hindsight it can be hypothesized that SRD has had different audiences at different points of his career: a very wide, traditional sf readership up to and
including _^<i__^<a_!B9021_DHALGREN_^>a__^>i_, which sold nearly a million copies in the USA alone; and a narrower, perhaps more intellectual, campus-based readership thereafter. There is no doubt that by the 1980s his fiction (and criticism) had
become less accessible, and the real debate about his career must be whether or not he gained more than he lost with his adoption of a denser style towards the later 1970s. At this point his fiction also began to include more passages of obviously
polemical intent, some of whose thrust, especially in their icons of abasement, did not carry conviction for all readers. But, though admirers of SRD's earlier work tend to be heavily polarized in their views of his later work, he by no means
disappeared from popular notice. The first two volumes of the _^<b_Neveryon_^>b_ series sold around quarter of a million each. Lower sales on subsequent editions may have been partly due to resistance in the publishing and book-distribution worlds
to his increasingly and explicitly controversial texts. [PN]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Empire: A Visual Novel_^>i_ (graph _^<b_1978_^>b_), a _^<a_!T4809_GRAPHIC NOVEL_^>a_ written by SRD and executed by Howard V.
_^<a_!T5252_CHAYKIN_^>a_; _^<i_Heavenly Breakfast: An Essay on the Winter of Love_^>i_ (_^<b_1979_^>b_), autobiographical, about life in a commune in New York; _^<i_Distant Stars_^>i_ (coll _^<b_1981_^>b_), which includes _^<i_Empire Star_^>i_ and
contains 3 stories not included in _^<i__^<a_!B9252_DRIFTGLASS_^>a__^>i_; _^<i_We in Some Strange Power's Employ, Move on a Rigorous Line_^>i_ (1968 _^<i_FSF_^>i_; _^<b_1990_^>b_ chap dos);_^<i_They Fly at Ciron _^>i_(fixup _^<b_1993_^>b_), a text
based on "They Fly at Ciron" (1971 _^<i_FSF_^>i_) with James _^<a_!T2783_SALLIS_^>a_, plus other material by SRD alone, all thoroughly revised._^<b_As Editor:_^>b_ _^<i_Nebula Award Winners 13_^>i_ (anth _^<b_1980_^>b_)._^<b_About the author:_^>b_
_^<i_The Delany Intersection: Samuel R. Delany Considered as a Writer of Semi-Precious Words_^>i_ (_^<b_1977_^>b_ chap) by George Edgar _^<a_!T2259_SLUSSER_^>a_; _^<i_Worlds out of Words: The SF Novels of Samuel R. Delany_^>i_ (_^<b_1979_^>b_) by
Douglas _^<a_!T402_BARBOUR_^>a_; _^<i_Samuel R. Delany: A Primary and Secondary Bibliography, 1962-1979_^>i_ (_^<b_1980_^>b_) by Michale W. Peplow and Robert S. Bravard; _^<i_Samuel R. Delany_^>i_ (_^<b_1982_^>b_ chap) by J.B. Weedman; _^<i_Samuel
R. Delany_^>i_ (_^<b_1985_^>b_) by Seth _^<a_!T3525_MCEVOY_^>a_._^<b_See also:_^>b_ _^<a_!T257_ARTS_^>a_; _^<a_!T708_CHILDREN IN SF_^>a_; _^<a_!T727_CITIES_^>a_; _^<a_!T829_CONCEPTUAL BREAKTHROUGH_^>a_; _^<a_!T956_CRIME AND PUNISHMENT_^>a_;
_^<a_!T963_CRITICAL AND HISTORICAL WORKS ABOUT SF_^>a_; _^<a_!T1015_CYBERPUNK_^>a_; _^<a_!T1017_CYBORGS_^>a_; _^<a_!T1209_DEVOLUTION_^>a_; _^<a_!T1372_FABULATION_^>a_; _^<a_!T1412_FANTASY_^>a_; _^<a_!T1432_FAR FUTURE_^>a_; _^<a_!T1678_GALACTIC
EMPIRES_^>a_; _^<a_!T1695_GAMES AND SPORTS_^>a_; _^<a_!T4657_GENETICENGINEERING_^>a_; _^<a_!T4780_GOTHIC SF_^>a_; _^<a_!T4395_HEROES_^>a_; _^<i_The_^<a_!T3595_MAGAZINE OF FANTASY AND SCIENCE FICTION_^>a__^>i_ ; _^<a_!T2947_MILFORD SCIENCE FICTION
_^<a_!T2300_SOCIOLOGY_^>a_; _^<a_!T2342_SPACE OPERA_^>a_; _^<a_!T2363_SPECULATIVE FICTION_^>a_; _^<a_!T5303_UTOPIAS_^>a_; _^<a_!T5683_WOMEN AS PORTRAYED IN SCIENCE FICTION_^>a_.
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DELAP, RICHARD
-T-
(1942-1987) US editor, reviewer and writer who entered the sf world as a fan and soon began to publish book reviews, beginning with pieces in the _^<a_!T1428_FANZINE_^>a_ _^<i_Granfalloon_^>i_ and moving on to a column in _^<a_!T141_AMAZING
STORIES_^>a_ during the 1960s. In _^<i_Delap's Fantasy and Science Fiction Review Magazine_^>i_ he created a valuable review organ, whose folding was regretted. He co-edited with Terry _^<a_!T1309_DOWLING_^>a_ and Gil Lamont _^<i_The Essential
Ellison_^>i_ (coll _^<b_1987_^>b_). His first novel, _^<i_Shapes_^>i_ (_^<b_1987_^>b_) with Walt _^<a_!T4236_LEE_^>a_, is a horror tale about an extraterrestrial shape-changer. [JC]_^<n__^<n_
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DeLILLO, DON
-T-
(1936- ) US writer who very rapidly established a reputation for brilliance and seriousness. His fourth novel, _^<i_Ratner's Star_^>i_ (_^<b_1976_^>b_), subjects its sf material -- it examines the personal and cognitive cruces surrounding the
decipherment of a message from the star of the title -- to a formidable array of contemporary intellectual procedures, while presenting its numerous characters as in-depth portraits of the fundamental obsessions at the heart of contemporary US
intellectual life. The book stands as a model (a rather humbling one for _^<a_!T4659_GENRE SF_^>a_) of the extraordinary complexity of response that any genuine message from the stars would (it is reasonable to assume) elicit. Several DD novels --
like _^<i_Great Jones Street_^>i_ (_^<b_1973_^>b_) and _^<i_White Noise_^>i_ (_^<b_1985_^>b_) -- subject their protagonists to sf-like revelations of the nature of reality through psychotopic drugs and devices; and the game of terror played in
_^<i_The Names_^>i_ (_^<b_1982_^>b_) smacks of _^<a_!T6327_OULIPO_^>a_. Throughout his career, DD has been an author of _^<a_!T1372_FABULATIONS_^>a_, the burden of which has been to expose his characters to unbearable images of the world we live
in. [JC]_^<n__^<n__^<b_About the author_^>b_: _^<i_Introducing Don DeLillo_^>i_ (anth _^<b_1991_^>b_) ed Frank Lentricchia._^<n__^<n_
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De LINT, CHARLES (HENRI DIEDERICK HOEFSMIT)
-T-
(1951- ) Canadian musician and writer, born in the Netherlands, who established himself during the 1980s as a prolific _^<a_!T1412_FANTASY_^>a_ author and as a significant and original contributor to the subgenre of contemporary fantasy,
beginning with "The Fane of the Grey Rose" in _^<i_Swords Against Darkness IV_^>i_ (anth _^<b_1979_^>b_) ed Andrew J. _^<a_!T3296_OFFUTT_^>a_. Some of CDL's short work has appeared as by Tanuki Aki, Henri Cuiscard, Jan Penalurick, Cerin Songweaver
and Wendelessen, and one horror novel, _^<i_Angel of Darkness_^>i_ (_^<b_1990 _^>b_US), was as by Samuel M. Key. CDL's output (see list below), which is both various and polished, merits extended consideration; and the urban fantasy sequence
centred on the imaginary city of Newford (which resembles Ottawa) is of interest, and includes _^<i_Uncle Dobbin's Parrot Fair_^>i_ (1987 _^<i_IASFM_^>i_; _^<b_1991_^>b_ chap US), _^<i_The Stone Drum_^>i_ (_^<b_1989 _^>b_chap), _^<i_Ghosts of Wind
and Shadow_^>i_ (_^<b_1990_^>b_ chap), _^<i_Paperjack_^>i_ (_^<b_1991 _^>b_chap US) and _^<i_Our Lady of the Harbour_^>i_ (_^<b_1991_^>b_ chap US) all assembled with other work as _^<i_Dreams Underfoot: The Newford Collection_^>i_ (omni
_^<b_1993_^>b_ US); _^<i_Mr.Truepenny's Book Emporium and Gallery_^>i_ (_^<b_1992_^>b_ chap US), _^<i_The Bone Woman_^>i_ (_^<b_1992_^>b_ chap), _^<i_The Wishing Well_^>i_ (_^<b_1993_^>b_ chap US) and _^<i_Coyote Stories_^>i_ (_^<b_1993_^>b_ chap),
all assembled with other work as <The Ivory and the Horn: A Newford Collection> (omni 1995 US); and _^<i_Memory and Dream_^>i_ (_^<b_1994 _^>b_US). But he is mentioned here primarily for his one sf novel, _^<i_Svaha_^>i_ (_^<b_1989_^>b_ US), a
_^<a_!T6337_NEAR-FUTURE_^>a_ tale set in enclaves established by high-tech Native Americans to fend off the barbarian world outside. A kind of sweetish simplicity sometimes overloads his fantasy tales, especially the earlier ones; it might be
surmised that a writer of CDL's energy and ambition may increasingly find that genre-crossing provides him with a necessary stimulus and threat. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_The Oak King's Daughter_^>i_ (_^<b_1979_^>b_ chap),
published, like several other short texts here listed, by CDL's own Triskell Press; _^<i_The Moon is a Meadow_^>i_ (_^<b_1980_^>b_ chap); _^<i_De Grijze Roose_^>i_ ["The Grey Rose"] (coll trans Johan Vanhecke et al. _^<b_1983_^>b_ Netherlands);
_^<i_The Calendar of the Trees_^>i_ (_^<b_1984_^>b_ chap); _^<i_Moonheart: A Romance_^>i_ (_^<b_1984_^>b_ US) and its sequels _^<i_Ascian in Rose_^>i_ (_^<b_1987_^>b_ chap US), _^<i_Westlin Wind_^>i_ (_^<b_1989_^>b_ chap US),_^<i_Ghostwood_^>i_
(_^<b_1990_^>b_) and _^<i_Merlin Dreams in Moondream Wood_^>i_ (_^<b_1992 _^>b_chap), all four sequels assembled as _^<i_Spiritwalk_^>i_ (omni _^<b_1992_^>b_ US); _^<i_The Riddle of the Wren_^>i_ (_^<b_1984_^>b_ US); _^<i_The Three Plushketeers and
the Garden Slugs_^>i_ (_^<b_1985_^>b_ chap); _^<i_A Pattern of Silver Strings_^>i_ (_^<b_1981_^>b_ chap), the first volume in the projected _^<b_Legend of Cerin Songweaver_^>b_ sequence which continues with_^<i_Glass Eyes and Cotton Strings_^>i_
(_^<b_1982_^>b_ chap), _^<i_In Mask and Motley_^>i_ (_^<b_1983 _^>b_chap), _^<i_Laughter in the Leaves_^>i_ (_^<b_1984_^>b_ chap), _^<i_The Badger in the Bag_^>i_ (_^<b_1985_^>b_ chap), _^<i_The Harp of the Grey Rose_^>i_ (1979 as "The Fane of The
Gray Rose"; exp _^<b_1985_^>b_ US), _^<i_And the Rafters Were Ringing _^>i_(_^<b_1986_^>b_ chap) and _^<i_The Lark in the Morning_^>i_ (_^<b_1987_^>b_ chap); _^<i_Mulengro: A Romany Tale_^>i_ (_^<b_1985_^>b_ US); _^<i_Yarrow: An Autumn Tale_^>i_
(_^<b_1986_^>b_ US); _^<i_The Lark in the Morning_^>i_ (_^<b_1987_^>b_ chap); _^<i_Jack, the Giant-Killer: The Jack of Kinrowan: A Novel of Urban Faerie_^>i_ (_^<b_1987_^>b_ US); _^<i_The Drowned Man's Reel_^>i_ (_^<b_1988_^>b_ chap);
_^<i_Greenmantle_^>i_ (_^<b_1988_^>b_ US); _^<i_Wolf Moon_^>i_ (_^<b_1988_^>b_ US); a contribution to the _^<a_!T2127_SHARED-WORLD_^>a_ _^<b_Borderland_^>b_ enterprise run by Terri _^<a_!T5650_WINDLING_^>a_, _^<i_Berlin_^>i_ * (_^<b_1989_^>b_
chap); two ties -- _^<i_Philip Jose Farmer's The Dungeon, #3: The Valley of Thunder_^>i_ * (_^<b_1989_^>b_ US) and _^<i_#5: The Hidden City_^>i_ * (_^<b_1990_^>b_ US); _^<i_The Fair in Emain Macha_^>i_ (1985 _^<i_Space & Time #68_^>i_; exp
_^<b_1990_^>b_ dos US); _^<i_The Dreaming Place_^>i_ (_^<b_1990_^>b_ US); _^<i_Drink Down the Moon: A Novel of Urban Faerie_^>i_ (_^<b_1990_^>b_ US); _^<i_The Little Country_^>i_ (_^<b_1991_^>b_ US); _^<i_Cafe Purgatorium_^>i_ (coll _^<b_1991_^>b_
US) with stories, separately, by Dana Anderson and Ray Garton; _^<i_Hedgework and Guessery_^>i_ (coll _^<b_1991_^>b_ US); ; _^<i_Into the Green_^>i_ (_^<b_1993_^>b_); _^<i_The Wild Wood_^>i__^<b_See also:_^>b_ _^<a_!T5141_CANADA_^>a_.
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de l'ISLE ADAM, VILLIERS
-T-
[r] > _^<a_!T1156_VILLIERS DE L'ISLE ADAM_^>a_._^<n__^<n_
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DELIUS, ANTHONY (RONALD ST. MARTIN)
-T-
(1916- ) South African poet who eventually moved to the UK. His _^<a_!T2812_SATIRE_^>a_ on South African _^<a_!T1939_POLITICS_^>a_ and apartheid, _^<i_The Last Division_^>i_ (_^<b_1959_^>b_), sends a 1980s Union Parliament to a Hell and Devil
closely resembling those in Wyndham _^<a_!T3373_LEWIS_^>a_'s _^<i_The Childermass_^>i_ (_^<b_1928_^>b_), where they re-create, under their Premier's inspiration, the social system they left behind. The swingeing satirical power of this book-length
poem is remarkable. Its views on South Africa's future contrast markedly with those expressed by Garry _^<a_!T119_ALLIGHAM_^>a_ and are comparable with those of Arthur _^<a_!T4038_KEPPEL-JONES_^>a_, though sharper. Less interestingly, _^<i_The Day
Natal Took Off_^>i_ (_^<b_1963_^>b_) depicts that state's secession from South Africa. [JC]_^<n__^<n_
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DELL, DUDLEY
-T-
[s] > Horace L. _^<a_!T4752_GOLD_^>a_._^<n__^<n_
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DEL MARTIA, ASTRON
-T-
House name invented by publisher Stephen _^<a_!T1592_FRANCES_^>a_ for his own publishing house, and used there by John Russell _^<a_!T1455_FEARN_^>a_ on _^<i_The Trembling World_^>i_ (_^<b_1949_^>b_). The name was then sold on to Gaywood Press,
which used it for three more tales: _^<i_Dawn of Darkness_^>i_ (_^<b_1951_^>b_ chap), _^<i_Space Pirates_^>i_ (_^<b_1951_^>b_) and _^<i_Interstellar Espionage_^>i_ (_^<b_1952_^>b_ chap). The latter story features a security officer called Dog who
appears also in _^<i_Spawn of Space_^>i_ (_^<b_1951_^>b_) by Franz Harkon, an unattributed pseudonym. A fifth ADM story was advertised but never published, although the name was revived by Frances in a reprint of his _^<i_One Against Time_^>i_
(_^<b_1954_^>b_ as by Hank _^<a_!T3868_JANSON_^>a_; 1969 as by ADM)._^<n__^<n_ [SH/PN]_^<n__^<n_
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DELMONT, JOSEPH
-T-
Pseudonym of German writer Karl Pick (1873-1935), whose _^<i_Die Stadt unter dem Meer_^>i_ (_^<b_1925_^>b_; trans anon as _^<i_The Submarine City_^>i_ _^<b_1930_^>b_ UK) features the construction by U-boat crews of an _^<a_!T5281_UNDER-THE-SEA_^>a_
city from which it is intended to conquer the world. Some of the stories assembled in English as _^<i_The Dead City_^>i_ (coll trans anon _^<b_1932_^>b_ UK) are sf, as is _^<i_Der Ritt auf dem Funken_^>i_ (_^<b_1928_^>b_; trans anon as
_^<i_Mistress of the Skies_^>i_ _^<b_1932_^>b_ UK). The protagonists of _^<i_The Rock in the Sea_^>i_ (trans _^<b_1934_^>b_) -- the German original has not been identified -- discover unknown forms of life on a volcanic island which has risen from
the sea. [JC]_^<n__^<n_
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del PICCHIA, MENOTTI
-T-
[r] > _^<a_!T4204_LATIN AMERICA_^>a_._^<n__^<n_
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DELRAY, CHESTER
-T-
> Francis G. _^<a_!T2511_RAYER_^>a_._^<n__^<n_
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del REY, JUDY-LYNN
-T-
(1943-1986) US editor. She began her career in 1965 with _^<a_!T1686_GALAXY SCIENCE FICTION_^>a_, becoming associate editor in 1969. Her predecessor was Lester _^<a_!T1164_DEL REY_^>a_; they married in 1971. She moved to _^<a_!T377_BALLANTINE
BOOKS_^>a_ in 1973, bringing her husband in on the operation in 1974, and in 1977 was instrumental in forming the Del Rey imprint -- named for her -- of Ballantine (itself owned by Random House). As editor-in-chief of _^<a_!T1165_DEL REY
BOOKS_^>a_, she demonstrated an extraordinary gift for marketing sf and fantasy to an unprecedentedly large audience, and her releases often hit the US bestseller lists. At the time of her death, she had become the dominant figure in US sf and
fantasy publishing. Given her physically taxing genetic disability -- she was an achondroplastic dwarf, and frequently in pain -- the range of her accomplishments in the driven world of New York publishing seemed all the more
remarkable._^<n__^<n_J-LDR was also responsible for the _^<a_!T5707_STELLAR_^>a_ original anthology series: _^<i_Stellar 1_^>i_ (anth _^<b_1974_^>b_), _^<i_Stellar Short Novels_^>i_ (anth _^<b_1976_^>b_), _^<i_Stellar Science-Fiction Stories
Working name of US writer Ramon Felipe San Juan Mario Silvio Enrico Smith Heathcourt-Brace Sierra y Alvarez-del Rey y de los Verdes (1915-1993). His father was a poor sharecropper of part-Spanish extraction, and LDR's education proceeded in fits and
starts before dwindling away after two years in college. After holding a variety of temporary jobs he began to write in the late 1930s, his first published work being "The Faithful" for _^<i_ASF_^>i_ in 1938. This was rapidly followed by his
classic _^<a_!T2646_ROBOT_^>a_ story, "Helen O'Loy" (1938). Many of his early stories are remarkable for their sentimentality, but the best was the unsentimental suspense story _^<i_Nerves_^>i_ (1942 _^<i_ASF_^>i_; exp _^<b_1956_^>b_; rev 1976),
about an accident in a _^<a_!T3265_NUCLEAR-POWER_^>a_ plant and the struggle to avert a major catastrophe. He stepped up his output after becoming a full-time professional writer in 1950, but this was accompanied by a decline in average quality. He
produced several juvenile novels, some as Philip St John (a name he first used in 1939). He wrote also as Erik van Lhin, John Alvarez, Marion Henry, Philip James, Charles _^<a_!T2813_SATTERFIELD_^>a_ and Edson _^<a_!T6300_MCCANN_^>a_ (the last two
pseudonyms being used on collaborations with Frederik _^<a_!T1937_POHL_^>a_, who also used Satterfield on some solo stories). LDR's most notable works of the 1950s and 1960s were: _^<i_Preferred Risk_^>i_ (_^<b_1955_^>b_ with Pohl, writing together
as McCann; reprinted 1980 as by Pohl and LDR); the ultra-tough novel of _^<a_!T811_COLONIZATION_^>a_ _^<i_Police Your Planet_^>i_ (1953 _^<i_Science Fiction Adventures_^>i_; cut _^<b_1956_^>b_ as by Erik van Lhin; rev 1975 as by LDR and Erik van
Lhin); and an early novel on the theme of _^<a_!T1752_OVERPOPULATION_^>a_, _^<i_The Eleventh Commandment_^>i_ (_^<b_1962_^>b_); rev 1970). The second of the short-lived "Galaxy Magabooks" (> _^<a_!T1687_GALAXY SCIENCE FICTION NOVELS_^>a_), _^<i_The
Sky is Falling/Badge of Infamy_^>i_ (_^<b_1963_^>b_ dos), featured revised versions of two magazine novellas: _^<i_The Sky is Falling_^>i_ (1954 _^<i_Beyond_^>i_ as "No More Stars" with Pohl, writing together as Charles Satterfield; rev 1963 for
the Magabook; _^<b_1974_^>b_ dos) and _^<i_Badge of Infamy_^>i_ (1959 _^<i_Satellite_^>i_; rev 1963 for the Magabook; _^<b_1973_^>b_ dos). Some novels which appeared under his name in 1966-8 were actually written, from LDR's extensive outlines, by
Paul W. _^<a_!T1379_FAIRMAN_^>a_; these include _^<i_The Runaway Robot_^>i_ (_^<b_1965_^>b_), _^<i_Rocket from Infinity_^>i_ (_^<b_1966_^>b_), _^<i_The Infinite Worlds of Maybe_^>i_ (_^<b_1966_^>b_), _^<i_The Scheme of Things_^>i_ (_^<b_1966_^>b_),
_^<i_Tunnel through Time_^>i_ (_^<b_1966_^>b_), _^<i_Siege Perilous_^>i_ (_^<b_1966_^>b_; vt _^<i_The Man without a Planet_^>i_ 1969) and _^<i_Prisoners of Space_^>i_ (_^<b_1968_^>b_). His most recent solo novel was _^<i_Pstalemate_^>i_
(_^<b_1971_^>b_), about the predicament of a man who discovers that he has _^<a_!T2021_PSI POWERS_^>a_, in the knowledge that all psi-powered individuals go insane. _^<i_Weeping May Tarry_^>i_ (_^<b_1978_^>b_), as by LDR with Raymond F.
_^<a_!T3934_JONES_^>a_, is a novel by Jones extrapolating the theme of LDR'S "For I Am a Jealous People" (_^<i_Star Short Novels_^>i_ anth _^<b_1954_^>b_ ed Frederik Pohl)._^<n__^<n_From the late 1940s, as well as doing a considerable amount of
writing, LDR was actively involved with various business and editorial projects. In the early 1950s he was editor of _^<a_!T1419_FANTASY MAGAZINE_^>a_, _^<a_!T2653_ROCKET STORIES_^>a_ (under the house name Wade _^<a_!T3962_KAEMPFERT_^>a_),
_^<a_!T2346_SPACE SCIENCE FICTION_^>a_ and, for a time, _^<a_!T2046_SCIENCE FICTION ADVENTURES_^>a_, leaving all these positions after a dispute in 1953. He edited an anthology of juvenile sf, _^<i_The Year After Tomorrow_^>i_ (anth _^<b_1954_^>b_)
with Cecile Matschat and Carl Carmer, and one of the many series of _^<b_The Best Science Fiction Stories of the Year_^>b_ -- _^<i_#1_^>i_ (anth _^<b_1972_^>b_), _^<i_#2_^>i_ (anth _^<b_1973_^>b_), _^<i_#3_^>i_ (anth _^<b_1974_^>b_), _^<i_#4_^>i_
(anth _^<b_1975_^>b_) and _^<i_#5_^>i_ (anth _^<b_1976_^>b_). He selected the _^<a_!T4613_GARLAND_^>a_ _^<b_Library of Science Fiction_^>b_ reprint series (45 vols, all 1975) and compiled _^<i_Fantastic Science Fiction Art_^>i_ (_^<b_1975_^>b_).
After the death of P. Schuyler _^<a_!T2957_MILLER_^>a_ in 1974 he took over _^<i_ASF_^>i_'s book-review column (he had previously written reviews for _^<i_Rocket Stories_^>i_ under the pseudonym Kenneth Wright, and had done occasional reviews for
other magazines under his own name, notably _^<a_!T4583_IF_^>a_ in 1968-73). His fourth wife, Judy-Lynn _^<a_!T1163_DEL REY_^>a_ (_^<i_nee_^>i_ Benjamin), was for some time on the staff of _^<i_Gal_^>i_ and its companions -- where he served as
features editor 1969-74 -- and became sf editor for _^<a_!T377_BALLANTINE BOOKS_^>a_ in the mid-1970s; LDR joined the company in 1977, when it began issuing its sf and fantasy lines under the imprint _^<a_!T1165_DEL REY BOOKS_^>a_ -- named in
honour of her -- and he continued to operate these lines alone after his wife's death in 1986 until his retirement at the end of 1991. His history of sf, _^<i_The World of Science Fiction: 1926-1976 -- The History of a Subculture_^>i_
(_^<b_1979_^>b_), focuses narrowly on the US pulp tradition._^<n__^<n_LDR was a versatile but rather erratic writer who never fulfilled his early promise. His best work appears in the collections _^<i_. . . And Some Were Human_^>i_ (coll
_^<b_1948_^>b_; with "Nerves" cut, rev vt _^<i_Tales of Soaring Science Fiction from . . . And Some Were Human_^>i_ 1961) and _^<i_Gods and Golems_^>i_ (coll _^<b_1973_^>b_); much of this is reprinted in _^<i_The Best of Lester del Rey_^>i_ (coll
_^<b_1978_^>b_). There is an interesting autobiographical commentary in _^<i_The Early del Rey_^>i_ (coll _^<b_1975_^>b_). LDR was given the _^<a_!T3147_NEBULA_^>a_ Grand Master award for 1990. [BS]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Marooned on
Mars_^>i_ (_^<b_1952_^>b_ juvenile); _^<i_Rocket Jockey_^>i_ (_^<b_1952_^>b_ juvenile, as by Philip St John; vt _^<i_Rocket Pilot_^>i_ UK; reprinted 1978 as by LDR); _^<i_Attack from Atlantis_^>i_ (_^<b_1953_^>b_), a juvenile; _^<i_Battle on
Mercury_^>i_ (_^<b_1953_^>b_) as by Erik van Lhin, a juvenile; the _^<b_Moon_^>b_ sequence of juvenile tales, comprising _^<i_Step to the Stars_^>i_ (_^<b_1954_^>b_), _^<i_Mission to the Moon_^>i_ (_^<b_1956_^>b_) and _^<i_Moon of Mutiny_^>i_
(_^<b_1961_^>b_); _^<i_Rockets to Nowhere_^>i_ (_^<b_1954_^>b_) as by Philip St John, a juvenile; _^<i_Robots and Changelings_^>i_ (coll _^<b_1957_^>b_); _^<i_The Cave of Spears_^>i_ (_^<b_1957_^>b_); _^<i_Day of the Giants_^>i_ (1950
_^<i_Fantastic Adventures_^>i_ as "When the World Tottered"; _^<b_1959_^>b_); _^<i_Outpost of Jupiter_^>i_ (_^<b_1963_^>b_), a juvenile; _^<i_Mortals and Monsters_^>i_ (coll _^<b_1965_^>b_); _^<i_The Best of Hal Clement_^>i_ (coll _^<b_1979_^>b_),
ed; _^<i_Once Upon a Time: A Collection of Modern Fairy Tales_^>i_ (anth _^<b_1991_^>b_) with Risa Kessler._^<b_About the author:_^>b_ "Lester del Rey" in _^<i_Seekers of Tomorrow_^>i_ (_^<b_1967_^>b_) by Sam _^<a_!T3074_MOSKOWITZ_^>a_._^<b_See
also:_^>b_ _^<a_!T102_ALIENS_^>a_; _^<a_!T277_ASTOUNDING SCIENCE-FICTION_^>a_; _^<a_!T902_COSMOLOGY_^>a_; _^<a_!T956_CRIME AND PUNISHMENT_^>a_; _^<a_!T1245_DISCOVERY AND INVENTION_^>a_; _^<a_!T1370_DYSTOPIAS_^>a_; _^<a_!T6697_ESP_^>a_;
_^<a_!T6717_EVOLUTION_^>a_; _^<a_!T1686_GALAXY SCIENCE FICTION_^>a_; _^<a_!T1695_GAMES AND SPORTS_^>a_; _^<a_!T4754_GOLDEN AGE OF SF_^>a_; _^<a_!T4551_HUGO_^>a_; _^<a_!T3677_MARS_^>a_; _^<a_!T2902_MERCURY_^>a_; _^<a_!T3023_MOON_^>a_;
US paperback imprint, founded 1977, a subsidiary of _^<a_!T377_BALLANTINE BOOKS_^>a_, itself a part of Random House. The imprint was named by then-Ballantine editor Judy-Lynn _^<a_!T1163_DEL REY_^>a_ for her husband Lester _^<a_!T1164_DEL REY_^>a_;
the original Ballantine imprint is now little used for sf. Judy-Lynn, who died in 1986, was editor-in-chief and, from 1982, publisher; Lester, the very successful fantasy editor, retired from the company in 1991 at the age of 76. DRB is an
sf/fantasy imprint, though it is in fantasy that it has had the majority of its commercial successes, which have been very substantial. Its fantasy authors, some of whom began their career with DRB, have included Piers _^<a_!T196_ANTHONY_^>a_,
James P. _^<a_!T651_BLAYLOCK_^>a_, Terry Brooks, Stephen _^<a_!T1283_DONALDSON_^>a_, David Eddings, Barbara _^<a_!T4255_HAMBLY_^>a_ and Katherine _^<a_!T4143_KURTZ_^>a_. Its sf authors have included Arthur C. _^<a_!T736_CLARKE_^>a_, Anne
_^<a_!T6298_MCCAFFREY_^>a_, Larry _^<a_!T3223_NIVEN_^>a_, Frederik _^<a_!T1937_POHL_^>a_ and Charles _^<a_!T2167_SHEFFIELD_^>a_. DRB is an important sf/fantasy publisher in terms of big-selling books; it has also published a number of good books.
The two categories overlap. [PN]_^<n__^<n_
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DELUGE
-T-
Film (1933). RKO. Dir Felix E. Feist, starring Sidney Blackmer, Peggy Shannon, Lois Wilson. Screenplay John Goodrich, Warren B. Duff, based on _^<i_Deluge_^>i_ (_^<b_1928_^>b_) by S. Fowler _^<a_!T6194_WRIGHT_^>a_. 70 mins. B/w._^<n__^<n_One of the
first _^<a_!T1243_DISASTER_^>a_ movies, this is an impressive spectacle showing the destruction of New York by a series of earthquakes and tidal waves. There are good special effects by Ned Mann, who later designed and supervised the effects in
_^<a_!T5975_THINGS TO COME_^>a_ (1936), but the survivors' melodramatic love story is disappointing, and less shocking than the one in the book. The disaster sequence was later used as stock footage, continuing to show up in other films for
decades. [JB/PN]_^<n__^<n_
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de MADARIAGA (Y ROJO), SALVADOR
-T-
[r] > Salvador de _^<a_!T3582_MADARIAGA_^>a_._^<n__^<n_
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DeMARINIS, RICK
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(1934- ) US writer whose first novel, _^<i_A Lovely Monster: The Adventures of Claude Rains and Dr Tellenbeck_^>i_ (_^<b_1975_^>b_), applies a sharply fabulistic eye (> _^<a_!T1372_FABULATION_^>a_) to Southern California and to the
_^<a_!T1599_FRANKENSTEIN_^>a_ myth. _^<i_Scimitar_^>i_ (_^<b_1977_^>b_), set in a similar region, satirically anatomizes the panicky responses of an urban USA to the imploding _^<a_!T6337_NEAR FUTURE_^>a_. _^<i_Cinder_^>i_ (_^<b_1978_^>b_),
contrastingly, celebrates an old man's last days, which he spends (in every sense) in the company of a genie, also ageing and also determined to seize the day. The stories assembled in _^<i_Jack & Jill_^>i_ (coll _^<b_1979_^>b_) hover at the edge
of sf, as do some of the contents of both _^<i_Under the Wheat_^>i_ (coll _^<b_1986_^>b_) -- notably the terrifying title story and "Weeds" -- and _^<i_The Coming Triumph of the Free World_^>i_ (coll _^<b_1988_^>b_). RDM's later novels, _^<i_The
Burning Women of Far Cry_^>i_ (_^<b_1986_^>b_) and _^<i_The Year of the Zinc Penny_^>i_ (_^<b_1989_^>b_), do not venture into the fantastic. [JC]_^<n__^<n_
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DEMIJOHN, THOM
-T-
Collaborative pseudonym of Thomas M. _^<a_!T1244_DISCH_^>a_ and John T. _^<a_!T2240_SLADEK_^>a_ on the first edition of their mystery novel (not sf) _^<i_Black Alice_^>i_ (_^<b_1968_^>b_). The subsequent edition used their real names._^<n__^<n_
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De MILLE, JAMES
-T-
(1833-1880) Canadian writer and academic, author of much signed fiction and an anonymous, posthumous, Antarctic _^<a_!T5303_UTOPIA_^>a_, _^<i_A Strange Manuscript Found in a Copper Cylinder_^>i_ (_^<b_1888_^>b_), one of the best 19th-century
lost-race (> _^<a_!T3460_LOST WORLDS_^>a_) novels. The cylinder's contents describe a shipwreck survivor's discovery of a lost valley at the South Pole, where the climate is temperate, prehistoric animals wander about, and a Semitic people, the
Kosekin, has evolved a kindly, cannibalistic society which values darkness, poverty and clement death. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T5141_CANADA_^>a_.
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DEMON
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Film. > _^<a_!T4741_GOD TOLD ME TO_^>a_._^<n__^<n_
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DEMONS
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> _^<a_!T4740_GODS AND DEMONS_^>a_; _^<a_!T3598_MAGIC_^>a_; _^<a_!T5843_SUPERNATURAL CREATURES_^>a_._^<n__^<n_
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DEMON SEED
-T-
Film (1977). MGM. Dir Donald Cammell, starring Julie Christie, Fritz Weaver, Gerrit Graham, Berry Kroeger. Screenplay Robert Jaffe, Roger O. Hirson, based on _^<i_Demon Seed_^>i_ (_^<b_1973_^>b_) by Dean R. _^<a_!T4116_KOONTZ_^>a_. 95 mins.
Colour._^<n__^<n_When the supercomputer Proteus IV is switched on it refuses to obey instructions, in the time-honoured tradition (_^<i_for examples_^>i_ > _^<a_!T813_COLOSSUS, THE FORBIN PROJECT_^>a_; _^<a_!T6146_2001: A SPACE ODYSSEY_^>a_). All
its terminals are shut down with the inadvertent exception of one, located in its creator's own automated home, which also contains a primitive one-armed robot and the scientist's estranged wife. The _^<a_!T826_COMPUTER_^>a_ takes control of the
house, trapping the woman inside and subjecting her to a terrifying (and calculatedly fetishistic) ordeal culminating in its raping her in order to create a new super-race melding human and _^<a_!T3540_MACHINE_^>a_. This up-to-date Luddite
variation of the _^<a_!T1599_FRANKENSTEIN_^>a_ theme, more _^<a_!T4509_HORROR_^>a_ than sf, can perhaps be admired for its bravado in putting its tasteless subtext up there on the surface where everyone can see it. There is indeed a baby.
(1848-_^<i_c_^>i_1920) US writer of fantastic fiction, miscellaneous works and dime novels; said to have been of UK birth. He drew very heavily on the work of H. Rider _^<a_!T4911_HAGGARD_^>a_ for models and sources. His adult fantastic fiction
included: _^<i_He_^>i_ (_^<b_1887_^>b_), involving a search for Kallikrates, an immortal who lives on Easter Island; _^<i_"It"_^>i_ (_^<b_1887_^>b_), with characters from _^<i_King Solomon's Mines_^>i_ (_^<b_1886_^>b_) like Allan Quatermain,
describing further adventures in East Africa seeking the immortal woman, culminating in the discovery of the Missing Link and a clear statement about mutations; and _^<i_King Solomon's Treasures_^>i_ (_^<b_1887_^>b_), which invokes a surviving
pterodactyl and the immortal Macrobi. These works embodied an impressive background of accurate classical and ethnographic data. _^<i_King Solomon's Wives_^>i_ (_^<b_1887_^>b_) as by Hyder Ragged, sometimes erroneously attributed to JDM, was
written by UK legal scholar Sir Henry Chartres Biron (1863-1940)._^<n__^<n_JDM later became a staff writer for Norman L. Munro (>_^<a_!T1236_DIME-NOVEL SF_^>a_) and wrote conventional dime novels. _^<i_The Strange Adventures of Two New York Boys in
the Realm of the Polar North_^>i_ (_^<b_1890_^>b_) describes a lost race (> _^<a_!T3460_LOST WORLDS_^>a_) of Old Norse near the North Pole, while _^<i_Into the Maelstrom_^>i_ (_^<b_1894_^>b_) is concerned with a _^<a_!T5303_UTOPIAN_^>a_ society
(without crime or evil passions) in a cave world filled with breathable water under the Maelstrom. _^<i_In Unknown Worlds_^>i_ (_^<b_1896_^>b_), _^<i_In Search of the Gold of Ophir_^>i_ (_^<b_1899_^>b_) and _^<i_Bringing Home the Gold_^>i_
(_^<b_1899_^>b_) all deal with Missing Links. [EFB]_^<n__^<n_
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DEMPSEY, HANK
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[s] > Harry _^<a_!T4316_HARRISON_^>a_._^<n__^<n_
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DENMARK
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Although one cannot really speak of a Danish sf tradition prior to the 1950s, quite a few Danish authors did write occasional sf works before then. The first such book was Ludvig _^<a_!T4466_HOLBERG_^>a_'s _^<i_Nicolai Klimii iter Subterraneum_^>i_
(_^<b_1741_^>b_ in Latin; trans as _^<i_A Journey to the World Underground by Nicolas Klimius_^>i_ _^<b_1742_^>b_; reprinted 1974), which was among the earliest works in any language to feature a journey inside a _^<a_!T4474_HOLLOW EARTH_^>a_. The
18th century saw a few other satirical and fantastical sf-like works, such as the play _^<i_Anno 7603_^>i_ ["The Year 7603"] (_^<b_1785_^>b_), a gender-reversal _^<a_!T2812_SATIRE_^>a_, by Johan Hermann Wessel (1742-1785)._^<n__^<n_The early 19th
century saw little Danish sf and fantasy, although Hans Christian Andersen (1805-1875), in addition to his fantasies, wrote a few sf stories, most notably"Om Aartusinder"(1853; trans as"In a Thousand Years" in _^<i_The Hans Andersen Library_^>i_
_^<b_1869_^>b_). With the arrival of a new rationalism around 1870, the ground was laid for renewed activity in sf, but not much was actually published. A very interesting work from this time is Vilhelm Bergsoe's novella "En reise med Flyvefisken
'Prometheus'" ["A Journey on the Flying Fish 'Prometheus'"] (1869), which tells of a transatlantic journey on a vessel which alternately flies above the water and dives beneath the surface. Authors who worked with _^<a_!T5303_UTOPIAN_^>a_ themes
included C.F. Sibbern with _^<i_Meddelelser af Indholdet af et skrift fra Aaret 2135_^>i_ ["Report on the Content of Papers from the Year 2135"] (2 vols, _^<b_1858_^>b_ and _^<b_1872_^>b_) and Otto Moller with _^<i_Guld og AEre_^>i_ ["Gold and
Honour"] (_^<b_1900_^>b_)._^<n__^<n_The early 20th century saw a number of action-oriented juveniles, chiefly from Niels Meyn (1891-1957), who wrote racist and imperialistic _^<a_!T2342_SPACE OPERAS_^>a_ in imitation of Hans Dominik (>
_^<a_!T4667_GERMANY_^>a_) and various US authors. Satire and social criticism, mostly of a conservative bent, were produced by other contemporary authors, such as Aage Heinberg with _^<i_Himmelstormerne_^>i_ ["Young Titans"]
(_^<b_1919_^>b_)._^<n__^<n_After WWII and Hiroshima, Danish literature reflected a mixture of fear and enthusiasm towards technology. This, together with the growing US cultural and economic dominance, made for a new trend in Danish sf. Chief among
its practitioners was Niels E. Nielsen (1924- ), whose sf debut was in 1952 and who has since written about 40 sf novels. He began as an imitator of Ray _^<a_!T4963_BRADBURY_^>a_, and still harbours a cautious attitude towards
_^<a_!T5916_TECHNOLOGY_^>a_, his books usually warning against humankind's usurpation of the powers of the Creator. Among his motifs are nuclear and ecological catastrophe; as early as 1970 he wrote a novel about _^<a_!T4657_GENETIC
ENGINEERING_^>a_, _^<i_Herskerne_^>i_ ["The Rulers"] (_^<b_1970_^>b_)._^<n__^<n_The 1960s saw increased interest in sf as a result of two principal factors: one was the enthusiasm generated by the US space programme, the other the indefatigable
Jannick Storm (1939- ), who, as editor and translator, introduced a lot of US, UK and Scandinavian sf. Storm was a proponent of the _^<a_!T3181_NEW WAVE_^>a_ but also introduced such "classical" writers as Isaac _^<a_!T268_ASIMOV_^>a_, James
_^<a_!T658_BLISH_^>a_ and Frederik _^<a_!T1937_POHL_^>a_._^<n__^<n_From the late 1960s onwards this increased interest in the genre led to a number of Danish authors writing occasional sf books. These may be grouped in several ways. Chiefly
inspired by the New Wave and _^<a_!T820_COMICS_^>a_, the "flower children" of the late 1960s saw sf as a new way of telling wondrous tales, as with Knud Holten in _^<i_Suma-X_^>i_ (_^<b_1969_^>b_). The realists, on the other hand, saw in sf a
continuation of realism by other means and created _^<a_!T6337_NEAR-FUTURE_^>a_ scenarios; examples are Anders _^<a_!T678_BODELSEN_^>a_'s _^<i_Frysepunktet_^>i_ (_^<b_1969_^>b_; trans as _^<i_Freezing Point_^>i_ _^<b_1971_^>b_; vt _^<i_Freezing
Down_^>i_) and Henrik _^<a_!T2399_STANGERUP_^>a_'s _^<i_Manden der ville vaere skyldig_^>i_ (_^<b_1973_^>b_; trans as _^<i_The Man who Wanted to be Guilty_^>i_ _^<b_1982_^>b_). Experimental modernists took from the genre part of its inventory and
used it for other purposes, as in _^<i_Liget og Lysten_^>i_ ["Corpse and Desire"] (_^<b_1968_^>b_) by Svend_^<n__^<n_ge Madsen, which contains sf elements without really being sf. Occultists and ufologists published a number of sf works, best among
them being Erwin Neutzsky-Wulff's _^<i_Anno Domini_^>i_ (_^<b_1975_^>b_) and _^<i_Gud_^>i_ ["God"] (_^<b_1976_^>b_). Finally, politically conscious writers used near-future scenarios to debate _^<a_!T1942_POLLUTION_^>a_ and _^<a_!T3265_NUCLEAR
POWER_^>a_. One author who has managed this without his fiction suffering from the politics is Jorgen Lindgreen, whose _^<i_Atomer pa Naesset_^>i_ ["Nuclear Plant on the Promontory"] (_^<b_1975_^>b_) is an effective _^<a_!T5917_TECHNOTHRILLER_^>a_.
In the late 1970s and early 1980s a rather disparate group of _^<a_!T5684_WOMEN SF WRITERS_^>a_ appeared, ranging from the modernist Dorrit Willumsen, with _^<i_Programmeret ti kaerlighed_^>i_ ["Programmed for Love"] (_^<b_1981_^>b_), to the
utopianist Vibeke Gronfeldt, with _^<i_Det fantastike barn_^>i_ ["The Fantastic Child"] (_^<b_1982_^>b_)._^<n__^<n_With two exceptions, the authors mentioned above do not consider themselves sf writers, and nor has any of them written more than a
single recognizably sf work. Those exceptions -- the writers who really know sf -- are Bodelsen and Madsen: Bodelsen has published a number of sf short stories, and Madsen has developed his own unique kind of sf with such works as _^<i_Tugt og
utugt i mellemtiden_^>i_ ["Virtue and Depravity in the Middle Period"] (_^<b_1976_^>b_), _^<i_Se dagens lys_^>i_ ["Face the Light of Dawn"] (_^<b_1980_^>b_) and _^<i_Lad tiden ga_^>i_ ["Let Time Flow"] (_^<b_1985_^>b_). Later, Inge Eriksen joined
them with a very ambitious tetralogy, _^<i_Rummet uden tid_^>i_ ["Space without Time"] (_^<b_1983-9_^>b_). If a distinctly Danish sf is to develop, it will have to build upon the works of these three. [ND]_^<n__^<n_
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DENMARK, HARRISON
-T-
[s] > Roger _^<a_!T6264_ZELAZNY_^>a_._^<n__^<n_
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DENNIS, BRUCE
-T-
[s] > David Wright _^<a_!T3274_O'BRIEN_^>a_._^<n__^<n_
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DENNIS, GEOFFREY (POMEROY)
-T-
(1892-1963) UK writer whose _^<i_Harvest in Poland_^>i_ (_^<b_1925_^>b_; rev 1931) deals with augurs of a grim future for Europe in supernatural terms. _^<i_The End of the World_^>i_ (_^<b_1930_^>b_), despite its sf title, is a nonfiction discourse
on the ways in which the world might in fact end. It has been suggested by Brian M. _^<a_!T2385_STABLEFORD_^>a_ that GD may have also written under the name Guy _^<a_!T1182_DENT_^>a_. [JC]_^<n__^<n_
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DENNIS, NIGEL (FORBES)
-T-
(1912-1989) UK writer whose second novel, _^<i_Cards of Identity_^>i_ (_^<b_1955_^>b_), is a _^<a_!T1372_FABULATION_^>a_ about a post-WWII England whose citizens are so bereft of security that any identity can be imposed on anyone (_^<i_see
also_^>i_ _^<a_!T1795_PARANOIA_^>a_); the final section, entitled "The Prince of Antioch, or An Old Way to New Identity", constitutes an entire (and entirely fraudulent) Shakespeare play, hilariously couched. In _^<i_A House in Order_^>i_
(_^<b_1966_^>b_) identity is again imperilled as the protagonist, under increasingly surreal assault, attempts to act as though WWIII were not happening around him. [JC]_^<n__^<n_
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DENT, GUY
-T-
(? - ) Pseudonymous UK writer whose one original contribution to sf, _^<i_Emperor of the If_^>i_ (_^<b_1926_^>b_), describes two of the possible universes created by a disembodied brain in a laboratory. In the first part the past is
superimposed on the present, with vivid descriptions of London being overrun by prehistoric flora and fauna; in the second the locale is a future _^<a_!T1370_DYSTOPIA_^>a_ where humans exist under the domination of self-reproducing
_^<a_!T3540_MACHINES_^>a_. It has been suggested by Brian M. _^<a_!T2385_STABLEFORD_^>a_ that GD was in fact Geoffrey _^<a_!T1180_DENNIS_^>a_. [JE]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T131_ALTERNATE WORLDS_^>a_; _^<a_!T6717_EVOLUTION_^>a_;
(1905-1959) US author who began publishing work of genre interest with "Pirate Cay" for _^<i_Top Notch Magazine_^>i_ in 1929; best known for his _^<b_Doc Savage_^>b_ novels, which he wrote for _^<a_!T1258_DOC SAVAGE MAGAZINE_^>a_ under the house
name Kenneth _^<a_!T2628_ROBESON_^>a_ (_^<i_which see for details_^>i_); LD wrote all but 43 of the 181 issues. He also wrote stories under his own name and other crime stories under the pseudonym Tim Ryan. _^<i_Lester Dent, the Man Behind Doc
Savage_^>i_ (_^<b_1974_^>b_) is a study by Robert E. _^<a_!T5507_WEINBERG_^>a_; information about LD and about his work appears also in _^<i_Doc Savage: His Apocalyptic Life_^>i_ (_^<b_1973_^>b_) by Philip Jose _^<a_!T1435_FARMER_^>a_. The most
complete study is _^<i_Bigger than Life_^>i_: _^<i_The Creator of Doc Savage_^>i_ (_^<b_1990_^>b_) by Marilyn Cannaday. LD was famous in _^<a_!T2033_PULP-MAGAZINE_^>a_ circles for his Master Plot: the action-suspense formula he claimed never
failed. His prose was described by James _^<a_!T5714_STERANKO_^>a_ as "bravura frenzy". [PN/JC]_^<n__^<n_
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DENTINGER, STEPHEN
-T-
[s] > Edward D. _^<a_!T4454_HOCH_^>a_._^<n__^<n_
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DENTON, BRADLEY (CLAYTON)
-T-
(1958- ) US writer who began publishing sf with "Music of the Spheres" in _^<i_FSF_^>i_ in 1984, and who caused some impact in the field with his first novel, _^<i_Wrack and Roll_^>i_ (_^<b_1986_^>b_), a contemporary
_^<a_!T131_ALTERNATE-WORLD_^>a_ tale which portrays heavy-metal musicians as the _^<a_!T4395_HEROES_^>a_ they might dream of being in a world absolutely divided between the "straight" majority and the anti-authoritarian "wrackers", who are defined
by their _^<a_!T3118_MUSIC_^>a_. BD displays an impressive feel for the sustaining myths of heavy metal in his depiction of the wrackers, whose random violence and passion for life are set against the sterility and genocidal tendencies of the
straight world as nuclear war approaches. _^<i__^<a_!B9285_BUDDY HOLLY IS ALIVE AND WELL ON GANYMEDE_^>a__^>i_ (_^<b_1991_^>b_) deploys the same range of knowledge with more feeling, deeper nostalgia, and an improved control of narrative; and
_^<i_Blackburn_^>i_ (_^<b_1993_^>b_), a horror novel featuring a serial killer with whom it is possible to empathize (though not to defend), is a maturely controlled fable of America. BD's short stories are generally contemporary fantasies with a
moral twist, like the 1988 title story of _^<i_The Calvin Coolidge Home for Dead Comedians_^>i_(coll _^<b_1994_^>b_) in 2 vols, a fable which attacks the sterile blindness of many Christian conceptions of heaven. [NT]_^<n__^<n_
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de PEDROLO, MANUEL
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[r] > _^<a_!T2357_SPAIN_^>a_._^<n__^<n_
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De POLNAY, PETER
-T-
(1906-1984) Hungarian-born writer, in the UK from before WWII. Of his very many novels, only _^<i_The Stuffed Dog_^>i_ (_^<b_1977_^>b_), a _^<a_!T6026_TIME-TRAVEL_^>a_ tale, is of genre interest. [JC]_^<n__^<n_
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De REYNA, JORGE
-T-
> Diane _^<a_!T1203_DETZER_^>a_._^<n__^<n_
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DERLETH, AUGUST W(ILLIAM)
-T-
(1909-1971) US writer and editor, born in Sauk City, Wisconsin, where he spent his life. A correspondent with and devout admirer of H.P. _^<a_!T3465_LOVECRAFT_^>a_, he devoted much of his life to projects aimed at preserving Lovecraft's memory. The
most important of these projects was of course the founding, with Donald _^<a_!T5450_WANDREI_^>a_, of the publishing company _^<a_!T232_ARKHAM HOUSE_^>a_ in Sauk City in order to publish Lovecraft's stories; Wandrei later resigned his interest, but
AWD carried on until his death, publishing a wide range of weird fiction, including some of his own otherwise very widely published work. He completed a number of unfinished Lovecraft stories and fragments: _^<i_The Lurker at the Threshold_^>i_
(_^<b_1945_^>b_), _^<i_The Survivor and Others_^>i_ (coll _^<b_1957_^>b_) and _^<i_The Watchers Out of Time and Others_^>i_ (coll _^<b_1974_^>b_). In addition, he wrote two volumes of Lovecraft pastiches, _^<i_The Mask of Cthulhu_^>i_ (coll
_^<b_1958_^>b_) and _^<i_The Trail of Cthulhu_^>i_ (coll _^<b_1962_^>b_), and edited anthologies of such stories by various writers like _^<i_The Shuttered Room, and Other Pieces_^>i_ (anth _^<b_1959_^>b_) -- a title not to be confused with either
of the Lovecraft collections likewise entitled (one _^<b_1970_^>b_ UK and one _^<b_1971_^>b_ US, contents differing) -- _^<i_Tales of the Cthulhu Mythos_^>i_ (anth _^<b_1969_^>b_; vt in 2 vols as _^<i_Tales of the Cthulhu Mythos #1_^>i_ 1971 and
_^<i_#2_^>i_) 1971). AWD edited Lovecraft's writings for publication, including his letters (in collaboration with Wandrei) and _^<i_The Dark Brotherhood, and Other Pieces_^>i_ (anth _^<b_1966_^>b_) -- a coll of Lovecraft stories, solo and in
collaboration -- and also wrote _^<i_H.P.L.: A Memoir_^>i_ (_^<b_1945_^>b_) and _^<i_Some Notes on H.P. Lovecraft_^>i_ (_^<b_1959_^>b_ chap)._^<n__^<n_But AWD's literary activities were by no means dominated by his interest in Lovecraft. He was a
prolific and successful writer of regional novels, receiving a Guggenheim Fellowship for this work, and of detective fiction, starting with _^<i_Murder Stalks the Wakely Family_^>i_ (_^<b_1934_^>b_; vt _^<i_Death Stalks the Wakely Family_^>i_ 1937
UK); he published a series of _^<b_Sherlock Holmes_^>b_ pastiches about the character _^<b_Solar Pons_^>b_, beginning with _^<i_"In Re: Sherlock Holmes" -- The Adventures of Solar Pons_^>i_ (coll _^<b_1945_^>b_; vt _^<i_Regarding Sherlock
Holmes_^>i_ 1974; vt _^<i_The Adventures of Solar Pons_^>i_ 1975 UK). His very first story, however -- "Bat's Belfry" for _^<i_Weird Tales_^>i_ in 1926 -- was of genre interest, and he remained for many years a prolific contributor to
_^<a_!T5512_WEIRD TALES_^>a_, mainly under his own name and the pseudonym Stephen Grendon, and to other magazines, including _^<a_!T5782_STRANGE STORIES_^>a_ (where he used the name Tally Mason). His best work was assembled in _^<i_Someone in the
Dark_^>i_ (coll _^<b_1941_^>b_), _^<i_Something Near_^>i_ (coll _^<b_1945_^>b_), _^<i_Not Long for This World_^>i_ (coll _^<b_1948_^>b_; with 11 stories cut, vt _^<i_Tales from Not Long for This World_^>i_ 1961), _^<i_Lonesome Places_^>i_ (coll
_^<b_1962_^>b_), _^<i_Mr George and Other Odd Persons_^>i_ (coll _^<b_1963_^>b_ as Stephen Grendon; 1964 as AWD; vt _^<i_When Graveyards Yawn_^>i_ 1965 UK as AWD), _^<i_Colonel Markesan and Less Pleasant People_^>i_ (coll _^<b_1966_^>b_) with the
US critic and writer Mark Schorer (1908-1977), and _^<i_Dwellers in Darkness_^>i_ (coll _^<b_1976_^>b_). He wrote little sf, but his _^<b_Tex Harrigan_^>b_ series was about a newspaperman constantly running across zany sf inventions and the like;
it was included in _^<i_Harrigan's File_^>i_ (coll _^<b_1975_^>b_)._^<n__^<n_AWD edited a great many anthologies, both sf and weird. His sf anthologies include several large volumes: _^<i_Strange Ports of Call_^>i_ (anth _^<b_1948_^>b_; much cut
1958), _^<i_The Other Side of the Moon_^>i_ (anth _^<b_1949_^>b_; cut 1956 UK; much cut 1959 US) and _^<i_Beyond Time and Space_^>i_ (anth _^<b_1950_^>b_; much cut 1958). His weird anthologies include _^<i_Sleep No More_^>i_ (anth _^<b_1944_^>b_;
cut 1964 UK; much cut vt _^<i_Stories From Sleep No More_^>i_ 1967 US), _^<i_Who Knocks?_^>i_ (anth _^<b_1946_^>b_; much cut 1964 UK) and _^<i_The Sleeping & the Dead_^>i_ (anth _^<b_1947_^>b_; vt in 2 vols as _^<i_The Sleeping and the Dead_^>i_
1964 UK and _^<i_The Unquiet Grave_^>i_ 1964 UK). AWD was one of the pioneering anthologists in the genre._^<n__^<n_The history of Arkham House was chronicled in AWD's _^<i_Arkham House: The First 20 Years_^>i_ (_^<b_1959_^>b_ chap) and _^<i_Thirty
Years of Arkham House, 1939-1969: A History and Bibliography_^>i_ (_^<b_1970_^>b_ chap). In 1948-9 the company published a magazine, _^<a_!T233_ARKHAM SAMPLER_^>a_, ed AWD. Competent and literate and highly energetic, AWD was the central figure in
bringing lasting popularity to Lovecraft and to other authors such as Clark Ashton _^<a_!T2264_SMITH_^>a_. His own extremely various output awaits comprehensive appraisal. [MJE]_^<n__^<n__^<b_Other works:_^>b_ _^<i_100 Books by August Derleth_^>i_
(_^<b_1962_^>b_), nonfiction; _^<i_The Beast in Holger's Woods_^>i_ (_^<b_1968_^>b_)._^<b_As Editor:_^>b_ _^<i_The Night Side_^>i_ (anth _^<b_1947_^>b_); _^<i_Dark of the Moon: Poems of Fantasy and the Macabre_^>i_ (anth _^<b_1947_^>b_); _^<i_Far
Boundaries_^>i_ (anth _^<b_1951_^>b_; cut 1967); _^<i_The Outer Reaches_^>i_ (anth _^<b_1951_^>b_; cut 1958; vt in 2 vols as _^<i_The Outer Reaches_^>i_ 1963 UK and _^<i_The Time of Infinity_^>i_ 1963 UK); _^<i_Night's Yawning Peal_^>i_ (anth
_^<b_1952_^>b_; much cut 1974); _^<i_Beachheads in Space_^>i_ (anth _^<b_1952_^>b_; cut 1954 UK; cut 1957 US; with 1 story cut, vt in 2 vols as _^<i_Beachheads in Space_^>i_ 1964 UK and _^<i_From Other Worlds_^>i_ 1964 UK); _^<i_Worlds of
Tomorrow_^>i_ (anth _^<b_1953_^>b_; cut 1954 UK; cut 1958 US; vt in 2 vols as _^<i_Worlds of Tomorrow_^>i_ 1963 UK and _^<i_New Worlds for Old_^>i_ 1963 UK); _^<i_Time to Come_^>i_ (anth _^<b_1954_^>b_; cut 1959); _^<i_Portals of Tomorrow_^>i_
(anth _^<b_1954_^>b_); _^<i_Fire and Sleet and Candlelight_^>i_ (anth _^<b_1961_^>b_), poetry; _^<i_Dark Mind, Dark Heart_^>i_ (anth _^<b_1962_^>b_); _^<i_When Evil Wakes_^>i_ (anth _^<b_1963_^>b_ UK); _^<i_Over the Edge_^>i_ (anth _^<b_1964_^>b_);
_^<i_Travelers by Night_^>i_ (anth _^<b_1967_^>b_); _^<i_Dark Things_^>i_ (anth _^<b_1971_^>b_)._^<b_About the author:_^>b_ _^<i_August Derleth: A Bibliography_^>i_ (_^<b_1983_^>b_) by Alison M. Wilson._^<b_See also:_^>b_
_^<a_!T2026_PUBLISHING_^>a_; _^<a_!T2261_SMALL PRESSES AND LIMITED EDITIONS_^>a_.
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DERNIER COMBAT, LE
-T-
(vt _^<i_The Last Battle_^>i_) Film (1983). Films du Loup. Dir Luc Besson, starring Pierre Jolivet, Jean Bouise, Jean Reno. Screenplay Besson, Jolivet. 92 mins. B/w._^<n__^<n_Made by Besson (later one of the best-known French directors of his
generation) when only 23, the arty but vigorous _^<i_LDC_^>i_ is low-budget and photographed in black-and-white Cinemascope, and has no dialogue at all. A young man (Jolivet) in an unspeaking post-_^<a_!T4482_HOLOCAUST_^>a_ world -- holocaust and
speechlessness remain unexplained -- flies in a restored plane, meets an old doctor, matures, fights a swordsman, conquers a tribal leader and gets a girl. A dwarf lives in a locked car trunk; the tops of high-rise buildings project from the sand;
fish fall from the sky; Samurai lurch and scuttle; women are imprisoned. [PN]_^<n__^<n_
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De ROUEN, REED R(ANDOLPH)
-T-
(1917-1986) US writer of half Native American (Oneida) extraction. His sf novel _^<i_Split Image_^>i_ (_^<b_1955_^>b_ UK) mixes _^<a_!T2342_SPACE OPERA_^>a_ and speculation on _^<a_!T1939_POLITICS_^>a_ and _^<a_!T2551_RELIGION_^>a_ in its story of a
space flight culminating in a landing on an exact duplicate of Earth. [PN/JC]_^<n__^<n_
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DESART, THE EARL OF
-T-
Working name of UK writer W.U.O'C. Cuffe (1845-1898), whose _^<i_The Raid of the "Detrimental"_^>i_ (_^<b_1897_^>b_) describes a _^<a_!T3460_LOST WORLD_^>a_ in the South Atlantic transformed by its UK inhabitants into an advanced
_^<a_!T5303_UTOPIA_^>a_. [JC]_^<n__^<n_
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DESMOND, SHAW
-T-
(1877-1960) Irish novelist, poet, founder of the International Institute for Psychical Research (1934), and author of many works on the afterlife and several sf novels. _^<i_Democracy_^>i_ (_^<b_1919_^>b_) predicts a revolution in the UK. The
_^<a_!T1370_DYSTOPIAN_^>a_ _^<i_Ragnarok_^>i_ (_^<b_1926_^>b_) envisages the destruction of civilization through a world _^<a_!T5452_WAR_^>a_ fought by armies equipped with radio-controlled planes and poisonous gases, the narrative concentrating on
the derring-do of futuristic fighter pilots. His pessimism continued in _^<i_Chaos_^>i_ (_^<b_1938_^>b_), which prophesies a future war between the UK and Germany. _^<i_World-Birth_^>i_ (_^<b_1938_^>b_), possibly stimulated by the works of Olaf
_^<a_!T2404_STAPLEDON_^>a_, describes the troubled future history of mankind and the eventual development of an ideal state. This concluding optimism surfaces again in _^<i_Black Dawn_^>i_ (_^<b_1944_^>b_), where world peace is the dream. His
earlier works include two fantasies: _^<i_Echo_^>i_ (_^<b_1927_^>b_) is a memory of past incarnation (>_^<a_!T2548_REINCARNATION_^>a_) and _^<i_Gods_^>i_ (_^<b_1921_^>b_) centres on industrial exploitation. _^<i_Tales of the Little Sisters Of Saint
Francis_^>i_ (coll _^<b_1929_^>b_) includes some fantasy. [JE]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T5492_WEAPONS_^>a_.
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DESTINATION MOON
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Film (1950). A George Pal Production/Eagle-Lion. Dir Irving Pichel, starring John Archer, Warner Anderson, Dick Wesson, Tom Powers. Screenplay Robert A. _^<a_!T4376_HEINLEIN_^>a_, "Rip" Van Ronkel, James O'Hanlon, based loosely on _^<i_Rocket Ship
Galileo_^>i_ (_^<b_1947_^>b_) by Heinlein. 92 mins. Colour._^<n__^<n__^<i_DM_^>i_, the first of George _^<a_!T1769_PAL_^>a_'s many sf productions, has great historical importance: its commercial success initiated the sf film boom of the 1950s after
a decade that had contained almost no sf _^<a_!T726_CINEMA_^>a_ at all. It has interest in hindsight, too, in the partial accuracy with which it anticipated the actual Moon landing of 1969. To this day, _^<i_DM_^>i_ stands as a film obviously made
by people who knew about science: along with the German rocket expert Hermann Oberth (1894-1989), Heinlein himself acted as technical advisor. The special effects are relatively convincing: astronomical artist Chesley _^<a_!T697_BONESTELL_^>a_
provided the backgrounds for the scenes on the Moon, working with art director Ernst Fegte. The film's biggest predictive error was political, not scientific: it predicted that the first Moon landing, described as "the greatest challenge ever
hurled at American industry", would be a truly capitalist affair conducted by private enterprise. _^<i_DM_^>i_ is an austere film, semidocumentary in nature and, aside from a sequence about fuel shortage near the end, rather placid and unexciting.
But, despite its colourless script and its low-key performances (except for some ill judged comic relief from the blue-collar radio operator, played by Wesson), _^<i_DM_^>i_ is a film with considerable dignity and, in a quiet way, a genuine
_^<a_!T2104_SENSE OF WONDER_^>a_. Its final message -- THIS IS THE END OF THE BEGINNING in big block letters -- can be seen, in retrospect, as an entirely justified claim. [PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T3023_MOON_^>a_;
> _^<a_!T5063_BUCK ROGERS IN THE 25TH CENTURY_^>a_._^<n__^<n_
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DESTINIES
-T-
US "magazine" in paperback-book format published by _^<a_!T20_ACE BOOKS_^>a_, ed James _^<a_!T352_BAEN_^>a_, 11 issues, Nov 1978-Aug 1981, last issue undated. The list of contributors to all sections of the magazine -- which could equally be thought
of as an original-_^<a_!T195_ANTHOLOGY_^>a_ series -- was impressive. Book reviews were by Spider _^<a_!T2640_ROBINSON_^>a_, with Orson Scott _^<a_!T6359_CARD_^>a_ and Norman _^<a_!T2370_SPINRAD_^>a_ taking over from #6. Science-fact articles came
from Jerry _^<a_!T1961_POURNELLE_^>a_, among others, and included a five-part series by Poul _^<a_!T169_ANDERSON_^>a_ on the interaction between sf and science. The fiction was mainly short stories and novelettes, many from well known authors like
Gregory _^<a_!T526_BENFORD_^>a_, Card, Larry _^<a_!T3223_NIVEN_^>a_ (with Pournelle), Clifford D. _^<a_!T2218_SIMAK_^>a_ and Roger _^<a_!T6264_ZELAZNY_^>a_. "Lost Dorsai" by Gordon R. _^<a_!T1227_DICKSON_^>a_ won the 1981 _^<a_!T4551_HUGO_^>a_ for
Best Novella. The emphasis was on _^<a_!T4288_HARD SF_^>a_. The series died when Baen left Ace. However, some time after Baen formed his publishing company Baen Books in 1983, and having published a very similar paperback magazine series,
_^<a_!T1431_FAR FRONTIERS_^>a_ (1985-6), he resuscitated _^<i_Destinies_^>i_ as _^<i_New Destinies_^>i_, beginning with _^<i_New Destinies, Vol I: Spring 1987_^>i_ ed Baen, apparently current (1992) though irregular, with 8 issues up to _^<i_New
Destinies Vol IX_^>i_ (anth _^<b_1990_^>b_); there was no _^<i_New Destinies Vol V_^>i_. The mixture was, as before, of scientific articles and hard-sf stories by authors like Dean _^<a_!T6342_ING_^>a_, Spider Robinson, Charles
_^<a_!T2167_SHEFFIELD_^>a_ and Harry _^<a_!T6132_TURTLEDOVE_^>a_, as well as pieces from several of the contributors to the original _^<i_Destinies_^>i_. [RR/PN]_^<n__^<n_
A probable pseudonym. GDT's pulp-style paperback sf novels are _^<i_Three Quarters_^>i_ (_^<b_1963_^>b_) and _^<i_Split_^>i_ (_^<b_1963_^>b_). [JC]_^<n__^<n_
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DETZER, DIANE
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Working name used by US writer Diane Detzer de Reyna (1930- ) for some of her sf, though she has also published much material as Adam Lukens, and some as Jorge de Reyna. She began publishing sf with "The Tomb" for _^<i_Science Fiction
Stories_^>i_ in 1958, and soon released a number of novels, from _^<i_The Sea People_^>i_ (_^<b_1959_^>b_) to _^<i_Eevalu_^>i_ (_^<b_1963_^>b_), as Adam Lukens. These are varied in subject matter but are generally routine _^<a_!T2342_SPACE
OPERA_^>a_. As Jorge de Reyna she published _^<i_The Return of the Starships_^>i_ (_^<b_1968_^>b_), and under her own name _^<i_The Planet of Fear_^>i_ (_^<b_1968_^>b_). [JC]_^<n__^<n__^<b_Other works as Adam Lukens:_^>b_ _^<i_Conquest of Life_^>i_
(_^<b_1960_^>b_); _^<i_Sons of the Wolf_^>i_ (_^<b_1961_^>b_); _^<i_The Glass Cage_^>i_ (_^<b_1962_^>b_); _^<i_The World Within_^>i_ (_^<b_1962_^>b_); _^<i_Alien World_^>i_ (_^<b_1963_^>b_)._^<n__^<n_
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DEVER, JOE
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[r] > Paul _^<a_!T425_BARNETT_^>a_; _^<a_!T1696_GAMES AND TOYS_^>a_._^<n__^<n_
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DEVEREUX, EVE
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> Paul _^<a_!T425_BARNETT_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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De VET, CHARLES V(INCENT)
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(1911- ) US writer, mostly of short stories, of which he has written over 50 for sf magazines, beginning with "The Unexpected Weapon" for _^<i_AMZ_^>i_ in 1950. In his first sf novel, _^<i_Cosmic Checkmate_^>i_ (1958 _^<i_ASF_^>i_ as "The Second
Game"; exp _^<b_1962_^>b_ chap dos; exp vt _^<i_Second Game_^>i_ 1981) with Katherine _^<a_!T3563_MACLEAN_^>a_, an Earthman is sent to investigate a hostile planet whose inhabitants' social advancement depends on proficiency at the national
chess-like game (> _^<a_!T1695_GAMES AND SPORTS_^>a_). His second novel, _^<i_Special Feature_^>i_ (1958 _^<i_ASF_^>i_; exp _^<b_1975_^>b_), rather flatly depicts media involvement in the filming of the depredations of an _^<a_!T98_ALIEN_^>a_
monster in St Louis. After some years of silence, CVDV became active once again in the late 1980s. [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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DEVIL-DOLL, THE
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Film (1936). MGM. Dir Tod Browning, starring Lionel Barrymore, Maureen O'Sullivan, Frank Lawton. Screenplay Browning, Garrett Fort, S. Guy _^<a_!T6664_ENDORE_^>a_, Erich von Stroheim, based on _^<i_Burn, Witch, Burn!_^>i_ (_^<b_1933_^>b_) by A.
_^<a_!T2912_MERRITT_^>a_ and "The Witch of Timbuctoo" by Browning. 79 mins. B/w._^<n__^<n_In this film by the director of _^<i_Dracula_^>i_ (1931) and _^<i_Freaks_^>i_ (1932) a man (Barrymore) wrongly convicted and sent to Devil's Island returns to
Paris, where he uses miniaturized people for revenge. He disguises himself as an old-lady toymaker and sends his 6in (15cm) humans as toys to the homes of his enemies; in the middle of the night the "toys" come to life and carry out his telepathic
instructions. The illusion of miniaturization is perfectly created by the use of giant sets and skilfully executed travelling mattes -- the work of the MGM special-effects department, then headed by A. Arnold Gillespie. Though the original novel
used alchemy for miniaturization, this uses a supposedly scientific electrical device. [JB/PN]_^<n__^<n_
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DEVLIN, ROY P.
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[s] > Thomas P. _^<a_!T4011_KELLEY_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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DEVOLUTION
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Sf is usually an optimistic genre, and stories of _^<a_!T6717_EVOLUTION_^>a_ on the whole envisage humanity as slowly progressing to higher states. However, a persistent pessimistic note in _^<a_!T4659_GENRE SF_^>a_ generally, and to a degree in
mainstream sf too, has been to imagine the opposite, the devolution or degeneration of mankind. The note was sounded most famously in H.G. _^<a_!T5528_WELLS_^>a_'s _^<i__^<a_!B9070_THE TIME MACHINE_^>a__^>i_ (_^<b_1895_^>b_), in which humankind
evolves into two races, one physically degenerate, the other with few mental resources. At the end of the book humankind is gone, the Sun is cooling, and a solitary football-shaped creature is seen flopping in the last shallow sea. In George Allan
_^<a_!T6673_ENGLAND_^>a_'s _^<i_Darkness and Dawn_^>i_ (_^<b_1914_^>b_) a couple wake after _^<a_!T5851_SUSPENDED ANIMATION_^>a_ to find a desolate Earth peopled by subhuman descendants of the survivors of a natural _^<a_!T1243_DISASTER_^>a_. The
rhetoric is lurid._^<n__^<n_To this day, stories of the _^<a_!T4482_HOLOCAUST AND AFTER_^>a_ are often peopled by tribal savages and monstrous _^<a_!T3120_MUTANTS_^>a_, though here the devolution tends to be social rather than biological in
emphasis, as in Russell _^<a_!T4452_HOBAN_^>a_'s _^<i__^<a_!B9074_RIDDLEY WALKER_^>a__^>i_ (_^<b_1980_^>b_), which is unusual in its foregrounding of a devolved (but vivid) language (>_^<a_!T3398_LINGUISTICS_^>a_). The possibility of biological
devolution was mooted in pseudo-scientific circles a good deal in the early part of the century -- it was a favourite notion of the Nazis -- and H.P. _^<a_!T3465_LOVECRAFT_^>a_ often saw the adherents of his various disgusting cults as devolved
into froglike or apelike creatures. The idea that humanity could revert to apedom was almost a _^<a_!T752_CLICHE_^>a_ of pulp sf; it is central to, for example, _^<i_The Iron Star_^>i_ (_^<b_1930_^>b_) by John _^<a_!T5892_TAINE_^>a_, in which rays
from a meteor are the mutagenic agent. _^<i_La planete des singes_^>i_ (_^<b_1963_^>b_; trans as _^<i_Planet of the Apes_^>i_ _^<b_1963_^>b_ US; vt _^<i_Monkey Planet_^>i_ 1964 UK) by Pierre _^<a_!T4938_BOULLE_^>a_, filmed as _^<a_!T1919_PLANET OF
THE APES_^>a_ (1968), put a later slant on the theme for satirical purposes by having the evolution of apes paralleled by the devolution of humans. The hero of Edmond _^<a_!T4258_HAMILTON_^>a_'s "The Man who Evolved" (1931) regresses finally to a
blob. Hamilton enjoyed the cosmic pointlessness suggested by ideas of devolution, and often used the theme. On a more serious level, the idea comes up several times in _^<i__^<a_!B9080_LAST AND FIRST MEN_^>a__^>i_ (_^<b_1930_^>b_) by Olaf
_^<a_!T2404_STAPLEDON_^>a_, in which the upwards progression of the evolutionary thrust is several times interrupted by devolutionary sequences, rather like someone climbing a slippery hill and occasionally backsliding._^<n__^<n_Paddy
_^<a_!T5251_CHAYEFSKY_^>a_'s _^<i_Altered States_^>i_ (_^<b_1978_^>b_) gives a new twist to the idea in its interesting if absurd notion that altered states of consciousness (as in a sensory-deprivation tank) may lead to instant alteration of the
way our genetic heritage is manifest, our oldest DNA finding bodily expression to produce, in this case, first an apeman and later a blob. This was filmed as _^<a_!T129_ALTERED STATES_^>a_ (1980). Chayefsky admits that his inspiration was Robert
Louis _^<a_!T5731_STEVENSON_^>a_'s _^<i_Strange Case of Dr Jekyll and Mr Hyde_^>i_ (_^<b_1886_^>b_), a novel whose protagonist, after experimenting with chemicals, alternates between two states: the highly evolved doctor and the amoral, bestial
Hyde. In Stevenson's book what is a subtext in most earlier devolution stories is almost overt: that devolution is a metaphorical equivalent of the Fall of Man._^<n__^<n_Social devolution was always a popular theme in genre sf, partly because it
gave writers a chance to exploit colourful primitive societies and partly in deference to the cyclic view of _^<a_!T4442_HISTORY_^>a_ popularized by Arnold Toynbee (1889-1975). The theme is also common in stories of _^<a_!T1678_GALACTIC
EMPIRES_^>a_, where commonly a social breakdown at the centre leads to cultural devolution on the fringes, much as in the Roman Empire. This is the theme of Isaac _^<a_!T268_ASIMOV_^>a_'s _^<b_Foundation_^>b_ trilogy._^<n__^<n_The theme of
_^<a_!T6679_ENTROPY_^>a_ became popular in the 1960s, and with it came a new lease of life for devolution stories. Evolution ever upwards is an example of negentropy, or reverse entropy, and is counter to the general running-down of the cosmos,
which in obedience to the laws of thermodynamics moves towards ever decreasing order, ever increasing randomness. (The pessimism of the 1950s and 1960s probably had more to do with the Vietnam War and problems of _^<a_!T1752_OVERPOPULATION_^>a_ and
starvation than with any revelation from physics, but entropy provided a convenient metaphor for all this.) 1960s writers often envisaged increasing disorder in terms of biological devolution. The theme was touched on by Samuel R.
_^<a_!T1152_DELANY_^>a_ in _^<i_The Ballad of Beta-2_^>i_ (_^<b_1965_^>b_), but an earlier and more substantial work was _^<i_The Long Afternoon of Earth_^>i_ (_^<b_1962_^>b_ US; exp vt _^<i_Hothouse_^>i_ 1962 UK) by Brian W. _^<a_!T87_ALDISS_^>a_,
in which a devolved and jungle-like Earth, whose shrunken humans have taken to the trees again, is given a kind of weird charm; life continues fecund even while _^<a_!T3787_INTELLIGENCE_^>a_ is lost and the Galaxy subsides towards its
heat-death._^<n__^<n_Devolution occurs in the work of other writers of _^<a_!T1372_FABULATIONS_^>a_ and _^<a_!T3181_NEW-WAVE_^>a_ sf, and nowhere are its attractions for the overintellectualized 20th century more clearly shown than in the works of
J.G. _^<a_!T378_BALLARD_^>a_, whose most central and recurring theme this is. Its first clear expression was in his story "The Voices of Time" (1960), in which the countdown to the end of the Universe is accompanied by a series of baroque
degenerate mutations and the hero's need for more and more sleep. The tone is as much celebratory as tragic. Ballard's _^<i_The Drowned World_^>i_ (_^<b_1962_^>b_) has a hero ever more ready to slough off such human qualities as ambition or even
self-preservation as he listens to the insistent call of his bloodstream, whose saltiness recalls a time before life had left the oceans. These inner changes are mirrored in the Earth itself, which has catastrophically reverted to the luxuriance of
a new Carboniferous era._^<n__^<n_Tales of devolution from the 1970s and 1980s are often curiously close in feeling to their apparent opposite: the stories of evolutionary transcendence that we associate with, for example, Greg _^<a_!T478_BEAR_^>a_
and Ian _^<a_!T5484_WATSON_^>a_. Where we envisage an upwards there must necessarily be a downwards, too; this is an idea that has haunted many sf writers, notably Michael _^<a_!T620_BISHOP_^>a_, sometimes metaphorically and sometimes literally. It
is close to the latter in his _^<i__^<a_!B9253_NO ENEMY BUT TIME_^>a__^>i_ (_^<b_1982_^>b_), in which a modern man travels back in time to find marriage and a home with hominids. Which evolutionary direction is upwards, which downwards, and which
better, seems to several contemporary writers to be all a matter of perspective, as can be seen in the main 1980s variant on the theme: a devolution that is deliberately biologically (or psychologically) engineered. Several of the
_^<a_!T1015_CYBERPUNK_^>a_ writers have envisaged such an operation as a means of simplifying the self to a creature who is less prone, perhaps, to the _^<i_angst_^>i_ induced by information overload. A similar idea is found in David
_^<a_!T6272_ZINDELL_^>a_'s _^<i_Neverness_^>i_ (_^<b_1988_^>b_), a large part of which deals with the fierce, brave, ice-age Alaloi, a race which "because they wanted to live what they thought of as a natural life . . . back mutated some of their
chromosomes, the better to grow strong, primitive children to live on the pristine worlds they hoped to discover". An interesting and even more ferocious devolution, more psychic than physical, is that envisaged in Robert P.
_^<a_!T4468_HOLDSTOCK_^>a_'s _^<i_Mythago Wood_^>i_ (_^<b_1984_^>b_) and its sequels, in which the human hind-brain conspires with the power of an ancient woodland to strip the minds of those who walk there down to the blood and bone of their
Neolithic forebears and further, back into the days of ice. Most writers of the last few decades who have like Holdstock dealt with this theme have exhibited a strong if ambiguous attraction to the idea, though to an earlier generation devolution
appeared straightforwardly repugnant._^<n__^<n_The class of stories in which primitive primates confront evolved primates in the present day is discussed under _^<a_!T206_APES AND CAVEMEN_^>a_; these stories, too, have a bearing on the devolution
theme. [PN]_^<n__^<n_
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DeWEESE, GENE
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Working name of US technical writer and author Thomas Eugene DeWeese (1934- ), who began writing sf with two _^<b_Man from U.N.C.L.E._^>b_ ties, _^<i_The Invisibility Affair_^>i_ * (_^<b_1967_^>b_) and _^<i_The Mind-Twisters Affair_^>i_ *
(_^<b_1967_^>b_), both with Robert _^<a_!T913_COULSON_^>a_ and signed, collaboratively, Thomas Stratton. Other novels with Coulson, both authors now signing their own names, include a routine sf adventure for _^<a_!T4194_LASER BOOKS_^>a_,
_^<i_Gates of the Universe_^>i_ (_^<b_1975_^>b_ Canada; rev vt _^<i_Nightmare Universe_^>i_ 1985 US) and two spoof _^<a_!T2528_RECURSIVE_^>a_ novels about reporter _^<b_Joe Karns_^>b_, who gets into all kinds of trouble at sf
_^<a_!T856_CONVENTIONS_^>a_; the large number of in-group references made it unlikely that either _^<i_Now You See It/Him/Them_^>i_ (_^<b_1975_^>b_) and _^<i_Charles Fort Never Mentioned Wombats_^>i_ (_^<b_1977_^>b_) would gain many readers outside
the genre. In the 1980s, GDW concentrated on lively juveniles (see listing below) and on several equally lively _^<b_Star Trek_^>b_ ties: for _^<a_!T2429_STAR TREK_^>a_ itself, _^<i_Chain of Attack_^>i_ * (_^<b_1987_^>b_), its direct sequel
_^<i_The Final Nexus_^>i_ * (_^<b_1988_^>b_), and _^<i_Renegade_^>i_ * (_^<b_1991_^>b_); and, for _^<a_!T2436_STAR TREK: THE NEXT GENERATION_^>a_, _^<i_The Peacekeepers_^>i_ * (_^<b_1988_^>b_). [JC/PN]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Jeremy
Case_^>i_ (_^<b_1976_^>b_ Canada); _^<i_The Wanting Factor_^>i_ (_^<b_1980_^>b_); _^<i_Something Answered_^>i_ (_^<b_1983_^>b_)._^<b_For children:_^>b_ _^<i_Major Corby and the Unidentified Flapping Object_^>i_ (_^<b_1979_^>b_); _^<i_Nightmares
from Space_^>i_ (_^<b_1981_^>b_); _^<i_The Adventures of a Two-Minute Werewolf_^>i_ (_^<b_1983_^>b_); the _^<b_Calvin Willeford_^>b_ sequence, comprising _^<i_Black Suits from Outer Space_^>i_ (_^<b_1985_^>b_; vt _^<i_Beepers from Outer Space_^>i_
1985), _^<i_The Dandelion Caper_^>i_ (_^<b_1986_^>b_) and _^<i_The Calvin Nullifier_^>i_ (_^<b_1987_^>b_); _^<i_Whatever Became of Aunt Margaret?_^>i_ (_^<b_1990_^>b_)._^<b_As Jean DeWeese:_^>b_ Various Gothics, of which _^<i_The Reimann Curse_^>i_
(_^<b_1975_^>b_; vt _^<i_A Different Darkness_^>i_ 1982 as GDW), _^<i_The Moonstone Spirit_^>i_ (_^<b_1975_^>b_), _^<i_The Carnelian Cat_^>i_ (_^<b_1975_^>b_) and _^<i_Nightmare in Pewter_^>i_ (_^<b_1978_^>b_) have been registered as containing
material of genre interest.
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DeWEESE, JEAN
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> Gene _^<a_!T1210_DEWEESE_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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De WREDER, PAUL
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> John _^<a_!T4379_HEMING_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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DEXTER, J.B.
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> John S. _^<a_!T4725_GLASBY_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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DEXTER, WILLIAM
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Pseudonym of UK writer William Thomas Pritchard (1909- ), whose two sf novels make up a short series. In _^<i_World of Eclipse_^>i_ (_^<b_1954_^>b_) humans return from internment on the planet of the Vulcanids to repopulate a devastated Earth;
_^<i_Children of the Void_^>i_ (_^<b_1955_^>b_) brings in a runaway world, nuclear conflicts in space, and communication with ethereal descendants of humanity. [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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DEY, FREDERICK VAN RENSSELAER
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[r] > Nick _^<a_!T5195_CARTER_^>a_; _^<a_!T1236_DIME-NOVEL SF_^>a_; "_^<a_!T3230_NONAME_^>a_"._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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DIABOLICAL DR MABUSE, THE
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> _^<i_Die_^<a_!T5912_TAUSEND AUGEN DES DR MABUSE_^>a__^>i_ ._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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DIABOLIC INVENTION, THE
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> _^<a_!T5418_VYNALEZ ZKAZY_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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DIABOLIK
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(vt _^<i_Danger: Diabolik_^>i_) Film (1967). Dino De Laurentiis/Marianne. Dir Mario Bava, starring John Phillip Law, Marisa Mell, Michel Piccoli, Adolfo Celi, Terry-Thomas. Screenplay Bava, Dino Maiuri, Adriano Baracco, Brian Degas, Tudor Gates,
based on _^<i_fumetti_^>i_ by Luciana and Angela Giussani. 105 mins, cut to 88 mins. Colour._^<n__^<n_This Italian/French coproduction is one of Di Laurentiis's several attempts to film sf _^<a_!T820_COMIC_^>a_ strips, others being
_^<a_!T398_BARBARELLA_^>a_ (1967) and _^<a_!T1517_FLASH GORDON_^>a_ (1980). Law plays a stylish supercriminal, after the style of Fantomas, the fictional antihero of several thrillers, beginning with _^<i_Fantomas_^>i_ (1913-14); he attempts to
steal the entire gold reserves and destroy all the tax records of his country. He is caught at the denouement in a shower of radiactive molten gold, becoming his own memorial. Directed with visual panache and a sense of fun by Bava, _^<i_D_^>i_ is
futuristic but only marginally sf. [PN]_^<n__^<n_
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DIAMOND, JOHN
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[s] > Barrington J. _^<a_!T472_BAYLEY_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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DIANETICS
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According to its adherents a science, according to its disbelievers a _^<a_!T2019_PSEUDO-SCIENCE_^>a_, founded by L. Ron _^<a_!T4538_HUBBARD_^>a_, at the time a pulp writer whose main market was the sf magazines. Hubbard's sf had always emphasized
the powers of the mind and deployed protagonists who maintained to the end a heroic stance against a corrupt Universe. The former interest was translated into real-life terms in the late 1940s, and the latter vision may be what sustained Hubbard
against the widespread execration he and his movement received from some quarters, both outside and inside sf._^<n__^<n_The editor of _^<i_ASF_^>i_, John W. _^<a_!T5140_CAMPBELL_^>a_ Jr, began experimenting with Hubbard's ideas in 1949 and believed
them valid. In May 1950 _^<i_ASF_^>i_ (after much prior publicity) published a long article on Dianetics, seen as a form of psychotherapy that could achieve miraculous results in sweeping away the dross that encumbers ordinary minds, to leave
uncovered the _^<a_!T5830_SUPERMAN_^>a_ latent in us all. Follow-up publicity went well beyond the sf magazines. Hubbard's _^<i_Dianetics: The Modern Science of Mental Health_^>i_ (_^<b_1950_^>b_) was published in the same year, and immediately
became a bestseller. The attractions of Dianetics were manifold: it could be practised after mere hours of training, with no formal education necessary; it proposed an apparently simple and coherent model of the mind; it offered an explanation of
why so many people feel themselves to be unappreciated failures -- and, better than that, it offered a cure._^<n__^<n_In Dianetics an "auditor" (the therapist) encourages the patient to babble out his/her fantasies. The E-meter, a form of
lie-detector, early on came to be an essential item of equipment. In theory, the needle on the meter swings over whenever a traumatic area of memory is uncovered, and the auditor then disposes of the trauma by revealing its meaning. So far, this is
rather like an sf version of conventional psychoanalysis. However, Hubbard also taught that traumas could be pre-natal, and eventually that they could have been suffered during previous incarnations (>_^<a_!T2548_REINCARNATION_^>a_) right back to
the dawn of time. A "clear" -- a person who had successfully rid himself/herself of aberrations -- would possess radically increased intelligence, powers of telepathy, the ability to move outside the body and to control such somatic processes as
growing new teeth, and a photographic memory. Here was the superman figure of so much contemporary pulp sf made flesh -- at least if Dianetics worked (> _^<a_!T6580_EDISONADE_^>a_)._^<n__^<n_Film stars took up Dianetics; centres were opened all
over the USA; many thousands were converted, including A.E. _^<a_!T5333_VAN VOGT_^>a_, whose own sf had produced many protagonists not unlike Dianetics's "clears". One of Hubbard's assistants was Perry _^<a_!T5234_CHAPDELAINE_^>a_, who later became
an sf writer himself. In 1952, after an organizational rift, Hubbard left the Dianetic Foundation and soon advertised his new advance on Dianetics, _^<a_!T2881_SCIENTOLOGY_^>a_, in the entry for which this story is continued. [PN]_^<n__^<n__^<b_See
also:_^>b_ _^<a_!T1795_PARANOIA_^>a_.
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DICK, KAY
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(1915- ) UK writer and editor whose novel, _^<i_They: A Sequence of Unease_^>i_ (_^<b_1977_^>b_), resembles thematically and in its experimental structure much of her previous fiction, but is set in a _^<a_!T6337_NEAR-FUTURE_^>a_ England where
freedom of travel is restricted and cultural activities are actively persecuted. Constructed as a set of linked stories that mirror one another, _^<i_They_^>i_ relates _^<a_!T6679_ENTROPY_^>a_ and the youth-culture as enemies of creative values
(and middle-class individualism); in relating these levels of meaning, KD sets up a very moving, though abstract, model of humanistic response to a straitened future. [JC]_^<n__^<n__^<b_Other works as editor:_^>b_ _^<i_The Mandrake Root_^>i_ (anth
_^<b_1946_^>b_) as Jeremy Scott, _^<i_At Close of Eve_^>i_ (anth _^<b_1947_^>b_) as Scott and _^<i_The Uncertain Element_^>i_ (anth _^<b_1950_^>b_), all fantasy anthologies._^<n__^<n_
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DICK, PHILIP K(INDRED)
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(1928-1982) US writer, one of the two or three most important figures in 20th-century US sf and an author of general significance. He lived most of his life in California, where most of his fiction was set, either literally or by displacing sf
protocols into a nightmare of the Pacific Rim. He attended college for one year at Berkeley, operated a record store and ran a classical-music programme for a local radio station; he was married five times, and had three children. From 1950 to 1970
he was intensely and constantly productive -- a circumstance only posthumously made clear by the publication of several mainstream novels written during the first years of his career. The order in which he wrote his many novels is of importance in
assessing their interrelation, and so the relevant dates are indicated in the discussion below._^<n__^<n_He began his career with short magazine fiction-his first published story was "Beyond Lies the Wub" (1952) -- and over the next few years came
a number of ironic and idiosyncratic short stories, some of which were collected in _^<i_A Handful of Darkness_^>i_ (written 1952-4; coll _^<b_1955_^>b_ UK; with 2 stories cut 1966 UK), _^<i_The Variable Man and Other Stories_^>i_ (written 1952-4;
coll _^<b_1957_^>b_) and _^<i_The Book of Philip K. Dick_^>i_ (written 1952-5; coll _^<b_1973_^>b_; vt _^<i_The Turning Wheel and Other Stories_^>i_ 1977 UK). The first three and a half volumes of _^<i__^<a_!B9149_THE COLLECTED STORIES OF PHILIP K.
DICK_^>a__^>i_ are devoted to these early years. This set, which is definitive, consists of 5 separate titles, all of which suffer from a singularly unhelpful array of vts: _^<i_Beyond Lies the Wub_^>i_ (coll _^<b_1987_^>b_; vt _^<i_The Short Happy
Life of the Brown Oxford_^>i_ 1990); _^<i_Second Variety_^>i_ (coll _^<b_1987_^>b_; vt _^<i_We Can Remember it for You Wholesale_^>i_, with "Second Variety" dropped and the new title story added, 1990); _^<i_The Father-Thing_^>i_ (coll
_^<b_1987_^>b_; rev with "Second Variety" added, vt _^<i_Second Variety_^>i_ 1991); _^<i_The Days of Perky Pat_^>i_ (coll _^<b_1987_^>b_; vt _^<i_The Minority Report_^>i_ 1991) and _^<i_The Little Black Box_^>i_ (coll _^<b_1987_^>b_; vt _^<i_We Can
Remember it for you Wholesale_^>i_ 1991 UK; vt _^<i_The Eye of the Sibyl_^>i_ 1992 US)._^<n__^<n_PKD's first novels -- _^<i_The Cosmic Puppets_^>i_ (written 1953; 1956 _^<i_Satellite_^>i_ as "A Glass of Darkness"; exp _^<b_1957_^>b_ dos) and
_^<i_Dr Futurity_^>i_ (written 1953; 1954 _^<i_TWS_^>i_ as "Time Pawn"; exp _^<b_1959_^>b_ dos) -- were professional expansions of magazine tales and reveal his fingerprints to hindsight; the former interestingly returns a man to his home-town
which, overlaid by manufactured illusion, serves as a battleground for two warring forces who bear the aspects of Ormazd and Ahriman (the opposing principles of Zoroastrian cosmology). PKD's _^<a_!T1795_PARANOIA_^>a_ about godlike manipulations of
consensual reality marks a theme he would obsessively repeat in less crude form, just as the confusion of humans and mechanical simulacra adumbrated in the second book might be considered one particular variant of the major theme which runs right
through PKD's work: the juxtaposition of two "levels of reality" -- one "objectively" determined, the other a world of appearances imposed upon characters by various means and processes._^<n__^<n_His first published book, _^<i__^<a_!B8980_SOLAR
LOTTERY_^>a__^>i_ (written 1953-54_^<b_1955_^>b_ dos; rev vt _^<i_World of Chance_^>i_ 1955 UK -- each text printing some material the other excludes), has an immediate impact; it is a story belonging to, if not rather dominating, a category
prevalent in the early 1950s-the tale in which future society is distorted by some particular set of idiosyncratic priorities: in this case social opportunity is governed by lottery. The plot of the novel is reminiscent of A.E. _^<a_!T5333_VAN
VOGT_^>a_, and juxtaposes political intrigues with the utopian quest of the disciples of an eccentric _^<a_!T2918_MESSIAH_^>a_. This interest in messianic figures runs throughout PKD's work as an important subsidiary theme. There are versions of it
in _^<i_The World Jones Made_^>i_ (written 1954; _^<b_1956_^>b_ dos), _^<i_Vulcan's Hammer_^>i_ (1956 _^<i_Future Science Fiction_^>i_; exp _^<b_1960_^>b_), and in his sf of the 1960s._^<n__^<n_But, after writing _^<i_The World Jones Made_^>i_, a
heated authoritarian _^<a_!T1370_DYSTOPIA_^>a_, _^<i_Eye in the Sky_^>i_ (written 1955; _^<b_1957_^>b_), which sophisticates the reality diseases of his first novel, and the routine _^<i_The Man who Japed_^>i_ (written 1955; _^<b_1956_^>b_ dos),
PKD began an exceedingly ambitious -- and totally unsuccessful -- attempt to break into the mainstream-novel market. From this period came _^<i_Mary and the Giant_^>i_ (written 1953-5; _^<b_1987_^>b_), _^<i_The Broken Bubble_^>i_ (written 1956;
_^<b_1988_^>b_), _^<i_Puttering About in a Small Land_^>i_ (written 1957; _^<b_1985_^>b_), _^<i_In Milton Lumky Territory_^>i_ (written 1958-9; _^<b_1985_^>b_), _^<i_Confessions of a Crap Artist_^>i_ (written 1959; _^<b_1975_^>b_), _^<i_The Man
whose Teeth were All Exactly Alike_^>i_ (written 1960; _^<b_1984_^>b_) and _^<i_Humpty Dumpty in Oakland_^>i_ (written 1960; _^<b_1986_^>b_ UK). Graceful, wry, vulnerable, pessimistic and wise, they are novels less good only than the best of PKD's
intense prime, which began immediately._^<n__^<n__^<i_Time Out of Joint_^>i_ (written 1958; _^<b_1959_^>b_) is a bridge novel: its central character, who lives in a peaceful _^<a_!T1932_POCKET-UNIVERSE_^>a_ enclave created for him by a war-torn
society so that it can exploit his precognitive talents, retains the desire and capacity to defeat illusion and regain objective reality. In later books the author became more and more fascinated by the various unreal worlds he created. In the
first of these, the _^<a_!T4551_HUGO_^>a_-winning _^<i__^<a_!B9086_THE MAN IN THE HIGH CASTLE_^>a__^>i_ (written 1961; _^<b_1962_^>b_), his best-known single book, the characters live in an _^<a_!T131_ALTERNATE WORLD_^>a_ in which the Allies lost
WWII (> _^<a_!T4446_HITLER WINS_^>a_), but one of them eventually learns from the _^<i_I-Ching_^>i_ that the real world -- manifest in the alternate through the pages of a novel -- is one in which the Allies won (though it is not our world). After
this major novel came, in close succession, the writing of three further books which together constitute his finest achievement. _^<i_Martian Time-Slip_^>i_ (written 1962; 1963 _^<i_Worlds of Tomorrow_^>i_ as "All We Marsmen"; exp _^<b_1964_^>b_)
creates a world irradiated by schizophrenic (>_^<a_!T1795_PARANOIA_^>a_) perceptions, and moves with frightening intensity -- and hilarity -- to an elegant transcendental finale. _^<i_Dr Bloodmoney, or How We Got Along After the Bomb_^>i_ (written
1963; _^<b_1965_^>b_), is built more intricately than any other PKD novel upon a plot-structure whose interconnections and layers themselves work as a portrayal of the world -- in this case a post-_^<a_!T4482_HOLOCAUST_^>a_ USA.
_^<i__^<a_!B9152_THE THREE STIGMATA OF PALMER ELDRITCH_^>a__^>i_ (written 1964; _^<b_1965_^>b_), more extremely than any previous PKD book, inhabits the badlands within which the real and the ersatz interpenetrate: suppliers of a hallucinogenic
drug which makes life tolerable for Martian colonists face opposition from the sinister Eldritch, whose own new drug (imaged in language which recalls the Communion wafer) pre-empts reality entirely._^<n__^<n_The complexity and stature of these
four books were perhaps muffled in the 1960s through their being outnumbered by the less achieved PKD works that were being composed or released at this same time -- _^<i_We Can Build You_^>i_ (written 1962; 1969 _^<i_AMZ_^>i_ as "A. Lincoln,
Simulacrum", with last chapter added by Ted _^<a_!T5582_WHITE_^>a_; text restored _^<b_1972_^>b_), _^<i_The Game-Players of Titan_^>i_ (written 1963; _^<b_1963_^>b_), _^<i_The Simulacra_^>i_ (written 1963; _^<b_1964_^>b_), _^<i_Now Wait for Last
Year_^>i_ (written 1963; _^<b_1966_^>b_), _^<i_Clans of the Alphane Moon_^>i_ (written 1963-4; _^<b_1964_^>b_), _^<i_The Crack in Space_^>i_ (written 1963-4; _^<b_1966_^>b_), _^<i_The Zap Gun_^>i_ (written 1964; _^<b_1967_^>b_), _^<i_The
Penultimate Truth_^>i_ (written 1964; _^<b_1964_^>b_), _^<i_The Unteleported Man_^>i_ (written 1964-5; first half only _^<b_1966_^>b_ dos; both halves rev 1983; with short inserts by John T. _^<a_!T2240_SLADEK_^>a_ rev vt _^<i_Lies, Inc_^>i_ 1984
UK) and _^<i_Counter-Clock World_^>i_ (written 1965; _^<b_1967_^>b_). None of these stories quite jell in the end -- though much happens of considerable interest -- and none lack moments of extraordinary cultural and psychological insight,
sometimes presented in a language singularly familiar with the large repertory of mind-states accessible through the use of drugs. It was only with a late novel, _^<i__^<a_!B9147_A SCANNER DARKLY_^>a__^>i_ (written 1973; _^<b_1977_^>b_), that he
would explore the more negative human implications of drug-taking, though with an almost hallucinated vehemence._^<n__^<n_In his next major novel, _^<i__^<a_!B9148_DO ANDROIDS DREAM OF ELECTRIC SHEEP?_^>a__^>i_ (written 1966; _^<b_1968_^>b_; vt
_^<i_Blade Runner_^>i_ 1982), filmed in 1982 by Ridley _^<a_!T2897_SCOTT_^>a_ as _^<a_!T640_BLADE RUNNER_^>a_, PKD effectively climaxed the series of novels in which mechanical simulacra of human beings -- sometimes eminent -- figure as agents of
illusion. In this tale, which became much more widely known after the film, android animals are marketed to help expiate the guilt people experience because real ones have been virtually exterminated; simultaneously the protagonist must hunt down
androids illegally imported from _^<a_!T3677_MARS_^>a_. In so doing, he learns that the society's new _^<a_!T2918_MESSIAH_^>a_ may also be a fake; and that the landscapes of decay and imposture may in fact only mirror his own condition. As with so
many of PKD's best books -- like _^<i_Martian-Time Slip_^>i_, _^<i_Dr Bloodmoney_^>i_ and _^<i__^<a_!B9152_THE THREE STIGMATA OF PALMER ELDRITCH_^>a__^>i_ -- the story takes place in a depleted environment, with a small population existing in a
derelict world. This sense of a shrinking world intensifies in PKD's last two "untroubled" works of genius: _^<i_Ubik_^>i_ (written 1966; _^<b_1969_^>b_), which features the creation of a subjective world by a group of people killed in an accident
but restored to a kind of consciousness within a preservative machine, though any final determination of what is real in the book is made superbly problematical; and _^<i_A Maze of Death_^>i_ (written 1968; _^<b_1970_^>b_), a bleak poisoned
exercise in theology which has been described as his single finest work._^<n__^<n_From this point in PKD's life, metaphysical questions began to dominate. _^<i__^<a_!B9151_GALACTIC POT-HEALER_^>a__^>i_ (written 1967-8; _^<b_1969_^>b_) begins almost
as a parody, but soon becomes involved in questions of predetermination and the Dualistic conflict between darkness and light. Theological issues are paramount also in the novelette "Faith of Our Fathers" (1967) and in _^<i_Our Friends From Frolix
8_^>i_ (written 1968-9; _^<b_1970_^>b_), the composition of which is illuminated by _^<i_Outline for Our Friends from Frolix 8_^>i_ (written 1968; _^<b_1989_^>b_ chap)._^<n__^<n_As the 1970s began, theology gradually segued in PKD's own life into
episodes of paranoia and epiphany, climaxing in a religious experience in March 1974 which he spent much of the rest of his life analysing in the form of an "Exegesis", of which a small, integral portion has been published as _^<i_Cosmogony and
Cosmology_^>i_ (written 1978; _^<b_1987_^>b_ chap UK); a large selection from this material has been assembled as _^<i_In Pursuit of VALIS: Selections from the Exegesis_^>i_ (_^<b_1991_^>b_). _^<i_The Selected Letters of Philip K.Dick:
1972-1973_^>i_ (coll _^<b_1993_^>b_), _^<i_The Selected Letters of Philip K. Dick: 1974_^>i_ (coll _^<b_1991_^>b_) and_^<i_The Selected Letters of Philip K. Dick: 1975-76_^>i_ (coll _^<b_1992_^>b_) focus on the same material; further volumes are
projected._^<n__^<n_And, after 20 years, the stream of novels became intermittent. _^<i_Flow My Tears, the Policeman Said_^>i_ (written 1970-73; _^<b_1974_^>b_), which won the _^<a_!T3923_JOHN W. CAMPBELL MEMORIAL AWARD_^>a_, mainly retreads old
ground. It was followed by a rather unsatisfactory collaboration with Roger _^<a_!T6264_ZELAZNY_^>a_, _^<i_Deus Irae_^>i_ (written 1964-75; fixup _^<b_1976_^>b_). _^<i_Radio Free Albemuth_^>i_ (written 1976; _^<b_1985_^>b_), which began to deal in
"healthy" fictional terms with the Exegesis material, was published only after PKD's death._^<n__^<n_This latter novel is, in any case, a kind of draft of the finest book of PKD's last years, _^<i__^<a_!B9150_VALIS_^>a__^>i_ (written 1978;
_^<b_1981_^>b_), a fragile but deeply valiant self-analysis -- he is two characters in the novel, a man who is mad and a man who is not -- conducted within the framework of a longing search for the structure of meaning, the Vast Active Living
Intelligence System. _^<i_The Divine Invasion_^>i_ (written 1980; _^<b_1981_^>b_) and _^<i_The Transmigration of Timothy Archer_^>i_ (written 1981; _^<b_1982_^>b_), which were assembled with their predecessor as _^<i_The VALIS Trilogy_^>i_ (omni
_^<b_1989_^>b_), share obsessional search-patterns but little else. They were the books of a finished writer, in every sense._^<n__^<n_The earlier PKD often lost control of his material in ideative mazes and, sidetracked, was unable to find any
resolution; but, when he found the tale within his grasp, he was brilliantly inventive, gaining access to imaginative realms which no other writer of sf had reached. His sympathy for the plight of his characters -- often far-from-heroic, small,
ordinary people trapped in difficult existential circumstances -- was unfailing, and his work had a human interest absent from that of writers engaged by complexity and convolution for their own sake. Even the most perilous metaphysical terrors of
his finest novels wore a complaining, vulnerable, human face. In all his work he was astonishingly intimate, self-exposed, and very dangerous. He was the funniest sf writer of his time, and perhaps the most terrifying. His dreads were our own,
spoken as we could not have spoken them._^<n__^<n_ [BS/JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_The Ganymede Takeover_^>i_ (written 1964-6; _^<b_1967_^>b_) with Ray (R.F.) _^<a_!T3154_NELSON_^>a_; _^<i_The Preserving Machine_^>i_ (written 1953-66;
coll _^<b_1969_^>b_; with 1 story dropped 1971 UK); _^<i_The Best of Philip K. Dick_^>i_ (written 1952-73; coll _^<b_1977_^>b_) ed John _^<a_!T5049_BRUNNER_^>a_; _^<i_A Letter from Philip K. Dick_^>i_ (written 1960; _^<b_1983_^>b_ chap);
_^<i_Nazism and the High Castle_^>i_ (written 1964?; 1964 _^<i_Niekas_^>i_; _^<b_1987_^>b_ chap dos), published with _^<i_Schizophrenia and the Book of Changes_^>i_ (written 1965?; 1965 _^<i_Niekas_^>i_; _^<b_1987_^>b_ chap dos); _^<i_We Can
Remember it for You Wholesale_^>i_ (written 1965; 1966 _^<i_FSF_^>i_; _^<b_1990_^>b_ chap), filmed as _^<a_!T6060_TOTAL RECALL_^>a_ (1990); _^<i_Nick and the Glimmung_^>i_ (written 1966; _^<b_1988_^>b_ UK), for children; _^<i_Warning: We Are Your
_^<b_1985_^>b_)._^<b_About the author:_^>b_ The literature on PKD is enormous and daily growing. Here are a few representative volumes: _^<i_Philip K. Dick: Electric Shepherd_^>i_ (anth _^<b_1975_^>b_) ed Bruce _^<a_!T4703_GILLESPIE_^>a_;
_^<i_Science-Fiction Studies_^>i_, Mar 1975 and July 1988, 2 special issues devoted to PKD; _^<i_The Novels of Philip K. Dick_^>i_ (_^<b_1984_^>b_) by Kim Stanley _^<a_!T2637_ROBINSON_^>a_; _^<i_Only Apparently Real: The World of Philip K.
Dick_^>i_ (_^<b_1986_^>b_) by Paul _^<a_!T5622_WILLIAMS_^>a_; _^<i_Mind in Motion: The Science Fiction of Philip K. Dick_^>i_ (_^<b_1987_^>b_) by Patricia _^<a_!T5471_WARRICK_^>a_; _^<i_To the High Castle: Philip K. Dick: A Life 1928-1962_^>i_
(_^<b_1989_^>b_) by Gregg Rickman; _^<i_Divine Invasions: A Life of Philip K. Dick_^>i_ (_^<b_1989_^>b_) by Lawrence Sutin, perhaps the most clear-sighted of the biographical studies; _^<i_Philip Kindred Dick, Metaphysical Conjurer: A Working
Bibliography_^>i_ (latest edn _^<b_1990_^>b_) by Gordon _^<a_!T540_BENSON_^>a_ Jr and Phil _^<a_!T5712_STEPHENSEN-PAYNE_^>a_._^<b_See also:_^>b_ _^<a_!T20_ACE BOOKS_^>a_; _^<a_!T102_ALIENS_^>a_; _^<a_!T177_ANDROIDS_^>a_; _^<a_!T323_AUTOMATION_^>a_;
_^<a_!T5005_BRITISH SCIENCE FICTION AWARD_^>a_; _^<a_!T727_CITIES_^>a_; _^<a_!T799_COLLECTIONS_^>a_; _^<a_!T811_COLONIZATION OF OTHER WORLDS_^>a_; _^<a_!T820_COMICS_^>a_; _^<a_!T826_COMPUTERS_^>a_; _^<a_!T829_CONCEPTUAL BREAKTHROUGH_^>a_;
_^<a_!T4740_GODS AND DEMONS_^>a_; _^<a_!T4780_GOTHIC SF_^>a_; _^<a_!T4823_GREAT AND SMALL_^>a_; _^<a_!T4443_HISTORY OF SF_^>a_; _^<a_!T4555_HUMOUR_^>a_; _^<a_!T3796_INVASION_^>a_; _^<a_!T3435_LONGEVITY (IN WRITERS AND PUBLICATIONS)_^>a_;
(1812-1870) UK writer, almost certainly the greatest novelist in the English language. CD wrote considerable fantasy -- including most famously _^<i_A Christmas Carol in Prose, Being a Ghost Story of Christmas_^>i_ (_^<b_1843_^>b_) -- but no sf
proper. However, it has been argued, most recently by John _^<a_!T769_CLUTE_^>a_ in _^<i_Horror: 100 Best Books_^>i_ (anth _^<b_1988_^>b_; rev 1992) ed Stephen Jones and Kim _^<a_!T3173_NEWMAN_^>a_, that the nightmarish, almost futuristic London
which figures in several of his later novels, from _^<i_Bleak House_^>i_ (_^<b_1853_^>b_) through _^<i_Our Mutual Friend_^>i_ (_^<b_1865_^>b_), was a central influence -- _^<i_via_^>i_ G.K. _^<a_!T5261_CHESTERTON_^>a_, Robert Louis
_^<a_!T5731_STEVENSON_^>a_ and others -- in the creation of 19th-century urban England as a stamping-ground for _^<a_!T5694_STEAMPUNK_^>a_. Like William _^<a_!T3066_MORRIS_^>a_, Lord _^<a_!T1353_DUNSANY_^>a_ and J.R.R. _^<a_!T6041_TOLKIEN_^>a_
after him, CD is central to the geography of sf._^<n__^<n_It is also arguable that _^<i_Mugby Junction_^>i_ (anth _^<b_1866_^>b_ chap), a self-contained volume published as an extra Christmas number of CD's magazine _^<i_All the Year Round_^>i_,
may constitute the first _^<a_!T2127_SHARED-WORLD_^>a_ anthology of genre interest. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_The Chimes_^>i_ (dated 1845 but _^<b_1844_^>b_); _^<i_The Cricket on the Hearth_^>i_ (dated _^<b_1846_^>b_ but
_^<b_1845_^>b_); _^<i_The Haunted Man, and The Ghost's Bargain_^>i_ (coll _^<b_1848_^>b_)._^<b_See also:_^>b_ _^<a_!T6679_ENTROPY_^>a_.
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DICKINSON, PETER (MALCOLM de BRISSAC)
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(1927- ) UK writer, born in Northern Rhodesia (now Zambia), educated at Eton and King's College, Cambridge; for 17 years assistant editor of the humorous magazine _^<i_Punch_^>i_. PD is best known for his detective stories, but he has written one
adult sf novel, _^<i_The Green Gene_^>i_ (_^<b_1973_^>b_), an amusing _^<a_!T2812_SATIRE_^>a_ on many issues including racial prejudice, set in an _^<a_!T131_ALTERNATE-WORLD_^>a_ UK, where all Celts possess a gene that gives them green skin. It was
runner-up for the _^<a_!T3923_JOHN W. CAMPBELL MEMORIAL AWARD_^>a_. An adult detective novel, _^<i_King and Joker_^>i_ (_^<b_1976_^>b_), is set in an alternate England where George V's elder brother Clarence did not die of pneumonia but lived to
become King Victor I; its belated sequel was _^<i_Skeleton-in-Waiting_^>i_ (_^<b_1989_^>b_). Two other adult thrillers have ambiguously fantastic elements, _^<i_Sleep and his Brother_^>i_ (_^<b_1971_^>b_) and _^<i_Walking Dead_^>i_
(_^<b_1977_^>b_)._^<n__^<n_PD's most important contribution to sf is his _^<b_Changes_^>b_ trilogy for children: in order of internal chronology the novels are _^<i_The Devil's Children_^>i_ (_^<b_1971_^>b_), _^<i_Heartsease_^>i_ (_^<b_1970_^>b_)
and _^<i__^<a_!B9153_THE WEATHERMONGER_^>a__^>i_ (_^<b_1968_^>b_; with chapters 10 and 11 rev, 1969 US), all assembled as _^<i_The Changes_^>i_ (omni _^<b_1975_^>b_; vt _^<i_The Changes Trilogy_^>i_ 1985; vt _^<i_The Changes: A Trilogy_^>i_ 1991
US). They deal with an inexplicable change in English life when the population suddenly turns against _^<a_!T3540_MACHINES_^>a_ and adopts medieval superstitions. _^<i_The Devil's Children_^>i_, where a 12-year-old girl is adopted by a band of
travelling Sikhs, is the most sensitive, and _^<i__^<a_!B9153_THE WEATHERMONGER_^>a__^>i_, which features Merlin, the most fantastic and baroque. There are minor inconsistencies in the world picture from book to book._^<n__^<n_In 1972 the BBC
presented a six-episode sf serial for children, _^<i_Man Dog_^>i_, written by PD, and novelized as _^<i_Mandog_^>i_ * (_^<b_1972_^>b_) by Lois _^<a_!T4163_LAMPLUGH_^>a_. Escapees from the 26th century transfer their leader's mind into a dog
belonging to one of a group of children in the present. They are pursued by future police._^<n__^<n_Many of PD's other juveniles have fantastic elements: _^<i_Emma Tupper's Diary_^>i_ (_^<b_1971_^>b_) is a Loch Ness Monster story; _^<i_The Dancing
Bear_^>i_ (_^<b_1972_^>b_) is a fantasy set in the 5th century; _^<i_The Gift_^>i_ (_^<b_1973_^>b_) has a telepathic boy in a thriller with mythic overtones; _^<i_The Blue Hawk_^>i_ (_^<b_1976_^>b_), which won the _^<i_Guardian_^>i_ Award for Best
Children's Book of the year, is set in an imaginary ancient kingdom, where the gods are withdrawing their magic from the world; _^<i_Chance, Luck and Destiny_^>i_ (coll _^<b_1975_^>b_) contains an sf story, "Mr Monnow"; _^<i_Annerton Pit_^>i_
(_^<b_1977_^>b_) features an ambiguous presence -- it may be sciencefictional rather than fantastic -- lurking in a mineshaft of ill repute; _^<i_Tulku_^>i_ (_^<b_1979_^>b_) has fantastic happenings in Tibet; _^<i_Healer_^>i_ (_^<b_1983_^>b_; vt
_^<i_The Healer_^>i_ 1985 US) has a girl with special powers; and _^<i_Eva_^>i_ (_^<b_1988_^>b_) has a girl's personality transferred to a chimpanzee after a car accident -- much social adjustment is necessary._^<n__^<n_PD's juveniles are uneven,
but at their best they are among the finest in the genre: various, nonconformist and vivid, often giving old themes new life by thinking them through afresh from the beginning, rather than accepting them as givens. [PN]_^<n__^<n__^<b_Other works
(all juveniles):_^>b_ _^<i_The Iron Lion_^>i_ (_^<b_1972 chap US_^>b_; rev 1983 chap UK); _^<i_The Flight of Dragons_^>i_ (_^<b_1979_^>b_), nonfiction; _^<i_The Seventh Raven_^>i_ (_^<b_1983_^>b_); _^<i_Giant Cold_^>i_ (_^<b_1984_^>b_ chap);
_^<i_Hundreds and Hundreds_^>i_ (anth _^<b_1984_^>b_);_^<i_A Box of Nothing_^>i_ (_^<b_1985_^>b_); _^<i_Merlin Dreams_^>i_ (coll of linked stories _^<b_1988_^>b_); _^<i_AK_^>i_ (_^<b_1990_^>b_); _^<i_A Bone from a Dry Sea_^>i_ (_^<b_1992_^>b_);
_^<i_Time and the Clockmice, Etcetera_^>i_ (_^<b_1993_^>b_); _^<i_Shadow of a Hero_^>i_ (_^<b_1994_^>b_)._^<n__^<n__^<b_See also:_^>b_ _^<a_!T206_APES AND CAVEMEN (IN THE HUMAN WORLD)_^>a_; _^<a_!T710_CHILDREN'S SF_^>a_; _^<a_!T3598_MAGIC_^>a_.
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DICK-LAUDER, [Sir] GEORGE (ANDREW)
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(1917-1981) British Army officer who began a writing career after his retirement from the service. His two sf novels, _^<i_Our Man for Ganymede_^>i_ (_^<b_1969_^>b_) and _^<i_A Skull and Two Crystals_^>i_ (_^<b_1972_^>b_), though not innovative, do
explore the conventions of _^<a_!T2342_SPACE OPERA_^>a_ in a manner both literate and alert. [JC]_^<n__^<n_
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DICKSON, CARTER
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> John Dickson _^<a_!T5179_CARR_^>a_._^<n__^<n_
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DICKSON, GORDON R(UPERT)
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(1923- ) Canadian-born writer, resident in the USA since age 13 and long a US citizen. He was educated (along with Poul _^<a_!T169_ANDERSON_^>a_) at the University of Minnesota, taking his BA in English in 1948, and remains in Minnesota. Through
the Minneapolis Fantasy Society, which he re-established after WWII, he became friends with Anderson, with whom he later collaborated on the _^<b_Hoka_^>b_ series -- _^<i_Earthman's Burden_^>i_ (coll _^<b_1957_^>b_), _^<i_Star Prince Charlie_^>i_
(_^<b_1975_^>b_) and _^<i_Hoka!_^>i_ (coll _^<b_1982_^>b_) -- and with Clifford D. _^<a_!T2218_SIMAK_^>a_. Along with these writers, GRD has shown a liking, often indulged, for hinterland settings peopled by solid farming or small-town stock whose
ideologies, when expressed, violate any simple, conservative-liberal polarity, though urban readers and critics tend to respond to them as right-wing. As late as _^<i_Wolf and Iron_^>i_ (1974 _^<i_FSF_^>i_ as "In Iron Years"; much exp
_^<b_1990_^>b_) -- which embodies a _^<a_!T5849_SURVIVALIST_^>a_ plot considerably deepened by the author's detailed and compassionate attachment to the kind of hero who understands and loves the physical world -- he was still mining this fertile
venue._^<n__^<n_GRD began publishing sf in 1950 with "Trespass" for _^<i_Fantastic Story Quarterly_^>i_, written with Anderson, and he has since been a prolific and consistent short-story author; much of this material was assembled in the 1980s in
volumes like _^<i_The Man from Earth_^>i_ (coll _^<b_1983_^>b_), _^<i_Dickson!_^>i_ (coll _^<b_1984_^>b_; rev vt _^<i_Steel Brother_^>i_ 1985) and _^<i_Forward!_^>i_ (coll 1985), the latter ed Sandra _^<a_!T2942_MIESEL_^>a_, long an advocate of his
works._^<n__^<n_GRD's first novel, _^<i_Alien from Arcturus_^>i_ (_^<b_1956_^>b_ dos; rev vt _^<i_Arcturus Landing_^>i_ 1979), established from an early date the tone of underlying and rather relentless seriousness which became so marked in later
works, while at the same time succumbing to a tendency to displace emotional intensities from human relations between the sexes to those obtaining between human and dependent _^<a_!T98_ALIEN_^>a_ (or, as in _^<i_Wolf and Iron_^>i_, Terran mammal).
The aliens in _^<i_Alien from Arcturus_^>i_ are decidedly cuddly, with shining black noses, and much resemble those who appear in _^<i_Space Winners_^>i_ (_^<b_1965_^>b_), a juvenile, and _^<i_The Alien Way_^>i_ (_^<b_1965_^>b_), about an
Earthman's telepathic rapport with the representative of a species that may invade. But the strong narrative skills deployed in these comparatively rudimentary _^<a_!T2342_SPACE-OPERA_^>a_ tales, along with an idiomatic capacity to write
novel-length fiction, has ensured the survival of these relatively unambitious works. Some later singletons -- like _^<i_Sleepwalker's World_^>i_ (_^<b_1971_^>b_), a dystopian vision of _^<a_!T1752_OVERPOPULATION_^>a_, and _^<i_The R-Master_^>i_
(_^<b_1973_^>b_; rev vt _^<i_The Last Master_^>i_ 1983), in which a society is ambiguously guided by a saviour whose origins lie more in _^<a_!T2033_PULP-MAGAZINE_^>a_ ideas than in philosophy-failed to maintain the elation of the earlier
books._^<n__^<n_While continuing to produce prolifically in the 1950s and 1960s, GRD simultaneously engaged upon a sequence of novels which was to occupy much of his energy for decades. The ongoing _^<b_Childe Cycle_^>b_ -- the sf volumes of which
are often known as the _^<b_Dorsai_^>b_ series -- is intended to present an evolutionary blueprint, in highly dramatized fictional terms, for humanity's ultimate expansion through the Galaxy, as an inherently ethical species. "In order to make this
type of story work effectively," GRD has said, "I developed by the late 1950s a new fictional pattern that I have called the 'consciously thematic story'. This was specifically designed to create an unconscious involvement of the reader with the
philosophical thematic argument that the story action renders and demonstrates. Because this new type of story has represented a pattern hitherto unknown to readers and writers, my work has historically been criticized in terms that do not apply to
it -- primarily as if it were drama alone." However, though GRD originally planned to present his thesis through a phased publication of the entire sequence -- to include at least three historical titles and three contemporary novels as well as the
several books set in the future -- only the _^<b_Dorsai_^>b_ books have yet been released, and the full integrity of GRD's argument remains, therefore, undemonstrated._^<n__^<n_In rough order of internal chronology, the _^<b_Childe Cycle_^>b_
comprises (1995): _^<i_Necromancer_^>i_ (_^<b_1962_^>b_; vt _^<i_No Room for Man_^>i_ 1963), _^<i_The Tactics of Mistake_^>i_ (_^<b_1971_^>b_), _^<i_Soldier, Ask Not_^>i_ (1964 _^<i_Gal_^>i_; exp _^<b_1967_^>b_), the short form of which won a
_^<a_!T4551_HUGO_^>a_ for 1964, and _^<i_The Genetic General_^>i_ (1959 _^<i_ASF_^>i_ as "Dorsai!"; cut _^<b_1960_^>b_ dos; text restored vt _^<i__^<a_!B9154_DORSAI!_^>a__^>i_ 1976), all but _^<i_Soldier, Ask Not_^>i_ being assembled as _^<i_Three
to Dorsai!_^>i_ (omni _^<b_1975_^>b_); _^<i_The Spirit of Dorsai_^>i_ (coll of linked stories _^<b_1979_^>b_) and _^<i_Lost Dorsai_^>i_ (coll of linked stories _^<b_1980_^>b_; rev 1988 UK), whose title story won a 1981 Hugo, most of both volumes
being reassembled with some material preceding _^<i_The Genetic General_^>i_ as _^<i_The Dorsai Companion_^>i_ (coll of linked stories _^<b_1986_^>b_); and a final grouping of texts, all set about 100 years further into the future: the overlong
_^<i_Young Bleys_^>i_ (_^<b_1991_^>b_), _^<i_Other_^>i_ (_^<b_1994_^>b_),_^<i_The Final Encyclopedia_^>i_ (_^<b_1984_^>b_) and _^<i_The Chantry Guild_^>i_ (_^<b_1988_^>b_), the last volume -- GRD claimed as early as 1983 -- being hived off from a
projected final volume to be called _^<i_Childe_^>i_. As the sequence develops, human space is divided into four spheres plus Old Earth herself, with her vast genetic pool; Dorsai, whose inhabitants are bred as professional soldiers; the Exotic
worlds, whose inhabitants are bred to creative (sometimes sybaritic) mind-arts; the worlds (like Newton) which emphasize physical science; and the God-haunted Friendly worlds, where folk are bred for faith. The task of mankind's genetic elite is
somehow to merge these variant strains, and the philosophical burden of the sequence tends to be conveyed through plots whose origins lie unabashedly in the _^<a_!T5830_SUPERMAN_^>a_ tales of earlier sf. _^<i_The Genetic General_^>i_, which in its
restored form remains the most arousing of these, features Donal Graeme, the central incarnation of a triune evolutionary superman whose earlier life is told in _^<i_Necromancer_^>i_, and who is reborn as Hal Mayne to climax the series -- and the
genetic elitism it promulgates -- through its final (to date) volumes. The terms GRD uses to describe his superman's capacities -- Graeme, for instance, being capable of a potent sort of cognitive intuition -- are perhaps best appreciated within
the massive, ongoing rhythm of the series; for it is as a novelist, not as a philosopher, that GRD reveals his strength._^<n__^<n_Very little of GRD's later fiction, however hastily written some of it may seem, fails to pose questions and arguments
about humankind's fundamental nature. From 1960 much of his work has specifically reflected his preoccupation with the concept that humankind is inevitably driven to higher evolutionary states, a notion often expressed, however, in tales -- like
_^<i_None But Man_^>i_ (_^<b_1969_^>b_; with 1 story added, as coll 1989) or _^<i_Hour of the Horde_^>i_ (_^<b_1970_^>b_) -- that contrast humankind's indomitable spirit with that of _^<a_!T102_ALIENS_^>a_ whose lack of comparable _^<i_elan_^>i_
makes them into straw horses for _^<i_Homo sapiens_^>i_ to defeat. More serious presentations of material -- from the fine _^<i_Timestorm_^>i_ (fixup _^<b_1977_^>b_) on to ponderous later tales like _^<i_Way of the Pilgrim_^>i_ (1980 _^<i_ASF_^>i_
as "The Cloak and the Staff"; much exp _^<b_1987_^>b_) -- do generally avoid the graver pitfalls of pulp. Though his sometimes unremitting use of genre conventions to provide solutions to serious arguments has undoubtedly retarded full recognition
of his talent and seriousness, the later volumes of the _^<b_Childe Cycle_^>b_ series increasingly enforce a more measured response to his life work._^<n__^<n_GRD won the _^<a_!T3147_NEBULA_^>a_ for Best Novelette with "Call Him Lord" (1966). He
was President of the _^<a_!T2147_SCIENCE FICTION WRITERS OF AMERICA_^>a_ 1969-71. In 1981, he won Hugos not only for "Lost Dorsai" but also for a short story, "The Cloak and the Staff". [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Mankind on the
Run_^>i_ (_^<b_1956_^>b_ dos; vt _^<i_On the Run_^>i_ 1979); _^<i_Time to Teleport_^>i_ (1955 _^<i_Science Fiction Stories_^>i_ as "No More Barriers"; _^<b_1960_^>b_ chap dos) and _^<i_Delusion World_^>i_ (1955 _^<i_Science Fiction Stories_^>i_ as
"Perfectly Adjusted"; exp _^<b_1961_^>b_ dos), both later published in omnibus format (omni _^<b_1981_^>b_); the _^<b_Dilbia_^>b_ series, comprising _^<i_Spacial Delivery_^>i_ (_^<b_1961_^>b_ dos) and _^<i_Spacepaw_^>i_ (_^<b_1969_^>b_); _^<i_Naked
to the Stars_^>i_ (_^<b_1961_^>b_); the _^<b_Underseas_^>b_ series, later assembled as _^<i_Secrets of the Deep_^>i_ (omni _^<b_1985_^>b_) and comprising _^<i_Secret Under the Sea_^>i_ (_^<b_1960_^>b_), _^<i_Secret Under Antarctica_^>i_
(_^<b_1963_^>b_) and _^<i_Secret Under the Caribbean_^>i_ (_^<b_1964_^>b_); _^<i_Mission to Universe_^>i_ (_^<b_1965_^>b_; rev 1977); _^<i_Planet Run_^>i_ (_^<b_1967_^>b_; rev as coll with 2 stories added, vt _^<i_Planet Run, Plus Two Bonus
Stories_^>i_ 1982) with Keith _^<a_!T4206_LAUMER_^>a_; _^<i_The Space Swimmers_^>i_ (_^<b_1967_^>b_), which serves as a sequel to _^<i_Home from the Shore_^>i_ (1963 _^<i_Gal_^>i_; exp _^<b_1978_^>b_); _^<i_Wolfling_^>i_ (_^<b_1969_^>b_);
_^<i_Mutants: A Science Fiction Adventure_^>i_ (coll _^<b_1970_^>b_), in which the stories are linked thematically; _^<i_Danger-Human_^>i_ (coll _^<b_1970_^>b_; vt _^<i_The Book of Gordon R. Dickson_^>i_ 1973); _^<i_The Pritcher Mass_^>i_
(_^<b_1972_^>b_); _^<i_The Outposter_^>i_ (_^<b_1972_^>b_); _^<i_The Day the Sun Stood Still_^>i_ (anth _^<b_1972_^>b_), a common-theme anthology with Poul Anderson and Robert _^<a_!T2216_SILVERBERG_^>a_; _^<i_The Star Road_^>i_ (coll
_^<b_1973_^>b_); _^<i_Alien Art_^>i_ (_^<b_1973_^>b_), a juvenile, later assembled with _^<i_Arcturus Landing_^>i_ as _^<i_Alien Art; Arcturus Landing_^>i_ (omni _^<b_1978_^>b_); _^<i_Ancient, My Enemy_^>i_ (coll _^<b_1974_^>b_); _^<i_Gremlins, Go
Home!_^>i_ (_^<b_1974_^>b_), a juvenile with Ben _^<a_!T4943_BOVA_^>a_; _^<i_The Lifeship_^>i_ (_^<b_1976_^>b_; vt _^<i_Lifeboat_^>i_ 1978 UK) with Harry _^<a_!T4316_HARRISON_^>a_; the _^<b_Dragon and the George_^>b_ fantasy sequence comprising
_^<i_The Dragon and the George_^>i_ (as "St Dragon and the George" _^<i_FSF_^>i_ 1957; exp _^<b_1976_^>b_), _^<i_The Dragon Knight_^>i_ (_^<b_1990_^>b_), _^<i_The Dragon on the Border_^>i_ (_^<b_1992_^>b_), _^<i_The Dragon at War_^>i_
(_^<b_1993_^>b_) and _^<i_The Dragon, the Earl and the Troll_^>i_ (_^<b_1994_^>b_) _^<i_Gordon R. Dickson's SF Best_^>i_ (coll _^<b_1978_^>b_; exp vt _^<i_In the Bone_^>i_ 1987); _^<i_The Far Call_^>i_ (_^<b_1978_^>b_), a rare
_^<a_!T6337_NEAR-FUTURE_^>a_ tale of the space programme; _^<i_Pro_^>i_ (_^<b_1978_^>b_); _^<i_Masters of Everon_^>i_ (_^<b_1979_^>b_); _^<i_In Iron Years_^>i_ (coll _^<b_1980_^>b_); _^<i_Love Not Human_^>i_ (coll _^<b_1981_^>b_);
_^<i_Survival!_^>i_ (coll _^<b_1984_^>b_); _^<i_Jamie the Red_^>i_ (_^<b_1984_^>b_) with Roland _^<a_!T4837_GREEN_^>a_; _^<i_Beyond the Dar al-Harb_^>i_ (coll _^<b_1985_^>b_); _^<i_Invaders!_^>i_ (coll _^<b_1985_^>b_); _^<i_The Man the Worlds
(anth _^<b_1963_^>b_); _^<i_Rod Serling's Devils and Demons_^>i_ (anth _^<b_1967_^>b_); _^<i_Combat SF_^>i_ (anth _^<b_1975_^>b_); _^<i_Nebula Winners Twelve_^>i_ (anth _^<b_1978_^>b_); the _^<b_War and Honor_^>b_ sequence of
_^<a_!T2127_SHARED-WORLD_^>a_ anthologies, beginning with _^<i_The Harriers_^>i_ * (anth _^<b_1991_^>b_) and _^<i_The Harriers #2: Blood and Honor_^>i_ * (anth _^<b_1993_^>b_); _^<i_Robot Warriors_^>i_ (anth _^<b_1991_^>b_)._^<b_About the
author:_^>b_ _^<i_Gordon R. Dickson: A Primary and Secondary Bibliography_^>i_ (_^<b_1983_^>b_) by Raymond H. Thompson; _^<i_Gordon Rupert Dickson, First Dorsai: A Working Bibliography_^>i_ (latest edn _^<b_1990_^>b_ chap) by Gordon
_^<a_!T540_BENSON_^>a_ Jr and Phil _^<a_!T5712_STEPHENSEN-PAYNE_^>a_._^<b_See also:_^>b_ _^<a_!T277_ASTOUNDING SCIENCE-FICTION_^>a_; _^<a_!T5141_CANADA_^>a_; _^<a_!T710_CHILDREN'S SF_^>a_; _^<a_!T826_COMPUTERS_^>a_; _^<a_!T1017_CYBORGS_^>a_;
_^<a_!T3717_MATHEMATICS_^>a_; _^<a_!T1794_PARALLEL WORLDS_^>a_; _^<a_!T1939_POLITICS_^>a_; _^<a_!T2021_PSI POWERS_^>a_; _^<a_!T6332_ROBERT HALE LIMITED_^>a_; _^<a_!T2348_SPACESHIPS_^>a_; _^<a_!T6026_TIME TRAVEL_^>a_; _^<a_!T5281_UNDER THE SEA_^>a_;
_^<a_!T5452_WAR_^>a_; _^<a_!T5492_WEAPONS_^>a_.
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DIETZ, WILLIAM C(OREY)
-T-
(1945- ) US writer who began to publish sf with _^<i_War World_^>i_ (_^<b_1986_^>b_), the first volume of his _^<b_Sam McCade_^>b_ sequence of sf adventures about an interstellar bounty hunter, which continued with _^<i_Imperial Bounty_^>i_
(_^<b_1988_^>b_), _^<i_Alien Bounty_^>i_ (_^<b_1990_^>b_) and _^<i_McCade's Bounty_^>i_ (_^<b_1990_^>b_). The galactic venue of the series exhibits some interesting kinks, and McCade himself gradually gains individuality. Singletons include
_^<i_Freehold_^>i_ (_^<b_1987_^>b_), military sf; _^<i_Prison Planet_^>i_ (_^<b_1989_^>b_); _^<i_Cluster Command_^>i_ (_^<b_1989_^>b_) with David A. _^<a_!T1318_DRAKE_^>a_, -- one of the latter's _^<b_Crisis of Empire_^>b_ sequence; _^<i_Matrix
Man_^>i_ (_^<b_1990_^>b_), a complicated, fast-moving tale set in a _^<a_!T6337_NEAR-FUTURE_^>a_ Earth whose seas and population are continuing to rise, and where a nefarious peace foundation (run in fact by a huge corporation) opposes attempts by
the Exodus Society to foment emigration; _^<i_Mars Prime_^>i_ (_^<b_1992_^>b_); _^<i_Legion of the Damned_^>i_ (_^<b_1993_^>b_) and _^<i_Bodyguard_^>i_ (_^<b_1994_^>b_) As in his work in general, the right side wins. As an author of entertainments,
WCD stands out for his thorough grasp of the devices of sf. [JC]_^<n__^<n_
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DIEUDONNE, FLORENCE (LUCINDA) CARPENTER
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(1850-? ) US writer. In her _^<i_Rondah, or Thirty-Three Years in a Star_^>i_ (_^<b_1887_^>b_) the tale's several protagonists travel through the Solar System in a large _^<a_!T273_ASTEROID_^>a_ (not a star). Transported to this asteroid by a
pre-arranged explosion, the central figure of the tale becomes king of the native bird-people, in fact of vegetable origin, who are replaced by ferocious elves when the worldlet cools down. Much happens. In the end, the protagonist, with his woman,
seems destined to rule the Universe. The book is a cacophony of irreconcilable elements, but the author's extremely fertile imagination, when harnessed, manages to create a tale which significantly prefigures 20th-century cosmological
_^<a_!T2342_SPACE OPERA_^>a_. _^<i_Xartella_^>i_ (_^<b_1891_^>b_), self-published, is fantasy. [JC]_^<n__^<n_
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Di FATE, VINCENT
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(1945- ) US sf illustrator (name sometimes rendered DiFate). He was born in Yonkers, New York, and like many other sf illustrators attended the New York-Phoenix Institute. He began his career doing tv animation for Ralph Bakshi; his first
professional sf illustration was for _^<i_Analog_^>i_ (Aug 1969) and most of his magazine work has been for _^<i_ASF_^>i_. Many of his paintings have been for paperback book covers. His artwork, suprisingly impressionistic for someone who
frequently works with technological subjects like spacecraft, is often moody and sombre. He was one of the NASA artists for the Apollo/Soyuz programme in 1975 and has worked for NASA since. He won the _^<a_!T4551_HUGO_^>a_ for Best Professional
Artist in 1979 and has been nominated many other times. VDF lectures on art and is also well known for his occasional, interesting, long-running column about sf illustration, _^<b_Sketches_^>b_, from 1976 in the semiprozine _^<a_!T95_ALGOL_^>a_ and
in its surviving sister magazine _^<a_!T2056_SF CHRONICLE_^>a_. A book of his work is _^<i_Di Fate's Catalog of Science Fiction Hardware_^>i_ (_^<b_1980_^>b_) by VDF and Ian Summers. [JG/PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T277_ASTOUNDING
SCIENCE-FICTION_^>a_.
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DIGEST
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A term used to describe a magazine format, in contrast to, for example, _^<a_!T492_BEDSHEET_^>a_ and pulp (> _^<a_!T2033_PULP MAGAZINES_^>a_), which are both larger. The page size of a digest is approximately 5.5 x 7.5in (about 140 x 190mm), though
it can vary slightly; for example, _^<i_Gal_^>i_ was normally a little smaller than _^<i_ASF_^>i_. _^<i_ASF_^>i_ was the first important sf magazine to turn digest, in 1943, and by the mid-1950s almost all _^<a_!T2130_SF MAGAZINES_^>a_ had followed
suit, the pulp-magazine format disappearing. By the 1980s, however, many sf magazines had turned to a small-bedsheet, stapled, "slick" format. The digest format is just a little larger than that of the normal paperback book, which averages 4.5 x
7in (about 115 x 180mm); the paperback format has also been used for some magazines, notably _^<i_NW_^>i_ in the mid-1960s. [PN]_^<n__^<n_
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DIKTY, T(HADDEUS MAXIM) E(UGENE)
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(1920-1991) US editor and publisher, married from 1953 to Julian _^<a_!T3734_MAY_^>a_, about whose work he compiled _^<i_The Work of Julian May: An Annotated Bibliography & Guide_^>i_ (_^<b_1985_^>b_) with R. _^<a_!T2543_REGINALD_^>a_. An early sf
fan, TED started an sf checklist on index cards with the collector Frederick Shoyer in 1939, but the cards were lost in WWII. After the war, with Erle Korshak and Mark Reinsberg, he became a bookseller and passed the partially reassembled checklist
on to Everett F. _^<a_!T654_BLEILER_^>a_, who used it to compile _^<i_The Checklist of Fantastic Literature_^>i_ (_^<b_1948_^>b_) -- the first comprehensive _^<a_!T585_BIBLIOGRAPHY_^>a_ in the sf field -- which TED and Korshak founded
_^<a_!T2149_SHASTA PUBLISHERS_^>a_ to put into print. TED was also associated with the setting-up of the publishers Carcosa House. With Bleiler, TED edited an annual _^<a_!T195_ANTHOLOGY_^>a_ series -- the first "year's-best" series to appear in
the field: _^<i_The Best Science Fiction Stories, 1949_^>i_ (anth _^<b_1949_^>b_) and _^<i_The Best Science Fiction Stories, 1950_^>i_ (anth _^<b_1950_^>b_; cut vt _^<i_The Best Science Fiction Stories_^>i_ 1951 UK), both assembled as _^<i_Science
Fiction Omnibus_^>i_ (omni _^<b_1952_^>b_); _^<i_The Best Science Fiction Stories, 1951_^>i_ (anth _^<b_1951_^>b_; cut vt _^<i_The Best Science Fiction Stories, Second Series_^>i_ 1952 UK; further cut vt _^<i_The Mindworm_^>i_ 1967 UK); _^<i_The
Best Science-Fiction Stories, 1952_^>i_ (anth _^<b_1952_^>b_; cut vt _^<i_The Best Science Fiction Stories, Third Series_^>i_ 1953 UK); _^<i_The Best Science-Fiction Stories, 1953_^>i_ (anth _^<b_1953_^>b_; cut vt _^<i_The Best Science Fiction
Stories, Fourth Series_^>i_ 1955 UK); _^<i_The Best Science Fiction Stories, 1954_^>i_ (anth _^<b_1954_^>b_; cut vt _^<i_The Best Science Fiction Stories, Fifth Series_^>i_ 1956 UK). _^<i_Frontiers in Space_^>i_ (anth _^<b_1955_^>b_) contains a
selection from the second, third and fourth volumes. A second series, _^<b_Year's Best Science Fiction Novels_^>b_, presented a selection of longer stories: _^<i_Year's Best Science Fiction Novels, 1952_^>i_ (anth _^<b_1952_^>b_; cut vt _^<i_Year's
Best Science Fiction Novels_^>i_ 1953 UK), _^<i_1953_^>i_ (anth _^<b_1953_^>b_; cut vt _^<i_Category Phoenix_^>i_ 1955 UK) and _^<i_1954_^>i_ (anth _^<b_1954_^>b_; cut vt _^<i_Year's Best Science Fiction Novels, Second Series_^>i_ 1955 UK).
Together they also edited _^<i_Imagination Unlimited_^>i_ (anth _^<b_1952_^>b_; cut vt _^<i_Men of Space and Time_^>i_ 1953 UK), which contains stories on each of 15 sciences._^<n__^<n_After the collaboration with Bleiler ended, TED went on to
produce three further "best" volumes as sole editor: _^<i_The Best Science-Fiction Stories and Novels, 1955_^>i_ (anth _^<b_1955_^>b_; cut vt _^<i_5 Tales from Tomorrow_^>i_ 1957), _^<i_The Best Science-Fiction Stories and Novels, 1956_^>i_ (anth
_^<b_1956_^>b_; cut vt _^<i_6 from Worlds Beyond_^>i_ 1958) and _^<i_The Best Science-Fiction Stories and Novels, Ninth Series_^>i_ (anth _^<b_1958_^>b_). He also edited _^<i_Every Boy's Book of Outer Space Stories_^>i_ (anth _^<b_1960_^>b_) and
two theme anthologies about _^<a_!T3677_MARS_^>a_ and the _^<a_!T3023_MOON_^>a_: _^<i_Great Science Fiction about Mars_^>i_ (anth _^<b_1966_^>b_) and _^<i_Great Science Fiction Stories about the Moon_^>i_ (anth _^<b_1967_^>b_)._^<n__^<n_In the
1950s, after Shasta had collapsed in ignominy, TED formed Publication Associates with Julian May, and worked closely with her on various projects for the rest of his life, acting as her agent and editor on all her mature work. In 1972, with Darrell
C. Richardson, he founded and, with the added help of Robert E. _^<a_!T5507_WEINBERG_^>a_, ran _^<a_!T1452_FAX COLLECTOR'S EDITIONS_^>a_, a publishing enterprise aimed at reprinting material, often in facsimile, from old magazines; at about the
same time (though its first title did not appear until 1976), and also with Weinberg (who dropped out after a year), he founded _^<a_!T2417_STARMONT HOUSE_^>a_ to produce monographs on individual sf writers, along with some bibliographies and
fiction, anonymously editing for the firm one anthology, _^<i_Worlds Within Worlds: Four Classic Argosy Tales of Science Fiction_^>i_ (anth _^<b_1991_^>b_). Two of his and Julian May's children carried on with the firm after his death.
[JC/MJE]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T2261_SMALL PRESSES AND LIMITED EDITIONS_^>a_.
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DILLARD, J(EANNE) M.
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(1954- ) US writer. Most of her works are _^<a_!T2429_STAR TREK_^>a_ ties, including _^<i_Mindshadow_^>i_ * (_^<b_1986_^>b_), _^<i_Demons_^>i_ * (_^<b_1986_^>b_), _^<i_Bloodthirst_^>i_ * (_^<b_1987_^>b_), _^<i_Star Trek V: The Final Frontier_^>i_
* (_^<b_1989_^>b_), which novelizes the 1989 film, _^<i_The Lost Years_^>i_ * (_^<b_1989_^>b_), _^<i_The Undiscovered Country_^>i_ * (_^<b_1992_^>b_), which novelizes _^<a_!T2435_STAR TREK VI: THE UNDISCOVERED COUNTRY_^>a_ (1991), _^<i_Star Trek:
Deep Space Nine: Emissary_^>i_ * (_^<b_1993_^>b_), and the non- fiction_^<i_Star Trek: Where No Man Has Gone Before: A History in Pictures_^>i_ (_^<b_1994_^>b_). JMD has also written _^<i_War of the Worlds: The Resurrection_^>i_ * (_^<b_1988_^>b_),
tied to the tv series, and _^<i_Specters_^>i_ (_^<b_1991_^>b_), a horror novel. [JC]_^<n__^<n_
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DILLON, LEO
-T-
(1933- ) _^<b_and DIANE_^>b_ (1933- ) US illustrators, the only team (married in 1957) ever to win a _^<a_!T4551_HUGO_^>a_ for Best Professional Artist, which they did in 1971. They have been freelancing since 1958, at first working
separately. Together their work has covered many fields: record album covers, advertising art, Christmas cards, children's books and movie posters among them; they are among the most respected commercial artists in the USA. Their sf work for
_^<a_!T20_ACE BOOKS_^>a_ in the late 1960s (notably for the _^<b_Ace Specials_^>b_) was particularly good, though perhaps their most celebrated work has been for children's books, winning them Caldecott Medals for _^<i_Why Mosquitoes Buzz in
People's Ears_^>i_ (_^<b_1976_^>b_) and _^<i_Ashanti to Zulu_^>i_ (_^<b_1977_^>b_). They have designed especially strong covers for books by Harlan _^<a_!T6641_ELLISON_^>a_. Their sf production has been only occasional since about 1972. Their work
is often similar to wood-block prints: rough, sometimes semi-abstract shapes powerfully assembled. They are, however, extremely versatile and work in a variety of styles and media, notably an Art Nouveau-derived look reminiscent of Gustav Klimt
(1862-1918), as can be seen in _^<i_The Art of Leo and Diane Dillon_^>i_ (_^<b_1981_^>b_) ed Byron _^<a_!T1982_PREISS_^>a_. Richard M. _^<a_!T1966_POWERS_^>a_ was one of the first to show that semi-abstract images of some sophistication could sell
sf; the Dillons went on to prove the point incontrovertibly. [JG/PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T1412_FANTASY_^>a_; _^<a_!T4593_ILLUSTRATION_^>a_.
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DILOV, LJUBEN
-T-
[r] > _^<a_!T5070_BULGARIA_^>a_._^<n__^<n_
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DIME-NOVEL SF
-T-
Dime-novel sf, which was almost wholly boys' fiction, appeared in two media: serially in such _^<a_!T4958_BOYS' PAPERS_^>a_ as _^<i_Golden Hours_^>i_, _^<i_Happy Days_^>i_, _^<i_The Boys of New York_^>i_ and _^<i_Young Men of America_^>i_, or as
complete stories in series publications like _^<b_The Wide Awake Weekly_^>b_, _^<b_The Boy's Star Library_^>b_, _^<b_New York Five Cent Library_^>b_, the _^<a_!T1606_FRANK READE LIBRARY_^>a_ and _^<b_The Nugget Library_^>b_. The most important
publishers were Frank Tousey, Publisher, Norman L. Munro and _^<a_!T5789_STREET & SMITH_^>a_._^<n__^<n_Formats varied considerably, from crown-8vo-size books to 9 x 121/2in (about 230 x 320mm) saddle-wired (saddle-stitched) pamphlets, but from the
turn of the century most dime novels were either saddle-wired single-signature pamphlets of around 81/2 x 11in (about 215 x 280mm) or 5 x 7in (about 125 x 180mm) side-stapled paperbound books of several signatures. (All of these formats are
rendered here in the US style; i.e., width followed by height.) It is the 81/2 x 11in pamphlet -- similar in dimension to _^<a_!T492_BEDSHEET_^>a_-format -- that is usually, though not very logically, described as "dime-novel format", but then the
term "dime novel" itself is inaccurate, since most commonly they cost a nickel (5cents) or 6cents, rather than a dime (10cents). All dime novels were printed on cheap paper -- sometimes very poor indeed -- and it is therefore now difficult to
locate examples in good condition._^<n__^<n_Almost all dime-novel sf falls into three basic categories: the invention story (> _^<a_!T1245_DISCOVERY AND INVENTION_^>a_), the lost-race story (> _^<a_!T3460_LOST WORLDS_^>a_) and the marvel story.
These types occasionally overlap in minor ways._^<n__^<n_The invention story originated with Edward S. _^<a_!T6639_ELLIS_^>a_'s _^<i_The Steam Man of the Prairies_^>i_ (_^<b_1868_^>b_), in which Ellis, a prolific and popular writer, adapted the
historical Newark Steam Man into a conventional Western story. This first publication seems to have been without influence, but one of the later reprintings (as _^<i_The Huge Hunter_^>i_, 1876) came to the attention of Frank Tousey, a rival
publisher, who commissioned a similar work, _^<i_Frank Reade and His Steam Man of the Plains_^>i_ (_^<i_The Boys of New York_^>i_ 1876 as "The Steam Man of the Plains"; _^<b_1892_^>b_ as by "Noname"), from Harry Enton (pseudonym of Harold Cohen
[1854-1927]). This initiated the important series about the Frank Reade family of inventors (> _^<a_!T1606_FRANK READE LIBRARY_^>a_). Enton followed this with two sequels about _^<b_Frank Reade_^>b_, with steam engines shaped into
horses._^<n__^<n_These stories, together with Ellis's work, set the pattern for future invention stories. The initial model was the dime-novel Western. Stress was on iron technology, with little or no science; narratives contained random, thrilling
incidents, often presented in a disjointed and puerile way. Typical social patterns were: a conscious attempt to capitalize on age conflict, with boy inventors outdoing their elders (>_^<a_!T6580_EDISONADE_^>a_); aggressive, exploitative
capitalism, particularly at the expense of "primitive" peoples; the frontier mentality, with slaughter of "primitives" (in the first _^<b_Frank Reade, Jr._^>b_ story Frank kills about 250 Native Americans, to say nothing of destroying an inhabited
village); strong elements of sadism; ethnic rancour focused on Native Americans, Blacks, Irish and, later, Mexicans and Jews._^<n__^<n_After Enton's three stories and a fourth of unknown authorship, the invention dime novel was taken over by Luis
_^<a_!T2101_SENARENS_^>a_, who (with anonymous associates) wrote a long series of _^<b_Frank Reade, Jr._^>b_ stories 1882-98, culminating in the _^<b_Frank Reade Library_^>b_. In this series the type of invention shifted to electric air vessels,
land rovers and submarines, all showing the strong influence of Jules _^<a_!T5355_VERNE_^>a_. The narrative more typically became one of (frequently inaccurate) geographical exploration and adventure, sometimes incorporating minor lost-race
episodes._^<n__^<n_The _^<b_Frank Reade, Jr._^>b_ stories were historically the most important invention stories, but other story chains existed, as did individual stories about other boy inventors with airships or submarines. When the sales of the
_^<b_Frank Reade Library_^>b_ languished, Tousey issued a companion series, the _^<b_Jack Wright_^>b_ stories, again by Senarens. Competing boy-inventor series from Street & Smith appeared: the doings of _^<b_Tom Edison, Jr._^>b_, written mostly by
Philip _^<a_!T2519_READE_^>a_, and _^<b_Electric Bob_^>b_, written by Robert Toombes. Both series are much superior to the _^<b_Frank Reade, Jr._^>b_ stories in content and writing, and both are morally less offensive, but neither of them had the
cultural impact of Tousey's _^<b_Frank Reade Library_^>b_._^<n__^<n_The dime-novel lost-race story did not necessarily follow the full pattern of its adult counterpart (colonial exploitation, mythic elements, sacred-vs-secular clashes, exotic sex
partners, destruction of the land, etc.), but was often a frank chronicle of smugly justified looting. As Senarens said in _^<i_Jack Wright and his Prairie Engine_^>i_ (_^<i_The Boys' Star Library_^>i_ 1892; _^<b_1908_^>b_), Jack having "liberated"
an enormous diamond: "There was no crime in taking it. It was part of an idol, worshipped in lieu of heaven, and wresting such an object from infidels is no crime in the eyes of the Almighty." Typical lost-race dime novels are: _^<i_Frank Reade,
Jr., and His Electric Coach_^>i_ (_^<i_The Boys of New York_^>i_ 1890-91; _^<b_1893_^>b_) by "Noname", with Ancient Hebrews; _^<i_The Missing Island_^>i_ (_^<b_1894_^>b_) by "Noname", with Aztecs; _^<i_A Trip to the Center of the Earth_^>i_
(_^<i_New York Boys' Weekly_^>i_ 1878; _^<b_1894_^>b_) by Howard De Vere (pseudonym of Howard Van Orden), which has acculturated early Americans with interesting speech changes; _^<i_The Lost Captain_^>i_ (1880; _^<b_1906_^>b_) by Frederick
Whittaker, with Old Norse at the North Pole; _^<i_Lost at the South Pole_^>i_ (_^<i_The Boys of New York_^>i_ 1888 as by J.G. Bradley; _^<b_1899_^>b_ as by Capt. Thomas H. Wilson), with strange races; _^<i_Among the Fire Worshipers_^>i_ (_^<i_The
Boys of New York_^>i_ 1880 as by Berton Bertrew; _^<b_1902_^>b_ as by Howard Austin), with Aztecs; "Underground" (_^<i_Golden Hours_^>i_ May-July 1890) by Thomas P. Montfort, with Toltecs in Australia; and _^<i_Across the Frozen Sea_^>i_
(_^<b_1894_^>b_) by "Noname", again with Old Norse at the North Pole. An unusual dime novel for adults is _^<i_El Rubio Bravo, King of the Swordsmen_^>i_ (_^<b_1881_^>b_) by Col. Thomas Hoyer Monstery, about Aztecs._^<n__^<n_Lost-race stories
turned up unexpectedly elsewhere. The detective stories about Nick _^<a_!T5195_CARTER_^>a_ written by Frederic Rensselaer Dey (1861-1922) under the pseudonym Chickering Carter provide several examples. In _^<i_The Index of Seven Stars_^>i_
(_^<b_1907_^>b_) and _^<i_An Amazonian Queen_^>i_ (_^<b_1907_^>b_) Nick has adventures among a lost race of mixed Old Norse and Indian origin, ruled by women, and excels in the gladiatorial arena. A 7-vol series beginning with _^<i_Facing an Unseen
Terror_^>i_ (_^<b_1907_^>b_) and ending with _^<i_The Seven-Headed Monster_^>i_ (_^<b_1907_^>b_) describes a supercivilization hidden in the foothills of the Himalayas, with flying machines lofted by a new radioactive element: the hidden race has
also mastered electricity, vibration and the lifeforce. This time the mighty Nick meets his superior in the wicked scientist Zanabayah._^<n__^<n_Lost-race incidents of a more marginal kind frequently occur in invention and geographical-adventure
dime novels. In most cases they are concerned with Pre-Columbian American peoples, based loosely on popular American archaeology, and sometimes influenced by the work of H. Rider _^<a_!T4911_HAGGARD_^>a_. In "marvel" dime novels lost-race
situations are also common, usually concerning themselves with imaginary peoples possessing high civilizations._^<n__^<n_This third group of dime novels, stressing "marvel" elements, emerged in the late 1880s and reached its fullest development in
the 1890s and the first decade of the 20th century. The "marvel" tale was no longer a Vernean yarn of geographical adventure or one of Wild West thrills and high jinks, but frankly set its protagonist into extremely fantastic circumstances, often
seemingly supernatural, which were almost always rationalized. Instead of savage Indians, Western badmen, malicious "Greasers", pirates, bears, giant snakes, sea serpents, frenzied whales and giant octopuses, it utilized dwarfs, giants, strangely
teratological races, outlandish customs, mammoths, magical gems and crystals, bobbing and ducking islands, wonderful cavern worlds and mysterious appearances and disappearances. Inventions, when they appeared, were more likely to be the product of
alien races than the brainchildren of boy inventors. Instead of operating steam or electric land rovers, flying ship-hulls and _^<i_Nautilus_^>i_-like submarines, heroes might encounter bizarre means of transportation: _^<a_!T198_ANTIGRAVITY_^>a_
airships or vehicles powered by fantastic new energies, sometimes suggested by Bulwer _^<a_!T3510_LYTTON_^>a_'s "vril". The purportedly realistic geography of the Vernean dime novel yielded to outlandish ambiences in Antarctica, inside the
_^<a_!T4474_HOLLOW EARTH_^>a_ or even on other planets._^<n__^<n_The central theme of the "marvel" story was no longer mechanical exploitation or destruction of the environment (and weaker peoples), as in the _^<b_Frank Reade, Jr._^>b_ stories, but
encounter with the strange, grotesque, magical and inexplicable. The note of sadism and ethnic rancour that permeated the earlier invention stories was usually lacking, or at least much toned down._^<n__^<n_Some marvel elements appeared in the
later _^<b_Frank Reade, Jr._^>b_ stories, but they were found in much finer form in the sometimes very imaginative work of Francis W. _^<a_!T1301_DOUGHTY_^>a_, Fred _^<a_!T5997_THORPE_^>a_ and Cornelius _^<a_!T2161_SHEA_^>a_. Other significant
marvel stories included _^<i_Six Weeks in the Moon_^>i_ (_^<b_1896_^>b_) by "Noname" (perhaps Senarens), _^<i_Under the World_^>i_ (_^<i_Golden Hours_^>i_ as "Into the Maelstrom" 1894; _^<b_1906_^>b_) by John _^<a_!T1175_DE MORGAN_^>a_ and "Three
Boys from the Moon" (_^<i_Happy Days_^>i_ Aug-Sep 1901) as by Gaston Garne (a Norman L. Munro house name)._^<n__^<n_Apart from the work of Verne and Haggard, contemporary adult sf had almost no influence on dime-novel sf.
Imaginary-_^<a_!T5452_WAR_^>a_ stories are rare, the only significant one being "Holland, the Destroyer" (_^<i_Golden Hours_^>i_ 1900-1) by Hal Harkaway (house name used here by Edward T. _^<a_!T5785_STRATEMEYER_^>a_), in which the USA, at war with
almost the entire world, is saved by a supersubmarine. Interplanetary elements enter the last _^<b_Frank Reade, Jr._^>b_ stories and Doughty's pseudonymous _^<i_Two Boys on a Trip to an Unknown Planet_^>i_ (_^<i_The Boys of New York_^>i_ 1989 as by
Albert J. Booth; _^<b_1901_^>b_ as by Richard R. Montgomery), but they are fantastic and show no knowledge of contemporary adult work. Weldon J. _^<a_!T771_COBB_^>a_, a Chicago author, presumably read a US newspaper adaptation of H.G.
_^<a_!T5528_WELLS_^>a_'s _^<i__^<a_!B9242_THE WAR OF THE WORLDS_^>a__^>i_ (_^<i_Pearson's Magazine_^>i_ 1897; _^<b_1898_^>b_): his _^<i_At War with Mars_^>i_ (_^<i_Golden Hours_^>i_ Sep-Nov 1897; _^<b_1907_^>b_) reads as near-plagiarism, with
Martian cylinders striking in the USA -- as an original element, the Martians have fitted out Phobos as an armed space station for the attack on Earth. Cobb's "To Mars with Tesla" (_^<i_New Golden Hours_^>i_ Mar-May 1901) contains an abortive space
flight -- the landing point proves to be the Southwest desert, not _^<a_!T3677_MARS_^>a_ as planned._^<n__^<n_The sf dime novel has had a larger influence on later sf than has been generally recognized. The invention story of the _^<b_Frank Reade,
Jr._^>b_ sort led directly, through the Stratemeyer Syndicate, to such boys' fiction as _^<a_!T6048_TOM SWIFT_^>a_ (_^<i_see also_^>i_ _^<a_!T3960_JUVENILE SERIES_^>a_). Many early _^<a_!T2033_PULP-MAGAZINE_^>a_ sf-adventure stories are simply dime
novels translated for an older readership, while individual points of influence are common enough. The situations in Edgar Rice _^<a_!T5097_BURROUGHS_^>a_'s Opar and A. _^<a_!T2912_MERRITT_^>a_'s Muria ("The Conquest of the Moon Pool" 1919) seem to
be indebted to dime novels, while Rex _^<a_!T5770_STOUT_^>a_'s _^<i_Under the Andes_^>i_ (_^<i_All-Story_^>i_ 1914; _^<b_1984_^>b_) is simply a Cornelius Shea sort of story with modifications. A. Conan _^<a_!T1312_DOYLE_^>a_'s _^<i_The Lost
World_^>i_ (_^<b_1912_^>b_) was probably influenced by "Noname"'s _^<i_The Island in the Air_^>i_ (_^<b_1896_^>b_), and David _^<a_!T3395_LINDSAY_^>a_'s _^<i__^<a_!B9079_A VOYAGE TO ARCTURUS_^>a__^>i_ (_^<b_1920_^>b_) possibly by Doughty's _^<i_Two
Boys on a Trip to an Unknown Planet_^>i_. One can also link the episodic structure and strange races in L. Frank _^<a_!T468_BAUM_^>a_'s _^<i_The Wonderful Wizard of Oz_^>i_ (_^<b_1900_^>b_) with "marvel" dime novels._^<n__^<n_There were European
equivalents and near-equivalents of Dime Novels, one of the most interesting being the German periodical _^<i_Der_^<a_!T3483_LUFTPIRAT UND SEIN LENKBARES LUFTSCHIFF_^>a__^>i_ , featuring Captain Mors, which was a pure _^<a_!T2342_SPACE-OPERA_^>a_
series, the earliest known. (_^<i_For UK equivalents_^>i_ > _^<a_!T4958_BOYS' PAPERS_^>a_.) [EFB]_^<n__^<n_
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DIMENSION 5
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(vt _^<i_Dimension Four_^>i_ US) Film (1966). United Pictures and Harold Goldman Associates. Dir Franklin Adreon, starring Jeffrey Hunter, France Nuyen, Harold Sakata, Donald Woods. Screenplay Arthur C. Pierce. 92 mins, cut to 88 mins.
Colour._^<n__^<n_Adreon and Pierce were the team that made _^<a_!T1018_CYBORG 2087_^>a_ (also 1966). This equally cheap production has Sakata, who played the villain Oddjob in the _^<b_James Bond_^>b_ movie _^<i_Goldfinger_^>i_ (1964), as one of
the Chinese communists who plan to blow up Los Angeles by planting an H-bomb. They are foiled by a US secret agent who can go back and forth in time by pressing a button on his belt. [JB]_^<n__^<n_
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DIMENSIONS
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We perceive three spatial dimensions, but theoretical _^<a_!T3717_MATHEMATICS_^>a_ is easily capable of dealing with many more. Conventional graphical analysis frequently represents time as a dimension, encouraging consideration of it as the "fourth
dimension". The possible existence of _^<a_!T1794_PARALLEL WORLDS_^>a_ displaced from ours along a fourth spatial dimension (in the same way that a series of two-dimensional universes might lie next to one another like the pages of a book) is a
popular hypothesis in sf, and such worlds are frequently referred to as "other dimensions". The _^<a_!T902_COSMOLOGY_^>a_ of Einstein's General Theory of Relativity (1916), which proposes a four-dimensional model of the Universe in which the
notions of space and time are collapsed into a single "spacetime continuum", offered considerable encouragement to sf notions of a multidimensional Universe (or "multiverse"). Many modern occultists and pseudoscientists have followed in the tracks
of Johann Zollner (1834-1882), author of _^<i_Transcendental Physics_^>i_ (_^<b_1865_^>b_), who borrowed mathematical notions to "justify" the idea of the "astral plane" beloved by spiritualists and Theosophists. J.W. _^<a_!T1352_DUNNE_^>a_ used
the notion to explain prophetic dreams, eventually constructing a theory of the "Serial Universe", and P.D. Ouspensky (1878-1947) built a more complex model of the Universe in which time"moves" in a spiral and there are six spatial
dimensions._^<n__^<n_The possible dimensional limitations of human existence and perception were dramatized by Edwin A. _^<a_!T8_ABBOTT_^>a_ in _^<i_Flatland_^>i_ (_^<b_1884_^>b_) as by "A Square", which describes a world of two-dimensional beings,
one of whom is challenged to imagine our three-dimensional world -- encouraging readers, by analogy, to attempt to imagine a four-dimensional world. The challenge was taken up by C.H. _^<a_!T4438_HINTON_^>a_, whose many essays on the subject
attempt to "explain" ghosts and to imagine a four-dimensional God from whom nothing in the human world can be hidden. In his story "An Unfinished Communication" (1895) the afterlife involves freedom to move along the time dimension (>
_^<a_!T6026_TIME TRAVEL_^>a_) to relive and reassess moments of life; he also wrote a Flatland novel, _^<i_An Episode of Flatland_^>i_ (_^<b_1907_^>b_). H.G. _^<a_!T5528_WELLS_^>a_ borrowed Hintonian arguments to "explain" the working of the device
in _^<i__^<a_!B9070_THE TIME MACHINE_^>a__^>i_ (_^<b_1895_^>b_). The eponymous figure of E.V. _^<a_!T3287_ODLE_^>a_'s _^<i_The Clockwork Man_^>i_ (_^<b_1923_^>b_) could perceive many dimensions when working properly, but while malfunctioning could
do no more than flutter back and forth in time, offering the merest hint of the quality of multidimensional life. Algernon _^<a_!T638_BLACKWOOD_^>a_'s "The Pikestaffe Case" (1924) attempts to evoke the non-Euclidean geometry of a dimensional trap
lurking within a mirror._^<n__^<n_Early _^<a_!T4659_GENRE-SF_^>a_ writers who found the notion of dimensions fascinating included Miles J. _^<a_!T4989_BREUER_^>a_, most notably in "The Appendix and the Spectacles" (1928) and"The Captured
Cross-Section" (1929), and Donald _^<a_!T5450_WANDREI_^>a_, notably in "The Monster from Nowhere" (1935) and"Infinity Zero" (1936). In E.E."Doc"_^<a_!T2269_SMITH_^>a_'s _^<i_Skylark of Valeron_^>i_ (1934; _^<b_1949_^>b_) the heroes briefly enter a
four-dimensional reality, and in Clifford D. _^<a_!T2218_SIMAK_^>a_'s "Hellhounds of the Cosmos" (1932), 99 men enter the fourth dimension in a single grotesque body to fight a four-dimensional monster. Henry _^<a_!T4144_KUTTNER_^>a_'s and C.L.
_^<a_!T3033_MOORE_^>a_'s classic "Mimsy Were the Borogoves" (1943 as by Lewis Padgett) features toys from the future which educate children into four-dimensional habits of thought, but, like most stories of the period, this uses dimensional
trickery casually to tie up its plot with a neat knot._^<n__^<n_The mathematical discipline of topology inspired several dimensional fantasies: Moebius strips feature in Martin _^<a_!T4611_GARDNER_^>a_'s "No-Sided Professor" (1946) and "The Island
of Five Colours" (1952), Theodore _^<a_!T5810_STURGEON_^>a_'s "What Dead Men Tell" (1949), Arthur C. _^<a_!T736_CLARKE_^>a_'s "Wall of Darkness" (1949) and Homer _^<a_!T3146_NEARING_^>a_ Jr's "The Hermeneutical Doughnut" (1954); Klein bottles and
tesseracts feature in "The Last Magician" (1951) by Bruce _^<a_!T6627_ELLIOTT_^>a_, "And He Built a Crooked House" (1941) by Robert A. _^<a_!T4376_HEINLEIN_^>a_ and "Star, Bright" (1952) by Mark _^<a_!T753_CLIFTON_^>a_. _^<i_Occam's Razor_^>i_ by
David _^<a_!T1346_DUNCAN_^>a_ (_^<b_1957_^>b_) also deploys topological jargon to shore up its dimensional speculations. George _^<a_!T4599_GAMOW_^>a_'s popularization of ideas in modern physics, _^<i_Mr Tompkins in Wonderland_^>i_ (coll
_^<b_1939_^>b_), dramatizes certain odd situations very well (although its contents are didactic essays rather than stories)._^<n__^<n_The notion that spaceships might make use of a fourth-dimensional _^<a_!T4574_HYPERSPACE_^>a_ in order to evade
the limiting velocity of light is very common in sf, having been initially popularized by Isaac _^<a_!T268_ASIMOV_^>a_ among others, but few stories actually attempt to describe it; it is usually imagined as a chaotic environment which utterly
confuses the senses, as in Frederik _^<a_!T1937_POHL_^>a_'s "The Mapmakers" (1955) and Clifford D. Simak's "All the Traps of Earth" (1960). The dimensional chaos that might be associated with _^<a_!T632_BLACK HOLES_^>a_ has received closer
attention, though these too are most often used as "wormholes" permitting very long journeys to be taken more or less instantaneously. Among the more effective representations of experience in dimensionally distorted environments are Norman
_^<a_!T3965_KAGAN_^>a_'s "The Mathenauts" (1964), David I. _^<a_!T3711_MASSON_^>a_'s "Traveller's Rest" (1965) and Christopher _^<a_!T1990_PRIEST_^>a_'s _^<i__^<a_!B9050_INVERTED WORLD_^>a__^>i_ (_^<b_1974_^>b_; vt _^<i_The Inverted World_^>i_
US)._^<n__^<n_In recent years C.H. Hinton's ideas have been revived by Rudy _^<a_!T2727_RUCKER_^>a_, who has used dimensional mathematics very extravagantly in a number of his novels and short stories, including the afterlife fantasy
_^<i__^<a_!B8991_WHITE LIGHT_^>a__^>i_ (_^<b_1980_^>b_), the comedy of fourth-dimensional intrusions _^<i_The Sex Sphere_^>i_ (_^<b_1983_^>b_) and many of the shorter pieces first published in _^<i_The 57th Franz Kafka_^>i_ (coll _^<b_1983_^>b_)
and reprinted, with others, in _^<i_Transreal!_^>i_ (coll _^<b_1991_^>b_). Rucker is the only modern author to have answered "A Square's" challenge with authentic verve and authority, but A.J. Dewdney's _^<i_The Planiverse_^>i_ (_^<b_1984_^>b_) is
an interesting drama-documentary about a two-dimensional world whose topography recalls Hinton's Flatland more than Abbott's._^<n__^<n_Relevant theme anthologies include _^<i_Fantasia Mathematica_^>i_ (anth _^<b_1958_^>b_) and _^<i_The Mathematical
Magpie_^>i_ (anth _^<b_1962_^>b_), both ed Clifton Fadiman, and _^<i_Science Fiction Adventures in Dimension_^>i_ (anth _^<b_1953_^>b_) ed Groff_^<n__^<n__^<a_!T834_CONKLIN_^>a_. [BS]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T3796_INVASION_^>a_.
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DIOMEDE, JOHN K.
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[s] > George Alec _^<a_!T6592_EFFINGER_^>a_._^<n__^<n_
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DIOSCORIDES, Dr
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> Pieter _^<a_!T4324_HARTING_^>a_._^<n__^<n_
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DIRAC COMMUNICATOR
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A device invented by James _^<a_!T658_BLISH_^>a_ for the story "Beep" (1954; exp as _^<i_The Quincunx of Time_^>i_ _^<b_1973_^>b_), and used by him also in other stories. It is an instantaneous communicator, named after the great theoretical
physicist Paul Dirac (1902-1984). Others have since borrowed the device, but more recently Ursula K. _^<a_!T3318_LE GUIN_^>a_'s _^<a_!T191_ANSIBLE_^>a_ has been the communicator of preference for sf writers. [PN]_^<n__^<n__^<b_See also:_^>b_
_^<a_!T1443_FASTER THAN LIGHT_^>a_.
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DISASTER
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Cataclysm, natural or manmade, is one of the most popular themes in sf. Tales of future _^<a_!T5452_WAR_^>a_ and _^<a_!T3796_INVASION_^>a_ belong here, but for convenience are dealt with under those separate headings. Stories which emphasize the
nature of the societies which spring up after a great disaster are dealt with under _^<a_!T4482_HOLOCAUST AND AFTER_^>a_._^<n__^<n_Central to the disaster tradition are stories of vast biospheric changes which drastically affect human life. Tales
of universal floods are at least as old as _^<i_The Epic of Gilgamesh_^>i_ (_^<i_c_^>i_2000BC), and other motifs, such as plagues, fires and famines, have an obvious source in the Bible, particularly the Revelation of St John (also known as the
Apocalypse, whence the adjective "apocalyptic", frequently applied to this form of sf). Disaster stories appeal because they represent everything we most fear and at the same time, perhaps, secretly desire: a depopulated world, escape from the
constraints of a highly organized industrial society, the opportunity to prove one's ability as a survivor. Perhaps because they represent a punishment meted out for the hubris of technological Man, such stories have not been particularly popular
in the US sf magazines. The ideology of disaster stories runs counter to the optimistic and expansionist attitudes associated with _^<a_!T277_ASTOUNDING SCIENCE-FICTION_^>a_ and its long-time editor, John W. _^<a_!T5140_CAMPBELL_^>a_ Jr. In fact,
most examples of the type are from the UK, and it has been suggested that this may be associated with the UK's decline as a world power throughout the 20th century._^<n__^<n_However, some of the earliest examples were written at the height of
Empire. H.G. _^<a_!T5528_WELLS_^>a_'s "The Star" (1897) and M.P. _^<a_!T2188_SHIEL_^>a_'s _^<i_The Purple Cloud_^>i_ (_^<b_1901_^>b_; rev 1929) are both tales of cataclysm. In the first a runaway star collides with the Earth, and in the second a
mysterious gas kills all but two people, a new Adam and Eve. Arthur Conan _^<a_!T1312_DOYLE_^>a_'s _^<i_The Poison Belt_^>i_ (_^<b_1913_^>b_) also features a gas, but in this case it turns out not to be fatal. After WWI the disaster theme became
more common. J.J. _^<a_!T838_CONNINGTON_^>a_'s _^<i_Nordenholt's Million_^>i_ (_^<b_1923_^>b_) portrays the social chaos following an agricultural blight caused by a mutation in nitrogen-fixing bacteria. S. Fowler _^<a_!T6194_WRIGHT_^>a_'s
_^<i_Deluge_^>i_ (_^<b_1928_^>b_) and _^<i_Dawn_^>i_ (_^<b_1929_^>b_) depict the destruction of civilization by earthquakes and floods, and subsequent attempts to build a new society. John _^<a_!T800_COLLIER_^>a_'s _^<i_Tom's A-Cold_^>i_
(_^<b_1933_^>b_; vt _^<i_Full Circle_^>i_ US) and Alun _^<a_!T3412_LLEWELLYN_^>a_'s _^<i_The Strange Invaders_^>i_ (_^<b_1934_^>b_) both deal effectively with survival in a post-holocaust world. R.C. _^<a_!T2183_SHERRIFF_^>a_'s _^<i_The Hopkins
Manuscript_^>i_ (_^<b_1939_^>b_; rev vt _^<i_The Cataclysm_^>i_) depicts the Moon's collision with Earth, and is a _^<a_!T2812_SATIRE_^>a_ on UK complacency in the face of impending war._^<n__^<n_After WWII there was a resurgence, to an even higher
level, of the disaster theme. John _^<a_!T6211_WYNDHAM_^>a_'s _^<i_The Day of the Triffids_^>i_ (_^<b_1951_^>b_) is an enjoyable tale of a world in which all but a few have been blinded and everyone is menaced by huge, poisonous plants. His
_^<i_The Kraken Wakes_^>i_ (_^<b_1953_^>b_; vt _^<i_Out of the Deeps_^>i_ US) is also a successful blend of invasion and catastrophe themes: sea-dwelling aliens melt Earth's icecaps and cause the inundation of the civilized world. The success of
Wyndham's novels inspired many emulators. The most distinguished was John _^<a_!T719_CHRISTOPHER_^>a_, whose _^<i_The Death of Grass_^>i_ (_^<b_1956_^>b_; vt _^<i_No Blade of Grass_^>i_ US) is a fine study of the breakdown of civilized values when
a virus kills all crops. The same author's _^<i_The World in Winter_^>i_ (_^<b_1962_^>b_; vt _^<i_The Long Winter_^>i_ US) and _^<i_A Wrinkle in the Skin_^>i_ (_^<b_1965_^>b_; vt _^<i_The Ragged Edge_^>i_ US) are also above-average works: one
concerns a new Ice Age and the other features earthquakes. Many other UK novelists have dealt in similar catastrophes; e.g., J.T. _^<a_!T3544_MCINTOSH_^>a_ in _^<i_One in Three Hundred_^>i_ (_^<b_1954_^>b_), John _^<a_!T687_BOLAND_^>a_ in
_^<i_White August_^>i_ (_^<b_1955_^>b_), Charles Eric _^<a_!T3606_MAINE_^>a_ in _^<i_The Tide Went Out_^>i_ (_^<b_1958_^>b_; rev vt _^<i_Thirst!_^>i_ 1977), Edmund _^<a_!T870_COOPER_^>a_ in _^<i_All Fools' Day_^>i_ (_^<b_1966_^>b_), D.F.
_^<a_!T3925_JONES_^>a_ in _^<i_Don't Pick the Flowers_^>i_ (_^<b_1971_^>b_; vt _^<i_Denver is Missing_^>i_ US) and Kit _^<a_!T1834_PEDLER_^>a_ and Gerry _^<a_!T1096_DAVIS_^>a_ in _^<i_Mutant 59: The Plastic Eaters_^>i_ * (_^<b_1972_^>b_). Keith
_^<a_!T2619_ROBERTS_^>a_'s _^<i_The Furies_^>i_ (_^<b_1966_^>b_), D.G. _^<a_!T823_COMPTON_^>a_'s _^<i_The Silent Multitude_^>i_ (_^<b_1966_^>b_) and Richard _^<a_!T925_COWPER_^>a_'s _^<i_The Twilight of Briareus_^>i_ (_^<b_1974_^>b_) combine
disaster and invasion themes in the Wyndham manner. Fred and Geoffrey _^<a_!T4532_HOYLE_^>a_'s _^<i_The Inferno_^>i_ (_^<b_1973_^>b_) deals with humanity's attempts to survive devastating cosmic radiation._^<n__^<n_There have been several more
personal uses of the disaster theme by UK writers -- studies in character and psychology rather than adventure stories. An early example was John _^<a_!T4944_BOWEN_^>a_'s _^<i_After the Rain_^>i_ (_^<b_1958_^>b_). More impressive are J.G.
_^<a_!T378_BALLARD_^>a_'s examinations of human "collaborations" with natural disasters: _^<i_The Drowned World_^>i_ (_^<b_1962_^>b_ US), _^<i_The Burning World_^>i_ (_^<b_1964_^>b_ US; rev vt _^<i_The Drought_^>i_ UK) and _^<i__^<a_!B9119_THE
CRYSTAL WORLD_^>a__^>i_ (_^<b_1966_^>b_), which concern the psychological attractions of flooded, arid and crystalline landscapes. Brian W. _^<a_!T87_ALDISS_^>a_'s _^<i_Greybeard_^>i_ (_^<b_1964_^>b_) is a well written tale of universal sterility
and the impending death of the human race. Several younger UK writers, influenced by Aldiss and Ballard, have produced variations on the cataclysmic theme: Charles _^<a_!T1927_PLATT_^>a_ in "The Disaster Story" (1966) and _^<i_The City
Dwellers_^>i_ (_^<b_1970_^>b_), M. John _^<a_!T4319_HARRISON_^>a_ in _^<i_The Committed Men_^>i_ (_^<b_1971_^>b_) and Christopher _^<a_!T1990_PRIEST_^>a_ in _^<i_Fugue for a Darkening Island_^>i_ (_^<b_1972_^>b_). John _^<a_!T5049_BRUNNER_^>a_ has
made strong admonitory use of the form in his novel of ecological catastrophe, _^<i_The Sheep Look Up_^>i_ (_^<b_1972_^>b_). Angela _^<a_!T5190_CARTER_^>a_'s _^<i__^<a_!B9069_HEROES AND VILLAINS_^>a__^>i_ (_^<b_1969_^>b_) is a powerful love story
set in the aftermath of a disaster, and Doris _^<a_!T3347_LESSING_^>a_'s _^<i_Memoirs of a Survivor_^>i_ (_^<b_1974_^>b_) is about a passive woman who observes society's collapse from her window._^<n__^<n_US disaster novels are fewer in number.
Oddly enough, where UK writers reveal an obsession with the weather, US writers show a strong concern for disease. Disastrous epidemics feature in Jack _^<a_!T3427_LONDON_^>a_'s _^<i_The Scarlet Plague_^>i_ (_^<b_1915_^>b_), George R.
_^<a_!T5734_STEWART_^>a_'s _^<i__^<a_!B9088_EARTH ABIDES_^>a__^>i_ (_^<b_1949_^>b_), Richard _^<a_!T3718_MATHESON_^>a_'s _^<i_I Am Legend_^>i_ (_^<b_1954_^>b_), Algis _^<a_!T5064_BUDRYS_^>a_'s _^<i_Some Will Not Die_^>i_ (_^<b_1961_^>b_), Michael
_^<a_!T954_CRICHTON_^>a_'s _^<i_The Andromeda Strain_^>i_ (_^<b_1969_^>b_), Chelsea Quinn _^<a_!T6225_YARBRO_^>a_'s _^<i_Time of the Fourth Horseman_^>i_ (_^<b_1976_^>b_) and Stephen _^<a_!T4066_KING_^>a_'s _^<i__^<a_!B9172_THE STAND_^>a__^>i_ (cut
from manuscript _^<b_1978_^>b_; text largely restored and rev _^<b_1990_^>b_). Of these, Stewart's _^<i__^<a_!B9088_EARTH ABIDES_^>a__^>i_ is the outstanding work, containing much sensitive description of landscape and of the moral problems of the
survivors. Other notable disaster stories by US writers include _^<i_The Second Deluge_^>i_ (_^<b_1912_^>b_) by Garrett P. _^<a_!T2112_SERVISS_^>a_, _^<i_Darkness and Dawn_^>i_ (_^<b_1914_^>b_) by George Allan _^<a_!T6673_ENGLAND_^>a_, _^<i_When
Worlds Collide_^>i_ (_^<b_1933_^>b_) by Edwin _^<a_!T383_BALMER_^>a_ and Philip _^<a_!T6210_WYLIE_^>a_, _^<i_Greener Than You Think_^>i_ (_^<b_1947_^>b_) by Ward _^<a_!T3039_MOORE_^>a_, "The XI Effect" (1950) by Philip _^<a_!T4202_LATHAM_^>a_,
_^<i_Cat's Cradle_^>i_ (_^<b_1963_^>b_) by Kurt _^<a_!T5402_VONNEGUT_^>a_ Jr, _^<i_The Genocides_^>i_ (_^<b_1965_^>b_) by Thomas M. _^<a_!T1244_DISCH_^>a_, "And Us, Too, I Guess" (1973) by George Alec _^<a_!T6592_EFFINGER_^>a_, _^<i_The Swarm_^>i_
(_^<b_1974_^>b_) by Arthur _^<a_!T4407_HERZOG_^>a_ and _^<i_Lucifer's Hammer_^>i_ (_^<b_1977_^>b_) by Larry _^<a_!T3223_NIVEN_^>a_ and Jerry _^<a_!T1961_POURNELLE_^>a_._^<n__^<n_Japanese sf seems to have a leaning towards disaster themes. Two
notable examples are Kobo A_^<a_!T10_BE_^>a_'s _^<i_Dai-Yon Kampyoki_^>i_ (_^<b_1959_^>b_; trans as _^<i_Inter Ice Age 4_^>i_ _^<b_1970_^>b_ US) and Sakyo _^<a_!T4114_KOMATSU_^>a_'s _^<i_Nippon Chinbotsu_^>i_ (_^<b_1973_^>b_; cut trans as
_^<i_Japan Sinks_^>i_ _^<b_1976_^>b_). The latter was filmed in 1973 as _^<a_!T3220_NIPPON CHINBOTSU_^>a_ (vt _^<i_The Submersion of Japan_^>i_; vt _^<i_Tidal Wave_^>i_)._^<n__^<n_Disaster is a popular motif in sf in the _^<a_!T726_CINEMA_^>a_ and
on _^<a_!T5926_TELEVISION_^>a_. Examples are the US film _^<a_!T6564_EARTHQUAKE_^>a_ (1975) and the UK tv series _^<a_!T5850_SURVIVORS_^>a_ (1975-7). The disaster-movie boom in the US took place in the 1960s and 1970s, and featured disasters both
domestic and sciencefictional; a producer associated with films of both kinds was Irwin _^<a_!T113_ALLEN_^>a_. Another form is the _^<a_!T3011_MONSTER MOVIE_^>a_ (_^<i_which see_^>i_)._^<n__^<n_Curiously enough, although the 1980s were generally
regarded as a pessimistic decade, the disaster theme in sf seemed largely played out, with only occasional books of any consequence. Among them were _^<i_The Birth of the People's Republic of Antarctica_^>i_ (_^<b_1983_^>b_) by John Calvin
_^<a_!T457_BATCHELOR_^>a_, which is an ironic account of civilization's collapse, James _^<a_!T3070_MORROW_^>a_'s _^<i__^<a_!B9190_THIS IS THE WAY THE WORLD ENDS_^>a__^>i_ (_^<b_1986_^>b_), which puts survivors of a global holocaust on trial, Greg
_^<a_!T478_BEAR_^>a_'s _^<i_The Forge of God_^>i_ (_^<b_1987_^>b_), which has Earth destroyed by alien machines, and David _^<a_!T4999_BRIN_^>a_'s _^<i_Earth_^>i_ (_^<b_1990_^>b_), which has Earth in danger of being swallowed up by a small
_^<a_!T632_BLACK HOLE_^>a_ at its core. [DP/PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T908_COSY CATASTROPHE_^>a_; _^<a_!T1370_DYSTOPIAS_^>a_; _^<a_!T6576_ECOLOGY_^>a_; _^<a_!T6661_END OF THE WORLD_^>a_; _^<a_!T6679_ENTROPY_^>a_;
_^<a_!T3120_MUTANTS_^>a_; _^<a_!T3265_NUCLEAR POWER_^>a_; _^<a_!T1714_OPTIMISM AND PESSIMISM_^>a_.
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(c) 1995 John Clute and Peter Nicholls
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-A-
DISCH, THOMAS M(ICHAEL)
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(1940- ) US writer, raised in Minnesota but for many years intermittently resident in New York where, before becoming a full-time writer in the mid-1960s, he worked in an advertising agency and in a bank; he has subsequently lived (and set
several tales) in the UK, Turkey, Italy and Mexico. He began publishing sf with "The Double-Timer" for _^<i_Fantastic_^>i_ in 1962; much of his early work appears in _^<i_One Hundred and Two H Bombs_^>i_ (coll _^<b_1966_^>b_ UK; with 2 stories
omitted and 2 added 1971 USA; with those 2 new stories omitted along with 2 previous stories, and 7 new stories added vt _^<i_White Fang Goes Dingo and Other Funny SF Stories_^>i_ 1971 UK). "White Fang Goes Dingo", which appears only in the first
and third versions of the collection, soon became TMD's second (and rather minor) novel, _^<i_Mankind Under the Leash_^>i_ (1965 _^<i_Worlds of If_^>i_ as "White Fang Goes Dingo"; exp _^<b_1966_^>b_ dos; vt _^<i_The Puppies of Terra_^>i_ 1978 UK);
in it _^<a_!T102_ALIENS_^>a_ take over Earth and make pets of mankind for aesthetic reasons. The hero, White Fang, eventually drives the aliens off, but his feelings towards his period of effortless slavery as a dancing pet remain ambivalent. The
first version of _^<i_One Hundred and Two H Bombs_^>i_, plus one of the stories added to the second edition, plus _^<i_Mankind Under the Leash_^>i_ under its vt _^<i_The Puppies of Terra_^>i_, all appear in _^<i_The Early Science Fiction Stories of
Thomas M. Disch_^>i_ (coll _^<b_1977_^>b_) ed David G. _^<a_!T4329_HARTWELL_^>a_._^<n__^<n_TMD's first novel, _^<i_The Genocides_^>i_ (_^<b_1965_^>b_), his most formidable early work, also involves alien manipulation of Earth from a perspective
indifferent (this time chillingly) to any human values or priorities or conventions of storytelling; this sense of the indifference of society or the Universe pervades his work, helping to distinguish it from US sf in general, which remained
fundamentally optimistic about the relevance of human values through the 1960s. In _^<i_The Genocides_^>i_ the aliens seed Earth with enormous plants, in effect transforming the planet into a monoculture agribusiness, an environment in which it
gradually becomes impossible for humans to survive. When groups attempt to fight back, the aliens treat them as vermin, worms in the apple of the planet; and, in one of the most chilling conclusions to any sf novel published in the USA, fumigate
them._^<n__^<n__^<i_Echo Round his Bones_^>i_ (_^<b_1967_^>b_) -- later assembled with _^<i_The Genocides_^>i_ and _^<i_Mankind Under the Leash_^>i_ as _^<i_Triplicity_^>i_ (omni _^<b_1980_^>b_) -- is another minor work, but _^<i__^<a_!B9062_CAMP
CONCENTRATION_^>a__^>i_ (1967 _^<i_NW_^>i_; _^<b_1968_^>b_ UK) is TMD's most sustained sf invention, and represents the highwater mark of his involvement with the UK _^<a_!T3181_NEW WAVE_^>a_ (he was one of several Americans, including John T.
_^<a_!T2240_SLADEK_^>a_, to be strongly associated with UK rather than US sf in the late 1960s). Told entirely in journal form, _^<i__^<a_!B9062_CAMP CONCENTRATION_^>a__^>i_ recounts its narrator's experiences as an inmate in a
_^<a_!T6337_NEAR-FUTURE_^>a_ US concentration camp where the military has treated him with Pallidine, a wonder drug which heightens human _^<a_!T3787_INTELLIGENCE_^>a_ but causes death within months. Along with his fellow-inmates, the narrator
understands he is being used as a kind of self-destructing think tank, experiencing the ecstasy of enhanced intelligence and the agonies of "retribution" -- the analogies with Thomas Mann's _^<i_Doctor Faustus_^>i_ (_^<b_1947_^>b_ Sweden; trans
_^<b_1948_^>b_ US) are explicit -- but his death is averted by a trope-quoting sf climax which has been sharply criticized as a begging of the issues raised._^<n__^<n_The next books were less weighty. _^<i_Black Alice_^>i_ (_^<b_1968_^>b_) with
Sladek, writing together as Thom _^<a_!T1169_DEMIJOHN_^>a_, though not sf is reminiscent of both writers. _^<i_The Prisoner_^>i_ * (_^<b_1969_^>b_) is a tie to the tv series _^<i_The_^<a_!T1996_PRISONER_^>a__^>i_ . Much of TMD's best work in the
years around _^<i__^<a_!B9062_CAMP CONCENTRATION_^>a__^>i_ is in shorter forms, most of the stories being assembled in _^<i_Under Compulsion_^>i_ (coll _^<b_1968_^>b_ UK; vt _^<i_Fun with Your New Head_^>i_ 1971 US) and _^<i_Getting into Death_^>i_
(coll _^<b_1973_^>b_ UK), a title superseded by the superior US edition, _^<i_Getting into Death and Other Stories_^>i_ (coll _^<b_1976_^>b_), which deletes 5 stories and adds 4. TMD's most famous single story, "The Asian Shore" (1970), which
appears in both versions of the collection, renders with gripping verisimilitude the transmutation of a bourgeois Western man into a lower-class urban Turk with family, through a process of possession. Other notable stories from this period include
"The Master of the Milford Altarpiece" (1968), "Displaying the Flag" (1973) and "The Jocelyn Shrager Story" (1975). Increasingly, during the 1970s, TMD's best work made use of sf components (if at all) as background to stories of character; in much
of this work his protagonists are directly involved, whether or not successfully, in the making of _^<a_!T253_ART_^>a_, and he increasingly devoted himself to studies of the nature of the artist and of the world s/he attempts to mould but which
generally, crushingly, moulds her/him. From this period date his first volumes of poetry (he writes much of his _^<a_!T1934_POETRY_^>a_ as "Tom Disch"), the contents of which evince a sharp speculative clarity whose roots are almost certainly
generic. After _^<i_Highway Sandwiches_^>i_ (coll _^<b_1970_^>b_ chap), with Marilyn Hacker (1942- ) and Charles _^<a_!T1927_PLATT_^>a_, and _^<i_The Best Way to Figure Plumbing_^>i_ (coll _^<b_1972_^>b_), further work appeared in _^<i_ABCDEFG
HIJKLM NPOQRST UVWXYZ_^>i_ (coll _^<b_1981_^>b_ chap UK) (the ordering _^<i_NPOQRST_^>i_ being _^<i_sic_^>i_), _^<i_Burn This_^>i_ (coll _^<b_1982_^>b_ chap UK), _^<i_Here I Am, There You Are, Where Were We?_^>i_ (coll _^<b_1984_^>b_ chap UK),
_^<i_Yes, Let's: New and Selected Poems_^>i_ (coll _^<b_1989_^>b_), and _^<i_Dark Verses and Light_^>i_ (coll _^<b_1991_^>b_). Tom Disch is for many readers primarily a poet whose connection with sf, if known, seems secondary._^<n__^<n_TMD's most
enduring single work of the 1970s is, however, sf. _^<i__^<a_!B9077_334_^>a__^>i_ (coll of linked stories _^<b_1972_^>b_ UK), possibly his best book, is set in a near-future Manhattan; the stories, whose linkings are so subtle and elaborate that it
is possible -- and probably desirable -- to read the book as a novel, pivot about the apartment building whose address (334 East 11th Street) is the title of the book (the numbers 3,3,4 also serve as an arithmetical base [> _^<a_!T6327_OULIPO_^>a_]
for the design and proportions of the text). _^<i__^<a_!B9077_334_^>a__^>i_ comprises a social portrait of urban life in about AD2025 in a New York where existence has become even more difficult, intense and straitened than it is now, and where the
authorities treat humans no better than TMD's aliens do; but the essence of the book lies in the patterns of survival achieved by its numerous characters, whose aspirations and successes and failures in this darkened urban world do not step over
the bounds of what we may expect will become normal experience. _^<i__^<a_!B9059_ON WINGS OF SONG_^>a__^>i_ (_^<b_1979_^>b_ UK) is likewise set mainly in a near-future New York, and thematically sums up most of the abiding concerns of TMD's career,
as well as presenting an exemplary portrait of the pleasures and miseries of art in a world made barbarous by material scarcities and spiritual lassitude; in the final analysis, however, it lacks the complex, energetic denseness of the earlier
book._^<n__^<n_By this point, he had in any case begun significantly to lessen his production of sf. Neither his massive Gothic novel _^<i_Clara Reeve_^>i_ (_^<b_1975_^>b_) as by Leonie Hargrave -- earlier, with Sladek, he had collaborated on a
more routine Gothic, _^<i_The House that Fear Built_^>i_ (_^<b_1966_^>b_), the two writing together as Cassandra Knye -- nor _^<i_Neighboring Lives_^>i_ (_^<b_1981_^>b_) with Charles Naylor (1941- ), an historical analysis in fictional terms of
mid-19th-century English literary life, has any genre content. There followed two collections of literate but significantly less engaged genre work -- _^<i__^<a_!B9155_FUNDAMENTAL DISCH_^>a__^>i_ (coll _^<b_1980_^>b_; cut 1981 UK) and _^<i_The Man
who Had No Idea_^>i_ (coll _^<b_1982_^>b_ UK) -- as well as _^<i_The Businessman: A Tale of Terror_^>i_ (_^<b_1984_^>b_), an intricately metaphysical horror novel. Its thematic partners -- _^<i_The MD: A Horror Story_^>i_ (_^<b_1991_^>b_), a
massive and ambitious exercise in the supernatural whose conclusion takes place in a complexly devastated near future; and _^<i_The Priest: A Gothic Romance_^>i_ (_^<b_1994 _^>b_UK), which savagely satirizes the sexual hypocrises and obsessions of
the modern Roman Catholic Church through a plot involving pedophilia and doppelgangers -- mark only a partial return to the instrumental sf of his early work; however, as a requiem for and an ethical indictment of the US this century, it is as
punishing as any of the more conspicuously radical works from the beginning of his career. _^<i_Amnesia_^>i_ (written and programed 1986) is an engaging piece of interactive software. He is the author of two plays, _^<i_Ben Hur_^>i_ (produced 1989)
and _^<i_The Cardinal Detoxes_^>i_ (produced 1990; _^<b_1993_^>b_ chap), the latter being the subject of a controversy instigated by the Roman Catholic Church. TMD has been theatre critic for _^<i_The Nation_^>i_ for several years, with an
intermission in 1991-2._^<n__^<n_His virtual departure from sf may be not unconnected to the nature of the field's response to him. Because of his intellectual audacity, the chillingly distanced mannerism of his narrative art, the austerity of the
pleasures he affords, and the fine cruelty of his wit, TMD has been perhaps the most respected, least trusted, most envied and least read of all modern first-rank sf writers. He received the _^<a_!T3923_JOHN W. CAMPBELL MEMORIAL AWARD_^>a_ for
_^<i__^<a_!B9059_ON WINGS OF SONG_^>a__^>i_ in 1980, but has otherwise gone relatively unhonoured by a field normally over-generous with its kudos. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Alfred the Great_^>i_ * (_^<b_1969_^>b_) as by Victor
Hastings, an associational film tie; _^<i_Orders of the Retina_^>i_ (coll _^<b_1982_^>b_ chap), poetry; _^<i_Ringtime: A Story_^>i_ (_^<b_1983_^>b_ chap); _^<i_Torturing Mr Amberwell_^>i_ (_^<b_1985_^>b_ chap); _^<i_The Tale of Dan de Lion_^>i_
(_^<b_1986_^>b_ chap), a tale in verse; _^<i_The Brave Little Toaster_^>i_ (1981 _^<i_Fantasy Annual IV_^>i_; _^<b_1986_^>b_ chap) and _^<i_The Brave Little Toaster Goes to Mars_^>i_ (_^<b_1988_^>b_ chap), juveniles; _^<i_The Silver Pillow: A Tale
of Witchcraft_^>i_ (dated 1987 but _^<b_1988_^>b_)._^<b_As Editor:_^>b_ A series of incisive theme anthologies of unusually high calibre, comprising _^<i_The Ruins of Earth_^>i_ (anth _^<b_1973_^>b_), _^<i_Bad Moon Rising_^>i_ (original anth
_^<b_1973_^>b_) and _^<i_The New Improved Sun: An Anthology of Utopian Science Fiction_^>i_ (anth _^<b_1975_^>b_); two additional anthologies with Charles Naylor, _^<i_New Constellations_^>i_ (anth _^<b_1976_^>b_) and _^<i_Strangeness_^>i_ (anth
_^<b_1977_^>b_)._^<b_About the author:_^>b_ _^<i_The American Shore: Meditations on a Tale of Science Fiction by Thomas M. Disch_^>i_ -- _^<i_Angouleme _^>i_(_^<b_1978_^>b_) by Samuel R. _^<a_!T1152_DELANY_^>a_; _^<i_A Tom Disch Checklist: Notes
Toward a Bibliography_^>i_ (_^<b_1983_^>b_ chap) by Chris _^<a_!T1327_DRUMM_^>a_._^<b_See also:_^>b_ _^<a_!T5005_BRITISH SCIENCE FICTION AWARD_^>a_; _^<a_!T708_CHILDREN IN SF_^>a_; _^<a_!T727_CITIES_^>a_; _^<a_!T829_CONCEPTUAL BREAKTHROUGH_^>a_;
_^<a_!T956_CRIME AND PUNISHMENT_^>a_; _^<a_!T963_CRITICAL AND HISTORICAL WORKS ABOUT SF_^>a_; _^<a_!T1243_DISASTER_^>a_; _^<a_!T1370_DYSTOPIAS_^>a_; _^<a_!T6661_END OF THE WORLD_^>a_; _^<a_!T6679_ENTROPY_^>a_; _^<a_!T6694_ESCHATOLOGY_^>a_;
_^<a_!T3135_MYTHOLOGY_^>a_; _^<a_!T3182_NEW WORLDS_^>a_; _^<a_!T3315_OMNI_^>a_; _^<a_!T1714_OPTIMISM AND PESSIMISM_^>a_; _^<a_!T1752_OVERPOPULATION_^>a_; _^<a_!T1884_PHILIP K. DICK AWARD_^>a_; _^<a_!T1942_POLLUTION_^>a_;
These two topics are dealt with together because it is difficult to separate them, the discovery of a new principle usually being followed by the invention of a means of exploiting it. The discovery of new places is dealt with in
_^<a_!T811_COLONIZATION OF OTHER WORLDS_^>a_ and _^<a_!T3460_LOST WORLDS_^>a_. Invention, too, is discussed in other entries, including _^<a_!T4595_IMAGINARY SCIENCE_^>a_, _^<a_!T3540_MACHINES_^>a_, _^<a_!T1968_POWER SOURCES_^>a_,
_^<a_!T1979_PREDICTION_^>a_, _^<a_!T5916_TECHNOLOGY_^>a_ and _^<a_!T6080_TRANSPORTATION_^>a_._^<n__^<n_The invention story was prominent in 19th-century sf, notably in the works of Jules _^<a_!T5355_VERNE_^>a_, who could almost be said to have
invented it. Vernean inventions, particularly of new kinds of transport, were a feature of _^<a_!T1236_DIME-NOVEL SF_^>a_. Yankee knowhow and inventiveness were carried into the past with Mark _^<a_!T6135_TWAIN_^>a_'s _^<i_A Connecticut Yankee in
King Arthur's Court_^>i_ (_^<b_1889_^>b_). (A modern version of Twain's story, with a more sophisticated view of _^<a_!T4442_HISTORY_^>a_, is _^<i__^<a_!B9145_LEST DARKNESS FALL_^>a__^>i_ [_^<b_1941_^>b_] by L. Sprague _^<a_!T1133_DE CAMP_^>a_.)
Edward Everett _^<a_!T4926_HALE_^>a_ invented orbital satellites in "The Brick Moon" (1869). Later in the century the US inventor Thomas Alva Edison (1847-1931) became a hero figure; his exploits were much imitated in sf, and his name often
borrowed (> _^<a_!T6580_EDISONADE_^>a_); some of these stories are also described under _^<a_!T2880_SCIENTISTS_^>a_. Rudyard _^<a_!T4082_KIPLING_^>a_ invented the transatlantic airmail postal service in "With the Night Mail" (1905). H.G.
_^<a_!T5528_WELLS_^>a_ invented a huge number of devices -- some fantastic, as in _^<i__^<a_!B9070_THE TIME MACHINE_^>a__^>i_ (_^<b_1895_^>b_), and some realistic, as with the tanks in "The Land Ironclads" (1903) and atomic war in _^<i_The World
Set Free_^>i_ (_^<b_1914_^>b_). Samuel _^<a_!T5236_CHAPMAN_^>a_'s _^<i_Doctor Jones' Picnic_^>i_ (_^<b_1898_^>b_) features a busy inventor who creates a huge aluminium _^<a_!T382_BALLOON_^>a_ and a homoeopathic cure for cancer. The index of Everett
F. _^<a_!T654_BLEILER_^>a_'s _^<i_Science-Fiction: The Early Years_^>i_ (_^<b_1990_^>b_) lists 134 stories and novels according to their particular inventions, those for "g" being "gasoline substitute, ghost condensor, gravity storage apparatus,
gunpowder engine"; other letters of the alphabet produce examples just as eccentric._^<n__^<n_The invention story had an especially strong vogue in the early _^<a_!T2033_PULP MAGAZINES_^>a_, where it was equalled in popularity as an sf subject only
by the future-_^<a_!T5452_WAR_^>a_ story and the lost-race story. Examples are: George Allan _^<a_!T6673_ENGLAND_^>a_'s _^<i_The Golden Blight_^>i_ (1912 _^<i_Cavalier_^>i_; _^<b_1916_^>b_), in which a gold-disintegrator effects economic
revolution; William Wallace _^<a_!T863_COOK_^>a_'s _^<i_The Eighth Wonder_^>i_ (1906-7 _^<i_Argosy_^>i_; _^<b_1925_^>b_), in which an eccentric inventor threatens to steal the world's electricity supply with a huge electromagnet; and Garrett P.
_^<a_!T2112_SERVISS_^>a_'s _^<i_The Moon Metal_^>i_ (_^<b_1900_^>b_), in which a _^<a_!T3721_MATTER TRANSMITTER_^>a_ is invented to obtain artemisium, a rare valuable metal, from the Moon._^<n__^<n_The years 1900-30 were largely those of scientific
_^<a_!T1714_OPTIMISM_^>a_, and in the pulps Hugo _^<a_!T4668_GERNSBACK_^>a_ was one of its prophets. Before founding _^<a_!T141_AMAZING STORIES_^>a_ he did well with his magazine _^<a_!T2869_SCIENCE AND INVENTION_^>a_, which featured much
technological fiction. His own _^<i_Ralph 124C 41+_^>i_ (1911-12 _^<i_Modern Electrics_^>i_; fixup _^<b_1925_^>b_) is one of the most celebrated of those novels whose _^<i_raison d'etre_^>i_ is to catalogue the inventions of the future; they
include tv._^<n__^<n_The discovery/invention story continued to pop up every now and then outside _^<a_!T4659_GENRE SF_^>a_, as in C.S. _^<a_!T1561_FORESTER_^>a_'s _^<i_The Peacemaker_^>i_ (_^<b_1934_^>b_), in which a pacifist invents a magnetic
disrupter which stops machinery; E.C. _^<a_!T4190_LARGE_^>a_'s _^<i_Sugar in the Air_^>i_ (_^<b_1937_^>b_), in which a process for artificial photosynthesis is discovered; and William _^<a_!T4758_GOLDING_^>a_'s play _^<i_The Brass Butterfly_^>i_
(1956 as "Envoy Extraordinary"; _^<b_1958_^>b_), in which a brilliant inventor in ancient Greece is given short shrift by his ruler, who sees the new inventions as an unpleasing threat to the _^<i_status quo_^>i_. But it was inside genre sf that
the invention story found its true home, though tending to become more sombre when the central metaphor of Mary _^<a_!T2173_SHELLEY_^>a_'s _^<i_Frankenstein_^>i_ (_^<b_1818_^>b_) -- the inventor being destroyed by his creation -- was given
contemporary relevance by the dropping of the atom bomb over Hiroshima. Even before that, stories featuring _^<a_!T3265_NUCLEAR POWER_^>a_, such as Lester _^<a_!T1164_DEL REY_^>a_'s "Nerves" (1942), had been very much aware of the dangers of such
inventions. John W. _^<a_!T5140_CAMPBELL_^>a_ Jr, both as a writer and as editor of _^<i_ASF_^>i_, was taking a gloomier view of technological advance by the late 1930s, although his own _^<i_The Mightiest Machine_^>i_ (1934 _^<i_ASF_^>i_;
_^<b_1947_^>b_) had been a jolly romp, featuring the invention of a _^<a_!T2348_SPACESHIP_^>a_ which can take its energy direct from the stars. Campbell's _^<i_ASF_^>i_ continued through the 1940s to publish a number of invention stories, in which
scientific plausibility was emphasized as never before in genre sf. The results included Robert A. _^<a_!T4376_HEINLEIN_^>a_'s "Waldo" (1942 _^<i_ASF_^>i_ as by Anson MacDonald; vt _^<i_Waldo: Genius in Orbit_^>i_ _^<b_1958_^>b_). This is a
gripping, optimistic invention story; the term _^<a_!T5424_WALDO_^>a_ is still used today for remote-control devices. George O. _^<a_!T2275_SMITH_^>a_'s _^<b_Venus Equilateral_^>b_ stories (_^<i_ASF_^>i_ 1942-5; coll as _^<i_Venus Equilateral_^>i_
_^<b_1947_^>b_) feature much inventive work in radio _^<a_!T822_COMMUNICATIONS_^>a_ across the Solar System. _^<i_ASF_^>i_'s invention syndrome was given a boost by James _^<a_!T658_BLISH_^>a_'s _^<b_Okie_^>b_ stories, which feature the
_^<a_!T2368_SPINDIZZY_^>a_, one of the most attractive of all sf inventions; they appeared 1950-54, and in book form as the first 2 vols of the _^<b_Cities in Flight_^>b_ tetralogy: _^<i_Earthman, Come Home_^>i_ (_^<b_1955_^>b_) and _^<i_They Shall
Have Stars_^>i_ (_^<b_1956_^>b_ UK; vt _^<i_Year 2018!_^>i_ US). _^<i_ASF_^>i_ sometimes struck a lighter note _^<i_vis-a-vis_^>i_ inventions, notably in the _^<b_Galloway Gallegher_^>b_ stories (1943-8) by Lewis Padgett (Henry
_^<a_!T4144_KUTTNER_^>a_). These feature an inventor whose creative faculties are released by the intake of large quantities of alcohol, and his irritating robot sidekick; they were collected as _^<i_Robots Have No Tails_^>i_ (coll of linked
stories _^<b_1952_^>b_) as by Kuttner. Meanwhile _^<i_ASF_^>i_'s competitors were also featuring lighthearted invention stories alongside the more doom-laden variety. A notable example of the former was the _^<b_Lancelot Biggs_^>b_ series of
_^<a_!T2342_SPACE OPERAS_^>a_ by Nelson S. _^<a_!T695_BOND_^>a_, which appeared mostly in _^<i_Fantastic Adventures_^>i_ (1939-40) and were collected in revised form as _^<i_Lancelot Biggs: Spaceman_^>i_ (coll of linked stories _^<b_1950_^>b_).
Biggs, the thin genius who bumbles around but gets there in the end, is typical of sf's more stereotyped inventors. Many other relevant genre-sf stories are collected in _^<i_Science Fiction Inventions_^>i_ (anth _^<b_1967_^>b_) ed Damon
_^<a_!T4098_KNIGHT_^>a_._^<n__^<n_Many famous sf discoveries have been made through a process of _^<a_!T829_CONCEPTUAL BREAKTHROUGH_^>a_, and about 40 of them are discussed under that rubric. One in particular is worthy of attention here: "Noise
Level" (1952) by Raymond F. _^<a_!T3934_JONES_^>a_. In this tale, which in its emphasis on the potential power of the human mind sums up the whole ethos of Campbell's _^<i_ASF_^>i_, a counterfeit invention is the occasion of conceptual
breakthrough. A group of scientists are shown an apparently _^<i_bona fide_^>i_ film of an _^<a_!T198_ANTIGRAVITY_^>a_ device, the inventor of which has been killed. In their attempt to duplicate it they break through to a new understanding of
physics, only to discover that the original was a fraud, the stratagem having been devised to exert psychological pressure on them to rethink their worldviews._^<n__^<n_Discovery/invention themes still proliferate in sf, as by the nature of the
genre they always will. Important examples from the 1950s onward have been: Fred _^<a_!T4532_HOYLE_^>a_'s _^<i_Ossian's Ride_^>i_ (_^<b_1959_^>b_), in which a sinister-seeming cartel has cordoned off southwest Ireland as an invention-producing
area; Kurt _^<a_!T5402_VONNEGUT_^>a_ Jr's _^<i_Cat's Cradle_^>i_ (_^<b_1963_^>b_), in which havoc is wreaked by a newly discovered form of ice which freezes everything it touches; Isaac _^<a_!T268_ASIMOV_^>a_'s _^<i__^<a_!B9117_THE GODS
THEMSELVES_^>a__^>i_ (_^<b_1972_^>b_), in which a new energy source, the positron pump, is invented with a great show of plausibility; and Bob _^<a_!T2153_SHAW_^>a_'s _^<i_Other Days, Other Eyes_^>i_ (fixup _^<b_1972_^>b_), based on his short story
"Light of Other Days" (1966), which features "slow glass", one of the most convincing and original inventions of sf (it slows down light, thus effectively allowing events to be viewed after a time-lapse; the privacy-invading social consequences are
intriguingly explored). Arthur C. _^<a_!T736_CLARKE_^>a_'s _^<i_Fountains of Paradise_^>i_ (_^<b_1979_^>b_), a classically optimistic work of technological invention, envisages the building in a _^<a_!T6337_NEAR-FUTURE_^>a_ Earth of a 36,000km
(22,400 mile) tower to be used as a space elevator._^<n__^<n_One of the most interesting subthemes, which has persisted strongly into the 1990s, is found in stories relating the discoveries of _^<a_!T98_ALIEN_^>a_ artefacts, very often with a
subsequent desire to exploit them. Some, such as A.E. _^<a_!T5333_VAN VOGT_^>a_'s "A Can of Paint" (1944) and Robert _^<a_!T2164_SHECKLEY_^>a_'s "One Man's Poison" (1953; vt "Untouched by Human Hands") and "Hands Off" (1954), are basically comedies
about the dangers of the incomprehensible ("One Man's Poison" contains the line "I don't eat anything that giggles"). But the theme has serious ramifications, too. Such stories often create a tension between the longing and wonder aroused by the
thought that we are not alone, together with a sense of despair at the ambiguity of such objects and the doubt whether they will ever be understood. Such is Arthur C. Clarke's "Sentinel of Eternity" (1951; vt "The Sentinel"), the basis for the film
_^<a_!T6146_2001: A SPACE ODYSSEY_^>a_ (1968); the story tells of the discovery of a strange monolith on the Moon. Clarke's _^<i__^<a_!B9055_RENDEZVOUS WITH RAMA_^>a__^>i_ (_^<b_1973_^>b_) is entirely devoted to the exploration of, and failure to
fully comprehend, a vast, apparently unmanned spaceship which enters the Solar System (> _^<a_!T590_BIG DUMB OBJECTS_^>a_). The psychological repercussions of Man's inability to comprehend the alien are well explored in Frederik
_^<a_!T1937_POHL_^>a_'s _^<i__^<a_!B9035_GATEWAY_^>a__^>i_ (_^<b_1977_^>b_), where abandoned alien spaceships are discovered and used, but not understood; the reaching out so symbolized is obsessive, seductive and
murderous._^<n__^<n__^<i__^<a_!B9035_GATEWAY_^>a__^>i_ and the subsequent novels in Pohl's _^<b_Heechee_^>b_ series are sociologically almost the reverse of the _^<i_ASF_^>i_ stories referred to above, perhaps reflecting the lowering of self-esteem
and morale in the West from the late 1960s onward. Whereas _^<i_ASF_^>i_ published tales of human ingenuity conquering the unknown, Pohl's stories envisage humanity as bewildered by the discovery of superior technology in much the same way as
Bushmen in our own world might be baffled by the products of the industrial West. The metaphor for this in Arkady and Boris _^<a_!T5800_STRUGATSKI_^>a_'s novella "Piknik na obochine" (1972; trans as "Roadside Picnic" in _^<i_Roadside Picnic/Tale of
the Troika_^>i_, coll _^<b_1977_^>b_) is of humans discovering enigma as they scrabble like rats through trash left by alien picnickers. The theme, not always so pessimistically expressed, is common in the sophisticated new wave of 1980s space
opera as represented by authors like Greg _^<a_!T478_BEAR_^>a_ and Paul J. _^<a_!T6293_MCAULEY_^>a_, and also by Charles _^<a_!T2167_SHEFFIELD_^>a_'s _^<i_Divergence_^>i_ (_^<b_1991_^>b_). A _^<a_!T4780_GOTHIC-SF_^>a_ variant of the theme appears
in the malign consequences of the discovery of a long-buried alien spacecraft on Earth in Stephen _^<a_!T4066_KING_^>a_'s _^<i_The Tommyknockers_^>i_ (_^<b_1987_^>b_). [PN]_^<n__^<n_
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3777
7738
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DiSILVESTRO, ROGER L.
-T-
(1949- ) US writer whose first novel of genre interest was _^<i_Ursula's Gift_^>i_ (_^<b_1988_^>b_), a humorous fantasy. His second, _^<i_Living with the Reptiles_^>i_ (_^<b_1990_^>b_), spoofs the ethical tomfooleries of that form of the
_^<a_!T6026_TIME-TRAVEL_^>a_ tale in which the protagonist changes history to save/destroy/play with the future. In this case the protagonists, after acquiring the necessary equipment in what remains of the Amazon jungle, pass into the 9th century,
where shenanigans are soon afoot. [JC]_^<n__^<n_
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DISINTEGRATOR
-T-
In sf _^<a_!T5942_TERMINOLOGY_^>a_, one of the commonest items of the sf armoury (> _^<a_!T5492_WEAPONS_^>a_), especially in _^<a_!T2342_SPACE OPERA_^>a_ of the 1930s and 1940s. The device may have been a product of squeamishness-or perhaps just
neatness -- since it creates a maximum of destruction with a minimum of bleeding pieces left to sweep up afterwards. The disintegrator first reached a wide audience with the _^<a_!T820_COMIC_^>a_ strip _^<a_!T5063_BUCK ROGERS IN THE 25TH
CENTURY_^>a_ in 1935, as a result of which toy disintegrators were very popular with kids in the late 1930s. [PN]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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DISRAELI, BENJAMIN
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(1804-1881) UK novelist and statesman, MP from 1837 and, in 1868 and again 1874-80, Prime Minister. He became Lord Beaconsfield. His almost-forgotten youthful novel _^<i_The Voyage of Captain Popanilla_^>i_ (_^<b_1828_^>b_; published anon) has an
innocent savage from a South Seas _^<a_!T5303_UTOPIA_^>a_ voyaging to an imaginary country closely resembling a satirized England. Modern sf normally uses actual _^<a_!T102_ALIENS_^>a_ rather than savages as their innocent observers in books of
this kind, but the principle is the same. BD features _^<a_!T2528_RECURSIVELY_^>a_ in _^<i__^<a_!B9058_THE DIFFERENCE ENGINE_^>a__^>i_ (_^<b_1990_^>b_ UK) by Bruce _^<a_!T5717_STERLING_^>a_ and William _^<a_!T4689_GIBSON_^>a_. [PN]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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DITMAR AWARDS
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> _^<a_!T6321_AWARDS_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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DIXIE, [Lady] FLORENCE (CAROLINE)
-T-
(1855-1905) UK traveller and writer whose nonfiction _^<i_Across Patagonia_^>i_ (_^<b_1880_^>b_) captures something of her _^<a_!T1461_FEMINIST_^>a_ urgency. In _^<i_Gloriana, or The Revolution of 1900_^>i_ (_^<b_1890_^>b_) a woman disguised as a
man is elected Prime Minister of the UK and, though unmasked, establishes full equality between the sexes; by 1999, a woman-ruled UK beneficently dominates its Federated Empire. _^<i_Isola, or The Disinherited: A Revolt for Women and All the
Disinherited_^>i_ (_^<b_1903_^>b_), a play, depicts the coming to _^<a_!T5303_UTOPIAN_^>a_ plenitude of the society of Saxcoberland on the planet Erth, which is similar but not identical to Earth. [JC]_^<n__^<n__^<b_About the author:_^>b_
_^<i_Victorian Women Travel Writers_^>i_ (_^<b_1982_^>b_) by Catherine Barnes Stevenson.
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672
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DIXON, CHARLES
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UK writer, problematically identified as Charles Dixon (1858-1926), an ornithologist of some renown. The sf novel written by him or some other CD is _^<i_Fifteen Hundred Miles an Hour_^>i_ (_^<b_1895_^>b_), a boys' tale featuring the interplanetary
exploits of some young protagonists who travel to _^<a_!T3677_MARS_^>a_ via an electric _^<a_!T2348_SPACESHIP_^>a_. [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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DIXON, DOUGAL
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(1947- ) UK writer whose _^<i_After Man: A Zoology of the Future_^>i_ (_^<b_1981_^>b_) and _^<i_Man After Man: An Anthropology of the Future_^>i_ (_^<b_1990_^>b_) provide quasifactual views of a _^<a_!T1432_FAR-FUTURE_^>a_ Earth in which
_^<i_Homo sapiens_^>i_, having exhausted the planet, soon becomes extinct, giving way (in a fashion reminiscent of the work of Olaf _^<a_!T2404_STAPLEDON_^>a_) to succeeding forms of life. Similarly couched in a _^<a_!T6026_TIME-TRAVEL_^>a_
framework, but less taxing in its assumptions, is a Byron _^<a_!T1982_PREISS_^>a_ tie, _^<i_Time Machine #7: Ice Age Explorer_^>i_ * (_^<b_1985_^>b_). [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T6717_EVOLUTION_^>a_.
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DIXON, FRANKLIN W.
-T-
> Harriet S. _^<a_!T33_ADAMS_^>a_._^<n__^<n_
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DIXON, ROGER
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(1930- ) UK accountant and writer whose epic adventure about humankind's future fate, _^<i_Noah II_^>i_ (_^<b_1970_^>b_ US; rev 1975 UK), is based on a story idea by RD and his agent, Basil Bova, and began the aborted _^<b_Quest_^>b_ series. A
second novel, _^<i_The Cain Factor_^>i_ (_^<b_1975_^>b_) as by Charles Lewis, mixes _^<a_!T2115_SEX_^>a_ and apocalypse as a man and a woman escape a post-_^<a_!T4482_HOLOCAUST_^>a_ Earth to become the _^<a_!T29_ADAM AND EVE_^>a_ of a new planet.
(1864-1946) US writer whose _^<i_The Fall of the Nation_^>i_ (1915-16 _^<i_National Sunday Magazine_^>i_; _^<b_1916_^>b_) graphically depicts the conquest of the USA by the Imperial Confederation of Europe, dominated by Germany. After years of
occupation, a singularly ferocious US womanhood helps the men of the USA expel the enemy. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T3796_INVASION_^>a_.
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DOBLIN, ALFRED
-T-
[r] > _^<a_!T4667_GERMANY_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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16
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DOCKWEILER, JOSEPH H.
-T-
[r] > Dirk _^<a_!T6209_WYLIE_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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20
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DOC SAVAGE
-T-
US _^<a_!T2033_PULP MAGAZINE_^>a_, pulp-size Mar 1933-Dec 1943, _^<a_!T1231_DIGEST_^>a_-size Jan 1944-Sep/Oct 1948, pulp-size Winter 1948-Summer 1949. 181 issues Mar 1933-Summer 1949. Monthly until Feb 1947, then 4 bimonthly issues, then quarterly
from Winter 1948. Published by _^<a_!T5789_STREET & SMITH_^>a_; ed John _^<a_!T6396_NANOVIC_^>a_ 1933-43. _^<i_DS_^>i_ was perhaps the best of the sf-oriented pulp-hero magazines. Each issue had a novel published under the pseudonym Kenneth
Robeson, and many contained short adventure stories as well; a considerable majority of the novels were the work of Lester _^<a_!T1183_DENT_^>a_ (_^<i_whom see, and_^>i_ > _^<i_especially_^>i_ _^<a_!T2628_ROBESON_^>a_ _^<i_for further_^>i_ _^<b_Doc
Savage_^>b_ _^<i_details_^>i_). The most usual sf elements were superscientific _^<a_!T5492_WEAPONS_^>a_ and visits to _^<a_!T3460_LOST WORLDS_^>a_; _^<a_!T5925_TELEPORTATION_^>a_ featured once. A master _^<a_!T2880_SCIENTIST_^>a_, almost
superhuman in intelligence and strength, Doc Savage was actually Clark Savage, the "Man of Bronze"-- the surname is a Street & Smith homage to Colonel Richard Henry Savage, an early contributor to the firm's journals; the given name is from Clark
Gable. The success of the series led to imitations, most notably _^<a_!T5830_SUPERMAN_^>a_, whose debt to _^<i_DS_^>i_ is evident in his name -- Clark Kent, the "Man of Steel". [FHP/MJE]_^<n__^<n_
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1123
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DOC SAVAGE: THE MAN OF BRONZE
-T-
Film (1975). Warner Bros. Dir Michael Anderson, starring Ron Ely, Paul Wexler. Screenplay George _^<a_!T1769_PAL_^>a_, Joseph Morheim based on "The Man of Bronze" (1933) by Kenneth _^<a_!T2628_ROBESON_^>a_. 100 mins. Colour._^<n__^<n_There were 181
novels in _^<a_!T1258_DOC SAVAGE MAGAZINE_^>a_, and at one point producer George Pal announced that he hoped to film them all, but this, based on the first of them, was a flop. Muscular superscientist hero Doc fights with a villain over a fountain
of liquid gold owned by a remote tribe in South America. The sf elements are very marginal. The film is treated in a joky manner reminiscent of the 1966-8 _^<b_Batman_^>b_ tv series, but Anderson, who later made the disappointing
_^<a_!T3423_LOGAN'S RUN_^>a_ (1976), is too ponderous a director to carry off this sort of camp nostalgia with flair. It was not until Steven _^<a_!T2367_SPIELBERG_^>a_'s _^<i_Raiders of the Lost Ark_^>i_ (1981) that the ambience of the
sf/adventure pulps was recreated with the right mixture of respect and amusement. [PN/JB]_^<n__^<n_
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DR CYCLOPS
-T-
Film (1940). Paramount. Dir Ernest B. Schoedsack, starring Albert Dekker, Janice Logan, Thomas Coley, Charles Halton. Screenplay Tom Kilpatrick. 75 mins. Colour._^<n__^<n_A mad scientist in the Peruvian jungle is using radioactivity to miniaturize
living things, and shrinks some US explorers who find his laboratory to an average height of 12in (30cm). Made by the director of _^<a_!T4072_KING KONG_^>a_ (1933), _^<i_DC_^>i_ is a fast-paced, visually inventive film (though the dialogue is
leaden), largely taken up by desperate efforts to survive a series of perils. Dekker's portrayal of the ruthless Dr Thorkel -- shaven head, bulky body, thick-lensed glasses -- as the "god" toying sadistically with his little creations before
casually destroying them is truly menacing; whether by design or accident, he resembles what was to become the caricature of the "beastly Jap" during WWII. The illusion of miniaturization-supervised by Farciot Edouart, one of the innovators in that
area of trick photography -- is very convincing. The novelization, _^<i_Dr Cyclops_^>i_ * (_^<b_1940_^>b_), was published under the house name Will _^<a_!T4627_GARTH_^>a_, and was probably the work of Alexander _^<a_!T2787_SAMALMAN_^>a_.
[JB/PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T4823_GREAT AND SMALL_^>a_.
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DR JEKYLL AND MR HYDE
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_^<b_1._^>b_ Film (1932). Paramount. Prod and dir Rouben Mamoulian, starring Fredric March, Miriam Hopkins, Rose Hobart. Screenplay Samuel Hoffenstein, Percy Heath, based on _^<i_Strange Case of Dr. Jekyll and Mr. Hyde_^>i_ (_^<b_1886_^>b_) by
Robert Louis _^<a_!T5731_STEVENSON_^>a_. 98 mins, cut to 90 mins, cut to 81 mins. B/w._^<n__^<n_While Stevenson's suggestion is that civilization may be only skin-deep, his tale of a decent, prim society doctor, Dr Jekyll, who transforms himself
with a new drug into the brutal libertine, Mr Hyde, does not exactly abandon the religious concept of original sin; it does, however, reconcile it with 19th-century scientific thought, calling on Darwin (humanity's animal heritage) and prefiguring
Freud (the id sometimes overwhelming the ego). Silent film versions (made in 1908, 1910, 1912, 1913 and three in 1920) were usually taken from one of the several melodramatic stage productions rather than directly from the original novel, and
tended to present Hyde (as in the 1920 version played by John Barrymore) as a caricature of evil -- that is, as a victim of his own Original Sin._^<n__^<n_In Mamoulian's 1932 version, which remains the most interesting, Hyde's appearance is almost
that of Neanderthal Man (> _^<a_!T206_APES AND CAVEMEN_^>a_), and his joyfully ferocious behaviour results not from inherent evil but from uncontrollable primitive drives. The most compelling of these is sexual -- this is one of the classic
_^<i_loci_^>i_ of the theme of _^<a_!T2115_SEX_^>a_ in sf -- though as the film progresses it is accompanied by an increasing capacity for cruelty. All this comments, apparently deliberately, on the repressed society in which Jekyll has been
reared. The film, atmospheric and convincing, is an acknowledged classic, especially famous for the heartbeats on the soundtrack and the convincing transformation scenes. When re-released after the Hollywood Production Code was established in 1934,
it had 10 minutes cut (sexual censorship), seldom restored since._^<n__^<n__^<b_2._^>b_ Film (1941). MGM. Dir Victor Fleming, starring Spencer Tracy, Ingrid Bergman. Screenplay John Lee Mahin. 127 mins. B/w._^<n__^<n_Growing pressures of censorship
took some of the sexual edge from this glossy remake and, although the film is still gripping -- largely because of Bergman's appealing vulnerability as the tart -- it seems bland after the raw energy of Mamoulian's version._^<n__^<n__^<b_3._^>b_
Subsequent film versions -- including _^<i_The Two Faces of Dr Jekyll_^>i_ (1960; vt _^<i_House of Fright_^>i_ US), which had a plain Jekyll turning into a handsome Hyde, _^<i_The Strange Case of Dr Jekyll and Mr Hyde_^>i_ (1967), a made-for-tv
film, _^<i_I, Monster_^>i_ (1970), _^<i_Dr Jekyll and Sister Hyde_^>i_ (1971), where Martine Beswick plays Hyde as a woman in a film seemingly designed for fetishists, _^<i_The Man with Two Heads_^>i_ (1972; vt _^<i_Dr Jekyll and Mr Blood_^>i_),
_^<i_Dr Black and Mr Hyde_^>i_ (1975) and _^<i_Docteur Jekyll et les femmes_^>i_ (1981; vt _^<i_The Blood of Dr Jekyll_^>i_), a particularly perverse version dir Walerian Borowczyk -- have simply been variations of the formula, some more ingenious
than others, but none with the impact of the 1932 production. [PN/JB]_^<n__^<n_
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DR. M
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Film (1989). NEF Filmproduktion/Ellepi Film/Clea Productions. Dir Claude Chabrol, starring Alan Bates, Jennifer Beals, Jan Niklas, Hanns Zischler. Screenplay Sollace Mitchell from a story by Thomas Bauermeister, inspired by _^<i_Doktor Mabuse, der
Spieler_^>i_ (_^<b_1920_^>b_ ; trans Lilian A. Clare as _^<i_Dr.Mabuse, Master of Mystery_^>i__^<b_1923_^>b_ UK) by Norbert Jacques (1880-1954). 116 mins. Colour._^<n__^<n_Although in clear homage to Fritz _^<a_!T4177_LANG_^>a_'s three _^<b_Dr
Mabuse_^>b_ films (> _^<a_!T1263_DR MABUSE, DER SPIELER_^>a_), this German, Italian and French coproduction is not Langian in style. An epidemic of suicides in a _^<a_!T6337_NEAR-FUTURE_^>a_ Berlin, investigated by detectives from both East
(Zischler) and West (Niklas), is connected to the Theratos holiday camps whose mysterious owner (the "Mabuse" figure, Marsfeldt, played by Bates) has been conditioning holiday-makers by hypnosis to kill themselves, his thesis being that death is
fundamentally what we all crave. Marsfeldt, a perversely charming philosopher surviving thanks to a life-support system, has wide media holdings and intends to brainwash the whole of Berlin into oblivion via a tv broadcast. This sophisticated film
focuses on the dream-like quality of a world dominated by media images and on the difficulty of locating any firm reality within it. [PN]_^<n__^<n_
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DR MABUSE, DER SPIELER
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(vt _^<i_Dr Mabuse, the Gambler_^>i_) Film (1922). Ullstein/UCO Film/Decla Bioscop/UFA. Dir Fritz _^<a_!T4177_LANG_^>a_, starring Rudolf Klein-Rogge, Alfred Abel, Aud Egede Nissen, Gertrud Welcker, Bernhard Goetzke. Screenplay Thea _^<a_!T5401_VON
HARBOU_^>a_, loosely based on_^<b_Doktor Mabuse, der Spieler_^>b_ (1920; trans Lilian A. Clare as _^<i_Dr.Mabuse, Master of Mystery)._^>i_ In 2 parts, 95 mins and 100 mins. B/W._^<n__^<n_Although on the face of it just a sensational melodrama about
a ruthless businessman/scientist intent on world gangsterism, this film anticipates several 20th-century sf themes, both written and filmed. It pictures a Germany sinking into anarchy and corruption, ready to be exploited by a man-more of an evil
genius -- to whom chaos is almost an end in itself. Mabuse (Klein-Rogge) has strong hypnotic powers and can summon visions to control the weak. The _^<a_!T1370_DYSTOPIA_^>a_ depicted looks forward to any number of sf books and films. The
chaos-lover whose weapons are as much psychological as technological seems to anticipate, for example, the novels of Alfred _^<a_!T568_BESTER_^>a_. The idea of a decaying society controlled and exploited by a secret group -- the essence of cultural
_^<a_!T1795_PARANOIA_^>a_ -- appears throughout sf, often in the early novels of C.M. _^<a_!T6353_KORNBLUTH_^>a_ and Frederik _^<a_!T1937_POHL_^>a_, for example. The film shows how artistically potent the themes of pulp fiction can be when
distilled and concentrated, and imaged with such ferocity. In Part One, _^<i_Ein Bild der Zeit_^>i_ ["An Image of our Time"], Mabuse and his web of henchmen penetrate and corrupt society at all levels. In Part Two, _^<i_Inferno -- Menschen der
Zeit_^>i_ ["Inferno -- Men of our Time"], Mabuse becomes wholly mad and is incarcerated in an asylum. Lang, who went on to make the sf films _^<a_!T2926_METROPOLIS_^>a_ (1926) and _^<i_Die_^<a_!T1609_FRAU IM MOND_^>a__^>i_ (1929; vt _^<i_The Woman
in the Moon_^>i_), also made two Mabuse sequels, _^<i_Das Testament des Dr Mabuse_^>i_ (1933; vt _^<i_The Testament of Dr Mabuse_^>i_) and _^<i_Die_^<a_!T5912_TAUSEND AUGEN DES DR MABUSE_^>a__^>i_ (1960; vt _^<i_The Thousand Eyes of Dr Mabuse_^>i_;
vt _^<i_The Diabolical Dr Mabuse_^>i_). In the early 1960s five further Mabuse films were made in Germany, not by Lang. [PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T1262_DR. M_^>a_.
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DR MABUSE THE GAMBLER
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> _^<a_!T1263_DR MABUSE, DER SPIELER_^>a_._^<n__^<n_
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DR NO
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Film (1962). Eon/United Artists. Dir Terence Young, starring Sean Connery, Ursula Andress, Joseph Wiseman, Jack Lord. Screenplay Richard Maibaum, Johanna Harwood, Berkely Mather, based on _^<i_Dr No_^>i_ (_^<b_1958_^>b_) by Ian
_^<a_!T1524_FLEMING_^>a_. 105 mins. Colour._^<n__^<n_This UK film was the first in the hugely successful _^<b_James Bond_^>b_ series, at first loosely based on Fleming's novels and later featuring original stories. The villain, whose cinematic
forebears include Fu Manchu, Captain Nemo and _^<a_!T2926_METROPOLIS_^>a_'s Rotwang -- like Rotwang, Dr No possesses mechanical hands -- attempts to blackmail the USA, working from a remote Caribbean island, by deflecting its Cape Canaveral rockets
off course. UK secret agent Bond brings his plans to an end by boiling him in a pool containing an atomic reactor. _^<i_DN_^>i_'s mordant humour, its sexism, its visual flashiness and the foiled attempt by a supervillain to rule the world with a
superscientific device set the pattern for the entire series, most of which are marginally sf in the pulp-adventure manner of _^<b_Doc Savage_^>b_ (> _^<a_!T1258_DOC SAVAGE MAGAZINE_^>a_). The two most obviously sciencefictional sequels are
_^<a_!T6244_YOU ONLY LIVE TWICE_^>a_ (1967) and _^<a_!T3028_MOONRAKER_^>a_ (1979). [JB]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T726_CINEMA_^>a_.
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DOCTOROW, E(DGAR) L(AURENCE)
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(1931- ) US writer who remains best known for _^<i_Ragtime_^>i_ (_^<b_1975_^>b_), a novel that evokes the past with an hallucinatory power which edges its real-life and fictional characters into a fable-like milieu (>
_^<a_!T1372_FABULATION_^>a_). His first sf novel, _^<i_Big as Life_^>i_ (_^<b_1966_^>b_), depicts satirically what happens in New York when enormous beings suddenly appear in the city streets; _^<i_The Waterworks_^>i_ (_^<b_1994_^>b_), set in a
_^<a_!T5694_STEAMPUNK_^>a_ version of the 19th century city, is an intricate tale of conspiracy and _^<a_!T5851_SUSPENDED ANIMATION_^>a_ [JC]_^<n__^<n_
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DR STRANGELOVE OR: HOW I LEARNED TO STOP WORRYING...
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Full title: _^<i_Dr. Strangelove: or How I Learned to Stop Worrying and Love the Bomb_^>i__^<n__^<n_ Film (1963). Hawk/Columbia. Prod and dir Stanley _^<a_!T4135_KUBRICK_^>a_, starring Peter Sellers, George C. Scott, Sterling Hayden, Keenan Wynn,
Slim Pickens. Screenplay Kubrick, Terry Southern (1924- ), Peter _^<a_!T4663_GEORGE_^>a_, based on _^<i_Two Hours to Doom_^>i_ (_^<b_1958_^>b_; vt _^<i_Red Alert_^>i_ US) by Peter Bryant (pseudonym of Peter George). 94 mins. B/w._^<n__^<n_This,
the first of Kubrick's three sf films, has worn well, with its curious blend of black comedy, documentary realism and almost poetic homage to the very machines (B-52s and their nuclear cargo) that he shows as destroying the world. The original
novel was a serious story about an insane US general who launches a pre-emptive attack on Russia without presidential authority, but Kubrick opted for a grotesquely satirical and very funny treatment, helped by a strong cast including Peter
Sellers, who plays three roles: one is Dr Strangelove, a sinister ex-Nazi, generally seen as burlesquing a distinguished real-life _^<a_!T2880_SCIENTIST_^>a_. The appalling point of the film is the way the vision of Armageddon attracts the very
protagonists whose job it is to prevent it: Strangelove is sexually aroused by the idea of cleansing _^<a_!T4482_HOLOCAUST_^>a_, and it excites the lunatic general and even the bomber pilot (Pickens), who rides his own bomb down with Texan whoops
of triumph. At the end of the movie Vera Lynn's voice rises plangently into "We'll Meet Again" as the screen is covered with mushroom clouds. The novelization is _^<i_Dr Strangelove or: How I Learned to Stop Worrying and Love the Bomb_^>i_ *
(_^<b_1963_^>b_) by Peter George._^<n__^<n_The film received the 1965 _^<a_!T4551_HUGO_^>a_ for Best Dramatic Presentation. [PN/JB]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T726_CINEMA_^>a_; _^<a_!T1795_PARANOIA_^>a_.
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DOCTOR WHO
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UK tv series (1963- ). BBC TV. Created by Sydney Newman, Donald Wilson. 1st-season prod Verity Lambert, story editor David Whitaker; the Doctor played by William Hartnell Nov 1963-Oct 1966. 26 seasons to date, 695 episodes to Dec 1989, mostly 25
mins per episode. Seasons 1-6 b/w; subsequent seasons colour._^<n__^<n_In this longest-running UK sf tv series for children, the Doctor, generally known as Dr Who because of the show's enigmatic title (it is not actually his name), eventually
revealed as a Time Lord, travels back and forth in time and space; he is accompanied by various people (sometimes children, sometimes men, usually young women), in his _^<a_!T6018_TIME MACHINE_^>a_, the TARDIS, an acronym for Time and Relative
Dimensions in Space. Stories have varied in length from 1 to 14 episodes, the most common length through 1974 being 6 episodes, and subsequently 4._^<n__^<n_The first episode (Nov 1963) concerned a young girl who puzzles two of her schoolteachers
with her unusual knowledge of history. They follow her into what appears to be a police telephone box but is in fact a time machine (whose interior is many times larger than its exterior) owned by her irritable and eccentric grandfather, the
Doctor. As the machine cannot be properly controlled they are all whisked off to the Stone Age, where they remain for the following 3 episodes._^<n__^<n_The series had a modest following at first; it was not until the second story, _^<i_The Dead
Planet_^>i_, written by Terry _^<a_!T3140_NATION_^>a_, that it achieved mass popularity, mainly because of the introduction of the _^<a_!T1035_DALEKS_^>a_. Until 1990 the series returned to UK tv every year; it was not introduced to US tv until the
Tom Baker episodes that were played there in 1982, when it quickly developed a cult following._^<n__^<n_(A previous attempt in the 1970s to export the programme to the USA -- a package of the Jon Pertwee episodes -- had flopped.)_^<n__^<n_Because
the Doctor has the ability periodically to regenerate his entire body, the series has been able to outlast its original star, the crusty William Hartnell, and to introduce a succession of new leading men: Patrick Troughton (Nov 1966-June 1969), Jon
Pertwee (Jan 1970-June 1974), Tom Baker (Dec 1974-Mar 1981), Peter Davison (Jan 1982-Mar 1984), Colin Baker (Mar 1984-Dec 1986) and Sylvester McCoy (Sep 1987 onwards). Peter Cushing took the role in two films, _^<a_!T1269_DR WHO AND THE DALEKS_^>a_
(1965) and _^<a_!T1036_DALEKS: INVASION EARTH 2150 A.D._^>a_ (1966); Richard Hurndall took the place of the late Hartnell in _^<i_The Five Doctors_^>i_ (1983); and Michael Jayston played the Doctor's evil incarnation from the future in the
14-episode _^<i_The Trial of a Time Lord_^>i_ (1986)._^<n__^<n_While the b/w episodes featuring Hartnell and Troughton are spikier and stranger, the show probably hit its peak between the Pertwee and Davison versions, with Tom Baker's long-lived,
Harpo-Marxish Time Lord the most popular of all and the writers of the 1970s gradually revealing more of the secrets of the Time Lords that had been hinted at since the first. In the late 1980s the show lost direction (some say thanks to the
tiredness of John Nathan-Turner's regime as producer, begun Aug 1980) and the BBC experimented with it -- lengthening it, moving it from its long-established Saturday teatime slot to a weekday, and, finally, putting it on an indefinite suspension
where, neither cancelled nor renewed, it remains as of 1994.A 30th anniversary tv programme planned for 1993 was shelved at the last minute, though there was a Doctor Who radio drama in 1993. While early seasons were 10 months long, in the 1970s
most seasons were 6-7 months, and from 1982 they were 3 months._^<n__^<n_Although the programme has long since settled into a pattern, with stories usually featuring at least one monster, there has been plenty of room for experiment. The authors
have unblushingly pirated hundreds of ideas from _^<a_!T2033_PULP-MAGAZINE_^>a_ sf, but often make intelligent and sometimes quite complex use of them. It seems probable that, certainly in the 1970s, the programme attracted as many adult viewers as
children. With the increasing sophistication of the scripts and the expertise of the special effects and make-up -- from which many other programmes could learn a great deal about what can be done on a low budget -- _^<i_DW_^>i_ became a notably
self-confident series, juggling expertly with many of the great tropes and images of the genre. It is the most successful _^<a_!T2342_SPACE OPERA_^>a_ in the history of tv, not excluding _^<a_!T2429_STAR TREK_^>a_. Storylines often feature
political _^<a_!T2812_SATIRE_^>a_. At its worst merely silly, at its best it has been spellbinding._^<n__^<n_Other notable cast members over the years have included Carole Ann Ford (the Doctor's granddaughter), Frazer Hines (Jamie), Anneke Wills
(Polly), Michael Craze (Ben), Deborah Watling (Victoria), Wendy Padbury (Zoe), Nicholas Courtney (the Brigadier), Katy Manning (Jo), Roger Delgado (the Doctor's great enemy, the Master), Elizabeth Sladen (Sarah Jane), Louise Jameson (Leela), John
Leeson (the voice of K-9, the Doctor's robot dog, one of the most successful of the media's cute _^<a_!T2646_ROBOTS_^>a_), Mary Tamm (Romana), Lalla Ward (the regenerated Romana), Sarah Sutton (Nyssa), Janet Fielding (Tegan), Nicola Bryant (Peri),
Anthony Ainley (the Master again), Bonnie Langford (Mel) and Sophie Aldred (Ace). Producers of the series after Verity Lambert (who lasted into the 3rd season) have included Innes Lloyd, Peter Bryant, Barry Letts, Philip Hinchcliffe, Graham
Williams and John Nathan-Turner. Story editors, all of whom have written episodes, have included Dennis Spooner, Gerry _^<a_!T1096_DAVIS_^>a_, Derrick Sherwin, Terrance Dicks (1968-74), Robert Holmes, Anthony Read, Douglas _^<a_!T31_ADAMS_^>a_,
Christopher H. Bidmead, Eric Saward (1982-6) and Andrew Cartmell. Other writers have included Terry Nation, David Whitaker, John Lucarotti, Brian Hayles, Kit _^<a_!T1834_PEDLER_^>a_, Malcolm Hulke, Don Houghton, Robert Sloman, Bob Baker and Dave
Martin, Robert Banks Stewart, David Fisher, Stephen _^<a_!T1689_GALLAGHER_^>a_, Johnny Byrne, Terence Dudley, Peter Grimwade, Pip and Jane Baker, and Ben Aaronovitch._^<n__^<n_There are now very many spin-off books from the series, ranging from
episode guides through annuals, encyclopedias, scholarly studies and published scripts to a _^<i_TARDIS_^>i_ cookbook. There is a magazine, _^<i_Dr Who Monthly_^>i_, with more than 160 issues. All but four stories have now been novelized, with 151
titles published from the 1970s through late 1990. (The un-novelized scripts are "The Pirate Planet"by Douglas Adams, "City of Death" by Douglas Adams and Graham Williams writing as David Agnew, "Resurrection of the Daleks" by Eric Saward and
"Revelation of the Daleks"by Eric Saward. In 1991, most existing scripts having been novelized, a post-tv sequence of releases, _^<b_The New Doctor Who Adventures_^>b_, was instituted, the first sequence being the _^<b_Timewyrm_^>b_ series:
_^<i_Timewyrm: Genesys_^>i_ * (_^<b_1991_^>b_) by John Peel, _^<i_Exodus_^>i_ * (_^<b_1991_^>b_) by Terrance Dicks, _^<i_Apocalypse_^>i_ * (_^<b_1991_^>b_) by Nigel Robinson and _^<i_Revelation_^>i_ * (_^<b_1991_^>b_) by Paul Cornell. A
comprehensive _^<b_Doctor Who_^>b_ bibliography would itself be book-size. [JB/PN/KN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T2127_SHARED WORLDS_^>a_; _^<a_!T5694_STEAMPUNK_^>a_.
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DR WHO AND THE DALEKS
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Film (1965). AARU. Dir Gordon Flemyng, starring Peter Cushing, Roy Castle, Jenny Linden, Roberta Tovey. Screenplay Milton Subotsky, based on the second _^<a_!T1268_DR WHO_^>a_ tv story, 1963-4, the 7-episode _^<i_The Dead Planet_^>i_ by Terry
_^<a_!T3140_NATION_^>a_. 85 mins. Colour._^<n__^<n_Dr Who -- played colourlessly by Cushing as a polite old man -- is inadvertently taken to a dying planet with his granddaughters and an accident-prone young man (Castle) as a result of the latter
falling onto the controls of the Doctor's time-and-space machine, the _^<i_Tardis_^>i_. They find a city occupied by _^<a_!T1035_DALEKS_^>a_ about to wipe out their ancient human enemies, the Thals, with a neutron bomb; despite their fierceness the
Daleks prove ridiculously easy to immobilize. _^<i_DWATD_^>i_ shows something about the 1960s in having Dr Who, famous in later incarnations as a crafty expert in nonviolent resolution of conflict, hawkishly urging the pacifist Thals to war. This
crudely made children's-film remake of the early tv story in which the Daleks made their debut is of interest mainly to _^<b_Dr Who_^>b_ completists wishing to see Cushing in the role, which he never played on tv; though inferior to its original,
it is at least superior to the even more tepid film sequel, _^<a_!T1036_DALEKS: INVASION EARTH 2150 A.D._^>a_ (1966). [PN]_^<n__^<n_
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DOCTOR X
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Film (1932). First National/Warner Bros. Dir Michael Curtiz (1888-1962), starring Lionel Atwill, Fay Wray, Lee Tracy, Preston Foster. Screenplay Robert Tasker, Earl Baldwin, based on a play by Howard W. Comstock and Allen C. Miller. 77 mins.
Original prints two-strip Technicolor, later b/w._^<n__^<n_A series of cannibalistic murders committed when the Moon is full prove, in this blend of sf, _^<a_!T4509_HORROR_^>a_ and the whodunnit, to have been committed by a
_^<a_!T2880_SCIENTIST_^>a_ maddened by the effect of his newly invented synthetic flesh, from which he can grow a temporary artificial arm. Curtiz's customary hard-edged direction enlivens this early, low-budget potboiler. A more sophisticated
version of the central idea is found in _^<a_!T1066_DARKMAN_^>a_ (1990). [JB/PN]_^<n__^<n_
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DR. YEN SIN
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US _^<a_!T2033_PULP MAGAZINE_^>a_. 3 bimonthly issues, May/June-Sep/Oct 1936. Published by Popular Publications; ed Rogers Terrill. _^<i_DYS_^>i_ was a follow-up to an earlier Popular title, _^<i_The_^<a_!T3134_MYSTERIOUS WU FANG_^>a__^>i_ , itself
intended to capitalize on the popularity of Sax _^<a_!T2675_ROHMER_^>a_'s _^<b_Fu Manchu_^>b_; in fact the cover of #1 had originally been painted for the previous title. All issues featured lead novels by Donald E. Keyhoe (1897-1988), whose
several books on flying saucers later helped foment the _^<a_!T5271_UFO_^>a_ craze of the early 1950s. Yen Sin was a conventional yellow-peril supervillain, intent on world conquest with the aid of superscience. His opponent, Michael Traile, had
been accidentally deprived of the ability to sleep, so read a lot. The lead novel of #1 was reprinted by Robert E. _^<a_!T5507_WEINBERG_^>a_ as _^<i_Pulp Classics No. 9_^>i_ (_^<b_1976_^>b_). [MJE/PN]_^<n__^<n_
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DODD, ANNA BOWMAN
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(1855-1929) US writer whose anti-socialist sf novel, _^<i_The Republic of the Future, or Socialism a Reality_^>i_ (_^<b_1887_^>b_), set in AD2050, offers a scathing and comical portrait of egalitarianism brought to the uttermost, resulting in a
technologically advanced antlike society. The tale actively deprecates _^<a_!T1461_FEMINISM_^>a_. [JC]_^<n__^<n_
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DODDERIDGE, ESME
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(1916- ) US writer whose _^<i_The New Gulliver, or The Adventures of Lemuel Gulliver, Jr. in Capovolta_^>i_ (_^<b_1979_^>b_) brings its protagonist into a matriarchal society, dystopian to its male visitor, in which by an ironic role reversal all
the men, who are subservient to women, carry out the child-rearing and sexual-object functions which in the real USA at the time the book was written were generally the roles of women. [JC/PN]_^<n__^<n_
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DOENIM, SUSAN
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[s] > George Alec _^<a_!T6592_EFFINGER_^>a_._^<n__^<n_
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DOLAN, BILL
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> Tom _^<a_!T5609_WILLARD_^>a_._^<n__^<n_
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DOLD, DOUGLAS (MERIWETHER)
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(_^<i_c_^>i_1890-1932/6) US editor and writer, elder brother of Elliott _^<a_!T1277_DOLD_^>a_, with whom in 1915 he joined the Serbian army. As a result of injuries sustained in combat, he gradually became blind, but this affliction did not prevent
him from editing _^<i_The Danger Trail_^>i_ magazine, presiding over Clues, Incorporated (which published _^<i_Clues: A Magazine of Detective Stories_^>i_), or publishing several borderline sf/adventure tales. The last of these appears to have been
"Valley of Sin" in _^<i_Miracle Science and Fantasy Stories_^>i_ (which he also helped edit) in 1931. According to Murray _^<a_!T3326_LEINSTER_^>a_, DD died of pneumonia after his house caught fire and the firemen sprayed him with water.
(1892-1957) US illustrator, son of noted psychiatrist William Elliott Dold (1856-1942) and younger brother of Douglas _^<a_!T1276_DOLD_^>a_. ED studied art at the College of William and Mary in Virginia to 1912, and with his brother joined the
Serbian army in 1915. Although his 44 Art Deco drawings for Harold _^<a_!T4400_HERSEY_^>a_'s _^<i_Night_^>i_ (_^<b_1923_^>b_) are perhaps his finest work, ED is now best remembered for his interior _^<a_!T4593_ILLUSTRATIONS_^>a_ for the early sf
_^<a_!T2033_PULP MAGAZINES_^>a_, also in an Art Deco idiom. Using only black and white (with virtually no greys), he was a master at depicting looming, massive, superbly detailed and intricate _^<a_!T3540_MACHINES_^>a_ that dwarfed their human
operators, whom he depicted with relative indifference. ED contributed to _^<a_!T277_ASTOUNDING SCIENCE-FICTION_^>a_ 1934-8, and was one of that magazine's finest interior illustrators; his illustrations for its serialization of E.E. "Doc"
_^<a_!T2269_SMITH_^>a_'s _^<i_Skylark of Valeron_^>i_ (1934 _^<i_ASF_^>i_; _^<b_1949_^>b_) are considered classics. He edited, did colour covers and wrote a lead story for Hersey's short-lived _^<a_!T2974_MIRACLE SCIENCE AND FANTASY STORIES_^>a_
(1931). His last sf appearances were in 1941, when he painted covers for _^<a_!T900_COSMIC STORIES_^>a_ and _^<a_!T5749_STIRRING SCIENCE STORIES_^>a_. [RB/JG]_^<n__^<n__^<n__^<n__^<b_See also:_^>b_ _^<a_!T277_ASTOUNDING SCIENCE-FICTION_^>a_.
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DOLEZAL, ERICH
-T-
[r] > _^<a_!T318_AUSTRIA_^>a_._^<n__^<n_
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DOLINSKY, MIKE
-T-
Working name used by US screenwriter Meyer Dolinsky (1923-1993?) for his sf novel, _^<i_Mind One_^>i_ (_^<b_1972_^>b_), in which two psychiatrists discover that a drug meant to treat psychosis actually engenders _^<a_!T5924_TELEPATHY_^>a_ (_^<i_see
also_^>i_ _^<a_!T6697_ESP_^>a_), and find themselves relating warmly to each other (they are of opposite sexes); as one of them is a Jesuit priest, an element of _^<a_!T2551_RELIGION_^>a_ soon enriches the tale. As Meyer Dolinsky, MD wrote 3
episodes for the tv series _^<i_The_^<a_!T1742_OUTER LIMITS_^>a__^>i_ . [JC]_^<n__^<n_
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DOLPIN, REX
-T-
[r] > Peter _^<a_!T2829_SAXON_^>a_._^<n__^<n_
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DOMECQ, H. BUSTOS
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> Adolfo _^<a_!T614_BIOY CASARES_^>a_; Jorge Luis _^<a_!T704_BORGES_^>a_._^<n__^<n_
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DOMINIK, HANS
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[r] > _^<a_!T4667_GERMANY_^>a_._^<n__^<n_
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DONALDSON, STEPHEN R(EEDER)
-T-
(1947- ) US writer who remains best known for the two formidably ambitious _^<b_Chronicles of Thomas Covenant the Unbeliever_^>b_ high-fantasy sequences. Although he was a _^<a_!T1412_FANTASY_^>a_ writer of central importance in the 1970s and
1980s, and winner of the _^<a_!T3922_JOHN W. CAMPBELL AWARD_^>a_ for most promising writer in 1979, and although characters in _^<b_Mordant's Need_^>b_ (see listing below) shift worlds via gates which arguably work according to sf conventions
governing _^<a_!T3721_MATTER TRANSMISSION_^>a_, SRD did not become of strong sf interest until the publication of the first volumes of his ongoing _^<b_Gap_^>b_ sequence of Galaxy-spanning _^<a_!T2342_SPACE OPERAS_^>a_: _^<i_The Gap into Conflict:
The Real Story_^>i_ (_^<b_1990_^>b_ UK), _^<i_The Gap into Vision: Forbidden Knowledge_^>i_ (_^<b_1991_^>b_), _^<i_The Gap into Power: A Dark and Hungry God Arises_^>i_ (_^<b_1992_^>b_) and _^<i_The Gap into Madness: Chaos and Order
_^>i_(_^<b_1994_^>b_), with at least one further volume, projected. The volumes to date are characterized by a pounding bluntness of prose, a plot-pattern which makes some superficial homage to traditional space opera, and an underlying extremism
in the creation of character (both the villain and the seeming hero are almost supernaturally monstrous) and in the expression of sexual violence. It is hard to predict what dark climax is being mounted. [JC]_^<n__^<n__^<b_Other works:_^>b_ The
_^<b_Chronicles of Thomas Covenant the Unbeliever_^>b_, comprising _^<i_Lord Foul's Bane_^>i_ (_^<b_1977_^>b_), _^<i_The Illearth War_^>i_ (_^<b_1977_^>b_) and _^<i_The Power that Preserves_^>i_ (_^<b_1977_^>b_); its sequel, the _^<b_Second
Chronicles of Thomas Covenant the Unbeliever_^>b_, comprising _^<i_The Wounded Land_^>i_ (_^<b_1980_^>b_), _^<i_The One Tree_^>i_ (_^<b_1982_^>b_) and _^<i_White Gold Wielder_^>i_ (_^<b_1983_^>b_); a slim pendant to the sequences,
_^<i_Gilden-Fire_^>i_ (_^<b_1981_^>b_ chap); _^<i_Daughter of Regals and Other Tales_^>i_ (coll _^<b_1984_^>b_), not to be confused with _^<i_Daughter of Regals_^>i_ (_^<b_1984_^>b_), which prints only the title story of the previous volume;
_^<i_Epic Fantasy in the Modern World: A Few Observations_^>i_ (_^<b_1986_^>b_ chap), nonfiction; the _^<b_Mordant's Need_^>b_ books, in effect one novel published in 2 vols as _^<i_The Mirror of Her Dreams_^>i_ (_^<b_1986_^>b_ UK) and _^<i_A Man
Rides Through_^>i_ (_^<b_1987_^>b_)._^<b_As Reed Stephens:_^>b_ An associational detective-novel sequence comprising _^<i_The Man who Killed his Brother_^>i_ (_^<b_1980_^>b_), _^<i_The Man who Risked his Partner_^>i_ (_^<b_1984_^>b_) and _^<i_The
Man who Tried to Get Away_^>i_ (_^<b_1990_^>b_)._^<b_See also:_^>b_ _^<a_!T1165_DEL REY BOOKS_^>a_; _^<a_!T5875_SWORD AND SORCERY_^>a_.
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DONNE, MAXIM
-T-
> Madelaine _^<a_!T1341_DUKE_^>a_._^<n__^<n_
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DONNELLY, IGNATIUS
-T-
(1831-1901) US writer and politician, famous for his study _^<i_Atlantis: The Antediluvian World_^>i_ (_^<b_1882_^>b_), which was responsible for a considerable resurgence of interest in the legend of _^<a_!T290_ATLANTIS_^>a_, and for _^<i_The Great
Cryptogram_^>i_ (_^<b_1888_^>b_), in which he attempted to prove by cryptographic analysis that Francis _^<a_!T347_BACON_^>a_ wrote Shakespeare's early plays. His most important sf novel was _^<i_Caesar's Column_^>i_ (_^<b_1890_^>b_; early editions
under the pseudonym Edmund Boisgilbert), which countered the _^<a_!T5303_UTOPIAN_^>a_ optimism of Edward _^<a_!T514_BELLAMY_^>a_ with the argument that society was evolving towards greater inequality and catastrophic _^<a_!T5452_WAR_^>a_ rather
than towards peace and plenty. ID wrote two other fantasies of social criticism: _^<i_Doctor Huguet_^>i_ (_^<b_1891_^>b_), in which the racist protagonist exchanges bodies with a Black man, and _^<i_The Golden Bottle_^>i_ (_^<b_1892_^>b_), in which
a gold-making device is instrumental in the overthrow of capitalism. [BS]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T727_CITIES_^>a_; _^<a_!T3460_LOST WORLDS_^>a_; _^<a_!T1939_POLITICS_^>a_; _^<a_!T2297_SOCIAL DARWINISM_^>a_.
Film (1953). Dowling Productions/United Artists. Dir Felix Feist, starring Lew Ayres, Gene Evans, Nancy Davis. Screenplay Feist, based on _^<i_Donovan's Brain_^>i_ (_^<b_1943_^>b_) by Curt _^<a_!T2229_SIODMAK_^>a_. 83 mins. B/w._^<n__^<n_One of
three films based on Siodmak's novel of the same name, the others being _^<i_The_^<a_!T4149_LADY AND THE MONSTER_^>a__^>i_ (1944) and _^<a_!T5348_VENGEANCE_^>a_ (vt _^<i_The Brain_^>i_) (1963). A scientist keeps a dead businessman's brain
artificially alive, but it has an evil, telepathic influence over him. Feist, whose previous sf film was _^<a_!T1166_DELUGE_^>a_ (1933), directs unspectacularly, but gets a good performance from Ayres, who accomplishes the transitions from his
natural to his possessed state very well. The female lead later married Ronald Reagan. Despite its sf elements, the film is more _^<a_!T4780_GOTHIC_^>a_ than scientific -- the brain itself is ludicrous. _^<i_DB_^>i_ was parodied in
_^<i_The_^<a_!T3658_MAN WITH TWO BRAINS_^>a__^>i_ (1983). [JB]_^<n__^<n_
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DONSON, CYRIL
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[r] > _^<a_!T6332_ROBERT HALE LIMITED_^>a_._^<n__^<n_
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DOOMWATCH
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_^<b_1._^>b_ UK tv series (1970-72). BBC TV. Prod Terence Dudley. Series devised by Kit _^<a_!T1834_PEDLER_^>a_, Gerry _^<a_!T1096_DAVIS_^>a_. Starring John Paul, Simon Oates, Robert Powell, Wendy Hall, Joby Blanchard. Writers included Dudley,
Pedler, Davis, Dennis Spooner, Don Shaw, Martin Worth, Brian Hayles, John Gould. Dirs included Dudley, Jonathan Alwyn, David Proudfoot, Lennie Mayne, Eric Hills, Darrol Blake. 3 seasons, 57 50min episodes. Colour._^<n__^<n_In this drama series, the
first about dangers to Earth's _^<a_!T6576_ECOLOGY_^>a_, a group of scientists -- aggressively ready to take on the Establishment and headed by caustic Dr Quist (John Paul) -- is set up as a watchdog over the rest of the scientific community.
Stronger safeguards in the use of everything from chemical weapons and pesticides to new drugs and _^<i_in vitro_^>i_ fertilization are urged, while some lines of research should be abandoned altogether; the not too deeply hidden subtext appeared
to be that scientific research is dangerous _^<i_per se_^>i_. Pedler and Davis departed before the 3rd season, repudiating what they claimed was _^<i_D_^>i_'s increasing lack of seriousness, but in fact from the beginning the hoariest sf
_^<a_!T752_CLICHES_^>a_ had appeared beneath the display of social conscience; apart from its overbearingly moralizing tone there was little difference between _^<i_D_^>i_ and the mad-_^<a_!T2880_SCIENTIST_^>a_ movies of the 1930s and
1940s._^<n__^<n__^<b_2._^>b_ Film (1972). Tigon. Dir Peter Sasdy, starring Ian Bannen, Judy Geeson, John Paul, Simon Oates, George Sanders. Screenplay Clive Exton, based on the BBC TV series. 92 mins. Colour._^<n__^<n_A familiar horror-film plot is
given a fashionable rationale, in what is effectively a feature-film episode of the tv series. Visitors to a fishing village on a remote offshore island are met with hostility; grossly malformed people are being hidden away. The distortions -- in
fact, acromegaly -- have resulted not from the workings of Hell but from the dumping of pituitary growth hormone (intended as an additive to animal feed) in the sea nearby, although the horror stereotypes suggest the two possible causes are
topologically identical. Sasdy directed with style but was handicapped by a banal script. [JB/PN]_^<n__^<n_
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DOONER, PIERTON W.
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(1844-?1907) US writer whose _^<i_Last Days of the Republic_^>i_ (_^<b_1880_^>b_) was the first US Yellow Peril novel, and demonstrates the terribly common dynamic by which a guilty party, or nation, feels compelled to transfer its guilt to the
victim or victim-nation: in 1880, the year of the book's publication, the USA had been using Chinese coolies for some time as forced labour, and in terms of this dynamic it was high time to accuse them of being a menace. In the novel, the coolies
nefariously gain civil rights from cowardly Whites, and use their ill gotten power to gain control of the Pacific coastal states, from which point the collapse of Washington is only a matter of time. [JC]_^<n__^<n_
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DOPPELGANGER
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(vt _^<i_Journey to the Far Side of the Sun_^>i_) Film (1969). Century 21 Productions/Universal. Prods Gerry and Sylvia _^<a_!T164_ANDERSON_^>a_. Dir Robert Parrish, starring Ian Hendry, Roy Thinnes, Patrick Wymark, Lyn Loring, Herbert Lom.
Screenplay by the Andersons, Donald James. 101 mins, cut to 94 mins (US). Colour._^<n__^<n_The first live-action feature from the Anderson production team responsible for a number of tv series featuring puppets in sf adventure scenarios,
_^<i_D_^>i_, though panned by most critics, displays its illogical plot with some style. Scientists discover a counter-Earth, an exact duplicate of Earth that is always hidden on the opposite side of the Sun -- a centuries-old idea that popped up
occasionally in pulp sf, as in _^<i_Split Image_^>i_ (_^<b_1955_^>b_) by Reed _^<a_!T1191_DE ROUEN_^>a_. An expedition is mounted to reach the counter-Earth, and the confusions of the subsequent story, involving sabotage, characters meeting
themselves and apparent conspiracy between the two planets, are compounded by the fact that the story is told in flashbacks by a scientist in a mental asylum, giving a _^<i_Dr Caligari_^>i_-like ambiguity to the whole film. [JB/PN]_^<n__^<n_
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DORER, FRANCES (CATHERINE)
-T-
(? - ) US writer, always with Nancy Dorer, who began to publish work of genre interest with _^<i_When Next I Wake_^>i_ (dated 1978 but _^<b_1979_^>b_) as by Frank Dorn, and whose most ambitious effort was the _^<b_Eagle_^>b_ sequence of sf
adventures, all dated 1979 but published 1980: _^<i_By Daybreak the Eagle_^>i_ (_^<b_1980_^>b_), _^<i_Wings of the Eagle_^>i_ (_^<b_1980_^>b_) and _^<i_Return of the Eagle_^>i_ (_^<b_1980_^>b_). Singletons include _^<i_Appointment with
Yesterday_^>i_ (dated 1978 but _^<b_1979_^>b_) as by Dorn, _^<i_Sunwatch_^>i_ (_^<b_1979_^>b_) as by Dorn, _^<i_Where No Man has Trod_^>i_ (dated 1979 but _^<b_1980_^>b_) and _^<i_Two Came Calling_^>i_ (dated 1979 but _^<b_1980_^>b_).
[JC]_^<n__^<n_
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DORER, NANCY (JANE)
-T-
[r] > Frances _^<a_!T1292_DORER_^>a_._^<n__^<n_
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DORMAN, SONYA (HESS)
-T-
(1924- ) US writer who began publishing sf in 1963 with "The Putnam Tradition" for _^<i_AMZ_^>i_, and who established a reputation in the field for intensely written, sometimes highly metaphorical stories. They are surprisingly unlike her rather
straightforward _^<a_!T1934_POETRY_^>a_, for which she is generally best known; the first of her verse collections was _^<i_Poems_^>i_ (coll _^<b_1970_^>b_). _^<i_Planet Patrol_^>i_ (fixup _^<b_1978_^>b_), a juvenile, is sf. [JC]_^<n__^<n_
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DORN, FRANK
-T-
> Frances _^<a_!T1292_DORER_^>a_._^<n__^<n_
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DORRINGTON, ALBERT
-T-
(1871-? ) UK writer whose death-date is undetermined: he may have been the AD who died in Australia in 1953. He was best known for _^<i_The Radium Terrors_^>i_ (_^<b_1912_^>b_), which combines Yellow Peril fears with the then widespread
fascination for the powers of radium. The plot unmemorably details a conspiracy on the part of the former to use the latter. _^<i_The Half-God_^>i_ (_^<b_1933_^>b_) features super-radium. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Our Lady of the
Leopards_^>i_ (_^<b_1911_^>b_), a fantasy.
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DORSEY, CANDAS JANE
-T-
(1952- ) Canadian writer, arts journalist and social worker, author of three early volumes of poetry and co-editor of _^<i_Tesseracts(3)_^>i_ (anth _^<b_1991_^>b_) with Gerry Truscott (1955- ). CJD began publishing work of genre interest with
"Columbus Hits the Shoreline Rag" in _^<i_Getting Here_^>i_ (anth _^<b_1977_^>b_) ed Rudy Weibe; her terse, complex stories, assembled in _^<i_Machine Sex_^>i_ (coll _^<b_1988_^>b_), polemically re-use and rework sf and fantasy tropes from a
_^<a_!T1461_FEMINIST_^>a_ perspective, engaging most memorably, and fascinatedly, in the title story, "(Learning About) Machine Sex", with the phallocentrisms of much _^<a_!T1015_CYBERPUNK_^>a_. The protagonist of the tale, a computer-design
prodigy and occasional hooker, debuted in CJD's first novel, the undistinguished _^<i_Hardwired Angel_^>i_ (_^<b_1987_^>b_), written with Nora Abercrombie (1960- ). [RK]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T5141_CANADA_^>a_.
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DOS(-a-DOS)
-T-
When two books are bound together so that they share one spine, but with their texts printed upside-down in respect to each other, the composite volume is described in the publishing trade as being bound dos-a-dos (literally "back-to-back"). Such a
volume has two front covers and two title pages, which the reader can confirm by turning any example upside-down, revealing a second front cover, right way up, and a second text, likewise. Almost always -- though not invariably -- the format has
been used in sf for paperback originals, the two best known mass-market publishers to have done this being _^<a_!T20_ACE BOOKS_^>a_ in their _^<b_Ace Doubles_^>b_ series and _^<a_!T6057_TOR BOOKS_^>a_ in their _^<b_Tor Doubles_^>b_ series; some
_^<a_!T2261_SMALL PRESSES _^>a_have also engaged in the practice. For the convenience of readers and collectors we use the word "dos" in our book ascriptions in this encyclopedia to designate any edition of a title making up one half of a dos-a-dos
twin._^<n__^<n_A problem arises. Towards the end of their existence as a line, _^<b_Tor Doubles_^>b_ began to appear with the 2 titles presented sequentially; in strict bibliographical terms these late issues were, in fact, anthologies, just as two
earlier series -- the _^<b_Belmont Doubles_^>b_ and the _^<b_Dell Binary Stars_^>b_ -- were, strictly speaking, anthologies. If -- as was almost never the case -- any of the individual titles reprinted in these series had been originally published
as books, the resulting volume would have then been technically describable as an omnibus. But readers do not tend to think of the volumes in these series as being either anthologies or omnibuses; readers (and we) tend to think of them as two
titles bound together. We have therefore -- in deliberate violation of bibliographical protocol -- extended the use of the word "dos" in our book ascriptions to include all titles of publishers' series which "feel" "dos"-like._^<n__^<n_In this
encyclopedia we designate as "dos" all genuine dos-a-dos bindings; we also designate as "dos" all other series-linked bindings that contain two but no more than two titles, each title being named on the cover. [JC/PN]_^<n__^<n_
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DOUBLEDAY
-T-
US general publisher which in the 1950s was one of the first US hardcover houses to institute an sf line, an early title being _^<i_Pebble in the Sky_^>i_ (_^<b_1950_^>b_), which was Isaac _^<a_!T270_ASIMOV'S_^>a_ first novel. (The Doubleday
imprint, Doubleday & Company, Inc., should not be confused with that of their associated company, Nelson Doubleday, Inc., publishers of the US _^<a_!T2054_SCIENCE FICTION BOOK CLUB_^>a_.) Once the Doubleday line was established it published about
30 titles a year, its authors in due course including many who at the time were comparatively unknown, such as George Alec _^<a_!T6592_EFFINGER_^>a_, Octavia _^<a_!T5105_BUTLER_^>a_, John _^<a_!T981_CROWLEY_^>a_, M. John _^<a_!T4319_HARRISON_^>a_,
Stephen _^<a_!T4066_KING_^>a_, Josephine _^<a_!T2831_SAXTON_^>a_ and Kate _^<a_!T5606_WILHELM_^>a_. D also published many established authors, some of whom had previously published mainly in paperback: they included Avram _^<a_!T1082_DAVIDSON_^>a_,
Philip K. _^<a_!T1222_DICK_^>a_, Harry _^<a_!T4316_HARRISON_^>a_, Robert A. _^<a_!T4376_HEINLEIN_^>a_, C.M. _^<a_!T6353_KORNBLUTH_^>a_, Barry _^<a_!T3629_MALZBERG_^>a_, Bob _^<a_!T2153_SHAW_^>a_ and Roger _^<a_!T6264_ZELAZNY_^>a_. D's anthology
series have included _^<a_!T720_CHRYSALIS_^>a_, _^<a_!T5288_UNIVERSE_^>a_ and _^<b_Nebula Award Stories_^>b_ (> _^<a_!T3147_NEBULA_^>a_). D was both loved and loathed by sf authors: loved because it was a reliable market not afraid to take risks
with innovative material that was not obviously commercial, loathed because its advances were small, its book production often cheap, and its book promotion negligible. In 1981 D (whose sf editor for the difficult years 1977-89 was Pat LoBrutto)
halved the size of the list. In 1986 it and associated companies, including Dell/Delacorte and the Science Fiction Book Club (but not the New York Mets) were sold for $475 million to the German company Bertelsmann, which already owned
_^<a_!T397_BANTAM BOOKS_^>a_ and which thereby became one of the largest sf/fantasy publishers in the USA, with around 170 titles a year._^<n__^<n_In 1987 the old Doubleday line was revamped, the imprint now being called _^<b_Doubleday
Foundation_^>b_ after Isaac Asimov's _^<b_Foundation_^>b_ books (they had not initially been published by Doubleday, but Asimov had treated the firm as his main publisher from 1950, and remained faithful to it until his death). The new list was
very much more consciously innovative than its predecessors, and ambitious novels by authors like Dan _^<a_!T2219_SIMMONS_^>a_ and Sheri S. _^<a_!T5936_TEPPER_^>a_ soon began to appear; books under this imprint often went on to be paperbacked by
_^<b_Bantam Spectra_^>b_. During 1991, however, _^<b_Doubleday Foundation_^>b_ was merged into _^<b_Bantam Spectra_^>b_, and the Doubleday name ceased to be relevant to sf publishing. [PN]_^<n__^<n_
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DOUGHTY, CHARLES M(ONTAGU)
-T-
(1843-1926) UK explorer and writer whose _^<i_Travels in Arabia Deserta_^>i_ (_^<b_1888_^>b_) profoundly influenced T.E. Lawrence (1888-1935), among others. The difficult, archaic language of CMD's later work, a series of book-length poems, has kept
them from wide circulation. Two are of some sf interest: _^<i_The Cliffs_^>i_ (_^<b_1909_^>b_) features an airborne "Persanian" invasion of England, which is successfully repelled; in _^<i_The Clouds_^>i_ (_^<b_1912_^>b_) a similar invasion is
successful, and England occupied. Both poems are designed as warnings to complacent Britons, and share many of the characteristics of the _^<a_!T3796_INVASION_^>a_ stories popular before WWI. [JC]_^<n__^<n_
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DOUGHTY, FRANCIS W(ORCESTER)
-T-
(1850-1917) US numismatist, scholar and miscellaneous writer whose well written, ingenious and original dime novels (> _^<a_!T1236_DIME-NOVEL SF_^>a_) have often been considered the finest examples of the category. His better stories present a
succession of highly imaginative strokes, often with good historical backgrounds. _^<i_"I"_^>i_ (_^<b_1887_^>b_) describes a double quest, for a beautiful She Who Is Never Seen and for a remarkable manuscript hidden by Saint Cyprian. _^<i_The
Cavern of Fire_^>i_ (_^<b_1888_^>b_) uses as its departure points (a) the theory that the Mound Builders were ancient Greeks and (b) a _^<a_!T4474_HOLLOW EARTH_^>a_ filled with teratological peoples. _^<i_Two Boys' Trip to an Unknown Planet_^>i_
(_^<b_1889_^>b_) is an astronomical fantasy, often on a mythic level, set on a planet circling Sirius; it may have been a source of motifs for David _^<a_!T3395_LINDSAY_^>a_'s _^<i__^<a_!B9079_A VOYAGE TO ARCTURUS_^>a__^>i_ (_^<b_1920_^>b_).
_^<i_"Where?"_^>i_ (_^<b_1889-90_^>b_) takes place in a strange Antarctica filled with grotesque peoples and superscientific devices reminiscent of Bulwer _^<a_!T3510_LYTTON_^>a_'s _^<i_vril_^>i_. _^<i_3,000 Miles through the Clouds_^>i_
(_^<b_1892_^>b_), which takes elements from Jules _^<a_!T5355_VERNE_^>a_'s _^<i_The Mysterious Island_^>i_ (trans _^<b_1875_^>b_), puts three comrades into wildly imaginative situations in an Arctic crater. Perhaps also by Doughty is _^<i_Al and
his Air-Ship_^>i_ (_^<b_1903_^>b_) as by Gaston Garne, which describes scientifically advanced giants in Antarctica, remarkable flying machines powered by a _^<i_vril_^>i_-like source, and other marvels. An adult sf novel, _^<i_Mirrikh_^>i_
(_^<b_1892_^>b_), although highly imaginative, was not especially successful. [EFB]_^<n__^<n_
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DOUGLAS, CAROLE NELSON
-T-
(1944- ) US writer who began her career as a feature writer 1967-84 for the St Paul _^<i_Pioneer Press_^>i_. Her first novels, like _^<i_Amberleigh_^>i_ (_^<b_1980_^>b_), were historical romances. She has become best known for energetic, layered
high-fantasy tales like _^<i_Six of Swords_^>i_ (_^<b_1982_^>b_), the first volume in her _^<b_Kendric and Irissa_^>b_ sequence, which continues with _^<i_Exiles of the Rynth_^>i_ (_^<b_1984_^>b_), _^<i_Keepers of Edanvant_^>i_ (_^<b_1987_^>b_),
_^<i_Heir of Rengarth_^>i_ (_^<b_1988_^>b_) and _^<i_Seven of Swords_^>i_ (_^<b_1989_^>b_). Though she has been an infrequent author of sf, the _^<b_Probe_^>b_ sequence -- _^<i_Probe_^>i_ (_^<b_1985_^>b_) and _^<i_Counterprobe_^>i_ (_^<b_1988_^>b_)
-- is of some interest for its slow unfolding of the mystery behind the amnesia afflicting a young woman who has _^<a_!T2021_PSI POWERS_^>a_ and who turns out to be what the title says she is: a probe inserted by _^<a_!T102_ALIENS_^>a_ into the
human world to gather data. But love intervenes. It may be the case that CND will never wish to shake herself completely free of romance idioms and plotlines; but, if she does so, she might become one of the significant genre writers of the 1990s.
[JC]_^<n__^<n__^<b_Other works:_^>b__^<i_Fair Wind, Fiery Star_^>i_ (_^<b_1981_^>b_; much exp restored text 1994), pirate tale set partly in the Bermuda Triangle; The _^<b_Crystal_^>b_ books, _^<i_Crystal Days_^>i_ (_^<b_1990_^>b_) and _^<i_Crystal
Nights_^>i_ (coll _^<b_1990_^>b_), associational, with some of the same cast appearing in the _^<b_Midnight Louie_^>b_ fantasy sequence comprising _^<i_Catnap: A Midnight Louie Mystery_^>i_ (_^<b_1992_^>b_) _^<i_Pussyfoo_^>i_ (_^<b_1993_^>b_) and
_^<i_Cat on a Blue Monday _^>i_(_^<b_1994_^>b_); _^<i_Good Night, Mr Holmes_^>i_ * (_^<b_1990_^>b_), _^<i_Good Morning, Irene_^>i_ * (_^<b_1991_^>b_) and _^<i_Irene at Large_^>i_ (_^<b_1993_^>b_), associational pastiches of _^<b_Sherlock
Holmes_^>b_; the projected _^<b_Taliswoman Trilogy_^>b_, beginning with _^<i_Cup of Clay_^>i_ (_^<b_1991_^>b_) and _^<i_Seed Upon the Wind_^>i_ (_^<b_1992_^>b_)._^<b_See also:_^>b_ _^<a_!T5830_SUPERMAN_^>a_.
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DOUGLAS, GARRY
-T-
> Garry _^<a_!T4059_KILWORTH_^>a_._^<n__^<n_
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DOUGLAS, IAIN
-T-
[r] > _^<a_!T6332_ROBERT HALE LIMITED_^>a_._^<n__^<n_
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DOUGLAS, JEFF
-T-
> Andrew J. _^<a_!T3296_OFFUTT_^>a_._^<n__^<n_
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DOUGLAS, (GEORGE) NORMAN
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(1868-1952) UK writer of superb meditative travel books and some fiction, his best known novel being _^<i_South Wind_^>i_ (_^<b_1917_^>b_). _^<i_Unprofessional Tales_^>i_ (coll _^<b_1901_^>b_), as by Normyx, consists mainly of fantasies; but in two
novels of his late maturity he dramatized his strongly misogynist and persuasively "pagan" views in venues familiar to the reader of sf. _^<i_They Went_^>i_ (_^<b_1920_^>b_; rev 1921) subversively promulgates a _^<a_!T5303_UTOPIAN_^>a_ aestheticism
in a land much like doomed Lyonesse. Through the tale of half-divine Linus and his imposition of a rigid civilization upon the world, _^<i_In the Beginning_^>i_ (_^<b_1927_^>b_ Italy), an example of prehistoric sf, expresses -- with a more vigorous
loathing than Thomas Burnett _^<a_!T5863_SWANN_^>a_ could muster 40 years later -- the sense that humanity's rise entailed the destruction of Eden, and of the sentient, pagan, amoral creatures who dwelt there. [JC]_^<n__^<n__^<b_Other works:_^>b_
_^<i_Nerinda_^>i_ (_^<b_1929_^>b_ Italy).
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DOUGLASS, ELLSWORTH
-T-
Probably the pseudonym of Elmer Dwiggins (? -? ), about whom little is known. ED wrote "The Wheels of Dr Ginochio Gyves" (1899 _^<i_Cassell's Magazine_^>i_), about a gyroscopically controlled space vessel, with Edwin _^<a_!T1770_PALLANDER_^>a_.
His sf novel, _^<i_Pharoah's Broker: Being the Very Remarkable Experiences in Another World of Isidor Werner (Written by Himself)_^>i_ (_^<b_1899_^>b_ UK), is an interplanetary romance set on _^<a_!T3677_MARS_^>a_, where parallel
_^<a_!T6717_EVOLUTION_^>a_ has resulted in a society almost identical to that of Egypt in the time of Joseph. In the end the hero, having been a grain-broker in Chicago, is able to take on Joseph's role. [PN/JC]_^<n__^<n_
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DOWDING, HENRY WALLACE
-T-
(?1888-?1967) US writer who was most active in the 1920s. His sf novel, _^<i_The Man from Mars, or Service, for Service's Sake_^>i_ (_^<b_1910_^>b_), is occupied for much of its length with its protagonist's search for a _^<a_!T3535_MCGUFFIN_^>a_
document, but shifts in its later moments to be a long description, on the part of the protagonist's employer, of his time on _^<a_!T3677_MARS_^>a_, which planet is small, quite close to Earth, and _^<a_!T5303_UTOPIAN_^>a_. [JC]_^<n__^<n_
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DOWLING, TERRY
-T-
(1947- ) Australian lecturer in English, tv performer, songwriter and writer. One of the most interesting new voices in local sf, TD is beginning to glean international praise as well. His master's thesis was, unusually for
_^<a_!T315_AUSTRALIA_^>a_, about sf -- its topic was J.G. _^<a_!T378_BALLARD_^>a_ and the Surrealists. "The Man who Walks Away behind the Eyes" (1982 _^<a_!T3314_OMEGA SCIENCE DIGEST_^>a_) inaugurated an sf career that has so far been devoted
exclusively to short fiction (over 30 stories to date); his work was at first too obviously indebted to Cordwainer _^<a_!T2265_SMITH_^>a_ and Jack _^<a_!T5317_VANCE_^>a_, but later developed an individual voice. TD's idiosyncratic but vivid
between-the-lines style is perhaps best displayed in his _^<b_Tyson_^>b_ stories, some of which are collected in _^<i_Rynosseros_^>i_ (coll of linked stories _^<b_1990_^>b_), _^<i_Wormwood_^>i_ (coll of linked stories _^<b_1991_^>b_), _^<i_Blue
Tyson_^>i_ (coll _^<b_1992_^>b_)and _^<i_Twilight Beach_^>i_ (coll of linked stories _^<b_1993_^>b_): though many characters are featured, they tell centrally : of Tom Tyson, captain of the sandship _^<i_Rynosseros_^>i_, in which he roams the
strange, high-tech Ab'o societies of a future Australia's outback, occasionally undergoing mystical epiphanies. With Richard _^<a_!T1153_DELAP_^>a_ and Gil Lamont (1947- ) he edited _^<i_The Essential Ellison_^>i_ (coll _^<b_1987_^>b_) by Harlan
_^<a_!T6641_ELLISON_^>a_and with Van Ikin he put together in _^<i_Mortal Fire: Best Australian SF_^>i_ (anth _^<b_1993_^>b_), which presents the sf of his native land as evolving its own characteristic themes and timbre. [PN]_^<n__^<n_
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DOWNING, PAULA E.
-T-
Working name of US attorney, municipal judge and writer Paula Elaine Downing King (1951- ), who writes also as Paula King; she is married to T. Jackson _^<a_!T4067_KING_^>a_. PED began publishing work of genre interest with "Loni's Promise" for
_^<i_Discoveries_^>i_ in 1989. Her first novel, _^<i_Mad Roy's Light_^>i_ (_^<b_1990_^>b_) as Paula King, is an sf adventure featuring a human woman who must come to terms with her life within an interstellar trade guild while at the same time
striving to comprehend the _^<a_!T98_ALIEN_^>a_ Li Fawn, who mercilessly use biological engineering (> _^<a_!T4657_GENETIC ENGINEERING_^>a_) to modify other species for their own purposes. Her second, _^<i_Rinn's Star_^>i_ (_^<b_1990_^>b_), plays
something of a game of words with its title, as the telepathic protagonist Rinn, who lives on an interesting planet and travels between the stars, also sees her own personal star wax and wane erratically as she shoots from one culture to another,
each having a different attitude towards her background and her gift. In _^<i_Flare Star_^>i_ (_^<b_1992_^>b_) a colony planet is devastated when its sun flares; _^<i_Fallway_^>i_ (_^<b_1993_^>b_) treated similar material; and _^<i_A Whisper of
Time_^>i_ (_^<b_1994_^>b_) set up a complex First Contact plot (>> _^<a_!T822_COMMUNICATIONS_^>a_) involving an alien orphan who, brought up on Earth, has fantasies about Mayan ruins, which resemble her own deepest memories of some other place.
[JC]_^<n__^<n_
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DOWNMAN, FRANCIS
-T-
> Ernest _^<a_!T3304_OLDMEADOW_^>a_._^<n__^<n_
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DOYLE, [Sir] ARTHUR CONAN
-T-
(1859-1930) UK writer known primarily for his work outside the sf field and in particular for his _^<b_Sherlock Holmes_^>b_ stories. Born in Edinburgh and educated by Jesuits, he studied medicine at Edinburgh University and initiated his own
practice in Portsmouth in 1882, supplementing his income by writing. The first _^<b_Holmes_^>b_ novel was _^<i_A Study in Scarlet_^>i_ (_^<b_1887_^>b_). His historical novels, _^<i_Micah Clarke_^>i_ (_^<b_1889_^>b_) and _^<i_The White Company_^>i_
(_^<b_1891_^>b_), were relatively unsuccessful, but the first series of _^<b_Holmes_^>b_ short stories in _^<i_The_^<a_!T5773_STRAND MAGAZINE_^>a__^>i_ (1891-2) secured his popularity. His interest in subjects on the borderline between science and
mysticism is evident in a potboiler about supernatural vengeance from the mysterious East, _^<i_The Mystery of Cloomber_^>i_ (_^<b_1889_^>b_), and in a short novel of telepathic vampirism, _^<i_The Parasite_^>i_ (_^<b_1895_^>b_). Although the
_^<b_Holmes_^>b_ stories suggest an incisively analytical and determinedly rationalistic mind, ACD was fascinated by all manner of occult disciplines, including hypnotism, Theosophy and oriental mysticism; following the death of his son he became
an ardent convert to Spiritualism._^<n__^<n_ACD's first _^<a_!T2878_SCIENTIFIC ROMANCE_^>a_, _^<i_The Doings of Raffles Haw_^>i_ (_^<b_1891_^>b_), is a hurriedly written account of a gold-maker who becomes disenchanted with the fruits of his
philanthropy. His early sf short stories include "The Los Amigos Fiasco" (1892), in which an experimental electric chair "supercharges" a criminal instead of killing him, and the personality-exchange story "The Great Keinplatz Experiment" (1894).
ACD abandoned sf during the early decades of his literary success but returned before WWI to make his most important contribution to the genre: following "The Terror of Blue John Gap" (1910) -- about a monstrous visitor from an underground world --
and a satirical account of "The Great Brown-Pericord Motor" (1911) came _^<i_The Lost World_^>i_ (_^<b_1912_^>b_), a classic _^<a_!T3460_LOST-WORLD_^>a_ novel in which the redoubtable Professor Challenger leads an expedition to a plateau in South
America where dinosaurs still survive. In a sequel, _^<i_The Poison Belt_^>i_ (_^<b_1913_^>b_), the Earth faces disaster as a result of atmospheric poisoning. "The Horror of the Heights" (1913) is an account of strange forms of life inhabiting the
upper atmosphere. The novelette "Danger!" (1914; reprinted in _^<i_Danger!, and Other Stories_^>i_, coll _^<b_1918_^>b_) is Doyle's contribution to the imminent-_^<a_!T5452_WAR_^>a_ genre, anticipating submarine attacks on shipping -- a prophecy
received sceptically by the Admiralty but validated within months._^<n__^<n_ACD's post-WWI passion for the paranormal, which led him to such excesses as the endorsement of Elsie Wright's and Frances Griffiths's clumsily faked photographs of the
"Cottingley fairies" in _^<i_The Coming of the Fairies_^>i_ (_^<b_1922_^>b_), strongly infects his later sf. In _^<i_The Land of Mist_^>i_ (_^<b_1926_^>b_) Challenger is converted to spiritualism; the remaining stories in the series-which can be
found alongside the titular occult romance in _^<i_The Maracot Deep and Other Stories_^>i_ (coll _^<b_1929_^>b_) as well as in _^<i_The Professor Challenger Stories_^>i_ (omni _^<b_1952_^>b_; vt _^<i_The Complete Professor Challenger_^>i_) -- are
weak, though "When the World Screamed" (1929) is a striking early _^<a_!T3411_LIVING-WORLD_^>a_ tale._^<n__^<n_ACD's earlier short stories, including numerous fantasies and a few trivial sf stories not mentioned above, exist in many collections,
including _^<i_The Captain of the Polestar and Other Tales_^>i_ (coll _^<b_1890_^>b_), _^<i_The Great Keinplatz Experiment, and Other Stories_^>i_ (coll _^<b_1894_^>b_ US; rev vt _^<i_The Great Keinplatz Experiment, and Other Tales of Twilight and
the Unseen_^>i_ 1919 US), and _^<i_Round the Red Lamp: Being Facts and Fancies of Medical Life_^>i_ (coll _^<b_1894_^>b_), most of whose contents are reprinted in _^<i_The Conan Doyle Stories_^>i_ (coll _^<b_1929_^>b_). _^<i_The Best Science
Fiction of Arthur Conan Doyle_^>i_ (coll _^<b_1981_^>b_), ed Charles G. _^<a_!T5488_WAUGH_^>a_ and Martin H. _^<a_!T4842_GREENBERG_^>a_, collects almost all of his shorter sf; one notable exception is an interesting essay in alternative history (>
_^<a_!T131_ALTERNATE WORLDS_^>a_), "The Death Voyage" (_^<i_The Strand_^>i_ 1929)._^<n__^<n_Since _^<b_Sherlock Holmes_^>b_ fell into the public domain the character has been popular in sf stories, appearing in key roles in, among others,
_^<i_Morlock Night_^>i_ * (_^<b_1979_^>b_) by K.W. _^<a_!T3901_JETER_^>a_, _^<i_Sherlock Holmes' War of the Worlds_^>i_ * (_^<b_1975_^>b_) by Manly Wade and Wade _^<a_!T5525_WELLMAN_^>a_, _^<i_Exit Sherlock Holmes_^>i_ * (_^<b_1977_^>b_) by Robert
Lee _^<a_!T4243_HALL_^>a_, _^<i_Dr Jekyll and Mr Holmes_^>i_ * (_^<b_1979_^>b_) by Loren D. Estleman and _^<i_Time for Sherlock Holmes_^>i_ * (_^<b_1983_^>b_) by David _^<a_!T1358_DVORKIN_^>a_. _^<i_Druid's Blood_^>i_ (_^<b_1988_^>b_) by Esther M.
Friesner features Holmes (here called Brihtric Donne) in an alternate world where _^<a_!T3598_MAGIC_^>a_ works; ACD himself appears as Arthur Elric Boyle. The first novel of this "revival", _^<i_The Seven-Per-Cent Solution_^>i_ (_^<b_1974_^>b_) by
Nicholas Meyer is of sf interest in that it involves early psychoanalysis (> _^<a_!T2023_PSYCHOLOGY_^>a_) and the father of psychoanalysis himself, Sigmund Freud (1856-1939). A relevant anthology is _^<i_Sherlock Holmes through Time and Space_^>i_
(anth _^<b_1984_^>b_) ed Isaac _^<a_!T268_ASIMOV_^>a_, Martin H. _^<a_!T4842_GREENBERG_^>a_ and Charles G. _^<a_!T5488_WAUGH_^>a_. [BS]_^<n__^<n__^<b_Other works:_^>b_ _^<i_The Best Supernatural Tales of Arthur Conan Doyle_^>i_ (coll _^<b_1979_^>b_
US) ed E.F. _^<a_!T654_BLEILER_^>a_; _^<i_The Supernatural Tales of Sir Arthur Conan Doyle_^>i_ (anth _^<b_1987_^>b_) ed Peter Haining._^<b_See also:_^>b_ _^<a_!T290_ATLANTIS_^>a_; _^<a_!T611_BIOLOGY_^>a_; _^<a_!T956_CRIME AND PUNISHMENT_^>a_;
_^<a_!T1236_DIME-NOVEL SF_^>a_; _^<a_!T1243_DISASTER_^>a_; _^<a_!T6694_ESCHATOLOGY_^>a_; _^<a_!T4443_HISTORY OF SF_^>a_; _^<a_!T4509_HORROR IN SF_^>a_; _^<a_!T3540_MACHINES_^>a_; _^<a_!T3744_MEDICINE_^>a_; _^<a_!T3001_MONEY_^>a_;
_^<a_!T1797_PARASITISM AND SYMBIOSIS_^>a_; _^<a_!T1968_POWER SOURCES_^>a_; _^<a_!T2021_PSI POWERS_^>a_; _^<a_!T2480_RADIO_^>a_; _^<a_!T2880_SCIENTISTS_^>a_; _^<a_!T2106_SERIES_^>a_; _^<a_!T5281_UNDER THE SEA_^>a_.
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DOZOIS, GARDNER (RAYMOND)
-T-
(1947- ) US writer, anthologist and, from 1985 (with the Jan 1986 issue), editor of _^<a_!T3816_ISAAC ASIMOV'S SCIENCE FICTION MAGAZINE_^>a_, winning 5 _^<a_!T4551_HUGOS_^>a_ between 1988 and 1992; he is married to Susan _^<a_!T5206_CASPER_^>a_.
He began publishing sf in 1966 with "The Empty Man" for _^<i_If_^>i_, but it was not until after military service (in which he worked as a military journalist) that he began producing such stories as "A Special Kind of Morning" (1971) and "Chains
of the Sea" (1972), which made him a figure of some note in the latter-day US _^<a_!T3181_NEW WAVE_^>a_, causing some misapplied criticism of his "pessimism" and general lack of interest in storytelling; both stories are included in _^<i_The
Visible Man_^>i_ (coll _^<b_1977_^>b_), which assembles his best early work, and reappear in_^<i_Geodesic Dreams: The Best Short Fiction of Gardner Dozois_^>i_ (coll _^<b_1992_^>b_)._^<n__^<n_His first novel, _^<i_Nightmare Blue_^>i_
(_^<b_1975_^>b_) with George Alec _^<a_!T6592_EFFINGER_^>a_, a fast-paced adventure, demonstrates a dangerous facility on both authors' parts. Much more important -- and less "professional" -- is his first solo novel,
_^<i__^<a_!B9280_STRANGERS_^>a__^>i_ (1974 _^<i_New Dimensions_^>i_; exp _^<b_1978_^>b_), an intense and well told love story between a human male and an _^<a_!T98_ALIEN_^>a_ female, set on her home planet, in a Galaxy humans signally do not
dominate; her death from bearing his child is biologically inevitable (the plot's derivation from Philip Jose _^<a_!T1435_FARMER_^>a_'s _^<i__^<a_!B9017_THE LOVERS_^>a__^>i_ [_^<b_1961_^>b_] can be seen as homage) and stems from a mutual
incomprehension rooted in culture and the intrinsic solitude of beings (_^<i_see also_^>i_ _^<a_!T2115_SEX_^>a_). Never a prolific author, though fluently capable as an editor, GD has collaborated frequently with associates in the writing of
stories, many of which are assembled in _^<i_Slow Dancing through Time_^>i_ (coll _^<b_1990_^>b_) with Susan _^<a_!T5206_CASPER_^>a_, Jack _^<a_!T1055_DANN_^>a_, Jack C. _^<a_!T4924_HALDEMAN_^>a_ II and Michael _^<a_!T5864_SWANWICK_^>a_. _^<i_The
Peacemaker_^>i_ (1983 _^<i_IASFM_^>i_; _^<b_1991_^>b_ chap) won a _^<a_!T3147_NEBULA_^>a_ for 1983 and "Morning Child" a Nebula for 1984._^<n__^<n_GD has written considerable sf criticism, and in _^<i_The Fiction of James Tiptree, Jr_^>i_
(_^<b_1977_^>b_ chap) he constructed an analysis which was not to be disqualified by Alice Sheldon's revelation that she was _^<a_!T6035_TIPTREE_^>a_. An anthology, _^<i_Writing Science Fiction and Fantasy: Twenty Dynamic Essays by Today's Top
Professionals_^>i_ (anth _^<b_1991_^>b_) co-edited with Tina Lee, Stanley Schmidt, Ian Randal Strock and Sheila Williams, extols dynamic professionalism. His first fiction anthologies, intelligently edited and of continuing interest, are _^<i_A Day
in the Life_^>i_ (anth _^<b_1972_^>b_), _^<i_Future Power_^>i_ (anth _^<b_1976_^>b_) with Dann, and _^<i_Another World_^>i_ (anth _^<b_1977_^>b_). Subsequent anthologies, all ed with Dann (except as noted), are _^<i_Aliens!_^>i_ (anth
_^<b_1990_^>b_), _^<i_Magicats II_^>i_ (anth _^<b_1991_^>b_), _^<i_Little People!_^>i_ (anth _^<b_1991_^>b_) and _^<i_Horses!_^>i_ (anth _^<b_1994_^>b_). Later singleton anthologies were _^<i_The Best of Isaac Asimov's Science Fiction Magazine_^>i_
Robots_^>i_ (anth _^<b_1991_^>b_) with Sheila Williams, and _^<i_The Legend Book of Science Fiction_^>i_ (anth _^<b_1991_^>b_ UK; vt _^<i_Modern Classics of Science Fiction_^>i_ 1992 US), _^<i_Isaac Asimov's SF Lite_^>i_ (anth _^<b_1993_^>b_),
_^<i_Isaac Asimov's War_^>i_ (anth _^<b_1993_^>b_), _^<i_Modern Classic Short Novels of Science Fiction_^>i_ (anth _^<b_1994_^>b_) and _^<i_Isaac Asimov's Cyberdreams_^>i_ (anth _^<b_1994_^>b_)._^<n__^<n_In 1977 GD took over an ongoing year's-best
anthology from Lester _^<a_!T1164_DEL REY_^>a_ and edited several _^<b_Best Science Fiction Stories of the Year_^>b_ _^<a_!T195_ANTHOLOGIES_^>a_: _^<i_Sixth Annual Collection_^>i_ (anth _^<b_1977_^>b_), _^<i_Seventh Annual Collection_^>i_ (anth
_^<b_1978_^>b_), _^<i_Eighth Annual Collection_^>i_ (anth (_^<b_1979_^>b_), _^<i_Ninth Annual Collection_^>i_ (anth _^<b_1980_^>b_) and _^<i_Tenth Annual Collection_^>i_ (anth _^<b_1981_^>b_). After the termination of this series, he launched a
_^<i_Fourth Annual Collection_^>i_ (anth _^<b_1987_^>b_; vt _^<i_The Mammoth Book of Best New Science Fiction_^>i_ 1987 UK), _^<i_Fifth Annual Collection_^>i_ (anth _^<b_1988_^>b_; vt _^<i_Best New SF 2_^>i_ 1988 UK), _^<i_Sixth Annual
Collection_^>i_ (anth _^<b_1989_^>b_; vt _^<i_Best New SF 3_^>i_ 1989 UK) _^<i_Seventh Annual Collection_^>i_ (anth _^<b_1990_^>b_; vt _^<i_Best New SF 4_^>i_ 1990 UK), _^<i_Eighth Annual Collection_^>i_ (anth _^<b_1991_^>b_; vt _^<i_Best New SF
5_^>i_ 1991 UK), _^<i_Ninth Annual Collection_^>i_ (anth _^<b_1992_^>b_), _^<i_Tenth Annual Collection_^>i_ (anth _^<b_1993_^>b_; vt _^<i_Best New SF 7_^>i_ 1993 UK) and _^<i_Eleventh Annual Collection_^>i_ (anth _^<b_1994_^>b_).
[JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T829_CONCEPTUAL BREAKTHROUGH_^>a_; _^<a_!T963_CRITICAL AND HISTORICAL WORKS ABOUT SF_^>a_; _^<a_!T1015_CYBERPUNK_^>a_; _^<a_!T4443_HISTORY OF SF_^>a_; _^<a_!T3806_INVISIBILITY_^>a_; _^<a_!T3315_OMNI_^>a_;
_^<a_!T1797_PARASITISM AND SYMBIOSIS_^>a_; _^<a_!T1942_POLLUTION_^>a_; _^<a_!T2126_SHARECROP_^>a_.
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DR
-T-
In this encyclopedia's alphabetical listing, "Dr" is, as is conventional, treated as if spelled out in full-i.e., as "Doctor"._^<n__^<n_
(1945- ) US lawyer and writer who served as the Assistant Town Attorney in Chapel Hill, North Carolina, 1972-80. He became a full-time writer in 1981, although his first story, the H.P. _^<a_!T3465_LOVECR AFT_^>a_ pastiche "Denkirch", had
appeared much earlier, in _^<i_Travellers by Night_^>i_ (anth _^<b_1967_^>b_) ed August W. _^<a_!T1189_DERLETH_^>a_. Though the wide success of his various military-sf novels and series and _^<a_!T2127_SHARED-WORLD_^>a_ enterprises has perhaps had
a simplifying effect on his reputation, DAD has, in fact, from the beginning of his career written a wide variety of work, both stories and novels, a range perhaps best encapsulated in his first collection of unconnected stories, _^<i_From the
Heart of Darkness_^>i_ (coll _^<b_1983_^>b_), which assembles sf, fantasy and horror tales written from 1974 onwards and set in the past, present and future. From early in his career, his prose has been spare and telling though occasionally, in
some of the more routine sf adventures, seemingly no more than cost-efficient._^<n__^<n_DAD first came to wide notice with his _^<b_Hammer's Slammers_^>b_ sequence of military-sf tales set in a _^<a_!T2342_SPACE-OPERA_^>a_ Galaxy: _^<i_Hammer's
Slammers_^>i_ (coll _^<b_1979_^>b_; exp 1987), _^<i_#2: Cross the Stars_^>i_ (_^<b_1984_^>b_), _^<i_#3: At Any Price_^>i_ (_^<b_1985_^>b_), _^<i_#4: Counting the Cost_^>i_ (_^<b_1987_^>b_), _^<i_#5: Rolling Hot_^>i_ (_^<b_1989_^>b_), _^<i_#6: The
Warrior_^>i_ (_^<b_1991_^>b_), _^<i_#7: The Sharp End_^>i_ (_^<b_1993_^>b_), and _^<i_The Voyage _^>i_(_^<b_1994_^>b_), set in the Hammer universe and retellilng the tale of Jason and the Argonauts. It is very noticeable that the mercenaries
involved in this sequence, and in most of DAD's other military sf, are (as it were) soldiers on the ground, and that representatives of the officer class generally merit the suspicion with which they are greeted. Though its general political vision
could not be described as anarchist, DAD's work lacks-possibly as a consequence of his indifference to the loquacious cod stoicism ascribed by other writers to officer classes in general -- a sense of philosophizing import, gaining much thereby, so
that he can concentrate on the moment-to-moment exigencies of honorable mercenary soldiering. The _^<b_Fleet_^>b_ sequence of _^<a_!T2127_SHARED-WORLD_^>a_ anthologies, created and ed by DAD and Bill _^<a_!T1447_FAWCETT_^>a_ -- _^<i_The Fleet_^>i_
Crisis_^>i_ * (anth _^<b_1991_^>b_) -- does not depart markedly from this mature restraint, which is further manifested in a sequel series, the _^<b_Battlestation_^>b_ sequence comprising _^<i_Battlestation_^>i_ * (anth _^<b_1992_^>b_) and
_^<i_Vanguard_^>i_ * (anth _^<b_1993_^>b_). The _^<b_Crisis of Empire_^>b_ sequence, essentially written as _^<a_!T6014_TIES_^>a_ by his collaborators -- _^<i_Crisis of Empire #1: An Honorable Defense_^>i_ * (_^<b_1988_^>b_) with Thomas T.
_^<a_!T5987_THOMAS_^>a_, _^<i_#2: Cluster Command_^>i_ * (_^<b_1989_^>b_) with William C. _^<a_!T1228_DIETZ_^>a_ and _^<i_#3: The War Machine_^>i_ * (_^<b_1989_^>b_) with Roger MacBride _^<a_!T115_ALLEN_^>a_ -- rather more flamboyantly follows the
plummeting career of a captain who reaches bottom in the third volume but whom we expect, in projected continuations, to save the Empire. The _^<b_Northworld_^>b_ sequence -- _^<i_Northworld_^>i_ (_^<b_1990_^>b_), _^<i_#2: Vengeance_^>i_
(_^<b_1991_^>b_) and _^<i_#3: Justice_^>i_ (_^<b_1992_^>b_) -- sets its military operations on a world which operates as a gateway to several _^<a_!T131_ALTERNATE-WORLD_^>a_ settings. The _^<b_General_^>b_ sequence with S.M.
_^<a_!T5748_STIRLING_^>a_ -- expected to run several volumes beyond _^<i_The Forge_^>i_ (_^<b_1991_^>b_), _^<i_The Hammer_^>i__^<b_1992_^>b_ -- features yet another military officer, befriended on his far-off planetary home by a battle
_^<a_!T826_COMPUTER_^>a_ planning to re-establish a Galactic Federation._^<n__^<n_With _^<i_The Dragon Lord_^>i_ (_^<b_1979_^>b_), an exercise in Arthurian _^<a_!T5875_SWORD AND SORCERY_^>a_, DAD began to publish singletons set in various venues
and times, and of varying quality. _^<i_Time Safari_^>i_ (coll of linked stories _^<b_1982_^>b_); exp vt _^<i_Tyrannosaur_^>i_ 1994 makes one of the hoary _^<a_!T752_CLICHES_^>a_ of _^<a_!T6026_TIME-TRAVEL_^>a_ tales -the dinosaur hunt -- vividly
present to the mind's eye through the well researched verisimilitude of the telling. _^<i_Birds of Prey_^>i_ (_^<b_1984_^>b_) brings Ancient Rome, again through time travel, vividly to life, as does _^<i_Killer_^>i_ (1974 _^<i_Midnight Sun #1_^>i_;
_^<b_1985_^>b_) with Karl Edward Wagner (1945- ). _^<i_Bridgehead_^>i_ (_^<b_1986_^>b_) combines time travel with interstellar military action and intrigue. _^<i_Dagger_^>i_ * (_^<b_1988_^>b_) is a tied contribution to the _^<b_Thieves'
World_^>b_ enterprise, and _^<i_Explorers in Hell_^>i_ * (_^<b_1989_^>b_) with Janet E. _^<a_!T3063_MORRIS_^>a_ is part of the _^<b_Heroes in Hell_^>b_ enterprise. _^<i_Old Nathan_^>i_ (coll of linked stories _^<b_1991_^>b_), set in a traditional
USA, nostalgically tells tales of a crabby but lovable ghost-hunter. Today there seems very little to stop DAD from writing exactly what he wishes to write. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Skyripper_^>i_ (_^<b_1983_^>b_); _^<i_The Forlorn
Hope_^>i_ (_^<b_1984_^>b_); _^<i_Active Measures_^>i_ (_^<b_1985_^>b_), _^<i_Kill Ratio_^>i_ (_^<b_1987_^>b_) and _^<i_Target_^>i_ (_^<b_1989_^>b_), all three with Janet E. Morris; _^<i_Fortress_^>i_ (_^<b_1986_^>b_); _^<i_Lacey and his
Friends_^>i_ (coll of linked stories _^<b_1986_^>b_); the _^<b_World of Crystal Walls_^>b_ fantasy sequence, beginning with _^<i_The Sea Hag_^>i_ (_^<b_1988_^>b_), further volumes projected; _^<i_Ranks of Bronze_^>i_ (_^<b_1986_^>b_); _^<i_Vettius
and his Friends_^>i_ (coll of linked stories_^<b_ 1989_^>b_); _^<i_Surface Action_^>i_ (_^<b_1990_^>b_); _^<i_The Hunter Returns_^>i_ (_^<b_1991_^>b_), adapted from _^<i_Fire-Hunter_^>i_ (_^<b_1951_^>b_) by Jim Kjelgaard (1910-1959); _^<i_The
Military Dimension_^>i_ (coll _^<b_1991_^>b_); _^<i_The Jungle_^>i_ * (_^<b_1991_^>b_), based on (and printed with) "Clash by Night" (1943) as by Lawrence O'Donnell, a joint pseudonym of Henry _^<a_!T4144_KUTTNER_^>a_ and C.L.
_^<a_!T3033_MOORE_^>a_, and here ascribed, some think erroneously, to Kuttner alone; _^<i_Starliner_^>i_ (_^<b_1992_^>b_); _^<i_Car Warriors TM: The Square Deal_^>i_ * (_^<b_1992_^>b_); _^<i_High Strangeness_^>i_ (_^<b_1992_^>b_); _^<i_Igniting the
Reaches_^>i_ (_^<b_1994_^>b_)._^<b_As Editor:_^>b_ The _^<b_Starhunters_^>b_ sequence of reprint stories, comprising _^<i_Men Hunting Things_^>i_ (anth _^<b_1988_^>b_), _^<i_Things Hunting Men_^>i_ (anth _^<b_1988_^>b_) and _^<i_Bluebloods_^>i_
(anth _^<b_1990_^>b_); the _^<b_Space_^>b_ sequence, all with Martin H. _^<a_!T4842_GREENBERG_^>a_ and Charles G. _^<a_!T5488_WAUGH_^>a_, comprising _^<i_Space Gladiators_^>i_ (anth _^<b_1989_^>b_), _^<i_Space Infantry_^>i_ (anth _^<b_1989_^>b_)
and _^<i_Space Dreadnoughts_^>i_ (anth _^<b_1990_^>b_); _^<i_A Separate Star_^>i_ (anth _^<b_1989_^>b_) and _^<i_Heads to the Storm_^>i_ (anth _^<b_1989_^>b_), both with Sandra _^<a_!T2942_MIESEL_^>a_ and both constituting a tribute to Rudyard
_^<a_!T4082_KIPLING_^>a_; _^<i_The Eternal City_^>i_ (anth _^<b_1990_^>b_) with Greenberg and Waugh._^<b_See also:_^>b_ _^<a_!T102_ALIENS_^>a_; _^<a_!T1695_GAMES AND SPORTS_^>a_; _^<a_!T5351_VENUS_^>a_; _^<a_!T5452_WAR_^>a_;
_^<a_!T5492_WEAPONS_^>a_.
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DRAYTON, HENRY S(HIPMAN)
-T-
(1840-1923) US writer whose lost-race (> _^<a_!T3460_LOST WORLDS_^>a_) novel, _^<i_In Oudemon: Reminiscences of an Unknown People_^>i_ (_^<b_1900_^>b_), features a 100-year-old English colony in South America which is technologically advanced,
telepathic, socialist and Christian. [JC]_^<n__^<n_
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DREAMSCAPE
-T-
Film (1984). Bella Productions/Zupnik-Curtis Enterprises. Dir Joseph Ruben, starring Dennis Quaid, Max Von Sydow, Christopher Plummer, Eddie Albert, Kate Capshaw, David Patrick Kelly. Screenplay David Loughery, Chuck Russell, Ruben, based on a story
by Loughery. 99 mins. Colour._^<n__^<n_A gambler with psychic powers (Quaid) is persuaded to take part in experiments in "dreamlinking" at a research centre. He learns how to enter other people's dreams and interact with them. There is a plot to
murder the President, who has been having dreams of nuclear holocaust, by using an evil psychic to assassinate him during a nightmare, but the Quaid character intervenes in the dream. The theme can be traced back at least to "Dreams are Sacred"
(1948 _^<i_ASF_^>i_) by Peter Phillips, and a similar notion would later be the focus of the _^<b_Nightmare on Elm Street_^>b_ movies. In _^<i_D_^>i_ the penny-dreadful thriller plot is so ludicrous that it is only the dreams themselves that have
much entertainment value. The effects are lively, especially in the climactic vision of Washington in flames after the Bomb. [PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T5380_VIRTUAL REALITY_^>a_.
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DREAM WORLD
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US _^<a_!T1231_DIGEST_^>a_-size magazine. 3 quarterly issues, Feb-Aug 1957; published by _^<a_!T6269_ZIFF-DAVIS_^>a_; ed Paul W. _^<a_!T1379_FAIRMAN_^>a_. Subtitled "Stories of Incredible Powers", _^<i_DW_^>i_ was initiated as a response to the
success of similar issues of _^<a_!T1394_FANTASTIC_^>a_, with stories of wish-fulfilment sometimes featuring _^<a_!T2021_PSI POWERS_^>a_. #1 reprinted stories by Thorne Smith and P.G. _^<a_!T5668_WODEHOUSE_^>a_, but the magazine included little
fiction of note, although Harlan _^<a_!T6641_ELLISON_^>a_ and Robert _^<a_!T2216_SILVERBERG_^>a_ contributed amusing stories. [FHP/MJE]_^<n__^<n_
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DREW, WAYLAND
-T-
(1932- ) Canadian teacher and writer who began publishing sf with _^<i_The Wabeno Feast_^>i_ (_^<b_1973_^>b_), a complex tale about _^<a_!T4482_HOLOCAUST_^>a_ and its roots, in which three narrative strands all tangibly cohere-the 18th-century
journal of an early entrepreneur who confronts the heart of darkness in the pale wabeno (an Indian shaman), the canoe trip of a Canadian couple through the wilderness upon which the earlier visitor has already stamped the seal of the civilized
world, and a _^<a_!T6337_NEAR-FUTURE_^>a_ flight into the same but now savaged wilderness on the part of escapees from a _^<a_!T1243_DISASTER_^>a_ directly tied to the spoliation of the planet. After _^<i_Dragonslayer_^>i_ * (_^<b_1981_^>b_ US), a
film tie, WD composed in _^<b_The Erthring Cycle_^>b_ another post-holocaust narrative -- _^<i_The Memoirs of Alcheringia_^>i_ (_^<b_1984_^>b_ US), _^<i_The Gaian Experiment_^>i_ (_^<b_1985_^>b_ US) and _^<i_The Master of Norriya_^>i_
(_^<b_1986_^>b_ US) -- which describes the founding of a secret underground society, the Yggdrasil Project, via which it is hoped to surmount inevitable planetary catastrophe. But, as the final volume moves to a quiet, sombre close, the reader will
perhaps be reminded of the dying fall which concludes George R. _^<a_!T5734_STEWART_^>a_'s _^<i__^<a_!B9088_EARTH ABIDES_^>a__^>i_ (_^<b_1949_^>b_). [JC]_^<n__^<n__^<b_Other works:_^>b_ * _^<i_batteries not included_^>i_ * (_^<b_1987_^>b_ US),
novelizing * _^<a_!T461_BATTERIES NOT INCLUDED_^>a_ (1987); _^<i_Willow_^>i_ * (_^<b_1988_^>b_ US), another film tie; _^<i_Halfway Man_^>i_ * (_^<b_1989_^>b_).
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DREXEL, JAY B.
-T-
[s] > Jerome _^<a_!T622_BIXBY_^>a_._^<n__^<n_
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DRUERY, CHARLES THOMAS
-T-
(1843-1917) UK writer, often on UK flora, whose didactic novel, _^<i_The New Gulliver, or Travels in Athomia_^>i_ (_^<b_1897_^>b_), presents its shrunken narrator with strange new perspectives on the natural world. [JC]_^<n__^<n_
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DRUGS
-T-
The use of drugs, both real and imaginary, is a common theme in sf, notably in _^<a_!T1015_CYBERPUNK_^>a_. The topic is discussed in detail under _^<a_!T1851_PERCEPTION_^>a_, and a little under _^<a_!T3181_NEW WAVE_^>a_ and
_^<a_!T2023_PSYCHOLOGY_^>a_. Film and tv treatments of the theme include _^<a_!T129_ALTERED STATES_^>a_, _^<a_!T1289_DOOMWATCH_^>a_, _^<a_!T3403_LIQUID SKY_^>a_ and _^<a_!T6011_THX 1138_^>a_. A small selection of the many sf authors who have used
drug themes is: Brian W. _^<a_!T87_ALDISS_^>a_, Ralph _^<a_!T672_BLUM_^>a_, Karin _^<a_!T4954_BOYE_^>a_, William S. _^<a_!T5099_BURROUGHS_^>a_, Don _^<a_!T1154_DELILLO_^>a_, Philip K. _^<a_!T1222_DICK_^>a_, Charles _^<a_!T1338_DUFF_^>a_, Mick
_^<a_!T1439_FARREN_^>a_, William _^<a_!T4689_GIBSON_^>a_, Evan _^<a_!T4558_HUNTER_^>a_, Aldous _^<a_!T4566_HUXLEY_^>a_, K.W. _^<a_!T3901_JETER_^>a_, Richard _^<a_!T3961_KADREY_^>a_, Irwin _^<a_!T3369_LEWIS_^>a_, Talbot _^<a_!T3102_MUNDY_^>a_, Geoff
_^<a_!T2758_RYMAN_^>a_, Lucius _^<a_!T2175_SHEPARD_^>a_, Norman _^<a_!T2370_SPINRAD_^>a_, Bruce _^<a_!T5717_STERLING_^>a_, Robert Louis _^<a_!T5731_STEVENSON_^>a_ and Ian _^<a_!T5484_WATSON_^>a_. [PN]_^<n__^<n_
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DRUILLET, PHILIPPE
-T-
(1944- ) Innovative French artist with an epic imagination and an astringent pen-line style who cofounded with Moebius (Jean _^<a_!T4718_GIRAUD_^>a_) and others the publishing company Les Humanoides Associes and the imaginative graphic-fiction
magazine _^<a_!T2921_METAL HURLANT_^>a_ in 1975; much of the content of the latter has been published in English in the US magazine _^<a_!T4370_HEAVY METAL_^>a_. Brought up in Spain, PD was a photographer until the publication of his first strip
_^<i_Lone Sloane_^>i_ (graph coll _^<b_1967_^>b_; intro by Maxim _^<a_!T3854_JAKUBOWSKI_^>a_), a bawdy _^<a_!T2342_SPACE OPERA_^>a_ influenced by US _^<a_!T726_CINEMA_^>a_ and _^<a_!T4396_HEROIC FANTASY_^>a_. A unique illustrator, often clumsy in
his portrayal of the human face, PD has enlarged the graphic structures of the sf _^<a_!T820_COMIC_^>a_ strip and created a wild, flamboyant, morally ambiguous universe of crazed architectures and monstrous _^<a_!T102_ALIENS_^>a_. The increasingly
obsessive _^<b_Lone Sloane_^>b_ adventures were continued in _^<i_Les 6 voyages de Lone Sloane_^>i_ ["The Six Journeys of Lone Sloane"] (graph coll _^<b_1972_^>b_) and, with script by Jacques Lob, _^<i_Delirius_^>i_ (graph coll _^<b_1973_^>b_) --
together collected in English as _^<i_Lone Sloane -- Delirius_^>i_ (graph omni trans _^<b_1975_^>b_ UK) -- followed by _^<i_Yragael_^>i_ (graph coll _^<b_1974_^>b_ with script by Michel Demuth) and _^<i_Urm le fou_^>i_ (graph coll _^<b_1975_^>b_)
-- together collected in English as _^<i_Yragael -- Urm_^>i_ (graph omni trans Pauline Tennant _^<b_1976_^>b_ UK). PD tackled _^<a_!T5875_SWORD AND SORCERY_^>a_ in his adaptation of Michael _^<a_!T3030_MOORCOCK_^>a_'s _^<b_Elric of Melnibone_^>b_
with script by Jakubowski and Demuth as _^<i_Elrick_^>i_ (graph _^<b_1973_^>b_; with script by Moorcock as _^<i_Elric_^>i_ _^<b_1973_^>b_ UK). _^<i_La nuit_^>i_ ["The Night"] (graph _^<b_1977_^>b_), a sombre panorama of urban warfare, was completed
after the traumatic experience of his wife's dying from cancer in 1975. His other works include _^<i_Vuzz_^>i_ (graph _^<b_1974_^>b_), _^<i_Retour a Bakaam_^>i_ ["Return to Bakaam"] (graph _^<b_1975_^>b_) with script by Francois Truchaud,
_^<i_Mirages_^>i_ (graph _^<b_1976_^>b_), _^<i_Salammbo_^>i_ (graph _^<b_1983_^>b_) and _^<i_Nosferatu_^>i_ (graph coll _^<b_1982_^>b_; trans _^<b_1991 _^>b_US), the last being a collection of black-and-white strips first published in the magazine
_^<i_Pilote_^>i_. During the mid-1980s PD was commissioned to create the internal decor for the Paris Metro station at Porte de la Villette; he has also produced sculpture and created a children's sf animated tv series, _^<i_Bleu_^>i_ (52 26min
(1949- ) US bookseller, publisher and bibliographer who has published under the imprint Chris Drumm Booklets a large number of chapbooks containing stories and other work by R.A. _^<a_!T4152_L AFFERTY_^>a_ and others. Beginning in 1983, his
_^<a_!T585_BIBLIOGRAPHIES_^>a_, all arranged with an economic practicality sometimes missing from this field, include works on Algis _^<a_!T5064_BUDRYS_^>a_, Hal _^<a_!T749_CLEMENT_^>a_, Thomas M. _^<a_!T1244_DISCH_^>a_, James E.
_^<a_!T4896_GUNN_^>a_, Lafferty, Larry _^<a_!T3223_NIVEN_^>a_, Mack _^<a_!T2576_REYNOLDS_^>a_, John T. _^<a_!T2240_SLADEK_^>a_ and Richard _^<a_!T5642_WILSON_^>a_; in this encyclopedia they are listed under the authors treated (_^<i_whom see_^>i_).
[JC]_^<n__^<n_
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DRUMM, D.B.
-T-
House pseudonym used on Dell Books' post-_^<a_!T4482_HOLOCAUST_^>a_ _^<b_Traveler_^>b_ series of _^<a_!T5849_SURVIVALIST FICTION_^>a_, initiated by Ed Naha, with most of the novels thought to be the work of John _^<a_!T2191_SHIRLEY_^>a_. (> Ed
(1918- ) US writer of a sequence of novels depicting US political (> _^<a_!T1939_POLITICS_^>a_) life from a point roughly similar to real-life 1960 and growing into a full-fledged history of the _^<a_!T6337_NEAR FUTURE_^>a_. The bent is
conservatively anti-communist, and the satirical effects are often telling, though sometimes tendentious. The series comprises _^<i_Advise and Consent_^>i_ (_^<b_1959_^>b_), which won a Pulitzer, _^<i_A Shade of Difference_^>i_ (_^<b_1962_^>b_),
_^<i_Capable of Honor_^>i_ (_^<b_1966_^>b_), _^<i_Preserve and Protect_^>i_ (_^<b_1968_^>b_), _^<i_Come Nineveh, Come Tyre: The Presidency of Edward M. Jason_^>i_ (_^<b_1973_^>b_), in which world communism topples an unready USA into chaos, and
_^<i_The Promise of Joy (The Presidency of Orrin Knox)_^>i_ (_^<b_1975_^>b_), in which a war between the USSR and China further challenges the pacifist- and liberal-ridden republic. _^<i_The Throne of Saturn_^>i_ (_^<b_1971_^>b_), in which the
Russians attempt to sabotage the USA's first manned expedition to _^<a_!T3677_MARS_^>a_, is similar in tone but otherwise unconnected to the series. Two later books, _^<i_The Hill of Summer: A Novel of the Soviet Conquest_^>i_ (_^<b_1981_^>b_) and
its sequel, _^<i_The Roads of Earth_^>i_ (_^<b_1984_^>b_), break no new ground. [JC]_^<n__^<n_
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DRYASDUST
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> M.Y. _^<a_!T4930_HALIDOM_^>a_._^<n__^<n_
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DUANE, DIANE E(LIZABETH)
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(1952- ) US writer, most respected for her work in fantasy. She is married to fantasy author Peter Morwood (1956- ), with whom she has collaborated on three books. She began writing fantasies with the _^<b_Epic Tale of the Five_^>b_ sequence --
_^<i_The Door into Fire_^>i_ (_^<b_1979_^>b_) and _^<i_The Door into Shadow_^>i_ (_^<b_1984_^>b_), later extended with _^<i_The Door into Sunset_^>i_ (_^<b_1992_^>b_) -- and continued with the _^<b_Wizard_^>b_ sequence: _^<i_So You Want to Be a
Wizard?_^>i_ (_^<b_1983_^>b_), _^<i_Deep Wizardry_^>i_ (_^<b_1985_^>b_) and _^<i_High Wizardry_^>i_ (_^<b_1990_^>b_), all three being assembled as _^<i_Support Your Local Wizard_^>i_ (omni _^<b_1990_^>b_), plus _^<i_A Wizard Abroad_^>i_
(_^<b_1993_^>b_). Of more direct sf interest are several successful _^<a_!T2429_STAR TREK_^>a_ ties: _^<i_The Wounded Sky_^>i_ * (_^<b_1983_^>b_), _^<i_My Enemy, My Ally_^>i_ * (_^<b_1984_^>b_), _^<i_The Romulan Way_^>i_ * (_^<b_1987_^>b_) with
Morwood, _^<i_Spock's World_^>i_ * (_^<b_1988_^>b_), _^<i_Doctor's Orders_^>i_ * (_^<b_1990_^>b_)and _^<i_Star Trek, the Next Generation: Dark Mirror_^>i_ * (_^<b_1993_^>b_). Though the smooth power of her best fantasies does not transmit perfectly
to her sf ties, the _^<b_Star Trek_^>b_ examples are by no means negligible. Other ties include _^<i_Guardians of the Three #2: Keeper of the City_^>i_ * (anth _^<b_1989_^>b_) and _^<i_Space Cops: Mindblast_^>i_ * (_^<b_1991_^>b_), both with
Morwood, and _^<i_Space Cops: Kill Station_^>i_ * (_^<b_1992_^>b_), _^<i_seaQuest DSV: The Novel_^>i_ * (_^<b_1993_^>b_) with Morwood, based on the pilot for the _^<b_seaQuest_^>b_ tv series, and _^<i_Spider-Man: The Venom Factor_^>i_ *
(_^<b_1994_^>b_). [JC]_^<n__^<n_
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Du BOIS, THEODORA (McCORMICK)
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(1890-1986) US writer best known for her many detective novels, though _^<i_The Devil's Spoon_^>i_ (_^<b_1930_^>b_), featuring visitors from other worlds, and _^<i_Sarah Hall's Sea God_^>i_ (_^<b_1952_^>b_) are fantasies. In her sf novel,
_^<i_Solution T-25_^>i_ (_^<b_1951_^>b_), the USSR wages successful nuclear war against the USA. An underground resistance, faking collaboration with the occupation forces, develops Solution T-25, which dissolves the Soviet leadership's
authoritarian personality structures, turning them into benign humorists incapable of commanding their forces. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Armed with a New Terror_^>i_ (_^<b_1936_^>b_) and _^<i_Murder Strikes an Atomic Unit_^>i_
(_^<b_1946_^>b_), both associational.
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Du BOIS, WILLIAM PENE
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(1916-1993) US writer, illustrator and art editor and designer for _^<i_Paris Review_^>i_. His own novels, which he illustrates himself (he also illustrates other writers' books), are usually juveniles, though the illustrations are of general
interest. He began publishing with stories like _^<i_Elizabeth, the Cow Ghost_^>i_ (_^<b_1936_^>b_), _^<i_Giant Otto_^>i_ (_^<b_1936_^>b_), and _^<i_The Flying Locomotive_^>i_ (_^<b_1941_^>b_), and much of his work employs fantasy elements. The
_^<a_!T198_ANTIGRAVITY_^>a_ device featured in _^<i_Peter Graves_^>i_ (_^<b_1950_^>b_) verges on sf, and _^<i_The Twenty-One Balloons_^>i_ (_^<b_1947_^>b_) is a full-fledged sf novel: a retired professor, travelling across the Pacific by
_^<a_!T382_BALLOON_^>a_ in 1883, is forced down on Krakatoa, where he finds a _^<a_!T5303_UTOPIA_^>a_ in full swing, financed by its inhabitants' secret trips to civilization to sell diamonds, which they have in plenty. The famous eruption of that
year finishes the experiment, but everyone escapes by balloon. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T710_CHILDREN'S SF_^>a_.
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DUDGEON, ROBERT ELLIS
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(1820-1904) UK homeopathic doctor, author of the _^<a_!T5303_UTOPIAN_^>a_ novel _^<i_Colymbia_^>i_ (_^<b_1873_^>b_, published anon). Written in a spirit of competition with _^<i_Erewhon_^>i_ (_^<b_1872_^>b_; rev 1903) by Samuel
_^<a_!T5106_BUTLER_^>a_, who was RED's patient, it is set on an equatorial archipelago in the Pacific and tells of a lost race (> _^<a_!T3460_LOST WORLDS_^>a_) of Englishmen interbred with Oceanic natives; their submarine city is powered by tidal
energy. Their remarkably free sexual practices allow RED to satirize those of Victorian England. _^<i_Colymbia_^>i_ is livelier and more original than most of its kind. [PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T189_ANONYMOUS SF AUTHORS_^>a_.
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DUDINTSEV, VLADIMIR
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(1918- ) Russian writer whose novel _^<i_Not by Bread Alone_^>i_ (1956 _^<i_Novy Mir_^>i_; trans _^<b_1957_^>b_ US) seemed at first to proclaim the Soviet thaw, but he was publicly reprimanded for it soon after its publication. _^<i_Novogodniaia
skazka_^>i_ (1956 _^<i_Novy Mir_^>i_; trans Gabriella Azrael as _^<i_A New Year's Tale_^>i_ _^<b_1960_^>b_ chap US; vt _^<i_A New Year's Fable_^>i_ 1960 chap US; first book publication in USSR 1965) is a kind of sf morality tale in which the
protagonist, by composing himself for his expected death, discovers a new source of cheap light and heat. [JC]_^<n__^<n_
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DUDLEY-SMITH, TREVOR
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[r] Elleston _^<a_!T6092_TREVOR_^>a_._^<n__^<n_
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DUFF
-T-
> _^<a_!T6321_AWARDS_^>a_._^<n__^<n_
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DUFF, CHARLES (St LAWRENCE)
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(1894-1966) Irish translator and writer whose sf play, _^<i_Mind Products Limited: A Melodrama of the Future in Three Acts and an Epilogue_^>i_ (_^<b_1932_^>b_ Netherlands), though breezily deprecatory of the 1960 world it depicts, introduces an
inventive range of extrapolatory material, including mind control (and X-ray vision) through drugs, carplanes and tv phones, all contributing to a _^<a_!T5147_CAPEK_^>a_-like vision of totalitarianism in a world gone mad. [JC]_^<n__^<n_
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DUFFY, MAUREEN (PATRICIA)
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(1933- ) UK writer whose novels tend to explore marginalized figures, many of them women viewed from a _^<a_!T1461_FEMINIST_^>a_ angle; typical is the protagonist of _^<i_Gor Saga_^>i_ (_^<b_1981_^>b_) -- televised as _^<i_First Born_^>i_ in 1988
-- who is the child of a gorilla mother fertilized by human semen (_^<i_ Hyperlink to: _^>i_ _^<a_!T206_APES AND CAVEMEN_^>a_), and who grows into articulate adulthood in an alienating _^<a_!T6337_NEAR-FUTURE_^>a_ UK. MD's nonfictional _^<i_The
Erotic World of Faery_^>i_ (_^<b_1972_^>b_) takes a determinedly Freudian view of that subject. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T197_ANTHROPOLOGY_^>a_; _^<a_!T4657_GENETIC ENGINEERING_^>a_; _^<a_!T5684_WOMEN SF WRITERS_^>a_.
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DUKA, IVO
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Joint pseudonym of emigre Czech writers Ivo Duchac_^<n__^<n_
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DUKE, MADELAINE (ELIZABETH)
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(1925- ) UK writer and physician, born in Switzerland of Dutch parents, active under her own name and at least two pseudonyms in a variety of genres including sf novels (which she describes as "cartoons"). _^<i_Claret, Sandwiches and Sin: A
Cartoon_^>i_ (_^<b_1964_^>b_ as by Maxim Donne; 1966 as by MED) depicts a world insecurely amalgamated, after a nuclear conflict, into two political divisions: Africa and the Rest of the World. Any politician who risks war is eliminated by an
underground organization. The protagonist of the sequel, _^<i_This Business of Bomfog: A Cartoon_^>i_ (_^<b_1967_^>b_), is "Maxim Donne" -- author of _^<i_Claret, Sandwiches and Sin_^>i_, a successful novel that has inspired the assassination of a
number of world leaders. In 1989, Bomfog (Brotherhood-of-Man-Fatherhood-of-God), the organization responsible, now runs the UK in a fashion MED depicts in somewhat hectic language as _^<a_!T1370_DYSTOPIAN_^>a_. _^<i_Flashpoint_^>i_ (_^<b_1982_^>b_)
features a scientist who plans to use a new nuclear power system to enforce global sanity. [JC]_^<n__^<n_
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Du MAURIER, DAPHNE
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(1907-1989) UK writer, granddaughter of George _^<a_!T1343_DU MAURIER_^>a_, famous for dark-hued romances (like _^<i_Rebecca_^>i_ [_^<b_1938_^>b_]), usually set in Cornwall and often -- like her first, _^<i_The Loving Spirit_^>i_ (_^<b_1931_^>b_), a
ghost story -- tinged with the supernatural; drugs send the protagonist of _^<i_The House on the Strand_^>i_ (_^<b_1969_^>b_) into medieval Cornwall. Her one sf novel, _^<i_Rule Britannia_^>i_ (_^<b_1972_^>b_), subjects a
_^<a_!T6337_NEAR-FUTURE_^>a_ Cornwall to US _^<a_!T3796_INVASION_^>a_, during which the natives rebel against the tasteless Yankees. Among DDM's short stories are "The Birds", from _^<i_The Apple Tree: A Short Novel and Some Stories_^>i_ (coll
_^<b_1952_^>b_; vt _^<i_Kiss Me Again, Stranger_^>i_ 1953 US; vt _^<i_The Birds and Other Stories_^>i_ 1963 UK), which was made by Alfred Hitchcock into _^<i_The_^<a_!T617_BIRDS_^>a__^>i_ (1963), and "Don't Look Now", from _^<i_Not After
Midnight_^>i_ (coll _^<b_1971_^>b_; vt _^<i_Don't Look Now_^>i_ 1971 US), which Nicholas Roeg filmed as _^<i_Don't Look Now_^>i_ (1973). [JC]_^<n__^<n__^<b_Other works include:_^>b_ _^<i_The Breaking Point: Eight Stories_^>i_ (coll _^<b_1959_^>b_;
vt _^<i_The Blue Lenses, and Other Stories_^>i_ 1970); _^<i_Echoes from the Macabre: Selected Stories_^>i_ (coll _^<b_1976_^>b_); _^<i_Classics of the Macabre_^>i_ (coll _^<b_1987_^>b_; vt _^<i_Daphne Du Maurier's Classics of the Macabre_^>i_ 1987
US)._^<n__^<n_
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Du MAURIER, GEORGE (LOUIS PALMELLA BUSSON)
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(1834-1896) UK illustrator, cartoonist and writer, known almost exclusively today as the author of _^<i_Trilby_^>i_ (_^<b_1894_^>b_), whose famous villain, Svengali, is a preternaturally competent mesmerist. The progatonists of GDM's first novel,
_^<i_Peter Ibbetson_^>i_ (_^<b_1891_^>b_), share each other's dreams, in which they return to their idyllic childhood. His last novel, _^<i_The Martian_^>i_ (_^<b_1897_^>b_ US), lackadaisically tells through hindsight the life story of a sensitive
but mysterious Spiritualist who turns out to have been a Martian all her life. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_A Legend of Camelot_^>i_ (coll _^<b_1898_^>b_), whose title poem is mildly fantasticated._^<b_See also:_^>b_ _^<a_!T2021_PSI
POWERS_^>a_.
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DUNCAN, BRUCE
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> Irving A. _^<a_!T4845_GREENFIELD_^>a_._^<n__^<n_
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DUNCAN, DAVE
-T-
Working name of Scottish-born petroleum geologist and writer David John Duncan (1933- ), in Canada from 1955. His singleton novels have divided fairly evenly between fantasy and sf. The first, _^<i_A Rose-Red City_^>i_ (_^<b_1987_^>b_ US),
complicatedly puts its 20th-century protagonist into a walled _^<a_!T5303_UTOPIA_^>a_, where demons (and the Minotaur) oppose his attempts to extract Ariadne from the world. _^<i_Shadow_^>i_ (_^<b_1987_^>b_ US) is a _^<a_!T2870_SCIENCE-FANTASY_^>a_
tale of dynasties in trouble on a strange planet "light-years hence". _^<i_West of January_^>i_ (_^<b_1989_^>b_ US) is a crowded _^<a_!T1913_PLANETARY ROMANCE_^>a_ set on a world whose day and orbit are of approximately the same duration and in
which a not particularly attractive hero -- his name is Knobil and, as the book is at times comical in intent, the K can be assumed silent -- has adventures all day long, some of which carry subtle stings in their tails. _^<i_Strings_^>i_
(_^<b_1990_^>b_ US), also sf, features a significantly naive protagonist caught up in events the book's readers understand better than he, as a desperately terminal Earth must be escaped, via superstring transport, and a princess must be succoured.
DD's work has all the flamboyance of tales written strictly for escape, but (as has been noted by critics) never for long allows his readers to forget what kind of problems he is inviting them to dodge. His most virtuoso passages seem almost
brazenly to dance with despair. [JC]_^<n__^<n__^<b_Other works:_^>b_ The _^<b_Seventh Sword_^>b_ fantasy sequence, comprising _^<i_The Reluctant Swordsman_^>i_ (_^<b_1988_^>b_ US), _^<i_The Coming of Wisdom_^>i_ (_^<b_1988_^>b_ US) and _^<i_The
Destiny of the Sword_^>i_ (_^<b_1988_^>b_ US); the _^<b_Man of his Word_^>b_ fantasy sequence, comprising _^<i_Magic Casement_^>i_ (_^<b_1990_^>b_ US), _^<i_Faery Lands Forlorn_^>i_ (_^<b_1991_^>b_ US), _^<i_Perilous Seas_^>i_ (_^<b_1991_^>b_ US)
and _^<i_Emperor and Clown_^>i_ (_^<b_1992_^>b_); _^<i_Hero!_^>i_ (_^<b_1991_^>b_ US), an sf juvenile; _^<i_The Reaver Road_^>i_ (_^<b_1992_^>b_), a fantasy.
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DUNCAN, DAVID
-T-
(1913- ) US writer of popular fiction in several genres, perhaps as well known for his few sf novels as for any other work, though his first novel with an sf content, _^<i_The Shade of Time_^>i_ (_^<b_1946_^>b_), which deals with "atomic
displacement", was (as he records) accepted for publication only after Hiroshima. His books of the 1950s, more widely distributed within the sf markets, have been better remembered, though he also scripted several films, including
_^<i_The_^<a_!T6018_TIME MACHINE_^>a__^>i_ (1960), and wrote a screenplay for _^<i_The_^<a_!T1742_OUTER LIMITS_^>a__^>i_ . _^<i_Dark Dominion_^>i_ (_^<b_1954_^>b_) is a well told melodrama concerning a new element, magellanium, which varies in
weight according to the position of the star Sirius, and which is finally used to power a spaceship. _^<i_Beyond Eden_^>i_ (_^<b_1955_^>b_; vt _^<i_Another Tree in Eden_^>i_ 1956 UK) contrasts different routes towards fulfilment -- materially,
through a vast water-making project, and spiritually, via crystals that expand humankind's nature in the direction of gestalt empathy. _^<i_Occam's Razor_^>i_ (_^<b_1957_^>b_) explores, within the context of a threatening nuclear war, the impact of
the arrival of two humans -- though one is horned-from a _^<a_!T1794_PARALLEL WORLD_^>a_. DD has since fallen silent. [JC]_^<n__^<n__^<b_Other work:_^>b_ _^<i_The Madrone Tree_^>i_ (_^<b_1949_^>b_), a fantasy._^<n__^<n__^<b_See also:_^>b_
(1914-1982) UK novelist, poet and playwright; Benjamin Britten's librettist for the opera _^<i_The Rape of Lucretia_^>i_ (_^<b_1946_^>b_). He was generally best known for works outside the sf field. _^<i_The Dull Ass's Hoof_^>i_ (coll
_^<b_1941_^>b_) contains some fantasy plays. Some of the stories in _^<i_The Perfect Mistress and Other Stories_^>i_ (coll _^<b_1969_^>b_), _^<i_A Kettle of Fish_^>i_ (coll _^<b_1971_^>b_), _^<i_The Tale of Tails_^>i_ (coll _^<b_1975_^>b_) and
_^<i_The Uninvited Guest_^>i_ (coll _^<b_1981_^>b_) are fables with sf components. RD's sf novella, _^<i_The Last Adam_^>i_ (_^<b_1952_^>b_ chap), features a last man who, being something of a misogynist, comes across the last woman and leaves her.
[JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_This Way to the Tomb_^>i_ (_^<b_1946_^>b_) and _^<i_The Death of Satan_^>i_ (_^<b_1955_^>b_), fantasy plays; _^<i_Mr and Mrs Mouse_^>i_ (_^<b_1977_^>b_), a fairy tale.
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DUNE
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Film (1984). Dino De Laurentiis/Universal. Dir David Lynch, starring Kyle MacLachlan, Francesca Annis, Kenneth McMillan, Sting, Sean Young, many others. Screenplay Lynch, based on _^<i__^<a_!B9031_DUNE_^>a__^>i_ (fixup _^<b_1965_^>b_) by Frank
_^<a_!T4390_HERBERT_^>a_. 137 mins. Colour._^<n__^<n_Seldom has a big-budget genre film been so execrated by fans and film critics alike. Certainly its narrative is confused to the point of incoherence, showing signs of last-minute, lunatic
cutting. Certainly the many-layered story of Herbert's original, with its complex intellectual structure (occasionally also vague), is here largely reduced to melodrama. Certainly the distilled grotesquerie with which Baron Harkonnen and his nephew
Feyd Rautha (McMillan and Sting) are envisaged belongs to a world more disgusting than anything invented by Herbert. Certainly the final three-quarters of a long novel is reduced to a ludicrously fast-moving half-hour or so. Yet the film was, after
all, made by David Lynch, master of weirdness, whose previous films had been _^<i_Eraserhead_^>i_ (1976) and _^<i_The Elephant Man_^>i_ (1980), and whose subsequent works would include _^<i_Blue Velvet_^>i_ (1986) and the pilot of _^<i_Twin
Peaks_^>i_ (1989) -- remarkable movies all. It may be time to reappraise _^<i_D_^>i_, which Lynch clearly conceived in terms of emblematic tableaux, like scenes from some stately, hieratic pageant. Much of the production design -- but not the
sandworms -- was wonderfully original and exotic; the camerawork (by Freddie Francis) made confident, artistic use of light and shade, glowing golds and deep shadows. However bad the film may have been in some respects, the neo-Baroque of the whole
thing, not least in the Harkonnen sequences, is one of the most interesting attempts yet to capture a look and a feeling for sf that does not simply depend (as Herbert's original did not) on technological gimmickry. Bits of this bad film are close
to masterful. [PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T5694_STEAMPUNK_^>a_.
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DUNN, KATHERINE (KAREN)
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(1945- ) US writer, teacher and radio personality whose third novel, _^<i_Geek Love_^>i_ (_^<b_1989_^>b_), is a densely told tale of a family which breeds its own freaks through a kind of _^<a_!T4657_GENETIC ENGINEERING_^>a_; in the end the book
reads, however, not as sf, but as an extremely expert _^<a_!T1372_FABULATION_^>a_ on the primordial theme of the family romance. KD's novel is not to be confused with _^<i_The Geek_^>i_ (_^<b_1969_^>b_) by Alice Louise Ramirez, which is narrated by
a chicken. [JC]_^<n__^<n_
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DUNN, PHILIP M.
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[r] > Saul _^<a_!T1351_DUNN_^>a_._^<n__^<n_
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DUNN, SAUL
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Pseudonym used by UK writer and publisher Philip M. Dunn (1946- ) for the original publication of his books in the UK, though he used his own name for their US release; he was also the director of Pierrot Publishing, a packaging-cum-publishing
firm which became insolvent in 1981, owing large sums. SD was reported to have moved to India for religious reasons. Releases generated by the company included Brian W. _^<a_!T87_ALDISS_^>a_'s _^<i_Brothers of the Head_^>i_ (_^<b_1977_^>b_), Peter
_^<a_!T1224_DICKINSON_^>a_'s _^<i_The Flight of Dragons_^>i_ (_^<b_1979_^>b_) and Harry _^<a_!T4316_HARRISON_^>a_'s _^<i_Great Balls of Fire! A History of Sex in Science Fiction Illustration_^>i_ (_^<b_1977_^>b_); all were heavily illustrated. SD
wrote two _^<a_!T2342_SPACE-OPERA_^>a_ sequences, the _^<b_Steeleye_^>b_ books -- _^<i_The Coming of Steeleye_^>i_ (_^<b_1976_^>b_), _^<i_Steeleye -- The Wideways_^>i_ (_^<b_1976_^>b_) and _^<i_Steeleye-Waterspace_^>i_ (_^<b_1976_^>b_) -- and
the_^<b_ Cabal_^>b_ tales -- _^<i_The Cabal_^>i_ (_^<b_1978_^>b_; 1981 US under his own name), _^<i_The Black Moon_^>i_ (_^<b_1978_^>b_; 1982 US under his own name) and _^<i_The Evangelist_^>i_ (_^<b_1979_^>b_; 1982 US under his own name).
[JC]_^<n__^<n_
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DUNNE, J(OHN) W(ILLIAM)
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(1875-1949) UK writer and engineer, responsible for designing the first UK military aeroplane _^<i_c_^>i_1907. Though his two fantasies-_^<i_The Jumping Lions of Borneo_^>i_ (_^<b_1937_^>b_ chap) and the more ambitious _^<i_An Experiment with St
George_^>i_ (_^<b_1939_^>b_) -- are of some mild interest, JWD is now remembered almost exclusively for his theories about the nature of time, which he developed in order to explain his sense that dreams are often precognitive. In _^<i_An
Experiment with Time_^>i_ (_^<b_1927_^>b_; rev 1929; rev 1934) he began to articulate his appealing thesis that time was not a linear flow but a sort of geography, accessible to the dreaming mind. In later books, such as _^<i_The Serial
Universe_^>i_ (_^<b_1934_^>b_), _^<i_The New Immortality_^>i_ (_^<b_1938_^>b_), _^<i_Nothing Dies_^>i_ (_^<b_1940_^>b_) and the posthumous _^<i_Intrusions?_^>i_ (_^<b_1955_^>b_), he ludicrously sophisticated the theory, postulating various numbered
levels of Time leading by an infinite regress to God; but his early work resonated perfectly with the time-hauntedness of interbellum UK writers from E.F. _^<a_!T539_BENSON_^>a_ to the children's author Alison Uttley (1884-1976) to -- most famously
-- John Buchan (1875-1940), whose time-travel novel, _^<i_The Gap in the Curtain_^>i_ (_^<b_1932_^>b_), is clearly argued in JWD's terms; and J.B. _^<a_!T1991_PRIESTLEY_^>a_, whose _^<b_Time Plays_^>b_ are indebted to JWD, and whose nonfictional
_^<i_Over the Long High Wall: Some Reflections and Speculations on Life, Death and Time_^>i_ (_^<b_1972_^>b_) guardedly advocates JWD's more fruitful intuitions. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T1239_DIMENSIONS_^>a_; _^<a_!T6026_TIME
TRAVEL_^>a_.
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DUNSANY, LORD
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Working name of Edward John Moreton Drax Plunkett (1878-1957), 18th Baron Dunsany, prolific Irish author of stories, novels, essays and plays. Though primarily a writer of _^<a_!T1412_FANTASY_^>a_, he is of sf interest through the widespread
influence of his language and imagery. Late in life he wrote one sf novel, _^<i_The Last Revolution_^>i_ (_^<b_1951_^>b_), about _^<a_!T3540_MACHINES_^>a_ in revolt. His influence, especially on writers of _^<a_!T4396_HEROIC FANTASY_^>a_, was
strong from almost the beginning of his long career, when he published a series of _^<a_!T1412_FANTASY_^>a_ collections whose contents are linked by imagery and reference: _^<i_The Gods of Pegana_^>i_ (coll of linked stories _^<b_1905_^>b_),
_^<i_Time and the Gods_^>i_ (coll _^<b_1906_^>b_), _^<i_The Sword of Welleran_^>i_ (coll _^<b_1908_^>b_), which contains the famous _^<i_The Fortress Unvanquishable, Save for Sacnoth_^>i_ (_^<b_1910_^>b_ chap), _^<i_A Dreamer's Tales_^>i_ (coll
_^<b_1910_^>b_), _^<i_The Book of Wonder: A Chronicle of Little Adventures at the Edge of the World_^>i_ (coll _^<b_1912_^>b_), _^<i_Fifty-One Tales_^>i_ (coll _^<b_1915_^>b_; vt _^<i_The Food of Death: Fifty-One Tales_^>i_ 1974 US), and _^<i_Tales
of Wonder_^>i_ (coll _^<b_1916_^>b_: vt _^<i_The Last Book of Wonder_^>i_ 1916 US). The stories in these intermittently brilliant volumes made creative use of influences from Wilde and Yeats through William _^<a_!T3066_MORRIS_^>a_ -- along with the
very specific effect of the play _^<i_The Darling of the Gods_^>i_ (_^<b_1902_^>b_) by David Belasco (1859-1931) and John L. Long (1861-1927), with its misty fake-oriental setting. Through their sustained otherworldliness and their muscular
delicacy, these stories in turn exerted a potent influence on later writers._^<n__^<n_In his second phase as a fantasist -- after a rather ostentatious spurning of the genre during WWI -- LD turned to novels like _^<i_The Chronicles of Don
Rodriguez_^>i_ (_^<b_1922_^>b_; vt _^<i_Don Rodriguez: Chronicles of Shadow Valley_^>i_ 1922 US), _^<i_The King of Elfland's Daughter_^>i_ (_^<b_1924_^>b_) and _^<i_The Charwoman's Shadow_^>i_ (_^<b_1926_^>b_); the second of these did much to give
geographical reality to the secondary universe (> J.R.R. _^<a_!T6041_TOLKIEN_^>a_) of high fantasy. His third phase consists of the _^<b_Jorkens_^>b_ _^<a_!T768_CLUB STORIES_^>a_: _^<i_The Travel Tales of Mr Joseph Jorkens_^>i_ (coll
_^<b_1931_^>b_), _^<i_Jorkens Remembers Africa_^>i_ (coll _^<b_1934_^>b_ US; vt _^<i_Mr Jorkens Remembers Africa_^>i_ 1934 UK), _^<i_Jorkens Has a Large Whiskey_^>i_ (coll _^<b_1940_^>b_), _^<i_The Fourth Book of Jorkens_^>i_ (coll _^<b_1947_^>b_)
and _^<i_Jorkens Borrows Another Whiskey_^>i_ (coll _^<b_1954_^>b_). Along with works by Robert Louis _^<a_!T5731_STEVENSON_^>a_ and G.K. _^<a_!T5261_CHESTERTON_^>a_, these tales focused the attention of sf and fantasy writers upon the late
Victorian and Edwardian club story as a suggestive mode for storytelling; Arthur C. _^<a_!T736_CLARKE_^>a_, Sterling _^<a_!T4188_LANIER_^>a_ and Spider _^<a_!T2640_ROBINSON_^>a_ are among the many who have written in it. LD's work as a fantasist is
of high intrinsic merit, and his influence is pervasive. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Tales of War_^>i_ (coll _^<b_1918_^>b_); _^<i_Unhappy Far-Off Things_^>i_ (coll _^<b_1919_^>b_); _^<i_Tales of Three Hemispheres_^>i_ (coll
_^<b_1919_^>b_ US); two macabre novels, _^<i_The Blessing of Pan_^>i_ (_^<b_1927_^>b_) and _^<i_The Curse of the Wise Woman_^>i_ (_^<b_1933_^>b_); _^<i_My Talks with Dean Spanley_^>i_ (_^<b_1936_^>b_ ), in which the Dean recalls a past life;
_^<i_The Strange Journeys of Colonel Polders_^>i_ (_^<b_1950_^>b_), in which a man's mind is transferred into an animal's body;_^<i_Rory and Bran _^>i_(_^<b_1936_^>b_), a protagonist of which is a dog; _^<i_The Man who Ate the Phoenix_^>i_ (coll
_^<b_1949_^>b_); _^<i_The Little Tales of Smethers_^>i_ (coll _^<b_1952_^>b_); _^<i_The Sword of Welleran and Other Tales of Enchantment_^>i_ (coll _^<b_1954_^>b_; contents differ from the 1908 vol); 3 compilations ed Lin _^<a_!T5194_CARTER_^>a_,
_^<i_At the Edge of the World_^>i_ (coll _^<b_1970_^>b_), _^<i_Beyond the Fields We Know_^>i_ (coll _^<b_1972_^>b_) and _^<i_Over the Hills and Far Away_^>i_ (coll _^<b_1974_^>b_); _^<i_Gods, Men and Ghosts_^>i_ (coll _^<b_1972_^>b_) ed E.F.
_^<a_!T654_BLEILER_^>a_; _^<i_The Ghosts of the Heaviside Layer and Other Fantasms_^>i_ (coll _^<b_1980_^>b_ US); also numerous pamphlets and plays._^<b_About the author:_^>b_ _^<i_Lord Dunsany: A Biography_^>i_ (_^<b_1972_^>b_) by Mark Amory;
_^<i_Lord Dunsany: King of Dreams_^>i_ (_^<b_1959_^>b_) by Hazel Littlefield; _^<i_Literary Swordsmen and Sorcerers_^>i_ (_^<b_1976_^>b_) by L. Sprague _^<a_!T1133_DE CAMP_^>a_; _^<i_Pathways to Elfland: The Writings of Lord Dunsany_^>i_
(_^<b_1989_^>b_) by Darrell SCHWEITZER; "Lord Dunsany: The Career of a Fantaisiste"by S.T. Joshi in his _^<i_The Weird Tale _^>i_(_^<b_1990_^>b_);_^<i_Pathways to Elfland_^>i_ (_^<b_1989_^>b_) by Darrell _^<a_!T2867_SCHWEITZER_^>a_; _^<i_Lord
Dunsany: A Bibliograpy_^>i_ (_^<b_1993_^>b_) by J.T. Joshi and Schweitzer.._^<b_See also:_^>b_ _^<a_!T5875_SWORD AND SORCERY_^>a_.
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DUNSTAN, ANDREW
-T-
[s] > A. Bertram _^<a_!T5232_CHANDLER_^>a_._^<n__^<n_
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DURRELL, LAWRENCE (GEORGE)
-T-
(1912-1990) UK poet and novelist best known for the _^<b_Alexandria Quartet_^>b_ (_^<b_1957-60_^>b_). His sf novel sequence, _^<i_Tunc_^>i_ (_^<b_1968_^>b_) and _^<i_Nunquam_^>i_ (_^<b_1970_^>b_), assembled as _^<i_The Revolt of Aphrodite_^>i_ (omni
_^<b_1974_^>b_), subjects sf material to intensely literary scrutiny. In the first volume, Merlin, a burgeoning multinational corporation, co-opts the protagonist, Felix Charlock, into constructing a super-_^<a_!T826_COMPUTER_^>a_, which can
predict the future and which drives him to madness; in the second volume, Felix is cured in order to create an _^<a_!T178_ANDROID_^>a_ lady -- echoing an LD obsession -- perfectly duplicating a destroyed lover of the boss of Merlin; but the android
is also destroyed in a _^<a_!T6337_NEAR-FUTURE_^>a_ world choked with evil and images of corruption. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T3135_MYTHOLOGY_^>a_.
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DUSTY AYRES AND HIS BATTLE BIRDS
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US _^<a_!T2033_PULP MAGAZINE_^>a_. 12 issues, July 1934-July 1935; published by Popular Publications; ed Rogers Terrill. Each issue contained a novel by Robert Sidney _^<a_!T4945_BOWEN_^>a_ Jr in which Dusty and his sidekicks fought off the menace
of the Black Invaders, led by an Asian warlord bent on world domination. The magazine, genuine _^<a_!T6337_NEAR-FUTURE_^>a_ sf, was a revival of a more conventional aviation pulp, _^<i_Battle Birds_^>i_, in an attempt to pull in the readership of
the previous title for what was in fact a brand new magazine with a new hero and a new, futuristic storyline. It continued the numeration of _^<i_Battle Birds_^>i_, beginning with vol 5 #4 and ending with vol 8 #3. Five of the stories were
reprinted as paperbacks in 1966 (_^<i_for details_^>i_ > _^<a_!T4945_BOWEN_^>a_). [FHP/MJE]_^<n__^<n_
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DVORKIN, DANIEL
-T-
[r] > David _^<a_!T1358_DVORKIN_^>a_._^<n__^<n_
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DVORKIN, DAVID
-T-
(1943- ) UK-born author, long in the USA, whose first novel of strong interest, after the unremarkable _^<i_The Children of Shiny Mountain_^>i_ (_^<b_1977_^>b_; vt _^<i_Shiny Mountain_^>i_ 1978 UK) and _^<i_The Green God_^>i_ (_^<b_1979_^>b_),
was _^<i_Time for Sherlock Holmes_^>i_ * (_^<b_1983_^>b_). This _^<a_!T2528_RECURSIVE_^>a_ tale takes the detective, who has found the secret of eternal youth, through a tortuous plot (much _^<a_!T6026_TIME TRAVEL_^>a_ is involved) from the time of
H.G. _^<a_!T5528_WELLS_^>a_ (concerned at Professor Moriarty's theft of the Time Machine to seesaw through the eons, doing evil) to a Martian future where, after a _^<a_!T1370_DYSTOPIAN_^>a_ interlude, he prepares to lead humanity to the stars.
Unfortunately, the telling is somewhat flat, an ailment of style which afflicted DD through the next several books. _^<i_Budspy_^>i_ (_^<b_1987_^>b_), set in an _^<a_!T131_ALTERNATE WORLD_^>a_ featuring a victorious Germany (> _^<a_!T4446_HITLER
WINS_^>a_), is greyly half-convincing; and _^<i_The Seekers_^>i_ (_^<b_1988_^>b_) and _^<i_Central Heat_^>i_ (_^<b_1988_^>b_), both set in the same universe, again lack a sense of full conviction, though much of the detail-work is, as usual,
applied with considerable intelligence. _^<i_Central Heat_^>i_ is plotted with all DD's love of intricacy: _^<a_!T102_ALIENS_^>a_ have decided that Earth has failed to breed decent citizens and so abduct the Sun, although ensuring that our planet
ricochets into an orbit around Jupiter and Saturn, which have been thrown together; properly instructed as to how to go about igniting the joined gas giants into a tiny new sun, the remnants of humanity begin to learn how to cope. With
_^<i_Ursus_^>i_ (_^<b_1989_^>b_) and _^<i_Insatiable_^>i_ (_^<b_1993_^>b_), DD shifted into horror. [JC]_^<n__^<n__^<b_Other works:_^>b_ Three _^<a_!T2429_STAR TREK_^>a_ ties: _^<i_The Trellisane Confrontation_^>i_ * (_^<b_1984_^>b_),
_^<i_Timetrap_^>i_ * (_^<b_1988_^>b_) and _^<i_Star Trek: The Next Generation #8: The Captain's Honor_^>i_ * (_^<b_1989_^>b_) with Daniel Dvorkin (1969- ), his son._^<b_See also:_^>b_ _^<a_!T956_CRIME AND PUNISHMENT_^>a_.
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DWIGGINS, W(ILLIAM) A(DDISON)
-T-
(1880-1956) US writer on typography and, through his association with the Mergenthaler Linotype Company, designer of several well known typefaces, including Electra and Caledonia. He is known within the sf field for designing and illustrating the
luxurious 1931 edition of H.G. _^<a_!T5528_WELLS_^>a_'s _^<i__^<a_!B9070_THE TIME MACHINE_^>a__^>i_. His sf play, _^<i_Millennium 1_^>i_ (_^<b_1945_^>b_) -- published in an edition he designed and illustrated -- depicts an ambiguous
_^<a_!T5303_UTOPIA_^>a_ in which machines have revolted and humans must fight to recover their hegemony. [JC]_^<n__^<n_
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DWYER, DEANNE
-T-
> Dean R. _^<a_!T4116_KOONTZ_^>a_._^<n__^<n_
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DWYER, JAMES FRANCIS
-T-
(1874-1952) US writer, most of whose books -- like _^<i_The White Waterfall_^>i_ (_^<b_1912_^>b_), _^<i_The Spotted Panther_^>i_ (_^<b_1913_^>b_) and the stories assembled in _^<i_"Breath of the Jungle"_^>i_ (coll _^<b_1915_^>b_) -- are Oriental
fantasies of little interest, though _^<i_Evelyn: Something More than a Story_^>i_ (_^<b_1929_^>b_) translates the prurient primitivism of the earlier books into the future, and _^<i_Hespamora_^>i_ (_^<b_1935_^>b_ UK) combines elements of
_^<a_!T1370_DYSTOPIAN_^>a_ satire with an incursion of pagan deities. The _^<b_Spillane_^>b_ series, _^<i_The Lady with Feet of Gold_^>i_ (_^<b_1937_^>b_ UK) and _^<i_The City of Cobras_^>i_ (_^<b_1938_^>b_ UK), returned to JFD's old haunts.
(1927-1955) US writer who began publishing sf with "The Last Orbit" for _^<i_AMZ_^>i_ in 1950. He was active for the next half-decade, soon publishing his only sf novel, _^<i_Prisoner in the Skull_^>i_ (_^<b_1952_^>b_), in which ordinary _^<i_Homo
sapiens_^>i_ and a form of _^<a_!T5830_SUPERMAN_^>a_ engage in thriller-like confrontations. He was married briefly (1951-3) to Katherine _^<a_!T3563_MACLEAN_^>a_, who wrote "The Man who Staked the Stars" (1952) and "Syndrome Johnny" (1951) under
his name. The latter story contains an amazingly early account of a genetic-recombination technique (gene splicing), in which a "piggyback" virus transports genetic material (a silicon-using gene) into human cells. [JC/PN]_^<n__^<n_
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DYER, ALFRED
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[r] > _^<a_!T6332_ROBERT HALE LIMITED_^>a_._^<n__^<n_
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DYING EARTH
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A not uncommon category of sf story which has now developed its own melancholy mythology. > _^<a_!T1432_FAR FUTURE_^>a_. [JC]_^<n__^<n_
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DYNAMIC SCIENCE FICTION
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US _^<a_!T2033_PULP MAGAZINE_^>a_ published by Columbia Publications; ed R.A.W. _^<a_!T3472_LOWNDES_^>a_. 6 issues, Dec 1952-Jan 1954. Much of the fiction _^<i_DSF_^>i_ printed was mediocre, but it published 2 2-part critical articles of some note
by James E. _^<a_!T4896_GUNN_^>a_: "The Philosophy of SF" (Mar-June 1953) and "The Plot-Forms of SF" (Oct 1953-Jan 1954). 3 numbered issues were reprinted in the UK in 1953. [BS]_^<n__^<n_
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DYNAMIC SCIENCE STORIES
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US _^<a_!T2033_PULP MAGAZINE_^>a_, a short-lived companion to _^<a_!T3698_MARVEL SCIENCE STORIES_^>a_. 2 issues, Feb 1939 and Apr/May 1939, published by Western Fiction Publishing Corp.; ed Robert O. Erisman. #1 featured the novel _^<i_Lord of
Tranerica_^>i_ (_^<b_1966_^>b_) by Stanton A. _^<a_!T773_COBLENTZ_^>a_; #2 included stories by L. Sprague _^<a_!T1133_DE CAMP_^>a_ and Manly Wade _^<a_!T5525_WELLMAN_^>a_. _^<i_DSS_^>i_ was an average pulp magazine with no distinctive qualities. #1
appeared as a UK reprint in 1939. [MJE]_^<n__^<n_
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DYSON, FREEMAN J(OHN)
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(1923- ) UK-born theoretical physicist and FRS; professor at the Institute for Advanced Study, Princeton, since 1953, and now a US citizen. FJD's main work has been in quantum field theory, but he is well known in sf for the concept of the
_^<a_!T1369_DYSON SPHERE_^>a_, which he introduced in a short paper for _^<i_Science_^>i_ in 1960 (vol 131 p1667). In this paper, which was concerned with locating and communicating with extraterrestrial civilizations, Dyson argued that any such
civilization would probably be millions of years old and that Malthusian pressure would have led to its energy requirements being equal to the total output of radiation from its star. It would therefore reconstruct its solar system so as to form an
artificial biosphere completely enclosing its sun. This and related schemes, like the basic notion behind his _^<i__^<a_!B9015_RINGWORLD_^>a__^>i_ (_^<b_1970_^>b_), are discussed by Larry _^<a_!T3223_NIVEN_^>a_ in his article "Bigger than Worlds"
(1974; reprinted in _^<i_A Hole in Space_^>i_ coll _^<b_1974_^>b_). An sf novel which makes use of an actual Dyson Sphere is Bob _^<a_!T2153_SHAW_^>a_'s _^<i_Orbitsville_^>i_ (_^<b_1975_^>b_). The "Cuckoo "in_^<i_Farthest Star_^>i_ (_^<b_1975_^>b_)
by Frederik _^<a_!T1937_POHL_^>a_ and Jack _^<a_!T5629_WILLIAMSON_^>a_ is revealed in the sequel, _^<i_Wall Around a Star_^>i_ (_^<b_1983_^>b_), to be a Dyson Sphere._^<n__^<n_FJD's theorizing has many times gone beyond his own speciality to cover
topics as diverse as the Greenhouse Effect, galactic _^<a_!T811_COLONIZATION_^>a_, _^<a_!T4657_GENETIC ENGINEERING_^>a_ and the use of the _^<a_!T2306_SOLAR WIND_^>a_ for space-sailing. His many essays are a treasure trove for sf writers, some
being collected in _^<i_Infinite in All Directions_^>i_ (coll _^<b_1988_^>b_ US). His set of autobiographical sketches, _^<i_Disturbing the Universe_^>i_ (_^<b_1979_^>b_ US), tells entertaining tales of intellectual adventure. It was a student of
Dyson's who made headlines in 1976 by designing a workable nuclear weapon using only published sources. [TSu/PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T6679_ENTROPY_^>a_; _^<a_!T6215_XENOBIOLOGY_^>a_.
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Item of sf _^<a_!T5942_TERMINOLOGY_^>a_; named for a concept put forward by the physicist Freeman J. _^<a_!T1368_DYSON_^>a_._^<n__^<n_
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DYSTOPIAS
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The word "dystopia" is the commonly used antonym of "eutopia" (> _^<a_!T5303_UTOPIAS_^>a_) and denotes that class of hypothetical societies containing images of worlds worse than our own. An early user of the term was John Stuart Mill (1806-1873),
in a parliamentary speech in 1868, but its recent fashionableness probably stems from its use in _^<i_Quest for Utopia_^>i_ (_^<b_1952_^>b_) by Glenn Negley (1907-1988) and J. Max Patrick (1908- ). Anthony _^<a_!T5084_BURGESS_^>a_ argued in
_^<i_1985_^>i_ (_^<b_1978_^>b_) that "cacotopia" would be a more apt term._^<n__^<n_Dystopian images are almost invariably images of future society, pointing fearfully at the way the world is supposedly going in order to provide urgent propaganda
for a change in direction. As hope for a better future grows, the fear of disappointment inevitably grows with it, and when any vision of a future utopia incorporates a manifesto for political action or belief, opponents of that action or belief
will inevitably attempt to show that its consequences are not utopian but horrible. The very first work listed in I.F. _^<a_!T739_CLARKE_^>a_'s bibliography of _^<i_The Tale of the Future_^>i_ (3rd edn _^<b_1978_^>b_) is a tract of 1644 warning of
the terrible disaster which would follow were the monarchy to be restored._^<n__^<n_Dystopian images began to proliferate in the last decades of the 19th century. Utopian and dystopian images are contrasted in the rival cities of Frankville and
Stahlstadt in _^<i_The Begum's Fortune_^>i_ (_^<b_1879_^>b_; trans _^<b_1880_^>b_) by Jules _^<a_!T5355_VERNE_^>a_. The greedy materialism which has created Stahlstadt is also the underlying ideology of H.C. _^<a_!T3676_MARRIOTT-WATSON_^>a_'s
_^<i_Erchomenon_^>i_ (_^<b_1879_^>b_). Walter _^<a_!T564_BESANT_^>a_ produced two significant early dystopias in _^<i_The Revolt of Man_^>i_ (_^<b_1882_^>b_), in which women (>_^<a_!T5683_WOMEN AS PORTRAYED IN SCIENCE FICTION_^>a_) rule with
disastrous consequences, and _^<i_The Inner House_^>i_ (_^<b_1888_^>b_), in which _^<a_!T3771_IMMORTALITY_^>a_ has led to social stagnation. The great utopian H.G. _^<a_!T5528_WELLS_^>a_ produced his images of dystopia, too -- forecasts of what the
world must be like if the forces of socialism did not triumph -- in "A Story of the Days to Come" (1897) and _^<i_When the Sleeper Wakes_^>i_ (_^<b_1899_^>b_; rev vt _^<i_The Sleeper Awakes_^>i_, _^<b_1910_^>b_). He also produced the first
_^<a_!T98_ALIEN_^>a_ dystopia in his description of Selenite society in _^<i__^<a_!B9270_THE FIRST MEN IN THE MOON_^>a__^>i_ (_^<b_1901_^>b_). Robert Hugh _^<a_!T541_BENSON_^>a_'s _^<i_Lord of the World_^>i_ (_^<b_1907_^>b_) is a hysterical protest
against secularism, humanism and socialism which ends with the apocalypse._^<n__^<n_The single most prolific stimulus to the production of dystopian visions has been the political polarization of capitalism and socialism. Anti-capitalist dystopias
include _^<i_The Iron Heel_^>i_ (_^<b_1907_^>b_) by Jack _^<a_!T3427_LONDON_^>a_, _^<i_The Air Trust_^>i_ (_^<b_1915_^>b_) by George Allan _^<a_!T6673_ENGLAND_^>a_, and _^<i_Useless Hands_^>i_ (_^<b_1920_^>b_; trans _^<b_1926_^>b_) by Claude
_^<a_!T1440_FARRERE_^>a_. Anti-socialist dystopias, which are more numerous, include _^<i_The Unknown Tomorrow_^>i_ (_^<b_1910_^>b_) by William _^<a_!T3338_LE QUEUX_^>a_, _^<i_Crucible Island_^>i_ (_^<b_1919_^>b_) by Conde B.
_^<a_!T1771_PALLEN_^>a_, _^<i_Unborn Tomorrow_^>i_ (_^<b_1933_^>b_) by John _^<a_!T4022_KENDALL_^>a_, _^<i_Anthem_^>i_ (_^<b_1938_^>b_) by Ayn _^<a_!T2488_RAND_^>a_ and _^<i_The Great Idea_^>i_ (_^<b_1951_^>b_; vt _^<i_Time Will Run Back_^>i_) by
Henry _^<a_!T4360_HAZLITT_^>a_. Anti-fascist dystopias include _^<i_Land under England_^>i_ (_^<b_1935_^>b_) by Joseph _^<a_!T1702_O'NEILL_^>a_, _^<i_The Wild Goose Chase_^>i_ (_^<b_1937_^>b_) by Rex _^<a_!T5461_WARNER_^>a_ and _^<i_The Lost
Traveller_^>i_ (_^<b_1943_^>b_) by Ruthven _^<a_!T6037_TODD_^>a_. Anti-German dystopias from before and after the rise of the Nazi Party include Owen _^<a_!T4859_GREGORY_^>a_'s _^<i_Meccania_^>i_ (_^<b_1918_^>b_), Milo _^<a_!T4339_HASTINGS_^>a_'s
_^<i_City of Endless Night_^>i_ (_^<b_1920_^>b_) and _^<i_Swastika Night_^>i_ (_^<b_1937_^>b_) by Murray Constantine (> Katharine _^<a_!T5080_BURDEKIN_^>a_) (_^<i_see also_^>i_ _^<a_!T4446_HITLER WINS_^>a_)._^<n__^<n_Although these works are
emotional reactions against ideas which seem various, the basic fears which they express are very similar. The emphasis may differ, but the central features of dystopia are ever present: the oppression of the majority by a ruling elite (which
varies only in the manner of its characterization, not in its actions), and the regimentation of society as a whole (which varies only in its declared ends, not in its actual processes). In his attempt to imagine the "rationalized" state of the
Selenites, Wells took as his dystopian model the ant-nest (> _^<a_!T4447_HIVE-MINDS_^>a_) and this has seemed the epitome of dystopian organization to many other writers. J.D. _^<a_!T543_BERESFORD_^>a_'s and Esme Wynne-Tyson's _^<i_The Riddle of
the Tower_^>i_ (_^<b_1944_^>b_) suggests that the fundamental danger facing society is "Automatism" -- the trend toward the victory of organic society over the individual -- whatever political philosophy is invoked to justify it. The most detailed
analysis of this anxiety, and perhaps the most impressively ruthless of all dystopias, is _^<i_My_^>i_ (trans as _^<i_We_^>i_ _^<b_1924_^>b_) by Yevgeny _^<a_!T6256_ZAMIATIN_^>a_, and the most luridly horrible development of it is to be found in
George _^<a_!T1731_ORWELL_^>a_'s _^<i__^<a_!B9093_NINETEEN EIGHTY-FOUR_^>a__^>i_ (_^<b_1949_^>b_), which in part expressed Orwell's despair of the UK working class and its capacity to revolt (or even be revolted)._^<n__^<n_Because animosity against
specific political programmes was the most important force provoking early dystopian visions, the tradition did not immediately engage in contradictory argument the main basis for utopian optimism, which is a more generalized faith in the idea of
progress, both social and technological. It was not long, though, before there appeared dystopian images reflecting an emotional reaction against technological advance. The world of E.M. _^<a_!T1567_FORSTER_^>a_'s "The Machine Stops" (1909) is
perhaps the first dystopia created by technological sophistication; the story's argument is halfhearted, concentrating on the question of what would happen when the _^<a_!T3540_MACHINES_^>a_ broke down rather than on the horrors of living with them
while they were still functioning. A confident assertion that scientific progress would make the world a worse place to live in because it would allow society's power groups more effectively to oppress others was made by Bertrand
_^<a_!T2742_RUSSELL_^>a_ in _^<i_Icarus, or The Future of Science_^>i_ (_^<b_1924_^>b_), his reply to J.B.S. _^<a_!T4923_HALDANE_^>a_'s optimistic _^<i_Daedalus_^>i_ (_^<b_1924_^>b_). Aldous _^<a_!T4566_HUXLEY_^>a_'s satirical dystopia
_^<i__^<a_!B9261_BRAVE NEW WORLD_^>a__^>i_ (_^<b_1932_^>b_) is also an ideological reply to _^<i_Daedalus_^>i_, raising awkward questions about the quality of life in a _^<a_!T3327_LEISURE_^>a_ society. S. Fowler _^<a_!T6194_WRIGHT_^>a_'s _^<i_The
New Gods Lead_^>i_ (coll _^<b_1932_^>b_) is a scathing indictment of the values of technocracy and "the utopia of comforts". The general pessimism of the UK _^<a_!T2878_SCIENTIFIC ROMANCE_^>a_ in this period was countered mainly by hopes of
transcendence (_^<i_via_^>i_ the evolution of a new and better species of mankind) rather than by faith in political reform._^<n__^<n_This suspicion of technology, though running directly counter to Hugo _^<a_!T4668_GERNSBACK_^>a_'s optimism for an
"Age of Power Freedom", is surprisingly widespread in early _^<a_!T4659_GENRE SF_^>a_. In "Paradise and Iron" (1930) by Miles J. _^<a_!T4989_BREUER_^>a_ a mechanical brain established to coordinate a mechanistic utopia becomes a tyrant. In "City of
the Living Dead" (1930) by Laurence _^<a_!T3648_MANNING_^>a_ and Fletcher _^<a_!T1976_PRATT_^>a_, machines that simulate real experience allow people to live in dream worlds, sustained by mechanical "wombs", and thereby bring about the total
stagnation of society. Scepticism in regard to technological miracles is a hallmark of the work of David H. _^<a_!T4008_KELLER_^>a_, whose dystopian fantasies include "The Revolt of the Pedestrians" (1928), in which automobilists who have lost the
power of self-locomotion rule oppressively over mere pedestrians. Most stories of this kind feature some kind of rebellion against the adverse circumstances described. The reversion to a simpler way of life is celebrated by Keller in "The Metal
Doom" (1932) as enthusiastically as it is in the hysterically technophobic _^<i_Gay Hunter_^>i_ (_^<b_1934_^>b_) by J. Leslie _^<a_!T2985_MITCHELL_^>a_._^<n__^<n_Revolution against a dystopian regime was to become a staple plot of _^<a_!T4659_GENRE
SF_^>a_, partly because such a formula offered far more melodramatic potential than utopian planning. The standard scenario involves an oppressive totalitarian state which maintains its dominance and stability by means of futuristic technology, but
which is in the end toppled by newer technologies exploited by revolutionaries. The standard genre-sf answer to the problem posed by Russell in _^<i_Icarus_^>i_ is, therefore, that elites empowered by technology will lose their interest in further
technological progress, and will probably try to suppress it -- with the result that its clandestinely developed fruits will become the instruments of their overthrow. Examples from the 1940s of this formula are "If This Goes On ..." (1940) and
_^<i_Sixth Column_^>i_ (1941; _^<b_1949_^>b_) by Robert A. _^<a_!T4376_HEINLEIN_^>a_, _^<i__^<a_!B9083_GATHER, DARKNESS!_^>a__^>i_ (1943; _^<b_1950_^>b_) by Fritz _^<a_!T3322_LEIBER_^>a_, _^<i_Tarnished Utopia_^>i_ (1943; _^<b_1956_^>b_) by Malcolm
_^<a_!T6344_JAMESON_^>a_ and _^<i_Renaissance_^>i_ (1944; _^<b_1951_^>b_; vt _^<i_Man of Two Worlds_^>i_) by Raymond F. _^<a_!T3934_JONES_^>a_. In the _^<a_!T2130_SF MAGAZINES_^>a_ of the 1950s this formula became more refined and increasingly
stylized. There appeared a whole generation of sf novels in which individual power groups come to dominate society, shaping it to their special interests. Advertising executives run the world in the archetype of this subspecies,
_^<i__^<a_!B9011_THE SPACE MERCHANTS_^>a__^>i_ (_^<b_1953_^>b_) by Frederik _^<a_!T1937_POHL_^>a_ and C.M. _^<a_!T6353_KORNBLUTH_^>a_; insurance companies are in charge in _^<i_Preferred Risk_^>i_ (_^<b_1955_^>b_) by Edson McCann (Pohl and Lester
_^<a_!T1164_DEL REY_^>a_); supermarkets in _^<i__^<a_!B9277_HELL'S PAVEMENT_^>a__^>i_ (_^<b_1955_^>b_; vt _^<i_Analogue Men_^>i_) by Damon _^<a_!T4098_KNIGHT_^>a_; racketeers in _^<i_The Syndic_^>i_ (_^<b_1953_^>b_) by Kornbluth; doctors in
_^<i_Caduceus Wild_^>i_ (1959; rev _^<b_1978_^>b_) by Ward _^<a_!T3039_MOORE_^>a_ and Robert Bradford; and a cult of hedonists in _^<i_The Joy Makers_^>i_ (fixup _^<b_1961_^>b_) by James E. _^<a_!T4896_GUNN_^>a_. All these novels are, in a sense,
gaudy fakes that use dystopian images for melodramatic convenience; they select their villains with a vigorous disregard for plausibility and a cheerful animus against some personal _^<i_bete noire_^>i_. They tend to be _^<a_!T18_ABSURDIST_^>a_
exaggerations rather than serious political statements. In this period genre sf produced only one genuine dystopian novel, the classic _^<i__^<a_!B9110_FAHRENHEIT 451_^>a__^>i_ (_^<b_1953_^>b_) by Ray _^<a_!T4963_BRADBURY_^>a_, which leaves its
ruling elite anonymous in order to concentrate on the means by which oppression and regimentation are facilitated, with the powerful key image of the firemen whose job is to burn books. In many of the lesser genre-sf novels of the 1950s, revolution
against an oppressive and stagnant society is seen as a difficult irrelevance, escape by _^<a_!T2348_SPACESHIP_^>a_ becoming a key image._^<n__^<n_Outside the sf magazines the post-WWII period produced a remarkable series of very varied dystopian
novels -- remarkable not only for their diversity and characteristic intensity but also for a tendency to black comedy. Aldous Huxley's _^<i_Ape and Essence_^>i_ (_^<b_1948_^>b_) is an anti-scientific polemic; Evelyn _^<a_!T5489_WAUGH_^>a_'s
_^<i_Love among the Ruins_^>i_ (_^<b_1953_^>b_) is a vitriolic political satire; Bernard _^<a_!T5674_WOLFE_^>a_'s _^<i__^<a_!B9089_LIMBO_^>a__^>i_ (_^<b_1952_^>b_) plays in macabre fashion with the idea of (literal) "disarmament". Even the more
earnest works, like Gerald _^<a_!T4365_HEARD_^>a_'s enigmatic _^<i_Doppelgangers_^>i_ (_^<b_1947_^>b_), _^<a_!T2805_SARBAN_^>a_'s _^<i__^<a_!B9033_THE SOUND OF HIS HORN_^>a__^>i_ (_^<b_1952_^>b_), David _^<a_!T3988_KARP_^>a_'s _^<i_One_^>i_
(_^<b_1953_^>b_), L.P. _^<a_!T4325_HARTLEY_^>a_'s _^<i_Facial Justice_^>i_ (_^<b_1960_^>b_) and Anthony Burgess's _^<i__^<a_!B9068_A CLOCKWORK ORANGE_^>a__^>i_ (_^<b_1962_^>b_), possess a curious surreal quality. Many of these novels are neither
accusations directed at particular social forces nor attempts to analyse the nature of the dystopian state, but seem to be products of a new kind of incipient despair; only a few-notably _^<i_Doppelgangers_^>i_ -- offer a significant note of hope
in their account of rebellion against evil circumstance. This, it appears, was a period of history in which US-UK society lost its faith in the probability of a better future, and the dystopian image was established as an actual pattern of
expectation rather than as a literary warning device._^<n__^<n_Genre sf soon followed this lead -- and so prominent was the dystopian image in magazine sf that the transition from fakery to "realism" was very easily achieved. During the 1960s a
whole series of reasons for believing in a dystopian future were discovered-to justify rather than to cause the pessimistic outlook typical of the time. _^<a_!T1752_OVERPOPULATION_^>a_ -- a theme ignored since the days of Malthus -- began to
inspire dystopian horror stories, most impressively in _^<i__^<a_!B9163_MAKE ROOM! MAKE ROOM!_^>a__^>i_ (_^<b_1966_^>b_) by Harry _^<a_!T4316_HARRISON_^>a_, _^<i__^<a_!B9257_STAND ON ZANZIBAR_^>a__^>i_ (_^<b_1968_^>b_) by John
_^<a_!T5049_BRUNNER_^>a_ and _^<i_The World Inside_^>i_ (_^<b_1971_^>b_) by Robert _^<a_!T2216_SILVERBERG_^>a_. The awful prospects of _^<a_!T1942_POLLUTION_^>a_ and the destruction of the environment were extravagantly detailed in Brunner's
_^<i_The Sheep Look Up_^>i_ (_^<b_1972_^>b_) and Philip _^<a_!T6210_WYLIE_^>a_'s _^<i_The End of the Dream_^>i_ (_^<b_1972_^>b_). When Alvin _^<a_!T6039_TOFFLER_^>a_ proposed in _^<i_Future Shock_^>i_ (_^<b_1970_^>b_) that the sheer pace of change
threatened to make everyday life unendurable, Brunner was able to complete a kind of "dystopian tetralogy", following the two books cited above and _^<i_The Jagged Orbit_^>i_ (_^<b_1969_^>b_) with _^<i__^<a_!B9129_THE SHOCKWAVE RIDER_^>a__^>i_
(_^<b_1975_^>b_). Thomas M. _^<a_!T1244_DISCH_^>a_'s _^<i__^<a_!B9077_334_^>a__^>i_ (fixup _^<b_1972_^>b_) is a dark vision of the _^<a_!T6337_NEAR FUTURE_^>a_ in which human resilience is tested to the limit by the stresses and strains of everyday
life._^<n__^<n_Perhaps strangely, _^<a_!T3609_MAINSTREAM_^>a_ dystopias of the late 1960s and 1970s seem rather weak-kneed compared to those of the preceding decades. Michael _^<a_!T1610_FRAYN_^>a_'s _^<i_A Very Private Life_^>i_ (_^<b_1968_^>b_),
Adrian _^<a_!T2982_MITCHELL_^>a_'s _^<i_The Bodyguard_^>i_ (_^<b_1970_^>b_), Ira _^<a_!T3361_LEVIN_^>a_'s _^<i_This Perfect Day_^>i_ (_^<b_1970_^>b_) and Lawrence _^<a_!T2793_SANDERS_^>a_'s _^<i_The Tomorrow File_^>i_ (_^<b_1975_^>b_) all seem
stereotyped. Perhaps there was little scope left for originality once the most all-inclusive and ruthless image of a horrible and degenerate future had been provided by William S. _^<a_!T5099_BURROUGHS_^>a_ in _^<i_Nova Express_^>i_
(_^<b_1964_^>b_), or perhaps it was simply that dystopian imagery came to be taken for granted to such an extent that it could be deployed only in an almost flippant manner -- as by the _^<a_!T1015_CYBERPUNK_^>a_ writers of the 1980s. It is
arguable that the only new ground broken by literary dystopias of the 1970s and 1980s, whether in the mainstream or in genre sf, related to _^<a_!T1461_FEMINIST_^>a_ images of oppressive masculinity; notable examples include _^<i__^<a_!B9009_WALK
TO THE END OF THE WORLD_^>a__^>i_ (_^<b_1974_^>b_) by Suzy McKee _^<a_!T5244_CHARNAS_^>a_, _^<i_Woman at the Edge of Time_^>i_ (_^<b_1976_^>b_) by Marge _^<a_!T1898_PIERCY_^>a_, _^<i__^<a_!B9071_THE HANDMAID'S TALE_^>a__^>i_ (_^<b_1985_^>b_) by
Margaret _^<a_!T303_ATWOOD_^>a_, and _^<i_Bulldozer Rising_^>i_ (_^<b_1988_^>b_) by _^<a_!T188_ANNA LIVIA_^>a_._^<n__^<n_The significance of the firm establishment of a dystopian image of the future in literature should not be underestimated.
Literary images of the future are among the most significant expressions of the beliefs and expectations we apply in real life to the organization of our attitudes and actions. Notable studies of dystopian fiction include _^<i_From Utopia to
Nightmare_^>i_ (_^<b_1962_^>b_) by Chad Walsh, _^<i_The Future as Nightmare_^>i_ (_^<b_1967_^>b_) by Mark R. _^<a_!T4433_HILLEGAS_^>a_, and _^<i_Science Fiction and the New Dark Age_^>i_ by Harold L. Berger (_^<b_1976_^>b_). In _^<i_New Maps of
Hell_^>i_ (_^<b_1960_^>b_) Kingsley _^<a_!T153_AMIS_^>a_ argues that the dystopian tradition is the most important strand in the tapestry of modern sf. A relevant theme anthology is _^<i_Bad Moon Rising_^>i_ (anth _^<b_1973_^>b_) ed Thomas M.
Disch. [BS]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T1243_DISASTER_^>a_; _^<a_!T3743_MEDIA LANDSCAPE_^>a_; _^<a_!T1714_OPTIMISM AND PESSIMISM_^>a_; _^<a_!T2300_SOCIOLOGY_^>a_.
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FABIAN, STEPHEN E.
-T-
(1930- ) US illustrator who worked in electronics until 1973. Self-trained as a freelance sf illustrator, he worked as a fan artist in the late 1960s. At the age of 43 he graduated to the professional _^<a_!T2130_SF MAGAZINES_^>a_, mostly
_^<i_AMZ_^>i_ and _^<i_Fantastic_^>i_, with both cover art and interiors; he was less active in the 1980s than the 1970s. His art is distinctive, with a strong sense of formal design; it is for his dramatic interior black-and-white work,
reminiscent of Virgil _^<a_!T1488_FINLAY_^>a_'s and prepared on textured coquille board, that he is best known. Book covers and interior illustrations include work for _^<a_!T2261_SMALL PRESSES_^>a_ such as Donald M. Grant, Byron
_^<a_!T1982_PREISS_^>a_ and _^<a_!T5283_UNDERWOOD-MILLER_^>a_. Books devoted to SEF's work include _^<i_Letters Lovecraftian: An Alphabet of Illuminated Letters Inspired by the Works of the Late Master of the Weird Tale, Howard Phillips
Lovecraft_^>i_ (_^<b_1974_^>b_), _^<i_Fantastic Nudes_^>i_ (_^<b_1976_^>b_) and _^<i_Fantastic Nudes: 2nd Series_^>i_ (_^<b_1976_^>b_), which are collected with other material in _^<i_Fantasy by Fabian_^>i_ (_^<b_1978_^>b_), _^<i_The Best of
Stephen Fabian_^>i_ (_^<b_1976_^>b_), _^<i_More Fantasy by Fabian_^>i_ (_^<b_1979_^>b_) and _^<i_Fabian in Color_^>i_ (_^<b_1980_^>b_). Many of these are ed and published Gerry de la Ree (? -1993), who also published much of Virgil Finlay's work.
SEF has seven times been nominated for a _^<a_!T4551_HUGO_^>a_. [PN/JG]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T1412_FANTASY_^>a_.
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FABULATION
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We do not intend to make here -- or to quote -- any sustained theoretical argument about the nature of fabulation as the term was conceived by Robert _^<a_!T2856_SCHOLES_^>a_ in _^<i_The Fabulators_^>i_ (_^<b_1967_^>b_) and amplified in his
_^<i_Structural Fabulation_^>i_ (_^<b_1975_^>b_). Our starting point must be _^<a_!T4659_GENRE SF_^>a_, our central concern throughout this encyclopedia. In the entry on _^<a_!T3609_MAINSTREAM WRITERS OF SF_^>a_ we contrast the writers of genre sf,
and the circumstances under which they write, with writers and their circumstances in what has come to be known as the mainstream. Here, we contrast the inherent nature of genre sf with the inherent nature of the central literature of the
postmodern world (> _^<a_!T1958_POSTMODERNISM AND SF_^>a_ for a more sharply focused view of Postmodernism as a movement and a condition of mind). In using the single term "fabulation" instead of several -- over and beyond Postmodernism, a critical
roster might include _^<a_!T18_ABSURDIST SF_^>a_, Fictionality, _^<a_!T3599_MAGIC REALISM_^>a_, _^<a_!T2253_SLIPSTREAM SF_^>a_ and Surfiction -- we know we are offering a grossly oversimplified snapshot of the modern literary environment (or nests
of environments). But the alternative would be to make a thousand individual choices, often inevitably controversial, as we attempted to label each non-"realistic" non-genre sf novel according to its precise place in an ever-shifting mosaic of
prescriptive definitions. One term will have to do._^<n__^<n_Over the course of the 20th century, sf readers have grown used to thinking of genre sf as substantially different (in manner, in substance and in intention) from the great stream of
realistic novels which increasingly dominated the English-speaking literary since the middle of the 18th century, a dominance which was challenged only in the first decades of our own era. Helped along by critics from within the genre, like Alexei
and Cory _^<a_!T1782_PANSHIN_^>a_ in their contentious _^<i_The World Beyond the Hill_^>i_ (_^<b_1989_^>b_), sf readers have further grown accustomed to thinking that it was genre sf itself that dethroned the mimetic novel from its position of
dominance in 1926, and that the continued popularity of "realistic" fiction has been a kind of confidence game. We feel that something like the reverse is true: that genre sf -- which we repeat is our central concern throughout this encyclopedia --
is essentially a _^<i_continuation_^>i_ of the mimetic novel, which it may have streamlined but certainly did not supplant; and that the onslaught of Modernism (and its successors) on the mimetic novel was also an onslaught upon the two essential
assumptions governing genre sf._^<n__^<n_The first assumption is that both the "world" and the human beings who inhabit it can be seen whole, and described accurately, in words. The writers who created the great novels of the 19th century wrote in
that assumption, and their novels were written as though they opened omniscient windows into reality. What the novel said and what was true were the same thing. Writers of genre sf have never abandoned this assumption. The explorations of Henry
James (1843-1916) in the inherent _^<i_unreliability_^>i_ of words -- and the consequent unreliability of narrators -- awoke no appreciative response in the mind of Hugo _^<a_!T4668_GERNSBACK_^>a_, and it was not until the 1970s and 1980s that sf
or fantasy was published (by writers like Jonathan Carroll, Samuel R. _^<a_!T1152_DELANY_^>a_ and Gene _^<a_!T5676_WOLFE_^>a_) which accepted, 70 years late, the Jamesian intuition. In the world outside, however, after WWI, serious literary critics
and readers almost universally granted the case of Modernist writers -- nearly all of them the spiritual children of Henry James -- that the "real" world could never be grasped whole, but that it was the high and difficult task of writers to forge
fallen words into a semblance of the world, and to take an artificer's joy in the task of construction._^<n__^<n_The second assumption is that the "world"-whether or not it can be seen whole through the distorting glass of words -- does in the end
have a story which can be told. That story might be the knotty and problematical revelation of the truth of the Christian faith as unfolded in the later work of T.S. Eliot (1888-1965); or the March of Progress that Alexei and Cory Panshin claim to
have traced, beginning with the planet-bound storytellers of the 19th century whose descendants bounded ever upwards toward the _^<a_!T4754_GOLDEN AGE OF SF_^>a_, exploring the Galaxy _^<i_en passant_^>i_. What underlying story is being told is
less important than the fact that, for writers of genre sf, some form of "meta-narrative" lies beneath the tale, ensuring the connectivity of things. The huge proliferation of future _^<a_!T4442_HISTORIES_^>a_ and novel sequences in genre sf does
not simply reflect market strategies; it also represents a belief that the world is tellable. It is that belief, whether held by Modernists like T.S. Eliot (and Gene Wolfe) or pure genre writers like E.E. "Doc" _^<a_!T2269_SMITH_^>a_, that has been
called into question by the various Postmodernist movements, and which lies at the heart of most fabulations._^<n__^<n_We can now say what we mean in this encyclopedia by a "fabulation": _^<i_a fabulation is any story which challenges the two main
assumptions of genre sf: that the world can be seen; and that it can be told._^>i_ We have chosen to use the term "fabulation" because it seems to us the best blanket description of the techniques employed by those writers who use sf devices to
underline that double challenge, and whose work is thus at heart profoundly antipathetic to genre sf. A typical fabulation, then, is a tale whose telling is _^<i_foregrounded_^>i_ in a way which emphasizes the inherent arbitrariness of the words we
use, the stories we tell (Magic Realism, for instance, can be seen as a subversion of the "official" stories which are told by "rational" means and authorities), the characters whose true nature we can never plumb, the worlds we can never step
into. (An unfriendly critic might say that fabulations are all means and no substance; but that is perhaps to miss the Postmodernist point that all previous stories were likewise, albeit secretly, all means and no "substance".) By foregrounding the
means of telling a tale, fabulations articulate what might be called the _^<i_fableness_^>i_ of things: the fableness of the world itself in some Magic Realism; the fableness of the political and social world in some Absurdist sf; the fableness of
the aesthetic object in Postmodernism as a whole; and -- finally -- the fableness of fables in Fabulation itself._^<n__^<n_Authors whose works (or some of whose works) are, in our terms, fabulations include Paul _^<a_!T12_ABLEMAN_^>a_, Paul
_^<a_!T312_AUSTER_^>a_, John _^<a_!T444_BARTH_^>a_, Donald _^<a_!T445_BARTHELME_^>a_, Adolfo _^<a_!T614_BIOY CASARES_^>a_, Michael _^<a_!T674_BLUMLEIN_^>a_, Jorge Luis _^<a_!T704_BORGES_^>a_, Bruce _^<a_!T4936_BOSTON_^>a_, Scott
_^<a_!T4965_BRADFIELD_^>a_, Richard _^<a_!T4979_BRAUTIGAN_^>a_, Christine _^<a_!T5018_BROOKE-ROSE_^>a_, Ed _^<a_!T5055_BRYANT_^>a_, David R. _^<a_!T5078_BUNCH_^>a_, Anthony _^<a_!T5084_BURGESS_^>a_, William _^<a_!T5099_BURROUGHS_^>a_, Dino
_^<a_!T5110_BUZZATI_^>a_, Italo _^<a_!T5127_CALVINO_^>a_, Angela _^<a_!T5190_CARTER_^>a_, Jerome _^<a_!T5246_CHARYN_^>a_, Barbara _^<a_!T828_COMYNS_^>a_, Robert _^<a_!T873_COOVER_^>a_, Arthur Byron _^<a_!T920_COVER_^>a_, Tom _^<a_!T1148_DE
HAVEN_^>a_, Don _^<a_!T1154_DELILLO_^>a_, Rick _^<a_!T1168_DEMARINIS_^>a_, Thomas M. _^<a_!T1244_DISCH_^>a_, E.L. _^<a_!T1266_DOCTOROW_^>a_, Katherine _^<a_!T1349_DUNN_^>a_, Umberto _^<a_!T6575_ECO_^>a_, George Alec _^<a_!T6592_EFFINGER_^>a_, Carol
_^<a_!T6655_EMSHWILLER_^>a_, Steve _^<a_!T6681_ERICKSON_^>a_, Karen Joy _^<a_!T1581_FOWLER_^>a_, Carlos _^<a_!T1638_FUENTES_^>a_, Felix _^<a_!T4782_GOTSCHALK_^>a_, Alasdair _^<a_!T4818_GRAY_^>a_, MacDonald _^<a_!T4311_HARRIS_^>a_, M. John
_^<a_!T4319_HARRISON_^>a_, Carol _^<a_!T4425_HILL_^>a_, William _^<a_!T4448_HJORTSBERG_^>a_, Russell _^<a_!T4452_HOBAN_^>a_, Trevor _^<a_!T4534_HOYLE_^>a_, Harvey _^<a_!T3843_JACOBS_^>a_, Langdon _^<a_!T3930_JONES_^>a_, Franz
_^<a_!T3963_KAFKA_^>a_, Robert _^<a_!T4017_KELLY_^>a_, Jerzy _^<a_!T4119_KOSINSKI_^>a_, William _^<a_!T4122_KOTZWINKLE_^>a_, Joseph _^<a_!T3523_MCELROY_^>a_, Sheila _^<a_!T3566_MACLEOD_^>a_, Michael _^<a_!T3030_MOORCOCK_^>a_, Haruki
_^<a_!T3109_MURAKAMI_^>a_, Vladimir _^<a_!T6382_NABOKOV_^>a_, Flann _^<a_!T3278_O'BRIEN_^>a_, John Cowper _^<a_!T1969_POWYS_^>a_, Christopher _^<a_!T1990_PRIEST_^>a_, Thomas _^<a_!T2040_PYNCHON_^>a_, Peter _^<a_!T2532_REDGROVE_^>a_, Philip
_^<a_!T2708_ROTH_^>a_, Salman _^<a_!T2740_RUSHDIE_^>a_, James _^<a_!T2783_SALLIS_^>a_, Josephine _^<a_!T2831_SAXTON_^>a_, Arno _^<a_!T2847_SCHMIDT_^>a_, Lucius _^<a_!T2175_SHEPARD_^>a_, John T. _^<a_!T2240_SLADEK_^>a_, Norman
_^<a_!T2370_SPINRAD_^>a_, Stefan _^<a_!T5961_THEMERSON_^>a_, David _^<a_!T5992_THOMSON_^>a_, Boris _^<a_!T5364_VIAN_^>a_, Gore _^<a_!T5367_VIDAL_^>a_, William T. _^<a_!T5392_VOLLMANN_^>a_, Alice _^<a_!T5426_WALKER_^>a_, Rex _^<a_!T5461_WARNER_^>a_,
William _^<a_!T5560_WHARTON_^>a_, Gene _^<a_!T5676_WOLFE_^>a_, Stephen _^<a_!T6195_WRIGHT_^>a_, Rudolf _^<a_!T6204_WURLITZER_^>a_ and Pamela _^<a_!T6277_ZOLINE_^>a_. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T6327_OULIPO_^>a_.
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FABULOUS WORLD OF JULES VERNE, THE
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> _^<a_!T5418_VYNALEZ ZKAZY_^>a_._^<n__^<n_
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FACE OF FU MANCHU, THE
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Film (1965). Anglo-Amalgamated. Dir Don Sharp, starring Christopher Lee, Nigel Green, Tsai Chin, Howard Marion-Crawford, James Robertson Justice. Screenplay Harry Alan Towers, based on the characters created by Sax _^<a_!T2675_ROHMER_^>a_. 96 mins.
Colour._^<n__^<n_The first of a series of films produced by Harry Alan Towers in which Christopher Lee portrayed the oriental master-fiend, Tsai Chin played Fu's insidious daughter (renamed Lin Tang from Rohmer's Fah Lo Suee) and a succession of
square-jawed heroes-Nigel Green, Douglas Wilmer, Richard Greene-played Sir Denis Nayland Smith of Scotland Yard. This first entry is by far the best of the batch, shot imaginatively on Irish locations which stand in for England and Tibet in the
1920s, and with devices reminiscent of the old movie serials, such as a gas which kills an entire village and a superexplosive, both deployed in Fu's scheme to control the world. Sharp's direction is fast-paced, with full rein given to the mild
sadomasochism of the originals as victims are whipped or confined to cabinets which slowly fill with Thames water. This is a richly entertaining pastiche of the old style, although less delirious than _^<i_The_^<a_!T3701_MASK OF FU MANCHU_^>a__^>i_
(1932), in which Fu was played by Boris Karloff. Sharp stayed with the series for _^<i_Brides of Fu Manchu_^>i_ (1966), which was almost up to standard, but after the inferior _^<i_Vengeance of Fu Manchu_^>i_ (1967), dir Jeremy Summers, the series
was turned over to international hack Jesus Franco for the disastrous _^<i_Castle of Fu Manchu_^>i_ (1968) and _^<i_Blood of Fu Manchu_^>i_ (1968; vt _^<i_Kiss and Kill_^>i_). [KN]_^<n__^<n_
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FAGAN, H(ENRY) A(LLAN)
-T-
(1889-1963) South African judge and writer, Chief Justice of the Supreme Court of South Africa 1956-9. In his sf novel _^<i_Ninya_^>i_ (_^<b_1956_^>b_ UK) survivors of a crash landing on the Moon encounter many strange adventures. [JC]_^<n__^<n_
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FAHRENHEIT 451
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Film (1966). Anglo-Enterprise and Vineyard/Universal. Dir Francois Truffaut, starring Julie Christie, Oscar Werner, Cyril Cusack, Anton Diffring. Screenplay Truffaut, Jean-Louis Richard, based on _^<i__^<a_!B9110_FAHRENHEIT 451_^>a__^>i_
(_^<b_1953_^>b_) by Ray _^<a_!T4963_BRADBURY_^>a_. 112 mins. Colour._^<n__^<n_Bradbury's angry parable is about a future in which all books are banned. The hero (Werner) is a member of the Fire Brigade, whose function is not to put out fires but to
burn books. He first questions the regime and then rebels totally, incinerating the fire chief instead of the books, escaping from the city and joining a rural community whose members are each memorizing a book, word for word, in order to preserve
it. The film is more ambiguous than the book and, so to speak, lacks its fire; Truffaut seems not altogether to accept Bradbury's moral simplicity. This is particularly evident at the end, with the book people murmuring aloud the words they are
committing to memory, while plodding about the snow-covered landscape like zombies. The words may be saved but literature itself seems dead. The film is well photographed by Nicolas Roeg, later the celebrated director of, among others,
_^<i_The_^<a_!T3655_MAN WHO FELL TO EARTH_^>a__^>i_ (1976). [JB/PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T726_CINEMA_^>a_; _^<a_!T822_COMMUNICATIONS_^>a_.
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FAIL SAFE
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Film (1964). Max E. Youngstein-Sidney Lumet. Dir Sidney Lumet, starring Henry Fonda, Dan O'Herlihy, Walter Matthau, Frank Overton, Fritz Weaver. Screenplay Walter Bernstein, based on _^<i_Fail-Safe_^>i_ (_^<b_1962_^>b_) by Eugene L.
_^<a_!T5081_BURDICK_^>a_ and Harvey _^<a_!T5562_WHEELER_^>a_. 111 mins. Colour._^<n__^<n_A mistaken US nuclear attack on Moscow nearly initiates WWIII, a quandary resolved only by the US President's decision to bomb New York as an apologetic
gesture. _^<i_FS_^>i_ had the misfortune to be released soon after _^<a_!T1267_DR STRANGELOVE OR: HOW I LEARNED TO STOP WORRYING AND LOVE THE BOMB_^>a_ (1963), and the public preferred the vigorous black farce of Stanley _^<a_!T4135_KUBRICK_^>a_'s
film to the wordy, low-key documentary style of Lumet's. The unlikely premise is lent conviction by some good performances, but this "message" film is at once too diagrammatic and too like soap opera in such simplistic portrayals as Hawkish
Professor, Liberal President and Conscience-Stricken Air-Force General. [PN]_^<n__^<n_
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FAIRBAIRNS, ZOE (ANN)
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(1948- ) UK writer and _^<a_!T1461_FEMINIST_^>a_ whose one sf novel, _^<i_Benefits_^>i_ (_^<b_1979_^>b_), presents a _^<a_!T1370_DYSTOPIAN_^>a_ vision of the fate of women in the 21st century, as advances in reproductive technologies permit
greater male control, in fear and loathing, over the female half of the race. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T5684_WOMEN SF WRITERS_^>a_.
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FAIRMAN, PAUL W.
-T-
(1916-1977) US editor and writer in several genres, including crime stories and erotica. His first published sf story was "No Teeth for the Tiger" for _^<i_AMZ_^>i_ in 1950, and for some years thereafter he was a regular contributor to the
_^<a_!T6269_ZIFF-DAVIS_^>a_ magazines under his own name, the pseudonyms Robert Lee and Mallory Storm, and various house pseudonyms, including E.K. _^<a_!T3874_JARVIS_^>a_, Clee _^<a_!T4625_GARSON_^>a_ and Paul _^<a_!T3426_LOHRMAN_^>a_; he also
published books as by F.W.Paul (see below). He was the first editor of _^<a_!T4583_IF_^>a_, Mar-Nov 1952, but departed after 4 issues to join the Ziff-Davis staff. He left Ziff-Davis in 1954 but returned in Dec 1955 and became editor of
_^<a_!T141_AMAZING STORIES_^>a_ and _^<a_!T1394_FANTASTIC_^>a_ from May 1956, a position he held until Sep 1958. He launched the short-lived _^<a_!T1321_DREAM WORLD_^>a_ in 1957. He was the principal user of the Ivar _^<a_!T3938_JORGENSEN_^>a_
pseudonym, publishing under that name _^<i_Ten from Infinity_^>i_ (_^<b_1963_^>b_; vt _^<i_The Deadly Sky_^>i_ 1970; vt _^<i_Ten Deadly Men_^>i_ 1975), _^<i_Rest in Agony_^>i_ (_^<b_1963_^>b_; vt rev 1967 as PWF;_^<i_The Diabolist_^>i_ 1973 as PWF)
and _^<i_Whom the Gods Would Slay_^>i_ (1951 _^<i_Fantastic Adventures_^>i_; _^<b_1968_^>b_). Two of his magazine stories were filmed: "Deadly City" (1953 _^<i_If_^>i_ as Jorgensen) as _^<a_!T5908_TARGET EARTH!_^>a_ (1954) and "The Cosmic Frame"
(1953 _^<i_AMZ_^>i_) as _^<i_Invasion of the Saucer Men_^>i_ (1955; vt _^<i_Invasion of the Hell Creatures_^>i_). Several of his books were novelizations of tv scripts, including _^<i_The World Grabbers_^>i_ * (_^<b_1964_^>b_), based on an episode
from _^<i_One Step Beyond_^>i_, and _^<i_City under the Sea_^>i_ * (_^<b_1965_^>b_), based on the film _^<i_City under the Sea_^>i_ (1965; vt _^<i_War Gods of the Deep_^>i_). Other books issued under his own name were the sf novel _^<i_I, the
Machine_^>i_ (_^<b_1968_^>b_) and the horror-story collection _^<i_The Doomsday Exhibit_^>i_ (coll _^<b_1971_^>b_). He wrote one pseudonymous novel in collaboration with Milton _^<a_!T3346_LESSER_^>a_, _^<i_The Golden Ape_^>i_ (1957 _^<i_AMZ_^>i_
as "Quest of the Golden Ape" as by Adam _^<a_!T5247_CHASE_^>a_ and Ivar Jorgensen; _^<b_1959_^>b_ as by Chase)._^<n__^<n_PWF wrote several juvenile novels based on outlines by Lester _^<a_!T1164_DEL REY_^>a_ and published under del Rey's byline,
including _^<i_The Runaway Robot_^>i_ (_^<b_1965_^>b_), _^<i_Tunnel through Time_^>i_ (_^<b_1966_^>b_), _^<i_Siege Perilous_^>i_ (_^<b_1966_^>b_; vt _^<i_The Man without a Planet_^>i_ 1969) and _^<i_Prisoners of Space_^>i_ (_^<b_1968_^>b_).
_^<i_Rocket from Infinity_^>i_ (_^<b_1966_^>b_), _^<i_The Infinite Worlds of Maybe_^>i_ (_^<b_1966_^>b_) and _^<i_The Scheme of Things_^>i_ (_^<b_1966_^>b_) may also have been by PWF but have not been acknowledged as such. He wrote one juvenile,
_^<i_The Forgetful Robot_^>i_ (_^<b_1968_^>b_), under his own name. [BS]_^<n__^<n__^<b_Other works:_^>b_ _^<i_A Study in Terror * _^>i_(_^<b_1966_^>b_; vt _^<i_Sherlock Holmes Versus Jack the Ripper_^>i_ 1967 UK) as by Ellery Queen; _^<i_The
Frankenstein Wheel_^>i_ (_^<b_1972_^>b_); _^<i_The Girl With Something Extra_^>i_* (_^<b_1973_^>b_), a tv tie._^<b_As by F.W.Paul:_^>b_ novels in the _^<b_Man from S.T.U.D._^>b_ sequence: _^<i_The Orgy at Madame Dracula's_^>i_ (_^<b_1968_^>b_)
(#2), _^<i_Sock it to me, Zombie!_^>i_ (_^<b_1968_^>b_) (#3), _^<i_Rape is a No-No_^>i_ (_^<b_1969_^>b_) (#6), _^<i_The Planned Planethood Caper_^>i_ (_^<b_1969_^>b_) (#7) and _^<i_The Lay of the Land_^>i_ (_^<b_1969_^>b_) (#8), with #s 2,3 and 8
assembled as _^<i_The Man from S.T.U.D. vs the Mafia_^>i_ (omni _^<b_1972_^>b_)._^<b_See also:_^>b_ _^<a_!T5281_UNDER THE SEA_^>a_.
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FALCONER, KENNETH
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[s] > C.M. _^<a_!T6353_KORNBLUTH_^>a_._^<n__^<n_
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FALCONER, LEE N.
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> Julian _^<a_!T3734_MAY_^>a_._^<n__^<n_
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FALCONER, SOVEREIGN
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> Craig _^<a_!T5790_STRETE_^>a_._^<n__^<n_
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FALDBAKKEN, KNUT
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[r] > _^<a_!T2834_SCANDINAVIA_^>a_._^<n__^<n_
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FAMOUS FANTASTIC MYSTERIES
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US _^<a_!T2033_PULP MAGAZINE_^>a_ which published 81 issues, Sep/Oct 1939 (vol 1 #1)-June 1953 (vol 14 #4). It was originally part of the Frank A. _^<a_!T3106_MUNSEY_^>a_ chain but was sold to Popular Publications, which published it from Mar 1943.
Mary _^<a_!T4734_GNAEDINGER_^>a_ was editor throughout._^<n__^<n_Although it published a few original stories, _^<i_FFM_^>i_ was basically a reprint magazine -- perhaps the most distinguished; it was originally founded to reprint science fantasy
from the Munsey pulps. After the sale to Popular it switched to the reprinting of novels and stories not previously published in magazines. The first few monthly issues used much short material, with novels serialized, but, after going bimonthly in
Aug 1940, _^<i_FFM_^>i_ presented a complete novel in every issue. The early issues featured novels by such Munsey regulars as Ray _^<a_!T997_CUMMINGS_^>a_, George Allan _^<a_!T6673_ENGLAND_^>a_, A. _^<a_!T2912_MERRITT_^>a_ and Francis
_^<a_!T5724_STEVENS_^>a_. Novels reprinted from original hardback editions included several by H. Rider _^<a_!T4911_HAGGARD_^>a_, William Hope _^<a_!T4459_HODGSON_^>a_, John _^<a_!T5892_TAINE_^>a_, E. Charles _^<a_!T5385_VIVIAN_^>a_, H.G.
_^<a_!T5528_WELLS_^>a_ and S. Fowler _^<a_!T6194_WRIGHT_^>a_. Through offering access to such material _^<i_FFM_^>i_ allowed many pulp-sf fans to broaden their acquaintance with non-pulp material -- extending even to such authors as G.K.
_^<a_!T5261_CHESTERTON_^>a_ and Franz _^<a_!T3963_KAFKA_^>a_. The quality of illustration was also exceptionally high -- Virgil _^<a_!T1488_FINLAY_^>a_ did much of his best work for the magazine, including 27 covers; 26 covers were by Lawrence
Sterne _^<a_!T5726_STEVENS_^>a_. During the WWII years publication was sometimes irregular._^<n__^<n_A Canadian reprint edition ran Feb 1948-Aug 1952; this was the second Canadian reprinting of _^<i_FFM_^>i_, the first being the Canadian
US _^<a_!T1231_DIGEST_^>a_-size magazine. 9 issues, Winter 1966 (vol 1 #1) to Spring 1969 (vol 2 #3). One of the reprint magazines ed R.A.W. _^<a_!T3472_LOWNDES_^>a_ for Health Knowledge Inc., it used material from the _^<a_!T2033_PULP
MAGAZINES_^>a_ of the 1930s plus 16 original short stories by Greg _^<a_!T478_BEAR_^>a_, Miriam Allen _^<a_!T1145_DEFORD_^>a_, Philip K. _^<a_!T1222_DICK_^>a_ and others. The most notable of its reprints was Lawrence _^<a_!T3648_MANNING_^>a_'s
_^<b_The Man who Awoke_^>b_ series (1933 _^<i_Wonder Stories_^>i_; Summer 1967-Summer 1968). To issues 2-6 Lowndes contributed a series of editorials, _^<b_Standards in Science Fiction_^>b_, later reprinted as _^<i_Three Faces of Science
Fiction_^>i_ (_^<b_1973_^>b_). [BS]_^<n__^<n_
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FANAC
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US _^<a_!T1428_FANZINE_^>a_, ed from Berkeley by Terry _^<a_!T5182_CARR_^>a_ and Ron _^<a_!T6623_ELLIK_^>a_ (1958-61) and subsequently (1961-3) by Walter Breen. _^<i_Fanac_^>i_ was a small but frequent publication carrying information on sf writers
and events and news of sf fans and their activities. Its informal and humorous style was popular and became a model for later fanzines. Contributors included well known fans and professional writers. _^<i_Fanac_^>i_ won the _^<a_!T4551_HUGO_^>a_
for Best Fanzine in 1959. [PR]_^<n__^<n_
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FANCHER, JANE S(UZANNE)
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(1952- ) US writer who began publishing genre material with two _^<a_!T4809_GRAPHIC NOVELS_^>a_ based on the work of C.J. _^<a_!T5255_CHERRYH_^>a_: _^<i_Gate of Ivrel: Claiming Rites_^>i_ * (graph _^<b_1987_^>b_) and _^<i_Gate of Ivrel: Fever
Dreams_^>i_ * (graph _^<b_1988_^>b_). In her own right JSF wrote the _^<b_Cantrell_^>b_ sequence of _^<a_!T2342_SPACE OPERAS_^>a_ set in a Cherryhesque habitat-dominated Galaxy -- _^<i_Groundties_^>i_ (_^<b_1991_^>b_),_^<i_Uplink_^>i_
(_^<b_1992_^>b_) and _^<i_Harmonies of the 'Net_^>i_ (_^<b_1992_^>b_) -- and featuring the protagonist's attempts to deal with a _^<a_!T826_COMPUTER_^>a_-generated crisis on a colony planet inhabited by the descendants of Native Americans. The
tales are high-pitched in tone, complex and promising. JSF was credited with artwork on #13-#16 of the _^<b_Elfquest_^>b_ comic-book series by Wendy and Richard Pini, published by Donning Starblaze; her name was removed from the credits of the
revised graphic-novel version issued by Marvel Epic. [JC]_^<n__^<n_
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FANCIFUL TALES OF TIME AND SPACE
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US _^<a_!T1231_DIGEST_^>a_-size magazine. 1 issue, Fall 1936, published by Shepard & Wollheim; ed Donald A. _^<a_!T5679_WOLLHEIM_^>a_. _^<i_FTOTAS_^>i_ contained a mixture of weird, sf and fantasy stories, including work by August
_^<a_!T1189_DERLETH_^>a_, David _^<a_!T4008_KELLER_^>a_ and H.P. _^<a_!T3465_LOVECRAFT_^>a_, as well as the first publication of Robert E. _^<a_!T4524_HOWARD_^>a_'s poem "Solomon Kane's Homecoming". _^<i_FTOTAS_^>i_ was, strictly speaking, a
_^<a_!T2100_SEMIPROZINE_^>a_, rather like the earlier _^<a_!T3700_MARVEL TALES_^>a_ -- which is to say that, despite the print run being only 200, the magazine was for sale -- although it seems to have found no adequate distribution.
[FHP/MJE]_^<n__^<n_
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FANDOM
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The active readership of sf and fantasy, maintaining contacts through _^<a_!T1428_FANZINES_^>a_ and _^<a_!T856_CONVENTIONS_^>a_. Fandom originated in the late 1920s, shortly after the appearance of the first _^<a_!T2130_SF MAGAZINES_^>a_. Readers
contacted each other, formed local groups (some of which, notably the _^<a_!T2072_SCIENCE FICTION LEAGUE_^>a_, were professionally sponsored), and soon began publication of _^<a_!T205_APAS_^>a_ and other amateur magazines, which came to be known
collectively as fanzines. The first organized convention was held in Leeds, UK, in 1937 and the first World SF Convention in New York in 1939 (although it gained its name from the holding in that year of the World's Fair in New York). From the
1920s to the 1950s, when sf was a minority interest, the number of people in fandom was small, probably no more than 500 at any one time. Since the 1960s, however, the number has steadily increased to over 10,000 -- though this figure, of course,
represents no more than a tiny fraction of the wider sf readership. Fandom is, like _^<a_!T4659_GENRE SF_^>a_, primarily a US phenomenon, though other English-speaking countries quickly adopted the concept. Continental Europe, Japan and elsewhere
followed much later; but increasing translation of and interest in sf has now spread fandom to some 30 countries, from Mexico to Norway. It is made up of both readers and writers of sf; many authors started as fans and many fans have written sf, so
there is no absolute distinction between the two groups. Fans themselves are mainly young and male with higher education and a scientific or technical background, but exceptions are numerous and the stereotype is becoming less pronounced. Many more
women entered fandom in the 1970s and 1980s._^<n__^<n_Fandom is not a normal hobbyist group. It has been suggested that, if sf ceased to exist, fandom would continue to function quite happily without it. That is an exaggeration; but it indicates
the difference between sf fans and ostensibly similar groups devoted to Westerns, romances, detective fiction, etc. The reason may lie in the fact that sf is a speculative literature and consequently attractive to readers actively interested in new
ideas and concepts, in addition to those idly seeking entertainment. Early fans took part in rocketry, radical politics and quasi-utopian experiments; later fans seem to find fanzines, conventions and the interaction of fandom itself a sufficient
outlet for their energies and ideas. Though fandom has a tradition and history, even a _^<a_!T1392_FAN LANGUAGE_^>a_, fans are notably independent; relatively few belong to national organizations such as _^<a_!T3263_N3F_^>a_ or the
_^<a_!T5004_BRITISH SCIENCE FICTION ASSOCIATION_^>a_, and many publish individual and independent fanzines, a fact that at least one outside sociologist -- Fredric Wertham (1895-1981) in _^<i_The World of Fanzines_^>i_ (_^<b_1973_^>b_)-has found
remarkable and even "unique"._^<n__^<n_There is a fannish word "fiawol", an acronym for "fandom is a way of life": the joke is not altogether untrue. Just as sf is unrestricted in the scope of its interests, so too are fans and fandom. Fandom is
thus a collection of people with a common background in sf and a common interest in communication, whether through discussion, chatter, correspondence or fanzine publishing. The result is more nearly a group of friends, or even a subculture, than a
simple fan club or a literary society._^<n__^<n_There have always been divergent interest groups within fandom, and during the 1980s these tended to split more obviously. The most basic division, perhaps, is between those fans whose main love is
written sf and the so-called media fans, who prefer sf in the form of _^<a_!T726_CINEMA_^>a_, _^<a_!T5926_TELEVISION_^>a_ or _^<a_!T820_COMICS_^>a_. Even among fans of written sf, fanzine fans and convention fans have become separate groups, though
there is substantial overlap; comics fans have their own conventions, and there are other special-interest groups in media fandom who may be primarily interested in, for example, _^<a_!T2429_STAR TREK_^>a_ (the "Trekkies") or _^<a_!T1268_DR
WHO_^>a_; there is even a games fandom, with a particular interest in role-playing games (> _^<a_!T1696_GAMES AND TOYS_^>a_)._^<n__^<n_Various aspects of US fan history are covered in, among others, _^<i_The Immortal Storm_^>i_ (_^<b_1954_^>b_) by
Sam _^<a_!T3074_MOSKOWITZ_^>a_, _^<i_All our Yesterdays_^>i_ (_^<b_1969_^>b_) and _^<i_A Wealth of Fable_^>i_ (_^<b_1976_^>b_ in mimeo form) by Harry _^<a_!T5460_WARNER_^>a_ Jr, _^<i_The Futurians_^>i_ (_^<b_1977_^>b_) by Damon
_^<a_!T4098_KNIGHT_^>a_ and _^<i_The Way the Future Was: A Memoir_^>i_ (_^<b_1978_^>b_) by Frederik _^<a_!T1937_POHL_^>a_. The fullest history of UK fandom takes the form of a fanzine, _^<i_Then_^>i_, written and published by Rob Hansen: the 180pp
of #1, #2 and #3 (1988-91) cover the story to the end of the 1960s; more are projected. [PR/PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T1429_FAPA_^>a_; _^<a_!T1665_FUTURIANS_^>a_; _^<a_!T1697_OMPA_^>a_; _^<a_!T2503_RATFANDOM_^>a_.
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FANE, BRON
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> R.L. _^<a_!T1427_FANTHORPE_^>a_._^<n__^<n_
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FANE, JULIAN (CHARLES)
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(1927- ) UK writer of literary bent whose _^<a_!T1370_DYSTOPIA_^>a_, _^<i_Revolution Island_^>i_ (_^<b_1979_^>b_), was one of the last UK visions of a union-dominated left-wing future. It was published just before the incoming administration of
Margaret Thatcher (1979-90) put an end, for this century, to the relevance of this sort of warning. [JC]_^<n__^<n_
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FAN LANGUAGE
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Sf enthusiasts, in common with other groups, have evolved their own terminology and usage. This language comprises words and phrases used in the writing of sf itself and also the more arcane and whimsical jargon of _^<a_!T1389_FANDOM_^>a_ and
_^<a_!T1428_FANZINES_^>a_._^<n__^<n_Most sf readers are familiar with the shorthand of their literature, and words like "spaceship", "robot", "time-machine" and even "ftl drive", "spacewarp" and "ray-gun" need little or no glossing. These words,
however, originated in sf and required explanation when first coined (> _^<a_!T5942_TERMINOLOGY_^>a_). Only the growth in popularity of sf has led to the acceptance of such terms as part of everyday English. The language of fandom, however, has a
more restricted use and thus is less familiar. Much of it was initially associated with fanzines, including the specialized art of duplicating them, and much of it resulted from simple contraction: "corflu", for example, was nothing stranger than
correcting fluid (for stencils). It is a sign of the march of time -- and of the very widespread use of _^<a_!T826_COMPUTER_^>a_ networks in fandom-that terms like "corflu" have gained an air of ancient quaintness; another sign of the times is that
contemporary fans tend to accept neologisms from the world of computing rather than to generate their own. Of more general interest are words which describe fan attitudes and behaviour. Examples are: "egoboo" (from "ego-boost"), the satisfaction
gained from praise or recognition, such as seeing one's name in print; "mundane", a non-fan; "slash fiction", fan-generated stories about sexual intimacy between famed fictional characters, almost always male, the best known examples being the
Kirk/Spock slash tales; and acronym- based terms like "to gafiate"(from Get Away From It All -- to leave fandom; the phrase originally meant to get away from mundane reality and to _^<i_enter_^>i_ fandom). Some of these contractions, acronyms and
neologisms fill a linguistic need ("slash fiction" describes a phenomenon not otherwhere comprehended); others simply enrich the sense of affinity that fandom -- like any other grouping of this sort -- was partly created to foster. In general, fan
argot is anything but freemasonical, and never amounts to anything like a secret code to baffle outsiders. For fans, outsiders are identifiable not so much by their failure to use certain terms as by their tendency to misuse others. The best
example of this is perhaps "sf", the usual contraction used by sf fans; journalists and other nonsympathetic outsiders can readily be identified by their use of the repugnant _^<a_!T2882_"SCI-FI"_^>a_; older fans sometimes use the contracted
adjective stfnal, short for "scientifictional" (> _^<a_!T2879_SCIENTIFICTION_^>a_)._^<n__^<n_Various guides to fan language have been published (by fans) in the USA and UK. Wilson _^<a_!T6117_TUCKER_^>a_'s _^<i_Neofan's Guide_^>i_ (_^<b_1955_^>b_;
rev 1973; rev 1984) is a useful introduction, and Roberta Rogow's _^<i_Futurespeak: A Fan's Guide to the Language of Science Fiction_^>i_ (_^<b_1991_^>b_), though erratic, covers much new ground. [PR/JC]_^<n__^<n_
US _^<a_!T1231_DIGEST_^>a_-size magazine, companion to _^<a_!T141_AMAZING STORIES_^>a_; published by _^<a_!T6269_ZIFF-DAVIS_^>a_ (Summer 1952-June 1965), Ultimate Publishing Co. (Sep 1965-Oct 1980); ed Howard _^<a_!T5040_BROWNE_^>a_ (Summer 1952-Aug
1956), Paul W. _^<a_!T1379_FAIRMAN_^>a_ (Oct 1956-Nov 1958), Cele _^<a_!T4760_GOLDSMITH_^>a_ (Dec 1958-June 1965; as Cele G. Lalli from July 1964), Joseph _^<a_!T2701_ROSS_^>a_ (Sep 1965-Nov 1967), Harry _^<a_!T4316_HARRISON_^>a_ (Jan-Oct 1968),
Barry N. _^<a_!T3629_MALZBERG_^>a_ (Dec 1968-Apr 1969), Ted _^<a_!T5582_WHITE_^>a_ (June 1969-Jan 1979), Elinor Mavor (Apr 1979-Oct 1980; initially under the pseudonym Omar Gohagen). From Nov 1980 _^<i_Fantastic_^>i_ was merged with _^<i_AMZ_^>i_.
After the title was bought by Sol Cohen's Ultimate Publishing Co. in 1965 it mainly published reprints until mid-1968; the reprint policy was finally phased out completely under White soon after he took over from Malzberg. For much of its early
life _^<i_F_^>i_ was bimonthly, but at its height -- in the Goldsmith period -- it went monthly, beginning with Feb 1957. The Ultimate Publishing version began in Sep 1965 as a bimonthly, but the magazine went onto a quarterly schedule in 1976. The
title underwent numerous minor changes, appearing as _^<i_Fantastic Science Fiction_^>i_ (Apr 1955-Feb 1958), _^<i_Fantastic Science Fiction Stories_^>i_ (Sep 1959-Sep 1960), _^<i_Fantastic Stories of Imagination_^>i_ (Oct 1960-June 1965) and
_^<i_Fantastic Stories_^>i_ at various periods._^<n__^<n_Browne originally intended _^<i_F_^>i_ to attract a wider audience than _^<i_AMZ_^>i_, and published tales under bylines famous outside the sf field, including Raymond Chandler, Truman
Capote, Mickey Spillane and Evelyn _^<a_!T5489_WAUGH_^>a_ (the Spillane byline was probably not authentic). After 1953, when it absorbed the much older _^<a_!T1395_FANTASTIC ADVENTURES_^>a_, _^<i_F_^>i_ deteriorated to become a downmarket sf
magazine indistinguishable from _^<i_AMZ_^>i_. But from 1958, under the more adventurous editorship of Goldsmith, it improved dramatically, becoming arguably the best fantasy magazine existing. Fritz _^<a_!T3322_LEIBER_^>a_ revived his _^<b_Fafhrd
and Gray Mouser_^>b_ for an issue containing only his stories (Nov 1959), and the series remained an irregular feature. Authors whose first published stories appeared in _^<i_F_^>i_ include Thomas M. _^<a_!T1244_DISCH_^>a_, Ursula K. _^<a_!T3318_LE
GUIN_^>a_ and Roger _^<a_!T6264_ZELAZNY_^>a_. David _^<a_!T5078_BUNCH_^>a_ was a regular (and controversial) contributor. Following a bad period in the mid-1960s after the magazine was sold, _^<i_F_^>i_ improved again under White, featuring a
notable series of articles by Alexei and Cory _^<a_!T1782_PANSHIN_^>a_, _^<b_Science Fiction in Dimension_^>b_ (1970-73), publishing much early work by Gordon _^<a_!T6608_EKLUND_^>a_ and some excellent covers by Stephen _^<a_!T1371_FABIAN_^>a_. New
_^<b_Conan_^>b_ stories by L. Sprague _^<a_!T1133_DE CAMP_^>a_ and Lin _^<a_!T5194_CARTER_^>a_ helped to boost circulation a little, but the magazine's situation remained financially precarious despite the fact that "adult fantasy" had been
spectacularly revived as a paperback genre. Its deterioration after White quit was rapid and deservedly terminal._^<n__^<n_Although the words "science fiction" appeared on the cover at different times for four or five years, _^<i_F_^>i_ was always
mainly known for fantasy, being particularly strong in _^<a_!T5875_SWORD AND SORCERY_^>a_._^<n__^<n_An undated bimonthly UK reprint ran for 8 issues, published by Strato Publications Dec 1953-Feb 1955. An anthology of stories from _^<i_F_^>i_ is
_^<i_The Best from Fantastic_^>i_ (anth _^<b_1973_^>b_) ed Ted White. [BS]_^<n__^<n_
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FANTASTIC ADVENTURES
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US _^<a_!T2033_PULP MAGAZINE_^>a_ published by _^<a_!T6269_ZIFF-DAVIS_^>a_ as a companion to _^<a_!T141_AMAZING STORIES_^>a_. 128 issues May 1939-Mar 1953. _^<i_FA_^>i_ began as a bimonthly, _^<a_!T492_BEDSHEET_^>a_-size, but maintained a monthly
schedule from vol 2 #1 (Jan 1940) for most of its existence, shrinking to _^<a_!T2033_PULP-MAGAZINE_^>a_ size in June 1940. To Dec 1949 it was ed Raymond A. _^<a_!T1774_PALMER_^>a_, and from then until May/June 1953 (when it merged with the
one-year-old Ziff-Davis _^<a_!T1231_DIGEST_^>a_ magazine _^<a_!T1394_FANTASTIC_^>a_) by Howard V. _^<a_!T5040_BROWNE_^>a_. William L. _^<a_!T4264_HAMLING_^>a_ was managing editor Nov 1947-Feb 1951._^<n__^<n_The bulk of _^<i_FA_^>i_'s contents were
provided by a small stable of Chicago writers using a variety of house pseudonyms, although Palmer did publish several stories by Edgar Rice _^<a_!T5097_BURROUGHS_^>a_ 1939-42 and some material by established sf and fantasy writers-Robert
_^<a_!T661_BLOCH_^>a_ was a frequent contributor. The magazine was at its best under Browne's editorship in 1950-51, when it published Theodore _^<a_!T5810_STURGEON_^>a_'s first novel, _^<i_The Dreaming Jewels_^>i_ (Feb 1950; _^<b_1950_^>b_), and
notable long stories by Lester _^<a_!T1164_DEL REY_^>a_, Walter M. _^<a_!T2960_MILLER_^>a_ and William _^<a_!T5932_TENN_^>a_. _^<i_FA_^>i_ hardly bears comparison with its rival _^<i_ASF_^>i_'s short-lived but excellent companion
_^<a_!T5291_UNKNOWN_^>a_, but sf writers given _^<i_carte blanche_^>i_ to write pure fantasy for _^<i_FA_^>i_ did often produce readable fiction with a distinctive whimsical and ironic flavour. The mass-produced material it published was of quite
negligible interest._^<n__^<n_In 1941-3 and 1948-51 unsold issues were bound up in threes and sold as _^<i_Fantastic Adventures Quarterly_^>i_, there being 8 such in the first series, Winter 1941-Fall 1943, and 11 in the second, Summer 1948-Spring
1951. There were 2 UK editions: the first released 2 short (32pp) numbered issues in 1946, the second reprinted 24 numbered issues 1950-54, abridged from US issues dated Mar 1950-Jan 1953. [BS]_^<n__^<n_
One of the many reprint _^<a_!T1231_DIGEST_^>a_-size magazines issued by Sol Cohen's Ultimate Publishing Co., which in 1965 had bought rights to the _^<a_!T6269_ZIFF-DAVIS_^>a_ sf magazines. Its only issue, containing stories reprinted from
_^<a_!T1395_FANTASTIC ADVENTURES_^>a_ 1949-52, was released in 1970. [BS/PN]_^<n__^<n_
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FANTASTIC JOURNEY, THE
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US tv series (1977). Bruce Lansbury Productions/Columbia Pictures TV/NBC. Prod Leonard Katzman. Writers included Michael Michaelian, Kathryn Michaelian Powers and the story editor, D.C. _^<a_!T1546_FONTANA_^>a_. Dirs included Andrew V. McLaglen
(pilot episode), Vincent McEveety. Starring Carl Franklin, Roddy McDowall, Jared Martin. One season, pilot episode of 75 mins plus 9 50min episodes. Colour._^<n__^<n_The pilot episode has explorers entering the Bermuda Triangle, an ocean area in
which planes and ships are reputed to disappear; but, after an effectively eerie opening in which their boat is consumed by a pulsating green cloud, it becomes evident that they are still within the borders of tv-formula-land. Reaching an island
that "isn't on the map", they meet a 23rd-century human, Varian (Martin), and discover that the landscape consists of segments of past and future time and space, an idea perhaps inspired by Fred _^<a_!T4532_HOYLE_^>a_'s _^<i_October the First is
Too Late_^>i_ (_^<b_1966_^>b_). This concept allows the protagonists to encounter a new (stereotyped) culture every week, each within walking distance. Silly and somewhat repetitive adventures take place. The series was quickly
dropped._^<n__^<n_[JB/PN]_^<n__^<n_
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FANTASTIC NOVELS
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US bimonthly reprint _^<a_!T2033_PULP MAGAZINE_^>a_, companion to _^<a_!T1384_FAMOUS FANTASTIC MYSTERIES_^>a_, which it somewhat resembled. 5 issues July 1940-Apr 1941, published by the Frank A. _^<a_!T3106_MUNSEY_^>a_ Corp.; it was revived by
Popular Publications to publish 20 more issues Mar 1948-June 1951, with the numeration of the second series following directly on from that of the first. It was ed in both incarnations by Mary _^<a_!T4734_GNAEDINGER_^>a_._^<n__^<n__^<i_FN_^>i_ used
a great deal of material by A. _^<a_!T2912_MERRITT_^>a_. #1 featured _^<i_The Blind Spot_^>i_ (1921; _^<b_1951_^>b_) by Austin _^<a_!T6356_HALL_^>a_ and Homer Eon _^<a_!T1534_FLINT_^>a_, serialization of which had begun in _^<i_Famous Fantastic
Mysteries_^>i_, and all subsequent issues except the last featured a complete novel. Other authors whose work was reprinted included Ray _^<a_!T997_CUMMINGS_^>a_ and George Allan _^<a_!T6673_ENGLAND_^>a_._^<n__^<n_2 issues of a UK edition appeared
in 1950 and 1951, the second (undated) issue confusingly appearing as #1. There were 17 issues of a Canadian reprint, Sep 1948-June 1951, identical to the US issues. [BS/PN]_^<n__^<n_
US _^<a_!T492_BEDSHEET_^>a_-size magazine, ed Walter B. _^<a_!T4688_GIBSON_^>a_, the prolific pulp writer and creator of _^<b_The Shadow_^>b_. Only 2 issues appeared, #1 (Aug 1952) published by Super Science Fiction Publications, #2 (Dec 1952) by
Capitol Stories, both of Connecticut._^<n__^<n_This inferior magazine, whose stories featured simplistic and chauvinistic adventure, should not be confused with _^<a_!T1394_FANTASTIC_^>a_, also begun in 1952, which for Apr 1955-Feb 1958 was
UK juvenile pocketbook series published by Stanley Baker Ltd. There were 6 issues, all in 1954. [BS]_^<n__^<n_
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FANTASTIC STORIES
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> _^<a_!T1394_FANTASTIC_^>a_._^<n__^<n_
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FANTASTIC STORIES OF IMAGINATION
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> _^<a_!T1394_FANTASTIC_^>a_._^<n__^<n_
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FANTASTIC STORY MAGAZINE
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> _^<a_!T1407_FANTASTIC STORY QUARTERLY_^>a_._^<n__^<n_
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FANTASTIC STORY QUARTERLY
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US reprint _^<a_!T2033_PULP MAGAZINE_^>a_, 23 issues Spring 1950-Spring 1955, the title changing after #4 to _^<i_Fantastic Story Magazine_^>i_; published by Best Books, a subsidiary of Standard Magazines. Sam _^<a_!T2913_MERWIN_^>a_ Jr was editor
until Fall 1951, being succeeded by Samuel _^<a_!T2970_MINES_^>a_ and then by Alexander _^<a_!T2787_SAMALMAN_^>a_ for the last 2 issues._^<n__^<n_Most of the reprints were from _^<a_!T2428_STARTLING STORIES_^>a_ and _^<a_!T6004_THRILLING WONDER
STORIES_^>a_; early issues carried a good deal of material from Hugo _^<a_!T4668_GERNSBACK_^>a_'s _^<a_!T6152_WONDER STORIES_^>a_. _^<i_FSQ_^>i_ used a few original stories, including Gordon R. _^<a_!T1227_DICKSON_^>a_'s first, "Trespass!" (1950),
written with Poul _^<a_!T169_ANDERSON_^>a_, and occasionally went outside the chain for reprints -- e.g., publishing A.E. _^<a_!T5333_VAN VOGT_^>a_'s _^<i__^<a_!B9256_SLAN_^>a__^>i_ (1940 _^<i_ASF_^>i_; _^<b_1946_^>b_; rev 1951) in the Summer 1952
issue. Most issues carried a complete novel. There was a Canadian edition of the first 4 numbers. [BS]_^<n__^<n_
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FANTASTIC UNIVERSE
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US _^<a_!T1231_DIGEST_^>a_-size magazine, last 6 issues _^<a_!T2033_PULP-MAGAZINE_^>a_ size. 69 issues June/July 1953-Mar 1960, published by Leo _^<a_!T3663_MARGULIES_^>a_'s King-Size Publications to July 1959, then by Great American Publications.
_^<i_FU_^>i_ began as a bimonthly, but went monthly in Sep 1954 and held to that schedule for most of its life except Nov 1958-Sep 1959, when it was again bimonthly. Ed Sam _^<a_!T2913_MERWIN_^>a_ Jr June-Nov 1953; Beatrice Jones Jan-Mar 1954; Leo
Margulies May 1954-Aug 1956; Hans Stefan _^<a_!T2797_SANTESSON_^>a_ Sep 1956-Mar 1960._^<n__^<n__^<i_FU_^>i_'s material spanned the entire fantasy spectrum; in effect it became the poor man's _^<a_!T3595_MAGAZINE OF FANTASY AND SCIENCE
FICTION_^>a_. There was no interior artwork until July 1959. Two important stories were "Who?" (1955) by Algis _^<a_!T5064_BUDRYS_^>a_, which formed the basis of his _^<i__^<a_!B9087_WHO?_^>a__^>i_ (_^<b_1958_^>b_), and "Curative Telepath" (1959)
by John _^<a_!T5049_BRUNNER_^>a_, which formed the basis of his _^<i__^<a_!B9008_THE WHOLE MAN_^>a__^>i_ (_^<b_1964_^>b_; vt _^<i_Telepathist_^>i_ UK). 16 of the best stories from its pages were published in _^<i_The Fantastic Universe Omnibus_^>i_
(anth _^<b_1960_^>b_) ed Santesson. [BS/PN]_^<n__^<n_
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FANTASTIC VOYAGE
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Film (1966). 20th Century-Fox. Dir Richard Fleischer, starring Stephen Boyd, Raquel Welch, Edmund O'Brien, Donald Pleasence. Screenplay Harry Kleiner, based on a story by Otto Clement and J. Lewis (i.e., Jerome) _^<a_!T622_BIXBY_^>a_. 100 mins.
Colour._^<n__^<n_A submarine and its crew of medical experts -- plus a double-agent saboteur (Pleasence) -- are miniaturized and injected into the bloodstream of an important scientist in order to remove by laser a blood-clot from his brain. In the
finale -- a race to escape before they revert to full size while still inside the body-they exit via a tear duct with only seconds to spare. The special effects by L.B. Abbott, Art Cruickshank and Emil Kosa Jr are impressive, as are the
sets-duplicating in giant size various organs of the body, such as the heart, lungs and brain -- designed by art director Dale Hennesy with spectacular histological surrealism. This vivid spectacle, however, does not compensate for the ham acting,
the irrelevance of Ms Welch's lingered-on breasts, and the puerile melodrama. The novelization was _^<i_Fantastic Voyage_^>i_ * (_^<b_1966_^>b_) by Isaac _^<a_!T268_ASIMOV_^>a_. A film using a very similar theme is Joe _^<a_!T1056_DANTE_^>a_'s
_^<a_!T3784_INNERSPACE_^>a_ (1987). [PN/JB]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T4823_GREAT AND SMALL_^>a_.
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FANTASTIC VOYAGES
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The fantastic voyage is one of the oldest literary forms, and remains one of the basic frameworks for the casting of literary fantasies. Of the prose forms extant before the development of the novel in the 18th century, the fantastic voyage is the
most important in the ancestry of sf (> _^<a_!T2013_PROTO SCIENCE FICTION_^>a_). Among others, Johannes _^<a_!T4037_KEPLER_^>a_'s _^<i_Somnium_^>i_ (_^<b_1634_^>b_), Francis _^<a_!T347_BACON_^>a_'s _^<i_New Atlantis_^>i_ (_^<b_1627_^>b_), Tommaso
_^<a_!T5136_CAMPANELLA_^>a_'s _^<i_City of the Sun_^>i_ (_^<b_1623_^>b_) and _^<a_!T1019_CYRANO DE BERGERAC_^>a_'s _^<i_Other Worlds_^>i_ (_^<b_1657-62_^>b_) all take this form, as do the oldest of all works which can be claimed as ancestors of sf:
the Sumerian _^<i_Epic of Gilgamesh_^>i_, from the third millennium BC, and _^<a_!T4490_HOMER_^>a_'s _^<i_Odyssey_^>i_, from the first._^<n__^<n_The fantastic voyage continued to dominate speculative fiction and the _^<a_!T2878_SCIENTIFIC
ROMANCE_^>a_ long after the rise of the novel, whose basic pretence was the painstaking imitation of experience (what the critic Ian Watt calls "formal realism"). It is partly because of this formal separation of speculative literature from the
development of 19th-century social literature that there remains something of a gulf between speculative fiction and the literary _^<a_!T3609_MAINSTREAM_^>a_ today. The first sf story cast in the form of a novel was Mary _^<a_!T2173_SHELLEY_^>a_'s
_^<i_Frankenstein_^>i_ (_^<b_1818_^>b_), but there were very few comparable works written in the succeeding century. The bulk of Jules _^<a_!T5355_VERNE_^>a_'s imaginative work falls in the category of _^<i_voyages imaginaires_^>i_, and many of
H.G. _^<a_!T5528_WELLS_^>a_'s scientific romances adopt a similar form. Among the important fantastic voyages which today may be classified as sf are: _^<i_The Man in the Moone_^>i_ (_^<b_1638_^>b_) by Francis _^<a_!T4742_GODWIN_^>a_,
_^<i_Gulliver's Travels_^>i_ (_^<b_1726_^>b_) by Jonathan _^<a_!T5873_SWIFT_^>a_, _^<i_Nicolai Klimii iter subterraneum _^>i_(_^<b_1741_^>b_ in Latin; exp 1745; trans as _^<i_A Journey to the World Under-Ground_^>i_ _^<b_1742_^>b_ UK) by Ludwig
_^<a_!T4466_HOLBERG_^>a_, _^<i_A Short Account of a Remarkable Aerial Voyage and Discovery of a New Planet_^>i_ (_^<b_1813_^>b_) by Willem _^<a_!T599_BILDERDIJK_^>a_, _^<i_Symzonia_^>i_ (_^<b_1820_^>b_) by Adam _^<a_!T2081_SEABORN_^>a_, _^<i_A
Voyage to the Moon_^>i_ (_^<b_1827_^>b_) by Joseph _^<a_!T301_ATTERLEY_^>a_, _^<i_Voyage au centre de la terre _^>i_(_^<b_1863_^>b_; exp 1867; trans as _^<i_Journey to the Centre of the Earth_^>i_ _^<b_1872_^>b_ UK) and _^<i_Vingt mille lieues sous
les mers _^>i_(_^<b_1870_^>b_; trans as _^<i_Twenty Thousand Leagues under the Sea_^>i_ _^<b_1872_^>b_ UK) by Jules Verne, and _^<i_Across the Zodiac_^>i_ (_^<b_1880_^>b_) by Percy _^<a_!T4855_GREG_^>a_. These voyages took their heroes over the
Earth's surface, into worlds underground and beneath the sea, to the Moon and to other planets. Important new scope for the fantastic voyage was revealed in the last few years of the 19th century by H.G. Wells in _^<i__^<a_!B9070_THE TIME
MACHINE_^>a__^>i_ (_^<b_1895_^>b_), which opened up the limitless vistas of the future to planned tourism, and by Robert W. _^<a_!T791_COLE_^>a_ in _^<i_The Struggle for Empire_^>i_ (_^<b_1900_^>b_), the first major interstellar adventure story.
These new imaginative territories were to prove immensely significant for 20th-century imaginative literature. The fantastic voyage has, of course, also remained central within the literature of the supernatural imagination, much of which was also
ill adapted to the form of the novel. As supernatural fantasy has been influenced and infiltrated by the scientific imagination it has been the fantastic voyage, far more than any other narrative form, that has provided a suitable medium for
"hybrid" works; thus a considerable number of 20th-century fantastic voyages are difficult to classify by means of the standard genre borderlines. In this no-man's-land within the territories of imaginative literature exist virtually all the works
of writers such as William Hope _^<a_!T4459_HODGSON_^>a_, Edgar Rice _^<a_!T5097_BURROUGHS_^>a_ and A. _^<a_!T2912_MERRITT_^>a_, and various individual novels of note: Frigyes _^<a_!T3987_KARINTHY_^>a_'s Gulliverian _^<i_Voyage to Faremido and
Capillaria_^>i_ (_^<b_1916_^>b_ and _^<b_1922_^>b_; trans omni _^<b_1966_^>b_), David _^<a_!T3395_LINDSAY_^>a_'s _^<i__^<a_!B9079_A VOYAGE TO ARCTURUS_^>a__^>i_ (_^<b_1920_^>b_), Ruthven _^<a_!T6037_TODD_^>a_'s _^<i_The Lost Traveller_^>i_
(_^<b_1943_^>b_), the title story of John Cowper _^<a_!T1969_POWYS_^>a_'s _^<i_Up and Out_^>i_ (coll _^<b_1957_^>b_), _^<i_The Phantom Tollbooth_^>i_ (_^<b_1961_^>b_) by Norton Juster (1929- ) and Michel Bernanos's _^<i_The Other Side of the
Mountain_^>i_ (_^<b_1967_^>b_; trans _^<b_1968_^>b_)._^<n__^<n_When Hugo _^<a_!T4668_GERNSBACK_^>a_ first demarcated sf as a genre in the 1920s he co-opted Verne, Wells and Merritt, and also Ray _^<a_!T997_CUMMINGS_^>a_, author of fantastic voyages
into the atomic microcosm (> _^<a_!T4823_GREAT AND SMALL_^>a_). It was not long before E.E. "Doc" _^<a_!T2269_SMITH_^>a_'s _^<i_The Skylark of Space_^>i_ (1928; _^<b_1946_^>b_) took _^<a_!T2033_PULP-MAGAZINE_^>a_ sf, at
_^<a_!T1443_FASTER-THAN-LIGHT_^>a_ speeds, into the greater Universe beyond the limits of the Solar System. Other milieux were quickly introduced. Edmond _^<a_!T4258_HAMILTON_^>a_'s "Locked Worlds" (1929) adapted the notion of _^<a_!T1794_PARALLEL
WORLDS_^>a_ from supernatural fantasy, and the first pulp sf voyages into a future replete with _^<a_!T131_ALTERNATE WORLDS_^>a_ were undertaken in Jack _^<a_!T5629_WILLIAMSON_^>a_'s _^<i__^<a_!B9255_THE LEGION OF TIME_^>a__^>i_ (1938;
_^<b_1952_^>b_). A significant refinement in the interstellar fantastic voyage, the _^<a_!T4655_GENERATION STARSHIP_^>a_, was introduced a few years later, most significantly in Robert A. _^<a_!T4376_HEINLEIN_^>a_'s "Universe"
(1941)._^<n__^<n_Voyages into the "inner spaces" of the human mind had also long been commonplace in supernatural fantasy, but a sciencefictional jargon of support for such adventures was slow in arriving. Notable early examples are "Dreams are
Sacred" (1948) by Peter Phillips and "The Mental Assassins" (1950) by Gregg Conrad (Rog _^<a_!T1887_PHILLIPS_^>a_)._^<n__^<n_Most of these milieux were reachable only by means of literary devices whose practicability was highly dubious if not
flatly impossible. Space travel was the one hypothetical variant of the fantastic voyage into which it was possible to introduce rigorous attempts at realism (>_^<a_!T2348_SPACESHIPS_^>a_), although the technologies involved have inevitably became
dated with the passage of time. Notable attempts from various periods include Verne's _^<i_De la terre a la lune _^>i_(_^<b_1865_^>b_) and _^<i_Autour de la lune _^>i_(_^<b_1870_^>b_), Konstantin _^<a_!T6108_TSIOLKOVSKY_^>a_'s _^<i_Beyond the
Planet Earth_^>i_ (_^<b_1920_^>b_ Russia; trans _^<b_1960_^>b_), Laurence _^<a_!T3648_MANNING_^>a_'s "Voyage of the Asteroid" (1932) and Arthur C. _^<a_!T736_CLARKE_^>a_'s _^<i_Prelude to Space_^>i_ (_^<b_1951_^>b_). The purely facilitative
character of devices like _^<a_!T6018_TIME MACHINES_^>a_ and interdimensional portals should not, however, be deemed to disqualify them as means to be deployed in serious speculative fictions; indeed, they are vitally necessary._^<n__^<n_The
opening up of these vast imaginary territories gave sf writers limitless scope for invention. There is no speculation -- whether physical, biological, social or metaphysical -- that cannot somehow be made incarnate and given a space of its own
within the conventions of sf. Voyages into fluid worlds where anything and everything may happen -- where the characters become helpless victims of chaos or godlike creators -- may be envisaged, as in M.K. _^<a_!T3940_JOSEPH_^>a_'s _^<i_The Hole in
the Zero_^>i_ (_^<b_1967_^>b_), as may voyages into mathematical abstraction like "The Mathenauts" (1964) by Norman _^<a_!T3965_KAGAN_^>a_. Sf has drawn up a framework of conventions and a vocabulary of literary devices which not only makes such
adventures conceivable but renders them relatively comfortable. It is a potential that sf writers have, for various reasons, been greatly inhibited from exploiting to the full, but they have -- whatever their failings-established significant
signposts within all these hypothetical realms._^<n__^<n_At its simplest the fantastic voyage is a set of episodes whose function is simply to present a series of dramatic encounters, but it is rare to find the form used with no higher ambition
than to offer a pleasant distraction. Many voyages which pretend to be doing that -- like Lewis _^<a_!T5188_CARROLL_^>a_'s _^<b_Alice_^>b_ books -- actually present worlds whose bizarre aspects reflect the real world ironically and subversively.
The same is true even of many relatively crude pulp sf stories like Francis _^<a_!T5724_STEVENS_^>a_'s _^<i_The Heads of Cerberus_^>i_ (1919; _^<b_1952_^>b_), Garret _^<a_!T2272_SMITH_^>a_'s _^<i_Between Worlds_^>i_ (1919; _^<b_1929_^>b_), John
_^<a_!T5892_TAINE_^>a_'s _^<i_The Time Stream_^>i_ (1931; _^<b_1946_^>b_) and Stanton A. _^<a_!T773_COBLENTZ_^>a_'s _^<i_Hidden World_^>i_ (1935 as "In Caverns Below"; _^<b_1957_^>b_), and in such unconvincing films as _^<a_!T5414_VOYAGE TO THE
BOTTOM OF THE SEA_^>a_ (1961) and _^<a_!T1409_FANTASTIC VOYAGE_^>a_ (1966). In very many cases the fantastic voyage has allegorical implications, which are most obvious when the voyage is also a quest, as it very often is in modern genre fantasy,
which tends to follow the paradigm of J.R.R. _^<a_!T6041_TOLKIEN_^>a_'s _^<i_The Lord of the Rings_^>i_ (3 vols _^<b_1954-5_^>b_). The quest may be for a person, an object or a place, but the movement through a hypothetical landscape is usually
paralleled by a growth towards some kind of maturity or acceptance in the protagonist's mind. The growth is towards self-knowledge or _^<a_!T829_CONCEPTUAL BREAKTHROUGH_^>a_ in the psychologically oriented variants which lie within or close to the
borders of sf; examples include _^<i_Rasselas_^>i_ (_^<b_1759_^>b_) by Samuel _^<a_!T6378_JOHNSON_^>a_, _^<i_Non-Stop_^>i_ (_^<b_1958_^>b_; vt _^<i_Starship_^>i_ US) by Brian W. _^<a_!T87_ALDISS_^>a_, _^<i_The Drowned World_^>i_ (_^<b_1962_^>b_) by
J.G. _^<a_!T378_BALLARD_^>a_ and _^<i__^<a_!B9050_INVERTED WORLD_^>a__^>i_ (_^<b_1974_^>b_) by Christopher _^<a_!T1990_PRIEST_^>a_. In stories of this kind the relationship between the environment of the story and the inner space of the
protagonists's psyche is often complex and subtle; in the work of Philip K. _^<a_!T1222_DICK_^>a_, from _^<i_Eye in the Sky_^>i_ (_^<b_1957_^>b_) to _^<i__^<a_!B9147_A SCANNER DARKLY_^>a__^>i_ (_^<b_1977_^>b_), characters are continually forced to
undertake nightmarish journeys into milieux where the distinction between real and unreal is hopelessly blurred and their personal inadequacies are painfully exposed._^<n__^<n_Any list of notable fantastic voyages in modern sf is necessarily highly
selective, but some of the most important and interesting which have appeared since 1926 are as follows: _^<i_The World Below_^>i_ (_^<b_1929_^>b_) by S. Fowler _^<a_!T6194_WRIGHT_^>a_, _^<i__^<a_!B9075_OUT OF THE SILENT PLANET_^>a__^>i_
(_^<b_1938_^>b_) by C.S. _^<a_!T3368_LEWIS_^>a_, _^<i_The Voyage of the Space Beagle_^>i_ (1939-50; fixup _^<b_1950_^>b_) by A.E. _^<a_!T5333_VAN VOGT_^>a_, _^<i_Big Planet_^>i_ (1952; _^<b_1957_^>b_) by Jack _^<a_!T5317_VANCE_^>a_, "Surface
Tension" (1952) by James _^<a_!T658_BLISH_^>a_, _^<i__^<a_!B9041_MISSION OF GRAVITY_^>a__^>i_ (_^<b_1954_^>b_) by Hal _^<a_!T749_CLEMENT_^>a_, _^<i_The City and the Stars_^>i_ (_^<b_1956_^>b_) by Arthur C. _^<a_!T736_CLARKE_^>a_,
_^<i__^<a_!B8988_THE EINSTEIN INTERSECTION_^>a__^>i_ (_^<b_1967_^>b_) and _^<i__^<a_!B9048_NOVA_^>a__^>i_ (_^<b_1968_^>b_) by Samuel R. _^<a_!T1152_DELANY_^>a_, _^<i_Picnic on Paradise_^>i_ (_^<b_1968_^>b_) by Joanna _^<a_!T2741_RUSS_^>a_,
_^<i_Space Chantey_^>i_ (_^<b_1968_^>b_) by R.A. _^<a_!T4152_LAFFERTY_^>a_, _^<i_Tau Zero_^>i_ (_^<b_1970_^>b_) by Poul _^<a_!T169_ANDERSON_^>a_, _^<i_Downward to the Earth_^>i_ (_^<b_1970_^>b_) and _^<i_Son of Man_^>i_ (_^<b_1971_^>b_) by Robert
_^<a_!T2216_SILVERBERG_^>a_, _^<i__^<a_!B9015_RINGWORLD_^>a__^>i_ (_^<b_1970_^>b_) by Larry _^<a_!T3223_NIVEN_^>a_, _^<i_The Infernal Desire Machines of Dr Hoffman_^>i_ (_^<b_1972_^>b_; vt _^<i_War of Dreams_^>i_) by Angela _^<a_!T5190_CARTER_^>a_,
_^<i_Hiero's Journey_^>i_ (_^<b_1973_^>b_) by Sterling E. _^<a_!T4188_LANIER_^>a_, _^<i_Orbitsville_^>i_ (_^<b_1975_^>b_) by Bob _^<a_!T2153_SHAW_^>a_, _^<i__^<a_!B9184_GALAXIES_^>a__^>i_ (_^<b_1975_^>b_) by Barry N. _^<a_!T3629_MALZBERG_^>a_,
_^<i__^<a_!B9267_ENGINE SUMMER_^>a__^>i_ (_^<b_1979_^>b_) by John _^<a_!T981_CROWLEY_^>a_, _^<i_The Hitch Hiker's Guide to the Galaxy_^>i_ (_^<b_1979_^>b_) and _^<i_The Restaurant at the End of the Universe_^>i_ (_^<b_1980_^>b_) by Douglas
_^<a_!T31_ADAMS_^>a_, _^<b_The Book of the New Sun_^>b_ (_^<b_1980-83_^>b_) by Gene _^<a_!T5676_WOLFE_^>a_, _^<i_The Void Captain's Tale_^>i_ (_^<b_1983_^>b_) and _^<i_Child of Fortune_^>i_ (_^<b_1985_^>b_) by Norman _^<a_!T2370_SPINRAD_^>a_,
_^<i_The Travails of Jane Saint_^>i_ (_^<b_1986_^>b_) by Josephine _^<a_!T2831_SAXTON_^>a_ and _^<i__^<a_!B9211_HYPERION_^>a__^>i_ (_^<b_1989_^>b_) by Dan _^<a_!T2219_SIMMONS_^>a_. [BS]_^<n__^<n_
-R-
(c) 1995 John Clute and Peter Nicholls
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FANTASY
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There is no _^<a_!T1142_DEFINITION OF SF_^>a_ that excludes fantasy, other than prescriptive definitions so narrow that, were they applied, this encyclopedia would be reduced to 10 per cent of its present length. We are talking about problems of
definition raised by not a minority but a majority of all genre writings. Among the _^<a_!T4659_GENRE-SF_^>a_ writers at least some of whose work would be excluded are Terry _^<a_!T621_BISSON_^>a_, Ray _^<a_!T4963_BRADBURY_^>a_, Orson Scott
_^<a_!T6359_CARD_^>a_, John _^<a_!T981_CROWLEY_^>a_, Avram _^<a_!T1082_DAVIDSON_^>a_, Samuel R. _^<a_!T1152_DELANY_^>a_, Thomas M. _^<a_!T1244_DISCH_^>a_, Harlan _^<a_!T6641_ELLISON_^>a_, Philip Jose _^<a_!T1435_FARMER_^>a_, Ursula K.
_^<a_!T3318_LE GUIN_^>a_, Fritz _^<a_!T3322_LEIBER_^>a_, Michael _^<a_!T3030_MOORCOCK_^>a_, Andre _^<a_!T3243_NORTON_^>a_, Tim _^<a_!T1967_POWERS_^>a_, Keith _^<a_!T2619_ROBERTS_^>a_, Geoff _^<a_!T2758_RYMAN_^>a_, Lucius _^<a_!T2175_SHEPARD_^>a_,
Dan _^<a_!T2219_SIMMONS_^>a_, Jack _^<a_!T5317_VANCE_^>a_, John _^<a_!T5339_VARLEY_^>a_, Gene _^<a_!T5676_WOLFE_^>a_ and Roger _^<a_!T6264_ZELAZNY_^>a_ -- many of the ablest and most popular writers in the sf field. Most or all of these writers
(and several hundred more names could easily be added) have written occasional works that would be accepted by almost all readers as fantasy, but that is not the point; rather it is that any definition of sf that insists upon limiting true sf to
scientific or "cognitive" modes of thought, and extrapolation from known realities, would exclude _^<i_the whole body of their work_^>i_. It is not that Delany or Le Guin are unscientific; indeed, they are not. But the science is not the whole
story; their work is deeply imbued with fantasy motifs, fantastic modes of thought, narrative connections deriving from the logic of myth, metaphors from magical or religious belief, narrative resonances evoking a backward corridor of time long
preceding the ages of science and technology. Certainly most of us can and do accept nearly all the above as true sf writers, but that is because most of us are not wedded to prescriptive definitions of sf. In the real world, we recognize that both
sf and fantasy, if genres at all, are impure genres. They are not homogeneous. Their fruit may be sf but the roots are fantasy, and the flowers and leaves, perhaps, something else again._^<n__^<n_It is, of course, quite simple to erect a
theoretical system that distinguishes the genres, though in practice it is not especially helpful, for the reasons given above. The usual way is to regard fantasy as a subset of fiction, a circle within a circle. (The bit between inner and outer
circles is mimetic fiction, which cleaves to known reality. Mimetic or "realistic" fiction is itself fairly recent; the distinctions being made here could not have been made before the 18th century.) Within the inner circle of fantasy -- the
fiction of the presently unreal -- is a smaller circle still, a subset of a subset, and this is sf. It shares with fantasy the idea of a novum: some new element, something that distinguishes the fiction from reality as presently constituted. A
novum could be a vampire or a colonized planet. The sub-subset that is sf insists that the novum be explicable in terms that adhere to conventionally formulated natural law; the remainder, fantasy, has no such requirement._^<n__^<n_To cut the
definition to an irreducible minimum: mimetic fiction is real, fantasy is unreal (but > _^<a_!T1372_FABULATION_^>a_); sf is unreal but natural, as opposed to the remainder of fantasy, which is unreal and supernatural. (Or, simpler still, sf could
happen, fantasy couldn't.)_^<n__^<n_Several things follow from this sort of argument. The first is that all sf is fantasy, but not all fantasy is sf. The second is that, because natural law is something we come to understand only gradually, over
centuries, and which we continue to rewrite, the sf of one period regularly becomes the fantasy of the next. What we regard as natural or possible depends upon the consensus reality of a given culture; but the idea of consensus reality itself is an
ideal, not an absolute: in practice there are as many realities as there are human consciousnesses. A reader who believes in astrology will allow certain fictions to be sf that an astronomer would exclude. Although the point is seldom made, it
could be said that the particular consensus reality to which sf aspires is that of the scientific community._^<n__^<n_In this encyclopedia we do not use the word "fantasy" in the sense suggested in the previous three paragraphs: that is, as a
supergenre which includes sf. This is because we have practical problems to contend with: the hardest part in determining which authors should and should not be given entries in this encyclopedia was deciding which fantasy authors were sufficiently
sf-like to be included (_^<i_see_^>i_ Introduction _^<i_for further discussion_^>i_). To make any sort of distinction at all, we had to regard "fantasy" as the contents of the middle circle excluding the sf circle, in which the novum is
supernatural; in other words, "fantasy", as we use the word throughout this book, is fiction about the impossible. Even then, the distinction is quite extraordinarily difficult; again and again the sf fruit has roots of fantasy; even
_^<a_!T4288_HARD SF_^>a_ regularly uses fantastic or _^<a_!T4595_IMAGINARY SCIENCE_^>a_._^<n__^<n_Although academics, especially those specializing in genre studies, have written many volumes attempting to make the sort of distinction we speak of,
the sf community has been decidedly pragmatic and has generally ducked the issue. To take two major _^<a_!T6321_AWARDS_^>a_, the _^<a_!T4551_HUGO_^>a_ and the _^<a_!T3147_NEBULA_^>a_, and one less known, the _^<a_!T1884_PHILIP K. DICK AWARD_^>a_,
it is sometimes not realized that there is nothing in their constitutions to prevent them being given to works of fantasy rather than sf; indeed, they often are. Hugo-winners include Fritz Leiber's "Ill Met in Lankhmar" (1970) and Robert
_^<a_!T661_BLOCH_^>a_'s "That Hell-Bound Train" (1958); Nebula-winners include Pat _^<a_!T3113_MURPHY_^>a_'s _^<i_The Falling Woman_^>i_ (_^<b_1986_^>b_) and Ursula K. Le Guin's _^<i_Tehanu: The Last Book of Earthsea_^>i_ (_^<b_1990_^>b_); Philip
K. Dick award-winners include Tim Powers' _^<i__^<a_!B9194_THE ANUBIS GATES_^>a__^>i_ (_^<b_1983_^>b_) and Patricia Geary's _^<i_Strange Toys_^>i_ (_^<b_1987_^>b_). There are many more such._^<n__^<n_Or take the genre magazines, and consider how
many have titles deliberately including both genres: _^<a_!T1402_FANTASTIC SCIENCE FICTION STORIES_^>a_, _^<i_The_^<a_!T3595_MAGAZINE OF FANTASY AND SCIENCE FICTION_^>a__^>i_ , _^<a_!T2870_SCIENCE FANTASY_^>a_, and a number of others. Or consider
that the genre newspaper _^<a_!T3419_LOCUS_^>a_, along with the annual bibliographies it publishes, gives full coverage to sf, fantasy and horror and makes no clear distinction between them. Consider that the most recent academic journal about sf
deliberately titles itself to include fantasy also: _^<a_!T3941_JOURNAL OF THE FANTASTIC IN THE ARTS_^>a_. (We do not wish to start any hares about whatever differences may be discernible between Fantasy and the Fantastic.) Or consider the Italian
word for sf, "fantascienza", which combines the two genres in the word itself; the Russian word is "fantastika". Indeed, consider that the general thrust of the European (though not UK) literary tradition is to regard fantasy and sf as two aspects
of the same phenomenon; it is notable that several European authors of such entries in this encyclopedia as _^<a_!T2683_ROMANIA_^>a_ are more inclusive about what constitutes sf than this encyclopedia is as a whole. (European theoretical critics,
however, can be very _^<i_ex_^>i_clusive in their definitions; Tzvetan _^<a_!T6038_TODOROV_^>a_ muddied the waters in _^<i_Introduction a la litterature fantastique_^>i_ [_^<b_1970_^>b_; trans as _^<i_The Fantastic: A Structural Approach to a
Literary Genre_^>i_ _^<b_1973_^>b_], which sees the fantastic, not very helpfully, as occupying the area where the reader hesitates between imputing a rational or a supernatural explanation to the events described, which would exclude most fantasy
from "the fantastic"; and another celebrated European critic, Darko _^<a_!T5858_SUVIN_^>a_, has claimed that the commercial linking of sf and fantasy, whether in marketing or in critical terms, is "a rampantly pathological phenomenon". Suvin is the
best known of those critics who have offered the kind of prescriptive definition of sf noted above.)_^<n__^<n_In the face of this widespread conspiracy to ignore generic boundaries wherever possible (a conspiracy to which most bookshops belong) it
may seem quixotic to attempt distinctions at all. Yet we feel that a book calling itself _^<i_The Encyclopedia of Science Fiction_^>i_ must make at least some attempt to prevent "sf proper" from being wholly swamped by the necessarily much larger
number of entries (especially author entries) that a wholly inclusive policy about fantasy would entail._^<n__^<n_The task is not impossible, though necessarily subjective. The most important thing perhaps -- difficult to pin down because it
involves style as well as content -- is to regard fantasy as sf-like when it adopts a cognitive approach to its subject matter, even if that subject matter is _^<a_!T3598_MAGIC_^>a_. Although both are given entries in this book, most people would
agree that Ursula Le Guin's _^<b_Earthsea_^>b_ books are more sciencefictional in tone -- even though set in worlds where magic works and where dragons exist -- than, say, H.P. _^<a_!T3465_LOVECRAFT_^>a_'s stories of the _^<b_Cthulhu Mythos_^>b_,
though the latter are in fact explicable in sf terms where the former are not; that is, Lovecraft's Elder Gods, spawned in space or in other worlds, can be seen as enormously powerful _^<a_!T98_ALIEN_^>a_ invaders. In practice, though, Lovecraft's
readers seldom give his work an sf reading of this sort, because his tone is fundamentally and unmistakably _^<a_!T4780_GOTHIC_^>a_ and anti-rational: Le Guin is an explainer, Lovecraft prefers the weird, the sinister and the inexplicable. In other
words, supernatural fantasy approaches the condition of science fiction when its narrative voice implies a post-scientific consciousness. Conversely, sf (like, for example, much of that by Andre Norton or, in a different way, by Ray Bradbury)
approaches the condition of fantasy when its narrative voice implies a mystical or even anti-scientific consciousness._^<n__^<n_Authors who use fantasy elements in sf regularly rationalize their fundamentally _^<a_!T4780_GOTHIC_^>a_ motifs, Anne
_^<a_!T6298_MCCAFFREY_^>a_'s dragons being an excellent example: many further examples are given in the entries on _^<a_!T4740_GODS AND DEMONS, GOLEM, MAGIC, MONSTERS, MYTHOLOGY_^>a_ and _^<a_!T5843_SUPERNATURAL CREATURES_^>a_, these all being
areas where sf and fantasy commonly collide. Conversely, when writers of _^<a_!T4288_HARD SF_^>a_ like Robert A. _^<a_!T4376_HEINLEIN_^>a_, Poul _^<a_!T169_ANDERSON_^>a_ and Larry _^<a_!T3223_NIVEN_^>a_ write fantasy, as they often have done, it is
amusing to note how the old habits persist; they regard the marvellous and the magical with a rationalist scrutiny, treating _^<a_!T3598_MAGIC_^>a_ (_^<i_which see_^>i_) rather as Le Guin does, as if it were a science. The distinction between magic
and science is not wholly clear at the best of times; Arthur C. _^<a_!T736_CLARKE_^>a_ has commented that any sufficiently advanced technology is indistinguishable from magic". Larry Niven and David "_^<a_!T4671_GERROLD_^>a_'s _^<i_The Flying
Sorcerers_^>i_ (_^<b_1971_^>b_) is constructed around this precept._^<n__^<n_A story parodying the transmutation of fantasy into sf by use of scientific jargon is Isaac _^<a_!T268_ASIMOV_^>a_'s "Pate de Foie Gras" (1956), an sf version of "The
Goose that Laid the Golden Eggs". When the rationalization of fantasy elements is merely cursory (substituting, say, an _^<a_!T131_ALTERNATE WORLD_^>a_ reached through a Dimensional Gate for something resembling what Alice found down the rabbit
burrow) we would be inclined to call the result fantasy still, though others would call it sf. This kind of fiction perhaps began with Edgar Rice _^<a_!T5097_BURROUGHS_^>a_'s _^<b_Barsoom_^>b_ books in the early decades of this century, in which an
unexplained superscience tends to stand in for magic. A convenient term for these stories is _^<a_!T2870_SCIENCE FANTASY_^>a_, and they are discussed under that rubric; many "science fantasy" stories are also _^<a_!T1913_PLANETARY ROMANCES_^>a_
(_^<i_which see_^>i_)._^<n__^<n_One reason why so much fantasy rather resembles sf is its use of many sciencefictional motifs (though it has to be said that the _^<i_range_^>i_ of motifs is much narrower than that found in sf proper, since not much
fantasy contains anything other than occult technology; there are few _^<a_!T2646_ROBOTS_^>a_ and _^<a_!T1017_CYBORGS_^>a_ and _^<a_!T2348_SPACESHIPS_^>a_). Theme entries in this book representing the most notable sf and borderline-sf motifs of
this sort are _^<a_!T131_ALTERNATE WORLDS_^>a_, _^<a_!T290_ATLANTIS_^>a_, _^<a_!T1239_DIMENSIONS_^>a_, _^<a_!T6697_ESP_^>a_, _^<a_!T1410_FANTASTIC VOYAGES_^>a_, _^<a_!T3771_IMMORTALITY_^>a_, _^<a_!T2021_PSI POWERS_^>a_,
_^<a_!T2548_REINCARNATION_^>a_, _^<a_!T5851_SUSPENDED ANIMATION_^>a_ and _^<a_!T6026_TIME TRAVEL_^>a_. All of these are commonplace in fantasy, most of them commonplace in sf also. Indeed, sf set in worlds where psi powers work can often be read as
it if were fantasy; such, towards the sf end of the spectrum, are Marion Zimmer _^<a_!T4968_BRADLEY_^>a_'s _^<b_Darkover_^>b_ novels and, towards the fantasy end, Christopher _^<a_!T5688_STASHEFF_^>a_'s _^<i_The Warlock in Spite of Himself_^>i_
(_^<b_1969_^>b_) and its sequels. A sophisticated variant is _^<i_The Deep_^>i_ (_^<b_1975_^>b_) by John _^<a_!T981_CROWLEY_^>a_, which adroitly plays upon the generic expectations of the reader in such a way that what appears to be
_^<a_!T4396_HEROIC FANTASY_^>a_ comes to seem, retrospectively, pure sf._^<n__^<n_Fantasy itself is not homogeneous; various terms are used, often not very precisely, to characterize its various kinds. An interesting distinction, made by Marshall
B. _^<a_!T6150_TYMN_^>a_, Kenneth J. Zahorski and Robert H. Boyer in the introduction to _^<i_Fantasy Literature: A Core Collection and Reference Guide_^>i_ (_^<b_1979_^>b_), is between high fantasy, set in a fully realized secondary world, and low
fantasy, which features supernatural intrusions into our own world. Most _^<a_!T4509_HORROR_^>a_ fiction takes the latter form; most _^<a_!T5875_SWORD AND SORCERY_^>a_ (or _^<a_!T4396_HEROIC FANTASY_^>a_) takes the former. Although this
encyclopedia contains many examples of both high and low fantasy, it is probably high fantasy (in this definition) that is the closest to sf: high fantasy and sf typically create imaginary worlds (alternate to our own). Thus Frank
_^<a_!T4389_HERBERT_^>a_'s _^<i__^<a_!B9031_DUNE_^>a__^>i_ (_^<b_1965_^>b_) and J.R.R. _^<a_!T6041_TOLKIEN_^>a_'s _^<i_The Lord of the Rings_^>i_ (_^<b_1954-5_^>b_), though the one is sf and the other high fantasy, have in the imaginative intensity
of their detailed world-creation a great deal in common (but >_^<a_!T1913_PLANETARY ROMANCE_^>a_ for an argument that the two styles of fiction differ essentially in that one is set on a planet, the other in a landscape). The kind of fantasy which
creates such detailed, self-consistent alternate worlds, whatever we call it, is certainly the kind most written by sf writers "on vacation". Such is Poul Anderson's _^<i_Three Hearts and Three Lions_^>i_ (1953; exp _^<b_1961_^>b_) and Jack Vance's
_^<i__^<a_!B9032_THE DYING EARTH_^>a__^>i_ (coll _^<b_1950_^>b_). Such worlds were never peculiar to sf writers, however. Further back, many of the works of Lord _^<a_!T1353_DUNSANY_^>a_ are effectively set in a coherent, alternate universe, as are
those of E.R. _^<a_!T6579_EDDISON_^>a_ and James Branch _^<a_!T5115_CABELL_^>a_, all three being quite unconnected to genre sf when they wrote, though all three have since had repercussions in sf that go beyond the merely stylistic. An even more
notable work of fantasy is the _^<b_Gormenghast_^>b_ sequence (_^<b_1946-59_^>b_) by Mervyn _^<a_!T1824_PEAKE_^>a_; this may not be set in a fully fledged alternate world, but it does contain all the conceptual creativity that another writer might
have lavished on an entire planet focused upon one emblematic building and its occupants._^<n__^<n_In its marketing, sword-and-sorcery fiction was for some time sold very much as if it were a form of sf -- perhaps in part because many of the same
writers have been involved in both genres, like L. Sprague _^<a_!T1133_DE CAMP_^>a_, C.L. _^<a_!T3033_MOORE_^>a_, Henry _^<a_!T4144_KUTTNER_^>a_, Leigh _^<a_!T4961_BRACKETT_^>a_, Jack Vance and Fritz Leiber; the term "sword and sorcery" is said to
have been coined by Leiber. The archetypal sword-and-sorcery writer at the pulp end of the spectrum was Robert E. _^<a_!T4524_HOWARD_^>a_ in his _^<b_Conan_^>b_ series of the 1930s, mostly in _^<i_Weird Tales_^>i_ (1932-6); while not sf, these
stories were set in a coherent and quite carefully imagined world (presented as an enormously archaic version of our own). Sword and sorcery (the term is often used in a derogatory manner, which partly explains its gradual displacement by the term
_^<a_!T4396_HEROIC FANTASY_^>a_) is generally a form of high fantasy._^<n__^<n_The overlap of supernatural-horror fiction with sf is rather smaller than the overlap of high fantasy with sf, though still very substantial indeed; this area of overlap
is discussed under the rubrics _^<a_!T4780_GOTHIC SF_^>a_ and _^<a_!T4509_HORROR IN SF_^>a_._^<n__^<n_In children's fiction (> _^<a_!T710_CHILDREN'S SF_^>a_) the interweaving of sf with fantasy motifs is intrinsic and can seldom be untwined, as is
especially obvious in UK and Australian work, such as that of Alan _^<a_!T4615_GARNER_^>a_, Diana Wynne _^<a_!T3926_JONES_^>a_, Victor _^<a_!T4007_KELLEHER_^>a_, William _^<a_!T3738_MAYNE_^>a_ and Robert _^<a_!T5548_WESTALL_^>a_._^<n__^<n_So far we
have stressed the ways in which sf and fantasy get mixed up together. In fact the position of the genre analyst is by no means hopeless, for distinctions between high fantasy (or even fantasy generally) and sf are quite real, however elusive, and
they extend very much further than fantasy-equals-impossible versus sf-equals-possible. Such distinctions always work better, of course, at the ends of the spectrum rather than at its centre, where apparent opposites become merged (or balanced)
together. At the extreme fantasy end of the spectrum the imaginary worlds tend, strongly, to be conceptually static; history is cyclical; the narrative form is almost always the quest for an emblematic object or person; the characters are
emblematic too, most commonly of a dualistic (even Manichean) system where good confronts evil; most fundamentally of all, the protagonists are trapped in pattern. They live in a determinist world, they fulfil destiny, they move through the steps
of an ancient dance. At the extreme sf end of the spectrum the stories are set in kinetic venues that register the existence of change, history is evolutionary and free will operates in a possibly arbitrary universe whose patterns, if they exist at
all, may be only those imposed upon it (or, according to some quantum theorists, created in it) by its human observers. If there is truth in this argument, then it follows that the important distinction between fantasy and sf is more philosophical
than technological, a matter of _^<a_!T2924_METAPHYSICS_^>a_._^<n__^<n_There is one final group of fantasists, the fabulators (> _^<a_!T1372_FABULATION_^>a_), who create fantastic changes (often quite minor) in everyday reality, often ironically or
for purposes of _^<a_!T2812_SATIRE_^>a_, rather than for the creation of frissons of horror or romantic adventure. Such a work is Franz _^<a_!T3963_KAFKA_^>a_'s _^<i_Die Verwandlung_^>i_ (_^<b_1916_^>b_; trans as _^<i_The Metamorphosis_^>i_
_^<b_1937_^>b_), in which a man is turned into a beetle. Many such works stem from traditions of fable and _^<a_!T18_ABSURDIST_^>a_ literature, sometimes taking the form of _^<a_!T3599_MAGIC REALISM_^>a_. John _^<a_!T444_BARTH_^>a_, Angela
_^<a_!T5190_CARTER_^>a_, Richard _^<a_!T831_CONDON_^>a_ and Thomas _^<a_!T2040_PYNCHON_^>a_ are only four of the several hundred such writers who receive entries in this encyclopedia, including some whose associations with genre sf have been rather
closer, like Barry N. _^<a_!T3629_MALZBERG_^>a_, Kurt _^<a_!T5402_VONNEGUT_^>a_ Jr, and Robert _^<a_!T2163_SHEA_^>a_ and Robert Anton _^<a_!T5643_WILSON_^>a_, whose _^<b_Illuminatus_^>b_ trilogy (_^<b_1975_^>b_) puts a range of fantasy and sf
devices to absurdist ends in a black comedy proposing _^<a_!T1795_PARANOIA_^>a_ as the most fully appropriate response to modern life._^<n__^<n_In the 1970s fantasy (and its variant labels like Epic Fantasy, Heroic Fantasy and so forth) became an
important area of book marketing. Some alarmist observers believed that the density of fantasy publication was such that sf as a viable, separate marketing category was doomed. In fact, sf has proved able to weather the storm, but fantasy
publishing continues strongly into the 1990s, only slightly abated, especially in the area of trilogies and series whose points of reference (sometimes approaching plagiarism) continue in the main to be Robert E. Howard and, especially, J.R.R.
Tolkien. One effect of fantasy's publishing success (and to a lesser degree that of horror) may have been to make genre-crossing, which was always common, even more popular. K.W. _^<a_!T3901_JETER_^>a_ and George R.R. _^<a_!T3685_MARTIN_^>a_ move
from sf to horror; Terry _^<a_!T1974_PRATCHETT_^>a_, Michael Scott _^<a_!T2673_ROHAN_^>a_, Robert _^<a_!T4468_HOLDSTOCK_^>a_ and others from sf to fantasy; Stephen _^<a_!T4066_KING_^>a_, contrariwise, moves sometimes from horror to sf; James P.
_^<a_!T651_BLAYLOCK_^>a_ contrives, dizzyingly, to occupy all such worlds simultaneously, as do John Crowley and arguably Gene Wolfe; fantasy writers like John M. _^<a_!T1559_FORD_^>a_ or Barbara _^<a_!T4255_HAMBLY_^>a_ or David
_^<a_!T4653_GEMMELL_^>a_ invent sf-like worlds; supposedly hard-sf writer Orson Scott Card is repeatedly drawn to _^<a_!T1812_PASTORAL_^>a_ fantasy; William _^<a_!T4689_GIBSON_^>a_, Elizabeth _^<a_!T4269_HAND_^>a_, even Greg _^<a_!T478_BEAR_^>a_,
put _^<a_!T4740_GODS AND DEMONS_^>a_ into _^<a_!T1015_CYBERPUNK_^>a_ worlds; R.A. _^<a_!T6295_MACAVOY_^>a_, Patricia _^<a_!T3558_MCKILLIP_^>a_ and Sheri S. _^<a_!T5936_TEPPER_^>a_ turn from high fantasy to sf; Brian M. _^<a_!T2385_STABLEFORD_^>a_
turns to _^<a_!T2878_SCIENTIFIC ROMANCES_^>a_ about vampires and werewolves. In the face of this insouciance on the part of the makers of sf and fantasy, the wise critic will eschew rigid prescription. Beyond the very various distinctions already
suggested, no consistent demarcation-line between sf and fantasy should be extractable from a reading of this encyclopedia. Certainly none was intended. [PN]_^<n__^<n_
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FANTASY
-T-
Title used on two early UK sf magazines. The first was a _^<a_!T2033_PULP_^>a_ magazine published by George Newnes Ltd., ed T. Stanhope Sprigg. It produced 3 issues 1938-9. The second, subtitled "The Magazine of Science Fiction", was a
saddle-stapled _^<a_!T1231_DIGEST_^>a_ issued by the Temple Bar Publishing Co., ed Walter _^<a_!T4706_GILLINGS_^>a_. It too lasted 3 issues, Dec 1946 and Apr and Aug 1947. Eric Frank _^<a_!T2743_RUSSELL_^>a_ and John Russell _^<a_!T1455_FEARN_^>a_
were featured in both series, and the second magazine featured 3 early stories by Arthur C. _^<a_!T736_CLARKE_^>a_ (2 pseudonymous, as by E.G. O'Brien and Charles Willis). The second magazine was killed by paper restrictions, but Gillings was able
to use some of his backlog of stories when he became the first editor of _^<a_!T2870_SCIENCE FANTASY_^>a_ in 1950. [BS/PN]_^<n__^<n_
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FANTASY AMATEUR PRESS ASSOCIATION
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> _^<a_!T1429_FAPA_^>a_._^<n__^<n_
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FANTASY AND SCIENCE FICTION
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The often-used short form of the title of _^<i_The_^<a_!T3595_MAGAZINE OF FANTASY AND SCIENCE FICTION_^>a__^>i_ , often referred to, in this encyclopedia and elsewhere, as _^<i_FSF_^>i_. [PN]_^<n__^<n_
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FANTASY BOOK
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_^<b_1._^>b_ Magazine, _^<a_!T492_BEDSHEET_^>a_-format for 2 issues, then various _^<a_!T1231_DIGEST_^>a_-size formats. 8 issues July 1947-Jan 1951; irregular. Published by _^<a_!T1422_FANTASY PUBLISHING COMPANY INC._^>a_; ed Garrett Ford (pseudonym
of William L. _^<a_!T943_CRAWFORD_^>a_). _^<i_FB_^>i_ was generally an undistinguished and erratic magazine. Some issues appeared in three different editions with different covers. _^<i_FB_^>i_ is best remembered for publishing in #1 The People of
the Crater", the first sf story by Andre "_^<a_!T3243_NORTON_^>a_ (as Andrew North) and, in #6 (Jan 1950), Paul Linebarger's first story as Cordwainer _^<a_!T2265_SMITH_^>a_, "Scanners Live in Vain". When it ceased publication it left incomplete a
Murray _^<a_!T3326_LEINSTER_^>a_ serial, "Journey to Barkut"; this later appeared in full in _^<a_!T2428_STARTLING STORIES_^>a_ (Jan 1952), and in book form as _^<i_Gateway to Elsewhere_^>i_ (_^<b_1954_^>b_)._^<n__^<n__^<b_2._^>b_ US
_^<a_!T2100_SEMIPROZINE_^>a_, _^<a_!T492_BEDSHEET_^>a_-format. 23 issues Oct 1981-Mar 1987, ed Dennis Mallonee and Nick Smith from California, bimonthly, then quarterly from #4. Unlike the first _^<i_FB_^>i_, to which it was unconnected, this
published almost no sf, concentrating on fantasy and horror. Its authors included R.A. _^<a_!T4152_L AFFERTY_^>a_, Alan Dean _^<a_!T1572_FOSTER_^>a_ and Ian _^<a_!T5484_WATSON_^>a_. Circulation seldom rose above 3000. [MJE/PN]_^<n__^<n_
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FANTASY COMMENTATOR
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US _^<a_!T1428_FANZINE_^>a_ (1943-current), ed from New York by A. Langley _^<a_!T2086_SEARLES_^>a_ The Winter 1993-94 issue, no 45/46, was called "50th Anniversary Double Issue". The original run of 26 issues, 1943-53 -- quarterly before 1950 and
then irregular -- featured well written, scholarly articles about contemporary fantasy writers and an impressive series of bibliographies. _^<i_FC_^>i_ was notable at this time for publishing the series of articles about _^<a_!T1389_FANDOM_^>a_ by
Sam _^<a_!T3074_MOSKOWITZ_^>a_ that later became _^<i_The Immortal Storm_^>i_ (_^<b_1954_^>b_) and for the original material it carried by A. _^<a_!T2912_MERRITT_^>a_, Henry _^<a_!T4144_KUTTNER_^>a_, David H. _^<a_!T4008_KELLER_^>a_, H.P.
_^<a_!T3465_LOVECRAFT_^>a_ and William Hope _^<a_!T4459_HODGSON_^>a_. _^<i_FC_^>i_ was suspended in 1953 but revived in 1978 with #29 (facsimiles of #27-#28, which had been set up in 1953 but not published, were released in 1986). Up to 1950
_^<i_FC_^>i_ appeared quarterly, thereafter irregularly. Its current incarnation was annual to 1990, semiannual thereafter. Regular contributors to the current version include Moskowitz and Mike _^<a_!T265_ASHLEY_^>a_. _^<i_FC_^>i_ remains strong
in scholarship about early sf and fantasy. [RH]_^<n__^<n_
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FANTASY FICTION/FANTASY STORIES
-T-
US _^<a_!T1231_DIGEST_^>a_-size magazine. 2 issues, May and Nov 1950, published by Magabook, ed Curtis Mitchell. "Old and New Fantasy Stories but Always the Best" was the slogan of this shortlived magazine, whose stories were largely reprinted from
general _^<a_!T2033_PULP MAGAZINES_^>a_ of the 1930s and early 1940s. It also offered prizes for reports of true fantastic experiences and of haunted houses. #2 was retitled _^<i_Fantasy Stories_^>i_, carried a lengthy _^<a_!T5271_UFO_^>a_ feature
("Flying Saucer Secrets Blabbed by Mad Pilot", as the cover put it), and was three months late. #3 never materialized._^<n__^<n_The final 3 issues of the 1950s _^<a_!T1419_FANTASY MAGAZINE_^>a_, an unconnected publication, were also titled
_^<b_1._^>b_ US _^<a_!T1231_DIGEST_^>a_-size magazine. 4 issues, Feb, June, Aug, Nov 1953, all but #1 under the latter title, published by Future Publications, New York, ed Lester _^<a_!T1164_DEL REY_^>a_, under his own name for #1--#3 and under the
house name Cameron Hall for #4. All issues had covers by Hannes _^<a_!T6322_BOK_^>a_. #1 featured a _^<b_Conan_^>b_ novelette revised by L. Sprague _^<a_!T1133_DE CAMP_^>a_ from Robert E. _^<a_!T4524_HOWARD_^>a_'s unpublished "The Black Stranger".
The contents, of quite good quality, were almost exclusively fantasy, much of it rather in the style of _^<a_!T5291_UNKNOWN_^>a_._^<n__^<n__^<b_2._^>b_ _^<i_Fantasy Magazine_^>i_ was a vt 1934-7 of a celebrated _^<a_!T1428_FANZINE_^>a_,
_^<i_Science Fiction Digest_^>i_, founded 1932, of which Julius _^<a_!T2865_SCHWARTZ_^>a_ was one of the editors. This in turn had incorporated _^<i_The Time Traveller_^>i_, often regarded as the first true fanzine (#1, Jan 1932), which Schwartz
had published with Mort _^<a_!T5515_WEISINGER_^>a_. _^<i_FM_^>i_ published original fiction, factual articles, reviews, gossip and biographical pieces. [BS/PN]_^<n__^<n_
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FANTASY NEWSLETTER
-T-
> _^<a_!T1423_FANTASY REVIEW_^>a_._^<n__^<n_
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FANTASY PRESS
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An early US _^<a_!T2261_SMALL PRESS_^>a_ specializing in sf/fantasy, historically important in the growth of genre-sf _^<a_!T2026_PUBLISHING_^>a_ before sf was discovered by mass-market book houses. It was founded by Lloyd Arthur
_^<a_!T6696_ESHBACH_^>a_ in 1946, based in Reading, Pennsylvania. It published a number of works in hardcover by such authors as John W. _^<a_!T5140_CAMPBELL_^>a_ Jr, L. Sprague _^<a_!T1133_DE CAMP_^>a_, E.E. "Doc" _^<a_!T2269_SMITH_^>a_, Stanley
G. _^<a_!T5506_WEINBAUM_^>a_ and Jack _^<a_!T5629_WILLIAMSON_^>a_. It folded in 1958 at a time when small-press publishing was in crisis. Eshbach sold the company and its stock to Donald M. Grant Publisher. [MJE/PN]_^<n__^<n_
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FANTASY PUBLISHING COMPANY INC.
-T-
US _^<a_!T2261_SMALL PRESS_^>a_ based in Los Angeles and specializing in sf/fantasy, generally known by its initials FPCI. One of the many semiprofessional publishing enterprises of William L. _^<a_!T943_CRAWFORD_^>a_, FPCI was one of the less
notable companies to start issuing magazine sf in book form in the late 1940s and the 1950s. Its authors included L. Sprague _^<a_!T1133_DE CAMP_^>a_, L. Ron _^<a_!T4538_HUBBARD_^>a_, Olaf _^<a_!T2404_STAPLEDON_^>a_, John _^<a_!T5892_TAINE_^>a_ and
A.E. _^<a_!T5333_VAN VOGT_^>a_, but only lesser works of theirs. Crawford also published the magazines _^<a_!T1415_FANTASY BOOK_^>a_ and later _^<a_!T2354_SPACEWAY_^>a_ and _^<i_Witchcraft and Sorcery_^>i_ (formerly _^<i_Coven 13_^>i_) under the
FPCI imprint, in addition to various occult titles and books by Emil _^<a_!T1869_PETAJA_^>a_ and others._^<n__^<n_The pre-WWII incarnation of the company, then known just as Fantasy Publishers, had brought out the magazines _^<a_!T3700_MARVEL
TALES_^>a_ and _^<a_!T5294_UNUSUAL STORIES_^>a_; and an associated company, Visionary Publishing Co., had published _^<i_The Shadow over Innsmouth_^>i_ (_^<b_1936_^>b_) by H.P. _^<a_!T3465_LOVECRAFT_^>a_. [MJE/PN]_^<n__^<n_
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FANTASY REVIEW
-T-
_^<b_1._^>b_ UK _^<a_!T1428_FANZINE_^>a_, ed Walter _^<a_!T4706_GILLINGS_^>a_. 18 issues 1947-50. Gillings, previously editor of several UK _^<a_!T2130_SF MAGAZINES_^>a_ -- _^<a_!T5899_TALES OF WONDER_^>a_ (1937-42), _^<a_!T5783_STRANGE TALES_^>a_
(1946) and _^<a_!T1412_FANTASY_^>a_ (1946-7) -- found himself needing an outlet for his energies after the demise of the latter title and began _^<i_FR_^>i_, which was almost identical in format and content to his earlier fanzine
_^<i_Scientifiction_^>i_ (7 issues 1937-8) and later fanzine _^<i_Cosmos_^>i_ (3 issues 1969). It carried reviews and sf news items, and was professional in appearance. For its last 3 numbers the title changed to _^<i_Science-Fantasy Review_^>i_.
When in 1950 Gillings was given the editorship of _^<a_!T2870_SCIENCE FANTASY_^>a_, the new sister magazine to Nova Publications' _^<a_!T3182_NEW WORLDS_^>a_, he incorporated _^<i_Science-Fantasy Review_^>i_ into its first 2 issues as a news-chat
section; this disappeared when John _^<a_!T5170_CARNELL_^>a_ assumed the editorship of _^<i_Science Fantasy_^>i_ with #3._^<n__^<n__^<b_2._^>b_ US monthly critical _^<a_!T2100_SEMIPROZINE_^>a_, founded as _^<i_Fantasy Newsletter_^>i_ by Paul C.
Allen in Rochester, NY, as, literally, an 8pp newsletter in June 1978, but becoming a magazine in Jan 1980, ceasing publication in Oct 1981. It was revived at once, however, by Robert Collins, director of the International Conference on the
Fantastic in the Arts at Florida Atlantic University. The magazine, which had always published interesting features, gained much strength when amalgamated at the beginning of 1984 with _^<a_!T2049_SCIENCE FICTION AND FANTASY BOOK REVIEW_^>a_ (Neil
_^<a_!T442_BARRON_^>a_, editor of the latter, becoming review editor) with a new title, _^<i_Fantasy Review_^>i_, but a continuation of the previous numeration. (The logo showed _^<i_SF & Fantasy Review_^>i_ for several months, with the "SF" very
small; it was soon dropped.) _^<i_FR_^>i_ had the widest (though not necessarily deepest) sf-book-review coverage in the US and probably the world, covering fantasy and horror as well as sf. Later review editors were Carol McGuirk and Rob Latham.
Quite handsomely produced, _^<i_FR_^>i_ had the usual difficulty in finding a commercially viable market for a magazine of the standard desired by the editor, and folded with #103, July/Aug 1987. The review section lives on less usefully in annual
form, beginning 1988, as _^<a_!T2049_SCIENCE FICTION AND FANTASY BOOK REVIEW ANNUAL_^>a_, with Collins and Latham co-editors. [PN]_^<n__^<n_
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FANTASY STORIES
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> _^<a_!T1417_FANTASY FICTION_^>a_._^<n__^<n_
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FANTASY TIMES
-T-
US _^<a_!T1428_FANZINE_^>a_ (1941-69) ed James V. Taurasi Sr (1917-1991), briefly by Sam _^<a_!T3074_MOSKOWITZ_^>a_ during WWII, Taurasi again, and Frank Prieto Jr from 1966. Published erratically until 1946, _^<i_FT_^>i_ thereafter established
itself as a straightforward sf and fantasy newsletter containing news, notes and reviews. In 1957 its title changed to _^<i_Science Fiction Times_^>i_, and publication continued under this title until #465, in 1969. Though its contents were mostly
routine records of events, the magazine did attract some attention from publishers and authors; James _^<a_!T658_BLISH_^>a_ was its book reviewer for a time (_^<i_c_^>i_1956). _^<i_FT_^>i_ won the _^<a_!T4551_HUGO_^>a_ for Best Fanzine in 1955 and
1957. Its news-reporting function was effectively taken over by _^<a_!T3419_LOCUS_^>a_. A short-lived Spanish edition, _^<i_Tiempo de Fantasia_^>i_, was published in 1949, and a successful German version, _^<i_SF Times_^>i_, began publication in
1958, at first as a straight translation, later -- especially under the editorship of Hans Joachim _^<a_!T126_ALPERS_^>a_ -- as a serious German fanzine in its own right (>_^<a_!T4667_GERMANY_^>a_). [PR/PN]_^<n__^<n_
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FANTAZIA 2000
-T-
> _^<a_!T3825_ISRAEL_^>a_._^<n__^<n_
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FANTHORPE, R(OBERT) L(IONEL)
-T-
(1935- ) UK writer who became a schoolteacher and preacher. From 1954 to 1965 RLF was an sf writer of remarkable productivity, towards the end of that period producing novels on a weekly schedule for _^<a_!T349_BADGER BOOKS_^>a_ and associated
imprints, for which he was paid ps25 a volume, dictating his tales into a battery of tape-recorders for transcription by members of his family or by friends. The rushed endings of many of his novels were a result of this practice, as he often did
not know how close he was to his allotted word-length until batches of typing had been completed; if a tale had reached its length while still in mid-plot, it would be truncated forthwith. It has been claimed of RLF that he was the world's most
prolific writer in the genre. His first story, written at the age of 16, was "Worlds without End" as by Lionel Roberts for _^<a_!T1667_FUTURISTIC SCIENCE STORIES_^>a_ in 1952. His first novel, _^<i_Menace from Mercury_^>i_ (_^<b_1954_^>b_), was
published under the house name Victor _^<a_!T4192_LA SALLE_^>a_; other house names under which he would work were John E. _^<a_!T3097_MULLER_^>a_ and Karl _^<a_!T6263_ZEIGFREID_^>a_. Within a few years he was responsible for the vast majority of
Badger's sf and supernatural output, both novels and collections of stories, some of the former and all of the latter being included in the numbered series _^<b_Supernatural Stories_^>b_. (RLF's practice with stories was generally to provide all
the contents of a particular issue, using several pseudonyms in addition to his own name, creating in effect a series of collections. It is as collections that these titles are listed in this entry, under the title and name story listed on the
cover, though in fact this title might not actually appear within, and pseudonymous work by other authors occasionally appears in collections otherwise by RLF; we have here violated our normal practice of designating such books as anthologies.)
After Badger Books folded, RLF fell silent, though he made a brief comeback as a fiction writer with _^<i_The Black Lion_^>i_ (_^<b_1979_^>b_), written in collaboration with his wife, Patricia Fanthorpe (1938- ); it is a not-unsuccessful
fantasy, the first of a projected (but still incomplete) trilogy._^<n__^<n_One series of some interest, published under the Bron Fane pseudonym, chronicles the adventures of the Bulldog Drummond-like _^<b_Val Stearman_^>b_ and the immortal La
Noire: "The Seance" (1958), "The Secret Room" (1958), "Valley of the Vampire" (1958), "The Silent Stranger" (1959), "The Other Line" (1959), "The Green Cloud" (1959), "Pursuit" (1959), "Jungle of Death" (1959), "The Crawling Fiend" (1960), "Curtain
Up" (1960), "The Secret of the Lake" (1960), "The Loch Ness Terror" (1961), "The Deathless Wings" (1961), "The Green Sarcophagus" (1961), "Black Abyss" (1961), "Forbidden City" (1961), "The Secret of the Pyramid" (1961), "Something at the Door"
(1961), "Forbidden Island" (1962), "Storm God's Fury" (1962), "Vengeance of the Poltergeist" (1962), "The Persian Cavern" (1962), "The Chasm of Time" (1962), "The Voice in the Wall" (1962), "Cry in the Night" (1962), "The Nine Green Men" (1963),
"The Man who Never Smiled" (1963), "Return Ticket" (1963), "The Room that Never Was" (1963), "The Walker" (1963), _^<i_Softly By Moonlight_^>i_ (_^<b_1963_^>b_), "The Thing from Sheol" (1963), "The Man who Knew" (1963), _^<i_Unknown Destiny_^>i_
(_^<b_1964_^>b_), "The Warlock" (1964), _^<i_The Macabre Ones_^>i_ (_^<b_1964_^>b_), "The Troll" (1964), "The Walking Shadow" (1964), "The Lake Thing" (as Pel Torro, 1964), "The Accursed" (1965), "The Prodigy" (1965), _^<i_U.F.O. 517_^>i_
(_^<b_1965_^>b_), "Girdle of Fear" (1965), "Repeat Programme" (1966) and "The Resurrected Enemy" (1966)._^<n__^<n_Apart from those listed below in connection with book titles, RLF's pseudonyms included Neil Balfort, Othello Baron, Oben Lerteth,
Elton T. Neef, Peter O'Flinn, Rene Rolant, Robin Tate and Deutero Spartacus. All but the last are partial anagrams of his name. [MJE]_^<n__^<n__^<b_Other works:_^>b__^<b_As R.L. Fanthorpe:_^>b_ _^<i_Resurgam_^>i_ (coll _^<b_1957_^>b_); _^<i_Secret
of the Snows_^>i_ (coll _^<b_1957_^>b_); _^<i_The Flight of the Valkyries_^>i_ (coll _^<b_1958_^>b_); _^<i_The Waiting World_^>i_ (_^<b_1958_^>b_); _^<i_Watchers of the Forest_^>i_ (coll _^<b_1958_^>b_); _^<i_Call of the Werewolf_^>i_ (coll
_^<b_1958_^>b_); _^<i_The Death Note_^>i_ (coll _^<b_1958_^>b_); _^<i_Mermaid Reef_^>i_ (coll _^<b_1959_^>b_); _^<i_Alien from the Stars_^>i_ (_^<b_1959_^>b_); _^<i_Fiends_^>i_ (_^<b_1959_^>b_); _^<i_Space-Borne_^>i_ (_^<b_1959_^>b_); _^<i_The
Ghost Rider_^>i_ (coll _^<b_1959_^>b_); _^<i_Hyperspace_^>i_ (_^<b_1959_^>b_); _^<i_Doomed World_^>i_ (_^<b_1960_^>b_); _^<i_The Man who Couldn't Die_^>i_ (coll _^<b_1960_^>b_); _^<i_Out of the Darkness_^>i_ (_^<b_1960_^>b_); _^<i_Satellite_^>i_
(_^<b_1960_^>b_); _^<i_Asteroid Man_^>i_ (_^<b_1960_^>b_); _^<i_Werewolf at Large_^>i_ (coll _^<b_1960_^>b_); _^<i_Hand of Doom_^>i_ (_^<b_1960_^>b_); _^<i_Whirlwind of Death_^>i_ (coll _^<b_1960_^>b_); _^<i_Flame Mass_^>i_ (_^<b_1961_^>b_);
_^<i_Fingers of Darkness_^>i_ (coll _^<b_1961_^>b_); _^<i_Face in the Dark_^>i_ (coll _^<b_1961_^>b_); _^<i_Devil from the Depths_^>i_ (coll _^<b_1961_^>b_); _^<i_Centurion's Vengeance_^>i_ (coll _^<b_1961_^>b_); _^<i_The Golden Chalice_^>i_
(_^<b_1961_^>b_); _^<i_The Grip of Fear_^>i_ (coll _^<b_1961_^>b_); _^<i_Chariot of Apollo_^>i_ (coll _^<b_1962_^>b_); _^<i_Hell has Wings_^>i_ (coll _^<b_1962_^>b_); _^<i_Graveyard of the Damned_^>i_ (coll _^<b_1962_^>b_); _^<i_The Darker
Drink_^>i_ (coll _^<b_1962_^>b_); _^<i_Curse of the Totem_^>i_ (coll _^<b_1962_^>b_); _^<i_Space Fury_^>i_ (_^<b_1962_^>b_); _^<i_Goddess of the Night_^>i_ (coll _^<b_1963_^>b_); _^<i_Moon Wolf_^>i_ (coll _^<b_1963_^>b_); _^<i_Avenging Goddess_^>i_
(_^<b_1965_^>b_); _^<i_Call of the Wild_^>i_ (coll _^<b_1965_^>b_); _^<i_Vision of the Damned_^>i_ (coll _^<b_1965_^>b_); _^<i_The Sealed Sarcophagus_^>i_ (coll _^<b_1965_^>b_); _^<i_The Unconfined_^>i_ (_^<b_1966_^>b_); _^<i_Stranger in the
Shadow_^>i_ (coll _^<b_1966_^>b_); _^<i_Curse of the Khan_^>i_ (coll _^<b_1966_^>b_); _^<i_Watching World_^>i_ (_^<b_1966_^>b_); _^<i_The Story of St Francis of Assisi_^>i_ (_^<b_1989_^>b_), nonfiction; _^<i_Three of the Earliest SF Stories by
Lionel Fanthorpe_^>i_ (coll _^<b_1991_^>b_ chap); _^<i_Collection of Documents Referring to Lionel Fanthorpe's Early Writings_^>i_ (coll _^<b_1991_^>b_ chap)._^<b_As Erle Barton:_^>b_ _^<i_The Planet Seekers_^>i_ (_^<b_1964_^>b_)._^<b_As Lee
_^<i_Nemesis_^>i_ (_^<b_1964_^>b_); _^<i_Suspension_^>i_ (_^<b_1964_^>b_); _^<i_The Walking Shadow_^>i_ (coll _^<b_1964_^>b_)._^<b_As L.P. Kenton:_^>b_ _^<i_Destination Moon_^>i_ (_^<b_1959_^>b_)._^<b_As Victor La Salle (house name):_^>b_ > Victor
_^<a_!T4192_LA SALLE_^>a_._^<b_As John E. Muller (house name):_^>b_ _^<i_A 1000 Years On_^>i_ (_^<b_1961_^>b_); _^<i_The Mind Makers_^>i_ (_^<b_1961_^>b_); _^<i_The Ultimate Man_^>i_ (_^<b_1961_^>b_); _^<i_Forbidden Planet_^>i_ (_^<b_1961_^>b_);
_^<i_The Uninvited_^>i_ (_^<b_1961_^>b_); _^<i_Crimson Planet_^>i_ (_^<b_1961_^>b_); _^<i_The Venus Venture_^>i_ (_^<b_1961_^>b_; 1965 US as by Marston Johns); _^<i_The Return of Zeus_^>i_ (_^<b_1962_^>b_); _^<i_Perilous Galaxy_^>i_
(_^<b_1962_^>b_); _^<i_The Eye of Karnak_^>i_ (_^<b_1962_^>b_); _^<i_Infinity Machine_^>i_ (_^<b_1962_^>b_); _^<i_Uranium 235_^>i_ (_^<b_1962_^>b_); _^<i_The Man who Conquered Time_^>i_ (_^<b_1962_^>b_); _^<i_Orbit One_^>i_ (_^<b_1962_^>b_; 1966 US
as by Mel Jay); _^<i_Micro Infinity_^>i_ (_^<b_1962_^>b_); _^<i_Beyond Time_^>i_ (_^<b_1962_^>b_; 1966 US as by Marston Johns); _^<i_Vengeance of Siva_^>i_ (_^<b_1962_^>b_); _^<i_The Day the World Died_^>i_ (_^<b_1962_^>b_); _^<i_The X-Machine_^>i_
(_^<b_1962_^>b_); _^<i_Reactor XK9_^>i_ (_^<b_1963_^>b_); _^<i_Special Mission_^>i_ (_^<b_1963_^>b_); _^<i_Dark Continuum_^>i_ (_^<b_1964_^>b_); _^<i_Mark of the Beast_^>i_ (_^<b_1964_^>b_); _^<i_The Exorcists_^>i_ (_^<b_1965_^>b_); _^<i_The
Negative Ones_^>i_ (_^<b_1965_^>b_); _^<i_The Man from Beyond_^>i_ (_^<b_1965_^>b_); _^<i_Spectre of Darkness_^>i_ (_^<b_1965_^>b_); _^<i_Beyond the Void_^>i_ (_^<b_1965_^>b_); _^<i_Out of the Night_^>i_ (_^<b_1965_^>b_); _^<i_Phenomena X_^>i_
(_^<b_1966_^>b_) and _^<i_Survival Project_^>i_ (_^<b_1966_^>b_)._^<b_As Phil Nobel:_^>b_ _^<i_The Hand from Gehenna_^>i_ (coll _^<b_1964_^>b_)._^<b_As Lionel Roberts:_^>b_ _^<i_The Incredulist_^>i_ (coll _^<b_1954_^>b_); _^<i_Guardians of the
Tomb_^>i_ (coll _^<b_1958_^>b_); _^<i_The Golden Warrior_^>i_ (coll _^<b_1958_^>b_); _^<i_Dawn of the Mutants _^>i_ (_^<b_1959_^>b_); _^<i_Time Echo_^>i_ (_^<b_1959_^>b_; 1964 US as by Robert Lionel); _^<i_Cyclops in the Sky_^>i_ (_^<b_1960_^>b_);
_^<i_The In-World_^>i_ (_^<b_1960_^>b_); _^<i_The Face of X_^>i_ (_^<b_1960_^>b_; 1965 US as by Robert Lionel); _^<i_The Last Valkyrie_^>i_ (_^<b_1961_^>b_); _^<i_The Synthetic Ones_^>i_ (_^<b_1961_^>b_); _^<i_Flame Goddess_^>i_
(_^<b_1961_^>b_)._^<b_As Neil Thanet:_^>b_ _^<i_Beyond the Veil_^>i_ (_^<b_1964_^>b_); _^<i_The Man who Came Back_^>i_ (_^<b_1964_^>b_)._^<b_As Trebor Thorpe:_^>b_ _^<i_The Haunted Pool_^>i_ (coll _^<b_1958_^>b_); _^<i_Five Faces of Fear_^>i_
(_^<b_1960_^>b_); _^<i_Lightning World_^>i_ (_^<b_1960_^>b_); _^<i_Voodoo Hell Drums_^>i_ (coll _^<b_1961_^>b_)._^<b_As Pel Torro:_^>b_ _^<i_Frozen Planet_^>i_ (_^<b_1960_^>b_); _^<i_World of the Gods_^>i_ (_^<b_1960_^>b_); _^<i_The Phantom
Ones_^>i_ (_^<b_1961_^>b_); _^<i_Legion of the Lost_^>i_ (_^<b_1962_^>b_); _^<i_The Strange Ones_^>i_ (_^<b_1963_^>b_); _^<i_Galaxy 666_^>i_ (_^<b_1963_^>b_); _^<i_Formula 29X_^>i_ (_^<b_1963_^>b_; vt _^<i_Beyond the Barrier of Space_^>i_ 1969 US);
_^<i_The Timeless Ones_^>i_ (_^<b_1963_^>b_); _^<i_Through the Barrier_^>i_ (_^<b_1963_^>b_); _^<i_The Last Astronaut_^>i_ (_^<b_1963_^>b_); _^<i_The Face of Fear_^>i_ (_^<b_1963_^>b_); _^<i_The Return_^>i_ (_^<b_1964_^>b_; vt _^<i_Exiled in
Space_^>i_ 1969 US); _^<i_Space No Barrier_^>i_ (_^<b_1964_^>b_; vt _^<i_Man of Metal_^>i_ 1969 US); _^<i_Force 97X_^>i_ (_^<b_1965_^>b_)._^<b_As Olaf Trent:_^>b_ _^<i_Roman Twilight_^>i_ (coll _^<b_1963_^>b_)._^<b_As Karl Zeigfreid (house
name):_^>b_ _^<i_Gods of Darkness_^>i_ (_^<b_1962_^>b_); _^<i_Walk through Tomorrow_^>i_ (_^<b_1963_^>b_); _^<i_Android_^>i_ (_^<b_1962_^>b_); _^<i_Atomic Nemesis_^>i_ (_^<b_1962_^>b_); _^<i_Zero Minus X_^>i_ (_^<b_1962_^>b_); _^<i_Escape to
Infinity_^>i_ (_^<b_1963_^>b_); _^<i_Radar Alert_^>i_ (_^<b_1963_^>b_); _^<i_World of Tomorrow_^>i_ (_^<b_1963_^>b_; vt _^<i_World of the Future_^>i_ 1964 US); _^<i_The World that Never Was_^>i_ (_^<b_1963_^>b_); _^<i_Projection Infinity_^>i_
(_^<b_1964_^>b_); _^<i_No Way Back_^>i_ (_^<b_1964_^>b_); _^<i_Barrier 346_^>i_ (_^<b_1965_^>b_); _^<i_The Girl from Tomorrow_^>i_ (_^<b_1965_^>b_).
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FANZINE
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A fanzine is an amateur magazine produced by sf fans. The term "fanzine", coined by Russ Chauvenet in 1941, has been borrowed and used by comics collectors, wargamers, "underground" publishers and other non-sf enthusiasts. The fastest-growing
category in the mid-1980s was the soccer fanzine._^<n__^<n_The first known fanzine was _^<i_The Comet_^>i_ (May 1930) ed Raymond A. _^<a_!T1774_PALMER_^>a_ for the Science Correspondence Club, followed by _^<i_The Planet_^>i_ (July 1930) ed Allen
Glasser for the New York Scienceers. However, both of these were mainly about science, although the second did include reviews of the professional sf magazines. Some regard the first true fanzine-certainly the first major one -- as _^<i_The Time
Traveller_^>i_ (#1, Jan 1932) ed Julius _^<a_!T2865_SCHWARTZ_^>a_ and Mort _^<a_!T5515_WEISINGER_^>a_. Schwartz, with others, went on to publish _^<i_Science Fiction Digest_^>i_ (> _^<a_!T1419_FANTASY MAGAZINE_^>a_). These and other early fanzines
were straightforward publications dealing exclusively with sf or amateur science, and were produced by local fan groups founded in the USA by the more active readers of contemporary professional _^<a_!T2130_SF MAGAZINES_^>a_. However, as interest
grew and sf fans formed closer contacts and friendships, individual fans began publishing for their own amusement, so that fanzines became more diverse and their contents more capricious; fan editors also began to exchange fanzines and to send out
free copies to contributors and letter-writers. Thus fanzines abandoned any professional aspirations in exchange for informality and an active readership-characteristics that persist to the present and distinguish fanzines from conventional
hobbyist publications. From the USA the idea spread to the UK, where Maurice Hanson and Dennis Jacques started _^<a_!T3255_NOVAE TERRAE _^>a_ (later ed E.J. _^<a_!T5170_CARNELL_^>a_ as the forerunner of _^<a_!T3182_NEW WORLDS_^>a_) in 1936. Since
then fanzine publishing has proliferated and many thousands of titles have appeared. Probably 500-600 fanzines are currently in production, the majority in North America but with substantial numbers from the UK, Australia and Western Europe, and
occasional items from Japan, South America, South Africa, New Zealand, Turkey and Eastern Europe._^<n__^<n_Many modern sf writers started their careers in _^<a_!T1389_FANDOM_^>a_ and published their own fanzines; Ray _^<a_!T4963_BRADBURY_^>a_, for
example, produced 4 issues of _^<i_Futuria Fantasia_^>i_ (1939-41), which contained _^<i_inter alia_^>i_ his first published stories. Other former fanzine editors include James _^<a_!T658_BLISH_^>a_, Kenneth _^<a_!T5073_BULMER_^>a_, John
_^<a_!T719_CHRISTOPHER_^>a_, Harlan _^<a_!T6641_ELLISON_^>a_, Damon _^<a_!T4098_KNIGHT_^>a_, C.M. _^<a_!T6353_KORNBLUTH_^>a_, Charles Eric _^<a_!T3606_MAINE_^>a_, Michael _^<a_!T3030_MOORCOCK_^>a_, Frederik _^<a_!T1937_POHL_^>a_, Robert
_^<a_!T2216_SILVERBERG_^>a_ and Ted _^<a_!T5582_WHITE_^>a_. Some still find time to publish: Wilson _^<a_!T6117_TUCKER_^>a_, for example, has continued to produce _^<i_Le Zombie_^>i_ since 1938._^<n__^<n_Fan editors are of course free to produce
whatever they like, and so fanzines vary dramatically in production, style and content. Normally they are duplicated, photocopied or printed, consisting of anything from a single sheet to 100+ pages, and with a circulation of from 5 to 5000 copies,
though the tendency in the 1980s has been to call fanzines with a circulation of over 1000 _^<a_!T2100_SEMIPROZINES_^>a_. The smaller fanzines are often written entirely by the editor and serve simply as letter substitutes sent out to friends;
others have limited distribution within amateur press associations such as _^<a_!T1429_FAPA_^>a_ and _^<a_!T1697_OMPA_^>a_. The larger fanzines, with an average circulation of 200-500, fall into three main categories, with considerable overlap:
those dealing with sf (containing reviews, interviews, articles and discussions); those dealing with sf fans and fandom (containing esoteric humour); and those dealing with general material (containing anything from sf to Biblical engineering). (A
further category consists of fanzines exclusively publishing amateur fiction; these are not listed in this volume unless widely enough circulated to be regarded as semiprozines.) On the fringe there are specialist fanzines catering for
_^<a_!T1412_FANTASY_^>a_ and _^<a_!T5875_SWORD-AND-SORCERY_^>a_ fans, others devoted to cult authors such as J.R.R. _^<a_!T6041_TOLKIEN_^>a_, H.P. _^<a_!T3465_LOVECRAFT_^>a_ and Robert E. _^<a_!T4524_HOWARD_^>a_, and yet others which deal with sf
films or tv series such as _^<a_!T2429_STAR TREK_^>a_. Since 1955 there has been a Best Fanzine category in the _^<a_!T4551_HUGO_^>a_ Awards, and since 1984 a Best Semiprozine category also._^<n__^<n_A selection of 36 important fanzines -- some now
regarded as semiprozines -- from different periods of fandom receive full entries in this volume: _^<a_!T95_ALGOL_^>a_, _^<i_The_^>i__^<a_!T100_ALIEN CRITIC_^>a_ , _^<a_!T191_ANSIBLE_^>a_, _^<a_!T316_AUSTRALIAN SF REVIEW_^>a_, _^<a_!T316_AUSTRALIAN
SF REVIEW: SECOND SERIES_^>a_, _^<a_!T623_BIZARRE_^>a_, _^<a_!T964_CRITICAL WAVE_^>a_, _^<a_!T1386_FANAC_^>a_, _^<a_!T1416_FANTASY COMMENTATOR_^>a_, _^<a_!T1419_FANTASY MAGAZINE_^>a_, _^<a_!T1423_FANTASY REVIEW_^>a_, _^<a_!T1425_FANTASY TIMES_^>a_,
_^<a_!T6223_YANDRO_^>a_. Data on another dozen or so fanzine titles are available by following up cross-references. The majority of the above are critical magazines, and many are listed again under _^<a_!T963_CRITICAL AND HISTORICAL WORKS ABOUT
SF_^>a_. [PR/PN]_^<n__^<n_
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FAPA
-T-
The commonly used acronym for the Fantasy Amateur Press Association, formed in 1937 in the USA by Donald A. _^<a_!T5679_WOLLHEIM_^>a_ to facilitate distribution on an _^<a_!T205_APA_^>a_ basis of _^<a_!T1428_FANZINES_^>a_ published by and for
members; it was the first of many such groups. Early contributors included E.J. _^<a_!T5170_CARNELL_^>a_, Robert A.W. _^<a_!T3472_LOWNDES_^>a_, Sam _^<a_!T3074_MOSKOWITZ_^>a_, Frederik _^<a_!T1937_POHL_^>a_, Wilson _^<a_!T6117_TUCKER_^>a_ and
Richard _^<a_!T5642_WILSON_^>a_. Current members include Moskowitz, F.M. _^<a_!T5100_BUSBY_^>a_ and Robert _^<a_!T2216_SILVERBERG_^>a_. [PR]_^<n__^<n_
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FARCA, MARIE C.
-T-
(1935- ) US writer whose first sf novel, _^<i_Earth_^>i_ (_^<b_1972_^>b_), is a competent adventure. Her second, _^<i_Complex Man_^>i_ (_^<b_1973_^>b_), is a sequel set on another planet. [JC]_^<n__^<n_
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FAR FRONTIERS
-T-
US "magazine" in paperback-book format; it could also be regarded as an original anthology series. Quarterly, published by Baen Books, ed Jerry _^<a_!T1961_POURNELLE_^>a_ and Jim _^<a_!T352_BAEN_^>a_ and (uncredited) John F. _^<a_!T5180_CARR_^>a_; 7
issues, from _^<i_Far Frontiers_^>i_ (anth _^<b_1985_^>b_) at the very beginning of that year to _^<i_Far Frontiers Vol VII_^>i_ (anth Winter _^<b_1986_^>b_). At this point Baen revived (as solo editor) his very similar _^<b_Destinies_^>b_ series
of magazines/anthologies as _^<i_New Destinies_^>i_ with #1 in Spring 1987 (> _^<a_!T1197_DESTINIES_^>a_), and _^<i_Far Frontiers_^>i_ came to an end. Something of a shop-window for upcoming Baen Book publications, _^<i_FF_^>i_ featured several
book excerpts. Its emphasis was on _^<a_!T4288_HARD SF_^>a_, sometimes militaristic, and on good science-fact articles; authors of the latter included Robert L. _^<a_!T1570_FORWARD_^>a_, John _^<a_!T4864_GRIBBIN_^>a_, Pournelle and G. Harry
_^<a_!T5745_STINE_^>a_. Authors of stories included Greg _^<a_!T478_BEAR_^>a_, David _^<a_!T4999_BRIN_^>a_, John _^<a_!T1039_DALMAS_^>a_, Dean _^<a_!T6342_ING_^>a_, Vernor _^<a_!T5377_VINGE_^>a_ and Timothy _^<a_!T6254_ZAHN_^>a_. [PN]_^<n__^<n_
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FAR FUTURE
-T-
Fred Polak's _^<i_The Image of the Future_^>i_ (_^<b_1973_^>b_) identifies two distinct categories of images of the distant future, which he called the "future of prophecy" and the "future of destiny". Prophets, although they refer to the future,
are primarily concerned with the present: they issue warnings about the consequences of present actions and demand that other courses of action be adopted. Their images are images of the historical future which will grow out of human action in the
present day (> _^<a_!T6337_NEAR FUTURE_^>a_). To the second category of images, however, present concerns are usually irrelevant; these are images of the ultimate future, taking the imagination as far as it can reach. Such visions are related to
_^<a_!T6694_ESCHATOLOGY_^>a_ and often feature the _^<a_!T6661_END OF THE WORLD_^>a_; others depict a world where everything has so changed as to have become virtually incomprehensible, or a world which has attained some ultimate
_^<a_!T5303_UTOPIAN_^>a_ state of perfection._^<n__^<n_Scientifically inspired images of the far future could not come into being until the true age of the Earth and therefore the scope of possible change were understood -- an understanding first
popularized by Sir Charles Lyell (1797-1875) in _^<i_Principles of Geology_^>i_ (_^<b_1830_^>b_). Even then it was not until the establishment of the theory of _^<a_!T6717_EVOLUTION_^>a_ that writers found a conceptual tool which made it possible
for them to imagine the kinds of changes which might plausibly take place. W.H. _^<a_!T4542_HUDSON_^>a_'s _^<i_A Crystal Age_^>i_ (_^<b_1887_^>b_), which belongs to the utopian school, embraces an evolutionary philosophy of a curiously mystical
kind, and such traces of mysticism are retained by very many representations of the far future. Most early images of the far future accepted estimates of the likely age of the Sun based on the tacit, natural but false assumption that its heat was
produced by combustion; the far-future Earth is thus represented as a cold, dark and desolate place from which life is slowly disappearing. We find such imagery in H.G. _^<a_!T5528_WELLS_^>a_'s _^<i__^<a_!B9070_THE TIME MACHINE_^>a__^>i_
(_^<b_1895_^>b_), George C. _^<a_!T5442_WALLIS_^>a_'s "The Last Days of Earth" (1901) and William Hope _^<a_!T4459_HODGSON_^>a_'s _^<i_The House on the Borderland_^>i_ (_^<b_1908_^>b_). Hodgson's _^<i_The Night Land_^>i_ (_^<b_1912_^>b_) is bizarre
as well as bleak, offering a phantasmagorical vision of a decaying world inherited by frightful monsters. The optimistic far-future vision which concludes George Bernard _^<a_!T2157_SHAW_^>a_'s _^<i_Back to Methuselah_^>i_ (_^<b_1921_^>b_) is
predicated on the assumption that mind can and will cast off the confining shackles of matter. More elaborate but no less striking imagery is featured in the concluding section of Guy _^<a_!T1182_DENT_^>a_'s _^<i_Emperor of the If_^>i_
(_^<b_1926_^>b_), in which our insane descendants are no longer human in form or ability but remain all too human in psychological terms. S. Fowler _^<a_!T6194_WRIGHT_^>a_'s _^<i_The World Below_^>i_ (incorporating _^<i_The Amphibians_^>i_
[_^<b_1924_^>b_]; _^<b_1929_^>b_) is equally ambitious, and contrives to transcend the images of decay and desolation associated with so many other visions. These works were quickly followed by Olaf _^<a_!T2404_STAPLEDON_^>a_'s monumental attempt
to track the entire evolutionary future of mankind, _^<i__^<a_!B9080_LAST AND FIRST MEN_^>a__^>i_ (_^<b_1930_^>b_), partly based on a blueprint provided by J.B.S. _^<a_!T4923_HALDANE_^>a_ in "The Last Judgment" (1927). Other than millenarian
fantasies, which claim that the future of destiny is imminent, very few novels link the two images of the future defined by Polak within a coherent historical narrative; _^<i__^<a_!B9080_LAST AND FIRST MEN_^>a__^>i_ is by far the most outstanding
example, although Camille _^<a_!T1516_FLAMMARION_^>a_'s _^<i_Omega_^>i_ (trans _^<b_1894_^>b_) had earlier brought the two into rather awkward juxtaposition._^<n__^<n_The early sf _^<a_!T2033_PULP MAGAZINES_^>a_ featured several far-future visions
of the end of the world, but had little to compare with the imagery of the UK _^<a_!T2878_SCIENTIFIC ROMANCES_^>a_. One notable story that presents the extinction of mankind's remote descendants as one more stage in a continuing process of change
is "Seeds of the Dusk" (1938) by Raymond Z. _^<a_!T1691_GALLUN_^>a_, in which a much-changed Earth is "invaded" and "conquered" by spores from another world. Gallun's "When Earth is Old" (1951) has time travellers negotiating with sentient plants
to assure the rebirth of the species. The quest for some such rebirth is a common motif in far-future stories, and time travellers from the present frequently contrive to turn the evolutionary tide that is sweeping humanity towards extinction, as
in such stories as John W. _^<a_!T5140_CAMPBELL_^>a_ Jr's "Twilight" (1934 as by Don A. Stuart). The idea of reigniting a senescent Sun in order to give Earth and mankind a new lease of life is poignantly deployed in Clark Ashton
_^<a_!T2264_SMITH_^>a_'s "Phoenix" (1954) and extravagantly developed in Gene _^<a_!T5676_WOLFE_^>a_'s _^<b_Book of the New Sun_^>b_ tetralogy (_^<b_1980-83_^>b_). Such notions arise from false analogies drawn between the life of an individual and
that of a species, alleging that species may "age" and become "senescent". The popularity of such ideas in sf is not surprising, given the influence of similar analogies between individuals and cultures in the work of philosophers of history like
Oswald Spengler (1880-1936). Spengler's ideas were a strong influence on James _^<a_!T658_BLISH_^>a_, whose most memorable accounts of the far future are "Watershed" (1957) and _^<i_Midsummer Century_^>i_ (_^<b_1972_^>b_). Images of an aged world
that has returned to its "second childhood" are sometimes as affectionate as rose-tinted images of human retirement; the classic example is John _^<a_!T981_CROWLEY_^>a_'s _^<i__^<a_!B9267_ENGINE SUMMER_^>a__^>i_ (_^<b_1979_^>b_)._^<n__^<n_Clark
Ashton Smith set the most lushly exotic of all his series in Zothique, the "last continent" -- a bizarre and decadent world in which magic flourishes. The stories, all written in the 1930s, were eventually collected in _^<i_Zothique_^>i_ (coll
_^<b_1970_^>b_). Zothique offered Smith more imaginative freedom than his distant-past scenario Hyperborea precisely because it was irredeemably decadent. A similar but less fervent series of fantasies is Jack _^<a_!T5317_VANCE_^>a_'s
_^<i__^<a_!B9032_THE DYING EARTH_^>a__^>i_ (coll _^<b_1950_^>b_), whose later sequels include _^<i_The Eyes of the Overworld_^>i_ (fixup _^<b_1966_^>b_), which contains a stronger strain of picaresque comedy. A. _^<a_!T2912_MERRITT_^>a_ never used
the far future as a setting, but his lavish descriptions of exotic landscapes influenced a number of far-future fantasies; Henry _^<a_!T4144_KUTTNER_^>a_ and C.L. _^<a_!T3033_MOORE_^>a_, who wrote a series of Merritt-influenced novels in the 1940s,
offered a Merrittesque far future in _^<i_Earth's Last Citadel_^>i_ (1943; _^<b_1964_^>b_)._^<n__^<n_The classic pulp sf story of the far future is Arthur C. _^<a_!T736_CLARKE_^>a_'s Stapledon-influenced _^<i_Against the Fall of Night_^>i_ (1948;
_^<b_1953_^>b_; rev vt _^<i_The City and the Stars_^>i_ _^<b_1956_^>b_). Its imagery is stereotyped -- a bleak, derelict Earth with cities whose handsome, incurious inhabitants are parasitic upon their machines -- but its perspectives widen
dramatically to take in the whole cosmos, where mankind may yet seek a further and more glorious destiny. This was to become a central myth of sf, and many images of _^<a_!T1678_GALACTIC EMPIRE_^>a_ include nostalgic portraits of stagnant backwater
Earth. These are not, of course, images of the future of destiny but rather attempts to perpetuate and magnify the historical image -- as is obvious in the many epics which construct galactic history by analogy with Earthly history._^<n__^<n_Images
of far-future Earth became more varied in the sf of the 1950s; notable examples include a number of highly stylized and semi-allegorical vignettes by Fritz _^<a_!T3322_LEIBER_^>a_, including "When the Last Gods Die" (1951) and "The Big Trek"
(1957), as well as many fine stories by Brian W. _^<a_!T87_ALDISS_^>a_, including the later items in _^<i_The Canopy of Time_^>i_ (coll _^<b_1959_^>b_; rev vt _^<i_Galaxies Like Grains of Sand_^>i_), "Old Hundredth" (1960), the stories making up
_^<i_The Long Afternoon of Earth_^>i_ (fixup _^<b_1962_^>b_ US; exp vt _^<i_Hothouse_^>i_ UK), "A Kind of Artistry" (1962) and "The Worm that Flies" (1968). As with all the stories in this category, these tend towards _^<a_!T1412_FANTASY_^>a_, and
some controversy was stirred up by a particularly memorable image in _^<i_The Long Afternoon of Earth_^>i_, in which gigantic cobwebs stretch between the Earth and the Moon, whose faces are now perpetually turned to one another. Other innovative
uses of far-future settings can be seen in John _^<a_!T5049_BRUNNER_^>a_'s elegiac adventure story _^<i_The 100th Millennium_^>i_ (_^<b_1959_^>b_; rev vt _^<i_Catch a Falling Star_^>i_ 1968), Samuel R. _^<a_!T1152_DELANY_^>a_'s exotic romance
_^<i_The Jewels of Aptor_^>i_ (_^<b_1962_^>b_), Jack Vance's elegant political allegory _^<i__^<a_!B9231_THE LAST CASTLE_^>a__^>i_ (_^<b_1966_^>b_), Michael _^<a_!T3030_MOORCOCK_^>a_'s _^<i_angst_^>i_-ridden _^<i_The Twilight Man_^>i_
(_^<b_1966_^>b_; vt _^<i_The Shores of Death_^>i_) and Crawford _^<a_!T4055_KILIAN_^>a_'s exotic romance of maturation _^<i_Eyas_^>i_ (_^<b_1982_^>b_)._^<n__^<n_Michael Moorcock's fondness for far-future settings encouraged him to break new ground
in his _^<b_Dancers at the End of Time_^>b_ trilogy (_^<b_1972-6_^>b_) and various other works associated with it. In this series, whose tone ranges from extravagant _^<a_!T2812_SATIRE_^>a_ to perverse sentimentality, the ultimate future is
inhabited by humans with godlike powers who must perpetually seek diversion from the tedium of their limitless existence. Other writers who have made frequent and significant use of far-future imagery in recent times include Robert
_^<a_!T2216_SILVERBERG_^>a_, in such works as the surreal _^<i_Son of Man_^>i_ (_^<b_1971_^>b_) and "This is the Road" (1973), Doris _^<a_!T1911_PISERCHIA_^>a_, in such works as _^<i_A Billion Days of Earth_^>i_ (_^<b_1976_^>b_) and _^<i_Earth in
Twilight_^>i_ (_^<b_1981_^>b_), and Michael G. _^<a_!T833_CONEY_^>a_ in _^<i_The Celestial Steam Locomotive_^>i_ (_^<b_1983_^>b_), _^<i_Gods of the Greataway_^>i_ (_^<b_1984_^>b_) and other associated works._^<n__^<n_There are no anthologies
dealing specifically with this theme, and it is worth noting that Harry _^<a_!T4316_HARRISON_^>a_'s attempt to compile a companion volume to his near-future anthology _^<i_The Year 2000_^>i_ (anth _^<b_1970_^>b_), to be entitled <The Year
2,000,000>, failed to attract sufficient suitable submissions. The theme does not lend itself readily to conventional plot and character development. [BS]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T1209_DEVOLUTION_^>a_; _^<a_!T6679_ENTROPY_^>a_;
_^<a_!T3135_MYTHOLOGY_^>a_.
-R-
(c) 1995 John Clute and Peter Nicholls
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FARJEON, J(OSEPH) JEFFERSON
-T-
(1883-1955) UK writer, prolific (often as Anthony Swift) in the detective genre and as a playwright. The _^<a_!T2737_RURITANIAN_^>a_ _^<i_Mountain Mystery_^>i_ (_^<b_1935_^>b_) depicts the small country of Weldheim, which loses itself to history
after WWI, becoming a kind of _^<a_!T3460_LOST WORLD_^>a_. _^<i_Death of a World_^>i_ (_^<b_1948_^>b_) depicts the arrival of aliens on a dead Earth and their reading of the diary (which makes up the bulk of the text) kept by a last survivor of the
nuclear _^<a_!T1243_DISASTER_^>a_ that ended all life (> _^<a_!T6661_END OF THE WORLD_^>a_). [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_The Invisible Companion and Other Stories_^>i_ (coll _^<b_1946_^>b_ chap), fantasies.
-R-
(c) 1995 John Clute and Peter Nicholls
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FARLEY, RALPH MILNE
-T-
Pseudonym of US writer and teacher Roger Sherman Hoar (1887-1963) for all his sf work except two 1938 stories published in _^<i_AMZ_^>i_ as by Lt John Pease. He was educated at Harvard and had a remarkably varied career, which included teaching such
subjects as mathematics and engineering, inventing a system of aiming large guns by the stars, and serving as a Massachusetts state senator. His early work in the pulp-sf field was written in obvious imitation of Edgar Rice
_^<a_!T5097_BURROUGHS_^>a_ and was contributed to _^<i_The_^<a_!T225_ARGOSY_^>a__^>i_ -- notably his most famous series, the_^<b_ Radio Man_^>b_ series, featuring _^<b_Miles Cabot_^>b_, which began with _^<i_The Radio Man_^>i_ (1924
_^<i_Argosy_^>i_; _^<b_1948_^>b_; vt _^<i_An Earthman on Venus_^>i_ 1950) and continued with _^<i_The Radio Beasts_^>i_ (1925 _^<i_Argosy_^>i_; _^<b_1964_^>b_), _^<i_The Radio Planet_^>i_ (1926 _^<i_Argosy_^>i_; _^<b_1964_^>b_), "The Radio Man
Returns" (1939 _^<i_AMZ_^>i_) and "The Radio Minds of Mars" (1955 _^<i_Spaceway_^>i_, part 1 only; part 2 in _^<i_Spaceway_^>i_ 1969). Other "radio" stories -- including novels which did not reach book form, such as "The Radio Flyers" (1929
_^<i_Argosy_^>i_) and "The Radio Gun-Runners" (1930 _^<i_Argosy_^>i_) -- are out of series. The tales, at first absurdly boosted by _^<i_The Argosy_^>i_ as scientifically accurate, are devoted to the adventures of Cabot, mostly on
_^<a_!T5351_VENUS_^>a_, the Radio Planet, and still have admirers. Along with another novel, _^<i_The Hidden Universe_^>i_ (1939 _^<i_AMZ_^>i_; with "We, the Mist" as coll _^<b_1950_^>b_), _^<i_The Radio Man_^>i_ was later assembled as _^<i_Strange
Worlds_^>i_ (omni _^<b_1953_^>b_). RMF was a rough-hewn, traditional _^<a_!T2104_SENSE-OF-WONDER_^>a_ writer, and as a consequence became relatively inactive with the greater sophistication of the genre after WWII. [JC/PN]_^<n__^<n__^<b_Other
works:_^>b_ _^<i_Dangerous Love_^>i_ (fixup _^<b_1946_^>b_ chap UK); _^<i_The Immortals_^>i_ (1934 _^<i_Argosy_^>i_; _^<b_1947_^>b_ chap UK); _^<i_The Omnibus of Time_^>i_ (coll _^<b_1950_^>b_)._^<b_See also:_^>b_ _^<a_!T102_ALIENS_^>a_;
(1918- ) US writer. Although a voracious reader of sf in his youth, PJF was a comparatively late starter as an author, and his first story, "O'Brien and Obrenov" for _^<i_Adventure_^>i_ in 1946, promised little. A part-time student at Bradley
University, he gained a BA in English in 1950, and two years later burst onto the sf scene with his novella _^<i__^<a_!B9017_THE LOVERS_^>a__^>i_ (1952 _^<i_Startling Stories_^>i_; exp _^<b_1961_^>b_; rev 1979). Although originally rejected by John
W. _^<a_!T5140_CAMPBELL_^>a_ Jr of _^<a_!T277_ASTOUNDING SCIENCE-FICTION_^>a_ and H.L. _^<a_!T4752_GOLD_^>a_ of _^<a_!T1686_GALAXY SCIENCE FICTION_^>a_, it gained instant acclaim and won PJF a 1953 _^<a_!T4551_HUGO_^>a_ for Most Promising New
Author. It concerned _^<a_!T6215_XENOBIOLOGY_^>a_, _^<a_!T1797_PARASITISM_^>a_ and _^<a_!T2115_SEX_^>a_, an explosive mixture which was to feature repeatedly in PJF's best work. After writing such excellent short stories as "Sail On! Sail On!"
(1952) and "Mother" (1953), PJF became a full-time writer. His second short novel, _^<i_A Woman a Day_^>i_ (1953 _^<i_Startling Stories_^>i_; rev _^<b_1960_^>b_; vt _^<i_The Day of Timestop_^>i_ 1968; vt _^<i_Timestop!_^>i_ 1970), was billed as a
sequel to _^<i__^<a_!B9017_THE LOVERS_^>a__^>i_ but bore little relation to the earlier story. "Rastignac the Devil" (1954) was a further sequel. PJF then produced two novels, both of which were accepted for publication but neither of which
actually saw print at the time, the first due to the folding of _^<a_!T2428_STARTLING STORIES_^>a_ (it eventually appeared as _^<i_Dare_^>i_ [_^<b_1965_^>b_]). The second, <I Owe for the Flesh>, won a contest held by _^<a_!T2149_SHASTA PRESS_^>a_
and Pocket Books, but the Pocket Books prize money was used by Shasta founder Melvin Korshak to pay bills, Shasta foundered, and the manuscript was lost (the idea eventually formed the basis of the _^<b_Riverworld_^>b_ series; see below). This
double disaster forced PJF to abandon full-time authorship, a status to which he did not return until 1969._^<n__^<n_Nevertheless, he produced many interesting stories over the next few years, such as the _^<b_Father Carmody_^>b_ series in
_^<i_The_^<a_!T3595_MAGAZINE OF FANTASY AND SCIENCE FICTION_^>a__^>i_ , published in book form as _^<i_Night of Light_^>i_ (1957 _^<i_FSF_^>i_; exp _^<b_1966_^>b_) and _^<i_Father to the Stars_^>i_ (coll of linked stories _^<b_1981_^>b_), featuring
a murderous priest who becomes ambiguously involved in various theological puzzles on several planets. The best of the sequence is _^<i_Night of Light_^>i_, a nightmarish story of a world where the figments of the unconscious become tangible. Other
notable stories of this period include "The God Business" (1954), "The Alley Man" (1959) and "Open to Me, My Sister" (1960; vt "My Sister's Brother"). The last named is the best of PJF's biological fantasies (> _^<a_!T611_BIOLOGY_^>a_); like
_^<i__^<a_!B9017_THE LOVERS_^>a__^>i_, it was repeatedly rejected as "disgusting" before its acceptance by _^<i_FSF_^>i_._^<n__^<n_PJF's first novel in book form was _^<i_The Green Odyssey_^>i_ (_^<b_1957_^>b_), a picaresque tale of an Earthman
escaping from captivity on an alien planet; the intricately colourful medieval culture of this planet, the high libido of its women, the mysteries buried within the sands of the desert over which the hero must flee, and the admixture of rapture and
disgust with which the hero treats the venue -- all go to make this novel, along with Jack _^<a_!T5317_VANCE_^>a_'s _^<i_Big Planet_^>i_ (1952 _^<i_Startling Stories_^>i_; cut _^<b_1957_^>b_; full text _^<b_1978)_^>b_, a model for the flowering of
the _^<a_!T1913_PLANETARY ROMANCE_^>a_ from the 1960s on. It was the first of many entertainments PJF has written over the years. Later novels in a not dissimilar vein include _^<i_The Gate of Time_^>i_ (_^<b_1966_^>b_; exp vt _^<i_Two Hawks from
Earth_^>i_ 1979), _^<i_The Stone God Awakens_^>i_ (_^<b_1970_^>b_) and _^<i_The Wind Whales of Ishmael_^>i_ (_^<b_1971_^>b_), the last-named being an sf sequel to Herman _^<a_!T3759_MELVILLE_^>a_'s _^<i_Moby-Dick_^>i_ (_^<b_1851_^>b_).
_^<i_Flesh_^>i_ (_^<b_1960_^>b_; rev 1968) is more ambitious: a dramatization of the ideas which Robert _^<a_!T4815_GRAVES_^>a_ put forward in _^<i_The White Goddess_^>i_ (_^<b_1947_^>b_ US), it presents a matriarchal, orgiastic society of the
future. Rather heavy-handed in its humour, it was considered a "shocking" novel on first publication. _^<i_Inside Outside_^>i_ (_^<b_1964_^>b_), a novel about a scientifically sustained afterlife, also contains some extraordinary images and
grotesque ideas which resonate in the mind, though the book suffers from a lack of resolution. The novella "Riders of the Purple Wage" (1967) -- later collected in _^<i_The Purple Book_^>i_ (coll _^<b_1982_^>b_) and _^<i_Riders of the Purple
Wage_^>i_ (coll _^<b_1992_^>b_) -- won PJF a 1968 Hugo; written in a wild and punning style, it is one of his most original works. It concerns the tribulations of a young artist in a _^<a_!T5303_UTOPIAN_^>a_ society, and has a more explicit sexual
and scatological content than anything PJF had written before. "The Oogenesis of Bird City" (1970) is a related story._^<n__^<n_The novels assembled as _^<i_The World of Tiers_^>i_ (omni in 2 vols _^<b_1981_^>b_; vt _^<i_World of Tiers #1_^>i_ 1986
UK and _^<i_#2_^>i_ 1986 UK) show PJF in a lighter vein, though the architectural elaborateness of the universe in which they are set prefigures _^<b_Riverworld_^>b_. The original volumes are _^<i_The Maker of Universes_^>i_ (_^<b_1965_^>b_; rev
1980), _^<i_The Gates of Creation_^>i_ (_^<b_1966_^>b_; rev 1981), _^<i_A Private Cosmos_^>i_ (_^<b_1968_^>b_; rev 1981), _^<i_Behind the Walls of Terra_^>i_ (_^<b_1970_^>b_; rev 1982) and _^<i_The Lavalite World_^>i_ (_^<b_1977_^>b_; rev 1983).
The sequence unfolds within a series of _^<a_!T1932_POCKET UNIVERSES_^>a_, playgrounds built by the masters -- who are perhaps gods, originally humanoid -- whose technology is unimaginable. The most notable character is the present-day Earthman
Paul Janus Finnegan (his initials, PJF, show that this ironic observer serves as a stand-in for the author: it is a signal repeated often in later work); he is also called Kickaha, under which significantly Native American name he acts out the role
of a trickster hero indulging in merry, if bloodthirsty, exploits. The books sag in places, but have moments of high invention; and the Jungian models upon which the main characters are constructed supply one key to the understanding of _^<i_Red
Orc's Rage_^>i_ (_^<b_1991_^>b_), a novel which _^<a_!T2528_RECURSIVELY_^>a_ dramatizes the use of the previous titles in the series as tools in role-playing therapy for disturbed adolescents. In a late addition to the primary sequence, _^<i_More
Than Fire_^>i_ (_^<b_1993_^>b_), some of the cosmological puzzles are resolved, and the conflict between Kickaha and Red Orc takes on an increasingly Jungian air, with each being seen as the other's shadow._^<n__^<n_At about the same time,
_^<a_!T6699_ESSEX HOUSE_^>a_, publishers of pornography, commissioned PJF to write three erotic fantasy novels, taking full advantage of the new freedoms of the late 1960s. _^<i_The Image of the Beast_^>i_ (_^<b_1968_^>b_), the first of the
_^<b_Exorcism_^>b_ trilogy, is an effective parody of the private eye and Gothic horror genres. It was followed by a perfunctory sequel, _^<i_Blown, or Sketches Among the Ruins of my Mind_^>i_ (_^<b_1969_^>b_), both being run together into one
novel as _^<i_The Image of the Beast_^>i_ (omni _^<b_1979_^>b_); the third _^<b_Exorcism_^>b_ volume, _^<i_Traitor to the Living_^>i_ (_^<b_1973_^>b_), was not published by Essex House. The Essex House contract was completed with _^<i_A Feast
Unknown: Volume IX of the Memoirs of Lord Grandrith_^>i_ (_^<b_1969_^>b_), the first volume of the _^<b_Lord Grandrith/Doc Caliban_^>b_ series, followed by _^<i_Lord of the Trees_^>i_ (_^<b_1970_^>b_ dos) and _^<i_The Mad Goblin_^>i_
(_^<b_1970_^>b_; vt _^<i_Keepers of the Secrets_^>i_ 1985 UK), the latter two being assembled as _^<i_The Empire of the Nine_^>i_ (omni _^<b_1988_^>b_ UK). _^<i_A Feast Unknown_^>i_ is a brilliant exploration of the sado-masochistic fantasies
latent in much heroic fiction, and succeeds as _^<a_!T2812_SATIRE_^>a_, as sf and as a tribute to the creations of Edgar Rice _^<a_!T5097_BURROUGHS_^>a_ and Lester _^<a_!T1183_DENT_^>a_. It concerns the struggle of Lord Grandrith (Tarzan) and Doc
Caliban (Doc Savage) against the Nine, a secret society of immortals. It is a narrative _^<i_tour de force_^>i_._^<n__^<n_All three books point to an abiding concern (or game) that would occupy much of PJF's later career: the tying of his own
fiction (and that of many other authors) into one vast, playful mythology. Much of this is worked out in the loose conglomeration of works which has been termed the _^<b_Wold Newton Family_^>b_ series, all united under the premise that a meteorite
which landed near Wold Newton in 18th-century Yorkshire irradiated a number of pregnant women and thus gave rise to a family of mutant _^<a_!T5830_SUPERMEN_^>a_. This family includes the characters involved in the _^<b_Lord Grandrith/Doc
Caliban_^>b_ books, as well as several other texts devoted to Tarzan, though excluding _^<i_Lord Tyger_^>i_ (_^<b_1970_^>b_), which is about a millionaire's attempt to create his own ape-man and is possibly the best written of PJF's novels
(>_^<a_!T206_APES AND CAVEMEN_^>a_). Central to _^<b_Wold Newton_^>b_ is _^<i_Tarzan Alive: A Definitive Biography of Lord Greystoke_^>i_ (_^<b_1972_^>b_), a spoof biography in which PJF uses Joseph Campbell's ideas (from _^<i_The Hero With a
Thousand Faces_^>i_ [_^<b_1949_^>b_]) to explore the nature of the _^<a_!T4395_HERO_^>a_'s appeal. The appendices and genealogy, which link Tarzan with many other heroes of popular fiction, are at once a satire on scholarship and a serious exercise
in "creative mythography". Tarzan appears again in _^<i_Time's Last Gift_^>i_ (_^<b_1972_^>b_; rev 1977), a preliminary novel for a subseries about _^<b_Ancient Africa_^>b_, employing settings from Burroughs and H. Rider _^<a_!T4911_HAGGARD_^>a_.
_^<i_Hadon of Ancient Opar_^>i_ (_^<b_1974_^>b_) and _^<i_Flight to Opar_^>i_ (_^<b_1976_^>b_) continue the series. Other works which contain _^<b_Wold Newton_^>b_ material include "Tarzan Lives: An Exclusive Interview with Lord Greystoke" (1972),
"The Obscure Life and Hard Times of Kilgore Trout" (1973), _^<i_Doc Savage: His Apocalyptic Life_^>i_ (_^<b_1973_^>b_; rev 1975), _^<i_The Other Log of Phileas Fogg_^>i_ (_^<b_1973_^>b_), "Extracts from the Memoirs of 'Lord Greystoke'" (1974),
"After King Kong Fell" (1974), _^<i_The Adventure of the Peerless Peer_^>i_ (_^<b_1974_^>b_), _^<i_Ironcastle_^>i_ (_^<b_1976_^>b_), a liberally rewritten version of J.H. _^<a_!T2696_ROSNY _^>a_aine's _^<i_L'etonnant voyage de Hareton
Ironcastle_^>i_ (_^<b_1922_^>b_), and _^<i_Doc Savage: Escape from Loki: Doc Savage's First Adventure_^>i_ (_^<b_1991_^>b_). Other characters incorporated into the sequence include Sherlock Holmes, Jack the Ripper, James Bond and Kilgore Trout, a
Kurt _^<a_!T5402_VONNEGUT_^>a_ character under whose name PJF also published _^<i_Venus on the Half-Shell_^>i_ (_^<b_1975_^>b_). As a whole, the series parlays its conventions of "explanation" into something close to chaos._^<n__^<n_Though these
various books perhaps best express his playfully serious manipulations of popular material to express a sense of the Universe as chaotically fable-like, PJF gained greatest popular acclaim with his _^<b_Riverworld_^>b_ series, set on a planet where
a godlike race has resurrected the whole of humanity along the banks of a multi-million-mile river. The series is made up of _^<i__^<a_!B9157_TO YOUR SCATTERED BODIES GO_^>a__^>i_ (1965-6 _^<i_Worlds of Tomorrow_^>i_; fixup _^<b_1971_^>b_),
_^<i_The Fabulous Riverboat_^>i_ (1967-71 _^<i_If_^>i_; fixup _^<b_1971_^>b_), _^<i_The Dark Design_^>i_ (_^<b_1977_^>b_), _^<i_Riverworld and Other Stories_^>i_ (coll _^<b_1979_^>b_), _^<i_The Magic Labyrinth_^>i_ (_^<b_1980_^>b_), _^<i_Riverworld
War: The Suppressed Fiction of Philip Jose Farmer_^>i_ (coll _^<b_1980_^>b_), _^<i_The Gods of Riverworld_^>i_ (_^<b_1983_^>b_) and _^<i_River of Eternity_^>i_ (_^<b_1983_^>b_), the last being a rediscovered rewrite of the lost <I Owe for the
Flesh>. The first of these won a 1972 Hugo. Such historical personages as Sir Richard Burton (1821-1890), Samuel Clemens (Mark _^<a_!T6135_TWAIN_^>a_) and Jack _^<a_!T3427_LONDON_^>a_ explore the terrain and relate to one another in their search to
understand, in terms mundane and metaphysical, the new universe which has tied them together. As surviving characters begin to overdose on the freedoms (or powers) they have discovered in themselves, the plots of the later volumes become
increasingly chaotic, perhaps deliberately, a tendency not reversed in two late anthologies of work by other authors set in the _^<b_Riverworld_^>b_ universe: _^<i_Tales of Riverworld_^>i_ *(anth _^<b_1992_^>b_) and _^<i_Quest to Riverworld_^>i_*
(anth _^<b_1993_^>b_), both ed PJF._^<n__^<n_After _^<i_The Unreasoning Mask_^>i_ (_^<b_1981_^>b_), an extremely well constructed _^<a_!T2342_SPACE OPERA_^>a_ about a search for God, who comprises the Universe but is still a vulnerable child, PJF
embarked on the _^<b_Dayworld_^>b_ series, whose premise derives from "The Sliced-Crossways Only-on-Tuesday World" (1971): in a vastly overcrowded world, the population is divided into seven, each cohort spending one day of the week awake and the
rest of the time in "stoned" immobility. In _^<i_Dayworld_^>i_ (_^<b_1985_^>b_), _^<i_Dayworld Rebel_^>i_ (_^<b_1987_^>b_) and _^<i_Dayworld Breakup_^>i_ (_^<b_1990_^>b_), this premise becomes increasingly peripheral in a tale whose complications
invoke A.E. _^<a_!T5333_VAN VOGT_^>a_. Here, as in all his work, PJF is governed by an instinct for extremity. Of all sf writers of the first or second rank, he is perhaps the most threateningly impish, and the most anarchic.
[DP/JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Strange Relations_^>i_ (coll _^<b_1960_^>b_); _^<i_The Alley God_^>i_ (coll _^<b_1962_^>b_); _^<i_Fire and the Night_^>i_ (_^<b_1962_^>b_), associational; _^<i_Cache from Outer Space_^>i_ (_^<b_1962_^>b_
dos; rev as coll with "Rastignac the Devil" and "They Twinkled like Angels" vt _^<i_The Cache_^>i_ 1981); _^<i_The Celestial Blueprint and Other Stories_^>i_ (coll _^<b_1962_^>b_ dos); _^<i_Tongues of the Moon_^>i_ (1961 _^<i_AMZ_^>i_; exp
_^<b_1964_^>b_); _^<i_Reap: The Baycon Guest-of-Honor Speech_^>i_ (_^<b_1968_^>b_ chap); _^<i_Love Song_^>i_ (_^<b_1970_^>b_), associational; _^<i_Down in the Black Gang, and Others_^>i_ (coll _^<b_1971_^>b_); _^<i_The Book of Philip Jose Farmer,
or The Wares of Simple Simon's Custard Pie and Space Man_^>i_ (coll _^<b_1973_^>b_; rev 1982); _^<i_Dark is the Sun_^>i_ (_^<b_1979_^>b_); _^<i_Jesus on Mars_^>i_ (_^<b_1979_^>b_); _^<i_Flesh, and Lord Tyger_^>i_ (omni _^<b_1981_^>b_);
_^<i_Greatheart Silver_^>i_ (coll of linked stories _^<b_1982_^>b_); _^<i_A Barnstormer in Oz_^>i_ (_^<b_1982_^>b_); _^<i_Stations of the Nightmare_^>i_ (1974-5 in _^<i_Continuum_^>i_ #1-#4 ed Roger _^<a_!T6648_ELWOOD_^>a_; coll of linked stories
_^<b_1982_^>b_); _^<i_The Classic Philip Jose Farmer_^>i_ (coll _^<b_1984_^>b_ in 2 vols); _^<i_The Grand Adventure_^>i_ (coll _^<b_1984_^>b_)._^<b_As Editor:_^>b_ _^<i_Mother Was a Lovely Beast: A Feral Man Anthology of Fiction and Fact about
Humans Raised by Animals_^>i_ (anth _^<b_1974_^>b_)._^<b_About the author:_^>b_ "Philip Jose Farmer" by Sam _^<a_!T3074_MOSKOWITZ_^>a_, in _^<i_Seekers of Tomorrow_^>i_ (_^<b_1966_^>b_); "Thanks for the Feast" by Leslie A. Fiedler, in _^<i_The Book
of Philip Jose Farmer_^>i_ (_^<b_1973_^>b_); _^<i_Philip Jose Farmer_^>i_ (_^<b_1980_^>b_) by Mary T. Brizzi; _^<i_Magic Labyrinth of Philip Jose Farmer_^>i_ (_^<b_1984_^>b_ chap) by E.L. Chapman; _^<i_Philip Jose Farmer: Good-Natured Ground
Breaker: A Working Bibliography_^>i_ (2nd edn _^<b_1990_^>b_ chap) by Gordon _^<a_!T540_BENSON_^>a_ Jr and Phil _^<a_!T5712_STEPHENSEN-PAYNE_^>a_._^<b_See also:_^>b_ _^<a_!T102_ALIENS_^>a_; _^<a_!T820_COMICS_^>a_; _^<a_!T829_CONCEPTUAL
BREAKTHROUGH_^>a_; _^<a_!T902_COSMOLOGY_^>a_; _^<a_!T956_CRIME AND PUNISHMENT_^>a_; _^<a_!T6694_ESCHATOLOGY_^>a_; _^<a_!T1412_FANTASY_^>a_; _^<a_!T1696_GAMES AND TOYS_^>a_; _^<a_!T4597_GAME-WORLDS_^>a_; _^<a_!T4740_GODS AND DEMONS_^>a_;
[s] > David Wright _^<a_!T3274_O'BRIEN_^>a_._^<n__^<n_
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FAR OUT!
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Australian sf magazine (1985), _^<a_!T1231_DIGEST_^>a_-format, 3 issues, published from Western Australia by Far Out Enterprises, ed anon Pamela Klacar. Subtitled "Australia's own sf/fantasy magazine", _^<i_FO!_^>i_ published fiction of an
amateurish nature by unknown writers. Though (astonishingly) given national distribution, it soon silently disappeared. [PN]_^<n__^<n_
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FARRELL, JOHN WADE
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[s] > John D. _^<a_!T3514_MACDONALD_^>a_._^<n__^<n_
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FARREN, MICK
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(1943- ) UK writer and ex-rock musician, first active in a band, the Deviants, 1967-70; he then edited the underground paper _^<i_IT_^>i_ 1970-73 and founded the underground comic _^<i_Nasty Tales_^>i_-prosecuted for obscenity in a well known
trial -- in which, with Chris Rowley and Chris Welch, he produced a comic strip with sf content, _^<b_Ogoth the Wasted_^>b_. His first sf novel was _^<i_The Texts of Festival_^>i_ (_^<b_1973_^>b_), set in a surrealistic
post-_^<a_!T4482_HOLOCAUST_^>a_ England; this novel and his subsequent _^<b_Jeb Stuart Ho_^>b_ trilogy -- _^<i_The Quest of the DNA Cowboys_^>i_ (_^<b_1976_^>b_), _^<i_Synaptic Manhunt_^>i_ (_^<b_1976_^>b_) and _^<i_The Neural Atrocity_^>i_
(_^<b_1977_^>b_)-radiate a late-1960s aura of apocalyptic, hip hyperbole, sometimes effectively. _^<i_The Last Stand of the DNA Cowboys_^>i_ (_^<b_1989_^>b_) is a loose sequel. The world of the trilogy especially is almost deliriously polymorphic,
full of images out of Westerns and other genres and references to dope, rock and the hippy subculture generally, and can be seen as a clear precursor of _^<a_!T1015_CYBERPUNK_^>a_, though without _^<a_!T826_COMPUTERS_^>a_, and laced throughout with
the kind of drug use which later writers like William _^<a_!T4689_GIBSON_^>a_ were able to avoid through the various delights of _^<a_!T1016_CYBERSPACE_^>a_._^<n__^<n_MF's next novels were similar in texture. Both _^<i_The Feelies_^>i_
(_^<b_1978_^>b_; rev 1990 US), a left-oriented _^<a_!T2812_SATIRE_^>a_ whose premise resembles that of John D. _^<a_!T3514_MACDONALD_^>a_'s "Spectator Sport" (1950), and the dithery _^<i_The Song of Phaid the Gambler_^>i_ (_^<b_1981_^>b_; rev vt in
2 vols as _^<i_Phaid the Gambler_^>i_ 1986 US and _^<i_Citizen Phaid_^>i_ 1987 US) seemed paralysed by their 1960s provenance. After _^<i_Protectorate_^>i_ (_^<b_1984_^>b_) his work began to seem derivative of the cyberpunk writers who had followed
him. _^<i_Corpse_^>i_ (_^<b_1986_^>b_; vt _^<i_Vickers_^>i_ 1988 US), _^<i_The Long Orbit_^>i_ (_^<b_1988_^>b_ US; vt _^<i_Exit Funtopia_^>i_ 1989 UK) and _^<i_Armageddon Crazy_^>i_ (_^<b_1989_^>b_ US) have in common violent action, desolate
_^<a_!T6337_NEAR-FUTURE_^>a_ venues and spiritual malaise. _^<i_Their Master's War_^>i_ (_^<b_1988_^>b_ US) concerns the ruthless use of helpless species in an unending interstellar conflict. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Mars -- The
Red Planet_^>i_ (_^<b_1990_^>b_ US); _^<i_Necrom_^>i_ (_^<b_1991_^>b_).
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FARRERE, CLAUDE
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Pseudonym of French writer Frederic Charles Pierre Edouard Bargone (1876-1957), author mainly of "colonial" novels after the model of Pierre Loti (1850-1923). His sf books are _^<i_La maison des hommes vivants_^>i_ (_^<b_1911_^>b_; trans Arthur
Livingston as _^<i_The House of the Secret_^>i_ _^<b_1923_^>b_ US) and, more notably, _^<i_Les condamnes a mort_^>i_ (_^<b_1920_^>b_; trans Elisabeth Abbott as _^<i_Useless Hands_^>i_ _^<b_1926_^>b_ US; 1973 US as by Charles Bargone), whose harsh
social-Darwinist terms render a 1990s workers' revolt as bleakly pathetic: when the "useless hands" go on strike, they are disintegrated by a new weapon and machines take over their jobs. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Black Opium_^>i_
(coll trans Samuel Putnam _^<b_1929_^>b_ US), tales linked by reference to opium._^<b_See also:_^>b_ _^<a_!T323_AUTOMATION_^>a_; _^<a_!T1370_DYSTOPIAS_^>a_; _^<a_!T2297_SOCIAL DARWINISM_^>a_.
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FAST, HOWARD (MELVIN)
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(1914- ) US writer best known for his work outside the sf field: historical novels under his own name and detective novels and thrillers as E.V. Cunningham. _^<i_The Unvanquished_^>i_ (_^<b_1942_^>b_) and _^<i_Spartacus_^>i_ (_^<b_1951_^>b_),
both as HF, are perhaps his most familiar titles. He began publishing sf with "Wrath of the Purple" for _^<i_AMZ_^>i_ in 1932, but did not actively produce sf until the later 1950s, when he started a long association with _^<i_FSF_^>i_. His sf and
fantasy stories have been collected in _^<i_The Edge of Tomorrow_^>i_ (coll _^<b_1961_^>b_), _^<i_The General Zapped an Angel_^>i_ (coll _^<b_1970_^>b_) and _^<i_A Touch of Infinity_^>i_ (coll _^<b_1973_^>b_); all the stories in the latter two
volumes were reassembled as _^<i_Time and the Riddle: Thirty-One Zen Stories_^>i_ (coll _^<b_1975_^>b_). His work is sharply political in implication -- he was a member of the Communist Party 1943-56, being imprisoned for contempt of Congress in
1947 -- and eschews most of the cruder satisfactions of genre fiction. Harlan _^<a_!T6641_ELLISON_^>a_, among others, has expressed high praise for HF's stories, but admiration, though widespread, is not universal. Some critics have seen their
occasionally religiose moralizing as cloying and their ideative content as trite. _^<i_Phyllis_^>i_ (_^<b_1962_^>b_), as by E.V. Cunningham, is a borderline novel in which a US and a Soviet scientist come together to try to force their governments
to ban the bomb by threatening to explode two themselves. In "The Trap", a novel-length tale which occupies most of _^<i_The Hunter and The Trap_^>i_ (coll _^<b_1967_^>b_), the US Government secretly attempts to raise exceptional children in a
monitored environment; when the Department of Defense attempts to view the results the children, now telepathic, close themselves off from the world to breed _^<i_Homo superior_^>i_. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Tony and the Wonderful
(1948- ) US composer and writer, son of Howard _^<a_!T1441_FAST_^>a_, who wrote music before coming to sf with "Decay" for _^<i_FSF_^>i_ in 1975. His first novel, _^<i_The Secrets of Synchronicity_^>i_ (_^<b_1977_^>b_; vt _^<i_Prisoner of the
Planets_^>i_ 1980 UK), is a complex _^<a_!T2342_SPACE OPERA_^>a_ which, unusually for the form, treats an expanding capitalism as inherently repressive of true freedom. In _^<i_Mortal Gods_^>i_ (_^<b_1978_^>b_) a similar enemy maintains control
over a culture shaped by the possibilities of _^<a_!T4657_GENETIC ENGINEERING_^>a_. The tone of his writing, which is generally light, and his plotting, which is contrived, tend to obscure the political arguments underlying his work.
According to Relativity the velocity of light is limiting: no matter how objects alter their velocity relative to one another, the sum of their velocities can never exceed the ultimate constant _^<i_c_^>i_ (the velocity of light in a vacuum);
moreover, the measurement of _^<i_c_^>i_ is unaffected by the velocity of the measurer. The apparently paradoxical implications of this statement are avoided because objects travelling at high velocities relative to one another are subject to
different frames of measurement, by which each appears to the other to be subject to a distortion of time. As a consequence, _^<a_!T2348_SPACESHIPS_^>a_ which make interstellar journeys at velocities close to light-speed relative to their points of
origin are subject to a time-dilatation whereby the travellers age more slowly than the people they left at home. A good popularization of such ideas can be found in George _^<a_!T4599_GAMOW_^>a_'s book of scientific fables _^<i_Mr Tompkins in
Wonderland_^>i_ (coll _^<b_1939_^>b_ chap)._^<n__^<n_Some "relativistic" effects of FTL travel are described in Camille _^<a_!T1516_FLAMMARION_^>a_'s pre-Einsteinian cosmic fantasy _^<i_Lumen_^>i_ (_^<b_1887_^>b_; trans _^<b_1897_^>b_), but other
early sf writers, including the pioneers of pulp _^<a_!T2342_SPACE-OPERA_^>a_, ignored such matters, even after Relativity theory had come into being. As the intellectual respectability of such ignorance declined, however, the limiting velocity of
light increasingly became an awkward inconvenience to writers of interstellar adventure stories, necessitating the development of a series of facilitating devices -- often involving "space-warps", interdimensional dodges into
_^<a_!T4574_HYPERSPACE_^>a_ or "subspace", or, more recently, _^<a_!T5890_TACHYON_^>a_ drives or _^<a_!T632_BLACK-HOLE_^>a_-related "wormholes" -- to enable the sciencefictional imagination to retain _^<a_!T1678_GALACTIC EMPIRES_^>a_ and their
effectively infinite supply of earthlike _^<a_!T98_ALIEN_^>a_ worlds ripe for _^<a_!T811_COLONIZATION_^>a_. Faster-than-light communication systems like James _^<a_!T658_BLISH_^>a_'s _^<a_!T1242_DIRAC_^>a_ transmitter and Ursula K. _^<a_!T3318_LE
GUIN_^>a_'s _^<a_!T191_ANSIBLE_^>a_ require similar justificatory fudges. Such literary devices cannot, in fact, succeed in setting aside the logical difficulties which arise if Einstein's theory is true, but FTL drives of various kinds are so very
useful in avoiding the inconveniences of _^<a_!T4655_GENERATION STARSHIPS_^>a_ that many writers of _^<a_!T4288_HARD SF_^>a_ insist on clinging to the hope that the theory may be imperfect in such a way as to permit an exploitable loophole.
_^<i_Faster than Light_^>i_ (anth _^<b_1976_^>b_), a theme anthology ed Jack _^<a_!T1055_DANN_^>a_ and George _^<a_!T6261_ZEBROWSKI_^>a_, includes, as well as the stories, several essays combatively arguing the case. Other writers, however, have
found the time-dilatation effects associated with relativistic star-travel a rich source of plot ideas._^<n__^<n_John W. _^<a_!T5140_CAMPBELL_^>a_ Jr was the writer who laid the groundwork for such facilitating devices as the space-warp (in
_^<i_Islands of Space_^>i_, 1931; _^<b_1957_^>b_) and hyperspace (in _^<i_The Mightiest Machine_^>i_, 1934; _^<b_1947_^>b_), where the term made its debut; where he led legions followed. Stories which work harder than most to make such notions
plausible include Robert A. _^<a_!T4376_HEINLEIN_^>a_'s _^<i_Starman Jones_^>i_ (_^<b_1953_^>b_), Murray _^<a_!T3326_LEINSTER_^>a_'s _^<i_The Other Side of Nowhere_^>i_ (_^<b_1964_^>b_), A. Bertram _^<a_!T5232_CHANDLER_^>a_'s _^<i_Catch the Star
Winds_^>i_ (_^<b_1969_^>b_) and David _^<a_!T6272_ZINDELL_^>a_'s _^<i_Neverness_^>i_ (_^<b_1988_^>b_). Memorable imagery relating to hypothetical means of FTL travel can be found in James Blish's tales of cities-become-starships by courtesy of the
_^<a_!T2368_SPINDIZZY_^>a_, _^<i__^<a_!B9125_CITIES IN FLIGHT_^>a__^>i_ (omni _^<b_1970_^>b_), and in Kenneth _^<a_!T5073_BULMER_^>a_'s "Strange Highway" (1960) and Bob _^<a_!T2153_SHAW_^>a_'s _^<i_The Palace of Eternity_^>i_ (_^<b_1969_^>b_). Some
memorable imagery attempting (mistakenly, as it later turned out) to envisage real relativistic visual effects can be found in Frederik _^<a_!T1937_POHL_^>a_'s "The Gold at the Starbow's End" (1972; exp as _^<i_Starburst_^>i_ _^<b_1982_^>b_). Many
sf stories suggest that the pilots of FTL spaceships may have to be specially adapted to the task, sometimes by cyborgization (> _^<a_!T1017_CYBORGS_^>a_), becoming more-or-less alienated from their own kind; notable examples include Cordwainer
_^<a_!T2265_SMITH_^>a_'s "Scanners Live in Vain" (1950), Gerard F. _^<a_!T857_CONWAY_^>a_'s _^<i_Mindship_^>i_ (_^<b_1974_^>b_), Joan _^<a_!T928_COX_^>a_'s _^<i_Star Web_^>i_ (_^<b_1980_^>b_), Vonda _^<a_!T3545_MCINTYRE_^>a_'s
_^<i_Superluminal_^>i_ (_^<b_1984_^>b_), Melissa _^<a_!T2895_SCOTT_^>a_'s trilogy begun with _^<i_Five Twelfths of Heaven_^>i_ (_^<b_1985_^>b_), and Emma _^<a_!T5071_BULL_^>a_'s _^<i_Falcon_^>i_ (_^<b_1989_^>b_). Norman _^<a_!T2370_SPINRAD_^>a_'s
_^<i_The Void-Captain's Tale_^>i_ (_^<b_1983_^>b_) deals ironically with sf symbolism of this general kind, featuring a phallic spaceship powered by a libidinous "psychological drive"._^<n__^<n_Sf stories which play with time-dilatation effects
include Fredric _^<a_!T5028_BROWN_^>a_'s flippant "Placet is a Crazy Place" (1946), L. Ron _^<a_!T4538_HUBBARD_^>a_'s earnest _^<i_Return to Tomorrow_^>i_ (1950; _^<b_1954_^>b_), Blish's "Common Time" (1953), Heinlein's _^<i_Time for the Stars_^>i_
(_^<b_1956_^>b_), which deploys, literally, the celebrated "twins paradox", Vladislav Krapivin's "Meeting my Brother" (trans 1966), Joe _^<a_!T4925_HALDEMAN_^>a_'s _^<i__^<a_!B9095_THE FOREVER WAR_^>a__^>i_ (fixup _^<b_1975_^>b_), Larry
_^<a_!T3223_NIVEN_^>a_'s _^<i_A World Out of Time_^>i_ (fixup _^<b_1976_^>b_), Tom Allen's "Not Absolute" (_^<b_1978_^>b_) and George _^<a_!T6130_TURNER_^>a_'s _^<i_Beloved Son_^>i_ (_^<b_1978_^>b_). Such effects are taken to spectacular extremes
in Poul _^<a_!T169_ANDERSON_^>a_'s _^<i_Tau Zero_^>i_ (_^<b_1970_^>b_), whose protagonists are permitted to outlive the Universe, and in Pohl's and Jack _^<a_!T5629_WILLIAMSON_^>a_'s even more expansive _^<i_The Singers of Time_^>i_
(_^<b_1991_^>b_)._^<n__^<n_The elementary changes have now been rung, but there is probably further scope for intriguing time-dilatation plots. One such is _^<i_Redshift Rendezvous_^>i_ (_^<b_1990_^>b_) by John E. _^<a_!T5750_STITH_^>a_, set on a
starship in a version of hyperspace in which the velocity of light is so low (22mph/35kph) that its passage is visible, and relativistic phenomena are obvious at walking speed. In the mean time, FTL facilitating devices will undoubtedly continue to
do sterling work for the extravagantly inclined sf writer. [BS]_^<n__^<n_
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FAUCETTE, JOHN M(ATTHEW) Jr
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(1943- ) US writer whose sf novels, including _^<i_Crown of Infinity_^>i_ (_^<b_1968_^>b_) and _^<i_The Age of Ruin_^>i_ (_^<b_1968_^>b_), are routine works, the first a _^<a_!T2342_SPACE OPERA_^>a_, the second a post-_^<a_!T1243_DISASTER_^>a_
odyssey. The _^<b_Peacemakers_^>b_ series, in which alien invaders are fought to a negotiated truce, comprises _^<i_The Warriors of Terra_^>i_ (_^<b_1970_^>b_) and _^<i_Siege of Earth_^>i_ (_^<b_1971_^>b_). [JC]_^<n__^<n_
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FAULCON, ROBERT
-T-
> Robert P. _^<a_!T4468_HOLDSTOCK_^>a_._^<n__^<n_
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FAUST, JOE CLIFFORD
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(1957- ) US copywriter and author who began publishing sf with "The Jackalope's Tale" for _^<i_Wyoming Rural Electric News_^>i_ in 1983. His first novel, _^<i_A Death of Honor_^>i_ (_^<b_1987_^>b_), is an sf mystery set in a 21st century
moderately displaced in the direction of _^<a_!T1015_CYBERPUNK_^>a_, where a Constitutional Amendment has entitled victims of crime to pursue the perpetrators; the mystery itself is worked out with extremely satisfying care. His second novel,
_^<i_The Company Man_^>i_ (_^<b_1988_^>b_), enters even more familiar cyberpunk territory by featuring a protagonist who steals data for a large corporation which partially runs the decaying world, and who soon faces a moral crisis. In the
_^<b_Angel's Luck_^>b_ trilogy -- _^<i_Desperate Measures_^>i_ (_^<b_1989_^>b_), _^<i_Precious Cargo_^>i_ (_^<b_1990_^>b_) and _^<i_The Essence of Evil_^>i_ (_^<b_1990_^>b_) -- JCF created a romping _^<a_!T2342_SPACE OPERA_^>a_ whose spiralling
intricacies of plot, as the freelance protagonists who run the starship _^<i_Angel's Luck_^>i_ get into deeper and deeper waters, are recounted with the rigorous plot-control for which he has become known and with a sly sustaining humour. As a
professing Christian, JCF has an avowed allegiance to what he has called "old-fashioned virtues"; so far, however, his tales show no signs of doctrinal purpose. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T956_CRIME AND PUNISHMENT_^>a_.
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FAWCETT, BILL
-T-
Working name of US anthologist, packager and writer William Brian Fawcett (1947- ). His fiction has generally been collaborative: examples include _^<i_Cold Cash Warrior _^>i_(_^<b_1989_^>b_) with Robert _^<a_!T272_ASPRIN_^>a_ and _^<i_Lord of
Cragslaw_^>i_ * (_^<b_1989_^>b_) with Neil Randall, a novel tied to the _^<b_Guardians of the Three_^>b_ sequence, _^<i_Lord of Cragslaw_^>i_ * (_^<b_1989_^>b_) (_^<i_for details of books with David _^>i_ _^<i_A. _^>i__^<a_!T1318_DRAKE_^>a_
_^<i_and Christopher _^>i__^<a_!T5688_STASHEFF_^>a_, _^<i_see their entries_^>i_). Solo, BF has been responsible for the _^<b_SwordQuest_^>b_ fantasy sequence: _^<i_Quest for the Unicorn's Horn_^>i_ (_^<b_1985_^>b_), _^<i_Quest for the Dragon's
Eye_^>i_ (_^<b_1985_^>b_), _^<i_Quest for the Demon Gate_^>i_ (_^<b_1986_^>b_) and _^<i_Quest for the Elf King_^>i_ (_^<b_1987_^>b_). As anthologist, he created the _^<b_War Years_^>b_ sequence of ties, including _^<i_War Years #1: The Far Stars
War_^>i_ * (anth _^<b_1990_^>b_), _^<i_#2: The Siege of Arista_^>i_ * (anth _^<b_1991_^>b_) with Stasheff, and _^<i_#3: The Jupiter War_^>i_ * (anth _^<b_1991_^>b_). Also with Stasheff, he ed _^<i_The Crafters_^>i_ (anth _^<b_1991_^>b_) and
_^<i_The Crafters #2: Bellsings and Curses_^>i_ (anth _^<b_1992_^>b_), and with Robert _^<a_!T2216_SILVERBERG_^>a_ he ed _^<i_Time Gate_^>i_ (anth _^<b_1989_^>b_) Further solo anthologies include _^<i_Cats in Space_^>i_ (anth _^<b_1992_^>b_) and
the _^<b_Bolo_^>b_ sequence set in the universe created by Keith _^<a_!T4206_LAUMER_^>a_: _^<i_Bolos: Honor of the Regiment_^>i_ * (anth _^<b_1993_^>b_) and _^<i_Bolos #2: The Unconquerable_^>i_ (anth _^<b_1994_^>b_). [JC]_^<n__^<n__^<b_See
also:_^>b_ _^<a_!T2127_SHARED WORLDS_^>a_.
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FAWCETT, EDGAR
-T-
(1847-1904) US writer, known primarily for his work outside the sf field. Most of his 40 or so novels belong to the realist school associated with his contemporary William Dean _^<a_!T4528_HOWELLS_^>a_, but (like Howells) BF also wrote imaginative
works. He provided a manifesto for a species of fiction which he called "realistic romance", which is very similar to some _^<a_!T1142_DEFINITIONS OF SF_^>a_: "Stories where the astonishing and peculiar are blent with the possible and accountable.
They may be as wonderful as you will, but they must not touch on the mere flimsiness of miracle. They can be excessively improbable, but their improbability must be based upon scientific fact, and not upon fantastic, emotional and purely
imaginative groundwork." This statement is from the introduction to _^<i_The Ghost of Guy Thyrle_^>i_ (_^<b_1895_^>b_), a novel whose hero discovers a drug which separates his soul from his body and must undertake a voyage into the further reaches
of the cosmos when his uninhabited body is cremated. Earlier and more modest works in the same vein are _^<i_Douglas Duane_^>i_ (_^<b_1887_^>b_), a personality-exchange story, _^<i_Solarion_^>i_ (_^<b_1889_^>b_), a novel about a dog with
artificially augmented intelligence, and _^<i_The Romance of Two Brothers_^>i_ (_^<b_1891_^>b_), which features a problematic elixir of life. _^<i_The New Nero_^>i_ (_^<b_1893_^>b_), a study in abnormal psychology concerning a man who believes
himself to be a mass murderer, is of borderline interest. Some of EF's _^<a_!T1934_POETRY_^>a_ is also relevant, most notably "In the Year Ten Thousand" in _^<i_Songs of Doubt and Dream_^>i_ (coll _^<b_1891_^>b_). An early supernatural story of
some note is "He, She and It" (1871). He copyrighted several unpublished manuscripts, some of which appear to have been sf. [BS]_^<n__^<n__^<b_About the author:_^>b_ "The Realistic Romances of Edgar Fawcett" by Brian M. _^<a_!T2385_STABLEFORD_^>a_,
(1866-1960) UK writer and mystical thinker, long resident in Switzerland. His first (and best-known) sf novel, _^<i_Hartmann the Anarchist, or The Doom of the Great City_^>i_ (_^<b_1893_^>b_), illustrated by Fred T. _^<a_!T3866_JANE_^>a_, features a
1920s anarchist revolution against a wicked, capitalist UK, with London being destroyed by airships; but, in the face of opposition and gripped by guilt, the rebel Hartmann eventually destroys himself and the _^<i_Attila_^>i_, his fearsome airship,
and all is well. The _^<a_!T4474_HOLLOW EARTH_^>a_ featured in _^<i_Swallowed by an Earthquake_^>i_ (_^<b_1894_^>b_), a juvenile, is non-Symmesian (> John Cleves _^<a_!T5879_SYMMES_^>a_) and uncompellingly cluttered with prehistoric reptiles.
_^<i_The Secret of the Desert, or How We Crossed Arabia in the "Antelope"_^>i_ (_^<b_1895_^>b_) is about a secret amphibious tank which crosses Arabia, finding there a lost race (> _^<a_!T3460_LOST WORLDS_^>a_) of Phoenicians. [JC]_^<n__^<n_
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FAWCETT, FAUSTO
-T-
[r] > _^<a_!T4204_LATIN AMERICA_^>a_._^<n__^<n_
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FAWCETT, F(RANK) DUBREZ
-T-
(1891-1968) UK writer active in various genres under his own name and several others from 1923; non-sf pseudonyms included Cass Borelli, Henri Dupres, Madame E. Farra, _^<a_!T4866_"GRIFF"_^>a_, Eugene Glen, Duke Linton, Coolidge McCann, Elmer Eliot
Saks, Ben Sarto and Hank Spencer. Much of his output consisted of such thrillers as _^<i_Miss Otis Comes to Piccadilly_^>i_ (_^<b_1946_^>b_), as by Ben Sarto, and its many quite popular successors. _^<i_The Wonderful Isle of Ulla-Gapoo_^>i_
(_^<b_1946_^>b_) is a mild fantasy. FDF's only known sf novel proper is _^<i_Hole in Heaven_^>i_ (_^<b_1954_^>b_), about a human body possessed by an other-dimensional _^<a_!T98_ALIEN_^>a_. _^<i_Air-Gods' Parade_^>i_ (_^<b_1935_^>b_), as by Simpson
Stokes, and _^<i_The Dubious Adventures of Baron Munchhausen_^>i_ (_^<b_1948_^>b_) may be of some interest. [JC]_^<n__^<n_
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FAX COLLECTOR'S EDITIONS
-T-
US _^<a_!T2261_SMALL PRESS_^>a_ established by T.E. _^<a_!T1232_DIKTY_^>a_ with Darrell C. Richardson in 1972, and devoted to publishing material from and about _^<a_!T2033_PULP MAGAZINES_^>a_. Its publications include several collections of obscure
Robert E. _^<a_!T4524_HOWARD_^>a_ stories, two anthology series in facsimile under the titles _^<b_Famous Fantastic Classics_^>b_ and _^<b_Famous Pulp Classics_^>b_, and _^<i_The Weird Tales Story_^>i_ (_^<b_1977_^>b_), a large volume written and
ed Robert E. _^<a_!T5507_WEINBERG_^>a_. An associated and more prolific company, also founded by Dikty, is _^<a_!T2417_STARMONT HOUSE_^>a_. [MJE]_^<n__^<n_
(1902-1961) US poet and novelist, known mainly for mysteries like _^<i_The Big Clock_^>i_ (_^<b_1946_^>b_), a tale whose atmosphere adumbrates the _^<i_film-noir_^>i_ tonality of later US fantasy. Within a mystery frame, _^<i_The Loneliest Girl in
the World_^>i_ (_^<b_1951_^>b_) is borderline sf. KG's only sf novel proper is _^<i_Clark Gifford's Body_^>i_ (_^<b_1942_^>b_), which gravely and literately portrays a future US civil war. [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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FEARN, JOHN (FRANCIS) RUSSELL
-T-
(1908-1960) UK writer; extremely prolific, he used many pseudonyms. During the 1930s he wrote for magazines, including the US _^<a_!T2033_PULP MAGAZINES_^>a_, but during WWII he switched to books. He became a central figure in the post-WWII
paperback boom, writing numerous Westerns, crime stories and probably some romances as well as his sf, most of which appeared under the names Vargo Statten and Volsted _^<a_!T4865_GRIDBAN_^>a_ (the latter pseudonym being taken over from E.C.
_^<a_!T6112_TUBB_^>a_). In the pulps he wrote many stories as Thornton Ayre and Polton Cross, and also used the names Geoffrey Armstrong, Dennis Clive, John Cotton and Ephriam Winiki; his sf books and crime stories with sf elements include items
signed with the personal pseudonyms Spike Gordon, Conrad G. Holt, Laurence F. Rose, John Russell and Earl Titan, and the house names Astron _^<a_!T1159_DEL MARTIA_^>a_, _^<a_!T4866_"GRIFF"_^>a_, Paul _^<a_!T3451_LORRAINE_^>a_ and Brian
_^<a_!T2154_SHAW_^>a_._^<n__^<n_JRF's first _^<a_!T4659_GENRE-SF_^>a_ work was the early _^<a_!T5830_SUPERMAN_^>a_ story _^<i_The Intelligence Gigantic_^>i_ (1933 _^<i_AMZ_^>i_; _^<b_1943_^>b_). It was followed by the extravagant _^<i_Liners of
Time_^>i_ (1935 _^<i_AMZ_^>i_; _^<b_1947_^>b_) and its sequel "Zagribud" (1937 _^<i_AMZ_^>i_; cut vt _^<i_Science Metropolis_^>i_ by Vargo Statten _^<b_1952_^>b_); he subsequently wrote a good deal for _^<a_!T277_ASTOUNDING SCIENCE-FICTION_^>a_
while it was edited by F. Orlin _^<a_!T6086_TREMAINE_^>a_, contributing numerous "thought-variant" stories, some of which he later expanded into Vargo Statten novels, including _^<i_Nebula X_^>i_ (1946 as "The Multillionth Chance" by JRF; rev
_^<b_1950_^>b_), _^<i_The Sun Makers_^>i_ (1937 as "Metamorphosis" by JRF; rev _^<b_1950_^>b_), _^<i_The Avenging Martian_^>i_ (1938 as "Red Heritage" by JRF; rev _^<b_1951_^>b_), _^<i_The Renegade Star_^>i_ (1935 as "The Blue Infinity" by JRF; rev
_^<b_1951_^>b_), _^<i_The Inner Cosmos_^>i_ (1937 as "Worlds Within" by JRF; rev _^<b_1952_^>b_), _^<i_To the Ultimate_^>i_ (1936 as "Mathematica" and "Mathematica Plus" by JRF; rev _^<b_1952_^>b_) and _^<i_The Dust Destroyer_^>i_ (1934 as "The Man
who Stopped the Dust" by JRF; rev _^<b_1953_^>b_)._^<n__^<n_Four Thornton Ayre novelettes in _^<a_!T1395_FANTASTIC ADVENTURES_^>a_ featuring the superwoman -- or _^<b_Golden Amazon_^>b_ -- Violet Ray were extensively revised into the novel _^<i_The
Golden Amazon_^>i_ (1939-43;_^<b_ 1944_^>b_), which was reprinted in the _^<i_Toronto Star Weekly_^>i_ to such acclaim that 23 sequels followed, the last appearing posthumously there in 1961. Those which have subsequently appeared in book form are:
_^<i_The Golden Amazon Returns_^>i_ (1945; _^<b_1949_^>b_; vt _^<i_The Deathless Amazon_^>i_ 1953 Canada), _^<i_The Golden Amazon's Triumph_^>i_ (1946; _^<b_1953_^>b_), _^<i_The Amazon's Diamond Quest_^>i_ (1947 as "Diamond Quest"; _^<b_1953_^>b_),
_^<i_The Amazon Strikes Again_^>i_ (1948; _^<b_1954_^>b_), _^<i_Twin of the Amazon_^>i_ (1948; _^<b_1954_^>b_), _^<i_Conquest of the Amazon_^>i_ (1949; _^<b_1973_^>b_ chap) and _^<i_Lord of Atlantis_^>i_ (1949; _^<b_1991_^>b_ chap). Two other
series are Edgar Rice _^<a_!T5097_BURROUGHS_^>a_ imitations: the _^<b_Clayton Drew_^>b_ interplanetary romances _^<i_Emperor of Mars_^>i_ (_^<b_1950_^>b_), _^<i_Warrior of Mars_^>i_ (_^<b_1950_^>b_), _^<i_Red Men of Mars_^>i_ (_^<b_1950_^>b_) and
_^<i_Goddess of Mars_^>i_ (_^<b_1950_^>b_); and the _^<b_Anjani_^>b_ sequence of _^<b_Tarzan_^>b_ imitations signed Earl Titan: _^<i_The Gold of Akada_^>i_ (_^<b_1951_^>b_) and _^<i_Anjani, the Mighty_^>i_ (_^<b_1951_^>b_). JFR also wrote the book
of the notable 1954 schlock-horror film _^<i_The_^<a_!T949_CREATURE FROM THE BLACK LAGOON_^>a__^>i_ , _^<i_The Creature from the Black Lagoon_^>i_ * (_^<b_1954_^>b_) as Vargo Statten._^<n__^<n_Scion, publishers of Vargo Statten, created the
_^<a_!T5338_VARGO STATTEN SCIENCE FICTION MAGAZINE_^>a_, although JRF did not become its editor immediately; it underwent several title changes in the course of its short life._^<n__^<n_JRF's writing was unpolished and his use of ideas
imaginatively reckless, but his best work is vigorous and occasionally vivid. His works have sometimes proved popular in translation; he enjoyed something of a boom in Italy in the 1970s. [BS]_^<n__^<n__^<b_Other works as JRF:_^>b_ _^<i_Slaves of
Blayn:_^>b_ _^<i_What Happened to Hammond?_^>i_ (_^<b_1951_^>b_)._^<n__^<n__^<b_As Dennis Clive:_^>b_ _^<i_Valley of Pretenders_^>i_ (_^<i_c_^>i__^<b_1942_^>b_ chap US); _^<i_The Voice Commands_^>i_ (_^<i_c_^>i__^<b_1942_^>b_ chap
Me_^>i_ (_^<b_1953_^>b_)._^<n__^<n__^<b_As Volsted Gridban:_^>b_ _^<i_The Dyno-Depressant_^>i_ (_^<b_1953_^>b_); _^<i_Magnetic Brain_^>i_ (_^<b_1953_^>b_); _^<i_Moons for Sale_^>i_ (_^<b_1953_^>b_); _^<i_Scourge of the Atom_^>i_ (1948 as "After the
Atom" by JRF; rev _^<b_1953_^>b_); the _^<b_Herbert_^>b_ sequence, comprising _^<i_A Thing of the Past_^>i_ (_^<b_1953_^>b_) and _^<i_The Genial Dinosaur_^>i_ _^<b_1954_^>b_); _^<i_Exit Life_^>i_ (1941 as "The World in Wilderness" by Thornton Ayre;
rev _^<b_1953_^>b_); the _^<b_Adam Quirke_^>b_ sequence, comprising _^<i_The Master Must Die_^>i_ (_^<b_1953_^>b_) and _^<i_The Lonely Astronomer_^>i_ (partly based on "Death at the Observatory" 1938 by JRF; _^<b_1954_^>b_); _^<i_The Purple
Wizard_^>i_ (_^<b_1953_^>b_); _^<i_The Frozen Limit_^>i_ (_^<b_1954_^>b_); _^<i_I Came -- I Saw -- I Wondered_^>i_ (_^<b_1954_^>b_)._^<n__^<n__^<b_As "Griff" (house name):_^>b_ _^<i_Liquid Death_^>i_ (_^<b_1953_^>b_)._^<n__^<n__^<b_As Conrad G.
Holt:_^>b_ _^<i_Cosmic Exodus_^>i_ (_^<b_1953_^>b_ chap)._^<n__^<n__^<b_As Paul Lorraine (house name):_^>b_ _^<i_Dark Boundaries_^>i_ (_^<b_1953_^>b_)._^<n__^<n__^<b_As Laurence F. Rose:_^>b_ _^<i_The Hell-Fruit_^>i_ (_^<b_1953_^>b_
chap)._^<n__^<n__^<b_As John Russell:_^>b_ _^<i_Account Settled_^>i_ (_^<b_1949_^>b_)._^<n__^<n__^<b_As Brian Shaw (house name):_^>b_ _^<i_Z-Formations_^>i_ (_^<b_1953_^>b_)._^<n__^<n__^<b_As Vargo Statten:_^>b_ _^<i_Annihilation_^>i_
(_^<b_1950_^>b_); _^<i_The Micro-Men_^>i_ (_^<b_1950_^>b_); _^<i_Wanderer of Space_^>i_ (_^<b_1950_^>b_); _^<i_2000 Years On_^>i_ (_^<b_1950_^>b_); _^<i_Inferno!_^>i_ (_^<b_1950_^>b_); _^<i_The Cosmic Flame_^>i_ (_^<b_1950_^>b_);
_^<i_Cataclysm_^>i_ (1944 as "The Devouring Tide" by Polton Cross; rev _^<b_1951_^>b_); _^<i_The Red Insects_^>i_ (_^<b_1951_^>b_); _^<i_The New Satellite_^>i_ (_^<b_1951_^>b_); _^<i_Deadline to Pluto_^>i_ (_^<b_1951_^>b_); _^<i_The Petrified
Planet_^>i_ (_^<b_1951_^>b_); _^<i_Born of Luna_^>i_ (_^<b_1951_^>b_); _^<i_The Devouring Fire_^>i_ (_^<b_1951_^>b_); _^<i_The Catalyst_^>i_ (_^<b_1951_^>b_); _^<i_The Space Warp_^>i_ (_^<b_1952_^>b_); _^<i_The Eclipse Express_^>i_
(_^<b_1952_^>b_); _^<i_The Time Bridge_^>i_ (1942 as "Prisoner of Time" by Polton Cross; rev _^<b_1952_^>b_); _^<i_The Man from Tomorrow_^>i_ (1950 as "Stranger in our Midst" by JRF; rev _^<b_1952_^>b_); _^<i_The G-Bomb_^>i_ (1941 as "The Last
Secret Weapon" by Polton Cross; rev _^<b_1952_^>b_); _^<i_Laughter in Space_^>i_ (1939 as "Laughter out of Space" by Dennis Clive; rev _^<b_1952_^>b_); _^<i_Across the Ages_^>i_ (1952 as "Glimpse" by JRF; _^<b_1952_^>b_ chap); _^<i_The Last
Martian_^>i_ (_^<b_1952_^>b_ chap); _^<i_Worlds to Conquer_^>i_ (_^<b_1952_^>b_ chap); _^<i_De-Creation_^>i_ (_^<b_1952_^>b_ chap); _^<i_The Time Trap_^>i_ (_^<b_1952_^>b_ chap); _^<i_Ultra Spectrum_^>i_ (_^<b_1953_^>b_); _^<i_Black-Wing of
Mars_^>i_ (1953 as "Winged Pestilence" by JRF; _^<b_1953_^>b_); _^<i_Man in Duplicate_^>i_ (_^<b_1953_^>b_); _^<i_Zero Hour_^>i_ (1952 as "Deadline" by JRF; _^<b_1953_^>b_); _^<i_The Black Avengers_^>i_ (_^<b_1953_^>b_); _^<i_Odyssey of Nine_^>i_
(_^<b_1953_^>b_); _^<i_Pioneer 1990_^>i_ (1940 as "He Conquered Venus" by JRF; rev _^<b_1953_^>b_); _^<i_The Interloper_^>i_ (_^<b_1953_^>b_); _^<i_Man of Two Worlds_^>i_ (_^<b_1953_^>b_); _^<i_The Lie Destroyer_^>i_ (_^<b_1953_^>b_); _^<i_Black
Bargain_^>i_ (_^<b_1953_^>b_); _^<i_The Grand Illusion_^>i_ (_^<b_1953_^>b_); _^<i_Wealth of the Void_^>i_ (_^<b_1954_^>b_); _^<i_A Time Appointed_^>i_ (_^<b_1954_^>b_); _^<i_I Spy_^>i_ (_^<b_1954_^>b_); _^<i_The Multi-Man_^>i_ (_^<b_1954_^>b_);
_^<i_1,000 Year Voyage_^>i_ (_^<b_1954_^>b_); _^<i_Earth 2_^>i_ (_^<b_1955_^>b_)._^<n__^<n__^<b_About the author:_^>b_ _^<i_The Multi-Man_^>i_ (_^<b_1968_^>b_ chap) by Philip _^<a_!T4284_HARBOTTLE_^>a_._^<b_See also:_^>b_ _^<a_!T4958_BOYS'
(1955- ) US critic and writer whose essays and book reviews have appeared throughout the 1980s in various journals from the _^<i_Washington Post_^>i_ to _^<a_!T1577_FOUNDATION_^>a_. Sometimes adversarial, unfailingly intelligent, they represent a
cold-eyed view of a genre he loves by a critic immersed in its material. Although he began publishing sf with "The Light at the End of the Penumbra" in _^<i_Ascents of Wonder_^>i_ (anth _^<b_1977_^>b_) ed David _^<a_!T4671_GERROLD_^>a_, GF did not
become active as an author of fiction for about a decade. His first novel, _^<i_The Oxygen Barons_^>i_ (_^<b_1990_^>b_), served therefore as a sort of debut, surprising some by turning out to be a _^<a_!T4288_HARD-SF_^>a_ tale of a terraformed Moon
(> _^<a_!T5945_TERRAFORMING_^>a_). In what seems a perfectly standard fashion, colonists and a giant corporation are at loggerheads; it is only the labyrinth of the plot that exposes the novel as other than orthodox. [JC]_^<n__^<n_
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FEGHOOTS
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> Reginald _^<a_!T4987_BRETNOR_^>a_; _^<i_The_^<a_!T3595_MAGAZINE OF FANTASY AND SCIENCE FICTION_^>a__^>i_ ._^<n__^<n_
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FEKETE, GYULA
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[r] > _^<a_!T6355_HUNGARY_^>a_._^<n__^<n_
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FELDSTEIN, ALBERT B.
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[r] > _^<a_!T6573_EC COMICS_^>a_._^<n__^<n_
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FELICE, CYNTHIA (LINDGREN)
-T-
(1942- ) US writer who began publishing sf with "Longshanks" for _^<i_Galileo 2_^>i_ in 1976. Her first novel, _^<i_Godsfire_^>i_ (_^<b_1978_^>b_), depicts an _^<a_!T98_ALIEN_^>a_ planet inhabited by felines who dominate the local humans but who
have never seen their sun because of the unending rain. Almost too well constructed -- almost facile in its zestful plotting -- the book demonstrated CF's technical skill, her romantic inclinations and a tendency to slough off hard solutions. Her
next book, _^<i_The Sunbound_^>i_ (_^<b_1981_^>b_), for instance, failed to produce a protagonist capable of hewing to CF's intricate plot demands without seeming an arbitrary creation, yet the family romance at the tale's heart required characters
who could be intrinsically believed in. Of her later solo singletons, _^<i_Downtime_^>i_ (_^<b_1985_^>b_) interestingly combined a longevity intrigue in a distant solar system, aliens, and romance, but _^<i_The Khan's Persuasion_^>i_
(_^<b_1991_^>b_) once again demonstrated a gap between the quality of her sf perceptions and the easy flow of the plotty romance idiom through which she presents characters. CF's two collaborations with Connie _^<a_!T5632_WILLIS_^>a_, _^<i_Water
Witch_^>i_ (_^<b_1982_^>b_) and _^<i_Light Raid_^>i_ (_^<b_1989_^>b_), benefit from Willis's significantly harsher mind but are still somewhat heavily plotted. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Eclipses_^>i_ (_^<b_1983_^>b_); _^<i_Double
Although a genre defined and long dominated by men, sf has a particular affinity with feminism. This became clear in the 1970s with the publication of such challenging books as _^<i__^<a_!B9022_THE FEMALE MAN_^>a__^>i_ (_^<b_1975_^>b_) by Joanna
_^<a_!T2741_RUSS_^>a_, _^<i__^<a_!B9009_WALK TO THE END OF THE WORLD_^>a__^>i_ (_^<b_1974_^>b_) and _^<i_Motherlines_^>i_ (_^<b_1978_^>b_) by Suzy McKee _^<a_!T5244_CHARNAS_^>a_ and _^<i__^<a_!B9193_WOMAN ON THE EDGE OF TIME_^>a__^>i_
(_^<b_1976_^>b_) by Marge _^<a_!T1898_PIERCY_^>a_._^<n__^<n_One of the most obvious attractions of sf to women writers -- feminist or not -- is the possibilities it offers for the creation of a female _^<a_!T4395_HERO_^>a_. The demands of realism
in the contemporary or historical novel set limits which do not bind the universes available to sf. Although the history of sf reveals few heroic, realistic, or even original images of women (> _^<a_!T5683_WOMEN AS PORTRAYED IN SCIENCE
FICTION_^>a_), the genre had a potential recognized by the women writers drawn to it in the 1960s and 1970s. The desire to write (or read) about women who wield swords, pilot spaceships or simply lead lives from which the threat of male violence is
absent might be seen as escapist, but such imaginings can also be read as part of a political agenda. As Pamela _^<a_!T2808_SARGENT_^>a_ wrote in a letter to _^<i_Frontiers: A Journal of Women Studies_^>i_, Fall 1977, "Science-fiction writers are
limited only by human potential, not human actualities. Sf can serve to show women, and men, how large that potential can be." And Suzy McKee Charnas remarked in the same journal: "Women's realities are still highly circumscribed by various forms
of oppression . . . One place for us to imagine new strengths, goals, and ways of being human is in the world of fantasy, where we can work around our present limitations in ways that may help to point us . . . out of and beyond those
limitations."_^<n__^<n_Despite the reputation sf has as a mind-expanding, possibly subversive, always questioning form, these strengths were seldom brought to bear on the subject of male/female relationships, sexual roles or the idea of "woman's
place" prior to the rise of the Women's Liberation Movement. As Kingsley _^<a_!T153_AMIS_^>a_ pointed out in _^<i_New Maps of Hell_^>i_ (_^<b_1960_^>b_ US), "Though it may go against the grain to admit it, science-fiction writers are evidently
satisfied with the sexual status quo." He was referring, of course, to male sf writers. With a very few exceptions (e.g., Philip _^<a_!T6210_WYLIE_^>a_'s _^<i_The Disappearance_^>i_ [_^<b_1951_^>b_], Theodore _^<a_!T5810_STURGEON_^>a_'s _^<i_Venus
Plus X_^>i_ [_^<b_1960_^>b_] and John _^<a_!T6211_WYNDHAM_^>a_'s "Consider Her Ways" [1956]), the men who tried to imagine alternatives to patriarchy did so only to "prove" how nasty and impossible life would be without the "natural" dominance of
woman by man. (For more novels featuring women-ruled societies > _^<a_!T2300_SOCIOLOGY_^>a_.)_^<n__^<n_One of the major challenges of modern feminism has been to the idea that gender roles and relations are in some way permanent, arising from a
natural and immutable law. In _^<i_The Dialectic of Sex: The Case for Feminist Revolution_^>i_ (_^<b_1970_^>b_) Shulasmith Firestone located the site of women's oppression in their role as child-bearers and -rearers, and argued that feminist
revolution would not be possible until women were freed not only from the sole responsibility for child-rearing (which should be taken by society as a whole) but also, by technology, from the tyranny of reproduction. Although the idea that women
might have to give up the physical act of child-bearing in order to achieve a truly egalitarian society has never achieved wide popularity, the force of Firestone's argument is powerfully illustrated in Marge Piercy's _^<i__^<a_!B9193_WOMAN ON THE
EDGE OF TIME_^>a__^>i_, and its influence can be traced also in the writings of Charnas, Russ and Sally Miller _^<a_!T4646_GEARHART_^>a_._^<n__^<n_Not all work by women writers is feminist -- not even when it concentrates on the "woman question" --
and there are different interpretations of what comprises feminist sf. The only specifically labelled feminist sf list from any publisher is the one established by The Women's Press in the UK under the direction of Sarah _^<a_!T4240_LEFANU_^>a_ in
1985. Anything published by The Women's Press, sf included, is considered, by definition, feminist, and is often ghettoized in bookshops. Yet many of the books on this list were first published in the USA and even in the UK by nonfeminist houses
either as straightforward sf, as for example _^<i_A Door into Ocean_^>i_ (_^<b_1986_^>b_) by Joan _^<a_!T2257_SLONCZEWSKI_^>a_, or as mainstream literature, like _^<i_The Book of the Night_^>i_ (_^<b_1984_^>b_) by Rhoda Lerman (1936- ). The
Women's Press list also includes books by writers who had not previously been seen as, and would not define themselves as, feminist writers, such as Josephine _^<a_!T2831_SAXTON_^>a_ and Tanith _^<a_!T4234_LEE_^>a_._^<n__^<n_Diane Martin, an editor
of the fanzine _^<i_Aurora_^>i_ (where sf stands for "speculative feminism" -- > _^<a_!T3869_JANUS/AURORA_^>a_), in 1990 proposed, with tongue slightly in cheek, "The Martin Scale" as a tool for measuring the feminist content of a work of sf or
fantasy:_^<n__^<n__^<b_Level One:_^>b_ Doubts about patriarchy/women escaping victimization (e.g., most Andre _^<a_!T3243_NORTON_^>a_ novels)_^<n__^<n__^<b_Level Two:_^>b_ Men and women as equals (e.g., _^<i__^<a_!B9072_DREAMSNAKE_^>a__^>i_
[_^<b_1978_^>b_] by Vonda _^<a_!T3545_MCINTYRE_^>a_)_^<n__^<n__^<b_Level Three:_^>b_ Women are better than men on some levels (e.g., _^<i_FrostFlower and Thorn_^>i_ [_^<b_1980_^>b_] by Phyllis Ann Karr)_^<n__^<n__^<b_Level Four:_^>b_ Women are
uniformly better than men (e.g., Jessica Amanda Salmonson's _^<b_Tomoe Gozen_^>b_ saga)_^<n__^<n__^<b_Level Five:_^>b_ Can't live with 'em/can't live without 'em (e.g., "The Women Men Don't See" [1973] by James _^<a_!T6035_TIPTREE_^>a_
Jr)_^<n__^<n__^<b_Level Six:_^>b_ Men are tragically flawed and pitiable (e.g., _^<i_Native Tongue_^>i_ [_^<b_1984_^>b_] by Suzette Haden _^<a_!T6615_ELGIN_^>a_)_^<n__^<n__^<b_Level Seven:_^>b_ Men as slaves (e.g., B-movies like _^<i_Amazon Women
on the Moon_^>i_ [1987]; > Joe _^<a_!T1056_DANTE_^>a_)_^<n__^<n__^<b_Level Eight:_^>b_ Separatism is necessary for survival (e.g., _^<i__^<a_!B9225_THE GATE TO WOMEN'S COUNTRY_^>a__^>i_ [_^<b_1988_^>b_] by Sheri S.
_^<a_!T5936_TEPPER_^>a_)_^<n__^<n__^<b_Level Nine:_^>b_ Positive depiction of lesbian/feminist utopias (e.g., _^<i_The Shore of Women_^>i_ [_^<b_1986_^>b_] by Pamela Sargent)_^<n__^<n__^<b_Level Ten:_^>b_ Parthenogenesis and/or scenes of actual
castration (e.g., _^<i_Motherlines_^>i_ [_^<b_1978_^>b_] by Suzy McKee Charnas)_^<n__^<n_In what is probably the most thoughtful and accessible survey of the topic, _^<i_In the Chinks of the World Machine: Feminism and Science Fiction_^>i_
(_^<b_1988_^>b_; vt _^<i_Feminism and Science Fiction_^>i_ 1989 US) by Sarah Lefanu, the author makes a distinction between feminist sf and "feminized sf". The latter, she argues, while it challenges established sexism by valuing women and feminine
values over men and masculinity, and has been an important influence on the development of sf as a whole, does not dispute the man/woman paradigm or question the construction of gender as more radical feminist writings do. Feminist ideas are able
to flourish within sf despite reader resistance because, she claims, sf at its best "deploys a sceptical rationalism as its subtext" and "feminism is based upon a profound scepticism: of the 'naturalness' of the patriarchal world and the belief in
male superiority on which it is founded"._^<n__^<n_A forerunner to modern feminist sf can be seen in the spate of utopian stories written by women as part of the movement for women's rights which began in the 19th century. Unlike the utopias of
male writers, these fictions always question the sexual status quo and foreground the position of women, sometimes -- as in Mary E. Bradley _^<a_!T4174_LANE_^>a_'s _^<i_Mizora_^>i_ (_^<b_1890_^>b_) and Charlotte Perkins _^<a_!T4710_GILMAN_^>a_'s
_^<i_Herland_^>i_ (1914; _^<b_1979_^>b_) -- by depicting an all-women society and showing its superiority to societies in which men rule._^<n__^<n_The utopian tradition in women's writing was forgotten in subsequent decades until its rediscovery by
feminist scholars in the 1970s, and there is some worry that, however well established women writers may seem now, the same fate may befall feminist sf. Russ has described many of the ways in which women's work is discounted in _^<i_How to Suppress
Women's Writing_^>i_ (_^<b_1983_^>b_); and, in "An Open Letter to Joanna Russ" in _^<i_Aurora_^>i_ 25 (1987), Jeanne Gomoll expressed her feeling that her own experiences of _^<a_!T1389_FANDOM_^>a_ and sf in the 1970s were being rewritten by men
choosing to ignore the impact of feminism and characterize a whole decade as "boring" because their personal interests were not always given priority. To many, women as well as men, the revolution is over, equality has been won, and we are living
in a post-feminist age. In addition, the label "feminist" has never been either safe or comfortable; while it had in the 1970s -- particularly in the USA -- a certain novelty value, by the mid-1980s to be called a feminist writer was to be
announced as writing for a limited audience of like-minded readers._^<n__^<n_On the positive side, the impact of feminism can be seen even in much nonfeminist sf. Men as well as women writers are more interested in creating believable female
characters; and, as a ground for "thought experiments" relating to gender, social relations and new ways of being human -- topics central to feminism -- sf is extremely fertile. [LT]_^<n__^<n__^<b_Further reading:_^>b_ _^<i_Future Females: A
Critical Anthology_^>i_ (anth _^<b_1981_^>b_) ed Marlene S. Barr; _^<i_Feminist Futures: Contemporary Women's Speculative Fiction_^>i_ (_^<b_1984_^>b_) by Natalie M. Rosinski; _^<i_Women Worldwalkers: New Dimensions of Science Fiction and
Fantasy_^>i_ (anth _^<b_1985_^>b_) ed Jane B. Weedman; _^<i_Writing Beyond the Ending: Narrative Strategies of Twentieth-Century Women Writers_^>i_ (_^<b_1985_^>b_) by Rachel Blau DuPlessis; _^<i_Feminist Utopias_^>i_ (_^<b_1989_^>b_) by Francis
Bartkowski.
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FENDALL, PERCY
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(? -? ) UK author known solely for his sf novel _^<i_Lady Ermyntrude and the Plumber: A Love Tale of MCMXX_^>i_ (_^<b_1912_^>b_). After the passage of the Great Compulsory Work Act and the suppression of the House of Lords, everybody must work
to live. [JC]_^<n__^<n_
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FENN, LIONEL
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> Charles L. _^<a_!T4801_GRANT_^>a_._^<n__^<n_
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FERGUSON, BRAD
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Working name of US writer Bradley Michael Ferguson (1953- ). His two _^<b_Star Trek_^>b_ ties are _^<i_Crisis on Centaurus_^>i_ * (_^<b_1986_^>b_) and _^<i_A Flag Full of Stars_^>i_ * (_^<b_1991_^>b_). He has also written one independent title,
_^<i_The World Next Door_^>i_ (_^<b_1990_^>b_), in which a post-_^<a_!T4482_HOLOCAUST_^>a_ Earth is set as an _^<a_!T131_ALTERNATE WORLD_^>a_ to our own. [JC]_^<n__^<n_
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FERGUSON, HELEN
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> Anna _^<a_!T3992_KAVAN_^>a_._^<n__^<n_
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FERGUSON, NEIL
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(1947- ) UK writer who began publishing sf with "The Monroe Doctrine" for _^<i_Interzone_^>i_ in 1983, and through the 1980s released several sharply conceived tales, revealing more than once a deep interest in US life._^<n__^<n_His first book,
_^<i_Bars of America_^>i_ (coll _^<b_1986_^>b_), not sf, is a collection of tales and musings set in the heart of that country. His first sf novel, _^<i_Putting Out_^>i_ (_^<b_1988_^>b_), presents a _^<a_!T6337_NEAR-FUTURE_^>a_ US political race in
terms of the semiotics of dressing, with all the sensitivity to signs so often found in exiles, voluntary or forced. _^<i_Double Helix Fall_^>i_ (_^<b_1990_^>b_), also linguistically inventive and darkly obsessed with the USA's visions of its own
demise, presents -- in the guise of a homage to the world and style of Philip K. _^<a_!T1222_DICK_^>a_ -- an original rendering of that sense of demise, for in the USA of this novel it has become a matter of political and religious orthodoxy that
to be born is to die, and that the world into which one dies is a stratified Hell. A _^<a_!T2646_ROBOT_^>a_ detective helps, in the nick of time, to loosen the death-grip. [JC]_^<n__^<n_
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FERMAN, EDWARD L(EWIS)
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(1937- ) US editor, son of Joseph W. _^<a_!T1468_FERMAN_^>a_; ELF formally took over the editorship of _^<i_The_^<a_!T3595_MAGAZINE OF FANTASY AND SCIENCE FICTION_^>a__^>i_ in Jan 1966, a post in which he remained until June 1991, having
previously been managing editor since Apr 1962 under Avram _^<a_!T1082_DAVIDSON_^>a_ and then his father. Under ELF's editorship _^<i_FSF_^>i_ generally prospered: for many years it was one of only two sf magazines -- _^<i_ASF_^>i_ being the other,
with both now being joined by _^<a_!T3816_ISAAC ASIMOV'S SCIENCE FICTION MAGAZINE_^>a_ -- to have maintained a regular schedule, and its circulation has remained fairly stable. _^<i_FSF_^>i_ won the _^<a_!T4551_HUGO_^>a_ for Best Magazine five
years in succession (1969-72) under ELF and, after that category was dropped, ELF won the replacement Hugo for Best Editor in 1981, 1982 and 1983. It would be fair to say that, although the magazine has lost much of its distinctive flavour of the
1950s, larger market forces and changes in the nature of the genre have had much to do with that diminution of specialness. In 1991 ELF appointed Kristine Kathryn _^<a_!T2738_RUSCH_^>a_ as editor, retaining the post of publisher._^<n__^<n_During
his long stay at the helm, ELF edited various anthologies drawn from the magazine, including several volumes of the _^<b_Best from Fantasy and Science Fiction_^>b_ series (see listing below). There were also four anniversary volumes: _^<i_Twenty
Years of the Magazine of Fantasy and Science Fiction_^>i_ (anth _^<b_1970_^>b_) with Robert P. _^<a_!T2965_MILLS_^>a_, _^<i_The Best from Fantasy and Science Fiction: A Special 25th Anniversary Anthology_^>i_ (anth _^<b_1974_^>b_), _^<i_The
Magazine of Fantasy and Science Fiction: A 30-Year Retrospective_^>i_ (anth _^<b_1980_^>b_) ,_^<i_The Best from Fantasy & Science Fiction: A 40th Anniversary Anthology_^>i_ (anth _^<b_1989_^>b_) and _^<i_The Best from Fantasy & Science Fiction: A
45th Anniversary Anthology_^>i_ (anth _^<b_1994_^>b_), the last with Rusch. With Barry N. _^<a_!T3629_MALZBERG_^>a_ ELF collaborated on a notable original anthology, _^<i_Final Stage_^>i_ (anth _^<b_1974_^>b_; rev 1975), a reprint collection,
_^<i_Arena: Sports SF_^>i_ (anth _^<b_1976_^>b_) and _^<i_Graven Images: Three Original Novellas of Science Fiction_^>i_ (anth _^<b_1977_^>b_). [MJE/JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Once and Future Tales from the Magazine of Fantasy and
Science Fiction_^>i_ (anth _^<b_1968_^>b_); _^<i_The Magazine of Fantasy and Science Fiction, April 1965_^>i_ (anth _^<b_1981_^>b_) with Martin H. _^<a_!T4842_GREENBERG_^>a_; _^<i_The Best Fantasy Stories from the Magazine of Fantasy & Science
Fiction_^>i_ (anth _^<b_1986_^>b_); _^<i_The Best Horror Stories from the Magazine of Fantasy and Science Fiction_^>i_ (anth _^<b_1988_^>b_; in 2 vols US 1989; vt _^<i_The Best of Modern Horror: Twenty-Four Tales from the Magazine of Fantasy and
Science Fiction_^>i_ 1989 UK) ed with Anne Devereaux Jordan._^<b_The Best from Fantasy and Science Fiction:_^>b_ _^<i_The Best from Fantasy and Science Fiction: 15th Series_^>i_ (anth _^<b_1966_^>b_); _^<i_16th Series_^>i_ (anth _^<b_1967_^>b_);
(1906-1974) US publisher and editor, born in Lithuania. After a long career with the magazine _^<i_American Mercury_^>i_, JWF became involved with _^<i_The_^<a_!T3595_MAGAZINE OF FANTASY AND SCIENCE FICTION_^>a__^>i_ from its inception, was listed
Aug 1954-Oct 1970 as Publisher and Dec 1964-Dec 1965 as Editor, a position to which his son, Edward L. _^<a_!T1467_FERMAN_^>a_, succeeded him. He also founded _^<a_!T5350_VENTURE SCIENCE FICTION_^>a_ as a companion to _^<i_FSF_^>i_; it ran 1957-8
under the editorship of Robert P. _^<a_!T2965_MILLS_^>a_, with a second series being published 1969-70 under the editorship of Edward L. Ferman. JWF edited an anthology of stories from _^<i_Venture_^>i_: _^<i_No Limits_^>i_ (anth _^<b_1964_^>b_).
[MJE/PN]_^<n__^<n_
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FERRING, DAVID
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> David S. _^<a_!T4619_GARNETT_^>a_._^<n__^<n_
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FEZANDIE, (ERNEST) CLEMENT
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(1865-1959) US writer and playwright based initially in New York, though he lived and travelled in the Middle East in later life, and died in Belgium. His sf novel, _^<i_Through the Earth_^>i_ (_^<b_1898_^>b_), is about a transportation-tube through
the planet from New York to Australia, which gives its first passenger an experience in free fall but suffers from melting at the Earth's core and must be abandoned. The sequel, <A Trip to Venus>, still awaits publication. It is likely that CF's
early work, with its didactic bias, was appreciated by Hugo _^<a_!T4668_GERNSBACK_^>a_, and his _^<b_Dr Hackensaw_^>b_ series (> _^<a_!T6580_EDISONADE_^>a_) appeared first in Gernsback's _^<a_!T2869_SCIENCE AND INVENTION_^>a_ in 43 instalments,
from "The Secret of Artificial Respiration" (1921) to the novel "A Journey to the Center of the Earth" (1925), with two concluding stories published the next year in _^<i_AMZ_^>i_. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T206_APES AND CAVEMEN (IN
THE HUMAN WORLD)_^>a_; _^<a_!T4474_HOLLOW EARTH_^>a_; _^<a_!T3721_MATTER TRANSMISSION_^>a_; _^<a_!T2106_SERIES_^>a_.
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FIALKO, NATHAN
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(1881-? ) Soviet writer, resident in the USA, who translated his own uneven sf novel into English as _^<i_The New City: A Story of the Future_^>i_ (_^<b_1925_^>b_; trans and rev _^<b_1937_^>b_). It depicts first Soviet then US society with
strongly _^<a_!T1370_DYSTOPIAN_^>a_ views of both. [JC]_^<n__^<n_
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FICHMAN, FRED(ERICK)
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(? - ) US writer whose _^<i_SETI_^>i_ (_^<b_1990_^>b_) pits its teenaged hero against both US and Soviet governments in the race to make First Contact. He does surprisingly well. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T102_ALIENS_^>a_.
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FICKS, R. SNOWDEN
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[r] > _^<a_!T6332_ROBERT HALE LIMITED_^>a_._^<n__^<n_
(1917- ) US critic whose piercing and mythopoeic views on the relationship between US culture and literature were first expressed in _^<i_Love and Death in the American Novel_^>i_ (_^<b_1960_^>b_), where he describes sf as a "typically
Anglo-Saxon" form, although later, in _^<i_Waiting for the End_^>i_ (coll _^<b_1964_^>b_), he states that "Even in its particulars, the universe of science fiction is Jewish". He has long espoused the work of such sf writers as Samuel R.
_^<a_!T1152_DELANY_^>a_. _^<i_In Dreams Awake_^>i_ (anth _^<b_1975_^>b_) assembles material of interest, and _^<i_Olaf Stapledon: A Man Divided_^>i_ (_^<b_1983_^>b_) is an invigorating if sometimes eccentric examination of
_^<a_!T2404_STAPLEDON_^>a_. His fiction, like _^<i_The Messengers will Come no More_^>i_ (_^<b_1974_^>b_), tends to _^<a_!T1372_FABULATION_^>a_. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T1142_DEFINITIONS OF SF_^>a_.
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FIELD, GANS T.
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> Manly Wade _^<a_!T5525_WELLMAN_^>a_._^<n__^<n_
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FIEND WITHOUT A FACE
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Film (1957). Amalgamated/MGM. Dir Arthur Crabtree, starring Marshall Thompson, Terence Kilburn, Kim Parker, Peter Madden, Kynaston Reeves. Screenplay Herbert J. Leder, based on "The Thought-Monster" (_^<i_Weird Tales_^>i_ 1930) by Amelia Reynolds
Long. 74 mins. B/w._^<n__^<n_This is one of the two sf/_^<a_!T4509_HORROR_^>a_ films made by Amalgamated in the UK (the other was _^<a_!T1498_FIRST MAN INTO SPACE_^>a_ [1958], also starring Marshall Thompson) but set in North America.
_^<i_FWAF_^>i_ is much more interesting than the other, despite the absurdity of its basic premise. An elderly _^<a_!T2880_SCIENTIST_^>a_ (Reeves) accidentally creates, with his new thought-wave amplifier, a number of creatures consisting of pure
energy. Invisible at first, they commit a series of murders by sucking out their victim's brains through holes made at the base of the neck; but in the final sequences, when the creatures have trapped the protagonists in a remote house, they
gradually materialize as disembodied brains with trailing spinal cords and twitching tendrils. The lunatic climax has a quality of genuine nightmare, with the brains -- animated in imaginative stop-motion photography by Florenz von Nordhoff and
K.L. Ruppel -- leaping and plopping about like demonic frogs. This is the ultimate in anti-intellectual movies. [JB/PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T3011_MONSTER MOVIES_^>a_.
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FIGGIS, N.P.
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(1939- ) Irish archaeologist and writer whose fourth novel, _^<i_The Fourth Mode_^>i_ (_^<b_1989_^>b_), sensitively depicts a small town and the natural life surrounding it as a nuclear holocaust first threatens, then arrives. [JC]_^<n__^<n_
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FILE 770
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US _^<a_!T1428_FANZINE_^>a_ of the 1980s, ed from Los Angeles by Mike Glyer, bimonthly for most of its life. A newsletter covering _^<a_!T1389_FANDOM_^>a_, with emphasis on North America, it was begun when the previous US "newszine" (fanzine devoted
to items of news), _^<i_Karass_^>i_, ed Linda Bushyager, folded. The focus of _^<i_F770_^>i_, much of whose contents are written in Glyer's no-nonsense style, is convention news and reports. It won _^<a_!T4551_HUGOS_^>a_ for Best Fanzine in 1984,
1985 and 1989, and Glyer won the Hugo for Best Fan Writer in 1984, 1986 and 1988. [RH]_^<n__^<n_
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FILM
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> _^<a_!T726_CINEMA_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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FINAL COUNTDOWN, THE
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Film (1980). Bryna Company/United Artists. Dir Don Taylor, starring Kirk Douglas, Martin Sheen, Katharine Ross, James Farentino. Screenplay David Ambrose, Gerry _^<a_!T1096_DAVIS_^>a_, Thomas Hunter, Peter Powell, based on a story by Hunter, Powell,
Ambrose. 105 mins. Colour._^<n__^<n_An aircraft carrier on manoeuvres off Hawaii in 1980 is caught in a strange storm which turns out to be a time-warp. The vessel is deposited in the same spot in 1941, just before the attack on Pearl Harbor.
Action is eschewed for interminable ethical debate about altering history, as the captain (Douglas) agonizes whether or not to shoot down the Japanese planes which will shortly bomb the US naval base; a second time-warp renders decision
unnecessary. The film is wholly pointless, ill acted, and a complete waste of a perfectly good ship, the _^<i_Nimitz_^>i_, which the US Navy had allowed the production company (Kirk Douglas and family) to use. [PN]_^<n__^<n_
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FINAL PROGRAMME, THE
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(vt _^<i_The Last Days of Man on Earth_^>i_) Film (1973). Goodtimes Enterprises/Gladiole Films/MGM-EMI. Dir Robert Fuest, starring Jon Finch, Jenny Runacre, Sterling Hayden, Harry Andrews, Hugh Griffith, Julie Ege, Patrick Magee, Derrick O'Connor.
Screenplay Fuest, based on _^<i_The Final Programme_^>i_ (_^<b_1968_^>b_) by Michael _^<a_!T3030_MOORCOCK_^>a_. 89 mins. Colour._^<n__^<n_In this first film to feature Moorcock's polymorph protagonist, Jerry Cornelius, style triumphs over content.
Originally a set-designer, Fuest is best known for _^<i_The Abominable Dr Phibes_^>i_ (1971), an extravagantly theatrical horror-film spoof, and for the many episodes that he directed of _^<i_The_^<a_!T325_AVENGERS_^>a__^>i_ . _^<i_TFP_^>i_ looks
impressive, but not much of Moorcock's creation remains. Cornelius's father has died, leaving a hidden microfilm on which is the final (computer) programme of the title. Those involved in the hunt for the film include Jerry (Finch), his evil
brother (O'Connor), and the awesome Miss Brunner (Runacre), who has a tendency to consume her lovers, bones and all. The Moorcock original was not as strong as the other three books of his _^<b_Jerry Cornelius_^>b_ tetralogy, but none the less was
sophisticated in its ironies, which Fuest here reduces (literally in one case) to a series of knowing winks. When Moorcock defines his characters in terms of their personal style, this is often a form of criticism; for Fuest, by contrast, strong
style is apparently to be admired. The apotheosis of the book is rendered farcical in the film, which substitutes a grinning Neanderthal for Moorcock's original hermaphroditic _^<a_!T2918_MESSIAH_^>a_. [PN/JB]_^<n__^<n_
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FINCH, SHEILA (ROSEMARY)
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(1935- ) UK-born writer, in the USA from 1962 or earlier, who began publishing sf with "The Confession of Melakos" for _^<i_Sou-wester_^>i_ in 1977. Her first novel, _^<i_Infinity's Web_^>i_ (_^<b_1985_^>b_), rather confusedly describes the lives
of five versions of one protagonist who live in various _^<a_!T131_ALTERNATE WORLDS_^>a_, and who gradually gain a sense of the mutual web they inhabit. Though far more devoted to generic pleasures than Joanna _^<a_!T2741_RUSS_^>a_ in
_^<i__^<a_!B9022_THE FEMALE MAN_^>a__^>i_ (_^<b_1975_^>b_), whose structure is superificially similar, the novel still generates a clear and telling _^<a_!T1461_FEMINIST_^>a_ perspective. Her professional training in linguistics permeates her
second novel, _^<i_Triad_^>i_ (_^<b_1986_^>b_), another very full story, involving a woman-run Earth government, a female mission to a planet where several _^<a_!T98_ALIEN_^>a_ races seem to congregate, and pirates. She is now, perhaps unfairly,
best known for the _^<b_Shaper Exile_^>b_ sequence -- _^<i_The Garden of the Shaped_^>i_ (_^<b_1987_^>b_), _^<i_Shaper's Legacy_^>i_ (_^<b_1989_^>b_) and _^<i_Shaping the Dawn_^>i_ (_^<b_1989_^>b_) -- as the first volume at least of this
_^<a_!T1913_PLANETARY ROMANCE_^>a_ is awkwardly written, dumping three separate genetic versions of human stock upon a new planet, and sorting them out in terms of an unconvincing biological determinism. The second volume is more toughly argued,
but the third moves too easily into the plot arabesques common to this subgenre. SF is still (1992) in the wings, but gives the impression she is capable of stepping into full view at any time. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T4657_GENETIC
ENGINEERING_^>a_.
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FIN DU MONDE, LA
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(vt _^<i_The End of the World_^>i_) Film (1931). L'Ecran d'Art. Dir Abel Gance, starring Gance, Victor Francen, Colette Darfeuil, Sylvie Grenade, Jeanne Brindeau, Samson Fainsilber. Screenplay Gance, suggested by a story by Camille
_^<a_!T1516_FLAMMARION_^>a_. 105 mins, cut to 91 mins, cut to 54 mins. B/w._^<n__^<n_This tells of a comet's approach to Earth and of the upheavals (natural and cultural) that ensue. There are orgies, and the rise of a totalitarian leader
(Francen), obviously approved by the director, who would soon prove sympathetic to fascism. As with most of Gance's films, which were usually independently produced, it took many years to complete. _^<i_LFDM_^>i_ was made as a silent film, but
sound effects were later added by the producers, who sacked Gance and cut the film's length. (Gance was still working on one version in 1949.) A shortened 54min English version, repudiated by Gance, was released in 1934; it was supervised by V.
Ivanoff and the script was adapted by H.S. Kraft. The film is extravagant, and fits one description of Gance's work as hovering "between the ludicrous and the majestic"; a more unkind critic might see it as somewhere between the grandiose and the
banal. [PN/JB]_^<n__^<n_
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FINE, STEPHEN
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(1949- ) US author whose first novel, _^<i_Molly Dear: The Autobiography of an Android, or How I Came to my Senses, Was Repaired, Escaped my Master, and Was Educated in the Ways of the World_^>i_ (_^<b_1988_^>b_), rewrites Daniel
_^<a_!T1143_DEFOE_^>a_'s _^<i_Moll Flanders_^>i_ (_^<b_1722_^>b_) as the memoirs of a 21st-century _^<a_!T177_ANDROID_^>a_ to satirical effect. Her innocence -- assisted by memory wipes -- resembles that of _^<a_!T5394_VOLTAIRE_^>a_'s Candide, or
almost any of John T. _^<a_!T2240_SLADEK_^>a_'s child _^<a_!T2646_ROBOTS_^>a_ in a cruel world. Some of the points about Molly's legal enslavement are sharply made. [JC]_^<n__^<n_
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FINE PRESSES
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> _^<a_!T2261_SMALL PRESSES AND LIMITED EDITIONS_^>a_._^<n__^<n_
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FINLAND
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Sf in Finland, now over a century old, has been diverse, with few clear-cut lines of development. The earliest story was the serial "Muistelmia matkaltani Ruskealan pappilaan uuden vuoden aikoina vuonna 1983" ["Memoirs of My Trip to the Vicarage of
Ruskeala around New Year 1983"] (1883, in the newspaper _^<i_Aura_^>i_) by Evald Ferdinand Jahnsson. Apart from a few children's stories, early Finnish sf took the form of future, sometimes socialist, _^<a_!T5303_UTOPIAS_^>a_. The Moon was reached
by an icy ball in "Matka kuuhun" ["Voyage to the Moon"] (1887) by Tyko Hagman, but the first true sf was the novella "Tahtien tarhoissa" ["Among the Stars"] (1912) by Arvid Lydecken, which was about Helsinki in AD2140, a Martian attack, a voyage to
Mars and the beginning of peaceful coexistence on Earth after Mars has been destroyed by impacting asteroids._^<n__^<n_Fear of Bolshevism during WWI produced several imaginary-_^<a_!T5452_WAR_^>a_ novels, the first being the excellent _^<i_Ylos
helvetista_^>i_ ["Up from Hell"] (_^<b_1917_^>b_) by Konrad Lehtimaki. In _^<i_Suur-Isanmaa_^>i_ ["The Great Fatherland"] (_^<b_1918_^>b_) by Kapteeni Ter-s, Finland defeats Russia, forces the UK's surrender and becomes a superpower. _^<i_Kohtalon
kolmas hetki_^>i_ ["Fate's Third Moment"] (_^<b_1926_^>b_) by Aarno Karimo tells about a war in 1967-8 between Finland and the Soviet Union, which nation (in a defence union with the Mongols) is totally devastated by strange Finnish inventions. A
typical hero of the period would be a scientist-inventor. The most curious of these "engineer novels" is _^<i_Neljannen ulottuvuuden mies_^>i_ ["Man of the Fourth Dimension"] (_^<b_1919_^>b_) by H.R. Halli, in which a new chemical substance enables
its users to see and walk through solid objects. The best book of this period, _^<i_Viimeisella hetkella_^>i_ ["At the Last Moment"] (_^<b_1922_^>b_), also by Halli, creates a daring time perspective into Earth's distant future._^<n__^<n_There were
fewer sf books in the 1930s. Among the more notable are _^<i_The Diamondking of Sahara_^>i_ (_^<b_1935_^>b_), written in English by Sigurd Wettenhovi-Aspa, and _^<i_Undred fran krateron_^>i_ ["The Wonder of Crater Island"] (_^<b_1939_^>b_), written
in Swedish by Ole Eklund. There were 30 sf books published in the 1940s. The most popular were the _^<b_Atorox_^>b_ series by Outsider (pseudonym of Aarne Haapakoski) whose eponymous character was a _^<a_!T2646_ROBOT_^>a_: _^<i_Atorox, ihmisten
valtias_^>i_ ["Atorox, Lord of Humans"] (_^<b_1947_^>b_), _^<i_Atorox kuussa_^>i_ ["Atorox on the Moon"] (_^<b_1947_^>b_), _^<i_Atorox Marsissa_^>i_ ["Atorox on Mars"] (_^<b_1947_^>b_), _^<i_Atorox Venuksessa_^>i_ ["Atorox on Venus"]
(_^<b_1947_^>b_), _^<i_Atorox Merkuriuksessa_^>i_ ["Atorox on Mercury"] (_^<b_1948_^>b_) and _^<i_Atoroxin paluu v. 2948_^>i_ ["The Return of Atorox in AD2948"] (_^<b_1948_^>b_). The most remarkable book of the period, however, was Volter Kilpi's
_^<i_Gulliverin matka Fantomimian mantereelle_^>i_ ["Gulliver's Travel to the Continent of Fantomimia"] (_^<b_1944_^>b_), where Gulliver leaves the 18th century for the 20th._^<n__^<n_The term"science fiction" itself came to Finland in 1953 with
translations of US books, and the 1950s saw growing enthusiasm for sf; the publisher Otava held a competition, "Adventures in the World of Technology", whose winner was Armas J. Pulla with _^<i_Lentavalautanen sieppasi pojat_^>i_ ["The Boys Were
Snatched by a Flying Saucer"] (_^<b_1954_^>b_), in which antlike Martians intend to invade Earth. Other books of the decade were juvenile adventures. Sf writers of the 1950s, each with several books, include Osmo Ilmari and Antero Harju, and Ralf
Parland (who wrote in Swedish)._^<n__^<n_The 1960s were poor years for Finnish sf. The only notable novel of the period was _^<i_Paikka nimelta Plaston_^>i_ ["A Place Called Plaston"] (_^<b_1968_^>b_) by Erkki Ahonen, set on a planet whose devolved
inhabitants live in herds, controlled by _^<a_!T826_COMPUTERS_^>a_. Ahonen's subsequent books, _^<i_Tietokonelapsi_^>i_ ["The Computer Child"] (_^<b_1972_^>b_), about a human embryo's excised brain interfaced with a computer, and _^<i_Syva
matka_^>i_ ["Deep Voyage"] (_^<b_1976_^>b_), about the evolution of consciousness on another planet, are Finland's most important sf novels. Further books worth mentioning from the 1970s are: _^<i_Viimeinen uutinen_^>i_ ["The Last News"]
(_^<b_1970_^>b_) by Risto Kavanne, about _^<a_!T6337_NEAR-FUTURE_^>a_ power politics; _^<i_Rosterna i den sena timmen_^>i_ ["Voices in the Late Hours"] (_^<b_1971_^>b_) by Bo Carpelan, about the feelings of people under the threat of nuclear war;
and _^<i_Aurinkotuuli_^>i_ ["Wind from the Sun"] (_^<b_1975_^>b_) by Kullervo Kukkasjarvi (1938- )._^<n__^<n_The first Finnish sf magazine, _^<i_Spin_^>i_, began as a _^<a_!T1428_FANZINE_^>a_ in 1977. It was followed by _^<i_Aikakone_^>i_ ["Time
Machine"] (1981), _^<i_Portti_^>i_ ["The Gate"] (1982), _^<i_Tahtivaeltaja_^>i_ ["Star Wanderer"] (1982) and _^<i_Ikaros_^>i_ (1986). Besides translations, these magazines publish short fiction by Finnish writers, who before had had to be content
with occasional publication in mainstream periodicals. _^<i_Aikakone_^>i_ has grown to the point that it singlehandedly supports its own fandom and sf _^<i_milieu_^>i_, with new young authors appearing.Of these _^<i_Portti_^>i_ is the largest,
followed by _^<i_Tahtivaeltaja _^>i_and then by _^<i_Aikakone_^>i_._^<n__^<n_Recent Finnish sf is represented by _^<i_Auruksen tapaus_^>i_ ["The Case of Aurus"] (_^<b_1980_^>b_) by Jukka Pakkanen, a vision of the future; _^<i_Amos ja
saarelaiset_^>i_ ["Amos and the Island People"] (_^<b_1987_^>b_) by the well known _^<a_!T3609_MAINSTREAM_^>a_ writer Hannu Salama, telling in a stylistically compact way of the world after a nuclear _^<a_!T5452_WAR_^>a_; _^<i_Katajanukke_^>i_
["The Juniper Doll"] (_^<b_1988_^>b_), a first novel by Pekka Virtanen; and _^<i_Messias_^>i_ ["Messiah"] (_^<b_1989_^>b_) by Kari Nenonen, the story of Christ's cloning from the Shroud of Turin and of the consequences. The anthologies _^<i_Jainen
vaeltaja_^>i_ ["The Ice Wanderer"] (anth _^<b_1986_^>b_), _^<i_Atoroxin perilliset_^>i_ ["The Heirs of Atorox"] (anth _^<b_1988_^>b_) and _^<i_Tahtipuu_^>i_ ["Startree"] (anth _^<b_1990_^>b_) contain mainly short stories by new Finnish writers --
among the best of whom are Johanna Sinisalo, Ari Tervonen and Eeva-Liisa Tenhunen -- selected from magazines and writing competitions. The annual Finnish award for best short story is the Atorox ._^<a_!T6321_AWARD_^>a_, whose winners up to 1993
included four wins by Johanna Sinisalo. Finnish FANDOM is quite active; there have been four national conventions, known as "Finncons", all in Helsinki, held in 1986, 1989, 1991 and 1993._^<n__^<n_Tales from Finnish mythology, as collected from
legends and ballads to form the epic poem _^<i_Kalevala_^>i_ from 1828 to 1849, have not only nourished Finnish writers -- as in Pekka Virtanen's "Kanavat" ["Canals"] (1985), Veikko Rekunen's "Viimeinen laulaja" ["The Last Singer"] (1985) and Ernst
Lampen's _^<i_Taivaallisia tarinoita_^>i_ ["Heavenly Stories"] (coll _^<b_1918_^>b_) -- but have also influenced the works of writers abroad, as for example Emil _^<a_!T1869_PETAJA_^>a_'s four-novel _^<b_Kalevala_^>b_ sequence -- _^<i_Saga of Lost
Earths_^>i_ (_^<b_1966_^>b_), _^<i_The Star Mill_^>i_ (_^<b_1966_^>b_), _^<i_The Stolen Sun_^>i_ (_^<b_1967_^>b_) and _^<i_Tramontane_^>i_ (_^<b_1967_^>b_) -- as well as his _^<i_The Time Twister_^>i_ (_^<b_1968_^>b_) and, by L. Sprague
_^<a_!T1133_DE CAMP_^>a_ and Fletcher _^<a_!T1976_PRATT_^>a_, _^<i_Wall of Serpents_^>i_ (1953-4; _^<b_1960_^>b_). [JI]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T2834_SCANDINAVIA_^>a_.
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FINLAY, VIRGIL (WARDEN)
-T-
(1914-1971) US illustrator. VF worked in both colour and black-and-white, but is best known for the latter, where his unique, painstaking stippling gained him fame although, because of the slow process involved, not fortune. Nonetheless he was
prolific. His earliest work was an interior illustration for _^<i_Weird Tales_^>i_ in 1935. Though it was in black-and-white interior work that he excelled -- several thousand pieces -- he also painted many covers, including 16 for _^<i_Weird
Tales_^>i_ and 24 for _^<i_Famous Fantastic Mysteries_^>i_. His work appeared also in _^<i_A. Merritt's Fantasy Magazine_^>i_, _^<i_Fantastic Novels_^>i_, _^<i_Fantastic Story Quarterly_^>i_ and about 27 other sf/fantasy magazines. He often added
sparkling bubbles to his illustrations, partly as a decorative device and partly to modestly conceal parts of naked women. He was stronger in fantasy than sf, excelling (it was a common paradox) in the two extremes of the glamorous and the macabre,
both meticulously executed. His early work was more abstractly stylized than the later, and suggested a toughness which later became smoothed under an expert commercial veneer. Possibly the greatest craftsman in the history of sf
_^<a_!T4593_ILLUSTRATION_^>a_, VF revolutionized its quality. The _^<a_!T4551_HUGO_^>a_ system arrived a little late for VF; though he was nominated 7 times, he won only once, in the very first year, 1953 -- the only award ever given for Best
Interior Illustration. He had only small success doing book covers, mostly 1949-58, which his style did not really suit. Sadly, the collapse in _^<a_!T2130_SF-MAGAZINE_^>a_ publishing in the mid-1950s -- with the surviving magazines being
_^<a_!T1231_DIGESTS_^>a_ rather than _^<a_!T2033_PULP MAGAZINES_^>a_ and so having fewer illustrations -- forced VF away from sf as his main market, and through the late 1950s and the 1960s he worked largely on astrological illustrations. Many
portfolios and books of his work have been published, the first being _^<i_A Portfolio of Illustrations by Virgil Finlay_^>i_ (coll _^<b_1941_^>b_) published by _^<i_Famous Fantastic Mysteries_^>i_. Books include _^<i_Virgil Finlay_^>i_
(_^<b_1971_^>b_) ed Donald M. _^<a_!T4802_GRANT_^>a_, and _^<i_The Book of Virgil Finlay_^>i_ (_^<b_1975_^>b_) and _^<i_Virgil Finlay Remembered_^>i_ (_^<b_1981_^>b_) ed Gerry de la Ree (1924 -1993), these latter being 2 out of 12 books of and
about Finlay's art ed de la Ree. [JG/PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T820_COMICS_^>a_; _^<a_!T1412_FANTASY_^>a_; _^<a_!T2115_SEX_^>a_; _^<a_!T2348_SPACESHIPS_^>a_.
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FINN, RALPH L(ESLIE)
-T-
(1912- ) UK novelist and journalist who published widely. Of some sf interest are three novels based on the time theories of J.W. _^<a_!T1352_DUNNE_^>a_: _^<i_The Lunatic, the Lover, and the Poet_^>i_ (_^<b_1948_^>b_), _^<i_Twenty-Seven
Stairs_^>i_ (_^<b_1949_^>b_) and _^<i_Time Marches Sideways_^>i_ (_^<b_1950_^>b_), the latter a love story set in London. _^<i_Captive on the Flying Saucers_^>i_ (_^<i_c_^>i__^<b_1950_^>b_) and _^<i_Freaks against Supermen_^>i_
(_^<i_c_^>i__^<b_1951_^>b_), both conventional sf stories, gain some interest from their mild erotic content. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T6026_TIME TRAVEL_^>a_.
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FINNEY, CHARLES G(RANDISON)
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(1905-1984) US newspaperman and writer, based in Arizona, who spent the years 1927-9 with the US infantry in Tientsin, China; an oriental influence pervades most of his work. His novels and stories, though _^<a_!T1412_FANTASY_^>a_ rather than sf,
have been influential throughout the field, especially his famous _^<i_The Circus of Dr Lao_^>i_ (_^<b_1935_^>b_), filmed insensitively as _^<i_The Seven Faces of Dr Lao_^>i_ (1963). CGF's work was a strong influence on Ray
_^<a_!T4963_BRADBURY_^>a_ in particular, as the latter's anthology, _^<i_The Circus of Dr Lao and Other Improbable Stories_^>i_ (anth _^<b_1956_^>b_), demonstrates. The novel depicts the effect upon a small Arizona town of Dr Lao's circus, which is
full of mythical beasts and demigods, all of whom actually live within his tents: they are simultaneously pathetic and awe-inspiring, and the townspeople soon find themselves acquiring unwanted self-knowledge as they confront the caged
_^<a_!T4740_GODS_^>a_. The erotic intensity of these confrontations is remarkable. _^<i_The Magician out of Manchuria_^>i_ (_^<b_1976_^>b_ UK) -- which first appeared under that title in _^<i_The Unholy City_^>i_ (omni _^<b_1968_^>b_) along with a
revised version of _^<i_The Unholy City_^>i_ (_^<b_1937_^>b_) -- is set in China, and agreeably lightens the message of _^<i_Lao_^>i_. _^<i_The Unholy City_^>i_ itself is a somewhat unwieldy allegory. _^<i_The Ghosts of Manacle_^>i_ (coll
_^<b_1964_^>b_) assembles much of CGF's short fiction. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Past the End of the Pavement_^>i_ (_^<b_1939_^>b_), associational._^<b_See also:_^>b_ _^<a_!T3135_MYTHOLOGY_^>a_.
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FINNEY, JACK
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Working name of US author Walter Braden Finney (1911- ), whose career began when he was 35; he published his first work in the genre, "Such Interesting Neighbors" for _^<a_!T801_COLLIER'S WEEKLY_^>a_, in 1951. Although he is as well known for sf as
for anything else, he did not specialize in the field, adapting his highly professional skills to mysteries and general fiction as well. Stories from his first years as a writer of sf can be found in _^<i_The Third Level_^>i_ (coll _^<b_1957_^>b_;
vt _^<i_The Clock of Time_^>i_ 1958 UK) and later ones in _^<i_I Love Galesburg in the Springtime: Fantasy and Time Stories_^>i_ (coll _^<b_1963_^>b_) -- both asembled as _^<i_About Time: Twelve Stories_^>i_ (omni _^<b_1986_^>b_) -- and
_^<i_Forgotten News: The Crime of the Century and Other Lost Stories_^>i_ (coll _^<b_1983_^>b_). Many are evocative tales of escape from an ugly present into a tranquil past, or into a _^<a_!T1794_PARALLEL WORLD_^>a_, or wistful variants of the
theme when the escape fails. His best-known work is _^<i_The Body Snatchers_^>i_ (_^<b_1955_^>b_; vt _^<i_Invasion of the Body Snatchers_^>i_ 1973; rev 1978), twice filmed as _^<a_!T3802_INVASION OF THE BODY SNATCHERS_^>a_: in 1956 by Don Siegel
and in 1978 by Philip Kaufman. The book -- perhaps less plausibly than the film versions-horrifyingly depicts the _^<a_!T3796_INVASION_^>a_ of a small town by interstellar spores that duplicate human beings, reducing them to dust in the process.
The menacing spore-people who remain symbolize, it has been argued, the loss of freedom in a 1950s USA obsessed by the problems of "conformism". JF's further books were smoothly told, more involving, perhaps less pertinent. _^<i_The Woodrow Wilson
Dime_^>i_ (1960 _^<i_Saturday Evening Post_^>i_; exp _^<b_1968_^>b_) is a _^<a_!T1794_PARALLEL-WORLDS_^>a_ novel. _^<i_Time and Again_^>i_ (_^<b_1970_^>b_) sets a time traveller in the New York of 1882, which is meticulously evoked. _^<i_Marion's
Wall_^>i_ (_^<b_1973_^>b_) movingly displaces the ghost of a 1926 film star into the present day. Generally, in a JF story, sf or fantasy devices open the door into new worlds and are then forgotten. The worlds thus made available are, all the
same, engrossing. [JC]_^<n__^<n__^<b_Other works:_^>b_ Both _^<i_The Woodrow Wilson Dime_^>i_ and _^<i_Marion's Wall_^>i_ appear with _^<i_The Night People_^>i_ (_^<b_1977_^>b_) in _^<i_3 by Finney_^>i_ (omni _^<b_1987_^>b_)._^<b_See also:_^>b_
UK tv series (1962-3). AP Films for ATV/ITC. Created by Gerry and Sylvia _^<a_!T164_ANDERSON_^>a_; prod Gerry Anderson. Dirs included Alan Pattillo, John Kelly, Bill Harris. Writers included the Andersons, Alan Fennell, Anthony Marriott, Dennis
Spooner. 1 full season and 1 part season. 39 25min episodes. B/w._^<n__^<n_This was the second of the Andersons' "SuperMarionation" animated-puppet sf series for children, the first being _^<a_!T5827_SUPERCAR_^>a_ and the third being
_^<a_!T5747_STINGRAY_^>a_; it was the last made in black-and-white and the first to be networked in full in the USA (on NBC). Steve Zodiac is a space pilot, part of World Space Fleet (based in the Pacific Ocean); his spacecraft XL5 patrols other
star systems. This is a true _^<a_!T2342_SPACE OPERA_^>a_, in its way a predecessor of _^<a_!T2429_STAR TREK_^>a_. Sidekicks include Venus, a glamorous blonde space doctor, Professor Mat Matic, a Genius, and Robert the Robot. Stories involved,
_^<i_inter alia_^>i_, space pirates, a glass-surfaced planet and Ice Men. Planetary transport was by jetmobile. Derek Meddings's special effects, mostly achieved through use of clever models, are good. [PN]_^<n__^<n_
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FIREFOX
-T-
Film (1982). Warner Bros. Dir Clint Eastwood, starring Eastwood, Freddie Jones, Nigel Hawthorne, Warren Clarke. Screenplay Alex Lasker, Wendell Wellman, based on _^<i_Firefox_^>i_ (_^<b_1977_^>b_) by Craig _^<a_!T5981_THOMAS_^>a_. 136 mins.
Colour._^<n__^<n_The sf aspect of the film is a new Russian fighter, the MIG 31 or "Firefox", which can fly at Mach-5 and operates through electronic translation of the pilot's brain patterns (thought control). Eastwood is the US pilot smuggled
into the USSR to steal it and fly it out. The movie is split in two, the difficult voyage in disguise to the Soviet air base being tense and well accomplished, the flight back out (with a _^<a_!T5686_STAR WARS_^>a_-style dogfight) merely silly,
especially since the much-discussed thought control turns out to have no real plot function at all. The film never even considers that such a raid might precipitate WWIII. [PN]_^<n__^<n_
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FIRESTARTER
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Film (1984). Universal. Dir Mark L. Lester, starring David Keith, Drew Barrymore, Freddie Jones, Heather Locklear, Martin Sheen, George C. Scott. Screenplay Stanley Mann, based on _^<i_Firestarter_^>i_ (_^<b_1980_^>b_) by Stephen
_^<a_!T4066_KING_^>a_. 114 mins. Colour._^<n__^<n_The novel is not one of King's best, but it hardly deserved this messy adaptation. A young girl, Charlie (Barrymore), has pyrotic powers and can start fires by mental concentration alone. Naturally,
a CIA-like organization ("the Shop") wishes to exploit her powers as a new _^<a_!T5492_WEAPON_^>a_, and just as naturally she incinerates them in a final (rather small) holocaust. Scott plays the evil Native-American assassin who wishes to absorb
Charlie's powers. The film is pure _^<a_!T752_CLICHE_^>a_ from beginning to end, and not very competent at that level. Far superior in the teenage _^<a_!T2021_PSI POWERS_^>a_ line is the very similar _^<i_The_^<a_!T1649_FURY_^>a__^>i_ (1978) and,
of course, _^<a_!T5185_CARRIE_^>a_ (1976), both dir Brian De Palma, and the latter also based on a King novel. [PN]_^<n__^<n_
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FIRST COMICS
-T-
> _^<a_!T820_COMICS_^>a_._^<n__^<n_
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FIRST CONTACT
-T-
> _^<a_!T822_COMMUNICATIONS_^>a_._^<n__^<n_
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FIRST FANDOM AWARDS
-T-
> _^<a_!T6321_AWARDS_^>a_._^<n__^<n_
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FIRST MAN INTO SPACE
-T-
Film (1958). Amalgamated/MGM. Dir Robert Day, starring Marshall Thompson, Marla Landi, Robert Ayres, Bill Edwards. Screenplay John C. Cooper, Lance Z. Hargreaves, from "Satellite of Blood" by Wyott Ordung. 77 mins. B/w._^<n__^<n_This is the second
of two sf films made by Amalgamated in the UK that pretend to be set in the USA (the other was _^<a_!T1477_FIEND WITHOUT A FACE_^>a_ [1957]). _^<i_FMIS_^>i_ seems to imitate _^<i_The_^<a_!T2451_QUATERMASS XPERIMENT_^>a__^>i_ (1955; vt _^<i_The
Creeping Unknown_^>i_): a test pilot ejects from his high-flying aeroplane and returns to Earth enveloped in a repulsive, crusty substance that turns him into an inhuman, blood-drinking monster (the blood giving him the oxygen he needs!). As in the
_^<b_Quatermass_^>b_ film, there are moments of pathos, but _^<i_FMIS_^>i_ is generally derivative and routine. Released around the time of the first orbital satellites, _^<i_FMIS_^>i_, with its deceptive title, must have lured audiences expecting
something scientific and quasidocumentary; indeed, despite its lurid content, it is soberly and stiffly directed. [JB/PN]_^<n__^<n_
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FIRST MEN IN THE MOON
-T-
Film (1964). Columbia. Prod Charles H. Schneer. Dir Nathan Juran, starring Edward Judd, Martha Hyer, Lionel Jeffries. Screenplay Nigel _^<a_!T4095_KNEALE_^>a_, Jan Read, from _^<i__^<a_!B9270_THE FIRST MEN IN THE MOON_^>a__^>i_ (_^<b_1901_^>b_) by
H.G. _^<a_!T5528_WELLS_^>a_. 107 mins, cut to 103 mins. Colour._^<n__^<n_This watered-down version of Wells's classic novel is for the most part low farce, with too much random slaughtering of Selenite aliens, but still contrives to be
entertaining. An eccentric Victorian inventor who has developed an _^<a_!T198_ANTIGRAVITY_^>a_ material flies to the Moon in a spherical "spaceship". He and his companions are captured by insect-like Moon people but eventually escape, inadvertently
leaving behind cold-germs which destroy the Moon's population. Ray _^<a_!T4322_HARRYHAUSEN_^>a_'s Moon creatures are rather good, as are the sets._^<n__^<n_A previous version of _^<i_FMITM_^>i_ was made in 1919 by British Gaumont, dir J.V. Leigh.
[JB/PN]_^<n__^<n_
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FIRTH, N. WESLEY
-T-
Working name of UK writer Norman Firth (1920-1949), who began his career during WWII writing pulp Westerns and thrillers. He wrote stories variously as Rice Ackman, Earl Ellison, Leslie Halward and perhaps other names; his first sf publication was
almost certainly "Obscene Parade" (1946 _^<i_Weird Story Magazine_^>i_). His first novel, _^<i_Terror Strikes_^>i_ (_^<b_1946_^>b_ chap), is of some interest through its extremely close resemblance to H.G. _^<a_!T5528_WELLS_^>a_'s _^<i_The
Invisible Man_^>i_ (_^<b_1897_^>b_). _^<i_Spawn of the Vampire_^>i_ (_^<b_1946_^>b_ chap) is a hastily concocted horror tale. NF wrote the entire contents of _^<a_!T1668_FUTURISTIC STORIES_^>a_ (1946) and _^<a_!T5775_STRANGE ADVENTURES_^>a_
(1946-7). He was a writer of potential worth, but died (of TB) at the age of 29 before proving it. [SH]_^<n__^<n_
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FISCHER, LEONARD
-T-
(?1903-?1974) Canadian writer whose _^<i_Let Out the Beast_^>i_ (_^<b_1950_^>b_) is a post-_^<a_!T4482_HOLOCAUST_^>a_-reversion-to-savagery book in which it is the protagonist who -- unusually -- becomes the feared enemy of those engaged in trying
to rebuild civilization. [JC]_^<n__^<n_
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FISH, LEONARD G.
-T-
(1923? - ) UK author of some short fiction under his own name and as by David Campbell, and of several minor sf adventures: _^<i_Planet War_^>i_ (_^<b_1952_^>b_) as by Fysh, _^<i_After the Atom_^>i_ (_^<b_1953_^>b_) as by Victor _^<a_!T4192_LA
SALLE_^>a_, and _^<i_Beyond the Solar System_^>i_ (_^<b_1954_^>b_) as by Claude Haley. [SH]_^<n__^<n_
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FISHER, JAMES P.
-T-
(? - ) US writer whose sf novel _^<i_The Great Brain Robbery_^>i_ (_^<b_1970_^>b_) is a rather lightweight adventure in which an _^<a_!T98_ALIEN_^>a_ tries to steal a student's unusual brain. [JC]_^<n__^<n_
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FISHER, LOU
-T-
(1940- ) US writer. During a 20 year career writing IBM computer manuals, he began publishing sf with "Triggerman" for _^<i_Gal_^>i_ in 1973. His first novel, _^<i_Sunstop 8_^>i_ (_^<b_1978_^>b_), is a _^<a_!T2342_SPACE OPERA_^>a_; his second,
_^<i_The Blue Ice Pilot_^>i_ (_^<b_1986_^>b_), features a space war made possible by developments in _^<a_!T987_CRYONICS_^>a_. [JC]_^<n__^<n_
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FISHER, VARDIS (ALVERO)
-T-
(1895-1968) US writer, raised in a Mormon family; his best-known single novel, _^<i_Children of God_^>i_ (_^<b_1939_^>b_), is about the Mormons. His _^<b_Testament of Man_^>b_ sequence covers the whole of human history, extending into many volumes
the basic strategy which shapes several novels by F. Britten _^<a_!T313_AUSTIN_^>a_, the 6 vols of Johannes V. _^<a_!T3890_JENSEN_^>a_'s _^<i_The Long Journey_^>i_ (_^<b_1922-4_^>b_) and other early-20th-century celebrations of the drama of
_^<a_!T6717_EVOLUTION_^>a_. Of sf interest in the _^<b_Testament_^>b_ are the first 5 titles, which deal with prehistory: _^<i_Darkness and the Deep_^>i_ (_^<b_1943_^>b_), _^<i_The Golden Rooms_^>i_ (_^<b_1944_^>b_), _^<i_Intimations of Eve_^>i_
(_^<b_1946_^>b_), _^<i_Adam and the Serpent_^>i_ (_^<b_1947_^>b_) and _^<i_The Divine Passion_^>i_ (_^<b_1948_^>b_), which comprise a formidable attempt at sustained anthropological sf. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T29_ADAM AND EVE_^>a_;
_^<a_!T1727_ORIGIN OF MAN_^>a_.
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FISK, NICHOLAS
-T-
Pseudonym of UK author David Higginbottom (1923- ), who writes exclusively for children. His first sf tale was _^<i_Space Hostages_^>i_ (_^<b_1967_^>b_), in which his tastes for _^<a_!T4288_HARD-SF_^>a_ backgrounds and realistically flawed
protagonists were competently expressed. The former reaches full expression in tales like _^<i_Trillions_^>i_ (_^<b_1971_^>b_) and _^<i_Antigrav_^>i_ (_^<b_1978_^>b_). _^<i_A Rag, a Bone, and a Hank of Hair_^>i_ (_^<b_1980_^>b_), on the other hand,
gravely and movingly concentrates on its emotionally torn protagonist, a young genius in an arid far-future _^<a_!T1370_DYSTOPIA_^>a_ commanded to observe a small family of reconstructed "primitives", who have been drugged into repeating the same
fake 1940 day over and over again, so that he may garner experimental data about raw humans. In the end, both family and protagonist are killed by the masters of the terrible world. NF is a smooth writer, but the world he envisages -- as
demonstrated in _^<i_A Hole in the Head_^>i_ (_^<b_1991_^>b_), a harrowing tale of the Earth at the brink of ecological catastrophe -- is fraught. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Grinny_^>i_ (_^<b_1973_^>b_); _^<i_High Way Home_^>i_
(_^<b_1973_^>b_); _^<i_Little Green Spacemen_^>i_ (_^<b_1974_^>b_ chap); _^<i_The Witches of Wimmering_^>i_ (_^<b_1976_^>b_); _^<i_Wheelie in the Stars_^>i_ (_^<b_1976_^>b_ chap); _^<i_Time Trap_^>i_ (_^<b_1976_^>b_); _^<i_Escape from
(1919-1983) US writer of politically oriented fiction and other works who became a naturalized Irish citizen. His first sf novel, _^<i_The Iron Hoop_^>i_ (_^<b_1949_^>b_), describes an occupied city in WWIII. _^<i_When the Kissing Had to Stop_^>i_
(_^<b_1960_^>b_) depicts in Anglophobe terms the self-destruction of a UK dominated by a Communist-inspired government. Less known but more remarkable, _^<i_The Golden Age_^>i_ (_^<b_1975_^>b_) treats the post-_^<a_!T4482_HOLOCAUST_^>a_
recuperation of the UK in terms of the myth of Orpheus. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_The Rat Report_^>i_ (_^<b_1980_^>b_).
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FITZ-GIBBON, RALPH EDGERTON
-T-
(_^<i_c_^>i_1904- ) US writer, long active as a journalist. His sf novel, _^<i_The Man with Two Bodies_^>i_ (_^<b_1952_^>b_), offers parapsychological explanations for the mysteries suggested by the title. [JC]_^<n__^<n_
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FIVE
-T-
Film (1951). Columbia. Prod, written, dir Arch Oboler, starring Susan Douglas, William Phipps, James Anderson, Charles Lampkin, Earl Lee. 93 mins, cut to 89 mins (UK). B/w._^<n__^<n_The first "after the bomb" film, _^<i_F_^>i_ concerns five US
survivors -- a mountaineer, a pregnant girl, a token Black, a cashier and an adventurer. This is a gloomy art film with low-budget, grainy photography, a scientifically bogus explanation for the five's survival, much talking, a racial murder and
two deaths from radiation, but the theme itself retains some power. Oboler had worked extensively in radio before entering the film industry in 1945 with _^<i_Strange Holiday_^>i_ and _^<i_Bewitched_^>i_, both based on his own radio plays.
_^<i_F_^>i_ is basically a sermon against the prejudices and insanities that may lead to atomic war. [JB/PN]_^<n__^<n_
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FIVE MILLION YEARS TO EARTH
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> _^<a_!T2447_QUATERMASS AND THE PIT_^>a_._^<n__^<n_
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FIXUP
-T-
A term first used by A.E. _^<a_!T5333_VAN VOGT_^>a_ to describe a book made up of previously published stories fitted together -- usually with the addition of newly written or published cementing material -- so that they read as a novel. Aware that
fixups are immensely more common in _^<a_!T4659_GENRE SF_^>a_ than in any other literature in the world, we borrowed the term for the 1979 edition of this encyclopedia, and continue to use it now; an example is van Vogt's own _^<i__^<a_!B9228_THE
WEAPON SHOPS OF ISHER_^>a__^>i_ (fixup _^<b_1951_^>b_). We do, however, recognize that it is not always an easy description to apply with accuracy. It is, for instance, sometimes impossible to know whether or not a series of connected stories has
in fact been extracted from an already-written book, which for some would make it impossible to describe that book as a fixup; some readers and authors, in other words, feel that the term can be applied only to novels assembled from previously
existing work._^<n__^<n_We disagree. A book which is written _^<i_so as_^>i_ to be broken up for prior magazine publication may well, in our view, constitute a perfectly legitimate example of the form, though we do recognize that when we call such
a text a fixup we are making a critical judgment as to the internal nature -- the _^<i_feel_^>i_ -- of that text. We should perhaps emphasize, therefore, that the term is not, for us, derogatory. In fact, the fixup form may arguably be ideal for
tales of epic sweep through time and space. It is perhaps no accident that Robert A _^<a_!T4376_HEINLEIN_^>a_'s seminal _^<a_!T4655_GENERATION-STARSHIP_^>a_ tale, "Universe" (1941), ultimately became part of _^<i_Orphans of the Sky_^>i_ (fixup
_^<b_1963_^>b_ UK). [JC]_^<n__^<n_
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FLAGG, FRANCIS
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Pseudonym of US writer George Henry Weiss (?1898-1946), who appeared in _^<i_Weird Tales_^>i_ and then began publishing sf with "The Machine Man of Ardathia" for _^<i_AMZ_^>i_ in 1927. He published 20 or so typical pulp-sf stories over the next
decade, some of his later work being in collaboration with Forrest J. _^<a_!T22_ACKERMAN_^>a_. He was a comparatively careful writer. In his posthumously published sf tale, _^<i_The Night People_^>i_ (_^<b_1947_^>b_ chap), an escaped convict takes
a drug-induced trip to another planet. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T277_ASTOUNDING SCIENCE-FICTION_^>a_; _^<a_!T5141_CANADA_^>a_.
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FLAMMARION, (NICHOLAS) CAMILLE
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(1842-1925) French astronomer and writer. One of the first major popularizers of _^<a_!T283_ASTRONOMY_^>a_, he took great delight in the flights of imagination to which his studies in _^<a_!T902_COSMOLOGY_^>a_ inspired him. In 1858, the year he
entered the Paris Observatory as a student, he wrote an unpublished scientific romance, <Voyage extatique aux reegions lunaires, correspondence d'un philosophe adolescent>. His two major fascinations were the possibilities of _^<a_!T3385_LIFE ON
OTHER WORLDS_^>a_ and of life after death, and these interests are reflected by his earliest major works: _^<i_La pluralite des mondes habites_^>i_ ["The Plurality of Inhabited Worlds"] (_^<b_1862_^>b_) and _^<i_Les habitants de l'autre monde_^>i_
["The Inhabitants of the Other World"] (_^<b_1862_^>b_), the latter being "revelations" transmitted by the medium Mlle Huet. His most important work in the popularization of science was _^<i_Astronomie populaire_^>i_ (_^<b_1880_^>b_; trans as
_^<i_Popular Astronomy_^>i_ _^<b_1894_^>b_). He dramatized ideas from his earlier nonfiction book _^<i_Les mondes imaginaires et les mondes reels_^>i_ (_^<b_1864_^>b_; trans as _^<i_Real and Imaginary Worlds_^>i_ _^<b_1865_^>b_ US) in three of his
_^<i_Recits de l'infini_^>i_ (coll _^<b_1872_^>b_; trans S.R. Crocker as _^<i_Stories of Infinity_^>i_ _^<b_1874_^>b_ US): "The History of a Comet", "Lumen" and "In Infinity". The second, consisting of a series of dialogues between a man and a
disembodied spirit which is free to roam the Universe at will, includes observations about the implications of the finite velocity of light and many images of otherworldly life adapted to _^<a_!T98_ALIEN_^>a_ circumstances. These stories were
revised and expanded for separate publication as _^<i_Lumen_^>i_ (_^<b_1887_^>b_; trans A.M. and R.M., with some new material, _^<b_1897_^>b_ US). Notions taken from these dialogues were embodied in the _^<a_!T2548_REINCARNATION_^>a_ romances
_^<i_Stella_^>i_ (_^<b_1877_^>b_ France) and _^<i_Uranie_^>i_ (_^<b_1889_^>b_; trans Mary Serrano as _^<i_Uranie_^>i_ _^<b_1890_^>b_ US; new trans Augusta Rice Stetson as _^<i_Urania_^>i_ _^<b_1891_^>b_ US). CF's boldest _^<a_!T2878_SCIENTIFIC
ROMANCE_^>a_, however, is _^<i_La fin du monde_^>i_ (_^<b_1893-4_^>b_; trans anon as _^<i_Omega: The Last Days of the World_^>i_ _^<b_1897_^>b_ US), an epic of the future. Although it is as much essay as story, this is a notable work, akin to H.G.
_^<a_!T5528_WELLS_^>a_'s _^<i__^<a_!B9070_THE TIME MACHINE_^>a__^>i_ (_^<b_1895_^>b_) and William Hope _^<a_!T4459_HODGSON_^>a_'s _^<i_The House on the Borderland_^>i_ (_^<b_1908_^>b_) in presenting a striking vision of the _^<a_!T6661_END OF THE
WORLD_^>a_. CF's scientific reputation was injured by his passionate interest in Spiritualism (in later life he was an intimate of Arthur Conan _^<a_!T1312_DOYLE_^>a_), but his was a major contribution to the popularization of science and to the
literature of the scientific imagination. [BS]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T6694_ESCHATOLOGY_^>a_; _^<a_!T6717_EVOLUTION_^>a_; _^<a_!T1432_FAR FUTURE_^>a_; _^<a_!T1443_FASTER THAN LIGHT_^>a_; _^<a_!T1590_FRANCE_^>a_; _^<a_!T4443_HISTORY OF
_^<b_1._^>b_ US _^<a_!T820_COMIC_^>a_ strip created by artist Alex _^<a_!T2513_RAYMOND_^>a_ for King Features Syndicate. _^<i_FG_^>i_ appeared in 1934, at first in Sunday, later in daily newspapers. Its elaborately shaded style and exotic storyline
made it one of the most influential sf strips. It was taken over in 1944 by Austin Briggs, then in 1948 by Mac Raboy, and since then has been drawn by Dan Barry (with contributions from artists Harvey Kurtzman and Wally _^<a_!T6160_WOOD_^>a_ and
writer Harry _^<a_!T4316_HARRISON_^>a_) and Al Williamson, and more recently written by Bruce Jones and illustrated by Gray _^<a_!T3069_MORROW_^>a_. Various episodes have been released in comic-book form -- including a 9-part series from
_^<a_!T1115_DC COMICS_^>a_ written and drawn by Dan Jurgens (1988) -- and also in book form. It continues today._^<n__^<n_The scenario of _^<i_FG_^>i_ is archetypal _^<a_!T2342_SPACE OPERA_^>a_. Most episodes feature Flash locked in combat with the
villain, Ming the Merciless of the planet Mongo. Flash's perpetual fiancee, Dale Arden, and the mad _^<a_!T2880_SCIENTIST_^>a_ Hans Zarkov play prominent roles. (In later episodes Zarkov's craziness was played down and he became a straightforward
sidekick to Flash.) The decor shifts between the futuristic (_^<a_!T1128_DEATH RAYS_^>a_, rocketships) and the archaic (dinosaurs, jungles, swordplay) with a fine contempt for plausibility, rather in the manner of Edgar Rice
_^<a_!T5097_BURROUGHS_^>a_'s romances. Although begun quite cynically in conscious opposition to the earlier _^<a_!T5063_BUCK ROGERS IN THE 25TH CENTURY_^>a_, _^<i_FG_^>i_ quickly developed its own individuality, emphasizing a romantic baroque
against the cool technological classicism of its predecessor, to which it is artistically very much superior._^<n__^<n_The strip was widely syndicated in Europe. When, during WWII, the arrival of various episodes was delayed, the strip was often
written and drawn by Europeans. One such writer was Federico Fellini (1920- )._^<n__^<n_The _^<i_FG_^>i_ comic strip has had many repercussions in other media. It led to a popular radio serial, to a short-lived pulp magazine (_^<a_!T1519_FLASH
GORDON STRANGE ADVENTURE MAGAZINE_^>a_), and in the late 1930s to several film serials starring Buster Crabbe; later came a tv series and a film (see below). A full-length film parody, _^<a_!T1529_FLESH GORDON_^>a_, appeared in 1974.The radio
serial exactly paralleled the Sunday comic strip, so you could see in the paper the monsters you'd heard on the radio._^<n__^<n_An early FG novel was _^<i_Flash Gordon in the Caverns of Mongo_^>i_ (_^<b_1937_^>b_) by Raymond. A paperback series of
five _^<i_FG_^>i_ short novels, based on the original strips, with Alex Raymond credited, consisted of _^<i_Flash Gordon 1: The Lion Men of Mongo_^>i_ * (_^<b_1974_^>b_), _^<i_Flash Gordon 2: The Plague of Sound_^>i_ * (_^<b_1974_^>b_), _^<i_Flash
Gordon 3: The Space Circus_^>i_ * (_^<b_1974_^>b_), _^<i_Flash Gordon 4: The Time Trap of Ming XIII_^>i_ * (_^<b_1974_^>b_) and _^<i_Flash Gordon 5: The Witch Queen of Mongo_^>i_ * (_^<b_1974_^>b_). The first four were "adapted by Con Steffanson",
a house name; #1-#3 were the work of Ron _^<a_!T4785_GOULART_^>a_; #4 was by Carson Bingham (Bruce Bingham _^<a_!T6548_CASSIDAY_^>a_) and #5, also by Bingham, was published under his name._^<n__^<n__^<b_2._^>b_ Serial film. 13 2-reel episodes
(1936). Universal. Dir Frederick Stephani, starring Buster Crabbe, Jean Rogers, Charles Middleton, Frank Shannon, Priscilla Lawson. Screenplay Stephani, George Plympton, Basil Dickey, Ella O'Neill, based on the comic strip. B/w._^<n__^<n_The film
_^<i_FG_^>i_ was the nearest thing to _^<a_!T2033_PULP-MAGAZINE_^>a_ space opera to appear on the screen during the 1930s. Flash, Dale and Zarkov go to the planet Mongo in Zarkov's backyard-built spaceship to find the cause of an outbreak of
volcanic activity on Earth. Ming the Merciless (a wonderfully hammy performance from Middleton) is behind it all and plans to invade Earth. Our heroes spend the next 12 episodes surviving various exotic hazards before outwitting Ming in the final
reel. Though more lavish than the average serial (the budget was a record $350,000), _^<i_FG_^>i_ has the cheap appearance of most: unconvincing special effects, sets and costumes borrowed from a variety of other films, and plenty of stock footage.
However, it remains great fun, romantic and fantastical. Ill edited versions of the first and second halves were released theatrically as _^<i_Spaceship to the Unknown_^>i_ (1936) (97 mins) and _^<i_Perils from the Planet Mongo_^>i_ (1936) (91
mins)._^<n__^<n_The follow-up was _^<i_Flash Gordon's Trip to Mars_^>i_ (1938), dirs Ford Beebe, Robert F. Hill, with the same leading actors -- Ming is back again -- and Beatrice Roberts as the evil queen who turns humans to "clay people". 15
two-reel episodes. Screenplay Ray Trampe, Norman S. Hall, Wyndham Gittens, Herbert Dolmas. The setting is changed from Mongo to Mars. The 99min edited-down version was _^<i_The Deadly Ray from Mars_^>i_ (1938)._^<n__^<n_The final _^<i_FG_^>i_ movie
serial was _^<i_Flash Gordon Conquers the Universe_^>i_(1940; vt _^<i_Flash Gordon: Space Soldiers Conquer the Universe_^>i_), dir Ford Beebe, Ray Taylor, with the same leadingactors except that Carol Hughes replaced Jean Rogers as Dale Arden.12
two-reel episodes. Screenplay George H. Plympton, Basil Dickey, Barry Shipman. This, the weakest of the three, kills off Ming (again) at the end. According to one account the true title shown on the original episodes was _^<i_Flash Gordon: Space
Soldiers Conquer the Universe_^>i_; the soldiers would have been Ming's, and Flash is trying to stop him. This would explain the oddity of the usually accepted title, since Flash was not a universe-conqueror by disposition.The 87min edited-down
version was _^<i_Purple Death From Outer Space_^>i_ (1940)._^<n__^<n_The three _^<i_FG_^>i_ film serials continue to have a cult following and are regularly revived on tv and in the cinema._^<n__^<n__^<b_3._^>b_ US tv series (1951) from DuMont,
starring Steve Holland. It was low-budget and universally execrated, lasting only one season._^<n__^<n__^<b_4._^>b_ Film (1980). Columbia/EMI/Warner. Prod Dino De Laurentiis. Dir Michael Hodges, starring Sam J. Jones, Melody Anderson, Topol, Max
Von Sydow, Brian Blessed, Timothy Dalton. Screenplay Lorenzo Semple Jr, based on the early episodes of the comic strip by Raymond. 115 mins. Colour._^<n__^<n_As a producer, De Laurentiis has always had a weakness for over-the-top, fantastic
parodies (sometimes successful, as in _^<a_!T1218_DIABOLIK_^>a_ [1967] and _^<a_!T398_BARBARELLA_^>a_ [1967]) but here his instincts let him down badly. Apart from the fetishistic costumes (leather, spikes, etc.) there is little of interest in this
tongue-in-cheek, lurid fantasy, which tries to make a comic-strip virtue of wooden acting. The plot is largely derived from the 1936 film serial, and the rushed special effects similarly recall the ludicrousness of that film. The romantic elements
are subjugated to a rather listless kinkiness. [PN/JB]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T726_CINEMA_^>a_.
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FLASH GORDON CONQUERS THE UNIVERSE
-T-
> _^<a_!T1517_FLASH GORDON_^>a_._^<n__^<n_
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FLASH GORDON STRANGE ADVENTURE MAGAZINE
-T-
US _^<a_!T492_BEDSHEET_^>a_-size _^<a_!T2033_PULP MAGAZINE_^>a_. 1 issue, Dec 1936, published by C.J.H. Publications; ed Harold _^<a_!T4400_HERSEY_^>a_. The featured novel was "The Master of Mars" by James E. Northfield. _^<i_FGSAM_^>i_, intended to
be a monthly juvenile magazine, was notable for its coloured interior illustrations in a comic-strip format. A failed attempt to cash in on the popularity of the comic strip _^<a_!T1517_FLASH GORDON_^>a_, its sole issue is now a rare collector's
item. [FHP/MJE]_^<n__^<n_
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FLASH GORDON'S TRIP TO MARS
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> _^<a_!T1517_FLASH GORDON_^>a_._^<n__^<n_
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FLECKER, (HERMAN) JAMES ELROY
-T-
(1884-1915) UK poet, playwright and novelist best known for _^<i_Hassan_^>i_ (_^<b_1922_^>b_), a fantasy play with an Arabian Nights flavour. His only novel, _^<i_The King of Alsander_^>i_ (_^<b_1914_^>b_), was also a fantasy. He is of sf interest
for _^<i_The Last Generation: A Story of the Future_^>i_ (_^<b_1908_^>b_ chap), whose narrator is spirited into times moderately close to the present where he witnesses the self-willed extinction of the human race through a refusal to breed more
children into this vale of tears. The narrator is then taken much further forward, where he discovers that apes (see _^<a_!T206_APES AND CAVEMEN_^>a_) are destined to become the masters of the planet and "try again". This tale was later collected
along with some fantasies in _^<i_Collected Prose_^>i_ (coll _^<b_1920_^>b_). [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T6661_END OF THE WORLD_^>a_.
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FLEHR, PAUL
-T-
[s] > Frederik _^<a_!T1937_POHL_^>a_._^<n__^<n_
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FLEMING, HARRY
-T-
> William Henry Fleming _^<a_!T616_BIRD_^>a_._^<n__^<n_
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FLEMING, IAN (LANCASTER)
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(1908-1964) UK writer, brother of Peter _^<a_!T1525_FLEMING_^>a_. Neither the use of advanced technological gadgetry nor the fantastic plots of his enormously successful _^<b_James Bond_^>b_ sequence of thrillers makes them genuine sf. The closest
any of them comes to an sf plot is _^<i_Moonraker_^>i_ (_^<b_1955_^>b_), whose eponymous rocket is rather ahead of its time. Many of IF's novels have been filmed, usually with additional sf-like gadgetry and completely reworked plots. The first of
these films was _^<a_!T1265_DR NO_^>a_ (1962); _^<a_!T6244_YOU ONLY LIVE TWICE_^>a_ (1967) featured Bond crushing an attempt at world domination which involved the kidnapping of orbital satellites. _^<a_!T3028_MOONRAKER_^>a_ (1979) involves an
orbital satellite and the Space Shuttle. [JC/PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T3823_ISLANDS_^>a_; _^<a_!T5917_TECHNOTHRILLER_^>a_; _^<a_!T5372_VILLAINS_^>a_.
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FLEMING, (ROBERT) PETER
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(1907-1971) UK travel writer and novelist, brother of Ian _^<a_!T1524_FLEMING_^>a_. He is known mainly for such travel books as _^<i_Brazilian Adventure_^>i_ (_^<b_1933_^>b_). In his spoof sf novel, _^<i_The Flying Visit_^>i_ (_^<b_1940_^>b_), Adolf
Hitler parachutes into the UK with amusing results. The tale was reprinted, along with a fantasy, "The Man with Two Hands", in _^<i_With the Guards to Mexico! and Other Excursions_^>i_ (coll _^<b_1957_^>b_). _^<i_The Sixth Column: A Singular Tale
of our Time_^>i_ (_^<b_1951_^>b_), a satirical political thriller set in an implied _^<a_!T6337_NEAR FUTURE_^>a_, verges on sf. [JC]_^<n__^<n__^<b_Other works:_^>b_ Some of the tales in _^<i_A Story to Tell_^>i_ (coll _^<b_1942_^>b_) are fantasies;
_^<i_Invasion 1940_^>i_ (_^<b_1957_^>b_; vt _^<i_Operation Sea Lion_^>i_ 1957 US), a nonfiction study of German preparations to invade the UK, speculatively presents a successful assault (> _^<a_!T4446_HITLER WINS_^>a_).
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FLEMING, STUART
-T-
[s] > Damon _^<a_!T4098_KNIGHT_^>a_._^<n__^<n_
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FLESCH, HANS
-T-
[r] > _^<a_!T4667_GERMANY_^>a_._^<n__^<n_
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FLESH FOR FRANKENSTEIN
-T-
> _^<a_!T1599_FRANKENSTEIN_^>a_._^<n__^<n_
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FLESH GORDON
-T-
Film (1974). Mammoth/Graffiti. Dir Michael Benveniste, Howard Ziehm, starring Jason Williams, Suzanne Fields, John Hoyt. Screenplay Benveniste, William Hunt. 90 mins, cut to 84 mins, cut to 78 mins. Colour._^<n__^<n_This burlesque of
_^<a_!T1517_FLASH GORDON_^>a_ began as a cheap soft-porn film, but became relatively expensive as the special effects became more elaborate. Work on it continued for nearly two years and many special-effects technicians were involved, some
uncredited; they included Jim Danforth, Dave Allen, Rick Baker, Greg Jein, George Barr and Dennis Muren. Several of the effects sequences include model animation of a high standard, in particular the climax, when a monster, the Great God Porno,
clutching the heroine, scales a building in the manner of _^<a_!T4072_KING KONG_^>a_ while muttering a series of surly asides. A duel with an animated insect-creature rivals the best of Ray _^<a_!T4322_HARRYHAUSEN_^>a_'s work. The makers were so
pleased with the effects that they cleaned it up a bit, and it was released without the feared X-rating. Most of the jokes are variants on the undergraduate ploy of inserting sexual references -- e.g., there is a penisaurus -- into a context that
was originally downright puritanical. [JB]_^<n__^<n_
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FLETCHER, GEORGE U.
-T-
> Fletcher _^<a_!T1976_PRATT_^>a_._^<n__^<n_
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FLETCHER, JOSEPH SMITH
-T-
(1863-1935) UK writer of popular fiction, much of it for boys. _^<i_The Wonderful City_^>i_ (_^<b_1894_^>b_), for instance, carries its youthful protagonist to a doomed lost race (>_^<a_!T3460_LOST WORLDS_^>a_) in Central America. _^<i_Morrison's
Machine_^>i_ (_^<b_1900_^>b_), an adult tale, analyses the relationship of scientific Man to the _^<a_!T3540_MACHINES_^>a_ he was creating at the turn of the century (> _^<a_!T2880_SCIENTISTS_^>a_). _^<i_The Three Days' Terror_^>i_
(_^<b_1901_^>b_), like _^<i_The Ransom for London_^>i_ (_^<b_1914_^>b_), deals with _^<a_!T6337_NEAR-FUTURE_^>a_ threats to the stability of the UK. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_The Air-Ship, and Other Stories_^>i_ (coll
_^<b_1903_^>b_); _^<i_The Wheatstack, and Other Stories_^>i_ (coll _^<b_1909_^>b_); _^<i_Many Engagements_^>i_ (coll _^<b_1923_^>b_); _^<i_The Matheson Formula_^>i_ (_^<b_1929_^>b_ US); _^<i_The House in Tuesday Market_^>i_ (_^<b_1930_^>b_);
_^<i_The Man in No. 3, and Other Stories of Crime, Love and Mystery_^>i_ (coll _^<b_1931_^>b_).
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FLIGHT OF THE NAVIGATOR
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Film (1986). Producers Sales/New Star Entertainment/Walt Disney. Dir Randal Kleiser, starring Joey Cramer, Veronica Cartwright, Cliff De Young, Howard Hesseman, Paul Mall. Screenplay Michael Burton, Matt MacManus, based on a story by Mark H. Baker.
89 mins. Colour._^<n__^<n_Made for children, this might -- one would think -- be rather disturbing for them. A 12-year-old (Cramer) returns home after a fall and finds the wrong people living there. The police take him to where his family now live,
where he learns that it is eight years later, that he has been missing, presumed dead, and that his kid brother has become his post-pubertal big brother. Tests reveal that our hero has strange brainwaves, some of which are read by a computer as a
picture of a flying saucer, just like one that has recently been found but has proved unopenable. The boy locates the saucer and meets inside it the robotic alien Max (Mall), who clearly recognizes him, addressing him as The Navigator, an aspect of
his recent past which is news to him, since he lost his memory after the saucer's crashlanding. Because he has been travelling at _^<a_!T1443_FASTER-THAN-LIGHT_^>a_ speeds to the alien's planet and back, the boy has not grown noticeably older.
Unhappy at his role in this unnerving future, he persuades Max to return him (normality comfortingly restored) back through time to 1978. This film presents what is actually rather a nightmare scenario, and carries it off with considerable aplomb
for the first half; but it sinks quickly into routine post-_^<a_!T6704_E.T.: THE EXTRATERRESTRIAL_^>a_ scenes once the flying saucer and alien have been introduced. [PN]_^<n__^<n_
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FLIGHT UNLIMITED
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> _^<a_!T2160_SHAYOL_^>a_._^<n__^<n_
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FLINT, HOMER EON
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(1892-1924) US writer (born Flindt) whose work appeared mainly in the Frank A. _^<a_!T3106_MUNSEY_^>a_ magazines from the teens of the century. His first sf story was "The Planeteer" for _^<i_All-Story Weekly_^>i_ in 1918; it deals with sexual
rivalry and personal ambition in a Bellamistic (> Edward _^<a_!T514_BELLAMY_^>a_) society. Its sequel, "The King of Conserve Island" (1918), describes the corruption and collapse of the socialist world under the propaganda attacks of a reactionary,
capitalist society. The _^<b_Dr Kinney_^>b_ stories examine the implications of various political ideas: "The Lord of Death" (1919) describes the ultimate Spencerian survival of the fittest on _^<a_!T2902_MERCURY_^>a_; "The Queen of Life" (1919) is
based on the opposite point of view, preservation of life for its own sake and Malthusianism on a _^<a_!T5351_VENUS_^>a_ characterized by superscience; "The Devolutionist" (1921) covers the ambivalences of an efficient, more or less benevolent
dictatorship and a bumblingly anarchistic or democratic underground; and the final story, "The Emancipatrix" (1921), contrasts a hive world and primitive humans on a ring-shaped planet. In the last two stories, the alien contact takes place by
means of an apparatus acquired from Venus. HEF's writing style and _^<a_!T2033_PULP-MAGAZINE_^>a_ habits did not always adequately express his deep interest in the emergence of behavioural and historical patterns from various political and social
philosophies. The series was much later assembled as _^<i_The Devolutionist and The Emancipatrix_^>i_ (1921 _^<i_Argosy_^>i_; coll of linked stories _^<b_1965_^>b_) and _^<i_The Lord of Death and The Queen of Life_^>i_ (1919 _^<i_All-Story
Weekly_^>i_; coll of linked stories _^<b_1965_^>b_)._^<n__^<n_HEF is remembered in part for the mystery of his death (having picked up a hitchhiker -- who turned out to have had a criminal record -- he was found dead in his crashed car) and rather
more for his sf novel with Austin _^<a_!T6356_HALL_^>a_ (_^<i_whom see for details_^>i_), _^<i_The Blind Spot_^>i_ (1921 _^<i_Argosy_^>i_; _^<b_1951_^>b_). However, the _^<b_Dr Kinney_^>b_ stories are his real legacy. [EFB/JC]_^<n__^<n__^<b_See
also:_^>b_ _^<a_!T4443_HISTORY OF SF_^>a_; _^<a_!T1794_PARALLEL WORLDS_^>a_; _^<a_!T1913_PLANETARY ROMANCE_^>a_.
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FLIPSIDE OF DOMINICK HIDE, THE
-T-
Made-for-tv film (1980). BBC TV. Dir Alan Gibson, starring Peter Firth, Caroline Langrishe, Pippa Guard, Patrick Magee. Teleplay Gibson, Jeremy Paul. 95 mins. Colour._^<n__^<n_This was an unexpected success, winning several awards. Hide (Firth)
travels back in a flying saucer (> _^<a_!T5273_UFOS_^>a_) from the somewhat austere AD2130 to contemporary London to do historical research. A Candide-figure, he is confused but cheerful about what he finds, falls in love, and (of course) becomes
his own great-great-great-grandfather. This film is unusual in not being pessimistic about modern life, and uses its future perspective cleverly to provide a sort of instant nostalgia for the present day. The sequel, _^<i_Another Flip for
Dominick_^>i_ (1982), 85 mins, made by and starring the same people, has Hide revisiting the past in search of a missing colleague; it is less memorable. [PN]_^<n__^<n_
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FLUTE, MOLLY
-T-
> Eileen _^<a_!T3462_LOTTMAN_^>a_._^<n__^<n_
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FLY, THE
-T-
_^<b_1._^>b_ Film (1958). 20th Century-Fox. Dir Kurt Neumann, starring Al (David) Hedison, Patricia Owens, Vincent Price. Screenplay James Clavell, based on "The Fly" (1957) by George _^<a_!T4185_LANGELAAN_^>a_. 94 mins. Colour._^<n__^<n_A scientist
experimenting with _^<a_!T3721_MATTER TRANSMISSION_^>a_ accidentally gets mixed with a fly and ends up with its head and arm (or leg). He has retained his own brain, however, and with the help of his wife tries to reverse the procedure. But the
complementarily deformed fly refuses to be caught, and the scientist is driven to commit suicide by putting his head in a steam press. The final sequence shows the fly, with tiny scientist's head and arm, trapped in a spider's web and screaming
"Help me!" (which makes one wonder where the fly's brain ended up). An absurd film whose ludicrous excesses are amusing, and lavishly produced for a horror/_^<a_!T3008_MONSTER_^>a_ movie, it was a financial success and spawned two low-budget
sequels, _^<a_!T2565_RETURN OF THE FLY_^>a_ (1959) and _^<a_!T1003_CURSE OF THE FLY_^>a_ (1965). [JB]_^<n__^<n__^<b_2._^>b_ Film (1986). Brooksfilms/20th Century-Fox. Dir David _^<a_!T970_CRONENBERG_^>a_, starring Jeff Goldblum, Geena Davis, John
Getz. Screenplay Charles Edward Pogue, Cronenberg, based on the Langelaan story. 100 mins, cut to 96 mins. Colour._^<n__^<n_This blackly comic remake is radically more sophisticated and more horrific than its original. In this version the (this
time unmarried) scientist's accident leads to a melding of genetic material, and his transformation into fly is gradual and protracted. With it comes a sexual and creative potency and a capacity for destruction hitherto only latent in the
idealistic, repressed Seth Brundle, movingly acted by Goldblum. As usual Cronenberg confronts the vulnerable and ephemeral nature of the human body by imagining it metamorphosed; where other people use words to create metaphor, Cronenberg uses the
flesh, ambiguously evoking exultation and disgust, the grotesque and the beautiful. [PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T726_CINEMA_^>a_; _^<a_!T2115_SEX_^>a_.
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FLY II, THE
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Film (1989). Brooksfilms/20th Century-Fox. Dir Chris Walas, starring Eric Stoltz, Daphne Zuniga, Lee Richardson. Screenplay Mick Garris, Jim Wheat, Ken Wheat, Frank Darabont, based on a story by Garris. 104 mins. Colour._^<n__^<n_This is a genuine
sequel to the 1986 remake of _^<i_The_^<a_!T1537_FLY_^>a__^>i_ , not just a lame excuse for more horrific "fly" effects. Chris Walas, the skilled technician who created those effects for the earlier film, here made his directorial debut, and
surprised many by doing so assured a job of it. Seth Brundle's girlfriend, made pregnant by him in the previous film, dies after giving birth to a "monster"; beneath the larva-like casing is an apparently normal baby. At age 5, however, the child
has a near-adult appearance and superintelligence. His adoptive father, head of Bartok Industries, is secretly determined to exploit both Brundle's son and his _^<a_!T3721_MATTER-TRANSMISSION_^>a_ device, realizing that the genetic melding the
device allows gives him a handle for controlling "the form and function of all life". The subtext is more reassuring than in _^<a_!T970_CRONENBERG_^>a_'s earlier film, and _^<i_TFII_^>i_ becomes a retelling of _^<i_Beauty and the Beast_^>i_, with a
crude but satisfying comeuppance for Bartok at the end. Though Cronenberg is the one popularly supposed to show disgust for the flesh, it is Walas whose more conventional affection for normality has the effect of reducing the son's metamorphosis to
a mere occasion for horror. This deeply conservative film is less subtle than its predecessor, though it has interesting Freudian reverberations, and many people will prefer Walas's emphasis on the corruption of an external agency (Industry) to
Cronenberg's emphasis on the tragic divisions of the Self. [PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T726_CINEMA_^>a_; _^<a_!T3011_MONSTER MOVIES_^>a_.
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FLYING SAUCERS
-T-
>_^<a_!T5273_ UFOS_^>a_._^<n__^<n_
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FLYING SAUCERS FROM OTHER WORLDS
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> _^<a_!T1738_OTHER WORLDS_^>a_._^<n__^<n_
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FLYNN, MICHAEL F(RANCIS)
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(1947- ) US writer who began publishing sf with "Slan Libh" in _^<i_ASF_^>i_ in 1984, and who soon became identified as one of the most sophisticated and stylistically acute 1980s _^<i_Analog_^>i_ regulars, some of his work appearing as by
Rowland Shew. His first novel, _^<i_In the Country of the Blind_^>i_ (_^<b_1990_^>b_), is an alternate-history thriller based on the premise that Charles _^<a_!T340_BABBAGE_^>a_'s early-19th-century _^<a_!T826_COMPUTER_^>a_ did in fact work, and is
being used by a secret society to predict (and therefore to control) events. A 20th-century woman hacker discovers the conspiracy and exposes its databases by use of a computer worm. Babbage's computer, by coincidence, features similarly in
_^<i__^<a_!B9058_THE DIFFERENCE ENGINE_^>a__^>i_ (1990 UK) by William _^<a_!T4689_GIBSON_^>a_ and Bruce _^<a_!T5717_STERLING_^>a_. MFF's second novel was _^<i_Fallen Angels_^>i_ (_^<b_1991_^>b_) with Larry _^<a_!T3223_NIVEN_^>a_ (_^<i_whom see for
details_^>i_) and Jerry _^<a_!T1961_POURNELLE_^>a_. His third, _^<i_The Nanotech Chronicles_^>i_ (_^<b_1991_^>b_), presents, with all MFF's engagingly lurid competence, a tale which exploits current speculations about the future of molecular
engineering. MFF is on the verge of becoming a central creator of _^<a_!T4288_HARD SF_^>a_. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T277_ASTOUNDING SCIENCE-FICTION_^>a_; _^<a_!T3540_MACHINES_^>a_; _^<a_!T5694_STEAMPUNK_^>a_.
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FOLDES, PETER
-T-
[r] > _^<a_!T6355_HUNGARY_^>a_._^<n__^<n_
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FOLINGSBY, KENNETH
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A possible pseudonym of a probable Scotsman whose _^<i_Meda: A Tale of the Future_^>i_ (_^<b_1891_^>b_), though the events it recounts turn out to be a dream, remains of interest for the imaginative scope of the AD5575 depicted, in which
large-headed brainy "Scotonians" are fed by ambient electricity, possess _^<a_!T198_ANTIGRAVITY_^>a_, and represent the end of a long (and detailed) world-history, including a comet _^<a_!T4482_HOLOCAUST_^>a_. The protagonist begins to have erotic
longings, and awakens. [JC]_^<n__^<n_
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FOLLETT, JAMES
-T-
(1939- ) UK writer of fiction and technical material; most of his sf work has been for BBC TV or BBC _^<a_!T2480_RADIO_^>a_. His sf work, which is not remarkable, includes: _^<i_The Doomsday Ultimatum_^>i_ (_^<b_1976_^>b_); _^<i_Ice_^>i_
(_^<b_1978_^>b_); _^<i_Earth Search_^>i_ (_^<b_1981_^>b_), based on his BBC radio serial; _^<i_Torus_^>i_ (_^<b_1990_^>b_); _^<i_Trojan_^>i_ (_^<b_1991_^>b_), about a computer virus from Mars. [JC]_^<n__^<n_
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FOLLETT, KEN
-T-
Working name of UK writer Kenneth Martin Follett (1949- ), most famous for thrillers like _^<i_Storm Island_^>i_ (_^<b_1978_^>b_; vt _^<i_The Eye of the Needle_^>i_ 1978 US), but who, under pseudonyms, has also written some sf. _^<i_The Power
Twins and the Worm Puzzle: A Science Fantasy for Young People_^>i_ (_^<b_1976_^>b_) as by Martin Martinsen was a juvenile; _^<i_Amok: King of Legend_^>i_ (_^<b_1976_^>b_) as by Bernard L. Ross was marginal fantasy; _^<i_Capricorn One_^>i_ *
(_^<b_1978_^>b_) as by Ross was one of two novelizations -- the other being by Ron _^<a_!T4785_GOULART_^>a_ -- of the film _^<a_!T5150_CAPRICORN ONE_^>a_ (1978). [JC]_^<n__^<n_
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FONTANA, D(OROTHY) C(ATHERINE)
-T-
(1939- ) US writer, primarily for tv; she was associated with _^<a_!T2429_STAR TREK_^>a_ as its story editor, eventually writing _^<i_Vulcan's Glory_^>i_ * (_^<b_1989_^>b_) for the series of novelizations. She was later involved with the two tv
series _^<i_The_^<a_!T1398_FANTASTIC JOURNEY_^>a__^>i_ and _^<a_!T3423_LOGAN'S RUN_^>a_. _^<i_The Questor Tapes_^>i_ * (_^<b_1974_^>b_) is based on a series pilot written by Gene _^<a_!T2658_RODDENBERRY_^>a_ and Gene L. Coon, who created _^<i_Star
Trek_^>i_, and released as _^<i_The _^<a_!T2459_QUESTOR TAPES_^>a__^>i_. It tells of the creation of an _^<a_!T178_ANDROID_^>a_ who eventually plans to combat evil in secret. The pilot did not lead to a series. DCF has written a number of tv
episodes in addition to her work as a story editor. [JC]_^<n__^<n__^<b_See also:_^>b__^<a_!T5465_WAR OF THE WORLDS_^>a_.
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FONTENAY, CHARLES L(OUIS)
-T-
(1917- ) US newspaperman and writer, born in Brazil and raised in Tennessee, spending his life there. He was a member of the _^<i_If_^>i_ stable from the publication of his first story, "Disqualified", in 1954, and wrote three somewhat routine sf
novels: _^<i_Twice Upon a Time_^>i_ (_^<b_1958_^>b_ dos), _^<i_Rebels of the Red Planet_^>i_ (_^<b_1961_^>b_ dos), an intrigue set on Mars, and _^<i_The Day the Oceans Overflowed_^>i_ (_^<b_1964_^>b_), in which the manner of their doing so is
scientifically ill motivated. _^<i_Epistle to the Babylonians_^>i_ (_^<b_1969_^>b_), nonfiction, deals in part with the philosophy of science. [JC]_^<n__^<n_
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FONTENELLE, BERNARD LE BOVYER DE
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(1657-1757) French man of letters whose work pointed forward to the Age of Reason; nephew of the dramatist Corneille. He wrote much, and one of his most important books became a seminal influence on _^<a_!T2013_PROTO SCIENCE FICTION_^>a_:
_^<i_Entretiens sur la pluralite des mondes habites_^>i_ (_^<b_1686_^>b_; trans J. Glanvill as _^<i_The Plurality of Worlds_^>i_ _^<b_1929_^>b_). This is one of the earliest works ever written popularizing science, notably
_^<a_!T283_ASTRONOMY_^>a_, for the layman, which it does by wittily presenting its speculations -- many about the possibility of _^<a_!T3385_LIFE ON OTHER WORLDS_^>a_ -- in the form of conversations after dinner between the author and a marquise.
In 1697 he became permanent secretary of the the Academie des Sciences, a post he held for 44 years. [PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T902_COSMOLOGY_^>a_; _^<a_!T1590_FRANCE_^>a_; _^<a_!T2422_STARS_^>a_; _^<a_!T5351_VENUS_^>a_.
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FOOD OF THE GODS
-T-
Film (1976). AIP. Prod and dir Bert I. Gordon, starring Marjoe Gortner, Pamela Franklin, Ralph Meeker, Ida Lupino. Screenplay Gordon, based on a "portion" of _^<i_The Food of the Gods and How it Came to Earth_^>i_ (_^<b_1904_^>b_) by H.G.
_^<a_!T5528_WELLS_^>a_. 88 mins. Colour._^<n__^<n_Set on an island off the coast of British Columbia, _^<i_FOTG_^>i_ tells of a miraculous foodstuff which oozes from the ground and causes gigantism in all infant creatures that eat it (>
_^<a_!T4823_GREAT AND SMALL_^>a_). Animated wasps, plastic caterpillars and out-of-focus chickens (all huge) are wholly unconvincing, but the giant rats (ordinary rats shot in miniature sets) are marginally plausible -- which is more than can be
said for most of the actors and all of the script, though Meeker is effectively creepy as the wicked industrialist out to exploit the Food. Nothing of the Wells novel survives in this rat-drowning epic, which purports to be a revenge-of-Nature film
-- like so many from its _^<a_!T6576_ECOLOGY_^>a_-conscious period. [PN]_^<n__^<n_
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FORBES, ALEXANDER
-T-
(1882-? ) US writer whose sf novel, _^<i_The Radio Gunner_^>i_ (_^<b_1924_^>b_), depicts a future _^<a_!T5452_WAR_^>a_ set in 1937 between Northern Europe, in alliance with the USA, and the Constantinople Coalition. AF's predictive powers were
poor and his eponymous hero, who knows how to locate radios, fails to enthrall. [JC]_^<n__^<n_
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FORBIDDEN PLANET
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Film (1956). MGM. Dir Fred McLeod Wilcox, starring Walter Pidgeon, Anne Francis, Leslie Nielsen, Warren Stevens. Screenplay Cyril Hume, based on a story by Irving Block and Allen _^<a_!T50_ADLER_^>a_. 98 mins. Colour._^<n__^<n_Although Wilcox was
new to sf cinema (his best-known film was _^<i_Lassie Come Home_^>i_, [1943]), _^<i_FP_^>i_ is one of the most attractive movies in the genre. Some of the more interesting resonances of _^<i_FP_^>i_ stem from its being an updated version of
Shakespeare's _^<i_The Tempest_^>i_ (_^<i_c_^>i_1611). Prospero is Morbius, an obsessive scientist living alone with his daughter Altaira (the virginal Miranda figure) on the planet Altair IV. Ariel is a charming metal creature, Robby the Robot
(who became so popular -- the first _^<a_!T2646_ROBOT_^>a_ star since _^<a_!T2926_METROPOLIS_^>a_ -- that another film, _^<i_The_^<a_!T3808_INVISIBLE BOY_^>a__^>i_ [1957], was made as a special vehicle for him). The film opens with a spaceship
landing to investigate the fate of a colony whose sole survivors are Morbius and Altaira. The crew is menaced by an invisible Caliban, which proves to be a "Monster from the Id" and eventually destroys its unwitting creator, Morbius; holocaust
follows. Altaira is saved._^<n__^<n_The plot, mixing the tawdry and the potent, is very sophisticated for the time -- astonishingly so for a film originally designed for a juvenile audience, especially in the intimations of incestuous feelings of
the father for the daughter. The dialogue is slick and unmemorable. The best sequences involve a tour of the still-functioning artefacts, spectacular and mysterious, dwarfing the humans passing among them, of an awesomely powerful vanished race,
the Krel. The visual treatment of _^<i_FP_^>i_ was unsurpassed until _^<a_!T6146_2001: A SPACE ODYSSEY_^>a_, made 12 years later. Despite its flaws, it remains one of the few masterpieces of sf cinema._^<n__^<n__^<i_Forbidden Planet_^>i_ *
(_^<b_1956_^>b_), based on the film, was by W. J. Stuart (Philip_^<n__^<n__^<a_!T3515_MACDONALD_^>a_). [PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T3787_INTELLIGENCE_^>a_; _^<a_!T3011_MONSTER MOVIES_^>a_; _^<a_!T3118_MUSIC_^>a_;
(vt _^<i__^<a_!B9176_MUTANT_^>a__^>i_) Film (1982). New World. Dir Allan Holzman, starring Jesse Vint, June Chadwick, Dawn Dunlap, Linden Chiles, Fox Harris, Raymond Oliver. Screenplay Tim Curnen. 86 mins. Colour._^<n__^<n_This cheap imitation of
_^<a_!T98_ALIEN_^>a_ (1979), from Roger _^<a_!T884_CORMAN_^>a_'s New World exploitation factory, is distinguished by its gleefully sleazy nature and amusing cynicism. An outer-space troubleshooter (Vint) is awakened from cryo-sleep (>
_^<a_!T987_CRYONICS_^>a_), casually informed that he is now younger than his son, and despatched to a remote planet where a genetically engineered organism has run amok. Although generally predictable, this is fast-paced and does produce one
astonishing coup by having its _^<a_!T3008_MONSTER_^>a_, which replicates the cell structure of anything it devours, defeated when a terminally ill scientist feeds it his own cancerous liver, an organ he has removed during anaesthetic-free
self-surgery. Vint's grimy hero imports a bit of welcome humour, and the film makes good use of the generically required exploitation elements, intercutting a formulaic sex scene with oddly poignant vignettes of the space-station staff whiling away
the time at the end of the Universe. Some of _^<i_FW_^>i_'s sets and effects crop up again in _^<a_!T177_ANDROID_^>a_ (1982). [KN]_^<n__^<n_
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FORBIN PROJECT, THE
-T-
> _^<a_!T813_COLOSSUS, THE FORBIN PROJECT_^>a_._^<n__^<n_
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FORCE FIELD
-T-
In sf _^<a_!T5942_TERMINOLOGY_^>a_ -- unlike physics, where it has a different meaning -- a force field (sometimes a force shield) is usually an invisible protective sphere or wall of force. Throughout the 1930s and 1940s the force field performed
sterling service, notably in E.E. "Doc" _^<a_!T2269_SMITH_^>a_'s _^<b_Skylark_^>b_ and _^<b_Lensmen_^>b_ series, where force fields under attack glow red and orange and then all the way up through the spectrum until they reach violet and black and
break down. Force fields are also a sovereign remedy against _^<a_!T1128_DEATH RAYS_^>a_ and usually bullets, too, though not against swords in Charles L. _^<a_!T4298_HARNESS_^>a_'s _^<i_Flight into Yesterday_^>i_ (_^<b_1953_^>b_; vt _^<i_The
Paradox Men_^>i_ dos), in which the efficacy of the shield is directly proportional to the momentum of the object it resists; this property of force fields gives Harness a good excuse to introduce swordplay (where the momentums are relatively
small) into a technologically advanced society -- an example that other writers were not slow to follow. Robert _^<a_!T2164_SHECKLEY_^>a_'s "Early Model" (1956) tells of a force field so efficient that it renders its wearer almost incapable of
carrying out any action at all that might conceivably endanger him. The eponymous device in Poul _^<a_!T169_ANDERSON_^>a_'s _^<i_Shield_^>i_ (_^<b_1963_^>b_) can recharge its batteries by soaking up the kinetic energy of the bullets it stops. But
these are comparatively late examples, when the concept was sufficiently familiar in sf to allow parody and sophisticated variations._^<n__^<n_It is the essence of an sf force field that by a kind of judo it converts the energy of an attacking
force and repels it back on itself. Few writers, however, were able to give -- or concerned to try to give -- a convincing rationale for forces being conveniently able to curve themselves around an object and to take on some of the properties of
hard, resistant matter. A well ground mirror might more plausibly carry out the same function, at least against death rays. The true rationale for the force field and for its close relations, the tractor beam (which pulls objects towards the
beamer) and the pressor beam (which pushes them away), is that -- like _^<a_!T1443_FASTER THAN LIGHT_^>a_ travel -- they help tell stories. [PN]_^<n__^<n_
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FORD, ASHTON
-T-
> Don _^<a_!T1844_PENDLETON_^>a_._^<n__^<n_
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FORD, DOUGLAS MORET
-T-
(? -? ) UK writer whose _^<i_A Time of Terror: The Story of a Great Revenge (A.D. 1910)_^>i_ (_^<b_1906_^>b_; vt _^<i_A Time of Terror: The Story of a Great Revenge (A.D. 1912)_^>i_ 1908) pits the UK, aided by a valiant underground organization,
against the Kaiser's invading forces. _^<i_The Raid of Dover: A Romance of the Reign of Woman, A.D. 1940_^>i_ (_^<b_1910_^>b_) was fairly mild-mannered. [JC]_^<n__^<n_
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FORD, FORD MADOX
-T-
(1873-1939) UK writer and editor, born (Joseph Leonard) Ford (Hermann) Madox Hueffer into a literary family of German descent. In protest at German behaviour in WWI he changed his name to FMF, though typically he refrained from doing so until
hostilities had ended; both original books and reprints after 1919 are signed FMF. A versatile man of letters, founder/editor of the _^<i_English Review_^>i_ and the _^<i_Transatlantic Review_^>i_, he is best known for _^<i_The Good Soldier_^>i_
(_^<b_1915_^>b_) and the four _^<b_Tietjens_^>b_ novels assembled as _^<i_Parade's End_^>i_ (omni _^<b_1950_^>b_ US). His first book, _^<i_The Brown Owl_^>i_ (_^<b_1892_^>b_), was a children's fantasy. _^<i_The Inheritors: An Extravagant Story_^>i_
(_^<b_1901_^>b_) with Joseph _^<a_!T847_CONRAD_^>a_ (_^<i_whom see for details_^>i_) is sf. Fantasies include _^<i_Mr Apollo_^>i_ (_^<b_1908_^>b_), _^<i_The "Half Moon": A Romance of the Old World and the New_^>i_ (_^<b_1909_^>b_), a complex story
of 17th-century witchcraft, and _^<i_Ladies whose Bright Eyes_^>i_ (_^<b_1911_^>b_), a _^<a_!T6026_TIME-TRAVEL_^>a_ tale. _^<i_The Simple Life Limited_^>i_ (_^<b_1911_^>b_), as by Daniel Chaucer, attacks utopianism. FMF inserted into the murkily
_^<a_!T2737_RURITANIAN_^>a_ _^<i_The New Humpty-Dumpty_^>i_ (_^<b_1912_^>b_), also as by Daniel Chaucer, a rather savage caricature of H.G. _^<a_!T5528_WELLS_^>a_, who appears as Herbert Pett, a "cockney" Great Thinker and philanderer, with a
high-pitched voice, who fatally intermixes sex and revolution. _^<i_Vive le Roy_^>i_ (_^<b_1936_^>b_ US) delineates a struggle for power in a future monarchical France. [JC]_^<n__^<n_
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FORD, GARRETT
-T-
> William L. _^<a_!T943_CRAWFORD_^>a_._^<n__^<n_
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FORD, JOHN M(ILO)
-T-
(1957- ) US writer. He is author of some children's fiction under an unrevealed pseudonym. He began publishing sf under his own name with "This, Too, We Reconcile" for _^<i_ASF_^>i_ in 1976. His _^<b_Alternities Corporation_^>b_ sequence appeared
in magazines 1979-81. His first novel, _^<i_Web of Angels_^>i_ (_^<b_1980_^>b_), can be seen in retrospect as a quite remarkable rendering of the basic venues exploited by _^<a_!T1015_CYBERPUNK_^>a_ some years later, though its traditional
rite-of-passage plot bears little resemblance to the quest-for-Nirvana structure given definitive form by William _^<a_!T4689_GIBSON_^>a_ in _^<i__^<a_!B8984_NEUROMANCER_^>a__^>i_ (_^<b_1984_^>b_). Beyond that basic distinction in dynamic thrust,
however, and beyond JMF's failure (or disinclination) to make use of _^<i_film-noir_^>i_ icons and the hegemony of corporate Japan, the eponymous commmunication/data web much resembles _^<a_!T1016_CYBERSPACE_^>a_, though intergalactic in scope; the
cowboy hacker protagonist hired out to a merchant prince is also familiar, as are the Web's automatic defence systems -- Geisthounds -- which hunt him remorselessly. JMF's second novel, _^<i_The Princes of the Air_^>i_ (_^<b_1982_^>b_), is a florid
_^<a_!T2342_SPACE OPERA_^>a_ whose detail is more enthralling than its span. _^<i_The Dragon Waiting_^>i_ (_^<b_1983_^>b_) is an _^<a_!T131_ALTERNATE-WORLD_^>a_ fantasy set in an unChristianized (and dragonless) medieval Europe; it won the 1984
World Fantasy _^<a_!T6321_AWARD_^>a_. _^<i_The Final Reflection_^>i_ * (_^<b_1984_^>b_), _^<i_Star Trek: Voyage to Adventure_^>i_ * (1984) (as Michael J. Dodge) and _^<i_How Much for Just the Planet?_^>i_ * (_^<b_1987_^>b_) are _^<a_!T2429_STAR
TREK_^>a_ ties; _^<i_The Scholars of Night_^>i_ (_^<b_1988_^>b_) is an associational thriller; _^<i_Casting Fortune_^>i_ * (coll _^<b_1989_^>b_), set in the _^<b_Liavek_^>b_ _^<a_!T2127_SHARED-WORLD_^>a_ enterprise, contains in "The Illusionist" a
book-length tale of theatrical _^<a_!T3598_MAGIC_^>a_; and _^<i_Fugue State_^>i_ (1987 in _^<i_Under the Wheel_^>i_ ed Elizabeth Mitchell; rev_^<b_1990_^>b_ dos) is a complex sf exploration of an imprisoned psyche. _^<i__^<a_!B9026_GROWING UP
WEIGHTLESS_^>a__^>i_ (_^<b_1993_^>b_) -- which tied for the 1994 _^<a_!T1884_PHILIP K. DICK AWARD_^>a_ with Jack _^<a_!T5681_WOMACK_^>a_'s _^<i_Elvissey_^>i_ (_^<b_1993_^>b_) -- depicts life on the Moon in terms that seem realistic, for the human
settlement there lives under strait conditions, and has a difficult relationship with Earth; but the rite of passage into adulthood at the tale's centre is not innovative. Two decades into his career, there remains some sense that JMF remains
unwilling or unable to create a definitive style or mode; but his originality is evident, a shifting feisty energy informs almost everything he writes, and that career is still young. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_On Writing Science
Fiction (The Editors Strike Back!)_^>i_ (anth _^<b_1981_^>b_) with Darrell _^<a_!T2867_SCHWEITZER_^>a_ and George H. _^<a_!T2884_SCITHERS_^>a_._^<b_See also:_^>b_ _^<a_!T1412_FANTASY_^>a_; _^<a_!T1696_GAMES AND TOYS_^>a_; _^<a_!T1934_POETRY_^>a_;
_^<a_!T6022_TIMESCAPE BOOKS_^>a_.
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FOREST, JEAN-CLAUDE
-T-
[r] > _^<a_!T398_BARBARELLA_^>a_._^<n__^<n_
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FORESTER, C(ECIL) S(COTT)
-T-
(1899-1966) UK writer best known for his work outside the sf field, especially the _^<b_Horatio Hornblower_^>b_ novels (from 1937). In addition to several sf stories -- including the substantial _^<a_!T4446_HITLER-WINS_^>a_ novella, "If Hitler had
Invaded England" (1960), which was posthumously collected in _^<i_Gold from Crete_^>i_ (coll _^<b_1971_^>b_) -- he published a novel, _^<i_The Peacemaker_^>i_ (_^<b_1934_^>b_ US), about a pacifist mathematician and schoolteacher who tries to force
peace on the world through his invention of a magnetic disruptor that stops machinery. He fails. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Poo-Poo and the Dragons_^>i_ (_^<b_1942_^>b_ US), a juvenile fantasy._^<b_See also:_^>b_ _^<a_!T956_CRIME AND
PUNISHMENT_^>a_; _^<a_!T1245_DISCOVERY AND INVENTION_^>a_.
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FORGOTTEN FANTASY
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US _^<a_!T1231_DIGEST_^>a_-size magazine. 5 issues Oct 1970-June 1971, published by Nectar Press, Hollywood, ed Douglas _^<a_!T2898_MENVILLE_^>a_. _^<i_FF_^>i_ reprinted some ancient fantasy stories, but the long novel serialized in #1-#4, _^<i_The
Goddess of Atvatabar_^>i_ (_^<b_1892_^>b_) by William R. _^<a_!T4970_BRADSHAW_^>a_, was probably too dated to be successful even in the nostalgia market. A second serial, _^<i_Hartmann, the Anarchist_^>i_ (_^<b_1893_^>b_), by E. Douglas
_^<a_!T1449_FAWCETT_^>a_, began in #5. With his associate editor, R. _^<a_!T2543_REGINALD_^>a_, Menville went on to publish in book form the _^<b_Forgotten Fantasy Library_^>b_ (1973-80), 24 vols of reprint material. [FHP/PN]_^<n__^<n_
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FORMAN, JAMES D(OUGLAS)
-T-
(1932- ) US writer whose sf novels are for a young-adult audience. They began with _^<i_Call Back Yesterday_^>i_ (_^<b_1981_^>b_) and its sequel, _^<i_Doomsday Plus Twelve_^>i_ (_^<b_1984_^>b_), a studiedly and effectively admonitory presentation
of nuclear _^<a_!T4482_HOLOCAUST_^>a_ as an event having little to do -- contra much wish-fulfilment _^<a_!T5849_SURVIVALIST FICTION_^>a_ -- with post-Bomb opportunities for self-fulfilment. In the first volume, a teenaged US girl's flirtation in
the Middle East sets off, through a chain of stupidities, the final war; in the second, 12 years later, a young girl persuades the remnants of the US Army not to try to attack a benevolent Japan, which has had nothing to do with the war. _^<i_Cry
Havoc_^>i_ (_^<b_1988_^>b_), somewhat less interestingly, features the creation of killer dogs through _^<a_!T4657_GENETIC ENGINEERING_^>a_ gone awry. [JC]_^<n__^<n_
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FORREST, HENRY J.
-T-
(? -? ) UK writer known only for the early sf _^<a_!T5303_UTOPIA_^>a_, _^<i_A Dream of Reform_^>i_ (_^<b_1848_^>b_), which tamely introduces the usual visitor to a mildly socialist planet designed on anti-industrial lines. The book is thus a
vague precursor to the work of William _^<a_!T3066_MORRIS_^>a_. [JC]_^<n__^<n_
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FORREST, MARYANN
-T-
Pseudonym of an unidentified Australian writer in whose _^<i_Here (Away from it All)_^>i_ (_^<b_1969_^>b_ UK; vt _^<i_Here_^>i_ 1970 US) the residents of a Mediterranean island must deal with the consequences of the _^<a_!T4482_HOLOCAUST_^>a_.
[JC]_^<n__^<n_
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FORSTCHEN, WILLIAM R.
-T-
(1950- ) US writer who has generally concentrated on series, beginning with the _^<b_Ice Prophet_^>b_ sequence -- _^<i_Ice Prophet_^>i_ (_^<b_1983_^>b_), _^<i_The Flame upon the Ice_^>i_ (_^<b_1984_^>b_) and _^<i_A Darkness upon the Ice_^>i_
(_^<b_1985_^>b_) -- set on Earth at some point in the future after an ecological disaster has caused the planet to become icebound. In this world technology has, according to the orthodox sf assumptions, been foolishly banned, and the eponymous
prophet heralds a revival of science; but the intricacies of the realpolitik which doom him personally, and the beauties of the ice world itself, go some way to keep the sequence from being unduly familiar. The _^<b_Gamester War_^>b_ novels --
_^<i_The Alexandrian Ring_^>i_ (_^<b_1987_^>b_), _^<i_The Assassin Gambit_^>i_ (_^<b_1988_^>b_) and _^<i_The Napoleon Wager_^>i_ (_^<b_1993_^>b_) -- show a similar competence and a whole-hearted involvement in the most far-reaching dictates that
_^<a_!T2342_SPACE OPERA_^>a_ can demand on those who treat its premises seriously, featuring a race of intergalactic overlords who permit the citizens of Earth and many other planets to engage in vast _^<a_!T4597_GAME-WORLD_^>a_-like conflicts and
to import, through _^<a_!T6026_TIME TRAVEL_^>a_, figures like Alexander the Great to fight wagered wars on the enormous ringworld that serves as arena. The _^<b_Crystal_^>b_ series, written with Greg Morrison -- _^<i_The Crystal Warriors_^>i_
(_^<b_1988_^>b_) and _^<i_The Crystal Sorcerers_^>i_ (_^<b_1991_^>b_) -- is fantasy. The _^<b_Lost Regiment_^>b_ sequence -- _^<i_Rally Cry!_^>i_ (_^<b_1990_^>b_), _^<i_Union Forever_^>i_ (_^<b_1991_^>b_),_^<i_Terrible Swift Sword_^>i_
(_^<b_1992_^>b_) and _^<i_Fateful Lightning_^>i_ (_^<b_1993_^>b_) -- reworks the basic structure of the _^<b_Gamester War_^>b_ books, this time from the perspective of a Civil War Union troop transported through time to a medieval planet secretly
dominated by remote aliens. _^<i_Into the Sea of Stars_^>i_ (_^<b_1986_^>b_) is a singleton, as is _^<i_Star Voyager Academy_^>i_ (_^<b_1994_^>b_); _^<i_Wing Commander III: Fleet Action_^>i_* (_^<b_1994_^>b_) is part of a multi-author series tied
to a computer game, and _^<i_Magic: The Gathering Arena_^>i_* (_^<b_1994_^>b_) is tied to a trading-card game. WRF is a genre writer of shining efficiency, and is technically capable of the most ambitious work. [JC]_^<n__^<n__^<b_See also:_^>b_
_^<a_!T1695_GAMES AND SPORTS_^>a_.
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FORSTER, E(DWARD) M(ORGAN)
-T-
(1879-1970) UK writer of essays and novels, the best known being _^<i_A Passage to India_^>i_ (_^<b_1924_^>b_). _^<i_The Celestial Omnibus, and Other Stories_^>i_ (coll _^<b_1911_^>b_) assembles several fantasies of interest, but EMF's importance to
sf lies wholly in his short story "The Machine Stops" (1909), collected in _^<i_The Eternal Moment_^>i_ (coll _^<b_1928_^>b_), which includes further fantasies. Both books were assembled as _^<i_Collected Short Stories_^>i_ (coll _^<b_1947_^>b_; vt
_^<i_Collected Tales_^>i_ 1974 US). Cast in the form of a warning look at the distant future, rather in the mode of H.G. _^<a_!T5528_WELLS_^>a_'s _^<i__^<a_!B9070_THE TIME MACHINE_^>a__^>i_ (_^<b_1895_^>b_), "The Machine Stops" directly attacks, as
many critics noted and as EMF himself acknowledged, the rational World State that Wells promulgated in _^<i_A Modern Utopia_^>i_ (_^<b_1905_^>b_). In the hivelike underground society EMF envisions, freedom and (paramountly) the value of the
individual human's personal relations with others of his kind have been eliminated. When the state collapses -- when the machine stops -- the depersonalized ciphers underground perish, while above, on the surface, a few genuine humans survive. In
any study of the relation of _^<a_!T1370_DYSTOPIA_^>a_ to _^<a_!T5303_UTOPIA_^>a_, the story is of vital interest. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T323_AUTOMATION_^>a_; _^<a_!T727_CITIES_^>a_; _^<a_!T4443_HISTORY OF SF_^>a_;
(1938- ) UK writer who gained fame with his first novel, _^<i_The Day of the Jackal_^>i_ (_^<b_1971_^>b_), and whose books are generally political thrillers. _^<i_The Shepherd_^>i_ (_^<b_1975_^>b_ chap), however, is a sentimental timeslip fantasy
about a WWII pilot, and both _^<i_The Devil's Alternative_^>i_ (_^<b_1979_^>b_) and _^<i_The Negotiator_^>i_ (_^<b_1989_^>b_) are _^<a_!T6337_NEAR-FUTURE_^>a_ thrillers, the first predicting the failure of the Russian harvest, the second predicting
(wrongly) a Soviet-generated crisis. [JC]_^<n__^<n_
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FORT, CHARLES (HOY)
-T-
(1874-1932) US journalist and author. Working from extensive notes collected mainly from newspapers, magazines and scientific journals, CF compiled a series of books containing information on "inexplicable" incidents and phenomena. Though
characterized as an anti-scientist, CF reserved his attacks for the "scientific priestcraft" and their dogmatic "damning" of unconventional or unwanted observations. CF's own belief was simply a monistic faith in the unity of all things, and this
forms the principal connection between his apparently unrelated groups of data. His books are written in an eccentric style and are interspersed with wilfully absurd theories and ideas. The first two, both still (1992) unpublished, were called
simply <X> and< Y>; <X> proposes that Earth is controlled from _^<a_!T3677_MARS_^>a_ and <Y> supports the _^<a_!T4474_HOLLOW-EARTH_^>a_ hypothesis. _^<i_The Book of the Damned_^>i_ (_^<b_1919_^>b_) and _^<i_New Lands_^>i_ (_^<b_1923_^>b_) are
largely concerned with astronomical and meteorological events, while _^<i_Lo!_^>i_ (_^<b_1931_^>b_) and _^<i_Wild Talents_^>i_ (_^<b_1932_^>b_) are more interested in human and animal phenomena. The four published books are crammed with data, and
the sheer bulk of information is impressive; however, there is no attempt to evaluate the numerous reports cited, so that silly-season urban legends and hoax stories are jumbled in with a too-sparse leavening of more reliable accounts. Reading CF
therefore feels much like eating a stew of dubious provenance: the taste is good but one worries about what went into it. CF himself was perfectly aware that much of his data was, to say the least, doubtful; of _^<i_The Book of the Damned_^>i_ he
wrote: "This book is fiction, like _^<i_Gulliver's Travels_^>i_, _^<i_The Origin of Species_^>i_, Newton's _^<i_Principia_^>i_, and every history of the United States." Moreover, he was reluctant to invent theories (other than whimsical ones) to
account for his data -- a humility that distances his books from the sketchy fantasies of later writers such as Erich _^<a_!T5397_VON DANIKEN_^>a_._^<n__^<n_After CF's death, compilation of data was continued by the Fortean Society, founded in 1931
by a group that included Ben _^<a_!T4371_HECHT_^>a_, John Cowper _^<a_!T1969_POWYS_^>a_, Alexander Woollcott (1887-1943) and Theodore Dreiser (1871-1945), and in the journals _^<i_Doubt_^>i_ (US) and _^<i_Lo!_^>i_ (UK). Information is currently
collected by the International Fortean Organization, who publish _^<i_INFO Journal_^>i_, and by the UK publication _^<i_Fortean Times_^>i_. Prominent modern Forteans include William F. Corliss, John Michell and Robert J.M. Rickard._^<n__^<n_CF's
list of bizarre observations and events (from astronomical heresies to teleportation cases), together with his demand for original and undogmatic interpretation, influenced and stimulated many sf writers. CF's most enthusiastic sf follower was Eric
Frank _^<a_!T2743_RUSSELL_^>a_, who considered him "the only real genius sf ever had"; Russell's _^<i_Sinister Barrier_^>i_ (_^<b_1943_^>b_) and _^<i_Dreadful Sanctuary_^>i_ (_^<b_1951_^>b_) are based on Fortean ideas. Damon
_^<a_!T4098_KNIGHT_^>a_, another author influenced by CF, published a standard biography, _^<i_Charles Fort, Prophet of the Unexplained_^>i_ (_^<b_1970_^>b_). The influence of CF's ideas on sf was particularly strong in the magazines ed John W.
_^<a_!T5140_CAMPBELL_^>a_ Jr, _^<i_Unknown_^>i_ and _^<i_ASF_^>i_. Fortean elements rarely appear in more recent written sf, though Patrick _^<a_!T6369_TILLEY_^>a_'s _^<i_Fade-Out_^>i_ (_^<b_1975_^>b_) is one exception, and films such as
_^<a_!T764_CLOSE ENCOUNTERS OF THE THIRD KIND_^>a_ (1977), with its discovery of the famous "lost" Flight 19, maintain the tradition. [PR/JGr]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T277_ASTOUNDING SCIENCE-FICTION_^>a_; _^<a_!T6697_ESP_^>a_; Vol
(1932- ) US physicist and writer, senior scientist at Hughes Research Laboratories and one of the most devoted _^<a_!T4288_HARD-SF_^>a_ authors of the 1980s. He began publishing sf with "The Singing Diamond" in _^<i_Omni_^>i_ (1979), and made a
very considerable impact with his first novel, _^<i__^<a_!B9034_DRAGON'S EGG_^>a__^>i_ (_^<b_1980_^>b_), which, along with its sequel _^<i_Starquake!_^>i_ (_^<b_1985_^>b_), is set in a most intriguing venue -- a _^<a_!T3160_NEUTRON STAR_^>a_ whose
surface _^<a_!T4817_GRAVITY_^>a_ is 67,000,000,000 gees -- and concentrates on the immensely enjoyable _^<a_!T98_ALIEN_^>a_ cheela who inhabit this venue, living and evolving at an enormous rate (a generation passes in 37 minutes). The human
scientists who visit the cheela of Dragon's Egg inadvertently civilize them over a 24-hour period. In the sequel the cheela, now evolved far beyond their glacial human teachers, very quickly explore the entire Galaxy, though the catastrophe of the
title soon complicates the plot, leading to further rapid-fire _^<a_!T6717_EVOLUTION_^>a_, invention and mind-play._^<n__^<n_RLF's second successful novel, _^<i_The Flight of the Dragonfly_^>i_ (1982-3 _^<i_ASF_^>i_ as "Rocheworld"; exp
_^<b_1984_^>b_; exp 1985; orig full version restored, vt _^<i_Rocheworld_^>i_ 1990), posited a second world of almost equal fascination. On the eponymous dumb-bell-shaped double-planet is placed an alien race whose individuals are characterized
more strongly than are the humans involved in an exploratory mission there. (Despite the striking resemblance in storylines and the titles, this novel is unrelated to the earlier series.) Once again the self-confident articulacy of RLF's scientific
mind dominates proceedings, and the novel concludes (as did his first) with a symposium which analyses the ideas underlying the book. However, the unfortunate corollary to this style of novel-writing is that, when no scientific conceit governs the
structure of the tale, character and plot can prove, as in RLF's case, a poor substitute. _^<i_Martian Rainbow_^>i_ (_^<b_1991_^>b_), which has no such central world-building conceit to govern it, consequently fails to convince in its simplistic
rendering of a Russian-US conflict on Mars, or in the cardboard triumphalism of its human cast. More than almost any other hard-sf writer, RLF dazzles within his bailiwick and embarrasses outside it. [JC]_^<n__^<n__^<b_Other works:_^>b_
_^<i_Timemaster_^>i_ (_^<b_1992_^>b_), a _^<a_!T3378_LIBERTARIAN_^>a_ tale._^<b_Nonfiction:_^>b_ _^<i_Future Magic_^>i_ (_^<b_1988_^>b_); _^<i_Mirror Matter: Pioneering Antimatter Physics_^>i_ (_^<b_1988_^>b_ ) with Joel Davis._^<b_See also:_^>b_
(1946- ) UK illustrator. CF studied architecture at Cambridge University, and has worked in sf _^<a_!T4593_ILLUSTRATION_^>a_ since 1970, primarily as a cover artist; he uses brush and airbrush to excellent effect. He is best known in sf circles
for his hardware, particularly his _^<a_!T2348_SPACESHIPS_^>a_: intricate, asymmetrical, almost Gothic, these have been deeply influential not only on other UK illustrators but also on film designers. Ever since _^<a_!T5686_STAR WARS_^>a_ (1977),
most movie spacecraft look as if they have been designed by CF, even though they have not -- although he did work as a concept artist on _^<a_!T98_ALIEN_^>a_ (1979). (Paradoxically, outside sf, CF is better known in commercial illustration for his
detailed figure studies; he did the many romantically erotic drawings for Alex _^<a_!T6326_COMFORT_^>a_'s _^<i_The Joy of Sex_^>i_ [_^<b_1972_^>b_] and _^<i_More Joy of Sex_^>i_ [_^<b_1973_^>b_].) CF's smooth, airbrushed, representational style,
demonstrated on hundreds of covers, spearheaded a revolution in UK sf paperback design in the 1970s, and had many imitators. It was what the market wanted, and after a decade had become almost tedious in its predictability -- though that was the
publishers' fault, not CF's. His sf work is often a celebration of technology -- monstrous spaceships or vast robots, beautiful and deadly, rear up over landscapes and skyscapes where humans are absent or tiny -- yet the effect is bracing.
_^<i_Science Fiction Art_^>i_ (_^<b_1976_^>b_), with an introduction by Brian W. _^<a_!T87_ALDISS_^>a_, is a portfolio of his work; others are _^<i_21st Century Foss_^>i_ (_^<b_1978_^>b_) and _^<i_The Chris Foss Portfolio_^>i_ (_^<b_1990_^>b_).
_^<i_Diary of a Spaceperson_^>i_ (_^<b_1990_^>b_) is unusual and not wholly successful in combining the erotic with the scientific in what purports to be the illustrated diary (written by CF) of a spacewoman who has sexual congress with an alien
(1946- ) US writer, raised in Los Angeles; interestingly, he has listed Carl Barks (1901- ), the long-unacknowledged creator of the best _^<a_!T820_COMIC_^>a_ strips and books in the Disney stable, as one of his formative influences (on his
depiction of older characters). ADF began publishing sf with "Some Notes Concerning a Green Box" for _^<i_The Arkham Collector_^>i_ in 1971, and has collected short stories in _^<i_With Friends Like These . . ._^>i_ (coll _^<b_1977_^>b_), its
companion, _^<i_. . . Who Needs Enemies?_^>i_ (coll _^<b_1984_^>b_), and _^<i_The Metrognome and Other Stories_^>i_ (coll _^<b_1990_^>b_). ADF is best known, however, for a prolific and generally competent output of novels and
novelizations._^<n__^<n_Several of his best books fit into a loose double sequence of novels set in a multifarious Galaxy dominated by the _^<b_Humanx Commonwealth_^>b_, a venue well suited as an arena for _^<a_!T2342_SPACE OPERAS_^>a_ and
encounters with _^<a_!T98_ALIEN_^>a_ races. The central sequence follows the life of young Flinx, an orphan with _^<a_!T2021_PSI POWERS_^>a_ and the friendship of a highly potent pet alien named Pip, and comprises (in order of internal chronology):
_^<i_For Love of Mother-Not_^>i_ (_^<b_1983_^>b_); a connected trilogy made up of ADF's first novel, _^<i_The Tar-Aiym Krang_^>i_ (_^<b_1972_^>b_), _^<i_Orphan Star_^>i_ (_^<b_1977_^>b_) and _^<i_The End of the Matter_^>i_ (_^<b_1977_^>b_);
_^<i_Bloodhype_^>i_ (_^<b_1973_^>b_); and _^<i_Flinx in Flux_^>i_ (_^<b_1988_^>b_). A second, looser sequence consists of _^<i_Nor Crystal Tears_^>i_ (_^<b_1982_^>b_); _^<i_Midworld_^>i_ (_^<b_1975_^>b_); a connected trilogy made up of
_^<i_Icerigger_^>i_ (_^<b_1974)_^>b_, _^<i_Mission to Moulokin_^>i_ (_^<b_1979_^>b_) and _^<i_The Deluge Drivers_^>i_ (_^<b_1987_^>b_), the three comprising his best work to date; _^<i_Voyage to the City of the Dead_^>i_ (_^<b_1984_^>b_); and
_^<i_Sentenced to Prism_^>i_ (_^<b_1985_^>b_). Sometimes reminiscent of the earlier work of Poul _^<a_!T169_ANDERSON_^>a_, the sequence is expansive and colourful, though tending to melodrama and prone to the fable-like use of such sf and fantasy
elements as _^<a_!T6697_ESP_^>a_ and dragons._^<n__^<n_Individual novels have tended more to a clear-headed commercial exploitation of various genre categories, though _^<i_Cachalot_^>i_ (_^<b_1980_^>b_), whose whale-like aliens are of interest,
_^<i_The Man who Used the Universe_^>i_ (_^<b_1983_^>b_) and _^<i_Cyber Way_^>i_ (_^<b_1990_^>b_) perhaps stand out._^<n__^<n_Of ADF's numerous novelizations, the most notable are possibly _^<i_Dark Star_^>i_ * (_^<b_1974_^>b_), based on
_^<a_!T1067_DARK STAR_^>a_ (1974), _^<i_Star Wars_^>i_ * (_^<b_1976_^>b_), as by George _^<a_!T3477_LUCAS_^>a_, the director of _^<a_!T5686_STAR WARS_^>a_ (1977), _^<i_Alien_^>i_ * (_^<b_1979_^>b_), based on _^<a_!T98_ALIEN_^>a_ (1979),
_^<i_Aliens: A Novelization_^>i_ * (_^<b_1986_^>b_), based on _^<a_!T102_ALIENS_^>a_ (1986), and _^<i_Alien_^>i__^<n__^<n_
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FOSTER, GEORGE C(ECIL)
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(1893-? ) UK writer whose first novel of genre interest, _^<i_The Lost Garden_^>i_ (_^<b_1930_^>b_), is a fantasy in which survivors of _^<a_!T290_ATLANTIS_^>a_ experience world history up to the present. In _^<i_Full Fathom Five_^>i_
(_^<b_1930_^>b_) prehistoric episodes are linked by _^<a_!T2548_REINCARNATION_^>a_ to scenes set in the present. _^<i_Awakening_^>i_ (_^<b_1932_^>b_) subjects the contemporary (and the future) world to the perspective of a soldier awakening from
suspended animation. _^<i_Cats in the Coffee_^>i_ (_^<b_1938_^>b_), under the _^<i_nom de plume_^>i_ Seaforth, presents through reincarnation a retrospective vision of prehistory, and _^<i_We Band of Brothers_^>i_ (_^<b_1939_^>b_), also as by
Seaforth, combines future-_^<a_!T5452_WAR_^>a_ events and elucidatory conversations between a man of the deep future and a man of the deep past. _^<i_The Change_^>i_ (_^<b_1963_^>b_) is routine. In almost all his work, conventional plots are
twisted to make room for perspectives on the nature of human history; in this sense, GCF illuminates a central strategy of the UK _^<a_!T2878_SCIENTIFIC ROMANCE_^>a_. [JC/PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T3771_IMMORTALITY_^>a_.
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FOSTER, M(ICHAEL) A(NTHONY)
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(1939- ) US writer, former data-systems analyst and sequentially a Russian linguist and ICBM launch-crew commander to the US Air Force; he is also a semiprofessional photographer. After some poetry, published privately as _^<i_Shards from
Byzantium_^>i_ (coll _^<b_1969_^>b_ chap) and _^<i_The Vaseline Dreams of Hundifer Jones_^>i_ (coll _^<b_1970_^>b_ chap), he began to publish sf with the ambitious _^<b_Ler_^>b_ trilogy about a race of genetically created _^<a_!T5830_SUPERMEN_^>a_.
_^<i_The Gameplayers of Zan_^>i_ (_^<b_1977_^>b_), a very long novel formally constructed on the model of an Elizabethan tragedy, describes a period of climactic tension between the ler and the rest of humanity, and is set on Earth. _^<i_The
Warriors of Dawn_^>i_ (_^<b_1975_^>b_), published first but set later, is a more conventional _^<a_!T2342_SPACE OPERA_^>a_ in which a human male and a ler female are forced to team up to try to solve a complexly ramifying problem of interstellar
piracy. _^<i_The Day of the Klesh_^>i_ (_^<b_1979_^>b_) brings the ler and the eponymous race of humans together on a planet where they must solve their differences. The books are slow in the telling, but impressively detailed in their construction
of ler culture and language. The _^<b_Morphodite_^>b_ sequence which followed comprises _^<i_The Morphodite_^>i_ (_^<b_1981_^>b_), _^<i_Transformer_^>i_ (_^<b_1983_^>b_) and _^<i_Preserver_^>i_ (_^<b_1985_^>b_), and similarly uses devices of
genetic manipulation to buttress complex plots, though in this case the shape-changing, revolution-fomenting protagonist dominates the tale as trickster and superman. _^<i_Waves_^>i_ (_^<b_1980_^>b_) rather sluggishly recalls Stanislaw
_^<a_!T3329_LEM_^>a_'s _^<i__^<a_!B9183_SOLARIS_^>a__^>i_ (_^<b_1961_^>b_) in a tale of political intrigue on a planet whose ocean is intelligent. The four novellas collected in _^<i_Owl Time_^>i_ (coll _^<b_1985_^>b_) are told in challengingly
various modes, and derive strength from their mutual contrast. MAF's career to date could be seen as a prelude to the major book which should bring him the acclaim he merits. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T4657_GENETIC ENGINEERING_^>a_;
(1869-1929) US author of two borderline sf novels, _^<i_The Eve of War_^>i_ (_^<b_1904_^>b_) and _^<i_The Lost Expedition_^>i_ (_^<b_1905_^>b_). [JC]_^<n__^<n_
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FOUNDATION: THE REVIEW OF SCIENCE FICTION
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UK semi-academic journal, published by the _^<a_!T2066_SCIENCE FICTION FOUNDATION_^>a_ of North East London Polytechnic (now known as the University of East London) from Mar 1972, and more recently, since 1993 when the SFF moved, of the University
of Liverpool, current, 61 numbers to summer 1994, 3 numbers a year. #1-#4 ed Charles _^<a_!T435_BARREN_^>a_, #5-#13 ed Peter _^<a_!T3189_NICHOLLS_^>a_, #14-#19 ed Malcolm _^<a_!T6589_EDWARDS_^>a_, #20-#36 ed David _^<a_!T1995_PRINGLE_^>a_, #37
onwards ed Edward _^<a_!T3857_JAMES_^>a_. Much of the journal's flavour has resulted from the work of long-running features editor Ian _^<a_!T5484_WATSON_^>a_, who held that position from #10 (1976) to #51 (1991). The most influential reviews
editors have perhaps been John _^<a_!T769_CLUTE_^>a_ (#20-#47) followed by Colin _^<a_!T4847_GREENLAND_^>a_ (from #47). Other members of the editorial board have included Kenneth _^<a_!T5073_BULMER_^>a_, George _^<a_!T4351_HAY_^>a_ and Christopher
_^<a_!T1990_PRIEST_^>a_. Under James's editorship the editorial address has been the University of York, where he teaches._^<n__^<n__^<i_F:TROSF_^>i_ has a distinctive flavour regarded by US readers as typically UK, though in fact some of its
editors have been foreigners. After a shaky beginning, it soon became perhaps the liveliest and indeed the most critical of the big three critical journals -- the others being _^<a_!T6730_EXTRAPOLATION_^>a_ in the USA and _^<a_!T2143_SCIENCE
FICTION STUDIES_^>a_ in Canada -- though lacking the academic authority of at least the latter. Since there is very little formal use of sf in UK universities, there is no academic base to provide a rigidly scholarly features section. The real
strengths of _^<i_F:TROSF_^>i_ have always been its book reviews and its willingness to publish articles about current sf; it has been weaker in theoretical and historical studies. Nevertheless, it has provided a platform for serious sf criticism
in the UK. Its contributors -- often professional writers of fiction rather than academics -- have tended to be more aggressively judgmental, and more intent upon defining a critical canon for sf, than their politer US colleagues. All of this may
explain why its readership appears to be less academic than that of the other scholarly journals, consisting more of fans and sf writers. The US scholar Gary K. _^<a_!T5675_WOLFE_^>a_ sees _^<i_F:TROSF_^>i_, not wholly unadmiringly (and only in
part incorrectly), as partaking of "certain traditions of fan scholarship". From the beginning a feature of _^<i_F:TROSF_^>i_ has been the _^<b_Profession of Science Fiction_^>b_ series (45 to date) of autobiographical pieces by sf writers; a
selection of _^<b_Profession_^>b_ essays appeared later as _^<i_The Profession of Science Fiction_^>i_ (anth _^<b_1992_^>b_) ed Edward James and Maxim _^<a_!T3854_JAKUBOWSKI_^>a_. The first 8 issues of _^<i_F:TROSF_^>i_ were republished in book
form as _^<i_Foundation, Numbers 1 to 8: March 1972-March 1975_^>i_ (_^<b_1978_^>b_) with intro by Peter Nicholls. [PN]_^<n__^<n_
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4D MAN
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(vt _^<i_The Evil Force_^>i_ UK; vt _^<i_Master of Terror_^>i_ US) Film (1959). Fairview/Universal. Coproduced and dir Irwin Shortess Yeaworth Jr, starring Robert Lansing, Lee Meriwether, James Congdon. Screenplay Theodore Simonson, Cy Chermak, from
an idea by Jack H. Harris. 85 mins. Colour._^<n__^<n_A small, interesting film made by the same producer/director team, Jack H. Harris and Yeaworth, that had already made _^<i_The_^<a_!T660_BLOB_^>a__^>i_ (1958). Lansing plays a scientist who uses
his brother's research on the amplification of brainwaves and finds that as a result he can interpenetrate with solid matter -- walk through walls, etc. The unfortunate side-effect is that he draws on the lifeforce of others (an idea used again in
_^<a_!T3384_LIFEFORCE_^>a_ [1985]), which renders them instantly dead of old age. There is a love triangle, and some brooding _^<i_angst_^>i_ from Lansing, who oscillates between delight in his new power and guilt. [PN]_^<n__^<n_
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FOUR-SIDED TRIANGLE
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Film (1952). Hammer. Dir Terence Fisher, starring Barbara Payton, Stephen Murray, John Van Eyssen. Screenplay Paul _^<a_!T5889_TABORI_^>a_, Fisher, based on _^<i_The Four-Sided Triangle_^>i_ (1939 _^<i_AMZ_^>i_; exp _^<b_1949_^>b_) by William F.
_^<a_!T5930_TEMPLE_^>a_. 81 mins, cut to 71 mins. B/w._^<n__^<n_A scientist builds a machine capable of duplicating human beings. He duplicates the woman he loves but who is in love with another man, only to have the duplicate, too, fall in love
with that other man. This is a low-budget film and suffers from it; there appear to be no prints now in circulation. [JB]_^<n__^<n_
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FOURTH DIMENSION
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> _^<a_!T1239_DIMENSIONS_^>a_._^<n__^<n_
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FOWLER, KAREN JOY
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(1950- ) US writer with degrees in political science and north Asian studies. She began publishing sf with "Recalling Cinderella" in _^<i_L. Ron Hubbard Presents Writers of the Future, Vol I_^>i_ (anth _^<b_1985_^>b_) ed Algis
_^<a_!T5064_BUDRYS_^>a_, and caused considerable stir in the sf field with the quality of the work assembled in her first collection, _^<i__^<a_!B9020_ARTIFICIAL THINGS_^>a__^>i_ (coll _^<b_1986_^>b_), which helped gain her the 1987
_^<a_!T3922_JOHN W. CAMPBELL AWARD_^>a_ for Best New Writer. Her short stories -- later collections are _^<i_Peripheral Vision_^>i_ (coll _^<b_1990_^>b_ chap) and _^<i_Letters from Home_^>i_ (anth _^<b_1991_^>b_ UK), which contains separate tales
by her, Pat _^<a_!T5117_CADIGAN_^>a_ and Pat _^<a_!T3113_MURPHY_^>a_ -- gave a first and entirely deceptive appearance of reticence, but soon revealed steely ironies, an insistence on the essential solitude of her protagonists (which evoked
_^<a_!T1461_FEMINIST_^>a_ arguments about alienation but did not dwell upon the specifics of oppression or male-female discord) and an urgent hilarity. Some stories, like "Face Values", are pure sf; others shift into fantasy or
_^<a_!T1372_FABULATION_^>a_, giving ambiguous cues as to any "proper" reading._^<n__^<n_This sure-footed refusal to give her readers much epistemological security -- much sense that her worlds could be firmly apprehended -- also governed the
telling of KJF's first novel, the remarkable _^<i__^<a_!B9158_SARAH CANARY_^>a__^>i_ (_^<b_1991_^>b_), which -- along with John _^<a_!T1583_FOWLES_^>a_'s _^<i_A Maggot_^>i_ (_^<b_1985_^>b_) -- may be the finest First Contact novel (>
_^<a_!T822_COMMUNICATIONS_^>a_) yet written. A strange female figure -- woman or alien, no one knows, or can even formulate the question -- arrives in the state of Washington in 1873 and is dubbed Sarah Canary, because of the birdlike sounds she
makes. In attempting to deal with her, the Chinese worker to whom she has attached herself is exposed to a long array of those living beings that the sciences of the 19th century have attempted to control through "knowledge": Indians, Blacks, the
insane, immigrants, women, animals, artists, confidence men. Sarah Canary, who stands for them all in the indescribable melody of her Being, finally disappears, never having said a word. As an emblem of the enigma behind the idea of First Contact
she is perhaps definitive. As a dramatization of the self-deluding imperialisms of knowledge, _^<i__^<a_!B9158_SARAH CANARY_^>a__^>i_ is equally convincing. [JC]_^<n__^<n__^<b_Other work:_^>b_ _^<i_The War of the Roses_^>i_ (1985 _^<i_IASFM_^>i_;
_^<b_1991_^>b_ chap)._^<n__^<n__^<b_See also:_^>b_ _^<a_!T3791_INTERZONE_^>a_; _^<a_!T2300_SOCIOLOGY_^>a_; _^<a_!T6197_WRITERS OF THE FUTURE CONTEST_^>a_.
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FOWLER, SYDNEY
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> S. Fowler _^<a_!T6194_WRIGHT_^>a_._^<n__^<n_
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FOWLES, JOHN (ROBERT)
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(1926- ) UK writer who remains perhaps most famous for his first novel, _^<i_The Collector_^>i_ (_^<b_1963_^>b_), but whose second novel, _^<i_The Magus_^>i_ (_^<b_1965_^>b_ US; rev 1977 UK), especially in the conciser revised version, more
powerfully explores the labyrinths of obsession and manipulation underlying, in all of JF's work, the rigmaroles of daylight reality. In this novel a series of seemingly supernatural contrivances separates the unpleasant protagonist from his love
and from any security, causing him to learn something about himself before happiness is allowed to reign; rational explanations in the end from the Daedalus-like magus do little to attenuate a sense of magic-realist entrapment. Of JF's other
novels, _^<i_A Maggot_^>i_ (_^<b_1985_^>b_) is sf. Set in the 18th century, it superlatively explores the epistemology of First Contact -- the study of the possible nature of human _^<a_!T1851_PERCEPTIONS_^>a_ of something genuinely
_^<a_!T98_ALIEN_^>a_, genuinely Other -- by telling a version of the life-story of the mother of Ann Lee (1736-1784), historical founder of the Shaker religion; the woman's response to the insoluble knot of _^<a_!T1851_PERCEPTIONS_^>a_ visited upon
her when she inadvertently stumbles upon some time travellers, possibly from Earth's future, is a literal seed-bed (she is pregnant at the time) for Enthusiasm. [JC]_^<b_Other works:_^>b_ _^<i_Mantissa_^>i_ (_^<b_1982_^>b_)._^<n__^<n_
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FOX, GARDNER F(RANCIS)
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(1911-1986) US lawyer and author, who began writing in 1937 for _^<a_!T1115_DC COMICS_^>a_, including _^<a_!T5830_SUPERMAN_^>a_. Arguably his most important work was for _^<a_!T820_COMICS_^>a_: though it is claimed that he published at least 160
books under various names, this pales beside his 4000 or more comic-book stories; he created _^<b_The Flash_^>b_ as well as the first _^<a_!T5829_SUPERHERO_^>a_ team, the _^<b_Justice Society of America_^>b_, in 1940. In the 1960s he was one of
those responsible for reviving many of the superheroes from the 1940s and also created new characters, like _^<b_The Atom_^>b_ and _^<b_Adam Strange_^>b_. He began publishing sf/fantasy in non-graphic form with "The Weirds of the Woodcarver" for
_^<i_Weird Tales_^>i_ in 1944. He used several pseudonyms at this time, including Jefferson Cooper, Jeffrey Gardner and James Kendricks, though not for sf. He was an active contributor to _^<i_Planet Stories_^>i_ from 1945, and soon established a
reputation for historical romances like _^<i_The Borgia Blade_^>i_ (_^<b_1953_^>b_), not beginning to publish sf novels, either under his own name or under his later pseudonyms Rod Gray, Simon Majors and Bart Somers, until _^<i_Five Weeks in a
Balloon_^>i_* ** (_^<b_1962_^>b_), which novelizes the film of the Jules _^<a_!T5355_VERNE_^>a_ novel. GFF's first sf novel proper is _^<i_Escape Across the Cosmos_^>i_ (_^<b_1964_^>b_), in which a man fights a menace from another
_^<a_!T1239_DIMENSION_^>a_; it was plagiarized as _^<i_Titans of the Universe_^>i_ in various 1978 editions, variously as by Brian James Royal, James Harvey and Moonchild. His best is probably _^<i_The Arsenal of Miracles_^>i_ (_^<b_1964_^>b_ dos),
which combines _^<a_!T2342_SPACE OPERA_^>a_, _^<a_!T1678_GALACTIC EMPIRES_^>a_ and a romantically conceived hero who prefigures the interest in _^<a_!T4396_HEROIC FANTASY_^>a_ which dominated GFF's later output. His sf series are the two
fantasy-like _^<b_Alan Morgan_^>b_ adventures -- _^<i_Warrior of Llarn_^>i_ (_^<b_1964_^>b_) and _^<i_Thief of Llarn_^>i_ (_^<b_1966_^>b_) -- and, as by Bart Somers, the _^<b_Commander Craig_^>b_ space operas: _^<i_Beyond the Black Enigma_^>i_
(_^<b_1965_^>b_) and _^<i_Abandon Galaxy!_^>i_ (_^<b_1967_^>b_). GFF was an efficient storyteller with no visible pretensions to significance or thematic originality. [JC/PN]_^<n__^<n__^<b_Other works:_^>b_ _^<i_The Hunter out of Time_^>i_
(_^<b_1965_^>b_); _^<i_The Druid Stone_^>i_ (_^<b_1967_^>b_), as by Simon Majors; the _^<b_Kothar_^>b_ series of heroic-fantasy novels, comprising _^<i_Kothar -- Barbarian Swordsman_^>i_ (coll of linked stories _^<b_1969_^>b_), _^<i_Kothar of the
Magic Sword!_^>i_ (_^<b_1969_^>b_), _^<i_Kothar and the Demon Queen_^>i_ (_^<b_1969_^>b_), _^<i_Kothar and the Conjuror's Curse_^>i_ (_^<b_1970_^>b_) and _^<i_Kothar and the Wizard Slayer_^>i_ (_^<b_1970_^>b_); _^<i_Conehead_^>i_ (_^<b_1973_^>b_);
the _^<b_Kyrik_^>b_ heroic-fantasy series, comprising _^<i_Kyrik: Warlock Warrior_^>i_ (_^<b_1975_^>b_), _^<i_Kyrik Fights the Demon World_^>i_ (_^<b_1975_^>b_), _^<i_Kyrik and the Wizard's Sword_^>i_ (_^<b_1976_^>b_) and _^<i_Kyrik and the Lost
Queen_^>i_ (_^<b_1976_^>b_); _^<i_Carty_^>i_ (_^<b_1977_^>b_)._^<b_As Rod Gray (house name):_^>b_ Of the soft-porn _^<b_Lady from L.U.S.T._^>b_ sequence, those by GFF and of some sf interest are _^<i_The Poisoned Pussy_^>i_ (_^<b_1969_^>b_),
_^<i_Laid in the Future_^>i_ (_^<b_1969_^>b_), _^<i_Blow my Mind_^>i_ (_^<b_1970_^>b_) and _^<i_The Copulation Explosion_^>i_ (_^<b_1970_^>b_).
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FOX, SAMUEL MIDDLETON
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(1856-1941) UK writer whose sf novel, _^<i_Our Own Pompeii: A Romance of Tomorrow_^>i_ (_^<b_1887_^>b_), a fairly mild-mannered _^<a_!T2812_SATIRE_^>a_ of high society, features a pleasure city on the Riviera which proves too expensive to run.
[JC]_^<n__^<n_
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FPCI
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> _^<a_!T1422_FANTASY PUBLISHING COMPANY INC._^>a__^<n__^<n_
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F.P.1 ANTWORTET NICHT
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Film (1932). UFA. Dir Karl Hartl, starring Hans Albers, Sybille Schmitz, Paul Hartmann, Peter Lorre. Screenplay Walter Reisch, Kurt _^<a_!T2229_SIODMAK_^>a_, based on _^<i_F.P.1 Antwortet Nicht_^>i_ (_^<b_1932_^>b_) by Siodmak. 111 mins.
B/w._^<n__^<n__^<i_F.P.1_^>i_ has been described as being in the tradition of _^<a_!T2926_METROPOLIS_^>a_ (1926) and _^<i_Die_^<a_!T1609_FRAU IM MOND_^>a__^>i_ (1929), but Karl Hartl was no Fritz _^<a_!T4177_LANG_^>a_. It is a slow-moving film
about the construction of a giant floating runway (_^<i_Flugzeug Platform 1_^>i_) to be moored in mid-Atlantic for refuelling transatlantic flights, but is actually more concerned with a tedious love triangle. The story is about an intrepid aviator
who sees flight as a near-mystical experience, and about sabotage and noble renunciations -- all pulp materials, but with none of the slickness or verve of similar Hollywood films of the period. At great expense a flying platform was actually built
for the film, on the island of Oie. The same production team made _^<a_!T4752_GOLD_^>a_ (1934)._^<n__^<n_An English version (> _^<a_!T1588_FP1 DOESN'T ANSWER_^>a_) and a French one, starring Charles Boyer, were made of _^<i_F.P.1_^>i_ at the same
time as the German version. [JB/PN]_^<n__^<n_
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F.P.1 DOESN'T ANSWER
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Film (1932). UFA. Technical credits as for _^<a_!T1587_FP1 ANTWORTET NICHT_^>a_, but starring Conrad Veidt, Jill Esmond and Leslie Fenton. 90 mins. B/w._^<n__^<n_This is the shorter English-language version of the German film, and was shot at the
same time. The acting is better than in the German version. [PN]_^<n__^<n_
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FRAME, JANET (PATTERSON)
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(1924- ) New Zealand writer , some of whose stories -- especially those assembled in _^<i_Snowman, Snowman: Fables and Fantasies_^>i_ (coll _^<b_1963_^>b_ US) and _^<i_You Are Entering the Human Heart_^>i_ (coll _^<b_1983_^>b_) -- are fantasy.
The most intense of her several novels explore the world through the telling perceptions of protagonists categorized as psychiatrically disturbed, situations frequently described in terms that utilize the languages of the fantastic. _^<i_Intensive
Care_^>i_ (_^<b_1970_^>b_ US) is told in part through the eyes of a young woman defined as mentally deficient in a post-_^<a_!T4482_HOLOCAUST_^>a_ world where those so described are killed after being experimented upon. _^<i_The Carpathians_^>i_
(_^<b_1988_^>b_ UK) is a fantasy set in an imaginary country. [JC]_^<n__^<n_
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FRANCE
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The history of France's relationship with sf is one of long flirtation, marked through the centuries by episodic outbursts of passion and, in recent times, by an increasing shift from authorship to readership, from the active to the passive role, as
more and more people become avid consumers of the US/UK sf tradition. A few remarkable French writers of sf have emerged, but, although the 1970s were an active period for French sf, no truly indigenous school of writing has yet taken
shape._^<n__^<n_A quest for "great ancestors" in the corpus of French literature would be endless. Many texts-some vintage classics, some long-forgotten oddities-show that _^<a_!T1410_FANTASTIC VOYAGES_^>a_, the search for _^<a_!T5303_UTOPIA_^>a_,
and speculation about other worlds and alien forms of society were constant preoccupations. People tend to overlook the fact that the last parts of Francois _^<a_!T2472_RABELAIS_^>a_'s _^<i_Gargantua and Pantagruel_^>i_ (_^<b_1532-64_^>b_; trans
_^<b_1653-94_^>b_), especially _^<i_L'isle sonante_^>i_ ["The Ringing Island"] (_^<b_1562_^>b_), are clearly set in the future and almost constitute an early style of _^<a_!T2342_SPACE OPERA_^>a_ with their processing of foreign languages, customs
and landscapes._^<n__^<n_One century later, interest in the otherworldly asserted itself in works such as _^<a_!T1019_CYRANO DE BERGERAC_^>a_'s _^<i_Histoire comique contenant les etats et empires de la lune_^>i_ (_^<b_1657_^>b_; trans as _^<i_A
Voyage to the Moon_^>i_ _^<b_1659_^>b_) and Bernard le Bovyer de _^<a_!T1548_FONTENELLE_^>a_'s _^<i_Entretiens sur la pluralite des mondes habites_^>i_ (_^<b_1686_^>b_; trans J. Glanvill as _^<i_The Plurality of Worlds_^>i_ _^<b_1929_^>b_), but it
is in the 18th century that we encounter the most direct forerunner of sf in its modern sense, in the form of the _^<i_conte philosophique_^>i_, or philosophical tale. Conditions were then ideal for the emergence of something akin to sf: the
_^<i_Siecle des Lumieres_^>i_ was one of universal curiosity, of philosophical audacity and political revolution; it gave birth to all-encompassing spirits such as that of Denis Diderot (1713-1784) and saw the writing of the _^<i_Encyclopedie_^>i_
(_^<b_1751-2_^>b_), which merged the two aspects of culture, literary and scientific, the divorce of which would be one of the main sources of the decline of French sf in our time._^<n__^<n_The conventions of the _^<i_conte philosophique_^>i_ --
which generally takes the shape of a fantastic voyage -- are predecessors to those of sf: the voyage to the far island symbolizes what we now imagine in interplanetary travel, and the islanders themselves stand for what are now aliens, while the
study of their civilizations serves as a mirror/criticism of our institutions. Conversely, the satire of French (= European) society as seen through foreign eyes was a device that had already been used by Charles Montesquieu (1689-1755) in his
_^<i_Lettres persanes_^>i_ ["Persian Letters"] (_^<b_1721_^>b_)._^<n__^<n_The genre could be illustrated by numerous stories (Pierre _^<a_!T5359_VERSINS_^>a_ states that "at the beginning of the 18th century, at least one speculative work was
published each year"), but among its landmarks were _^<a_!T5394_VOLTAIRE_^>a_'s _^<i_Micromegas_^>i_ (Berlin _^<b_1750_^>b_; France _^<b_1752_^>b_), Louis-Sebastien _^<a_!T2901_MERCIER_^>a_'s _^<i_L'an deux mille quatre cent quarante_^>i_
(_^<b_1771_^>b_; trans as _^<i_Memoirs of the Year Two Thousand Five Hundred_^>i_ _^<b_1772_^>b_), _^<a_!T2560_RESTIF DE LA BRETONNE_^>a_'s _^<i_La decouverte australe_^>i_ ["The Southern-Hemisphere Discovery"] (_^<b_1781_^>b_) and Giacomo
_^<a_!T5201_CASANOVA_^>a_ di Seingalt's _^<i_Isocameron_^>i_ (_^<b_1788_^>b_), an early story of travel to the centre of the Earth. Such was the vogue of speculation that in 1787 a publisher started a list of _^<b_Voyages imaginaires_^>b_ which ran
to 36 volumes and may be considered the first sf series ever._^<n__^<n_Perhaps the most significant sf figure of the early 19th century was Felix Bodin, whose _^<i_Le Roman de l'avenir_^>i_ ["The Romance of the Future"] (_^<b_1834_^>b_) consists of
a long theoretical discussion of the nature of futuristic fiction, this being a preface to a fragmentary or unfinished novel about a future, in which mechanized warfare appears. As Paul K. _^<a_!T106_ALKON_^>a_ demonstrates in _^<i_Origins of
Futuristic Fiction_^>i_ (_^<b_1987_^>b_), Bodin's book presents an aesthetic which -- significantly for sf -- refers not only to a genre which takes the future as its subject but to one that itself will exist only in the future. The remainder of
the 19th century would seem to be entirely dominated by the formidable silhouette of Jules _^<a_!T5355_VERNE_^>a_, but it was a very active period in other respects too, carrying on the _^<i_elan_^>i_ of the preceding era. Scientific achievements
and the Industrial Revolution gave birth to popular novels in the same way that philosophical turmoil had produced its share of _^<i_contes_^>i_. Verne himself stands apart because he was the first writer to be systematic about it and build his
whole work according to a vast design, as described by his publisher Hetzel in 1867: "His aim is to sum up all knowledge gathered by modern science in the fields of _^<i_geography, geology, physics, astronomy_^>i_, and to remake, in his own
attractive and picturesque way, the history of our Universe." From then to his death in 1905, Verne gave Hetzel the 64 books which make up his _^<b_Voyages extraordinaires_^>b_, subtitled "Voyages dans les mondes connus et inconnus" ["Voyages into
the Known and Unknown Worlds"]. Jacques Van Herp (1923- ), who himself wrote a large number of works of _^<a_!T710_CHILDREN'S SF_^>a_ as Michel Jansen, has argued that the huge success Verne enjoyed, basically among adolescents, drove serious
critics and historians away from him, so that -- in France anyway -- one may trace back to Verne the lame academic quarrel about whether sf, or "anticipation", is high literature or not. Indeed, that question had never been raised before; it took a
bourgeois system of education (see below) to institute class-struggle among books. Verne's work went the way of _^<i_Robinson Crusoe_^>i_ or _^<i_Treasure Island_^>i_: that of a sort of universal reputation which does not preclude underestimation
or misunderstanding. Until recently, Verne was ignored by the universities, but fascinated such diverse minds as those of Raymond Roussel (who called him "le plus grand genie litteraire de tous les siecles" ["the greatest literary genius of all
time"]), Michel _^<a_!T5108_BUTOR_^>a_ and Michel Foucault (1926-1984)._^<n__^<n_Among Verne's contemporaries in the field, one should at least mention the astronomer Camille _^<a_!T1516_FLAMMARION_^>a_ and his _^<i_Recits de l'infini_^>i_
(_^<b_1872_^>b_; trans as _^<i_Stories of Infinity: Lumen -- History of a Comet in Infinity_^>i_ _^<b_1874_^>b_) and the novelist cum draftsman Albert _^<a_!T2629_ROBIDA_^>a_, who was no less prolific than Verne, whom he parodied in his
_^<i_Voyages tres extraordinaires de Saturnin Farandoul_^>i_ (1879; _^<i_for book publication_^>i_ > _^<a_!T2629_ROBIDA_^>a_) which purportedly took their hero "into all the countries known and even unknown to Mr Jules Verne". Robida proved himself
a visionary as well as a humorist in his _^<i_Le vingtieme siecle_^>i_ ["The Twentieth Century"] (_^<b_1882_^>b_), _^<i_La vie electrique_^>i_ ["The Electric Life"] (_^<b_1883_^>b_) and "La guerre au vingtieme siecle" ["War in the 20th Century"]
(_^<i_La caricature_^>i_ 1883)._^<n__^<n_By the turn of the century, however, the one name Verne had to contend with was that of J.H. _^<a_!T2696_ROSNY_^>a_ aine, a writer who possibly deserves as much consideration. The Rosnys, two brothers of
Belgian extraction, started together a writing career that was eventually to win them seats in the Academie Goncourt, but we are concerned only with the numerous stories and the 17 novels of Rosny aine (the elder brother), which run from the
prehistoric, such as _^<i_La guerre du feu_^>i_ ["The War of Fire"] (_^<b_1909_^>b_), through the cataclysmic _^<i_La mort de la terre_^>i_ ["Death of the Earth"] (_^<b_1910_^>b_) to the futuristic _^<i_Les navigateurs de l'infini_^>i_ ["Navigators
of the Infinite"] (_^<b_1925_^>b_). Rosny aine consistently brought to the field, besides a solid scientific culture, a breadth of vision at times worthy of Olaf _^<a_!T2404_STAPLEDON_^>a_._^<n__^<n_The period ranging from the 1880s to the 1930s,
largely predating the US boom of the 1920s, was the true golden age of French sf: we might call it France's pulp era. Not that there ever existed any specific sf magazines, but wide-circulation periodicals such as _^<i_Journal des voyages_^>i_ and
_^<i_La science illustree_^>i_ -- and, later, _^<i_Je sais tout, L'Intrepide_^>i_ and the very important _^<i_Sciences et voyages_^>i_ -- regularly ran stories and serialized novels of "anticipation". Sf was thus lent a degree of respectability by
being introduced as an extension of travel and adventure stories. In the general title given to his work, Jules Verne had proceeded similarly from "known" to "unknown" worlds._^<n__^<n_Apart from isolated works by nonspecialists such as _^<i_L'Eve
future_^>i_ (_^<b_1886_^>b_; trans as _^<i_The Eve of the Future_^>i_ _^<b_1981_^>b_ US; new trans as _^<i_Tomorrow's Eve_^>i_ _^<b_1982_^>b_ US) by _^<a_!T5373_VILLIERS DE L'ISLE-ADAM_^>a_, _^<i_L'ile des pingouins_^>i_ (_^<b_1908_^>b_; trans as
_^<i_Penguin Island_^>i_ _^<b_1909_^>b_) by Anatole _^<a_!T1590_FRANCE_^>a_ and _^<i_Le Napus, fleau de l'an 2227_^>i_ ["The 'Disappearance': Scourge of the Year 2227"] (_^<b_1927_^>b_) by Leon Daudet (1868-1942), this period gave birth to a host
of popular writers: Paul d'Ivoi, Louis _^<a_!T4941_BOUSSENARD_^>a_, then Gustave Le Rouge, Jean de La Hire, Andre Couvreur, Jose Moselli, Rene Thevenin, etc. All were not of equal worth, but three names are outstanding: Maurice
_^<a_!T2553_RENARD_^>a_, author of the amazing _^<i_Le docteur Lerne_^>i_ (_^<b_1908_^>b_; trans as _^<i_New Bodies for Old_^>i_ _^<b_1923_^>b_), which he dedicated to H.G. _^<a_!T5528_WELLS_^>a_; Jacques _^<a_!T2373_SPITZ_^>a_, whose best novel
was _^<i_L'oeil du purgatoire_^>i_ ["The Eye of Purgatory"] (_^<b_1945_^>b_) and whose earlier _^<i_L'agonie du globe_^>i_ (_^<b_1935_^>b_; trans as _^<i_Save the Earth_^>i_ _^<b_1936_^>b_) was given a UK edition; and Regis Messac (1893-1943),
whose _^<i_Quinzinzinzili_^>i_ (_^<b_1935_^>b_) and _^<i_La cite des asphyxies_^>i_ ["City of the Suffocated"] (_^<b_1934_^>b_) exhibit a sinister mood and grim humour that deserve to gain him a new audience today._^<n__^<n_WWII put an end to this
thriving period, and during the 1940s only one writer of note appeared: Rene _^<a_!T412_BARJAVEL_^>a_, with _^<i_Ravage_^>i_ (_^<b_1943_^>b_; trans as _^<i_Ashes, Ashes_^>i_ _^<b_1967_^>b_) and _^<i_Le voyageur imprudent_^>i_ (_^<b_1944_^>b_; trans
as _^<i_Future Times Three_^>i_ _^<b_1971_^>b_). At the end of WWII two factors were to bear heavily on the future of sf in France. The first was the growing separation, at school, in the universities and in all thinking circles, between _^<i_les
litteraires_^>i_ and _^<i_les scientifiques_^>i_. This made for a lack of curiosity on the part of aspiring novelists about science and its possible effects on the shapes of our lives, and drove many talents away from the genre, which was
definitely viewed as teenager-fodder. France had, as it were, ceased to dream about its own future -- and about the future generally. Second, whatever interest in these matters existed was satisfied from another source, the USA. In the years
following WWII the French public discovered all at once jazz, US films, thrillers and the US _^<a_!T4754_GOLDEN AGE OF SF_^>a_. One key personality of the period was Boris _^<a_!T5364_VIAN_^>a_, novelist, songwriter, film buff and jazz musician,
who translated both Raymond Chandler and A.E. _^<a_!T5333_VAN VOGT_^>a_. This was the time of the creation of _^<i_Le club des savanturiers_^>i_ by Michel Pilotin, Vian, Raymond Queneau and Audiberti. In 1951, Queneau wrote an introductory essay in
_^<i_Critique_^>i_: "Un nouveau genre litteraire: les sciences-fictions" ["A New Literary Genre: SF"], followed two years later by Michel Butor, with "La crise de croissance de la science-fiction" (1953 _^<i_Cahiers du Sud_^>i_; trans as "SF: The
Crisis of its Growth", _^<i_Partisan Review_^>i_ 1967; reprinted in _^<i_SF: The Other Side of Realism_^>i_ [anth _^<b_1971_^>b_] ed T. _^<a_!T732_CLARESON_^>a_)._^<n__^<n_Sf was again fashionable but mainly in translated form. Between 1951 and
1964, the _^<b_Rayon fantastique_^>b_ series published 119 titles, mostly US; it was followed in 1954 by _^<b_Presence du Futur_^>b_, which still exists today. By the end of the decade some French names were appearing on the list of the former
(Francis Carsac [pseudonym of Francois Bordes (1919-1977)], Philippe _^<a_!T1011_CURVAL_^>a_ and Albert Higon, pseudonym of Michel Jeury [1934- ]) and the latter (Jacques _^<a_!T5721_STERNBERG_^>a_, Jean Hougron), but for the most part French
authors were published, often under pseudonyms, in the less prestigious _^<b_Fleuve noir_^>b_ series, created in 1951. The best of these were Stefan _^<a_!T6201_WUL_^>a_, B.R. Bruss (Roger Blondel), Kurt Steiner (Andre Ruellan) and Gilles d'Argyre
(Gerard _^<a_!T4093_KLEIN_^>a_)._^<n__^<n_In 1953 Editions Opta launched the French editions of _^<i_Gal_^>i_ and _^<i_FSF_^>i_, _^<i_Galaxie_^>i_ and _^<i_Fiction_^>i_, whose contents differ notably from those of their US models. These two would
remain for many years the principal outlet for US stories and a springboard for new French talents, including critics. But such were few and far between. The initial impetus given by the discovery of US sf in the 1950s slowed down during the
following decade. One magazine which devoted more space to indigenous authors, _^<i_Satellite_^>i_, had a brief life. Among the new writers, Michel Demuth, Alain Doremieux and Gerard Klein were soon absorbed by editorial responsibilities and their
output consequently became irregular._^<n__^<n_The most personal voice during this period and the succeeding years has been that of Philippe Curval who, from _^<i_Le ressac de l'espace_^>i_ ["The Breakers of Space"] (_^<b_1962_^>b_) through
_^<i_Cette chere humanite_^>i_ ["This Dear Humanity"] (_^<b_1976_^>b_), has consistently maintained a high standard while never imitating the US model. Beside him we should again mention Michel Jeury, who resumed writing (under his own name) with
_^<i_Le temps incertain_^>i_ (_^<b_1973_^>b_; trans Maxim Jakubowski as _^<i_Chronolysis_^>i_ _^<b_1980_^>b_ US), and Daniel Drode (1932-1984), whose only novel was _^<i_Surface de la planete_^>i_ ["Surface of the Planet"] (_^<b_1959_^>b_).
Mainstream writers occasionally tackled sf: Pierre _^<a_!T4938_BOULLE_^>a_ with _^<i_La planete des singes_^>i_ (_^<b_1963_^>b_; trans as _^<i_Planet of the Apes_^>i_ _^<b_1963_^>b_; vt _^<i_Monkey Planet_^>i_ UK); Robert _^<a_!T2906_MERLE_^>a_
with _^<i_Un animal doue de raison_^>i_ (_^<b_1967_^>b_; trans as _^<i_The Day of the Dolphin_^>i_ _^<b_1969_^>b_) and _^<i_Malevil_^>i_ (_^<b_1972_^>b_; trans _^<b_1974_^>b_); and Claude Ollier, an adept of the _^<i_nouveau roman_^>i_, with
_^<i_La vie sur Epsilon_^>i_ ["Life on Epsilon"] (_^<b_1972_^>b_)._^<n__^<n_In the 1970s the situation underwent new changes, once more due to a definite influence: that of the UK _^<a_!T3181_NEW WAVE_^>a_ and in particular
post-_^<a_!T3182_NEW-WORLDS_^>a_ sf. J.G. _^<a_!T378_BALLARD_^>a_'s later work, along with that of such US writers as Thomas M. _^<a_!T1244_DISCH_^>a_, Harlan _^<a_!T6641_ELLISON_^>a_, Norman _^<a_!T2370_SPINRAD_^>a_ and, above all, Philip K.
_^<a_!T1222_DICK_^>a_, had a tremendous impact on the new generation of readers who lived through the 1968 student uprising and saw the possibilities of making powerful political statements in speculative form. Several young authors who began
writing in the mid-1960s (Daniel _^<a_!T5448_WALTHER_^>a_, Jean-Pierre Andrevon, Jean-Pierre Hubert) readily took that route, and were followed by a batch of newcomers, with Dominique Douay, Pierre Pelot and Philippe Goy the best among
them._^<n__^<n_Nevertheless, the effervescence of the late 1970s did not survive into the 1980s. Lack of enthusiasm on the part of the public? Overabundance of books? Difficulties linked to general publishing problems? It was the beginning of a
critical period in which the number of sf imprints, about 40 during the late 1970s, diminished to a half-dozen. The so-called "New French SF", sometimes inordinately politicized, was the first victim of this crisis. Partly because of its excesses,
readers and editors grew weary of French sf authors, who then tried to explore different paths and attract recognition through other means. Some, mostly newcomers, reacted by turning to a form-oriented sf -- that is, to a greater preoccupation with
style, poetry and experimental writing (Emmanuel Jouanne, Antoine Volodine) -- to the point where they sometimes forgot the true nature of the genre. Others were tempted into expressing their personal universes, often powerfully fantastic in kind.
Among these were Jean-Marc Ligny, Jacques Barberi, Francis Berthelot and particularly Serge Brussolo who, in less than 10 years, made his mark with some 40 novels -- including such definite masterpieces as _^<i_Aussi lourd que le vent_^>i_ ["As
Heavy as the Wind"] (_^<b_1981_^>b_), _^<i_Carnaval de fer_^>i_ ["Iron Carnival"] (_^<b_1983_^>b_) and _^<i_La nuit du bombardier_^>i_ ["Night of the Bomber"] (_^<b_1989_^>b_) -- and became the most original and most popular sf writer of his
generation. Finally, a third category of authors put their craft into the service of a "neo-classical" sf which invited the reader to reflect upon contemporary issues (_^<a_!T6576_ECOLOGY_^>a_, the media, _^<a_!T826_COMPUTERS_^>a_, genetics,
cultural intermingling) though without giving up the traditional lures of exoticism and adventure. They include G.-J. Arnaud and his long series _^<b_La compagnie des glaces_^>b_ ["The Ice Company"], which has run since 1981, Bernard Simonay with
_^<i_Phenix_^>i_ (_^<b_1986_^>b_) and Joel Houssin with _^<i_Les Vautours_^>i_ ["The Vultures"] (_^<b_1986_^>b_) and _^<i_Argentine_^>i_ (_^<b_1989_^>b_), all books which have found a large audience and won awards._^<n__^<n_Today French sf shows a
paradoxical face: it includes many talented writers, usually well detached from the UK-US influence, whether long-established authors or newcomers to the genre such as Richard Canal, Pierre Stolze, Raymond Milesi and Colette Fayard. But, on the
other hand, the dwindling of publishing imprints, magazines and columns -- or their outright disappearance (_^<i_Fiction_^>i_ ceased in 1989) -- gives the unfortunate impression that the domain is definitely in peril. Thus, the best French authors
-- notably those with a long career behind them -- are now inclined to abandon sf and turn to horror (> _^<a_!T4509_HORROR IN SF_^>a_) which, courtesy of Stephen _^<a_!T4066_KING_^>a_, has become increasingly popular (Andrevon, Brussolo), or to
mainstream literature (Sternberg, Jeury, Pelot, Andrevon, Curval, Volodine), or to screenplays (Ruellan, Pelot, Houssin), a far more lucrative field._^<n__^<n_One would think that the existence of an active, passionate _^<a_!T1389_FANDOM_^>a_ --
thanks to which the French sf milieu has been holding its own _^<a_!T856_CONVENTIONS_^>a_ since 1974 -- would have given a boost to the national production, but such is not the case. French fandom remains self-centred, and is more devoted to its
own byzantine arguments than to the task of working efficiently to enlarge sf's public recognition. In other words, fans complain about their preferred literature being locked up in a ghetto, but never do anything really helpful to change that.
Only a handful of critics -- sometimes translators, editors or writers themselves (Curval, Jeury, Klein) -- have tried and are still trying to publish in mainstream magazines or newspapers regular columns or interviews meant to defend and exemplify
sf (French or not) to the general public, who are often ill informed about the genre. [RL/JCh]_^<n__^<n__^<b_Further reading:_^>b_ _^<i_Encyclopedie de l'utopie, des voyages extraordinaires et de la science-fiction_^>i_ (_^<b_1972_^>b_ Switzerland)
by Pierre Versins; _^<i_Histoire de la science-fiction moderne_^>i_ (_^<b_1973_^>b_) by Jacques _^<a_!T2766_SADOUL_^>a_; _^<i_Panorama de la science-fiction_^>i_ (_^<b_1973_^>b_ Belgium) by Jacques Van Herp; the preface by Gerard
_^<a_!T4093_KLEIN_^>a_ to _^<i_Sur l'autre face du monde & autres romans scientifiques de "Science et voyages"_^>i_ (anth _^<b_1973_^>b_) ed A. Valerie; _^<i_Malaise dans la science-fiction_^>i_ (_^<b_1977_^>b_) by Klein; also useful are 4
anthologies of French sf short stories, _^<i_Les Mondes francs_^>i_, _^<i_L'Hexagone hallucine_^>i_, _^<i_La Frontiere eclatee_^>i_ and _^<i_Les Mosaiques du temps_^>i_ (_^<b_1988-90_^>b_) ed Klein, Ellen Herzfeld and Dominique Martel.
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FRANCE, ANATOLE
-T-
Working name of Anatole-Francois Thibault (1844-1924), French writer active from the early 1860s until his death. His essayistic "pagan" _^<a_!T2812_SATIRES_^>a_ seem perhaps less relevant now than formerly, their amused rationality failing to bite
with sufficient savagery into targets like official religion and sexual prudery. Of sf interest are _^<i_Sur la pierre blanche_^>i_ (_^<b_1905_^>b_; trans Charles E. Roche as _^<i_The White Stone_^>i_ _^<b_1910_^>b_), in which a group of
intellectuals prognosticates a White Peril (the Yellow races being at risk) and the rise of Socialism; and _^<i_L'ile des pingouins_^>i_ (_^<b_1908_^>b_; trans A.W. Evans as _^<i_Penguin Island_^>i_ _^<b_1909_^>b_ UK), in which humanity's
evolutionary course is allegorized satirically through the transformation into humans -- after they have been baptised in error -- of a race of penguins, who repeat human history. In _^<i_La revolte des anges_^>i_ (_^<b_1914_^>b_; trans Mrs Wilfrid
Jackson as _^<i_The Revolt of the Angels_^>i_ _^<b_1914_^>b_ UK), a fantasy and AF's finest novel, an angel -- corrupted by the world of books -- realizes that his fallen brethren were in the right. AF won the Nobel Prize for Literature in 1921.
[JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Thais_^>i_ (_^<b_1890_^>b_; trans, almost certainly by Charles Carrington, _^<b_1901_^>b_ France); _^<i_L'Etui de Nacre_^>i_ (coll _^<b_1892_^>b_; trans Henry Pene du Bois as _^<i_Tales from a
Mother-of-Pearl Casket_^>i_ _^<b_1896_^>b_ US; vt _^<i_Mother of Pearl_^>i_ 1908 UK); _^<i_Le Puits de Sainte Clare_^>i_ (coll _^<b_1895_^>b_; trans, almost certainly by Charles Carrington, as _^<i_The Well of St Clare_^>i_ _^<b_1903_^>b_ France);
_^<i_Honey-Bee_^>i_ (trans Mrs John Lane _^<b_1911_^>b_ UK), a tale first published with other fantasies in _^<i_Balthazar_^>i_ (coll _^<b_1889_^>b_; trans Mrs John Lane _^<b_1909_^>b_ UK); _^<i_Les Sept Femmes de la Barbe-Bleu, et autres contes
merveilleux_^>i_ (coll _^<b_1909_^>b_; trans Mrs D.B. Stewart as _^<i_The Seven Wives of Bluebeard, and Other Marvellous Tales_^>i_ _^<b_1920_^>b_ UK)._^<b_See also:_^>b_ _^<a_!T6577_ECONOMICS_^>a_; _^<a_!T1590_FRANCE_^>a_;
_^<a_!T5303_UTOPIAS_^>a_.
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FRANCES, STEPHEN (DANIEL)
-T-
(1917-1989) UK publisher and pulp writer who lived in Spain from the early 1950s. In the mid-1940s he founded his own publishing company, Pendulum Publications, which released a variety of genre fiction, including sf. The editor of his sf line,
Frank _^<a_!T247_ARNOLD_^>a_, introduced SDF to John _^<a_!T5170_CARNELL_^>a_, a meeting that led to the birth of _^<a_!T3182_NEW WORLDS_^>a_ in 1946; but after only 3 issues the company was sold (and liquidated)._^<n__^<n_SDF then founded his own
self-named company. For it he penned a series of fast-moving US-style thrillers as by Hank _^<a_!T3868_JANSON_^>a_; they achieved remarkable success at the time. Also for it he created the house name Astron _^<a_!T1159_DEL MARTIA_^>a_ (_^<i_which
see_^>i_), but soon sold the name to Gaywood Press to help finance his move to Spain. Later he wrote three sf novels as by Hank Janson: _^<i_The Unseen Assassin_^>i_ (_^<b_1953_^>b_), a routine tale in which an alien disease threatens to wipe out
humanity, _^<i_Tomorrow and a Day_^>i_ (_^<b_1955_^>b_), a stronger post-_^<a_!T4482_HOLOCAUST_^>a_ tale, and _^<i_One Against Time_^>i_ (_^<b_1956_^>b_ as by Janson; 1969 as by Del Martia), a _^<a_!T6026_TIME-TRAVEL_^>a_ tale pitting a
mathematician against the World Council from a future threatened by his genius. SDF's later novel, _^<i_The Disorientated Man_^>i_ (_^<b_1966_^>b_; vt _^<i_Scream and Scream Again_^>i_ 1967 US) as by Peter _^<a_!T2829_SAXON_^>a_, a
mad-_^<a_!T2880_SCIENTIST_^>a_ tale filmed in 1969 as _^<a_!T2077_SCREAM AND SCREAM AGAIN_^>a_, was heavily revised by W. Howard _^<a_!T368_BAKER_^>a_. [SH]_^<n__^<n__^<b_About the author:_^>b_ _^<i_The Trials of Hank Janson_^>i_ (_^<b_1991_^>b_)
by Stephen _^<a_!T4470_HOLLAND_^>a_.
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-A-
FRANCHISE
-T-
> _^<a_!T2126_SHARECROP_^>a_._^<n__^<n_
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FRANCIS, RICHARD H.
-T-
Working name of UK author and academic Richard Francis (1945- ), who added a fictitious "H" to distinguish himself from Dick Francis, the thriller writer. RHF's first novel, _^<i_Blackpool Vanishes_^>i_ (_^<b_1979_^>b_), tells the quirky,
extremely English story of what happens when microscopic _^<a_!T102_ALIENS_^>a_ kidnap the town of Blackpool. In _^<i_Whispering Gallery_^>i_ (_^<b_1984_^>b_) the discovery of a "missing link" between bacteria and viruses becomes complicated when
it turns out that the new strain can serve -- defectively -- as a weapon, and -- all too efficiently -- as a fuel._^<i_Swansong_^>i_ (_^<b_1986_^>b_) is a mildly fantastic _^<a_!T2812_SATIRE_^>a_ on Margaret Thatcher's UK, the Falklands War and the
brutally unexpected disasters of both personal and political history. [NT]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T5273_UFOS_^>a_.
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-A-
FRANK, PAT (HARRY HART)
-T-
(1907-1964) US journalist and author; a government official during WWII, he later served with the UN. Though his three sf novels are well known within the field, PF was not generally identified as an sf author. His first novel, _^<i_Mr Adam_^>i_
(_^<b_1946_^>b_), exploits the fears of contamination felt in the USA after Hiroshima. All men but one are sterilized by a nuclear _^<a_!T1243_DISASTER_^>a_; the experiences of the sole fertile male are rather feebly rendered as comical, providing
grounds for a _^<a_!T2812_SATIRE_^>a_ on government procedures. _^<i_Forbidden Area_^>i_ (_^<b_1956_^>b_; vt _^<i_Seven Days to Never_^>i_ 1957 UK) also deals -- more grimly -- with the atomic question, in a thriller plot involving sabotage and
near-_^<a_!T4482_HOLOCAUST_^>a_. In his most famous novel, _^<i_Alas, Babylon_^>i_ (_^<b_1959_^>b_), the disaster is again nuclear, but this time it is not averted. In a part of Florida that has survived the holocaust, the inhabitants of a small
town manage, perhaps rather implausibly, to cope (> _^<a_!T1812_PASTORAL_^>a_; _^<a_!T2641_ROBINSONADE_^>a_) and modestly to flourish; domestic verisimilitude and apocalypse mingle here attractively, and the book was both made into a play and
televised. PF's work draws its clear emotional force from the deep fears of nuclear devastation many Americans suffered, with some cause, during the 1950s. [JC]_^<n__^<n_
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FRANKAU, GILBERT
-T-
(1884-1952) UK writer known mainly for his work outside the sf field, most notably his Byronesque verse novel _^<i_One of Us_^>i_ (_^<b_1912_^>b_) and dozens of popular romances. _^<i_The Seeds of Enchantment_^>i_ (_^<b_1921_^>b_) is a lost-race (>
_^<a_!T3460_LOST WORLDS_^>a_) fantasy which features contrasting _^<a_!T5303_UTOPIAS_^>a_ in the wilds of Indochina. His posthumous sf novel, _^<i_Unborn Tomorrow: A Last Story_^>i_ (_^<b_1953_^>b_), depicts a 50th-century Roman Catholic world
where a beam which destroys all explosives has enforced a happy return to a pre-industrial lifestyle. [JC]_^<n__^<n__^<b_Other work:_^>b_ _^<i_Son of the Morning_^>i_ (_^<b_1949_^>b_)._^<n__^<n_
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FRANKE, HERBERT W(ERNER)
-T-
(1927- ) Austrian-born writer and scientist who, after receiving a doctorate in Vienna in 1950, moved to Munich, where he taught cybernetic aesthetics at the University of Munich. After publishing considerable nonfiction in the 1950s, mostly on
either speleology or computer graphics, he also began publishing sf, at first speculative short stories like those assembled in _^<i_Der grune Komet_^>i_ ["The Green Comet"] (coll _^<b_1960_^>b_), _^<i_Fahrt zum Licht: Utopische
Kurzgeschichten_^>i_ ["Journey to Light: Utopian Short Stories"] (coll _^<b_1963_^>b_), _^<i_Einsteins Erben_^>i_ ["Einstein's Heirs"] (coll _^<b_1972_^>b_) and _^<i_Zarathustra kehrt zuruck_^>i_ ["Zarathustra Returns"] (coll _^<b_1977_^>b_). He
has also published several novels beginning with _^<i_Das Gedankennetz_^>i_ (_^<b_1961_^>b_; trans Christine Priest as _^<i_The Mind Net_^>i_ _^<b_1974_^>b_ US). _^<i_Der Orchideenkafig_^>i_ (_^<b_1961_^>b_; trans Christine Priest as _^<i_The
Orchid Cage_^>i_ _^<b_1973_^>b_ US) complexly depicts, in HWF's typically speculative, somewhat dry manner, the profound transformative effects of a mysterious planet on its human explorers. _^<i_Zone Null_^>i_ (_^<b_1970_^>b_; trans _^<b_1974_^>b_
US) sets up between a future Free World and an apparently defeated and deserted Zone Null a metaphysical questioning of the true aims of society and of the intermingled values of both opposed sides. In _^<i_Transpluto_^>i_ (_^<b_1982_^>b_), which
is typical of his later work, a mysterious planet hornswoggles a team of Earthmen, keeping them from leaving the Solar System. HWF is one of the first contemporary German sf writers whose work ranks with that in English and other European
languages. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Die Glasfalle_^>i_ ["The Glass Trap"] (_^<b_1961_^>b_); _^<i_Die Stahlwuste_^>i_ ["The Steel Desert"] (_^<b_1962_^>b_); _^<i_Planet der Verlorenen_^>i_ ["Planet of the Lost"] (_^<b_1963_^>b_) as
by Sergius Both; _^<i_Der Elfenbeinturm_^>i_ ["The Ivory Tower"] (_^<b_1965_^>b_); _^<i_Ypsilon Minus_^>i_ (_^<b_1976_^>b_); _^<i_Ein Kyborg namens Joe_^>i_ ["A Cyborg Named Joe"] (coll _^<b_1978_^>b_); _^<i_Sirius Transit_^>i_ (_^<b_1979_^>b_) as
by Sergius Both;_^<i_Schule fur Ubermenschen_^>i_ ["School for Supermen"] (_^<b_1980_^>b_); _^<i_Paradies 3000_^>i_ ["Paradise 3000"] (coll_^<b_1981_^>b_); _^<i_Keine Spur vom Leben_^>i_ ["No Trace of Life"] (coll _^<b_1982_^>b_), collecting radio
plays; _^<i_Die Kalte des Weltraums_^>i_ ["The Coldness of Space"] (_^<b_1982_^>b_); _^<i_Tod eines Unsterblichen_^>i_ ["Death of an Immortal"] (_^<b_1982_^>b_); _^<i_Endzeit_^>i_ ["End of Time"] (_^<b_1985_^>b_); _^<i_Der Atem der Sonne_^>i_ ["The
Breath of the Sun"] (_^<b_1986_^>b_); _^<i_Zentrum der Milchstrasse_^>i_ ["The Centre of the Milky Way"] (_^<b_1990_^>b_); _^<i_Spiegel der Gedanken_^>i_ ["Mirror of Thought"] (coll _^<b_1990_^>b_)._^<b_See also:_^>b_ _^<a_!T318_AUSTRIA_^>a_;
_^<a_!T4667_GERMANY_^>a_.
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FRANKENHEIMER, JOHN
-T-
(1930- ) US film director. A graduate of the 1950s school of live tv drama, JF first attracted attention as a film-maker with melodramas centred on youth and social issues: _^<i_The Young Stranger_^>i_ (1956), _^<i_The Young Savages_^>i_ (1961),
_^<i_All Fall Down_^>i_ (1961) and _^<i_The Birdman of Alcatraz_^>i_ (1962). However, in his direction of _^<i_The_^<a_!T3632_MANCHURIAN CANDIDATE_^>a__^>i_ (1962), _^<i_Seven Days in May_^>i_ (1964) and _^<a_!T2090_SECONDS_^>a_ (1966), all based
on successful novels, JF revealed a distinctive fantastic vision, rooted in the realities of the USA of the 1950s and 1960s, which would be a great influence on the 1970s run of post-Watergate conspiracy movies, like Alan J. Pakula's _^<i_The
Parallax View_^>i_ (1974) and William Richert's _^<i_Winter Kills_^>i_ (1979). _^<i_Seven Days in May_^>i_, in which the USA is threatened by a military coup, and _^<i_The Manchurian Candidate_^>i_ are political fantasies focusing on the
precariousness of the presidency, while _^<i_Seconds_^>i_, one of the scariest films of the 1960s, is a nightmare about rejuvenation. These exercises in unease are confidently shot in black-and-white with the Expressionist imagination of a
top-drawer _^<a_!T6141_TWILIGHT ZONE_^>a_ episode, and feature a brilliant oddball casting of his stars. JF's films at this stage are a vision of a grey-suited corporate USA gone wrong, with recurrent themes of brainwashing, surveillance,
assassination and Kafkaesque bureaucracies, many of which returned in his still-underrated comic-book gangster fantasy _^<i_99 & 44/100% Dead_^>i_ (1974; vt _^<i_Call Harry Crown_^>i_) and the large-scale terrorist thriller _^<i_Black Sunday_^>i_
(1977). He had a commercial success with _^<i_The French Connection II_^>i_ (1975), but his return to sf with _^<a_!T2011_PROPHECY_^>a_ (1979), a hokey, expensive _^<a_!T3011_MONSTER MOVIE_^>a_, was a major disappointment, and his more recent films
have tended to be bland adaptations of best-selling thrillers. [KN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T726_CINEMA_^>a_; _^<a_!T1795_PARANOIA_^>a_.
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FRANKENSTEIN
-T-
Film (1931). Universal. Dir James Whale, starring Boris Karloff, Colin Clive, Mae Clarke, Edward van Sloan, Dwight Frye. Screenplay Garrett Fort, Robert Florey, Francis Edward Faragoh, based on an adaptation by Florey and John L. Balderston of the
play by Peggy Webling, based in turn on _^<i_Frankenstein, or The Modern Prometheus_^>i_ (_^<b_1818_^>b_) by Mary _^<a_!T2173_SHELLEY_^>a_. 71 mins. B/w._^<n__^<n_This remains the most famous of the Frankenstein films, although it was not the
first. (The Edison Company made a 16min version in 1910; it was dir J. Searle Dawley and starred Charles Ogle as the Monster. A second version, also US, was the 70min _^<i_Life without Soul_^>i_ in 1915, dir Joseph W. Smiley.) Dr Frankenstein is a
_^<a_!T2880_SCIENTIST_^>a_ who builds an artificial man using parts from stolen bodies. He succeeds, with the aid of an electrical storm, in bringing the creature to life but, because his assistant has provided the brain of a criminal rather than
that of a "normal" man (a clumsy plot device which has nothing to do with Shelley's novel), the creation proves difficult to control. Eventually the _^<a_!T1600_FRANKENSTEIN MONSTER_^>a_ escapes, accidentally kills a small girl, and is pursued and
apparently slain by angry villagers (originally the Monster killed Frankenstein, too, but the studio substituted a happy ending)._^<n__^<n_The film remains a semi-classic today. With his atmospheric lighting, smooth tracking shots and numerous
low-angle shots that were never obtrusive but made effective use of the high-ceilinged sets -- particularly Frankenstein's laboratory -- Whale succeeded in making a _^<a_!T4509_HORROR_^>a_ film of some grandeur, with an undertone of ironic humour.
Much of the credit must go to Karloff for his fine (unspeaking) performance as the pathetic Monster, considerably helped by Jack Pierce's famous make-up; Karloff's success here doomed him to horror roles for the rest of his life._^<n__^<n_There
have been numerous sequels and remakes. The sequel _^<a_!T4993_BRIDE OF FRANKENSTEIN_^>a_ (1935), also dir Whale, is the best film he ever made. Other, increasingly awful, sequels from Universal were _^<i_Son of Frankenstein_^>i_ (1939), _^<i_Ghost
of Frankenstein_^>i_ (1942), _^<i_Frankenstein Meets the Wolfman_^>i_ (1943), _^<i_House of Frankenstein_^>i_ (1945) and _^<i_Abbott and Costello Meet Frankenstein_^>i_ (1948). In 1957 the UK company Hammer Films remade the original, calling it
_^<i_Curse of Frankenstein_^>i_ (vt _^<i_Birth of Frankenstein_^>i_), and then made _^<i_The Revenge of Frankenstein_^>i_ (1958), _^<i_The Evil of Frankenstein_^>i_ (1964), _^<i_Frankenstein Created Woman_^>i_ (1966), _^<i_Frankenstein Must Be
Destroyed_^>i_ (1969) and _^<i_The Horror of Frankenstein_^>i_ (1970), ending with _^<i_Frankenstein and the Monster from Hell_^>i_ (1973). Five of these were dir Terence Fisher, and nearly all featured Peter Cushing's interestingly tense and
upright performance as Baron von Frankenstein. Andy Warhol produced in Italy a 3-D _^<a_!T2374_SPLATTER-MOVIE_^>a_ pornographic version (remarkably tasteless on all counts) dir Paul Morrissey (or possibly an uncredited Antonio Margheriti):
_^<i_Carne per Frankenstein_^>i_ (1973; vt _^<i_Flesh for Frankenstein_^>i_; vt _^<i_Andy Warhol's Frankenstein_^>i_). A successful parody/homage movie was _^<i_Young Frankenstein_^>i_ (1974), dir Mel Brooks. Other versions of the story, mostly
exploitation films, were made in Italy and Spain. Two more US titles are _^<i_Frankenstein 1970_^>i_ (1958), dir Howard W. Koch and starring an ageing Boris Karloff, and _^<i_Frankenstein Meets the Space Monster_^>i_ (1965; vt _^<i_Mars Invades
Puerto Rico_^>i_), which is not about Frankenstein at all. There are many more._^<n__^<n_An interesting attempt to recreate Mary Shelley's original novel, including its finale in the Arctic (all previous films had changed the story), is the 3-hour
made-for-tv film _^<i_Frankenstein: The True Story_^>i_ (1973), Universal/NBC, dir Jack Smight, from a script by Christopher Isherwood and Don Bachardy, starring James Mason, David McCallum and Michael Sarrazin. It was theatrically released, cut to
123 mins. The teleplay was published as _^<i_Frankenstein: The True Story_^>i_ * (_^<b_1973_^>b_), by Isherwood and Bachardy. _^<i__^<a_!T1602_FRANKENSTEIN UNBOUND_^>a__^>i_ (1990) is based on the 1973 _^<a_!T2528_RECURSIVE SF_^>a_ book by
Brian_^<a_!T87_ ALDISS_^>a_, but it does incorporate much of Shelley's original, including interesting Arctic scenes. Another tv movie version, made for cable tv, and moderately true to the book, though not very interestingly so, is
_^<i_Frankenstein_^>i_ (1993), 150 mins, dir David Wickes, with Randy Quaid as the creature. By far the most distinguished of any version from the last two decades of the 20th century is _^<i__^<a_!T6546_MARY SHELLEY'S FRANKENSTEIN_^>a__^>i_
(1994), dir Kenneth Branagh, which is sensitive to the nature of the original yet prepared to use somewhat more modern metaphors to illuminate it, but even this is an uneven work._^<n__^<n_A book about versions of the story is _^<i_Hideous
Progenies: Dramatizations of Frankenstein from Mary Shelley to the Present_^>i_ (_^<b_1990_^>b_) by Steven Earl Forry. [JB/PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T4780_GOTHIC SF_^>a_; _^<a_!T3011_MONSTER MOVIES_^>a_; _^<a_!T2115_SEX_^>a_.
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FRANKENSTEIN MONSTER
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The term is in general use, not only in sf _^<a_!T5942_TERMINOLOGY_^>a_ but in common parlance, to mean a _^<a_!T3008_MONSTER_^>a_ that ultimately turns and rends its irresponsible creator. Note that in the original novel Frankenstein was the name
of the creator and not of the monster, though in popular usage it is often assumed that the monster itself is Frankenstein. In critical talk, Frankenstein is often equated with Prometheus and Dr Faustus, two other legendary figures who were guilty
of _^<i_hubris_^>i_ in their quest for knowledge, and struck down. [PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T1599_FRANKENSTEIN_^>a_; _^<a_!T4509_HORROR IN SF_^>a_; _^<a_!T3011_MONSTER MOVIES_^>a_; Mary _^<a_!T2173_SHELLEY_^>a_.
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FRANKENSTEIN: THE TRUE STORY
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> _^<a_!T1599_FRANKENSTEIN_^>a_._^<n__^<n_
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FRANKENSTEIN UNBOUND
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(vt _^<i_Roger Corman's Frankenstein Unbound_^>i_) Film (1990). Warner Brothers. Dir Roger _^<a_!T884_CORMAN_^>a_, starring John Hurt, Raul Julia, Bridget Fonda, Nick Brimble, Katherine Rabett, Jason Patric, Michael Hutchence. Screenplay Corman,
F.X. Feeney, based on _^<i_Frankenstein Unbound_^>i_ (_^<b_1973_^>b_) by Brian W. _^<a_!T87_ALDISS_^>a_. 85 mins. Colour._^<n__^<n_This philosophical (about the dangers of the Promethean impulse) _^<a_!T6026_TIME-TRAVEL _^>a_horror/fantasy was the
first film directed by Corman for 20 years. A 21st-century scientist (Hurt) is time-warped into 19th-century Switzerland. On one side of Lake Geneva the Byron/Shelley menage is living; on the other the plot of Mary _^<a_!T2173_SHELLEY_^>a_'s
_^<i_Frankenstein, or The Modern Prometheus_^>i_ (_^<b_1818_^>b_) is being played out. Hurt gets involved with both sets of characters and winds up whisking _^<a_!T3008_MONSTER_^>a_ and maker off to an ice-age future for a splattery plot
resolution, laced with conservative lectures about the evils of science. Some of the plentiful laughs may be intended, given that Aldiss's playful novel is in part a comedy, though Fonda is ridiculous as the dainty but promiscuous Mary. There are
some cheapskate effects, but Raul Julia is good as the mad visionary; the angry-at-the-world _^<a_!T1600_FRANKENSTEIN MONSTER_^>a_ (Brimble) comes with impressive details like scarred eyeballs; and the _^<a_!T4780_GOTHIC_^>a_ horror set-pieces are
directed with unselfconscious panache. [KN]_^<n__^<n_
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FRANKLIN, EDGAR
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Working name used for his publications by US writer Edgar Franklin Stearns (1879-1958), whose _^<i_Mr Hawkins' Humorous Inventions_^>i_ (coll of linked stories _^<b_1904_^>b_), all reprinted from _^<i_The_^<a_!T225_ARGOSY_^>a__^>i_ , features the
eponymous inventor/scientist comically failing to make a series of devices, such as the pumpless pump, work properly; the series continued to 1915 in various of the Frank A. _^<a_!T3106_MUNSEY_^>a_ magazines. [JC]_^<n__^<n__^<b_See also:_^>b_
_^<a_!T4555_HUMOUR_^>a_.
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FRANKLIN, H(OWARD) BRUCE
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(1934- ) US critic, John Cotton Dana Professor of English and American Studies at Rutgers. In 1961 HBF gave at Stanford one of the earliest university courses in sf in the USA. In 1972 he was dismissed by Stanford for giving speeches protesting
the university's involvement in the Vietnam War -- a case well known to those interested in questions of academic freedom. His _^<i_Future Perfect: American Science Fiction of the Nineteenth Century_^>i_ (anth _^<b_1966_^>b_; rev 1968; exp and rev
1978) has been one of the most influential of sf _^<a_!T195_ANTHOLOGIES_^>a_, in drawing attention to the sheer volume of 19th-century sf. A later HBF anthology, containing sf about nuclear weapons, is _^<i_Countdown to Midnight_^>i_ (anth
_^<b_1984_^>b_). HBF's two other books about sf are _^<i_Robert A. Heinlein: America as Science Fiction_^>i_ (_^<b_1980_^>b_) and _^<i_War Stars: The Superweapon and the American Imagination_^>i_ (_^<b_1988_^>b_). The former relates
_^<a_!T4376_HEINLEIN_^>a_'s career to contemporary US history from a Marxist perspective; the latter is a pungent and important study about the US preoccupation with super-_^<a_!T5492_WEAPONS_^>a_ in fact and fiction, and the way in which the fact
has been influenced by the fiction. HBF has published many other critical articles on sf and is among the genre's most respected commentators. He received the _^<a_!T1900_PILGRIM AWARD_^>a_ in 1983. He has been a consulting editor of
_^<a_!T2143_SCIENCE-FICTION STUDIES_^>a_ since its inception. [PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T963_CRITICAL AND HISTORICAL WORKS ABOUT SF_^>a_; _^<a_!T2071_SF IN THE CLASSROOM_^>a_; _^<a_!T5452_WAR_^>a_.
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FRANKOWSKI, LEO A.
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(1943- ) US writer known principally for his _^<a_!T131_ALTERNATE-WORLD_^>a_ series, the _^<b_Adventures of Conrad Stargard_^>b_: _^<i_The Cross-Time Engineer_^>i_ (_^<b_1986_^>b_), _^<i_The High-Tech Knight_^>i_ (_^<b_1989_^>b_), _^<i_The
Radiant Warrior_^>i_ (_^<b_1989_^>b_), _^<i_The Flying Warlord_^>i_ (_^<b_1989_^>b_) and _^<i_Lord Conrad's Lady_^>i_ (_^<b_1990_^>b_), with further volumes projected. The series features a Polish-US engineer, Stargard, who in the first volume is
transported to medieval Poland via _^<a_!T6026_TIME TRAVEL_^>a_. He settles down quite happily to the task of reshaping his native land into a country capable of surviving the next perilous decades, being overseen all the while by the
time-travellers who have mistakenly conveyed him there. By changing the technology of medieval Poland, Stargard is of course changing timelines -- in perfectly orthodox sf-adventure fashion -- but the author's clear indifference to the plotting
rigours expected in tales of this sort increasingly detracts from the flow of the story. _^<i_Copernick's Rebellion_^>i_ (_^<b_1987_^>b_) deals with _^<a_!T4657_GENETIC ENGINEERING_^>a_ in a _^<a_!T6337_NEAR-FUTURE_^>a_ Polish setting, where LAF's
inability to create women (though he is strong on breasts) is seriously irritating. [JC]_^<n__^<n_
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FRANK READE LIBRARY
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US _^<a_!T1236_DIME-NOVEL SF_^>a_ series, _^<a_!T492_BEDSHEET_^>a_ size. 191 issues (#188-#191 are reprints of #1-#4) 24 Sep 1892-8 Aug 1898, weekly to 8 June 1894 (#82), biweekly from then on. Cost 5cents. Published by Frank Tousey, Publisher, New
York. (Partial reissue 1902-4, partial UK reprint.) All issues were printed on very poor paper and seldom survive in good condition; the 1902-4 reissue, with coloured covers, is sometimes considered more desirable than the first
printing._^<n__^<n_This was the earliest serial publication devoted solely to sf, with more issues than all of Hugo _^<a_!T4668_GERNSBACK_^>a_'s sf magazines put together, each containing a single or a half story about _^<b_Frank Reade_^>b_ (4
stories) or _^<b_Frank Reade, Jr._^>b_ (179 stories). All but the last were attributed to"NONAME" on their appearance in the _^<i_FRL_^>i_. About one-quarter of the stories were reprints from other Tousey _^<a_!T4958_BOYS' PAPERS_^>a_ (_^<i_The
Boys of New York_^>i_, _^<i_The Five Cent Wide Awake Library_^>i_, _^<i_Happy Days_^>i_); the remainder were originals. As a whole, they comprise the most significant US dime-novel series, and in their exuberance (and stereotyped action), their
humour (and their racism), their inventiveness (and the merciless repetition of similar inventions and _^<a_!T5492_WEAPONS_^>a_), they represent the best and worst of the tradition._^<n__^<n_It is impossible to attain final bibliographical
certainty about a series of this sort, but E.F. _^<a_!T654_BLEILER_^>a_'s _^<i_The Frank Reade Library_^>i_ (omni 10 vols _^<b_1979-86_^>b_), which reprints the entire sequence, casts as much light as can ever be hoped for. It is not known, for
instance, how many authors wrote as "Noname", a house pseudonym used for mysteries and Westerns as well as sf, though it is certain that the first _^<b_Frank Reade_^>b_ story -- _^<i_Frank Reade and his Steam Man of the Plains_^>i_ (1876 _^<i_The
Boys of New York_^>i_ as by Harry Enton; _^<b_1892_^>b_ as _^<i_Frank Reade Library #12_^>i_ as by "Noname") -- was by Harold Cohen (1854-1927), who normally wrote as Enton. The tale was almost certainly commissioned by Frank Tousey in emulation of
Edward S. _^<a_!T6639_ELLIS_^>a_'s _^<i_The Steam Man of the Prairies_^>i_ (_^<b_1868_^>b_). Three more _^<b_Frank Reade_^>b_ episodes followed (the first two written by Cohen), all involving steam-driven _^<a_!T6080_TRANSPORTATION_^>a_ devices
whose main use (it is one of the less attractive features of the sequence, many of whose episodes were set in the US West) seemed to be that of slaughtering large numbers of Native Americans._^<n__^<n_In 1882, _^<b_Frank Reade, Jr._^>b_, son of
_^<b_Frank Reade_^>b_, took over the action, beginning with _^<i_Frank Reade, Jr., and his Steam Wonder_^>i_ (1882 _^<i_The Boys of New York_^>i_; _^<b_1893_^>b_ as _^<i_Frank Reade Libary #20_^>i_). The popularity of these stories presumably
inspired Tousey to institute _^<b_The Frank Reade Library_^>b_ itself in 1892. The first 50 issues or so generally reprinted tales from 1880s Tousey magazines; the remaining issues, beginning 1893, were mostly original titles. It is probable that
most of the _^<b_Frank Reade, Jr._^>b_ stories were written by Luis _^<a_!T2101_SENARENS_^>a_, and _^<i_en masse_^>i_ they suffered visibly from this hugely prolific author's carelessness, cheap jingoism, racist stereotyping and lackadaisical
plotting. But, tedious or not, the sequence managed to make use of most of the sf venues and devices available at the close of the 19th century; in particular, airships and submarines and various other means of _^<a_!T6080_TRANSPORTATION_^>a_ --
which served simultaneously as devastating weapons and means of near-magical travel (> _^<a_!T6580_EDISONADE_^>a_) -- almost always featured prominently in the adventures of the indefatigable boy inventor. Significant issues include #48, _^<i_Frank
Reade, Jr., Exploring a River of Mystery_^>i_ (1890 _^<i_Five Cent Wide Awake Library_^>i_; _^<b_1893_^>b_), not by Senarens, which has fantastic geography and travels in Africa and is based on Henry Stanley's books or newspaper dispatches, and
#133: _^<i_The Island in the Air_^>i_ (_^<b_1896_^>b_), probably by Senarens, perhaps the first consideration of Roraima (in British Guiana) as a _^<a_!T3460_LOST WORLD_^>a_, almost certainly a source for _^<i_The Lost World_^>i_ (_^<b_1912_^>b_)
by A. Conan _^<a_!T1312_DOYLE_^>a_. More typical, however, is the long episodic novel _^<i_Frank Reade, Jr., and his Queen Clipper of the Clouds_^>i_ (1889 _^<i_The Boys of New York_^>i_; _^<b_1893_^>b_) by Senarens._^<n__^<n_The _^<b_Frank Reade
Library_^>b_, however, does not contain all the adventures of the inventive Reade family. There are at least two uncollected stories about _^<b_Frank Reade, Jr._^>b_ and one about _^<b_Frank Reade_^>b_ (Sr.). The last, _^<i_Franke Reade, the
Inventor, Chasing the James Boys with his Steam Team_^>i_ (_^<b_1890_^>b_), stands apart from the series and is the only _^<b_Frank Reade_^>b_ story not attributed to "Noname". The third member of the Reade family, _^<b_Frank Reade, III_^>b_, stars
in _^<i_Young Frank Reade and his Electric Air Ship_^>i_ (_^<b_1899_^>b_) and perhaps in other unlocated stories. [EFB/JC]_^<n__^<n_
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FRASER, Sir RONALD (ARTHUR)
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(1888-1974) UK writer and civil servant. Most of his work, like his first novel, _^<i_The Flying Draper_^>i_ (_^<b_1924_^>b_; rev 1931), utilizes fantasy or sf devices -- in the initial case self-levitation -- to create allegorical or philosophical
arguments; the unmistakably Wellsian draper, for instance, finds that the ability to fly enforces "higher" thoughts. In _^<i_Flower Phantoms_^>i_ (_^<b_1926_^>b_) an orchid responds to the protagonist's nubility by showing her the secrets of sex.
In _^<i_Beetle's Career_^>i_ (_^<b_1951_^>b_), which is sf, a super-weapon is shown to have beneficial side-effects. In the _^<b_Venus_^>b_ quartet -- _^<i_A Visit from Venus_^>i_ (_^<b_1958_^>b_), _^<i_Jupiter in the Chair_^>i_ (_^<b_1958_^>b_),
_^<i_Trout's Testament_^>i_ (_^<b_1960_^>b_) and _^<i_City of the Sun_^>i_ (_^<b_1961_^>b_) -- various inhabitants of the Solar System confer about a number of mildly pressing topics. In an elegant, generally painless manner, RF concentrated
throughout his career on novels of controlled wit, mild _^<a_!T2812_SATIRE_^>a_ and admissible sentiment; only occasionally would these entertainments move into the darker regions. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Landscape with
Figures_^>i_ (_^<b_1925_^>b_), an oriental fantasy; _^<i_Miss Lucifer_^>i_ (_^<b_1939_^>b_); _^<i_The Fiery Gate_^>i_ (_^<b_1943_^>b_); _^<i_Sun in Scorpio_^>i_ (_^<b_1949_^>b_); _^<i_A Work of Imagination: (The Pen -- the Brush -- the Well)_^>i_
(_^<b_1974_^>b_), a novel of occultism._^<b_See also:_^>b_ _^<a_!T2023_PSYCHOLOGY_^>a_.
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FRATZ, D(ONALD) DOUGLAS
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(1952- ) US editor who founded the energetic sf news and reviews journal _^<a_!T6006_THRUST_^>a_ in 1973, renaming it _^<i_Quantum_^>i_ with #36 (1990), and remaining its editor and (from #5) its publisher until the double issue #43/44, when he
voluntarily terminated the journal by merging it with _^<a_!T2063_SCIENCE FICTION EYE_^>a_. [JC]_^<n__^<n_
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FRAU IM MOND, DIE
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(vt _^<i_By Rocket to the Moon_^>i_; vt _^<i_The Girl in the Moon_^>i_; vt _^<i_The Woman in the Moon_^>i_) Film (1929). UFA. Dir Fritz _^<a_!T4177_LANG_^>a_, starring Gerda Maurus, Willy Fritsch, Gustav von Wangenheim, Fritz Rasp, Klaus Pohl.
Screenplay Lang, Thea _^<a_!T5401_VON HARBOU_^>a_, based on _^<i_Frau im Mond_^>i_ (_^<b_1928_^>b_; trans as _^<i_The Girl in the Moon_^>i_ _^<b_1930_^>b_ UK; cut vt _^<i_The Rocket to the Moon_^>i_ 1930 US) by von Harbou. 156 mins, cut to 107
mins, cut to 97 mins. B/w._^<n__^<n_After the success of _^<a_!T2926_METROPOLIS_^>a_, Fritz Lang's next sf film was a disappointment. Overlong (in its original form) and melodramatic, it concerns an ill matched group of people travelling to a
_^<a_!T3023_MOON_^>a_ which seems little different from the Swiss Alps, airlessness and low gravity being ignored: the explorers are able to amble about picking up chunks of precious metal and jewels (the trip having been arranged by industrialists
who believe, correctly, that the Moon is rich in gold). The build-up to the take-off, however, is much more convincing; Lang used rocket experts Hermann Oberth (1894-1989) and Willy _^<a_!T3375_LEY_^>a_ as technical advisers, and the model rocket
they produced was prophetic in its design -- it was even constructed in two stages. The blast-off itself was also impressive, with good camera-work by Oskar Fischinger and effects by Konstantin Tschetwerikoff. Later the Nazis withdrew the film from
distribution and destroyed the rocket model, afraid that its accuracy would give away secrets about their own development of military _^<a_!T2651_ROCKETS_^>a_. [JB/PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T726_CINEMA_^>a_; _^<a_!T4667_GERMANY_^>a_.
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FRAYN, MICHAEL
-T-
(1933- ) UK novelist, journalist and playwright, best known for such work outside the sf field as the novel _^<i_Towards the End of the Morning_^>i_ (_^<b_1967_^>b_; vt _^<i_Against Entropy_^>i_ 1967 US), which despite its vt is not sf. _^<i_The
Tin Men_^>i_ (_^<b_1965_^>b_) is a _^<a_!T2812_SATIRE_^>a_ on the computerization of human consciousness. _^<i_A Very Private Life_^>i_ (_^<b_1968_^>b_) describes a sanitized Earth with mankind divided into those who live inside germ-free enclaves
and those who live outdoors; some ambivalence is expressed throughout as to whether what is being described is a _^<a_!T1370_DYSTOPIA_^>a_ or simply a _^<i_mise en scene_^>i_: MF lacks, in other words, the ready animus so often found in
_^<a_!T3609_MAINSTREAM WRITERS_^>a_ when they appropriate sf tropes -- almost always imprudently -- for satirical purposes. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Sweet Dreams_^>i_ (_^<b_1973_^>b_), an afterlife fantasy._^<b_See also:_^>b_
Pseudonym of UK writer James Ian Arbuthnot Frazer (1912-1966), whose first sf novel, _^<i_Acorned Hog_^>i_ (_^<b_1933_^>b_), satirizes a socialist _^<a_!T6337_NEAR FUTURE_^>a_ United Kingdom, and whose second, _^<i_A Shroud as Well as a Shirt_^>i_
(_^<b_1935_^>b_), describes a succession of political conflicts which lead finally to a world war. _^<i_Blow, Blow Your Trumpets_^>i_ (_^<b_1945_^>b_) is a comic satirical fantasy set in the time of Noah, and explains the necessity of the Flood.
[JC]_^<n__^<n_
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FRAZETTA, FRANK
-T-
(1928- ) US illustrator, born Frank Frazzetta. A New Yorker, he studied at the Brooklyn Academy of Fine Arts and was then active almost exclusively in _^<a_!T820_COMICS_^>a_ 1944-63, working on both _^<a_!T5063_BUCK ROGERS IN THE 25TH
CENTURY_^>a_ and _^<a_!T1517_FLASH GORDON_^>a_ and spending 9 years on _^<i_Li'l Abner_^>i_. By the time he came to prominence as a comics illustrator, working on _^<i_Creepy_^>i_ for Warren Publications (from 1965) and later _^<i_Vampirella_^>i_,
he had already been introduced (in 1964) to paperback-book-cover _^<a_!T4593_ILLUSTRATION_^>a_ by his friend Roy G. _^<a_!T4128_KRENKEL_^>a_, first for _^<a_!T20_ACE BOOKS_^>a_ and then for Lancer Books. He quickly became known (like Krenkel) for
_^<a_!T4396_HEROIC-FANTASY_^>a_ illustrations, especially (from 1966) for his covers for Lancer's reissue of Robert E. _^<a_!T4524_HOWARD_^>a_'s _^<b_Conan_^>b_ books. Some of his work was sf. He won his only _^<a_!T4551_HUGO_^>a_ for Best
Professional Artist in 1966, but the lack of further Hugos did not imply a diminution in popularity -- on the contrary, although his following was largely, presumably, among _^<a_!T1412_FANTASY_^>a_ rather than sf fans. Around this time FF set up,
with his wife, a company to sell posters he had designed; later he also painted for a number of calendars. Portfolios produced at this time included the two volumes entitled _^<i_Burroughs Artist Frank Frazetta_^>i_ (portfolio _^<b_1968_^>b_ and
_^<b_1973_^>b_). A further breakthrough was the publication of _^<i_The Fantastic Art of Frank Frazetta_^>i_ (_^<b_1975_^>b_), which was followed by _^<i_Frank Frazetta Book Two_^>i_ (_^<b_1977_^>b_) and then _^<i_Three_^>i_ (_^<b_1978_^>b_),
_^<i_Four_^>i_ (_^<b_1980_^>b_) and _^<i_Five_^>i_ (_^<b_1985_^>b_). Later volumes include _^<i_Small Wonders: the Funny Animal Art of Frank Frazetta_^>i_ (_^<b_1992_^>b_) and _^<i_Illustrations Arcanum_^>i_ (_^<b_1994_^>b_). By the 1980s, however,
FF's fame extended well beyond narrow genres: his work was spread over many commercial areas, and his output of specifically fantasy/sf illustration became very small -- although it did include the _^<b_Death Dealer_^>b_ novels by James R. Silke
with FF, from 1988, based on an idea (and covers) by FF, as well as covers for the _^<a_!T3474_L. RON HUBBARD PRESENTS WRITERS OF THE FUTURE_^>a_ series of original anthologies. Film work by FF includes _^<i_Fire and Ice_^>i_ (1982), an animated
_^<a_!T5875_SWORD-AND-SORCERY_^>a_ feature film, produced by Ralph Bakshi and FF, partly designed by FF._^<n__^<n_FF's vigorous paintings of heavily muscled heroes, often fighting, are notable for their dynamic sense of movement (in contrast,
perhaps, to work by Boris _^<a_!T5311_VALLEJO_^>a_ and other later, smoother illustrators who are often referred to as having inherited FF's mantle); he is famous, too, for his lush wide-hipped women, often chained or menaced but equally often
shown as threatening Amazon Queens. His work has been accused of sexism and criticized as cheaply melodramatic, but at its best it is undeniably spirited and powerful. In the heroic-fantasy mode, FF has been one of the most influential illustrators
of the century. [PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T2115_SEX_^>a_.
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FRAZIER, ROBERT (ALEXANDER)
-T-
(1951- ) US editor and writer, most active as a poet, whose several published volumes include _^<i_Peregrine_^>i_ (coll _^<b_1978_^>b_), _^<i_Perception Barriers_^>i_ (coll _^<b_1987_^>b_),_^<i_Co-Orbital Moons_^>i_ (coll _^<b_1988_^>b_) and,
perhaps most notably, _^<i_Chronicles of the Mutant Rain Forest_^>i_ (coll _^<b_1992_^>b_ chap) with Bruce _^<a_!T4936_BOSTON_^>a_. He has edited 2 vols of sf _^<a_!T1934_POETRY_^>a_, _^<i_The Rhysling Anthology: Best Science Fiction Poetry of
1982_^>i_ (anth _^<b_1983_^>b_ chap) and _^<i_Burning with a Vision: Poetry of Science and the Fantastic_^>i_ (anth _^<b_1984_^>b_), and is a past editor of _^<i_Star*Line_^>i_, the newsletter of the _^<a_!T2133_SCIENCE FICTION POETRY
ASSOCIATION_^>a_. As an author of fiction, he began relatively late, his first sf story, "Across Those Endless Skies", appearing in _^<i_In the Field of Fire_^>i_ (anth _^<b_1987_^>b_) ed Jack _^<a_!T1055_DANN_^>a_ and Jeanne Dann. He is perhaps
most noted for the extended "The Summer People", his contribution to _^<i_Nantucket Slayrides_^>i_ (coll _^<b_1989_^>b_), the other stories in which are by Lucius _^<a_!T2175_SHEPARD_^>a_. RF wrote the _^<a_!T1934_POETRY_^>a_ entry in this
encyclopedia. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T3816_ISAAC ASIMOV'S SCIENCE FICTION MAGAZINE_^>a_; _^<a_!T2071_SF IN THE CLASSROOM_^>a_.
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FREAS, (FRANK) KELLY
-T-
(1922- ) US illustrator, the most popular sf artist in the history of the field; the list of his accomplishments is staggering. Since he entered the field in 1950 he has painted hundreds of covers for 28 magazines, most famously for _^<i_ASF_^>i_
from 1953 (interior work also) but including also _^<i_FSF_^>i_, _^<i_Planet Stories_^>i_ and _^<i_If_^>i_, as well as for many book publishers, including _^<a_!T20_ACE BOOKS_^>a_, _^<a_!T4735_GNOME PRESS_^>a_, _^<a_!T1100_DAW BOOKS_^>a_ and all
the covers for _^<a_!T4194_LASER BOOKS_^>a_. The gritty realism of his and Ed _^<a_!T6656_EMSHWILLER_^>a_'s work in the 1950s redefined sf art during that period. He also painted many covers for _^<i_Mad Magazine_^>i_ and designed the astronauts'
shoulder patch for the Skylab 1 mission. His art has been collected in a portfolio from _^<a_!T52_ADVENT: PUBLISHERS_^>a_, _^<i_Frank Kelly Freas_^>i_ (portfolio _^<b_1957_^>b_), and in 3 books, _^<i_Frank Kelly Freas: The Art of Science
Fiction_^>i_ (_^<b_1977_^>b_), _^<i_Frank Kelly Freas: A Separate Star_^>i_ (_^<b_1984_^>b_) and _^<i_The Astounding Fifties (1971)_^>i_ (_^<b_1990_^>b_). Much of his work, sometimes reminiscent of that of Edd _^<a_!T5198_CARTIER_^>a_, is relaxedly
humorous, featuring vigorous vagabonds, amiable aliens and a selection of jaunty scoundrels. He has won numerous awards, including 10 _^<a_!T4551_HUGOS_^>a_ for Best Professional Artist. [JG/PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T277_ASTOUNDING
(1920- ) US actress and writer whose sf novel, _^<i_Joshua Son of None_^>i_ (_^<b_1973_^>b_), one of the earliest novels to deal with cloning (> _^<a_!T761_CLONES_^>a_), depicts the intrigue surrounding the childhood and adolescence of Joshua
Francis Kellogg, cloned in 1963 from the body of John F. Kennedy. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_The Immortals_^>i_ (_^<b_1976_^>b_), borderline sf.
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FREEDOM: THE VOICE FROM EIN HAROD
-T-
> _^<a_!T3825_ISRAEL_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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-C- 1616 SF01620.t
11
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FREEJACK
-T-
Film (1992). Morgan Creek/Ronald Shusett/Warner Bros. Dir Geoff Murphy, starring Emilio Estevez, Mick Jagger, Rene Russo, Anthony Hopkins, Jonathan Banks. Screenplay Steven Pressfield, Ronald Shusett, Dan Gilroy, based on _^<i_Immortality, Inc._^>i_
(_^<b_1958_^>b_; exp 1959) by Robert _^<a_!T2164_SHECKLEY_^>a_. 108 mins. Colour._^<n__^<n_From the producers of _^<a_!T6060_TOTAL RECALL_^>a_ (1990) and the New Zealand director of _^<i_The_^<a_!T2463_QUIET EARTH_^>a__^>i_ (1985), this
disappointing adaptation jettisons much that was interesting in the original book, including the metaphysical speculation about the relation of mind to body and the "scientific" explanations of ghosts, zombies and a technological
_^<a_!T3771_IMMORTALITY_^>a_. This is a thriller set 20 years in the future, when rich people with ailing bodies transfer their personalities into healthy bodies hijacked from the past (including our present). Jagger is rather good as the sinister
and ubiquitous bodysnatcher who grabs a racing-car driver (Estevez) just as he is about to die violently. Joe Alves's mildly _^<a_!T1015_CYBERPUNK_^>a_ production design owes a lot to _^<a_!T640_BLADE RUNNER_^>a_ (1982). [PN]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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-C- 1617 SF01621.t
1007
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FREKSA, FRIEDRICH
-T-
[r] > _^<a_!T4667_GERMANY_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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16
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FRENCH, PAUL
-T-
> Isaac _^<a_!T268_ASIMOV_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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-C- 1619 SF01623.t
15
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FRENKEL, JAMES R.
-T-
(1948- ) US editor, married to Joan D. _^<a_!T5377_VINGE_^>a_ since 1980. In the late 1970s and early 1980s he was with Dell Books, where he ed anon the _^<b_Binary Star_^>b_ books, each comprising two titles bound sequentially (>
_^<a_!T1298_DOS_^>a_): _^<i_Binary Star #1_^>i_ containing _^<i_Destiny Times Three_^>i_ (_^<b_1978_^>b_ dos) by Fritz _^<a_!T3322_LEIBER_^>a_ and _^<i_Riding the Torch_^>i_ (_^<b_1978_^>b_ dos) by Norman _^<a_!T2370_SPINRAD_^>a_, _^<i_#2_^>i_
containing _^<i_The Twilight River_^>i_ (_^<b_1979_^>b_ dos) by Gordon _^<a_!T6608_EKLUND_^>a_ and _^<i_The Tery_^>i_ (_^<b_1979_^>b_ dos) by F. Paul _^<a_!T5639_WILSON_^>a_, _^<i_#3_^>i_ containing _^<i_Dr Scofflaw_^>i_ (_^<b_1979_^>b_ dos) by Ron
_^<a_!T4785_GOULART_^>a_ and _^<i_Outerworld_^>i_ (_^<b_1979_^>b_ dos) by Isidore _^<a_!T4915_HAIBLUM_^>a_, _^<i_#4_^>i_ containing _^<i_Legacy_^>i_ (_^<b_1980_^>b_ dos) by Joan D. _^<a_!T5377_VINGE_^>a_ and _^<i_The Janus Equation_^>i_
(_^<b_1980_^>b_ dos) by Steven G. _^<a_!T2380_SPRUILL_^>a_, and _^<i_#5_^>i_ containing _^<i_Nightflyers_^>i_ (_^<b_1981_^>b_ dos) by George R.R. _^<a_!T3685_MARTIN_^>a_ and _^<i__^<a_!B9237_TRUE NAMES_^>a__^>i_ (_^<b_1981_^>b_ dos) by Vernor
_^<a_!T5377_VINGE_^>a_. In 1983 he founded _^<a_!T668_BLUEJAY BOOKS_^>a_, whose strong but underfunded list was forced to cease trading in 1986. [JC]_^<n__^<n_
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FREWIN, ANTHONY
-T-
(1947- ) UK publisher and writer, who also worked for five years as an assistant to the film director Stanley _^<a_!T4135_KUBRICK_^>a_. His _^<i_One Hundred Years of Science Fiction Illustration: 1840-1940_^>i_ (_^<b_1974_^>b_) has a well chosen
selection of sf _^<a_!T4593_ILLUSTRATIONS_^>a_, many -- unusually -- from the 19th century, with a full chapter on Albert _^<a_!T2629_ROBIDA_^>a_. [PN]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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-C- 1621 SF01625.t
321
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FREY, JAMES N(ORBERT)
-T-
(1943- ) US writer whose _^<i_The Elixir_^>i_ (_^<b_1986_^>b_) was a _^<a_!T4780_GOTHIC-SF_^>a_/fantasy story of Nazi Germany, where Hitler's secret weapon is the eponymous aid to _^<a_!T3771_IMMORTALITY_^>a_. His _^<i_U.S.S.A.: a Novel_^>i_
(_^<b_1987_^>b_) is unrelated to the shared-world sequence with the same overall title. [JC] _^<b_Other works:_^>b_ _^<i_Circle of Death_^>i_ (_^<b_1988_^>b_). [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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-C- 1622 SF01626.t
314
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FREZZA, ROBERT
-T-
(1956- ) US writer who began publishing sf with "Max Weber's War" for _^<i_AMZ_^>i_ in 1987. His sf novel, _^<i_A Small Colonial War_^>i_ (_^<b_1990_^>b_) which, along with its sequel, _^<i_Fire in a Faraway Place_^>i_ (_^<b_1993_^>b_), replays
the Boer War on a colony planet, although without Kaffirs. The Imperial military forces, predictably, find the transplanted post-_^<a_!T4482_HOLOCAUST_^>a_ Afrikaners tough meat._^<i_McLendon's Syndrome_^>i_ (_^<b_1994_^>b_) is a space opera
featuring a vampire whose allergies -- sunlight, for instance -- replicate the conventions of supernatural fictions about vampires. [JC] _^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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-C- 1623 SF01627.t
522
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FRIEDBERG, GERTRUDE (TONKONOGY)
-T-
(1908-1989) US writer who also taught. Her career as a playwright began early, with _^<i_Three Cornered Moon_^>i_ (_^<b_1933_^>b_), which was later filmed, but she began publishing sf only in 1963, with "The Short and Happy Death of George Frumkin"
for _^<i_FSF_^>i_. Her fine sf novel _^<i_The Revolving Boy_^>i_ (_^<b_1966_^>b_) strikingly tells the story of a child sensitive from his unique birth in free fall to signals, possibly intelligent in origin, from beyond the Solar System. He
reveals his sensitivity by being forced to adjust himself -- revolving balletically -- so that his body is aligned in the direction from which the signals come. [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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598
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FRIEDELL, EGON
-T-
(1878-1938) Austrian writer best known for his seminal _^<i_Cultural History of Modern Times_^>i_ (_^<b_1927-32_^>b_), a text which effectively inaugurated the discipline of cultural history. As a Jew, his position became intolerable when the Nazis
invaded Austria, and he committed suicide. His wry homage to H.G. _^<a_!T5528_WELLS_^>a_, _^<i_Die Ruckkehr mit der Zeitmaschine_^>i_ (apparently written _^<i_c_^>i_1935; _^<b_1946_^>b_ Germany; trans Eddy C. Bertin as _^<i_The Return of the Time
Machine_^>i_ _^<b_1972_^>b_ US), complete with a spoof correspondence between himself as narrator and Wells's secretary, purports to reprint the Time Traveller's narrative of his later journeys. The story, told with a literate wit reminiscent of
some of Karel _^<a_!T5147_CAPEK_^>a_'s lighter work, depends on complex mathematical doubletalk for its demonstration of the ultimate futility of _^<a_!T6026_TIME TRAVEL_^>a_. [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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-C- 1625 SF01629.t
781
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FRIEDMAN, MICHAEL JAN
-T-
(1955- ) US writer, mostly notably of _^<a_!T2429_STAR TREK_^>a_ and _^<a_!T2436_STAR TREK: THE NEXT GENERATION_^>a_ ties, though he has also written a singleton, _^<i_The Glove of Maiden's Hair_^>i_ (_^<b_1987_^>b_), a fantasy set in
contemporary New York, and the _^<b_Vidar_^>b_ fantasy sequence about a son of Odin: _^<i_The Hammer and the Horn_^>i_ (_^<b_1985_^>b_), _^<i_The Seekers and the Sword_^>i_ (_^<b_1985_^>b_) and _^<i_The Fortress and the Fire_^>i_ (_^<b_1988_^>b_).
MJF's _^<b_Star Trek_^>b_ novels are _^<i_Double, Double_^>i_ * (_^<b_1989_^>b_), _^<i_Legacy_^>i_ * (_^<b_1991_^>b_),_^<i_Faces of Fire_^>i_ * (_^<b_1992_^>b_), _^<i_The Disinherited_^>i_ * (_^<b_1992_^>b_) with Robert _^<a_!T4843_GREENBERGER_^>a_
and Peter _^<a_!T1081_DAVID_^>a_, and _^<i_Shadows on the Sun_^>i_ * (_^<b_1993_^>b_). His _^<b_Star Trek: The Next Generation_^>b_ novels are _^<i_A Call to Darkness_^>i_ * (_^<b_1989_^>b_), _^<i_Doomsday World_^>i_ * (_^<b_1990_^>b_) with Carmen
_^<a_!T5192_CARTER_^>a_, Peter _^<a_!T1081_DAVID_^>a_ and Robert Greenberger, _^<i_Fortune's Light_^>i_ * (_^<b_1991_^>b_),_^<i_Reunion_^>i_ * (_^<b_1991_^>b_) _^<i_Relics_^>i_*(_^<b_1992_^>b_), _^<i_All Things Good . . ._^>i_ *(_^<b_1994_^>b_) and
(1885-1959) US writer and explorer, most of whose work appeared in _^<a_!T2033_PULP MAGAZINES_^>a_, including the _^<b_McKay, Knoulton and Ryan_^>b_ sequence of lost-race (_^<i_see_^>i_ _^<a_!T3460_LOST WORLD_^>a_) tales set in South America and
featuring the exploits of Americans, who eventually establish a kingdom somewhere close to Peru. Those published as books -- _^<i_The Pathless Trail_^>i_ (_^<b_1922_^>b_), _^<i_Tiger River_^>i_ (_^<b_1923_^>b_), in which men are transformed into
beasts by a strange Circean wine, _^<i_The King of No Man's Land_^>i_ (_^<b_1924_^>b_) and _^<i_Mountains of Mystery_^>i_ (_^<b_1925_^>b_) -- were marginal as sf; but "In the Year 2000" (1928 _^<i_Adventure_^>i_), which never reached book form, is
set after a world war in which White men have triumphed. [JC]_^<n__^<n_
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FRIEND, ED
-T-
> Richard _^<a_!T6181_WORMSER_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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20
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FRIEND, OSCAR J(EROME)
-T-
(1897-1963) US writer and editor who worked for the Standard Magazine chain on _^<a_!T5151_CAPTAIN FUTURE_^>a_, _^<a_!T2428_STARTLING STORIES_^>a_ and _^<a_!T6004_THRILLING WONDER STORIES_^>a_ during 1941-4, a period when these magazines were most
specifically aimed at adolescents. The editorial director at the time was Leo _^<a_!T3663_MARGULIES_^>a_, with whom OJF later edited 3 anthologies (see below). After the death of Otis Adelbert _^<a_!T4094_KLINE_^>a_ in 1946, OJF became head of
Kline's literary agency. He was intermittently active as a writer from before 1920, concentrating on horror, Western and detective tales, sometimes as Owen Fox Jerome, his first sf story proper being "Of Jovian Build" for _^<i_Thrilling Wonder
Stories_^>i_ in 1938. His first novel, _^<i_The Hand of Horror_^>i_ (_^<b_1927_^>b_) as by Jerome, was a horror tale involving hynotism. His sf books -- _^<i_The Kid from Mars_^>i_ (1940 _^<i_Startling Stories_^>i_; _^<b_1949_^>b_), _^<i_Roar of
the Rocket_^>i_ (1940 _^<i_TWS_^>i_; _^<b_1950_^>b_ chap Australia) and _^<i_The Star Men_^>i_ (_^<b_1963_^>b_) -- are unremarkable but entertaining. [MJE/JC]_^<n__^<n__^<n__^<n__^<b_Other works:_^>b_ _^<i_From Off this World_^>i_ (anth
_^<b_1949_^>b_), _^<i_My Best Science Fiction Story_^>i_ (anth _^<b_1949_^>b_) and _^<i_The Giant Anthology of Science Fiction_^>i_ (anth _^<b_1954_^>b_; cut vt _^<i_Race to the Stars_^>i_ 1958), all with Leo Margulies._^<b_See also:_^>b_
_^<a_!T102_ALIENS_^>a_.
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FRIGGENS, A.
-T-
[r] > Eric _^<a_!T5085_BURGESS_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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-C- 1630 SF01634.t
22
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FRITCH, CHARLES E(DWARD)
-T-
(1927- ) US writer and editor who began publishing sf with "The Wallpaper" for _^<i_Other Worlds_^>i_ in 1951. He edited the magazine _^<a_!T4598_GAMMA_^>a_ 1963-5. His stories, written for a variety of markets but sharing a certain glibness and
snappiness of effect, are collected in _^<i_Crazy Mixed-Up Planet_^>i_ (coll _^<b_1969_^>b_) and _^<i_Horses' Asteroid_^>i_ (coll _^<b_1970_^>b_). Many are spoofs. [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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345
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FROESE, ROBERT
-T-
(1945- ) US academic and writer whose sf novel, _^<i_The Hour of Blue_^>i_ (_^<b_1990_^>b_), presents the strangely consoling notion that Gaia herself is beginning to respond defensively to humanity's rape of the planet, and that the forests in
Maine (the state where RF himself teaches) are transforming themselves. [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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FROGS
-T-
Film (1972). American International. Dir George McCowan, starring Ray Milland, Sam Elliott, Joan van Ark, Lynn Borden. Screenplay Robert Hutchison, Robert Blees. 90 mins. Colour._^<n__^<n_A cheerful exploitation movie, its director's debut and part
of the 1970s Revenge-of-Nature boom (> _^<a_!T3011_MONSTER MOVIES_^>a_), _^<i_F_^>i_ is a rather well made ecological fable in which upper-crust layabouts living on a bayou are disposed of by frogs, spiders, leeches, snakes and snapping turtles
(all normal size, but in large numbers), apparently as a payback for Mankind's ill treatment of Nature: a sort of amphibian _^<i_The_^<a_!T617_BIRDS_^>a__^>i_ (1963). [PN]_^<n__^<n_
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FROM BEYOND
-T-
Film (1986). Taryn/Empire. Executive prod Charles _^<a_!T389_BAND_^>a_. Dir Stuart Gordon, starring Jeffrey Combs, Barbara Crampton, Ken Foree, Ted Sorel, Carolyn Purdy-Gordon. Screenplay Dennis Paoli, based on "From Beyond" (1934) by H.P.
_^<a_!T3465_LOVECRAFT_^>a_. 85 mins. Colour._^<n__^<n_With three of the same leading players, the same production team, and one of Lovecraft's fringe sf stories as its original, this is effectively a sequel to _^<a_!T2525_RE-ANIMATOR_^>a_ (1985),
and was made as a direct result of that film's success. Lovecraft's idea was that stimulating the pineal gland might open a window to another _^<a_!T1239_DIMENSION_^>a_ peopled by _^<a_!T3013_MONSTERS_^>a_. The film adds an element of sexual
stimulation to that (psychiatrists in bondage gear, etc.), a not unreasonable reading of Lovecraft's lurid but repressed imaginings, but the main variation is the glee and (occasional) wit with which the disgusting monsters from beyond are set into
action. Though an undergraduate-style exercise in _^<a_!T2374_SPLATTER-MOVIE_^>a_ bad taste, _^<i_FB_^>i_ is less gory than _^<i_Re-Animator_^>i_. [PN]_^<n__^<n_
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FROM THE EARTH TO THE MOON
-T-
Film (1958). Waverly/RKO. Dir Byron _^<a_!T4333_HASKIN_^>a_, starring Joseph Cotton, George Sanders, Deborah Paget. Screenplay Robert Blees, James Leicester, adapted from Jules _^<a_!T5355_VERNE_^>a_'s _^<i_De la terre a la lune_^>i_
(_^<b_1865_^>b_) and _^<i_Autour de la lune_^>i_ (_^<b_1870_^>b_), the two published together in English translation as _^<i_From the Earth to the Moon_^>i_ (_^<b_1873_^>b_). 100 mins. Colour._^<n__^<n_Using a new explosive, a projectile carrying
human passengers is fired at the Moon from a huge cannon. Paget plays a pretty stowaway. The film, shot in Mexico, is slow-moving and has painful dialogue; it is perhaps the dullest sf movie ever made. There are no scenes on the Moon. A comic
version, bearing no relation to Verne's novel, was the UK _^<i_Jules Verne's Rocket to the Moon_^>i_ (1967; vt _^<i_Those Fantastic Flying Fools_^>i_) dir Don Sharp, in which a series of farcical misadventures -- the rocket lands in Russia, not on
the Moon -- keeps the story effectively Earthbound. [PN/JB]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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FROST, JASON
-T-
Zebra Books house name, used almost exclusively by US writer Raymond Obstfeld (1952- ) for the _^<b_Warlord_^>b_ sequence of post-_^<a_!T4482_HOLOCAUST_^>a_ sf adventures with a survivalist message: _^<i_The Warlord_^>i_ (_^<b_1983_^>b_),
_^<i_The Warlord #2: The Cutthroat_^>i_ (_^<b_1984_^>b_), _^<i_#3: Badland_^>i_ (_^<b_1984_^>b_), _^<i_#4: Prisonland_^>i_ (_^<b_1985_^>b_) and _^<i_#5: Terminal Island_^>i_ (_^<b_1985_^>b_). _^<i_#6: Killer's Keep_^>i_ (_^<b_1987_^>b_) was written
as JF by Rich Rainey. A singleton film tie, _^<i_Invasion U.S.A._^>i_ * (_^<b_1985_^>b_), was by Obstfeld. [JC]_^<n__^<n_
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FTL
-T-
Acronym, often used in sf _^<a_!T5942_TERMINOLOGY_^>a_, for _^<a_!T1443_FASTER THAN LIGHT_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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FUENTES, CARLOS
-T-
(1929- ) Mexican diplomat and writer whose acerbic _^<a_!T3599_MAGIC REALISM_^>a_ -- a more worldly version of that idiom than found in the works of his coeval, Gabriel Garcia Marquez (1928- ) -- has featured in stories and novels from the 1950s
on. They include: _^<i_Aura_^>i_ (_^<b_1962_^>b_; trans Lysander Kemp_^<b_1965_^>b_ chap US), a ghost story which incorporates elements of vampirism; _^<i_La Cabeza de la Hidra_^>i_ (_^<b_1978_^>b_; trans Margaret Sayers Peden as _^<i_The Hydra
Head_^>i_ _^<b_1978_^>b_ US), set just before the outbreak of WWIII in Mexico; _^<i_Terra Nostra_^>i_ (_^<b_1975_^>b_; trans Margaret Sayers Peden _^<b_1976_^>b_ US), a vast _^<a_!T1372_FABULATION_^>a_ about the entire Earth (though centred in an
_^<a_!T131_ALTERNATE-WORLD_^>a_ Paris); _^<i_Cristobal nonato_^>i_ (_^<b_1987_^>b_; trans Alfred MacAdam and CF as _^<i_Christopher Unborn_^>i_ _^<b_1989_^>b_ US), a _^<a_!T6337_NEAR-FUTURE_^>a_ lament for Mexico and the world narrated by a child
still in the womb; and _^<i_Constancia y otras novelas para virgenes_^>i_ (coll _^<b_1989_^>b_; trans Thomas Christensen as _^<i_Costancia; and Other Stories for Virgins_^>i_ _^<b_1990_^>b_ UK/US), a series of complexly elaborate fables.
> _^<a_!T3219_1990: I GUERRIERI DAL BRONX_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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FUKKATSO NO HI
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(vt _^<i_Virus_^>i_) Film (1981). Haruki Kadokawa Films. Dir Kinji Fukasaku, starring Masao Kusakari, Chuck Connors, Glenn Ford, Olivia Hussey, George Kennedy, Henry Silva, Robert Vaughn. Screenplay Koji Takada, Gregory Knapp, Fukasaku, from
_^<i_Fukkatsu No Hi_^>i_ (_^<b_1964_^>b_) by Sakyo _^<a_!T4114_KOMATSU_^>a_. 155 mins, cut to 108 mins. Colour._^<n__^<n_It is difficult to judge this reputedly expensive Japanese _^<a_!T1243_DISASTER_^>a_ film, which was very successful in Japan,
because the export version was severely cut -- but one cannot believe it was ever very good. A germ-warfare virus is stolen and accidentally released; only those in very cold areas survive. Then the crazed US Chief of Staff (Silva) sets off a
nuclear strike. In the Antarctic, 864 shivering male survivors share 8 women. The story is told as flashback, with a Japanese (Kusakari) looking like a bearded scarecrow about to walk, implausibly, from Washington DC to the Antarctic. (In the
Japanese version he makes it.) The characters are appallingly stereotyped. This is a simplistic melodrama with nothing serious to say. [PN]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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FULLER, ALVARADO M(ORTIMER)
-T-
(1851-? ) US writer whose sf novel, _^<i_A.D. 2000_^>i_ (_^<b_1890_^>b_; vt _^<i_Back to Life A.D. 2000_^>i_ 1911), wakes its protagonist (> _^<a_!T2248_SLEEPER AWAKES_^>a_) in the _^<a_!T5303_UTOPIAN_^>a_ culture of AD2000. A single party rules
North America, and electrical inventions (after a great disaster with "aluminum bronze", electricity has become the chief source of power) dominate the exiguous storyline. [JC]_^<n__^<n_
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FULL SPECTRUM
-T-
US _^<a_!T1725_ORIGINAL-ANTHOLOGY_^>a_ series published by _^<a_!T397_BANTAM BOOKS_^>a_ since 1988, created by Lou _^<a_!T250_ARONICA_^>a_, 3 issues to date (Spring 1992): _^<i_Full Spectrum_^>i_ (anth _^<b_1988_^>b_), ed Aronica with Shawna
_^<a_!T6301_MCCARTHY_^>a_, _^<i_#2_^>i_ (anth _^<b_1989_^>b_), ed Aronica with Pat Lobrutto, McCarthy and Amy Stout, and _^<i_#3_^>i_ (anth _^<b_1991_^>b_), ed Aronica with Betsy Mitchell and Stout. These are fat, prestigious volumes -- an unusual
publishing ploy at a time when conventional wisdom says sf _^<a_!T195_ANTHOLOGIES_^>a_ sell badly -- presumably designed to publicize the _^<b_Bantam Spectra_^>b_ sf line and to announce that Bantam remains a leader in the sf market. To date their
only major award-winner has been "Bible Stories for Adults, No. 17: The Deluge" (1988) by James _^<a_!T3070_MORROW_^>a_, which won a _^<a_!T3147_NEBULA_^>a_, but a high count of _^<i_FS_^>i_ stories have been shortlisted for awards, and
_^<i_FS_^>i_ itself won a Locus Award for Best Anthology in its first year. _^<i_FS_^>i_ publishes a fairly high proportion of "literary" stories and a low proportion of _^<a_!T4288_HARD SF_^>a_, and mixes well known authors with promising
unknowns. [PN]_^<n__^<n_
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FU MANCHU
-T-
For a listing of some of the films in which Sax _^<a_!T2675_ROHMER_^>a_'s oriental supervillain, armed with the weapons of superscience, appeared, > _^<i_The_^<a_!T1374_FACE OF FU MANCHU_^>a__^>i_ . [PN]_^<n__^<n_
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FUNNELL, AUGUSTINE
-T-
(1952- ) Canadian writer whose two sf novels, _^<i_Brandyjack_^>i_ (_^<b_1976_^>b_) and its sequel, _^<i_Rebels of Merka_^>i_ (_^<b_1976_^>b_) -- the only titles published by _^<a_!T4194_LASER BOOKS_^>a_ actually to have been written by a
Canadian -- were unremarkable _^<a_!T2342_SPACE OPERAS_^>a_. In the 1980s AF began to publish short fiction in US magazines. [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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FUQUA, ROBERT
-T-
Pseudonym of Chicago-based US illustrator Joseph Wirt Tillotson (? - ), used by him on sf cover paintings (although some of his black-and-white work appeared under his own name). For some time a staff artist for _^<a_!T6269_ZIFF-DAVIS_^>a_
magazines, RF painted 25 covers for _^<i_AMZ_^>i_ 1938-44 and 7 for _^<i_Fantastic Adventures_^>i_. In the 1950s, away from Ziff-Davis, he contributed to the Chicago magazines _^<i_Imagination_^>i_ and _^<i_Other Worlds_^>i_. He might have been
better known had he worked also for New York-based publishers, but he always restricted himself to Chicago. One of the more prominent sf illustrators of the 1930s and 1940s, RF used very bright colours to compensate for poor reproduction processes.
His melodramatic style -- the very essence of _^<a_!T2033_PULP-MAGAZINE_^>a_ sf -- perfectly complemented the lurid Ziff-Davis fiction. [JG/PN]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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FUREY, MICHAEL
-T-
> Sax _^<a_!T2675_ROHMER_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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FURTINGER, ZVONIMIR
-T-
[r] > _^<a_!T6246_YUGOSLAVIA_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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FURY, THE
-T-
Film (1978). Frank Yablans Presentations/20th Century-Fox. Dir Brian De Palma, starring Kirk Douglas, John Cassavetes, Charles Durning, Amy Irving, Fiona Lewis, Andrew Stevens. Screenplay John Farris, based on his _^<i_The Fury_^>i_
(_^<b_1976_^>b_). 118 mins. Colour._^<n__^<n_After his success with _^<a_!T5185_CARRIE_^>a_ (1976), it seems cynical of director De Palma to have made another film about destructive teenage _^<a_!T2021_PSI POWERS_^>a_ so quickly. This one has an
intricate plot with standard ingredients: the secret government agency experimenting with _^<a_!T5492_WEAPONS_^>a_ (in this case, human weapons), the paranoid (>_^<a_!T1795_PARANOIA_^>a_) sense that everything is manipulated by this agency, the
_^<a_!T1599_FRANKENSTEIN_^>a_ theme of the monster that turns on its creator, and (a Frankenstein subtheme) Freudian hostility between children and parents. The two teenagers who can telekinetically cause blood to spurt from every available orifice
of those they attack (or even to explode them) are both corrupted by their power, one deeply, one mildly. The film is a vivid string of fireworks, with De Palma as usual manipulating audience response with bravura, but not creating anything that is
more than the sum of its exploitative parts. [PN]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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FUTRELLE, JACQUES
-T-
(1875-1912) US writer and theatrical manager, on the editorial staff of the _^<i_Boston American_^>i_; he went down with the _^<i_Titanic_^>i_. The stories assembled in his _^<b_Thinking Machine_^>b_ books about the scientific detective Augustus
S.F.X. Van Dusen -- _^<i_The Thinking Machine_^>i_ (coll _^<b_1907_^>b_; vt _^<i_The Problem of Cell 13_^>i_ 1917) and _^<i_The Thinking Machine on the Case_^>i_ (coll _^<b_1908_^>b_) -- are properly detections, though Van Dusen's methods verge on
sf. _^<i_The Thinking Machine_^>i_ (coll _^<b_1959_^>b_) ed Tony Simon contains "The Problem of Cell 13" and 2 other stories. Larger selections have been ed E.F. _^<a_!T654_BLEILER_^>a_ as _^<i_Best "Thinking Machine"Detective Stories_^>i_ (coll
_^<b_1973_^>b_) and _^<i_Great Cases of the Thinking Machine_^>i_ (coll _^<b_1976_^>b_). _^<i_The Diamond Master_^>i_ (_^<b_1909_^>b_; exp with "The Haunted Bell" as coll _^<i_c_^>i__^<b_1912_^>b_), which is sf, revolves melodramatically around the
artificial manufacture of diamonds; the added novella is a supernatural tale involving Van Dusen. [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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FUTURE, THE
-T-
There are relevant entries throughout, but > especially _^<a_!T1015_CYBERPUNK_^>a_; _^<a_!T6661_END OF THE WORLD_^>a_; _^<a_!T1432_FAR FUTURE_^>a_; _^<a_!T1669_FUTUROLOGY_^>a_; _^<a_!T4482_HOLOCAUST AND AFTER_^>a_; _^<a_!T6337_NEAR FUTURE_^>a_;
_^<a_!T1979_PREDICTION_^>a_._^<n__^<n_
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FUTURE COMBINED WITH SCIENCE FICTION
-T-
> _^<a_!T1657_FUTURE FICTION_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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-END-
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FUTURE COMBINED WITH SCIENCE FICTION STORIES
-T-
> _^<a_!T1657_FUTURE FICTION_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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FUTURE COP
-T-
> _^<a_!T6076_TRANCERS_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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CATRS
-END-
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FUTURE COP 2
-T-
> _^<a_!T6076_TRANCERS_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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13
CATRS
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FUTURE FANTASY AND SCIENCE FICTION
-T-
> _^<a_!T1657_FUTURE FICTION_^>a_; _^<a_!T5862_SWAN AMERICAN MAGAZINE_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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FUTURE FICTION
-T-
US magazine. 17 issues Nov 1939-July 1943, 48 further issues May/June 1950-Apr 1960. Published by Blue Ribbon Magazines, later Double Action Magazines and (from Apr 1941) Columbia Publications; ed Charles D. _^<a_!T4505_HORNIG_^>a_ (Nov 1939-Nov
1940) and Robert A.W. _^<a_!T3472_LOWNDES_^>a_ (Apr 1941-Apr 1960). _^<i_FF_^>i_ began as a companion magazine to _^<a_!T2043_SCIENCE FICTION_^>a_, with similar editorial policies. It absorbed its parent magazine in Oct 1941, changing its title to
_^<i_Future Combined with Science Fiction_^>i_. Under Lowndes's editorship it began to feature stories by such fellow _^<a_!T1665_FUTURIANS_^>a_ as James _^<a_!T658_BLISH_^>a_, C.M. _^<a_!T6353_KORNBLUTH_^>a_ and Donald A.
_^<a_!T5679_WOLLHEIM_^>a_, often under pseudonyms. It also carried some of the earliest magazine covers done by Hannes _^<a_!T6322_BOK_^>a_. The title changed again to _^<i_Future Fantasy and Science Fiction_^>i_ in Oct 1942, and finally to
_^<i_Science Fiction Stories_^>i_ in Apr 1943. The 2 issues of this final wartime incarnation are virtually identical in appearance to _^<i_Science Fiction_^>i_, but as they continue the numbering of _^<i_FF_^>i_ they are considered part of its
run._^<n__^<n__^<i_FF_^>i_ was one of the many magazines to fall victim to wartime paper shortages, but it was revived under the same editor in 1950 as _^<i_Future Combined with Science Fiction Stories_^>i_, which became _^<i_Future Science Fiction
Stories_^>i_ in Jan 1952 and, finally, _^<i_Future Science Fiction_^>i_ in May 1952. It changed from _^<a_!T2033_PULP_^>a_ to _^<a_!T1231_DIGEST_^>a_ size in June 1954. It was one of several respectable but mediocre magazines edited on shoestring
budgets by Lowndes during the 1950s. The volume numbering was taken over by _^<i_The_^<a_!T1726_ORIGINAL SCIENCE FICTION STORIES_^>a__^>i_ with its Jan 1955 issue (vol 5 #4), suggesting the death of _^<i_Future Science Fiction_^>i_; however, the
latter reappeared a little later in 1955, apparently unhurt, with #28. (The numeration of Columbia's magazines has baffled generations of collectors.) There were 2 UK reprint runs of _^<i_FF_^>i_, 14 issues 1951-4 in pulp format, and 11 digest
_^<b_1._^>b_ Variant title of _^<a_!T1657_FUTURE FICTION_^>a_ in its 1950s incarnation._^<n__^<n__^<b_2._^>b_ Australian _^<a_!T1231_DIGEST_^>a_-size magazine. 6 numbered, undated issues (2 in 1953, 3 in 1954, 1 in 1955) published by Frew
Publications, Sydney, plus 2 (1967) published by Page Publications, NSW; ed anon. The Frew series used a mixture of US reprints, 13 new US stories and 4 new Australasian stories; the Page series reprinted #4 and #6 from the Frew publications,
renumbering them #1 and #2. A companion magazine to both versions was _^<a_!T1949_POPULAR SCIENCE FICTION_^>a_. [FHP/PN]_^<n__^<n_
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FUTURE SCIENCE FICTION STORIES
-T-
> _^<a_!T1657_FUTURE FICTION_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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-END-
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FUTURE WAR
-T-
> _^<a_!T4443_HISTORY OF SF_^>a_; _^<a_!T3796_INVASION_^>a_; _^<a_!T5452_WAR_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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-END-
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FUTUREWORLD
-T-
Film (1976). AIP. Dir Richard T. Heffron, starring Peter Fonda, Blythe Danner, Arthur Hill. Screenplay Mayo Simon, George Schenck. 104 mins. Colour._^<n__^<n_An inferior sequel to _^<a_!T5557_WESTWORLD_^>a_ (1973), set in the same theme park, Delos,
_^<i_F_^>i_ lacks the unity and impact of Michael _^<a_!T954_CRICHTON_^>a_'s original film. In a newly built area of Delos, devoted to dramatizing the future, there are several diverting scenes irrelevant to the main plot, which is one of
_^<a_!T2033_PULP-MAGAZINE_^>a_ sf's oldest: a mad _^<a_!T2880_SCIENTIST_^>a_ (revealed at the end to be himself a _^<a_!T2646_ROBOT_^>a_) creates robot duplicates of influential people to enable him to rule the world. His plan is uncovered by two
journalists reporting the grand opening. _^<i_F_^>i_ is rather ill organized and crude. The novel _^<i_Futureworld_^>i_ * (_^<b_1976_^>b_) was adapted by John Ryder Hall (William _^<a_!T2712_ROTSLER_^>a_) from the screenplay. [JB]_^<n__^<n_
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FUTURIAN, THE
-T-
UK _^<a_!T1428_FANZINE_^>a_ (1938-40), ed from Leeds by J. Michael Rosenblum. A continuation of the Leeds _^<a_!T2072_SCIENCE FICTION LEAGUE_^>a_'s _^<i_Bulletin_^>i_ (1937), _^<i_The Futurian_^>i_ was a small printed publication featuring fiction,
poems and articles by leading sf fans of the day, including Arthur C. _^<a_!T736_CLARKE_^>a_, Ralph Milne _^<a_!T1434_FARLEY_^>a_, John Russell _^<a_!T1455_FEARN_^>a_, David H. _^<a_!T4008_KELLER_^>a_, Frederik _^<a_!T1937_POHL_^>a_ and William F.
_^<a_!T5930_TEMPLE_^>a_. Other important pre-WWII UK fanzines were John _^<a_!T719_CHRISTOPHER_^>a_'s _^<i_The Fantast_^>i_, Jonathan _^<a_!T5088_BURKE_^>a_'s and Charles Eric _^<a_!T3606_MAINE_^>a_'s _^<i_Satellite_^>i_, Donald Mayer's
_^<i_Tomorrow_^>i_ (incorporating Walter _^<a_!T4706_GILLINGS_^>a_'s _^<a_!T2879_SCIENTIFICTION_^>a_) and Maurice K. Hanson's _^<a_!T3255_NOVAE TERRAE_^>a_ (later _^<a_!T3182_NEW WORLDS_^>a_). Under the title _^<i_Futurian War Digest_^>i_
(1940-45), Rosenblum's fanzine became a focal point for UK fandom during the WWII years when sf and amateur publishing faced considerable difficulties. It was revived as _^<i_The New Futurian_^>i_ 1954-8. [PR]_^<n__^<n_
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FUTURIANS
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A New York sf group active 1938-45, notable for radical politics and the conviction that sf fans should be forward-looking and constructive; the name came from J. Michael Rosenblum's UK fanzine, _^<i_The_^<a_!T1664_FUTURIAN_^>a__^>i_ . Though deeply
involved in _^<a_!T1428_FANZINE_^>a_ publishing and internal fan politics, The Futurians also brought together many young fans who hoped to become sf writers. Members included Isaac _^<a_!T268_ASIMOV_^>a_, James _^<a_!T658_BLISH_^>a_, C.M.
_^<a_!T6353_KORNBLUTH_^>a_, David _^<a_!T4146_KYLE_^>a_, Robert A.W. _^<a_!T3472_LOWNDES_^>a_, Frederik _^<a_!T1937_POHL_^>a_ -- who describes this period in _^<i_The Way the Future Was: A Memoir_^>i_ (_^<b_1978_^>b_) -- Richard
_^<a_!T5642_WILSON_^>a_ and Donald A. _^<a_!T5679_WOLLHEIM_^>a_; also associated with the group were Hannes _^<a_!T6322_BOK_^>a_, Damon _^<a_!T4098_KNIGHT_^>a_ -- who in _^<i_The Futurians_^>i_ (_^<b_1977_^>b_) published an informal history of the
group -- Judith _^<a_!T2908_MERRIL_^>a_ and Larry T. _^<a_!T2158_SHAW_^>a_. [PR/PN]_^<n__^<n_
UK pocketbook-size magazine. 16 issues, numbered, undated, 1950-58, published by John Spencer, London; ed John S. Manning (pseudonym of publishers Sol Assael and Michael Nahum). _^<i_FSS_^>i_ was one of 4 almost identical low-quality juvenile sf
magazines -- all of minimal interest -- published by Spencer; the others were _^<a_!T5898_TALES OF TOMORROW_^>a_, _^<a_!T5685_WONDERS OF THE SPACEWAYS_^>a_ and _^<a_!T6173_WORLDS OF FANTASY_^>a_. #1-#15 appeared 1950-54; #16 did not appear until
1958. (_^<i_For more information on Spencer's publications_^>i_ >_^<a_!T349_BADGER BOOKS_^>a_.) [FHP]_^<n__^<n_
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FUTURISTIC STORIES
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UK pulp-size magazine. 2 undated issues, 1946, published by Hamilton & Co., Stafford; ed anon. _^<i_FS_^>i_ was poor-quality, juvenile, and of little interest. As with its companion magazine, _^<a_!T5775_STRANGE ADVENTURES_^>a_, the Entire contents
were written by Norman _^<a_!T1500_FIRTH_^>a_. [FHP]_^<n__^<n_
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FUTUROLOGY
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The word "futurology" is a neologism coined in 1943 by a refugee German professor of sociology, Ossip K. Flechtheim, then teaching in a US college. He argued for a concerted effort by sociologists, historians, psychologists, economists and political
scientists to examine social and technological trends as a means of learning the true shape of coming things. He sent his proposals to Aldous _^<a_!T4566_HUXLEY_^>a_, who took them up with enthusiasm, and thereby conveyed the word into the
language. Now futurologists are everywhere except perhaps in the very poorest countries._^<n__^<n_History shows that human beings are _^<i_ab origine_^>i_ future-directed animals. Ever since _^<i_Homo erectus_^>i_ began the long trek out of Africa
and into Eurasia, the horizon-watchers have known that their survival might well depend on what they found over the hill, in the no-man's time of the day after. But the literature of proposals and projections about future things appears as a mere
blip at the end of civilization's 10,000-year record. It is strange, too, that _^<a_!T5303_UTOPIAS_^>a_, _^<a_!T1370_DYSTOPIAS_^>a_, forecasts, projections and sf are in origin, and still largely, a Western intellectual activity. All these
future-oriented activities may have begun with the first modern utopias to present the other-history of the better society. Thomas _^<a_!T3043_MORE_^>a_'s _^<i_Utopia_^>i_ (Part Two _^<b_1516_^>b_ in Latin; trans Ralphe Robynson with the later Part
One _^<b_1551_^>b_) and Francis _^<a_!T347_BACON_^>a_'s _^<i_New Atlantis_^>i_ (1627; _^<b_1629_^>b_) contained ideologies which had already worked their benign effects in the could-be of imagined lands, and might serve as guides for achieving a
more perfect way of life in the real world of a reformed England. In the beginning, then, the future was another place, and the _^<a_!T5380_VIRTUAL REALITY_^>a_ of word-generated social systems and behaviour patterns in the utopias made for a most
effective connection between today and tomorrow._^<n__^<n_There was still a long way to go before considered forecasts. The world had to wait for the new ideas about the progress of mankind that, in the mid-18th century, were to mark out the base
for a calculus of probabilities. In his very influential _^<i_Philosophical Review of the Successive Advances of the Human Mind_^>i_ (_^<b_1750_^>b_) Anne Robert Jacques Turgot (1727-1781), then a student at the Sorbonne, provided the historical
evidence that allowed him to indicate the main lines of human progress. Since, he argued, mankind had advanced from primitive beginnings to the glorious days of Louis XV, it followed that the human race would "go on advancing, although at a slow
pace, towards greater perfection". The details of this march forward awaited the work of men like Adam Smith (1723-1790), who in his _^<i_Wealth of Nations_^>i_ (_^<b_1776_^>b_) reduced the entirety of _^<a_!T6577_ECONOMICS_^>a_, industry and
commerce to a Newtonian universe of actions and reactions._^<n__^<n_At around this time the great divide between fiction and prediction began to narrow, as the first tales of the future spread their message of the centuries ahead. The most
important was Louis-Sebastien _^<a_!T2901_MERCIER_^>a_'s _^<i_L'an 2440_^>i_ (1771; trans as _^<i_Memoirs of the Year Two Thousand Five Hundred_^>i_ _^<b_1772_^>b_), which described a better future world in which the social ideals of the
Enlightenment had prevailed: constitutional monarchs, deism the universal religion, education for all. The most telling register of expected change was in the technology of the future: a Suez Canal, rapid _^<a_!T382_BALLOON_^>a_ transportation
between continents, and "all sorts of machines for the relief of Man in laborious works"._^<n__^<n_Still the would-be predictors awaited the theories and techniques that would help them provide for the whole of society what Adam Smith had provided
for a part. New means of assessment and measurement swiftly arrived. In 1798 Thomas Malthus (1766-1834) published his notorious _^<i_Essay on the Principle of Population_^>i_, in which he pessimistically linked the future of humanity to the
potentially geometrical growth of population and the merely arithmetical growth of the rations that sustained it, a situation that could be balanced only if vast numbers died. A tremendous debate about humankind's future followed, partly because
this early example of Future Shock had coincided with the publication by Edward Jenner (1749-1823) of his paper on the _^<i_Causes and Effects of the Variolae Vaccinae_^>i_, which provided the first marvellous promise that the future would be
different. By that time James Watt's steam engine was providing power on an unprecedented scale, and the Industrial Revolution was on the point of transforming the world._^<n__^<n_It seems strange, with change so rapidly manifesting itself, that it
was almost a century before straightforward forecasts like _^<i_Dans cent ans_^>i_ ["In 100 Years"] (_^<b_1892_^>b_) by Charles Richet (1850-1935) came to be published. But in the 19th century the "certainty factor" persuaded everyone that change
and technological development could be accommodated within the known social system. The same, but better, was the slogan -- or, in the Tennysonian phrase, the great world would "spin for ever down the ringing grooves of change". So people invented
new methods to measure the changes they considered most important. The first decennial census of 1801 began the continuing measure of population; the Belgian mathematician Lambert Quetelet (1796-1874) adopted the Laplace probability theory to
produce the crucial concept of the Average Man. Also significant was the first attempt to analyse the new literature of the future in _^<i_Le roman de l'avenir_^>i_ ["The Novel of the Future"] (_^<b_1834_^>b_) by Felix Bodin (>
_^<a_!T1590_FRANCE_^>a_). Another sign was the inauguration of the British Association for the Advancement of Science in 1831._^<n__^<n_The flood of forecasting literature did not take place until around 1890, beginning with sustained discussion
about the next great _^<a_!T5452_WAR_^>a_ (a discussion catalysed by the War of 1870). Its first major prediction was the work of Polish banker and statistician Ivan Gottlieb de Bloch (1836-1902), who produced the classic analysis in _^<i_The War
of the Future in its Technical, Economic and Political Relations_^>i_ (_^<b_1897_^>b_). His findings, ignored by the generals, led him to forecast a great war of entrenchment. Soon forecasts became part of popular writing: weekly magazines
occasionally featured articles with illustrations of flying machines, motor cars and television. Some two dozen books were published at this time about the future, including George Ermann on the imperial German future in _^<i_Deutschland im Jahre
2000_^>i_ ["Germany in the Year 2000"] (_^<b_1891_^>b_), the influential _^<i_Esquisse de l'organisation politique et economique de la societe future_^>i_ (_^<b_1899_^>b_; trans P.H. Lee Warner as _^<i_The Society of To-Morrow_^>i_ _^<b_1904_^>b_)
by Gustave de Molinari (1819-1911), and the collection by Edward Carpenter (1844-1929) of the expectations of 10 eminent socialists in _^<i_Forecasts of the Coming Century_^>i_ (coll _^<b_1897_^>b_). The most widely read of them all in the
Anglo-Saxon world was the series of articles by H.G. _^<a_!T5528_WELLS_^>a_ in _^<i_Fortnightly Review_^>i_ in 1900, published as _^<i_Anticipations_^>i_ (_^<b_1901_^>b_)._^<n__^<n_The next advances in the investigation of the future followed two
major innovations between the two world wars. In the 1920s the publishing house Kegan Paul, Trench & Trubner brought out a series of 86 monographs in their _^<b_Today and Tomorrow_^>b_ series, in which scientists, sociologists, philosophers,
theologians and others set down their expectations of the future. One was J.B.S. _^<a_!T4923_HALDANE_^>a_'s _^<i_Daedalus, or Science and the Future_^>i_ (_^<b_1924_^>b_), which accurately forecast advances in biology that gave Aldous Huxley
important ideas for _^<i__^<a_!B9261_BRAVE NEW WORLD_^>a__^>i_ (_^<b_1932_^>b_). The series was widely reported and did much to publicize thinking about the future. More important, however, was the first major state initative in this regard. The US
President, Herbert Hoover, in 1930 appointed a National Resources Committee "to examine and report upon recent social trends in the United States with a view to providing such a review as might supply a basis for the formulation of large national
policies looking to the next phase in the nation's development". The committee, drawing on the resources of field-survey techniques formulated at the University of Chicago, presented their conclusions in their report _^<i_Recent Social Trends_^>i_
(_^<b_1932_^>b_), which provided a model for the USA and an example to the rest of the world._^<n__^<n_The development of techniques for investigating the future accelerated during WWII, especially the Operational Research procedures borrowed from
the UK by the US Army Air Force. These proved so successful in the air war that General Henry Arnold established a research centre to investigate possible developments in warfare. This had the codename RAND (Research and Development), and in 1948
the project team set up an independent non-profit organization known as the RAND Corporation. It had immense influence on military planning and on presidential decisions about the manufacture of nuclear weapons; it was the first "think tank", and
from it came the System Development Institute and the Hudson Institute. The latter gained world notoriety when Herman Kahn (1922-1983) published books such as _^<i_On Escalation_^>i_ (_^<b_1968_^>b_) that took the hardest of looks into the future.
Indeed, this was a period of rapid growth in futurology, with a great many books and journals published on the subject. Kahn's books were among the best-known, but futurology's limitations as a science can be seen very clearly in his _^<i_Things to
Come_^>i_ (_^<b_1972_^>b_), a book about what to expect in the 1970s and 1980s. The index has no entries for oil, gasoline, energy, resources or power; Kahn's only remark about the Arabs is to say that, because the West is their only market, we
need expect no problems of supply. Sf writers, too, were unsuccessful in predicting the energy crisis, but few as blandly and so close to the time when it happened as this._^<n__^<n_A very influential, albeit flawed, work of futurology was the
report of the Club of Rome on _^<a_!T1752_OVERPOPULATION_^>a_ and diminishing resources, excerpts from which were published as _^<i_The Limits to Growth_^>i_ (_^<b_1972_^>b_). Alvin _^<a_!T6039_TOFFLER_^>a_'s book _^<i_Future Shock_^>i_
(_^<b_1970_^>b_) was a bestselling work of _^<a_!T2300_SOCIOLOGY_^>a_ rather than futurology; it documented the increasing rate of change in the 20th century, but was comparatively cautious in making specific predictions about the future. At the
other extreme were books of popularization like _^<i_The Next Ten Thousand Years_^>i_ (_^<b_1974_^>b_) by Adrian _^<a_!T556_BERRY_^>a_, a work of technological optimism packed with "what-ifs" and predictions rather than futurology _^<i_per se_^>i_.
There are many of these._^<n__^<n_The modern "science" of futurology is the forecasting of the future (usually the _^<a_!T6337_NEAR FUTURE_^>a_) by projection and extrapolation from current trends, statistics, population figures, political
groupings, availability of resources, economic data, etc. It cannot be called a science proper, since too many of the factors involved are imponderable (and often unknown), but its tools are statistical analysis and the computer simulation of
various models._^<n__^<n_It may seem that the futurologist and the sf writer are involved in the same trade, but they share a certain unease about one another. Futurologists work primarily on what can be quantified, and to a large degree their
projections depend on the future being the same as the past. Population projections for the UK, for example, were for a long time too high because demographers were unable to quantify the factors that persuade people to have fewer children. Sf
writers are not actually in the prediction business, but when they deal with the near future they normally write a "what-if?" scenario, which may involve discontinuities with the past. In practice, this is only to say that the factors sf writers
deal with include a good deal of guesswork and invention. What makes sf writers unreliable as predictors is the nature of that "what if?". It may appeal to the writer because of its intrinsic interest or its function as a warning symbol, rather
than for its likelihood. Writers often do not believe in it themselves; they are writing stories, not prophecies. Also, the sf writer is often ignorant of the mechanisms, such as those of _^<a_!T6577_ECONOMICS_^>a_, which must play an important
role in any realistic story of future cause and effect._^<n__^<n_Where sf writers have an advantage is in the ability to adopt a multidisciplinary approach; they are often good at what is sometimes known as lateral thinking. In a sense the
advantage sf writers have is their very irresponsibility: they cannot be held accountable for the nature of their scenarios; the details do not have to be justified. This allows sf writers to survey a far greater range of possibility than the
comparatively restricted futurologist. The writer can take the unexpected into account, and history tells us that the unexpected does indeed often happen. Sf itself may give direction to change, through a process of self-fulfilling prophecy, by
presenting images of the future which grip people's minds; e.g., the US space programme, which could not have been funded without popular support, or the multistorey apartment blocks that were built by local authorities in such disastrously great
numbers in the UK after WWII, designed by a generation of architects reared on the utopian-sf visual imagery of the 1920s._^<n__^<n_Neither futurologists nor sf writers have done very well at _^<a_!T1979_PREDICTION_^>a_, though perhaps the writers'
emphasis on the lives of individuals seems more humane than the futurologists' statistical projections about the masses. Many examples of sf about the general area also covered by futurology can be found under _^<a_!T5916_TECHNOLOGY_^>a_,
_^<a_!T6576_ECOLOGY_^>a_, _^<a_!T6337_NEAR FUTURE_^>a_, _^<a_!T1752_OVERPOPULATION_^>a_ and _^<a_!T5452_WAR_^>a_. John _^<a_!T5049_BRUNNER_^>a_ is one notable writer who has written novels of this kind. Often, of course, Brunner and others are not
so much predicting as trying to avert; they hope their ghastly scenarios will be influential as a kind of early-warning system. Arthur C. _^<a_!T736_CLARKE_^>a_, on the other hand, has used much optimistic futurological speculation in both his
factual books and his fiction._^<n__^<n_Sf itself has also produced futurologists as characters, the best known being the exponents of _^<a_!T2022_PSYCHOHISTORY_^>a_ in Isaac _^<a_!T268_ASIMOV_^>a_'s _^<b_Foundation_^>b_ series. [IFC/PN]_^<n__^<n_
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FYFE, H(ORACE) B(OWNE)
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(1918- ) US writer whose first sf story, "Locked Out", appeared in _^<i_ASF_^>i_ in 1940 but who became active, mainly with stories in _^<i_ASF_^>i_, only after WWII army service. By 1967, when he became inactive, he had published nearly 60
stories. His _^<b_Bureau of Slick Tricks_^>b_ tales (_^<i_ASF_^>i_ 1948-52) are typical of John W. _^<a_!T5140_CAMPBELL_^>a_'s need for stories in which humans inevitably outwit thick-skulled (often bureaucratic) _^<a_!T102_ALIENS_^>a_. In his
novel, _^<i_D-99_^>i_ (fixup _^<b_1962_^>b_), which continues the series, Department 99 of the Terran government has the job of finagling citizens out of jams on other planets and flummoxing thicker species. The tone is fortunately light.
[JC]_^<n__^<n_
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FYSH
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> Leonard G. _^<a_!T1502_FISH_^>a_._^<n__^<n_
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GADALLAH, LESLIE
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(1939- ) Canadian writer best known for her _^<b_Cat's Pawn_^>b_ sequence -- _^<i_Cat's Pawn_^>i_ (_^<b_1987_^>b_ US) and _^<i_Cat's Gambit_^>i_ (_^<b_1990_^>b_ US) -- in which a human protagonist becomes involved with the eponymous catlike alien
Orioni, themselves involved in a desperate war against the invading Kazi, who dominate much of the Galaxy by the end of the second volume, which ends on an unusual downbeat, suggesting that further volumes may be projected. _^<i_The
Loremasters_^>i_ (_^<b_1988_^>b_ US), a singleton, less impressively pits a civilized enclave against a horde of barbarians on an energy-starved future Earth. [JC]_^<n__^<n_
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GADE, HENRY
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[s] > Raymond A. _^<a_!T1774_PALMER_^>a_._^<n__^<n_
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GAIL, OTTO WILLI
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(1896-1956) German writer of popular fiction, two of whose astronautical novels were published in Hugo _^<a_!T4668_GERNSBACK_^>a_'s _^<i_Science Wonder Quarterly_^>i_: _^<i_Der Schuss ins All_^>i_ (_^<b_1925_^>b_; trans Francis Currier 1929 as
_^<i_The Shot into Infinity_^>i_; _^<b_1975_^>b_ US) and its sequel, _^<i_Der Stein vom Mond_^>i_ (_^<b_1926_^>b_ trans Francis Currier 1930 as "The Stone from the Moon"). _^<i_Hans Hardts Mondfahrt: Eines abenteuerliche Erzahlung_^>i_
(_^<b_1928_^>b_; trans anon as _^<i_By Rocket to the Moon: The Story of Hans Hardt's Miraculous Flight_^>i_ _^<b_1931_^>b_ US) is a juvenile. All three aim at a technical realism unusual for the time. [JC]_^<n__^<n__^<b_See also:_^>b_
(1960- ) UK writer, in the USA from 1992, who has specialized in the scripting of fantasy and sf comics and _^<a_!T4809_GRAPHIC NOVELS_^>a_, but who began publishing work of genre interest with a story, "Featherquest", for _^<i_Imagine_^>i_ in
1984. His first book, _^<i_Ghastly Beyond Belief_^>i_ (anth _^<b_1985_^>b_) with Kim _^<a_!T3173_NEWMAN_^>a_, presents various kinds of bad writing to be found in sf and fantasy. His first visual book was _^<i_Violent Cases_^>i_ (graph
_^<b_1987_^>b_) with Dave _^<a_!T3551_MCKEAN_^>a_, a dark urban fantasy in graphic-novel form. He then began to write comics in earnest, with extended stints as scripter for _^<i_The Sandman_^>i_ (1988-current) and _^<i_Miracle Man_^>i_
(1990-current), the latter being a genuine sf comic with a _^<a_!T5303_UTOPIAN_^>a_ turn (> _^<a_!T5154_CAPTAIN MARVEL_^>a_). The _^<b_Sandman_^>b_ stories -- one of which, "A Midsummer Night's Dream" (1990), won a 1991 World Fantasy Award for Best
Short Story-have been published in book form as _^<i_The Sandman: The Doll's House_^>i_ (graph coll _^<b_1990_^>b_) with Mike Dringenberg and Malcolm Jones III, _^<i_The Sandman: Preludes and Nocturnes_^>i_ (graph coll _^<b_1991_^>b_) with
Dringenberg, Jones and Sam Kieth, and _^<i_The Sandman: Dream Country_^>i_ (graph coll _^<b_1991_^>b_) with various artists; a long tale, which transmutes dark-fantasy material evocative of the work of Jonathan Carroll (1949- ), was contained in
6 further issues (1991-2) of the comic and is projected for book release as <A Game of You> (graph 1992) with Shawn McManus and Colleen Doran. His further graphic novels are _^<i_Black Orchid_^>i_ (graph _^<b_1991_^>b_) and _^<i_Signal to
Noise_^>i_ (1989-90 _^<i_The Face_^>i_; rev as graph _^<b_1992_^>b_), both with Dave McKean, and <The Books of Magic> (graph coll 1993 US) with various artists. _^<i_Good Omens: The Nice and Accurate Prophecies of Agnes Nutter, Witch_^>i_
(_^<b_1990_^>b_; rev 1991 US) with Terry _^<a_!T1974_PRATCHETT_^>a_ is a comic fantasy novel about the Four Horsemen, who do not quite end the world. Unlike graphic novelists such as Alan _^<a_!T3031_MOORE_^>a_, NG has tended to combine draconian
verbal economy with an ample romanticism, so that his tales carry, sometimes effortlessly, a burden of half-uttered resonances. He cowrote the entry on the _^<a_!T4809_GRAPHIC NOVEL_^>a_ for this encyclopedia. [JC]_^<n__^<n__^<b_Other works:_^>b_
_^<i_Don't Panic: The Official Hitch Hiker's Guide to the Galaxy Companion_^>i_ (_^<b_1988_^>b_; rev 1992); _^<i_Now We Are Sick: A Sampler_^>i_ (anth _^<b_1986_^>b_ chap) ed with Stephen Jones (1953- ), booklet produced to publicize and sell
rights in the next book; _^<i_Now We Are Sick_^>i_ (anth _^<b_1991_^>b_ chap) ed with Stephen Jones, assembling original poems; _^<i_Temps Volume l_^>i_ (anth _^<b_1991_^>b_) ed with Alex Stewart (1958- )._^<b_See also:_^>b_ _^<a_!T956_CRIME AND
Originally the collective pseudonym of Russian writers Vladimir Gopman, Andrei Gavrilov and Mikhail Kovalchuk (VLADIMIR Gopman, Andrei GAvrilov, and Mikhail KOValchuk). For the purposes of this encyclopedia, in which he has revised or written many
of the entries on Russian sf, including _^<a_!T2748_RUSSIA_^>a_, this is the pseudonym of Kovalchuk writing solo. Russian critic and editor Mikhail (Andreevich) Kovalchuk (1951- ) is a trained physicist who began publishing sf criticism in 1976,
soon giving up his science career for professional journalism. His three critical works on sf are _^<i_Vitok Spirali_^>i_["The Curve of a Spiral"] (_^<b_1980_^>b_) which was written by all three authors,_^<i_Tchetyre Puteshestviiaa Na Mashine
Vremeni_^>i_ ["Four Trips in the Time Machine"] (_^<b_1983_^>b_) and _^<i_Ultimatum_^>i_ ["The Ultimatum"] (_^<b_1989_^>b_), the last being an historical study of the relationship between fact and fiction in the nuclear arms race. Among his various
anthologies, of interest to English-speaking readers is _^<i_World's Spring_^>i_ (anth _^<b_1979_^>b_ Sweden). A contributor to various English-language reference editions, he has revised or written many of the entries on Russian sf in this
encyclopedia. [VG/JC]_^<n__^<n__^<b_See also:_^>b__^<a_!T963_CRITICAL AND HISTORICAL WORKS ABOUT SF_^>a_; _^<a_!T2748_RUSSIA_^>a_.
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GALACTICA: 1980
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US tv series (1980). Universal MCA/ABC-TV. Creator, executive prod Glen A. _^<a_!T4191_LARSON_^>a_. Most episodes written by Larson. Regular cast included Lorne Greene, Kent McCord, Barry Van Dyke, Robyn Douglass. 3 pilot 50min episodes followed by
7 50min episodes._^<n__^<n_The pilot, _^<i_Galactica Discovers Earth_^>i_, a three-part made-for-tv film sequel to the tv series _^<a_!T467_BATTLESTAR GALACTICA_^>a_, was successful enough to convince ABC-TV to commission a new series. Rushed into
production, aimed at an early-evening time slot where special rules applied about what children can watch, and underrehearsed, it flopped badly and was soon jettisoned. In the pilot, _^<i_Galactica_^>i_ finds Earth too undeveloped to fight off the
Cylons and attempts are made via _^<a_!T6026_TIME TRAVEL_^>a_ to improve the situation. The remaining episodes are all set on Earth and feature Cylon attacks. The pilot, dir Sidney Hayers, with sections of 2 further episodes, was theatrically
released as _^<i_Conquest of the Earth_^>i_ (1980). Generally the series was shown on tv abroad as if part of _^<i_Battlestar Galactica_^>i_. [PN]_^<n__^<n_
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GALACTIC EMPIRES
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In _^<i_The Universe Makers_^>i_ (_^<b_1971_^>b_) Donald A. _^<a_!T5679_WOLLHEIM_^>a_ attempts to distil from the range of futuristic visions presented by magazine sf a basic pattern -- a "cosmogony of the future" -- in which stages 3-5 (there are 8
in all) describe "the rise and fall of the Galactic Empire", which is thus enshrined as the central myth of _^<a_!T4659_GENRE SF_^>a_. ("Empire" is here used with a general, almost metaphorical meaning, rather than in its politically definitive
sense.) The galactic empire was a necessary invention: an imaginative framework which could accommodate any number of "Earth-clone" worlds on which writers might deploy ordinary human characters in confrontation with any imaginable social and
biological system. Very many modern sf stories are designed to fit into such a framework, taking advantage of the fact that it has become established as a convention which needs no explanation._^<n__^<n_Much of the credit for the establishment of
the convention must go to Isaac _^<a_!T268_ASIMOV_^>a_, whose _^<b_Foundation_^>b_ series (1942-50; fixups _^<b_1951-3_^>b_) set the most influential example, although it is possible to trace the idea back to earlier roots. As long ago as 1900
Robert W. _^<a_!T791_COLE_^>a_ had imagined Victoria's glorious British Empire extending its dominion to the stars, so that ours should not be the only sun never to set upon it. Confederations of worlds within the Solar System were common in pulp
sf from its inception, and these were extended into the Galaxy in such novels as _^<i_Galactic Patrol_^>i_ (1937-8; _^<b_1950_^>b_) by E.E. "Doc" _^<a_!T2269_SMITH_^>a_. Asimov, however, was the writer who provided the essential historical
framework for such a concept. He did so by relatively straightforward analogy with past empires, reversing the analytical historical perspective of such works as _^<i_The History of the Decline and Fall of the Roman Empire_^>i_ (_^<b_1776-88_^>b_)
by Edward Gibbon (1737-1794) to produce the predictive science of _^<a_!T2022_PSYCHOHISTORY_^>a_. With a single flourish, a whole prospectus for the future of the human race-allowing virtually limitless possibilities so far as events on a finer
scale were concerned -- was established. Asimov used the convenient historical pattern himself as a background for other works, including _^<i_The Stars Like Dust_^>i_ (_^<b_1951_^>b_) and _^<i_The Currents of Space_^>i_ (_^<b_1952_^>b_). Robert A.
_^<a_!T4376_HEINLEIN_^>a_'s painstaking attempt to develop a future _^<a_!T4442_HISTORY_^>a_ step by step became an empty endeavour after the _^<b_Foundation_^>b_ series, and later efforts seem distinctly half-hearted. James _^<a_!T658_BLISH_^>a_'s
_^<b_Cities in Flight_^>b_ (_^<b_1955-62_^>b_) succeeds more through its key image of the star-travelling _^<a_!T727_CITIES_^>a_ than through its framework, derived from the philosophy of cyclic history developed by Oswald Spengler (1880-1936).
Poul _^<a_!T169_ANDERSON_^>a_, who developed his own scheme for use in his _^<b_Technic History_^>b_ series and many other stories and novels, was able to take a great deal for granted because Asimov had prepared the way._^<n__^<n_Writers of the
1940s who employed the galactic-empire framework include C.L. _^<a_!T3033_MOORE_^>a_, in _^<i_Judgment Night_^>i_ (1943; _^<b_1952_^>b_), Edmond _^<a_!T4258_HAMILTON_^>a_, in _^<i_The Star Kings_^>i_ (1947; _^<b_1949_^>b_ vt _^<i_Beyond the
Moon_^>i_) and -- most extravagantly -- A.E. _^<a_!T5333_VAN VOGT_^>a_ in such stories as "Recruiting Station" (1942; in _^<i_Masters of Time_^>i_ coll _^<b_1950_^>b_). Van Vogt was not at all hesitant about borrowing the entire apparatus of
historical empires, and replayed the most melodramatic phase of Roman history -- presumably borrowed via Robert _^<a_!T4815_GRAVES_^>a_'s _^<i_I, Claudius_^>i_ (_^<b_1934_^>b_) -- in his _^<b_Linn_^>b_ series, _^<i_Empire of the Atom_^>i_ (1946-7;
fixup _^<b_1957_^>b_) and _^<i_The Wizard of Linn_^>i_ (1950; _^<b_1962_^>b_). The background proved particularly useful in the colourful brand of adventure sf featured by _^<a_!T1924_PLANET STORIES_^>a_, and it was very extensively used therein,
notably by Leigh _^<a_!T4961_BRACKETT_^>a_, Alfred _^<a_!T875_COPPEL_^>a_ and Poul Anderson (in his early _^<a_!T2342_SPACE OPERAS_^>a_). During the 1950s _^<a_!T2046_SCIENCE FICTION ADVENTURES_^>a_, the magazine closest in editorial philosophy to
_^<i_Planet Stories_^>i_, likewise made extensive use of it, particularly in stories written for the US version by Robert _^<a_!T2216_SILVERBERG_^>a_ and for the UK version by Kenneth _^<a_!T5073_BULMER_^>a_._^<n__^<n_In addition to Anderson,
several other post-WWII writers have made consistent and elaborate use of a galactic civilization as a reservoir for unusual worlds. These include Jack _^<a_!T5317_VANCE_^>a_, notably in _^<i_The Languages of Pao_^>i_ (_^<b_1958_^>b_),
_^<i__^<a_!B9230_THE DRAGON MASTERS_^>a__^>i_ (_^<b_1963_^>b_) and in virtually all of his work during the 1960s and 1970s, John _^<a_!T5049_BRUNNER_^>a_, notably in _^<i_Endless Shadow_^>i_ (_^<b_1964_^>b_) and _^<i_The World Swappers_^>i_
(_^<b_1959_^>b_), Cordwainer _^<a_!T2265_SMITH_^>a_, in his _^<b_Instrumentality_^>b_ series, and E.C. _^<a_!T6112_TUBB_^>a_, in his _^<b_Dumarest_^>b_ series. Few writers have, however, concerned themselves in any but the most superficial way with
the sociopolitical structure of the galactic community. Anderson has done significant work in this vein, and so has Gordon R. _^<a_!T1227_DICKSON_^>a_, notably in the _^<b_Dorsai_^>b_ series, but most are prepared to leave the community in a state
of disorganization or nebulous harmony. Only rarely do works appear in which there actually is a powerful, autocratic, imperial system of government -- the most conspicuous modern example is the film _^<a_!T5686_STAR WARS_^>a_ (1977) and its
sequels -- and the word "empire" is often substituted by "league", "federation" or some other such variant. Most works of this kind are either US or (like the German _^<a_!T1863_PERRY RHODAN_^>a_ series) products of cultural coca-colonization, and
the political model employed for galactic civilization is very often the US system writ large -- an ideal summed up by the final line of Asimov's _^<i_The Stars Like Dust_^>i_ and conscientiously supported by innumerable episodes of
_^<a_!T2429_STAR TREK_^>a_. It is interesting to note the relative unwillingness of genre-sf writers, even when they take the entire Galaxy for their setting, to create new political or economic modes, although Iain M. _^<a_!T392_BANKS_^>a_'s
galactic culture in _^<i_Consider Phlebas_^>i_ (_^<b_1987_^>b_), _^<i_The Player of Games_^>i_ (_^<b_1988_^>b_) and _^<i__^<a_!B9265_USE OF WEAPONS_^>a__^>i_ (_^<b_1990_^>b_) is refreshingly alien to the US model. Galactic empires are almost always
ruled by humans, and human empires are often at war with _^<a_!T98_ALIEN_^>a_ empires. An amusing antidote to this conventional human chauvinism is _^<i_The Zen Gun_^>i_ (_^<b_1983_^>b_) by Barrington J. _^<a_!T472_BAYLEY_^>a_, in which men become
so effetely decadent that their erstwhile underlings, the pigs, take over._^<n__^<n_It is more or less taken for granted in post-WWII works that any galactic federation will have a relatively untamed frontier, almost always called "the rim" (>
_^<a_!T1679_GALACTIC LENS_^>a_). First popularized by A. Bertram _^<a_!T5232_CHANDLER_^>a_'s long-running _^<b_Rim Worlds_^>b_ series, the galactic empire's equivalent of the Wild West features fairly prominently in modern _^<a_!T2342_SPACE
OPERA_^>a_, notably in C.J. _^<a_!T5255_CHERRYH_^>a_'s relatively sophisticated stories of that type, which include _^<i_Merchanter's Luck_^>i_ (_^<b_1982_^>b_) and _^<i_Rimrunners_^>i_ (_^<b_1989_^>b_). In such stories freelance starship pilots
take the place of cowboy gunfighters; in recent years such roles have very frequently been filled by female characters, partly as a result of the influence of _^<i_Star Trek_^>i_ in recruiting female readers and writers into the sf
community._^<n__^<n_Any list of post-WWII sf novels using the galactic-empire framework is bound to be highly selective, but some of the more notable stories which actually deal with issues relating to the community rather than to specific worlds
within it are: _^<i_Star Bridge_^>i_ (_^<b_1955_^>b_) by Jack _^<a_!T5629_WILLIAMSON_^>a_ and James E. _^<a_!T4896_GUNN_^>a_, _^<i__^<a_!B9165_CITIZEN OF THE GALAXY_^>a__^>i_ (_^<b_1957_^>b_) by Heinlein, _^<i_Starmaster's Gambit_^>i_
(_^<b_1957_^>b_ France; trans _^<b_1973_^>b_) by Gerard _^<a_!T4093_KLEIN_^>a_, _^<i__^<a_!B9210_WAY STATION_^>a__^>i_ (_^<b_1963_^>b_) by Clifford D. _^<a_!T2218_SIMAK_^>a_, _^<i_Empire Star_^>i_ (_^<b_1966_^>b_) by Samuel R.
_^<a_!T1152_DELANY_^>a_, _^<i__^<a_!B9029_THE RING OF RITORNEL_^>a__^>i_ (_^<b_1968_^>b_) by Charles L. _^<a_!T4298_HARNESS_^>a_, _^<i__^<a_!B8981_RITE OF PASSAGE_^>a__^>i_ (_^<b_1968_^>b_) by Alexei _^<a_!T1782_PANSHIN_^>a_, _^<i_Voyage to
Dari_^>i_ (_^<b_1974_^>b_) by Ian _^<a_!T5435_WALLACE_^>a_, _^<i_Beyond Heaven's River_^>i_ (_^<b_1980_^>b_) by Greg _^<a_!T478_BEAR_^>a_, _^<i_Light on the Sound_^>i_ (_^<b_1982_^>b_) by S.P. _^<a_!T2313_SOMTOW_^>a_, _^<i_Star of Gypsies_^>i_
(_^<b_1986_^>b_) by Silverberg, and the _^<b_Hyperion_^>b_ books (_^<b_1989-90_^>b_) by Dan _^<a_!T2219_SIMMONS_^>a_._^<n__^<n_The definitive theme anthology is _^<i_Galactic Empires_^>i_ (anth 2 vols _^<b_1976_^>b_) ed Brian W.
_^<a_!T87_ALDISS_^>a_. [BS]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T811_COLONIZATION OF OTHER WORLDS_^>a_; _^<a_!T822_COMMUNICATIONS_^>a_; _^<a_!T2300_SOCIOLOGY_^>a_.
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GALACTIC LENS
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This term, from _^<a_!T283_ASTRONOMY_^>a_, makes frequent appearance in sf. It refers to the fact that our Galaxy is (like many others) approximately lens-shaped -- it is a disc containing spiral arms, but like a lens it has a central bulge. Our own
position in the Galaxy is quite a long way from the core; when we look towards the centre of the "lens", the direction in which the stars are clustered most thickly, we see the so-called Milky Way. Towards the outer rim of the "lens", stars are
comparatively sparse, not only in terms of the numbers lying in our line of sight but also in fact. Many sf writers have set stories on planets circling such stars. Such worlds were dubbed Rim Worlds by A. Bertram _^<a_!T5232_CHANDLER_^>a_, and the
term (often as "Rimworld") has since become commonplace in sf. [PN]_^<n__^<n_
> _^<a_!T580_BEYOND FANTASY FICTION_^>a_; _^<a_!T1686_GALAXY SCIENCE FICTION_^>a_._^<n__^<n_
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GALAXY SCIENCE FICTION
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US _^<a_!T1231_DIGEST_^>a_-size magazine, Oct 1950 to a single undated issue in 1980. Published by World Editions (Oct 1950-Sep 1951), Galaxy Publishing Corp. (Oct 1951-May 1969), Universal Publishing and Distributing Corp. (July 1969-Sep/Oct 1979),
Avenue Victor Hugo (1980); ed H.L. _^<a_!T4752_GOLD_^>a_ (Oct 1950-Oct 1961), Frederik _^<a_!T1937_POHL_^>a_ (Dec 1961-May 1969), Ejler _^<a_!T3853_JAKOBSSON_^>a_ (July 1969-May 1974), James _^<a_!T352_BAEN_^>a_ (June 1974-Oct 1977), John J.
_^<a_!T1896_PIERCE_^>a_ (Nov 1977-Mar/Apr 1979), Hank _^<a_!T5746_STINE_^>a_ (June/July-Sep/Oct 1979), Floyd Kemske (1980). The monthly schedule from the beginning to Dec 1958 was broken only by the omission of Dec 1955. It was bimonthly Feb
1959-Apr 1968. June 1968-Apr 1971 the schedule was monthly, except that June 1969 and Jan 1970 were omitted, and Aug/Sep 1970 and Oct/Nov 1970 were single issues. May/June 1971-July/Aug 1973 the schedule was bimonthly, returning to a shaky monthly
schedule Sep 1973-June 1978, the issues for May, Nov and Dec 1975 being omitted, as were those for Apr, June, Aug 1976; Dec 1977-Jan 1978 was a single issue. After June 1978, the final issues were Sep 1978, Nov/Dec 1978, Mar/Apr 1979, June/July
1979, Sep/Oct 1979 and one 1980 issue released in summer. Curiously, the title was revived in 1994 by E.J. Gold, son of the original editor. The new _^<i_Galaxy_^>i_, ed Gold, published by the Institute for the Development of the Harmonious Being,
Inc., Nevada City, California, published six bimonthly issues in 1994 in small-bedsheet (A4) format, and two more to Mar/Apr 1995. Volume numeration started again at the beginning._^<n__^<n_The first publisher of _^<i_Gal_^>i_ was an Italian
company which, having incurred heavy losses trying to launch another magazine in the USA, approached H.L. Gold for alternative suggestions. He proposed an sf magazine, and _^<i_Gal_^>i_ came into existence. From the outset, _^<i_Gal_^>i_'s payment
rates equalled the best in the field -- a minimum of three cents a word -- and it adopted the digest format already taken by its most successful contemporaries, _^<a_!T277_ASTOUNDING SCIENCE-FICTION_^>a_ and _^<i_The_^<a_!T3595_MAGAZINE OF FANTASY
AND SCIENCE FICTION_^>a__^>i_ . These two with _^<i_Gal_^>i_ were the most important sf magazines of the 1950s through to the mid-1970s._^<n__^<n_The new magazine was an immediate success. _^<i_ASF_^>i_ was at this time following John W.
_^<a_!T5140_CAMPBELL_^>a_ Jr's new-found obsession with _^<a_!T1220_DIANETICS_^>a_ and was otherwise more oriented towards _^<a_!T5916_TECHNOLOGY_^>a_. Gold's editorial policy was comparatively free-ranging: he was interested in
_^<a_!T2023_PSYCHOLOGY_^>a_, _^<a_!T2300_SOCIOLOGY_^>a_ and _^<a_!T2812_SATIRE_^>a_ and other _^<a_!T4555_HUMOUR_^>a_, and the magazine reflected this. Like Campbell, he worked closely with his writers (mostly by telephone, as he was confined to
his apartment by acute agoraphobia) and is said to have had a hand in the conception of many of the famous stories he published, notably Alfred _^<a_!T568_BESTER_^>a_'s _^<i__^<a_!B9094_THE DEMOLISHED MAN_^>a__^>i_ (Jan-Mar 1952; _^<b_1953_^>b_).
In its first year _^<i_Gal_^>i_ included such stories as: Clifford D. _^<a_!T2218_SIMAK_^>a_'s "Time Quarry" (Oct-Dec 1950), in book form _^<i_Time and Again_^>i_ (_^<b_1951_^>b_); Fritz _^<a_!T3322_LEIBER_^>a_'s "Coming Attraction" (Nov 1950);
Damon _^<a_!T4098_KNIGHT_^>a_'s "To Serve Man" (Nov 1950); Isaac _^<a_!T268_ASIMOV_^>a_'s "Tyrann" (Jan-Mar 1951), in book form _^<i_The Stars Like Dust_^>i_ (_^<b_1951_^>b_); Ray _^<a_!T4963_BRADBURY_^>a_'s "The Fireman" (Feb 1951), in book form
1951); and Robert A. _^<a_!T4376_HEINLEIN_^>a_'s _^<i_The Puppet Masters_^>i_ (Sep-Nov 1951; _^<b_1951_^>b_)._^<n__^<n_The magazine maintained a comparable quality through its early years, and in 1953 shared the first _^<a_!T4551_HUGO_^>a_ for Best
Magazine with _^<i_ASF_^>i_, while Bester's _^<i__^<a_!B9094_THE DEMOLISHED MAN_^>a__^>i_, in its _^<i_Gal_^>i_ version, won the first Hugo for Best Novel. Although the magazine's fiction encompassed a considerable variety of styles and
preoccupations, the approach most identified with Gold's magazine is the irony and social satire of such authors as Knight, Leiber, Pohl and Robert _^<a_!T2164_SHECKLEY_^>a_. With the Mar 1952 issue, Willy _^<a_!T3375_LEY_^>a_ began his science
column, _^<b_For Your Information_^>b_, which he continued until his death in 1969. Groff _^<a_!T834_CONKLIN_^>a_ was book reviewer from the beginning to Oct 1955._^<n__^<n_A weakness of the early _^<i_Gal_^>i_ was that the cover art was mainly
crude and undistinguished. The June 1951 issue, however, featured the first cover by Emsh (Ed _^<a_!T6656_EMSHWILLER_^>a_), whose humorous approach was well suited to the magazine's contents and became identified with it. Further stories which
appeared in Gold's _^<i_Gal_^>i_ included: Pohl and Kornbluth's "Gravy Planet" (June-Aug 1952), in book form _^<i__^<a_!B9011_THE SPACE MERCHANTS_^>a__^>i_ (_^<b_1953_^>b_); Theodore _^<a_!T5810_STURGEON_^>a_'s "Baby is Three" (Oct 1952), part of
_^<i__^<a_!B9221_MORE THAN HUMAN_^>a__^>i_ (fixup _^<b_1953_^>b_); Asimov's _^<i_The Caves of Steel_^>i_ (Oct-Dec 1953; _^<b_1954_^>b_); Pohl and Kornbluth's _^<i_Gladiator-at-Law_^>i_ (June-Aug 1954; _^<b_1955_^>b_); Bester's _^<i_The Stars My
_^<b_1961_^>b_); Avram _^<a_!T1082_DAVIDSON_^>a_'s Hugo-winning "Or All the Sea with Oysters" (May 1958); and Sheckley's "Time-Killer" (Oct 1958-Feb 1959), in book form _^<i_Immortality Delivered_^>i_ (_^<b_1958_^>b_; exp vt _^<i_Immortality,
Inc._^>i_ 1959). A prize contest sponsored by _^<i_Gal_^>i_ drew no worthwhile entries, so Frederik Pohl and Lester _^<a_!T1164_DEL REY_^>a_ were prevailed upon to collaborate on a "prize-winning" novel, which appeared as _^<i_Preferred Risk_^>i_
(June-Sep 1955; _^<b_1955_^>b_:) by Edson _^<a_!T6300_MCCANN_^>a_. _^<i_Gal_^>i_ had a short-lived fantasy companion, _^<a_!T580_BEYOND FANTASY FICTION_^>a_, in 1953-5, and in 1959 its publishers acquired _^<a_!T4583_IF_^>a_, which Gold also
edited. In Sep 1958 the title changed to _^<i_Galaxy Magazine_^>i_, after which it varied between the two (with a period when it was called simply _^<i_Galaxy_^>i_). Beginning with the Feb 1959 issue it changed to bimonthly publication, with more
pages per issue._^<n__^<n_In 1961 Gold was forced to retire following a car accident. He was succeeded as editor of _^<i_Gal_^>i_ and _^<i_If_^>i_ by Frederik Pohl. Pohl widened the magazine's policy still further, to include more fantasy-oriented
material. Jack _^<a_!T5317_VANCE_^>a_ and Cordwainer _^<a_!T2265_SMITH_^>a_ became regular contributors, Vance with such stories as _^<i__^<a_!B9230_THE DRAGON MASTERS_^>a__^>i_ (Aug 1962; _^<b_1963_^>b_), which won a Hugo, _^<i_The Star King_^>i_
(Dec 1963-Feb 1964; _^<b_1964_^>b_) and _^<i__^<a_!B9231_THE LAST CASTLE_^>a__^>i_ (Apr 1966; _^<b_1966_^>b_), which also won a Hugo, and Smith with "The Boy who Bought Old Earth" (Apr 1964; exp vt _^<i_The Planet Buyer_^>i_ _^<b_1964_^>b_), "The
Dead Lady of Clown Town" (Aug 1964) and many others. Larry _^<a_!T3223_NIVEN_^>a_ was one of Pohl's discoveries, and Frank _^<a_!T4389_HERBERT_^>a_ and Robert _^<a_!T2216_SILVERBERG_^>a_ became further regular contributors. Other notable stories
from his editorship include: Simak's "Here Gather the Stars" (June-Aug 1963), in book form _^<i_Way Station_^>i_ (_^<b_1963_^>b_); Gordon R. _^<a_!T1227_DICKSON_^>a_'s "Soldier, Ask Not" (Oct 1964), which won a Hugo; Harlan
_^<a_!T6641_ELLISON_^>a_'s "'Repent, Harlequin,' Said the Ticktockman" (Dec 1965) and "The Beast that Shouted Love at the Heart of the World" (June 1968), both of which won Hugos and the former also a _^<a_!T3147_NEBULA_^>a_; Poul
_^<a_!T169_ANDERSON_^>a_'s "To Outlive Eternity" (June-Aug 1967), in book form _^<i_Tau Zero_^>i_ (_^<b_1970_^>b_); and Silverberg's "Hawksbill Station" (Aug 1967) and "Nightwings" (Sep 1968), which won a Hugo. As Gold was notorious for unnecessary
editorial tampering with the stories he published, so was Pohl famed for indiscriminately altering their titles. Algis _^<a_!T5064_BUDRYS_^>a_ began a notable book-review column in 1965._^<n__^<n_Pohl's _^<i_Gal_^>i_ was consistently an interesting
magazine, but it was less successful, with sf fans at least, than his _^<i_If_^>i_, which under Pohl won three consecutive Hugos. Pohl also commenced three companion magazines: _^<a_!T6173_WORLDS OF FANTASY_^>a_ and _^<a_!T3789_INTERNATIONAL
SCIENCE FICTION_^>a_ came and went swiftly; _^<a_!T6176_WORLDS OF TOMORROW_^>a_ was more durable._^<n__^<n_In June 1968 _^<i_Gal_^>i_ resumed monthly publication. The following year it changed ownership and editorship again. Ejler Jakobsson gave
_^<i_Gal_^>i_ the subtitle "The Best in Pertinent Science Fiction", and the appearance was revamped in a seeming attempt to give the magazine more contemporary appeal; for a time it included a comic strip, _^<b_Sunpot_^>b_, by Vaughn
_^<a_!T677_BODE_^>a_. One notable occurrence during Jakobsson's editorship was the featuring of two consecutive serials by Robert Silverberg: _^<i_Downward to the Earth_^>i_ (Nov 1969-Mar 1970; _^<b_1970_^>b_) and _^<i_Tower of Glass_^>i_ (Apr-June
1970; _^<b_1970_^>b_). Theodore Sturgeon took over as book reviewer (Jan 1972-July 1975), his column proving less lively than might have been expected. On the whole, the magazine failed to develop under Jakobsson's editorship, and it reverted to a
bimonthly schedule with the May/June 1971 issue, though a patchy monthly schedule began again Sep 1973. In June 1974 he was succeeded by James Baen._^<n__^<n_In Jan 1975, _^<i_Gal_^>i_ absorbed _^<i_If_^>i_. After a period in the doldrums, 1976 saw
a revival in the magazine's fortunes. Contributors included Niven, John _^<a_!T5339_VARLEY_^>a_ and Roger _^<a_!T6264_ZELAZNY_^>a_. Pohl's _^<i_Gateway_^>i_ (Nov 1976-Mar 1977; _^<b_1977_^>b_) was a notable serial which won both Hugo and Nebula.
The magazine featured book reviews by Spider _^<a_!T2640_ROBINSON_^>a_ (from Aug 1975) and a science column by Jerry _^<a_!T1961_POURNELLE_^>a_. However, despite the strength of the fiction, distribution faltered, and the monthly schedule was
adhered to only patchily in 1975, 1976 and 1977._^<n__^<n_Baen left in 1977 to become sf editor of _^<a_!T20_ACE BOOKS_^>a_, and was succeeded by John J. Pierce, who sadly presided over _^<i_Gal_^>i_'s slow collapse -- payment rate dropping, good
authors hard to find except for the ever-loyal Pohl -- to be followed briefly by Hank Stine (2 issues). Then _^<i_Gal_^>i_ was sold to the publishers of _^<a_!T1688_GALILEO_^>a_; ed Floyd Kemske, it lasted for only 1 more issue (in large format).
The mess is witnessed by the fact that Pohl's serialized novel _^<i_Jem_^>i_ (Nov-Dec 1978-1980; _^<b_1979_^>b_) took two years to serialize, under three editors, finishing long after the book had been published._^<n__^<n_The new _^<i_Galaxy
Magazine_^>i_ founded in 1994 by E.J. Gold, son of the original editor, and published by a _^<a_!T2261_SMALL PRESS_^>a_, publishes New Age non-fiction material, reprint sf stories and new sf stories in what may be a commercial mix. There is reprint
artwork, and most of the fiction is very short; much of the new fiction by little-known writers._^<n__^<n_There have been numerous anthologies of stories from _^<i_Gal_^>i_, for details of which see the entries for its first four editors.
_^<i_Galaxy Magazine: The Dark and the Light Years_^>i_ (_^<b_1986_^>b_) by David L. Rosheim is good on hard facts about the magazine but very restricted on interpretation and context._^<n__^<n_A UK edition, from Strato Publications, began in Jan
1953 (reprinting the Oct 1952 US edition). It was labelled vol 3 #1. #2 reprinted the preceding US issue (Sep 1952). The UK edition continued to follow the original, erratically at first, and from #7 began to shorten the US edition. It continued to
be numbered continuously (dropping the "vol 3" after #12) until #94 (Feb 1961). From #72 (Feb 1959) it was an exact reprint of the US edition with a different title page. From Dec 1961 only the cover was different, and from Dec 1962 the US edition
was imported. A second UK edition, published by Gold Star Publications, ran for 5 issues in 1967, reprinting six months after the US original (Jan/Feb 1967 UK was June 1966 US), printing US editions complete apart from the changed date. Then,
again, the US edition was distributed. In 1972 a third UK edition began, from Universal-Tandem Publishing Co., who overprinted the US edition with price and issue number: the May/Jun 1972 issue was #1, and a total of 25 numbered issues were
published, ending with #25, Jan 1975. However, the numbering was not continuous; it ran #1-#10, #11, #11, #12, #12, #12, #14, #17-#25. Thereafter the US edition was distributed. [MJE/PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T4754_GOLDEN AGE OF
SF_^>a_.
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GALAXY SCIENCE FICTION NOVELS
-T-
A companion series to _^<a_!T1686_GALAXY SCIENCE FICTION_^>a_. The first 31 issues of these numbered books, which resembled magazines, were published irregularly, 1950-57, in _^<a_!T1231_DIGEST_^>a_ format, and a further 4, 1957-9, were issued in
standard paperback format. #1-#7 (1950-51) were published by World Editions, #9-#35 (1952-9) by Galaxy Publishing Corp. The series was then taken over by Beacon Books, a publisher specializing in mild pornography, which brought out 11 further
issues, #36-#46 (1959-61), still in paperback format, usually with lurid covers and suggestive titles._^<n__^<n_The original series featured several classics of magazine sf, including _^<i_Sinister Barrier_^>i_ (1939 _^<i_Unknown_^>i_;
_^<b_1943_^>b_) by Eric Frank _^<a_!T2743_RUSSELL_^>a_ (#1), _^<i_Legion of Space_^>i_ (1934 _^<i_ASF_^>i_; _^<b_1947_^>b_) by Jack _^<a_!T5629_WILLIAMSON_^>a_ (#2) and _^<i__^<a_!B9145_LEST DARKNESS FALL_^>a__^>i_ (1939 _^<i_Unknown_^>i_;
_^<b_1941_^>b_) by L. Sprague _^<a_!T1133_DE CAMP_^>a_ (#24). Notable novels from outside the genre, often abridged, included _^<i_The Amphibians_^>i_ (_^<b_1924_^>b_) and _^<i_The World Below_^>i_ (_^<b_1929_^>b_) by S. Fowler
_^<a_!T6194_WRIGHT_^>a_ (#4 and #5) and _^<i_Odd John_^>i_ (_^<b_1935_^>b_) by Olaf _^<a_!T2404_STAPLEDON_^>a_ (#8). There were also some original novels, including _^<i_Prelude to Space_^>i_ (_^<b_1951_^>b_) by Arthur C. _^<a_!T736_CLARKE_^>a_
(#3) and _^<i_Empire_^>i_ (_^<b_1951_^>b_) by Clifford D. _^<a_!T2218_SIMAK_^>a_ (#7). Original novels with a sexy slant published in the Beacon Books series include _^<i_Flesh_^>i_ (_^<b_1960_^>b_) by Philip Jose _^<a_!T1435_FARMER_^>a_ (#41) and
_^<i_The Male Response_^>i_ (_^<b_1961_^>b_) by Brian W. _^<a_!T87_ALDISS_^>a_ (#45), while such innocuous works as A.E. _^<a_!T5333_VAN VOGT_^>a_'s _^<i_The House that Stood Still_^>i_ (_^<b_1950_^>b_) and Cyril _^<a_!T3950_JUDD_^>a_'s
_^<i_Outpost Mars_^>i_ (_^<b_1952_^>b_) were retitled, respectively, _^<i_The Mating Cry_^>i_ (rev vt 1960) (#44) and _^<i_Sin in Space_^>i_ (rev vt 1961) (#46)._^<n__^<n_In 1963 there appeared a second companion series to _^<i_Gal_^>i_,
_^<i_Galaxy Magabooks_^>i_, each volume consisting of two short novels by a single author. There were only 3 issues: #1 and #2 came in 1963; the later #3 was _^<i_And My Fear is Great/Baby is Three_^>i_ (_^<b_1965_^>b_ dos) by Theodore
_^<a_!T5810_STURGEON_^>a_. Award Books issued a number of paperbacks as "Galaxy Science Fiction Novels" in the early 1970s, but these did not constitute a series. [BS]_^<n__^<n_
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GALILEO
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US _^<a_!T492_BEDSHEET_^>a_-size magazine. 16 issues Sep 1976-Jan 1980, with #11/12, May 1979, being a double issue. Planned as quarterly, but bimonthly to Sep 1978, then irregular, with the last 4 issues bimonthly. Published by Avenue Victor Hugo,
Boston, Massachusetts; ed Charles C. _^<a_!T2755_RYAN_^>a_._^<n__^<n_Published on a small budget, _^<i_G_^>i_ hoped to survive through subscription sales rather than newsstand distribution. 8000 copies of #1 were printed and sold. In magazine terms
this is small, but the circulation steadily increased, at least initially. Printed on cheap newsprint, and using a number of stories by little-known writers, _^<i_G_^>i_ began quietly but showed signs of improvement by #3. The great Renaissance
scientist was evoked in the title because _^<i_G_^>i_ was planned to emulate his "indomitable spirit . . . [and] undying quest for knowledge". Almost half of _^<i_G_^>i_, like most 1970s sf magazines, was devoted to science-fact articles, reviews,
interviews etc. Contributors included Brian W. _^<a_!T87_ALDISS_^>a_, Ray _^<a_!T4963_BRADBURY_^>a_ (poetry), Robert _^<a_!T712_CHILSON_^>a_, Hal _^<a_!T749_CLEMENT_^>a_ (science fact), John _^<a_!T4043_KESSEL_^>a_, Connie _^<a_!T5632_WILLIS_^>a_
and Larry _^<a_!T3223_NIVEN_^>a_, the latter with a serialization of _^<i_The Ringworld Engineers_^>i_ (1979; _^<b_1980_^>b_). _^<i_G_^>i_ became quite a good magazine, but perished because of distribution problems. [PN]_^<n__^<n_
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GALLAGHER, STEPHEN
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(1954- ) UK scriptwriter and author who first came to prominence with sf scripts, notably the _^<a_!T2480_RADIO_^>a_ series "The Last Rose of Summer", which he adapted as his first novel, _^<i_The Last Rose of Summer_^>i_ (_^<b_1978_^>b_) -- from
which derived _^<i_Dying of Paradise_^>i_ (_^<b_1982_^>b_) and its sequel, _^<i_The Ice Belt_^>i_ (_^<b_1983_^>b_), both as by Stephen Couper -- and episodes for _^<a_!T1268_DR WHO_^>a_, two of which he novelized: _^<i_Doctor Who and Warrior's
Gate_^>i_ * (_^<b_1982_^>b_) and _^<i_Doctor Who -- Terminus_^>i_ * (_^<b_1983_^>b_), both as by John Lydecker. In the 1980s SG began to establish a reputation as one of the UK's most successful _^<a_!T4509_HORROR_^>a_ writers, though some of his
books have strong sf overtones. _^<i_Chimera_^>i_ (_^<b_1982_^>b_) is a variation on the Frankenstein myth in which the monster is a hybrid apeman (> _^<a_!T206_APES AND CAVEMEN_^>a_) created by a government research project in DNA manipulation (>
_^<a_!T4657_GENETIC ENGINEERING_^>a_); it was serialized on UK tv in 1991. _^<i_Oktober_^>i_ (_^<b_1988_^>b_) is about an experimental drug that allows the protagonist to control other people's nightmares. While often lacking originality of ideas,
SG's work is marked by strong characterization, good plotting and extensive background detail, particularly when police-procedural material is being presented. [AC/PR]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Saturn 3_^>i_ * (_^<b_1980_^>b_),
novelizing the movie _^<a_!T2817_SATURN 3_^>a_ (1980), and based on its screenplay by Martin _^<a_!T154_AMIS_^>a_; _^<i_Follower_^>i_ (_^<b_1984_^>b_); _^<i_Valley of Lights_^>i_ (_^<b_1987_^>b_); _^<i_Down River_^>i_ (_^<b_1989_^>b_);
_^<i_Rain_^>i_ (_^<b_1990_^>b_); _^<i_The Boat House_^>i_ (_^<b_1991_^>b_) and _^<i_Nightmare, With Angel_^>i_ (_^<b_1992_^>b_).
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GALLICO, PAUL (WILLIAM)
-T-
(1897-1976) US journalist, screenwriter and novelist, sports editor of the New York _^<i_Daily News_^>i_ for 12 years, known mainly for such works outside the sf field as _^<i_The Snow Goose_^>i_ (_^<b_1941_^>b_ chap), a sentimental novella
extremely popular in the wartime UK. _^<i_The Foolish Immortals_^>i_ (_^<b_1953_^>b_) is an eternal-youth novel. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_The Abandoned_^>i_ (_^<b_1950_^>b_); _^<i_Love of Seven Dolls_^>i_ (_^<b_1954_^>b_);
_^<i_Ludmila: A Story of Liechstenstein_^>i_ (_^<b_1954_^>b_ chap Liechtenstein); _^<i_Thomasina: The Cat who Thought She was God_^>i_ (_^<b_1957_^>b_); _^<i_The Silent Miau_^>i_ (_^<b_1964_^>b_); _^<i_The Man who was Magic: A Tale of
Innocence_^>i_ (_^<b_1967_^>b_); _^<i_The Manxmouse_^>i_ (_^<b_1968_^>b_);_^<i_The House that Wouldn't Go Away_^>i_ (_^<b_1979_^>b_ UK); _^<i_The Best of Paul Gallico_^>i_ (coll _^<b_1988_^>b_).
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GALLUN, RAYMOND Z(INKE)
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(1911-1994) US author and technical writer, now retired. He was born and educated in Wisconsin, and has been a considerable traveller since. He began publishing sf stories at the age of 19 in 1929 with "The Space Dwellers" in _^<i_Science Wonder
Stories_^>i_ and "The Crystal Ray" in _^<i_Air Wonder Stories_^>i_. In the 1930s he published frequently in F. Orlin _^<a_!T6086_TREMAINE_^>a_'s _^<i_ASF_^>i_, his most famous contributions being the _^<b_Old Faithful_^>b_ series: "Old Faithful"
(1934), "The Son of Old Faithful" (1935) and "Child of the Stars" (1936), the first of these novelettes featuring a sympathetically conceived Martian -- much in contrast to the then dominant sf convention that _^<a_!T102_ALIENS_^>a_ were to be
depicted as monstrous -- and the other two featuring that Martian's descendants. Along with other stories, the three were collected in _^<i_The Best of Raymond Z. Gallun_^>i_ (coll _^<b_1978_^>b_). During his prolific years -- he published most of
his 120 plus stories during 1929-42 -- RZG also used the pseudonyms Arthur Allport, Dow Elstar, E.V. Raymond and William Callahan in his magazine fiction, publishing his first book, _^<i_The Machine that Thought_^>i_ (1939 _^<i_Science Fiction
Stories_^>i_; _^<i_c_^>i__^<b_1940-42_^>b_ chap) as Callahan. His style was rough-hewn, but he plotted his work with vigour and packed it with ideas, often decidedly original: from a very early date, many of his stories show an interest in
_^<a_!T611_BIOLOGY_^>a_ and _^<a_!T4657_GENETIC ENGINEERING_^>a_ not widely shared by his contemporaries. He became inactive in the 1940s and, though he has published again since about 1950, he has never regained the popularity of his early years,
although one of his finest stories, reprinted in the _^<i_Best_^>i_ volume, was "The Restless Tide" (1951 _^<i_Marvel Science Fiction_^>i_). He published nothing 1961-74, but remained intermittently active through the 1980s._^<n__^<n_RZG's first
novel, "Passport to Jupiter" (1950 _^<i_Startling Stories_^>i_), never appeared as a book. The style of the first to do so, _^<i_People Minus X_^>i_ (roughly based on "Avalanche", 1935 _^<i_ASF_^>i_ as by Dow Elstar; _^<b_1957_^>b_), continued to
reflect his many years of writing in a four-square idea-oriented style for the _^<a_!T2033_PULP MAGAZINES_^>a_, and unsurprisingly derives its energy from the concepts which flood it, including body-miniaturization, body-recording, the
transfiguration of human volunteers into space-resistant _^<a_!T177_ANDROIDS_^>a_, and much more. _^<i_The Planet Strappers_^>i_ (_^<b_1961_^>b_) is more routine, but _^<i_The Eden Cycle_^>i_ (_^<b_1974_^>b_) is a carefully written, slow-moving
study of humans who, having received from aliens the gift of _^<a_!T3771_IMMORTALITY_^>a_ and a capacity to reinhabit imaginatively -- through a kind of _^<a_!T5380_VIRTUAL REALITY_^>a_ -- various epochs of world history (> _^<a_!T4442_HISTORY IN
SF_^>a_), find themselves less and less capable of responding to their experiences._^<n__^<n_RZG is a writer -- along with Edmond _^<a_!T4258_HAMILTON_^>a_ and Stanley G. _^<a_!T5506_WEINBAUM_^>a_ -- whose writing reflected the expectations of
magazine readers of the early 1930s; and like Hamilton (Weinbaum died early) his development after 1945 was tied, for good and for ill, to those early days. Late novels, like _^<i_Skyclimber_^>i_ (_^<b_1981_^>b_), set on _^<a_!T3677_MARS_^>a_, and
_^<i_Bioblast_^>i_ (_^<b_1985_^>b_), about the early years of a mutant _^<a_!T5830_SUPERMAN_^>a_, may therefore lack some essential degree of appeal to today's audiences because they are crude, because they avoid sex, because their protagonists are
unsubtle. But the sense of purpose persists, as does a humane vigour -- as a late memoir, _^<i_Starclimber: The Literary Adventures and Autobiography of Raymond Z. Gallun_^>i_ (_^<b_1991_^>b_) ed Jeffrey M. _^<a_!T6624_ELLIOT_^>a_, amply conveys.
RZG is the best of those pre-1939 sf writers who failed to remain well known into the current nostalgic period. [JC]_^<n__^<n__^<b_About the author:_^>b_ <The Work of Raymond Z. Gallun: An Annotated Bibliography & Guide> (1993) by Jeffrey M.
Elliot._^<b_See also:_^>b_ _^<a_!T277_ASTOUNDING SCIENCE-FICTION_^>a_; _^<a_!T1432_FAR FUTURE_^>a_; _^<a_!T3957_JUPITER_^>a_; _^<a_!T3435_LONGEVITY (IN WRITERS AND PUBLICATIONS)_^>a_; _^<a_!T1743_OUTER PLANETS_^>a_; _^<a_!T2297_SOCIAL
DARWINISM_^>a_.
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GALOUYE, DANIEL F(RANCIS)
-T-
(1920-1976) US writer who was born and died in New Orleans, Louisiana; a naval test pilot during WWII, he subsequently worked as a journalist, though the delayed effect of war injuries forced him to retire in 1965. He began to publish sf with
"Rebirth" for _^<i_Imagination_^>i_ in 1952, and appeared frequently in the magazines for about a decade with such tales as "Tonight the Sky Will Fall" (1952) and "The City of Force" (1959), characterized by a combination of a strong
_^<a_!T4288_HARD-SF_^>a_ structure and a treatment of psychological concerns that was sometimes a touch uneasy. Twice he wrote (1953-4) as Louis G. Daniels. Stories from this period are collected in _^<i_The Last Leap and Other Stories of the
Super-Mind_^>i_ (coll _^<b_1964_^>b_ UK) and _^<i_Project Barrier_^>i_ (coll _^<b_1968_^>b_ UK); neither volume appeared in the USA._^<n__^<n_DFG's first novel, _^<i_Dark Universe_^>i_ (_^<b_1961_^>b_), a _^<a_!T1932_POCKET-UNIVERSE_^>a_ tale
(_^<i_see also_^>i_ _^<a_!T829_CONCEPTUAL BREAKTHROUGH_^>a_), remains his most popular and is probably his best (it was nominated for a _^<a_!T4551_HUGO_^>a_). Long after a nuclear _^<a_!T4482_HOLOCAUST_^>a_, the survivors' descendants live
sightless far underground. Their culture -- from daily routine through cosmological concerns -- is grippingly and originally conceived, though the book closes with a somewhat anticlimactic escape from darkness into a new age of "enlightenment". His
next novels, _^<i_Lords of the Psychon_^>i_ (_^<b_1963_^>b_), based roughly on "City of Force" (1959), _^<i_Counterfeit World_^>i_ (_^<b_1964_^>b_ UK; vt _^<i_Simulacron-3_^>i_ 1964 US) and _^<i_The Lost Perception_^>i_ (_^<b_1966_^>b_ UK; vt
_^<i_A Scourge of Screamers_^>i_ 1968 US), share the same technical ingenuity and a continuing interest in worlds where the _^<a_!T1851_PERCEPTION_^>a_ of reality is controlled and restricted, where indeed the worlds themselves are arbitrary
constructs, _^<i_Counterfeit World_^>i_ being particularly interesting in this respect. In a sense it is a novel-length reworking of Frederik _^<a_!T1937_POHL_^>a_'s "The Tunnel Under the World" (1954), both being about construct-worlds designed
for market research; it was filmed for tv in Germany in 1973 by Rainer Werner Fassbinder as _^<a_!T5533_WELT AM DRAHT_^>a_ (1973; vt _^<i_World on a Wire_^>i_). DFG's last novel, _^<i_The Infinite Man_^>i_ (_^<b_1973_^>b_), was less
successful._^<n__^<n_DPG was never really able to capitalize on the promising beginning he had made as an sf writer. It may be that his war injuries kept him from a longer and more fruitful career. [JC]_^<n__^<n__^<b_See also:_^>b_
_^<a_!T4823_GREAT AND SMALL_^>a_; _^<a_!T3743_MEDIA LANDSCAPE_^>a_; _^<a_!T2023_PSYCHOLOGY_^>a_; _^<a_!T5380_VIRTUAL REALITY_^>a_.
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GAMBI PUBLICATIONS
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> _^<a_!T3294_ODYSSEY_^>a_._^<n__^<n_
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GAMERA
-T-
A giant prehistoric turtle who starred in a number of _^<a_!T3011_MONSTER MOVIES_^>a_ from the Daiei Studios. The first of these was _^<a_!T1028_DAIKAIJU GAMERA_^>a_ (1966), in the entry for which are detailed also the other _^<b_Gamera_^>b_ films.
[JGr]_^<n__^<n_
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GAMES AND SPORTS
-T-
This entry deals with games as a theme within sf. Games based on sf are treated under _^<a_!T1696_GAMES AND TOYS_^>a_._^<n__^<n_Just as sf's concern with the _^<a_!T257_ARTS_^>a_ has been dominated by stories about the decline of artistry in a
mechanized mass society, so its concern with sports has been much involved with representing the decline of sportsmanship. There is a marked tendency in contemporary sf to assume that the audience-appeal of futuristic sports will be measured by
their rendering of violence in terms of spectacle: the film _^<a_!T2680_ROLLERBALL_^>a_ (1975) is perhaps the clearest expression of this notion._^<n__^<n_There are two forms of stereotyped competitive violence which are common in sf: the
gladiatorial circus and the hunt. The arena is part of the standard apparatus of romances in the Edgar Rice _^<a_!T5097_BURROUGHS_^>a_ tradition, and extends throughout the history of sf to such modern variants as that found in the
_^<b_Dumarest_^>b_ series by E.C. _^<a_!T6112_TUBB_^>a_ (_^<b_1967_^>b_ onwards). Combat between human and _^<a_!T98_ALIEN_^>a_ is the basis of Fredric _^<a_!T5028_BROWN_^>a_'s popular "Arena" (1944) and a host of similar stories, while many
visions of a corrupt future society foresee the return of bloody games in the Roman tradition-Frederik _^<a_!T1937_POHL_^>a_'s and C.M. _^<a_!T6353_KORNBLUTH_^>a_'s _^<i_Gladiator-at-Law_^>i_ (_^<b_1955_^>b_) is a notable example. The
_^<b_BattleTech_^>b_ _^<a_!T2127_SHARED-WORLD_^>a_ series (_^<i_see also_^>i_ Robert _^<a_!T6010_THURSTON_^>a_) moves the formula on to a galactic stage. Ordinary hunting is extrapolated to take in alien prey in such stories as the _^<b_Gerry
Carlyle_^>b_ series by Arthur K. _^<a_!T420_BARNES_^>a_ (1937-46; coll _^<b_1956_^>b_ as _^<i_Interplanetary Hunter_^>i_), and a familiar variant has mankind as the victim rather than the hunter; examples include _^<i__^<a_!B9033_THE SOUND OF HIS
HORN_^>a__^>i_ (_^<b_1952_^>b_) by _^<a_!T2805_SARBAN_^>a_, _^<i_Come, Hunt an Earthman_^>i_ (_^<b_1973_^>b_) by Philip E. _^<a_!T4421_HIGH_^>a_ and many works by Robert _^<a_!T2164_SHECKLEY_^>a_, ranging from "Seventh Victim" (1953) and "The Prize
of Peril" (1958) to such recent novels as _^<i_Victim Prime_^>i_ (_^<b_1986_^>b_ UK) and _^<i_Hunter/Victim_^>i_ (_^<b_1987_^>b_ UK). A notable series of relevant theme anthologies is the 3-vol _^<b_Starhunters_^>b_ series (1988-90) ed David A.
_^<a_!T1318_DRAKE_^>a_. The oft-presumed equivalence between the spectator-appeal of sport and that of dramatized violence reached its peak in Norman _^<a_!T2370_SPINRAD_^>a_'s "The National Pastime" (1973) and the film _^<a_!T1127_DEATH RACE
2000_^>a_ (1975)._^<n__^<n_An opposing trend is one which suggests that the people of the future might substitute rule-bound war games for actual wars, thus avoiding large-scale slaughter of civilians. The idea was first mooted by George T.
_^<a_!T5257_CHESNEY_^>a_ in _^<i_The New Ordeal_^>i_ (_^<b_1879_^>b_); sf versions of it include "Mercenary" (1962; exp vt _^<i_Mercenary from Tomorrow_^>i_ _^<b_1968_^>b_) and its sequel _^<i_The Earth War_^>i_ (_^<b_1963_^>b_) by Mack
_^<a_!T2576_REYNOLDS_^>a_ and the _^<b_Gamester War_^>b_ series begun with _^<i_The Alexandrian Ring_^>i_ (_^<b_1987_^>b_) by William R. _^<a_!T1566_FORSTCHEN_^>a_, and also a number of films, including _^<a_!T4722_GLADIATORERNA_^>a_ (1968) and
_^<a_!T2645_ROBOT JOX_^>a_ (1990)._^<n__^<n_The sf sports story is almost entirely a post-WWII phenomenon, although the pre-WWII pulps did feature Clifford D. _^<a_!T2218_SIMAK_^>a_'s "Rule 18" (1938) -- in which one of the ever-popular "all-time
great" teams is actually assembled -- and one or two rocket-racing stories, such as Lester _^<a_!T1164_DEL REY_^>a_'s "Habit" (1939); and much earlier van Tassel _^<a_!T5855_SUTPHEN_^>a_ had included a couple of golfing-sf stories in his _^<i_The
Nineteenth Hole: Second Series_^>i_ (coll _^<b_1901_^>b_). Many early post-WWII stories are accounts of man/machine confrontation (> _^<a_!T3540_MACHINES_^>a_; _^<a_!T2646_ROBOTS_^>a_). Examples include the golf story "Open Warfare" (1954) by James
E. _^<a_!T4896_GUNN_^>a_, the boxing stories "Title Fight" (1956) by William Campbell Gault and "Steel" (1956) by Richard _^<a_!T3718_MATHESON_^>a_, the chess story "The 64-Square Madhouse" (1962) by Fritz _^<a_!T3322_LEIBER_^>a_, and the
motor-racing story "The Ultimate Racer" (1964) by Gary Wright, who also wrote a fine bobsled-racing sf story in "Mirror of Ice" (1967). The changing role of the automobile in post-WWII society provoked a number of bizarre extrapolations, including
H. Chandler _^<a_!T6631_ELLIOTT_^>a_'s violent "A Day on Death Highway" (1963), Roger _^<a_!T6264_ZELAZNY_^>a_'s story about a car-fighting matador, "Auto-da-Fe" (1967), and Harlan _^<a_!T6641_ELLISON_^>a_'s "Along the Scenic Route" (1969). Other
popular sf themes are often combined with sf sports stories. Gambling of various kinds appears in many _^<a_!T6697_ESP_^>a_ stories, for obvious reasons, and superhuman powers are occasionally employed on the sports field, as in Irwin Shaw's
"Whispers in Bedlam" (1973) and George Alec _^<a_!T6592_EFFINGER_^>a_'s "Naked to the Invisible Eye" (1975). Stories which examine the possible impact of biotechnology on future sports include Howard V. Hendrix's "The Farm System" (_^<b_1988_^>b_)
and Ian _^<a_!T3513_MCDONALD_^>a_'s "Winning" (_^<b_1990_^>b_). Full-length novels about future sport are relatively rare; examples include _^<i_The Mind-Riders_^>i_ (_^<b_1976_^>b_) by Brian M. _^<a_!T2385_STABLEFORD_^>a_, about boxing, and
_^<i_The New Atoms Bombshell_^>i_ (_^<b_1980_^>b_) by Robert Browne (Marvin Karlins [1941- ]), about baseball._^<n__^<n_Games are used as a key to social advancement and control in a number of stories, including _^<i_The Heads of Cerberus_^>i_
(1919; _^<b_1952_^>b_) by Francis _^<a_!T5724_STEVENS_^>a_, _^<i_World out of Mind_^>i_ (_^<b_1953_^>b_) by J.T. _^<a_!T3544_MCINTOSH_^>a_, _^<i__^<a_!B8980_SOLAR LOTTERY_^>a__^>i_ (_^<b_1955_^>b_; vt _^<i_World of Chance_^>i_) by Philip K.
_^<a_!T1222_DICK_^>a_ and _^<i_Cosmic Checkmate_^>i_ (_^<b_1962_^>b_) by Katherine _^<a_!T3563_MACLEAN_^>a_ and Charles V. _^<a_!T1206_DE VET_^>a_. Some sf stories produce future or alternate worlds where games are fundamental to the social fabric,
as in Hermann _^<a_!T4410_HESSE_^>a_'s _^<i_Das Glasperlenspiel_^>i_ (_^<b_1943_^>b_; trans M. Savill as _^<i_Magister Ludi_^>i_ _^<b_1949_^>b_ US; preferred trans Richard and Clara Winston as _^<i_The Glass Bead Game_^>i_ 1969 US) and Gerald
_^<a_!T3111_MURNANE_^>a_'s _^<i_The Plains_^>i_ (_^<b_1982_^>b_); a vicious games-based culture is successfully attacked by the protagonist of Iain M. _^<a_!T392_BANKS_^>a_'s space opera _^<i_The Player of Games_^>i_ (_^<b_1988_^>b_). In other
novels by Philip K. Dick, including _^<i_The Game-Players of Titan_^>i_ (_^<b_1963_^>b_) and _^<i__^<a_!B9152_THE THREE STIGMATA OF PALMER ELDRITCH_^>a__^>i_ (_^<b_1965_^>b_), games function as levels of pseudo-reality. Sf writers who have shown a
particular and continuing interest in games or sports include Barry N. _^<a_!T3629_MALZBERG_^>a_, who often uses surreal games to symbolize frustrating and ultimately unbeatable alienating forces -- as in the apocalyptic _^<i_Overlay_^>i_
(_^<b_1972_^>b_) and _^<i_Tactics of Conquest_^>i_ (_^<b_1974_^>b_), and in the quasi-allegorical _^<i_The Gamesman_^>i_ (_^<b_1975_^>b_) -- George Alec _^<a_!T6592_EFFINGER_^>a_, who also uses game situations as symbols of the limitations of
rationality and freedom, notably in "Lydectes: On the Nature of Sport" (1975) and "25 Crunch Split Right on Two" (1975), and Piers _^<a_!T196_ANTHONY_^>a_, who often uses games to reflect the structures of his plots, notably in
_^<i__^<a_!B9006_MACROSCOPE_^>a__^>i_ (_^<b_1969_^>b_), _^<i_Ox_^>i_ (_^<b_1976_^>b_), _^<i_Steppe_^>i_ (_^<b_1976_^>b_) and _^<i_Ghost_^>i_ (_^<b_1988_^>b_). The game which has most frequently fascinated sf writers is chess, featured in Charles L.
_^<a_!T4298_HARNESS_^>a_'s "The Chessplayers" (1953) and Poul _^<a_!T169_ANDERSON_^>a_'s "The Immortal Game" (1954) as well as Malzberg's _^<i_Tactics of Conquest_^>i_. John _^<a_!T5049_BRUNNER_^>a_'s _^<i_The Squares of the City_^>i_
(_^<b_1965_^>b_) has a plot based on a real chess game, and Ian _^<a_!T5484_WATSON_^>a_'s _^<i_Queenmagic, Kingmagic_^>i_ (_^<b_1986_^>b_) includes a world structured as one (as well as worlds structured according to other games, including Snakes
and Ladders!). Gerard _^<a_!T4093_KLEIN_^>a_ built the mystique of the game into _^<i_Starmaster's Gambit_^>i_ (_^<b_1958_^>b_; trans _^<b_1973_^>b_). A version of chess crops up in the work of Edgar Rice Burroughs -- in _^<i_The Chessmen of
Mars_^>i_ (_^<b_1922_^>b_) -- and a rather more exotic variant plays an important role in _^<i_The Fairy Chessmen_^>i_ (_^<b_1951_^>b_; vt _^<i_Chessboard Planet_^>i_; vt _^<i_The Far Reality_^>i_) by Lewis Padgett (Henry _^<a_!T4144_KUTTNER_^>a_
and C.L. _^<a_!T3033_MOORE_^>a_). An anthology of chess stories is _^<i_Pawn to Infinity_^>i_ (anth _^<b_1982_^>b_) ed Fred _^<a_!T2761_SABERHAGEN_^>a_._^<n__^<n_In recent years the rapid real-world evolution of electronic arcade games and
home-computer games has sparked off a boom in stories where such games become too real for comfort. Notable examples include "Dogfight" (1985) by Michael _^<a_!T5864_SWANWICK_^>a_ and William _^<a_!T4689_GIBSON_^>a_, _^<i_Octagon_^>i_
(_^<b_1981_^>b_) by Saberhagen, _^<i__^<a_!B9237_TRUE NAMES_^>a__^>i_ (1981; _^<b_1984_^>b_) by Vernor _^<a_!T5377_VINGE_^>a_, _^<i__^<a_!B9135_ENDER'S GAME_^>a__^>i_ (1978; exp _^<b_1985_^>b_) by Orson Scott _^<a_!T6359_CARD_^>a_, _^<i_God
Game_^>i_ (_^<b_1986_^>b_) by Andrew M. _^<a_!T4827_GREELEY_^>a_ and _^<i_Only You Can Save Mankind_^>i_ (_^<b_1992_^>b_) by Terry _^<a_!T1974_PRATCHETT_^>a_ (_^<i_see also _^>i__^<a_!T5380_VIRTUAL REALITY_^>a_). Stories of space battles whose
protagonists are revealed in the last line to be icons in a computer-game "shoot 'em up" may have succeeded Shaggy God stories (> _^<a_!T29_ADAM AND EVE_^>a_) as the archetypal folly perpetrated by novice writers (although Fredric Brown's similarly
plotted "Recessional" [1960], where the protagonists are chessmen, has been much anthologized). Many computer-game scenarios are, of course, sciencefictional, as are many of the scenarios used in fantasy role-playing games (> _^<a_!T1696_GAMES AND
TOYS_^>a_; _^<a_!T4597_GAME-WORLDS_^>a_)._^<n__^<n_When it comes to inventing new games, sf writers have had very limited success. There have been one or two interesting descriptions of sports played in gravity-free conditions, but these are
usually incidental to the real concerns of the stories in which they occur; stories set in _^<a_!T2338_SPACE HABITATS_^>a_ frequently include descriptions of "flying" games played in the vicinity of the rotational axis. Sling-gliding, in which
glides are accelerated by massive steel whips, is a plausible and dangerous sport featured in _^<i_The Jaws that Bite, the Claws that Catch_^>i_ (_^<b_1975_^>b_; vt _^<i_The Girl with a Symphony in her Fingers_^>i_) by Michael G.
_^<a_!T833_CONEY_^>a_. The sport of hussade, which plays a major part in Jack _^<a_!T5317_VANCE_^>a_'s _^<i_Trullion: Alastor 2262_^>i_ (_^<b_1973_^>b_), is unconvincing. The board-game vlet in Samuel R. _^<a_!T1152_DELANY_^>a_'s _^<i_Triton_^>i_
(_^<b_1976_^>b_) is cleverly presented, but the details of play are necessarily vague. This game was first written about by Joanna _^<a_!T2741_RUSS_^>a_ in "A Game of Vlet" (1974)._^<n__^<n_Games and sports are also very common in
_^<a_!T1412_FANTASY_^>a_ and _^<a_!T2870_SCIENCE FANTASY_^>a_, especially that set in post-_^<a_!T4482_HOLOCAUST_^>a_ or primitive worlds, as in Piers Anthony's early trilogy (1968-75) collected as _^<i_Battle Circle_^>i_ (omni _^<b_1977_^>b_), or
_^<i_Eclipse of the Kai_^>i_ * (_^<b_1989_^>b_) by Joe Dever and John Grant (> Paul _^<a_!T425_BARNETT_^>a_), which features vtovlry, a rugby analogue played triangularly and with throwing-axes. Indeed, the metaphoric nuances of games enliven
fantasy of all sorts, from the croquet and card games in Lewis _^<a_!T5188_CARROLL_^>a_'s _^<b_Alice_^>b_ books to Sheri S. _^<a_!T5936_TEPPER_^>a_'s _^<b_True Game_^>b_ series; in both cases the arbitrary and obsessive nature of games-playing
becomes an image of life itself._^<n__^<n_A relevant theme anthology is _^<i_Arena: Sports SF_^>i_ (anth _^<b_1976_^>b_) ed Barry N. Malzberg and Ed _^<a_!T1467_FERMAN_^>a_. [BS/PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T3327_LEISURE_^>a_.
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GAMES AND TOYS
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For games as a theme within sf > _^<a_!T1695_GAMES AND SPORTS_^>a_. This entry deals with games and toys based on sf._^<n__^<n_Sf games have quite a long history. The first, fairly quiet, phase comprised board games or card games based on a
successful film, tv series or comic strip. The second phase, the commercial explosion in sf and fantasy games (and toys), dates back only to the 1970s, and came about as a consequence of three factors: the introduction in 1974 of _^<i_Dungeons and
Dragons_^>i_ (_^<i_D&D_^>i_), a very successful role-playing game (RPG); the introduction of the home computer, which only at the very end of the 1970s developed any real market penetration (though an early sf computer strategy game, _^<i_Star
Trek_^>i_, was on display at the Worldcon in Australia in 1975) and the increasing realization by business people of the fortunes to be made by marketing products associated with successful films and tv shows, everything from bars of soap through
books and comics to games and toys. The first massive campaign of this sort in the sf field was associated with the film _^<a_!T5686_STAR WARS_^>a_ (1977)._^<n__^<n_ (However, sf computer games played on the huge, old, cumbersome mainframes of the
period, antedate by a decade or more the sf games played on home computers. The game _^<i_Spacewar_^>i_was invented at MIT -- Massachusetts Institute of Technology -- in the 1960s, and was the subject of an article by Albert W. Kuhfeld in
_^<i_ASF_^>i_, July 1971.)_^<n__^<n__^<b_The first phase._^>b_ Sf scenarios lend themselves readily to strategy games or war games (the latter being a specialized case of the former), often played on boards marked out in various grid patterns.
Board games of this sort can be traced back to chess and Wei-ch'i, but miniature wargaming effectively began with H.G. _^<a_!T5528_WELLS_^>a_, as described in his books _^<i_Floor Games_^>i_ (_^<b_1911_^>b_) and _^<i_Little Wars: A Game for
Boys_^>i_ (_^<b_1913_^>b_); he was probably, despite his denials, influenced by _^<i_Kriegspiel_^>i_, a military training tool then used in Germany. The immediate ancestor of sf games is _^<i_Gettysburg_^>i_ (1958), designed by Charles Roberts, the
first board game dedicated to simulating a single military event. It led to a plethora of such games, including simulations of imaginary events._^<n__^<n_Once speculative warfare was admitted by gamers to be legitimate, the field was open to games
like _^<i_Lensman_^>i_ (1971), based on E.E. "Doc" _^<a_!T2269_SMITH_^>a_'s series of novels. Featuring space combat, it was largely a variant on existing naval simulations, with the addition of such sf tropes as _^<a_!T1554_FORCE FIELDS_^>a_ and
tractor beams. Later games include: _^<i_Robert Heinlein's Starship Troopers_^>i_ (1976), a clever and complex development from Robert A. _^<a_!T4376_HEINLEIN_^>a_'s original scenario, _^<i_John Carter of Mars_^>i_ (1979), based on Edgar Rice
_^<a_!T5097_BURROUGHS_^>a_'s _^<b_Barsoom_^>b_ books, and _^<i__^<a_!B9031_DUNE_^>a__^>i_ (1979), based on Frank _^<a_!T4389_HERBERT_^>a_'s novel. One of the earlier sf games -- though probably not the first -- with an original scenario (that is,
not based on a book or film) was _^<i_Cosmic Encounter_^>i_ (1977), a strategy card game in which players, as alien species with differing powers, competed to extend their "sphere of influence". An early fantasy board game was _^<i_War of the
Ring_^>i_ (1978), based on J.R.R. _^<a_!T6041_TOLKIEN_^>a_'s _^<i_The Lord of the Rings_^>i_ (_^<b_1954-5_^>b_)._^<n__^<n__^<b_The second phase._^>b_ Until the mid-1970s most games inspired by sf and fantasy were essentially glosses on existing
forms, substituting Mars for Mayfair or Nazgul for Nazis. Then new game-forms appeared, notably role-playing games, which took their inspiration from fantasy and sf at a much more fundamental level. _^<i_Dungeons and Dragons_^>i_ (1974), the first
published RPG, inspired by Tolkien's books and other fantasy sources, was created by Gary Gygax (1938- ) and Dave Arneson. _^<i_D&D_^>i_ was soon popular with students and sf fans, and by 1981 their company, TSR Inc., was earning $20 million a
year. In RPGs a referee (or "dungeon master") acts as story-teller, prepares -- or describes according to parameters set out by the games company -- an environment through which the players move, and presents the players with a series of problems
such as monsters, booby traps and complicated puzzles. The players control "characters", defined in terms of various ratings, and roll dice to see whether they have succeeded or failed. Players tend to feel intense identification with their
characters._^<n__^<n_Other companies saw the potential of the market and launched their own fantasy RPGs, but the earliest were little more than variations on the _^<i_D&D_^>i_ theme. _^<i_Runequest_^>i_ (1978), published by Chaosium, was the first
really innovative successor, providing a detailed and consistent fantasy _^<a_!T4597_GAME-WORLD_^>a_, complete with history, human and nonhuman races, religions and politics. Meanwhile sf RPGs were being launched, such as _^<i_Traveller_^>i_
(1977), published by GDW Inc., and it too later added its own detailed background; its predecessors were _^<i_Metamorphosis: Alpha_^>i_, _^<i_Flying Buffalo's Starfaring_^>i_, _^<i_Space Quest_^>i_ and _^<i_Space Patrol_^>i_. Set in a
_^<a_!T2342_SPACE-OPERA_^>a_ universe, _^<i_Traveller_^>i_ would feel familiar to readers of such writers of _^<a_!T4288_HARD SF_^>a_ as Poul _^<a_!T169_ANDERSON_^>a_ and Jerry _^<a_!T1961_POURNELLE_^>a_._^<n__^<n_By now it was clear that game
referees were prepared to buy accessory materials, such as rules supplements, prepared adventures, pads for recording details of characters, etc., and would buy more material for an existing game in preference to a new game. Games not supported by
such accessories soon stopped selling. An early RPG trend was increasing complexity of rules. _^<i_Chivalry and Sorcery_^>i_ (1977), published by Fantasy Games Unlimited, tried to simulate every detail of medieval life, and play slowed to a crawl
under the burden of dice rolling and rules consultation needed for every action. _^<i_Advanced Dungeons and Dragons_^>i_ (1978-9), published by TSR, much more successfully added several hundred thousand words to the _^<i_D&D_^>i_
rules._^<n__^<n_Most 1970s RPGs used invented game-worlds, or left their backgrounds vague, but in the 1980s many RPGs were licensed from popular sf and fantasy works. Among these were _^<i_Call of Cthulhu_^>i_ (1981), published by Chaosium, based
on H.P. _^<a_!T3465_LOVECRAFT_^>a_'s horror stories, _^<i_Stormbringer_^>i_ (1981), published by Chaosium, based on Michael _^<a_!T3030_MOORCOCK_^>a_'s novels, _^<i_Star Trek_^>i_ (1983), published by FASA, based on the tv series, _^<i_Marvel Super
Heroes_^>i_ (1984), published by TSR, based on _^<a_!T3694_MARVEL COMICS_^>a_, _^<i__^<a_!B9015_RINGWORLD_^>a__^>i_ (1984), published by Chaosium, based on Larry _^<a_!T3223_NIVEN_^>a_'s novel, _^<i_Star Wars_^>i_ (1987), published by West End
Games, based on _^<a_!T5686_STAR WARS_^>a_, _^<i_Buck Rogers XXVc: The 25th Century_^>i_ (1988), published by TSR, based on the comic strip _^<a_!T5063_BUCK ROGERS IN THE 25TH CENTURY_^>a_, _^<i_Humanx Commonwealth_^>i_ (1989), published by Steve
Jackson Games, based on the series of books by Alan Dean _^<a_!T1572_FOSTER_^>a_, _^<i_Uplift_^>i_ (1990), published by Steve Jackson Games, based on the novel by David _^<a_!T4999_BRIN_^>a_, and _^<i_Aliens_^>i_ (1991), published by Leading Edge
Games, based on the film _^<a_!T102_ALIENS_^>a_._^<n__^<n_Sf games in original settings range from the Wellsian _^<a_!T5694_STEAMPUNK_^>a_ _^<i_Space 1889_^>i_ (1989), published by GDW, through the humorously _^<a_!T1370_DYSTOPIAN_^>a_
_^<i_Paranoia_^>i_ (1984), published by West End Games, through space opera such as _^<i_Spacemaster_^>i_ (1986), published by Iron Crown Enterprises, to the increasingly popular _^<a_!T1015_CYBERPUNK_^>a_ setting: _^<i_Shadowrun_^>i_ (1989),
published by FASA, _^<i_Dark Conspiracy_^>i_ (1991), published by GDW, and _^<i_Cyberpunk_^>i_ (1991), published by R. Talsorian._^<n__^<n_The first mass-market UK RPGs also appeared in the 1980s, all from _^<a_!T4596_GAMES WORKSHOP_^>a_.
_^<i_Golden Heroes_^>i_ (1984) was an unsuccessful _^<a_!T5829_SUPERHERO_^>a_ RPG. _^<i_Judge Dredd_^>i_ (1985), based on _^<a_!T3951_JUDGE DREDD_^>a_, did better, as did _^<i_Warhammer Fantasy_^>i_ (1986). No other UK RPG manufacturer has achieved
much success. All the most important RPG companies are US, notably TSR, Chaosium, FASA, Steve Jackson Games, GDW and West End Games. TSR probably sells more RPG material than all the others combined._^<n__^<n_Some RPGs are PBM (play by mail); these
may be administered and refereed by commercial organizations, which charge a fee and often use a computer database.However, PBM is not well suited to role-playing games; most PBM games are strategic war games._^<n__^<n_Many RPG manufacturers use a
core game system for several genres, so that players need learn only one set of rules. By far the most prolific is _^<b_GURPS_^>b_ (1988; Generic Universal Role Playing System), from Steve Jackson Games, which has supplements in every genre from
fantasy, sf and horror to Wild West, pirates and modern warfare, and leases rights from a range of sources, including _^<i_Witch World_^>i_ (1988), based on the novels by Andre _^<a_!T3243_NORTON_^>a_, _^<i_Riverworld_^>i_ (1989), based on the
novels by Philip Jose _^<a_!T1435_FARMER_^>a_, _^<i_Wild Cards_^>i_ (1989), based on the _^<a_!T5599_WILD CARDS_^>a_ original anthologies, themselves inspired by an RPG played by several of the authors, and _^<i_The Prisoner_^>i_ (1991), based on
_^<i_The_^<a_!T1996_PRISONER_^>a__^>i_ . (This company gained considerable notoriety when computers, manuscripts and materials for _^<i_Cyberpunk_^>i_ were seized by the FBI, who believed that the company was preparing "a handbook for computer
crime".) Similarly Chaosium's _^<b_Runequest_^>b_ system was modified for _^<i_Call of Cthulhu_^>i_, _^<i_Stormbringer_^>i_, _^<i__^<a_!B9015_RINGWORLD_^>a__^>i_ and other RPGs. GDW's near-future war RPG _^<i_Twilight 2000_^>i_ (1987) was the basis
for their hard-sf _^<i_2300 AD_^>i_ (1989) and other games. West End Games also have a generic system, _^<b_TORG_^>b_ (1990)._^<n__^<n_It seems likely that the early 1990s will see a major shake-out of RPG manufacturers, since there are too many
games chasing too few customers; there are currently at least 10 horror RPGs and six cyberpunk variants. At any given time there are likely to be several RPG magazines in production, but they tend to be short-lived. The oldest and most regular are
_^<i_Dragon_^>i_ from TSR, _^<i_White Dwarf_^>i_ from Games Workshop and _^<i_Challenge_^>i_ from GDW. _^<i_Dragon_^>i_ and _^<i_Challenge_^>i_ often publish fiction._^<n__^<n_An important RPG variant is the Live Role-Playing Game, in which players
dress as their characters, fight with blunt or padded weapons, and explore real caves or fake ruins. Numerous groups are involved in these activities._^<n__^<n_A growing branch of publishing, especially for children, is the role-playing gamebook,
the book itself being the game. Such books, often part of series like the _^<b_Fighting Fantasy Gamebook_^>b_ series, offer branching narratives where at various points the reader is invited to make a choice, as between, say, "Go left" and "Go
right", with a different scenario following according to the choice made. Usually the reader has first defined, by rolling dice or otherwise. the various attributes (skill, stamina, good fortune, etc.) that s/he carries to the game. Successful
authors in the field include Steve Jackson (1951- ; not the US Steve Jackson of Steve Jackson Games), Ian Livingstone and Joe Dever (1956- ). Although most such books are fantasy, some are sf, as for example Dever's _^<b_Freeway Warrior_^>b_
series._^<n__^<n_In the 1970s, at the same time as the rise of RPGs, the _^<a_!T826_COMPUTER_^>a_ game _^<i_Adventure_^>i_ (vt _^<i_Colossal Cave_^>i_), designed by Crowther and Wood, was the prototype for computer games that used simple typed
commands to explore the secrets and eliminate the obstacles of a "world" described in lively detail by the computer. At first the only players were computer professionals and students who had access to the mainframe computers then required for
play, but the games became much more widely popular in the early 1980s as the first mass-market personal computers appeared. The original _^<i_Adventure_^>i_ was easily converted to most machines, and soon new games added larger vocabularies,
better parsing (conversion of typed input into game instructions) and more complicated worlds. _^<i_Zork_^>i_ (1982), published by Infocom, typified these adventures early on, but more recent "adventure games" of this sort are very much more
sophisticated. In the USA, Infocom produced a number of good adventure games with sf scenarios, including _^<i_Planetfall_^>i_ (1984), _^<i_Starcross_^>i_ (1984), the dystopian _^<i_A Mind Forever Voyaging_^>i_ (1985) and-based on Douglas
_^<a_!T31_ADAMS_^>a_'s best-selling novel -- _^<i__^<a_!B9109_THE HITCHHIKER'S GUIDE TO THE GALAXY_^>a__^>i_ (1984). Also notable was the sf _^<b_Silicon Dream_^>b_ trilogy from Level 9 in the UK, beginning with _^<i_Snowball_^>i_ (1983). Several
multiple-player games appeared, the most successful being MUD (Multi-User Dungeon) (1982), played over computer networks or via modem._^<n__^<n_By the late 1980s many of the concepts used in RPGs had found their way into computer adventures, which
were beginning to use animated graphics, sound and more flexible control methods. Several RPGs were converted to computer form, notably _^<i_Advanced Dungeons and Dragons_^>i_, in _^<i_Pool of Radiance_^>i_ (1989) published by SST, and later games.
Computer adventures of the late 1980s and the 1990s often involve as many as 4-6 characters, much like those in RPGs, and these sometimes act independently of the player's instructions._^<n__^<n_While most RPGs stay in production for several years,
the shelf life of most computer games is measured in months, and they become obsolete as systems evolve. Despite complaints from the minority of players who had enjoyed the language-oriented input and output of earlier computer adventure games,
almost all computer adventures now rely on highly detailed graphics, and often include music and electronically generated speech. Unfortunately, these embellishments mean that a game which runs on one type of computer must be completely rewritten
to run on another. Conversion is usually expensive and difficult, and a game which is famous on one or two systems may be unknown elsewhere. A new trend is rapid growth in the sheer size of programs: some adventures are supplied on seven or more
floppy disks. The huge _^<i_King's Quest 5_^>i_ (1990), published by Sierra, is most conveniently purchased as a CD-ROM disk._^<n__^<n_While sf scenarios are at their most interesting (and their closest to written sf) in these so-called "adventure"
games, they are even more common in "arcade" games. Where adventure games require skill at problem-solving (and sometimes language skills), arcade games put a premium on the dexterity of the player or players with joystick or pushbutton controls,
and often involve manoeuvring small screen figures on moving platforms or around various moving threats, and shooting down moving obstacles (which in early arcade classics were space invaders or asteroids). Such scenarios -- though visually much
more elaborate -- are still common in the arcade games produced, for example, by the Japanese computer-games company Nintendo. A classic game mixing strategy (trading between planetary systems) and arcade skills (space combat) is _^<i_Elite_^>i_
(1984 UK), originally published by Acornsoft and now available in diverse versions, including Nintendo. The modern computer adventure game commonly contains elements of play (requiring timing and dexterity) taken from arcade games; sometimes these
games are known as "arcade adventures"._^<n__^<n_Games presently under development will present their players with a _^<a_!T5380_VIRTUAL-REALITY_^>a_ scenario; their players will wear helmets, gloves, etc., in which visual display units and
_^<a_!T5424_WALDO_^>a_ sensors will be incorporated. The subjective experience approximates the feeling of being placed in and able to interact with a real alternate world. Such developments are still at comparatively early stages (although of
course they have been commonplace in sf since the 1940s)._^<n__^<n_There has naturally been considerable cross-fertilization between RPGs and computer adventures on the one hand, and sf and fantasy in other media on the other. While many RPGs are
based either on literary sources or on tv or film, it is now not unusual for the fiction to be based on the game. Several sf games have appeared with novels set in the worlds they present as part of the games package. TSR's games have spawned
numerous novels, comics and a tv cartoon series. Novel _^<a_!T6014_TIES_^>a_ have been based on RPGs, especially D&D and computer adventures, such as _^<i_Zork_^>i_. Several well known authors have emerged from hobby writing, including John M.
_^<a_!T1559_FORD_^>a_. For more on this aspect of publishing > _^<a_!T4597_GAME-WORLDS_^>a_, themselves a specialized aspect of _^<a_!T2127_SHARED WORLDS_^>a_._^<n__^<n_Games playing itself has become a common activity in sf scenarios in films and
books (it is used to conscript a space pilot in _^<i_The _^<a_!T4200_LAST STARFIGHTER_^>a__^>i_ [1984], for example), especially those directed at adolescents. _^<i_Space Demons_^>i_ (_^<b_1986_^>b_) by Gillian _^<a_!T2726_RUBINSTEIN_^>a_ is not
untypical in sucking its protagonists into a ruthless computer-games world, much as in the film _^<a_!T6102_TRON_^>a_ (1982). (_^<i_See also_^>i_ _^<a_!T1016_CYBERSPACE_^>a_.)_^<n__^<n_There are many active RPG fans, and this group has a
considerable overlap with sf and fantasy _^<a_!T1389_FANDOM_^>a_ generally. Annual _^<a_!T856_CONVENTIONS_^>a_ include Origins and Gencon, in the USA, and the UK's Gamesfair, and are usually commercially organized (unlike most sf conventions).
_^<a_!T1428_FANZINES_^>a_ tend to be short-lived and irregular. There is not nearly so much fan activity among computer-games enthusiasts._^<n__^<n_RPGs have frequently come under fire from religious fundamentalists and other pressure groups, who
appear to believe that their depictions of _^<a_!T3598_MAGIC_^>a_ and _^<a_!T5843_SUPERNATURAL CREATURES_^>a_ are likely to deprave and corrupt. Any suicide by an RPG player may be blamed on the genre, despite evidence suggesting that suicide rates
among RPG players are lower than average. It can be argued that such games are psychologically disruptive, sometimes distracting their players from education and other matters which should take a higher priority, but this is true of most hobbies.
It can equally be argued, especially with some of the sf games (which may require, for example, a good working knowledge of physics and chemistry), that games-playing can be educational._^<n__^<n_From a commercial point of view, sf toys are more
important than sf games, and they have at least as long a history. Wind-up toy robots had become popular by the mid-1950s, but they can be regarded as simply the latest incarnation of the "automata" that were being built as toys as early as the
18th century and celebrated in_^<n__^<n__^<a_!T2013_PROTO-SCIENCE-FICTION_^>a_ stories such as "Der Sandmann" (1816; trans as "The Sandman") by E.T.A. _^<a_!T4461_HOFFMANN_^>a_ and "The Artist of the Beautiful" (1844) by Nathaniel
_^<a_!T4349_HAWTHORNE_^>a_._^<n__^<n_Marketing campaigns for toys connected to hit movies like _^<i_Star Wars_^>i_ made many millions of dollars and became the target of angry opposition from parents and educators when, in the 1980s, they became
connected to the sort of tv shows often viewed by children on a Saturday morning -- usually animated cartoons or animated puppet programmes. Three notable offenders were the sf tv programmes _^<i_Transformers_^>i_, _^<i_He-Man_^>i_ and _^<i_Teenage
Mutant Ninja Turtles_^>i_, all of which, whatever their virtues as entertainment, could be seen as 25-minute advertisements designed to encourage children to put pressure on their parents to buy toys which would enable them, in play, to reproduce
the on-screen adventures (_^<i_see also_^>i_ _^<i_The _^<a_!T6079_TRANSFORMERS -- THE MOVIE_^>a__^>i_, _^<a_!T3715_MASTERS OF THE UNIVERSE_^>a_ and _^<a_!T5920_TEENAGE MUTANT NINJA TURTLES_^>a_). An additional criticism, perhaps less securely
based, is that many such programmes, including these three, encourage childen to indulge in fantasies of violence. The commercial clout of these product-advertising programmes -- not all of them sf (_^<i_Care Bears_^>i_ is a non-sf example) -- can
be enormous, spawning major industries. The USA and Australia are among the worst offenders; the UK has some regulations designed to minimize this sort of advertising-masquerading-as-entertainment to a captive audience of children, and some
European countries have banned such programmes altogether. [MR/BF/ZB/PN]_^<n__^<n__^<b_Further reading:_^>b_ On games, _^<i_Heroic Worlds: A History and Guide to Role-Playing Games_^>i_ (_^<b_1991_^>b_) by Lawrence Schick, and _^<i_Adventure Games
for Microcomputers: An Annotated Directory of Interactive Fiction_^>i_ (_^<b_1991_^>b_) by Patrick R. Dewey; on toys, _^<i_Zap! Ray Gun Classics_^>i_ (_^<b_1991_^>b_) by Leslie Singer.
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OMPA
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Known usually by its acronym, the Offtrail Magazine Publishers Association (1954-78/79) was formed in the UK by Kenneth _^<a_!T5073_BULMER_^>a_, A. Vincent Clarke and Chuck Harris. OMPA was modelled on _^<a_!T1429_FAPA_^>a_, and was founded to
facilitate distribution of _^<a_!T1428_FANZINES_^>a_ published by and for members. Early contributors included John _^<a_!T5049_BRUNNER_^>a_ and Michael _^<a_!T3030_MOORCOCK_^>a_. Uniquely for an _^<a_!T205_APA_^>a_, OMPA once organized a national
convention, Ompacon, the 1973 UK Eastercon. [PR/RH]_^<n__^<n_
(1886-1953) Irish educationist and novelist; Permanent Secretary to the Department of Education, Irish Free State, 1923-44; author of 3 sf novels. _^<i_Wind from the North_^>i_ (_^<b_1934_^>b_) is only marginally sf, its narrator passing through a
timeslip to give a vivid account of Dublin under Viking rule in AD1013. JO turned to sf proper with _^<i_Land under England_^>i_ (_^<b_1935_^>b_), a _^<a_!T1370_DYSTOPIA_^>a_ in a _^<a_!T3460_LOST-WORLD_^>a_ setting: in a cave system beneath
Cumberland, descendants of the Roman Army suffer a totalitarian state in which individualism is completely obliterated by telepathic means. The introduction by _^<a_!T57_AE_^>a_ assumed that the book was a _^<a_!T2812_SATIRE_^>a_ on Hitlerian
totalitarianism, an impression confirmed with the appearance of _^<i_Day of Wrath_^>i_ (_^<b_1936_^>b_), a future-_^<a_!T5452_WAR_^>a_ novel which describes the destruction of civilization by advanced aircraft following a coalition between Germany,
Japan and China. JO was not a _^<a_!T4659_GENRE-SF_^>a_ writer; rather, he used sf instruments to make cultural and political points. His eloquence was considerable. [JE]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T1714_OPTIMISM AND PESSIMISM_^>a_;
_^<a_!T1939_POLITICS_^>a_.
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O'NEILL, SCOTT
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[r] > Barton _^<a_!T5538_WERPER_^>a_._^<n__^<n_
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ONE MILLION B.C.
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(vt _^<i_Man and his Mate_^>i_) Film (1940). Hal Roach/United Artists. Dir Hal Roach and Hal Roach Jr, starring Victor Mature, Carole Landis, Lon Chaney Jr. Screenplay Mickell Novak, George Baker, Joseph Frickert, based on a story by Eugene Roche.
85 mins, cut to 80 mins. B/w._^<n__^<n_In this not very distinguished prehistoric Romeo-and-Juliet soap opera a young caveman is exiled from the family cave and meets a girl from a rival tribe; together they face various prehistoric hazards,
including an earthquake and an erupting volcano. Photographically enlarged lizards wearing rubber disguises play the anachronistic dinosaurs, and an elephant wearing a woolly coat stands in for a mammoth. D.W. Griffith (1875-1948) worked on
portions of the film, but resigned in anger at the decision not to have the cavepeople speak modern English. The UK remake was _^<a_!T1705_ONE MILLION YEARS BC_^>a_ (1966). [JB/PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T726_CINEMA_^>a_.
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ONE MILLION YEARS B.C.
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Film (1966). Hammer/20th Century-Fox. Dir Don Chaffey, starring Raquel Welch, John Richardson, Robert Brown, Martine Beswick. Screenplay Michael Carreras, based on the screenplay of _^<a_!T1704_ONE MILLION B.C._^>a_ (1940). 100 mins.
Colour._^<n__^<n_The first of Hammer's several stone-age movies (_^<i_see also_^>i_ _^<a_!T5568_WHEN DINOSAURS RULED THE EARTH_^>a_), this is a remake of _^<i_One Million B.C._^>i_. Prehistoric lovers from different scantily clad tribes, the rock
people and the shell people -- some loony _^<a_!T197_ANTHROPOLOGY_^>a_ here -- survive warfare, anachronistic monsters, unconvincing fur brassieres and volcanic upheavals. Ray _^<a_!T4322_HARRYHAUSEN_^>a_ -- this time not working with his usual
colleague Charles Schneer -- was in charge of the monsters which are, indeed, animated. [PN/JB]_^<n__^<n_
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ONN, CARRIE
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> Robert E. _^<a_!T5334_VARDEMAN_^>a_._^<n__^<n_
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ON THE BEACH
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Film (1959). Lomitas Productions/United Artists. Dir Stanley Kramer, starring Gregory Peck, Ava Gardner, Fred Astaire, Anthony Perkins, Guy Doleman. Screenplay John Paxton, based on _^<i_On the Beach_^>i_ (_^<b_1957_^>b_) by Nevil
_^<a_!T2200_SHUTE_^>a_. 134 mins. B/w._^<n__^<n_1964, the _^<a_!T6337_NEAR FUTURE_^>a_: only Australia has survived a global nuclear war. This merely prolongs the agony: a cloud of radioactive fallout is moving south and everyone will die. Suicide
pills are handed out; people face death (or run to meet it) with varying degrees of dignity, though tears are shed; big-name Hollywood stars (the plot provides reasons for the number of Americans facing the end in Melbourne) look anguished; the
wind blows newspapers through empty streets. OTB was the most celebrated of the 1950s anti-Bomb films, heavily publicized, much discussed, seen as Art, and certainly effective propaganda in the Cold-War nuclear-weapons debate. It has not weathered
well; seen today it appears slow, mawkish, ludicrously stiff-upper-lip, and unrealistic in a sanitized middle-class way: no riots, no looting, just chaps feeling miserable and driving racing cars in a reckless manner. The Australian legend that Ava
Gardner, while shooting, looked around and said of Melbourne "What a great place to make a movie about the end of the world" is untrue. Peter _^<a_!T3189_NICHOLLS_^>a_ appeared in a crowd scene. [PN]_^<n__^<n_
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OPEN UNIVERSE
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In cosmology an open universe is a model of the Universe which implies that it will continue to expand forever; in this general sense, the term is found incidentally in many sf novels. However, sf readers also use it in a quite different meaning: to
designate a work or series whose characters and venues may be made use of by fans and others in _^<a_!T1428_FANZINES_^>a_ without copyright restrictions (although the original authors do sometimes impose constraints). The best known open universes
are probably _^<a_!T2429_STAR TREK_^>a_ and Marion Zimmer _^<a_!T4968_BRADLEY_^>a_'s _^<b_Darkover_^>b_._^<n__^<n_A cognate use of the term, to designate works or series whose authors invite other professional authors to participate, is perhaps
deceptive. Open universes of this sort, from H.P. _^<a_!T3465_LOVECRAFT_^>a_'s _^<b_Cthulhu_^>b_ to Michael _^<a_!T3030_MOORCOCK_^>a_'s _^<b_Jerry Cornelius_^>b_, are perhaps more appropriately thought of as a kind of _^<a_!T2127_SHARED WORLD_^>a_.
Film (1977). Pentagrama/Zweites Deutsches Fernsehen. Written/dir Rainer Erler, starring Horst Frank, Dieter Laser, Uwe Friedrichsen, Jurgen Prochnow, Claud Theo Gaestner, Vicky Roskilly. 126 mins, cut to 120 mins. Colour._^<n__^<n_This grim German
film emerges as a realist response to fantasies like _^<a_!T1919_PLANET OF THE APES_^>a_ (1968). On their return to Earth, 5 survivors of a 3-ship, 21-man mission to Ganymede crashland off the Gulf of Mexico and, lost in the desert, turn to
madness, murder, cannibalism and guilt-ridden introspection as they wonder whether humanity has been wiped out by a nuclear war. During the mission, as we discover in flashbacks, the astronauts discovered _^<a_!T98_ALIEN_^>a_ microorganisms which
caused a plague among them, but it turns out that Earth is the harshest environment of all, as the final survivor straggles back to an unchanged, uncaring civilization. Concerned with the ethical issues of space travel-whether the expenditure
results in an improved earthly standard of living or not -- this is a talky and melodramatic film, but intermittently powerful. Erler's other sf films, mainly for the German tv company ZDF which cofinanced this one, include _^<i_Das Genie_^>i_
["The Genius"] (1974), _^<i_Plutonium_^>i_ (1978) and _^<i_Fleisch_^>i_ ["Flesh"] (1979). [KN]_^<n__^<n_
US _^<a_!T2033_PULP MAGAZINE_^>a_, 48 issues, Apr 1934-Nov/Dec 1939, published by Popular Publications; ed Rogers Terrill, it began as a monthly and then alternated between bimonthly and monthly. This was one of the livelier and more successful
hero/villain pulps, and more sciencefictional than most. Operator #5 was secret agent Jimmy Christopher, whose assignment, in the lead novel every issue, was to save the USA from destruction by various menaces (often superscientific) and unfriendly
powers (frequently Asiatic). The lead novels were published under the house name Curtis _^<a_!T5699_STEELE_^>a_, which concealed the highly prolific pulp writer Frederick C. _^<a_!T1095_DAVIS_^>a_ (Apr 1934-Nov 1935), then Emile Tepperman (Dec
1935-Mar 1938), and lastly Wayne Rogers. Other features included a series of spy stories by Arthur Leo _^<a_!T6253_ZAGAT_^>a_. 13 of the early lead novels, all the work of Davis, were reprinted as paperback books (> Frederick C.
(1866-1946) UK writer, publishing from 1887 at least 160 novels, most of them espionage thrillers or society detective mysteries, the best known being _^<i_The Great Impersonation_^>i_ (_^<b_1920_^>b_). His sf novels of interest -- most of the
titles listed below are romantic-fantasy potboilers -- include _^<i_The Wrath to Come_^>i_ (_^<b_1924_^>b_ US), in which the USA is threatened by a 1940s German-Russian-Japanese axis, _^<i_Gabriel Samara, Peacemaker_^>i_ (_^<b_1925_^>b_ US; vt
_^<i_Gabriel Samara_^>i_ 1925 UK; vt _^<i_Exit a Dictator_^>i_ 1939 US), in which the Russian government is overthrown, and _^<i_The Dumb Gods Speak_^>i_ (_^<b_1937_^>b_), a novel set in the future and involving high intrigue and a secret weapon.
EPO was a careless, clumsy, snobbish, quite enjoyable writer of escapist fiction. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_The Mysterious Mr Sabin_^>i_ (_^<b_1898_^>b_); _^<i_A Daughter of Astrea_^>i_ (_^<b_1898_^>b_); _^<i_The Traitors_^>i_
of Mr Alfred Burton_^>i_ (_^<b_1913_^>b_ US); _^<i_The Black Box_^>i_ (_^<b_1915_^>b_ US); _^<i_The Great Prince Shan_^>i_ (_^<b_1922_^>b_ US); _^<i_The Golden Beast_^>i_ (_^<b_1926_^>b_ US); _^<i_Matorni's Vineyard_^>i_ (_^<b_1928_^>b_ US);
_^<i_The Adventures of Mr Joseph P. Cray_^>i_ (_^<b_1929_^>b_); _^<i_Up the Ladder of Gold_^>i_ (_^<b_1931_^>b_ US); _^<i_The Spy Paramount_^>i_ (_^<b_1935_^>b_); _^<i_Mr Mirakel_^>i_ (_^<b_1943_^>b_ US).
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OPTIMISM AND PESSIMISM
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In the most simplistic version of the _^<a_!T4443_HISTORY OF SF_^>a_, sf was always (and rightly) an optimistic literature until the _^<a_!T3181_NEW WAVE_^>a_ came along in the 1960s and spoiled everything. This was at best a very partial truth,
being only remotely applicable to _^<a_!T4659_GENRE SF_^>a_ and not at all to _^<a_!T3609_MAINSTREAM_^>a_ sf._^<n__^<n_In the mainstream, not even the work of individual authors could be categorized as simply either optimistic or pessimistic. Both
Jules _^<a_!T5355_VERNE_^>a_ and H.G. _^<a_!T5528_WELLS_^>a_ took a darker view of the future as they became older; indeed, Wells's vision described almost a parabola: between _^<i__^<a_!B9070_THE TIME MACHINE_^>a__^>i_ (_^<b_1895_^>b_), a novel of
evolutionary futility, and _^<i_Mind at the End of its Tether_^>i_ (_^<b_1945_^>b_), from 1905 through the 1920s his portraits of the future were generally _^<a_!T5303_UTOPIAN_^>a_. The favourite themes of sf outside the genre magazines have always
included _^<a_!T1370_DYSTOPIA_^>a_, _^<a_!T3796_INVASION_^>a_, future _^<a_!T5452_WAR_^>a_, and the _^<a_!T4482_HOLOCAUST AFTER_^>a_, and the stories have often taken the form of dire warnings or a generalized philosophical bleakness aimed at
demonstrating humanity's predilection for getting itself into trouble. Olaf _^<a_!T2404_STAPLEDON_^>a_ envisaged, in _^<i__^<a_!B9080_LAST AND FIRST MEN_^>a__^>i_ (_^<b_1930_^>b_), an ultimate harmony in the Universe, but one achieved only after a
prolonged variety of evolutionary torments._^<n__^<n_By contrast, sf in the _^<a_!T2033_PULP MAGAZINES_^>a_ was mostly cheerful, especially after Hugo _^<a_!T4668_GERNSBACK_^>a_ founded _^<a_!T141_AMAZING STORIES_^>a_ in 1926. Gernsback
proselytized actively for technological optimism, and this, despite many exceptions -- including several stories by John W. _^<a_!T5140_CAMPBELL_^>a_ Jr, writing as Don A Stuart, which evoked an atmosphere of moody desolation -- remained the
dominant tone of sf until the dropping of the atom bomb on Hiroshima in 1945. Campbell, as editor of _^<i_ASF_^>i_, normally required a constructive attitude towards science from his contributors, but, though writers like Robert A.
_^<a_!T4376_HEINLEIN_^>a_ were temperamentally inclined to oblige, even before 1945 the typical _^<i_ASF_^>i_ story was by no means mindlessly cheery, and many of the stories showed a strong awareness of possible technological
_^<a_!T1243_DISASTER_^>a_._^<n__^<n_After the advent of the Bomb (> _^<a_!T3265_NUCLEAR POWER_^>a_) it was no longer possible to see the applications of science as an unmixed blessing. Also working against optimism were the Cold War and its
domestic effect in the USA: the suspicious atmosphere (approaching _^<a_!T1795_PARANOIA_^>a_) prevalent from the early 1950s (shown notably in the anti-communist scares) probably helped to change the focus of interest of many sf stories from
_^<a_!T5916_TECHNOLOGY_^>a_ to _^<a_!T2300_SOCIOLOGY_^>a_ and _^<a_!T1939_POLITICS_^>a_. The magazine _^<a_!T1686_GALAXY SCIENCE FICTION_^>a_ specialized in a form of social _^<a_!T2812_SATIRE_^>a_ best exemplified by _^<i__^<a_!B9011_THE SPACE
MERCHANTS_^>a__^>i_ (1952 as "Gravy Planet"; _^<b_1953_^>b_) by C.M. _^<a_!T6353_KORNBLUTH_^>a_ and Frederik _^<a_!T1937_POHL_^>a_; this type of story created its future scenario with a distinct cynicism, but its narrative tone was similar to that
of most pulp sf, cheerful and hardbitten, with no such strong sense of horror and disgust as could be found outside the genre in novels like George _^<a_!T1731_ORWELL_^>a_'s _^<i__^<a_!B9093_NINETEEN EIGHTY-FOUR_^>a__^>i_
(_^<b_1949_^>b_)._^<n__^<n_But any categorization of sf stories into the optimistic and the pessimistic is so imprecise as not to be greatly useful, and indeed there would be no point in discussing the subject were it not that sf critics with
backgrounds in 1930s and 1940s _^<a_!T1389_FANDOM_^>a_ have often regarded the optimism/pessimism split as of grave importance. Just such a distinction has also been made in several histories of sf, such as Donald A. _^<a_!T5679_WOLLHEIM_^>a_'s
_^<i_The Universe Makers_^>i_ (_^<b_1971_^>b_), and it is implicit in much of the work of Sam _^<a_!T3074_MOSKOWITZ_^>a_. The work of Clifford D. _^<a_!T2218_SIMAK_^>a_ is relevant as an example of the difficulties in such a categorization: his
stories regularly revolve around reconciliation and the achievement of some kind of harmony between Technological Man and Nature (hence optimistic), but his tone, as in _^<i__^<a_!B9054_CITY_^>a__^>i_ (fixup _^<b_1952_^>b_), is often elegiac and
nostalgic (hence pessimistic)._^<n__^<n_A distinction with some truth is often made between US sf, as typically outward-thrusting and riding the momentum of the old myth of the Frontier, and the UK _^<a_!T2878_SCIENTIFIC ROMANCE_^>a_, which,
perhaps as a result of imperial power giving way rapidly to global impotence, was far more inclined to expect _^<a_!T1243_DISASTER_^>a_. But this was never more than a gross generalization (though truer of UK sf than of US sf); nor did it take into
account the guileless _^<i_pleasure_^>i_ the British took in disaster. Could anything so enjoyable be called pessimism? Now that, in the 1990s, the world economic hegemony of the USA is threatened by financial weakness and domestic problems, as
happened in the UK much earlier, it will be interesting to observe what sociological reflections appear in US sf of the later 1990s._^<n__^<n_It was only in the middle and late 1960s, with the advent of the so-called New Wave, that real anger and
sometimes despair about the future of humanity became quite commonplace in genre sf. But the writers of the New Wave, even though their attitudes sometimes appeared anarchic, were seldom _^<i_passively_^>i_ acceptant of a dark view; the dominant
New-Wave metaphor may have been of _^<a_!T6679_ENTROPY_^>a_, of things running down, but the fierce commitment of, say, Harlan _^<a_!T6641_ELLISON_^>a_ or Brian W. _^<a_!T87_ALDISS_^>a_ could not be airily dismissed as "pessimism" by any but the
crudest of critics. Aldiss has many times inveighed in print against what he regards as the strong moral pressure, found especially in some US publishing houses, to legislate for a kind of mandatory optimism. The casual insertion of a happy ending
or a few improving messages no more constitutes true optimism than an awareness of the difficulties of life either now or in the future constitutes true pessimism._^<n__^<n_Poets have many times argued that an awareness of death gives a sharper
edge to love; just so, the darker elements which have entered sf since 1945, and especially since the mid-1960s, have been argued as redressing a balance without which sf could never have reached maturity as a genre. The good sf writer often
mediates between simplistic extremes of optimism and pessimism, and his mode of mediation is often irony: one meaning of this complex word has been defined as "an outcome of events contrary to what was, or might have been, expected". The ironist is
not just somebody sarcastic or even somebody who expects the worst: he or she is somebody who understands the multitude of possibilities concealed in apparently straightforward events, does not take anything at face value, and (at best) embraces
the largeness and unpredictability of things (at worst being merely knowing). Notable sf ironists have included J.G. _^<a_!T378_BALLARD_^>a_, Alfred _^<a_!T568_BESTER_^>a_, Algis _^<a_!T5064_BUDRYS_^>a_, Philip K. _^<a_!T1222_DICK_^>a_, Thomas M.
_^<a_!T1244_DISCH_^>a_, Ursula K. _^<a_!T3318_LE GUIN_^>a_, Michael _^<a_!T3030_MOORCOCK_^>a_ and, more recently, Iain M. _^<a_!T392_BANKS_^>a_, John _^<a_!T981_CROWLEY_^>a_, William _^<a_!T4689_GIBSON_^>a_, James _^<a_!T6035_TIPTREE_^>a_ Jr. and
Gene _^<a_!T5676_WOLFE_^>a_. To read the more painful or rueful aspects of their work as simple pessimism is to read inaccurately._^<n__^<n_Indeed the whole question of optimism and pessimism in sf seems far less pressing today than it did when the
first edition of this encyclopedia was published in 1979, with the residual echoes of the New-Wave debate still audible. While the entropic introspection (> _^<a_!T3783_INNER SPACE_^>a_) of the New Wave is no longer characteristic of any but a few
writers, the old certitudes of _^<a_!T2342_SPACE OPERA_^>a_ (the Universe is ours for the taking, just so long as we're inventive and self-reliant) are likewise long gone. Writers of _^<a_!T4288_HARD SF_^>a_ from the 1980s -- Greg
_^<a_!T478_BEAR_^>a_, David _^<a_!T4999_BRIN_^>a_, Orson Scott _^<a_!T6359_CARD_^>a_, Paul J. _^<a_!T6293_MCAULEY_^>a_, Michael _^<a_!T5864_SWANWICK_^>a_ and others -- no longer portray the Universe as waiting voluptuously to be had. The extremes
of optimism and pessimism have disappeared; perhaps, except for purposes of tub-thumping argument, they were never there in the first place. [PN]_^<n__^<n_
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OR, L'
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> _^<a_!T4752_GOLD_^>a_._^<n__^<n_
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ORAM, NEIL
-T-
(1938- ) UK writer whose involvement in sf was restricted to the 3 vols of his _^<b_The Warp_^>b_ sequence of metaphysical adventures -- _^<i_The Storm's Howling through Tiflis_^>i_ (_^<b_1980_^>b_), _^<i_Lemmings on the Edge_^>i_
(_^<b_1981_^>b_) and _^<i_The Balustrade Paradox_^>i_ (_^<b_1982_^>b_) -- which novelize his 22-hour, 10-play cycle, _^<i_The Warp_^>i_, performed in London in 1979, dir Ken Campbell. The sequence, after the manner of the _^<b_Illuminatus!_^>b_
books by Robert _^<a_!T2163_SHEA_^>a_ and Robert Anton _^<a_!T5643_WILSON_^>a_, features world conspiracies, ley energies, reincarnated searchers for the key to unlock occult mysteries, and so forth. [JC]_^<n__^<n_
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ORBAN
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Working name of US illustrator Paul Orban (?1896-?1974). He executed 7 covers and many interior _^<a_!T4593_ILLUSTRATIONS_^>a_ for a remarkable number of magazines (1933-60), including _^<i_If_^>i_, _^<i_Future_^>i_, _^<i_Space Science Fiction_^>i_
and _^<i_The Shadow_^>i_, but is mostly associated in readers' minds with the 1940s _^<i_ASF_^>i_, where he did many of the interior illustrations 1933-54. His black-and-white work was often symbolic of a story rather than directly
representational, regularly placing faces or figures over geometrical abstractions and using bold cross-hatching; it was always competent and sometimes more. Brian W. _^<a_!T87_ALDISS_^>a_ has called O "an incurable romantic in a field of incurable
romantics". [JG/PN]_^<n__^<n_
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ORBIT
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Seminal US _^<a_!T1725_ORIGINAL-ANTHOLOGY_^>a_ series ed Damon _^<a_!T4098_KNIGHT_^>a_. Although _^<b_Orbit_^>b_ was not the first such series, having been preceded by _^<a_!T2424_STAR SCIENCE FICTION STORIES_^>a_ in the USA and _^<a_!T3184_NEW
WRITINGS IN SF_^>a_ in the UK, it was its extraordinary early success that precipitated the boom in such series in the early 1970s. It had a more literary orientation than the sf magazines, and perhaps for this reason was especially popular with
the active members of the newly formed _^<a_!T2147_SCIENCE FICTION WRITERS OF AMERICA_^>a_. For whatever cause, stories from _^<b_Orbit_^>b_ dominated the _^<a_!T3147_NEBULA_^>a_ awards in their early years, although none has ever won a
_^<a_!T4551_HUGO_^>a_. _^<i_Orbit 1_^>i_ (anth _^<b_1966_^>b_) contained "The Secret Place" by Richard _^<a_!T3553_MCKENNA_^>a_, which won the short-story Nebula. _^<i_Orbit 3_^>i_ (anth _^<b_1968_^>b_) featured 2 Nebula-winning stories: "Mother to
the World" by Richard _^<a_!T5642_WILSON_^>a_ and "The Planners" by Kate _^<a_!T5606_WILHELM_^>a_. _^<i_Orbit 4_^>i_ (anth _^<b_1968_^>b_) contained another winner in "Passengers" by Robert _^<a_!T2216_SILVERBERG_^>a_. That was the last
_^<b_Orbit_^>b_ story to win an award, although the year of pervasive dominance was 1970, when between them _^<i_Orbit 6_^>i_ (anth _^<b_1970_^>b_) and _^<i_Orbit 7_^>i_ (anth _^<b_1970_^>b_) provided 1 of the 5 novellas on the final Nebula ballot,
3 of the 6 novelettes, and 6 of the 7 short stories. Three writers in particular became associated with _^<i__^<a_!B9281_ORBIT_^>a__^>i_, and remained its most regular contributors: R.A. _^<a_!T4152_LAFFERTY_^>a_, Wilhelm and Gene
_^<a_!T5676_WOLFE_^>a_; in the run of 21 volumes, Lafferty and Wilhelm had 19 stories each, and Wolfe 18. _^<b_Orbit_^>b_ lost its dominance once the flood of competitors appeared, and with #14 had to change publishers (becoming confined to a
hardcover edition in the process) in order to survive. Notable stories in later volumes include Wolfe's "The Fifth Head of Cerberus" in _^<i_Orbit 10_^>i_ (anth _^<b_1972_^>b_), Ursula K. _^<a_!T3318_LE GUIN_^>a_'s "The Stars Below" in _^<i_Orbit
14_^>i_ (anth _^<b_1974_^>b_) -- which also contained Joan D. _^<a_!T5376_VINGE_^>a_'s debut story -- and Wilhelm's "Where Late the Sweet Birds Sang" in _^<i_Orbit 15_^>i_ (anth _^<b_1974_^>b_). _^<b_Orbit_^>b_ was especially notable for stories
that seemed at the time odd and _^<i_sui generis_^>i_, quite unlike the usual run of _^<a_!T4659_GENRE SF_^>a_ and fantasy, but with hindsight were early signs of a general sophistication of genre sf in the 1970s, in which this series at first
played a vital role; later numbers became rather insipid. Other volumes in the series are _^<i_Orbit 2_^>i_ (anth _^<b_1967_^>b_), _^<i_Orbit 5_^>i_ (anth _^<b_1969_^>b_), _^<i_Orbit 8_^>i_ (anth _^<b_1970_^>b_), _^<i_Orbit 9_^>i_ (anth
(anth _^<b_1976_^>b_), _^<i_Orbit 19_^>i_ (anth _^<b_1977_^>b_), _^<i_Orbit 20_^>i_ (anth _^<b_1978_^>b_) and _^<i_Orbit 21_^>i_ (anth _^<b_1980_^>b_). _^<i_The Best From Orbit_^>i_ (anth _^<b_1977_^>b_) is culled from the first 10 vols.
[MJE/PN]_^<n__^<n_
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ORBIT SCIENCE FICTION
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US _^<a_!T1231_DIGEST_^>a_-size magazine. 5 issues 1953-Nov/Dec 1954, first 2 undated, published by Hanro Corp., New York; ed Jules Saltman. _^<i_OSF_^>i_ was a middling-quality magazine that fell victim to the inundation of the market with too many
sf magazines in the early 1950s. A story in the _^<b_Tex Harrigan_^>b_ series by August _^<a_!T1189_DERLETH_^>a_ appeared in every issue, and #5 contained "Adjustment Team" by Philip K. _^<a_!T1222_DICK_^>a_. All stories were chosen by Donald A.
_^<a_!T5679_WOLLHEIM_^>a_, uncredited. A cut 1954 Australian edition of #1 only, in pulp format, was published by Consolidated Press, Sydney. [FHP/PN]_^<n__^<n_
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ORCZY, BARONESS
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Working name of Hungarian-born UK author and illustrator Baroness Emmuska (variously Emma or Emulka) Magdalena Rosalia Maria Josefa Barbara Orczy (1865-1947). After magazine work as an illustrator, she came to fame with _^<i_The Scarlet
Pimpernel_^>i_ (_^<b_1905_^>b_). Her sf novel, _^<i_By the Gods Beloved_^>i_ (_^<b_1905_^>b_; vt _^<i_The Gates of Kamt_^>i_ 1907 US), is a _^<a_!T3460_LOST-WORLD_^>a_ tale set in the desert, where ancient Egyptians engage in sexual intrigues and
politics. [JC]_^<n__^<n_
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ORDE, A.J.
-T-
> Sheri S. _^<a_!T5936_TEPPER_^>a_._^<n__^<n_
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ORE, REBECCA
-T-
Pseudonym of US writer Rebecca B. Brown (1948- ), who began publishing sf with "Projectile Weapons and Wild Alien Water" for _^<i_AMZ_^>i_ in 1986 and is best known for _^<i_Becoming Alien_^>i_ (_^<b_1988_^>b_) and its sequels, _^<i_Being
Alien_^>i_ (_^<b_1989_^>b_) and _^<i_Human to Human_^>i_ (_^<b_1990_^>b_), a sequence which -- with a deceptive air of leisureliness -- takes a young rural Virginian named Tom from the provincial backwaters of xenophobic Earth to another planet
where, as the solitary human among a multitude of other races, he is trained to join, on behalf of Earth, the Federation of Space Traveling Systems. A very wide range of _^<a_!T102_ALIENS_^>a_ is introduced in a concise but seemingly disorganized
cataloguing style which has reminded critics of Stanley G. _^<a_!T5506_WEINBAUM_^>a_'s "A Martian Odyssey" (1934); but, as the sequence progresses, the momentum of the tale builds, and RO's apparently scattershot concisions turn out to have been
carefully meditated. The end sense, as Tom grows into knowledge of himself and of his prejudice-stricken fellow humans, is one of complexities experienced. More immediately impressive, perhaps, is a singleton, _^<i_The Illegal Rebirth of Billy the
Kid_^>i_ (_^<b_1991_^>b_), in which a CIA specialist in DNA-recombinant engineering (> _^<a_!T4657_GENETIC ENGINEERING_^>a_) creates a _^<a_!T761_CLONE_^>a_ -- or chimera -- of Billy the Kid whose "memories" of the 19th century have been programmed
into his blank brain, and whose perceptions are controlled by a "nineteenth-century visual matrix" that causes him to read 21st-century sights in terms of Billy's own experiences. The story of this chimera's slow and anguished climb into
self-awareness, and of his escape to a rural Appalachian theme-parked reservation, is swift and urgently dense in the telling, fragilely hopeful in its implications. As of 1991, RO herself lived in Appalachia, and the ironies attendent upon
inhabiting a contrived sanctuary enrich an already rich text. Her stories, which are strong and varied, appear in _^<i_Alien Bootlegger_^>i_ (coll _^<b_1993_^>b_); _^<i_Slow Funeral_^>i_ (_^<b_1994_^>b_) is a contemporary fantasy which evocatively
crosshatches supernatural material into the American scene. [JC]_^<n__^<n_
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O'REILLY, JOHN BOYLE
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(1844-1890) Irish-born US writer. A Fenian transported to Australia, he escaped to the USA and became a journalist, poet and novelist. His sf novel about a republican England, _^<i_The King's Men: A Tale of Tomorrow_^>i_ (_^<b_1884_^>b_) with Robert
_^<a_!T4807_GRANT_^>a_, F.J. Stimson and John T. Wheelwright, features an attempted monarchist coup which is roundly defeated. [JC]_^<n__^<n_
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ORGILL, DOUGLAS (WILLIAM)
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[r] > John _^<a_!T4864_GRIBBIN_^>a_._^<n__^<n_
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ORIGINAL ANTHOLOGIES
-T-
An original _^<a_!T195_ANTHOLOGY_^>a_ is an anthology in book format of stories that have not been previously published, and such volumes played an important role in sf _^<a_!T2026_PUBLISHING_^>a_, especially in the 1960s and 1970s. This
encyclopedia gives entries to original-anthology series devoted to sf and (with one exception, _^<b_Dangerous Visions_^>b_) running to 3 or more vols; we do not give separate entries for shared-world anthology series (> _^<a_!T2127_SHARED
WORLDS_^>a_ _^<i_for examples_^>i_) with the exception of _^<b_Wild Cards_^>b_. There are 19 such entries: _^<i_The_^<a_!T551_BERKLEY SHOWCASE_^>a__^>i_ , _^<a_!T720_CHRYSALIS_^>a_, _^<a_!T1050_DANGEROUS VISIONS_^>a_, _^<a_!T1643_FULL
SPECTRUM_^>a_, _^<a_!T3779_INFINITY_^>a_, _^<a_!T3792_INTERZONE: THE ANTHOLOGY_^>a_ (original only in part), _^<a_!T3474_L. RON HUBBARD PRESENTS WRITERS OF THE FUTURE_^>a_, _^<a_!T3169_NEW DIMENSIONS_^>a_, _^<a_!T3180_NEW VOICES_^>a_,
_^<a_!T5288_UNIVERSE_^>a_ and _^<a_!T5599_WILD CARDS_^>a_. (We classify some further original-anthology series in book format as magazines, when they so describe themselves; these include _^<a_!T1197_DESTINIES_^>a_ and _^<a_!T2032_PULPHOUSE: THE
HARDBACK MAGAZINE_^>a_.) [PN]_^<n__^<n_
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ORIGINAL SCIENCE FICTION STORIES, THE
-T-
US _^<a_!T1231_DIGEST_^>a_-size magazine, 38 issues, 1953-May 1960. Published by Columbia Publications; ed Robert A.W. _^<a_!T3472_LOWNDES_^>a_. A companion magazine to _^<a_!T1657_FUTURE FICTION_^>a_ and _^<a_!T2135_SCIENCE FICTION QUARTERLY_^>a_,
_^<i_TOSFS_^>i_ began life as a one-shot simply entitled _^<i_Science Fiction Stories_^>i_, though some commentators see this as a mere continuation, after a gap, of the magazine _^<a_!T2043_SCIENCE FICTION_^>a_ (1939-41), also ed Lowndes. #2
followed in 1954, and the magazine commenced regular publication in Jan 1955. The Sep 1955 issue added an advertising slogan, "The Original", to the title on the cover, and the magazine subsequently became known by that name, although technically
its title remained _^<i_Science Fiction Stories_^>i_. Like its companion magazines, _^<i_TOSFS_^>i_ existed on a very small editorial budget but maintained a respectable, if largely mediocre, level of quality, a little better perhaps than its
stable companion _^<i_Future Fiction_^>i_. Serialized novels included _^<i_The Tower of Zanid_^>i_ (_^<b_1958_^>b_) by L. Sprague _^<a_!T1133_DE CAMP_^>a_ and _^<i_Caduceus Wild_^>i_ (1959 _^<i_TOSFS_^>i_; _^<b_1978_^>b_) by Ward
_^<a_!T3039_MOORE_^>a_ and Robert Bradford. Robert _^<a_!T2216_SILVERBERG_^>a_ was the magazine's most prolific contributor. R.A. _^<a_!T4152_LAFFERTY_^>a_ made his debut here with "Day of the Glacier" (1960). The numeration of this cluster of
magazines was very complex, and can be found explained in _^<i_Science Fiction, Fantasy and Weird Fiction Magazines_^>i_ (_^<b_1985_^>b_) ed Marshall B. _^<a_!T6150_TYMN_^>a_ and Mike _^<a_!T265_ASHLEY_^>a_ (in their article on _^<i_Science
Fiction_^>i_, as they prefer to treat _^<i_TOSFS_^>i_ as a continuation of that journal). After its demise in May 1960 the title was bought by fan James V. Taurasi (> _^<a_!T1425_FANTASY TIMES_^>a_), who used it on 3 _^<a_!T2100_SEMIPROZINE_^>a_
issues -- little more than _^<a_!T1428_FANZINES_^>a_, in fact -- in _^<a_!T492_BEDSHEET_^>a_ format in Dec 1961, Winter 1962 and Winter 1963. The UK abridged reprint edition (1957-60) had 12 numbers. [MJE/FHP/PN]_^<n__^<n_
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ORIGIN OF MAN
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An abundant literature dealing with the remote ancestry of the human species inevitably sprang up in the wake of the theory of _^<a_!T6717_EVOLUTION_^>a_, as propounded by Charles Darwin (1809-1882). T.H. Huxley (1825-1895), the principal champion
of Darwinism, published a classic essay on "Man's Place in Nature" (1863), and Darwin himself wrote _^<i_The Descent of Man_^>i_ (_^<b_1871_^>b_) soon after. The main point at issue was, as Benjamin Disraeli (1804-1881) put it, "the question of
whether Man is an ape or an angel". Disraeli was on the side of the angels, but science and serious speculative fiction were not; their main interest was in _^<i_how_^>i_ Man had ceased to be a brute beast and become human._^<n__^<n_Huxley took a
rather harsh view of the process of natural selection, and so did his one-time pupil, H.G. _^<a_!T5528_WELLS_^>a_, whose "A Story of the Stone Age" (1897) envisages the crucial moment in human evolution as the invention of a "new club" -- a better
means to cut and kill. This view recurs constantly, being memorably envisaged in Stanley _^<a_!T4135_KUBRICK_^>a_'s _^<a_!T6146_2001: A SPACE ODYSSEY_^>a_ (1968), in which the dawn of intelligence occurs as an ape realizes that the bone he uses to
smash other bones can also be used as, among other things, a _^<a_!T5492_WEAPON_^>a_. Darwin presented a rather different account, stressing the positive value of cooperation and mutual protection in the struggle for existence. This stress on
cooperative emotions as well as physical inventions is found in such works as Jack _^<a_!T3427_LONDON_^>a_'s _^<i_Before Adam_^>i_ (_^<b_1906_^>b_), although previous, more religiously inclined authors had represented the origins of humanity in
purely spiritual terms; Gouverneur _^<a_!T3062_MORRIS_^>a_'s _^<i_The Pagan's Progress_^>i_ (_^<b_1904_^>b_) is an example. The domestication of fire was also widely seen as the crucial invention, notably in Stanley _^<a_!T5477_WATERLOO_^>a_'s
_^<i_The Story of Ab_^>i_ (_^<b_1897_^>b_), in Charles Henry Robinson's _^<i_Longhead: The Story of the First Fire_^>i_ (_^<b_1913_^>b_), and in the most famous novel by the most prolific author of prehistoric fantasies, J.H. _^<a_!T2696_ROSNY
_^>a_aine's _^<i_La guerre du feu_^>i_ (_^<b_1909_^>b_; cut trans as _^<i_The Quest for Fire_^>i_ _^<b_1967_^>b_). Rosny's prehistoric stories -- which include _^<i_Vamireh_^>i_ (_^<b_1892_^>b_), _^<i_Eyrimah_^>i_ (_^<b_1893_^>b_), _^<i_Le felin
geant_^>i_ (_^<b_1918_^>b_; trans _^<b_1924_^>b_ as _^<i_The Giant Cat_^>i_ _^<b_1924_^>b_ US; vt _^<i_Quest of the Dawn Man_^>i_ 1964) and _^<i_Helgvor de Fleuve Bleu_^>i_ ["Helgvor of the Blue River"] (_^<b_1930_^>b_) -- inspired numerous works
by other French writers, including Marcel Schwob's "The Death of Odjigh" (1892; trans 1982), Claude _^<a_!T185_ANET_^>a_'s _^<i_La fin d'un monde_^>i_ (_^<b_1925_^>b_; trans as _^<i_The End of a World_^>i_ _^<b_1927_^>b_) and Max
_^<a_!T500_BEGOUEN_^>a_'s _^<i_Les bisons d'argile_^>i_ (_^<b_1925_^>b_; trans as _^<i_Bison of Clay_^>i_ _^<b_1926_^>b_)._^<n__^<n_The Huxleyan account of human nature was comprehensively rejected by two UK writers in _^<a_!T2878_SCIENTIFIC
ROMANCES_^>a_ that glorified the innocent state of Nature and blamed civilization for all human ills: S. Fowler _^<a_!T6194_WRIGHT_^>a_ in _^<i_Dream, or The Simian Maid_^>i_ (_^<b_1929_^>b_) and its intended sequel _^<i_The Vengeance of Gwa_^>i_
(_^<b_1935_^>b_) (as by Anthony Wingrave) and J. Leslie _^<a_!T2985_MITCHELL_^>a_ in the polemical _^<i_Three Go Back_^>i_ (_^<b_1932_^>b_) and the lyrical "The Woman of Leadenhall Street" (1936) as by Lewis Grassic Gibbon. Similar nostalgia for a
prehistoric Golden Age is displayed in William _^<a_!T4758_GOLDING_^>a_'s _^<i_The Inheritors_^>i_ (_^<b_1955_^>b_), though Golding follows Wright rather than Mitchell in refusing to grant innocence to Man's direct ancestors, and presents a more
brutal view of prehistoric life in "Clonk Clonk" (1971). All these works are, in part, admonitory fables, and by natural exaggeration prehistoric fantasies have also been employed for _^<a_!T2812_SATIRE_^>a_, as in Andrew _^<a_!T4176_LANG_^>a_'s
"The Romance of the First Radical" (1886), Henry Curwen's _^<i_Zit and Xoe_^>i_ (_^<b_1887_^>b_), W.D. Locke's "The Story of Oo-oo" (1926) and Roy _^<a_!T3371_LEWIS_^>a_'s _^<i_What We Did to Father_^>i_ (_^<b_1960_^>b_: vt _^<i_The Evolution
Man_^>i_ 1963; vt _^<i_Once upon an Ice Age_^>i_ 1979)._^<n__^<n_There have been several attempts to write novels on a vast scale which link prehistory and history to provide a "whole" account of the "spirit of Man". The most impressive is _^<i_Den
Lange Rejse_^>i_ (_^<b_1908-22_^>b_ Denmark; trans as _^<i_The Long Journey_^>i_ _^<b_1922-4_^>b_; omni _^<b_1933_^>b_) by the Danish Nobel prizewinner Johannes V. _^<a_!T3890_JENSEN_^>a_, the first two parts of which are prehistoric fantasies. A
work on an even greater scale is the _^<b_Testament of Man_^>b_ series by Vardis _^<a_!T1505_FISHER_^>a_, a 12-novel series of which the first 4 vols are prehistoric fantasies. Also in this tradition is _^<i_Les enchainements_^>i_ (_^<b_1925_^>b_;
trans as _^<i_Chains_^>i_ _^<b_1925_^>b_) by Henri _^<a_!T404_BARBUSSE_^>a_, while more trivial examples include _^<i_The Invincible Adam_^>i_ (_^<b_1932_^>b_) by George S. _^<a_!T5369_VIERECK_^>a_ and Paul _^<a_!T6611_ELDRIDGE_^>a_ and
_^<i_Tomorrow_^>i_ (coll of linked stories _^<b_1930_^>b_) by F. Britten _^<a_!T313_AUSTIN_^>a_, who also wrote a volume of prehistoric short stories, _^<i_When Mankind was Young_^>i_ (coll _^<b_1927_^>b_). The attempt to find in the evolutionary
history of Man some sequence of events for which the _^<i_Genesis_^>i_ myth might be considered a metaphor -- a key theme of Fisher's novels -- is such an attractive notion that it has infected anthropological theory as well as speculative fantasy.
Austin _^<a_!T588_BIERBOWER_^>a_'s _^<i_From Monkey to Man_^>i_ (_^<b_1894_^>b_) offers a simpler account of a metaphorical expulsion from Eden. A fierce reaction against such superstitions can be found in _^<i_The Sons of the Mammoth_^>i_ (trans
_^<b_1929_^>b_) by the Russian anthropologist V.G. _^<a_!T685_BOGORAZ_^>a_._^<n__^<n_In the US _^<a_!T2033_PULP MAGAZINES_^>a_ there grew up a romantic school of prehistoric fiction glorifying the life of the savage. Its most prolific proponent was
Edgar Rice _^<a_!T5097_BURROUGHS_^>a_, author of the _^<b_Pellucidar_^>b_ series, _^<i_The Eternal Lover_^>i_ (1914; _^<b_1925_^>b_; vt _^<i_The Eternal Savage_^>i_) and _^<i_The Cave Girl_^>i_ (1913-17; _^<b_1925_^>b_). Novels from outside the
pulps, however, often show a similar if more muted romanticism. Examples include most of Jack London's stories in this vein, Sir Charles G.D. _^<a_!T2615_ROBERTS_^>a_'s _^<i_In the Morning of Time_^>i_ (_^<b_1919_^>b_), H. Rider
_^<a_!T4911_HAGGARD_^>a_'s _^<i_Allan and the Ice-Gods_^>i_ (_^<b_1927_^>b_) and Richard _^<a_!T6051_TOOKER_^>a_'s _^<i_The Day of the Brown Horde_^>i_ (_^<b_1929_^>b_). Prehistoric romances in the _^<a_!T726_CINEMA_^>a_, which are notorious for
their anachronisms, are perhaps the extreme examples of the romantic school, from D.W. Griffith's _^<i_Man's Genesis_^>i_ (_^<b_1911_^>b_) onwards. Although Hugo _^<a_!T4668_GERNSBACK_^>a_ reprinted Wells's "A Story of the Stone Age",
_^<a_!T4659_GENRE SF_^>a_ did not really take prehistoric fantasy aboard, with notable exceptions including Lester _^<a_!T1164_DEL REY_^>a_'s "When Day is Done" (1939), Jack _^<a_!T5629_WILLIAMSON_^>a_'s "The Greatest Invention" (1951), Chad
_^<a_!T3306_OLIVER_^>a_'s juvenile _^<i_Mists of Dawn_^>i_ (_^<b_1952_^>b_) and Theodore L. _^<a_!T5986_THOMAS_^>a_'s "The Doctor" (1967). Progress in physical _^<a_!T197_ANTHROPOLOGY_^>a_ has encouraged a sophistication of fictional images of
prehistoric life, reflected in such works as _^<i_Cook_^>i_ (_^<b_1981_^>b_) by Tom Case and _^<i__^<a_!B9253_NO ENEMY BUT TIME_^>a__^>i_ (_^<b_1982_^>b_) by Michael _^<a_!T620_BISHOP_^>a_. The most remarkable modern manifestation of prehistoric
fantasy is, however, the series of bestselling novels by Jean _^<a_!T306_AUEL_^>a_, collectively entitled _^<b_Earth's Children_^>b_, which begins with _^<i_The Clan of the Cave Bear_^>i_ (_^<b_1980_^>b_). Auel ingeniously combines a realism based
in modern scientific understanding with robust literary romanticism. Also worthy of special note is a series of surreal prehistoric fantasies included in Italo _^<a_!T5127_CALVINO_^>a_'s _^<i__^<a_!B9063_COSMICOMICS_^>a__^>i_ (coll _^<b_1965_^>b_;
trans _^<b_1968_^>b_) and _^<i_t zero_^>i_ (coll _^<b_1967_^>b_; trans _^<b_1969_^>b_; vt _^<i_Time and the Hunter_^>i_). Significant scientific speculations on the topic are contained in two novels by the palaeontologist Bjorn
_^<a_!T4142_KURTEN_^>a_, _^<i_Dance of the Tiger_^>i_ (_^<b_1978_^>b_; trans _^<b_1980_^>b_) and _^<i_Singletusk_^>i_ (_^<b_1984_^>b_; trans _^<b_1986_^>b_)._^<n__^<n_There have, of course, been several unorthodox accounts of the origin of Man,
including various hypothetical extraterrestrial origins. Some, like that propounded by Erich _^<a_!T5397_VON DANIKEN_^>a_, have been presented as fact. Such notions recur throughout the _^<a_!T4443_HISTORY OF SF_^>a_, usually developed as silly
plot gimmicks (> _^<a_!T29_ADAM AND EVE_^>a_). Among the more interesting examples are Eric Frank _^<a_!T2743_RUSSELL_^>a_'s _^<i_Dreadful Sanctuary_^>i_ (1948; _^<b_1951_^>b_; rev _^<b_1963_^>b_), which plays with the Fortean hypothesis (> Charles
_^<a_!T1569_FORT_^>a_) that Earth is an asylum for the lunatics of other worlds, and James _^<a_!T658_BLISH_^>a_'s "The Writing of the Rat" (1956), one of many stories which makes us the descendants of a "lost colony" within a galactic
(1896-1988) Russian-born US writer, mostly of plays and film scripts. In his sf novel _^<i_When Time Stood Still_^>i_ (_^<b_1962_^>b_) a couple travel via _^<a_!T5851_SUSPENDED ANIMATION_^>a_ to AD2007, where her fatal disease may be curable.
[JC]_^<n__^<n_
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ORLACS HANDE
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(vt _^<i_The Hands of Orlac_^>i_) Film (1924). Pan Film. Dir Robert Wiene, starring Conrad Veidt, Fritz Kortner, Carmen Cartellieri, Alexandra Sorina. Screenplay Louis Nerz, based on _^<i_Les mains d'Orlac_^>i_ (_^<b_1920_^>b_) by Maurice
_^<a_!T2553_RENARD_^>a_. 92 mins, cut to 70 mins. B/w._^<n__^<n_In this Austrian film from the director of _^<i_The Cabinet of Doctor Caligari_^>i_ (1919), a pianist whose injured hands have been replaced with those of an executed murderer inherits
also the murderer's homicidal tendencies, and must struggle against the domination of the dead man. The central idea is scientifically absurd, but it has an emotional logic and has attracted several film-makers. The best version is the US remake
_^<i_Mad Love_^>i_ (1935; vt _^<i_The Hands of Orlac_^>i_), which deviates somewhat from Renard's silly novel, shifting the emphasis from pianist to surgeon. It was dir Karl Freund (best known as a brilliant cameraman) from a script by Guy
_^<a_!T6664_ENDORE_^>a_, P.J. Wolfson and John L. Balderston, and starred Peter Lorre, Frances Drake, Colin Clive, 70 mins, b/w. Lorre -- in one of his few truly great performances and one of his first after arriving in the USA -- plays the
demented surgeon who grafts the murderer's hands onto a pianist whose wife he loves, and then attempts to drive him insane by masquerading as the executed murderer back from the dead. This stylish, _^<i_Grand Guignol_^>i_ melodrama still seems
stunning half a century later._^<n__^<n_Two later remakes were produced -- one using the original title _^<i_The Hands of Orlac_^>i_ (1960; vt _^<i_Les mains d'Orlac_^>i_; vt _^<i_Hands of a Strangler_^>i_) and the other called _^<i_Hands of a
Stranger_^>i_ (1963). The former was a UK-French coproduction made in two versions, the UK version dir Edmond T. Greville, the French dir Jacques Lemare, both versions starring Mel Ferrer, Lucille Saint Simon, Christopher Lee, Donald Pleasence,
Dany Carrel, Felix Aylmer, Basil Sydney and Donald Wolfit, with screenplay by John Baines and Grenville, 105 mins cut to 95 mins, b/w. The latter film was US, written and dir Newton Arnold, starring Paul Lukather, Joan Harvey, 86 mins cut to 73
mins, b/w. Both versions, particularly the latter, are distinctly inferior to _^<i_Mad Love_^>i_. [JB/PN]_^<n__^<n_
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ORU KAIJU DAISHINGEKI
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> _^<a_!T4750_GOJIRA_^>a_._^<n__^<n_
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ORWELL, GEORGE
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Pseudonym of UK writer Eric Arthur Blair (1903-1950), much of whose best work was contained in his impassioned journalism and essays, assembled in the 4 vols of _^<i_The Collected Essays, Journalism and Letters of George Orwell_^>i_ (all coll
_^<b_1968_^>b_). His fiction and extended social criticism, as in _^<i_Down and Out in Paris and London_^>i_ (_^<b_1933_^>b_), also demonstrates his good sense and the intense clarity of his mind. His books of sf interest are two. _^<i_Animal Farm:
A Fairy Story_^>i_ (_^<b_1945_^>b_ chap) is a fable satirical of the form communism took once it had established itself in the Soviet Union, and consequently enraged many of those who responded sensitively to criticisms of what they continued to
perceive as a valid experiment in socialism. Despite its fable form, however, _^<i_Animal Farm_^>i_ is an intensely practical book, mocking not the ideals of socialism or communism (many of which GO shared) but their corrupt embodiment in an actual
state. The attack is direct, and the USSR is the target. A great revolution takes place on the Farm, but is soon subverted by the Pigs, whose leader, Napoleon, seizes power and reduces the Revolution's original 7 Commandments (the last being "All
animals are equal") down to one, which is written in capitals on the communal wall: All Animals Are Equal But Some Are More Equal Than Others. The attack on Stalin is devastating. A cartoon feature film animated by John Halas and Joy Batchelor,
_^<i_Animal Farm_^>i_, was released in 1955._^<n__^<n_GO's most famous book remains _^<i__^<a_!B9093_NINETEEN EIGHTY-FOUR_^>a__^>i_ (_^<b_1949_^>b_), which was published shortly before his death of tuberculosis and which again caused some of his
colleagues on the Left to accuse him (mistakenly) of betrayal. It was filmed in 1955 as _^<a_!T3215_1984_^>a_ and in 1984 as _^<a_!T3216_NINETEEN EIGHTY-FOUR_^>a_. With Aldous _^<a_!T4566_HUXLEY_^>a_'s _^<i__^<a_!B9261_BRAVE NEW WORLD_^>a__^>i_
(_^<b_1932_^>b_), it is the century's most famous English-language _^<a_!T1370_DYSTOPIA_^>a_. It is a book of hectic, devilish, claustrophobic intensity, so nightmarish in the telling that some critics have faulted it (imperceptively) for
subjective imbalance. In 1984, the world is divided into three vast enclaves: Britain, now known as Airstrip One, is devastatingly shabby -- never having been decently rebuilt after an atomic war fought in the 1950s -- and without hope. It is hard
to resist a sense that GO was painting, with an unusual savagery of verisimilitude, the UK in which he lived -- 1984 being simply a partial inversion of 1948 -- but his presentation of the totalitarian regime ruling Airstrip One could be thought to
apply to the contemporary Labour government of the UK only by those whose _^<a_!T1939_POLITICS_^>a_ were radically to the right of GO's own. The rulers of Airstrip One (symbolized by images of Big Brother) use their ability to inflict pain to drive
the fact of their power into the masses, whose lives are mercilessly regimented by the Thought Police and who live in squalid barracks monitored by two-way tvs, their thoughts controlled by the Newspeak to which GO devoted a scathing appendix: "It
was intended that when Newspeak had been adopted once and for all and Oldspeak forgotten, a heretical thought . . . should be literally unthinkable." The scarifying story of Winston Smith's attempt to liberate himself, and of his eventual surrender
of all his human dignity under torture, makes up the actual plot of the book. As an indictment of the deep tendency of modern, technologically sophisticated governments to manage reality, and as a further devastating assault upon the actual
situation in the USSR of 1948, _^<i__^<a_!B9093_NINETEEN EIGHTY-FOUR_^>a__^>i_ was unmatched. Its pessimism was both distressing and salutary. Its understanding of the nightmare of power -- when wielded by representatives of a species which had
evolved beyond the constraints of mercy -- was definitive. "Do not forget this," his chief torturer tells Winston at the finish, after glorying in the end of all natural human affinities and goals: "Always there will be the intoxication of power,
constantly increasing and constantly growing subtler . . . If you want a picture of the future, imagine a boot stamping on a human face -- for ever." [JC]_^<n__^<n__^<b_About the author:_^>b_ There is much Orwell criticism in print. Irving Howe's
_^<i_Orwell's Nineteen Eighty-four_^>i_ (_^<b_1963_^>b_) is valuable, as are George Woodcock's _^<i_The Crystal Spirit_^>i_ (_^<b_1967_^>b_) and _^<i_George Orwell: A Reassessment_^>i_ (anth _^<b_1988_^>b_) ed Peter Buitenhuis and Ira B.
Nadel._^<b_See also:_^>b_ _^<a_!T956_CRIME AND PUNISHMENT_^>a_; _^<a_!T4443_HISTORY OF SF_^>a_; _^<a_!T3398_LINGUISTICS_^>a_; _^<a_!T3743_MEDIA LANDSCAPE_^>a_; _^<a_!T3118_MUSIC_^>a_; _^<a_!T1938_POLAND_^>a_; _^<a_!T2023_PSYCHOLOGY_^>a_;
UK original anthology series, consisting of _^<i_Other Edens_^>i_ (anth _^<b_1987_^>b_), _^<i_#II_^>i_ (anth _^<b_1988_^>b_) and _^<i_#III_^>i_ (anth _^<b_1989_^>b_), ed Christopher _^<a_!T6708_EVANS_^>a_ and Robert _^<a_!T4468_HOLDSTOCK_^>a_. This
was a curious series. The (ironic?) title is taken from the description of England in Shakespeare's _^<i_Richard II_^>i_, though the editors mistakenly say it was _^<i_Richard III_^>i_; in fact, however, they rather let down their own ambition of
giving a boost to UK short fiction by including stories by US writers like Kim Stanley _^<a_!T2637_ROBINSON_^>a_ and Scott _^<a_!T4965_BRADFIELD_^>a_, which led some readers to the unfortunate conclusion that not enough local material existed.
Though good stories were published (many of the better ones inclining to _^<a_!T1372_FABULATION_^>a_ or fantasy rather than sf) the overall tone was bleak and introspective, sometimes to the point of self-parody; thus the series could be read as
supporting the long-held US stereotype of UK sf, a stereotype that was contemporaneously being destroyed by the magazine _^<a_!T3791_INTERZONE_^>a_. The series did include good work from the new generation of UK writers, including Gill
_^<a_!T86_ALDERMAN_^>a_, Stephen _^<a_!T471_BAXTER_^>a_, Keith _^<a_!T5017_BROOKE_^>a_ and Ian _^<a_!T3513_MCDONALD_^>a_. [PN]_^<n__^<n_
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OTHER DIMENSIONS
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> _^<a_!T1794_PARALLEL WORLDS_^>a_._^<n__^<n_
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OTHER WORLDS
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US _^<a_!T1231_DIGEST_^>a_-size magazine, in _^<a_!T2033_PULP-MAGAZINE_^>a_ format from Nov 1955. 47 issues, only 45 featuring fiction (not counting those titled either _^<a_!T2873_SCIENCE STORIES_^>a_ or _^<a_!T5289_UNIVERSE SCIENCE FICTION_^>a_),
Nov 1949-July 1953 (31 issues) and May 1955-Sep 1957 (16 issues). Published by Clark Publishing Co., Nov 1949-July 1953, and Palmer Publications Inc., May 1955-Nov 1957; ed Raymond A. _^<a_!T1774_PALMER_^>a_. Though for some periods monthly,
_^<i_OW_^>i_ was usually a slightly irregular bimonthly._^<n__^<n__^<i_OW_^>i_ was launched by Palmer while he was still editor of _^<a_!T141_AMAZING STORIES_^>a_ and _^<a_!T1395_FANTASTIC ADVENTURES_^>a_; for this reason editorship of the first
issue was credited to Robert N. Webster (a Palmer pseudonym). _^<i_OW_^>i_ was editorially very similar to the previous Palmer magazines, particularly in featuring the supposedly nonfictional stories of Richard S. _^<a_!T2151_SHAVER_^>a_. Eric
Frank _^<a_!T2743_RUSSELL_^>a_ was a regular contributor, and the magazine serialized L. Sprague _^<a_!T1133_DE CAMP_^>a_'s nonfiction _^<i_Lost Continents_^>i_ (1952-3; _^<b_1954_^>b_). _^<i_OW_^>i_ was suspended after #31, July
1953._^<n__^<n_Palmer was notorious for his many title changes, and it is possible to regard his short-lived _^<i_Science Stories_^>i_ (Oct 1953-Apr 1954) as a continuation of _^<i_OW_^>i_, the title change allowing him to duck some inconvenient
printing bills, but _^<i_Science Stories_^>i_'s numeration began again from #1. And, to confuse the story further, also in 1953 Palmer anonymously founded a new magazine, _^<i_Universe Science Fiction_^>i_, whose first 2 issues, June and Sep 1953,
he ed under the pseudonym George Bell; with #3, Dec 1953, Palmer became officially its editor and publisher. After 10 issues (the last was Mar 1955) the title of _^<i_Universe Science Fiction_^>i_ was changed to _^<i_Other Worlds_^>i_, and at this
point the magazine's numeration followed both magazines (the first new _^<i_OW_^>i_, for example, being #11 [32] May 1955, it being the 11th _^<i_Universe_^>i_ and the 32nd _^<i_Other Worlds_^>i_). 12 more issues followed, until in June 1957 the
title was changed again, to _^<i_Flying Saucers from Other Worlds_^>i_, reflecting Palmer's increasing preoccupation with _^<a_!T5273_UFOS_^>a_. Only 2 of the first 4 retitled issues (3 of which were unnumbered) featured sf stories, these being #2
and #4 (July and Sep 1957). After this, though it carried on for some years, the magazine became solely UFO-oriented. [MJE/FHP/PN]_^<n__^<n_
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OTOMO, KATSUHIRO
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(1954- ) Japanese comic-book illustrator and film animator, one of the most popular in the new generation of "manga" (Japanese _^<a_!T820_COMICS_^>a_) artists. His debut, not sf, was in 1973 with "Jusei" ["Gun Report"], based on the novella
"Mateo Falcone" (1833) by Prosper Merimee (1803-1870). Since then he has pleasantly shocked the comics world with his excellent artwork, his surreal way of telling a story and the dynamic movement of his scene-setting. His breakthrough from cult
status to national fame came with the _^<a_!T4809_GRAPHIC NOVEL_^>a_ _^<i_Dohmu_^>i_ ["A Dream of Childhood"] (1981; _^<b_1983_^>b_; English trans projected 1992), which won the Nippon SF Taisho and a Sei'un Award (> _^<a_!T3872_JAPAN_^>a_). This
describes a conflict between the _^<a_!T2021_PSI POWERS_^>a_ of a murderous old man and of a group of children. KO's international status largely rests on the still-continuing _^<b_Akira_^>b_ story, a graphic epic (over 1500pp) rather than a
graphic novel. This began its first serialization in 1982-6, and resumed in 1988, in which year an English-language version commenced publication from Epic Comics. It has also been published in book form -- several volumes -- in both Japan and the
USA. During the hiatus KO wrote, designed and directed the feature film version, _^<a_!T79_AKIRA_^>a_ (1987), a _^<i_tour de force_^>i_ of animation which, like the comic, alarmingly blends elements of "splatter" (> _^<a_!T2374_SPLATTER
MOVIES_^>a_) with images of post-_^<a_!T4482_HOLOCAUST_^>a_ evolutionary transcendence in a somewhat _^<a_!T1015_CYBERPUNK_^>a_ manner. KO's other main works include "Kibun Wa Moh Senso" ["Almost Enjoying the War"] (1979), "Highway Star" (1979) and
"Rohjin Z" ["Old Man Z"] (1991). [TSh/PN]_^<n__^<n_
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OTTUM, BOB
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Working name of US writer Robert K. Ottum Jr (?1925-1986), in whose surprisingly funny sf novel, _^<i_All Right, Everybody Off the Planet_^>i_ (_^<b_1972_^>b_), inefficient _^<a_!T102_ALIENS_^>a_ send a spy among us in human form; the humour derives
from their ignorance of human relationships and from their attempts to stage-manage an impressive First Contact. A similar notion -- with the sexes reversed -- was much later used, leadenly, for the film _^<a_!T3130_MY STEPMOTHER IS AN ALIEN_^>a_
(1988). [JC]_^<n__^<n_
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OULD, CHRIS
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(?1959- ) UK writer whose sf novel, _^<i_Road Lines_^>i_ (_^<b_1985_^>b_), was a _^<a_!T6337_NEAR-FUTURE_^>a_ thriller set in an apocalyptic landscape reminiscent, to some, of the _^<a_!T3589_MAD MAX_^>a_ films. [JC]_^<n__^<n_
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OUTER LIMITS, THE
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US tv series (1963-5). A Daystar/Villa di Stefano Production for United Artists, ABC TV. Created Leslie Stevens, also executive prod. Prod Joseph Stefano (season 1), Ben Brady (season 2). Writers included Stefano (many episodes), Stevens, David
_^<a_!T1346_DUNCAN_^>a_, Robert Towne, Harlan _^<a_!T6641_ELLISON_^>a_, Meyer _^<a_!T1279_DOLINSKY_^>a_, John _^<a_!T3653_MANTLEY_^>a_, Jerry _^<a_!T2303_SOHL_^>a_, Otto O. Binder (_^<i_ Hyperlink to: _^>i_ Eando _^<a_!T604_BINDER_^>a_), Clifford
D. _^<a_!T2218_SIMAK_^>a_ and Ib Melchior. Dirs included Byron _^<a_!T4333_HASKIN_^>a_, Leonard Horn, Gerd Oswald, Charles Haas. 2 seasons, 49 50min episodes. B/w._^<n__^<n__^<i_TOL_^>i_, which featured a new sf story each week, is often regarded
as the classic sf-anthology series. Though leaning towards the _^<a_!T4509_HORROR_^>a_ or _^<a_!T3011_MONSTER-MOVIE_^>a_ end of the sf spectrum, the series was often innovative in both style and subject matter, and many of its writers either were
sf professionals or knew the genre well. The pilot episode, "The Galaxy Being", written and dir Stevens, concerned an _^<a_!T98_ALIEN_^>a_ made of pure energy who is accidentally absorbed into a 3D radio transceiver on Earth. Harlan Ellison
contributed 2 episodes: "Soldier" (1964), about an ultraconditioned soldier from the future who is projected back in time and finds himself in a typical 1960s US household -- a precursor of _^<i_The_^<a_!T5940_TERMINATOR_^>a__^>i_ (1984) -- and
"Demon with a Glass Hand" (1964), perhaps the finest episode, about an _^<a_!T178_ANDROID_^>a_, pursued by aliens, who has the entire human race coded in his internal circuitry. Actors who appeared in the series -- many of them then unknown --
included Leonard Nimoy, Robert Culp, William _^<a_!T2150_SHATNER_^>a_, Bruce Dern, Donald Pleasence, Martin Landau and David McCallum. The bizarre make-up that was such a feature of the series was the work of Fred Phillips, John Chambers and,
primarily, Wah Chang._^<n__^<n_The talented cinematographer Conrad Hall worked on the 1st season, and the series was visually striking. Only stupid programming (it was shifted to a time-slot opposite the hugely popular _^<i_Jackie Gleason
Show_^>i_) led to the series' cancellation halfway through the 2nd season. _^<i_TOL_^>i_ was, on the whole, more imaginative and intelligent than its more famous competitor on CBS, Rod _^<a_!T2108_SERLING_^>a_'s _^<i_The_^>i_ _^<a_!T6141_TWILIGHT
ZONE_^>a_. _^<i_The Outer Limits: The Official Companion_^>i_ (_^<b_1986_^>b_) by David J. Schow and Jeffrey Frentzen is about the series. [JB/PN]_^<n__^<n_
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OUTER PLANETS
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Relatively little attention has been paid in sf to the planets beyond Jupiter. Of them only Saturn was known to the ancients -- Uranus was discovered in 1781, Neptune in 1846 and Pluto in 1930 -- and it is therefore the only outer planet featured in
Athanasius _^<a_!T4086_KIRCHER_^>a_'s and Emanuel _^<a_!T5869_SWEDENBORG_^>a_'s interplanetary tours. Uranus, however, is included in the anonymous _^<i_Journeys into the Moon, Several Planets and the Sun: History of a Female Somnambulist_^>i_
(_^<b_1837_^>b_). The only object beyond Jupiter that has made significant appeal to speculative writers as a possible abode for life is Saturn's major moon Titan, though the fascinating rings have provoked a good deal of interest from
interplanetary passers-by. Pluto has come in for a certain amount of special attention as the Ultima Thule of the Solar System, although as much -- if not more -- interest has been shown in the possibility of there being a 10th planet even further
out._^<n__^<n_Saturn was visited, en route to Earth, by _^<a_!T5394_VOLTAIRE_^>a_'s tourist from Sirius in _^<i_Micromegas_^>i_ (1750; _^<b_1952_^>b_), and a Saturnian accompanied him on his sightseeing trip. It was one of the major worlds featured
in J.B. Fayette's anonymously published _^<i_The Experiences of Eon and Eona_^>i_ (_^<b_1886_^>b_); and in John Jacob _^<a_!T275_ASTOR_^>a_'s _^<i_A Journey in Other Worlds_^>i_ (_^<b_1894_^>b_) it is the home of the spirits, who confirm the truth
of the theological beliefs of travellers from a future Earth. Roy _^<a_!T2655_ROCKWOOD_^>a_'s series of juvenile interplanetary novels extended thus far in _^<i_By Spaceship to Saturn_^>i_ (_^<b_1935_^>b_), but relatively few
_^<a_!T2033_PULP-MAGAZINE_^>a_ writers followed suit. Arthur K. _^<a_!T420_BARNES_^>a_'s _^<i_Interplanetary Hunter_^>i_ (1937-46; fixup _^<b_1956_^>b_) ventured beyond Jupiter on two occasions, but Stanley G. _^<a_!T5506_WEINBAUM_^>a_ was the only
early pulp writer of any real significance to explore the outer planets, in "Flight on Titan" (1935), "The Planet of Doubt" (1935) -- one of the rare stories set on Uranus -- and "The Red Peri" (1935), a _^<a_!T2342_SPACE OPERA_^>a_ set partly on
Pluto. Other pulp stories set in the outer reaches include J.M. _^<a_!T5444_WALSH_^>a_'s "The Vanguard to Neptune" (1932), Wallace _^<a_!T5547_WEST_^>a_'s "En Route to Pluto" (1936), Raymond Z. _^<a_!T1691_GALLUN_^>a_'s "Raiders of Saturn's Rings"
(1941) and Murray _^<a_!T3326_LEINSTER_^>a_'s "Pipeline to Pluto" (1945). One of Stanton A. _^<a_!T773_COBLENTZ_^>a_'s _^<a_!T2812_SATIRES_^>a_, _^<i_Into Plutonian Depths_^>i_ (1931; _^<b_1950_^>b_), delved there, and Clifford D.
_^<a_!T2218_SIMAK_^>a_'s _^<i_Cosmic Engineers_^>i_ (1939; rev _^<b_1950_^>b_) begins near Pluto. By far and away the most significant role allotted to an outer planet in the speculative fiction of the pre-WWII period was, however, that given to
Neptune by Olaf _^<a_!T2404_STAPLEDON_^>a_ in _^<i__^<a_!B9080_LAST AND FIRST MEN_^>a__^>i_ (_^<b_1930_^>b_) and _^<i_Last Men in London_^>i_ (_^<b_1932_^>b_): in the very _^<a_!T1432_FAR FUTURE_^>a_, the ultimate members of the human race are
forced to make a new home there following the expansion of the Sun._^<n__^<n_In the post-WWII period the outer planets occasionally featured in more serious speculative fictions. The rings of Saturn play a key part in Isaac _^<a_!T268_ASIMOV_^>a_'s
"The Martian Way" (1952), and Asimov returned to the same locale in his juvenile _^<i_Lucky Starr and the Rings of Saturn_^>i_ (_^<b_1958_^>b_) as by Paul French. Another notable juvenile in which Saturn is an abode of life is Philip
_^<a_!T4202_LATHAM_^>a_'s _^<i_Missing Men of Saturn_^>i_ (_^<b_1953_^>b_). Elsewhere, Titan features much more prominently than its parent world. Alan E. _^<a_!T3253_NOURSE_^>a_'s _^<i_Trouble on Titan_^>i_ (_^<b_1954_^>b_) is a juvenile novel
about _^<a_!T811_COLONIZATION_^>a_ of the satellite, the climactic scenes of Kurt _^<a_!T5402_VONNEGUT_^>a_ Jr's _^<i__^<a_!B9038_THE SIRENS OF TITAN_^>a__^>i_ (_^<b_1959_^>b_) take place there, and Titan is the location of huge
_^<a_!T98_ALIEN_^>a_ machines in Ben _^<a_!T4943_BOVA_^>a_'s _^<i_As on a Darkling Plain_^>i_ (_^<b_1972_^>b_). A more fully described colony is featured in Arthur C. _^<a_!T736_CLARKE_^>a_'s _^<i_Imperial Earth_^>i_ (_^<b_1976_^>b_), and it is the
home of the strange lifeform that provides the climax of Gregory _^<a_!T526_BENFORD_^>a_'s and Gordon _^<a_!T6608_EKLUND_^>a_'s _^<i_If the Stars are Gods_^>i_ (fixup _^<b_1977_^>b_). An artificial world hidden among the satellites of Saturn is the
main locale of John _^<a_!T5339_VARLEY_^>a_'s _^<b_Gaean_^>b_ trilogy begun with _^<i_Titan_^>i_ (_^<b_1979_^>b_)._^<n__^<n_Pluto figures prominently in Algis _^<a_!T5064_BUDRYS_^>a_'s _^<i_Man of Earth_^>i_ (_^<b_1958_^>b_), and is the destination
of the characters in Wilson _^<a_!T6117_TUCKER_^>a_'s _^<i_To the Tombaugh Station_^>i_ (_^<b_1960_^>b_). It is the setting of Kim Stanley _^<a_!T2637_ROBINSON_^>a_'s mysterious artefact in _^<i_Icehenge_^>i_ (_^<b_1984_^>b_), and the
starting-point of the interplanetary tour featured in the same author's _^<i_The Memory of Whiteness_^>i_ (_^<b_1985_^>b_), which zooms past Uranus and Neptune at considerable narrative pace. Neptune's moon Triton is the setting of Margaret
_^<a_!T2770_ST CLAIR_^>a_'s "The Pillows" (1950) and Samuel R. _^<a_!T1152_DELANY_^>a_'s "ambiguous heterotopia" in _^<i_Triton_^>i_ (_^<b_1976_^>b_). The "outer satellites" conduct a war against the inner planets in Alfred _^<a_!T568_BESTER_^>a_'s
_^<i_Tiger! Tiger!_^>i_ (_^<b_1956_^>b_ UK; rev vt _^<i_The Stars My Destination_^>i_ US), but the reader never gets to visit them; a much more detailed conflict takes place in Cecelia _^<a_!T4470_HOLLAND_^>a_'s _^<i_Floating Worlds_^>i_
(_^<b_1976_^>b_), in which the cities of the title float above Saturn and Uranus. Few of those space operas whose action is partly set in the more remote regions of the Solar System pause to take in much of the scenery, but notable recent
exceptions include Colin _^<a_!T4847_GREENLAND_^>a_'s _^<i__^<a_!B9105_TAKE BACK PLENTY_^>a__^>i_ (_^<b_1990_^>b_) and Roger McBride _^<a_!T115_ALLEN_^>a_'s _^<i_The Ring of Charon_^>i_ (_^<b_1990_^>b_), both of which are partly set on Pluto's
large moon Charon._^<n__^<n_It has long been held in some quarters that a 10th planet is necessary to account for the orbital perturbations of Uranus, even after Neptune and Pluto are taken into account, and sf writers have occasionally dealt with
the possibility. The protagonists of John W. _^<a_!T5140_CAMPBELL_^>a_ Jr's _^<i_The Planeteers_^>i_ (1936-8; coll of linked stories _^<b_1966_^>b_) ultimately make their way there, and it is the setting for Henry _^<a_!T4144_KUTTNER_^>a_'s "We
Guard the Black Planet" (1942). In Philip K. _^<a_!T1222_DICK_^>a_'s _^<i__^<a_!B8980_SOLAR LOTTERY_^>a__^>i_ (_^<b_1955_^>b_; vt _^<i_World of Chance_^>i_) members of an esoteric cult flee Earth in the hope of finding such a world. Edmund
_^<a_!T870_COOPER_^>a_'s _^<i_The Tenth Planet_^>i_ (_^<b_1973_^>b_) plants an advanced civilization there. Contrastingly, in _^<i_Lucifer's Hammer_^>i_ (_^<b_1977_^>b_) by Larry _^<a_!T3223_NIVEN_^>a_ and Jerry _^<a_!T1961_POURNELLE_^>a_ it is a
much more remote _^<a_!T4631_GAS GIANT_^>a_, whose gravity perturbs the orbit of a comet, deflecting it towards Earth. Perhaps more intriguing than the notion of a 10th planet is speculation about the Solar System's diffuse cometary "halo". An
extravagant sf version of this is developed in _^<i_The Reefs of Space_^>i_ (_^<b_1964_^>b_) by Frederik _^<a_!T1937_POHL_^>a_ and Jack _^<a_!T5629_WILLIAMSON_^>a_, which features a particularly imaginative reef life-system. Clarke's _^<i_Imperial
Earth_^>i_ makes much of the possibility of life existing beyond Pluto, and Williamson made further use of the locale in _^<i_Lifeburst_^>i_ (_^<b_1984_^>b_)._^<n__^<n_More recently, there has been discussion among astronomers of the possibility
that the cause of the orbital perturbations among the outer planets might instead be another star a couple of light years away; i.e., that the Sun might be not a singleton star but one element of a widely spaced binary (most stars are multiple
rather than solitary), the other component being a dwarf star, a _^<a_!T3160_NEUTRON STAR_^>a_ or even a _^<a_!T632_BLACK HOLE_^>a_. Even a dwarf star would, at such a distance, be insignificant enough in our skies to make identification difficult.
Or the cause might be a yet undetected nearby star heading in our direction, as suggested in Asimov's _^<i_Nemesis_^>i_ (_^<b_1989_^>b_). [BS]_^<n__^<n_
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OUTLAND
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Film (1981). Ladd Co. Dir Peter Hyams, starring Sean Connery, Peter Boyle, Frances Sternhagen. Screenplay Hyams. 109 mins. Colour._^<n__^<n_A mining base on Io, third moon of Jupiter. The new marshal (Connery) discovers that the mine manager
(Boyle), in a bid to increase production, is introducing powerful amphetamines which ultimately render the workers psychotic and suicidal. The manager hires assassins to kill the nosy marshal. The critical cliche that _^<i_O_^>i_ is _^<i_High
Noon_^>i_ (1952) in space is absolutely true. This routine anti-capitalist adventure is lifted out of the ordinary by its richly textured setting (the art director was Malcolm Middleton)-dirty, crowded, and wholly convincing as an unromanticized
future industrial settlement. There are also good performances from Sternhagen as a cantankerous lady doctor and Connery as the tired, middle-aged failure making good. The novelization is _^<i_Outland_^>i_ * (_^<b_1981_^>b_) by Alan Dean
_^<a_!T1572_FOSTER_^>a_. [PN]_^<n__^<n_
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OUTLANDS
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UK _^<a_!T1231_DIGEST_^>a_-size magazine. 1 issue, Winter 1946. Published by Outlands Publications, Liverpool; ed Leslie J. Johnson. An abortive _^<a_!T2100_SEMIPROZINE_^>a_ of undistinguished fiction, subtitled "A Magazine for Adventurous Minds",
_^<i_O_^>i_ included stories by John Russell _^<a_!T1455_FEARN_^>a_ and Sydney J. _^<a_!T4940_BOUNDS_^>a_ (his first published story). [MJE/FHP]_^<n__^<n_
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OUT OF THE DARKNESS
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> Roger _^<a_!T884_CORMAN_^>a_._^<n__^<n_
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OUT OF THE UNKNOWN
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UK tv series (1965-71). BBC TV. Prod Irene Shubik (seasons 1 and 2), Alan Bromly (seasons 3 and 4). Script editor Irene Shubik (seasons 1 and 2), Roger Parkes (seasons 3 and 4). Writers included Terry _^<a_!T3140_NATION_^>a_, J.B.
_^<a_!T1991_PRIESTLEY_^>a_, Troy Kennedy Martin, Clive Exton, Julian Bond, Nigel _^<a_!T4095_KNEALE_^>a_. Dirs included Michael Ferguson, Peter Sasdy, Philip Saville, Philip Dudley, Eric Hills. 4 seasons, 49 episodes, each 50 mins in 1st season, 60
mins thereafter. Seasons 1-2 b/w, thereafter colour._^<n__^<n_This sf-anthology series, originated by Irene Shubik -- previously story editor on _^<a_!T1748_OUT OF THIS WORLD_^>a_ (1962) -- dramatized the work of many well known sf writers. Adapted
stories and novels included _^<i_Immortality, Inc._^>i_ (_^<b_1958_^>b_) by Robert _^<a_!T2164_SHECKLEY_^>a_, _^<i_Liar!_^>i_ (1941; rev _^<b_1977_^>b_ chap) by Isaac _^<a_!T268_ASIMOV_^>a_, "The Last Lonely Man" (1964) by John
_^<a_!T5049_BRUNNER_^>a_, "Beachhead" (1951) by Clifford D. _^<a_!T2218_SIMAK_^>a_, "Random Quest" (1961) by John _^<a_!T6211_WYNDHAM_^>a_, "The Little Black Bag" (1950) by C.M. _^<a_!T6353_KORNBLUTH_^>a_, "Thirteen for Centaurus" (1962) by J.G.
_^<a_!T378_BALLARD_^>a_, _^<i_The Naked Sun_^>i_ (_^<b_1957_^>b_) by Asimov, "The Midas Plague" (1954) by Frederik _^<a_!T1937_POHL_^>a_, "Andover and the Android" (1963) by Kate _^<a_!T5606_WILHELM_^>a_, "The Yellow Pill" (1958) by Rog
_^<a_!T1887_PHILLIPS_^>a_, _^<i_Level 7_^>i_ (_^<b_1959_^>b_) by Mordecai _^<a_!T2695_ROSHWALD_^>a_ and "The Machine Stops" (1909) by E.M. _^<a_!T1567_FORSTER_^>a_. Despite budget limitations, the standard of production was often very high, and
good actors were used; one episode was designed by Ridley _^<a_!T2897_SCOTT_^>a_. The quality of the scripts varied, some of the writers assigned being unfamiliar with sf. After 3 seasons the BBC decided that the series lacked mass popularity, and
for the 4th switched it from sf to supernatural stories, all but one being original teleplays. [PN/JB]_^<n__^<n_
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OUT OF THIS WORLD
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_^<b_1._^>b_ US tv series (1952). ABC TV. Prod Milton Kaye. Narrated Jackson Beck. 1 season, 25min episodes. B/w._^<n__^<n__^<i_OOTW_^>i_ hovered between sf and lectures on science. In episode 3, for example, we saw a young couple in 1993 going to
the Moon for a vacation and then telephoning their relations on Earth. Between these dramatized segments the narrator discussed with a scientist, Robert R. Cole, the actual possibilities of space travel and conditions on the
Moon._^<n__^<n__^<b_2._^>b_ UK tv series (1962). ABC TV. Prod Leonard White. Story editor Irene Shubik. 13 50min episodes. B/w._^<n__^<n_This short-lived but relatively ambitious sf-anthology series -- the first such in the UK -- was hosted by
Boris Karloff (1887-1969). Stories adapted for the series included _^<i_Little Lost Robot_^>i_ (1947; rev _^<b_1977_^>b_ chap) by Isaac _^<a_!T268_ASIMOV_^>a_, "The Cold Equations" (1954) by Tom _^<a_!T4745_GODWIN_^>a_, "Impostor" (1953) by Philip
K. _^<a_!T1222_DICK_^>a_ and "Pictures Don't Lie" (1951) by Katherine _^<a_!T3563_MACLEAN_^>a_. Of the two original teleplays used, one was "Botany Bay" by Terry _^<a_!T3140_NATION_^>a_, later to become a driving force behind _^<a_!T1268_DR
WHO_^>a_. _^<i_OOTW_^>i_'s success inspired Shubik to make the similar (but better) _^<a_!T1747_OUT OF THE UNKNOWN_^>a_ series 3 years later, this time for the BBC rather than commercial tv. [JB]_^<n__^<n_
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OUT OF THIS WORLD ADVENTURES
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US _^<a_!T2033_PULP MAGAZINE_^>a_. 2 issues, July 1950 and Dec 1950, published by Avon Periodicals; ed Donald A. _^<a_!T5679_WOLLHEIM_^>a_. #1 included an impressive line-up of authors: A. Bertram _^<a_!T5232_CHANDLER_^>a_, Ray
_^<a_!T997_CUMMINGS_^>a_, Lester _^<a_!T1164_DEL REY_^>a_, Kris _^<a_!T3163_NEVILLE_^>a_, Mack _^<a_!T2576_REYNOLDS_^>a_, William _^<a_!T5932_TENN_^>a_ and A.E. _^<a_!T5333_VAN VOGT_^>a_. The stories, however, were not the authors' best, and
Chandler was the only writer of equivalent stature in #2. An unusual feature was a 32pp _^<a_!T820_COMICS_^>a_ section in colour (#2 of the Canadian edition included a different comics section from that in the US edition). The comics feature proved
not to be the expected selling point, and the magazine flopped. [MJE]_^<n__^<n__^<i_OOTWA _^>i_should not be confused with the UK weird-fiction _^<a_!T1231_DIGEST_^>a_ magazine _^<i_Out of this World_^>i_ (2 issues 1954-5), published by John
US magazine founded by Bret Harte (1836-1902), published in San Francisco by A. Roman & Co., monthly, July 1868-Dec 1875, then again Jan 1883-July 1935. Under the editorship of Millicent W. Shinn a special "Twentieth Century" issue -- June 1890 --
contained articles and essays all directly related to Edward _^<a_!T514_BELLAMY_^>a_'s then much discussed work _^<i_Looking Backward, 2000-1887_^>i_ (_^<b_1888_^>b_). In addition, its 6 fiction contributions were all sf, including an early
translation of Kurd _^<a_!T4196_LASSWITZ_^>a_ (Chapter 1 of "Bis zum Nullpunkt des Seins" [1871], under the title "Pictures out of the Future"). This is the earliest known case of a general magazine devoting an issue exclusively to sf. _^<i_OM_^>i_
is known for its publication of poetry and fiction by Clark Ashton _^<a_!T2264_SMITH_^>a_ in the 1910s and 1920s, and for several "Yellow Peril" stories by little-known authors. [JE/PN]_^<n__^<n_
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OVERPOPULATION
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In 1798 the UK economist Thomas R. Malthus (1766-1834) published his _^<i_Essay on the Principle of Population as it Affects the Future Improvement of Society_^>i_, arguing that a _^<a_!T5303_UTOPIAN_^>a_ situation of peace and plenty would be
impossible to achieve because the tendency of populations, in the absence of the checks of war, famine and plague, to increase exponentially would result in society's continually outgrowing its resources. In the second edition (1803), replying to
criticism, he introduced another hypothetical check: voluntary restriction of population by the exercise of "moral restraint". But Malthus had little faith in the effectiveness of moral restraint, and most modern sf writers agree with
him._^<n__^<n_Although the amended Malthusian argument was (and is) logically unassailable, it was ignored or even attacked by most speculative writers even after it had become known that world population was indeed increasing exponentially.
Richard Whiteing (1840-1928) brought the entire population of the world to the Isle of Wight to prove that anxiety about overpopulation was, as his title stated, _^<i_All Moonshine_^>i_ (_^<b_1907_^>b_). It was not until the 1960s that awareness of
the population problem resurfaced, probably as a consequence of an already-widespread _^<a_!T1370_DYSTOPIAN_^>a_ pessimism (> _^<a_!T1714_OPTIMISM AND PESSIMISM_^>a_), which it then helped to maintain and amplify. The major nonfiction books
involved in the popularization of the issue were _^<i_The Population Bomb_^>i_ (_^<b_1968_^>b_) by Paul Ehrlich and _^<i_The Limits to Growth: A Report for the Club of Rome's Project on the Predicament of Mankind_^>i_ (_^<b_1972_^>b_) by D.H.
Meadows _^<i_et al_^>i_._^<n__^<n_Although _^<a_!T3698_MARVEL SCIENCE STORIES_^>a_ published in its Nov 1951 issue a "symposium" on the subject of whether the world's population should be strategically limited, the question was at that time
unexplored in sf. C.M. _^<a_!T6353_KORNBLUTH_^>a_'s "The Marching Morons" (1951), depicting a future in which the intelligentsia have prudently exercised birth control while the _^<i_lumpenproletariat_^>i_ have multiplied unrestrainedly, is a black
comedy on the theme of eugenics rather than of overpopulation. In Kurt _^<a_!T5402_VONNEGUT_^>a_ Jr's equally black comedy, "The Big Trip up Yonder" (1954), overpopulation is the result of technologies of longevity rather than ordinary increase.
Overpopulated milieux became gradually more evident in 1950s sf. Isaac _^<a_!T268_ASIMOV_^>a_, one of the first sf writers to become anxious about the matter, displayed one such in _^<i_The Caves of Steel_^>i_ (_^<b_1954_^>b_). Frederik
_^<a_!T1937_POHL_^>a_ produced the first of many ironic fantasies of corrective mass homicide in "The Census Takers" (1956); Robert _^<a_!T2216_SILVERBERG_^>a_'s _^<i_Master of Life and Death_^>i_ (_^<b_1957_^>b_) takes the notion of
institutionalized population control more seriously; and Kornbluth's "Shark Ship" (1958) is a melodramatic horror story of overpopulation and resultant _^<a_!T1942_POLLUTION_^>a_. An effectively understated treatment of the theme is J.G.
_^<a_!T378_BALLARD_^>a_'s "Billenium" (1961), which presents a simple picture of the slow shrinkage of personal space. A curiously ambivalent approach is adopted in Lester _^<a_!T1164_DEL REY_^>a_'s _^<i_The Eleventh Commandment_^>i_
(_^<b_1962_^>b_), which begins as a polemic against overfertility but concludes with a _^<a_!T2297_SOCIAL-DARWINIST_^>a_ volte-face. The most powerful attempt to confront the issue squarely and in some detail was Harry _^<a_!T4316_HARRISON_^>a_'s
_^<i__^<a_!B9163_MAKE ROOM! MAKE ROOM!_^>a__^>i_ (_^<b_1966_^>b_), a novel whose thrust was entirely lost when it was filmed as _^<a_!T2328_SOYLENT GREEN_^>a_ (1973). A major novel from India, _^<i_The Wind Obeys Lama Toru_^>i_ (_^<b_1967_^>b_) by
_^<a_!T4239_LEE TUNG_^>a_, quickly followed._^<n__^<n_There are three aspects to the population problem: the exhaustion of resources; the destruction of the environment by pollution; and the social problems of living in crowded conditions. The
first two aspects form the basis of most extrapolations of the problem, including _^<i_A Torrent of Faces_^>i_ (_^<b_1968_^>b_) by James _^<a_!T658_BLISH_^>a_ and Norman L. _^<a_!T4100_KNIGHT_^>a_ and _^<i_The Sheep Look Up_^>i_ (_^<b_1972_^>b_) by
John _^<a_!T5049_BRUNNER_^>a_, and such black comedies as "The People Trap" (1968) by Robert _^<a_!T2164_SHECKLEY_^>a_ and "The Big Space Fuck" (1972) by Vonnegut. The third aspect comes into sharper focus in _^<i__^<a_!B9257_STAND ON
ZANZIBAR_^>a__^>i_ (_^<b_1968_^>b_) by Brunner, _^<i_The World Inside_^>i_ (_^<b_1972_^>b_) by Silverberg, _^<i__^<a_!B9077_334_^>a__^>i_ (_^<b_1972_^>b_) by Thomas M. _^<a_!T1244_DISCH_^>a_ and _^<i_My Petition for More Space_^>i_ (_^<b_1974_^>b_)
by John _^<a_!T4401_HERSEY_^>a_. Because sf writers had not considered the problem until it was imminent, the quest for hypothetical solutions was difficult, and many stories hysterically allege that it is already too late to act effectively. Such
traditional sf myths as the escape into space lack plausibility in the context of a problem so immediate, as demonstrated by such stories as Blish's "We All Die Naked" (1969). Confidence in moral restraint, even aided by birth control (which
Malthus forbore to propose), was so low that sf stories exploring possible solutions almost always concern themselves with the setting up of Draconian prohibitions or with various forms of overt and covert culling. Stories of grotesque mass
homicide include, in addition to those cited above, D.G. _^<a_!T823_COMPTON_^>a_'s _^<i_The Quality of Mercy_^>i_ (_^<b_1965_^>b_), William F. _^<a_!T3229_NOLAN_^>a_'s and George Clayton _^<a_!T3915_JOHNSON_^>a_'s _^<i_Logan's Run_^>i_
(_^<b_1967_^>b_), Leonard C. _^<a_!T3363_LEWIN_^>a_'s _^<i_Triage_^>i_ (_^<b_1972_^>b_), Piers _^<a_!T196_ANTHONY_^>a_'s _^<i_Triple Detente_^>i_ (_^<b_1974_^>b_), Chelsea Quinn _^<a_!T6225_YARBRO_^>a_'s _^<i_Time of the Fourth Horseman_^>i_
(_^<b_1976_^>b_) and Snoo _^<a_!T5646_WILSON_^>a_'s _^<i_Spaceache_^>i_ (_^<b_1984_^>b_). Vonnegut's "Welcome to the Monkey House" (1968) mockingly envisages a future in which reproduction is discouraged by the use of bromides, but most
speculations in this vein are more gruesomely inclined. Suggested solutions not involving mass murder are rare, and not usually to be taken seriously; a notable example is that featured in Philip Jose _^<a_!T1435_FARMER_^>a_'s _^<i_Dayworld_^>i_
(_^<b_1985_^>b_) and its sequels, in which every person is conscious only one day a week, spending the remaining six in suspended animation, thus effectively packing seven people into one person's space. A rare application of Malthusian thinking to
an _^<a_!T98_ALIEN_^>a_ situation is employed in _^<i__^<a_!B9191_THE MOTE IN GOD'S EYE_^>a__^>i_ (_^<b_1974_^>b_) by Larry _^<a_!T3223_NIVEN_^>a_ and Jerry E. _^<a_!T1961_POURNELLE_^>a_, in which a species for whom birth control is impossible has
negative checks built in at the biological level._^<n__^<n_Although the real-world situation grows worse each passing day, the fashionability of overpopulation stories in sf has waned dramatically since 1980, partly in accordance with a general
tendency to skip over the most frightening problems of the _^<a_!T6337_NEAR FUTURE_^>a_ and partly because of the absorption of the population problem into a more general sense of impending ecocatastrophe (> _^<a_!T6576_ECOLOGY_^>a_). Perhaps,
though, the problem does not really deserve to be considered urgent. As Malthus pointed out, the situation is self-correcting; when there are more people than the world can accommodate, the surplus will inevitably die -- one way, or
another._^<n__^<n_An interesting but now quaintly dated anthology accurately reflecting the mood at the height of the panic is _^<i_Voyages: Scenarios for a Ship Called Earth_^>i_ (anth _^<b_1971_^>b_) ed Bob Sauer, published by
_^<a_!T377_BALLANTINE BOOKS_^>a_ for the Zero Population Growth movement. [BS]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T1939_POLITICS_^>a_; _^<a_!T1979_PREDICTION_^>a_; _^<a_!T2300_SOCIOLOGY_^>a_.
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OVERTON, MAX
-T-
[s] > Don _^<a_!T5597_WILCOX_^>a_._^<n__^<n_
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OWEN, DEAN
-T-
Pseudonym -- and eventually perhaps the legal name -- of US writer Dudley Dean McGaughy (1913-1985), whose routine novelizations of horror and sf films are _^<i_The Brides of Dracula_^>i_ * (_^<b_1960_^>b_), _^<i_Konga_^>i_ * (_^<b_1960_^>b_),
_^<i_Reptilicus_^>i_ * (_^<b_1961_^>b_) and _^<i_End of the World_^>i_ * (_^<b_1962_^>b_), based on _^<a_!T1780_PANIC IN YEAR ZERO!_^>a_ (1962), a film in turn based, without acknowledgement, on two short stories by Ward _^<a_!T3039_MOORE_^>a_.
Monarch Books's habit of publishing soft-porn adaptations of chaste movies led to at least one court case (> _^<a_!T2557_REPTILICUS_^>a_). [JC/PN]_^<n__^<n_
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OWINGS, MARK
-T-
(1945- ) US bibliographer and _^<a_!T2261_SMALL-PRESS_^>a_ publisher; with Jack L. _^<a_!T5223_CHALKER_^>a_, he was involved for a period with _^<a_!T2975_MIRAGE PRESS_^>a_, which published his magnum opus, _^<i_The Index to the Science-Fantasy
Publishers_^>i_ (_^<b_1966_^>b_ chap; rev 1966; vastly exp, vt _^<i_The Science-Fantasy Publishers: A Critical and Bibliographic History_^>i_ 1991), all edns with Chalker (_^<i_whom see for further details_^>i_). Other books through Mirage included
_^<i_The Necronomicon: A Study_^>i_ (_^<b_1967_^>b_ chap), solo, and _^<i_The Revised H.P. Lovecraft Bibliography_^>i_ (_^<b_1973_^>b_ chap) with Chalker. With Chalker and Ted Pauls, MO founded Croatan House, through which he published _^<i_Robert
A. Heinlein: A Bibliography_^>i_ (_^<b_1973_^>b_ chap) and _^<i_James H. Schmitz: A Bibliography_^>i_ (_^<b_1973_^>b_ chap). _^<i_Murray Leinster (Will F. Jenkins): A Bibliography_^>i_ (_^<b_1970_^>b_ chap), _^<i_The Electric Bibliograph, Part I:
Clifford D. Simak_^>i_ (_^<b_1971_^>b_ chap), _^<i_Poul Anderson: Bibliography_^>i_ (_^<b_1973_^>b_ chap) and _^<i_A Catalog of Lovecraftiana: The Grill/Binkin Collection_^>i_ (_^<b_1975_^>b_ chap) with Irving Binkin were all published elsewhere.
[JC]_^<n__^<n_
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PADGETT, LEWIS
-T-
> Henry _^<a_!T4144_KUTTNER_^>a_; C.L. _^<a_!T3033_MOORE_^>a_._^<n__^<n_
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PAGE, KATHY
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(1958- ) UK writer whose first novels -- _^<i_Back in the First Person_^>i_ (_^<b_1986_^>b_) and _^<i_The Unborn Dreams of Clara Riley_^>i_ (_^<b_1987_^>b_) -- are associational, though tinged with elements of literary fantasy. _^<i_Island
Paradise_^>i_ (_^<b_1989_^>b_), set 100 years after the Unfought War, promulgates an ambiguous worldwide _^<a_!T5303_UTOPIA_^>a_ whose citizens enjoy lives uncluttered by violence, but are bullied to die soon after they reach 50. Some of the
stories assembled in _^<i_As in Music and Other Stories_^>i_ (coll _^<b_1990_^>b_) are fantasy or sf. KP's style moves from a kind of numb austerity into moments of cautious lyricism. [JC]_^<n__^<n_
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PAGE, NORVELL W.
-T-
(1904-1961) US writer who specialized during the 1930s in hero/villain _^<a_!T2033_PULP MAGAZINES_^>a_, much of his production being novel-length stories for _^<i_The_^<a_!T2366_SPIDER_^>a__^>i_ , featuring the eponymous _^<a_!T5829_SUPERHERO_^>a_.
The _^<b_Spider_^>b_ sequence was created in competition with the somewhat more successful _^<b_Shadow_^>b_ tales, mostly written for _^<i_The Shadow_^>i_ magazine by Walter B. _^<a_!T4688_GIBSON_^>a_. Under the house name Grant
_^<a_!T5751_STOCKBRIDGE_^>a_ NWP wrote more than 100 _^<b_Spider_^>b_ tales, many of whose plots verged into the supernatural and sf; those eventually published in book form include _^<i_Wings of the Black Death_^>i_ (1933; _^<b_1969_^>b_),
_^<i_City of Flaming Shadows_^>i_ 1934; _^<b_1970_^>b_), _^<i_Builders of the Black Empire_^>i_ (1934; _^<b_1980_^>b_), _^<i_City Destroyer_^>i_ (1935; _^<b_1975_^>b_), _^<i_Hordes of the Red Butcher_^>i_ (1935; _^<b_1975_^>b_), _^<i_Master of the
Death Madness_^>i_ (1935; _^<b_1980_^>b_), _^<i_Overlord of the Damned_^>i_ (1935; _^<b_1980_^>b_), _^<i_Death Reign of the Vampire King_^>i_ (1935; _^<b_1975_^>b_) and _^<i_Death and the Spider_^>i_ (1942; _^<b_1975_^>b_). A final _^<b_Spider_^>b_
title, left unpublished when the magazine folded, was reworked with new characters as _^<i_Blue Steel_^>i_ (_^<b_1979_^>b_) as by Spider Page. As Randolph Craig, NWP created two spin-offs from _^<i_The Spider_^>i_,
_^<i_The_^<a_!T3285_OCTOPUS_^>a__^>i_ and _^<i_The_^<a_!T2886_SCORPION_^>a__^>i_ , neither of which extended past a single story; these were subsequently published as _^<i_The Octopus_^>i_ (1939 as "The City Condemned to Hell"; _^<b_1976_^>b_ chap)
and _^<i_The Scorpion_^>i_ (1939 as "Satan's Incubator"; _^<b_1975_^>b_ chap)._^<n__^<n_Under his own name NWP contributed 3 long stories to _^<a_!T5291_UNKNOWN_^>a_ in its first year: "But without Horns" (1940) concerns a _^<a_!T3119_MUTANT_^>a_
who uses his _^<a_!T2021_PSI POWERS_^>a_ to induce religious worship in those who come into contact with him; _^<i_Flame Winds_^>i_ (1939; _^<b_1969_^>b_) and _^<i_Sons of the Bear-God_^>i_ (1939; _^<b_1969_^>b_) are
_^<a_!T5875_SWORD-AND-SORCERY_^>a_ novels whose hero is based on Prester John. During WWII NWP took a post writing government reports; afterwards he worked for the Atomic Energy Commission. [MJE/JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T4740_GODS AND
DEMONS_^>a_.
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PAGE, THOMAS (WALKER IV)
-T-
(1942- ) US writer whose first novel was _^<i_The Hepahaestus Plague_^>i_ (_^<b_1973_^>b_), filmed as _^<a_!T5067_BUG_^>a_ (1975), a tale which starts strongly, with vivid descriptions of the effect of an irruption from underground of a new
species of beetle capable of emitting fire, but which weakens when it begins to deal with a _^<a_!T2880_SCIENTIST_^>a_ who becomes overfascinated with these beetles, which seem to possess a kind of group intelligence. His later novels -- _^<i_The
Spirit_^>i_ (_^<b_1977_^>b_), _^<i_Sigmet Active_^>i_ (_^<b_1978_^>b_) and _^<i_The Man who Would not Die_^>i_ (_^<b_1981_^>b_) -- were borderline sf. [JC]_^<n__^<n_
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-END-
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PAGERY, FRANCOIS
-T-
> Gerard _^<a_!T4093_KLEIN_^>a_._^<n__^<n_
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PAGET, JOHN
-T-
> John _^<a_!T70_AIKEN_^>a_._^<n__^<n_
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PAGETTI, CARLO
-T-
(1945- ) Italian critic, Professor of English Literature at the University of Turin. His study of sf _^<i_Il senso del futuro: la fantascienza nella letteratura Americana_^>i_ ["The Sense of the Future: Science Fiction in American Literature"]
(_^<b_1970_^>b_) is the first serious literary study of sf by an Italian. Subsequent books are _^<i_I Marziani alla corte della Regina Vittoria_^>i_ ["Martians at the Court of Queen Victoria"] (_^<b_1986_^>b_), on H.G. _^<a_!T5528_WELLS_^>a_'s
_^<a_!T2878_SCIENTIFIC ROMANCES_^>a_, and _^<i_Cittadini di un assurdo universo_^>i_ ["Citizens of an Absurd Universe"] (coll _^<b_1989_^>b_), essays on Ambrose _^<a_!T589_BIERCE_^>a_, Katharine _^<a_!T5080_BURDEKIN_^>a_, H.P.
_^<a_!T3465_LOVECRAFT_^>a_, Edgar Allan _^<a_!T1933_POE_^>a_ and Mark _^<a_!T6135_TWAIN_^>a_. He ed _^<i_Nel tempo del sogno_^>i_ ["In the Time of the Dream"] (anth _^<b_1988_^>b_), has had articles on Wells, Philip K. _^<a_!T1222_DICK_^>a_ and
Burdekin translated in _^<a_!T2143_SCIENCE-FICTION STUDIES_^>a_, and is editor of a critical series in book form devoted to sf, _^<b_La citta e le stelle_^>b_ ["The City and the Stars"]. He has published a collection of short stories, mostly
fantasy, _^<i_Favole di lontananza_^>i_ ["Fables of Distance"] (coll _^<b_1989_^>b_). He wrote the entry on _^<a_!T3826_ITALY_^>a_ in this volume. [PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T963_CRITICAL AND HISTORICAL WORKS ABOUT SF_^>a_.
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PAIGE, RICHARD
-T-
> Dean R. _^<a_!T4116_KOONTZ_^>a_._^<n__^<n_
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PAIN, BARRY (ERIC ODELL)
-T-
(1864-1928) UK writer best known for the supernatural tales assembled in volumes like _^<i_Stories in the Dark_^>i_ (coll _^<b_1901_^>b_), and for humorous fiction in which he uneasily condescended to the lower orders. He frequently made superficial
use of sf devices and motifs -- e.g., the _^<a_!T3771_IMMORTALITY_^>a_ of the protagonist of _^<i_Robinson Crusoe's Return_^>i_ (_^<b_1906_^>b_; rev vt _^<i_The Return and Supperizing Reception of Robinson Crusoe of York, Parrot-Tamer_^>i_ 1921)
facilitates the making of a number of satirical points about modern England -- and occasionally a tale depends on these devices. _^<i_An Exchange of Souls_^>i_ (_^<b_1911_^>b_) posits a scientific rationale for the said exchange. The title story of
_^<i_The New Gulliver and Other Stories_^>i_ (coll _^<b_1913_^>b_) takes its hero to a futuristic _^<a_!T5303_UTOPIA_^>a_ in Ultima Thule. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_In a Canadian Canoe_^>i_ (coll _^<b_1891_^>b_); _^<i_Stories and
Interludes_^>i_ (coll _^<b_1892_^>b_); _^<i_The One Before_^>i_ (_^<b_1902_^>b_); _^<i_Three Fantasies_^>i_ (coll _^<b_1904_^>b_); _^<i_The Diary of a Baby: Being a Free Record of the Unconscious Thought of Rosalys Ysolde Smith Aged One Year_^>i_
(_^<b_1907_^>b_); _^<i_The Shadow of the Unseen_^>i_ (_^<b_1907_^>b_) with James _^<a_!T675_BLYTH_^>a_; _^<i_Here and Hereafter_^>i_ (coll _^<b_1911_^>b_); _^<i_Stories in Grey_^>i_ (coll _^<b_1911_^>b_); _^<i_Going Home: Being the Fantastical
Romance of the Girl with Angel Eyes and the Man who Had Wings_^>i_ (_^<b_1921_^>b_); _^<i_Short Stories of To-day and Yesterday_^>i_ (coll _^<b_1928_^>b_).
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PAINE, ALBERT B(IGELOW)
-T-
(1861-1937) US writer best remembered as Mark _^<a_!T6135_TWAIN_^>a_'s confidant and unconscionable expurgator: after Twain's death he published mutilated editions of _^<i_The Mysterious Stranger_^>i_ (_^<b_1916_^>b_) and _^<i_Mark Twain's
Autobiography_^>i_ (_^<b_1924_^>b_). ABP was primarily a writer and editor of children's fiction. _^<i_The Mystery of Evelin Delorme: A Hypnotic Story_^>i_ (_^<b_1894_^>b_) exploits the late 19th century's prurient fascination with split
personalities, the eponymous heroine committing suicide when her socially unacceptable self comes out. In _^<i_The Great White Way_^>i_ (_^<b_1901_^>b_) a warm, _^<a_!T5303_UTOPIAN_^>a_, Antarctic _^<a_!T3460_LOST WORLD_^>a_ peopled by telepaths is
discovered by a businessman and a real-estate developer, who are forced to flee when the latter's intentions are revealed. [JC]_^<n__^<n_
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PAINE, LAURAN (BOSWORTH)
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(1916- ) US rancher and author, extraordinarily prolific in several fields, with nearly 1000 books under his own name and 85 pseudonyms, almost all for _^<a_!T6332_ROBERT HALE LIMITED_^>a_, over 600 of them Westerns and a very few of them sf.
_^<i_This Time Tomorrow_^>i_ (_^<b_1963_^>b_) was published under his own name; further routine _^<a_!T2342_SPACE OPERAS_^>a_ are: _^<i_Focolor_^>i_ (_^<b_1973_^>b_) as by Roy Ainsworthy; _^<i_A Crack in Time_^>i_ (_^<b_1971_^>b_), _^<i_The
Undine_^>i_ (_^<b_1972_^>b_), _^<i_Another View_^>i_ (_^<b_1972_^>b_), _^<i_Bannister's Z-Matter_^>i_ (_^<b_1973_^>b_) and _^<i_The Underground Men_^>i_ (_^<b_1975_^>b_) as by Mark Carrel; and _^<i_The Harbinger_^>i_ (_^<b_1972_^>b_), _^<i_The
Misplaced Psyche_^>i_ (_^<b_1973_^>b_) and _^<i_Kernel of Death_^>i_ (_^<b_1973_^>b_) as by Troy Howard. [JC]_^<n__^<n_
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PAINTER, THOMAS
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(1885-1970) US writer who collaborated with Alexander _^<a_!T4155_LAING_^>a_ (_^<i_whom see for details_^>i_) on _^<i_The Motives of Nicholas Holtz, being the Weird Tale of the Ironville Virus_^>i_ (_^<b_1936_^>b_; vt _^<i_The Glass Centipede,
Retold from the Original Sources_^>i_ 1936 UK). [PN]_^<n__^<n_
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PAIRAULT, PIERRE
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[r] > Stefan _^<a_!T6201_WUL_^>a_._^<n__^<n_
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PAL, GEORGE
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(1908-1980) Hungarian film producer, based in the USA since 1940, best known for his sf and fantasy films, for which he received a _^<a_!T3147_NEBULA_^>a_ Special Award in 1976. Trained as an illustrator in Budapest, GP decided to specialize in
animation, and in 1931 moved to Germany, where he worked at the UFA studios. When Hitler came to power GP went to Paris, where he soon became very successful with a series of animated commercials and entertainment films, his _^<b_Puppetoons_^>b_.
After emigrating to the USA he set up a _^<b_Puppetoon_^>b_ unit at Paramount Studios._^<n__^<n_His first live-action film was _^<i_The Great Rupert_^>i_ (1949) dir Irving Pichel, starring Jimmy Durante and an animated squirrel. He then started
work on _^<a_!T1194_DESTINATION MOON_^>a_ (1950) dir Pichel, which was so successful -- it initiated the sf film boom of the 1950s -- that GP immediately chose another sf subject for his next film, _^<a_!T5571_WHEN WORLDS COLLIDE_^>a_ (1951) dir
Rudolph Mate. This was followed by _^<a_!T5465_WAR OF THE WORLDS_^>a_ (1953) dir Byron _^<a_!T4333_HASKIN_^>a_, _^<i_The Naked Jungle_^>i_ (1954) and _^<a_!T842_CONQUEST OF SPACE_^>a_ (1955), both dir Haskin, _^<a_!T291_ATLANTIS, THE LOST
CONTINENT_^>a_ (1959) and _^<i_The_^<a_!T6018_TIME MACHINE_^>a__^>i_ (1960), both dir GP, and _^<i_The_^<a_!T1964_POWER_^>a__^>i_ (1968) dir Haskin and GP. He also made a number of pure fantasy films during this period, including _^<i_Tom
Thumb_^>i_ (1958) and _^<i_The Seven Faces of Dr Lao_^>i_ (1964). His last film was _^<a_!T1259_DOC SAVAGE: THE MAN OF BRONZE_^>a_ (1974) dir Michael Anderson. He is credited as co-author with Joe Morhaim of _^<i_Time Machine II_^>i_
(_^<b_1981_^>b_), a sequel to H.G._^<a_!T5528_WELLS_^>a_'s _^<i__^<a_!B9070_THE TIME MACHINE_^>a__^>i_ (_^<b_1895_^>b_), seemingly written in connection with a film which was never made._^<n__^<n_GP's dominant interest in special effects often led
to other aspects of his films, including scripts and acting, being neglected. Most of his productions, however, possess a colourful bravura that distracts attention from their shortcomings, and he has on occasion produced memorable images.
(? -? ) UK author of whom nothing is known except that he published several books and collaborated with Ellsworth _^<a_!T1307_DOUGLASS_^>a_ on one story, "The Wheels of Dr Gynochio Gyves" (1899). _^<i_Across the Zodiac: A Story of Adventure_^>i_
(_^<b_1896_^>b_) is a Vernean interplanetary romance which carries its three protagonists (_^<a_!T5355_VERNE_^>a_'s usual complement) through the Solar System in a spaceship captained by a mad scientist. _^<i_The Adventures of a Micro-Man_^>i_
(_^<b_1902_^>b_), one of the tales of miniaturization common to the period (> _^<a_!T4823_GREAT AND SMALL_^>a_), shrinks its protagonists to mites, subjecting them to adventures before they grow again. [JC]_^<n__^<n_
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PALLEN, CONDE B(ENOIST)
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(1858-1929) US writer and editor; in the latter capacity he was one of the editors, with C.G. Herbermann and others, of _^<i_The Catholic Encyclopedia_^>i_ (15 vols _^<b_1907-18_^>b_). _^<i_Crucible Island: A Romance, an Adventure and an
Experiment_^>i_ (_^<b_1919_^>b_), a _^<a_!T1370_DYSTOPIA_^>a_, describes the disillusioning experiences of a young radical who is transported to Schlectland, where socialism has been allowed to run rampant, and who comes to his senses while falling
in love with the daughter of a longtime resident. They escape to the USA. _^<i_En passant_^>i_, points are scored against _^<a_!T1461_FEMINISM_^>a_ and the Irish. In _^<i_Ghost House_^>i_ (_^<b_1928_^>b_) a device is invented which reads details of
a murder from the walls. [JC]_^<n__^<n_
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PALMER, DAVID (REAY)
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(1941- ) US writer whose first story, the impressive "Emergence" for _^<i_ASF_^>i_ in 1981, was expanded as _^<i_Emergence_^>i_ (fixup _^<b_1984_^>b_), attracting some notice for its depiction of a USA suffering the consequences of a nuclear
_^<a_!T4482_HOLOCAUST_^>a_, and for its juvenile heroine, who represents a superior form of _^<i_Homo sapiens_^>i_ and whose transcribed voice dominates the tale; some found her obnoxiously reminiscent of the narrator of Robert A.
_^<a_!T4376_HEINLEIN_^>a_'s _^<i__^<a_!B9167_THE MOON IS A HARSH MISTRESS_^>a__^>i_ (_^<b_1966_^>b_). The novel won the Compton Crook/Stephen Tall Memorial Award (> _^<a_!T6321_AWARDS_^>a_). DP's taste for protagonists whose special gifts
legitimize their behaviour also helped shape his second novel, _^<i_Threshold_^>i_ (_^<b_1985_^>b_), in which the Galaxy is saved. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T2021_PSI POWERS_^>a_; _^<a_!T5830_SUPERMAN_^>a_.
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PALMER, JANE
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(1946- ) UK writer and illustrator who began writing sf with _^<i_The Planet Dweller_^>i_ (_^<b_1985_^>b_) which, with its sequel _^<i_Moving Moosevan_^>i_ (_^<b_1990_^>b_), presents a mildly comic set of parodies of sf tropes in dealing with
alien _^<a_!T3796_INVASIONS_^>a_ and the like. A somewhat greater force of imagination is demonstrated in _^<i_The Watcher_^>i_ (_^<b_1986_^>b_), which features brave young girls, a mysterious survivor from Victorian times, an
_^<a_!T178_ANDROID_^>a_ which longs for human status, and the rulers of the Universe. [JC]_^<n__^<n_
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PALMER, RAYMOND A(RTHUR)
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(1910-1977) US author and editor. His childhood was plagued by serious accidents, and in adulthood he stood only 4ft tall and was hunchbacked, but he never allowed physical stress to affect his career. He was an active sf fan in the 1930s -- he is
credited with publishing the first sf _^<a_!T1428_FANZINE_^>a_, _^<i_The Comet_^>i_, in 1930 -- and was the author of a fair number of stories, beginning with "The Time Ray of Jandra" for _^<a_!T6152_WONDER STORIES_^>a_ in 1930; some later tales
were published as by Henry Gade, Frank Paton, J.W. Pelkie, A.R. _^<a_!T5696_STEBER_^>a_ and Morris J. Steele. After the death of Stanley G. _^<a_!T5506_WEINBAUM_^>a_ in 1935, RAP edited and published a memorial collection of his stories, _^<i_Dawn
of Flame and Other Stories_^>i_ (coll _^<b_1936_^>b_); RAP's only other book was _^<i_Strange Offering_^>i_ (anth _^<i_c_^>i__^<b_1945_^>b_ chap UK) with Otis Adelbert _^<a_!T4094_KLINE_^>a_._^<n__^<n_It was as an editor that RAP would make his
name. When _^<a_!T141_AMAZING STORIES_^>a_ was bought by the Chicago-based _^<a_!T6269_ZIFF-DAVIS_^>a_ in 1938 it was decided to replace T. O'Conor _^<a_!T2254_SLOANE_^>a_ as editor. RAP, a resident of nearby Milwaukee, was recommended for the job
and was appointed. _^<i_AMZ_^>i_ was in a moribund state by this time; RAP made it livelier, albeit with a more overtly juvenile slant, and it revived. He published work by Edgar Rice _^<a_!T5097_BURROUGHS_^>a_ and, in 1939, Isaac
_^<a_!T268_ASIMOV_^>a_'s first story, "Marooned off Vesta"; in the same year he began a companion magazine, _^<a_!T1395_FANTASTIC ADVENTURES_^>a_. The vigour of his early editing work, though evident at the time and in retrospect, was submerged
during the 1940s by the notoriety he achieved with his promotion as fact of the stories of Richard S. _^<a_!T2151_SHAVER_^>a_. RAP claimed that the popularity of the "Shaver Mystery" gave _^<i_AMZ_^>i_ the highest circulation ever achieved by an
_^<a_!T2130_SF MAGAZINE_^>a_. His interest in _^<a_!T2019_PSEUDO-SCIENCE_^>a_ and the occult widened; in 1948, while still employed at Ziff-Davis, he started his own occult magazine, _^<i_Fate_^>i_, which has proved enduringly
successful._^<n__^<n_In 1949 he established his own sf magazine, _^<a_!T1738_OTHER WORLDS_^>a_ (using the editorial pseudonym Robert N. Webster on the first issue), and shortly afterwards he left Ziff-Davis. In 1950 he began a companion magazine,
_^<a_!T3766_IMAGINATION_^>a_, in this case lending his name as a cover for William L. _^<a_!T4264_HAMLING_^>a_, who edited the journal while still officially working for Ziff-Davis. After another severe accident, RAP sold _^<i_Imagination_^>i_ to
Hamling, while Bea Mahaffey edited _^<i_Other Worlds_^>i_. On his recovery in 1953, RAP took over the magazine _^<a_!T5289_UNIVERSE SCIENCE FICTION_^>a_ and started a companion, _^<a_!T2873_SCIENCE STORIES_^>a_; meanwhile _^<i_Other Worlds_^>i_ was
suspended. _^<i_Science Stories_^>i_ was short-lived, and in 1955 RAP changed the title of _^<i_Universe_^>i_ to _^<i_Other Worlds_^>i_, continuing the _^<i_Universe_^>i_ numeration. The magazine began to feature more and more _^<a_!T5271_UFO_^>a_
material, and in 1957 was retitled _^<i_Flying Saucers from Other Worlds_^>i_, RAP deciding to concentrate all his energies on UFOs and the occult. He later explained that the bewildering title changes of his magazines resulted in part from
financial difficulties and the need to throw up smokescreens. A last RAP publication, including UFO and Shaver material, was _^<i_The_^<a_!T4420_HIDDEN WORLD_^>a__^>i_ . [MJE/JC]_^<n__^<n_
(1697-1767) UK lawyer and writer, known mainly for _^<i_The Life and Adventures of Peter Wilkins, a Cornish Man: Relating Particularly his Shipwreck Near the South Pole; his Wonderful Passage Thro' a Subterranean Cavern into a Kind of New World; His
There Meeting with a Gawry or Flying Woman_^>i_ (_^<b_1751_^>b_), which ranks in popularity as an 18th-century imaginary voyage behind only Daniel _^<a_!T1143_DEFOE_^>a_'s _^<i_Robinson Crusoe_^>i_ (_^<b_1719_^>b_) and Jonathan
_^<a_!T5873_SWIFT_^>a_'s _^<i_Gulliver's Travels_^>i_ (_^<b_1726_^>b_). After discovering a race of winged people, Wilkins breeds with them and teaches them about civilization and the arts of war, while himself manufacturing a flying machine in
which he returns, now an old man, to tell his tale. There have been many reprints of the novel, variously titled (e.g., _^<i_The Unrivalled Adventures of that Great Aeronaut and Glum, Peter Wilkins_^>i_ 1802) and almost always cut. [JC]_^<n__^<n_
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PALUMBO, DENNIS (JAMES)
-T-
(1929- ) US writer in whose sf novel, _^<i_City Wars_^>i_ (_^<b_1979_^>b_), set decades after The Levelling when a nuclear _^<a_!T4482_HOLOCAUST_^>a_ flattened the USA, several seceding city-states engage in a Great War which leads, through a
terminal conflict between New York and Chicago, towards ultimate extinction. The cast-members, who include _^<a_!T3120_MUTANTS_^>a_ called "lunks" and a woman called Cassandra, find no solace in the new world. [JC]_^<n__^<n_
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PAN
-T-
> Leslie _^<a_!T545_BERESFORD_^>a_._^<n__^<n_
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PANGBORN, EDGAR
-T-
(1909-1976) US writer whose publishing career began with _^<i_A-100: A Mystery Story_^>i_ (_^<b_1930_^>b_) as by Bruce Harrison, and other non-genre work. He published his first sf story, the famous "Angel's Egg", for _^<i_Gal_^>i_ as late as 1951.
In his first sf novel, _^<i_West of the Sun_^>i_ (_^<b_1953_^>b_), six shipwrecked humans found a _^<a_!T5303_UTOPIAN_^>a_ colony on the planet Lucifer in association with two native species. When the rescue ship eventually arrives, they decide to
stick with the society they have constructed. The reflective conclusion of this novel was typical of EP's work. In _^<i__^<a_!B9192_A MIRROR FOR OBSERVERS_^>a__^>i_ (_^<b_1954_^>b_), which won the 1955 _^<a_!T3788_INTERNATIONAL FANTASY AWARD_^>a_,
Mars has been guiding humanity into the light of civilization for thousands of years, but matters approach crisis in the 20th century when two Martian observers contest for control over a human boy genius, a potential ethical innovator; the good
Martian wins. In both novels-but not always in his career -- EP's gracious literacy usually overcomes a tendency towards cloying sententiousness._^<n__^<n_After two fine non-genre novels -- _^<i_Wilderness of Spring_^>i_ (_^<b_1958_^>b_) and
_^<i_The Trial of Callista Blake_^>i_ (_^<b_1961_^>b_), a moving courtroom drama -- EP created his most successful and sustained work, the _^<b_Davy_^>b_ sequence, comprising, by rough internal chronology, _^<i_The Company of Glory_^>i_ (coll of
linked stories _^<b_1975_^>b_), most of the stories assembled in _^<i_Still I Persist in Wondering_^>i_ (coll _^<b_1978_^>b_), the loosely related _^<i_The Judgment of Eve_^>i_ (see below), and _^<i__^<a_!B9096_DAVY_^>a__^>i_ (fixup
_^<b_1964_^>b_). The sequence is set in a USA devastated by a nuclear _^<a_!T4482_HOLOCAUST_^>a_, whose immediate consequences dominate -- at times harshly -- the first volumes. By the time of Davy's birth, 250 years later, the land has long been
balkanized into feudal enclaves, rather romantically conceived, and Davy's picaresque adventures (which he recounts in retirement) generate what might be called a kind of nostalgia for a livable future, though at the same time it is clear that
Davy, and those he inspires, will necessarily begin to rebuild a more complex world. Set in the same universe, _^<i_The Judgment of Eve_^>i_ (_^<b_1966_^>b_) is less convincingly constructed in mythopoeic terms, as Eve tries to choose among the
lifestyles of her disparate male suitors. The trek on which she consequently sends them, in order to find out the meaning of love, probably represents the deepest of EP's frequent descents into distinctly uneasy bombast. When, however, he was able
to control himself -- the early novels, most of _^<b_Davy_^>b_, and most of the stories in _^<i_Good Neighbors and Other Strangers_^>i_ (coll _^<b_1972_^>b_) sidestep these pitfalls -- the inherent though sometimes selfconsciously rural decency of
his view of life won through. [JC]_^<n__^<n__^<b_About the author:_^>b_ _^<i_Edgar Pangborn: A Bibliography_^>i_ (_^<b_1985_^>b_ chap) by Gordon _^<a_!T540_BENSON_^>a_ Jr._^<b_See also:_^>b_ _^<a_!T102_ALIENS_^>a_; _^<a_!T257_ARTS_^>a_;
_^<a_!T708_CHILDREN IN SF_^>a_; _^<a_!T1686_GALAXY SCIENCE FICTION_^>a_; _^<a_!T3118_MUSIC_^>a_; _^<a_!T3120_MUTANTS_^>a_; _^<a_!T1812_PASTORAL_^>a_.
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PANIC IN YEAR ZERO!
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(vt _^<i_End of the World_^>i_) Film (1962). Alta Vista/AIP. Dir Ray Milland, starring Milland, Jean Hagen, Frankie Avalon, Mary Mitchell. Screenplay Jay Simms, John Morton, story by Simms, based (without credit) on the stories "Lot" (1953) and
"Lot's Daughter" (1954) by Ward _^<a_!T3039_MOORE_^>a_. 92 mins. B/w._^<n__^<n_This cynical, violent film -- one of the earliest examples of the _^<a_!T5849_SURVIVALIST_^>a_ ethos in cinema -- shows how a typical US family have to act to survive
the aftermath of an atomic _^<a_!T4482_HOLOCAUST_^>a_: by trusting no one and shooting first. The father quickly, and almost gleefully, reverts to being a ruthless "natural survivor" who will let nothing stand in the way of getting his family to
safety after Los Angeles has been A-bombed. The escape along roads jammed with panicking traffic is strongly done, but thereafter the film subsides into clumsy adventure in the mountains; it is inferior to, and lacks the sexual reverberations of,
the stories on which it was loosely based, though it retains some biblical parallels. The novelization is _^<i_End of the World_^>i_ * (_^<b_1962_^>b_) by Dean _^<a_!T1754_OWEN_^>a_, and this was also the title of the film's re-release.
[JB/PN]_^<n__^<n_
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PANICO EN EL TRANSIBERIANO
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(vt _^<i_Horror Express_^>i_) Film (1972). Granada/Benmar. Dir Eugenio Martin, starring Peter Cushing, Christopher Lee, Telly Savalas. Screenplay Arnaud d'Usseau, Julian Halevey. 90 mins, cut to 88 mins. Colour._^<n__^<n_In this Spanish/UK
coproduction the year is 1906. The body of an apparent "missing link", dug up in China by an anthropologist (Lee), comes to life on the Trans-Siberian Express and turns out to be an _^<a_!T98_ALIEN_^>a_ who crash-landed on Earth eons ago. He has
the power to transfer his personality from one body to another, and also to absorb people's personalities. The film is slick and amusing, and moves so fast that there is little time to dwell on its absurdities. It came into being only because the
producer bought two model trains that had been used in the epic _^<i_Nicholas and Alexandra_^>i_ (1971) and had a script written around them. The direction is in routine exploitation-movie style, but the lively script has some surprising turns.
[JB/PN]_^<n__^<n_
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PANSHIN, ALEXEI (A.)
-T-
Working name of US writer Alexis Adams Panshin (1940- ), initially most active as an sf fan, in this role doing considerable writing and editing, for which he won a _^<a_!T4551_HUGO_^>a_ in 1967. He began publishing sf stories in 1963 with "Down
to the Worlds of Men" for _^<i_If_^>i_, and soon became an active author of both fiction and criticism. The story "Dark Conception" (1964), as by Louis J.A. Adams, was written in collaboration with Joe L. _^<a_!T4385_HENSLEY_^>a_. AP's short work
has been assembled as _^<i_Farewell to Yesterday's Tomorrow_^>i_ (coll _^<b_1975_^>b_; with "Lady Sunshine and the Magoon of Beatus" added, rev 1976) and _^<i_Transmutations: A Book of Personal Alchemy_^>i_ (coll _^<b_1982_^>b_). His first novel,
_^<i__^<a_!B8981_RITE OF PASSAGE_^>a__^>i_ (1963 _^<i_If_^>i_ as "Down to the Worlds of Men"; exp _^<b_1968_^>b_), which won a 1968 _^<a_!T3147_NEBULA_^>a_, remains his only significant singleton. It is a complex and expertly told novel, making
adroit use of the basic rite-of-passage structure (> _^<a_!T1932_POCKET UNIVERSE_^>a_) that underlies almost all tales set in _^<a_!T4655_GENERATION STARSHIPS_^>a_; the fact that in this instance the asteroid-ship is capable of
_^<a_!T1443_FASTER-THAN-LIGHT_^>a_ speeds may modify the consciousness of the protagonists-they have not been travelling long enough to forget their origins -- but does not make the venue itself seem any less constrictive. The heroine must progress
from childhood into questioning adulthood via a dangerous trial conducted on the colony planet which her ship -- one of eight containing the survivors of the destruction of Earth 150 years earlier -- is currently monitoring. Surviving her ordeal,
she not only comes into her own as a person, but validly (as in the classic model) comes to question the stratified "adult" quasidemocracy of the ship. AP then wrote the _^<b_Anthony Villiers_^>b_ series of _^<a_!T2342_SPACE OPERAS_^>a_ about a
lordly adventurer and his alien companion Torve the Trog: _^<i_Star Well_^>i_ (_^<b_1968_^>b_), _^<i_The Thurb Revolution_^>i_ (_^<b_1968_^>b_) and _^<i_Masque World_^>i_ (_^<b_1969_^>b_). The spoofing of sf's _^<a_!T2033_PULP-MAGAZINE_^>a_
conventions was amusing and without malice and the echoes of Leslie _^<a_!T5245_CHARTERIS_^>a_'s _^<b_Saint_^>b_ were enjoyable, but the series lacked the energy of its predecessor. As a writer of sf, AP then fell relatively
quiet._^<n__^<n__^<i_Heinlein in Dimension: A Critical Analysis_^>i_ (_^<b_1968_^>b_), a comprehensive study of the works of Robert A. _^<a_!T4376_HEINLEIN_^>a_, was perhaps the most thorough and literate book on a US sf writer written to that
date. It breaks its subject's career into the 3 phases (1940-42; 1947-58; after 1958) that every subsequent critic has utilized, arguing the superior merit of the later juveniles, and presenting a case for thinking of his later work as inferior. In
the introduction to his first collection, AP credited his wife, Cory _^<a_!T1783_PANSHIN_^>a_ (married 1969), as his collaborator on some of his stories, and announced that from 1975 all future work would be jointly signed. Much of the Panshins'
joint criticism first appeared in _^<i_Fantastic_^>i_, and some of these pieces, along with others, appeared in _^<i_SF in Dimension_^>i_ (coll _^<b_1976_^>b_; exp 1980) as by both authors, as did _^<i_Mondi interiori_^>i_ ["Interior Worlds"]
(_^<b_1978_^>b_ Italy) which, it is understood, contained material later developed by the Panshins into their Hugo-winning magnum opus, _^<i_The World Beyond the Hill: Science Fiction and the Quest for Transcendence_^>i_ (_^<b_1989_^>b_), a massive
and coherent history of sf whose sustaining argument -- that sf answered the world's need for a transcendent domain through the creation of galactic venues and concerns beyond the "village" of Earth -- made inevitable its narrative halt at the year
1945, just at the end of the _^<a_!T4754_GOLDEN AGE_^>a_ chaired by John W. _^<a_!T5140_CAMPBELL_^>a_ Jr. So clear a cognitive strategy may have engendered a too-ruthless clarity of view -- and an all too simple acceptance of the notion of Progress
-- but the detailed exegeses of critically neglected writers like E.E. "Doc" _^<a_!T2269_SMITH_^>a_ and A.E. _^<a_!T5333_VAN VOGT_^>a_ are very much worth examining. In its close modelling of _^<a_!T4659_GENRE SF_^>a_'s view of its own development,
the book was exemplary; by virtue of writing it the Panshins became US sf's house historians. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T708_CHILDREN IN SF_^>a_; _^<a_!T963_CRITICAL AND HISTORICAL WORKS ABOUT SF_^>a_; _^<a_!T1372_FABULATION_^>a_;
_^<a_!T1678_GALACTIC EMPIRES_^>a_; _^<a_!T1795_PARANOIA_^>a_; _^<a_!T2104_SENSE OF WONDER_^>a_; _^<a_!T2300_SOCIOLOGY_^>a_; _^<a_!T2348_SPACESHIPS_^>a_; _^<a_!T5683_WOMEN AS PORTRAYED IN SCIENCE FICTION_^>a_.
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PANSHIN, CORY (SEIDMAN)
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(1947- ) US writer and critic, collaborator with her husband, Alexei _^<a_!T1782_PANSHIN_^>a_ (_^<i_whom see for details_^>i_), from before 1975. She shared a nonfiction _^<a_!T4551_HUGO_^>a_ with him for _^<i_The World Beyond the Hill: Science
Fiction and the Quest for Transcendence_^>i_ (_^<b_1989_^>b_). Her interest in Sufism and other philosophies of transcendence suffuses, in particular, their joint criticism. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T2104_SENSE OF WONDER_^>a_.
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PANTROPY
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This useful item of sf _^<a_!T5942_TERMINOLOGY_^>a_ was coined by James _^<a_!T658_BLISH_^>a_ in the stories later melded together as _^<i__^<a_!B9127_THE SEEDLING STARS_^>a__^>i_ (fixup _^<b_1957_^>b_). Blish's view was that in humanity's
_^<a_!T811_COLONIZATION OF OTHER PLANETS_^>a_ (_^<i_which see for further discussion_^>i_), we must either change the planet to make it habitable (_^<a_!T5945_TERRAFORMING_^>a_) or change humanity itself to fit it for survival in an alien
environment (pantropy). The Greek root of the word means "turning everything". Pantropy is usually undertaken by some form of biological engineering (> _^<a_!T4657_GENETIC ENGINEERING_^>a_). An ugly pantropy fable is "Between the Dark and the
Daylight" (1958 _^<i_Infinity_^>i_) by David C. Hodgkins (Algis _^<a_!T5064_BUDRYS_^>a_), reprinted as by Budrys in _^<i_Budrys' Inferno_^>i_ (coll _^<b_1963_^>b_; vt _^<i_The Furious Future_^>i_ 1964 UK), in which generations of humans are
genetically rendered ever more inhuman to fit them for violent competition with murderous alien life. _^<i__^<a_!B9090_MAN PLUS_^>a__^>i_ (_^<b_1976_^>b_) by Frederik _^<a_!T1937_POHL_^>a_, a novel that tackles several pantropy issues, prepares a
man for living on _^<a_!T3677_MARS_^>a_ by changing him into a _^<a_!T1017_CYBORG_^>a_. [PN]_^<n__^<n_
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PAPE, RICHARD (BERNARD)
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(1916- ) UK writer of various books including his bestselling wartime autobiography, _^<i_Boldness Be My Friend_^>i_ (_^<b_1953_^>b_), and a number of thrillers. In _^<i_And So Ends the World ..._^>i_ (_^<b_1961_^>b_) arrogant mankind is given a
severe warning from high-up cosmic sources -- the Moon disappears -- and comes to its senses. The novel is more mysticism than sf. [JC]_^<n__^<n_
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PAPERBACK-BOOK FORMAT
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> _^<a_!T1231_DIGEST_^>a_._^<n__^<n_
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PAPER TIGER
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> Roger _^<a_!T1123_DEAN_^>a_._^<n__^<n_
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PAPILIAN, VICTOR
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[r] > _^<a_!T2683_ROMANIA_^>a_._^<n__^<n_
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PAPP, DESIDERIUS
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(1897- ) German writer whose nonfiction _^<i_Zukunft und Ende der Welt_^>i_ (_^<b_1932_^>b_; trans H.J. Stenning as _^<i_Creation's Doom_^>i_ _^<b_1934_^>b_ UK) assesses the various ways in which the world might end, in a manner which was
influential on contemporary sf. It has been incorrectly referred to in some bibliographies as a work of fiction. [JC]_^<n__^<n_
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PARABELLUM
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> Ferdinand _^<a_!T4812_GRAUTOFF_^>a_._^<n__^<n_
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PARAL, VLADIMIR
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[r] > _^<a_!T1020_CZECH AND SLOVAK SF_^>a_._^<n__^<n_
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PARALLAX VIEW, THE
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> John _^<a_!T1598_FRANKENHEIMER_^>a_; _^<a_!T2681_ROLLOVER_^>a_._^<n__^<n_
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PARALLEL EVOLUTION
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> _^<a_!T6717_EVOLUTION_^>a_._^<n__^<n_
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PARALLEL WORLDS
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A parallel world is another universe situated "alongside" our own, displaced from it along a spatial fourth _^<a_!T1239_DIMENSION_^>a_ (parallel worlds are often referred to in sf as "other dimensions"). Although whole universes may lie parallel in
this sense, most stories focus on parallel Earths. The parallel-world idea forms a useful framework for the notion of historical _^<a_!T131_ALTERNATE WORLDS_^>a_, and is often used in this way. Most of the "secondary worlds" of modern
_^<a_!T1412_FANTASY_^>a_ are explicit or implicit parallel worlds. Notable early sf extrapolations include J.H. _^<a_!T2696_ROSNY _^>a_aine's "Un autre monde" (1895; trans as "Another World" 1962) and two stories by H.G. _^<a_!T5528_WELLS_^>a_:
"The Strange Case of Davidson's Eyes" (1895) and "The Plattner Story" (1896)._^<n__^<n_The idea that other worlds lie parallel to our own and occasionally connect with it is one of the oldest speculative ideas in literature and legend; examples
range from Fairyland to the "astral plane" of Spiritualists and mystics. There are two basic folkloristic themes connected with the notion; in one, an ordinary human is translocated into a fantasy land where s/he undergoes adventures and may find
the love and fulfilment that remain beyond reach on Earth; in the other, a communication or visitation from the other world affects the life of an individual within this world, often injuring or destroying that person. Both patterns are very
evident in modern imaginative fiction, shaping whole subgenres. Much of the overlap between sf, _^<a_!T1412_FANTASY_^>a_ and _^<a_!T4509_HORROR_^>a_ fiction-which makes clear-cut _^<a_!T1142_DEFINITIONS_^>a_ of the genres impossible -- occurs by
virtue of the promiscuous use of parallel worlds. The first pattern was modernized by Edgar Rice _^<a_!T5097_BURROUGHS_^>a_, A. _^<a_!T2912_MERRITT_^>a_ and other _^<a_!T2033_PULP-MAGAZINE_^>a_ writers before the founding of _^<a_!T141_AMAZING
STORIES_^>a_, and was easily dressed up with pseudo-scientific jargon; a notable early example is _^<i_The Blind Spot_^>i_ (1921; _^<b_1951_^>b_) by Homer Eon _^<a_!T1534_FLINT_^>a_ and Austin _^<a_!T6356_HALL_^>a_. Henry _^<a_!T4144_KUTTNER_^>a_
and C.L. _^<a_!T3033_MOORE_^>a_ wrote several Merrittesque _^<a_!T2870_SCIENCE-FANTASY_^>a_ novels after this fashion, notably _^<i_The Dark World_^>i_ (1946; _^<b_1965_^>b_) and _^<i_Beyond Earth's Gates_^>i_ (1949 _^<i_Startling Stories_^>i_ as
"The Portal in the Picture"; _^<b_1954_^>b_ dos). Among the first writers to co-opt parallel worlds for straightforward sf melodrama were Edmond _^<a_!T4258_HAMILTON_^>a_, in "Locked Worlds" (1929), and Murray _^<a_!T3326_LEINSTER_^>a_, in "The
Fifth-Dimensional Catapult" (1931) and its sequels. The idea was frequently used in humorous fashion by L. Sprague _^<a_!T1133_DE CAMP_^>a_ and others in _^<a_!T5292_UNKNOWN WORLDS_^>a_. The second pattern, in which entities from a parallel world
impinge on ours, was sciencefictionalized by William Hope _^<a_!T4459_HODGSON_^>a_ in _^<i_The Ghost Pirates_^>i_ (_^<b_1909_^>b_); his earlier _^<i_The House on the Borderland_^>i_ (_^<b_1908_^>b_) uses the landscapes of a parallel world to map
and symbolically display the psyche of its protagonist. The renewal of such traditional horror motifs by sf imagery was taken further by H.P. _^<a_!T3465_LOVECRAFT_^>a_ in a manner imitated by his many disciples, including Frank Belknap
_^<a_!T3430_LONG_^>a_ and Donald _^<a_!T5450_WANDREI_^>a_._^<n__^<n_The early _^<a_!T4659_GENRE-SF_^>a_ writers were slow to develop more extravagant speculative possibilities, although one notable attempt to describe a parallel world with
different physical laws from those holding in our own continuum was made by Clark Ashton _^<a_!T2264_SMITH_^>a_ in "The Dimension of Chance" (1932); this notion was eventually developed much more carefully and elaborately by Isaac
_^<a_!T268_ASIMOV_^>a_ in _^<i__^<a_!B9117_THE GODS THEMSELVES_^>a__^>i_ (_^<b_1972_^>b_). Raymond F. _^<a_!T3934_JONES_^>a_'s _^<i_Renaissance_^>i_ (1944; _^<b_1951_^>b_; vt _^<i_Man of Two Worlds_^>i_) is straightforward, and Fritz
_^<a_!T3322_LEIBER_^>a_'s use of parallel alternative worlds in _^<i_Destiny Times Three_^>i_ (1945; _^<b_1957_^>b_) is quantitatively restrained. It was in the 1950s and 1960s that exploration of the quirkier corollaries of the basic notion really
got under way. Clifford D. _^<a_!T2218_SIMAK_^>a_ imagined a more extensive series of Earths -- all empty of humanity and thus available for colonization and exploitation -- in _^<i_Ring Around the Sun_^>i_ (_^<b_1953_^>b_) and examined the hazards
of trading between parallel worlds in "Dusty Zebra" (1954) and "The Big Front Yard" (1958), as did Alan E. _^<a_!T3253_NOURSE_^>a_ in "Tiger by the Tail" (1951). Gordon R. _^<a_!T1227_DICKSON_^>a_'s _^<i_Delusion World_^>i_ (1955 _^<i_Science
Fiction Stories_^>i_ as "Perfectly Adjusted"; exp _^<b_1961_^>b_) features a city simultaneously occupied by two societies, each invisible to the other._^<n__^<n_A common variant of the theme is that of a multiplicity of almost-identical worlds
existing in parallel: alternate worlds in which there has been no significant change. Examples include "The Celestial Plot" (1948; trans 1964) by Adolfo _^<a_!T614_BIOY CASARES_^>a_ and "Next Door, Next World" (1961) by Robert Donald Locke. In
Robert _^<a_!T2216_SILVERBERG_^>a_'s "Trips" (1974) transuniversal tourists wander aimlessly through worlds similar and dissimilar. Parallel worlds often feature eccentric societies, sometimes for purposes of _^<a_!T2812_SATIRE_^>a_, and sometimes
equally eccentric patterns of _^<a_!T6717_EVOLUTION_^>a_ -- like that in Stephen _^<a_!T4956_BOYETT_^>a_'s _^<i_The Architect of Sleep_^>i_ (_^<b_1986_^>b_), where raccoons have become the dominant technological species. Bob _^<a_!T2153_SHAW_^>a_
has used the notion cleverly in two original novels: _^<i_The Two-Timers_^>i_ (_^<b_1968_^>b_), in which a man who has lost his wife inadvertently creates a parallel world in which she still exists, and _^<i_A Wreath of Stars_^>i_ (_^<b_1976_^>b_),
in which two worlds made of different species of matter co-exist until the approach of an anti-neutrino star shifts the orbit of one of them. A different kind of parallellism is featured in a group of stories in which "timeslips" bring different
eras of earthly history into geographical proximity -- a motif featured in "Sidewise in Time" (1934) by Leinster and _^<i_October the First is Too Late_^>i_ (_^<b_1966_^>b_) by Fred _^<a_!T4532_HOYLE_^>a_. The idea that parallel worlds might
include literal versions of fictional worlds as well as alternative histories is proposed in _^<i_"The Number of the Beast"_^>i_ (_^<b_1980_^>b_) by Robert A. _^<a_!T4376_HEINLEIN_^>a_ and more sensitively developed in _^<i_Frankenstein
Unbound_^>i_ (_^<b_1973_^>b_) by Brian W. _^<a_!T87_ALDISS_^>a_. Larry _^<a_!T3223_NIVEN_^>a_'s "All the Myriad Ways" (1969) deals tentatively with the psychological implications of multiple universes. Richard _^<a_!T925_COWPER_^>a_'s
_^<i_Breakthrough_^>i_ (_^<b_1967_^>b_) extrapolates the psychological attractions of the concept, as do Christopher _^<a_!T1990_PRIEST_^>a_'s stories of the _^<b_Dream Archipelago_^>b_, including _^<i_The Affirmation_^>i_
(_^<b_1981_^>b_)._^<n__^<n_Modern uses of the theme usually imagine an infinite number of parallel worlds extending in a manifold which contains all possible Earthly histories and perhaps all possible physical universes. The notion that the
perceived Universe is simply one single aspect of such a "multiverse" has been lent credence by the "many-worlds interpretation" of the enigmas of quantum mechanics propounded by, for example, John Wheeler, and popularized in nonfiction books by
writers like Paul _^<a_!T1090_DAVIES_^>a_ and John _^<a_!T4864_GRIBBIN_^>a_. Keith _^<a_!T4206_LAUMER_^>a_'s _^<i_Worlds of the Imperium_^>i_ (_^<b_1962_^>b_) and its sequels deploy this kind of infinite series of parallel worlds in connection with
alternative histories, as do Richard C. _^<a_!T2905_MEREDITH_^>a_'s _^<i_At the Narrow Passage_^>i_ (_^<b_1973_^>b_) and its sequel and Frederik _^<a_!T1937_POHL_^>a_'s _^<i_The Coming of the Quantum Cats_^>i_ (_^<b_1986_^>b_). Certain
philosophical implications of the many-worlds interpretation are explored more-or-less seriously in a number of sf novels, including Aldiss's _^<i_Report on Probability A_^>i_ (_^<b_1968_^>b_), Graham Dunstan _^<a_!T3686_MARTIN_^>a_'s
_^<i_Time-Slip_^>i_ (_^<b_1986_^>b_), Greg _^<a_!T6594_EGAN_^>a_'s _^<i_Quarantine_^>i_ (_^<b_1992_^>b_) and Pohl and Jack _^<a_!T5629_WILLIAMSON_^>a_'s _^<i_The Singers of Time_^>i_ (_^<b_1991_^>b_)._^<n__^<n_Modern fantasy novels -- including
most of those in the intermediate science-fantasy category -- sometimes draw upon the legacy of sf recomplication in order to invigorate their use of parallel worlds. Notable examples include Roger _^<a_!T6264_ZELAZNY_^>a_'s _^<b_Amber_^>b_ series
and Michael _^<a_!T3030_MOORCOCK_^>a_'s many _^<a_!T5875_SWORD-AND-SORCERY_^>a_ series, which are all bound together (with some sf novels) within a hypothetical multiverse. [BS]_^<n__^<n_
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PARANOIA
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Paranoia is common in sf; schizophrenia (which we also cover here, although aware that it is a wholly different condition) is comparatively rare. Both are also discussed in rather a different context under _^<a_!T2023_PSYCHOLOGY_^>a_._^<n__^<n_It is
obviously necessary to distinguish between sf stories about paranoia (a fairly small group) and sf stories whose implicit attitude is paranoid (an extremely large group); most stories discussed below belong to the latter group. Paranoia has been
defined as "a mental disorder characterized by systematic delusions, as of grandeur or, especially, persecution". The delusions (> _^<a_!T1851_PERCEPTION_^>a_) of persecution that appear to lie behind much sf were discussed in a forum of the
_^<a_!T2147_SCIENCE FICTION WRITERS OF AMERICA_^>a_, and 3 papers were published together as a pamphlet, _^<i_Paranoia and Science Fiction_^>i_ (coll _^<b_1967_^>b_ chap), the contributors being Alexei _^<a_!T1782_PANSHIN_^>a_, James
_^<a_!T658_BLISH_^>a_ and also Joanna _^<a_!T2741_RUSS_^>a_, who argued that, historically, the paranoid element in sf stems largely from its roots in the _^<a_!T4780_GOTHIC_^>a_. It is fundamental to the gothic that none of us is safe; that it is
the nature of the Universe to contain menaces that may at any time, arbitrarily, threaten us. Such menaces play a prominent role in, for example, the stories of Ambrose _^<a_!T589_BIERCE_^>a_, notably "The Damned Thing" (1893), a tale of a ravening
invisible monster._^<n__^<n_The _^<a_!T2033_PULP MAGAZINES_^>a_, especially _^<a_!T5512_WEIRD TALES_^>a_, but also the early _^<a_!T2130_SF MAGAZINES_^>a_, were fond of such stories. H.P. _^<a_!T3465_LOVECRAFT_^>a_ is an almost perfect example of a
writer whose work exhibits a systematic paranoid frame of reference; basic to his work was the idea that adherents of cults formed to worship malign gods are conspiring throughout the world to bring those gods physically back to rule us and feed
from us. There was no lack of paranoid stories at the sf end of the spectrum, either; most stories of _^<a_!T3796_INVASION_^>a_, whether by foreigners or _^<a_!T102_ALIENS_^>a_, fall into this category. Paranoia is fundamental, too, to whole
classes of _^<a_!T3609_MAINSTREAM_^>a_ fiction, especially _^<a_!T18_ABSURDIST_^>a_ fiction (often bordering on sf); Franz _^<a_!T3963_KAFKA_^>a_ wrote little else but stories of this kind._^<n__^<n_However, one should remember the old dictum that
"the paranoid is not entirely wrong". Invasions, after all, do take place; people are sometimes persecuted (though seldom turned into beetles as in Kafka's famous story); the Universe, as simple observation shows, does indeed contain menaces. Also,
one should not mistake the writer for the tale; paranoid stories are not necessarily written by paranoiacs, though some _^<a_!T4659_GENRE-SF_^>a_ writers may have been consciously feeding the perceived paranoia of their readership._^<n__^<n_Early
paranoid stories in the sf magazines include "Parasite" (1935) by Harl _^<a_!T5375_VINCENT_^>a_, where invading aliens attach themselves to us and control our thoughts, and "The Earth-Owners" (1931) by Edmond _^<a_!T4258_HAMILTON_^>a_, one of the
first examples of a theme later to be enormously popular in sf: that Earth is already invaded and we are manipulated by aliens in disguise. Charles _^<a_!T1569_FORT_^>a_ formulated this paranoid insight pithily: "We are property." Many sf writers
took the hint; e.g., Eric Frank _^<a_!T2743_RUSSELL_^>a_ in _^<i_Sinister Barrier_^>i_ (1939; _^<b_1943_^>b_; rev 1948) and _^<i_Dreadful Sanctuary_^>i_ (1948; _^<b_1951_^>b_; rev 1963). A common variant on the theme, which must have won sf
countless adherents among genuine paranoiacs, is that many people in mental hospitals are there because they have uncovered the conspiracy, but nobody will listen; an example is "Come and Go Mad" (1949) by Fredric _^<a_!T5028_BROWN_^>a_, where it
turns out that Earth is controlled by an intelligent _^<a_!T4447_HIVE-MIND_^>a_ (of ants); the man who uncovers the truth is cold-bloodedly driven mad. _^<a_!T141_AMAZING STORIES_^>a_ improved its circulation very considerably in the years 1945-7
by publishing a series of purportedly fact-based stories by Richard S. _^<a_!T2151_SHAVER_^>a_ showing how we are all manipulated by malign underground _^<a_!T2646_ROBOTS_^>a_._^<n__^<n_Conspiracy theories of the Shaver variety are extremely
popular among propagandists of the _^<a_!T2019_PSEUDO-SCIENCES_^>a_, many of whom themselves have believed that there is a conspiracy (or "cover-up", to use the prevalent terminology) among the scientific community to suppress their findings -- a
phenomenon discussed by Martin _^<a_!T4611_GARDNER_^>a_ in his _^<i_In the Name of Science_^>i_ (_^<b_1952_^>b_; rev vt _^<i_Fads and Fallacies in the Name of Science_^>i_ 1957) and by other writers, notably John T. _^<a_!T2240_SLADEK_^>a_ in
_^<i_The New Apocrypha_^>i_ (_^<b_1973_^>b_), which has many interesting observations about the relationship of the pseudo-sciences themselves to paranoia. Among the more popular pseudo-science cults are the groups believing we are being secretly
observed by _^<a_!T5273_UFOS_^>a_ and/or endorsing Erich _^<a_!T5397_VON DANIKEN_^>a_'s belief that human progress is the result of alien intervention. Cult beliefs about UFOs are very widespread, as witness the popularity of the tv series
_^<a_!T2007_PROJECT UFO_^>a_ (1978-79) and 1980s tale like W. Allen _^<a_!T4283_HARBINSON_^>a_'s _^<b_Projekt Saucer_^>b_ series (_^<b_1980-91_^>b_) or Whitley _^<a_!T5794_STRIEBER_^>a_'s _^<i_Communion_^>i_ (_^<b_1987_^>b_) and
_^<i_Transformation: The Breakthrough_^>i_ (_^<b_1988_^>b_), the latter purporting to be true accounts of the author's and then his son's abduction by aliens. The Strieber books were best-sellers; _^<i_Project UFO_^>i_ was the only sf drama series
ever to make it into the top 20 of US tv programmes (in terms of number of viewers)._^<n__^<n_An sf subgenre that fascinatingly mixes delusions of grandeur with delusions of persecution is the tyrannized-_^<a_!T5830_SUPERMAN_^>a_ story, especially
associated with A.E. _^<a_!T5333_VAN VOGT_^>a_, whose _^<i_oeuvre_^>i_ probably contains more systematic conspiracy theories than that of any other writer in sf. Notable examples are _^<i__^<a_!B9256_SLAN_^>a__^>i_ (1940; _^<b_1946_^>b_; rev 1951)
and _^<i_The World of A_^>i_ (1945; rev _^<b_1948_^>b_; rev 1970; vt _^<i_The World of Null-A_^>i_). Similarly paranoid patterns occur in most of Keith _^<a_!T4206_LAUMER_^>a_'s supermen stories of the 1960s and 1970s. Van Vogt was later to be
associated with L. Ron _^<a_!T4538_HUBBARD_^>a_'s _^<a_!T1220_DIANETICS_^>a_ movement, whose appeal was in part to the same mixture: the desire to be superior and the fear of being different. Hubbard himself wrote one of the most forceful paranoia
stories in pulp sf: _^<i_Fear_^>i_ (1940; _^<b_1957_^>b_; in _^<i_Typewriter in the Sky/Fear_^>i_, coll _^<b_1951_^>b_). This is a story both paranoid and about paranoia: it can be taken either as the case history of a psychotic killer or as a
demonstration of demonic manipulation; in either event, a vivid and frightening series of delusions is projected._^<n__^<n_"Dreams are Sacred" (1948) by Peter Phillips (1921- ) has a telepath entering the mind of a paranoid in order to destroy
his grandiose fantasies at root, but perhaps the most interesting study of a delusory framework is the one presented as fact in Robert _^<a_!T3394_LINDNER_^>a_'s _^<i_The Fifty-Minute Hour_^>i_ (coll _^<b_1955_^>b_; vt _^<i_The Jet-Propelled
Couch_^>i_ UK), a case-study of an sf fan who believes himself to be living in a _^<a_!T2342_SPACE OPERA_^>a_, and merely dreaming reality._^<n__^<n_The other major paranoid variant is the story of the alien menace which can either change its shape
or attach itself as a parasite to a human (> _^<a_!T1797_PARASITISM AND SYMBIOSIS_^>a_); either way, the fear is that the inhuman result looks just like us. This is an image from the very heart of paranoia: the idea that our friends, sweethearts or
even parents could be mysteriously _^<i_other_^>i_, hateful, dangerous and to be destroyed. In real life such delusions have led to murder; they are disturbingly popular in sf. The most celebrated early example is John W. _^<a_!T5140_CAMPBELL_^>a_
Jr's story "Who Goes There?" (1938) -- filmed twice, the remake _^<i_The_^<a_!T5973_THING_^>a__^>i_ (1982) more closely and unnervingly duplicating Campbell's original theme as the comradeship of a research installation crumbles into terrible
isolation -- but the heyday of stories of this kind was the 1950s. This was the period of the Cold War, when almost daily propaganda encouraged US citizens to believe that a secret conspiracy of communists and homosexuals was preparing to subvert
the American way of life; it was the time of the McCarthy hearings, and of the evangelical religious revival largely led by Billy Graham; paranoia was in the air. The frightening thing about communists and homosexuals, as everyone knew, was that
from the outside they looked just like us. Hence, in part, the unprecedented popularity of stories about aliens who looked like humans, especially in the _^<a_!T726_CINEMA_^>a_ (_^<i_see also_^>i_ _^<a_!T3011_MONSTER MOVIES_^>a_), including such
films as _^<a_!T3769_I MARRIED A MONSTER FROM OUTER SPACE_^>a_ (1958), _^<a_!T3794_INVADERS FROM MARS_^>a_ (1953), _^<a_!T3802_INVASION OF THE BODY SNATCHERS_^>a_ (1956) and _^<a_!T3828_IT CAME FROM OUTER SPACE_^>a_ (1953). (Over a decade later the
theme entered tv in the form of the series _^<i_The_^<a_!T3793_INVADERS_^>a__^>i_ , and there was a resurgence of the genre in the 1980s, with films like _^<a_!T5970_THEY LIVE_^>a_ [1988] and _^<a_!T2299_SOCIETY_^>a_ [1989], and tv shows like
_^<a_!T5465_WAR OF THE WORLDS_^>a_ [1988-90].) In book form the best known example is Robert A. _^<a_!T4376_HEINLEIN_^>a_'s _^<i_The Puppet Masters_^>i_ (_^<b_1951_^>b_), where the analogy between the alien group mind and totalitarian communism was
made overtly._^<n__^<n_The most notable exponents of paranoia in written sf were Richard _^<a_!T3718_MATHESON_^>a_, Robert _^<a_!T2164_SHECKLEY_^>a_ and Philip K. _^<a_!T1222_DICK_^>a_, Matheson in almost everything he wrote, especially his
filmscripts for _^<i_The_^<a_!T3777_INCREDIBLE SHRINKING MAN_^>a__^>i_ (1957) and, later, _^<i_Duel_^>i_ (1971). (The latter film, like _^<a_!T1173_DEMON SEED_^>a_ [1977], falls into the category of machines-are-out-to-get-us stories, much used by
the writer and film director Michael _^<a_!T954_CRICHTON_^>a_.) Sheckley's style is more rueful and ironic; he pokes fun at paranoia even while most of his stories -- which are clear demonstrations of his belief that the universe is out to get us
-- invoke it. By far the most important writer in this area has been Dick, in whose novels the basic question is often: "To what extent is a paranoid (or schizophrenic) frame of reference delusory, and to what extent is reality itself a mere
construct erected defensively by the mind in order to maintain sanity?" Several of Dick's stories take place, in effect, in _^<a_!T131_ALTERNATE WORLDS_^>a_ actually projected by paranoid consciousnesses. Three novels relevant to the paranoia theme
are _^<i_Eye in the Sky_^>i_ (_^<b_1957_^>b_), _^<i_Clans of the Alphane Moon_^>i_ (_^<b_1964_^>b_) and, most powerfully, _^<i__^<a_!B9152_THE THREE STIGMATA OF PALMER ELDRITCH_^>a__^>i_ (_^<b_1965_^>b_). Dick's novels are amazing in the emotional
intensity of their psychodramas and their cavalier attitude towards reality, but dissolution of all meaning is (mostly) held at bay by the calm and wit of their narrative voice. Delusory systems that can in fact be entered and regarded as real are
quite common in sf, especially among writers like Heinlein for whom solipsism is an important theme; an outstanding example is Richard _^<a_!T3553_MCKENNA_^>a_, whose 12 sf stories published 1958-68 project imaginary worlds as real over and over
again; it is not clear whether this sort of story more closely approaches paranoia or schizophrenia. One paranoid _^<i_idee fixe_^>i_ of the period turns up frequently, notably in stories by Frederik _^<a_!T1937_POHL_^>a_, with C.M.
_^<a_!T6353_KORNBLUTH_^>a_ or solo: that a small group of very selfish near-immortals is secretly manipulating society behind the scenes. Examples are _^<i_Gladiator-at-Law_^>i_ (_^<b_1955_^>b_), by both, and _^<i_Drunkard's Walk_^>i_
(_^<b_1960_^>b_), by Pohl._^<n__^<n_UK examples of paranoia stories from the 1950s are less common, though _^<i_Alien Life_^>i_ (_^<b_1954_^>b_) by E.C. _^<a_!T6112_TUBB_^>a_, in which a starship crew is taken over by alien parasites with the idea
of invading Earth, would certainly qualify. This idea has been used several times since, as in the film _^<a_!T5947_TERRORE NELLO SPAZIO_^>a_ (1965; vt _^<i_Planet of the Vampires_^>i_) and _^<a_!T2450_QUATERMASS II_^>a_ (1957; vt _^<i_Enemy from
Space_^>i_). (Most sf/_^<a_!T4509_HORROR_^>a_ films fall into the paranoia category, _^<a_!T3206_NIGHT OF THE LIVING DEAD_^>a_ [1968], _^<i_Demon Seed_^>i_ and _^<a_!T5368_VIDEODROME_^>a_ [1982] being good examples.)_^<n__^<n_The hysterical edge of
1950s paranoid sf did not dissipate as some of the worst Cold War fears subsided in the 1960s, but it did change its nature, when a different (and actual) war took place involving the USA, whose armed forces fought in Vietnam through the second
half of the decade, not finally withdrawing until 1975. The assassination of John F. Kennedy in 1963 also heightened feelings of paranoia. Elements of division in US society were reflected in a series of darkly paranoid films about
_^<a_!T1939_POLITICS_^>a_ directed by John _^<a_!T1598_FRANKENHEIMER_^>a_, with _^<i_The_^<a_!T3632_MANCHURIAN CANDIDATE_^>a__^>i_ (1962), _^<i_Seven Days in May_^>i_ (1964) and _^<a_!T2090_SECONDS_^>a_ (1966); the exiled left-wing director Joseph
Losey (1909-1984), a victim of Hollywood politics in the 1950s, made _^<i_The_^<a_!T1044_DAMNED_^>a__^>i_ (1961) in the UK; Stanley _^<a_!T4135_KUBRICK_^>a_ added new ingredients to the paranoid brew with _^<a_!T1267_DR STRANGELOVE OR: HOW I
LEARNED TO STOP WORRYING AND LOVE THE BOMB_^>a_ (1964), and Theodore Flicker both spoofed and endorsed conspiracy theorizing with _^<i_The_^<a_!T1985_PRESIDENT'S ANALYST_^>a__^>i_ (1967). Also extremely relevant is the UK tv series
_^<i_The_^<a_!T1996_PRISONER_^>a__^>i_ (1968), in which a political prisoner is subjected to ever more grotesque psychological manipulations._^<n__^<n_In written sf, monuments of paranoia from the late 1950s to the early 1970s include: Algis
_^<a_!T5064_BUDRYS_^>a_'s _^<i__^<a_!B9087_WHO?_^>a__^>i_ (_^<b_1958_^>b_), in which nobody knows if an enigmatic man in a metal mask is a good US scientist or a Russian spy; several of Christopher _^<a_!T4455_HODDER-WILLIAMS_^>a_'s 1960s novels in
which the protagonist's sanity is called into question as he makes curious discoveries; Philip Jose _^<a_!T1435_FARMER_^>a_'s _^<b_Riverworld_^>b_ series (from 1965), in which the human race is apparently reincarnated _^<i_en masse_^>i_ as a
cold-blooded experiment; Richard _^<a_!T925_COWPER_^>a_'s _^<i_Breakthrough_^>i_ (_^<b_1967_^>b_), in which communication from outside seems like madness from inside; Frank _^<a_!T4389_HERBERT_^>a_'s _^<i_The Santaroga Barrier_^>i_
(_^<b_1968_^>b_), in which an entire community is cut off and apparently has its identity submerged (here what begins as horrifying is cleverly tilted so as to seem almost acceptable by the end); John _^<a_!T5049_BRUNNER_^>a_'s _^<i_The Jagged
Orbit_^>i_ (_^<b_1969_^>b_), in which paranoia is endemic and taken for granted in a _^<a_!T6337_NEAR-FUTURE_^>a_ situation of racial hatred; Roger _^<a_!T6264_ZELAZNY_^>a_'s _^<b_Amber_^>b_ series (from 1970) in which a family of quasi-superbeings
plot constantly against one another, and real universes keep on turning out to be mere shadows of some further but unreachable reality; John T. Sladek's _^<i_The Muller-Fokker Effect_^>i_ (_^<b_1970_^>b_), which takes US paranoia as its prime
target; and Norman _^<a_!T2370_SPINRAD_^>a_'s _^<i_The Iron Dream_^>i_ (_^<b_1972_^>b_), which parodies sf paranoia by passing itself off as a _^<a_!T5875_SWORD-AND-SORCERY_^>a_ novel written by Adolf Hitler._^<n__^<n_Though most of this work in
book form shows no special pattern, the films of the 1960s certainly did, and all this activity culminated in a second wave of paranoia books and films that emerged in the mid-1970s, and -- in the cinema, at least -- continues intermittently to the
present day. This new paranoia boom was shaped differently from its 1950s predecessor; the earlier period produced paranoia stories about outside menaces that ultimately endangered the State; the later boom produced a more domestic version in which
the menace came from within, and was very often the State itself -- as in most of the films noted above -- or even, in an inward claustrophobic spiral, the family itself, in the case of Richard _^<a_!T831_CONDON_^>a_'s _^<i_Winter Kills_^>i_
(_^<b_1974_^>b_), a _^<a_!T1372_FABULATION_^>a_ about a political family closely resembling the Kennedys. The 1970s boom, though it built on conspiracy theories of the 1960s, was immediately attributable to the revelations following the 1972
break-in at Watergate which climaxed with President Nixon's resignation. It is hardly surprising that paranoid sf this time around emerged mostly (and perhaps justifiably) in stories that blended sf with _^<a_!T1939_POLITICS_^>a_, as in the
borderline sf film _^<i_The Parallax View_^>i_ (1974) and the 1979 film of Condon's _^<i_Winter Kills_^>i_. Among the many more obviously sciencefictional (though still political) paranoid film scenarios that followed are
_^<i_The_^<a_!T660_BLOB_^>a__^>i_ (1988) and _^<a_!T4973_BRAIN DEAD_^>a_ (1989), each of which involves a conspiracy, in most cases supported secretly by the apparatus of the State._^<n__^<n_Curiously enough, conspiracy-theory material of this sort
did not much permeate written genre sf in the 1970s, though it was very obvious in the sort of fabulations written by Kurt _^<a_!T5402_VONNEGUT_^>a_ Jr and especially Thomas _^<a_!T2040_PYNCHON_^>a_, a tradition continued in the work of many
others, including William T. _^<a_!T5392_VOLLMANN_^>a_ in his _^<i_You Bright and Risen Angels: A Cartoon_^>i_ (_^<b_1987_^>b_ UK). Within more obviously generic work, a kind of knowing paranoia characterized a series of novels by Barry N.
_^<a_!T3629_MALZBERG_^>a_ (some listed under _^<a_!T2023_PSYCHOLOGY_^>a_) which see Man as a puppet in some kind of enigmatic or indifferent cosmic game; but the conspiracy-theory work _^<i_par excellence_^>i_ was Robert _^<a_!T2163_SHEA_^>a_'s and
Robert Anton _^<a_!T5643_WILSON_^>a_'s _^<i_Illuminatus!_^>i_ (3 vols _^<b_1975_^>b_), in which recent political history is explained in terms of a dazzlingly complex series of interlocking conspiracies by rival secret societies, some with
histories going back to _^<a_!T290_ATLANTIS_^>a_. Algis Budrys's _^<i_Michaelmas_^>i_ (_^<b_1977_^>b_) comes out, rather worriedly, on the side of conspiracy by producing as hero the man who secretly manipulates human politics._^<n__^<n_In the
1980s, paranoia in genre sf may have been slightly in abeyance, though it appeared in recurrent motifs of various sub-genres: the "shoot first, ask questions afterward" mentality of some _^<a_!T5849_SURVIVALIST FICTION_^>a_; the godlike
manipulations of various _^<a_!T5380_VIRTUAL REALITIES_^>a_ in novels by Jack _^<a_!T5223_CHALKER_^>a_ and others; and some of the more sophisticated _^<a_!T2342_SPACE OPERAS_^>a_, in which galactic history (including ours) turns out to have been
warped by alien superbeings, as in Paul J. _^<a_!T6293_MCAULEY_^>a_'s _^<i_Eternal Light_^>i_ (_^<b_1991_^>b_). The most senior 1980s authors whose worlds are readable as paranoid are perhaps William _^<a_!T4689_GIBSON_^>a_ and Orson Scott
_^<a_!T6359_CARD_^>a_, but in rather different ways. Gibson's characteristically Canadian presentation is of struggling protagonists who often find themselves treated as puppets, as if free will may come to be illusory in a sufficiently complex
world; Card's protagonists, who exist in a kinetic Universe pervaded by a sense of omnipotent presence, are -- more typically of the USA -- both manipulated and manipulative, the tool of greater forces or in the upshot godlike themselves. Card's
Universe is intensely hierarchical, with his protagonists ranked high, but it is not always clear which rung of the ladder he believes the rest of us to be standing on; he may believe that we have free will if we stick to the rules._^<n__^<n_It is
difficult to generalize about paranoia in sf; clearly it is important and has led to some distinguished work. It does seem as if sf of the last few decades has matured and that, where sf once simply reflected paranoia, it is now more often written
to analyse the very real paranoia that the writers know to exist in society. Western society has a cumbrous, bureaucratic power system; no wonder if the average individual feels at the mercy of forces he or she cannot even identify. In all paranoid
sf the question of our free will is the fundamental one._^<n__^<n_Schizophrenia is very much rarer in sf, though there is a small but persistent subgenre of tales about dual personality, its earliest classic being _^<i_Strange Case of Dr Jekyll and
Mr Hyde_^>i_ (_^<b_1886_^>b_) by Robert Louis _^<a_!T5731_STEVENSON_^>a_. The popular belief that schizophrenia is a synonym for split personality is incorrect; in clinical psychology schizophrenia is more complex and more common than that.
However, it is the split-personality theme that has most attracted sf writers (>_^<a_!T2023_PSYCHOLOGY_^>a_ _^<i_for further examples_^>i_). An amusing variant can be found in Robert Sheckley's _^<i_The Alchemical Marriage of Alistair Crompton_^>i_
(_^<b_1978_^>b_ UK; vt _^<i_Crompton Divided_^>i_ 1988 US), in which split personalities can be excised by psychic surgery and implanted into new bodies. The film _^<a_!T1551_FORBIDDEN PLANET_^>a_ (1956) features a self-controlled scientist out of
touch with his own subconscious mind, the "id"; in a surprisingly successful post-Freudian variation on Stevenson's Jekyll-and-Hyde syndrome, his secret passions become literally projected into the form of a ravening monster._^<n__^<n_Where stories
of _^<a_!T1797_PARASITISM_^>a_ regularly have a subtext of paranoia, those of symbiosis often appear schizophrenic, at least in such tales as Brian _^<a_!T2385_STABLEFORD_^>a_'s _^<b_Hooded Swan_^>b_ series, where the symbiote literally inhabits
the host's brain. (An earlier example is Algis Budrys's "Silent Brother" [1956].) Stableford is one of the few sf writers to use schizophrenia in the modern sense as an sf theme, in _^<i_Man in a Cage_^>i_ (_^<b_1975_^>b_), where a schizophrenic is
chosen to take part in a space project which might prove impossible for ordinary people. (Samuel R. _^<a_!T1152_DELANY_^>a_ had used a similar idea in "The Star Pit" [1967], but there the spacemen, though unbalanced, were not
schizophrenic.)_^<n__^<n_Theodore _^<a_!T5810_STURGEON_^>a_ wrote several strong (but perhaps glib) stories about schizophrenia, including "The Other Man" (1956), and "Who?" (1955; vt "Bulkhead"), which is about the deliberate splitting of an
astronaut's personality to save him from insanity during a long space flight alone. And, of course, his gestalt creation in _^<i__^<a_!B9221_MORE THAN HUMAN_^>a__^>i_ (fixup _^<b_1953_^>b_) consists of the joining together of individually maimed
persons, each of whom (before joining) is like an inadequate, schizophrenic personality split off from some unknowable whole. Another story about the deliberate splitting of personality is Wyman _^<a_!T4893_GUIN_^>a_'s interesting "Beyond Bedlam"
(1951)._^<n__^<n_The most consistently evocative use of schizophrenic themes in sf, however, is in the work of Philip K. Dick, notably in _^<i_We Can Build You_^>i_ (_^<b_1972_^>b_) and _^<i_Martian Time-Slip_^>i_ (_^<b_1964_^>b_). Both use the
word schizophrenia in the full clinical sense, and both treat schizophrenics with considerable empathy, though not necessarily sympathy; the latter is fascinating in its theorizing that the anomie of the schizophrenic may be to do with his or her
subjective experience of time being radically removed from the normal; the desolated landscapes projected by (or perceived by) the schizoid mind are memorable. [PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T3013_MONSTERS_^>a_; _^<a_!T5843_SUPERNATURAL
CREATURES_^>a_.
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PARASITE MURDERS, THE
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(vt _^<i_They Came from Within_^>i_; vt _^<i_Shivers_^>i_) Film (1974). Cinepix/Canadian Film Development Corp. Written/dir David _^<a_!T970_CRONENBERG_^>a_, starring Paul Hampton, Joe Silver, Lynn Lowry, Alan Migicovsky, Barbara Steele. 87 mins,
cut to 77 mins. Colour._^<n__^<n_In an attempt to develop a beneficial symbiote, a scientist creates a parasite that, when it invades a human body, makes its host sexually ravenous. The vaguely phallic parasites spread though an isolated apartment
building, and sexual apocalypse follows, the film ending with the sterile high-rise building's surviving occupants climbing into their cars to infect first Canada and then the world. The film has _^<a_!T2374_SPLATTER-MOVIE_^>a_ sequences and other
scenes, notably the parasite's vaginal penetration of Steele while she is in the bath, of a distinctly neauseating kind, but it transcends the exploitation-movie genre to which it belongs through its wit and intensity, and its readiness to follow
its axioms through to their conclusions. This was Cronenberg's first commercial film, notable for its remarkably bold visual metaphors. [PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T726_CINEMA_^>a_; _^<a_!T3011_MONSTER MOVIES_^>a_;
_^<a_!T1797_PARASITISM AND SYMBIOSIS_^>a_; _^<a_!T2115_SEX_^>a_.
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PARASITISM AND SYMBIOSIS
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Parasitism and symbiosis are Nature's extreme forms of commensalism (physical association). A parasitic species promotes its own interests entirely to the detriment of the other; symbiosis refers to the much less common state in which both organisms
obtain some benefit from the association._^<n__^<n_Imaginary parasites of human beings are featured in many effective sf _^<a_!T4509_HORROR_^>a_ stories, often linked to the idea of vampirism (although classical vampires might better be regarded as
predators than as parasites). Stories dealing with _^<a_!T3385_LIFE ON OTHER WORLDS_^>a_ often feature parasites which are exaggerated versions of earthly creatures. Those insects which lay their eggs in living hosts are popular models; they
feature in A.E. _^<a_!T5333_VAN VOGT_^>a_'s "Discord in Scarlet" (1939; incorporated in _^<i_The Voyage of the Space Beagle_^>i_, fixup _^<b_1950_^>b_) and the film _^<a_!T98_ALIEN _^>a_(1979) and its sequels; the closely related notion of the
mother killed by her internal young appears in Philip Jose _^<a_!T1435_FARMER_^>a_'s _^<i__^<a_!B9017_THE LOVERS_^>a__^>i_ (1952; exp _^<b_1961_^>b_) and Gardner _^<a_!T1313_DOZOIS_^>a_'s _^<i__^<a_!B9280_STRANGERS_^>a__^>i_ (_^<b_1978_^>b_).
Parasites leeching the "vital energy" of human beings are commonplace; when the parasites are internal rather than external this often involves the will of the victim being usurped, thus referring metaphorically to demonic possession as well as to
vampirism. Early examples of this kind of story include J. Maclaren _^<a_!T772_COBBAN_^>a_'s _^<i_Master of His Fate_^>i_ (_^<b_1890_^>b_) and Arthur Conan _^<a_!T1312_DOYLE_^>a_'s _^<i_The Parasite_^>i_ (_^<b_1895_^>b_); the classic
_^<a_!T2033_PULP-MAGAZINE_^>a_ sf extrapolations are Eric Frank _^<a_!T2743_RUSSELL_^>a_'s _^<i_Sinister Barrier_^>i_ (1939; _^<b_1943_^>b_; rev 1948) and Robert A. _^<a_!T4376_HEINLEIN_^>a_'s _^<i_The Puppet Masters_^>i_ (_^<b_1951_^>b_). Other
stories in the same vein are Russell's "Vampire from the Void" (1939), Farmer's "Strange Compulsion" (1953; vt "The Captain's Daughter"), Frank R. _^<a_!T959_CRISP_^>a_'s _^<i_The Ape of London_^>i_ (_^<b_1959_^>b_), Robert
_^<a_!T2216_SILVERBERG_^>a_'s "Passengers" (1968), Colin _^<a_!T5638_WILSON_^>a_'s _^<i_The Mind Parasites_^>i_ (_^<b_1967_^>b_) and _^<i_The Space Vampires_^>i_ (_^<b_1976_^>b_), David _^<a_!T970_CRONENBERG_^>a_'s film _^<i_The_^<a_!T1796_PARASITE
MURDERS_^>a__^>i_ (1974) and Damon _^<a_!T4098_KNIGHT_^>a_'s _^<i_CV_^>i_ (_^<b_1985_^>b_)._^<n__^<n_This frequent movement of the notion of parasitism from the context of the mundane to the quasisupernatural is in keeping with sf's habitual
treatment of biological themes (> _^<a_!T611_BIOLOGY_^>a_). In concert with general trends relating to _^<a_!T102_ALIENS_^>a_ there was a dramatic change of emphasis in post-WWII stories, in which apparently parasitic relationships are often
revealed to be in fact symbiotic. Some stories are conscious ideological replies to earlier works -- Ted _^<a_!T5582_WHITE_^>a_'s _^<i_By Furies Possessed_^>i_ (_^<b_1970_^>b_), which attacks the implicit xenophobia of _^<i_The Puppet Masters_^>i_,
is a notable example. The concept of symbiosis had earlier been used in some ecological puzzle stories (> _^<a_!T6576_ECOLOGY_^>a_), notably Eric Frank Russell's "Symbiotica" (1943) and an ironic story of defensive biological warfare, "Symbiosis"
(1947) by Will F. Jenkins (Murray _^<a_!T3326_LEINSTER_^>a_), but the quasisupernatural connotations it eventually took on were decisively opposed to metaphors of vampirism and possession. It became a central notion of the "ecological mysticism"
displayed in such works as Sydney J. _^<a_!T5331_VAN SCYOC_^>a_'s trilogy _^<i_Daughters of the Sunstone_^>i_ (_^<b_1982-4_^>b_; omni _^<b_1985_^>b_). Explicit religious imagery comes to the fore in such stories of human/alien symbiosis as Clifford
D. _^<a_!T2218_SIMAK_^>a_'s _^<i_Time and Again_^>i_ (_^<b_1951_^>b_; vt _^<i_First He Died_^>i_), Bob _^<a_!T2153_SHAW_^>a_'s _^<i_Palace of Eternity_^>i_ (_^<b_1969_^>b_) and Nicholas Yermakov's trilogy begun with _^<i_The Last Communion_^>i_
(_^<b_1981_^>b_). Post-WWII stories in which human and alien minds share a brain usually see such relationships as potentially symbiotic; examples include Hal _^<a_!T749_CLEMENT_^>a_'s _^<i_Needle_^>i_ (_^<b_1950_^>b_), Brian M.
_^<a_!T2385_STABLEFORD_^>a_'s _^<b_Halcyon Drift_^>b_ series (_^<b_1972-5_^>b_), Roger _^<a_!T6264_ZELAZNY_^>a_'s _^<i_Doorways in the Sand_^>i_ (_^<b_1976_^>b_) and F. Paul _^<a_!T5639_WILSON_^>a_'s _^<i_Healer_^>i_ (_^<b_1976_^>b_). Even
Christopher _^<a_!T6708_EVANS_^>a_'s bleak mind-parasite story _^<i_The Insider_^>i_ (_^<b_1981_^>b_) is sympathetic to the parasitic consciousness. The more ambivalent view of human/alien commensalism adopted in Octavia E.
_^<a_!T5105_BUTLER_^>a_'s _^<i_Clay's Ark_^>i_ (_^<b_1984_^>b_) and related works and in the first part of Dan _^<a_!T2219_SIMMONS_^>a_'s _^<i__^<a_!B9211_HYPERION_^>a__^>i_ (_^<b_1989_^>b_) cleverly exploits and undercuts this modern
sensibility._^<n__^<n_This area of speculation is perhaps the most obvious example in sf of the utility of biological notions as metaphysical metaphors (>_^<a_!T2924_METAPHYSICS_^>a_), and of the way that such metaphorical usage dominates the
expression of biological notions in sf. [BS]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T4447_HIVE-MINDS_^>a_; _^<a_!T1795_PARANOIA_^>a_; _^<a_!T5843_SUPERNATURAL CREATURES_^>a_.
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(c) 1995 John Clute and Peter Nicholls
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zallz ztermz zthemez zmindz zlifez zsciencez
-C- 1797 SF01801.t
4204
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3746
-END-
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PARAZZOLI, FERRUCCIO
-T-
[r] > _^<a_!T3826_ITALY_^>a_._^<n__^<n_
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14
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PARIS QUI DORT
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(vt _^<i_Le Rayon Invisible_^>i_; vt _^<i_The Crazy Ray_^>i_) Film (1923). Films Diamant. Written/dir Rene Clair, starring Henri Rollan, Albert Prejean, Madeleine Rodrigue, Marcel Vallee. 61 mins. B/w._^<n__^<n_This is one of the earliest sf films
(other than shorts). A scientist accidentally freezes Paris into a split-second of time with an invisible ray. Some Parisians escape, through being either on the Eiffel tower or in a plane. Most of them take advantage of the situation to break out
of their social roles, have drunken parties, etc., but a young nightwatchman persuades a group to seek out the source of the problem and put it right, which they do (though at first the victims can move only in slow motion). Made with style and
charm by Clair -- whose first film it was -- _^<i_PQD_^>i_ retains its wit and good humour when seen today. [JB]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T726_CINEMA_^>a_.
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(c) 1995 John Clute and Peter Nicholls
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zallz zfilmz
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793
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PARK, PAUL (CLAIBORNE)
-T-
(1954- ) US writer, educated in the land of his birth, peripatetic for most of the 1980s, but resident again in the USA at about the time he began publishing sf with _^<i__^<a_!B8998_SOLDIERS OF PARADISE_^>a__^>i_ (_^<b_1987_^>b_), the first
volume of _^<b_The Starbridge Chronicles_^>b_, which comprises also _^<i_Sugar Rain_^>i_ (_^<b_1989_^>b_) -- assembled with the first volume as _^<i_The Sugar Festival_^>i_ (omni _^<b_1991_^>b_) -- and is completed with _^<i_The Cult of Loving
Kindness_^>i_ (_^<b_1991_^>b_). It is the sort of sequence whose composition seems possible only in the later years of a genre, when the literary atmosphere is saturated with memories of previous work and a sense of antiquity attaches naturally to
some of the sf instruments used in new stories. _^<a_!T2551_RELIGION_^>a_ dominates every page of _^<b_The Starbridge Chronicles_^>b_, which is set, eons hence, in a dying-Earth venue where history endlessly recycles, tied to the return of the
generations-long seasons of a Great Year. (PP has denied being influenced by Brian W. _^<a_!T87_ALDISS_^>a_'s _^<b_Helliconia_^>b_ sequence: the idea of a Great Year may be one which comes naturally to mind in the late maturity of a
genre.)_^<n__^<n_As in most dying-Earth tales (> _^<a_!T1432_FAR FUTURE_^>a_), metal is now scarce, technologies of radically varying complexity co-exist, human and humanlike species intermingle, and nothing new can happen. The Great-Year cycle
owes its existence to the influence of a visiting planet (PP's astronomy is, perhaps intentionally, vague on its exact nature) called Paradise, which the religion dominant during the terrible Winter conceives to be the habitat of those who have not
yet died and been sent to Earth. The delineation of this faith in _^<i__^<a_!B8998_SOLDIERS OF PARADISE_^>a__^>i_ -- with its bloodiness, its erotic complexities, its totalitarian control over the predestined lives of the damned, its worship of the
dog-god Angkhdt, its melancholia and its strange rightness -- is the major creative achievement of the sequence. In that first novel, as Winter begins to end, the Starbridge clan, which has dominated the great province whose capital is Charn,
begins to panic in foreordained ways; Abu Starbridge is martyred, and will become the avatar of a Summer faith, and Thanakar Starbridge, a doctor who blasphemously heals those low in the social order, escapes a crumbling Charn with his lover.
_^<i_Sugar Rain_^>i_ deals in gravely slow terms with the meteorological and social phenomena which signal Spring, as well as continuing the Thanakar love story. _^<i_The Cult of Loving Kindness_^>i_, set in Summer, depicts the slow rebirth of the
cult of Angkhdt. The contemplative and tocsin richness of the sequence demonstrates the continuing imaginative power of latter-day sf._^<i_Coelestis_^>i_ (_^<b_1993_^>b_ UK; rev vt _^<i_Celestis_^>i_ 1995 US) is a singleton and reads, at first
glance, like an extended vignette: a morose administrator from Earth, trapped by time dilation and a failed career on a decrepit colony planet, falls in love with a wealthy native _^<a_!T98_ALIEN_^>a_, who has been cosmetically modifying herself so
as to resemble human stock more closely; and she falls in love with him; and the romance ends tragically, as seemed inevitable from the start. But the quietly savage density of the prose, the inexorability of the telling, and the more profound
tragedy of the continuing destruction at human hands of the complex alien culture, all add again to a demonstration of late 20th century sf at its most responsible, and least conciliatory. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T4740_GODS AND
DEMONS_^>a_; _^<a_!T1913_PLANETARY ROMANCE_^>a_.
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PARKER, RICHARD
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(1915- ) UK writer for children. His _^<i_The Hendon Fungus_^>i_ (_^<b_1968_^>b_) is about fungal specimens from abroad proliferating in England, feeding on calcium, and thus crumbling buildings of stone, concrete, etc. _^<i_The Old Powder
Line_^>i_ (_^<b_1971_^>b_) is a fantasy featuring a train as a time machine. _^<i_A Time to Choose_^>i_ (_^<b_1973_^>b_) presents two children forced to pick between double lives in _^<a_!T131_ALTERNATE WORLDS_^>a_, one pleasant, the other ours.
[PN]_^<n__^<n__^<b_Other works:_^>b_ _^<i_M For Mischief_^>i_ and _^<i_Spell Seven_^>i_ (_^<b_1971_^>b_), both tales of magic.
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PARKES, LUCAS or WYNDHAM
-T-
> John _^<a_!T6211_WYNDHAM_^>a_._^<n__^<n_
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17
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PARKINSON, H(AROLD) F(REDERICK)
-T-
(? - ) UK writer whose sf novel, _^<i_They Shall not Die_^>i_ (_^<b_1939_^>b_), describes with muted irony the effects of a _^<a_!T3744_MEDICINE_^>a_ which prevents all disease but also sterilizes those who use it: only those who remain prone
to the ills of the flesh can give birth. [JC]_^<n__^<n_
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258
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PARNELL, FRANCIS
-T-
[s] > Festus _^<a_!T1973_PRAGNELL_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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PARNOV, EREMEI (IUDOVICH)
-T-
(1935- ) Russian scientist and writer, almost all of whose sf of interest was published in collaboration with Mikhail _^<a_!T6657_EMTSEV_^>a_ (_^<i_whom see for details_^>i_). After the partnership broke up in 1970, EP published some further
work, like _^<i_Prosnis' V Famaguste_^>i_ ["Wake up in Famagusta"] (_^<b_1985_^>b_), which mixes Eastern mysticism and _^<a_!T98_ALIEN_^>a_ encounters in a formula adventure plot. Some superficial sf criticism appears in _^<i_Fantastika V Vek
NTR_^>i_ ["SF in the Age of Scientific Revolution"] (_^<b_1974_^>b_) and _^<i_Zerkalo Uranii_^>i_ ["The Mirror of Urania"] (_^<b_1982_^>b_). [VG]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T4447_HIVE-MINDS_^>a_.
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zallz zauthorz
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545
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PARODY
-T-
> _^<a_!T2812_SATIRE_^>a_. _^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz ztermz
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PARRY, DAVID MacLEAN
-T-
(1852-1915) US businessman and writer whose anti-socialist _^<a_!T1370_DYSTOPIA_^>a_, _^<i_The Scarlet Empire_^>i_ (_^<b_1906_^>b_), introduces a young US citizen to a nightmarish _^<a_!T290_ATLANTIS_^>a_, protected from the ocean by a great dome,
in which the obsession with regimented equality leads to grotesqueries prophetic of those dreamt of by Evgeny _^<a_!T6256_ZAMIATIN_^>a_ in _^<i_My_^>i_ (trans Gregory Zilboorg as _^<i_We_^>i_ _^<b_1924_^>b_ US). The protagonist escapes with the
young woman he loves, destroying the dome -- and hence the entire society -- as he leaves. [JC]_^<n__^<n_
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zallz zauthorz
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481
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PARSEC
-T-
The official SI unit of astronomical distance; the name is a contraction of "parallax-second". The measure was introduced by UK astronomer Herbert Hall Towner (1861-1930). As the Earth travels from one side of the Sun to the other in half a year,
parallax makes the position of any comparatively nearby star apparently shift. Using simple trigonometry, from the observed angular displacement of the star's measured position and knowledge of the distance between Earth and Sun the distance of the
star can be calculated. One parsec is defined (essentially) as the distance at which a star would show a parallax displacement of 1 second of arc, a distance which proves to be approximately 3.258 light years._^<n__^<n_The term "parsec" is a common
item of sf _^<a_!T5942_TERMINOLOGY_^>a_, either correctly as a unit of distance or, depressingly often -- especially in _^<a_!T2033_PULP-MAGAZINE_^>a_, juvenile and cinematic sf -- mistakenly as a unit of velocity ("We're moving at 17 parsecs!" the
hero of _^<a_!T2341_SPACE 1999_^>a_ might cry) or of time ("I made the run in less than four parsecs," says Harrison Ford in _^<a_!T5686_STAR WARS_^>a_). [PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T2877_SCIENTIFIC ERRORS_^>a_.
Working name of UK writer, translator and film technician Alan Pazolski (1943- ), who also signs himself Alan Passes-Pazolski. His first sf story was "Spoor" for _^<i_NW_^>i_ in 1969, and he has written two sf plays, "Mystic of the Western
World", produced 1976, and "Death Raise", produced 1977. His epic novel _^<i_Big Step_^>i_ (_^<b_1977_^>b_) mixes sf material with _^<a_!T3135_MYTHOLOGY_^>a_ in the experimentally couched story of the adventures on Earth of an interstellar Angel of
Death who seeks to punish a fugitive Nazi. [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
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473
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PASSING SHOW, THE
-T-
UK large-format (14" x 10" [36cm x 26cm]) weekly magazine, 26 Mar 1932-25 Feb 1939. It featured articles, short stories, serials and cartoons. Beginning with the serializations of _^<i_Pirates of Venus_^>i_ (1933; _^<b_1934_^>b_) and _^<i_Lost on
Venus_^>i_ (1933-4; _^<b_1935_^>b_) by Edgar Rice _^<a_!T5097_BURROUGHS_^>a_ (both reprinted from _^<i_The_^<a_!T225_ARGOSY_^>a__^>i_ ), _^<i_TPS_^>i_ became the UK's most regular periodical source of sf in the 1930s, remaining so until
_^<a_!T5899_TALES OF WONDER_^>a_ and _^<a_!T1412_FANTASY_^>a_ started up. Several short fantasy stories by Lord _^<a_!T1353_DUNSANY_^>a_ and others and a series of articles by Ray _^<a_!T997_CUMMINGS_^>a_, _^<b_The World of Tomorrow_^>b_ (1936),
appeared in _^<i_TPS_^>i_ over the next 5 years together with 11 other serials, notably Warwick _^<a_!T1139_DEEPING_^>a_'s "The Madness of Professor Pye" (1934), Edwin _^<a_!T383_BALMER_^>a_'s and Philip _^<a_!T6210_WYLIE_^>a_'s _^<i_When Worlds
Collide_^>i_ (1934-5; being a reprint of _^<i_When Worlds Collide_^>i_ [_^<b_1933_^>b_] and _^<i_After Worlds Collide_^>i_ [_^<b_1934_^>b_]), Wynant Davis Hubbard's _^<i_The Thousandth Frog_^>i_ (1935; _^<b_1935_^>b_), John Beynon's (> John
_^<a_!T6211_WYNDHAM_^>a_) _^<i_Planet Plane_^>i_ (1936 as "Stowaway to Mars"; _^<b_1936_^>b_; vt cut as "The Space Machine", 1937 _^<i_Modern Wonder_^>i_; rev vt _^<i_Stowaway to Mars_^>i_ 1953) and _^<i_The Secret People_^>i_ (1935;
_^<b_1935_^>b_), and W. Douglas _^<a_!T3179_NEWTON_^>a_'s "The Devil Comes Aboard" (1938; vt _^<i_Savaran and the Great Sand_^>i_ _^<b_1939_^>b_)._^<n__^<n__^<i_TPS_^>i_ later became _^<i_The Illustrated_^>i_ and focused its attention on WWII,
though sf still made an occasional appearance. [JE]_^<n__^<n_
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PASTORAL
-T-
The term "pastoral" can be understood in various ways. It can refer to the Classical or Shakespearean tale of courtiers holidaying among nymphs and shepherds; it can refer, as Sir William Empson (1906-1984) and other modern critics have argued, to
the proletarian novel or to the story which contrasts childhood innocence with adult experience. In essence, however, a pastoral is any work of fiction which depicts an apparently simple and natural way of life, and contrasts it with our complex,
technological, anxiety-ridden urban world of the present. Pastorals can be full of moral earnestness or they can be utterly escapist._^<n__^<n_Of the many versions of pastoral in sf, the most obvious is the tale of country life as written by
Clifford D. _^<a_!T2218_SIMAK_^>a_, Zenna _^<a_!T4382_HENDERSON_^>a_ and others. Such stories usually involve the intrusion of _^<a_!T98_ALIEN_^>a_ beings (frequently telepathic) into rural landscapes peopled by farmers and small-town tradesmen.
Examples are Simak's "Neighbor" (1954), "A Death in the House" (1959), _^<i__^<a_!B9210_WAY STATION_^>a__^>i_ (_^<b_1963_^>b_), _^<i_All Flesh is Grass_^>i_ (_^<b_1965_^>b_) and _^<i_A Choice of Gods_^>i_ (_^<b_1972_^>b_), and Henderson's
_^<i__^<a_!B9042_PILGRIMAGE: THE BOOK OF THE PEOPLE_^>a__^>i_ (fixup _^<b_1961_^>b_) and _^<i_The Anything Box_^>i_ (coll _^<b_1965_^>b_). Fantasies in a kindred mode include Ray _^<a_!T4963_BRADBURY_^>a_'s _^<i_Dandelion Wine_^>i_ (fixup
_^<b_1957_^>b_), Ward _^<a_!T3039_MOORE_^>a_'s and Avram _^<a_!T1082_DAVIDSON_^>a_'s _^<i_Joyleg_^>i_ (_^<b_1962_^>b_) and Manly Wade _^<a_!T5525_WELLMAN_^>a_'s _^<i_Who Fears the Devil?_^>i_ (coll of linked stories _^<b_1963_^>b_). What these
works have in common is an emphasis on the virtues (and sometimes the constraints) of the rural way of life. They are, explicitly or implicitly, anti-city and anti-_^<a_!T3540_MACHINE_^>a_; they frequently extol the values of living close to
Nature, of being in rhythm with the seasons. This bucolic and Luddite strain in _^<a_!T4659_GENRE SF_^>a_ has its origins in some major works of US literature such as _^<i_Walden_^>i_ (_^<b_1854_^>b_) by Henry David Thoreau (1817-1862) and
_^<i_Winesburg, Ohio_^>i_ (_^<b_1919_^>b_) by Sherwood Anderson (1876-1941), as well as in such UK _^<a_!T5303_UTOPIAS_^>a_ and romances as Richard _^<a_!T3882_JEFFERIES_^>a_'s _^<i_After London_^>i_ (_^<b_1885_^>b_), with its vision of the city
reconquered by forest and field, W.H. _^<a_!T4542_HUDSON_^>a_'s _^<i_A Crystal Age_^>i_ (_^<b_1887_^>b_) and William _^<a_!T3066_MORRIS_^>a_'s _^<i_News from Nowhere_^>i_ (_^<b_1890_^>b_ US)._^<n__^<n_A variant form of this version of pastoral is
that in which the contrast between city and country is made quite explicit. Stories of this type, discussed more fully in the entry on _^<a_!T727_CITIES_^>a_, have a long history, going back beyond _^<i_After London_^>i_. In this variant urban life
is depicted as cruel, oppressive or sterile, while the country represents freedom; the genre-sf archetype is Arthur C. _^<a_!T736_CLARKE_^>a_'s _^<i_The City and the Stars_^>i_ (_^<b_1956_^>b_). It is a particularly popular theme in
_^<a_!T710_CHILDREN'S SF_^>a_, as in John _^<a_!T719_CHRISTOPHER_^>a_'s _^<i_Wild Jack_^>i_ (_^<b_1974_^>b_) and Isobelle _^<a_!T5167_CARMODY_^>a_'s _^<i_Scatterlings_^>i_ (_^<b_1991_^>b_)._^<n__^<n_A second version of pastoral, again taking its
cue from Jefferies and Morris, is exemplified by George R. _^<a_!T5734_STEWART_^>a_'s _^<i_Earth Abides_^>i_ (_^<b_1949_^>b_) and Leigh _^<a_!T4961_BRACKETT_^>a_'s _^<i_The Long Tomorrow_^>i_ (_^<b_1955_^>b_), both tales depicting the rise of
agricultural and anti-technological societies after some sort of _^<a_!T4482_HOLOCAUST_^>a_. Although this type of story is set in the future, the future becomes a clear analogue of the pre-industrial past. A particularly fine example is Fredric
_^<a_!T5028_BROWN_^>a_'s "The Waveries" (1945), a tale in which the modern USA is forced back into a horse-and-buggy economy by invading aliens who prevent the use of electricity. Other examples of this kind of story are Pat
_^<a_!T1595_FRANK_^>a_'s _^<i_Alas, Babylon_^>i_ (_^<b_1959_^>b_) and Edgar _^<a_!T1779_PANGBORN_^>a_'s _^<i__^<a_!B9096_DAVY_^>a__^>i_ (_^<b_1964_^>b_). This sort of pastoral is not always simple; the pastoral post-holocaust world can itself be
seen with a little irony, as in John _^<a_!T981_CROWLEY_^>a_'s _^<i__^<a_!B9267_ENGINE SUMMER_^>a__^>i_ (_^<b_1979_^>b_), which is suffused by an elegiac melancholy. (Another ambiguous pastoral, not really sf, is Crowley's _^<i_Little, Big_^>i_
[_^<b_1981_^>b_], where the ultimate pastoral values of Faerie are teasingly impossible to reach and, if reached, might mean death.)_^<n__^<n_A third version of sf pastoral is the story set on another world, often Edenic or, at the least,
satisfying. Such works usually depict benign alien _^<a_!T6576_ECOLOGIES_^>a_ which support nontechnological societies. Humanity is often seen as a destructive intruder upon these planets, although frequently the protagonist is "accepted" because
he or she is capable of seeing the wisdom of the alien ways. The ideological thrust of such stories is anti-anthropomorphic and anti-xenophobic. Examples are Robert A. _^<a_!T4376_HEINLEIN_^>a_'s _^<i_Red Planet_^>i_ (_^<b_1949_^>b_) -- and, by
implication, his _^<i__^<a_!B9028_STRANGER IN A STRANGE LAND_^>a__^>i_ (_^<b_1961_^>b_) -- Bradbury's _^<i_The Martian Chronicles_^>i_ (fixup _^<b_1950_^>b_), Mark _^<a_!T753_CLIFTON_^>a_'s _^<i_Eight Keys to Eden_^>i_ (_^<b_1960_^>b_), H. Beam
_^<a_!T1908_PIPER_^>a_'s _^<i_Little Fuzzy_^>i_ (_^<b_1962_^>b_), Robert _^<a_!T2216_SILVERBERG_^>a_'s _^<i_Downward to the Earth_^>i_ (_^<b_1970_^>b_) and _^<i_The Face of the Waters_^>i_ (_^<b_1991_^>b_), Lloyd _^<a_!T592_BIGGLE_^>a_ Jr's
_^<i_Monument_^>i_ (_^<b_1974_^>b_), Cherry _^<a_!T5600_WILDER_^>a_'s _^<i_Second Nature_^>i_ (_^<b_1982_^>b_), Joan _^<a_!T2257_SLONCZEWSKI_^>a_'s _^<i_A Door into Ocean_^>i_ (_^<b_1986_^>b_) and Judith _^<a_!T2998_MOFFETT_^>a_'s
_^<i_Pennterra_^>i_ (_^<b_1987_^>b_). Ursula K. _^<a_!T3318_LE GUIN_^>a_'s _^<i_The Word for World is Forest_^>i_ (_^<b_1976_^>b_) is an outstanding treatment of this theme, the sourness of the narrative reflecting the realities of the Vietnam War.
Brian M. _^<a_!T2385_STABLEFORD_^>a_'s _^<i_The Paradise Game_^>i_ (_^<b_1974_^>b_) and _^<i_Critical Threshold_^>i_ (_^<b_1976_^>b_) are clever variations; both are about planets which are apparently Edenic but which turn out to be rather more
sinister. This is also the case in Ian _^<a_!T5484_WATSON_^>a_'s "The Moon and Michelangelo" (1987), in which a pastoral alien society has been wholly misunderstood but offers a form of ironic transcendence nevertheless. Richard
_^<a_!T3553_MCKENNA_^>a_'s "Hunter, Come Home" (1963) and John _^<a_!T5339_VARLEY_^>a_'s "In the Hall of the Martian Kings" (1977) are both good treatments of the ultimate in benign ecologies: bio-systems that enfold and preserve the sympathetic
human characters against all dangers._^<n__^<n_The fourth version of sf pastoral is perhaps the commonest: the escapist adventure story set in a simpler world, whether it be the future, the past, another planet or in another continuum. If the
portrayal of "Nature" is an essential element in all pastorals, then this is the version of them that prefers its Nature red in tooth and claw. Edgar Rice _^<a_!T5097_BURROUGHS_^>a_'s _^<i_Tarzan of the Apes_^>i_ (_^<b_1914_^>b_) belongs here, as
do his _^<i_A Princess of Mars_^>i_ (1912; _^<b_1917_^>b_), _^<i_At the Earth's Core_^>i_ (1914; _^<b_1922_^>b_) and all their various sequels. Tarzan is an archetypal 20th-century pastoral hero; his freedom of action, affinity with animals and
innocent capacity for violence represent an amalgam of daydreams, Rousseau married to Darwin. One could go further and say that the whole subgenre of _^<a_!T5875_SWORD AND SORCERY_^>a_ is in a sense pastoral. As urbanization increases and free
space diminishes on the Earth's surface, so the pastoral dream of simpler worlds in harmony with (or in enjoyable conflict with) Nature becomes ever more compelling._^<n__^<n_In the 1980s (there are earlier examples) pastoral themes were used by a
number of _^<a_!T5684_WOMEN WRITERS OF SF_^>a_ to image the values of _^<a_!T1461_FEMINISM_^>a_, as in Slonczewski's _^<i_A Door into Ocean_^>i_. The prime example here, though, is Le Guin's _^<i_Always Coming Home_^>i_ (_^<b_1985_^>b_), an
extraordinarily rich and dense exercise in speculative _^<a_!T197_ANTHROPOLOGY_^>a_, largely set in a post-holocaust pastoral culture whose values are the values of women. A cruder exercise in the same vein is Sally Miller
_^<a_!T4646_GEARHART_^>a_'s _^<i_The Wanderground: Stories of the Hill Women_^>i_ (coll of linked stories _^<b_1980_^>b_), in which the women's society's embrace of Nature and the men's society's despisal of it are both so diagrammatic as to
approach caricature. Sheri S. _^<a_!T5936_TEPPER_^>a_ achieves the balance in _^<i_Raising the Stones_^>i_ (_^<b_1990_^>b_), with plenty of melodrama but also with plenty of real life, when she contrasts two agricultural societies on two planets,
the one society patriarchal and brutal, the other deriving its strength from the realism (and, in the main, the kindliness) of women, a confrontation between the bad pastoral and the good._^<n__^<n_Pastoral has always been an attractive theme, but
its simpler pleasures can pall after a time. The most interesting uses of pastoral in sf, many of which are cited above, are those in which the pastoral values have their cost, or in which the urban/pastoral or civilized/primitive oppositions are
seen with some sort of irony -- that is, with the recognition that life is not always as neatly dualistic as we would sometimes wish. Some of the poignant qualities of Hilbert _^<a_!T2843_SCHENCK_^>a_'s _^<i_At the Eye of the Ocean_^>i_
(_^<b_1980_^>b_) and _^<i__^<a_!B8978_A ROSE FOR ARMAGEDDON_^>a__^>i_ (_^<b_1982_^>b_), pastorals whose pastures are the field of ocean, derive from this recognition. Behind the greatest pastorals is often a sense of loss, for Nature herself often
throws up images of decline and decay as well as of growth and harvest, and to invoke Nature is to invoke a world whose benisons are ephemeral (although they will always return). This may be why some of the finest pastorals are seasonal or
cyclical; Brian W. _^<a_!T87_ALDISS_^>a_'s _^<b_Helliconia_^>b_ trilogy (_^<b_1982-5_^>b_) is many other things as well, but at root it is a pastoral whose burden is that Winter always comes. [DP/PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T708_CHILDREN
IN SF_^>a_; _^<a_!T3823_ISLANDS_^>a_; _^<a_!T3411_LIVING WORLDS_^>a_.
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7700
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'PATAPHYSICS
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> _^<a_!T4595_IMAGINARY SCIENCE_^>a_; Alfred _^<a_!T3873_JARRY_^>a_._^<n__^<n_
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PATCHETT, M(ARY OSBORNE) E(LWYN)
-T-
(1897- ) Australian writer, long resident in the UK, whose competent _^<a_!T710_CHILDREN'S SF_^>a_ novels are _^<i_Kidnappers of Space_^>i_ (_^<b_1953_^>b_; vt _^<i_Space Captives of the Golden Men_^>i_ 1953 US), _^<i_Adam Troy, Astroman_^>i_
(_^<b_1954_^>b_), which deals with the consequences for Earth of colliding with a giant asteroid, _^<i_Lost on Venus_^>i_ (_^<b_1954_^>b_; vt _^<i_Flight to the Misty Planet_^>i_ 1954 US), _^<i_Send for Johnny Danger_^>i_ (_^<b_1956_^>b_), _^<i_The
Venus Project_^>i_ (_^<b_1963_^>b_), _^<i_Ajax and the Haunted Mountain_^>i_ (_^<b_1963_^>b_) and _^<i_Farm Beneath the Sea_^>i_ (_^<b_1969_^>b_). Her writing is alert, uncondescending, sensitive to animal life and information-full. [JC]_^<n__^<n_
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PATON, FRANK
-T-
[s] > Raymond A. _^<a_!T1774_PALMER_^>a_._^<n__^<n_
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PATON, JOHN
-T-
[r] > _^<a_!T6332_ROBERT HALE LIMITED_^>a_._^<n__^<n_
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PATRICK
-T-
> Oscar _^<a_!T2705_ROSSITER_^>a_._^<n__^<n_
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PAUL, BARBARA (JEANNE)
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(1931- ) US writer who began publishing sf with "Answer 'Affirmative' or 'Negative' "for_^<i_ASF_^>i_ in 1972, but who has become much better known in the 1980s for her detective novels, of which she has written at least 13; one of them,
_^<i_Liars and Tyrants and People who Turn Blue_^>i_ (_^<b_1980_^>b_), depends for its plot upon a psychic character. Earlier BP wrote several sf novels -- _^<i_An Exercise for Madmen_^>i_ (_^<b_1978_^>b_), _^<i_Pillars of Salt_^>i_
(_^<b_1979_^>b_), _^<i_Bibblings_^>i_ (_^<b_1979_^>b_) and _^<i_Under the Canopy_^>i_ (_^<b_1980_^>b_) -- which feature women protagonists, through whom an unprogrammatic _^<a_!T1461_FEMINISM_^>a_ is pursued as they find themselves coping with
sf-adventure situations. _^<i_Pillars of Salt_^>i_, for instance, is a _^<a_!T6026_TIME-TRAVEL_^>a_ tale which confronts its 21st-century protagonist with the challenge of becoming Queen Elizabeth I of England. A later novel, _^<i_The Three-Minute
Universe_^>i_ * (_^<b_1988_^>b_), is a _^<b_Star Trek_^>b_ tie (> _^<a_!T2429_STAR TREK_^>a_)._^<n__^<n_BP should not be confused with the Barbara Paul who wrote _^<i_The Curse of Halewood_^>i_ (_^<b_1976_^>b_; vt _^<i_Devil's Fire, Love's
Revenge_^>i_ 1976 US); this was the pseudonym of Barbara Kathleen Ovstedal (1925- ). [JC]_^<n__^<n_
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PAUL, FRANK R(UDOLPH)
-T-
(1884-1963) Austrian-born US illustrator. FRP is the best candidate for "Father of Modern SF _^<a_!T4593_ILLUSTRATION_^>a_", at least in the form it took in the _^<a_!T2033_PULP MAGAZINES_^>a_. He received much of his education in Vienna, and
studied also in Paris and New York. Trained as an architect, he was discovered by Hugo _^<a_!T4668_GERNSBACK_^>a_ in 1914 while working for a rural newspaper. Their names have been virtually inseparable ever since the days of _^<i_The Electrical
Experimenter_^>i_ (> _^<a_!T2869_SCIENCE AND INVENTION_^>a_). For #1 of _^<a_!T141_AMAZING STORIES_^>a_ in Apr 1926 FRP not only painted the cover illustration but did all the interior black-and-white artwork as well, and continued to do both until
Gernsback lost control of the magazine in 1929. When Gernsback started publishing again later that year, FRP was once more his primary illustrator, on _^<a_!T2875_SCIENCE WONDER STORIES_^>a_, _^<a_!T75_AIR WONDER STORIES_^>a_ and then
_^<a_!T6152_WONDER STORIES_^>a_; indeed, his association with Gernsback lasted until the short-lived _^<i_Science Fiction Plus_^>i_ in 1953; he painted more than 150 covers for Gernsback in all. He worked elsewhere, too, with a further 28 front
covers for various non-Gernsback _^<a_!T2130_SF MAGAZINES_^>a_, including all 12 for Charles D. _^<a_!T4505_HORNIG_^>a_'s _^<a_!T2043_SCIENCE FICTION_^>a_, and also a series of full colour back-cover paintings for the _^<a_!T6269_ZIFF-DAVIS_^>a_
_^<i_Amazing Stories_^>i_ and _^<i_Fantastic Adventures_^>i_ (1939-46). He also did all the illustration for _^<i_Superworld Comics_^>i_, a Gernsback experiment of 1939._^<n__^<n_FRP's style shows his architectural training; his
_^<a_!T727_CITIES_^>a_ and _^<a_!T5916_TECHNOLOGY_^>a_ are lovingly detailed, his _^<a_!T102_ALIENS_^>a_ well thought out and plausible, but his human figures stiff and simplistic. His colours were bright (almost garish, even for the period) and
flat, and he liked pure reds and yellows, particularly as backgrounds (though this was partly due to Gernsback's meanness in using three- rather than four-colour printing). It seems odd to associate primitive art with sf, but FRP was in his
technological way, just as much a primitive as Grandma Moses (1860-1961) and, like her, had an authentic naive poetry to his work. The brightness of colour throughout the _^<a_!T2033_PULP-MAGAZINE_^>a_ era of sf was a direct result of FRP's
influence. FRP was guest of honour at the first World SF _^<a_!T856_CONVENTION_^>a_ in 1939. [JG/PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T2348_SPACESHIPS_^>a_.
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PAYN, JAMES
-T-
(1830-1898) UK writer and editor whose 100+ books cover a wide variety of genres, his sf being comparatively inconspicuous. _^<i_The Cruise of the Anti-Torpedo_^>i_ (_^<b_1871_^>b_ chap) is a typical future-_^<a_!T5452_WAR_^>a_ tale, one of many
written in direct response to George T. _^<a_!T5257_CHESNEY_^>a_'s _^<i_The Battle of Dorking_^>i_ (_^<b_1871_^>b_ chap); along with the comic "The Fatal Curiosity, or A Hundred Years Hence" (1877) it was included in _^<i_High Spirits: Being
Certain Stories Written in Them_^>i_ (coll _^<b_1879_^>b_). _^<i_The Eavesdropper: An Unparalleled Experiment_^>i_ (_^<b_1888_^>b_) is an _^<a_!T3806_INVISIBILITY_^>a_ tale whose protagonist, after taking the requisite potion, discovers the truth
about his friends and servants and returns to the normal world sadder and wiser. [JC]_^<n__^<n_
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PAYNE, (PIERRE STEPHEN) ROBERT
-T-
(1911-1983) UK-born writer, much travelled, who spent his final years in the USA. Immensely prolific under a variety of names -- including Richard Cargoe, John Anthony Devon, Howard Horne and Valentin Tikhonov -- he wrote little fantasy or sf.
_^<i_The War in the Marshes_^>i_ (_^<b_1938_^>b_) as by Robert Young is an allegorical adventure rather in the mode of Rex _^<a_!T5461_WARNER_^>a_. _^<i_The Deluge_^>i_ (_^<b_1954_^>b_), which pretends to be based on notes left by Leonardo da Vinci
(1911-1968) UK writer and artist, born in China, where he lived until he was 12 in a missionary compound, embedded into a land as strange as the country surrounding Gormenghast. He was initially better regarded as an artist than as a writer and,
although he had written some poetry before the end of WWII, the publication of _^<i_Titus Groan_^>i_ (_^<b_1946_^>b_) showed an unexpected side to his genius. _^<i_Gormenghast_^>i_ (_^<b_1950_^>b_) is closely linked to that first volume, but it is
clear that MP never intended to compose a trilogy _^<i_per se_^>i_; _^<i_Titus Alone_^>i_ (cut _^<b_1959_^>b_; reconstructed from manuscript by Langdon _^<a_!T3930_JONES_^>a_ 1970) -- a text the author was unable to take beyond draft form due to
the onset of the disease which killed him -- ends at a point that MP did not intend as a definitive terminus. This sense of the shape of the sequence is confirmed by the 1991 critical edition of the 3 novels, in which _^<i_Titus Alone_^>i_ (as coll
_^<b_1991_^>b_ US) ed G. Peter Winnington includes the surviving pages of "Titus Awakes", the incomplete 4th volume of the sequence. But, although the existing trilogy-variously identified as the _^<b_Gormenghast_^>b_ or _^<b_Titus Groan_^>b_
sequence, and on one occasion assembled as _^<i_The Titus Books_^>i_ (omni _^<b_1983_^>b_; vt _^<i_The Gormenghast Trilogy_^>i_ 1991 US) -- was never in its author's mind a complete entity, it remains a series of texts whose power is remarkable,
and the definition of which in generic terms is loaded with difficulties. Although couched in a language which might point towards _^<a_!T1412_FANTASY_^>a_, it contains no fantasy elements; though redolent of a dying-Earth (> _^<a_!T1432_FAR
FUTURE_^>a_) venue in its sense of belatedness and in the person of Titus's father -- a fidgety, crotchet-ridden, _^<a_!T6679_ENTROPY_^>a_-exuding manic-depressive aristocrat whose like has haunted the dying-Earth habitats of writers from M. John
_^<a_!T4319_HARRISON_^>a_ to Richard _^<a_!T4806_GRANT_^>a_ -- the first 2 volumes cannot be thought of as sf. The sequence is perhaps best thought of as being _^<i_sui generis_^>i_._^<n__^<n_Told in an elaborated, densely pictorial language, the
story of Titus's birth and childhood in Gormenghast Castle is fundamentally the story of a coming-of-age: it is a genuine _^<i_Bildungsroman_^>i_, the story of the growth of a soul. At the same time, great stretches of the sequence ignore the
priggish, bland young Titus entirely to concentrate upon the vividly realized cast of grotesques which surrounds him. In _^<i_Titus Groan_^>i_ itself, one of the most intensely painterly books ever crafted, the infant protagonist is surrounded by a
dwelling so intricate and dense (MP derived something of its scale from Sark, in the Channel Islands) that he never becomes more than an occasional raised figurine in the Gormenghast geography. _^<i_Gormenghast_^>i_ is essentially devoted to the
_^<i_Realpolitik_^>i_ rise and inevitable fall of the modern-minded Steerpike. Only _^<i_Titus Alone_^>i_ concentrates on the hero, now self-exiled from his childhood and his great demesne, as he hurtles through a futuristic, jaggedly conceived
_^<a_!T1370_DYSTOPIAN_^>a_ world; at the end, about to return home, he turns his back on all his memories, and the sequence stops short, dangling. Throughout, the wealth of detail of the work makes Gormenghast one of the most richly realized
_^<a_!T131_ALTERNATE WORLDS_^>a_ in all the literature of fantasy or sf._^<n__^<n_MP contributed to _^<i_Sometime, Never_^>i_ (anth _^<b_1956_^>b_) a short story about Titus, _^<i_Boy in Darkness_^>i_ (1956; _^<b_1976_^>b_ chap). _^<i_Mr Pye_^>i_
(_^<b_1953_^>b_) is an excellent whimsical fantasy, set largely on Sark, about a man whose goodness is so profound that he sprouts angel's wings, and about his desperate attempts to get rid of them. But the huge fragments of _^<b_Titus Groan_^>b_
remain central. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Captain Slaughterboard Drops Anchor_^>i_ (_^<b_1939_^>b_ chap), for children; _^<i_Letters from a Lost Uncle_^>i_ (_^<b_1948_^>b_), for children; _^<i_Mervyn Peake: Writings and
Drawings_^>i_ (anth _^<b_1974_^>b_) ed Maeve Gilmore, MP's widow, and Shelagh Johnson._^<b_About the author:_^>b_ _^<i_A World Away: A Memoir_^>i_ (_^<b_1970_^>b_) by Maeve Gilmore; _^<i_Mervyn Peake_^>i_ (_^<b_1974_^>b_) by John Batchelor;
_^<i_Mervyn Peake_^>i_ (_^<b_1976_^>b_) by John Watney; _^<i_Peake's Progress_^>i_ (coll _^<b_1978_^>b_; rev 1981) ed Maeve Gilmore. A journal, _^<i_Peake Studies_^>i_, ed G. Peter Winnington, was instituted in 1988 and continues.
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PEARCE, BRENDA
-T-
(1935- ) UK writer who began publishing sf with "Hot Spot" for _^<i_ASF_^>i_ in 1974. _^<i_Kidnapped into Space_^>i_ (_^<b_1975_^>b_) and _^<i_Worlds for the Grabbing_^>i_ (_^<b_1977_^>b_) are both routine but enjoyable adventures in which her
interest in technical and technological matters sometimes shows through to advantage._^<n__^<n_
Pseudonym used once by Donald A. _^<a_!T5679_WOLLHEIM_^>a_ alone, and also for "The Embassy" (1942 _^<i_ASF_^>i_), which he wrote with C.M. _^<a_!T6353_KORNBLUTH_^>a_. [PN]_^<n__^<n_
UK magazine published by C.A. Pearson Ltd, ed Sir Arthur Pearson and others. Monthly, Jan 1896-Nov 1939._^<n__^<n__^<i_PM_^>i_ was a popular fact and fiction magazine which, following the trend set by its companion paper _^<a_!T1831_PEARSON'S
WEEKLY_^>a_, published sf by George _^<a_!T4871_GRIFFITH_^>a_, H.G. _^<a_!T5528_WELLS_^>a_, F.M. _^<a_!T5575_WHITE_^>a_, C.J. Cutcliffe _^<a_!T4572_HYNE_^>a_ and others on a regular basis for several years, becoming the _^<a_!T5773_STRAND
MAGAZINE_^>a_'s keenest competitor. It is best remembered for the serializations of Wells's _^<i__^<a_!B9242_THE WAR OF THE WORLDS_^>a__^>i_ (1897; _^<b_1898_^>b_) and _^<i_The Food of the Gods_^>i_ (1903-04; _^<b_1904_^>b_) and of George
Griffith's _^<i_A Honeymoon in Space_^>i_ (1900 as "Stories of Other Worlds"; fixup _^<b_1901_^>b_) and the sf illustrations of Fred T. _^<a_!T3866_JANE_^>a_ and Warwick Goble. Sf continued intermittently into the 1930s, sometimes originally, as
with John Raphael's weird sf novel _^<i_Up Above_^>i_ (1912; _^<b_1913_^>b_), and sometimes with reprints, as with Douglas _^<a_!T3179_NEWTON_^>a_'s "Sunken Cities" (1923) from _^<a_!T3107_MUNSEY'S MAGAZINE_^>a_._^<n__^<n_A US edition appeared Mar
1899-Apr 1925 with substantially different contents. In particular it serialized H.G. Wells's _^<i_War in the Air_^>i_ (1908; _^<b_1908_^>b_) a month or two after the original publication in _^<i_Pall Mall Magazine_^>i_. [JE]_^<n__^<n__^<b_Further
reading:_^>b_ _^<i_Science Fiction by Gaslight: A History and Anthology of Science Fiction in the Popular Magazines 1891-1911_^>i_ (_^<b_1968_^>b_) by Sam _^<a_!T3074_MOSKOWITZ_^>a_.
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PEARSON'S WEEKLY
-T-
UK 16pp tabloid magazine published by C.A. Pearson Ltd; ed Peter Keary and others. Weekly, 26 July 1890-1 Apr 1939. Retitled _^<i_The New Pearson and Today_^>i_ from 17 Sep 1938, and _^<i_The New Pearson's Weekly_^>i_ from 26 Nov 1938. Incorporated
into _^<i_Tit-Bits_^>i_ from 8 Apr 1939._^<n__^<n__^<i_PW_^>i_ popularized sf in Victorian magazines with the publication of George _^<a_!T4871_GRIFFITH_^>a_'s _^<i_The Angel of the Revolution_^>i_ (1893; cut _^<b_1893_^>b_), following it with
other serials by Griffith, H. Rider _^<a_!T4911_HAGGARD_^>a_, Louis _^<a_!T6072_TRACY_^>a_ and M.P. _^<a_!T2188_SHIEL_^>a_, and also H.G. _^<a_!T5528_WELLS_^>a_'s _^<i_The Invisible Man_^>i_ (1897; rev _^<b_1897_^>b_). Many short sf stories
appeared during this period, with further stories appearing sporadically into the 1930s. [JE]_^<n__^<n_
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PEASE, Lt JOHN
-T-
[s] > Ralph Milne _^<a_!T1434_FARLEY_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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PECK, RICHARD E(ARL)
-T-
(1936- ) US writer and academic, professor of English at Temple University, Philadelphia, and an active critic of both literature in general and sf in particular. He began publishing sf with "In Alien Waters" for _^<i_Venture_^>i_ in 1969. His sf
novel, _^<i_Final Solution_^>i_ (_^<b_1973_^>b_), is an amusing but grim tale in which a US academic is sent 50 years into the future (through _^<a_!T987_CRYONICS_^>a_) to find universities and _^<a_!T727_CITIES_^>a_ merged into a hideous
conglomerate and sealed off, with Middle America living comfortably outside._^<n__^<n_REP is not to be confused with Richard (Wayne) Peck (1934- ), author of the _^<b_Blossom Culp_^>b_ series of children's fantasies. [JC/PN]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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614
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PEDLER, KIT
-T-
Working name of UK writer and scientist Christopher Magnus Howard Pedler (1927-1981). He was a medical doctor, practising from 1953 for about three years, after which he began the research into the experimental pathology of eye disease that resulted
in a second doctorate. In 1970 KP and Gerry _^<a_!T1096_DAVIS_^>a_ devised the BBC TV series _^<a_!T1289_DOOMWATCH_^>a_, which ran to 37 episodes, many written by KP and Davis, and most dealing in sf terms with the prevention of manmade threats to
this fragile planet. KP's first sf novel, _^<i_Mutant 59: The Plastic-Eater_^>i_ (_^<b_1971_^>b_) with Davis, featured a _^<i_Doomwatch_^>i_-type scenario (indeed, the basic plot had been used as a _^<i_Doomwatch_^>i_ episode) in which a
laboratory-created plastic-eating virus escapes, creating havoc as plastics start dissolving. The working out of the notion is less than crisp. _^<a_!T1942_POLLUTION_^>a_ and _^<a_!T6576_ECOLOGY_^>a_ themes recurred in the next two collaborations,
_^<i_Brainrack_^>i_ (_^<b_1974_^>b_) and _^<i_The Dynostar Menace_^>i_ (_^<b_1975_^>b_), neither being wholly satisfactory. KP's scientific ideas were stronger than the methods he used to dramatize them. He made many tv and radio appearances,
usually dealing with ecological problems, and presented several tv films in this field. [JC/PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T1243_DISASTER_^>a_; _^<a_!T4657_GENETIC ENGINEERING_^>a_; _^<a_!T2019_PSEUDO-SCIENCE_^>a_.
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(c) 1995 John Clute and Peter Nicholls
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-C- 1834 SF01838.t
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PEEL, JESSE
-T-
[s] > Steve _^<a_!T1861_PERRY_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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21
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PEIRCE, HAYFORD
-T-
(1942- ) US writer who began publishing sf with "Unlimited Warfare" for _^<i_ASF_^>i_ in 1974 and who established a name for lightly written tales whose backgrounds were unusually well conceived. "Mail Supremacy" (1975) began a series -- which
has not reached book form -- in which an Anglo-Chinese businessman brings Earth into the Galactic Postal Union. _^<i_Napoleon Disentimed_^>i_ (_^<b_1987_^>b_; exp 1989 UK), his first novel, is an attractive example of what might be called the
_^<a_!T131_ALTERNATE-WORLDS_^>a_ hijinks tale: cast into a 1992 ruled by the French Empire, a confidence trickster attempts to upset the applecart. _^<i_The Thirteenth Majestral_^>i_ (_^<b_1989_^>b_) -- HP's titles are notably inventive -- is a
_^<a_!T6026_TIME-TRAVEL_^>a_ tale set in the far future and disregardful of the pretensions of established religion. _^<i_Phylum Monsters_^>i_ (_^<b_1989_^>b_) deals amusedly with _^<a_!T4657_GENETIC ENGINEERING_^>a_. [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 1836 SF01840.t
810
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PEKIC, BORISLAV
-T-
[r] > _^<a_!T6246_YUGOSLAVIA_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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18
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PELKIE, J.W.
-T-
[s] > Raymond A. _^<a_!T1774_PALMER_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 1838 SF01842.t
24
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PELLUME, NOAM D.
-T-
[s] > Orson Scott _^<a_!T6359_CARD_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 1839 SF01843.t
25
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PEMBERTON, [Sir] MAX
-T-
(1863-1950) UK writer, educated at Caius College, Cambridge, the first editor of _^<i_Chums_^>i_ 1892-3, editor of _^<i_Cassell's Magazine_^>i_ 1896-1906, and later a director of Northcliffe Newspapers; he was knighted in 1928. Of more than 60
novels, his most famous is a Jules _^<a_!T5355_VERNE_^>a_-style piece of _^<a_!T710_CHILDREN'S SF_^>a_: in the much-reprinted _^<i_The Iron Pirate: A Plain Tale of Strange Happenings on the Sea_^>i_ (_^<b_1893_^>b_; vt _^<i_The Shadow on the
Sea_^>i_ 1907) and its sequel _^<i_Captain Black_^>i_ (_^<b_1911_^>b_) an advanced submarine is used for piracy. Equally popular in its day was his novel of attempted future _^<a_!T5452_WAR_^>a_, _^<i_Pro Patria_^>i_ (_^<b_1901_^>b_), in which a
Channel tunnel is excavated by the French for a planned _^<a_!T3796_INVASION_^>a_ of the UK. France is again the unsuccessful antagonist in _^<i_The Giant's Gate_^>i_ (_^<b_1901_^>b_), this time using advanced submarines to bypass the UK's defence
systems. Another theme prominent in MP's writing is of secret communities established either for scientific reasons, as in _^<i_The Impregnable City_^>i_ (_^<b_1895_^>b_) and _^<i_The House under the Sea_^>i_ (_^<b_1902_^>b_), or for
_^<a_!T5303_UTOPIAN_^>a_, as in _^<i_White Walls_^>i_ (_^<b_1910_^>b_). [JE]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Queen of the Jesters_^>i_ (_^<b_1897_^>b_); _^<i_The Phantom Army_^>i_ (_^<b_1898_^>b_); _^<i_Dr Xavier_^>i_ (_^<b_1903_^>b_);
_^<i_The Diamond Ship_^>i_ (_^<b_1906_^>b_)._^<b_About the author:_^>b_ _^<i_Sixty Years Ago and After_^>i_ (_^<b_1936_^>b_), an autobiography._^<b_See also:_^>b_ _^<a_!T4443_HISTORY OF SF_^>a_; _^<a_!T2348_SPACESHIPS_^>a_; _^<a_!T5281_UNDER THE
SEA_^>a_.
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(c) 1995 John Clute and Peter Nicholls
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PEMBERTON, RENFREW
-T-
[s] > F.M. _^<a_!T5100_BUSBY_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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PENA, ALFREDO CARDONA
-T-
[r] > _^<a_!T4204_LATIN AMERICA_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
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PENALURICK, JAN
-T-
[s] > Charles _^<a_!T1155_DE LINT_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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-C- 1843 SF01847.t
24
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PENDLETON, DON(ALD EUGENE)
-T-
(1927- ) US writer who began with "Boomerang Peep Show" for _^<i_Ace Magazine_^>i_ in 1958 and whose sf novels -- some written as by Dan Britain, and most of them routine -- began with _^<i_Revolt!_^>i_ (_^<b_1968_^>b_ as by Britain; rev vt
_^<i_Civil War II: The Day it Finally Happened!_^>i_ 1971 as DP) and _^<i_The Olympians_^>i_ (_^<b_1969_^>b_), both soft porn. Other singletons were _^<i_Cataclysm: The Day the World Died_^>i_ (_^<b_1969_^>b_), _^<i_The Guns of Terra 10_^>i_
(_^<b_1970_^>b_), _^<i_The Godmakers_^>i_ (_^<b_1970_^>b_ as by Britain; 1974 as DP) and _^<i_1989: Population Doomsday_^>i_ (_^<b_1970_^>b_; vt _^<i_Population Doomsday_^>i_ 1974). Also of some sf interest are the _^<b_Asthon Ford_^>b_ psychic spy
tales: _^<i_Ashes to Ashes_^>i_ (_^<b_1986_^>b_), _^<i_Eye to Eye_^>i_ (_^<b_1986_^>b_), _^<i_Mind to Mind_^>i_ (_^<b_1987_^>b_), _^<i_Life to Life_^>i_ (_^<b_1987_^>b_), _^<i_Heart to Heart_^>i_ (_^<b_1987_^>b_) and _^<i_Time to Time_^>i_
(_^<b_1988_^>b_)._^<n__^<n_DP wrote the first 27 vols of the _^<b_Mack Bolan_^>b_ or _^<b_Executioner_^>b_ series for Gold Eagle Books, which thereafter adopted "Don Pendleton" as a house name; among the authors who wrote under it was Peter
_^<a_!T3344_LESLIE_^>a_. Of sf interest in that series is _^<i_Mack Bolan: Paradine's Gauntlet_^>i_ * (_^<b_1983_^>b_) by Michael Newton (1951- ) as Pendleton. [JC]_^<n__^<n_
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PENDRAY, (GEORGE) EDWARD
-T-
(1901-1987) US writer and rocket scientist, a founding member of The American Interplanetary Society, and author of _^<i_The Coming Age of Rocket Power_^>i_ (_^<b_1945_^>b_); he was also involved in the Time Capsule featured at the 1939 New York
World's Fair. As Gawain Edwards he published some stories in sf magazines in the 1920s and 1930s and a future-_^<a_!T5452_WAR_^>a_ novel, _^<i_The Earth-Tube_^>i_ (_^<b_1929_^>b_), in which Asians take advantage of their possession of the
invulnerable metal undulal to tunnel under South America, which they soon conquer. After a young hero has penetrated the secret, catastophic explosions close the tunnel, inundating South America but sparing the USA, which has transformed itself
into a socialist regime in response to the free gold which the Asians have been raining from the skies in an effort to destabilize the great capitalist democracy. [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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PENNINGTON, BRUCE
-T-
(1944- ) UK illustrator. One of the young sf artists to gain prominence in the 1970s, BP entered the field in 1967 with a cover for Robert A. _^<a_!T4376_HEINLEIN_^>a_'s _^<i__^<a_!B9028_STRANGER IN A STRANGE LAND_^>a__^>i_ (_^<b_1961_^>b_),
though at the time he worked primarily on covers for Westerns and historical novels. Since then he has done sf covers for New English Library, _^<a_!T377_BALLANTINE BOOKS_^>a_, Corgi and Sphere among others; he was also associated with
_^<a_!T2131_SCIENCE FICTION MONTHLY_^>a_. His painting is textured, with brush-strokes showing and strong colour, often featuring surreal landscapes; it is distinctive, vigorous work, but has been criticized for crudeness, maybe because of its
contrast with the smooth, airbrushed superrealism that was coming into vogue in the UK at that time. Three books are _^<i_Eschatus_^>i_ (_^<b_1977_^>b_), containing fantasy paintings illustrating the prophecies of Nostradamus,_^<i_Ultraterranium:
The Paintings of Bruce Pennington _^>i_(_^<b_1991_^>b_) and _^<i_The Bruce Pennington Portfolio_^>i_ (_^<b_1991_^>b_). [JG/PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T5005_BRITISH SCIENCE FICTION AWARD_^>a_.
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(c) 1995 John Clute and Peter Nicholls
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PENNY, DAVID G(EORGE)
-T-
[r] > _^<a_!T6332_ROBERT HALE LIMITED_^>a_. [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 1847 SF01851.t
33
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PENRICE, ARTHUR
-T-
(? -? ) Unidentified UK writer; according to Darko _^<a_!T5858_SUVIN_^>a_ almost certainly a pseudonym. AP's _^<i_Skyward and Earthward_^>i_ (_^<b_1875_^>b_) features an interplanetary _^<a_!T382_BALLOON_^>a_ aboard which the narrator visits the
telepaths who live on Mars before returning to Earth to engage in further exploits. [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 1848 SF01852.t
272
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PEOPLE THAT TIME FORGOT, THE
-T-
Film (1977). Amicus. Dir Kevin Connor, starring Patrick Wayne, Sarah Douglas, Dana Gillespie, Thorley Walters, Doug McClure. Screenplay Patrick _^<a_!T6369_TILLEY_^>a_, Connor Carter, Maurice Carter, based on _^<i_The Land that Time Forgot_^>i_
(fixup _^<b_1924_^>b_) by Edgar Rice _^<a_!T5097_BURROUGHS_^>a_. 90 mins. Colour._^<n__^<n_After the mild success of _^<i_The_^<a_!T4171_LAND THAT TIME FORGOT_^>a__^>i_ (1975) and _^<a_!T302_AT THE EARTH'S CORE_^>a_ (1976), made by the same
company, a third Burroughs _^<a_!T3459_LOST-WORLD_^>a_ adaptation was inevitable, but Tilley's screenplay lacked the tautness and the mild ironies of that by James _^<a_!T5217_CAWTHORN_^>a_ and Michael _^<a_!T3030_MOORCOCK_^>a_ for _^<i_The Land
that Time Forgot_^>i_. This time around the _^<a_!T3013_MONSTERS_^>a_ are perfunctory, and the added feminist subplot ends up as more notably male chauvinist than the Burroughs original. [PN]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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PER ASPERA AD ASTRA
-T-
> _^<a_!T5253_CHEREZ TERNII -- K ZVYOZDAM_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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PERCEPTION
-T-
The ways in which we become aware of and receive information about the outside world, mainly through the senses, are together called perception. Philosophers are deeply divided as to whether our perceptions of the outside world correspond to an
actual reality, or whether they are merely hypotheses, intellectual constructs, which may give us an unreliable or partial picture of external reality, or whether, indeed, outside reality is itself a mental construct._^<n__^<n_Perception is and
always has been a principal theme of sf; it is the philosophical linchpin of many stories and has played a subsidiary role in hundreds more. (Many perception stories are discussed, from a different perspective, under _^<a_!T2023_PSYCHOLOGY_^>a_.)
For convenience, we can divide sf perception stories into 5 groups: stories about unusual modes of perception; stories about appearance and reality; stories about perception altered through drugs; stories about synaesthesia; stories about altered
perception of time. The groups are not mutually exclusive, and several stories fall into more than one category._^<n__^<n_Unusual modes of perception appear early in sf. R.H. _^<a_!T4503_HORNE_^>a_'s _^<i_The Poor Artist_^>i_ (_^<b_1871_^>b_),
which is partly devoted to the way the world would appear as perceived through the senses of animals, was the first book ever to be described as "science fiction" (by his contemporary William _^<a_!T5648_WILSON_^>a_). Edwin A.
_^<a_!T8_ABBOTT_^>a_'s _^<i_Flatland_^>i_ (_^<b_1884_^>b_) is an exercise in how beings from a one- or two-dimensional universe would perceive reality, and about how we would perceive a fourth _^<a_!T1239_DIMENSION_^>a_. J.H. _^<a_!T2696_ROSNY_^>a_
aine's "Un autre monde" (1895; trans as "Another World" 1962) tells of a _^<a_!T3119_MUTANT_^>a_ with a very fast metabolism who can see colours beyond violet (and new life forms) invisible to ordinary humans. David _^<a_!T3395_LINDSAY_^>a_
developed a similar idea in _^<i__^<a_!B9079_A VOYAGE TO ARCTURUS_^>a__^>i_ (_^<b_1920_^>b_), in which the protagonist, mysteriously transported to another planet, keeps forming and then losing new organs of perception whose functions run from
seeing additional colours to sensing emotions to intensifying the will._^<n__^<n_Many sf writers have followed Rosny's lead in imagining modes of perception which allow the direct sensing of _^<a_!T131_ALTERNATE WORLDS_^>a_ or other dimensions,
often through _^<a_!T6697_ESP_^>a_ (_^<i_see also_^>i_ _^<a_!T2021_PSI POWERS_^>a_). (It is probably more accurate to suppose that the idea was popularized by an H.G. _^<a_!T5528_WELLS_^>a_ story of the same year, "The Story of Davidson's Eyes"
[1895], though Rosny's story is superior as sf.) A.E. _^<a_!T5333_VAN VOGT_^>a_'s melodramatic _^<i_Siege of the Unseen_^>i_ (1946 as "The Chronicler"; _^<b_1959_^>b_; vt as title story in _^<i_The Three Eyes of Evil_^>i_ coll _^<b_1973_^>b_ UK)
has a hero with a third eye which allows him to perceive and then travel into another dimension. In Richard _^<a_!T3553_MCKENNA_^>a_'s "The Secret Place" (1966) no special organ is required; a world of the distant geological past is perceived
direct by the mind of the heroine. Nearly all McKenna's work involves the perception and/or construction of alternate realities. Another of his stories, "Hunter, Come Home" (1963) involves an alien lifeform that perceives by instant molecular
analysis -- which is not too far removed from our own sense of smell -- an example of the strange modes of perception which appear in many of the stories described in the entry on _^<a_!T102_ALIENS_^>a_. James _^<a_!T6035_TIPTREE_^>a_ Jr often used
perception themes, notably in the almost surreal "Painwise" (1971), in which a human explorer, surgically modified to feel no pain, takes up with a crew of hedonistic aliens fixated on taste sensations; pain is rediscovered. Several of Ian
_^<a_!T5484_WATSON_^>a_'s novels have dealt more seriously with perception, as in _^<i_The Jonah Kit_^>i_ (_^<b_1975_^>b_), where the perceptions of a whale are mediated through (and modified by) a human intelligence, and _^<i_The Martian Inca_^>i_
(_^<b_1977_^>b_), where the perceptions of two South American Indians are changed by the accidental intake of a Martian organism, so that their model of the world becomes very much more complex. Watson here, as elsewhere, touches on the relation
between external reality and the way that reality is perceived and modified by mental programmes in the observer. These are questions that emerge regularly in the second category, stories of appearance and reality._^<n__^<n_Appearance and reality
is one of the fundamental themes of sf. It has as much to do with _^<a_!T2924_METAPHYSICS_^>a_ and _^<a_!T829_CONCEPTUAL BREAKTHROUGH_^>a_ as with perception _^<i_per se_^>i_ (and so is discussed, from rather a different perspective, in those two
entries also; relevant stories treated in more detail in the latter are "The Yellow Pill" [1958] by Rog _^<a_!T1887_PHILLIPS_^>a_ and _^<i_Counterfeit World_^>i_ [_^<b_1964_^>b_ UK; vt _^<i_Simulacron-3_^>i_ US] by Daniel _^<a_!T1692_GALOUYE_^>a_).
The difficulty in perceiving the difference between the real and the illusory is a central theme in _^<a_!T18_ABSURDIST SF_^>a_ and in _^<a_!T1372_FABULATION_^>a_, as it is in surrealist literature generally; it comes up often in the stories of
Josephine _^<a_!T2831_SAXTON_^>a_ and is the subject of Angela _^<a_!T5190_CARTER_^>a_'s _^<i_The Infernal Desire Machines of Doctor Hoffman_^>i_ (_^<b_1972_^>b_; vt _^<i_The War of Dreams_^>i_ USA) and Salman _^<a_!T2740_RUSHDIE_^>a_'s
_^<i_Grimus_^>i_ (_^<b_1975_^>b_). All three writers regularly use the quest format, life being seen as a journey through baffling illusions, the desired end being understanding. Ed _^<a_!T5055_BRYANT_^>a_'s _^<i_Cinnabar_^>i_ (coll of linked
stories _^<b_1976_^>b_) is set around an enigmatic city where desires can be made flesh in various ways, and where reality itself is ever dissolving from one form to another; always changing and diverse, its one unchanging quality appears to be the
evanescence of external reality. In James _^<a_!T3070_MORROW_^>a_'s _^<i_The Continent of Lies_^>i_ (_^<b_1984_^>b_) "dreambeans" (which grow on genetically engineered trees) are used to dissolve, temporarily, the boundaries between appearance and
reality; the hero is a dreambean reviewer._^<n__^<n_Richard _^<a_!T925_COWPER_^>a_ has written that "one single theme which intrigues me above all others is the nature of human perception". Where van Vogt's _^<a_!T6697_ESP_^>a_ breakthroughs into
other realms of perception tend to be brutally direct and melodramatic, Cowper has approached the subject more obliquely and sensitively; a kind of further reality, not explicable in everyday terms, makes itself known to several of his characters
in dreams, intimations -- glimpses caught, as it were, out of the corner of the eye. Cowper clearly believes that our everyday reality is only partial, and has expertly evoked a kind of quivering, tense broadening of perception, especially in
_^<i_Breakthrough_^>i_ (_^<b_1967_^>b_) and _^<i_The Twilight of Briareus_^>i_ (_^<b_1974_^>b_). Sf stories commonly dwell on the strangeness of such experiences, and the protagonist's feeling that he might be going mad. Another example is Arthur
_^<a_!T2099_SELLINGS_^>a_'s _^<i_The Uncensored Man_^>i_ (_^<b_1964_^>b_), in which drugs are used to increase receptivity, a theme we will examine further below._^<n__^<n_Several sf stories have combined ideas from _^<a_!T3717_MATHEMATICS_^>a_
(strange topologies and geometries) with stories of perception. Arthur C. _^<a_!T736_CLARKE_^>a_'s "The Wall of Darkness" (1949) describes how it feels to live in a world which is a three-dimensional analogue of a moebius strip; it is all inside
and no outside. Ted Chiang's "Tower of Babylon" (1990), in which M.C. Escher (1902-1972) seems to be an unacknowledged collaborator, has its archaic people building a tower from Earth to Heaven, from which perceptions of Earth's nature evolve the
higher one climbs until, in a perceptual loop, the top turns out to be the bottom. R.A. _^<a_!T4152_LAFFERTY_^>a_'s "Narrow Valley" (1966) is quite remarkably bigger on the inside than it is on the outside -- like _^<a_!T1268_DR WHO_^>a_'s
_^<i_Tardis_^>i_ -- and the perceptions of the observers are driven to the brink of insanity. John _^<a_!T981_CROWLEY_^>a_ uses a similar but much more developed version of the theme in _^<i_Little, Big_^>i_ (_^<b_1981_^>b_), more fantasy than sf,
in which the land of Faerie is described as having the characteristic that the further in you go the bigger it gets. Christopher _^<a_!T1990_PRIEST_^>a_'s _^<i__^<a_!B9050_INVERTED WORLD_^>a__^>i_ (_^<b_1974_^>b_) is a fascinating story of
perceptual paradox in two respects; first, the progressive spatial distortion that takes place north and south of a shifting zone of stability on the hyperboloid planet; second, the revelation that the planet may in fact be our own Earth, viewed by
a group whose perceptions have created a model of its shape which inverts the spheroid to a hyperboloid, and who cannot escape their own intellectual construct. Such stories approach genuine philosophical questions, though these are evoked in sf
more commonly than they are actively explored; but even in such cases as Priest's novel (and most like it), where the scientific and philosophical argument is not really rigorous, there is a compulsive, teasing quality about the central image that
amply compensates._^<n__^<n_Stanislaw _^<a_!T3329_LEM_^>a_ has several times written about the difficulties of transcending our perceptions. _^<i__^<a_!B9183_SOLARIS_^>a__^>i_ (_^<b_1961_^>b_; trans _^<b_1970_^>b_) asks the pessimistic
philosophical question: "Can we ever regard reality as knowable, given the limitations of the senses with which we apprehend it and the mental programmes which force us to relate our understanding of it always to human experience?" Barry N.
_^<a_!T3629_MALZBERG_^>a_ is also intrigued with this area of speculation and pessimistic. _^<i_Beyond Apollo_^>i_ (_^<b_1972_^>b_) has an astronaut returning from a disastrous expedition to Venus; he tells the story of what went wrong over and
over again, always differently, but it seems that the real tragedy cannot be put in terms of his human perceptions, and all his analogies can give only a partial truth. This theme, of course, is as familiar outside sf as it is inside, though sf has
remarkable resources of image and metaphor with which to explore it._^<n__^<n_The two sf writers who have played the most extravagant and kaleidoscopic variations on the theme of appearance and reality are J.G. _^<a_!T378_BALLARD_^>a_ and Philip K.
_^<a_!T1222_DICK_^>a_. Almost all of Ballard's early work, and much of his later, deals with the various psychological processes to which we subject our perceptions of reality. One of his earliest stories, "Build-Up" (1957; vt "The Concentration
City") is a kind of bravura replay of the Clarke story cited above. A young man living in claustrophobic circumstances catches a train to escape; after weeks of travelling in one direction he finds he is going east, not west; the space of the city
is curved; there is no outside, just as with our own Universe. In "The Subliminal Man" (1963) the very quickness of our perception is exploited by advertisers. In "Manhole 69" (1957) an experiment in sleep deprivation gets out of control as the
subjects' apprehension of reality shrinks their universe, smaller and smaller, effectively strangling them. The whole of Ballard's _^<i_oeuvre_^>i_ is, in effect, an extended exploration of the inner, psychic universes made up by our selective
perceptions of the external world -- hence the term he popularized, used often of his subject matter, _^<a_!T3783_INNER SPACE_^>a_._^<n__^<n_The paradox in Ballard is that, although our inner reality is made up of data from the outside (in such a
confusing hotchpotch that the system can short out through overload), the inner pattern created by the data mediates the reception of further data in a kind of vicious circle, where no certainty is possible. Dick's emphasis is a little different;
his realities often require inverted commas: they are "realities" consistently adulterated by false constructs, hallucinations, counterfeiting. Ultimately the conjuring is so baffling that the stability of _^<i_any_^>i_ reality comes to seem
suspect; the external world suffers a kind of dissolution. In its place we are left with a view which is surprisingly far from pessimistic, as Dick implies it; it can be synopsized (only crudely) as "the universe is what we perceive it to be". This
is not necessarily an intolerable labyrinth, for Dick provides a dogged survival factor connected somehow to innate human decency, by which the construction of simple, often ethical reference points may prevent the self from spiralling inwards into
subjective madness: handholds for the mind. The most important works by Dick relevant to perception are _^<i_Eye in the Sky_^>i_ (_^<b_1957_^>b_), _^<i_Time Out of Joint_^>i_ (_^<b_1959_^>b_), _^<i__^<a_!B9086_THE MAN IN THE HIGH CASTLE_^>a__^>i_
(_^<b_1962_^>b_), _^<i__^<a_!B9152_THE THREE STIGMATA OF PALMER ELDRITCH_^>a__^>i_ (_^<b_1964_^>b_), _^<i_Martian Time-Slip_^>i_ (_^<b_1964_^>b_), _^<i_The Penultimate Truth_^>i_ (_^<b_1964_^>b_), _^<i_Dr Bloodmoney, or How We Got Along After the
Bomb_^>i_, (_^<b_1965_^>b_), _^<i_Now Wait for Last Year_^>i_ (_^<b_1966_^>b_), _^<i_Ubik_^>i_ (_^<b_1969_^>b_), _^<i_A Maze of Death_^>i_ (_^<b_1970_^>b_), and _^<i_Flow My Tears, the Policeman Said_^>i_ (_^<b_1974_^>b_). Together they constitute
a kind of meta-novel, unique in literature. Ursula K. _^<a_!T3318_LE GUIN_^>a_ moved briefly into Dick's territory with _^<i_The Lathe of Heaven_^>i_ (_^<b_1971_^>b_), in which a man has the power to alter reality through his dreams; here, although
the reality-shifts are adroitly managed, the central theme bears more on the making of ethical decisions than it does on questions of appearance and reality _^<i_per se_^>i_._^<n__^<n_Several of the shifting realities cited in the Dick novels above
were catalysed by drugs, his _^<i__^<a_!B9147_A SCANNER DARKLY_^>a__^>i_ (_^<b_1977_^>b_) being his most prolonged exploration of the theme. The late 1960s saw a general interest in the drug-culture. In the air was a romantic belief that drugs
could open the gates of perception, and offer heightened and perhaps superior versions of reality. Very few sf writers subscribed to this myth, and indeed when drugs had figured in earlier sf -- as in Aldous _^<a_!T4566_HUXLEY_^>a_'s
_^<i__^<a_!B9261_BRAVE NEW WORLD_^>a__^>i_ (_^<b_1932_^>b_), where drugs are used to dim perception and bring about a false euphoria -- they had usually been seen as detracting from rather than heightening the powers of perception, although
Margaret _^<a_!T2770_ST CLAIR_^>a_ in _^<i_Sign of the Labrys_^>i_ (_^<b_1963_^>b_) has the consciousness-heightening power of some fungi as potentially transcendental. Similarly, in Robert _^<a_!T2216_SILVERBERG_^>a_'s _^<i_Downward to the
Earth_^>i_ (_^<b_1970_^>b_) a drug is the agent for the transcendent rebirth undergone by the hero, who, like the despised natives on the planet he has revisited, is suffused by a new and joyful perception of life's harmony. Also relevant here is
_^<i_The Butterfly Kid_^>i_ (_^<b_1967_^>b_) by Chester _^<a_!T161_ANDERSON_^>a_, in which the drug-induced mood is more cheerful than transcendent._^<n__^<n_More common, even in the 1960s, at the height of the drug culture's years of euphoria,
were sf stories about the distortions of perception brought about by drugs, especially those written by _^<a_!T3181_NEW-WAVE_^>a_ writers, who could not generally be described as conservative and who indeed lived in the main closer to the
drug-culture than sf writers a little older. Drug-taking, for example, plays a role in Charles _^<a_!T1927_PLATT_^>a_'s _^<i_The City Dwellers_^>i_ (_^<b_1970_^>b_; rev vt _^<i_Twilight of the City_^>i_ 1977) and M. John _^<a_!T4319_HARRISON_^>a_'s
_^<i_The Centauri Device_^>i_ (_^<b_1974_^>b_). Perhaps the most vivid of all new-wave sf works dealing with perception shifts through drugs is Brian W. _^<a_!T87_ALDISS_^>a_'s _^<i_Barefoot in the Head_^>i_ (fixup _^<b_1969_^>b_), in which
hallucinogenic drugs have been used as a weapon in Europe, and the entire freaked-out population shifts into a euphoric anarchy that changes easily to violence. Norman _^<a_!T2370_SPINRAD_^>a_ has written some notable stories about drugs, including
"No Direction Home" (1971), where a future USA is so used to orchestrating its mental states by drugs that perception of naked reality without any chemical assistance is seen as the worst trip of all._^<n__^<n_Synaesthesia is an interesting
perceptual state which occasionally appears in sf; it is a condition where the senses become confused and feed into one another, so that, perhaps, a vision can be smelt. Alfred _^<a_!T568_BESTER_^>a_ exploited it in _^<i_Tiger! Tiger!_^>i_
(_^<b_1956_^>b_ UK; rev vt _^<i_The Stars My Destination_^>i_ 1957 US), where, in a compelling passage, the hero's apotheosis comes about (with many verbal fireworks) in a synaesthetic rite of passage which mixes agony and exultation. Spinrad
envisaged synaesthesia as perhaps addictive in his strong story "All the Sounds of the Rainbow" (1973)._^<n__^<n_Drugs can be seen as a quasi-natural or at least organic method of altering modes of perception. Sf, naturally, has many times invented
technological means for doing the same thing. Bob _^<a_!T2153_SHAW_^>a_ has persistently written about alternate forms of vision: in the _^<b_Slow Glass_^>b_ stories collected in _^<i_Other Days, Other Eyes_^>i_ (fixup _^<b_1972_^>b_) a glass is
invented which slows the passage of light through it, so that the past can be directly perceived in the present; in _^<i_Night Walk_^>i_ (_^<b_1967_^>b_) a blind man invents a device which allows him to see through the eyes of other humans and
animals; and in _^<i_A Wreath of Stars_^>i_ (_^<b_1976_^>b_) a device is invented to render visible a world (coexisting with our own) made entirely from antineutrinos._^<n__^<n_The _^<b_Slow Glass_^>b_ stories bring us directly to the last
category: unusual perceptions of time (_^<i_see also_^>i_ _^<a_!T6026_TIME TRAVEL_^>a_). Spinrad has written in this area: "The Weed of Time" (1970) is about a drug which makes its victim see all his lifetime as co-present; the effect is
retroactive, so that the hero as a child knows he will be affected by the drug before he has been. Dick's _^<i_Martian Time-Slip_^>i_ (_^<b_1964_^>b_) sees schizophrenia (> _^<a_!T1795_PARANOIA_^>a_) as bringing with it an altered time perception.
In James _^<a_!T658_BLISH_^>a_'s "Common Time" (1953) the altered time perception is brought about by pseudo-relativistic effects in a rapidly accelerating spaceship. Eric Frank _^<a_!T2743_RUSSELL_^>a_'s "The Waitabits" (1955) is an amusing story
about a race of aliens who experience time much more slowly, appearing almost static to humans. Kurt _^<a_!T5402_VONNEGUT_^>a_ Jr's _^<i_Slaughterhouse-Five_^>i_ (_^<b_1969_^>b_) has aliens who, like Spinrad's hero, see all time as existing
simultaneously, which gives them a somewhat deterministic view of the Universe. In Jacques _^<a_!T5721_STERNBERG_^>a_'s "Ephemera", one of the stories in _^<i_Futurs sans avenir_^>i_ (coll _^<b_1971_^>b_; trans as _^<i_Future without Future_^>i_
_^<b_1974_^>b_), survivors of a spacewreck are doomed when they land on a planet in which, as in Russell's story, the inhabitants see time more slowly. Ballard, as might be expected, has several stories about the perception of time, the most
powerful being "The Voices of Time" (1960), in which the Universe is running down and time perception on Earth is altered in various ways; one man is able to sense geological time directly, as if he smelt it. Time is a dominant theme of Aldiss's
work; his stories about time perception include the strange "Man in His Time" (1965), about a man who perceives time a few minutes ahead of everyone else, and "The Night that All Time Broke Out" (1967), in which a time gas used for controlled
mental time travel gushes out and affects everyone. His most notable story of this kind is _^<i_An Age_^>i_ (_^<b_1967_^>b_; vt _^<i_Cryptozoic!_^>i_ 1968 US), in which it finally turns out that time actually runs backwards, but our minds
defensively perceive it as going forward. The same notion was used at around the same time, quite coincidentally, by Philip K. Dick in _^<i_Counter-Clock World_^>i_ (_^<b_1967_^>b_), but the Aldiss book, though uneven, has the greater imaginative
_^<i_brio_^>i_; more recent treatments of the ideas of _^<i_An Age_^>i_ and "Man in his Time" are, respectively, Martin _^<a_!T154_AMIS_^>a_'s _^<i_Time's Arrow_^>i_ (_^<b_1991_^>b_) and Eric _^<a_!T5027_BROWN_^>a_'s "The Time-Lapsed Man" (1988).
The strangest of all such stories, however, must be David I. _^<a_!T3711_MASSON_^>a_'s "Traveller's Rest" (1965), about a war against an unknown enemy on the northern frontier of a country where the perception of time slows down as one travels
south; a soldier on indefinite leave marries, raises a family, grows middle-aged, and is eventually called up again to find himself back in his bunker 22 minutes after he left. The story is told with extraordinary conviction._^<n__^<n_The
time-perception stories cited above are generally of a very high standard, demonstrating clearly the way that sf thought-experiments can stimulate the mind and move the feelings in ways that are almost closed to traditional realist fiction. We take
time for granted without fully understanding it, or how it works; these stories, with some intensity, stretch our perceptions of what meaning it might have for us. [PN]_^<n__^<n_
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PERCY, F. WALKER
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(1916-1990) US doctor and writer who reflected in his novels -- the best known of which remains his first, _^<i_The Moviegoer_^>i_ (_^<b_1961_^>b_) -- a searchingly liberal and Catholic reading of US life. _^<i_Love in the Ruins: The Adventures of a
Bad Catholic at a Time Near the End of the World_^>i_ (_^<b_1971_^>b_), the first vol of the _^<b_Dr Thomas More_^>b_ series, is a long, complex _^<a_!T6337_NEAR-FUTURE_^>a_ story set in a 1980s USA suffering technological decay, and almost
certainly in no real position to benefit from the invention by the narrator -- distantly related to the author of _^<i_Utopia_^>i_ -- of an insanity-curing device. It is continued thematically in _^<i_The Thanatos Syndrome_^>i_ (_^<b_1987_^>b_).
The speculative pieces assembled in _^<i_Lost in the Cosmos: The Last Self-Help Book_^>i_ (coll _^<b_1983_^>b_) are mostly nonfiction, but the end of the book slips into uneasy sf. [JC]_^<n__^<n_
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PEREGOY, CALVIN
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[s] > Thomas Calvert _^<a_!T6303_MCCLARY_^>a_._^<n__^<n_
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PEREIRA, W(ILFRED) D(ENNIS)
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(1921- ) UK aviation engineer, advertising executive and writer whose first books, from _^<i_Time of Departure_^>i_ (_^<b_1956_^>b_), concentrated on flying. He began writing sf with _^<i_Aftermath 15_^>i_ (_^<b_1973_^>b_), which depicts a
_^<a_!T1370_DYSTOPIAN_^>a_ post-_^<a_!T4482_HOLOCAUST_^>a_ USA whose inhabitants are rigidly stratified according to how much radiation they have absorbed. The projected sequels, <Aftermath 16> and <Aftermath 17>, have never appeared. WDP's other
novels, all written for _^<a_!T6332_ROBERT HALE LIMITED_^>a_ in a professionally impersonal style, have been _^<i_The Charon Tapes_^>i_ (_^<b_1975_^>b_), _^<i_Another Eden_^>i_ (_^<b_1986_^>b_), _^<i_Contact_^>i_ (_^<b_1977_^>b_), _^<i_The King of
Hell_^>i_ (_^<b_1978_^>b_) and _^<i_Celeste_^>i_ (_^<b_1979_^>b_). [JC]_^<n__^<n_
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PEREIRA MENDES, H(ENRY)
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(1852-1937) UK-born rabbi, academic and writer, from 1877 in the USA, where he wrote prolifically in many genres. _^<i_Looking Ahead: Twentieth Century Happenings_^>i_ (_^<b_1899_^>b_) tells of various socialist upheavals which lead to several world
wars and are defeated, in the end, only by an alliance of theocratical Christians and Jews, which also establishes in Palestine a Jewish homeland ruled by a descendant of the ancient Jewish monarchy. [JC]_^<n__^<n_
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PERFECT WOMAN, THE
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Film (1949). Two Cities/Eagle-Lion. Dir Bernard Knowles, starring Patricia Roc, Stanley Holloway, Nigel Patrick, Miles Malleson, Irene Handl, Pamela Devis, Constance Smith. Screenplay George Black, Knowles, based on the play _^<i_The Perfect
Woman_^>i_ (produced 1948; _^<b_1950_^>b_) by Wallace Geoffrey and Basil Mitchell. 89 mins. B/w._^<n__^<n_An inventor creates a _^<a_!T2646_ROBOT_^>a_ in the image of his niece and hires a young man to take it out on a date as a final test of its
believability. But the real girl takes the robot's place during testing, and a conventional but well played farce follows, notable for its underwear fetishism and a sauciness quite close to the rim of what the period regarded as decent. The ending
is mildly apocalyptic when the malfunctioning robot marches stiff-legged, spouting sparks and smoke, through a crowded hotel before exploding. [JB/PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T726_CINEMA_^>a_.
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PERILS FROM THE PLANET MONGO
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> _^<a_!T1517_FLASH GORDON_^>a_._^<n__^<n_
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PERKINS, GEOFFREY
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[r] > Douglas _^<a_!T31_ADAMS_^>a_._^<n__^<n_
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PERKINS, MICHAEL
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[r] > _^<a_!T6699_ESSEX HOUSE_^>a_._^<n__^<n_
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PERRY, ROGER
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[r] > _^<a_!T6332_ROBERT HALE LIMITED_^>a_._^<n__^<n_
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PERRY, STEVE
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(1947- ) US writer who began publishing sf with "With Clean Hands" as by Jesse Peel for _^<i_Gal_^>i_ in 1977, and whose first novel, _^<i_The Tularemia Gambit_^>i_ (_^<b_1981_^>b_), combines sf with elements of the hardboiled detective genre.
After two ties for the _^<b_Time Machine_^>b_ sequence produced by the Byron _^<a_!T1982_PREISS_^>a_ packaging enterprise -- _^<i_Sword of the Samurai_^>i_ * (_^<b_1984_^>b_) with Michael _^<a_!T2527_REAVES_^>a_ and _^<i_Civil War Secret Agent_^>i_
* (_^<b_1984_^>b_) -- and an effective sf adventure, _^<i_Hellstar_^>i_ (_^<b_1984_^>b_) with Reaves, SP finally came into his own with the _^<b_Matador_^>b_ sequence: _^<i_The Man who Never Missed_^>i_ (_^<b_1985_^>b_), _^<i_Matadora_^>i_
(_^<b_1986_^>b_) and _^<i_The Machiavelli Interface_^>i_ (_^<b_1986_^>b_), along with a prequel, _^<i_The 97th Step_^>i_ (_^<b_1989_^>b_); plus _^<i_The Omega Cage_^>i_ (_^<b_1988_^>b_) with Reaves,_^<i_Black Steel_^>i_ (_^<b_1992_^>b_) and
_^<i_Brother Death_^>i_ (_^<b_1992_^>b_), all set in the _^<b_Matador_^>b_ universe. Khadaji, the sequence's hero, rebels against a violent military dictatorship using his skill at martial arts to mock the enemy into impotence; in his raffish
insouciance, he rather resembles Leslie _^<a_!T5245_CHARTERIS_^>a_'s _^<b_Saint_^>b_. The first volume takes its title from the fact that Khadaji has stolen a fixed number of non-lethal poison darts and proceeds to knock out precisely that number
of government figures with them, never once missing, and generating a revolt through mirth; the book might be called an exercise in muscular pacifism. Subsequent volumes do not build on the success of the first, but neither do they significantly
decline. Of SP's remaining singletons, _^<i_Dome_^>i_ (_^<b_1987_^>b_) with Reaves makes efficient use of its post-_^<a_!T4482_HOLOCAUST_^>a_ submarine setting, as _^<a_!T68_AI_^>a_s come gradually to dominate the new world.
[JC]_^<n__^<n__^<b_Other Works:_^>b_ Several _^<b_Conan_^>b_ _^<a_!T5875_SWORD-AND-SORCERY_^>a_ fantasies, including _^<i_Conan the Fearless_^>i_ * (_^<b_1986_^>b_), _^<i_Conan the Defiant_^>i_ * (_^<b_1987_^>b_), _^<i_Conan the Indomitable_^>i_ *
(_^<b_1989_^>b_), _^<i_Conan the Free Lance_^>i_ * (_^<b_1990_^>b_) and _^<i_Conan the Formidable_^>i_ * (_^<b_1990_^>b_); _^<i_The Albino Knife_^>i_ (_^<b_1991_^>b_); _^<i_The Hero Curse_^>i_ (_^<b_1991_^>b_ chap); several _^<b_Aliens_^>b_ ties:
_^<i_Earth Hive_^>i_ * (_^<b_1992_^>b_), _^<i_Nightmare Asylum_^>i_ *(_^<b_1993_^>b_), _^<i_The Female War_^>i_ * (1993), plus one volume also tied to the _^<b_Predator_^>b_ film sequence, _^<i_Aliens vs Predator: Prey_^>i_ *(_^<b_1994_^>b_) with
Stephani Perry; _^<i_Spindoc_^>i_ (_^<b_1994_^>b_); _^<i_Stellar Ranger_^>i_ (_^<b_1994_^>b_), a space opera in Western style; _^<i_The Mask_^>i_ * (_^<b_1994_^>b_), novelizing the film.._^<n__^<n_
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PERRY, WALTER COPLAND
-T-
(1814-1911) UK writer, lawyer and archaeologist in whose sf novel, _^<i_The Revolt of the Horses_^>i_ (_^<b_1898_^>b_), the Houyhnhnms (from Jonathan _^<a_!T5873_SWIFT_^>a_'s _^<i_Gulliver's Travels_^>i_ [_^<b_1726_^>b_]) arrive in the England of
1950. Finding humans as terrible as ever -- a future _^<a_!T5452_WAR_^>a_ features in the tale -- they decide to destroy the race. [JC]_^<n__^<n_
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PERRY RHODAN
-T-
German sf series, weekly, published by Verlagsunion Pabel Moewig (formerly Moewig-Verlag). Created by Walter Ernsting (who writes for the series as Clark _^<a_!T1068_DARLTON_^>a_) and Karl-Herbert _^<a_!T2840_SCHEER_^>a_, _^<i_PR_^>i_ began in 1961
and is still current: to the end of 1991 about 1600 booklets describing Perry Rhodan's adventures and mankind's destiny had been published, a record quite without precedent in sf. The weekly booklet series is accompanied by a monthly paperback
series, which fills some of the narrative gaps. Often thought of as aimed at the teenage market, PR is actually read, surveys show, by readers of all ages, both men and women._^<n__^<n_Though the stories have been dismissed as potboilers, the fans
of this German future _^<a_!T4442_HISTORY_^>a_ (of whom thousands attend PR _^<a_!T856_CONVENTIONS_^>a_) argue that the density and complexity of the world built up over so many volumes has led to a sophistication unusual in _^<a_!T2342_SPACE
OPERA_^>a_. Conversely, the series's many critics, especially in Germany, have attacked it not only on literary grounds but also for being what Franz _^<a_!T2713_ROTTENSTEINER_^>a_ calls "notoriously fascist". This judgement of PR's reactionary
nature has been supported and argued at length by Michael Pehlke and Norbert Lingfeld in _^<i_Roboter und Gartenlaube: Ideologie und Unterhaltung in derScience-Fiction-Literatur_^>i_ ["The Robot and the Summerhouse: Ideology and Entertainment in
SF"] (_^<b_1970_^>b_) and by Manfred Nagl in "Unser Mann im All" ["Our Man in Everywhere"] (1969 _^<i_Zeitnahe Schularbeit_^>i_ #4/5). During the first years of its existence PR was indeed dominated by military conflicts, but the concept changed so
that now PR concentrates on solving mysteries of galactic or even cosmic scale -- with lots of action._^<n__^<n_The success of the series has been enormous, and not just in _^<a_!T4667_GERMANY_^>a_. Translations have appeared (and sometimes still
do) in many European countries, including the UK (since 1974), France (1966), Belgium (1966), Netherlands (1971), Finland (1975) and Italy (1976); also in Japan (since 1971), Brazil (since 1975) and notably in the USA, where it was published by
_^<a_!T20_ACE BOOKS_^>a_. Ed Forrest J. _^<a_!T22_ACKERMAN_^>a_, the US series-monthly for much of the time -- appeared for 118 numbers (1969-77) in paperback-book format, containing a letter column, articles, new stories and reprints of sf
classics in addition to the leading PR novella or (in later volumes) 2 novellas; a few further PR titles were published by Ace in their _^<b_Atlans_^>b_ series. When all the translations are included, PR has had a readership higher than anything
else in sf._^<n__^<n_Perry himself is an Earthman propelled into the politics of the Galaxy (> _^<a_!T1678_GALACTIC EMPIRES_^>a_). He builds his small group, the New Power, into a Solar Empire; after renouncing all claims to leadership, the Solar
Empire becomes one of the equal members of the Galacticum. It has been said that there is no sf idea which will not, sooner or later, be used in the series. The authors include, in addition to Ernsting (Scheer died 1991): Kurt Brand, Arndt Ellmer,
H.G. Ewers, Robert Feldhoff, H.G. Francis, Peter Griese, Horst Hoffmann, Hans Kneifel, Kurt Mahr, Marianne Sydow, Ernst Vlcek, William Voltz (died 1984) and Thomas Ziegler. Voltz was the long-time coordinator and chief author, having early
superseded Scheer in this function. Each episode is written by one of the team from a treatment done by the "factory", currently Vlcek and Mahr, according to the further development of the series as discussed in an annual authors' meeting. PR has
appeared in comic books, and there was also a PR magazine 1977-81. [HU/PN]_^<n__^<n__^<b_Further reading:_^>b_ _^<i_Analyse einer Science-Fiction-Romanheftserie_^>i_ (_^<b_1979_^>b_) by Claus Hallman; "'Perry Rhodan'", by Mike
_^<a_!T265_ASHLEY_^>a_ in _^<i_Science Fiction, Fantasy, and Weird Fiction Magazines_^>i_ (_^<b_1985_^>b_) ed Ashley and Marshall B. _^<a_!T6150_TYMN_^>a_; partial indexes of the _^<b_Perry Rhodan_^>b_ novels were published by NESFA (_^<b_1973_^>b_
and _^<b_1975_^>b_); a full list of English-language titles can be found in _^<i_Science Fiction and Fantasy Series and Sequels: A Bibliography_^>i_ (_^<b_1986_^>b_) by Tim Cottrill, Martin H. _^<a_!T4842_GREENBERG_^>a_ and Charles G.
_^<a_!T5488_WAUGH_^>a_.
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PERTWEE, ROLAND
-T-
(1885-1963) UK painter, actor, playwright and author whose _^<i_MW.XX.3._^>i_ (_^<b_1929_^>b_; vt _^<i_Hell's Loose_^>i_ 1929 US; vt _^<i_The Million Pound Cypher_^>i_ 1931 UK) is an early example of the tale of technological
_^<a_!T1795_PARANOIA_^>a_. A dead scientist is discovered along with the eponymous formula for a cheap fuel which will if released supplant petroleum. The UK Government allows limited use of the fuel, but only until a working-class strike fomented
by communists is defeated; thereafter the petroleum corporations are allowed to re-establish their dominance. [JC]_^<n__^<n_
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-A-
PERU
-T-
> _^<a_!T4204_LATIN AMERICA_^>a_._^<n__^<n_
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-A-
PERUTZ, LEO
-T-
(1882-1957) Austrian novelist and playwright who moved to Israel in 1938 after the Anschluss. Most of his novels are baroque phantasmagorias, like _^<i_Zwischen Neun und Neun_^>i_ (_^<b_1918_^>b_; trans Lily Lore as _^<i_From Nine to Nine_^>i_
_^<b_1926_^>b_ US), an elaborately grotesque afterlife fantasy, _^<i_Der Marques de Bolibar_^>i_ (_^<b_1920_^>b_; trans Graham Rawson as _^<i_The Marquis de Bolibar_^>i_ _^<b_1926_^>b_ UK), in which the Wandering Jew and the spirit of the eponymous
marquis defeat a German regiment fighting for Napoleon, and _^<i_Die Geburt des Antichrist_^>i_ ["The Birth of the Antichrist"] (_^<b_1921_^>b_). Of more direct sf interest are _^<i_Der Meister des juengsten Tages_^>i_ (_^<b_1923_^>b_; trans Hedwig
Singer as _^<i_The Master of the Day of Judgment_^>i_ _^<b_1929_^>b_ UK), in which it is suggested that an ancient hallucinogen, when breathed by men of ambition, will so terrifyingly expose their true nature that they will commit suicide, and
_^<i_Sanct Petri-Schnee_^>i_ (_^<b_1933_^>b_; trans E.B.G. Stamper and F.M. Hodson as _^<i_The Virgin's Brand_^>i_ _^<b_1934_^>b_ UK; trans Eric Mosbacher as _^<i_Saint Peter's Snow_^>i_ _^<b_1990_^>b_ UK), which similarly depends upon a sense that
human civilization is a fragile contrivance. The eponymous wheat fungus at the centre of this tale has been, from time immemorial, responsible for spreading a virus which induces faith in humans. In 1932, after long dormancy, the virus has been
deliberately reinjected into European wheat strains in order to revitalize Christianity, but the deity invoked turns out to be not God but Moloch. So forthright a fable for the times could not go unchallenged, and the Nazis banned the book as soon
as they came to power. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T318_AUSTRIA_^>a_; _^<a_!T4740_GODS AND DEMONS_^>a_.
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PESEK, LUDEK
-T-
(1919- ) Czech writer and artist. LP's first novels (about social inequalities; not sf) were published in Czechoslovakia in the late 1940s, but for decades he has lived abroad, his books being first published in German translation; they have been
widely translated into other languages. His astronomical paintings are well known, and have been featured in _^<i_National Geographic_^>i_; he has illustrated some of his own books. The first of several sf juveniles is _^<i_Die Mondexpedition_^>i_
(_^<b_1966_^>b_ Germany; trans as _^<i_Log of a Moon Expedition_^>i_ _^<b_1969_^>b_). His best is _^<i_Die Erde ist nah_^>i_ (_^<b_1970_^>b_ Germany; trans Anthea Bell as _^<i_The Earth is Near_^>i_ _^<b_1973_^>b_). It deals, with unusual
sophistication for _^<a_!T710_CHILDREN'S SF_^>a_, with the psychological stresses experienced by the first expedition to _^<a_!T3677_MARS_^>a_, and won the 1971 Jugendbuchpreis (Children's Book Prize) in Germany. Another sf book is _^<i_Falle fur
Perseus_^>i_ (_^<b_1976_^>b_ Germany; trans Anthea Bell as _^<i_Trap for Perseus_^>i_ _^<b_1980_^>b_), set in a 23rd-century totalitarian _^<a_!T1370_DYSTOPIA_^>a_. [JO/PN]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Preis der Beute_^>i_ ["Price of
Plunder"] (_^<b_1973_^>b_ Germany); _^<i_Eine Insel fur Zwei_^>i_ (_^<b_1974_^>b_ Germany; trans as _^<i_An Island for Two_^>i_ _^<b_1975_^>b_)._^<b_See also:_^>b_ _^<a_!T1020_CZECH AND SLOVAK SF_^>a_; _^<a_!T2300_SOCIOLOGY_^>a_; _^<a_!T2337_SPACE
FLIGHT_^>a_.
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PESSIMISM
-T-
> _^<a_!T6679_ENTROPY_^>a_; _^<a_!T1714_OPTIMISM AND PESSIMISM_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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37
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-A-
PETAJA, EMIL (THEODORE)
-T-
(1915- ) US writer of Finnish descent, most of whose earlier fiction was fantasy rather than sf. He began publishing in 1935 with "The Two Doors" for the semiprozine _^<a_!T5294_UNUSUAL STORIES_^>a_; his first professional sale was "Time Will
Tell" for _^<i_AMZ_^>i_ in 1942. Some of his early work can be found in _^<i_Stardrift, and Other Fantastic Flotsam_^>i_ (coll _^<b_1971_^>b_). Occasionally he wrote as E. Theodore Pine (once with Henry L. _^<a_!T4334_HASSE_^>a_), though only in
magazines. A friend of Hannes _^<a_!T6322_BOK_^>a_, EP founded the Bokanalia Foundation in 1967, after Bok's death, publishing a commemorative volume, _^<i_And Flights of Angels: The Life and Legend of Hannes Bok_^>i_ (_^<b_1968_^>b_) and editing
_^<i_The Hannes Bok Memorial Showcase of Fantasy Art_^>i_ (_^<b_1974_^>b_). EP's first novel was _^<i_Alpha Yes, Terra No!_^>i_ (_^<b_1965_^>b_ dos); he published a further 12 books over the next half decade. The best known make up a series based
on the Finnish verse epic _^<i_Kalevala_^>i_. In each of the novels of the _^<b_Kalevala_^>b_ sequence -- _^<i_Saga of Lost Earths_^>i_ (_^<b_1966_^>b_) and _^<i_The Star Mill_^>i_ (_^<b_1966_^>b_), both assembled under their joint titles (omni
_^<b_1979_^>b_), and _^<i_The Stolen Sun_^>i_ (_^<b_1967_^>b_ dos) and _^<i_Tramontane_^>i_ (_^<b_1967_^>b_ dos), both likewise assembled under their joint titles (omni _^<b_1979_^>b_) -- a Terran descendant of one of the four main heroes of the
_^<i_Kalevala_^>i_ is reborn into his avatar's role to order to re-enact his adventures on Otava, the planet of origin of this pantheon. A fifth book of the sequence remains unpublished. A novel unconnected with the series but still related to the
_^<i_Kalevala_^>i_ is _^<i_The Time Twister_^>i_ (_^<b_1968_^>b_). The _^<b_Green Planet_^>b_ series -- _^<i_Lord of the Green Planet_^>i_ (_^<b_1967_^>b_ dos) and _^<i_Doom of the Green Planet_^>i_ (_^<b_1968_^>b_ dos) -- recounts similar
adventures befalling its Irish protagonist, who finds himself role-playing fake Celtic deities for the benefit of a madman armed with sf instruments of coercion. Most of EP's sf trades unpretentiously on the emotions aroused by mythical analogues
like those in his _^<b_Kalevala_^>b_ books; the adventure plots through which he evokes these resonances are by no means poorly conceived, and he remains entirely readable. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_The Caves of Mars_^>i_
(_^<b_1965_^>b_ dos); _^<i_The Prism_^>i_ (1965 _^<i_Worlds of Tomorrow_^>i_; exp _^<b_1968_^>b_ dos); _^<i_The Nets of Space_^>i_ (_^<b_1969_^>b_); _^<i_The Path Beyond the Stars_^>i_ (_^<b_1969_^>b_); _^<i_Seed of the Dreamers_^>i_
(1916- ) Polish writer-his first novel in English was published as by Jerzy Pietrkiewicz -- active as a poet in his native land before WWII. He lived in the UK for many years, wrote in English, and was married to Christine
_^<a_!T5018_BROOKE-ROSE_^>a_ 1968-75. _^<i_The Quick and the Dead_^>i_ (_^<b_1961_^>b_) is an afterlife fantasy. _^<i_Inner Circle_^>i_ (_^<b_1966_^>b_), which is sf, remarkably conflates three strands of story: one set in the mythical past, one on
the Circle Line of London's underground railway, and one in a horrific _^<a_!T1432_FAR FUTURE_^>a_ where congestion (under an artificial dome) is so great there is no room to lie down. Each story reflects the others, setting up a complex commentary
on the human condition. [JC]_^<n__^<n_
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PETERS, DAVID
-T-
> Peter _^<a_!T1081_DAVID_^>a_._^<n__^<n_
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PETERS, LAWRENCE
-T-
[s] > L.P. _^<a_!T1089_DAVIES_^>a_._^<n__^<n_
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20
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PETERS, LUDOVIC
-T-
Pseudonym of UK writer Peter Brent (1931-1984), one of whose political thrillers, _^<i_Riot '71_^>i_ (_^<b_1967_^>b_), posits a _^<a_!T6337_NEAR-FUTURE_^>a_ racist crisis in an economically battered UK. [JC]_^<n__^<n_
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172
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PETRESCU, CEZAR
-T-
[r] > _^<a_!T2683_ROMANIA_^>a_._^<n__^<n_
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15
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PETTY, JOHN
-T-
(1919- ) UK writer, variously employed until he began publishing in 1957. _^<i_The Last Refuge_^>i_ (_^<b_1966_^>b_) is a post-_^<a_!T4482_HOLOCAUST_^>a_ novel set in an oppressive, grey England that provides no refuge for the protagonist-writer.
[JC]_^<n__^<n_
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217
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PEYTON, AUDREY
-T-
[r] > _^<a_!T6332_ROBERT HALE LIMITED_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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28
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PFEIL, DONALD J.
-T-
(? - ) US writer whose _^<i_Voyage to a Forgotten Sun_^>i_ (_^<b_1975_^>b_), _^<i_Through the Reality Warp_^>i_ (_^<b_1976_^>b_) and _^<i_Look Back to Earth_^>i_ (_^<b_1977_^>b_) were written in a deliberately (and enjoyably) outmoded
_^<a_!T2342_SPACE-OPERA_^>a_ idiom. Under the house name William _^<a_!T252_ARROW_^>a_ he wrote _^<i_Return to the Planet of the Apes 2: Escape from Terror Lagoon_^>i_ * (_^<b_1976_^>b_). He was also editor of _^<a_!T5360_VERTEX_^>a_.
[JC]_^<n__^<n_
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356
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PFEIL, FRED
-T-
Working name of US writer and academic John Frederick Pfeil (1949- ), whose sf novel, _^<i_Goodman 2020_^>i_ (_^<b_1986_^>b_), portrays in a superbly suffocating present tense the corporate USA of AD2020, where all power has fallen into the hands
of priest-like businessmen. The most powerful of these hires the "professional friend" Goodman to give him moments of human society, but Goodman eventually kills him, escapes into the barrios (and the narrative dynamism of the more normal past
tense) and settles down to prepare for a wholesome change. The politics of the book may seem naive, but the execution is compelling. Some of the essays assembled in _^<i_Another Tale to Tell: Politics and Narration in Postmodern Culture_^>i_ (coll
_^<b_1990_^>b_) offer a formal context for FP's sf work. [JC]_^<n__^<n_
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734
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PHANTASM
-T-
Film (1978). New Breed. Dir/prod/written/photographed Don Coscarelli, starring Michael Baldwin, Bill Thornbury, Reggie Bannister, Angus Scrimm. 90 mins, cut to 89 mins. Colour._^<n__^<n_At the independent, low-budget, exploitation end of the movie
market, small miracles sometimes occur that could not take place inside a major studio. _^<i_P_^>i_ is one such, a spirited blend of horror, surrealism and sf, in which the presumably alien and possibly supernatural Tall Man (Scrimm) steals bodies
to be resuscitated and turned into malicious, deformed midgets with yellow blood, and then passed through a dimensional gate to be used as slave labour on a red desert planet. The teenager who opposes him, Mike (Baldwin), is troubled by a flying
silver sphere that kills people by spiking their brains, by the Tall Man's severed finger that becomes a nasty insect, and most of all by the Tall Man's ability to confuse appearance and reality, to be there and not there, anticipating Wes Craven's
Freddy in _^<i_Nightmare on Elm Street_^>i_ (1984). _^<i_P_^>i_ has the arbitrary, confused logic of a dream._^<n__^<n_A decade later _^<i_Phantasm II_^>i_ (1988), also written/dir Coscarelli, was a mostly failed attempt to capitalize on the
earlier cult success; it is less a sequel than a remake with a bigger budget. The special effects are more sophisticated and disgusting, but the randomness is more of a mess than a dream; the acting is stilted; ideas that were wholly original in
1978 had become cliches by 1988, and there were no new ideas to replace them; the sf content is negligible. [PN]_^<n__^<n_
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PHANTASM II
-T-
> _^<a_!T1879_PHANTASM_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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12
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PHASE IV
-T-
Film (1973). Alced/Paramount/PBR Productions. Dir Saul Bass, starring Nigel Davenport, Lynne Frederick, Michael Murphy. Screenplay Mayo Simon. 91 mins, cut to 84 mins. Colour._^<n__^<n_A battle of wits takes place between, on the one hand, a
fanatical _^<a_!T2880_SCIENTIST_^>a_ and two others living in a desert-based experimental dome and, on the other, an ant species which has acquired intelligence. The script substitutes mysticism for science and tries too hard to emulate
_^<a_!T6146_2001: A SPACE ODYSSEY_^>a_ (1968) -- as in its ending, where the two surviving human protagonists undergo a transcendental transformation. Originally there was also in the finale a _^<i_2001_^>i_-like montage of surrealistic images
showing a fantastic evolutionary upheaval, but this was cut by the studio after the initial release._^<n__^<n__^<i_Phase IV_^>i_ was Bass's directorial debut; he had previously been known as the designer of such striking movie title sequences as
those for _^<i_Psycho_^>i_ (1960) and _^<i_Walk on the Wild Side_^>i_ (1962). While he is a master of his craft visually, his handling of actors is unsatisfactory and he seems to have little feeling for sf. This conceptually silly melodrama is an
interesting failure, its attraction lying in the superb insect photography by Ken Middleham rather than in any sf content. The novelization is _^<i_Phase IV_^>i_ * (_^<b_1973_^>b_) by Barry N. _^<a_!T3629_MALZBERG_^>a_. [JB/PN]_^<n__^<n__^<b_See
also:_^>b_ _^<a_!T3011_MONSTER MOVIES_^>a_.
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PHELPS, GILBERT (HENRY Jr)
-T-
(1915-1993) UK writer who spent much of his career in the BBC as a radio producer. His first story, "I Have Lived a Hundred Years" in _^<i_The Faber Book of West Country Stories_^>i_ (anth _^<b_1951_^>b_), prefigured the thematic material of his
first sf novel, _^<i_The Centenarians_^>i_ (_^<b_1958_^>b_), whose protagonists attempt -- in the end unsuccessfully -- to translate their eminence in the arts and sciences into lives safely prolonged. _^<i_The Winter People_^>i_ (_^<b_1963_^>b_),
a very late example of the _^<a_!T3459_LOST-WORLD_^>a_ tale, describes a tribe in the Andes which has survived for centuries through hibernation and other adaptations to extreme circumstances. [JC]_^<n__^<n__^<b_See also:_^>b_
_^<a_!T197_ANTHROPOLOGY_^>a_.
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PHILADELPHIA EXPERIMENT, THE
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Film (1984). New World/Cinema Group/New Pictures/Douglas Curtis. Executive prod John _^<a_!T5176_CARPENTER_^>a_. Dir Stewart Raffill, starring Michael Pare, Nancy Allen, Bobby Di Cicco, Eric Christmas. Screenplay William Gray, Michael Janover, based
on a story by Wallace Bennett and Don Jakoby, based in turn on the purportedly nonfictional _^<i_The Philadelphia Experiment_^>i_ (_^<b_1979_^>b_) by William I. Moore and Charles Berlitz. 101 mins. Colour._^<n__^<n_In 1943 a device to render
warships invisible to radar is tested, but instead it throws an entire destroyer and crew temporarily forward in time, where two crew members fall through a vortex into the 1984 Nevada desert. One of them (whose electromagnetic instability has been
creating havoc) is later drawn back to 1943. The second, joined by a paradigmatic 1980s woman (Allen), undergoes the culture shock obligatory in all visiting-_^<a_!T98_ALIEN_^>a_ and _^<a_!T6026_TIME-TRAVEL_^>a_ films, refuses to believe that
Reagan is president, looks up his buddy (now elderly), finds the time vortex is getting worse, and winds up -- after a brief detour to 1943 during which he saves the world -- back in 1984. _^<i_TPE_^>i_ is silly as sf (having undergone many
rewrites, including a script by Carpenter) but fun. While not as amusing as Raffill's earlier _^<i_The_^<a_!T4579_ICE PIRATES_^>a__^>i_ (1984), it is better than his appallingly sentimental _^<i_Mac and Me_^>i_ (1988), a film about cute aliens that
appears to be an unacknowledged advertising campaign for Coca-Cola and McDonalds. [PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T3806_INVISIBILITY_^>a_.
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PHILIP K. DICK AWARD
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Founded in 1983 by admirers of Philip K. _^<a_!T1222_DICK_^>a_, who died in 1982. Because much of Dick's classic sf was published with no fanfare and initially without a hardcover edition, it seemed appropriate to give the award to a distinguished
work of sf or fantasy of the previous year first published in paperback. The award was initially suggested by Thomas M. _^<a_!T1244_DISCH_^>a_, who was for several years its administrator; he was succeeded by an administrative team of Algis
_^<a_!T5064_BUDRYS_^>a_ and David G. _^<a_!T4329_HARTWELL_^>a_. The winners are chosen by a jury (with variously 3, 4 and 5 members) of writers and critics, most of whom choose their own successors for the following year; usually one judge is the
previous year's winner. The PKDA is announced at NorWesCon, a _^<a_!T856_CONVENTION_^>a_ held in the state of Washington in March each year. In good years, when the committee has collected enough cash, the winner receives $1000 and the second-place
winner $500. Plaques are provided by the Philip K. Dick estate. [PN]_^<n__^<n__^<b_Winners:_^>b__^<n__^<n__^<b_1983:_^>b_ 1st, Rudy _^<a_!T2727_RUCKER_^>a_, _^<i__^<a_!B8992_SOFTWARE_^>a__^>i__^<n__^<n_2nd, Ray Faraday _^<a_!T3154_NELSON_^>a_,
_^<i_The Prometheus Man_^>i__^<n__^<n__^<b_1984:_^>b_ 1st, Tim _^<a_!T1967_POWERS_^>a_, _^<i__^<a_!B9194_THE ANUBIS GATES_^>a__^>i__^<n__^<n_2nd, R.A. _^<a_!T6295_MACAVOY_^>a_, _^<i_Tea With The Black Dragon_^>i__^<n__^<n__^<b_1985:_^>b_ 1st,
William _^<a_!T4689_GIBSON_^>a_, _^<i__^<a_!B8984_NEUROMANCER_^>a__^>i__^<n__^<n_2nd, Kim Stanley _^<a_!T2637_ROBINSON_^>a_, _^<i__^<a_!B8993_THE WILD SHORE_^>a__^>i__^<n__^<n__^<b_1986:_^>b_ 1st, Tim Powers, _^<i_Dinner at Deviant's
Palace_^>i__^<n__^<n_2nd, Richard _^<a_!T4806_GRANT_^>a_, _^<i_Saraband of Lost Time_^>i__^<n__^<n__^<b_1987:_^>b_ 1st, James P. _^<a_!T651_BLAYLOCK_^>a_, _^<i__^<a_!B8994_HOMUNCULUS_^>a__^>i__^<n__^<n_2nd, Jack _^<a_!T6319_MCDEVITT_^>a_, _^<i_The
Hercules Text_^>i__^<n__^<n__^<b_1988:_^>b_ 1st, Patricia Geary, _^<i_Strange Toys_^>i__^<n__^<n_2nd, Mike _^<a_!T3575_MCQUAY_^>a_, _^<i_Memories_^>i__^<n__^<n__^<b_1989:_^>b_ 1st (equal), Paul J. _^<a_!T6293_MCAULEY_^>a_, _^<i_400 Billion
Stars_^>i__^<n__^<n_1st (equal), Rudy Rucker, _^<i_Wetware_^>i__^<n__^<n__^<b_1990:_^>b_ 1st, Richard Paul _^<a_!T2750_RUSSO_^>a_, _^<i_Subterranean Gallery_^>i__^<n__^<n_2nd, Dave _^<a_!T5680_WOLVERTON_^>a_, _^<i_On My Way to
Paradise_^>i__^<n__^<n__^<b_1991:_^>b_ 1st, Pat _^<a_!T3113_MURPHY_^>a_, _^<i_Points of Departure_^>i_ (coll)_^<n__^<n_2nd, Raymond _^<a_!T4312_HARRIS_^>a_, _^<i_The Schizogenic Man_^>i__^<n__^<n__^<b_1992:_^>b_ 1st, Ian _^<a_!T3513_MCDONALD_^>a_,
_^<i_King of Morning, Queenof Day_^>i__^<n__^<n_2nd, Emma _^<a_!T5071_BULL_^>a_, _^<i_Bone Dance_^>i__^<n__^<n__^<b_1993:_^>b_ 1st, Richard Grant, _^<i_Through the Heart _^>i_2nd, Elisabeth _^<a_!T5395_VONARBURG_^>a_, _^<i_In the Mother's
Land_^>i__^<n__^<n__^<b_1994:_^>b_ 1st, John M. _^<a_!T1559_FORD_^>a_, _^<i_Growing Up Weightless _^>i_and Jack _^<a_!T5681_WOMACK_^>a_, _^<i_Elvissey _^>i_*_^<n__^<n_
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PHILLIFENT, JOHN T(HOMAS)
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(1916-1976) UK writer of much sf and works in other genres; though he claimed to reserve his best material for publication under his own name, he was at least as well known to sf readers under his pseudonym John Rackham. He began writing sf with the
_^<b_Space Puppet_^>b_ series for Pearson's Tit-Bits SF Library as Rackham: _^<i_Space Puppet_^>i_ (_^<b_1954_^>b_ chap), _^<i_Jupiter Equilateral_^>i_ (_^<b_1954_^>b_ chap), _^<i_The Master Weed_^>i_ (_^<b_1954_^>b_ chap) and _^<i_Alien Virus_^>i_
(_^<b_1955_^>b_ chap). He produced also a fantasy series, the _^<b_Chappie Jones_^>b_ stories, for _^<i_Science Fantasy_^>i_, beginning with "The Veil of Isis" (1961); these stories were assembled as _^<i_The Touch of Evil_^>i_ (coll of linked
stories _^<b_1963_^>b_) as by Rackham. In the mid-1960s his career picked up some steam with a flow of Rackham _^<a_!T2342_SPACE OPERAS_^>a_ for _^<a_!T20_ACE BOOKS_^>a_, beginning with _^<i_We, the Venusians_^>i_ (_^<b_1965_^>b_ dos US) and
_^<i_Danger from Vega_^>i_ (_^<b_1966_^>b_ dos US), and continuing with others of the same unambitiously readable nature. Under his own name, JTP produced in the 1970s some sf novels of real competence, including _^<i_King of Argent_^>i_
(_^<b_1973_^>b_ US), an entertaining adventure set on an agreeably strange planet. Through his career, he remained a reliable producer of the second-rank fiction demanded by an entertainment genre hungry for copy. [JC]_^<n__^<n__^<b_Other
works:_^>b_ 3 _^<a_!T3637_MAN FROM U.N.C.L.E._^>a_ ties: _^<i_The Mad Scientist Affair_^>i_ * (_^<b_1966_^>b_ US), _^<i_The Corfu Affair_^>i_ * (_^<b_1967_^>b_) and _^<i_The Power Cube Affair_^>i_ * (_^<b_1968_^>b_); _^<i_Genius Unlimited_^>i_
(_^<b_1972_^>b_ US); _^<i_Hierarchies_^>i_ (_^<b_1973_^>b_ dos US); _^<i_Life with Lancelot_^>i_ (coll of linked stories _^<b_1973_^>b_)._^<b_As John Rackham:_^>b_ _^<i_Watch on Peter_^>i_ (_^<b_1964_^>b_), a juvenile; _^<i_The Beasts of Kohl_^>i_
(_^<b_1966_^>b_ dos US); _^<i_Time to Live_^>i_ (_^<b_1966_^>b_ dos US); _^<i_The Double Invaders_^>i_ (_^<b_1967_^>b_ dos US); _^<i_Alien Sea_^>i_ (_^<b_1968_^>b_ dos US); _^<i_The Proxima Project_^>i_ (_^<b_1968_^>b_ dos US); _^<i_Ipomoea_^>i_
(_^<b_1969_^>b_ dos US); _^<i_Treasure of Tau Ceti_^>i_ (_^<b_1969_^>b_ dos US); _^<i_The Anything Tree_^>i_ (_^<b_1970_^>b_ dos US); _^<i_Flower of Doradil_^>i_ (_^<b_1970_^>b_ dos US); _^<i_Beyond Capella_^>i_ (_^<b_1971_^>b_ dos US); _^<i_Dark
Planet_^>i_ (_^<b_1971_^>b_ dos US); _^<i_Earthstrings_^>i_ (_^<b_1972_^>b_ dos US); _^<i_Beanstalk_^>i_ (_^<b_1973_^>b_ US).
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PHILLIPS, MARK
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Pseudonym used on a series of novels written by Randall _^<a_!T4623_GARRETT_^>a_ and Laurence M. _^<a_!T3867_JANIFER_^>a_ for _^<i_ASF_^>i_: _^<i_Brain Twister_^>i_ (1959 as "That Sweet Little Old Lady"; _^<b_1962_^>b_), _^<i_The Impossibles_^>i_
(1960 as "Out Like a Light"; _^<b_1963_^>b_) and _^<i_Supermind_^>i_ (1960-61 as "Occasion for Disaster"; _^<b_1963_^>b_). [BS]_^<n__^<n_
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PHILLIPS, ROG
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Working name of US writer Roger Phillips Graham (1909-1965), a prolific contributor to the sf magazines of the late 1940s and 1950s. His first story was "Let Freedom Ring" in 1945 for _^<a_!T141_AMAZING STORIES_^>a_, which, along with its companion
magazine _^<a_!T1395_FANTASTIC ADVENTURES_^>a_, remained his most regular market. He wrote a series of stories featuring the character _^<b_Lefty Baker_^>b_: "Squeeze Play" (1947), "The Immortal Menace" (1949), "The Insane Robot" (1949) and "But
Who Knows Huer or Huen?" (1969). His best known story is "The Yellow Pill" (1958), an ingenious exercise in paradoxes of _^<a_!T1851_PERCEPTION_^>a_ (_^<i_see also_^>i_ _^<a_!T829_CONCEPTUAL BREAKTHROUGH_^>a_; _^<a_!T2023_PSYCHOLOGY_^>a_). Some of
his short work appeared as by Clinton Ames, Franklin Bahl, Craig Browning, Gregg Conrad, Inez McGowan, Melva Rogers, Chester Ruppert, William Carter Sawtelle and John Wiley; he also wrote under the house names Robert _^<a_!T244_ARNETTE_^>a_,
Alexander _^<a_!T639_BLADE_^>a_, P.F. _^<a_!T907_COSTELLO_^>a_, A.R. _^<a_!T5696_STEBER_^>a_, Gerald _^<a_!T5316_VANCE_^>a_ and Peter _^<a_!T6183_WORTH_^>a_. Under the aegis of _^<i_AMZ_^>i_ editor Raymond A. _^<a_!T1774_PALMER_^>a_, RP conducted
an influential _^<a_!T1428_FANZINE_^>a_-review column, _^<b_The Club House_^>b_ (Mar 1948-Mar 1953), later reviving it in other magazines ed Palmer: _^<a_!T5289_UNIVERSE SCIENCE FICTION_^>a_ and _^<a_!T1738_OTHER WORLDS_^>a_. RP wrote 4 novels,
none negligible, though less successful than some of his shorter work: _^<i_Time Trap_^>i_ (_^<b_1949_^>b_), _^<i_Worlds Within_^>i_ (_^<b_1950_^>b_), _^<i_World of If_^>i_ (_^<b_1951_^>b_) and _^<i_The Involuntary Immortals_^>i_ (1949
_^<i_Fantastic Adventures_^>i_; rev _^<b_1959_^>b_), the last being an example of a kind of tale intrinsic to _^<a_!T4659_GENRE SF_^>a_ (a recent example being Nancy _^<a_!T4129_KRESS_^>a_'s _^<i_Beggars in Spain_^>i_ [_^<b_1991_^>b_]): a group of
young paranormals (> _^<a_!T5830_SUPERMAN_^>a_) must band together to protect themselves from the vengeance of ungifted normal humans. [MJE/JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T1410_FANTASTIC VOYAGES_^>a_; _^<a_!T1939_POLITICS_^>a_;
_^<a_!T6269_ZIFF-DAVIS_^>a_.
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PHILLIPS, THOMAS
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> L.P. _^<a_!T1089_DAVIES_^>a_._^<n__^<n_
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PHILLPOTTS, EDEN
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(1862-1960) UK writer known primarily for his work outside the sf field. He was extremely prolific, writing about 250 books and plays. His first sf novel was the lurid thriller _^<i_Number 87_^>i_ (_^<b_1922_^>b_) as by Harrington Hext. His most
notable _^<a_!T2878_SCIENTIFIC ROMANCES_^>a_ belong to a later and very different phase of his work: the excellent _^<i_Saurus_^>i_ (_^<b_1938_^>b_), in which a reptilian _^<a_!T98_ALIEN_^>a_ becomes an objective observer commenting upon
contemporary society and the human condition; _^<i_The Fall of the House of Heron_^>i_ (_^<b_1948_^>b_), a study of an amoral atomic scientist; and _^<i_Address Unknown_^>i_ (_^<b_1949_^>b_), which deliberately challenges the assumption of
_^<i_Saurus_^>i_ that an alien observer could pass meaningful judgment on human affairs. These novels carried forward philosophical themes from a remarkable series of didactic philosophical fables, most of which are based in Greek mythology:
_^<i_The Girl and the Faun_^>i_ (_^<b_1916_^>b_chap), _^<i_Evander_^>i_ (_^<b_1919_^>b_), _^<i_Pan and the Twins_^>i_ (_^<b_1922_^>b_), _^<i_The Lavender Dragon_^>i_ (_^<b_1923_^>b_), _^<i_The Treasures of Typhon_^>i_ (_^<b_1924_^>b_), _^<i_Circe's
Island_^>i_ (coll _^<b_1925_^>b_; includes _^<i_The Girl and the Faun_^>i_), _^<i_The Miniature_^>i_ (_^<b_1926_^>b_), _^<i_Arachne_^>i_ (_^<b_1927_^>b_), _^<i_The Apes_^>i_ (_^<b_1929_^>b_), _^<i_Alcyone_^>i_ (_^<b_1930_^>b_) and _^<i_The Owl of
Athene_^>i_ (_^<b_1936_^>b_). The last-named deploys some sf motifs, notably an _^<a_!T3796_INVASION_^>a_ of the UK by giant crabs, and links the mythological fantasies to the scientific romances. EP's philosophical meditations are featured also in
a curious early fantasy, _^<i_My Laughing Philosopher_^>i_ (_^<b_1896_^>b_); but the determined rationalism and Epicurean humanism developed in his allegorical fantasies is better displayed in his collection of fiction and nonfiction, _^<i_Thoughts
in Prose and Verse_^>i_ (coll _^<b_1924_^>b_), whose fantasy stories include a visionary encounter with an inhabitant of _^<a_!T3957_JUPITER_^>a_._^<n__^<n_Also of marginal sf interest are one of EP's early collaborations with Arnold Bennett
(1867-1931), _^<i_The Statue_^>i_ (_^<b_1908_^>b_), which involves innovative radio apparatus, and a treasure-island story _^<i_Tabletop_^>i_ (_^<b_1939_^>b_), which features giant spiders. He wrote numerous mystery novels, some of which have very
slight intrusions of _^<a_!T6697_ESP_^>a_; the most interesting are _^<i_The Grey Room_^>i_ (_^<b_1921_^>b_), which features a dramatic confrontation between scientific rationalism and religious mysticism in search of the solution to the mystery of
a haunted room, and the rationalized-werewolf story _^<i_Lycanthrope_^>i_ (_^<b_1937_^>b_). His other fantasies include _^<i_A Deal with the Devil_^>i_ (_^<b_1895_^>b_), an _^<a_!T194_ANSTEY_^>a_-esque novel about a man who grows young, and several
early stories collected in _^<i_Fancy Free_^>i_ (coll _^<b_1901_^>b_). There are occasional fantasies in his various other collections; the tales of "witchcraft" assembled in _^<i_The Hidden Hand_^>i_ (coll of linked stories _^<b_1952_^>b_) do not
in fact invoke the supernatural. [BS]_^<n__^<n__^<b_Other works:_^>b_ _^<i_The Transit of the Red Dragon_^>i_ (coll _^<b_1903_^>b_); _^<i_The Golden Fetich_^>i_ (_^<b_1903_^>b_); _^<i_The Flint Heart_^>i_ (_^<b_1910_^>b_); _^<i_Black, White and
Brindled_^>i_ (coll _^<b_1923_^>b_); _^<i_Up Hill, Down Dale_^>i_ (coll _^<b_1925_^>b_); _^<i_The Voice from the Dark_^>i_ (_^<b_1925_^>b_); _^<i_Peacock House and Other Mysteries_^>i_ (coll _^<b_1926_^>b_); _^<i_The Blue Comet: A Comedy in Three
Acts_^>i_ (_^<b_1927_^>b_); _^<i_The Torch and Other Tales_^>i_ (coll _^<b_1929_^>b_); _^<i_Golden Island_^>i_ (_^<b_1938_^>b_)._^<b_See also:_^>b_ _^<a_!T273_ASTEROIDS_^>a_; _^<a_!T283_ASTRONOMY_^>a_; _^<a_!T3435_LONGEVITY (IN WRITERS AND
(1943- ) US sf critic, professor of English literature at Concordia University, Montreal. He became a co-editor of _^<a_!T2143_SCIENCE-FICTION STUDIES_^>a_ with the Nov 1978 issue and remained in that position until the last issue of 1991; he
remains a contributing editor. His _^<i_Into the Unknown: The Evolution of Science Fiction from Francis Godwin to H.G. Wells_^>i_ (_^<b_1970_^>b_; rev 1983) is scholarly and informative, and something of a pioneering study for its time. RMP also
wrote the section on "Science Fiction: From its Beginning to 1870" for the 1st edn of _^<i_Anatomy of Wonder: Science Fiction_^>i_ (_^<b_1976_^>b_; rev 1981; rev 1987) ed Neil _^<a_!T442_BARRON_^>a_. With David Y. Hughes he ed _^<i_H.G. Wells:
Early Writings in Science and Science Fiction_^>i_ (coll _^<b_1975_^>b_), and with Patrick _^<a_!T6328_PARRINDER_^>a_ he ed _^<i_H.G. Wells's Literary Criticism_^>i_ (coll _^<b_1980_^>b_). A variorum edition of Wells's _^<i_The Island of Dr
Moreau_^>i_ (_^<b_1896_^>b_), appeared in 1993. [PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T5141_CANADA_^>a_; _^<a_!T963_CRITICAL AND HISTORICAL WORKS ABOUT SF_^>a_.
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PHILPOT, JOSEPH HENRY
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[r] > Philip _^<a_!T4150_L AFARGUE_^>a_._^<n__^<n_
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PHYSICS
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In discussing the scientific content of sf it is customary to regard the sciences as ranging from "hard" to "soft", with physics lying at the hard end of the spectrum (> _^<a_!T4288_HARD SF_^>a_). A concern with the hard sciences is generally held
to have characterized sf of the period 1940-60, or a type of sf whose _^<i_locus classicus_^>i_ is to be found in that period, and so we may expect this type of sf, in its scientific aspect, to be dominated by physics. In fact a large part of the
importance in sf of physics can be attributed to its association with _^<a_!T5916_TECHNOLOGY_^>a_; among the pure sciences, _^<a_!T283_ASTRONOMY_^>a_ and _^<a_!T611_BIOLOGY_^>a_ have probably provided more motive force for hard sf than has physics.
Nevertheless, physics is prominent in the ideological and cultural background to sf, and its influence can often be detected even when it makes no explicit contribution to a story. A familiarity with physical ideas and an ability to deploy the
language of physics have been used by many authors to establish a general scientific atmosphere, a good example being Isaac _^<a_!T268_ASIMOV_^>a_'s "Three Laws of Robotics", which borrow the form of Newton's Three Laws of Motion so as to claim the
same seminal impact._^<n__^<n_The two areas of physics which have been most popular with sf writers, _^<a_!T4817_GRAVITY_^>a_ (_^<i_see also_^>i_ _^<a_!T198_ANTIGRAVITY_^>a_) and Relativity (> _^<a_!T1443_FASTER THAN LIGHT_^>a_), are covered in the
relevant entries. Ideas from physics have been applied to technology constantly since Hugo _^<a_!T4668_GERNSBACK_^>a_ or even Jules _^<a_!T5355_VERNE_^>a_, but in such writing the interest usually lies in the application. Some writers seem to feel
that the motivation of fundamental research lies entirely in its applications. Tom _^<a_!T4745_GODWIN_^>a_, for example, in "Mother of Invention" (1953), changes the proverb and proposes that necessity is the mother of _^<a_!T1245_DISCOVERY_^>a_;
he shows the crew of a crashed spaceship developing a new theory of gravitation which enables them to design an antigravity generator to lift their ship. The most extreme example of this attitude is embodied in Raymond F. _^<a_!T3934_JONES_^>a_'s
"Noise Level" (1952), which argues that, if we only try hard enough, we can discover any laws of nature we should like to be true._^<n__^<n_Many imaginary inventions and strange events are based on points of physics, though sometimes the
explanation of the _^<i_modus operandi_^>i_ amounts to no more than a translation into technical terms of the everyday description of its effect -- as in H.G. _^<a_!T5528_WELLS_^>a_'s explanation in _^<i_The Invisible Man_^>i_ (_^<b_1897_^>b_) that
the _^<a_!T3806_INVISIBILITY_^>a_ potion works by giving human flesh a refractive index of one. An effect at the opposite pole to this was envisaged by Bob _^<a_!T2153_SHAW_^>a_ in his invention of "slow glass" in "Light of Other Days" (1966), in
which light travels so slowly that it takes several years to travel through the thickness of a window pane. (Realizing that it would not give quite the effect he wanted, Shaw was obliged to reject the description of slow glass as simply having a
very high refractive index.)_^<n__^<n_Part, if only a small part, of the effectiveness of the idea of slow glass lies in the way it provides an imaginative realization of a physical fact that in normal experience remains merely theoretical
knowledge, namely the finiteness of the speed of light. This kind of imaginative exploration of physics can be seen in its purest form in James _^<a_!T658_BLISH_^>a_'s "Nor Iron Bars" (1957), which is an attempt to provide a picture of the inside
of an atom and the quantum behaviour exhibited by electrons, utilizing the device of having a spaceship shrink to subatomic size and move inside an atom as if it were a solar system. This was one of the very few sf stories before the mid-1970s to
make any substantial use of quantum phenomena. Blish adopted a similar approach to a more familiar area of physics in his famous microscopic-world story "Surface Tension" (1952)._^<n__^<n_Ideas from physics have been used in postulating new forms
of life. The favourite basis for these is electromagnetic fields, either in isolation, as in Fredric _^<a_!T5028_BROWN_^>a_'s "The Waveries" (1945) and Bob Shaw's _^<i_The Palace of Eternity_^>i_ (_^<b_1969_^>b_), or in conjunction with inorganic
matter, as in Fred _^<a_!T4532_HOYLE_^>a_'s _^<i_The Black Cloud_^>i_ (_^<b_1957_^>b_), the latter having something in common with the sentient suns in Olaf _^<a_!T2404_STAPLEDON_^>a_'s _^<i__^<a_!B9214_STAR MAKER_^>a__^>i_ (_^<b_1937_^>b_).
Blish's _^<i_VOR_^>i_ (_^<b_1958_^>b_) is about a creature whose energy source is one of the fusion cycles which Bethe proposed as taking place in stars (this creature communicates by modulating light waves rather than sound waves). In Fredric
Brown's "Placet is a Crazy Place" (1946) there are birds, made of condensed matter, which fly through the rock of a planet as if it were air. StanisLaw _^<a_!T3329_LEM_^>a_'s _^<i__^<a_!B9183_SOLARIS_^>a__^>i_ (_^<b_1961_^>b_; trans _^<b_1970_^>b_)
postulates life formed from a new type of matter composed entirely of neutrinos. Shaw's _^<i_A Wreath of Stars_^>i_ (_^<b_1976_^>b_) postulates an antineutrino world whose form of matter can interpenetrate with that of our own. Neutrinos are
particles which have no properties other than momentum and spin, and interact only very weakly with other particles, so that they are very difficult to stop. Their harmlessness is the point of Ralph S. Cooper's _^<a_!T2812_SATIRE_^>a_ "The Neutrino
Bomb" (1961); their delicacy underlies the idea of "neutrino acupuncture" in "Six Matches" (1960) by Arkady and Boris _^<a_!T5800_STRUGATSKI_^>a_._^<n__^<n_The last four examples make use of the branch of physics which, together with
_^<a_!T902_COSMOLOGY_^>a_ (including theories of _^<a_!T632_BLACK HOLES_^>a_), has undergone dramatic development in the last decade and therefore has the most obvious potential for sf; the physics of elementary particles. Subnuclear physics
provides one of the ideas in Isaac Asimov's _^<i__^<a_!B9117_THE GODS THEMSELVES_^>a__^>i_ (_^<b_1972_^>b_), which postulates a parallel universe whose strong nuclear force is greater than in ours; pumping electrons between the two universes
provides a source of energy in both. Some of the more striking ideas in the field of particle physics concern condensed matter, _^<a_!T201_ANTIMATTER_^>a_ and neutrinos. Condensed matter is of two kinds: "electron-degenerate" matter, the material
of white dwarf stars, in which the atoms are compressed as close as they can be while remaining atoms (a matchboxful would weigh several tons); and nuclear matter ("neutronium"), the material of _^<a_!T3160_NEUTRON STARS_^>a_, which has the density
of the atomic nucleus (a pinhead of it would weigh several thousand tons). Degenerate matter features in "Placet is a Crazy Place" and in Paul _^<a_!T5149_CAPON_^>a_'s juvenile novel _^<i_The Wonderbolt_^>i_ (_^<b_1955_^>b_); and nuclear matter in
Larry _^<a_!T3223_NIVEN_^>a_'s "There is a Tide" (1968)._^<n__^<n_Antimatter is composed of particles which are the opposite in all respects to those which compose ordinary matter; when matter and antimatter meet, they mutually annihilate in a
burst of radiation. A.E. _^<a_!T5333_VAN VOGT_^>a_'s "The Storm" (1943) is about a storm in space that takes place when an ordinary gas cloud meets a cloud of antimatter gas. Some more of the craziness of Placet in Brown's story comes from its
orbiting two suns, one of matter and the other of antimatter. Larry Niven described an antimatter planet in "Flatlander" (1967). The correspondence between an electron and its antiparticle, the positron, was used by Blish in "Beep" (1954) as the
basis of a method of instantaneous signalling, following ideas suggested by the original description by Paul Dirac (1902-1984) of the positron (> _^<a_!T1242_DIRAC COMMUNICATOR_^>a_). The formation of matter and antimatter universes in the first
fraction of a second of creation, and some extremely hypothetical consequences for the nature of our reality, are treated in _^<i_The Jonah Kit_^>i_ (_^<b_1975_^>b_) by Ian _^<a_!T5484_WATSON_^>a_, who blends real and imaginary physics very
adroitly throughout the book._^<n__^<n_Stories which turn on fairly elementary points of physics include: Arthur C. _^<a_!T736_CLARKE_^>a_'s "A Slight Case of Sunstroke" (1958), in which the spectators at a football match hold their glossy
programmes so as to form an enormous parabolic mirror focusing sunlight on the referee; Clarke's "Silence Please" (1954), in which the phenomenon of interference is used as the basis for a silence generator; Robert A. _^<a_!T4376_HEINLEIN_^>a_'s
"Let There Be Light" (1940 as by Anson MacDonald), which suggests that the relationship between radio waves and light waves could be used to provide a cold light source; and Larry Niven's _^<i_"A Kind of Murder"_^>i_ (1974), in which the fact that
potential energy and heat are interchangeable forms of energy is exploited in an attempt at a perfect murder. _^<i_The Dispossessed_^>i_ (_^<b_1974_^>b_) by Ursula K. _^<a_!T3318_LE GUIN_^>a_ is unusual in sf in that much of the story is focused on
an attempt to recreate the thought processes and psychology of a physicist whose theories regarding simultaneity and the nature of time would create a revolution in physics comparable to that initiated by Einstein's Relativity theories. Le Guin's
physics is imaginary though plausible and presented with conviction (> _^<a_!T4595_IMAGINARY SCIENCE_^>a_); her psychology might very well be accurate._^<n__^<n_Finally, since measurement is of fundamental importance in physics, this is the place
to mention those stories that make the point that all physical measurements are relative. It was put in its simplest form by Katherine _^<a_!T3563_MACLEAN_^>a_ in "Pictures Don't Lie" (1951); it was put further into the context of physics by Philip
_^<a_!T4202_LATHAM_^>a_ in "The Xi Effect" (1950), observing that there would be no observable consequences if everything in the Universe were to contract at the same rate (although the contraction would become observable if the wavelength of
visible light stayed constant). Referring to time rather than length, Blish described in "Common Time" (1953) an oscillating discrepancy between a man's internal (mental) time and external (physical) time._^<n__^<n_Since the appearance of black
holes in sf in the mid-1970s there has been something of an upsurge of physics themes; most relate to _^<a_!T902_COSMOLOGY_^>a_, but a number of stories concern quantum physics, not necessarily cosmological. Often these stories take metaphors from
physics rather than physics itself; one of the first such ideas drawn from physics and thereafter used as a metaphor is _^<a_!T6679_ENTROPY_^>a_ (which is from thermodynamics, not quantum physics), and many such stories are discussed under that
head. An even older example is Heisenberg's Uncertainty Principle, formulated in 1927, which regularly appears both within and outside sf, usually not in its strict meaning but as a kind of "proof" from the world of physics that we can no longer be
sure of anything, and that all the old certainties are gone. Schrodinger's Cat has popped up so often as almost to have become a _^<a_!T752_CLICHE_^>a_, as in "Schrodinger's Cat" (1974) by Ursula Le Guin, the _^<b_Schrodinger's Cat_^>b_ trilogy
(1979-81) by Robert Anton _^<a_!T5643_WILSON_^>a_, _^<i_The Coming of the Quantum Cats_^>i_ (_^<b_1986_^>b_) by Frederik _^<a_!T1937_POHL_^>a_ and "Schrodinger's Kitten" (1988) by George Alec _^<a_!T6592_EFFINGER_^>a_. The attraction of this idea
is that, according to the many-worlds interpretation of quantum physics formulated in the late 1960s by Hugh Everett, John Wheeler and Neill Graham-who took the fate of Schrodinger's possibly murdered cat (a half-dead, half-live wave function until
somebody comes to look at it, at which point it collapses into one state or the other) as their starting point-the cat's fate gives an imaginative warrant for the existence of _^<a_!T131_ALTERNATE WORLDS_^>a_. Perhaps the wittiest use of ideas from
quantum physics appears in Connie _^<a_!T5632_WILLIS_^>a_'s "At the Rialto" (1989), which describes the extraordinary quantum uncertainties that vex a congress of quantum physicists at a large hotel. It behoves us all to remember the remark of
physicist Niels Bohr (1885-1962): "Those who are not shocked when they first come across quantum theory cannot possibly have understood it."_^<n__^<n_Among those who use ideas from physics with considerable sophistication and know-how are a number
of writers of _^<a_!T2342_SPACE OPERA_^>a_ and adventure on other planets, including old-stagers like Larry Niven and Arthur C. Clarke but also newer authors, in their turn expanding the genre, like Stephen _^<a_!T471_BAXTER_^>a_, Greg
_^<a_!T478_BEAR_^>a_, Gregory _^<a_!T526_BENFORD_^>a_, David _^<a_!T4999_BRIN_^>a_, Robert L. _^<a_!T1570_FORWARD_^>a_, Paul J. _^<a_!T6293_MCAULEY_^>a_, Charles _^<a_!T2167_SHEFFIELD_^>a_ and John E. _^<a_!T5750_STITH_^>a_. More detailed accounts
of their work, and other relevant users of themes from physics, will be found by following up the various cross-references above as well as _^<a_!T590_BIG DUMB OBJECTS_^>a_, _^<a_!T1369_DYSON SPHERE_^>a_, _^<a_!T1554_FORCE FIELD_^>a_,
_^<a_!T3813_ION DRIVE_^>a_, _^<a_!T3717_MATHEMATICS_^>a_, _^<a_!T2329_SPACE_^>a__^<n__^<n__^<a_!T5467_WARP_^>a_ and _^<a_!T5890_TACHYONS_^>a_. [TSu/PN]_^<n__^<n_
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PIANETA DEGLI UOMINI SPENTI, IL
-T-
(vt _^<i_Battle of the Worlds_^>i_; vt _^<i_Planet of the Lifeless Men_^>i_) Film (1961). Ultra Film/Sicilia Cinematografica/Topaz. Dir Anthony Dawson (pseudonym of Antonio Margheriti), starring Claude Rains, Bill Carter, Umberto Orsini, Maya Brent,
Jacqueline Derval. Screenplay Vassily Petrov. 94 mins, cut to 84 mins. Colour._^<n__^<n_Earth is threatened by a large meteor, which launches flying saucers at Earth and proves to be sent from an alien planet (now dead) and run by a
_^<a_!T826_COMPUTER_^>a_. Rains is the scientist who gains access to the computer. The fevered stylization of the dead-planet imagery (giant skeletons, etc.) rather than the bewildering though sometimes funny story is what everyone who has seen
this somewhat rare but visually striking film remembers. Margheriti, a very uneven director, was one of the most prolific stalwarts of the Italian exploitation movie. [PN]_^<n__^<n_
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PIEGAI, DANIELA
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[r] > _^<a_!T3826_ITALY_^>a_._^<n__^<n_
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PIER, THE
-T-
> _^<i_La_^>i_ _^<a_!T3900_JETEE_^>a_._^<n__^<n_
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PIERCE, JOHN J.
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(1941- ) US editor and critic with a background in _^<a_!T1389_FANDOM_^>a_, editor of a _^<a_!T1428_FANZINE_^>a_, _^<i_Renaissance_^>i_, in the 1960s, and at that time author of polemical articles about the damage he saw being wrought on sf by
writers of the _^<a_!T3181_NEW WAVE_^>a_. JJP ed _^<a_!T1686_GALAXY SCIENCE FICTION_^>a_ Nov 1977-Mar/Apr 1979, years in which through no special fault of his the magazine was rapidly declining. Later he published an ambitious trilogy of critical
books about sf, _^<b_A Study in Imagination and Evolution_^>b_, which together form a kind of _^<a_!T4443_HISTORY OF SF_^>a_: _^<i_Foundations of Science Fiction_^>i_ (_^<b_1987_^>b_), _^<i_Great Themes of Science Fiction_^>i_
(_^<b_1987_^>b_),_^<i_When Worlds Collide_^>i_ (_^<b_1989_^>b_) and _^<i_Odd Genre: A Study in Imagination and Evolution_^>i_ (_^<b_1994_^>b_). These may deserve more discussion than they appear to have received. JJP's prose is accessible and the
books are well organized, but their ideology is deeply conservative in the sense that non-_^<a_!T4659_GENRE SF_^>a_ is seen by JJP as effectively not sf at all. Within the books' strong bias toward _^<a_!T4288_HARD SF_^>a_ are some well informed
discussions about the different ways in which sf has invented the future. Much of the analysis is thematic, some philosophical. [PN]_^<n__^<n_
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PIERCE, JOHN R(OBINSON)
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(1910- ) US scientist and writer. As scientist he was a director of Bell Telephone Laboratories 1952-71, working intimately at the forefront of communications research and development; after 1971 he was professor of engineering at the California
Institute of Technology, from which he had received his PhD in 1936. As writer, JRP published 14 nonfiction works, both specialized and popular, from _^<i_Theory and Design of Electron Beams_^>i_ (_^<b_1949_^>b_; rev 1954) to _^<i_Almost All about
Waves_^>i_ (_^<b_1974_^>b_). As an sf writer he has published material under his own name, as John Roberts and as J.J. Coupling, beginning with "The Relics from the Earth" for _^<i_Science Wonder Stories_^>i_ in 1930 under his own name. He remains
best known as J.J. Coupling, contributing 1944-71 a number of nonfiction articles under that name to _^<i_ASF_^>i_. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T3771_IMMORTALITY_^>a_.
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PIERCY, MARGE
-T-
(1936- ) US writer who has become recognized as a significant voice of US _^<a_!T1461_FEMINISM_^>a_, initially with _^<a_!T1934_POETRY_^>a_ in volumes like _^<i_Breaking Camp_^>i_ (coll _^<b_1968_^>b_) but more importantly in novels like
_^<i_Going Down Fast_^>i_ (_^<b_1969_^>b_) and _^<i_Vida_^>i_ (_^<b_1980_^>b_). Her first sf novel, _^<i_Dance the Eagle to Sleep_^>i_ (_^<b_1970_^>b_), deals with an attempt by a group of student revolutionaries to set up a loving, communistic
alternative society in the shadow of a near-totalitarian _^<a_!T6337_NEAR-FUTURE_^>a_ US state. In _^<i__^<a_!B9193_WOMAN ON THE EDGE OF TIME_^>a__^>i_ (_^<b_1976_^>b_) a Chicano woman, falsely accused of abusing her daughter and confined to a
mental institution, makes contact with (or hallucinates the existence of) an emissary from a future society which has arisen in the aftermath of a "full feminist revolution". This vision of a USA in which women and men are truly equal and truly
whole has inspired many; although, while the contemporary sequences are insightful and deeply moving, the descriptions of the future _^<a_!T5303_UTOPIA_^>a_ tend to lack credibility. It might be accurate to say that the culture so described is
primarily a utopia of personal relationships rather than one of social and technological structures, and is perhaps best approached as a dream rather than as a realizable society._^<n__^<n__^<i_He, She and It_^>i_ (_^<b_1991_^>b_; vt _^<i_Body of
Glass_^>i_ 1992 UK) more sustainedly places its examination of human relationships in a _^<a_!T1015_CYBERPUNK_^>a_-influenced vision of a USA dominated by Japanese corporations, but the analogy which structures the plot -- an
_^<a_!T178_ANDROID_^>a_ powered by an _^<a_!T68_AI_^>a_ is likened to the medieval _^<a_!T4763_GOLEM_^>a_ -- seems sentimental, especially in the closing pages, where the android sacrifices itself so a Jewish commune may live. It nevertheless won
the _^<a_!T255_ARTHUR C. CLARKE AWARD_^>a_ for 1993. [NT/JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T1934_POETRY_^>a_; _^<a_!T2300_SOCIOLOGY_^>a_; _^<a_!T5684_WOMEN SF WRITERS_^>a_.
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PIKE, CHRISTOPHER
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Pseudonym -- apparently based on a _^<b_Star Trek_^>b_ character -- of US writer Kevin McFadden (? - ), whose career has been mostly devoted to novels for older children; some of these, like _^<i_The Tachyon Web_^>i_ (_^<b_1986_^>b_), are sf
adventures combining orthodox plots (in this case a group of teenagers "borrows" a spaceship in which they penetrate the eponymous barrier which keeps humans from outer space) with a modicum of contemporary relevance (the children in this book are
sexually involved with one another). Other juveniles -- including _^<i_Chain Letter_^>i_ (_^<b_1986_^>b_), _^<i_Last Act_^>i_ (_^<b_1988_^>b_), _^<i_Remember Me_^>i_ (_^<b_1989_^>b_), _^<i_Scavenger Hunt_^>i_ (_^<b_1989_^>b_), _^<i_See You
Later_^>i_ (_^<b_1990_^>b_), _^<i_Witch_^>i_ (_^<b_1990_^>b_) and _^<i_Fall into Darkness_^>i_ (_^<b_1990_^>b_) -- are horror or fantasy, the latter sometimes involving _^<a_!T6026_TIME TRAVEL_^>a_. With _^<i_Sati_^>i_ (_^<b_1990_^>b_), whose
eponymous heroine may be God or may be a dippy channeller, CP moved into adult fiction. _^<i_Whisper of Death_^>i_ (_^<b_1991_^>b_) is an sf tale for older children, and _^<i_The Season of Passage_^>i_ (_^<b_1992_^>b_) is an adult horror novel.
Given at its annual summer conference since 1970 by the _^<a_!T2139_SCIENCE FICTION RESEARCH ASSOCIATION_^>a_ to a person who has made distinguished contributions to the study of sf, the Pilgrim is awarded normally for a body of work rather than for
a specific book or essay, and has gone to both scholars and critics, academic and otherwise. Judging is by a committee of the SFRA, reconstituted each year. Recipients become Honorary SFRA Members; until 1990 they received certificates, since then
commemorative plaques (also given retrospectively to previous winners). The award is named for _^<i_Pilgrims through Space and Time_^>i_ (_^<b_1947_^>b_) by J.O. Bailey, who in 1970 was the PA's first recipient.
[PN]_^<n__^<n__^<b_Winners:_^>b__^<n__^<n__^<b_1970:_^>b_ J.O. _^<a_!T362_BAILEY_^>a__^<n__^<n__^<b_1971:_^>b_ Marjorie Hope _^<a_!T3195_NICOLSON_^>a__^<n__^<n__^<b_1972:_^>b_ Julius _^<a_!T3966_KAGARLITSKI_^>a__^<n__^<n__^<b_1973:_^>b_ Jack
_^<a_!T5629_WILLIAMSON_^>a__^<n__^<n__^<b_1974:_^>b_ I.F. _^<a_!T739_CLARKE_^>a__^<n__^<n__^<b_1975:_^>b_ Damon _^<a_!T4098_KNIGHT_^>a__^<n__^<n__^<b_1976:_^>b_ James E. _^<a_!T4896_GUNN_^>a__^<n__^<n__^<b_1977:_^>b_ Thomas D.
_^<a_!T732_CLARESON_^>a__^<n__^<n__^<b_1978:_^>b_ Brian W. _^<a_!T87_ALDISS_^>a__^<n__^<n__^<b_1979:_^>b_ Darko _^<a_!T5858_SUVIN_^>a__^<n__^<n__^<b_1980:_^>b_ Peter _^<a_!T3189_NICHOLLS_^>a__^<n__^<n__^<b_1981:_^>b_ Sam
_^<a_!T3074_MOSKOWITZ_^>a__^<n__^<n__^<b_1982:_^>b_ Neil _^<a_!T442_BARRON_^>a__^<n__^<n__^<b_1983:_^>b_ H. Bruce _^<a_!T1604_FRANKLIN_^>a__^<n__^<n__^<b_1984:_^>b_ Everett F. _^<a_!T654_BLEILER_^>a__^<n__^<n__^<b_1985:_^>b_ Samuel R.
_^<a_!T1152_DELANY_^>a__^<n__^<n__^<b_1986:_^>b_ George Edgar _^<a_!T2259_SLUSSER_^>a__^<n__^<n__^<b_1987:_^>b_ Gary K. _^<a_!T5675_WOLFE_^>a__^<n__^<n__^<b_1988:_^>b_ Joanna _^<a_!T2741_RUSS_^>a__^<n__^<n__^<b_1989:_^>b_ Ursula K. _^<a_!T3318_LE
GUIN_^>a__^<n__^<n__^<b_1990:_^>b_ Marshall B. _^<a_!T6150_TYMN_^>a__^<n__^<n__^<b_1991:_^>b_ Pierre _^<a_!T5359_VERSINS_^>a__^<n__^<n__^<b_1992:_^>b_ Mark _^<a_!T4433_HILLEGAS_^>a__^<n__^<n__^<b_1993:_^>b_ Robert
_^<a_!T2543_REGINALD_^>a__^<n__^<n__^<b_1994:_^>b_ John _^<a_!T769_CLUTE_^>a__^<n__^<n_
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PILLER, EMANUEL S.
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(1907-1985) US author, with Leonard _^<a_!T6669_ENGEL_^>a_ (_^<i_whom see for details_^>i_), of _^<i_The World Aflame: The Russian-American War of 1950_^>i_ (_^<b_1947_^>b_). [JC]_^<n__^<n_
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PINCHER, (HENRY) CHAPMAN
-T-
(1914- ) Indian-born UK writer of some fiction and considerable journalism. In his first sf novel, _^<i_Not With A Bang_^>i_ (_^<b_1965_^>b_), the effects of an anti-age drug are seen as catastrophic. _^<i_The Giantkiller_^>i_ (_^<b_1967_^>b_) is
borderline sf in its portrait of a rabid union leader attempting to take over the nation. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_The Penthouse Conspirators_^>i_ (_^<b_1970_^>b_) and _^<i_The Eye of the Tornado_^>i_ (_^<b_1976_^>b_), both
borderline.
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PINCHIN, FRANK J(AMES)
-T-
(1925-1990) UK research chemist and author. His first 4 sf novels, all as by Peter Dagmar, were not exceptional: _^<i_Alien Skies_^>i_ (_^<b_1962_^>b_), _^<i_Spykos 4: Strange Life-Forms on Unexplored Planets_^>i_ (_^<b_1962_^>b_; vt
_^<i_Spaceways_^>i_ 1973 Australia), _^<i_Sands of Time_^>i_ (_^<b_1963_^>b_) -- a fairly complex _^<a_!T6026_TIME-TRAVEL_^>a_ tale -- and _^<i_Once in Time_^>i_ (_^<b_1963_^>b_; vt _^<i_Mind Probe_^>i_ 1973 Australia). _^<i_Mars 314_^>i_
(_^<b_1970_^>b_), under his own name, renders _^<a_!T6337_NEAR-FUTURE_^>a_ space flight with some versimilitude. _^<i_Two Equals One_^>i_ (_^<b_1982_^>b_), his last Peter Dagmar title, features an electronic spying device which can read computer
memories. _^<i_Stargrail_^>i_ (_^<b_1989_^>b_) and _^<i_Nexweb_^>i_ (_^<b_1990_^>b_), both as FJP, attempt to marry sf and occultism. [JC]_^<n__^<n_
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PINE, E. THEODORE
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[s] > Henry L. _^<a_!T4334_HASSE_^>a_; Emil _^<a_!T1869_PETAJA_^>a_._^<n__^<n_
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PINES, NED L.
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(1905-1990) US magazine and book publisher who in 1931 founded a group of magazines with _^<i_Thrilling_^>i_ in the title: _^<i_Thrilling Detective_^>i_, _^<i_Thrilling Love_^>i_, etc. These became part of the Pines Publications group (which NP
served as president 1929-61), whose associated companies included Standard Magazines, Beacon Magazines and Better Publications. In 1936 NP bought Gernsback's _^<a_!T6152_WONDER STORIES_^>a_ and retitled it _^<a_!T6004_THRILLING WONDER STORIES_^>a_
to fit neatly among his other magazines. Among NP's senior staff members were Leo _^<a_!T3663_MARGULIES_^>a_ and Mort _^<a_!T5515_WEISINGER_^>a_. NP was by no means an sf specialist -- of the 44 or so magazines he owned by the end of the 1930s, the
huge majority were not sf -- but other _^<a_!T2130_SF MAGAZINES_^>a_ followed, among them _^<a_!T2428_STARTLING STORIES_^>a_ in 1939, _^<a_!T5151_CAPTAIN FUTURE_^>a_ in 1940, and the reprint magazine _^<a_!T1407_FANTASTIC STORY QUARTERLY_^>a_ in
1950. All of these _^<a_!T2033_PULP MAGAZINES_^>a_ had died (like most of their kind) by the mid-1950s, _^<i_Startling Stories_^>i_ being the last to go (Fall 1955). In 1942 NP founded the paperback publishing house Popular Library (which did not
publish much sf) and put Margulies in charge; the Popular Library logo became a pine tree in 1956, in honour of NP, who retired in 1971. [PN]_^<n__^<n_
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PINKWATER, DANIEL M(ANUS)
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(1941- ) US writer whose many novels for children have attracted large adult audiences for their surreal wit, their supple and astringent wisdom and (for sf readers in particular) the wry hilarity of their use of sf venues and themes. After
several non-genre works as Manus Pinkwater (a form of his name which appears only in books of the 1970s), DMP began writing tales of genre interest with _^<i_Wizard Crystal_^>i_ (_^<b_1973_^>b_) and _^<i_Magic Camera_^>i_ (_^<b_1974_^>b_),
attracting considerable attention with _^<i_Lizard Music_^>i_ (_^<b_1976_^>b_), an sf fantasia in which a young boy begins seeing musical lizards everywhere, finds they are real and in secret occupancy of a nearby invisible island, and later
discovers that they have allied themselves with the "right" sort of humans to oppose pod-people from space. Many of DMP's books are either explicitly constructed as series -- like the _^<b_Magic Moscow_^>b_ sequence and the _^<b_Snarkout Boys_^>b_
sequence -- or share venues and characters with one another. In the end, no DMP book stands alone: all occupy, in one way or another, a region whose children tend to be lonely but clear-sighted and whose adults are either blind (or astonishingly
open) to the crowded marvellousness of the Universe. Some of the more outstanding singletons for older children are _^<i_Wingman_^>i_ (_^<b_1975_^>b_) as Manus Pinkwater, _^<i_Fat Men from Space_^>i_ (_^<b_1976_^>b_) as Daniel Manus Pinkwater,
_^<i_Alan Mendelsohn, the Boy from Mars_^>i_ (_^<b_1979_^>b_), _^<i_Yobgorgle: Mysterious Monster of Lake Ontario_^>i_ (_^<b_1979_^>b_), _^<i_Java Jack_^>i_ (_^<b_1980_^>b_) with Luqman Keele, _^<i_The Worms of Kukumlima_^>i_ (_^<b_1981_^>b_) and
_^<i_Borgel_^>i_ (_^<b_1990_^>b_). The books for younger children, heavily illustrated and written in a bumptious though easy-to-follow style, are almost as intriguing. [JC]_^<n__^<n__^<b_Other works (mostly for younger readers):_^>b_ The
_^<b_Moose_^>b_ sf trilogy featuring a time-travelling moose vampire and comprising _^<i_Blue Moose_^>i_ _^<b_1975_^>b_ chap) as Manus Pinkwater, _^<i_The Return of the Moose_^>i_ (_^<b_1979_^>b_ chap) and _^<i_The Moosepire_^>i_ (_^<b_1986_^>b_
chap); _^<i_The Big Orange Splot_^>i_ (_^<b_1977_^>b_ chap); _^<i_The Blue Thing_^>i_ (_^<b_1977_^>b_ chap); _^<i_Pickle Creature_^>i_ (_^<b_1979_^>b_ chap); the _^<b_Magic Moscow_^>b_ sequence, comprising _^<i_The Magic Moscow_^>i_ (_^<b_1980_^>b_
chap), _^<i_Attila the Pun_^>i_ (_^<b_1981_^>b_ chap) and _^<i_Slaves of Spiegel_^>i_ (_^<b_1982_^>b_ chap); _^<i_Tooth-Gnasher Superflash_^>i_ (_^<b_1981_^>b_ chap); the _^<b_Snarkout Boys_^>b_ sequence, comprising _^<i_The Snarkout Boys and the
Avocado of Death_^>i_ (_^<b_1982_^>b_) and _^<i_The Snarkout Boys and the Baconburg Horror_^>i_ (_^<b_1984_^>b_); _^<i_Roger's Umbrella_^>i_ (_^<b_1982_^>b_ chap) as by Honest Dan'l Pinkwater; _^<i_I Was a Second-Grade Werewolf_^>i_
(_^<b_1983_^>b_); _^<i_Ducks!_^>i_ (_^<b_1984_^>b_ chap); _^<i_Devil in the Drain_^>i_ (_^<b_1984_^>b_ chap); _^<i_The Frankenbagel Monster_^>i_ (_^<b_1986_^>b_ chap); _^<i_The Muffin Fiend_^>i_ (_^<b_1986_^>b_ chap); _^<i_Guys from Space_^>i_
(1904-1964) US writer and gun collector, employed as a detective on the Pennsylvania Railroad until made redundant in the mid-1950s; his first name is not known for sure, and may have been Henry. Though he wrote for other genres, he is best
remembered for his sf, much of which appeared in _^<i_ASF_^>i_ from 1947, when he began with "Time and Time Again". Though he shared John W. _^<a_!T5140_CAMPBELL_^>a_ Jr's political views, and his sense of the appropriate kind of story in which to
propound them, it is probably wrong to think of HBP as a mouthpiece for the great editor: he was (in the end tragically) his own man. His first sf novels -- _^<i_Crisis in 2140_^>i_ (1953 _^<i_ASF_^>i_ as "Null ABC"; _^<b_1957_^>b_) and _^<i_A
Planet for Texans_^>i_ (_^<b_1958_^>b_), both with John J. _^<a_!T3536_MCGUIRE_^>a_ -- are straightforward adventures, one set in a USA that has revolted from literacy for fear of its consequences, the other on a planet set up like a
Western._^<n__^<n_Much of HBP's work fits very loosely into what has been called the _^<b_Terro-Human_^>b_ future-_^<a_!T4442_HISTORY_^>a_ sequence, though large gaps remained at his death. The _^<b_Federation_^>b_ tales -- ostensibly embedded
within the larger series -- can be read as self-contained, and themselves encompass the _^<b_Fuzzy_^>b_ books. _^<b_Federation_^>b_ stories include _^<i_Four-Day Planet_^>i_ (_^<b_1961_^>b_), _^<i_Junkyard Planet_^>i_ (_^<b_1963_^>b_; vt _^<i_The
Cosmic Computer_^>i_ 1964), _^<i_Space Viking_^>i_ (_^<b_1963_^>b_) and 2 posthumous collections, _^<i_Federation_^>i_ (coll _^<b_1981_^>b_) and _^<i_Empire_^>i_ (coll _^<b_1981_^>b_); of these stories "Omnilingual" (1957 _^<i_ASF_^>i_) is perhaps
the finest (> _^<a_!T3398_LINGUISTICS_^>a_). The _^<b_Fuzzy_^>b_ series, in which HBP's enterprising clarity shows to best advantage, includes _^<i_Little Fuzzy_^>i_ (_^<b_1962_^>b_) and _^<i_The Other Human Race_^>i_ (_^<b_1964_^>b_; vt _^<i_Fuzzy
Sapiens_^>i_ 1976; the original, singularly stupid title was the choice of the book's first publisher), both assembled as _^<i_The Fuzzy Papers_^>i_ (omni _^<b_1977_^>b_), and the long-lost _^<i_Fuzzies and Other People_^>i_ (_^<b_1984_^>b_). The
small, joyful, sapient Fuzzies are natives of the planet Zarathustra (> _^<a_!T811_COLONIZATION OF OTHER WORLDS_^>a_). The first two volumes -- which feature some gripping courtroom-drama sequences -- centre on the attempts of the mining
corporation which runs Zarathustra first to prevent recognition of Fuzzy _^<a_!T3787_INTELLIGENCE_^>a_ (so as to retain mining rights) and then, when it has become inevitable, to exploit this recognition. The third volume resolves the conflict
between the company and those humans who are fathering the Fuzzies, whose neotenous, childlike nature (> Bjorn _^<a_!T4142_KURTEN_^>a_) both demands the attention of adults and reveals HBP's skill at the juvenile. The series was continued in
_^<i_Fuzzy Bones_^>i_ * (_^<b_1981_^>b_) by William _^<a_!T6121_TUNING_^>a_ and _^<i_Golden Dream: A Fuzzy Odyssey_^>i_ * (_^<b_1984_^>b_) by Ardath _^<a_!T3736_MAYHAR_^>a_._^<n__^<n_A second distinct sequence, the _^<b_Paratime Police/Lord
Kalvan_^>b_ tales, most published originally in _^<i_ASF_^>i_, were assembled as _^<i_Lord Kalvan of Otherwhen_^>i_ (fixup _^<b_1965_^>b_; vt _^<i_Gunpowder God_^>i_ 1978 UK) and _^<i_Paratime_^>i_ (coll _^<b_1981_^>b_). The series was continued in
_^<i_Great Kings' War_^>i_ * (_^<b_1985_^>b_) by Roland _^<a_!T4837_GREEN_^>a_ and John F. _^<a_!T5180_CARR_^>a_, the latter also editing _^<i_The Worlds of H. Beam Piper_^>i_ (coll _^<b_1983_^>b_) and presenting his work in other contexts. As a
series of _^<a_!T131_ALTERNATE-WORLDS_^>a_ variations, the sequence showed HPB in perhaps excessively argumentative vein, the alternate-world structure allowing him great latitude to express his political feelings._^<n__^<n_Not in general an
innovative writer, HBP was at his best when he applied an _^<i_ASF_^>i_-derived firmness of setting and plausibility of characterization to emotionally arousing adventure plots in which political agendas existed only as subtexts. In 1964, his
career apparently on the skids, and prevented by reticence and _^<a_!T3378_LIBERTARIAN_^>a_ principles from asking anyone to help him with temporary financial difficulties, he committed suicide. He died in his prime. [JC] _^<n__^<n__^<b_Other
works:_^>b_ _^<i_Murder in the Gun Room_^>i_ (_^<b_1953_^>b_), HBP's first book, a detective novel; _^<i_First Cycle_^>i_ (_^<b_1982_^>b_), an HBP outline expanded by Michael _^<a_!T4141_KURLAND_^>a_; _^<i_Uller Uprising_^>i_ (in _^<i_The Petrified
Planet_^>i_ [anth _^<b_1953_^>b_] ed Theodore Pratt; _^<b_1983_^>b_), part of the first _^<a_!T2127_SHARED-WORLD_^>a_ anthology in _^<a_!T4659_GENRE SF_^>a_; _^<i_Four-Day Planet & Lonestar Planet_^>i_ (omni _^<b_1979_^>b_), comprising two novels,
the first under its original title and the second being _^<i_A Planet for Texans_^>i_ under a vt._^<b_About the author:_^>b_ _^<i_Henry Beam Piper_^>i_ (_^<b_1985_^>b_ chap) by Gordon _^<a_!T540_BENSON_^>a_ Jr._^<b_See also:_^>b_
_^<a_!T102_ALIENS_^>a_; _^<a_!T200_ANTI-INTELLECTUALISM IN SF_^>a_; _^<a_!T956_CRIME AND PUNISHMENT_^>a_; _^<a_!T3265_NUCLEAR POWER_^>a_; _^<a_!T1812_PASTORAL_^>a_; _^<a_!T2342_SPACE OPERA_^>a_.
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PIRANHA
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Film (1978). New World. Executive prods Roger _^<a_!T884_CORMAN_^>a_, Jeff Schechtman. Dir Joe _^<a_!T1056_DANTE_^>a_, starring Bradford Dillman, Heather Menzies, Kevin McCarthy, Keenan Wynn, Dick Miller, Paul Bartel, Barbara Steele. Screenplay John
_^<a_!T2833_SAYLES_^>a_, based on a story by Sayles and Richard Robinson. 94 mins. Colour._^<n__^<n_The army has been creating cold-water-tolerant man-eating piranhas for use in Vietnam, and some escape into a Texas river. An attempt by the army to
hush this up permits a piranha invasion of a holiday resort on a lake. Here one can see some of the notable talents of the 1980s (Dante, Sayles, even Bartel) honing their craft in a _^<a_!T3011_MONSTER MOVIE_^>a_ of considerable wit and pace, with
a strong (and much-imitated) emphasis on social comedy; the subtext is that ghastly people create metaphorical monsters that will devour them._^<n__^<n_An unofficial sequel, _^<i_Piranha II: Flying Killers_^>i_ (1981; vt _^<i_Piranha II: The
Spawning_^>i_), was a Dutch film, nothing to do with New World. Set in the Caribbean and very inept, it features flying piranhas that look like wind-up toys and was a surprisingly poor directorial debut for the later-celebrated James
_^<a_!T5131_CAMERON_^>a_._^<n__^<n_
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PIRANHA II
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> _^<a_!T1909_PIRANHA_^>a_._^<n__^<n_
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PISERCHIA, DORIS (ELAINE)
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(1928- ) US writer, born and raised in West Virginia, in the US Navy 1950-54. She began publishing short fiction with "Rocket to Gehenna" for _^<i_Fantastic_^>i_ in 1966. Her first novel, the remarkable and densely plotted _^<a_!T5333_VAN
VOGT_^>a_-style revenge drama _^<i_Mister Justice_^>i_ (_^<b_1973_^>b_ dos), appeared after she had established some reputation in shorter forms, one of her stories being included in _^<i_Best Science Fiction for 1972_^>i_ (anth _^<b_1973_^>b_) ed
Frederik _^<a_!T1937_POHL_^>a_. _^<i_Star Rider_^>i_ (_^<b_1974_^>b_) recounts first-person adventures in a chokingly vivid Universe, versions of which recur throughout her work: events are pellmell, and the protagonist's far-flung quest for
Doubleluck, a planet of dreams, constantly becomes enmired in that environment. _^<i_A Billion Days of Earth_^>i_ (_^<b_1976_^>b_) similarly loses energy towards its close, but depicts its _^<a_!T1432_FAR-FUTURE_^>a_ venue with precision and
eloquence; its ratmen with mechanical claws for hands are a particularly resonant notion, and demonstrate DP's clear creative preference for _^<a_!T102_ALIENS_^>a_, who rarely fail to outshine her human performers. _^<i_Earthchild_^>i_
(_^<b_1977_^>b_) is similarly set on a far-future Earth under a similar threat of termination. Later novels -- like _^<i_Doomtime_^>i_ (_^<b_1981_^>b_) and _^<i_Earth in Twilight_^>i_ (_^<b_1981_^>b_) -- likewise tend to subordinate human
protagonists to her ornate and sometime animate _^<i_mises en scene_^>i_, so that she is at times both daring and a trifle coy in subject matter and style: not even the female protagonists of _^<i_Spaceling_^>i_ (_^<b_1978_^>b_) or _^<i_The
Dimensioneers_^>i_ (_^<b_1982_^>b_), though enjoying DP's approval, genuinely manage to dominate their texts. _^<i_Blood Country_^>i_ (_^<b_1981_^>b_) and _^<i_I, Zombie_^>i_ (_^<b_1982_^>b_), both as by Curt Selby, the latter a genuine sf novel
about the posthumous revivification -- for purposes of forced labour -- of suicides, are also of interest. In her self-consciousness, and in the sense she conveys that landscape drowns action (rather than vice versa), DP seemed for a period very
much a member of the US _^<a_!T3181_NEW WAVE_^>a_; but she has not published since 1983, and the course of her further development cannot properly be guessed. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_The Spinner_^>i_ (_^<b_1980_^>b_); _^<i_The
Fluger_^>i_ (_^<b_1980_^>b_); _^<i_The Deadly Sky_^>i_ (_^<b_1983_^>b_)._^<b_See also:_^>b_ _^<a_!T708_CHILDREN IN SF_^>a_; _^<a_!T956_CRIME AND PUNISHMENT_^>a_; _^<a_!T3411_LIVING WORLDS_^>a_.
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PLANETA BUR
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(vt _^<i_Planet of Storms_^>i_; vt _^<i_Storm Planet_^>i_; vt _^<i_Cosmonauts on Venus_^>i_) Russian Film (1962). Leningrad Studio of Popular Science Films. Dir Pavel Klushantsev, starring Kyunna Ignatova, Gennadi Vernov, Vladimir Yemelyanov, Georgi
Zhonov. Screenplay Alexander Kazantsev, Klushantsev. 85 mins, cut to 74 mins. Colour._^<n__^<n_Cosmonauts land on Venus, accompanied by a robot that plays dance music (thus proving that funny _^<a_!T2646_ROBOTS_^>a_ are not peculiar to US
_^<a_!T726_CINEMA_^>a_). A well paced adventure story follows as they search for intelligent life. In an interestingly realized alien landscape they encounter dinosaurs, dangerous plants and a volcanic eruption, but the sole intelligent Venusian
appears only at the end, watching unnoticed as the crew departs. By Western standards the film is a little slow and overtalkative (long conversations between the ground crew and the woman controlling the command ship), but it is always watchable.
The best Russian sf film until the 1970s, it is, like other Russian sf films of the period (_^<i_Niebo Zowiet_^>i_ [1959] and _^<i_Meshte Nastreshu_^>i_ [1963]), stronger on production design than on plot._^<n__^<n_Much footage from the Venus
sequences was used in a Roger _^<a_!T884_CORMAN_^>a_ production, _^<i_Voyage to the Prehistoric Planet_^>i_ (1965), which includes new US material written/dir John Sebastian (pseudonym of Curtis Harrington), starring Basil Rathbone and Faith
Domergue, but is little more than a partial remake. _^<i_PB_^>i_ footage was used again in _^<i_Voyage to the Planet of Prehistoric Women_^>i_ (1966; vt _^<i_Gill Woman_^>i_), also a Corman production, along with new material dir Peter Bogdanovich
(in his directorial debut), starring Mamie Van Doren and Mary Park. The new feature here was the inclusion of telepathic Venusian women who send the crash-landed astronauts home again. [JB]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T2748_RUSSIA_^>a_.
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PLANETARY ROMANCE
-T-
Any sf tale whose primary venue (excluding contemporary or _^<a_!T6337_NEAR-FUTURE_^>a_ versions of Earth) is a planet, and whose plot turns to a significant degree upon the nature of that venue, can be described as a planetary romance. For the term
to apply properly, however, it is not enough that a tale simply be set on a world: James _^<a_!T658_BLISH_^>a_'s _^<i_A Case of Conscience _^>i_(_^<b_1958_^>b_), for instance, has a planet as a primary venue yet cannot be called a planetary romance
because the nature or description of this world has little bearing on the story being told. Nor can the term profitably be used for a tale set upon a planet whose mysteries are solvable in _^<a_!T4288_HARD-SF_^>a_ terms: Hal Clement's
_^<i__^<a_!B9041_MISSION OF GRAVITY_^>a__^>i_ (_^<b_1954_^>b_) and Robert L. _^<a_!T1570_FORWARD_^>a_'s _^<i_Rocheworld_^>i_ (_^<b_1990_^>b_), for instance, are typical hard-sf novels in that the worlds on which they are set amount to little more
than the sum of the problems which they illustrate, and in that their protagonists successfully explain (or _^<i_solve_^>i_) those worlds. In the true planetary romance, the world itself encompasses -- and generally survives -- the tale which
fitfully illuminates it._^<n__^<n_Though the term is recent, the form is coeval with _^<a_!T2342_SPACE OPERA_^>a_. Most of Edgar Rice _^<a_!T5097_BURROUGHS_^>a_'s sf sequences -- like the John Carter tales set on _^<b_Barsoom_^>b_ -- fit the
description, and were soon being referred to as "interplanetary romances", a term Gary K. _^<a_!T5675_WOLFE_^>a_ defines in his useful _^<i_Critical Terms for Science Fiction and Fantasy_^>i_ (_^<b_1986_^>b_) as "broadly, an adventure tale set on
another, usually primitive, planet". Wolfe, properly restricting the use of the term to work done before WWII, considers other important contributors to the form to include Ralph Milne _^<a_!T1434_FARLEY_^>a_, Homer Eon _^<a_!T1534_FLINT_^>a_ and
Otis Adelbert _^<a_!T4094_KLINE_^>a_. Unfortunately, however, few of the tales described as interplanetary romances show more than minimal interest in interplanetary travel, and the term is used only occasionally in this encyclopedia, generally
within Wolfe's critical context._^<n__^<n_When we come to more sophisticated writers, for whom the _^<a_!T5875_SWORD-AND-SORCERY_^>a_ simplicities of Burroughs seemed inadequate to exploit the venue he had created, we must abandon the earlier
formulation. The ornate and decadent tales of Clark Ashton _^<a_!T2264_SMITH_^>a_ -- which were also instrumental in the creation of the subgenre _^<a_!T2870_SCIENCE FANTASY_^>a_ -- are the first planetary romances (if one puts aside the work of
E.R. _^<a_!T6579_EDDISON_^>a_ as being entirely fantasy, and David _^<a_!T3395_LINDSAY_^>a_'s _^<i__^<a_!B9079_A VOYAGE TO ARCTURUS_^>a__^>i_ [_^<b_1920_^>b_] as being too confusing in its use of various genres to work as a clear example). By
substituting temporal displacements for the early (and inconsequential) spatial shifts of Burroughs and his followers, Smith created the venue most favourable for the growth of the form: a _^<a_!T1432_FAR-FUTURE_^>a_-style planet on which magic and
science intertwine, inhabited by richly variegated races whose re-creation of the feudalisms and baroque rituals of our own history is generally knowing and often a form of art. Though her work for _^<a_!T1924_PLANET STORIES_^>a_ tended to be
ostensibly set on _^<a_!T3677_MARS_^>a_ or _^<a_!T5351_VENUS_^>a_, the superb planetary romances of Leigh _^<a_!T4961_BRACKETT_^>a_ dwelt in versions of those planets so displaced from our common history that they seem natural descendants of
Smith's work._^<n__^<n_Brackett held back, however, from a complete exploitation of the venues hinted at by Smith, and the first full-fledged modern planetary romance is therefore probably Jack _^<a_!T5317_VANCE_^>a_'s _^<i__^<a_!B9032_THE DYING
EARTH_^>a__^>i_ (coll of linked stories _^<b_1950_^>b_), a book which successfully incorporates into the subgenre our own planet -- but sufficiently near the end of time for magic to seem plausible. Vance's treatment of his far-future Earth as a
kind of entranced, doomed, topiary paradise, in which primitivism and decadence mix and merge, soon became a trademark for his work and influenced a large number of writers, including Gene _^<a_!T5676_WOLFE_^>a_, whose _^<b_The Book of the New
Sun_^>b_ (_^<b_1980-83_^>b_) is of course in part a planetary romance. But _^<i__^<a_!B9032_THE DYING EARTH_^>a__^>i_ lacks any very convincing sf rationale, and it was another Vance title that supplied sf writers with a model to exploit. _^<i_Big
Planet_^>i_ (1952 _^<i_Startling Stories_^>i_; cut _^<b_1957_^>b_; further cut 1958; full text restored 1978), together with its sequel, _^<i_Showboat World_^>i_ (_^<b_1975_^>b_; vt _^<i_The Magnificent Showboats of the Lower Vissel River Lune
XXIII South, Big Planet_^>i_ 1983), is set in a _^<a_!T2342_SPACE-OPERA_^>a_ Galaxy on a huge though Earthlike world whose landmass is vast enough to provide realistic venues for a wide range of social systems, and which is significantly low in
heavy-metal resources (this both explains its relatively low gravity and permits a wide range of low-tech societies to flourish). Into this rich environment -- in a fashion not dissimilar to the entrance of visitors to the typical
_^<a_!T5303_UTOPIA_^>a_ -- Vance introduces off-world protagonists whose need to travel across the planet provides a quest plot and a rationale for the lessons in _^<a_!T197_ANTHROPOLOGY_^>a_ and _^<a_!T2300_SOCIOLOGY_^>a_ so common to the form.
The pattern would be repeated often over the next several decades, and remains one of the central models for romantic sf._^<n__^<n_In his cogent introduction to a 1978 reprint of Philip Jose _^<a_!T1435_FARMER_^>a_'s _^<i_The Green Odyssey_^>i_
(_^<b_1957_^>b_) Russell Letson argues strongly for the use of the term "planetary romance" -- he should be credited for establishing it -- to describe novels whose basic settings derive from Burroughs, whose plots often make use of the
chase-and-quest conventions of adventure fiction, and whose protagonists frequently turn out to be high-tech men (or women) "stranded among pretechnological natives". Because Farmer is a more active plotter than Vance, _^<i_The Green Odyssey_^>i_
itself might well serve as a model for the transformation of the Big Planet into story: its sophisticated play with anachronisms, and its active use of contrasts between different levels of _^<a_!T5916_TECHNOLOGY_^>a_ (reminiscent in this of the
work of Poul _^<a_!T169_ANDERSON_^>a_) begins to demonstrate the range of uses to which the basic model might be put. From these three models -- _^<i__^<a_!B9032_THE DYING EARTH_^>a__^>i_, _^<i_Big Planet_^>i_ and _^<i_The Green Odyssey_^>i_ -- can
be seen to derive, after the fashion of sf at its creative best, most of the numerous planetary romances of recent decades. (Although J.R.R. _^<a_!T6041_TOLKIEN_^>a_ might be seen, through his creation of Middle-Earth, to have granted an oceanic
imprimatur for the building of heavily mapped world-sized venues, it is probable that fantasy and science fantasy should be distinguished from one another precisely by the fact that, while the latter are usually set on planets, the former are
usually set in _^<i_landscapes_^>i_, which may well be interminable. Middle-Earth is a landscape.)_^<n__^<n_Authors early and importantly associated with the planetary romance include Marion Zimmer _^<a_!T4968_BRADLEY_^>a_, with her
_^<b_Darkover_^>b_ novels, L. Sprague _^<a_!T1133_DE CAMP_^>a_, some of the volumes of whose _^<b_Viagens Interplanetarias_^>b_ sequence are crossovers from fantasy, and Frank _^<a_!T4390_HERBERT_^>a_, whose _^<b_Dune_^>b_ sequence incorporates
some features from the planetary romance into its complex mix. More recently, examples have appeared from a very large number of authors: the _^<b_Helliconia_^>b_ trilogy by Brian W. _^<a_!T87_ALDISS_^>a_, _^<i__^<a_!B9081_A WOMAN OF THE IRON
PEOPLE_^>a__^>i_ (_^<b_1991_^>b_) by Eleanor _^<a_!T241_ARNASON_^>a_, _^<i_Hegira_^>i_ (_^<b_1979_^>b_) by Greg _^<a_!T478_BEAR_^>a_, many of the novels of C.J. _^<a_!T5255_CHERRYH_^>a_, the _^<b_Song of Earth_^>b_ novels by Michael G.
_^<a_!T833_CONEY_^>a_, _^<i_The Warriors of Dawn_^>i_ (_^<b_1975_^>b_) by M.A. _^<a_!T1574_FOSTER_^>a_, _^<i__^<a_!B9056_GOLDEN WITCHBREED_^>a__^>i_ (_^<b_1983_^>b_) and _^<i_Ancient Light_^>i_ (_^<b_1987_^>b_) by Mary _^<a_!T4660_GENTLE_^>a_,
_^<i_Saraband of Lost Time_^>i_ (_^<b_1985_^>b_) and its sequels by Richard _^<a_!T4806_GRANT_^>a_, _^<i__^<a_!B9099_COURTSHIP RITE_^>a__^>i_ (_^<b_1982_^>b_) by Donald _^<a_!T4075_KINGSBURY_^>a_, the _^<b_Pern_^>b_ novels by Anne
_^<a_!T6298_MCCAFFREY_^>a_, _^<i_Pennterra_^>i_ (_^<b_1987_^>b_) by Judith _^<a_!T2998_MOFFETT_^>a_, the _^<b_Starbridge Chronicles_^>b_ by Paul _^<a_!T1800_PARK_^>a_, _^<i_Lord Valentine's Castle_^>i_ (_^<b_1980_^>b_) and its sequels and _^<i_The
Face of the Waters_^>i_ (_^<b_1991_^>b_) by Robert _^<a_!T2216_SILVERBERG_^>a_, and parts of _^<i_Neverness_^>i_ (_^<b_1988_^>b_) by David _^<a_!T6272_ZINDELL_^>a_. There are many more. [JC]_^<n__^<n_
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PLANET EARTH
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Made-for-tv film (1974). ABC Dir Marc Daniels, starring John Saxon, Janet Margolin, Ted Cassidy, Diana Muldaur. Teleplay Gene _^<a_!T2658_RODDENBERRY_^>a_, Juanita Bartlett. 75 mins. Colour._^<n__^<n_One of executive producer Roddenberry's several
attempts to repeat the success of _^<a_!T2429_STAR TREK_^>a_, this pilot for a proposed series -- similar in concept to his earlier _^<a_!T4656_GENESIS II_^>a_ -- failed to generate the necessary network enthusiasm. It is sf at its most simplistic.
The hero and his companions are revived from _^<a_!T5851_SUSPENDED ANIMATION_^>a_ in a tribalized, post-_^<a_!T4482_HOLOCAUST_^>a_ 22nd century. In a wretchedly strained attempt at contemporary relevance, the party encounters a society of hostile
militant women (who keep men as slaves) and, by saving them from dangerous mutants, proves to them that men can be useful. [JB/PN]_^<n__^<n_
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PLANETE SAUVAGE, LA
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(vt _^<i_Fantastic Planet_^>i_) Animated film (1973). Les Films Armorial/ORTF/Filmove studio Barrandov. Dir Rene Laloux. Scenario and dialogue by Roland Topor (1938- ) and Laloux, based on _^<i_Oms en serie_^>i_ ["Oms by the Dozen"]
(_^<b_1957_^>b_) by Stefan _^<a_!T6201_WUL_^>a_. Original artwork by Topor. 72 mins. Colour._^<n__^<n_The plot of this French/Czech coproduction is not original. Human beings on a distant planet are kept as pets by a race of blue, humanoid giants,
but finally organize themselves into a guerrilla army and, despite the disparity in size, force their oppressors to recognize them as equals. The animation is not especially impressive in itself; what makes the film interesting is the bizarre,
surreal background in which go about their sinister business such nightmarish creatures as the plant that spends its time swatting down small animals for fun, while giggling unpleasantly. The disturbing world shown in the background is at odds with
the juvenile events of the story. [JB]_^<n__^<n_
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PLANET OF BLOOD
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> Roger _^<a_!T884_CORMAN_^>a_._^<n__^<n_
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PLANET OF HORRORS
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> Roger _^<a_!T884_CORMAN_^>a_._^<n__^<n_
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PLANET OF STORMS
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> _^<a_!T1912_PLANETA BUR_^>a_._^<n__^<n_
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PLANET OF THE APES
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_^<b_1._^>b_ Film (1968). Apjac/20th Century-Fox. Dir Franklin J. Schaffner, starring Charlton Heston, Roddy McDowall, Kim Hunter, Maurice Evans, James Whitmore. Screenplay Michael Wilson, Rod _^<a_!T2108_SERLING_^>a_, based on _^<i_La planete des
singes_^>i_ (_^<b_1963_^>b_; trans as _^<i_Planet of the Apes_^>i_ _^<b_1963_^>b_ US) by Pierre _^<a_!T4938_BOULLE_^>a_. 112 mins. Colour._^<n__^<n_Astronauts crashland on a planet where intelligent apes of three species rule over human savages.
One astronaut is killed, one lobotomized, and the survivor (Heston) is put in a zoo. There follows a long middle sequence whose _^<a_!T2812_SATIRE_^>a_, alternating between sharp and heavy-handed, suffers from an attempt to have it both ways:
sometimes ape society -- in its racism, its snobbery, its casual cruelty -- is seen as a reflection of our own excesses; yet sometimes the humans are seen as crass and insensitive alongside the apes, who perhaps have made a better fist of things
than we ever did (> _^<a_!T206_APES AND CAVEMEN_^>a_). After unsuccessfully trying to persuade his captors that he is an intelligent being, the astronaut is befriended by two chimpanzee scientists (McDowall and Hunter) who accept his story; with
their help he escapes. The final sequence has him fleeing to the Forbidden Zone with a female "savage" and -- in a wonderful image (perhaps inspired by Hubert _^<a_!T2666_ROGERS_^>a_'s cover for _^<i_ASF_^>i_ Feb 1941) -- coming across the
half-buried Statue of Liberty projecting from a sandy beach. He realizes that he is still on Earth but in the _^<a_!T1432_FAR FUTURE_^>a_, having unknowingly passed through a time-warp._^<n__^<n_The film is well directed, and the ape make-up by
John Chambers is mobile and convincing, and deservedly won an Oscar. A commercial success, _^<i_POTA_^>i_ was one of the 1968 films that made that year a turning point both for the increasing maturity of sf cinema and for its popularity.
_^<i_POTA_^>i_ inspired 4 sequels -- _^<a_!T523_BENEATH THE PLANET OF THE APES_^>a_ (1969), _^<a_!T6691_ESCAPE FROM THE PLANET OF THE APES_^>a_ (1971), _^<a_!T844_CONQUEST OF THE PLANET OF THE APES_^>a_ (1972) and _^<a_!T464_BATTLE FOR THE PLANET
OF THE APES_^>a_ (1973) -- as well as 2 tv series, one live-action (see _^<b_2_^>b_ below) and the other animated: _^<i_Return to the Planet of the Apes_^>i_, 13 20min episodes (1975). Books spun-off from the animated series include 3 published as
by William Arrow, #1 and #3 being by William _^<a_!T2712_ROTSLER_^>a_ and #2 by Donald J. _^<a_!T1877_PFEIL_^>a_: _^<i_Visions from Nowhere_^>i_ * (_^<b_1976_^>b_), _^<i_Escape from Terror Lagoon_^>i_ (_^<b_1976_^>b_) and _^<i_Man, the Hunted
Animal_^>i_ * (_^<b_1976_^>b_)._^<n__^<n__^<b_2._^>b_ US tv series (1974). 20th Century-Fox Television for CBS. Prod Stan Hough. Executive prod Herbert Hirschman. Starring Roddy McDowall, Ron Harper, James Naughton, Booth Colman, Mark Leonard. 1
season, 14 50min episodes. Colour. This spin-off was set in the same future world as the film (though its ethics were more black-and-white), with some episodes in the ancient subterranean ruins of _^<a_!T523_BENEATH THE PLANET OF THE APES_^>a_
(1969). There were 4 books, all by George Alec _^<a_!T6592_EFFINGER_^>a_, based on the tv series: _^<i_Man the Fugitive_^>i_ * (_^<b_1974_^>b_), _^<i_Escape to Tomorrow_^>i_ * (_^<b_1975_^>b_), _^<i_Journey into Terror_^>i_ * (_^<b_1975_^>b_) and
_^<i_Lord of the Apes_^>i_ * (_^<b_1976_^>b_). [PN/JB]_^<n__^<n_
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PLANET OF THE LIFELESS MEN
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> _^<i_Il_^>i_ _^<a_!T1893_PIANETA DEGLI UOMINI SPENTI_^>a_._^<n__^<n_
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PLANET OF THE VAMPIRES
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> _^<a_!T5947_TERRORE NELLO SPAZIO_^>a_._^<n__^<n_
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PLANET OUTLAWS
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> _^<a_!T5063_BUCK ROGERS IN THE 25TH CENTURY_^>a_._^<n__^<n_
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PLANETS
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> _^<a_!T273_ASTEROIDS_^>a_; _^<a_!T811_COLONIZATION OF OTHER WORLDS_^>a_; _^<a_!T3957_JUPITER_^>a_; _^<a_!T3385_LIFE ON OTHER WORLDS_^>a_; _^<a_!T3411_LIVING WORLDS_^>a_; _^<a_!T3677_MARS_^>a_; _^<a_!T2902_MERCURY_^>a_; _^<a_!T1743_OUTER
US _^<a_!T2033_PULP MAGAZINE_^>a_. 71 issues. Winter 1939-Summer 1955, published by Love Romances Publishing Co.; ed Malcolm Reiss (Winter 1939-Summer 1942), Wilbur S. Peacock (1915?-1979) (Fall 1942-Fall 1945), Chester Whitehorn (Winter 1945-Summer
1946), Paul L. Payne (Fall 1946-Spring 1950), Jerome _^<a_!T622_BIXBY_^>a_ (Summer 1950-July 1951), Malcolm Reiss (Sep 1951-Jan 1952), Jack O'Sullivan (Mar 1952-Summer 1955). (Reiss was always in control, however, acting as Managing Editor when he
was not named as editor.) The schedule was quarterly Winter 1939-Fall 1950, bimonthly Nov 1950-Summer 1954, quarterly Fall 1954-Summer 1955._^<n__^<n_Subtitled in its early years "Strange Adventures on Other Worlds -- The Universe of Future
Centuries", _^<i_PS_^>i_ was the epitome of _^<a_!T2034_PULP_^>a_ sf. Its covers were garish in the extreme, and its story titles promised extravagantly melodramatic interplanetary adventures (which the stories themselves frequently provided). A
typical selection of featured stories (from 1947-8) includes "Beneath the Red World's Crust", "Black Priestess of Varda", "The Outcasts of Solar III", "Werwile of the Crystal Crypt", "Valkyrie from the Void" and "The Beast-Jewel of Mars", The
authors of these epics include such _^<i_PS_^>i_ regulars as Erik Fennel, Gardner F. _^<a_!T1584_FOX_^>a_ and Emmett McDowell; Fennel and McDowell, like Wilbur S. Peacock (?1915-1979), were frequent contributors whose magazine appearances were
largely confined to _^<i_PS_^>i_. The magazine's artwork was mostly crude and lurid; A. _^<a_!T3376_LEYDENFROST_^>a_ was the most individual of its regular artists._^<n__^<n_Other authors who appeared often in later issues included Poul
_^<a_!T169_ANDERSON_^>a_ and Alfred _^<a_!T875_COPPEL_^>a_. The most popular contributor, and the one whose work characterizes _^<i_PS_^>i_'s appeal at its best, was Leigh _^<a_!T4961_BRACKETT_^>a_, with her many colourful _^<a_!T1913_PLANETARY
ROMANCES_^>a_ of love and adventure on _^<a_!T3677_MARS_^>a_ and _^<a_!T5351_VENUS_^>a_. _^<i_PS_^>i_'s other short stories were more varied and less easily classifiable. All but one of the issues from which the story titles listed above were taken
contained also short stories by Ray _^<a_!T4963_BRADBURY_^>a_, including "Zero Hour" (Fall 1947) and "Mars is Heaven!" (Fall 1948). Later _^<i_PS_^>i_ published Philip K. _^<a_!T1222_DICK_^>a_'s first story, "Beyond Lies the Wub" (July 1952). One
of the many sf magazines to come into being around 1940, _^<i_PS_^>i_ was one of the longest survivors, and one of the last sf pulps to continue in that format. A UK edition, published by Pemberton, consisted of 12 numbered, undated, truncated and
initially irregular issues Mar 1950-Sep 1954. A Canadian edition published 12 issues, identical to the US issues, Fall 1948-Mar 1951._^<n__^<n_The reprint magazine _^<a_!T6056_TOPS IN SCIENCE FICTION_^>a_ (2 issues 1953) came from the same
publisher and drew its material wholly from earlier issues of _^<i_PS_^>i_. _^<i_The Best of Planet Stories I_^>i_ (anth _^<b_1975_^>b_) ed Leigh Brackett, #1 in a book series that never had a #2, assembles 7 typical _^<i_PS_^>i_ stories.
[MJE]_^<n__^<n_
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PLATO
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(_^<i_c_^>i_429-347 BC) Greek philosopher, included here partly because his dialogues _^<i_Timaeus_^>i_ and its appendix _^<i_Critias_^>i_ (_^<i_c_^>i_350 BC) have been taken as examples of _^<a_!T2013_PROTO SCIENCE FICTION_^>a_ in their references
to the state of _^<a_!T290_ATLANTIS_^>a_ and its sinking; additionally, and much more importantly, _^<i_The Republic_^>i_ (undated, but earlier than _^<i_Timaeus_^>i_, which is in a sense its afterword) in part describes an ideal state, or
_^<a_!T5303_UTOPIA_^>a_, the first literary work to do so in any detail. P's importance to the history of utopian thought was absolutely central for more than 2000 years, but his emphasis on an ideal stasis over the constant changes and evolution
of the sensual world was challenged in some 19th-century utopias, and of course runs absolutely counter to the social ideas of most 20th-century sf writers. Arthur C. _^<a_!T736_CLARKE_^>a_'s _^<i_The City and the Stars_^>i_ (1948; exp
_^<b_1956_^>b_) is effectively an attack on a Platonic utopia. P's disapproval of poetry in _^<i_The Republic_^>i_ is a good example of his admonitory prescriptions, and his remarks on children's games in Book VII of _^<i_The Laws_^>i_ (a late
work) are even better: ". . . when innovations creep into their games and constant changes are made in them, the children cease to have a sure standard of what is right and proper. The person most highly esteemed by them is the one who introduces
new devices in form or colour, or otherwise.There can be no worse evil for a city than this...Change...is most dangerous for a city." Nevertheless, P was one of the first philosophers at least to consider the idea of change, that the future could
be better than the past -- an imaginative leap ancestral to the whole of sf._^<n__^<n_P's famous metaphor of the cave reappears everywhere in sf, especially in stories of _^<a_!T829_CONCEPTUAL BREAKTHROUGH_^>a_: we are prisoners in a cave and take
the flickering shadows cast by the firelight on the walls as reality; but the philosopher finds his way into the sunlight and sees that he has hitherto been deceived. [PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T2300_SOCIOLOGY_^>a_; _^<a_!T5380_VIRTUAL
REALITY_^>a_.
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PLATONOV, ANDREY (PLATONOVICH)
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(1896-1951) Russian writer best known for his mainstream fiction. One of the most talented figures active in the first decades after the 1917 Revolution, he was regarded with suspicion by "official" literary critics and much of his work did not
appear in _^<a_!T2748_RUSSIA_^>a_ until recently, including his two powerful fictional analyses of _^<a_!T5303_UTOPIA_^>a_-building, _^<i_Tchevengur_^>i_ (_^<b_1928-29_^>b_; trans Anthony Olcott _^<b_1978_^>b_ US) and _^<i_Kotlovan_^>i_ (trans as
_^<i_The Pit_^>i_ US). _^<i_Lunnaia Bomb_^>i_ ["The Moon Bomb"] (_^<b_1921_^>b_), _^<i_Potomki Solntsa_^>i_ ["The Sun Descendants"] (_^<b_1926_^>b_) and _^<i_Efirnyi Trakt_^>i_ ["The Ether Road"] (written 1928-30; _^<b_1967_^>b_) are good examples
of the _^<a_!T4288_HARD SF_^>a_ of the period, although they are marked by AP's uniquely sophisticated language and by some unusual anticipations, including future "machineless" technologies with "herds of electrons, bred like domestic animals".
(1945- ) UK-born writer and editor, in the USA from 1970, who began publishing sf with "One of Those Days" for _^<i_Science Fantasy_^>i_ in 1964 and soon became associated with _^<a_!T3182_NEW WORLDS_^>a_ during the period when, under Michael
_^<a_!T3030_MOORCOCK_^>a_'s editorship, it was seen as the pre-eminent _^<a_!T3181_NEW-WAVE_^>a_ journal. CP performed various editorial functions for several years, becoming editor in 1970 after Moorcock stepped down, and, of the _^<i_NW_^>i_
anthology series, co-editing with Moorcock _^<i_#6_^>i_ (_^<b_1973_^>b_; vt _^<i_New Worlds Quarterly #5_^>i_ 1974 US) and with Hilary _^<a_!T361_BAILEY_^>a_ _^<i_#7_^>i_ (_^<b_1974_^>b_; vt as _^<i_#6_^>i_ 1975 US). CP's first novel, serialized
the previous year in _^<i_NW_^>i_, was _^<i_Garbage World_^>i_ (_^<b_1967_^>b_ US), in which sf premise and scatological humour sometimes war -- for instance, the _^<a_!T273_ASTEROID_^>a_ of the title, used as a garbage dump, is called Kopra.
_^<i_Planet of the Voles_^>i_ (_^<b_1971_^>b_) is a confused _^<a_!T2342_SPACE OPERA_^>a_, but _^<i_The City Dwellers_^>i_ (_^<b_1970_^>b_ UK; rev vt _^<i_Twilight of the City_^>i_ 1977 US) is, in its heavily revised version, a substantial
_^<a_!T6337_NEAR-FUTURE_^>a_ look at the death of New York and of a crisis-ridden USA surrounding it. From the first, CP's work demonstrated undeviating clarity, _^<a_!T2033_PULP-MAGAZINE_^>a_ plotting instincts, and a sure inclination to offend.
_^<i_The Gas_^>i_ (_^<b_1970_^>b_), which has a genuine sf premise, treats its _^<a_!T2115_SEX_^>a_ material in pornographic terms. _^<i_The Image Job_^>i_ (_^<b_1971_^>b_ UK) and _^<i_The Power and the Pain_^>i_ (_^<b_1971_^>b_ UK) are pornography
with marginal sf elements. _^<i_A Song for Christina_^>i_ (_^<b_1976_^>b_) as by Blakely St James (a Playboy Press house name) has no genre content, though _^<i_Christina Enchanted_^>i_ (_^<b_1980_^>b_), also as by St James, uses sf arguments to
underpin an occult hoax; a third St James volume, _^<i_Christina's Touch_^>i_ (_^<b_1981_^>b_), once again has no genre content. In the early 1980s CP wrote little sf, concentrating his activities in the field on _^<i_The Patchin Review_^>i_ (June
1981-March 1985), a journal of comment, sometimes controversial, of which he edited and wrote significant portions. A successor journal, _^<i_REM_^>i_ (July 1985-December 1987), after 10 issues became _^<i_Science Fiction Guide_^>i_ (occasionally
from March 1988; though none has appeared since 1989, the journal has not been officially terminated). CP had written _^<a_!T1428_FANZINES_^>a_ during his involvement in UK fandom in the 1960s; these later journals, however, were notable for a
rigorous concentration upon literary issues (and scandals), and should not perhaps be categorized as fanzines. During these years CP also published _^<i_Dream Makers: The Uncommon People who Write Science Fiction_^>i_ (coll _^<b_1980_^>b_; exp vt
_^<i_Who Writes Science Fiction?_^>i_ 1980 UK) and _^<i_Dream Makers, Volume II_^>i_ (coll _^<b_1983_^>b_), a revised selection from both volumes being published as _^<i_Dream Makers: SF and Fantasy Writers at Work_^>i_ (coll _^<b_1986_^>b_); the
interviews here collected were polished and showed an attentive, surprisingly sympathetic mind at work._^<n__^<n_CP then returned to active sf writing with _^<i_Less than Human_^>i_ (_^<b_1986_^>b_ as by Robert Clarke; 1987 UK as CP), the comic
tale of an _^<a_!T178_ANDROID_^>a_'s descent upon New York, _^<i_Free Zone_^>i_ (_^<b_1988_^>b_), a novel which hilariously makes use of almost every sf theme and instrument yet devised (a chart was provided) to tell a pixilated tale of urban
anarchy and dreadful threat, and _^<i_The Silicon Man_^>i_ (_^<b_1991_^>b_), a _^<a_!T4288_HARD-SF_^>a_ perusal of the implications of _^<a_!T1015_CYBERPUNK_^>a_ in which the sense of what it means actually to become information (in CP's terms an
infomorph) is chillingly and at points bracingly examined._^<n__^<n_With the possible exception of this last book, it cannot be claimed that CP is a warm writer, or that he generally finds a narrative structure fit to convey the rigour of his
thinking. But sf as a genre is naggingly short of genuine iconoclasts: CP is therefore a _^<i_necessary_^>i_ writer. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Sweet Evil_^>i_ (_^<b_1977_^>b_); _^<i_Love's Savage Embrace_^>i_ (_^<b_1981_^>b_) as by
Charlotte Prentiss, associational; _^<i_Tease for Two_^>i_ (_^<b_1983_^>b_) and _^<i_Double Delight_^>i_ (_^<b_1983_^>b_), both as by Aston Cantwell, both associational; two _^<b_Chthon_^>b_ ties, _^<i_Piers Anthony's Worlds of Chthon: Plasm_^>i_ *
(_^<b_1987_^>b_) and _^<i_Piers Anthony's Worlds of Chthon: Soma_^>i_ * (_^<b_1988_^>b_)._^<b_Nonfiction:_^>b_ _^<i_Micromania: The Whole-Truth Home Computer Handbook_^>i_ (_^<b_1984_^>b_; rev by David _^<a_!T4186_LANGFORD_^>a_, vt
_^<i_Micromania_^>i_ 1984 UK); _^<i_How to be a Happy Cat_^>i_ (_^<b_1986_^>b_ UK) with Gray Joliffe; _^<i_When You Can Live Twice as Long, What Will You Do?_^>i_ (_^<b_1989_^>b_), a sequence of questions based upon sf-oriented visions of the near
(1944- ) US writer and physicist, involved professionally in computers. He began publishing sf with "Epicycle" for _^<i_ASF_^>i_ in 1973, being best known for "Child of All Ages" (1975), about an immortal woman (> _^<a_!T3771_IMMORTALITY_^>a_)
who perpetually retains the body of a child; he won the _^<a_!T3922_JOHN W. CAMPBELL AWARD_^>a_ for Best New Author in 1975. The novel-length "Fighting Madness" (in Ben _^<a_!T4943_BOVA_^>a_'s _^<i_Analog Annual_^>i_, anth _^<b_1976_^>b_) remains
unpublished in book form. [JC/PN]_^<n__^<n_
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PLESKAC, KAREL
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[r] > _^<a_!T1020_CZECH AND SLOVAK SF_^>a_._^<n__^<n_
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PLOWRIGHT, TERESA
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(1952- ) Canadian writer who began publishing sf with _^<i_Dreams of an Unseen Planet_^>i_ (_^<b_1986_^>b_ US; rev 1989 Canada), in which three human colony ships, having escaped an Earth near terminal ecological collapse, orbit a sentient planet
called Gaea, where difficulties soon ensue. The tale, heavily burdened with symbols and a selfconsciously significant prose, climaxes in the realization that the planet needs humans and humans need the planet for either species to reproduce and
therefore survive. [JC]_^<n__^<n_
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PLUTO
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> _^<a_!T1743_OUTER PLANETS_^>a_._^<n__^<n_
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POCKET UNIVERSE
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It might be said that the inhabitant of any constricted environment lives in a pocket universe, whether as a child, a prisoner, a victim of dementia, a chained watcher in Plato's cave, a resident of Hell or an inhabitant of the world inside
Pantagruel's mouth. It might also be suggested that the dynamic moment of escape from confinement -- a leitmotiv of Western literature -- always marks the transition from a pocket universe to a fuller and more real world. When Huck, in the final
pages of Mark _^<a_!T6135_TWAIN_^>a_'s _^<i_The Adventures of Huckleberry Finn_^>i_ (_^<b_1883_^>b_ UK), decides "to light out for the Territory ahead of the rest", the Hannibal from which he escapes -- with its rigid social organization and its
conservative inwardness of gaze -- has many of the psychological characteristics of the pocket universe as found in sf. The classic movement of the sf tale is of course outward -- via _^<a_!T829_CONCEPTUAL BREAKTHROUGHS_^>a_ and all the other forms
of initiation or unshackling -- and in that sense most sf works contain some sort of pocket universe, implied or explicit, which initially binds and blinds the protagonist, and from which it is necessary to escape._^<n__^<n_The term should perhaps,
therefore, be confined to two usages, one broad, the other narrower. It can be used broadly to describe an actual miniature universe pocketed within a larger explanatory frame or device -- like the various godling-crafted worlds nesting within one
another in Philip Jose _^<a_!T1435_FARMER_^>a_'s _^<b_World of Tiers_^>b_ sequence; or like the set-ups in almost any of Jack L. _^<a_!T5223_CHALKER_^>a_'s series (e.g., the _^<b_Well World_^>b_ sequence and the _^<b_Four Lords of the Diamond_^>b_
tetralogy) which feature universes constructed by godlike beings as gamelike contrivances and inhabited by victim-players who must _^<i_solve_^>i_ their universe to escape from it; or like similar 1950s set-ups (_^<i_see_^>i_
_^<a_!T1795_PARANOIA_^>a_) such as in Frederik _^<a_!T1937_POHL_^>a_'s "The Tunnel under the World" (1955) or Philip K. _^<a_!T1222_DICK_^>a_'s _^<i_Time Out of Joint_^>i_ (_^<b_1958_^>b_), whose protagonists are victims of artificial worlds shaped
to delude and manipulate them; or (again trivially) like any fantasy game which involves role-playing within a _^<a_!T5380_VIRTUAL-REALITY_^>a_ world; or in fact like any world (such as that on which John _^<a_!T981_CROWLEY_^>a_'s _^<i_The
Deep_^>i_ [_^<b_1975_^>b_] is set, or Terry _^<a_!T1974_PRATCHETT_^>a_'s _^<b_Discworld_^>b_) whose origins and extent reflect a sense of constraining artifice. But none of these applications contains the one essential element that defines the true
pocket-universe tale: Farmer's and Chalker's protagonists may not know the nature of the worlds in which they find themselves, but they do know that they are inhabiting some form of construct. In the pocket-universe tale as more narrowly defined,
the world initially perceived seems to be the entire world, and the web of taboos preventing the truth about its partial nature being known is structurally very similar to the parental restrictions which initially hamper the move through puberty
into adulthood of the young protagonists of most non-genre juveniles. It could, indeed, be argued that this move through puberty is a particular example of the conceptual breakthrough which arguably structures all genuine sf._^<n__^<n_The classic
_^<a_!T4655_GENERATION-STARSHIP_^>a_ tale is one in which the descendants of the original crew members have forgotten the true nature of things and have instituted a repressive, _^<a_!T5888_TABOO_^>a_-governed society which suppresses any attempt
to discover the truth; it is the task of the young protagonist to break through the social and epistemological barriers stifling this world while at the same time successfully managing puberty. The pure generation-starship story embodies,
therefore, the purest form of the concept of the pocket universe. Examples of that pure form, though central to sf, are not numerous -- Robert A. _^<a_!T4376_HEINLEIN_^>a_'s _^<i_Universe_^>i_ (1941 _^<i_ASF_^>i_; _^<b_1951_^>b_ chap) is the most
famous in the list, which includes also Brian W. _^<a_!T87_ALDISS_^>a_'s _^<i_Non-Stop_^>i_ (_^<b_1958_^>b_; vt _^<i_Starship_^>i_ 1959 US) and Harry _^<a_!T4316_HARRISON_^>a_'s _^<i_Captive Universe_^>i_ (_^<b_1969_^>b_); but Alexei
_^<a_!T1782_PANSHIN_^>a_'s _^<i__^<a_!B8981_RITE OF PASSAGE_^>a__^>i_ (_^<b_1968_^>b_), for instance, though explicitly a tale of puberty, does not suggest that there is any epistemological mystery about the nature of the asteroid-sized starship
from which its heroine must escape._^<n__^<n_All post-_^<a_!T4482_HOLOCAUST_^>a_ tales in which the descendants of survivors live in underground habitats which they think to be the whole of reality are pocket-universe stories. The best of them is
perhaps Daniel F. _^<a_!T1692_GALOUYE_^>a_'s _^<i_Dark Universe_^>i_ (_^<b_1961_^>b_), though Margaret _^<a_!T2770_ST CLAIR_^>a_'s _^<i_Sign of the Labrys_^>i_ (_^<b_1963_^>b_) and _^<i_The Shadow People_^>i_ (_^<b_1969_^>b_) play fruitfully with
the concept, as do Richard _^<a_!T925_COWPER_^>a_'s _^<i_Kuldesak_^>i_ (_^<b_1972_^>b_), Roger _^<a_!T6612_ELDRIDGE_^>a_'s _^<i_The Shadow of the Gloom-World_^>i_ (_^<b_1977_^>b_) and many others. In all these stories, the essential movement is
from childhood constriction and taboo-driven ignorance to adult freedom and breakthrough, though the protagonist of Gene _^<a_!T5676_WOLFE_^>a_'s <Darkside the Long Sun> (1993) is, unusually, an adult from the very beginning of his long adventure
in truth-seeking; in _^<a_!T4659_GENRE SF_^>a_ it is only more recently that ironies have significantly pervaded this pattern, as in David _^<a_!T4156_LAKE_^>a_'s _^<i_Ring of Truth_^>i_ (_^<b_1983_^>b_), where a traditional enclosed world turns
out to be interminably extensive, so that there is, in fact, no exit. In the great pocket-universe stories, however, there is always an out, a _^<a_!T2104_SENSE OF WONDER_^>a_, a new world opening before the opened eyes. [JC]_^<n__^<n__^<b_See
also:_^>b_ _^<a_!T4740_GODS AND DEMONS_^>a_.
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POE, EDGAR ALLAN
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(1809-1849) US writer, a major figure in US literature and a pioneer of sf. "By 'scientifiction'," wrote Hugo _^<a_!T4668_GERNSBACK_^>a_, "I mean the Jules Verne, H.G. Wells, and Edgar Allan Poe type of story." As a poet, short-story writer and
critic, EAP's influence on world literature has been enormous, though he spent most of his career in the cut-throat world of magazine publishing. He is usually credited as an originator of the detective story and the horror story, an innovator in
the areas of psychological realism and poetic form, as well as a precursor of the New Criticism and a strong influence on the French Symbolist movement. In recent years his works have been closely associated with various structuralist and
deconstructuralist approaches to literature._^<n__^<n_Among French appreciators of EAP was Jules _^<a_!T5355_VERNE_^>a_, who found in certain of his pieces a basis for his own "nuts-and-bolts" sf -- "The Balloon Hoax" (1844), for example, inspired
both _^<i_Cinq semaines en ballon_^>i_ (_^<b_1863_^>b_; trans as _^<i_Five Weeks in a Balloon_^>i_ _^<b_1869_^>b_ US) and _^<i_Le tour du monde en quatre-vingt jours_^>i_ (_^<b_1873_^>b_; trans as _^<i_Around the World in Eighty Days_^>i_
_^<b_1874_^>b_ US) -- but it should be emphasized that in EAP's context much of the scientific underpinning is of a deliberately specious, hoaxing nature. Another writer of _^<a_!T4288_HARD SF_^>a_, Isaac _^<a_!T268_ASIMOV_^>a_, created the kind of
amalgam between sf and detective fiction that EAP's work anticipated; but something of the more central, metaphysical and visionary aspect of EAP's writing is captured by two different disciples: H.P. _^<a_!T3465_LOVECRAFT_^>a_ and Ray
_^<a_!T4963_BRADBURY_^>a_. Paul Valery (1871-1945) defined EAP's sf when he observed: "Poe was opening up a way, teaching a very strict and deeply alluring doctrine, in which a kind of mathematics and a kind of mysticism became one ..." What EAP
referred to as "the Calculus of Probabilities", a species of extrapolation in which he and his detective hero, Dupin, were expert, calls for the combined talents of the mathematician and the poet._^<n__^<n_EAP's corpus is very much of a piece, and
to isolate his sf would be significantly to distort both the whole and the part. In fact, no single work can be satisfactorily categorized as sf in any conventional sense -- for one thing, the hoaxing quality of many of the tales detracts from the
necessary illusion of verisimilitude -- but at the same time the underlying rationale is marginally sciencefictional, and by that token so is everything EAP wrote._^<n__^<n_EAP assumed that the fabric of "reality" constituted a "grotesque"
deception imposed by limitations of time and space and by such personal impediments as human reason. This revelation and the concomitant awareness of what may be the true "arabesque" nature of a unified reality are available only to the perspective
provided by the "half-closed eye" of the imagination or, in the later works, of intuition. EAP makes clear in "Mesmeric Revelation" (1844; rev 1845) that this visionary arabesque reality is of a material, not a spiritual, nature. It is equivalent
to the alternative or additional _^<a_!T1239_DIMENSIONS_^>a_ of sf and may be apprehended by strategies which constitute EAP's version of the spacetime warp. The dizzying sensation experienced on entering an EAP room, typically containing a luridly
lit, kaleidoscopically fluid assemblage of arabesque furnishings, or in the process of literally falling in such tales as "A Descent into the Maelstrom" (1841), will effect the transition. In the case of most visionary or mystical literature, the
experience of a transcendent reality depends upon personal volition (an unreliable programme of fasting or praying) or divine intervention. In EAP's case, as in sf, natural phenomena may effect the transition _^<i_accidentally_^>i_, and the
conditions of such phenomena may be mechanically duplicated._^<n__^<n_There is a further sense in which all of EAP's work may be regarded as marginal sf. The _^<a_!T902_COSMOLOGY_^>a_ embodied in the late summational treatise _^<i_Eureka_^>i_
(_^<b_1848_^>b_) -- a scheme of remarkable prescience (to the point of explaining _^<a_!T632_BLACK HOLES_^>a_) which has some parallel and perhaps conscious development in the speculation of such writers as Olaf _^<a_!T2404_STAPLEDON_^>a_, George
Bernard _^<a_!T2157_SHAW_^>a_ and Arthur C. _^<a_!T737_CLARKE_^>a_ -- is variously anticipated, whether directly, rhythmically or symbolically, in virtually everything he wrote. To this extent, for example, "The Fall of the House of Usher" (1839)
and the sea tales may be regarded as displaced versions of a kind of literalistic sf, if _^<i_Eureka_^>i_ (which EAP called a "romance" or a "poem") may be described as that. In _^<i_Eureka_^>i_ the movement from a grotesque, deceptive "reality" to
arabesque reality is correlated with the history of the Universe moving from its present diastolic state of dispersion to a glorious future state of centripetal collapse into a primal unity, an "Overmind"._^<n__^<n_Although none of EAP's
compositions can be fully accounted for by the sf label, some do come closer than others in that they contain specific sf elements. Three poems merit consideration. "Al Aaraaf" (1829; rev 1831; rev 1845), with its astronomical setting and the
apparent destruction of the planet Earth, might be related to the post-apocalyptic prose of "The Conversation of Eiros and Charmion" (1839), in which Earth is destroyed by fire when raped of nitrogen by a passing comet (cf H.G.
_^<a_!T5528_WELLS_^>a_'s "The Star" [1897] and _^<i_In the Days of the Comet_^>i_ [_^<b_1906_^>b_]). (EAP's "Shadow -- A Parable" [1835] and "The Colloquy of Monos and Una" [1841] are similarly metaphysical pieces.) A second poem, "The City in the
Sea" (1831; rev 1845), is related to various sf-like sunken-city myths. "Ulalume" (1847) makes use of astrology and, to that degree, relates to EAP's use of other _^<a_!T2019_PSEUDO-SCIENCES_^>a_ in some of his most sciencefictional tales:
mesmerism in "A Tale of the Ragged Mountains" (1844), in "Mesmeric Revelation" (1844) and in "The Facts in the Case of M. Valdemar" (1845), and alchemy in "Von Kempelen and his Discovery" (1849). The automaton chess-player invented by (the
real-life) Baron von Kempelen and probed by EAP in his essay "Maelzel's Chess-Player" (1836) might be linked tenuously to the _^<a_!T2646_ROBOTS_^>a_ of sf, while "The Man that was Used Up" (1839) presents a part-human, part-machine being something
like a _^<a_!T1017_CYBORG_^>a_. "The Masque of the Red Death" (1842) has humankind destroyed by plague, as in Mary _^<a_!T2173_SHELLEY_^>a_'s _^<i_The Last Man_^>i_ (_^<b_1826_^>b_) (> _^<a_!T6661_END OF THE WORLD_^>a_)._^<n__^<n_EAP's sea voyages,
especially "MS. Found in a Bottle" (1833) and _^<i_The Narrative of A. Gordon Pym_^>i_ (_^<b_1837_^>b_), seem ultimately oriented towards a _^<a_!T4474_HOLLOW EARTH_^>a_ (like Captain Adam _^<a_!T2081_SEABORN_^>a_'s _^<i_Symzonia_^>i_
[_^<b_1820_^>b_]). EAP's latter unfinished story was "completed" by various hands: by Jules Verne in _^<i_Le sphinx des glaces_^>i_ (_^<b_1897_^>b_; trans as _^<i_An Antarctic Mystery_^>i_ _^<b_1898_^>b_ UK), by Charles Romyn _^<a_!T1032_DAKE_^>a_
in _^<i_A Strange Discovery_^>i_ (_^<b_1899_^>b_), by H.P. _^<a_!T3465_LOVECRAFT_^>a_ in "At the Mountains of Madness" (1936) and by Dominique Andre in _^<i_Conquete de l'Eternal_^>i_ ["The Conquest of the Eternal"] (_^<b_1947_^>b_). The most
ambitious of the _^<a_!T382_BALLOON_^>a_ tales, "The Unparalleled Adventure of One Hans Pfaall" (1835; rev 1840), is clearly oriented towards outer space; if taken literally, it is an early example of a _^<a_!T3023_MOON_^>a_ voyage. Another balloon
story and another hoax, "Mellonta Tauta" (1849; the title is Greek for "these things are in the future"), might better be considered as one of the three tales that experiment with the theme of time displacement. "The Thousand and Second Tale of
Scheherazade" (1845), "Some Words with a Mummy" (1845), a reanimation story, and "Mellonta Tauta" demonstrate the inaccuracy of past conceptions of the future, present conceptions of the past and future conceptions of the present, respectively;
"Mellonta Tauta" itself presents a _^<a_!T5303_UTOPIA_^>a_ as a _^<a_!T1370_DYSTOPIA_^>a_, bears on the theme of _^<a_!T1752_OVERPOPULATION_^>a_, and is among the first of such works to open directly in a future environment._^<n__^<n_Nearly all the
above stories and the essay _^<i_Eureka_^>i_, but not the poems, appear in _^<i_The Science Fiction of Edgar Allan Poe_^>i_ (coll _^<b_1976_^>b_) ed Harold Beaver, which has an interesting introduction and commentary. Beaver also ed a companion
volume, the Penguin Books edition of _^<i_The Narrative of Arthur Gordon Pym of Nantucket_^>i_ (1975)._^<n__^<n_A great many of EAP's stories have been filmed, most famously and prolifically by Roger _^<a_!T884_CORMAN_^>a_. [DK]_^<n__^<n__^<b_About
the author:_^>b_ "Edgar Allan Poe -- Science Fiction Pioneer" by Clarke Olney in _^<i_Georgia Review_^>i_ #12, 1958; "The Prophetic Edgar Allan Poe" in _^<i_Explorers of the Infinite_^>i_ (coll _^<b_1963_^>b_) by Sam _^<a_!T3074_MOSKOWITZ_^>a_;
"Edgar Allan Poe and Science Fiction" in _^<i_Future Perfect: American Science Fiction of the Nineteenth Century_^>i_ (anth _^<b_1966_^>b_) ed H. Bruce _^<a_!T1604_FRANKLIN_^>a_; "The Influence of Poe on Jules Verne" by Monique Sprout in _^<i_Revue
de Litterature Comparee_^>i_ #41, 1967; "Edgar Allan Poe and the Visionary Tradition of Science Fiction" in _^<i_New Worlds for Old: The Apocalyptic Imagination, Science Fiction, and American Literature_^>i_ (_^<b_1974_^>b_) by David
_^<a_!T4045_KETTERER_^>a_; "Poe, Edgar Allan" in _^<i_The Encyclopedia of Science Fiction and Fantasy_^>i_, vol 2 (_^<b_1978_^>b_) by Donald H. _^<a_!T6113_TUCK_^>a_; "The SF Element in the Work of Poe: A Chronological Survey" by David Ketterer,
_^<a_!T2143_SCIENCE-FICTION STUDIES_^>a_ #1, 1974; "Edgar Allan Poe" by E.F. _^<a_!T654_BLEILER_^>a_ in _^<i_Science Fiction Writers: Critical Studies of the Major Authors from the Early Nineteenth Century to the Present Day_^>i_ (_^<b_1982_^>b_)
ed E.F. Bleiler; "'Something Monomaniacal': Edgar Allan Poe" in _^<i_Trillion Year Spree_^>i_ (_^<b_1986_^>b_) by Brian W. _^<a_!T87_ALDISS_^>a_ and David _^<a_!T5653_WINGROVE_^>a_; the discussion of Poe in _^<i_The Place of Fiction in the Time of
Science: A Disciplinary History of American Writing_^>i_ (_^<b_1990_^>b_) by John Limon._^<b_See also:_^>b_ _^<a_!T206_APES AND CAVEMEN (IN THE HUMAN WORLD)_^>a_; _^<a_!T283_ASTRONOMY_^>a_; _^<a_!T1142_DEFINITIONS OF SF_^>a_; _^<a_!T4780_GOTHIC
SF_^>a_; _^<a_!T4443_HISTORY OF SF_^>a_; _^<a_!T4509_HORROR IN SF_^>a_; _^<a_!T3744_MEDICINE_^>a_; _^<a_!T3001_MONEY_^>a_; _^<a_!T3181_NEW WAVE_^>a_; _^<a_!T2013_PROTO SCIENCE FICTION_^>a_; _^<a_!T2023_PSYCHOLOGY_^>a_; _^<a_!T2337_SPACE
Before about 1965 -- although much earlier Lilith _^<a_!T3450_LORRAINE_^>a_ had published _^<i_Wine of Wonder_^>i_ (coll _^<b_1951_^>b_ chap), which she advertised as being the first volume of poetry devoted to sf -- only isolated examples of sf
poetry appeared in magazines like _^<i_Unknown_^>i_ and _^<i_The Magazine of Fantasy and Science Fiction_^>i_. Yet now poetry appears regularly in _^<a_!T2130_SF MAGAZINES_^>a_, anthologies and author collections. This change can be attributed to
two separate periods of activity. The first centred on _^<a_!T3182_NEW WORLDS_^>a_ (_^<i_NW_^>i_) and the _^<a_!T3181_NEW-WAVE_^>a_ writers in the UK during the late 1960s. _^<i_NW_^>i_ published a classic poem during this time, "The Head-Rape"
(1968) by D.M. _^<a_!T5983_THOMAS_^>a_. In 1979 Edward Lucie-Smith (1933- ) anthologized this and other excellent poems like Edwin Morgan's "In Sobieski's Shield" and Thomas M. _^<a_!T1244_DISCH_^>a_'s "A Vacation on Earth" in _^<i_Holding Your
Eight Hands_^>i_ (_^<i_HYEH_^>i_) (anth _^<b_1969_^>b_ UK), the first anthology of sf poetry. _^<i_HYEH_^>i_ was followed closely by 2 other all-poetry anthologies, _^<i_Frontier of Going_^>i_ (_^<i_FG_^>i_) (anth _^<b_1969_^>b_ UK) ed John Fairfax
and _^<i_Inside Outer Space_^>i_ (_^<i_IOS_^>i_) (anth _^<b_1970_^>b_ US) ed Robert Vas Dias. _^<i_FG_^>i_ and _^<i_IOS_^>i_ were not sf _^<i_per se_^>i_ but celebrations of _^<a_!T2337_SPACE FLIGHT_^>a_ and the Universe inspired by the Soviet/US
space race and the unique lexicon of terms, and dreams, it engendered. Also notable were the infusion of a quantity of poetry into the text of Brian W. _^<a_!T87_ALDISS_^>a_'s novel _^<i_Barefoot in the Head_^>i_ (_^<b_1969_^>b_) and the
book-length poem _^<i_Aniara_^>i_ (_^<b_1956_^>b_ Sweden; trans _^<b_1963_^>b_) by the Swedish poet Harry _^<a_!T3692_MARTINSON_^>a_._^<n__^<n_A decade after _^<i_HYEH_^>i_, intense poetic activity in the USA centred on the founding in 1978 of the
Rhysling _^<a_!T6321_AWARDS_^>a_ (RA) for best sf poetry and their parent association, the Science Fiction Poetry Association, which was founded by Suzette Haden _^<a_!T6615_ELGIN_^>a_. From the late 1970s to the mid-1980s, poets emerged who wrote
a large body of their work within the genre, including in the USA Andrew Joron, Peter Dillingham, Kathy Rantala, Bruce _^<a_!T4936_BOSTON_^>a_, Sonya _^<a_!T1294_DORMAN_^>a_, Gene Van Troyer, Duane Ackerson, Terry A. Garey and Robert
_^<a_!T1613_FRAZIER_^>a_, as well as the UK's Steve Sneyd and Andrew Darlington. Established sf writers published a good deal of poetry -- Ursula K. _^<a_!T3318_LE GUIN_^>a_, Michael _^<a_!T620_BISHOP_^>a_, Ray _^<a_!T4963_BRADBURY_^>a_, Jane
_^<a_!T6235_YOLEN_^>a_, Joe _^<a_!T4925_HALDEMAN_^>a_ and others -- and poets from the mainstream crossed over: Dick Allen, Marge _^<a_!T1898_PIERCY_^>a_, William Stafford, Tom Whalen and Marilyn Hacker (1942- ). During this time, many magazines
started to feature the growing genre on a regular basis. _^<i_Night Cry_^>i_ (_^<i_NC_^>i_) used horror poetry, while the science magazine _^<i_Science_^>i_ (_^<i_SC_^>i_) prominently featured one factual poem per issue. _^<a_!T141_AMAZING
STORIES_^>a_ and _^<a_!T3816_ISAAC ASIMOV'S SCIENCE FICTION MAGAZINE_^>a_ have often used two or more poems an issue. _^<i_IASFM_^>i_ featured excellent sf poetry, like the Rhysling winners "The Migration of Darkness" (1979) by Peter Payack and
"For Spacers Snarled in the Hair of Comets" (1984) by Bruce Boston; while literary magazines like _^<i_Speculative Poetry Review_^>i_, _^<i_Velocities_^>i_ (_^<i_V_^>i_), _^<i_Uranus_^>i_, _^<i_Ice River_^>i_, _^<i_Umbral_^>i_ (_^<i_UM_^>i_),
_^<i_Star*Line_^>i_ (_^<i_S*L_^>i_), _^<i_The Magazine of Speculative Poetry_^>i_ and the UK's _^<i_Star Wine_^>i_ devoted themselves to fantastic poetry of all kinds._^<n__^<n_Fantastic poetry generally falls into 4 types: sf, as in Susan
Palwick's "The Neighbor's Wife" (1985 _^<i_AMZ_^>i_) (RA), wherein a widowed man nurses a very alien woman to health and accepts her for a wife; science fact, as in Diane Ackerman's "Saturn" from her book _^<i_The Planets: A Cosmic Pastoral_^>i_
(_^<b_1976_^>b_), a long work often quoted by Carl _^<a_!T2767_SAGAN_^>a_ in his science books; macabre, as in Lucius _^<a_!T2175_SHEPARD_^>a_'s "White Trains" (1987 _^<i_NC_^>i_) (RA), about mirage-like trains that pass certain towns on the
outskirts of their private mythologies; and speculative poetry, a catchall term for poems on the periphery of the fantastic, as in Joe Haldeman's almost otherworldly vision of Vietnam in "DX" (1987) or the surreal poetry of Ivan
Arguelles._^<n__^<n_Other classic works include: "The Sonic Flowerfall of Primes" (1982 _^<i_NW_^>i_) (RA) and "Antenna" (1989) by Andrew Joron, with their hard-science surrealism; "The Nightmare Collector" (1987 _^<i_NC_^>i_) (RA) by Bruce Boston;
"The Well of Baln" (1981) by Ursula K. Le Guin; "Corruption of Metals" (1977) (RA) by Sonya Dorman; "Two Sonnets" (1983 _^<i_SC_^>i_) by Helen Ehrlich; "Your Time and You" (1982 _^<i_V_^>i_) (RA) by Adam Cornford; "The Still Point" (1984
_^<i_IASFM_^>i_) by David Lunde; "Ybba" (1983 _^<i_S*L_^>i_) by Elissa Malcohn; "Lady Faustus" (1982 _^<i_UM_^>i_) by Diane Ackerman; and the World Fantasy Award-winning "Winter Solstice, Camelot Station" by John M. _^<a_!T1559_FORD_^>a_ (1988).
Many of these recent works are anthologized in _^<i_The Umbral Anthology_^>i_ (anth _^<b_1982_^>b_) ed Steve Rasnic Tem, _^<i_Burning with a Vision_^>i_ (anth _^<b_1984_^>b_) ed Robert Frazier and _^<i_Songs of Unsung Worlds_^>i_ (anth
_^<b_1985_^>b_) ed Bonnie Gordon. Also of great importance is the book-length _^<i__^<a_!B9278_THE NEW WORLD: AN EPIC POEM_^>a__^>i_ (_^<b_1985_^>b_) by Frederick _^<a_!T6129_TURNER_^>a_._^<n__^<n_Several anthologies of mostly original poetry made
impressions around the cusp of the 1990s: the award-winning _^<i_Poly: New Speculative Writing_^>i_ (anth _^<b_1989_^>b_) ed Lee Ballentine (1954- ), _^<i_Narcopolis & Other Poems_^>i_ (anth _^<b_1989_^>b_ chap) ed Peggy Nadramia and _^<i_Time
Frames_^>i_ (anth _^<b_1991_^>b_) ed Terry A. Garey. The poet Scott Green has compiled an invaluable guide, _^<i_Contemporary Science Fiction, Fantasy and Horror Poetry: A Resource Guide and Biographical Dictionary_^>i_
(_^<b_1989_^>b_)._^<n__^<n__^<i_Star*Line_^>i_, _^<i_The Magazine of Speculative Poetry_^>i_ and _^<i_Velocities_^>i_ continue, along with newcomer _^<i_Dreams & Nightmares_^>i_, as strong poetry magazines. Ocean View Press, publisher of
_^<i_Poly_^>i_, produces poetry collections by many of the authors mentioned here. And a large wave of fresh poets promises all the right stuff for the 1990s-people like Denise Dumars, Michael R. _^<a_!T802_COLLINGS_^>a_, W. Gregory Stewart, David
Kopaska-Merkel, t. (_^<i_not_^>i_ T.) Winter-Damon, Ann K. Schwader, Roger Dutcher, Wendy Rathbone, Tom Wiloch, Terry McGarry, Sandra Lindow, Tony Daniel and Wayne Allen Sallee. [RF]_^<n__^<n_
-R-
(c) 1995 John Clute and Peter Nicholls
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POGUE, BILL
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[r] > Ben _^<a_!T4943_BOVA_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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POHL, CAROL
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[r] > Frederik _^<a_!T1937_POHL_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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POHL, FREDERIK
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(1919- ) US writer, professionally involved in the sf field as an editor, agent and writer since his teens, his first published piece being a poem, "Elegy to a Dead Satellite: Luna" as by Elton V. Andrews, for _^<i_AMZ_^>i_ in 1937, and his first
story proper being "Before the Universe" with C. M. _^<a_!T6353_KORNBLUTH_^>a_, both writing as S.D. Gottesman, for _^<i_Super Science Stories_^>i_ in 1940. His 3rd marriage was to sf writer Judith _^<a_!T2908_MERRIL_^>a_ (1949-52) and his 4th to
Carol Metcal Ulf (1952-82), who collaborated with him in editing several anthologies. His 5th and present wife, Elizabeth Anne Hull (married 1984), is an academic and a leading member of the _^<a_!T2139_SCIENCE FICTION RESEARCH ASSOCIATION_^>a_. FP
was a member of the _^<a_!T1665_FUTURIANS_^>a_, and wrote much of his early work in collaboration with other members of the group, mostly with C.M. Kornbluth. Names used by these two, sometimes involving third parties (including Robert A.W.
_^<a_!T3472_LOWNDES_^>a_ and Joseph H. Dockweiler), were S.D. Gottesman (see above), Scott Mariner, Dirk _^<a_!T6209_WYLIE_^>a_ and the house name Paul Dennis Lavond. On his early solo work FP usually used the name James MacCreigh, though he
published 1 story each as Wylie and Warren F. Howard. He published much of this work himself while editing _^<a_!T274_ASTONISHING STORIES_^>a_ and _^<a_!T5847_SUPER SCIENCE STORIES_^>a_ Spring 1940-Fall 1941; he was then assistant editor to Alden
Norton on these magazines from late 1941 until their demise in 1943. After WWII he worked as an sf literary agent; he represented many of the most celebrated writers in the field during the late 1940s. He began writing again, abandoning the
MacCreigh pseudonym, in 1953, by which time he had used his own name on the first of a new set of collaborations with Kornbluth, the classic _^<i__^<a_!B9011_THE SPACE MERCHANTS_^>a__^>i_ (1952 _^<i_Gal_^>i_ as "Gravy Planet"; _^<b_1953_^>b_).
While working as assistant editor to H.L. _^<a_!T4752_GOLD_^>a_ at _^<a_!T1686_GALAXY SCIENCE FICTION_^>a_ he wrote a great deal for the magazine, sometimes as Paul Flehr, Ernst Mason or Charles _^<a_!T2813_SATTERFIELD_^>a_, the last once used for
a story written in collaboration with Lester _^<a_!T1164_DEL REY_^>a_, in partnership with whom he also wrote _^<i_Preferred Risk_^>i_ (_^<b_1955_^>b_) as Edson _^<a_!T6300_MCCANN_^>a_. Other writers with whom he collaborated at one time or another
were Merril, Isaac _^<a_!T268_ASIMOV_^>a_ and Joseph _^<a_!T2786_SAMACHSON_^>a_, and he built up a second long-term partnership with Jack _^<a_!T5629_WILLIAMSON_^>a_. FP was editor of _^<i_Gal_^>i_ and _^<a_!T4583_IF_^>a_ from late 1961 to
mid-1969. While under his aegis _^<i_If_^>i_ won 3 _^<a_!T4551_HUGOS_^>a_ as Best Magazine 1966-8. He also founded and edited 2 shorter-lived magazines, _^<a_!T6176_WORLDS OF TOMORROW_^>a_ (1963-7) and _^<a_!T3789_INTERNATIONAL SCIENCE FICTION_^>a_
(1967-8). Another significant editorial endeavour was an early series of original _^<a_!T195_ANTHOLOGIES_^>a_, _^<a_!T2424_STAR SCIENCE FICTION STORIES_^>a_: _^<i_Star Science Fiction Stories_^>i_ (anth _^<b_1953_^>b_), _^<i_#2_^>i_ (anth
_^<b_1954_^>b_), _^<i_#3_^>i_ (anth _^<b_1955_^>b_), _^<i_#4_^>i_ (anth _^<b_1958_^>b_), _^<i_#5_^>i_ (anth _^<b_1959_^>b_) and _^<i_#6_^>i_ (anth _^<b_1959_^>b_), along with a volume of longer stories, _^<i_Star Short Novels_^>i_ (_^<b_1954_^>b_).
He has also ed numerous reprint anthologies._^<n__^<n_As a writer FP made his first reputation by way of slickly ironic short stories, mostly _^<a_!T2812_SATIRES_^>a_ with a hint of black comedy. Works in this vein include the classics "The Midas
Plague" (1954; incorporated into _^<i_Midas World_^>i_, fixup _^<b_1983_^>b_) and "The Tunnel Under the World" (1955); almost all these stories of the 1950s are collected in _^<i_Alternating Currents_^>i_ (coll _^<b_1956_^>b_; with 1 story dropped
and 1 added, rev 1966 US), _^<i_The Case Against Tomorrow_^>i_ (coll _^<b_1957_^>b_), _^<i_Tomorrow Times Seven_^>i_ (coll _^<b_1959_^>b_), _^<i_The Man who Ate the World_^>i_ (coll _^<b_1960_^>b_), _^<i_Turn Left at Thursday_^>i_ (coll
_^<b_1961_^>b_) and _^<i_The Abominable Earthman_^>i_ (coll _^<b_1963_^>b_). Oddly, the only short-fiction award FP won before his 1986 Hugo for "Fermi and Frost" was a Hugo for an atypical "posthumous collaboration" with Kornbluth, "The Meeting"
(1972), which appeared in _^<i_Critical Mass_^>i_ (coll _^<b_1977_^>b_) with Kornbluth; some of their collaborations had already been assembled as _^<i_The Wonder Effect_^>i_ (coll _^<b_1962_^>b_), and further selections appeared as _^<i_Before the
Universe, and Other Stories_^>i_ (coll _^<b_1980_^>b_) and _^<i_Our Best: The Best of Frederik Pohl and C.M. Kornbluth_^>i_ (coll _^<b_1987_^>b_). FP's early solo novels were less successful: _^<i_Slave Ship_^>i_ (_^<b_1957_^>b_), _^<i_Drunkard's
Walk_^>i_ (_^<b_1960_^>b_), _^<i_A Plague of Pythons_^>i_ (_^<b_1965_^>b_; rev vt _^<i_Demon in the Skull_^>i_ 1984) and _^<i_The Age of the Pussyfoot_^>i_ (_^<b_1969_^>b_) lack the vitality of his collaborations with Kornbluth. The gaudy image of
a future dominated by advertising painted in _^<i__^<a_!B9011_THE SPACE MERCHANTS_^>a__^>i_ now seems remarkably prescient (> _^<a_!T3743_MEDIA LANDSCAPE_^>a_) -- although FP's solo sequel, _^<i_The Merchants' War_^>i_ (_^<b_1984_^>b_), was
unfortunately belated; both novels were assembled as _^<i_Venus, Inc_^>i_ (omni _^<b_1985_^>b_). _^<i_Gladiator-at-Law_^>i_ (_^<b_1955_^>b_; rev 1986) with Kornbluth is sillier, but makes some telling comments on housing projects (>
_^<a_!T956_CRIME AND PUNISHMENT_^>a_). The episodic _^<i_Search the Sky_^>i_ (_^<b_1954_^>b_; rev 1985) with Kornbluth is an enjoyable early contribution to the "absurd-society" variety of sf. The more ambitious and surrealistically complicated
_^<i_Wolfbane_^>i_ (_^<b_1959_^>b_; rev 1986) with Kornbluth involves invading alien robots, the kidnapping of the planet Earth, subsequent primitive societies engineered to provide human components for living _^<a_!T3540_MACHINES_^>a_ on the
aliens' own dirigible planet, and a revolt organized by these._^<n__^<n_FP's early collaborations with Jack Williamson were the _^<b_Undersea_^>b_ juveniles -- _^<i_Undersea Quest_^>i_ (_^<b_1954_^>b_), _^<i_Undersea Fleet_^>i_ (_^<b_1955_^>b_) and
_^<i_Undersea City_^>i_ (_^<b_1958_^>b_) (> _^<a_!T5281_UNDER THE SEA_^>a_) -- and the _^<b_Starchild_^>b_ novels, assembled as _^<i_The Starchild Trilogy_^>i_ (omni _^<b_1977_^>b_): _^<i_The Reefs of Space_^>i_ (_^<b_1964_^>b_),
_^<i_Starchild_^>i_ (_^<b_1965_^>b_) and _^<i_Rogue Star_^>i_ (_^<b_1969_^>b_). The latter are intelligent _^<a_!T2342_SPACE OPERAS_^>a_ combining Williamson's flair for melodrama with FP's economy of style. As FP's solo work has matured, so has
his collaborative work with Williamson. The _^<b_Saga of Cuckoo_^>b_ -- _^<i_Farthest Star_^>i_ (fixup _^<b_1975_^>b_) and _^<i_Wall Around a Star_^>i_ (_^<b_1983_^>b_), assembled as _^<i_The Saga of Cuckoo_^>i_ (omni _^<b_1983_^>b_) -- is
action-adventure fiction involving a vast artificial world. _^<i_Land's End_^>i_ (_^<b_1988_^>b_) confronts the human survivors of a cosmic _^<a_!T1243_DISASTER_^>a_ with a godlike _^<a_!T98_ALIEN_^>a_. _^<i_The Singers of Time_^>i_
(_^<b_1991_^>b_) is an excellent fusion of traditional space opera with modern ideas in _^<a_!T1892_PHYSICS_^>a_._^<n__^<n_There was a sharp improvement in FP's longer works once he was no longer editing full time. Two fine novellas, "The Gold at
the Starbow's End" (1971; exp vt _^<i_Starburst_^>i_ _^<b_1982_^>b_) and "The Merchants of Venus" (1971), were important transitional works, the latter forming a prelude to the enterprising _^<b_Heechee_^>b_ series --
_^<i__^<a_!B9035_GATEWAY_^>a__^>i_ (_^<b_1977_^>b_), _^<i_Beyond the Blue Event Horizon_^>i_ (_^<b_1980_^>b_), _^<i_Heechee Rendezvous_^>i_ (_^<b_1984_^>b_), _^<i_The Annals of the Heechee_^>i_ (_^<b_1987_^>b_) and _^<i_The Gateway Trip_^>i_ (coll
of linked stories _^<b_1990_^>b_) -- which tracks humanity's exploration of the Galaxy using artefacts abandoned by aliens who have gone into hiding because of a threat posed to all living species by the enigmatic Assassins.
_^<i__^<a_!B9035_GATEWAY_^>a__^>i_ won the Hugo, _^<a_!T3147_NEBULA_^>a_ and _^<a_!T3923_JOHN W. CAMPBELL MEMORIAL AWARD_^>a_, following up the success of _^<i__^<a_!B9090_MAN PLUS_^>a__^>i_ (_^<b_1976_^>b_), an effectively cynical novel about the
adaptation of a man for life on _^<a_!T3677_MARS_^>a_ which had won a Nebula the year before (> _^<a_!T1784_PANTROPY_^>a_); the rather less impressive sequel is _^<i_Mars Plus_^>i_ (_^<b_1994_^>b_) with Thomas T._^<a_!T5987_THOMAS_^>a_. _^<i_JEM:
The Making of a Utopia_^>i_ (_^<b_1979_^>b_) is a similarly cynical and compelling account of the _^<a_!T811_COLONIZATION_^>a_ of an alien world -- which somewhat resembles the eponymous planet in _^<i_Medea's World_^>i_ (anth _^<b_1985_^>b_) ed
Harlan _^<a_!T6641_ELLISON_^>a_ -- by competing human power blocs, but the more lightly satirical _^<i_The Cool War_^>i_ (_^<b_1981_^>b_) is less successful. _^<i_Syzygy_^>i_ (_^<b_1982_^>b_), a mundane novel about the failure of a much-touted
catastrophe to overwhelm California as a result of a rare alignment of planets, understandably suffers from a lack of melodrama -- an absence made good in two later non-sf novels, the thriller _^<i_Terror_^>i_ (_^<b_1986_^>b_) and the
"drama-documentary" novel _^<i_Chernobyl_^>i_ (_^<b_1987_^>b_). FP has occasionally complained about the unwillingness of sf writers to be constructive in their dealings with _^<a_!T6337_NEAR-FUTURE_^>a_ scenarios, and he made a sustained attempt
to practise what he preached in _^<i_The Years of the City_^>i_ (fixup _^<b_1984_^>b_), a future history of the City of New York. _^<i_The Coming of the Quantum Cats_^>i_ (_^<b_1986_^>b_) is an _^<a_!T131_ALTERNATE-WORLD_^>a_ adventure story only
lightly seasoned with satire, but a more considerable satirical edge is evident in _^<i_Black Star Rising_^>i_ (_^<b_1985_^>b_), _^<i_Narabedla Ltd_^>i_ (_^<b_1988_^>b_) and the sharply pointed _^<i_The Day the Martians Came_^>i_ (fixup
_^<b_1988_^>b_). _^<i_Homegoing_^>i_ (_^<b_1989_^>b_) is a more romantic and light-hearted story of confrontation between humans and aliens. _^<i_The World at the End of Time_^>i_ (_^<b_1990_^>b_) recalls the theme of _^<i_Land's End_^>i_ in
presenting a human colony's encounter with a godlike alien in a tale which traverses eons to the time and location referred to in the title; while the novella _^<i_Outnumbering the Dead_^>i_ (_^<b_1990_^>b_ UK) focuses on the predicament of a man
who is among the very few who age and die in a world of youthful-seeming immortals (> _^<a_!T3771_IMMORTALITY_^>a_)._^<n__^<n_FP was president of the _^<a_!T2147_SCIENCE FICTION WRITERS OF AMERICA_^>a_ 1974-6 and president of _^<a_!T6172_WORLD
SF_^>a_ 1980-82. Much insight into the early days of his career is provided by the commentary in _^<i_The Early Pohl_^>i_ (coll _^<b_1976_^>b_), much of which was subsequently incorporated into _^<i_The Way the Future Was: A Memoir_^>i_
(_^<b_1978_^>b_). The special Sep 1973 issue of _^<i_The_^<a_!T3595_MAGAZINE OF FANTASY AND SCIENCE FICTION_^>a__^>i_ was devoted to his work. In 1993 he was granted the Nebula Grand Master award. [BS]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Digits
and Dastards_^>i_ (coll _^<b_1966_^>b_); _^<i_The Frederik Pohl Omnibus_^>i_ (coll _^<b_1966_^>b_; vt _^<i_Survival Kit_^>i_ 1979); _^<i_Day Million_^>i_ (coll _^<b_1970_^>b_); _^<i_The Gold at the Starbow's End_^>i_ (coll _^<b_1972_^>b_); _^<i_The
Best of Frederik Pohl_^>i_ (coll _^<b_1975_^>b_); _^<i_In the Problem Pit_^>i_ (coll _^<b_1976_^>b_); _^<i_Planets Three_^>i_ (coll _^<b_1982_^>b_); _^<i_Pohlstars_^>i_ (coll _^<b_1984_^>b_); _^<i_BiPohl_^>i_ (coll _^<b_1987_^>b_); _^<i_Stopping at
Slowyear_^>i_ (_^<b_1991_^>b_); _^<i_Mining the Oort_^>i_ (_^<b_1992_^>b_); _^<i_The Voices of Heaven_^>i_ (_^<b_1994_^>b_)._^<b_Nonfiction:_^>b_ _^<i_Science Fiction: Studies in Film_^>i_ (_^<b_1981_^>b_) with Frederik Pohl IV; _^<i_Our Angry
Earth_^>i_ (_^<b_1991_^>b_) with Isaac _^<a_!T268_ASIMOV_^>a_._^<b_As Editor:_^>b_ _^<i_Beyond the End of Time_^>i_ (anth _^<b_1952_^>b_); _^<i_Shadow of Tomorrow_^>i_ (anth _^<b_1953_^>b_); _^<i_Assignment in Tomorrow_^>i_ (anth _^<b_1954_^>b_);
_^<i_Star of Stars_^>i_ (anth _^<b_1960_^>b_; vt _^<i_Stars Fourteen_^>i_ UK); several _^<b_Galaxy_^>b_ anthologies, including _^<i_Time Waits for Winthrop and Four other Short Novels from Galaxy_^>i_ (anth _^<b_1962_^>b_), _^<i_The Seventh Galaxy
_^<i_The Eleventh Galaxy Reader_^>i_ (anth _^<b_1969_^>b_) and _^<i_Galaxy: Thirty Years of Innovative Science Fiction_^>i_ (anth _^<b_1980_^>b_) with Martin H. _^<a_!T4842_GREENBERG_^>a_ and Joseph D. _^<a_!T3303_OLANDER_^>a_; _^<i_The Expert
Dreamers_^>i_ (anth _^<b_1962_^>b_), sf stories by _^<a_!T2880_SCIENTISTS_^>a_; _^<i_The Best Science Fiction from Worlds of Tomorrow_^>i_ (anth _^<b_1964_^>b_); three _^<b_If_^>b_ anthologies, being _^<i_The If Reader_^>i_ (anth _^<b_1966_^>b_),
_^<i_The Second If Reader_^>i_ (anth _^<b_1967_^>b_) and _^<i_Worlds of If_^>i_ (anth _^<b_1986_^>b_); _^<i_Nightmare Age_^>i_ (anth _^<b_1970_^>b_); _^<i_Best Science Fiction for 1972_^>i_ (anth _^<b_1972_^>b_); _^<i_Jupiter_^>i_ (anth
_^<b_1973_^>b_) with Carol Pohl; _^<i_Science Fiction: The Great Years_^>i_ (anth _^<b_1973_^>b_) and _^<i_Science Fiction: The Great Years: Volume II_^>i_ (anth _^<b_1976_^>b_), both with Carol Pohl; _^<i_The Science Fiction Roll of Honor_^>i_
(anth _^<b_1975_^>b_); _^<i_Science Fiction Discoveries_^>i_ (anth _^<b_1976_^>b_) with Carol Pohl; _^<i_The Best of Cyril M. Kornbluth_^>i_ (coll _^<b_1976_^>b_); _^<i_Science Fiction of the '40s_^>i_ (anth _^<b_1978_^>b_) with Greenberg and
Olander; _^<i_Nebula Winners 14_^>i_ (anth _^<b_1980_^>b_); _^<i_The Great Science Fiction Series _^>i_(anth _^<b_1980_^>b_) with Greenberg and Olander; _^<i_Yesterday's Tomorrows: Favorite Stories from Forty Years as a Science Fiction Editor_^>i_
(anth _^<b_1982_^>b_); _^<i_Tales from the Planet Earth_^>i_ (anth _^<b_1986_^>b_)._^<b_About the author:_^>b_ _^<i_Frederik Pohl, Merchant of Excellence: A Working Bibliography_^>i_ (_^<b_1989_^>b_) by Gordon _^<a_!T540_BENSON_^>a_ Jr and Phil
_^<a_!T1245_DISCOVERY AND INVENTION_^>a_; _^<a_!T1370_DYSTOPIAS_^>a_; _^<a_!T6577_ECONOMICS_^>a_; _^<a_!T6661_END OF THE WORLD_^>a_; _^<a_!T6717_EVOLUTION_^>a_; _^<a_!T1389_FANDOM_^>a_; _^<a_!T1443_FASTER THAN LIGHT_^>a_; _^<a_!T1695_GAMES AND
SPORTS_^>a_; _^<a_!T4754_GOLDEN AGE OF SF_^>a_; _^<a_!T4823_GREAT AND SMALL_^>a_; _^<a_!T4442_HISTORY IN SF_^>a_; _^<a_!T4443_HISTORY OF SF_^>a_; _^<a_!T4555_HUMOUR_^>a_; _^<a_!T4574_HYPERSPACE_^>a_; _^<a_!T3816_ISAAC ASIMOV'S SCIENCE FICTION
Polish sf effectively began with the publication in 1785 of the novel _^<i_Wojciech Zdarzynski, zycie i przypadki swoje opisujacy_^>i_ ["Wojciech Zdarzynski, Describing his Life and Adventures"] (_^<b_1785_^>b_) by the Reverend Michal Dymitr
Krajewski. This describes the civilizations of the Moon._^<n__^<n_Between then and WWII, Polish sf had, in terms of literary quality, at least 4 major landmarks. (1) In 1804 Jan Potocki (1761-1815) published (in French) _^<i_Manuscrit trouve a
Saragosse_^>i_ (2 vols _^<b_1804_^>b_ and _^<b_1805_^>b_ Russia and 1 vol _^<b_1813_^>b_ France; exp _^<b_1847_^>b_ as _^<i_Rekopis znaleziony w Saragossie_^>i_ Poland; cut trans as _^<i_The Saragossa Manuscript_^>i_, ed Roger Caillois
_^<b_1960_^>b_ US). This extraordinary work -- more fantasy than sf -- is a well written and witty novel, a prolonged and vivid joke made by a worldly gentleman, a Count, at the expense of all the superstitions of his age. The complex plot could be
seen as a series of _^<a_!T131_ALTERNATE WORLDS_^>a_ nestling within one another like Chinese boxes. It was filmed in Poland under the Polish title in 1965, dir Wojciech Has, and distributed quite widely in the West as _^<i_The Saragossa
Manuscript_^>i_. (2) _^<i_Historia przyszlos ci_^>i_ ["History of the Future"] (composed 1829-42; part published in French 1835; _^<b_1964_^>b_) by Adam Mickiewicz (1798-1855), unfortunately unfinished and partly lost, was done as a large fresco of
the world seen more from the cultural than from the technological point of view. (3) The _^<b_Moon_^>b_ trilogy by Jerzy _^<a_!T6284_ZUpsAWSKI_^>a_ consists of _^<i_Na Srebrnym Globie_^>i_ ["On Silver Globe"] (_^<b_1901_^>b_), _^<i_Zwyciezca_^>i_
["The Victor"] (_^<b_1908_^>b_) and _^<i_Stara Ziemia_^>i_ ["Old Earth"] (_^<b_1910_^>b_). This is an essay on the birth of civilization and myth, and on myth's clash with reality, beautifully written in the _^<i_fin de siecle_^>i_ mood. (4) The
road to modern Polish sf was paved by the avant-garde painter and writer Stanislaw Ignacy _^<a_!T5663_WITKIEWICZ_^>a_ in his apocalyptic novels _^<i_Pozegnanie jesieni_^>i_ ["Farewell to Autumn"] (_^<b_1927_^>b_) and _^<i_Nienasycenie_^>i_
(_^<b_1930_^>b_; trans Louis Iribarne as _^<i_Insatiability_^>i_ _^<b_1977_^>b_ US). Having seen the 1917 Revolution from inside Russia, Witkiewicz was obsessed by the vision of "hordes of Asians" invading Europe and destroying whatever cultural
values might exist in the future. He lived up to his philosophy and committed suicide when the Red Army invaded Poland in Sep 1939._^<n__^<n_Polish postwar sf has had its literary achievements, too -- not only the celebrated works of Stanislaw
_^<a_!T3329_LEM_^>a_ but also the classical sf of Konrad Fialkowski, Adam Wisniewski-Snerg's cult novel _^<i_Robot_^>i_ (_^<b_1973_^>b_) and, in the 1980s, such novels by the wonderfully inventive Wiktor Zwikiewicz as _^<i_Delirium w Tharsys_^>i_
["Delirium in Tharsys"] (_^<b_1986_^>b_). Poland also has its _^<a_!T4659_GENRE-SF_^>a_ writers, such as Bohdan Petecki with _^<i_Strefy zerowe_^>i_ ["Zero Zones"] (_^<b_1972_^>b_)._^<n__^<n_The current running through Polish sf has really been
political. Because sf provides a perfect means of diverting attention away from drab reality into a beautiful future, it was encouraged in the decade after WWII by Poland's communist rulers. The best examples of such political sf are Krzysztof
Borun's and Andrzej Trepka's _^<i_Zagubiona przyszlosc_^>i_ ["The Lost Future"] (_^<b_1953_^>b_), #1 in a _^<a_!T2342_SPACE-OPERA_^>a_ trilogy, and Stanislaw Lem's early novels _^<i_Astronauci_^>i_ ["The Astronauts"] (_^<b_1951_^>b_) and _^<i_Oblok
Magellana_^>i_ ["The Magellan Nebula"] (_^<b_1955_^>b_). Rather later, from the mid-1970s onwards, sf writers began to take the opposite tack. Escaping strict censorship by using sf imagery, and with the help of a linguistic ingenuity reminiscent
of George _^<a_!T1731_ORWELL_^>a_, they began to describe the real world -- even if at the price of incurring serious publication problems. (Orwell was probably a direct influence on such work, as several of his books had been published in Poland
by underground publishers.) The best examples of such works are Edmund Wnuk-Lipinski's _^<i_Wir pamieci_^>i_ ["Whirlpool of Memory"] (_^<b_1979_^>b_), Maciej Parowski's _^<i_Twarza ku Ziemi_^>i_ ["Face to Earth"] (_^<b_1981_^>b_), Janusz A.
Zajdel's _^<i_Limes inferior_^>i_ (_^<b_1982_^>b_) and Marek Oramus's _^<i_Senni zwyciezcy_^>i_ ["Sleepy Victors"] (_^<b_1982_^>b_)._^<n__^<n_Sf writers of the younger generation are now turning to fantasy, which is more marketable, and, because
censorship no longer exists, political sf is in retreat and looks a bit old-fashioned: the gaping hole this leaves in the Polish sf tapestry is currently being filled by the importation (on a massive scale) of US-UK sf by such new private
publishers as Amber and Arax._^<n__^<n_Film has never been a strong point of Polish sf. Aside from _^<i_The Saragossa Manuscript_^>i_, 2 further sf films deserve attention. Fitting well into the political-criticism-through-sf-metaphor stream,
_^<i_Wojna Swiatow -- Nastepne Stulecie_^>i_ (1982; vt _^<i_The War of the Worlds-Next Century_^>i_) dir Piotr Szulkin tells of government manipulation of the media to disguise the facts of a Martian invasion. Something of an exception to this sort
of political cinema is _^<a_!T2096_SEKSMISJA_^>a_ (1984; vt _^<i_Sex Mission_^>i_), a comedy dir Juliusz Machulski._^<n__^<n_There are currently 2 monthly sf magazines in Poland. The older, _^<i_Fantastyka_^>i_, has run since 1982 and has a
circulation of over 120,000. Its strong points are its fine critical essays and a good choice of Polish authors. _^<i_Fenix_^>i_ is the first privately owned and edited magazine; it emerged from _^<a_!T1428_FANZINE_^>a_ origins in 1990 and now has
a (growing) circulation of about 70,000. Its selection of US-UK sf is considered the better, and it also publishes young Polish writers. Polish _^<a_!T1389_FANDOM_^>a_ is massive and well organized, its main activities centring on fanzines and
_^<a_!T856_CONVENTIONS_^>a_. [KS]_^<n__^<n_
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Most of the works which we can characterize with hindsight as _^<a_!T2013_PROTO SCIENCE FICTION_^>a_ are political fantasies. The earnest and constructive aspect of this endeavour is displayed in _^<a_!T5303_UTOPIAS_^>a_, the mocking and corrosive
aspect in _^<a_!T2812_SATIRES_^>a_. The desire to make political statements has continued to be the main motive force in works of sf by _^<a_!T3609_MAINSTREAM WRITERS_^>a_, although modern works of this kind make much more frequent use of images of
_^<a_!T1370_DYSTOPIA_^>a_ than either of the traditional modes of comment. Important subgenres of sf like the future-_^<a_!T5452_WAR_^>a_ story grew out of exercises in political propaganda (> _^<a_!T3796_INVASION_^>a_), and all real-world
political crusades have sparked the production of competing images of the future. All images of the _^<a_!T6337_NEAR FUTURE_^>a_ embody political speculations, partly because of their close continuity with the present and partly because political
events are usually a more significant agent of short-term change than scientific _^<a_!T1245_DISCOVERY_^>a_ or technological development. There is today a thriving subgenre of "political thrillers" -- often written by sometime politicians like
Spiro T. Agnew (1918- ) and Jeffrey Archer (1940- ), or even practising ones like Gary Hart (1936- ) and Douglas _^<a_!T4562_HURD_^>a_, but much more elegantly done by writers like Richard _^<a_!T831_CONDON_^>a_ and Allen
_^<a_!T1329_DRURY_^>a_ -- the great majority of whose plots are necessarily set in the near future._^<n__^<n_The principal political debates of the 19th century are reflected in many early works of sf, the most important being that associated with
the rise of socialism. Edward _^<a_!T514_BELLAMY_^>a_, William _^<a_!T3066_MORRIS_^>a_, Jack _^<a_!T3427_LONDON_^>a_ and -- in the early part of his career -- George _^<a_!T4871_GRIFFITH_^>a_ were all moved to construct images of future socialist
utopias and revolutions. H.G. _^<a_!T5528_WELLS_^>a_, the presiding genius of UK scientific romance, was a fervent if somewhat idiosyncratic socialist, as was, in an even more curious way, M.P. _^<a_!T2188_SHIEL_^>a_. Before the founding of the
_^<a_!T2130_SF MAGAZINES_^>a_, such writers as George Allan _^<a_!T6673_ENGLAND_^>a_ followed Jack London's lead in importing stridently anti-capitalist (or at least "anti-trust") futuristic fables into the pulp stratum of the fiction marketplace.
Inevitably, socialist visions of the future called forth opposition in the form of images of hideously bloody revolution and regimented dystopias. Notable novels which combine serious political speculations with some appreciation of the imperatives
and opportunities associated with technological progress are Bellamy's _^<i_Looking Backward 2000-1887_^>i_ (_^<b_1888_^>b_), Ignatius _^<a_!T1285_DONNELLY_^>a_'s _^<i_Caesar's Column_^>i_ (_^<b_1890_^>b_), Wells's _^<i_When the Sleeper Wakes_^>i_
(_^<b_1899_^>b_), London's _^<i_The Iron Heel_^>i_ (_^<b_1907_^>b_), Victor _^<a_!T2715_ROUSSEAU_^>a_'s _^<i_The Messiah of the Cylinder_^>i_ (_^<b_1917_^>b_) and Claude _^<a_!T1440_FARRERE_^>a_'s _^<i_Useless Hands_^>i_ (_^<b_1920_^>b_; trans
_^<b_1926_^>b_). With the passage of time the dystopian imagery associated with political fantasies became more and more extreme, as such fantasies began to pose more abstract questions of political philosophy and the political spectrum was
confused by the rise of fascism and the spectre of totalitarianism. Owen _^<a_!T4859_GREGORY_^>a_'s prophetic account of the nation which might arise from the ashes of German defeat, _^<i_Meccania_^>i_ (_^<b_1918_^>b_), stands at the head of a
tradition of caricaturistic and surreal political fantasies which includes Milo _^<a_!T4339_HASTINGS_^>a_'s _^<i_City of Endless Night_^>i_ (_^<b_1920_^>b_), Yevgeny _^<a_!T6256_ZAMIATIN_^>a_'s _^<i_My_^>i_ (trans as _^<i_We_^>i_ _^<b_1924_^>b_),
Edmund _^<a_!T2289_SNELL_^>a_'s _^<i_Kontrol_^>i_ (_^<b_1928_^>b_), John _^<a_!T4022_KENDALL_^>a_'s _^<i_Unborn Tomorrow_^>i_ (_^<b_1933_^>b_), J. Leslie _^<a_!T2985_MITCHELL_^>a_'s _^<i_Gay Hunter_^>i_ (_^<b_1934_^>b_), Joseph
_^<a_!T1702_O'NEILL_^>a_'s _^<i_Land under England_^>i_ (_^<b_1935_^>b_), John Palmer's _^<i_The Hesperides_^>i_ (_^<b_1936_^>b_), Katharine _^<a_!T5080_BURDEKIN_^>a_'s _^<i_Swastika Night_^>i_ (_^<b_1937_^>b_ as by Murray Constantine), Andrew
_^<a_!T3695_MARVELL_^>a_'s _^<i_Minimum Man_^>i_ (_^<b_1938_^>b_), Ayn _^<a_!T2488_RAND_^>a_'s _^<i_Anthem_^>i_ (_^<b_1938_^>b_) and P.G. _^<a_!T5221_CHADWICK_^>a_'s _^<i_The Death Guard_^>i_ (_^<b_1939_^>b_). Alongside these works appeared more
modest expressions of sour disenchantment, depicting short-sighted politicians and their equally short-sighted supporters failing dismally to cope with the challenges facing them; these include Rose _^<a_!T6292_MACAULAY_^>a_'s _^<i_What Not_^>i_
(_^<b_1919_^>b_), J.D. _^<a_!T543_BERESFORD_^>a_'s _^<i_Revolution_^>i_ (_^<b_1921_^>b_), Fred _^<a_!T3546_MACISAAC_^>a_'s "World Brigands" (1928), Hilaire _^<a_!T516_BELLOC_^>a_'s _^<i_But Soft -- We Are Observed_^>i_ (_^<b_1928_^>b_), Upton
_^<a_!T2227_SINCLAIR_^>a_'s _^<i_Roman Holiday_^>i_ (_^<b_1931_^>b_), Harold _^<a_!T3194_NICOLSON_^>a_'s _^<i_Public Faces_^>i_ (_^<b_1932_^>b_) John _^<a_!T4729_GLOAG_^>a_'s _^<i_Winter's Youth_^>i_ (_^<b_1934_^>b_) and Sinclair
_^<a_!T3372_LEWIS_^>a_'s _^<i_It Can't Happen Here_^>i_ (_^<b_1935_^>b_)._^<n__^<n_In stark contrast to non-genre writers, the suppliers of the specialist sf _^<a_!T2033_PULP MAGAZINES_^>a_ paid relatively little attention to political matters,
mostly taking it for granted not only that technological progress was the real engine of social change but that contemporary US democracy might be subverted but would never be worthily superseded. Stanton A. _^<a_!T773_COBLENTZ_^>a_'s leaden
satires do contain a certain amount of open-minded political discussion, but such stories as Miles J. _^<a_!T4989_BREUER_^>a_'s "The Gostak and the Doshes" (1930) relegated ideological disputes to literal meaninglessness, and Breuer's and Jack
_^<a_!T5629_WILLIAMSON_^>a_'s _^<i_The Birth of a New Republic_^>i_ (1930 _^<i_AMZ Quarterly_^>i_; _^<b_1981_^>b_ chap) cast the interplanetary politics of the future slavishly in the mode of the political evolution of the USA's past (>
_^<a_!T4442_HISTORY IN SF_^>a_). Despite the conspicuously declared uninterest of Hugo _^<a_!T4668_GERNSBACK_^>a_ (who published translations of a few German-supremacist utopian fantasies by Otfried von Hanstein [> _^<a_!T4667_GERMANY_^>a_] and
others), events in Europe gradually infected with anxiety the visions of the future produced by sf writers. Paul A. _^<a_!T5196_CARTER_^>a_'s history of magazine sf, _^<i_The Creation of Tomorrow_^>i_ (_^<b_1977_^>b_), includes an excellent chapter
tracking reflections of and responses to the rise of Hitler in such stories as Wallace _^<a_!T5547_WEST_^>a_'s "The Phantom Dictator" (1935) and Nat _^<a_!T2837_SCHACHNER_^>a_'s series begun with "Past, Present and Future" (1937). There is a sense
in which sf has never stopped reacting to Hitler, in that _^<a_!T131_ALTERNATE-WORLD_^>a_ stories of what might have happened had he triumphed in WWII continue to be extremely popular (> _^<a_!T4446_HITLER WINS_^>a_). Norman
_^<a_!T2370_SPINRAD_^>a_'s _^<i_The Iron Dream_^>i_ (_^<b_1972_^>b_) suggests that, if Hitler had become an sf writer instead of a dictator, his sublimated dreams would have been readily accommodated within the great traditions of _^<a_!T2342_SPACE
OPERA_^>a_ and _^<a_!T4396_HEROIC FANTASY_^>a_._^<n__^<n_WWII, in securing the defeat of European fascism and paving the way for the Cold War, established a new real-world context for political fantasy, but its main effect on sf was to bring the
entrenched trends rapidly to a climax in George _^<a_!T1731_ORWELL_^>a_'s _^<i__^<a_!B9093_NINETEEN EIGHTY-FOUR_^>a__^>i_ (_^<b_1949_^>b_), which became the model for a great deal of later fiction in which the future is imagined as a metaphorical
boot stamping on a human face forever. There is a sense in which dystopian fiction after 1949 is merely a series of footnotes to Orwell-so much so that it is not clear whether such works as David _^<a_!T3988_KARP_^>a_'s _^<i_One_^>i_
(_^<b_1953_^>b_) and L.P. _^<a_!T4325_HARTLEY_^>a_'s _^<i_Facial Justice_^>i_ (_^<b_1960_^>b_) really qualify as political fantasies at all, although Arthur _^<a_!T4108_KOESTLER_^>a_'s _^<i_The Age of Longing_^>i_ (_^<b_1951_^>b_) and Adrian
_^<a_!T2982_MITCHELL_^>a_'s _^<i_The Bodyguard_^>i_ (_^<b_1970_^>b_) clearly do. Orwellian fantasy was imported into _^<a_!T4659_GENRE SF_^>a_ by Ray _^<a_!T4963_BRADBURY_^>a_ in _^<i__^<a_!B9110_FAHRENHEIT 451_^>a__^>i_ (_^<b_1953_^>b_), and
political fantasy of a curious kind, featuring many tales of rebellion against "perverted" political systems in which the interests of some special-interest group have become dominant, became very popular in the magazines of the 1950s. Because it
was deemed socially insignificant, sf could play host to political criticism of a kind which might elsewhere have attracted the attentions of Joseph McCarthy (1909-1957) and his Un-American Activities Committee; John W. _^<a_!T5140_CAMPBELL_^>a_
Jr's determined affection for unorthodoxy led him to provide a home for such stories as James _^<a_!T658_BLISH_^>a_'s "At Death's End" (1954), whose anti-McCarthy elements were further exaggerated when it was expanded to form part of _^<i_They
Shall Have Stars_^>i_ (fixup _^<b_1956_^>b_). On the other hand, Robert _^<a_!T2216_SILVERBERG_^>a_ has revealed that Howard _^<a_!T5040_BROWNE_^>a_ terminated Rog _^<a_!T1887_PHILLIPS_^>a_'s career as a regular contributor to the
_^<a_!T6269_ZIFF-DAVIS_^>a_ pulps because of his reckless use of the word "communism" in "Frontiers Beyond the Sun" (1953 as by Mallory Storm)._^<n__^<n_The tradition of _^<a_!T4288_HARD SF_^>a_ which developed in Campbell's _^<a_!T277_ASTOUNDING
SCIENCE-FICTION_^>a_ had a conspicuous tendency towards what is now termed _^<a_!T3378_LIBERTARIANISM_^>a_. This is often credited to Campbell's own idiosyncrasies, including his human-chauvinism (which caused the more conventionally liberal Isaac
_^<a_!T268_ASIMOV_^>a_ to eliminate _^<a_!T102_ALIENS_^>a_ from the future history mapped out in the _^<b_Foundation_^>b_ series) and his fascination with the merits of slavery, but Campbell's unorthodoxy was actually quite elastic -- as evidenced
by the permission which he gave to his chief Devil's Advocate of the 1960s, Mack _^<a_!T2576_REYNOLDS_^>a_, to challenge conventional political assumptions. It is rather from Robert A. _^<a_!T4376_HEINLEIN_^>a_'s version of _^<a_!T2297_SOCIAL
DARWINISM_^>a_ that the strident Libertarian tradition of US hard sf stems, but there are noticeable differences of ideological complexion and rhetorical style between the other _^<a_!T4754_GOLDEN-AGE_^>a_ writers sometimes lumped together with him
as "right-wingers": L. Sprague _^<a_!T1133_DE CAMP_^>a_, L. Ron _^<a_!T4538_HUBBARD_^>a_ and A.E. _^<a_!T5333_VAN VOGT_^>a_. The writers of the 1950s who enlisted in these ranks -- most notably and most thoughtfully Poul _^<a_!T169_ANDERSON_^>a_
and Gordon R. _^<a_!T1227_DICKSON_^>a_ -- were by no means followers of a party line, nor were such 1960s writers as Larry _^<a_!T3223_NIVEN_^>a_, Jerry _^<a_!T1961_POURNELLE_^>a_ and G.C. _^<a_!T6583_EDMONDSON_^>a_, and nor are more recently
emergent writers like James P. _^<a_!T4464_HOGAN_^>a_ and L. Neil _^<a_!T2281_SMITH_^>a_. Extreme Libertarians are inevitably drawn to images of the future which vividly display the uncompromising nature of their philosophies -- as can be seen in
the various writings of Ayn _^<a_!T2488_RAND_^>a_ and the work of such political philosophers as Robert Nozick -- and the clustering of such writers around the more assertively optimistic threads of the sf tradition needs no conspiracy theory to
explain it. At least some of what passes for Libertarianism in the works of these and other writers is not dogmatically based at all, but rather represents a continuation of the tradition of sceptical fantasy which grew up between the wars, taking
the view that all political institutions are likely to be manned by corrupt incompetents. The quasi-anarchic spirit which one finds in the work of Eric Frank _^<a_!T2743_RUSSELL_^>a_, Philip K. _^<a_!T1222_DICK_^>a_ and many of the
_^<a_!T1665_FUTURIANS_^>a_ is rooted in this ironic tradition, as is the work of such non-genre writers as Kurt _^<a_!T5402_VONNEGUT_^>a_ Jr. Then again, much supposedly Libertarian sf simultaneously glorifies militarism to such an extent that the
bureaucratic organizations of the state are replaced, at least so far as the key characters are concerned, by hyperorganized command structures in which the ethic of individual freedom supposedly being upheld is chimerically bonded to ideals of
slavish loyalty and self-sacrificing "honour"; Niven and Pournelle's _^<i_Oath of Fealty_^>i_ (_^<b_1981_^>b_) is a particularly cleverly thought-out exercise in this kind of doublethink. The sf writers who found themselves in the "opposite" camp
to the Libertarians when _^<a_!T1686_GALAXY SCIENCE FICTION_^>a_ published its notorious paired ads about the USA's involvement in Vietnam (>_^<a_!T5452_WAR_^>a_) have produced little political rhetoric to compare with the dynamism of the gung-ho
glam-tech conquerors of space, although they have produced a good deal of what their macho detractors might describe as "pinko bleeding-heart fiction" lamenting the cruel injustices of a world in danger of spoliation. Active left-wing movements, as
featured in Gordon _^<a_!T6608_EKLUND_^>a_'s _^<i_All Times Possible_^>i_ (_^<b_1974_^>b_) and John _^<a_!T2191_SHIRLEY_^>a_'s _^<i_Eclipse_^>i_ (_^<b_1985_^>b_), remain rare, although the curious anarchist philosophies displayed in Norman
_^<a_!T2370_SPINRAD_^>a_'s _^<i_Agent of Chaos_^>i_ (_^<b_1967_^>b_) and van Vogt's _^<i_The Anarchistic Colossus_^>i_ (_^<b_1977_^>b_) have attracted some attention from would-be followers._^<n__^<n_Other political issues which gradually came to
the fore in post-WWII sf were sexual politics and race relations. Fantasies of sexual politics had a long history dating back to the days of the suffragettes and such feminist writers as Charlotte Perkins _^<a_!T4710_GILMAN_^>a_, but serious
speculative work had largely been eclipsed by anxious fantasies about female-dominated societies, written by males. _^<a_!T5684_WOMEN SF WRITERS_^>a_ increased dramatically in numbers in the 1950s-60s, and began to build bridges to the
_^<a_!T1461_FEMINIST_^>a_ movement (_^<i_see also_^>i_ _^<a_!T5683_WOMEN AS DEPICTED IN SCIENCE FICTION_^>a_). Futuristic fictions bearing on the problems of race relations had a fairly similar history, serious speculations being virtually drowned
out by anxious fantasies and by the kind of unthinking racism and antisemitism which were long rife in popular fiction of all kinds. Such (relatively) open-minded works as Herrmann _^<a_!T4178_LANG_^>a_'s _^<i_The Air Battle_^>i_ (_^<b_1859_^>b_)
remain anomalies in a 19th century dominated by the racist ideologies which found virulent expression in King _^<a_!T5437_WALLACE_^>a_'s _^<i_The Next War_^>i_ (_^<b_1892_^>b_) and Louis _^<a_!T6072_TRACY_^>a_'s Anglo-Saxon-supremacist _^<i_The
Final War_^>i_ (_^<b_1896_^>b_). Tracy's worldview was echoed in M.P. Shiel's early Yellow-Peril novel _^<i_The Yellow Danger_^>i_ (_^<b_1898_^>b_), but Shiel repented of it in such later books as the misleadingly retitled _^<i_The Dragon_^>i_
(_^<b_1913_^>b_; rev as _^<i_The Yellow Peril_^>i_ 1929), in the same way that he reassessed and reversed his occasional knee-jerk antisemitism in his Messianic political fantasy _^<i_The Lord of the Sea_^>i_ (_^<b_1901_^>b_). The USA inevitably
produced a considerable number of political fantasies about Black/White relations, including thoughtful works like T. Shirby _^<a_!T4457_HODGE_^>a_'s _^<i_The White Man's Burden_^>i_ (_^<b_1915_^>b_) and George Samuel _^<a_!T2863_SCHUYLER_^>a_'s
satire _^<i_Black No More_^>i_ (_^<b_1931_^>b_). As the Civil Rights movement began in the 1950s and reached its first climactic phase in the 1960s, several notable futuristic fantasies of race relations were produced by mainstream writers,
including _^<i_A Different Drummer_^>i_ (_^<b_1959_^>b_) by William Melvin _^<a_!T4012_KELLEY_^>a_, _^<i_The Siege of Harlem_^>i_ (_^<b_1964_^>b_) by Warren _^<a_!T2961_MILLER_^>a_, _^<i_The Spook who Sat by the Door_^>i_ (_^<b_1969_^>b_) by Sam
_^<a_!T4850_GREENLEE_^>a_ and several novels by John _^<a_!T5618_WILLIAMS_^>a_, but such direct treatments seemed too sensitive to most genre-magazine editors, who preferred their writers to use aliens in parables whose arguments were conducted at
a more abstract level; the most notable exception is the series by Mack Reynolds begun with _^<i_Black Man's Burden_^>i_ (1961; _^<b_1972_^>b_ dos), set in Africa rather than the USA. UK sf novels bearing on racial problems include Margot
_^<a_!T532_BENNETT_^>a_'s _^<i_The Long Way Back_^>i_ (_^<b_1954_^>b_), Robert _^<a_!T458_BATEMAN_^>a_'s _^<i_When the Whites Went_^>i_ (_^<b_1963_^>b_), John _^<a_!T5049_BRUNNER_^>a_'s _^<i_The Jagged Orbit_^>i_ (_^<b_1969_^>b_) and -- by far the
boldest -- Christopher _^<a_!T1990_PRIEST_^>a_'s _^<i_Fugue for a Darkening Island_^>i_ (_^<b_1972_^>b_; vt _^<i_Darkening Island_^>i_ US). South African political fantasies on the theme include Arthur _^<a_!T4038_KEPPEL-JONES_^>a_'s anti-Apartheid
_^<i_When Smuts Goes_^>i_ (_^<b_1947_^>b_) and Garry _^<a_!T119_ALLIGHAM_^>a_'s pro-Apartheid _^<i_Verwoerd -- The End_^>i_ (_^<b_1961_^>b_). In general, though, as the real-world problems become ever more urgent, the tendency of genre sf has been
to ignore the issue or sanctimoniously to take for granted its eventual disappearance._^<n__^<n_Although there are some interesting sarcastic fantasies about future election campaigns -- e.g., William _^<a_!T5932_TENN_^>a_'s "Null-P" (1951) and
"The Masculinist Revolt" (1965), Arthur T. _^<a_!T4908_HADLEY_^>a_'s _^<i_The Joy Wagon_^>i_ (_^<b_1958_^>b_) and Gordon Eklund's _^<i_The Eclipse of Dawn_^>i_ (_^<b_1971_^>b_) -- sophisticated political fantasy remains a rarity in genre sf.
Reynolds's efforts along those lines, heroic after their fashion, are muddled, and bogged down by their fusion with the crude melodramatics and uneasy comedy which he found necessary to include to secure publication. A certain transcendence of the
expectations of commercially minded editors is a necessary prerequisite to the production of truly serious sf, and it is arguable that the only writer with a keen interest in politics yet to have achieved it is Ursula K. _^<a_!T3318_LE GUIN_^>a_,
whose most sustained essay in earnest political fantasy is _^<i_The Dispossessed_^>i_ (_^<b_1974_^>b_). The practical politics of coping with the problems which are urgent today and steadily getting more so are rarely addressed in sf, although
there are noble exceptions, including Frederik _^<a_!T1937_POHL_^>a_'s _^<i_The Years of the City_^>i_ (fixup _^<b_1984_^>b_). The situation has, of course, been even worse in Eastern Europe, where the content of popular fiction was -- until very
recently -- determined by diktat. Political discourse in almost all translated sf from pre-Yeltsin _^<a_!T2748_RUSSIA_^>a_ treads the party line dutifully, if not always wholeheartedly; the most interesting partial exception is the work of the
brothers _^<a_!T5800_STRUGATSKI_^>a_. Dissident fiction which contrived to reach the West is, of course, much more pointed; a notable example is _^<i_1985_^>i_ (_^<b_1983_^>b_) by Gyorgy Dalos, which replays the post-WWII history of Hungary as a
sequel to Orwell's _^<i__^<a_!B9093_NINETEEN EIGHTY-FOUR_^>a__^>i_. It will be interesting to see what kinds of sf emerge from post-communist Eastern Europe during the next few years. [PN/BS]_^<n__^<n_
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POLLACK, RACHEL (GRACE)
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(1945- ) US writer, resident in the Netherlands 1973-90. She published her first sf story with _^<i_NW_^>i_ in 1972, "Pandora's Bust" as by Richard A. Pollack. Her first novel, _^<i_Golden Vanity_^>i_ (_^<b_1980_^>b_ US), was an ornate
_^<a_!T2342_SPACE OPERA_^>a_ whose large cast of aliens ransacks a venal Earth in search of a female runaway. _^<i_Alqua Dreams_^>i_ (_^<b_1987_^>b_ US) is a rather flat drama of ontology set on an alien planet; the human protagonist, faced with
the obdurate Platonism of the inhabitants, must argue _^<a_!T2924_METAPHYSICS_^>a_ with them in an attempt to suggest that the sensory world is sufficiently "real" for them to sell him the rare mineral he needs. The background is voluminously
drawn, but the narrative is sluggish. In RP's third novel, _^<i_Unquenchable Fire_^>i_ (_^<b_1988_^>b_ UK), winner of the _^<a_!T255_ARTHUR C. CLARKE AWARD_^>a_ for 1989, a similarly intractable narrative -- the book is constructed so that a long
flashback reiterates material already delivered -- more closely models the situation it depicts. In the _^<a_!T131_ALTERNATE-WORLD_^>a_ USA of the tale, shamanism actually works (> _^<a_!T3598_MAGIC_^>a_); and a lovingly described bureaucracy of
shamans, revering the Founders who brought them to power generations earlier, are actually able to ask the Earth's roots for energy. The protagonist of the book, finding that her unwilled pregnancy is destined to make her the mother of a new
revitalizing shaman, resists her role fiercely; the resume of her life, as given in flashback, only intensifies the sense of her deep stubborness; the sequel, _^<i_Temporary Agency_^>i_ (_^<b_1994_^>b_ UK), reconfigures some of the same material.
Throughout, RP's portrait of a radical different but alarmingly similar USA is densely drawn, and her depiction of life in an alternate Poughkeepsie is frequently hilarious. Several stories -- like "The Protector" (1986 _^<i_Interzone_^>i_) --
depict similarly transformed universes. An anthology of original stories, _^<i_Tarot Tales_^>i_ (anth _^<b_1989_^>b_ UK) with Caitlin Matthews, carries RP's professional interest in the Tarot (she has published nonfiction in the field) into
fiction; each contributor used _^<a_!T6327_OULIPO_^>a_ techniques to extract story ideas from a Tarot pack. From issue 64 to its demise at the end of 1994 with issue 87, she wrote _^<i_Doom Patrol_^>i_ for _^<a_!T1115_DC COMICS_^>a_. RP's subject
matter and manner are narrow in their extent, compellingly intense in their focus. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T2019_PSEUDO-SCIENCE_^>a_.
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POLLOCK, WALTER HERRIES
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> Walter _^<a_!T564_BESANT_^>a_; Andrew_^<a_!T4176_LANG_^>a_._^<n__^<n_
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POLLUTION
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Early sf stories dealing with catastrophes brought about by pollution of the environment (> _^<a_!T6576_ECOLOGY_^>a_) concentrate on the perils of smog; they include W. Delisle _^<a_!T4354_HAY_^>a_'s _^<i_The Doom of the Great City_^>i_
(_^<b_1880_^>b_) and Robert _^<a_!T432_BARR_^>a_'s "The Doom of London" (1892). The pollutant effects of industrial waste were very familiar in the 19th-century UK: air pollution had shaped the city of London (the prevailing wind blows east and the
upper strata of the population moved steadily west) and slag defaced England's northern counties to the extent that Yorkshiremen coined a proverb: "Where there's muck, there's brass [money]." It is hardly surprising that England produced the one
enduring 19th-century image of civilization as pollution, in Richard _^<a_!T3882_JEFFERIES_^>a_'s _^<i_After London_^>i_ (_^<b_1885_^>b_). The image of city life presented in the socially conscious, traditional 19th-century novel, as by Charles
_^<a_!T1223_DICKENS_^>a_, makes much of the foulness of city dirt, but the problem was generally seen as easily correctable. The notion that environmental pollution might be a serious threat in the future is not evident in early sf, where it tends
to be assumed that progress will sweep the dirt away. Virtually all utopian _^<a_!T727_CITIES_^>a_ are remarkable for their cleanliness, and it seemed reasonable to one inhabitant of a northern industrial city, signing himself "A Disciple" (of H.G.
_^<a_!T5528_WELLS_^>a_), to borrow the famous _^<a_!T6018_TIME MACHINE_^>a_ in order to see _^<i_The Coming Era, or Leeds Beatified_^>i_ (_^<b_1900_^>b_). This optimism seems rather ironic today._^<n__^<n_By the end of the 1950s, serious attention
had been given in sf to only one kind of pollution: radioactive waste. The effects of the residual radiation of the Hiroshima and Nagasaki explosions and the tests at Bikini atoll were well known, and the destruction of the environment by radiation
poisoning became one of the most horrifying aspects of the post-atomic-_^<a_!T5452_WAR_^>a_ scenario (> _^<a_!T4482_HOLOCAUST AND AFTER_^>a_; _^<a_!T3120_MUTANTS_^>a_). These stories probably helped bring about an increased sensitivity to the idea
of insidious poisons in the environment, and it was not long before awareness grew of more commonplace dangers: arsenic in wallpaper, lead in water pipes, etc. The first sf cautionary tales about society's general philosophy of waste disposal began
to appear in the 1950s. C.M. _^<a_!T6353_KORNBLUTH_^>a_'s "Shark Ship" (1958) is an extreme example; and James _^<a_!T5577_WHITE_^>a_'s story of the hazards of orbital garbage, "Deadly Litter" (1960), has been transformed by the passage of time
into a neat parable. It was in the early 1960s, however, that the problem was brought very sharply into focus, largely due to the publication of _^<i_Silent Spring_^>i_ (_^<b_1962_^>b_) by Rachel Carson (1907-1964), which argued that pollution of a
radically new type had begun, involving nonbiodegradable substances which accumulated in living matter to fatal concentrations. DDT, once widely used as an insecticide, was one of the main targets of attack in Carson's book; PBB, a compound
responsible for poisoning large numbers of cattle and some people in Michigan, belongs to the same family of compounds; the fluorocarbons more recently blamed for the depletion of the ozone layer are closely related._^<n__^<n_Awareness of these
threats was rapidly absorbed into sf, and virtually overnight became a standard feature of _^<a_!T6337_NEAR-FUTURE_^>a_ scenarios. A lurid early dramatization of the issue is _^<i_The Clone_^>i_ (_^<b_1965_^>b_) by Theodore L.
_^<a_!T5986_THOMAS_^>a_ and Kate _^<a_!T5606_WILHELM_^>a_, a horror story about pollutants which spontaneously generate life to become an omnivorous, amorphous monster. A more realistic treatment of some relevant issues is _^<i__^<a_!B9163_MAKE
ROOM! MAKE ROOM!_^>a__^>i_ (_^<b_1966_^>b_) by Harry _^<a_!T4316_HARRISON_^>a_, which also deals with _^<a_!T1752_OVERPOPULATION_^>a_. Similarly alarmist stories include James _^<a_!T658_BLISH_^>a_'s "We All Die Naked" (1969), John
_^<a_!T5049_BRUNNER_^>a_'s _^<i_The Sheep Look Up_^>i_ (_^<b_1972_^>b_), Philip _^<a_!T6210_WYLIE_^>a_'s _^<i_Los Angeles: A.D. 2017_^>i_ (_^<b_1971_^>b_) and _^<i_The End of the Dream_^>i_ (_^<b_1972_^>b_), Kurt _^<a_!T5402_VONNEGUT_^>a_ Jr's "The
Big Space Fuck" (1972), Andrew J. _^<a_!T3296_OFFUTT_^>a_'s _^<i_The Castle Keeps_^>i_ (_^<b_1972_^>b_) and Kit _^<a_!T1834_PEDLER_^>a_'s and Gerry _^<a_!T1096_DAVIS_^>a_'s _^<i_Brainrack_^>i_ (_^<b_1974_^>b_). In more recent times pollution has
come to be taken so much for granted that it is rarely addressed as an issue in itself, instead forming a constant background element in almost all near-future extrapolations, whether they aspire to be _^<a_!T1370_DYSTOPIAN_^>a_ or merely
realistic; it is particularly evident in Paul _^<a_!T5965_THEROUX_^>a_'s _^<i_O-Zone_^>i_ (_^<b_1986_^>b_) and David _^<a_!T4999_BRIN_^>a_'s _^<i_Earth_^>i_ (_^<b_1990_^>b_). The rapidity with which the subject became familiar is evident in the
early appearance of such works of _^<a_!T2812_SATIRE_^>a_ as Charles _^<a_!T1927_PLATT_^>a_'s _^<i_Garbage World_^>i_ (_^<b_1967_^>b_) and Norman _^<a_!T2370_SPINRAD_^>a_'s "The Lost Continent" (1970). More thoughtful and sophisticated treatments
include _^<i_The Thinking Seat_^>i_ (_^<b_1970_^>b_) by Peter _^<a_!T5910_TATE_^>a_ and "King's Harvest" (1972) by Gardner _^<a_!T1313_DOZOIS_^>a_. It is widely felt that the biggest danger is complacency-a point made by the effective "To Walk with
Thunder" (1973) by Dean _^<a_!T3561_MCLAUGHLIN_^>a_, in which the hero fights to suppress a device that will guarantee clean air inside the home, on the grounds that it would become an industrial _^<i_carte blanche_^>i_ to pollute the atmosphere
irredeemably. _^<i_Pollution: Omnibus_^>i_ (anth _^<b_1971_^>b_), issued to cash in on the height of the scare, contains "Shark Ship", _^<i__^<a_!B9163_MAKE ROOM! MAKE ROOM!_^>a__^>i_ and the dubiously relevant _^<i__^<a_!B9054_CITY_^>a__^>i_
(fixup _^<b_1952_^>b_) by Clifford D. _^<a_!T2218_SIMAK_^>a_. _^<i_The Ruins of Earth_^>i_ (anth _^<b_1971_^>b_) ed Thomas M. _^<a_!T1244_DISCH_^>a_ is another theme anthology with a number of relevant stories. [BS]_^<n__^<n_
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POMERLEAU, LUC
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(1955- ) French-speaking Canadian physics graduate, technical translator, editor of the French-language Quebec sf magazine _^<i__^<a_!B9183_SOLARIS_^>a__^>i_ since 1986, and sf and comics critic. He wrote the section on Francophone sf in this
encyclopedia's entry on _^<a_!T5141_CANADA_^>a_. [PN]_^<n__^<n_
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POPE, GUSTAVUS W.
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(? -? ) US writer and physician, in whose 2 sf novels, _^<i_Romances of the Planets, No. 1: Journey to Mars_^>i_ (_^<b_1894_^>b_) and _^<i_Romances of the Planets, No. 2: Journey to Venus_^>i_ (_^<b_1895_^>b_), a US officer visits an advanced
_^<a_!T3677_MARS_^>a_ (falling in love with a princess) and a primitive _^<a_!T5351_VENUS_^>a_ (shooting, as E.F. _^<a_!T654_BLEILER_^>a_ has noted, anything that moves). Introducing a reprint edition of the first book, Sam
_^<a_!T3074_MOSKOWITZ_^>a_ noted some adumbrations of Edgar Rice _^<a_!T5097_BURROUGHS_^>a_'s _^<b_Barsoom_^>b_. [JC] _^<n__^<n__^<b_See also:_^>b_ _^<a_!T4443_HISTORY OF SF_^>a_.
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POPKES, STEVEN
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(1952- ) US writer who began publishing sf with "A Capella Blues" for _^<i_IASFM_^>i_ in 1982. _^<i_Caliban Landing_^>i_ (_^<b_1987_^>b_) interestingly depicts a human expedition to map a new planet (Caliban)-and the complex consequences of its
landing there-from the viewpoint of an _^<a_!T98_ALIEN_^>a_ female, who becomes embroiled in the humans' heated interactions. After a fairly conventional start, the tale expands into a complex exploration of the personalities thus thrust together.
(1954- ) Bulgarian sf writer and publisher who has won awards for his short fiction, some written under the pseudonym Al Vickers, some translated into foreign languages. His sf novel <Provinzia Pet> ["Province Five"] as by Al Vickers was
contracted in 1991 for publication in Russian translation in Russia. His recently established Gemini publishing house began, in 1991, to publish a fortnightly sf magazine, _^<i_Drugi Svetove_^>i_ ["Other Worlds"]. AP wrote this encyclopedia's entry
on _^<a_!T5070_BULGARIA_^>a_. [PN]_^<n__^<n_
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POPULAR FICTION CO.
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> _^<a_!T5512_WEIRD TALES_^>a_._^<n__^<n_
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POPULAR MAGAZINE, THE
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US _^<a_!T2033_PULP MAGAZINE_^>a_ published by _^<a_!T5789_STREET & SMITH_^>a_, ed Henry Harrison Lewis and others. Appeared monthly from Nov 1903, semi-monthly from 1 Oct 1909, weekly from 24 Sep 1927, semi-monthly from 7 July 1928, and monthly
Feb-Sep 1931. Merged with _^<i_Complete Stories_^>i_ from Oct 1931._^<n__^<n__^<i_TPM_^>i_, which was in competition with the Frank A. _^<a_!T3106_MUNSEY_^>a_ chain, regularly published fantasy and sf. Among its noteworthy contributions to the
genre were stories in the _^<b_Craig Kennedy_^>b_ series by Arthur B. _^<a_!T2541_REEVE_^>a_, future-_^<a_!T5452_WAR_^>a_ stories by Edwin _^<a_!T383_BALMER_^>a_ and the serialization of _^<i_Ayesha_^>i_ (1905; _^<b_1905_^>b_) by H. Rider
_^<a_!T4911_HAGGARD_^>a_. Other contributors included John Buchan (1815-1940), John _^<a_!T800_COLLIER_^>a_, Roy _^<a_!T3245_NORTON_^>a_, Sax _^<a_!T2675_ROHMER_^>a_ and Edgar _^<a_!T5433_WALLACE_^>a_. [JE]_^<n__^<n_
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POPULAR SCIENCE FICTION
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Australian thin (64pp) _^<a_!T1231_DIGEST_^>a_-size magazine. 8 numbered issues in all: #1-#6 1953-5, published by Frew Publications, Sydney, plus 2, numbered NEW SERIES 1 and 2, 1967, published by Page Publications, NSW; no eds named. The Frew
series printed some US reprints and also original Australian and US material; the Page series reprinted #4 and #6 of the Frew publications. A companion magazine, similarly poor, was _^<a_!T1660_FUTURE SCIENCE FICTION_^>a_. [FHP/PN]_^<n__^<n_
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POPULATION EXPLOSION
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> _^<a_!T1752_OVERPOPULATION_^>a_._^<n__^<n_
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PORGES, ARTHUR
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(1915- ) US writer and teacher of mathematics who began publishing sf with "The Rats" for _^<i_Man's World_^>i_ in 1951, and since then has published about 70 stories -- some as Peter Arthur and some as Pat Rogers -- without releasing any of them
in book collections. He is, however, a strong and inventive writer, especially of fantasy. He is best known for "The Fly" (1952), not to be confused with George _^<a_!T4185_LANGELAAN_^>a_'s tale, and "The Ruum" (1953)._^<n__^<n_AP's brother, Irwin
Porges (1909- ), who collaborated with him on at least 1 story, wrote _^<i_Edgar Allan Poe_^>i_ (_^<b_1963_^>b_) and _^<i_Edgar Rice Burroughs: The Man who Created Tarzan_^>i_ (_^<b_1975_^>b_). [JC]_^<n__^<n_
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PORTAL, ELLIS
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> Bruce _^<a_!T1962_POWE_^>a_._^<n__^<n_
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PORTER, ANDREW (IAN)
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(1946- ) US editor and publisher, active in _^<a_!T1389_FANDOM_^>a_since the 1960s, who founded and ran the influential _^<a_!T95_ALGOL_^>a_, for which he won a 1974 _^<a_!T4551_HUGO_^>a_, as well as its longer-lived (still current) companion,
_^<a_!T2056_SCIENCE FICTION CHRONICLE_^>a_. AP also ed anon 2 critical texts, _^<i_Exploring Cordwainer Smith_^>i_ (anth _^<b_1975_^>b_ chap) and _^<i_Experiment Perilous: Three Essays on Science Fiction_^>i_ (anth _^<b_1976_^>b_ chap), and ed
_^<i_The Book of Ellison_^>i_ (anth _^<b_1978_^>b_) -- described by Harlan _^<a_!T6641_ELLISON_^>a_ as "unauthorized". [JC]_^<n__^<n_
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PORTNOY, HOWARD N.
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(1946- ) US writer and teacher whose _^<i_Hot Rain_^>i_ (_^<b_1977_^>b_) seems to start off as a horror fantasy about apparently supernatural bolts of lightning. Eventually, however, a pseudo-scientific explanation is found in a secret military
project. [JC]_^<n__^<n_
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POSITRONIC ROBOTS
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Because Isaac _^<a_!T268_ASIMOV_^>a_'s _^<a_!T2646_ROBOT_^>a_ stories are so celebrated, this term is one of the best known in the genre; it is not, however, a generally used item of sf _^<a_!T5942_TERMINOLOGY_^>a_, few writers having had the cheek
to borrow the idea from its inventor -- although Data, the android in _^<a_!T2436_STAR TREK: THE NEXT GENERATION_^>a_, is described as having a positronic brain. The positron is the antiparticle of the electron (> _^<a_!T201_ANTIMATTER_^>a_;
_^<a_!T1892_PHYSICS_^>a_); the idea of (highly unstable) positrons being suitable material for the construction of an artificial brain with "enforced calculated neuronic paths" was sheer double-talk, as Asimov was the first to admit. [PN]_^<n__^<n_
"Modernism" is a useful umbrella term for the art that followed the collapse of Romanticism, especially in the first half of the 20th century, but Postmodernism is not simply its more recent replacement. In fact, most contemporary serious writing
remains insistently Modernist. The term "Postmodernism" implies a theory of both writing and the world, and a shift in emphasis and method._^<n__^<n_In literature, Postmodernism is usually held to imply showy playfulness, genre-bending, and denial
of neat aesthetic or moral wrap-up; above all, writing that knows or even struts itself _^<i_as writing_^>i_, rather than as innocent portrayal. John _^<a_!T444_BARTH_^>a_, Jorge Luis _^<a_!T704_BORGES_^>a_, Christine _^<a_!T5018_BROOKE-ROSE_^>a_,
Italo _^<a_!T5127_CALVINO_^>a_, Angela _^<a_!T5190_CARTER_^>a_, Don _^<a_!T1154_DELILLO_^>a_, Philip K. _^<a_!T1222_DICK_^>a_, Umberto _^<a_!T6575_ECO_^>a_, Raymond Federman and Thomas _^<a_!T2040_PYNCHON_^>a_ are all Postmodernists whose
inventions edge close to sf. Within the genre one might name J.G. _^<a_!T378_BALLARD_^>a_, Samuel R. _^<a_!T1152_DELANY_^>a_, William _^<a_!T4689_GIBSON_^>a_, Michael _^<a_!T3030_MOORCOCK_^>a_, Rudy _^<a_!T2727_RUCKER_^>a_, John T.
_^<a_!T2240_SLADEK_^>a_, Kurt _^<a_!T5402_VONNEGUT_^>a_ Jr, Robert Anton _^<a_!T5643_WILSON_^>a_, Joanna _^<a_!T2741_RUSS_^>a_ and Ian _^<a_!T5484_WATSON_^>a_ as well as Norman _^<a_!T2370_SPINRAD_^>a_ (sometimes), Lucius _^<a_!T2175_SHEPARD_^>a_
(maybe) and even A.E. _^<a_!T5333_VAN VOGT_^>a_ (ahead of his time). Sheer novelty, or even quality, are insufficient to qualify as Postmodernists such writers as Brian W. _^<a_!T87_ALDISS_^>a_, Thomas M. _^<a_!T1244_DISCH_^>a_, Gene
_^<a_!T5676_WOLFE_^>a_ and the early Roger _^<a_!T6264_ZELAZNY_^>a_ -- exemplary sf Modernists all, but not Postmodernists. Such catalogues, however, may miss a deeper point._^<n__^<n_Brian McHale, in _^<i_Postmodernist Fiction_^>i_
(_^<b_1987_^>b_), sees Postmodernism as defined by its focus, as ontological rather than epistemological. That is, where Modernism focuses upon "knowing" and its limits, including what we know about others and ourselves as subjects, Postmodernism
by contrast asks about "being", the worlds the subject inhabits; it is about objects rather than subjects. This shift reflects a realization that the world of human experience is multiple and open-ended. The Postmodern condition has an analogy in
quantum theory (>_^<a_!T1892_PHYSICS_^>a_), where phenomena are modelled by abstract waves in many superposed states, collapsing to a single value or "reality" only in the act of observation._^<n__^<n_Contemporary sf undoubtedly intersects the
Postmodernism of mainstream literature, especially when it follows the kinds of strategy pioneered by Delany in such self-reflexive texts as, perhaps, _^<i__^<a_!B9021_DHALGREN_^>a__^>i_ (_^<b_1975_^>b_) and, definitely, _^<i_Triton_^>i_
(_^<b_1976_^>b_). For McHale, sf is "perhaps _^<i_the_^>i_ ontological genre _^<i_par excellence_^>i_. We can think of science fiction as Postmodernism's noncanonized or 'low art' double, its sister-genre in the same sense that the popular
detective thriller is Modernism's sister-genre." Sf is, of all the genres, the one that constructs "realities" as a matter of course._^<n__^<n_Perhaps the most influential critical account is the Marxist Fredric Jameson's. In "Postmodernism, or the
Cultural Logic of Late Capitalism" (July/Aug 1984 _^<i_New Left Review_^>i_), he itemizes its stigmata. He finds "a flatness or depthlessness" to be "perhaps the supreme formal feature of all the Postmodernisms", and also a waning of feeling linked
to an alleged loss of people's sense of themselves as individuals, and the consequent replacement of "affect" (especially alienated _^<i_angst_^>i_) with "a peculiar kind of euphoria"; the end of personal style and a sense of history (and memory)
and their replacement by _^<i_pastiche_^>i_ (not parody, but the transcoding of Modernist styles into jargon, badges and other decorations) and nostalgia; a schizophrenic fragmentation of artistic texts, marked especially by collage; and, most of
all, the "hysterical sublime", in which the alien or "other" surpasses our power to represent it and pitches us into a sort of Gothic rapture (_^<i_see also_^>i_ _^<a_!T590_BIG DUMB OBJECTS_^>a_; _^<a_!T2104_SENSE OF WONDER_^>a_). All of these
qualities often characterize not only the arguably Postmodern environment in which we live but also sf in particular, which Jameson himself has recognized in his many essays on sf topics in _^<a_!T2143_SCIENCE-FICTION STUDIES_^>a_. His theorizing
is borrowed explicitly and persuasively for sf by Vivian _^<a_!T2296_SOBCHACK_^>a_ in the last chapter of her _^<i_Screening Space: The American Science Fiction Film_^>i_ (_^<b_1987_^>b_), which projects a "postfuturism"._^<n__^<n_Jameson suggests
specifically that today's information networks "afford us some glimpse into a post-modern or technological sublime", which is perhaps what we find in the _^<a_!T5380_VIRTUAL REALITIES_^>a_ of the _^<a_!T1015_CYBERPUNK_^>a_ writers, where simulation
and reality dissolve into one another. Indeed, Jameson later claimed in _^<i_Postmodernism_^>i_ (_^<b_1991_^>b_) that cyberpunk was "the supreme _^<i_literary_^>i_ expression if not of postmodernism, then of late capitalism
itself"._^<n__^<n_Innovative sf writers have adopted several of the expansive possibilities of metafiction, _^<a_!T3599_MAGIC REALISM_^>a_ and poststructuralist _^<a_!T1372_FABULATION_^>a_ (_^<i_which see for further discussion of issues raised in
this entry_^>i_) in general; but more specific both to sf and other Postmodernisms is a comparable adoption of the language of scientific discourse rather than that of traditional literature, and this too tends to the abolition of Modernism's
subjectivity -- a common feature in late cyberpunk, as in Michael _^<a_!T5864_SWANWICK_^>a_'s _^<i_Vacuum Flowers_^>i_ (_^<b_1987_^>b_). In their emphasis on the technological surround, on the dense new lexicons bursting up especially from the
consumer-oriented market productivity of post-industrial science, both sf and Postmodernism give a privileged position to outward context, code and world rather than to a poetic inward "message". They stress object over subject, ways of being over
ways of knowing. The Universe itself becomes a text, open to endless interpretation and rewriting._^<n__^<n_Two generalizing texts about Postmodernism, neither specifically about sf, are _^<i_The Postmodern Condition_^>i_ (_^<b_1979_^>b_) by
Jean-Francois Lyotard and the weird _^<i_The Postmodern Scene: Excremental Culture and Hyper-Aesthetics_^>i_ (_^<b_1986_^>b_) by Arthur Kroker and David Cook. A book relating Postmodernism in general to sf specifically is the unevenly useful
_^<i_Postmodern Fiction: A Bio-Bibliographical Guide_^>i_ (anth _^<b_1986_^>b_) ed Larry McCaffery (1946- ). _^<i_Alternate Worlds: A Study of Postmodern Antirealistic American Fiction_^>i_ (_^<b_1990_^>b_) by John Kuehl discusses many
Postmodern authors of marginal, non-genre sf. A good introduction from several perspectives can be found in the special Postmodernism number of _^<a_!T3941_JOURNAL OF THE FANTASTIC IN THE ARTS_^>a_ vol 1 #4 (1988). The Postmodernism issue of
_^<i_Science-Fiction Studies_^>i_ (Nov 1991) has translations of essays on simulacra and on Ballard by the French sociologist Jean Baudrillard, an important theoretician in this area, along with other interesting material including Ballard's
enjoyably intemperate response. Also illuminating is Tom Moylan's _^<i_Demand the Impossible: Science Fiction and the Utopian Imagination_^>i_ (_^<b_1986_^>b_ UK). [DB]_^<n__^<n_
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POTOCKI, JAN
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[r] > _^<a_!T1938_POLAND_^>a_._^<n__^<n_
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POTTER, ROBERT
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(1831-? ) Australian author and clergyman; he died before 1912. His novel _^<i_The Germ Growers: An Australian Story of Adventure and Mystery_^>i_ (_^<b_1892_^>b_; vt _^<i_The Germ Growers: The Strange Adventures of Robert Easterley and John
Wilbraham_^>i_ 1892 UK) was published in _^<a_!T315_AUSTRALIA_^>a_ as by Robert Easterley and John Wilbraham, the names of the protagonists, but in the UK as "edited by" RP. A race of discarnate beings, denizens of the interplanetary "ether"
capable of assuming human form, invades Earth and sets up beachheads where they cultivate plague germs to be used on humanity; one beachhead is discovered in the Australian outback, with an _^<a_!T98_ALIEN_^>a_ who calls himself Davelli in charge,
and the adventures begin. At the end another space dweller called Leafar (i.e., Rafael) saves the day. This alien-_^<a_!T3796_INVASION_^>a_ story antedates H.G. _^<a_!T5528_WELLS_^>a_'s _^<i__^<a_!B9242_THE WAR OF THE WORLDS_^>a__^>i_
(_^<b_1898_^>b_) by 6 years, but the element of Christian allegory (fallen angels confronted by a good angel) leaves its sf potential not fully realized. Nonetheless, the evil experiments in the chemical mutation of bacteria and the electric flying
machines are early _^<a_!T4659_GENRE SF_^>a_ in style. [PN]_^<n__^<n_
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POURNELLE, JERRY E(UGENE)
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(1933- ) US writer with an undergraduate degree in engineering and PhDs from the University of Washington in psychology (1960) and political science (1964). He was employed for 15 years in the US space programme, working for both government and
private firms, and at one time was a political campaign manager. Before entering sf, JP wrote some technical nonfiction and some fiction, occasionally using pseudonyms and house names. His first books were a nonfiction text, _^<i_The Strategy of
Technology_^>i_ (_^<b_1970_^>b_) with Stefan T. Possony, and two non-sf novels as by Wade Curtis: _^<i_Red Heroin_^>i_ (_^<b_1969_^>b_; 1985 as JEP) and _^<i_Red Dragon_^>i_ (_^<b_1971_^>b_; 1985 as JEP); he used the Curtis name also for a few
stories in _^<i_ASF_^>i_, though his first sf story, "Peace with Honor", appeared in 1971 under his own name._^<n__^<n_This story forms part of JEP's most extended series, the _^<b_CoDominium_^>b_ sequence, earlier parts of which are named after
their chief military protagonist, a cunning, honourable mercenary and military genius named _^<b_Falkenberg_^>b_ who, in a period of civilian stupidity and venality (it is a sort of period often depicted in JP's work), conspires with the CoDominium
military force to maintain a human presence in those worlds already colonized by mankind. He appears in _^<i_West of Honor_^>i_ (_^<b_1976_^>b_ Canada) and _^<i_The Mercenary_^>i_ (fixup _^<b_1977_^>b_), the latter book reworking "Peace with Honor"
and other stories -- both vols being assembled as _^<i_Falkenberg's Legion_^>i_ (omni _^<b_1990_^>b_) -- and in _^<i_Prince of Mercenaries_^>i_ (fixup _^<b_1989_^>b_),_^<i_Go Tell the Spartans_^>i_ (_^<b_1991_^>b_) and _^<i_Prince of Sparta_^>i_
(_^<b_1993_^>b_), both with S.M. _^<a_!T5748_STIRLING_^>a_. Set considerably later in the _^<b_CoDominium_^>b_ world -- after the rise and fall of a first Empire of Man, an interregnum, and the birth of the Second Empire -- _^<i_A Spaceship for the
King_^>i_ (_^<b_1973_^>b_; exp vt _^<i_King David's Spaceship_^>i_ 1981) also features a tough military genius, whose resemblance to Falkenberg is obviously of thematic importance, for JP argues implicitly in the sequence that civilization can be
sustained only through a hierarchical structuring of society which -- perhaps rather magically -- manages to avoid bureaucratic sclerosis, and through the maintenance of such military virtues as honour and loyalty. These arguments are most clearly
on view in the series' climax, _^<i__^<a_!B9191_THE MOTE IN GOD'S EYE_^>a__^>i_ (_^<b_1974_^>b_) with Larry _^<a_!T3223_NIVEN_^>a_, set in a period when the CoDominium has evolved into a full-blown _^<a_!T1678_GALACTIC EMPIRE_^>a_ with all the
trappings. The fascinating _^<a_!T102_ALIENS_^>a_ depicted in that novel reflect his collaborator's conceptual ingenuity as clearly as the human Empire reflects JP's sustained fictional argument for that kind of solution to the problems of just
government. The sequel, _^<i_The Gripping Hand _^>i_(_^<b_1993_^>b_; vt _^<i_The Moat Around Murcheson's Eyes_^>i_ 1993 UK), lacks the thrusting innovativeness of the first volume. The more recent _^<b_War World_^>b_ sequence of
_^<a_!T2127_SHARED-WORLD_^>a_ anthologies -- _^<i_War World, Volume 1: The Burning Eye_^>i_ * (anth _^<b_1988_^>b_) with John F. _^<a_!T5180_CARR_^>a_ and Roland _^<a_!T4837_GREEN_^>a_, _^<i_ #2: Death's Head Rebellion_^>i_ * (anth _^<b_1990_^>b_)
with Carr and Green,_^<i_ #3: Sauron Dominion_^>i_ * (anth _^<b_1991_^>b_) with Carr alone, _^<i_#5: Blood Feuds_^>i_* (anth _^<b_1992_^>b_), _^<i_#6: Blood Vengeance_^>i_ *(anth _^<b_1994_^>b_) and _^<i_#8: Invasion_^>i_ *(anth _^<b_1994_^>b_) --
carries the CoDominium concept into broader waters, with a prequel, _^<i_#4: Codominium: Revolt on War World_^>i_ * (anth _^<b_1992_^>b_) with Carr, setting the stage._^<n__^<n_After _^<i__^<a_!B9191_THE MOTE IN GOD'S EYE_^>a__^>i_, JEP
collaborated with Niven on several further novels, all singletons and most extremely successful in the marketplace (_^<i_for details see_^>i_ Larry _^<a_!T3223_NIVEN_^>a_). They include _^<i_Inferno_^>i_ (_^<b_1976_^>b_), _^<i_Lucifer's Hammer_^>i_
(_^<b_1977_^>b_), _^<i_Oath of Fealty_^>i_ (_^<b_1981_^>b_), which rewrites _^<b_CoDominium_^>b_ feudalism in mundane -- indeed, suburbanized -- terms, _^<i_Footfall_^>i_ (_^<b_1985_^>b_), _^<i_The Legacy of Heorot_^>i_ (_^<b_1987_^>b_ UK), with
Niven and Steven _^<a_!T424_BARNES_^>a_, and _^<i_Fallen Angels_^>i_ (_^<b_1991_^>b_), with Niven and Michael _^<a_!T1541_FLYNN_^>a_. Political subtexts -- always evident in both main collaborators' solo work -- tend in their joint efforts to
surface rather more frequently, to the discomfort of some readers, especially those unaccustomed to the singularly narrow range of political discourse in the USA (though within that narrow range its expression is singularly open); other readers
find the books refreshingly "robust" (> _^<a_!T1939_POLITICS_^>a_)._^<n__^<n_Most of JEP's solo work not devoted to the _^<b_CoDominium_^>b_ also focuses on issues of _^<a_!T5452_WAR_^>a_ and the decorums and tactics of waging war. A second,
shorter and more pessimistic series, the _^<b_Laurie Jo Hansen_^>b_ sequence, substitutes corporate warfare for military/political conflict: _^<i_High Justice_^>i_ (coll of linked stories _^<b_1977_^>b_) and _^<i_Exiled to Glory_^>i_
(_^<b_1978_^>b_). The _^<b_Janissaries_^>b_ sequence -- _^<i_Janissaries_^>i_ (_^<b_1979_^>b_), _^<i_Janissaries: Clan and Crown_^>i_ (_^<b_1983_^>b_) with Roland Green and _^<i_Janissaries 3: Storms of Victory_^>i_ (_^<b_1987_^>b_), again with
Green -- returns to explicit warfare, describing a mercenary leader's efforts to unify the planet to which he and his soldiers have been transplanted. JEP also edited, with John F. Carr (not always credited), the _^<b_There Will be War_^>b_
sequence of military anthologies: _^<i_There Will be War_^>i_ (anth _^<b_1983_^>b_), _^<i_Vol II: Men of War_^>i_ (anth _^<b_1984_^>b_), _^<i_Vol III: Blood and Iron_^>i_ (anth _^<b_1984_^>b_), _^<i_Vol IV: Day of the Tyrant_^>i_ (anth
_^<b_1985_^>b_), _^<i_Vol V: Warrior_^>i_ (anth _^<b_1986_^>b_), _^<i_Vol VI: Guns of Darkness_^>i_ (anth _^<b_1987_^>b_), _^<i_Vol VII: Call to Battle_^>i_ (anth _^<b_1988_^>b_), _^<i_Vol VIII: Armageddon!_^>i_ (anth _^<b_1989_^>b_) and _^<i_Vol
IX: After Armageddon_^>i_ (anth _^<b_1990_^>b_)._^<n__^<n_JEP was first recipient of the _^<a_!T3922_JOHN W. CAMPBELL AWARD_^>a_ for Best New Writer in 1973, and very rapidly established himself as a dominant creator of the politically
conservative-libertarian _^<a_!T4288_HARD-SF_^>a_ tale. His military sf has shaped that subgenre as well, though it would be unfair to blame him for the excesses of his imitators. His nonfiction, too, has been notable for its engaging clarity, its
constant presentation of political agendas, and its eagerness to convey knowledge. A sense of deep cultural pessimism, though countered by explicit avowals of _^<a_!T3378_LIBERTARIAN_^>a_ hopefulness, pervades and -- for many readers -- humanizes
his work. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Escape from the Planet of the Apes_^>i_ * (_^<b_1974_^>b_), a film tie (>_^<a_!T6691_ESCAPE FROM THE PLANET OF THE APES_^>a_); _^<i_Birth of Fire_^>i_ (_^<b_1976_^>b_ Canada)._^<b_Nonfiction:_^>b_
_^<i_That Buck Rogers Stuff_^>i_ (coll _^<b_1977_^>b_); _^<i_A Step Farther Out_^>i_ (coll _^<b_1979_^>b_); _^<i_Mutual Assured Survival: A Space-Age Solution to Nuclear Annihilation_^>i_ (_^<b_1984_^>b_) with Dean _^<a_!T6342_ING_^>a_; _^<i_The
User's Guide to Small Computers_^>i_ (_^<b_1984_^>b_); _^<i_Adventures in Microland_^>i_ (_^<b_1986_^>b_)._^<b_As Editor:_^>b_ _^<i_2020 Vision_^>i_ (anth _^<b_1974_^>b_); _^<i_Black Holes_^>i_ (anth _^<b_1978_^>b_) with John F. Carr (here, and
occasionally elsewhere, uncredited); _^<i_The Endless Frontier_^>i_ (anth _^<b_1979_^>b_), _^<i_The Endless Frontier, Volume 2_^>i_ (anth _^<b_1985_^>b_) and _^<i_Cities in Space_^>i_ (anth _^<b_1991_^>b_), all with Carr; _^<i_The Survival of
Freedom_^>i_ (anth _^<b_1981_^>b_) with Carr; _^<i_Nebula Award Stories Sixteen_^>i_ (anth _^<b_1982_^>b_); _^<i_The Science Fiction Yearbook_^>i_ (anth _^<b_1985_^>b_) with Carr; the _^<a_!T1431_FAR FRONTIERS_^>a_ original anthology series, all
VI_^>i_ (anth _^<b_1986_^>b_) and _^<i_Vol VII_^>i_ (anth _^<b_1986_^>b_); the _^<b_Imperial Stars_^>b_ reprint anthologies with Carr, _^<i_Imperial Stars, Vol 1: The Stars at War_^>i_ (anth _^<b_1986_^>b_), _^<i_Vol 2: Republic and Empire_^>i_
(anth _^<b_1987_^>b_) and _^<i_Vol 3: the Crash of Empire_^>i_ (anth _^<b_1989_^>b_)._^<b_See also:_^>b_ _^<a_!T727_CITIES_^>a_; _^<a_!T822_COMMUNICATIONS_^>a_; _^<a_!T1197_DESTINIES_^>a_; _^<a_!T1243_DISASTER_^>a_; _^<a_!T6577_ECONOMICS_^>a_;
(1925- ) Canadian writer whose sf novels concentrate on political disorders, a theme very common to post-WWII writers from his country. _^<i_Killing Ground: The Canadian Civil War_^>i_ (_^<b_1968_^>b_), as Ellis Portal, sets its fatal conflict in
the _^<a_!T6337_NEAR FUTURE_^>a_. _^<i_The Last Days of the American Empire_^>i_ (_^<b_1974_^>b_) more far-rangingly sets its conflicts in the 21st century, when a North American hegemony is threated by both Europe and Africa. [JC]_^<n__^<n_
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POWELL, SONNY
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[s] > Alfred _^<a_!T568_BESTER_^>a_._^<n__^<n_
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POWER, THE
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Film (1968). Galaxy/MGM. Prod George _^<a_!T1769_PAL_^>a_. Dir Pal, Byron _^<a_!T4333_HASKIN_^>a_, starring George Hamilton, Suzanne Pleshette, Nehemiah Persoff, Michael Rennie. Screenplay John Gay, based on _^<i_The Power_^>i_ (_^<b_1956_^>b_) by
Frank M. _^<a_!T2635_ROBINSON_^>a_. 109 mins. Colour._^<n__^<n_Without the spectacular special effects of Pal's earlier sf films, _^<i_TP_^>i_ concentrates instead on suspenseful plotting and the clever investing of apparently ordinary situations
with a sense of menace, coming-with considerable success -- as close to _^<i_film noir_^>i_ as Pal ever approached. It tells of a _^<a_!T3119_MUTANT_^>a_ supermind _^<a_!T5372_VILLAIN_^>a_, masquerading as an ordinary human, who is eliminating,
piecemeal, a group of scientists who suspect his existence. One (Hamilton) survives not only murder attempts but also efforts to make him a non-person, all records of his past being deleted one by one. The reason for his survival, as he himself
finally learns, is that he too is a mutant: everybody's favorite cliche in pulp-sf yarns about _^<a_!T2021_PSI POWERS_^>a_. The film ends with a battle of wills between the two superminds -- a literally heart-stopping event. The interesting script
and taut direction led critic John _^<a_!T470_BAXTER_^>a_ to call it "one of the finest of all sf films". It is certainly, aside from _^<a_!T5465_WAR OF THE WORLDS_^>a_ (1953), Pal's best sf production. [PN/JB]_^<n__^<n_
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POWERS, J.L.
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> John S. _^<a_!T4725_GLASBY_^>a_._^<n__^<n_
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POWERS, RICHARD M.
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(1921- ) US illustrator. Born in Chicago, he studied in several art schools in that area before and after WWII. He began work in sf _^<a_!T4593_ILLUSTRATION_^>a_no later than 1950 -- an early abstract RMP cover being for Isaac
_^<a_!T268_ASIMOV_^>a_'s _^<i_Pebble in the Sky_^>i_ (_^<b_1950_^>b_) -- for_^<a_!T1299_DOUBLEDAY_^>a_where he also did mysteries and Westerns, and also with 2 1952 covers for _^<i_Gal_^>i_. When Ian Ballantine founded _^<a_!T377_BALLANTINE
BOOKS_^>a_ in 1952 he approached RMP to do covers for him. Although some of his early work there was representational (some of the early Doubleday work had been abstract), RMP soon -- with the cover for Arthur C. _^<a_!T736_CLARKE_^>a_'s
_^<i__^<a_!B9010_CHILDHOOD'S END_^>a__^>i_ (_^<b_1953_^>b_) -- adopted a Surrealist style (much influenced by Yves Tanguy [1900-1955] and Joan Miro [1893-1983]) unique in sf; it became the trademark of Ballantine's 1950s sf. RMP's glowing and
sometimes whimsical paintings are full of amorphous shapes, floating in space or over surreal landscapes, and have been enormously influential in sf illustration. He did a little more magazine-cover work, but most of his prolific sf cover
illustration -- he worked in other fields as well, including children's books -- was for books, for Ballantine, Pocket Books, Berkley Books, MacFadden, Dell and others. After his first wife's death he dropped most of his commercial work during the
1960s, then returned in the 1970s, not quite so prolifically but as forcefully as ever. He has had many exhibitions, in New York's Rehn Gallery and elsewhere; his work commands as much respect outside sf as in it. With RMP's work the packaging of
sf could be said to have come of age. Covers no longer required glamorous space girls or technological hardware, and Surrealism captured sf's disturbing essence just as strongly as ray-guns or monsters. A portfolio is _^<i_Spacetimewarp
(1952- ) US writer who began publishing sf with _^<i_The Skies Discrowned_^>i_ (_^<b_1976_^>b_ Canada as Timothy Powers; rev vt _^<i_Forsake the Sky_^>i_ 1986 as TP), a fantasy-tinged sf adventure much influenced -- TP stated in his introduction
to the revised version -- by the work of Rafael Sabatini (1875-1950). _^<i_Epitaph in Rust_^>i_ (_^<b_1976_^>b_ Canada as Timothy Powers; text restored, vt _^<i_An Epitaph in Rust_^>i_ 1989 as TP) somewhat more vividly sets the adventures of its
protagonist, a reluctant monk, in a post-_^<a_!T4482_HOLOCAUST_^>a_ California. Already some features typical of the mature TP novel were taking shape: protagonists who have been lamed by symbolic wounds but who are depicted with a sustaining dark
geniality; plots which mix genres with elegant facility but without bleaching out or calling into philosophical question the various worlds which are flung together (so that TP cannot be described as an author of _^<a_!T1372_FABULATIONS_^>a_ --
differing in this from his colleague and sometime collaborator, James P. _^<a_!T651_BLAYLOCK_^>a_); and settings described with florid clarity and great devotion to detail. But the first 2 tales -- written as they were for _^<a_!T4194_LASER
BOOKS_^>a_ -- only hinted at these riches; it was not until his third novel, _^<i_The Drawing of the Dark_^>i_ (_^<b_1979_^>b_), an outright _^<a_!T1412_FANTASY_^>a_, that TP began clearly to demonstrate his complex gifts. The title refers to the
drawing of a beer which has been brewed in one location -- atop the grave of Finn Mac Cool -- for several thousand years, and which must be drawn by Merlin in the middle of the 16th century to allow a reborn Fisher King (and the protagonist, who is
an avatar of Arthur himself) to save Europe from the Turks. Vienna is vividly depicted; the story, told in a slangy but unmocking manner, is gripping._^<n__^<n__^<i__^<a_!B9194_THE ANUBIS GATES_^>a__^>i_ (_^<b_1983_^>b_; rev 1984 UK), which won the
1984 _^<a_!T1884_PHILIP K. DICK MEMORIAL AWARD_^>a_ and is a central example of _^<a_!T5694_STEAMPUNK_^>a_, may be the easiest of all TP's books to admire, though it is less daunting in scope than his later work. While tracing the career and work
of early-Victorian poet William Ashbless -- both TP and James P. Blaylock have written "Ashbless" poems, including _^<i_"Offering the Bicentennial Edition of the Complete Twelve Hours of the Night"_^>i_ (_^<b_1985_^>b_ broadsheet) by both authors
-- the soon-to-be-wounded protagonist Brendan Doyle is sent by _^<a_!T6026_TIME TRAVEL_^>a_ to the London of 1810, where he is trapped, and the plot thickens with virtuoso speed; Egyptian _^<a_!T3598_MAGIC_^>a_ (intricately described in terms of
the precise techniques necessary to operate it) intersects with a compulsive and feverish vision of the underground life of the great city (patently derived from the work of Charles _^<a_!T1223_DICKENS_^>a_), while haunted _^<a_!T3013_MONSTERS_^>a_
roam the aisles of the city and Doyle ricochets backwards through time and forwards into the body of Ashbless, whom he becomes. Fantasy, sf, horror and historical fiction all marry here with an ease which seems entirely natural._^<n__^<n_TP's next
novel, _^<i_Dinner at Deviant's Palace_^>i_ (_^<b_1985_^>b_), which also won the Dick Award, marked a partial return to the comparative simplicities of his first work, though its use of post-holocaust California was markedly less genre-bound than
that of _^<i_Epitaph in Rust_^>i_, especially in its protagonists' re-enactment of the Orpheus and Eurydice legend, and in the confrontation with an _^<a_!T98_ALIEN_^>a_, who is both a fake _^<a_!T2918_MESSIAH_^>a_ and Lord of the Underworld.
_^<i_On Stranger Tides_^>i_ (_^<b_1987_^>b_) is a hugely enriched pirate yarn, set in an _^<a_!T131_ALTERNATE-WORLD_^>a_ 18th century and concerning (in part) a search for _^<a_!T3771_IMMORTALITY_^>a_. _^<i_The Stress of Her Regard_^>i_
(_^<b_1989_^>b_), possibly TP's most sustained single novel, is set in the early 19th century of _^<i__^<a_!B9194_THE ANUBIS GATES_^>a__^>i_, focusing not only on Byron (who appears in the earlier book) but on Percy Shelley and Mary
_^<a_!T2173_SHELLEY_^>a_ and John Keats as well, in a story involving _^<i_lamiae_^>i_ and vampires (> _^<a_!T5843_SUPERNATURAL CREATURES_^>a_), culminating in the sf-like revelation that non-carbon-based forms of life have survived and are the
secret masters of the Austrian Empire. _^<i_Last Call_^>i_ (_^<b_1992_^>b_) is a complex contemporary fantasy novel in which Bugsy Siegel is one of a series of Fisher Kings; its protagonist must avoid being sacrificed in a ritual of
succession._^<n__^<n_Though his fertility of invention occasionally (as often with Blaylock) impedes the flow of story, TP is at heart a storyteller, and ruthlessly shapes his material into narrative form. The result is one of the few genuinely
original bodies of work in the modern sf/fantasy field. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Night Moves_^>i_ (_^<b_1986_^>b_ chap); _^<i_The Way Down the Hill_^>i_ (_^<b_1986_^>b_ chap)._^<b_About the author:_^>b_ _^<i_A Checklist of Tim
Powers_^>i_ (_^<b_1991_^>b_ chap) by Tom Joyce and Christopher P. _^<a_!T5711_STEPHENS_^>a_._^<b_See also:_^>b_ _^<a_!T752_CLICHES_^>a_; _^<a_!T4780_GOTHIC SF_^>a_; _^<a_!T4395_HEROES_^>a_; _^<a_!T2528_RECURSIVE SF_^>a_; _^<a_!T6197_WRITERS OF THE
FUTURE CONTEST_^>a_.
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POWER SOURCES
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We live in an age of imminent resources crisis, anxiously anticipating the depletion of fossil-fuel reserves even while we become reluctant to rely on _^<a_!T3265_NUCLEAR POWER_^>a_ because of the _^<a_!T1942_POLLUTION_^>a_ problems caused by
radioactive wastes. New options rely either on discoveries not yet made -- the development of nuclear-fusion reactors, or of more efficient ways to convert solar energy into electricity -- or on a political will which governments of all persuasions
seem too short-sighted to exercise, as with tidal and wind power. There was, however, little trace of such anxieties in sf published before public concern began to grow; the future scenarios envisaged by early sf writers frequently assumed our
energy resources to be potentially infinite._^<n__^<n_For most of human history, _^<a_!T3540_MACHINES_^>a_ were worked by three basic power sources: wind, water and muscle. For millennia people used fire as a source of heat and an agent of physical
and chemical change without learning how to harness it as an energy source in mechanical work; then the invention of the steam engine precipitated the Industrial Revolution. Sf writers, following in the tracks of countless optimists who had tried
to sidestep the problem by inventing "perpetual-motion machines", were only too ready to imagine future revolutions of similarly awesome scope. Electricity was often viewed as a quasimagical animating force, as in Mary _^<a_!T2173_SHELLEY_^>a_'s
_^<i_Frankenstein, or The Modern Prometheus_^>i_ (_^<b_1818_^>b_; rev 1831) and Arthur Conan _^<a_!T1312_DOYLE_^>a_'s "The Los Amigos Fiasco" (1892). In Lord _^<a_!T3510_LYTTON_^>a_'s _^<i_The Coming Race_^>i_ (_^<b_1871_^>b_) the key to
energy-prosperity is _^<i_vril_^>i_, a kind of "atmospheric magnetism" administered by a device bearing a suspicious resemblance to a magic wand (a wand waved to considerable effect in _^<i_The Vril Staff_^>i_ [_^<b_1891_^>b_] by "XYZ") (>
_^<a_!T2019_PSEUDO-SCIENCE_^>a_). Percy _^<a_!T4855_GREG_^>a_'s _^<i_Across the Zodiac_^>i_ (_^<b_1880_^>b_) employs the equally mysterious "apergy", which seems to be _^<a_!T198_ANTIGRAVITY_^>a_ with a seasoning of electrical mysticism; like
_^<i_vril_^>i_, apergy was borrowed by other writers, including John Jacob _^<a_!T275_ASTOR_^>a_ in _^<i_A Journey in Other Worlds_^>i_ (_^<b_1894_^>b_), and it is the obvious model for the antigravity devices used in Robert
_^<a_!T969_CROMIE_^>a_'s _^<i_A Plunge into Space_^>i_ (_^<b_1890_^>b_) and H.G. _^<a_!T5528_WELLS_^>a_'s _^<i__^<a_!B9270_THE FIRST MEN IN THE MOON_^>a__^>i_ (_^<b_1901_^>b_). In _^<i_Twenty Thousand Leagues under the Sea_^>i_ (_^<b_1870_^>b_;
trans _^<b_1873_^>b_) Jules _^<a_!T5355_VERNE_^>a_ was ready to assume that electrical energy could be drawn from sea water by quasimagical means. This optimistic outlook was boosted by the discovery of X-rays in 1895; for many years thereafter
unlimited power was casually generated in sf stories by the invocation of magical "rays". The discovery of radioactivity only a few years later provided yet another jargon: power derived from atomic breakdown, spontaneous or forced. This, of
course, turned out to be a real possibility, but its prominence in early sf owes more to convenience than to an assessment of its true potential. _^<a_!T4659_GENRE SF_^>a_ inherited this considerable jargon and understandably made the most of it.
E.E. "Doc" _^<a_!T2270_SMITH_^>a_'s _^<i_The Skylark of Space_^>i_ (1928; _^<b_1946_^>b_) begins when a bathtub coated with "X, the unknown metal" reacts to the appropriate Open Sesame by releasing limitless quantities of "infra-atomic energy" -- a
moment cruelly parodied by the discovery of "Cheddite" in Harry _^<a_!T4316_HARRISON_^>a_'s _^<i_Star Smashers of the Galaxy Rangers_^>i_ (_^<b_1973_^>b_)._^<n__^<n_Given this confidence in the imminent availability of unlimited power, it is not
surprising that the most thoughtful work of speculative writers in the early 20th century deals with the question of the social responsibility of scientists making such discoveries. Stories of wise men blackmailing the world into peace and social
justice for all are common, but much more delicate exercises include Karel _^<a_!T5147_CAPEK_^>a_'s satire _^<i_The Absolute at Large_^>i_ (_^<b_1922_^>b_; trans _^<b_1927_^>b_) and his surreal "atomic phantasy" _^<i_Krakatit_^>i_ (_^<b_1924_^>b_;
trans _^<b_1925_^>b_). The former concerns the "Karburator", which not only releases the energy bound in matter but also the spiritual "power" which went into its creation, generating worldwide religious fanaticism; a later satire with a related
theme is Romain _^<a_!T4630_GARY_^>a_'s _^<i_The Gasp_^>i_ (_^<b_1973_^>b_), in which the energy of immortal souls is harnessed as an industrial power source. Pulp sf celebrated the imminence of what Hugo _^<a_!T4668_GERNSBACK_^>a_ sometimes called
the "Age of Power Freedom". Antigravity and wonderful rays were given _^<i_carte blanche_^>i_ to defy the conservation laws -- a situation encouraged rather than inhibited by the real-life discovery of atomic power, which was for a brief period
taken as "proof" that limitless energy was actually available. Jack _^<a_!T5629_WILLIAMSON_^>a_'s "The Equalizer" (1947) is a thoughtful attempt to analyse the social consequences of free power for all, resurrecting the _^<i_vril_^>i_ staff as a
literary device. Raymond F. _^<a_!T3934_JONES_^>a_'s "Noise Level" (1952) supposes that the only thing standing between science and the discovery of limitless power is the belief of scientists in its impossibility. So convincing was this line of
argument to readers of _^<a_!T277_ASTOUNDING SCIENCE-FICTION_^>a_ that the story gave rise to several sequels, letters and articles criticizing contemporary patent law for its unfair treatment of perpetual motion and its blatant discrimination
against discoveries of new fundamental principles in science. This optimism waned rapidly during the 1960s, although Theodore _^<a_!T5810_STURGEON_^>a_'s "Brownshoes"(1969) is a heartfelt parable about the difficulty of making a gift of perpetual
motion to mankind in a world where so many vested interests (e.g., oil companies) would do their utmost to suppress it._^<n__^<n_The dependence of the developed countries on shrinking coal and oil reserves was brought home dramatically from 1973 on
by the emergence of OPEC as a political force capable of dictating energy policy to the West. The _^<a_!T1939_POLITICS_^>a_ of energy came to play a major part in many near-future novels, including Frederik _^<a_!T1937_POHL_^>a_'s _^<i_JEM: The
Making of a Utopia_^>i_ (_^<b_1979_^>b_) and _^<i_The Cool War_^>i_ (_^<b_1981_^>b_), the latter also being one of several stories to explore the idea of transmitting power in the form of microwaves down to Earth from solar cells mounted on
satellites. The OPEC-precipitated oil crisis of the 1970s inspired such unlikely projects as the attempt to hijack the Middle-Eastern oilfields by _^<a_!T6026_TIME TRAVEL_^>a_ in Wolfgang _^<a_!T3897_JESCHKE_^>a_'s _^<i_The Last Day of
Creation_^>i_ (_^<b_1981_^>b_; trans _^<b_1982_^>b_) and the use of exotic living machinery to extract oil in Rory _^<a_!T4302_HARPER_^>a_'s _^<a_!T131_ALTERNATE-WORLD_^>a_ story _^<i_Petrogypsies_^>i_ (_^<b_1989_^>b_); many
_^<a_!T5917_TECHNOTHRILLERS_^>a_ are concerned with power sources in one way or another, standard plots often centring either on squabblings between multinational power companies or on the discovery -- usually merely as a _^<a_!T3535_MCGUFFIN_^>a_
-- of new ways of producing energy. Fantasies in which energy sources appear by miraculous _^<i_fiat_^>i_, like D.G. _^<a_!T823_COMPTON_^>a_'s _^<i_Ascendancies_^>i_ (_^<b_1980_^>b_), acquired a sharp cautionary note. A real measure of imaginative
fervour with respect to marvellous power sources survives only in the matter of _^<a_!T2348_SPACESHIP_^>a_ propulsion, ranging from the solar yachts of Arthur C. _^<a_!T736_CLARKE_^>a_'s "Sunjammer" (1964; vt "The Wind from the Sun"), which use the
_^<a_!T2306_SOLAR WIND_^>a_, to the _^<a_!T632_BLACK-HOLE_^>a_ propulsion system for interplanetary vessels in the same author's _^<i_Imperial Earth_^>i_ (_^<b_1975_^>b_). [BS]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T6576_ECOLOGY_^>a_;
_^<a_!T5825_SUN_^>a_; _^<a_!T5916_TECHNOLOGY_^>a_; _^<a_!T5281_UNDER THE SEA_^>a_; _^<a_!T5492_WEAPONS_^>a_.
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POWYS, JOHN COWPER
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(1872-1963) UK writer, resident for much of his career in the USA, though he returned to the UK in his later years. The novels of his old age, from _^<i_Morwyn, or The Vengeance of God_^>i_ (_^<b_1937_^>b_) onwards, combine fantasy and sf elements
in an attempt, sometimes obscure, to heat his eccentric mysticism into a unique amalgam: _^<i_Porius_^>i_ (_^<b_1951_^>b_) is an Arthurian fantasy; _^<i_The Inmates_^>i_ (_^<b_1952_^>b_) presents the "delusions" of a cast of mental patients in
exaggerated terms and features a giant helicopter; _^<i_Atlantis_^>i_ (_^<b_1954_^>b_) describes Odysseus's search for _^<a_!T290_ATLANTIS_^>a_; _^<i_The Brazen Head_^>i_ (_^<b_1956_^>b_) deals with Roger Bacon (_^<i_c_^>i_1214-1292) as alchemist.
Between 1957 and 1960, near the end of his life, JCP produced a sequence of remarkable _^<a_!T1372_FABULATIONS_^>a_, some of them unhinged. They were all eventually published as _^<i_Up and Out_^>i_ (coll _^<b_1957_^>b_), the first novella of which
is a post-_^<a_!T4482_HOLOCAUST_^>a_ tale in which four survivors witness the end of time, _^<i_All or Nothing_^>i_ (_^<b_1960_^>b_), in which two children make a kind of tour of the Universe, _^<i_Real Wraiths_^>i_ (_^<b_1974_^>b_ chap), _^<i_Two
and Two_^>i_ (_^<b_1974_^>b_ chap) and _^<i_Three Fantasies_^>i_ (coll _^<b_1985_^>b_)._^<n__^<n_Of JCP's two brothers, both also writers, T(heodore) F(rancis) Powys (1875-1953) wrote much of strong fantasy interest. [JC]_^<n__^<n__^<b_Other
works:_^>b_ _^<i_The Owl, the Duck, and -- Miss Rowe! Miss Rowe!_^>i_ (_^<b_1930_^>b_ chap US); _^<i_A Glastonbury Romance_^>i_ (_^<b_1932_^>b_ US); _^<i_Maiden Castle_^>i_ (_^<b_1936_^>b_ US); _^<i_Owen Glendower_^>i_ (_^<b_1940_^>b_ US);
_^<i_Lucifer: A Narrative Poem_^>i_ (_^<b_1956_^>b_); _^<i_Homer and the Aether_^>i_ (_^<b_1959_^>b_)._^<b_See also:_^>b_ _^<a_!T6661_END OF THE WORLD_^>a_; _^<a_!T1410_FANTASTIC VOYAGES_^>a_.
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POYER, DAVID C(HARLES)
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(1949- ) US writer who has published non-genre work as David Poyer, and sf variously as David C. Poyer, D.C. Poyer and David Andreissen. _^<i_The Shiloh Project_^>i_ (_^<b_1981_^>b_) is set in the near future of an _^<a_!T131_ALTERNATE WORLD_^>a_
in which the South had won the Battle of Gettysburg 120 years before. _^<i_Star Seed_^>i_ (_^<b_1982_^>b_) as Andreissen places within a context of exceeding grimness -- _^<a_!T102_ALIENS_^>a_ have irrevocably poisoned Earth in an attempt to
"terraform" it for their own needs -- a tale of almost exuberant action: a surviving team composed of one human, one mutant and one dolphin subverts the eponymous starship to revolt against the "terraformers", then sets off to find another planet.
In DCP's third and most interesting novel, _^<i_Stepfather Bank_^>i_ (_^<b_1987_^>b_), set in a post-_^<a_!T4482_HOLOCAUST_^>a_ world dominated by a paternalist bank, a rogue poet hornswoggles and destabilizes the entire
_^<a_!T68_AI_^>a_-controlled system, which has in fact been working to preserve humanity as well as to control it. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T5281_UNDER THE SEA_^>a_.
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POYER, JOE
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Working name of US writer Joseph John Poyer (1939- ) for his fiction, beginning in 1965 with "Mission 'Red Clash'" for _^<i_ASF_^>i_, a magazine with which he was closely associated. Of his novels, _^<i_Operation Malacca_^>i_ (_^<b_1968_^>b_),
about the use of talking dolphins for military purposes, and _^<i_North Cape_^>i_ (_^<b_1969_^>b_) are _^<a_!T5917_TECHNOTHRILLERS_^>a_. _^<i_Tunnel War_^>i_ (_^<b_1979_^>b_) is an _^<a_!T131_ALTERNATE-WORLD_^>a_ tale involving the 1911
construction of a Channel Tunnel. JP has also written novels in other genres. [JC]_^<n__^<n_
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POYSER, VICTORIA
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[r] > _^<a_!T2717_ROWENA_^>a_._^<n__^<n_
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PRAGNELL, FESTUS
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(1905-?1965) UK writer and policeman who first appeared in the US _^<a_!T2033_PULP MAGAZINES_^>a_ with "The Venus Germ" for _^<i_Wonder Stories_^>i_ in 1932, written in collaboration with R.F. _^<a_!T5687_STARZL_^>a_; he published 1 tale as by
Francis Parnell (Festus Pragnell is not a pseudonym). His _^<b_Don Hargreaves_^>b_ stories, all set on a lurid Mars, appeared in _^<i_AMZ_^>i_ from 1938 ("Ghost of Mars") to 1943 ("Madcap of Mars"). His first sf novel, _^<i_The Green Man of
Kilsona_^>i_ (_^<b_1936_^>b_; rev vt _^<i_The Green Man of Graypec_^>i_ 1950 US), describes a voyage into a miniature world (> _^<a_!T4823_GREAT AND SMALL_^>a_). A second novel, _^<i_The Terror from Timorkal_^>i_ (_^<b_1946_^>b_), sets a
world-threatening crisis in Africa, where a new mineral suitable for the manufacture of superweapons is being exploited by unscrupulous politicians. His last work, "The Machine God Laughs" (1948), was the title story of _^<i_The Machine God
Laughs_^>i_ (anth _^<b_1949_^>b_) ed William L. _^<a_!T943_CRAWFORD_^>a_. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Thieves of the Air_^>i_ (_^<i_c_^>i__^<b_1943_^>b_ chap) with Benson _^<a_!T4387_HERBERT_^>a_.
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PRATCHETT, TERRY
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(1948- ) UK writer who began publishing with "The Hades Business" in _^<i_Science Fantasy_^>i_ in 1963, and who for many years was in full-time employment, as a journalist until 1980, and as a publicity officer for the Central Electricity
Generating Board until 1987; as a consequence, his early books were written and published intermittently. His first, _^<i_The Carpet People_^>i_ (_^<b_1971_^>b_; rev 1992), is a fantasy for children. _^<i_The Dark Side of the Sun_^>i_
(_^<b_1976_^>b_), sf, makes gentle fun of the alien-cluttered _^<b_Known Space_^>b_ books of Larry _^<a_!T3223_NIVEN_^>a_, though further targets, including Ron _^<a_!T4785_GOULART_^>a_ and Jack _^<a_!T5317_VANCE_^>a_, are also affectionately
addressed; _^<i__^<a_!B9195_STRATA_^>a__^>i_ (_^<b_1981_^>b_) also parodies Niven and other _^<a_!T4288_HARD-SF_^>a_ writers, in this case by depicting an artificial flat world embedded within Ptolemaic heavens -- it is a _^<a_!T1932_POCKET
UNIVERSE_^>a_, in fact-seemingly constructed by the ancient Spindle Kings, though in fact Builder Gods were responsible. No _^<a_!T4740_GODS_^>a_ are given responsibility by name for the construction of Discworld, a fantasy creation borne through
space on the back of a huge turtle, but an sf world-building premise does unseriously underlie the _^<b_Discworld_^>b_ books, which made TP famous. The novels themselves are _^<a_!T1412_FANTASY_^>a_. The series comprises _^<i_The Colour of
(_^<b_1989_^>b_), _^<i_Guards! Guards!_^>i_ (_^<b_1989_^>b_), _^<i_Eric_^>i_ (_^<b_1990_^>b_) with Josh _^<a_!T4085_KIRBY_^>a_ (responsible for all the UK Discworld covers) given equal billing on the original edition (the text is heavily
illustrated; paperback editions, lacking the illustrations, give TP alone as author), _^<i_Moving Pictures_^>i_ (_^<b_1990_^>b_), _^<i_Reaper Man_^>i_ (_^<b_1991_^>b_), _^<i_Witches Abroad_^>i_ (_^<b_1991_^>b_), _^<i_Small Gods_^>i_
(_^<b_1992_^>b_),_^<i_Lords and Ladies_^>i_ (_^<b_1992_^>b_), _^<i_Men at Arms_^>i_ (_^<b_1993_^>b_), _^<i_Soul Music_^>i_ (_^<b_1994_^>b_) and _^<i_Interesting Times _^>i_(_^<b_1994_^>b_) with further titles projected; they make up the finest set
of pure comedies the genre has yet seen. A second series, the _^<b_Book of the Nomes_^>b_ _^<a_!T710_CHILDREN'S-SF_^>a_ trilogy about small extraterrestrials caught for eons on Earth and attempting escape, comprises _^<i_Truckers_^>i_
(_^<b_1989_^>b_), _^<i_Diggers_^>i_ (_^<b_1990_^>b_) and _^<i_Wings_^>i_ (_^<b_1990_^>b_), all three being assembled as _^<i_The Bromeliad_^>i_ (omni _^<b_1993_^>b_ US). _^<i_Good Omens: The Nice and Accurate Prophecies of Agnes Nutter, Witch_^>i_
(_^<b_1990_^>b_; rev 1990 US) with Neil _^<a_!T1675_GAIMAN_^>a_ is a fantasy about the _^<a_!T6661_END OF THE WORLD_^>a_. The youthful protagonist of _^<i_Only You Can Save Mankind_^>i_ (_^<b_1992_^>b_), sf for young adults, must help the space
warriors of an arcade game (>_^<a_!T1696_GAMES AND TOYS_^>a_) escape futile combat with human players; the sequel is _^<i_Johnny and the Dead _^>i_(_^<b_1993_^>b_), in which Johnny fights on behalf of its dead residents to keep developers from
destroying a cemetery. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T5005_BRITISH SCIENCE FICTION AWARD_^>a_; _^<a_!T4823_GREAT AND SMALL_^>a_; _^<a_!T4555_HUMOUR_^>a_; _^<a_!T3598_MAGIC_^>a_; _^<a_!T2812_SATIRE_^>a_; _^<a_!T5945_TERRAFORMING_^>a_.
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PRATT, CORNELIA ATWOOD
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Working and maiden name of Cornelia Atwood Comer (? -1929), author with Richard Slee of _^<i_Dr Berkeley's Discovery_^>i_ (_^<b_1899_^>b_), in which the doctor solves a mystery with his memory-cell-reading device (> _^<a_!T2023_PSYCHOLOGY_^>a_).
[JC]_^<n__^<n_
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PRATT, (MURRAY) FLETCHER
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(1897-1956) US writer and historian who began his career as an author and translator for Hugo _^<a_!T4668_GERNSBACK_^>a_'s _^<a_!T2875_SCIENCE WONDER STORIES_^>a_ and its companions in the early 1930s; his first published story was "The Octopus
Cycle" for _^<i_AMZ_^>i_ in 1928 as with Irvin Lester (a Pratt pseudonym). While doing translations of German sf novels FP evolved what became a renowned method of extracting payment from the notoriously slow Gernsback organization: he would submit
the first part of a novel, wait until it was set in type, then refuse to deliver the conclusion until paid. He undertook many collaborations, notably "City of the Living Dead" (1930) with Laurence _^<a_!T3648_MANNING_^>a_, and contributed regularly
to the sf magazines; but he is now best remembered for his fantasy, especially for his collaborations with L. Sprague _^<a_!T1133_DE CAMP_^>a_ (_^<i_whom see for fuller details_^>i_). The most successful were the _^<b_Harold Shea_^>b_ stories,
among which the main titles are: _^<i_The Incomplete Enchanter_^>i_ (1940 _^<i_Unknown_^>i_; _^<b_1941_^>b_), _^<i_The Castle of Iron_^>i_ (1941 _^<i_Unknown_^>i_; _^<b_1950_^>b_) and _^<i_The Wall of Serpents_^>i_ (fixup _^<b_1960_^>b_; vt
_^<i_The Enchanter Completed_^>i_ 1980 UK). The first 2 titles were assembled as _^<i_The Compleat Enchanter: The Magical Misadventures of Harold Shea_^>i_ (omni _^<b_1975_^>b_), and all 3 were eventually assembled as _^<i_The Intrepid
Enchanter_^>i_ (omni _^<b_1988_^>b_ UK; vt _^<i_The Complete Compleat Enchanter_^>i_ 1989 US). A second series with De Camp, the _^<b_Gavagan's Bar_^>b_ _^<a_!T768_CLUB STORIES_^>a_, assembled in _^<i_Tales from Gavagan's Bar_^>i_ (coll
_^<b_1953_^>b_; exp 1978), comprised mostly high-spirited tall tales, some of them sf. On their collaborations De Camp, as junior partner, would write a first draft after he and FP had jointly outlined the story; FP would then compose the final
draft, to which De Camp would put the finishing editorial touches. This routine was varied on only a very few later short stories._^<n__^<n_FP's own fantasy novels are _^<i_The Well of the Unicorn_^>i_ (_^<b_1948_^>b_ as by George U. Fletcher; 1967
as by FP) and _^<i_The Blue Star_^>i_ (1952 in _^<i_Witches Three_^>i_ ed anon FP; _^<b_1969_^>b_); _^<i_Witches Three_^>i_ was one of the _^<b_Twayne Triplets_^>b_ series -- Twayne being the publisher -- each vol assembling 3 original novellas by
different authors with a common theme or setting. The series idea was FP's, and he ed (also anon) 1 later vol, _^<i_The Petrified Planet_^>i_ (anth _^<b_1952_^>b_). In the end the project proved abortive, but the last title was the first
_^<a_!T2127_SHARED-WORLD_^>a_ anthology to appear in the genre. FP also wrote several volumes of popular history and 3 books on rockets and space travel including _^<i_Rockets, Jets, Guided Missiles and Space Ships_^>i_ (_^<b_1951_^>b_).
[MJE/JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_The Land of Unreason_^>i_ (_^<b_1941_^>b_) and _^<i_The Carnelian Cube_^>i_ (_^<b_1948_^>b_), both with De Camp; _^<i_Double in Space_^>i_ (coll _^<b_1951_^>b_; rev 1954 UK), in the 1st edn comprising
the 2 novellas "Project Excelsior" and "The Wanderer's Return", the latter being replaced in the UK by "The Conditioned Captain", itself already published in the USA as _^<i_The Undying Fire_^>i_ (_^<b_1953_^>b_); _^<i_World of Wonder_^>i_ (anth
_^<b_1951_^>b_), a Twayne book but not a Triplet; _^<i_Double Jeopardy_^>i_ (fixup _^<b_1952_^>b_); _^<i_Invaders from Rigel_^>i_ (1932 _^<i_Wonder Stories Quarterly_^>i_ as "The Onslaught From Rigel"; _^<b_1960_^>b_); _^<i_Alien Planet_^>i_ (1932
_^<i_Amazing Stories Quarterly_^>i_ as "A Voice across the Years"; _^<b_1962_^>b_)._^<b_About the author:_^>b_ Chapter 7 of _^<i_Literary Swordsmen and Sorcerers_^>i_ (_^<b_1976_^>b_) by L. Sprague De Camp._^<b_See also:_^>b_
Film (1987). Amercent/American Entertainment/20th Century-Fox. Dir John McTiernan, starring Arnold Schwarzenegger, Carl Weathers, Elpidia Carrillo, Bill Duke. Screenplay Jim Thomas, John Thomas. 106 mins. Colour._^<n__^<n_A special-forces group
undertaking a commando-style rescue mission in South America clashes bloodily with guerrillas and then very much more bloodily with the Predator: an intelligent _^<a_!T98_ALIEN_^>a_ that can bend light to make itself almost invisible. The alien
picks them off one by one, losing only to the Schwarzenegger character, by now reduced to primitive combat. The blend of the jungle-warfare (or Vietnam) scenario with the alien-_^<a_!T3796_INVASION_^>a_ genre is potentially interesting, but the
treatment follows a wholly predictable pattern. Moreover on the evidence presented, the alien should have won. [PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T3011_MONSTER MOVIES_^>a_.
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PREDATOR 2
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Film (1990). Gordon/Silver/Davis/20th Century-Fox. Dir Stephen Hopkins, starring Danny Glover, Gary Busey, Ruben Blades, Maria Conchita Alonso, Bill Paxton. Screenplay Jim Thomas, John Thomas. 107 mins. Colour._^<n__^<n_This superior sequel to
_^<a_!T1977_PREDATOR_^>a_ is a well oiled adrenaline machine. Los Angeles, 1997, is anarchic, with Jamaican and Colombian drug gangs, the LA police and the FBI all at each other's throats. A new _^<a_!T98_ALIEN_^>a_ Predator, drawn by global
hotspots, is trophy-hunting there on safari. A Black policeman succeeds where the creepy feds fail, and as a recognition of his valour receives a duelling pistol from yet more Predators who arrive for the finale. Stan Winston's alien design (great
mandibles) is threatening and interesting, just right for a New Right Vigilante alien who picks off the bad guys first. _^<i_P2_^>i_ is pure and stylish exploitation-movie making, and shows a witty recognition of the same violence-begets-violence
syndrome it abets. [PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T726_CINEMA_^>a_; _^<a_!T3011_MONSTER MOVIES_^>a_.
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PREDICTION
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The most widespread false belief about sf among the general public is that it is a literature of prediction. Very few sf writers have ever claimed this to be the case, although Hugo _^<a_!T4668_GERNSBACK_^>a_ did see one function of his sf magazines
as to paint an accurate picture of the future. Very few of the stories he published lived up to his editorializing. When John W. _^<a_!T5140_CAMPBELL_^>a_ Jr took over the editorship of _^<i_ASF_^>i_ he demanded an increasing scientific
plausibility from his writers, but a plausible-sounding "perhaps" is a long way from prediction._^<n__^<n_None of this has prevented sf fans from crowing with delight when an sf writer has made a good guess, and the mythology of sf is full of such
examples. H.G. _^<a_!T5528_WELLS_^>a_ predicted the use of the tank in "The Land Ironclads" (1903), of aerial bombing in _^<i_The War in the Air_^>i_ (_^<b_1908_^>b_) and of the atom bomb (more or less) in _^<i_The World Set Free_^>i_
(_^<b_1914_^>b_). Ever since Einstein's mass-energy equations had been published, it had been generally known that enormous power was locked up in the atom, and stories about _^<a_!T3265_NUCLEAR POWER_^>a_ and atomic _^<a_!T5492_WEAPONS_^>a_ were
commonplace in the 1920s and 1930s; they became very much more accurate in the early 1940s, and Cleve _^<a_!T5199_CARTMILL_^>a_, Robert A. _^<a_!T4376_HEINLEIN_^>a_ and Lester _^<a_!T1164_DEL REY_^>a_ all wrote good predictive stories before
Hiroshima. (Heinlein also predicted the water bed and the use of remote-control _^<a_!T5424_WALDOS_^>a_.) Most early prediction stories were about future _^<a_!T5452_WAR_^>a_, future weapons and the various possibilities of
_^<a_!T3796_INVASION_^>a_. Not many of them were correct; although several stories predicted war between the UK and Germany before 1914 (and, indeed, between the UK and almost everyone else), most of them centred on an invasion across the Channel
which never took place. Edward Everett _^<a_!T4926_HALE_^>a_ wrote rather charmingly about an artificial satellite in "The Brick Moon" (1869). Arthur C. _^<a_!T736_CLARKE_^>a_ wrote a celebrated article about communications satellites,
"Extraterrestrial Relays" (_^<i_Wireless World_^>i_ Oct 1945), but this was not a story; nor, sadly, did it become a patent. Jules _^<a_!T5355_VERNE_^>a_ is thought by many to have invented the submarine in _^<i_Vingt mille lieues sous les
mers_^>i_ (_^<b_1870_^>b_; trans as _^<i_Twenty Thousand Leagues Under the Sea_^>i_ _^<b_1873_^>b_), but in fact functional submarines had existed since at least the 18th century. One of Verne's best pieces of prediction was quite accidental; the
moon-shot in _^<i_De la terre a la lune_^>i_ (_^<b_1865_^>b_), which was published with the sequel _^<i_Autour de la lune_^>i_ (_^<b_1870_^>b_) in _^<i_From the Earth to the Moon_^>i_ (trans _^<b_1873_^>b_), is fired from a spot very close to Cape
Canaveral in Florida. Rudyard _^<a_!T4082_KIPLING_^>a_ predicted transatlantic aerial trade, specifically airmail postage, in _^<i_With the Night Mail_^>i_ (1905; _^<b_1909_^>b_ chap US). Erasmus _^<a_!T1071_DARWIN_^>a_'s poem _^<i_The Temple of
Nature_^>i_ (_^<b_1802_^>b_) preceded Verne, Wells and just about everybody else in its joyful description of airborne fleets of transport ships, war in the air, submarines and great _^<a_!T727_CITIES_^>a_ with skyscrapers. Edwin
_^<a_!T383_BALMER_^>a_ had an early form of lie detector in _^<i_The Achievements of Luther Trant_^>i_ (coll _^<b_1910_^>b_) with William MacHarg. Hugo Gernsback had many technological predictions in _^<i_Ralph 124C 41+_^>i_ (1911-12; fixup
_^<b_1925_^>b_); this is one of the 18 stories of the period quoted by Everett _^<a_!T654_BLEILER_^>a_ in _^<i_Science-Fiction: The Early Years_^>i_ (_^<b_1990_^>b_) as anticipating tv. Nevil _^<a_!T2200_SHUTE_^>a_ predicted metal fatigue as a
danger to aircraft in _^<i_No Highway_^>i_ (_^<b_1948_^>b_), written shortly before several planes crashed for exactly that reason._^<n__^<n_It is a moderately impressive list, and could be made more so by multiplication of examples, but it proves
very little. For every correct prediction a dozen were wrong, or correct only if facts are stretched a little; for example, _^<a_!T2033_PULP-MAGAZINE_^>a_ sf of the 1930s made much of _^<a_!T1128_DEATH RAYS_^>a_; it is rather a dubious vindication
to point out that laser beams can now be used as weaponry. The entry _^<a_!T1669_FUTUROLOGY_^>a_ (which includes several examples of real prediction) discusses the usual strategy of sf writers when dealing with the future; their imaginative
scenarios are as often as not meant as awful warnings, and the emphasis is almost invariably on what _^<i_could_^>i_ happen, not what _^<i_will_^>i_ happen. It would hardly be fair to attack sf writers as false prophets when they seldom think of
themselves as being in the prophecy business at all. In many ways their errors are more interesting than their successes, for they add to our knowledge of social history. Our expectations of the future change just as quickly as history itself
changes; the _^<a_!T323_AUTOMATION_^>a_ to which Gernsback and others looked forward in the teens of the century had already become a potential nightmare by the time of Kurt _^<a_!T5402_VONNEGUT_^>a_ Jr's _^<i__^<a_!B9091_PLAYER PIANO_^>a__^>i_
(_^<b_1952_^>b_; vt _^<i_Utopia 14_^>i_). Where sf is correct, of course, the explanation is not magic, just good research. Verne took much advice from his engineer friends and Shute spent many years as an aeronautical engineer -- and, of course,
many sf writers subscribe to scientific journals . . ._^<n__^<n_One area where sf can claim some credit is _^<a_!T2337_SPACE FLIGHT_^>a_; this was the central dream of sf, even during the years when respectable scientists regularly argued for its
impossibility (> _^<a_!T2651_ROCKETS_^>a_). But even here, though sf was right enough in the broad sense, it managed to get both the sociological and the technological details appallingly wrong. Most of Heinlein's early Moon rockets were built by
capitalist enterprise, and not by the resources of the US Government; the Russian government, naturally, was not mentioned at all, even though it was in Russia that the first solidly grounded theorizing about space travel had taken place, in the
work of Konstantin _^<a_!T6108_TSIOLKOVSKY_^>a_, who wrote somewhat didactic but staggeringly accurate prophetic stories on the subject, beginning in the 19th century. The eponymous vessel in Heinlein's _^<i_Rocket Ship Galileo_^>i_
(_^<b_1947_^>b_) is, absurdly, constructed largely by teenage boys in the backyard. Only William _^<a_!T5932_TENN_^>a_ ran counter to the free-enterprise spirit of most US sf by imagining in "Alexander the Bait" (1946) that the space programme
would be run by giant government institutions, not individuals or even corporations. Sf stories about the first Moon landing almost invariably omit the single most dramatic detail, that the entire proceedings would be watched on Earth on tv; an
exception is Arthur C. _^<a_!T736_CLARKE_^>a_'s _^<i_Prelude to Space_^>i_ (_^<b_1951_^>b_ US; vt _^<i_Master of Space_^>i_ 1961 US; vt _^<i_The Space Dreamers_^>i_ 1969 US)._^<n__^<n__^<a_!T826_COMPUTERS_^>a_ are another area where sf's predictive
abilities were ridiculously askew; so preoccupied were sf writers with the dramatic possibilities of the _^<a_!T2646_ROBOT_^>a_ that they hardly noticed that back in the real world mechanical men were of little interest to anyone while the computer
-- driven by the invention of the transistor, likewise missed by sf -- was rapidly transforming the face of the future. Sf writers caught up, of course, but only after computers were becoming commonplace._^<n__^<n_Nearly all the examples cited are
cases of predictions in the sphere of _^<a_!T5916_TECHNOLOGY_^>a_; more interesting perhaps, and generally with a slightly higher success rate, were the predictions made about future _^<a_!T1939_POLITICS_^>a_ and _^<a_!T2300_SOCIOLOGY_^>a_.
Fortunately most _^<a_!T1370_DYSTOPIAS_^>a_ have not come into being in the real world, but certain aspects of them certainly have. One of the most interesting cases of prediction in the _^<a_!T2302_SOFT SCIENCES_^>a_ was Robert Louis
_^<a_!T5731_STEVENSON_^>a_'s _^<i_Strange Case of Dr Jekyll and Mr Hyde_^>i_ (_^<b_1886_^>b_), whose melodramatic suppositions were, even as he wrote, being conceptually paralleled by the work of Sigmund Freud (1865-1939), who also came to believe
that the human mind had a primitive component, the id, not wholly masked by the more reputable ego._^<n__^<n_Occasionally the images thrown up by sf enter the public mind by an apparent process of osmosis, so that they become known even to those
who do not read sf, and thereby create a kind of self-fulfilling prophecy. Some examples are given in _^<a_!T1669_FUTUROLOGY_^>a_, which discusses this question. Perhaps the most notable is again the case of space flight, where it is certainly
arguable that the US Government could never have got away with budgeting such large amounts of the national income on the space programme had the _^<i_desire_^>i_ for space flight, largely catalysed by sf, not been so great._^<n__^<n_Most sf
prediction is set in the _^<a_!T6337_NEAR FUTURE_^>a_, and further examples are given in that entry. In the nature of things, a great many thematic entries in this encyclopedia necessarily deal in part with prediction. Apart from those already
mentioned, entries where predictions in the social sciences predominate include _^<a_!T727_CITIES_^>a_; _^<a_!T1243_DISASTER_^>a_, _^<a_!T6576_ECOLOGY_^>a_, _^<a_!T6577_ECONOMICS_^>a_, _^<a_!T1695_GAMES AND SPORTS_^>a_, _^<a_!T3327_LEISURE_^>a_,
_^<a_!T3743_MEDIA LANDSCAPE_^>a_ and _^<a_!T1752_OVERPOPULATION_^>a_; more technical areas where sf has made checkable predictions are _^<a_!T822_COMMUNICATIONS_^>a_, _^<a_!T1014_CYBERNETICS_^>a_, _^<a_!T6576_ECOLOGY_^>a_,
_^<a_!T3540_MACHINES_^>a_, _^<a_!T3744_MEDICINE_^>a_, _^<a_!T3023_MOON_^>a_, _^<a_!T1942_POLLUTION_^>a_, _^<a_!T1968_POWER SOURCES_^>a_, _^<a_!T6080_TRANSPORTATION_^>a_ and _^<a_!T5281_UNDER THE SEA_^>a_; areas where sf predictions have not yet had
the opportunity for a full testing, but may be tested in the next 50 years, are _^<a_!T761_CLONES_^>a_, _^<a_!T987_CRYONICS_^>a_, _^<a_!T1017_CYBORGS_^>a_, _^<a_!T4657_GENETIC ENGINEERING_^>a_, _^<a_!T2338_SPACE HABITATS_^>a_,
_^<a_!T2348_SPACESHIPS_^>a_, _^<a_!T5851_SUSPENDED ANIMATION_^>a_ and _^<a_!T5945_TERRAFORMING_^>a_. Many readers suppose that the _^<a_!T1015_CYBERPUNK_^>a_ predictions of human experience of _^<a_!T5380_VIRTUAL REALITIES_^>a_ achieved by plugging
the brain into machines are truly predictive. A technical problem is that the neurons in the brain transmit information much more slowly than microprocessors do, which might make the brain/computer interface rather tricky -- but time will
tell._^<n__^<n_An sf scholar who has written interestingly about prediction is Chris _^<a_!T3046_MORGAN_^>a_, whose relevant books (their remit extends well beyond sf to include popular science, journalism and so on) are _^<i_The Shape of Futures
Past: The Story of Prediction_^>i_ (_^<b_1980_^>b_) and, with David _^<a_!T4186_LANGFORD_^>a_, _^<i_Facts and Fallacies: A Book of Definitive Mistakes and Misguided Predictions_^>i_ (_^<b_1981_^>b_), the latter being especially funny and
eye-opening. [PN]_^<n__^<n_
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PREHISTORIC ROMANCES
-T-
> _^<a_!T197_ANTHROPOLOGY_^>a_; _^<a_!T206_APES AND CAVEMEN (IN THE HUMAN WORLD)_^>a_; _^<a_!T1727_ORIGIN OF MAN_^>a_._^<n__^<n_
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PREHISTORIC WORLD
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> Roger _^<a_!T884_CORMAN_^>a_._^<n__^<n_
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PREISS, BYRON (CARY)
-T-
(1953- ) US book packager, anthologist and co-author of 2 sf novels -- _^<i_Guts_^>i_ (_^<b_1979_^>b_) with C.J. Henderson and _^<i_Dragonworld_^>i_ (_^<b_1979_^>b_) with J. Michael _^<a_!T2527_REAVES_^>a_ -- and _^<i_The Bat Family_^>i_
(_^<b_1984_^>b_), a juvenile. Though he has also edited and co-edited numerous _^<a_!T195_ANTHOLOGIES_^>a_, BP is best known as the most successful of the independent sf book packagers (i.e., creative middlemen who conceive projects, pitch them to
publishers, commission writers, artists and others to produce the required material, etc.), founding Byron Preiss Visual Publications Inc (frequently abbreviated to BPVP) in 1974. The company's first project was the _^<b_Weird Heroes_^>b_ anthology
series -- BP himself edited _^<i_Weird Heroes #1_^>i_ (anth _^<b_1975_^>b_), _^<i_#2_^>i_ (anth _^<b_1975_^>b_), _^<i_#6_^>i_ (anth _^<b_1977_^>b_) and _^<i_#8_^>i_ (anth _^<b_1978_^>b_) -- which early demonstrated BP's interest in visual
presentation. Among the early BPVP projects were a number of _^<a_!T4809_GRAPHIC NOVELS_^>a_: adaptations included a version written by BP of Alfred _^<a_!T568_BESTER_^>a_'s _^<i_Tiger! Tiger!_^>i_ (_^<b_1956_^>b_ UK; rev vt _^<i_The Stars My
Destination_^>i_ 1957 US) published under the vt in 2 vols (graph _^<b_1979_^>b_ and graph _^<b_1992_^>b_), both vols illus Howard _^<a_!T5252_CHAYKIN_^>a_; original works included Samuel R. _^<a_!T1152_DELANY_^>a_'s _^<i_Empire_^>i_ (graph
_^<b_1978_^>b_) with Chaykin. In the 1980s, BPVP branched out into many different areas, from children's and young-adult books to art books, nature books and other projects._^<n__^<n_But most of the company's attention remained on the sf field, and
BVPB was one of the forces behind the huge growth during that decade of _^<a_!T2127_SHARED-WORLD_^>a_ texts tied either to the work of well known authors or generated by BVPB itself, and almost always written on a _^<a_!T2126_SHARECROP_^>a_ basis.
Projects of the first sort included _^<b_Isaac Asimov's Robot City_^>b_, a series of novels by various authors including David F. _^<a_!T618_BISCHOFF_^>a_, Arthur Byron _^<a_!T920_COVER_^>a_ and William F. _^<a_!T6198_WU_^>a_; _^<b_Arthur
C.Clarke's Venus Prime_^>b_, all by Paul _^<a_!T1987_PREUSS_^>a_ (_^<i_whom see for details_^>i_); and _^<b_Robert Silverberg's Time Tours_^>b_, a series of novels by Wu and others. Projects generated by BPVP included _^<b_U.S.S.A._^>b_, to which
authors like Tom _^<a_!T1148_DE HAVEN_^>a_ contributed individual volumes. Such projects -- which BPVP was far from alone in producing -- generated lively debate, some critics feeling that writers were being led to recycle the ideas of others
rather than exploring their own. Defenders of the sharecrop argued that newer writers, who might otherwise have trouble selling a first novel, could more readily work for hire; and suggested that young readers might be encouraged to read more
ambitious sf through initial exposure to accessible shared-world books. Other BPVP projects included the _^<b_Next Wave_^>b_ line of novels, each focusing on a specific area of scientific speculation and accompanied by an essay on the subject by a
notable scientist; titles included _^<i_Red Genesis_^>i_ (_^<b_1991_^>b_) by S.C. _^<a_!T5877_SYKES_^>a_, about colonizing _^<a_!T3677_MARS_^>a_, with an essay by Eugene Mallove; and _^<i_Alien Tongue_^>i_ (_^<b_1991_^>b_) by Stephen
_^<a_!T3324_LEIGH_^>a_, about _^<a_!T98_ALIEN_^>a_ contact, with an essay by Rudy _^<a_!T2727_RUCKER_^>a_._^<n__^<n_Also during the 1980s, BP produced several lavishly illustrated, ambitious theme anthologies combining fiction and nonfiction.
_^<i_The Planets_^>i_ (anth _^<b_1985_^>b_) featured fiction by Robert _^<a_!T2216_SILVERBERG_^>a_, Jack _^<a_!T5629_WILLIAMSON_^>a_ and others, and essays by scientists such as Dale P. Cruikshank. _^<i_The Universe_^>i_ (anth _^<b_1987_^>b_)
included fiction by Poul _^<a_!T169_ANDERSON_^>a_ and Gene _^<a_!T5676_WOLFE_^>a_ along with essays on _^<a_!T902_COSMOLOGY_^>a_ and _^<a_!T632_BLACK HOLES_^>a_. _^<i_The Microverse_^>i_ (anth _^<b_1989_^>b_) included the
_^<a_!T3147_NEBULA_^>a_-winning "At the Rialto" by Connie _^<a_!T5632_WILLIS_^>a_ along with nonfiction from Gerald Feinberg (1933-1992) and Nobel Prize-winning physicist Leon M. Lederman. _^<i_First Contact_^>i_ (anth _^<b_1990_^>b_) was a similar
treatment of CETI. Other anthologies have included the _^<b_Ultimate_^>b_ series: _^<i_The Ultimate Dracula_^>i_ (anth _^<b_1991_^>b_) with David Keller, Megan Miller and (anon) Martin H. _^<a_!T4842_GREENBERG_^>a_; _^<i_The Ultimate Werewolf_^>i_
(anth _^<b_1991_^>b_) with John _^<a_!T569_BETANCOURT_^>a_, Keller, Miller and (anon) Greenberg; _^<i_The Ultimate Frankenstein_^>i_ (anth _^<b_1991_^>b_) with Keller, Miller, Betancourt and (anon) Greenberg; <The Ultimate Dinosaur: Past, Present,
Future> (anth 1992) with Robert Silverberg; further titles projected._^<n__^<n_Despite the controversy surrounding some of his sharecropped projects, BP should be recognized for his contribution to the visual presentation of sf, and for reaching
out to a younger readership through such projects as the new _^<b_Tom Swift_^>b_ adventures (>_^<a_!T6048_TOM SWIFT_^>a_ _^<i_for details_^>i_), the _^<b_Dragonflight_^>b_ series of short novels, and the _^<b_Camelot World_^>b_ series. Of all the
book packagers, BP is likely the only one from his period to have made any real creative contribution to the field. [RKJK]_^<n__^<n__^<b_Other works:_^>b_ _^<i_The Art of Leo and Diane Dillon_^>i_ (_^<b_1981_^>b_); _^<i_The Secret: A Treasure
Hunt_^>i_ (anth _^<b_1982_^>b_).
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PRENTISS, CHARLOTTE
-T-
> Charles _^<a_!T1927_PLATT_^>a_._^<n__^<n_
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PRESCOT, DRAY
-T-
> Kenneth _^<a_!T5073_BULMER_^>a_._^<n__^<n_
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PRESIDENT'S ANALYST, THE
-T-
Film (1967). Panpiper/Paramount. Written/dir Theodore J. Flicker, starring James Coburn, Godfrey Cambridge, Severn Darden, Joan Delaney, Pat Harrington, Barry McGuire. 104 mins. Colour._^<n__^<n_A psychoanalyst (Coburn), hired to listen to the
President's troubles, breaks down under the strain. He takes refuge with a "typical" US family who describe themselves as "militant liberals" (the husband collects guns, the wife takes karate lessons and their son specializes in wire-tapping).
Pursued by the FBI (all very short men), the CIA (all college graduates with pipes and tweed jackets), Russians, Chinese and others, the hero repeatedly avoids death by a hairsbreadth; he then learns that the power secretly running the USA is the
Telephone Company (manned by bland, smiling _^<a_!T2646_ROBOTS_^>a_), which plans to insert a miniature telephone in the head of every person in the world. The film ends with the robots still in control. Flicker's pleasing _^<a_!T2812_SATIRE_^>a_
is witty and literate, and contrives to have it both ways by spoofing _^<a_!T1795_PARANOIA_^>a_ movies while actually exploiting our genuine (and well grounded) paranoias. [JB/PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T726_CINEMA_^>a_.
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PRESSOR BEAM
-T-
> _^<a_!T1554_FORCE FIELD_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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PREUSS, PAUL
-T-
(1942- ) US writer who worked in film production for a decade before beginning to write popular-science articles. He began to publish sf with _^<i_The Gates of Heaven_^>i_ (_^<b_1980_^>b_) which, with _^<i_Re-Entry_^>i_ (_^<b_1981_^>b_),
comprises a very loose sequence, its main linkage being the assumption that _^<a_!T632_BLACK HOLES_^>a_ may be used to travel through both space and time. The second volume in particular demonstrates considerable virtuosity in its presentation of a
_^<a_!T2342_SPACE-OPERA_^>a_ venue which is opened up -- though at times rendered almost incomprehensibly complicated-through a plot which encompasses various timelines, the protagonist's discovery that he is his own beloved guru, and much action.
Later novels back away sharply from such exuberance, gearing themselves more strictly to extrapolations based on contemporary science. The first of these, _^<i_Broken Symmetries_^>i_ (_^<b_1983_^>b_), concerns the human and political implications
of the markedly plausible discovery by _^<a_!T2880_SCIENTISTS_^>a_ of a subatomic particle of explosive military potential; the tone of the book has several times been compared with that of Gregory _^<a_!T526_BENFORD_^>a_'s
_^<i__^<a_!B9122_TIMESCAPE_^>a__^>i_ (_^<b_1980_^>b_). _^<i__^<a_!B9101_HUMAN ERROR_^>a__^>i_ (_^<b_1985_^>b_) similarly examines the ethical implications of a development in _^<a_!T4657_GENETIC ENGINEERING_^>a_, bearing some resemblance to the
practically simultaneous _^<i__^<a_!B9121_BLOOD MUSIC_^>a__^>i_ (_^<b_1985_^>b_) by Greg _^<a_!T478_BEAR_^>a_; while _^<i_Starfire_^>i_ (_^<b_1988_^>b_) gives a verismo view of a _^<a_!T6337_NEAR-FUTURE_^>a_ space expedition._^<n__^<n_Rather less
interestingly, PP then became involved in the _^<b_Venus Prime_^>b_ sequence of novels tied to works and some concepts generated by Arthur C. _^<a_!T736_CLARKE_^>a_. The sequence -- _^<i_Breaking Strain_^>i_ * (_^<b_1987_^>b_), _^<i_Maelstrom_^>i_
* (_^<b_1988_^>b_), _^<i_Hide and Seek_^>i_ * (_^<b_1989_^>b_), _^<i_The Medusa Encounter_^>i_ * (_^<b_1990_^>b_), _^<i_The Diamond Moon_^>i_ * (_^<b_1990_^>b_) and _^<i_The Shining Ones_^>i_ * (_^<b_1991_^>b_) -- features the long hegira of its
bio-engineered protagonist, Sparta, in her search through the Solar System for the secret of her birth (or, perhaps, fabrication). It closes with the 6th volume, and it may be hoped that the 1990s will see PP once again apply his sharp abilities to
(1898-1988) US writer whose career lasted 64 years. He served in WWI, graduated West Point in 1923, and began to publish weird fiction -- the genre for which he is remembered -- with "Triangle with Variations" for _^<i_Droll Stories_^>i_ in 1924. By
the time he stopped writing for the _^<a_!T2033_PULP MAGAZINES_^>a_ in the 1950s he had published hundreds of stories in dozens of outlets, sometimes as Hamlin Daly, and often drawing upon Oriental and near-Eastern experiences for his backgrounds.
His best known story from this period is probably "Through the Gates of the Silver Key" (1934 _^<i_Weird Tales_^>i_) with H.P. _^<a_!T3465_LOVECRAFT_^>a_, a personal friend. Some of his early work was later assembled in _^<i_Strange Gateways_^>i_
(coll _^<b_1967_^>b_) and _^<i_Far Lands, Other Days_^>i_ (coll _^<b_1975_^>b_)._^<n__^<n_In his retirement EHP became annoyed at being remembered only as one of the "Lovecraft Circle", and in 1979 he resumed writing. In his final decade he wrote a
Western, two fantasies -- _^<i_The Devil Wives of Li-Fong_^>i_ (_^<b_1979_^>b_) and _^<i_The Jade Enchantress_^>i_ (_^<b_1982_^>b_) -- and the loose _^<b_Operation_^>b_ sequence of sf novels: _^<i_Operation Misfit_^>i_ (_^<b_1980_^>b_),
_^<i_Operation Longlife_^>i_ (_^<b_1983_^>b_), in which EHP expressed a loathing of doctors and argued for the individual's right to die, _^<i_Operation Exile_^>i_ (_^<b_1986_^>b_) and _^<i_Operation Isis_^>i_ (_^<b_1987_^>b_). The sequence is set
in a _^<a_!T1370_DYSTOPIAN_^>a_ future: it warns about Marxism and comments on the weakness and decadence of the US Government; the heroes are always competent, the plots often chaotic. Since he claimed to be writing novels of ideas, it should be
mentioned that EHP was an astrologer, a Theosophist, a practising Buddhist and a conservative Republican, and ideas from those fields do indeed percolate through his work. EHP may be remembered primarily for his vivid biographical sketches of his
friends Robert E. _^<a_!T4524_HOWARD_^>a_, Lovecraft and Clark Ashton _^<a_!T2264_SMITH_^>a_. A volume of reminiscences and a late mystery remain unpublished. [RB]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T2261_SMALL PRESSES AND LIMITED EDITIONS_^>a_.
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PRICE, ROGER (TAYLOR)
-T-
(1921- ) US writer and tv personality, best known in the 1950s for his cartoon Droodles. In his sf novel, _^<i_J.G., the Upright Ape_^>i_ (_^<b_1960_^>b_), the eponymous silver-haired articulate gorilla (> _^<a_!T206_APES AND CAVEMEN_^>a_),
having been transported to the USA, serves as a focus for much amiable but moderately far-reaching _^<a_!T2812_SATIRE_^>a_. He is not to be confused with the Roger Price (1941- ) who wrote ties for _^<i_The_^<a_!T6047_TOMORROW PEOPLE_^>a_ _^>i_.
[JC]_^<n__^<n_
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PRIEST, CHRISTOPHER (McKENZIE)
-T-
(1943- ) UK writer, married 1981-7 to Lisa _^<a_!T6134_TUTTLE_^>a_ and from 1988 to Leigh _^<a_!T4028_KENNEDY_^>a_. He has published several novels (none apparently sf) under various pseudonyms, of which only 2 have been disclosed: John Luther
Novak and Colin Wedgelock. CP began to publish sf with "The Run" for _^<i_Impulse_^>i_ in 1966; much of his early work, which was relatively undistinguished, was assembled as _^<i_Transplantationen_^>i_ (coll trans Tony Westermayr _^<b_1972_^>b_
Germany), appearing in English only later as _^<i_Real-Time World_^>i_ (coll _^<b_1974_^>b_)._^<n__^<n_CP's first novel, _^<i_Indoctrinaire_^>i_ (_^<b_1970_^>b_; rev 1979), is a bleak but fatally abstract tale of imprisonment set in the heart of an
unrealized Brazil, where an unhelpful time-gate seems to lurk. His second, _^<i_Fugue for a Darkening Island_^>i_ (_^<b_1972_^>b_; vt _^<i_Darkening Island_^>i_ 1972 US), is much stronger; set in an England of the _^<a_!T6337_NEAR FUTURE_^>a_, it
deals with _^<a_!T1939_POLITICS_^>a_ and racial tension, focusing on the arrival of African refugees whose homeland has been destroyed by nuclear _^<a_!T5452_WAR_^>a_. His third novel, _^<i__^<a_!B9050_INVERTED WORLD_^>a__^>i_ (_^<b_1974_^>b_; vt
_^<i_The Inverted World_^>i_ 1974 US), marked the climax of his career as a writer whose work resembled _^<a_!T4659_GENRE SF_^>a_, and remains one of the two or three most impressive pure-sf novels produced in the UK since WWII; the hyperboloid
world on which the action takes place is perhaps the strangest planet invented since Mesklin in Hal _^<a_!T749_CLEMENT_^>a_'s _^<i__^<a_!B9041_MISSION OF GRAVITY_^>a__^>i_ (_^<b_1954_^>b_), though the characters pace through their lives with a
haunted lassitude which seems characteristically British. The tale deals with paradoxes of _^<a_!T1851_PERCEPTION_^>a_ and _^<a_!T829_CONCEPTUAL BREAKTHROUGH_^>a_, and is a striking addition to that branch of sf which deals with the old theme of
appearance-versus-reality. (_^<i_The Making of the Lesbian Horse_^>i_ [_^<b_1979_^>b_ chap] is CP's spoof continuation of the book.) _^<i_The Space Machine_^>i_ (_^<b_1976_^>b_) is a cleverly plotted pastiche of the work of H.G.
_^<a_!T5528_WELLS_^>a_, incorporating the author himself in the storyline (> _^<a_!T2528_RECURSIVE SF_^>a_) which proposes plot-explanations for some of the narrative gaps left by Wells in _^<i__^<a_!B9070_THE TIME MACHINE_^>a__^>i_
(_^<b_1895_^>b_) and _^<i_War of the Worlds_^>i_ (_^<b_1898_^>b_); in its literary focus and its retrospection, the book marked, in hindsight, a significant shift in CP's work. With _^<i_A Dream of Wessex_^>i_ (_^<b_1977_^>b_; vt _^<i_The Perfect
Lover_^>i_ 1977 US), CP began to write tales whose increasingly intricate plots had to be read as maps through which one explored not the world (as in conventional sf) but the protagonists. 39 human minds are meshed into a computer net which
projects them (or their mental simulacra) forwards from 1983 into a _^<a_!T5380_VIRTUAL-REALITY_^>a_ world of their consensus imagination, 150 years in the future, in which they "live" without memory of the real world. The entire book is a metaphor
about the creative process and its relation to solipsism. The _^<b_Dream Archipelago_^>b_ stories assembled, with others, in _^<i__^<a_!B9196_AN INFINITE SUMMER_^>a__^>i_ (coll _^<b_1979_^>b_), intensify the sense that CP's landscapes had now
become forms of expression of the psyche, and are of intense interest for the dream-like convolutions of psychic terrain so displayed. The Dream Archipelago itself is a surreally unspecific rendering of England as a land half-sunk beneath the ocean
(a vision perhaps influenced by Richard _^<a_!T3882_JEFFERIES_^>a_'s _^<i_After London_^>i_ [_^<b_1885_^>b_]), and is a powerful late-century representation of _^<i_Sehnsucht_^>i_ (C.S. _^<a_!T3368_LEWIS_^>a_'s expression to describe a longing for
something that hovers, forever unattainable, beyond the terms of reality)._^<n__^<n_CP's next novels -- _^<i_The Affirmation_^>i_ (_^<b_1981_^>b_), also set partly in the Dream Archipelago, and _^<i__^<a_!B9197_THE GLAMOUR_^>a__^>i_
(_^<b_1984_^>b_; rev 1984 US) -- move even more radically away from the regions of sf or fantasy. They are his best work to that point and, although representing to some sf readers an apostasy from the field, may profitably be read as explorations
of ravenous psyches whose hunger expresses itself through the ingestion of or control over "unreal" (or fantasy) worlds. It might be possible to suggest that _^<i_The Affirmation_^>i_ is a tale of _^<a_!T131_ALTERNATE WORLDS_^>a_ and
_^<i__^<a_!B9197_THE GLAMOUR_^>a__^>i_ a tale whose protagonist literally becomes invisible (>_^<a_!T3806_INVISIBILITY_^>a_); but these readings do scant justice to their intense and conscious inwardness. Though it shares a good deal of thematic
material with these two, _^<i_The Quiet Woman_^>i_ (_^<b_1990_^>b_) marks a decided return to the external world. Set in the near future, with radioactive contamination impinging upon the southern counties, the tale is a scathing vision of an
England rapidly becoming a _^<a_!T1370_DYSTOPIA_^>a_._^<n__^<n_CP was Associate Editor of _^<a_!T1577_FOUNDATION_^>a_ 1974-7. His anthologies are _^<i_Anticipations_^>i_ (anth _^<b_1978_^>b_) and, with Robert P. _^<a_!T4468_HOLDSTOCK_^>a_,
_^<i_Stars of Albion_^>i_ (anth _^<b_1979_^>b_). In _^<i_The Last Deadloss Visions_^>i_ (_^<b_1987_^>b_ chap; various revs and addenda 1987 chap; rev 1988 chap) he produced a cruel analysis of Harlan _^<a_!T6641_ELLISON_^>a_'s non-completion of
(1894-1984) UK novelist, playwright and man of letters, formidably productive from the teens of the century until about 1980; he wrote over 70 plays, many extremely popular in their day, and as many books, though he is now remembered chiefly for
_^<i_The Good Companions_^>i_ (_^<b_1929_^>b_), a huge picaresque novel in praise of the English. He was married to Jacquetta _^<a_!T4345_HAWKES_^>a_. A surprising amount of his work makes use of sf or fantasy themes and devices, though sometimes
in a delusional frame, as with _^<i_Albert Comes Through_^>i_ (_^<b_1933_^>b_), whose eponymous hero's experiences in an absurd cinematic universe are explained as a fever-dream. _^<i_The Thirty-First of June_^>i_ (_^<b_1961_^>b_) is a fantasy for
young-adult readers. But sf concerns do propel _^<i_Adam in Moonshine_^>i_ (_^<b_1927_^>b_) and _^<i_Benighted_^>i_ (_^<b_1927_^>b_; vt _^<i_The Old Dark House_^>i_ 1928 US) -- both assembled as _^<i_Benighted and Adam in Moonshine_^>i_ (omni
_^<b_1932_^>b_) -- _^<i_The Doomsday Men_^>i_ (_^<b_1938_^>b_), where _^<a_!T4482_HOLOCAUST_^>a_ threatens; some of the stories about time (a recurring theme) in _^<i_The Other Place_^>i_ (coll _^<b_1953_^>b_); _^<i_The Magicians_^>i_
(_^<b_1954_^>b_), JBP's closest approach to a full-fledged sf novel, featuring the use of a wonder drug to spiritually invade the mind of a tycoon; _^<i_Low Notes on a High Level_^>i_ (_^<b_1954_^>b_), about the Dobbophone and other
self-consciously daft instruments of _^<a_!T3118_MUSIC_^>a_; _^<i_Saturn Over the Water_^>i_ (_^<b_1961_^>b_), a thriller with sf overtones; _^<i_The Shapes of Sleep_^>i_ (_^<b_1962_^>b_), which posits the use of compulsively evocative shapes in
advertising; and a juvenile, _^<i_Snoggle_^>i_ (_^<b_1971_^>b_), in which three children and an old man save an _^<a_!T98_ALIEN_^>a_ pet from bigoted Wiltshire locals and are thanked for their troubles by its masters, advanced beings in a flying
saucer (>_^<a_!T5273_UFOS_^>a_)._^<n__^<n_Nevertheless, JBP never showed much aptitude for the traditional sf tale, and much of his work has an effect more of bullying noise than bluff energy. His ideas about the nature of the genre were unkindly.
"They Come from Inner Space" (1953 _^<i_New Statesman_^>i_) -- later assembled in _^<i_Thoughts in the Wilderness_^>i_ (coll _^<b_1957_^>b_), which also contains an sf story, "The Hesperides Conference" -- makes what may be the first use of the
term _^<a_!T3783_INNER SPACE_^>a_ in print, and goes on to declare that the essential outward movement of sf was "a move, undertaken in secret despair, in the wrong direction". Fittingly, of JBP's considerable sf output, the most interesting titles
are those tales and plays which derive their motor impulse from the consolatory time theories of J.W. _^<a_!T1352_DUNNE_^>a_, who felt that various moments in time -- whose relationships to one another were, in a sense, geographical -- could, in
that sense, be visited. Plays like _^<i_Time and the Conways_^>i_ (_^<b_1937_^>b_) and _^<i_I Have Been Here Before_^>i_ (_^<b_1937_^>b_), both assembled as _^<i_Two Time-Plays_^>i_ (omni _^<b_1937_^>b_), along with _^<i_Dangerous Corner_^>i_
(_^<b_1932_^>b_), all assembled as _^<i_Three Time Plays_^>i_ (omni _^<b_1947_^>b_), made extensive use of Dunne's theories. Other plays concerned with time included _^<i_Johnson over Jordan_^>i_ (_^<b_1939_^>b_), whose hero posthumously prepares
himself for Heaven, and _^<i_Summer Day's Dream_^>i_ (_^<b_1950_^>b_). In the nonfiction _^<i_Man and Time_^>i_ (_^<b_1964_^>b_) and the essays in _^<i_Over the Long High Wall_^>i_ (_^<b_1972_^>b_) JBP meditated speculatively on the same themes. In
the end, perhaps surprisingly for a writer so otherwise aggressive, sf served not as a technique to mount challenges but as a form of adjustment. [JC]_^<n__^<n__^<b_Other works:_^>b_ At least 2 of JBP's teleplays are of genre interest: "Doomsday
for Dyson" (1958), about atomic holocaust, and "Linda at Pulteney's" (1969), a fantasy._^<b_About the author:_^>b_ _^<i_J.B. Priestley: Portrait of an Author_^>i_ (_^<b_1970_^>b_) by Susan _^<a_!T872_COOPER_^>a_; _^<i_J.B. Priestley_^>i_
(_^<b_1988_^>b_) by Vincent Brome._^<b_See also:_^>b_ _^<a_!T4442_HISTORY IN SF_^>a_; _^<a_!T5959_THEATRE_^>a_; _^<a_!T6026_TIME TRAVEL_^>a_.
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PRIESTLEY, MARGARET
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(?1919- ) UK writer who, with Meriol _^<a_!T6093_TREVOR_^>a_, created in childhood an _^<a_!T131_ALTERNATE WORLD_^>a_ called the _^<b_World Dionysius_^>b_, where both set several novels. MP's were _^<i_The Ring of Fortune_^>i_ * (_^<b_1948_^>b_),
_^<i_The Three Queens_^>i_ * (_^<b_1950_^>b_) and _^<i_Tomay is Loyal_^>i_ * (_^<b_1951_^>b_). They were marginally less effective than Trevor's, though both authors had a tendency to fall back on _^<a_!T2737_RURITANIAN_^>a_ conventions when more
radical displacements might have generated a more sustained sequence. [JC]_^<n__^<n_
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PRIME PRESS
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Short-lived (the business had failed by 1953) US _^<a_!T2261_SMALL PRESS_^>a_ specializing in sf; based in Philadelphia, founded in 1947 by Oswald _^<a_!T6074_TRAIN_^>a_ (editorial) and James Williams, along with two fans, Alfred C. Prime and Armand
E. Waldo, who later dropped out. Several of PP's few titles are of interest, including the first-published books of Lester _^<a_!T1164_DEL REY_^>a_, George O. _^<a_!T2275_SMITH_^>a_ and Theodore _^<a_!T5810_STURGEON_^>a_: respectively, _^<i_. . .
And Some Were Human_^>i_ (coll _^<b_1948_^>b_), _^<i_Venus Equilateral_^>i_ (coll of linked stories _^<b_1947_^>b_) and _^<i_Without Sorcery_^>i_ (coll _^<b_1948_^>b_; cut vt _^<i_Not without Sorcery_^>i_ 1961). [MJE]_^<n__^<n_
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PRINCE OF DARKNESS
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Film (1987). Alive. Dir John _^<a_!T5176_CARPENTER_^>a_, starring Donald Pleasence, Jameson Parker, Victor Wong, Lisa Blount. Screenplay Martin Quatermass (Carpenter). 101 mins. Colour._^<n__^<n_An old priest, guardian of a vat containing Satan as a
green liquid, dies. Young physicists are brought to the derelict church by another worried priest (Pleasence) to analyse the strange powers here. The church is surrounded by bag ladies and vagrants (one being rock-star Alice Cooper) who kill
anybody who leaves. Some of the scientists are possessed by telekinetic jets of Satan-liquid, and Anti-God attempts to manifest Himself through a mirror._^<n__^<n_Carpenter's worst film, resembling a first draft rather than a finished product,
inept and barely coherent, _^<i_POD_^>i_ nevertheless has points of considerable interest. Often an apparent sf film turns out to be _^<a_!T4509_HORROR_^>a_; this is an apparent horror film that turns out to be sf. (Carpenter's screenwriter
pseudonym, Quatermass, is in clear homage to Nigel _^<a_!T4095_KNEALE_^>a_, whose scriptwriting speciality has been to rationalize supernatural forces in scientific terms.) The ambitious but confused script evokes Godel and Schrodinger in the first
few minutes, explains precognition as _^<a_!T5890_TACHYON_^>a_ messages from the future, solemnly broods on indeterminacy and the spiritual inferences to be drawn from quantum mechanics, and appears to see the Anti-God as theological
_^<a_!T201_ANTIMATTER_^>a_ present from the beginning, which is in fact a form of the Manichean heresy. [PN]_^<n__^<n_
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PRINGLE, DAVID (WILLIAM)
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(1950- ) Scottish editor and writer, resident in England, who served as Research Fellow for the _^<a_!T2066_SCIENCE FICTION FOUNDATION_^>a_ in East London 1978-9 and as editor of _^<a_!T1577_FOUNDATION_^>a_ 1980-86. With Malcolm
_^<a_!T6589_EDWARDS_^>a_ he was one of the prime movers in the 8-strong collective which founded _^<a_!T3791_INTERZONE_^>a_ in 1982, eventually becoming its sole editor and publisher in 1988 and co-editing all 5 anthologies taken from the magazine:
_^<i_Interzone: The First Anthology_^>i_ (anth _^<b_1985_^>b_) with John _^<a_!T769_CLUTE_^>a_ and Colin _^<a_!T4847_GREENLAND_^>a_, _^<i_Interzone: The 2nd Anthology_^>i_ (anth _^<b_1987_^>b_) with Clute and Simon Ounsley, _^<i_Interzone: The 3rd
Anthology_^>i_ (anth _^<b_1988_^>b_) with Clute and Ounsley, _^<i_Interzone: The 4th Anthology_^>i_ (anth _^<b_1989_^>b_) with Clute and Ounsley, and _^<i_Interzone: The 5th Anthology_^>i_ (anth _^<b_1991_^>b_) with Clute and Lee Montgomerie. As
Series Editor for GW Books 1988-91 he was responsible (in tandem, from 1990, with Neil Jones) for commissioning and publishing several _^<a_!T2127_SHARED-WORLD_^>a_ fantasy and sf novels tied to _^<a_!T4596_GAMES WORKSHOP_^>a_ games like
_^<b_Warhammer_^>b_ and _^<b_Dark Future_^>b_, notably including titles by Kim _^<a_!T3173_NEWMAN_^>a_ (as Jack Yeovil), Brian M. _^<a_!T2385_STABLEFORD_^>a_ (as Brian Craig) and David S. _^<a_!T4619_GARNETT_^>a_ (as David Ferring). For GW he also
edited some tied anthologies, including _^<i_Ignorant Armies_^>i_ * (anth _^<b_1989_^>b_), _^<i_Wolf Riders_^>i_ * (anth _^<b_1989_^>b_) and _^<i_Red Thirst_^>i_ * (anth _^<b_1990_^>b_) in the _^<b_Warhammer_^>b_ series, _^<i_Route 666_^>i_ * (anth
_^<b_1990_^>b_) in the _^<b_Dark Future_^>b_ series, and _^<i_Deathwing_^>i_ * (anth _^<b_1990_^>b_) with Neil Jones in the _^<b_Warhammer 40,000_^>b_ series. In 1991 he began a second magazine, _^<i_Million: The Magazine about Popular
Fiction_^>i_, some of whose articles deal with sf or fantasy writers._^<n__^<n_As a critic, DP's long advocacy of the works of J.G. _^<a_!T378_BALLARD_^>a_ was developed in _^<i_J.G. Ballard: The First Twenty Years_^>i_ (anth _^<b_1976_^>b_ chap)
ed with James Goddard, _^<i_Earth is the Alien Planet: J.G. Ballard's Four-Dimensional Nightmare_^>i_ (_^<b_1979_^>b_ chap US) and _^<i_J.G. Ballard: A Primary and Secondary Bibliography_^>i_ (_^<b_1984_^>b_ US). He then produced several guides to
sf, fantasy and popular literature in alphabetized format: _^<i_Science Fiction: 100 SF Authors_^>i_ (_^<b_1978_^>b_ chap), _^<i_Science Fiction: The 100 Best Novels: An English-Language Selection, 1949-1984_^>i_ (_^<b_1985_^>b_), _^<i_Imaginary
People: A Who's Who of Modern Fictional Characters_^>i_ (_^<b_1987_^>b_; rev 1989), _^<i_Modern Fantasy: The Hundred Best Novels: An English-Language Selection, 1946-1987_^>i_ (_^<b_1988_^>b_) and _^<i_The Ultimate Guide to Science Fiction: An A-Z
of SF Books_^>i_ (_^<b_1990_^>b_) with Ken Brown (uncredited). DP's lack of an intuitive grasp of US sf could perhaps be detected in the 1949 inception date for books covered in the first of these (a significant few years after the beginning of the
_^<a_!T2261_SMALL-PRESS_^>a_ movement in the USA), but the 200 short essays accumulated in that and the volume on fantasy provide a valuable conspectus of fantastic literature over the chosen timespan. DP also edited a retrospective collection of
Theodore _^<a_!T5810_STURGEON_^>a_'s stories, _^<i_A Touch of Sturgeon_^>i_ (coll _^<b_1987_^>b_ UK). He contributed some major entries to the first edition of this encyclopedia and revised his _^<a_!T378_BALLARD_^>a_ entry for the current edition.
UK tv series (1967-8). An Everyman Films prod for ATV. Prod David Tomblin. Created, starring and partly written/dir Patrick McGoohan; other writers included George Anthony Skene, Terence Feely; other dirs included Don Chaffey, Pat Jackson. Script ed
George Markstein. 17 50min episodes. Colour._^<n__^<n_In this _^<a_!T3963_KAFKA_^>a_-esque, sf-related series a UK ex-secret agent (McGoohan), who for unknown reasons has resigned from his organization, is gassed in his apartment and wakes to find
himself in The Village: a mysterious establishment whose geographical location is ambiguous and whose inhabitants consist of either rebels like himself or stooges of "Them" -- the people who run the place. The former spy (McGoohan had previously
starred in a spy series called _^<i_Danger Man_^>i_) is unable to discover just who "They" are -- perhaps the communists, perhaps his own government. His every movement in The Village -- externally a cross between a bland Mediterranean holiday camp
and an old people's home (in reality the bizarre resort of Portmeirion, Wales, designed by the architect Sir Clough Williams-Ellis [1883-1978] from 1926 until his death) -- is watched by "Number Two" and his staff on video. Various episodes concern
his attempts to escape from The Village, his neverending search for the unseen Number One, and the efforts of the different Number Twos (they change with each episode) to break him and discover why he resigned. The most obvious sf elements are the
balloon-shaped _^<a_!T2646_ROBOT_^>a_ watchdogs and the complex brainwashing and surveillance equipment, including devices that project thoughts onto a screen._^<n__^<n_McGoohan is a puritan (no kissing on screen) and an acknowledged political
conservative. The many liberal supporters of the series may have misinterpreted its libertarian emphasis on individual strength, especially the power to resist incursions into one's mind, seeing the series instead as a plea for human rights and
especially democratic freedoms. The excellent, surrealist last episode interestingly renders the _^<a_!T1939_POLITICS_^>a_ of the whole series retrospectively ambiguous by suggesting that our metaphorical prisons may be self-imposed. The Prisoner
who continues to resist brainwashing may have brainwashed himself into a prison of the mind. The series' thesis may be that freedom is impossible, as is opting out._^<n__^<n__^<i_TP_^>i_, not popular at first, soon developed an enthusiastic cult
following which has lasted for over two decades, especially for its thought-provoking aspects and its deliberate bafflements, unusual in tv drama. It has been repeated on tv several times in the UK and shown in the USA. Its confident manipulations
of Surrealist and sf themes, its literate scripts, its sophisticated understanding of visual metaphor and its enjoyably obsessive evocations of a whole range of fantasies of _^<a_!T1795_PARANOIA_^>a_ together created what is in the opinion of many
-- often those discontented with _^<a_!T2342_SPACE OPERA_^>a_ -- the finest sf tv series to date. Its strengths in many respects resemble those of the late-1980s tv cult favourite _^<i_Twin Peaks_^>i_. Novels based on the series are _^<i_The
Prisoner_^>i_ * (_^<b_1969_^>b_) by Thomas M. _^<a_!T1244_DISCH_^>a_, _^<i_The Prisoner No. 2_^>i_ * (_^<b_1969_^>b_) by David _^<a_!T6316_MCDANIEL_^>a_ and _^<i_The Prisoner 3: A Day in the Life_^>i_ * (_^<b_1970_^>b_) by Hank
_^<a_!T5746_STINE_^>a_. Two of several books about the series are _^<i_The Official Prisoner Companion_^>i_ (_^<b_1988_^>b_), by Matthew White and Jaffer Ali, and _^<i_The Prisoner and Danger Man_^>i_ (_^<b_1989_^>b_) by Dave Rogers. A comic-book
series (4 numbers 1988-9), originally from _^<a_!T1115_DC COMICS_^>a_, served as a sequel to the tv series. [JB/PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T1696_GAMES AND TOYS_^>a_.
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PRISONERS OF GRAVITY
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Canadian tv series (1990-93). TVOntario; also broadcast on La Chaine Francaise. Prod/dir Gregg Thurlbeck, written and presented Rick Green. Four seasons. 30 mins per programme. Colour._^<n__^<n_The premise of this vigorous and surprisingly
successful series -- not a drama series but a talk show about speculative fiction, probably the only such programme in the world -- was that Commander Rick (Rick Green) operates a pirate broadcasting station from the communications satellite in
which he lives, and intercepts TVOntario's signals once a week, substituting his own quickfire discussions of various sf themes. Quick cutting and Rick's aggressive, well informed, jokey style (he is an ex-comedian as well an an sf expert) won the
programme a cult following. The major cultural breakthrough was Rick's presentation of _^<a_!T820_COMICS_^>a_ artists as deserving equal guest time with sf writers, and viewers have been able to see for themselves that, say, Neil
_^<a_!T1675_GAIMAN_^>a_, Jean _^<a_!T4718_GIRAUD_^>a_, Frank _^<a_!T2953_MILLER_^>a_ and Bill _^<a_!T2206_SIENKEWICZ_^>a_ appear just as thoughtful as, say, Douglas _^<a_!T31_ADAMS_^>a_, Gregory _^<a_!T526_BENFORD_^>a_, Harlan
_^<a_!T6641_ELLISON_^>a_ and William _^<a_!T4689_GIBSON_^>a_. Horror writers such as Clive Barker (1952- ) and fantasy writers such as Guy Gavriel Kay (1954- ) were also included. The wide range of themes explored covers everything from Chaos
Theory to Women's Issues and The Family. _^<i_POG_^>i_ won an Aurora award in 1994, posthumously so to speak, for "Best Other Work in English". Reruns of the series are expected on the new Canada Discovery channel. [PN]_^<n__^<n_
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PRISONS
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> _^<a_!T811_COLONIZATION OF OTHER WORLDS; CRIME AND PUNISHMENT_^>a_._^<n__^<n_
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PRIVILEGE
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Film (1967). Worldfilm Services and Memorial Enterprises/Universal. Dir Peter _^<a_!T5479_WATKINS_^>a_, starring Paul Jones, Jean Shrimpton, Mark London, Max Bacon. Screenplay Norman Bogner, based on a story by Johnny Speight. 103 mins.
Colour._^<n__^<n_A successful rock-star (Jones) is used by a _^<a_!T6337_NEAR-FUTURE_^>a_ UK government as a puppet _^<a_!T2918_MESSIAH_^>a_ to manipulate the opinions of the youthful citizens. He is forced to change his image to suit the plans of
the Establishment, but rebels, only, ironically, to be destroyed by his teenage followers. Watkins, who also directed _^<i_The_^<a_!T5456_WAR GAME_^>a__^>i_ (1965), _^<a_!T4722_GLADIATORERNA_^>a_ (1968) and _^<a_!T2036_PUNISHMENT PARK_^>a_ (1970),
thumps his tub with a heavy hand; but, though simplistic, _^<i_P_^>i_ was ahead of its time in its depiction of government attempts to co-opt and domesticate the disaffection of the young, a theme of real importance, still rare in the commercial
_^<a_!T726_CINEMA_^>a_ -- which, after all, does much the same thing. [JB/PN]_^<n__^<n_
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PRIX APOLLO
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> _^<a_!T6321_AWARDS_^>a_._^<n__^<n_
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PRIX DU DANGER, LE
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(vt _^<i_The Prize of Peril_^>i_) Film (1983). Swanie/TFI/UGC-Top 1/Avala. Dir Yves Boisset, starring Gerard Lanvin, Michel Piccoli, Marie-France Pisier. Screenplay Boisset, Jan Curtelin, based on "The Prize of Peril" (1958) by Robert
_^<a_!T2164_SHECKLEY_^>a_. 98 mins, cut to 88 mins in English-dubbed version. Colour._^<n__^<n_In this French/Yugoslav coproduction, a man volunteers for the tv game show "The Prize of Peril", in which anyone who can escape being murdered in the
streets by trained killers (the whole event being televised) can win large cash prizes. To a large extent the game is rigged. The resourceful victim makes it back to the studio and exposes the sham before being carried off in a straitjacket. A
fairly routine action movie masquerades as a morally outraged assault on media corruption. A later film, _^<i_The_^<a_!T2733_RUNNING MAN_^>a__^>i_ (1987), bears an astonishing resemblance. [PN]_^<n__^<n_
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PRIX JULES VERNE
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> _^<a_!T6321_AWARDS_^>a_._^<n__^<n_
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PRIX ROSNY AINE
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> _^<a_!T6321_AWARDS_^>a_._^<n__^<n_
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PRIZE OF PERIL, THE
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> _^<i_Le_^<a_!T2001_PRIX DU DANGER_^>a__^>i_ ._^<n__^<n_
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PROCTOR, GEO(RGE) W.
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(1946- ) US writer who began publishing sf with _^<i_The Esper Transfer_^>i_ (_^<b_1978_^>b_), a modest sf adventure whose telepathic protagonist must escape various dangers. Although varied in its use of sf devices, and inventively constructed
so as to allow its protagonists some room for personal relationships, his work has not exhibited sufficient innovation or energy to bring him into wide repute. Other sf titles include _^<i_Shadowman_^>i_ (_^<b_1980_^>b_), again involving telepaths,
_^<i_Fire at the Center_^>i_ (_^<b_1981_^>b_) and _^<i_Starwings_^>i_ (_^<b_1984_^>b_), both involving _^<a_!T6026_TIME TRAVEL_^>a_, and _^<i_Stellar Fist_^>i_ (_^<b_1989_^>b_), in which the discovery of a doom machine must somehow be controlled,
once again through the actions of a telepath. GWP's collaborations with Andrew J. _^<a_!T3296_OFFUTT_^>a_, both writing as John Cleve -- _^<i_Spaceways #7: The Manhuntress_^>i_ * (_^<b_1982_^>b_) and _^<i_#10: The Yoke of Shen_^>i_ *
(_^<b_1983_^>b_) -- and his two "V" ties-_^<i_The Chicago Conversion_^>i_ * (_^<b_1985_^>b_) and _^<i_The Texas Run_^>i_ * (_^<b_1985_^>b_) -- are of less interest. GWP ed _^<i_Lone Star Universe: Speculative Fiction from Texas_^>i_ (anth
_^<b_1976_^>b_) with Steve _^<a_!T5302_UTLEY_^>a_, which presents material of considerable interest, and _^<i_The Science-Fiction Hall of Fame #3: The Nebula Winners 1965-69_^>i_ (anth _^<b_1982_^>b_) with Arthur C. _^<a_!T736_CLARKE_^>a_.
[JC]_^<n__^<n__^<b_Other works:_^>b_ The _^<b_Swords of Raemllyn_^>b_ fantasy sequence, all with Robert E. _^<a_!T5334_VARDEMAN_^>a_: _^<i_A Yoke of Magic_^>i_ (_^<b_1985_^>b_), _^<i_To Demons Bound_^>i_ (_^<b_1985_^>b_), _^<i_Blood Fountain_^>i_
(_^<b_1985_^>b_), _^<i_The Beasts of the Mist_^>i_ (_^<b_1986_^>b_) and _^<i_For Crown and Kingdom_^>i_ (_^<b_1987_^>b_).
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PROJECT MOONBASE
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Film (1953). Galaxy Pictures/Lippert. Dir Richard Talmadge, starring Donna Martell, Ross Ford, Larry Johns, Hayden Rorke. Screenplay Robert A. _^<a_!T4376_HEINLEIN_^>a_, Jack Seaman. 63 mins, cut to 51 mins. B/w._^<n__^<n_This rarely seen film is of
interest mainly because Heinlein worked on the screenplay. A three-strong expedition takes off from a space station orbiting Earth to select a site for a Moonbase from lunar orbit, but their rocket crashlands on the Moon. One of the three -- a
foreign spy (Johns) -- subsequently dies and the others, a man (Ford) and the woman team leader, coyly named Colonel Breiteis (Martell), though doomed, are married via television by the President of the USA (who, in a typical Heinlein touch, is
also a woman). The ambitious idea, with its confident taking for granted of future _^<a_!T5916_TECHNOLOGY_^>a_, is undermined by melodramatics, poor performances, and sets designed for tv, this being the theatrical release of an unsold pilot for a
projected tv series, <Ring Around the Moon>. [JB]_^<n__^<n_
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PROJECT UFO
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US tv series (1978-79). A Mark VIII Ltd Production/NBC. Executive prod Jack Webb; created Harold Jack Bloom; prod Col. William T. Coleman. Starring William Jordan as Major Jake Gatlin, Caskey Swaim as Sgt Harry Fisk, Aldine King as Libby Virdon,
Edward Winter (season 2) as Capt Ben Ryan. Dirs included Richard Quine, Dennis Donnelly, Robert Leeds, John Patterson, Rich Greer. Writers included Harold Jack Bloom, Donald L. Gold, Robert Blees. 2 seasons, 26 50min numbered episodes.
Colour._^<n__^<n_In terms of the size of viewing audience, this was the most successful US sf tv series ever made. The premise is that USAF investigators, belonging to a special unit code-named Project Blue Book, each week look into a supposed
_^<a_!T5271_UFO_^>a_ (i.e., flying-saucer) sighting. Some of the cases prove to be hoaxes, some misunderstandings of other phenomena; but most turn out to be genuine. _^<i_PUFO_^>i_, which assumed the air of drama-documentary, was tabloid tv at its
most naked, aimed directly and cynically at a credible audience greedy for wonders. Given the overall similarity of the plot-lines, it is astonishing that 2 seasons were wrung from it. Executive prod Webb is remembered by older viewers as the
gravel-voiced presenter of _^<i_Dragnet_^>i_. [PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T1795_PARANOIA_^>a_.
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PROJECT X
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Film (1987). Amercent Films-American Entertainment Partners/20th Century-Fox. Dir Jonathan Kaplan, starring Matthew Broderick, Helen Hunt, Bill Sadler, Johnny Ray McGhee. Screenplay Stanley Weiser, based on a story by Weiser, Lawrence Lasker. 103
mins, cut to 91 mins. Colour._^<n__^<n_A trainee airman (Broderick), in trouble for joyriding, is sent to work in an experimental USAF establishment where chimps are being trained in flying simulators; the sinister premise (gradually uncovered) is
that, if successfully taught, they can be used on operations where pilots would be subjected to heavy radiation. Several chimps are deliberately irradiated to death. The young airman, who has bonded with an intelligent chimp that understands sign
language, helps foment rebellion, escapes with the chimps, and _^<i_en passant_^>i_ prevents a nuclear meltdown; of course, the chimps themselves finally save the day -- by flying a plane to safety. Wholly absurd, emotionally manipulative and
anthropomorphically sentimental, the film is nevertheless very neatly crafted, evoking with real panache, through its jittery, unnerving imagery, all kinds of subtexts that are more intelligent than the plot would suggest. [PN]_^<n__^<n_
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PROMETHEUS AWARD
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> _^<a_!T6321_AWARDS_^>a_._^<n__^<n_
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PRONZINI, BILL
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Working name of US writer William John Pronzini (1943- ), prolific and admired in several genres, notably crime fiction, since his first book, _^<i_The Stalker_^>i_ (_^<b_1971_^>b_). Though he has published some very effective
_^<a_!T4509_HORROR_^>a_, including _^<i_Masques: A Novel of Terror_^>i_ (_^<b_1981_^>b_), and several other novels -- including _^<i_Night Screams_^>i_ (_^<b_1979_^>b_) and _^<i_Prose Bowl_^>i_ (_^<b_1980_^>b_), both with Barry N.
_^<a_!T3629_MALZBERG_^>a_, the latter being sf -- as well as _^<i_Beyond the Grave_^>i_ (_^<b_1986_^>b_) with Marcia Muller, his main importance to the field of the fantastic lies in his anthologies. Relevant titles include: _^<i_Dark Sins, Dark
Dreams: Crime in Science Fiction_^>i_ (anth _^<b_1978_^>b_) with Malzberg; _^<i_Midnight Specials_^>i_ (anth _^<b_1978_^>b_); _^<i_Werewolf!_^>i_ (anth _^<b_1979_^>b_); _^<i_The End of Summer_^>i_ (anth _^<b_1979_^>b_; vt _^<i_The Fifties: The End
of Summer_^>i_ 1979), _^<i_Shared Tomorrows: Science Fiction in Collaboration_^>i_ (anth _^<b_1979_^>b_) and _^<i_Bug-Eyed Monsters_^>i_ (anth _^<b_1980_^>b_), these 3 being with Malzberg; _^<i_Voodoo!: A Chrestomathy of Necromancy_^>i_ (anth
_^<b_1980_^>b_), _^<i_Mummy!: A Chrestomathy of Crypt'ology_^>i_ (anth _^<b_1981_^>b_) and _^<i_Creature!: A Chrestomathy of "Monstery"_^>i_ (anth _^<b_1981_^>b_), all assembled as _^<i_The Arbor House Necropolis -- Voodoo! Mummy! Ghoul!_^>i_ (omni
_^<b_1981_^>b_; with 1 story cut, vt _^<i_Tales of the Dead_^>i_ 1986); _^<i_The Arbor House Treasury of Mystery and Suspense_^>i_ (anth _^<b_1981_^>b_; with 1 story cut, vt _^<i_Great Tales of Mystery and Suspense_^>i_ 1985) with Malzberg and
Martin H. _^<a_!T4842_GREENBERG_^>a_; _^<i_The Arbor House Treasury of Horror and the Supernatural_^>i_ (anth _^<b_1981_^>b_; with 1 story cut, vt _^<i_Great Tales of Horror & the Supernatural_^>i_ 1985; text restored, vt _^<i_Classic Tales of
Horror and the Supernatural_^>i_ 1991; again cut, vt _^<i_The Giant Book of Horror Stories_^>i_ 1991) with Malzberg and Greenberg; _^<i_Specter!: A Chrestomathy of "Spookery"_^>i_ (anth _^<b_1982_^>b_); and _^<i_Witches' Brew: Horror and
Supernatural Stories by Women_^>i_ (anth _^<b_1984_^>b_) with Muller. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T6697_ESP_^>a_.
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PROPHECY
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Film (1979). Paramount. Dir John _^<a_!T1598_FRANKENHEIMER_^>a_, starring Talia Shire, Robert Foxworth, Armand Assante, Richard Dysart. Screenplay David Seltzer. 102 mins. Colour._^<n__^<n_A mercuric fungicide used by a Maine pulp-mill has mutagenic
effects, bringing Minimata disease and miscarriages to the local Native Americans and creating gigantism among the area's wildlife, notably a _^<a_!T3119_MUTANT_^>a_ bear-creature responsible for many human deaths. All this is discovered by a
crusading doctor and his pregnant wife. A surprisingly poor film from Frankenheimer -- muddy photography, risible monster, eco-cliche script, wooden performances, stumbling action sequences -- _^<i_P_^>i_ is a rather crass example of the many
revenge-of-Nature films (> _^<a_!T3011_MONSTER MOVIES_^>a_) made from the mid-1970s to cash in on the increase in the community of legitimate concern for _^<a_!T6576_ECOLOGY_^>a_. [PN]_^<n__^<n_
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PROSPERO AND CALIBAN
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> Frederick _^<a_!T2679_ROLFE_^>a_._^<n__^<n_
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PROTO SCIENCE FICTION
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Meaningful use of the term "proto science fiction" obviously depends on one's _^<a_!T1142_DEFINITION_^>a_ of the term "science fiction"; indeed, the quest for sf's literary ancestry and "origins" is as much a dimension of the problem of definition
as a backward extrapolation of the _^<a_!T4443_HISTORY OF SF_^>a_. If by sf we mean _^<i_labelled_^>i_ or _^<a_!T4659_GENRE SF_^>a_, everything published before 1926 would become proto sf; but Hugo _^<a_!T4668_GERNSBACK_^>a_ clearly believed that
he was merely attaching a name to a genre which already existed-he considered H.G. _^<a_!T5528_WELLS_^>a_, Jules _^<a_!T5355_VERNE_^>a_ and Edgar Allan _^<a_!T1933_POE_^>a_ to be "scientifiction" writers, and reviewers of the 1890s seeking to
characterize the kind of work which Wells was doing had already identified a genre of _^<a_!T2878_SCIENTIFIC ROMANCE_^>a_, which included Verne, his UK imitators, and such writers as George _^<a_!T4871_GRIFFITH_^>a_. Brian W. _^<a_!T87_ALDISS_^>a_
argues in _^<i_Billion Year Spree_^>i_ (_^<b_1973_^>b_; exp vt _^<i_Trillion Year Spree_^>i_ _^<b_1986_^>b_ with David _^<a_!T5653_WINGROVE_^>a_) that one can trace a coherent literary tradition of sf to its point of origin in Mary
_^<a_!T2173_SHELLEY_^>a_'s _^<i_Frankenstein, or The Modern Prometheus_^>i_ (_^<b_1818_^>b_; rev 1831) (> _^<a_!T4780_GOTHIC SF_^>a_). Darko _^<a_!T5858_SUVIN_^>a_'s study of _^<i_Victorian Science Fiction in the UK_^>i_ (_^<b_1983_^>b_), on the
other hand, states that "if ever there was in the history of a literary genre one day when it can be said to have begun, it is May Day 1871 for UK sf", that being the day on which Lord _^<a_!T3510_LYTTON_^>a_'s _^<i_The Coming Race_^>i_ and the
magazine version of George _^<a_!T5257_CHESNEY_^>a_'s _^<i_The Battle of Dorking_^>i_ appeared, and on which Samuel _^<a_!T5106_BUTLER_^>a_ handed in the manuscript of _^<i_Erewhon_^>i_ (_^<b_1872_^>b_). Other writers, including Peter
_^<a_!T3189_NICHOLLS_^>a_, have argued that sf is merely a continuation, without any true hiatus, of a much more ancient tradition of imaginative fiction whose origins are lost in the mythical mists and folkloric fogs of oral tradition. If this
were accepted there would be no proto sf at all, and sf's history would begin with, say, _^<a_!T4490_HOMER_^>a_'s _^<i_Odyssey_^>i_ and continue with _^<a_!T3479_LUCIAN_^>a_'s _^<i_True History_^>i_._^<n__^<n_It seems reasonable to argue that we
cannot sensibly define something called "science fiction" until we can characterize both "science" and "fiction" with meanings close to those held by the words today. It was largely due to the rise of the novel -- which made a formal attempt to
counterfeit real experience -- that it became appropriate to draw a basic distinction between the types of discourse used for nonfictional commentary and the types used for "fiction". The standardized nonfictional forms of today -- the essay, the
treatise and the scientific paper -- were still in the early stages of their evolution in the late 18th century. Logically, therefore, it seems inappropriate to describe as "science fiction" anything published in the early 18th century or before.
Indeed, so intimately connected is our sense of the word "fiction" with the growth of the novel that it would seem most sensible to begin our reckoning of what might be labelled "science fiction" with the first speculative work which is both a
novel and manifests a clear awareness of what is and is not "science" in the modern sense of the word. Willem _^<a_!T599_BILDERDIJK_^>a_'s _^<i_A Short Account of a Remarkable Aerial Voyage and Discovery of a New Planet_^>i_ (_^<b_1813_^>b_; trans
_^<b_1987_^>b_) and _^<i_Frankenstein_^>i_ both fit this definition well enough, although sceptics might argue that the supposed tradition which extends from them is very tenuous, and that no obvious precursor of Vernian and Wellsian scientific
romance appeared before Chrysostom _^<a_!T6106_TRUEMAN_^>a_'s _^<i_History of a Voyage to the Moon_^>i_ (_^<b_1864_^>b_)._^<n__^<n_There are, of course, pre-19th-century works which, with the aid of hindsight, we can now unequivocally locate within
the literature of the scientific imagination, notably Francis _^<a_!T347_BACON_^>a_'s _^<i_New Atlantis_^>i_ (1627; _^<b_1629_^>b_), Johannes _^<a_!T4037_KEPLER_^>a_'s _^<i_Somnium_^>i_ (_^<b_1634_^>b_) and Gabriel _^<a_!T1051_DANIEL_^>a_'s
_^<i_Voyage to the World of Cartesius_^>i_ (_^<b_1692_^>b_). These would have been considered by their authors to be works of philosophy, although they are cast in a form (the imaginary voyage) which we now consider to be a species of fiction. Some
_^<a_!T2812_SATIRES_^>a_ also referred to contemporary scientific endeavours, most notably the third book of Jonathan _^<a_!T5873_SWIFT_^>a_'s _^<i_Gulliver's Travels_^>i_ (_^<b_1726_^>b_), which also co-opts some of the techniques of formal
realism associated with early novels; but such works usually extrapolate scientific ideas only to deride their follies. The quasisatirical _^<i_contes philosophiques_^>i_ of _^<a_!T5394_VOLTAIRE_^>a_ include _^<i_Micromegas_^>i_ (_^<b_1750_^>b_),
which might also be considered an apt point of origin for sf if one were to embrace the common theory that it is the short story rather than the novel which is sf's natural form. On balance, however, it seems more sensible to consider all these as
significant works of proto sf. The question as to which other works may be identified likewise, and the extent to which they might be considered important in defining the literary influences and patterns of literary expectation which have
contributed to the shaping of sf, is a difficult one -- and possible a sterile one, since we could argue that literary influences have contributed little to the effective shaping of _^<a_!T4659_GENRE SF_^>a_. Other influences -- historical and
social-have certainly been important, and very probably more important, but the influence on sf of earlier traditions in fantastic literature should not be minimized: much sf, even the roughest-hewn _^<a_!T2033_PULP-MAGAZINE_^>a_ sf, has been
written with much earlier literary models in mind._^<n__^<n_The species of proto sf which has exerted most influence on sf and on attitudes towards it is undoubtedly the imaginary voyage (> _^<a_!T1410_FANTASTIC VOYAGES_^>a_). Those generally
identified as being the closest kin to modern sf are the lunar voyages whose history is chronicled in Marjorie Hope _^<a_!T3195_NICOLSON_^>a_'s excellent study _^<i_Voyages to the Moon_^>i_ (_^<b_1948_^>b_). Many attempts have been made to
incorporate the history of sf into this tradition, including Patrick _^<a_!T3035_MOORE_^>a_'s _^<i_Science and Fiction_^>i_ (_^<b_1957_^>b_), Roger Lancelyn _^<a_!T4836_GREEN_^>a_'s _^<i_Into Other Worlds_^>i_ (_^<b_1957_^>b_) and Russell
Freedman's _^<i_2000 Years of Space Travel_^>i_ (_^<b_1963_^>b_). This view makes Francis _^<a_!T4742_GODWIN_^>a_'s _^<i_The Man in the Moone_^>i_ (_^<b_1638_^>b_), _^<a_!T1019_CYRANO DE BERGERAC_^>a_'s _^<i_Other Worlds_^>i_ (_^<b_1657-62_^>b_)
and other interplanetary satires the key works of proto sf, although the methods of travel employed are calculatedly absurd. The cynical incredulity of many such stories, however, commends them to the sceptical scientific worldview, and we must
remember that scientific fidelity in speculation is only one of the characteristic demands made of modern sf (> _^<a_!T1142_DEFINITIONS_^>a_). Sheer invention -- the bolder the better -- has always played an important part in sf, and to a large
extent the effectiveness of sf derives from the _^<i_pretence_^>i_ to scientific fidelity which asks that wild flights of the imagination be considered _^<i_as if_^>i_ they were serious hypotheses. On this basis we can find a close kinship between
sf and the traveller's tale, which attempts to make interesting fantasies palatable by reference to exotic distant lands; Lucian's _^<i_True History_^>i_ is important as a sceptical reminder of the tendency of such tales to exaggerate wildly.
Understandable difficulties arise with those travellers' tales whose apparatus is concerned with the religious imagination rather than with secular fabulation: Emanuel _^<a_!T5869_SWEDENBORG_^>a_'s cosmic visions -- which include some interesting
descriptions of _^<a_!T3385_LIFE ON OTHER WORLDS_^>a_ -- are not frequently cited as examples of proto sf, although Larry _^<a_!T3223_NIVEN_^>a_ and others have argued that the cosmological speculations in _^<a_!T1057_DANTE ALIGHIERI_^>a_'s
_^<i_Divine Comedy_^>i_ entitle it to be considered a highly significant work in the proto-genre. It should perhaps be remembered that the distinction between scientific thought and religious thought, like the distinction between fiction and
nonfiction, has not always been nearly as clearcut as it seems today; moreover, the classics of the religious imagination were frequently echoed in sf, not always with the intention of subverting their messages. Although such works as Milton's
_^<i_Paradise Lost_^>i_ (_^<b_1667_^>b_; rev 1674) and Bunyan's _^<i_Pilgrim's Progress_^>i_ (_^<b_1678_^>b_; exp 1684) can hardly be said to take much account of scientific knowledge, they have established literary archetypes of considerable
importance, and analogies may be drawn between the kinds of fantastic environment which they establish and those used in many sf stories._^<n__^<n_It is worth noting that the literary tradition of _^<a_!T5303_UTOPIAS_^>a_ -- which are also usually
cast as imaginary voyages -- is not as intimately connected with sf as it might seem. Utopian speculation is echoed in contemporary sf primarily because sf writers have adopted a stereotyped "utopian scenario" as one of the standard environments
for futuristic adventure; there is less actual utopian philosophy in modern sf than one might expect. Contrastingly, there is far more transplanted _^<a_!T3135_MYTHOLOGY_^>a_ than any widely accepted definition could lead us to expect. If any one
imaginary voyage has had a far more than appropriate share of influence on the genre it is Homer's _^<i_Odyssey_^>i_, of which there are at least 5 straightforward sf transmogrifications. Of course, the _^<i_Odyssey_^>i_ is not only an imaginary
voyage: it also incorporates two literary forms which more or less died out in the later historical periods under consideration here: the hero-myth and what was then its corollary, the _^<a_!T3008_MONSTER_^>a_ story. Both forms have been revived
within sf, and there are clear structural and ideative links between many sf stories and legendary constructions of these kinds. There are sf stories explicitly based on the story of the Argonauts, the labours of Hercules and such early literary
exercises as _^<i_Beowulf_^>i_, although sf's _^<a_!T4395_HEROES_^>a_ are characteristically conceived in a rather different way from those of the ancient hero myths._^<n__^<n_There still remain for consideration the other prose-forms current in
the 17th and 18th centuries whose status as "fiction" or "nonfiction" is not so easy to establish with hindsight: the dialogue, the meditation and the history. The dramatic dialogue was quite popular as a medium for imaginative literature in
19th-century France, its most flamboyant product being Edgar Quinet's _^<i_Ahasverus_^>i_ (_^<b_1833_^>b_); Poe's "Conversation of Eiros and Charmion" (1838) is a notable work of early sf cast in this form. Dialogue is now subsumed within ordinary
narrative form, but there are numerous notable sf stories which are basically _^<i_contes philosophiques_^>i_ cast as dialogues; genre sf, despite the priority which the pulps put on action-adventure, has been reasonably hospitable to such
exercises. Even though we now classify them as nonfiction, we should be prepared to concede an important role in the history of proto sf to the basic strategy employed in _^<a_!T1925_PLATO_^>a_'s dialogues and later works in the same vein by
Galileo Galilei (1564-1642) and David Hume (1711-1776). Socratic debate and interrogation are extensively used in sf, not merely as a means of exposition but also as a way of developing ideas and exploring their implications; any genre which
attempts to develop speculations logically and rigorously must, obviously, depend to a considerable degree on the Socratic method of examining ideas._^<n__^<n_The meditation seems much less important to the form and development of sf, but the
history is a different matter. The construction of a history, which necessitates connecting events into a coherent narrative, requires both a creative and an orderly imagination (thus combining the essential requirements of the imaginary voyage and
the dialogue). Imaginary histories must be considered alongside imaginary voyages as works which belong to the literary tradition of which modern sf is one product. Many of the early works which attempted to get to grips with the future, described
in the early pages of I.F. _^<a_!T739_CLARKE_^>a_'s _^<i_The Tale of the Future_^>i_ (3rd edn _^<b_1978_^>b_), are cast as histories. Mention must also be made in this context of the pioneering exercises in alternative history (>
_^<a_!T131_ALTERNATE WORLDS_^>a_) described in the essay "Of a History of Events which Have not Happened" (_^<i_c_^>i_1800) by Isaac d'Israeli (1766-1848)._^<n__^<n_Imaginary voyages and imaginary histories may be formulated in
_^<a_!T1934_POETRY_^>a_ as well as in prose -- several of the works referred to above are verse epics rather than prose discourses -- and a case might obviously be made for including many poems and plays in the literature of the scientific
imagination; but the most important links we can draw between classical literature and sf pertain to the settings in which the stories take place and the apparatus deployed there. With the exception of epic poetry, neither poetry nor drama is
strong in this sense. This is not to say that sf cannot be adapted to poetry or to the _^<a_!T5959_THEATRE_^>a_ (there are some classic sf plays), but the importance of poetry and drama to any sf tradition is restricted, and it is difficult to
argue convincingly that Shelley's _^<i_Prometheus Unbound_^>i_ (_^<b_1820_^>b_) and Shakespeare's _^<i_The Tempest_^>i_ (_^<b_1623_^>b_) are significant works of proto sf._^<n__^<n_The attempt to identify a coherent tradition of proto sf is vain,
in more than one sense of that word. Without a doubt, individual works of classical literature can be shown to be ancestral in certain respects to occasional themes of sf, but we devalue the word "tradition" if we use it to describe a series of
isolated juxtapositions. To say that an assembly of illustrious literary works constitutes such a tradition is a form of self-congratulation on the part of the sf writer/reader/critic akin to that of a prostitute who claims to be operating in the
tradition of Cleopatra and Madame de Pompadour, even though in an obvious respect she is correct. Sf is a form of literature and can lay claim to all of literary history as its background if its adherents so wish, but this does not mean that we can
turn the historical sequence on its head and claim that sf is the logical culmination of the "great tradition of proto sf", or the sole beneficiary of its heritage. Nevertheless, going back into literary history with the intention (however
eccentric it may be) of classifying literary works according to their various similarities with modern sf is not a complete waste of time. It may serve as a reminder that sf, like prostitutes, is not a mere accident of circumstance, and that it is
not -- either in the literal or in the commonplace sense of the word -- inconsequential. [BS]_^<n__^<n_
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PROUMEN, HENRI-JACQUES
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[r] > _^<a_!T524_BENELUX_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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PRUYN, LEONARD
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(1898-1973) US writer who began publishing sf with "In Time of Sorrow" in _^<i_Authentic_^>i_ in 1954 and continued with an sf novel, _^<i_World without Women_^>i_ (_^<b_1960_^>b_) with Day _^<a_!T4003_KEENE_^>a_, about the violent consequences to
the world of the loss of its women (> _^<a_!T5683_WOMEN AS PORTRAYED IN SCIENCE FICTION_^>a_). [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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PRYOR, VANESSA
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> Chelsea Quinn _^<a_!T6225_YARBRO_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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PSEUDOMAN, AKKAD
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Pseudonym of US writer Edwin Fitch Northrup (1886-1940), whose sf novel _^<i_Zero to Eighty_^>i_ (_^<b_1937_^>b_) tells woodenly of life during the entire 20th century, culminating in technical and pictorial accounts of the building of a
gun-launched _^<a_!T2348_SPACESHIP_^>a_ and of its trip to the Moon. [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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PSEUDONYMS
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Reasons for using pseudonyms are very various, but almost always involve concealment. So obvious is this that it might seem to go without saying; but in fact many reference books altogether disregard the factor of concealment in their use of the
term, and often designate as pseudonyms variations upon real names made to heighten impact (C.J. Cherry, for instance, writes as C.J. _^<a_!T5255_CHERRYH_^>a_), or to shorten or simplify a spelling (Francis A. Jaworski writes as Frank
_^<a_!T3877_JAVOR_^>a_), or to select part of a full or married name for public use (Piers Anthony Jacob writes as Piers _^<a_!T196_ANTHONY_^>a_, and Kate Wilhelm Knight writes under her maiden name, Kate _^<a_!T5606_WILHELM_^>a_). For this
encyclopedia we have chosen to designate as "working names" all such variations; and we restrict the term "pseudonym" to names which, whether or not the author's legal name is known, have no clear lexical relationship to that name (we do not treat
acronyms or mirror spellings as conveying a clear lexical relationship). Thus Christopher _^<a_!T204_ANVIL_^>a_ is a pseudonym for Harry Crosby, as are Bron Fane (a partial acronym) and Trebor Thorpe (the given name here being a mirror spelling)
for Robert Lionel _^<a_!T1427_FANTHORPE_^>a_, and Frederick R. Ewing for Theodore _^<a_!T5810_STURGEON_^>a_. In almost all cases the main entry for individuals covered in this volume, whether authors, editors, illustrators, critics or film-makers,
appears under the name by which they are best known, whether that be the legal name (Isaac _^<a_!T268_ASIMOV_^>a_), the working name (Algis _^<a_!T5064_BUDRYS_^>a_) or the pseudonym (James _^<a_!T6035_TIPTREE_^>a_ Jr)._^<n__^<n__^<i_All_^>i_ the
author's names that have been used for an sf book -- real, working or pseudonymous -- appear in this encyclopedia, either as the headword for an entry or as a cross-reference headword directing the reader to the entry under which they are treated.
Many (but not all) names that have been used only for sf non-book stories are likewise cross-referred, but with the additional notation [s]. Cross-reference entries which designate real figures (who may be collaborators, etc., and who on occasion
may themselves be pseudonymous) are identified with the notation [r]._^<n__^<n_Collaborative pseudonyms, floating pseudonyms and house names are given entries. A collaborative-pseudonym entry will usually give details of books written together
under that name by the authors concerned. A floating-pseudonym entry covers a name which is, in a sense, freely available for anyone who cares to use it. (Ivar _^<a_!T3938_JORGENSEN_^>a_ is an example of a floating pseudonym.) A house name -- which
is a kind of floating pseudonym -- is an imaginary name invented by a publishing company, and such were very frequently used in magazines to conceal the fact that an author had more than one story in a given issue; e.g., had Robert
_^<a_!T2216_SILVERBERG_^>a_ sold 2 stories to a particular issue of a _^<a_!T6269_ZIFF-DAVIS_^>a_ magazine (e.g., _^<a_!T141_AMAZING STORIES_^>a_), one of the stories might be published under a Ziff-Davis house name such as Alexander
_^<a_!T639_BLADE_^>a_ or E.K. _^<a_!T3874_JARVIS_^>a_ -- usually, though not necessarily, the story of which he had less reason to be proud. House names might also be used in a case where an author did not want it known that he was selling stories
to a certain magazine; and (especially in the UK 1950-65) house names were very frequently used by mass-production houses like _^<a_!T1009_CURTIS WARREN_^>a_ or _^<a_!T349_BADGER BOOKS_^>a_ to conceal the fact that a small team of writers was
producing huge numbers of books in whatever genre the firm required._^<n__^<n_Pseudonyms -- as we said -- are forms of concealment. We might add the observation that, in the sf world, pseudonyms were, for many years, very _^<i_common_^>i_. The
reasons for their popularity were various and (generally) obvious. They have always flourished in _^<a_!T2033_PULP-MAGAZINE_^>a_ environments, where writers, being paid pittances for most of the early decades of _^<a_!T4659_GENRE SF_^>a_, were
forced to write voluminously, and often needed to use several names during their years of high production before burn-out; the low prestige of sf also undoubtedly inspired their use; and (perhaps mysteriously) many sf writers have clearly
_^<i_enjoyed_^>i_ the creation and maintenance of pseudonymous identities. The most recent guide to sf pseudonyms -- Roger _^<a_!T2639_ROBINSON_^>a_'s _^<i_Who's Hugh?_^>i_ (_^<b_1987_^>b_) -- contains about 3000 ascriptions, and is already
seriously out of date, having been compiled too early to take properly into account the remarkable 1980s revival in the use of every kind of pseudonym, usually by authors of _^<a_!T6014_TIES_^>a_ and adventure series. The flood of concealment is,
once again, rising. [JC/PN]_^<n__^<n_
-R-
(c) 1995 John Clute and Peter Nicholls
-S-
zallz ztermz zthemez zaboutz
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-A-
PSEUDO-SCIENCE
-T-
Pseudo-sciences are here defined as belief systems which, though adopting a scientific or quasiscientific terminology, are generally regarded as erroneous or unproven by the orthodox scientific community; frequently they not merely disagree with, or
are improbable adjuncts to, accepted science but violate its fundamental tenets. They are not to be confused with the _^<a_!T4595_IMAGINARY SCIENCES_^>a_, which are literary conventions, although the borderline can be blurred, especially with
pseudo-technologies such as _^<a_!T198_ANTIGRAVITY_^>a_ devices._^<n__^<n_The adherents of many of the pseudo-sciences often display an almost religious fervour -- indeed, some pseudo-scientific schools, notably _^<a_!T2881_SCIENTOLOGY_^>a_ (which
is registered as a Church), use terminology that is consciously more religious than scientific. A further aspect is that creators of and believers in pseudo-scientific cults often interpret the scientific establishment's indifference or contempt in
terms of jealousy or even as a self-interested conspiracy designed to conceal the Truth. The type-example of this occurs in ufology (> _^<a_!T5273_UFOS_^>a_), where scientists, politicians, the military, the CIA (especially) and even the presumed
_^<a_!T98_ALIEN_^>a_ crews have been frequently accused of mounting cover-ups of global proportions. (John A. Keel has used the lack of good evidence of alien visitors as an indication that such alien visitors do indeed exist: who else would be
able to mount such an effective cover-up?) Martin _^<a_!T4611_GARDNER_^>a_ has documented such _^<a_!T1795_PARANOIAS_^>a_ in his classic study of pseudo-scientific cults, _^<i_In the Name of Science_^>i_ (_^<b_1952_^>b_; rev vt _^<i_Fads and
Fallacies in the Name of Science_^>i_ 1957), and the cultic aspect of pseudo-scientific belief systems is noted even in the titles of two further surveys of the field: _^<i_Cults of Unreason_^>i_ (_^<b_1973_^>b_) by Dr Christopher Evans, which is
moderately sympathetic, and _^<i_The New Apocrypha_^>i_ (_^<b_1973_^>b_) by John T. _^<a_!T2240_SLADEK_^>a_, which is very comprehensive and occasionally strident. Other works of note include: _^<i_The Natural History of Nonsense_^>i_
(_^<b_1947_^>b_) by Bergen Evans, which concentrates on biological/zoological fallacies; _^<i_Can You Speak Venusian?: A Guide to the Independent Thinkers_^>i_ (_^<b_1972_^>b_; rev 1976), by Patrick _^<a_!T3035_MOORE_^>a_, which is an idiosyncratic
personal survey; _^<i_Science: Good, Bad and Bogus_^>i_ (coll _^<b_1981_^>b_) by Gardner; _^<i_Science and the Paranormal_^>i_ (anth _^<b_1981_^>b_) ed G. Abell and B. Singer; _^<i_Facts and Fallacies: A Book of Definitive Mistakes and Misguided
Predictions_^>i_ (_^<b_1981_^>b_) by Chris _^<a_!T3046_MORGAN_^>a_ and David _^<a_!T4186_LANGFORD_^>a_; _^<i_A Directory of Discarded Ideas_^>i_ (_^<b_1981_^>b_) by John Grant (Paul _^<a_!T425_BARNETT_^>a_); and _^<i_Pseudoscience and the
Paranormal: A Critical Examination of the Evidence_^>i_ (_^<b_1987_^>b_) by T. Hines. _^<i_A Dictionary of Common Fallacies_^>i_ (_^<b_1978_^>b_; rev and exp in 2 vols _^<b_1980_^>b_) by Philip Ward contains a great deal of scattered information on
the pseudo-sciences. The best journal on the topic is probably _^<i_The Skeptical Inquirer_^>i_, published from Buffalo, New York, by the Committee for the Scientific Investigation of Claims of the Paranormal._^<n__^<n_Few people could read any of
these books without finding one or other of their own pet beliefs being dismissed as nonsense; Gardner, for example, has many harsh words about osteopathy, and Sladek is not gentle with Teilhard de Chardin's theories of _^<a_!T6717_EVOLUTION_^>a_
or Marshall McLuhan's ideas about the _^<a_!T2300_SOCIOLOGY_^>a_ of the _^<a_!T3743_MEDIA LANDSCAPE_^>a_; Grant, contrariwise, has been attacked for declining to dismiss some pseudo-sciences as necessarily absurd rather than just exceptionally
unlikely. Such reactions point up the difficulty of defining the topic with any precision, and also indicate that the authors of these books may have prejudices of their own._^<n__^<n_There has always been a close and rather embarrassing link
between the pseudo-sciences and sf. Some commentators have suggested that, at its lowest level, sf appeals to a childishness in readers, an unwillingness to get to grips with the real world-qualities which could equally be ascribed to devotees of
various of the pseudo-sciences. When Gardner wrote in the mid-1950s that "the average fan may very well be a chap in his teens, with a smattering of scientific knowledge culled mostly from science fiction, enormously gullible, with a strong bent
towards occultism, no understanding of scientific method, and a basic insecurity for which he compensates by fantasies of scientific power" he was describing not pseudo-science believers but sf fans; and in part he had a point, given that his
context was a discussion of John W. _^<a_!T5140_CAMPBELL_^>a_ Jr's editorials puffing _^<a_!T2020_PSIONICS_^>a_. Other aspects of mid-1950s magazine sf, notably its tales of _^<a_!T1795_PARANOIA_^>a_, its _^<a_!T5830_SUPERMAN_^>a_ fantasies and its
obsession with _^<a_!T6697_ESP_^>a_, were not inconsistent with Gardner's caricature._^<n__^<n_Pseudo-scientific ideas have a rather different spectrum in sf than outside it. For example, pseudo-medicine is probably the richest (pun intended) area
of pseudo-science, being the region that attracts the most frauds as opposed to sincere theoreticians, yet pseudo-medicine is rarely encountered in sf. An early example is A.E. _^<a_!T5333_VAN VOGT_^>a_'s flirtation in _^<i_Siege of the Unseen_^>i_
(1946 _^<i_ASF_^>i_ as "The Chronicler"; _^<b_1959_^>b_) with the notorious eye exercises devised by William Bates (d1931). Since about the mid-1970s, when ideas of Mind/Body/Spirit became fashionable, the ability of characters to heal themselves
has, in sf, subtly shifted out of the more general category of _^<a_!T2021_PSI POWERS_^>a_ to become regarded as a reasonable consequence of a general enhancement of the mind; such an attitude is found in David _^<a_!T6272_ZINDELL_^>a_'s
_^<i_Neverness_^>i_ (_^<b_1988_^>b_), among very many others. Trepanation -- drilling a hole through the skull in the pineal region in order to improve general and particularly intellectual health, promoted from 1965 by the Dutch theoretician Bart
Huges -- makes a brief appearance in David _^<a_!T970_CRONENBERG_^>a_'s film _^<a_!T2835_SCANNERS_^>a_ (1981). But such examples are trivial in comparison with the huge diversity of pseudo-medical ideas found outside fiction. One sf idea that has
affected pseudo-medicine was _^<a_!T3510_LYTTON_^>a_'s _^<i_vril_^>i_, described in _^<i_The Coming Race_^>i_ (_^<b_1871_^>b_); in the 1920s the US businessman Robert Nelson marketed his cure-all, Vrilium, which -- unlike another product named for
_^<i_vril_^>i_, Bovril -- was fortunately not recommended for oral consumption: it proved to be rat poison. At a more fundamental level, one might make a case that sf has contributed more to the pseudo-sciences than they have contributed to
sf._^<n__^<n_Psychiatry -- more specifically psychoanalysis -- has provided sf and fantasy authors with better pickings. Some critics would dismiss the theories of Carl Gustav Jung (1875-1961) as largely if not entirely pseudo-scientific; and the
same can be said with greater assuredness of some of the later ideas of Wilhelm Reich (1897-1957), which drew also upon sciencefictional notions. Reich came to believe that he was a focus of a _^<a_!T2342_SPACE-OPERA_^>a_-style cosmic battle
between friendly and hostile UFOs, powered by the "orgone drive". He assisted the Forces of Good and defended himself against the Forces of Evil using one of his own inventions, the cloudbuster, which dispersed "destructive orgone energy". Of
psychological interest was the Christos Experiment carried out by occasional sf writer G.M. _^<a_!T4726_GLASKIN_^>a_ and others in the 1970s, which suggested that the human mind, in something akin to a dream state, was capable of exploring past and
future incarnations (> _^<a_!T2548_REINCARNATION_^>a_). Sf has also produced its own psychiatric ideas, notably those associated with _^<a_!T1220_DIANETICS_^>a_ and Scientology. Perhaps the most enthusiastic exploiter of such notions in genre sf
has been A.E. van Vogt, who played a prominent role in the early days of dianetics and was also much influenced by the _^<a_!T4654_GENERAL SEMANTICS_^>a_ philosophy of Count Alfred _^<a_!T4118_KORZYBSKI_^>a_. In more recent years Colin
_^<a_!T5638_WILSON_^>a_, who admires van Vogt greatly, has based a considerable amount of his fiction on unorthodox psychological hypotheses; the most interesting example may be his novella "Timeslip" (1979), which mixes the (now rather more
reputable) theory of the divided brain with notions of the paranormal and the possibility of humanity developing radically new modes of thinking -- a _^<a_!T829_CONCEPTUAL BREAKTHROUGH_^>a_ in more than one sense of that term._^<n__^<n_Perhaps the
greatest single source of pseudo-scientific ideas in genre sf has been the work produced by Charles _^<a_!T1569_FORT_^>a_ in the 1920s and 1930s. Fort himself was not a pseudo-scientist _^<i_per se_^>i_ -- he was a chronicler of strange events
rather than a theoretician -- but he had a habit of scattering wild theories through his writings in the form of humorous asides. These have been rich ground for sf writers in search of story-ideas, but some seem to have taken them with a greater
seriousness. The two areas of his theorizing that have most influenced sf are _^<a_!T6697_ESP_^>a_/_^<a_!T2021_PSI POWERS_^>a_ and the notion that we are being secretly observed, and perhaps controlled, by mysterious intelligences. The latter
hypothesis is reflected in many theories at the wilder end of ufology, in the sort of _^<a_!T1795_PARANOIA_^>a_ demonstrated in the lurid stories of Richard _^<a_!T2151_SHAVER_^>a_, in the lasting popularity of H.P. _^<a_!T3465_LOVECRAFT_^>a_'s
_^<b_Cthulhu Mythos_^>b_ -- extensively imitated and developed by others -- and, in a roundabout way, in the idea that we have been visited many times in the past by _^<a_!T102_ALIENS_^>a_, who have directed the evolution of our technology (as in
the works of Erich _^<a_!T5397_VON DANIKEN_^>a_; sf stories reflecting this last view are discussed also in the entries on _^<a_!T29_ADAM AND EVE_^>a_ and _^<a_!T1727_ORIGIN OF MAN_^>a_). It is worth noting here that the notion of some archaic and
long-lost alien race having "seeded" all the technologically developed planets of the Galaxy has become something of a _^<a_!T752_CLICHE_^>a_ in _^<a_!T2342_SPACE OPERA_^>a_; on occasion, where the setting is the very _^<a_!T1432_FAR FUTURE_^>a_,
humanity itself -- or its _^<a_!T68_AI_^>a_ emissaries -- has been the "seeding" race. The cliche is interestingly deployed in, for example, John _^<a_!T5049_BRUNNER_^>a_'s _^<i_A Maze of Stars_^>i_ (_^<b_1991_^>b_)._^<n__^<n_One of the most
influential pseudo-scientists of the latter half of this century has been Immanuel _^<a_!T5346_VELIKOVSKY_^>a_. He first put forward his theories in _^<i_Worlds in Collision_^>i_ (_^<b_1950_^>b_), a book that came to prominence largely thanks to
the misguided overreaction to it of orthodox scientists. In his first few books Velikovsky examined countless legends of catastrophe from the Bible and _^<a_!T3135_MYTHOLOGY_^>a_, and claimed these were explicable in terms of profound cosmic
disturbances. (In several books in the 1960s W. Raymond Drake repeated the exercise, this time coming to the "inescapable" conclusion that the disasters could be explained only in terms of warring alien races -- the "Gods".) Most notable was
Velikovsky's idea that the planet _^<a_!T5351_VENUS_^>a_ is recent, having been spat out of Jupiter during biblical times and swooping repeatedly near to the Earth before settling in its current orbit; these close encounters naturally caused great
upheavals on Earth. In the early 1980s there was an outburst of what can be termed "neo-Velikovskianism", typified by Peter Warlow's _^<i_The Reversing Earth_^>i_ (_^<b_1982_^>b_); such revisions of the core theories, being considerably more
scientifically literate than the original, proved harder to refute and, because this time few scientists bothered to make the public attempt to do so, were perhaps more influential on the scientifically ignorant intelligentsia. A number of sf
novels have been directly affected by the original ideas of Velikovsky (_^<i_see his entry for examples_^>i_) or the later revisions; the most notable is _^<i_The HAB Theory_^>i_ (_^<b_1976_^>b_) by Allan W. _^<a_!T6574_ECKERT_^>a_. A good parody
of Velikovskianism is _^<i_Judgement of Jupiter_^>i_ (_^<b_1980_^>b_) by John T. _^<a_!T2240_SLADEK_^>a_ writing as Richard A. Tilms._^<n__^<n_A less well known catastrophe theory was produced in 1886 by the US Quaker scientist Isaac Newton Vail.
This was that all planets go through a phase or phases of having rings of ice like those currently observable around the _^<a_!T4631_GAS GIANTS_^>a_. Natural instabilities in Earth's primordial rings caused them eventually to crash down towards the
surface, creating a hugely thick cloud canopy in the upper atmosphere. When this canopy in turn collapsed, there was of course the Flood. A sciencefictional exploration of this is Piers _^<a_!T196_ANTHONY_^>a_'s post-_^<a_!T4482_HOLOCAUST_^>a_
novel _^<i_Rings of Ice_^>i_ (_^<b_1974_^>b_). Another historically important theory of catastrophe was the World (or Cosmic) Ice Theory of Hans Horbiger, devoutly espoused by the Nazis in the years leading up to WWII; according to Nazi folklore,
various "Jew scientists" like Albert Einstein fled Germany merely because they could not face the public demolition of their life's work in the light of Horbiger's discovered Truth. The theory seems to have been regarded by even the most
sensationalist of pulp writers as too silly to be exploitable, but as late as 1953 the Horbiger Institute was using it to "prove" that the _^<a_!T3023_MOON_^>a_'s surface was covered in a deep layer of solid ice._^<n__^<n_It is not only in
_^<a_!T4659_GENRE SF_^>a_ that we find pseudo-scientific theories. Many eccentricities relating to Spiritualism and astral bodies (> _^<a_!T6694_ESCHATOLOGY_^>a_), to _^<a_!T3771_IMMORTALITY_^>a_ and _^<a_!T2548_REINCARNATION_^>a_ were commonplace
in late-19th-century sf, and are still occasionally found today. Theories concerning race (> _^<a_!T1939_POLITICS_^>a_), usually implying Black or Native American inferiority, were depressingly common in _^<a_!T3460_LOST-WORLD_^>a_ stories and
elsewhere (but at least theories were called on to support such claims of racial inferiority: the inferiority of _^<a_!T5683_WOMEN_^>a_ was usually just taken for granted), as were ideas about the lost continents _^<a_!T290_ATLANTIS_^>a_, Lemuria
and Mu, and the hidden kingdoms inside the _^<a_!T4474_HOLLOW EARTH_^>a_. For some decades after the Darwinian controversy, alternative theories of _^<a_!T6717_EVOLUTION_^>a_ were popular in sf, and the Lamarckian variant (founded on the notion
that characteristics acquired during an individual's lifetime may be passed on to its offspring) proved especially fruitful for early writers; even today, Lamarckian ideas turn up more frequently than most sf writers would care to admit, as
evolutionary ideas are misapplied to fictional _^<a_!T98_ALIEN_^>a_ species -- although it might be claimed that evolutionary mechanisms may be different in distinct biologies. (Very common, of course, is the perfectly justifiable application of
Lamarckian assumptions to the evolution of machine _^<a_!T3787_INTELLIGENCE_^>a_.) Pseudo-scientific theories of _^<a_!T1209_DEVOLUTION_^>a_ and racial degeneracy appear in much early sf, including pulp sf at least up to the 1930s, John
_^<a_!T5892_TAINE_^>a_ being a frequent culprit. Other _^<a_!T2302_SOFT SCIENCES_^>a_ have produced their own rashes of pseudo-scientific ideas, although the defining line between science and pseudo-science can in these areas be especially hard to
draw, since the empirical testing of, say, a sociological hypothesis may require decades of patient observation. This is particularly true of _^<a_!T1669_FUTUROLOGY_^>a_, which is often decried as being a pseudo-science _^<i_in
toto_^>i_._^<n__^<n_None of the predictive pseudo-sciences have been of much importance in sf, although they are often enough derided in stories whose own purportedly scientific underpinning is at least as dubious: we scorn numerology to pass the
time before making a _^<a_!T4574_HYPERSPACE_^>a_ jump. Astrology (further discussed under _^<a_!T283_ASTRONOMY_^>a_) plays a part in several books, examples being _^<i__^<a_!B9006_MACROSCOPE_^>a__^>i_ (_^<b_1969_^>b_) by Piers Anthony and _^<i_The
Astrologer_^>i_ (_^<b_1972_^>b_) by John _^<a_!T5133_CAMERON_^>a_. Numerology is rare; its wilder eccentricities are parodied in Martin Gardner's _^<i_The Numerology of Dr Matrix_^>i_ (coll _^<b_197?_^>b_; vt _^<i_The Incredible Dr Matrix_^>i_1976;
exp vt _^<i_The Magic Numbers of Dr Matrix_^>i_ 1985). An example of a numerology story is "Six Cubed Plus One" by John Rankine (Douglas R. _^<a_!T3704_MASON_^>a_). From about the mid-1980s, though, the Tarot has become popular in stories on the
borderline of sf and fantasy; examples are Mary _^<a_!T4660_GENTLE_^>a_'s "The Tarot Dice" (in _^<i_Scholars and Soldiers_^>i_ [coll _^<b_1989_^>b_]), Marsha Norman's interesting mainstream novel _^<i_The Fortune Teller_^>i_ (_^<b_1988_^>b_), and
the original anthology _^<i_Tarot Tales_^>i_ (anth _^<b_1989_^>b_) ed Rachel _^<a_!T1940_POLLACK_^>a_ and Caitlin Matthews._^<n__^<n_The above is not to imply that some of the theories discussed here (especially those relating to ESP and psi
powers) have not had their supporters among the reputable scientific ranks. For example, the scientific essayist (and novelist) Arthur _^<a_!T4108_KOESTLER_^>a_ gave support to Jung's idea of synchronicity (that there are acausal principles
affecting events, as well as cause-and-effect) in _^<i_The Roots of Coincidence_^>i_ (_^<b_1972_^>b_) and made a case for Lamarckism in _^<i_The Case of the Midwife Toad_^>i_ (_^<b_1971_^>b_), where he also dealt with seriality, a hypothesis,
closely akin to synchronicity, developed by the Austrian biologist Paul Kammerer (1880-1926). The mathematician John Taylor for some years gave credence to the supposed fork-bending abilities of Uri Geller (1946- ), although later he recanted,
in _^<i_Science and the Supernatural_^>i_ (_^<b_1980_^>b_). J. Allen Hynek, a reputable space scientist, contributed considerably to ufology. The psychologist H.J. Eysenck gave rather qualified support to the psi powers, as in _^<i_Explaining the
Unexplained: Mysteries of the Paranormal_^>i_ (_^<b_1982_^>b_) with Carl Sargent. The neurologist Kit _^<a_!T1834_PEDLER_^>a_ was another to take the psi powers seriously, as in _^<i_Mind Over Matter: A Scientist's View of the Paranormal_^>i_
(_^<b_1981_^>b_), and many physicists engaged in quantum mechanics today are open-minded about areas of parapsychology that were scientifically _^<a_!T5888_TABOO_^>a_ a couple of decades ago. Yet the sometimes aggressively illogical, proudly
irresponsible outpourings of pseudo-science have on occasion played a considerable part in establishing such taboos. For example, it was possible in 1966 for Carl _^<a_!T2767_SAGAN_^>a_ to speculate joyously about the possibility that alien races
might indeed have come among us in the remote past, as he did in _^<i_Intelligent Life in the Universe_^>i_ (_^<b_1966_^>b_) with I.S. Shklovskii, without in any sense damaging his own scientific credibility; 10 years later, post-von Daniken, it
would have been a brave scientist who would have done the same. Similarly, investigations in the late 1960s and 1970s by the French statistician Michel Gauquelin of possible correlations between planetary positions at individuals' births and their
subsequent personalities brought down on him considerable abuse from the scientific establishment -- not because of his research _^<i_per se_^>i_ (interesting but inconclusive) but because he was seen to be working in the taboo area of
astrology._^<n__^<n_The heyday of pseudo-science fiction was arguably the 1950s. Since the 1960s sf writers within the genre, less so those outside it, have in general been more responsible in their use of the dramatic possibilities of the
pseudo-sciences, at least within _^<a_!T4288_HARD SF_^>a_, which purports to be based in the scientifically plausible. On occasion their rejections of perceived pseudo-science have been overenthusiastic; for example, in his novel
_^<i_Quatermass_^>i_ (_^<b_1979_^>b_), Nigel _^<a_!T4095_KNEALE_^>a_ derides the (today perfectly respectable) notion that megalithic monuments might be prehistoric astronomical observatories on the grounds that, as computers were required to
discover all their astronomical alignments, our ancestors would have required computers in order to design them -- an argument exactly analogous to the proof that bees can't fly._^<n__^<n_Many sf writers, including Isaac _^<a_!T268_ASIMOV_^>a_ and
John Brunner, have actively campaigned against the mindless acceptance of pseudo-scientific propaganda and its greedy exploitation by book publishers. Brunner, for example, wrote a scathing article on the latter subject, "Scientific Thought in
Fiction and in Fact", for _^<i_Science Fiction at Large_^>i_ (anth _^<b_1976_^>b_; vt _^<i_Explorations of the Marvellous_^>i_) ed Peter _^<a_!T3189_NICHOLLS_^>a_, presenting the view that the publishing boom (now somewhat abated) in books on the
pseudo-sciences was leading to a great deal of cynical and fraudulent production of fictions masquerading as fact; sf writers at least maintain their fictions as fictions._^<n__^<n_Some sf writers have used the tool of parody to counter the
influence of the pseudo-scientists: Sladek has produced not only the Velikovsky parody mentioned above but also _^<i_Arachne Rising: The Thirteenth Sign of the Zodiac_^>i_ (_^<b_1977_^>b_) and _^<i_The Cosmic Factor_^>i_ (_^<b_1978_^>b_), both as
by James Vogh; Langford is responsible for _^<i_An Account of a Meeting with Denizens of Another World, 1871_^>i_ (_^<b_1979_^>b_) as if with his wife's (genuine) ancestor William Robert Loosley; and Grant for _^<i_Sex Secrets of Ancient
Atlantis_^>i_ (_^<b_1985_^>b_). Persistent rumour has, despite his strenuous denials, claimed Patrick Moore as author of _^<i_Flying Saucer from Mars_^>i_ (_^<b_1955_^>b_) by "Cedric Allingham"._^<n__^<n_During the late 1980s there began a
disturbing tendency for pseudo-scientists (examples include the Church of Scientology, Uri Geller, US ufologist Stanton Friedman [1934- ] and Whitley _^<a_!T5794_STRIEBER_^>a_) to respond to criticism with litigation. Sf writers and readers,
angered by the threat to freedom of opinion, have been prominent among those supporting the victims of such actions. To extend Brunner's point: the greatest triumph of pseudo-science will come if it is permitted to impose the acceptance of its
fictions-or, at best, its hypotheses -- as fact. [PN/JGr]_^<n__^<n_
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PSIONICS
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A common item of sf _^<a_!T5942_TERMINOLOGY_^>a_, referring to the study and use of _^<a_!T2021_PSI POWERS_^>a_, under which head it is discussed. [PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T2019_PSEUDO-SCIENCE_^>a_.
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PSI POWERS
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A name given to the full spectrum of mental powers studied by the _^<a_!T2019_PSEUDO-SCIENCE_^>a_ of parapsychology, and a common item of sf _^<a_!T5942_TERMINOLOGY_^>a_. In his book _^<i_From Anecdote to Experiment in Psychical Research_^>i_
(_^<b_1972_^>b_), Robert Thouless claims that he and Dr B.P. Wiesner invented the term, prior to its use in sf circles, as being less liable to suggest a pre-existing theory than the term "Extra Sensory Perception" (or _^<a_!T6697_ESP_^>a_). The
term was adopted into sf during the "psi boom" which John W. _^<a_!T5140_CAMPBELL_^>a_ Jr promoted in _^<a_!T277_ASTOUNDING SCIENCE-FICTION_^>a_ during the early 1950s. Campbell also popularized in the mid-1950s the related term "psionics", which
he once defined as "psychic electronics"; one of its earliest uses was in Murray _^<a_!T3326_LEINSTER_^>a_'s "The Psionic Mousetrap" (1955). Although many notable psi stories deal with the entire spectrum of such powers, telepathy, clairvoyance and
precognition -- the "perceptual" paranormal powers -- are in this encyclopedia covered in the section on _^<a_!T6697_ESP_^>a_ (where many stories featuring the full range of psi powers are also cited). The principal psi powers which remain for
specific consideration here are: psychokinesis or telekinesis (moving objects by the power of the mind); teleportation (moving oneself likewise, although the term is sometimes extended to cover technologies of _^<a_!T3721_MATTER TRANSMISSION_^>a_);
pyrolysis (psychic fire-raising); and the ability to take control of the minds of others (which, for some unknown reason, has never been dressed up with a fancy jargon term -- although it is, of course, often thought to be possible by means of
hypnosis or mesmerism)._^<n__^<n_Campbell's psi-boom was inspired by ideas borrowed from J.B. Rhine (1895-1980) and Charles _^<a_!T1569_FORT_^>a_ to the effect that many individuals with latent psi powers were already among us; Campbell took them
as representing the "next step" in human _^<a_!T6717_EVOLUTION_^>a_. His own "Forgetfulness" (1937 _^<i_ASF_^>i_ as by Don A. Stuart) offers a significant early image of a human race which has outgrown its dependence on _^<a_!T5916_TECHNOLOGY_^>a_
because the mind can do everything that once required tools. This idea is widely featured in the works of A.E. _^<a_!T5333_VAN VOGT_^>a_ and Theodore _^<a_!T5810_STURGEON_^>a_, and received a new lease of life after 1945 when the advent of the Bomb
inspired many stories in which the world before or after the _^<a_!T4482_HOLOCAUST_^>a_ might be redeemed by psi-powered _^<a_!T3120_MUTANTS_^>a_, as in Poul _^<a_!T169_ANDERSON_^>a_'s _^<i_Twilight World_^>i_ (1947-61 _^<i_ASF_^>i_; fixup
_^<b_1961_^>b_), John _^<a_!T6211_WYNDHAM_^>a_'s _^<i_Re-Birth_^>i_ (_^<b_1955_^>b_ US; vt _^<i_The Chrysalids _^>i_UK) and Phyllis _^<a_!T4781_GOTLIEB_^>a_'s _^<i_Sunburst_^>i_ (_^<b_1964_^>b_). Later versions of the theme can be found in David
_^<a_!T1772_PALMER_^>a_'s _^<i_Emergence_^>i_ (_^<b_1984_^>b_) and the more ambivalent _^<i_Taji's Syndrome_^>i_ (_^<b_1988_^>b_) by Chelsea Quinn _^<a_!T6225_YARBRO_^>a_._^<n__^<n_All the psi powers, of course, used to be in the repertoire of
powerful magicians (> _^<a_!T3598_MAGIC_^>a_), and most are featured in occult romances. Mind control (possession) has always been a popular theme in horror stories, and there is a considerable grey area between sf and supernatural fiction of this
kind. Notable works featuring such powers include _^<i_Trilby_^>i_ (_^<b_1894_^>b_) by George _^<a_!T1343_DU MAURIER_^>a_, _^<i_The Parasite_^>i_ (_^<b_1895_^>b_) by Arthur Conan _^<a_!T1312_DOYLE_^>a_, _^<i_Congratulate the Devil_^>i_
(_^<b_1939_^>b_) by Andrew _^<a_!T3695_MARVELL_^>a_, "But without Horns" (1940) by Norvell W. _^<a_!T1758_PAGE_^>a_, _^<i_The Midwich Cuckoos_^>i_ (_^<b_1957_^>b_; vt _^<i_Village of the Damned_^>i_ US) by John Wyndham and _^<i_Children of the
Thunder_^>i_ (_^<b_1989_^>b_) by John _^<a_!T5049_BRUNNER_^>a_. Considered historically, teleportation may be seen as an extrapolation of levitation, which is usually given rather ironic treatment in modern literary works, as in Neil
_^<a_!T512_BELL_^>a_'s "The Facts About Benjamin Crede" (1935), Michael _^<a_!T4318_HARRISON_^>a_'s _^<i_Higher Things_^>i_ (_^<b_1945_^>b_) and John _^<a_!T2191_SHIRLEY_^>a_'s _^<i_Three-Ring Psychus_^>i_ (_^<b_1980_^>b_). In logical terms,
however, teleportation may be considered simply as a special case of telekinesis, and levitation therefore crops up in a lot of stories which deal with a broader range of telekinetic powers, including James H. _^<a_!T2849_SCHMITZ_^>a_'s _^<i_The
Witches of Karres_^>i_ (_^<b_1966_^>b_), Tom _^<a_!T2524_REAMY_^>a_'s _^<i_Blind Voices_^>i_ (_^<b_1978_^>b_) and Timothy _^<a_!T6254_ZAHN_^>a_'s _^<i_A Coming of Age_^>i_ (_^<b_1985_^>b_). In the psi-boom years teleportation featured most
prominently in Alfred _^<a_!T568_BESTER_^>a_'s _^<i_Tiger! Tiger!_^>i_ (_^<b_1956_^>b_ UK; rev vt _^<i_The Stars My Destination_^>i_ 1957 US), which shows _^<a_!T6337_NEAR-FUTURE_^>a_ society adapting to the development of "jaunting"
(teleportation), and also in such works as Gordon R. _^<a_!T1227_DICKSON_^>a_'s _^<i_Time to Teleport_^>i_ (1955 _^<i_Science Fiction Stories_^>i_ as "Perfectly Adjusted"; _^<b_1960_^>b_). Teleportation by alien creatures is a significant plot
element in Anne _^<a_!T6298_MCCAFFREY_^>a_'s _^<b_Pern_^>b_ series, and comes into sharper focus in Vernor _^<a_!T5377_VINGE_^>a_'s _^<i_The Witling_^>i_ (_^<b_1976_^>b_) and Walter Jon _^<a_!T5628_WILLIAMS_^>a_'s _^<i_Knight Moves_^>i_
(_^<b_1985_^>b_). A recent story in which human teleportation comes in for specific examination is _^<i_Jumper_^>i_ (_^<b_1992_^>b_) by Steven Gould. Fire-raising rarely receives separate treatment in sf stories, a notable exception being Stephen
_^<a_!T4066_KING_^>a_'s _^<i_Firestarter_^>i_ (_^<b_1980_^>b_)._^<n__^<n_In order to be dramatically effective, abilities like mind control and telekinesis usually have to be moderated in some way, unless the point of the story is sarcastically to
demonstrate the appalling tyranny which would surely result from the human possession of godlike powers, as in Jerome _^<a_!T622_BIXBY_^>a_'s classic "It's a _^<i_Good_^>i_ Life" (1953), Frederik _^<a_!T1937_POHL_^>a_'s "Pythias" (1955) and Henry
_^<a_!T2250_SLESAR_^>a_'s "A God Named Smith" (1957). On the other hand, the unthinkingly casual use of extravagant powers for trivial purposes is ironically featured in Henry _^<a_!T4144_KUTTNER_^>a_'s comedies about the hillbilly Hogbens. Humans
made godlike by psi powers are given less cynical treatment in Frank _^<a_!T4389_HERBERT_^>a_'s "The Priests of Psi" (1959) and _^<i_The God Makers_^>i_ (_^<b_1972_^>b_), and in several novels by Roger _^<a_!T6264_ZELAZNY_^>a_. One might perhaps
wish that L. Ron _^<a_!T4538_HUBBARD_^>a_ had retained the amiable cynicism he exhibited in his early psi story "The Tramp" (1938), but instead he went on to build _^<a_!T2881_SCIENTOLOGY_^>a_ around a mythology of human evolution towards psionic
godhood. Several stories of gradually unfolding psi power reach climaxes which may be regarded as apotheoses -- Arthur C. _^<a_!T736_CLARKE_^>a_'s _^<i__^<a_!B9010_CHILDHOOD'S END_^>a__^>i_ (_^<b_1953_^>b_) is the most notable example; others are
Keith _^<a_!T4206_LAUMER_^>a_'s _^<i_The Infinite Cage_^>i_ (_^<b_1972_^>b_) and Oscar _^<a_!T2705_ROSSITER_^>a_'s _^<i_Tetrasomy Two_^>i_ (_^<b_1974_^>b_). Carole Nelson _^<a_!T1302_DOUGLAS_^>a_'s _^<i_Probe_^>i_ (_^<b_1985_^>b_) and
_^<i_Counterprobe_^>i_ (_^<b_1988_^>b_) offer a more moderate account of psi powers, not initially under conscious control, being gradually revealed._^<n__^<n_Despite the widespread publicity given to the phenomenon of "spoon-bending" in the 1970s
there is no convincing evidence that real-world psychics can accomplish more than moderate conjurers by way of telekinesis. It is a little recognized fact that the evidence for ESP, seemingly a more plausible talent, is even worse. That stories of
ESP far outnumber stories devoted to the other psi powers has far more to do with intrinsic narrative interest than with questions of likelihood. Some critics feel that, in spite of the elaborate pseudo-scientific jargon developed by believers in
the "paranormal", stories of psi powers really belong to the realm of magical _^<a_!T1412_FANTASY_^>a_ rather than sf. The rapid growth of genre fantasy in the past two decades has, in fact, allowed many such stories to be appropriately relocated.
[PN/BS]_^<n__^<n_
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PSYCHOHISTORY
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A much-loved item of sf _^<a_!T5942_TERMINOLOGY_^>a_, coined in Isaac _^<a_!T268_ASIMOV_^>a_'s very popular _^<b_Foundation_^>b_ (1942-50; fixups _^<b_1951-3_^>b_) (and not to be confused with the term sometimes used by historians, which refers to
the study of the relation of psychological motives to historical process). The attractive but purely _^<a_!T4595_IMAGINARY SCIENCE_^>a_ of psychohistory supposes that the behaviour of humans in the mass -- and thus future _^<a_!T4442_HISTORY_^>a_
-- can be predicted by purely statistical means, but ". . . a further necessary assumption is that the human conglomerate be itself unaware of psychohistoric analysis in order that its reactions be truly random". It is upon this condition that the
meta-plot of the trilogy depends. [PN]_^<n__^<n_
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PSYCHOLOGY
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The science of the mind is sufficiently different from the physical sciences for its discoveries and hypotheses to set very different problems and offer very different opportunities to the writer of speculative fiction. Psychology still carries a
considerable burden of pseudo-scientific conjecture even if one sets aside its close and problematic relationship with parapsychology (> _^<a_!T6697_ESP_^>a_; _^<a_!T2021_PSI POWERS_^>a_). The absence of convenient models of the mind (whether based
on physical analogy or purely mathematical) means that the mind remains much more mercurial and mysterious than the atom or the Universe, in spite of the fact that introspection appears to be a simple and safe source of data._^<n__^<n_A great deal
of fiction which attempts to explore the mysteries of mind lies on the borderline between sf and _^<a_!T3609_MAINSTREAM_^>a_ fiction. Studies of both normal and abnormal psychology may be accommodated within the province of the traditional novel of
character, even if their insights are derived from scientific constructs like psychoanalysis. There is a whole school of modern novelists, their work generally reckoned to be a long way removed from sf, whose self-defined task has been to capture
the "stream of consciousness" -- a psychological hypothesis we owe to the philosopher William James (1842-1910), not to his writer brother Henry. Studies of obsession, alienation and various forms of insanity are by no means uncommon in
contemporary fiction, and even the most exaggerated -- e.g., many studies of "dual personality" -- seem perfectly acceptable as "realistic" novels. It is not until a notion of this kind is taken to bizarre extremes, as in Stanley G.
_^<a_!T5506_WEINBAUM_^>a_'s dual-personality tale _^<i_The Dark Other_^>i_ (_^<b_1950_^>b_), that the story becomes unmistakably sf. Even stories replete with the jargon of supposedly scientific psychoanalysis, like Thomas Bailey
_^<a_!T88_ALDRICH_^>a_'s _^<i_The Queen of Sheba_^>i_ (_^<b_1877_^>b_) and S. Guy _^<a_!T6664_ENDORE_^>a_'s classic Freudian murder mystery _^<i_Methinks the Lady_^>i_ (_^<b_1945_^>b_), are intrinsically mundane, although Endore's study of the
psychological syndrome of lycanthropy, _^<i_The Werewolf of Paris_^>i_ (_^<b_1933_^>b_), is normally considered a _^<a_!T1412_FANTASY_^>a_. There is a certain irony in the fact that the subgenre of psychological speculative fiction which is most
easily claimed for sf is the class of stories dealing with mesmerism and hypnosis -- because these are sufficiently disreputable to be evidently fantastic! Thus a story like Edgar Allan _^<a_!T1933_POE_^>a_'s "The Facts in the Case of M. Valdemar"
(1845) invites classification as sf not so much because it mimics the form of a scientific report but because the mesmerised hero's immunity to decay is so obviously impossible. Stories of delusional neurosis or vivid hallucination which become
very bizarre -- e.g., Sir Ronald _^<a_!T1607_FRASER_^>a_'s _^<i_The Flower Phantoms_^>i_ (_^<b_1926_^>b_) -- are more conveniently classed as visionary fantasy than as sf, because of rather than in spite of the fact that their "impossible" events
are entirely subjective, even though scientific theories like Freud's psychoanalysis may have been used to generate the substance of the fantasies._^<n__^<n_Early exercises in speculative psychology which uncontroversially belong to sf are those in
which some _^<i_invention_^>i_, usually a _^<a_!T3540_MACHINE_^>a_ or a drug, is invoked as a literary device to exert specific control over the substance of the psyche (although it is arguable that all such devices are based on philosophical
errors concerning the nature of mental phenomena). The origins of psychological sf thus lie in such stories as Edward _^<a_!T514_BELLAMY_^>a_'s _^<i_Dr Heidenhoff's Process_^>i_ (_^<b_1880_^>b_), about a technology of selective amnesia, Robert
Louis _^<a_!T5731_STEVENSON_^>a_'s _^<i_Strange Case of Dr Jekyll and Mr Hyde_^>i_ (_^<b_1886_^>b_), about a drug which separates the principle of evil from that of good (or the id from the superego, as the Freudian reader is bound to interpret
it), Richard Slee and Cornelia Atwood _^<a_!T1975_PRATT_^>a_'s _^<i_Dr Berkeley's Discovery_^>i_ (_^<b_1899_^>b_), about a method of "photographing" memories, Walter _^<a_!T564_BESANT_^>a_'s "The Memory Cell" (1900), again dealing with selective
amnesia, and Vincent _^<a_!T4303_HARPER_^>a_'s materialist polemic _^<i_The Mortgage on the Brain_^>i_ (_^<b_1905_^>b_), about an electrical method of personality-modification._^<n__^<n_The early sf _^<a_!T2033_PULP MAGAZINES_^>a_ featured numerous
devices of these and related types, and Hugo _^<a_!T4668_GERNSBACK_^>a_'s recruitment of the practising psychiatrist David H. _^<a_!T4008_KELLER_^>a_ did not result in any conspicuous sophistication of pulp sf's handling of psychological matters.
Keller's most notable stories extrapolating psychological theory -- the remarkable Freudian erotic fantasy _^<i_The Eternal Conflict_^>i_ (_^<b_1939_^>b_) and "The Abyss" (1948), which tracks events following the release of a drug which destroys
inhibitions -- were too risque for pulp publication. The theme of "The Abyss" is featured also in Vincent _^<a_!T3541_MCHUGH_^>a_'s libidinous comedy _^<i_I am Thinking of My Darling_^>i_ (_^<b_1943_^>b_), which anticipated counterculture-inspired
LSD fantasies like William _^<a_!T5932_TENN_^>a_'s "Did your Coffee Taste Funny this Morning?" (1967; vt "The Lemon-Green Spaghetti-Loud Dynamite-Dribble Day") and Brian W. _^<a_!T87_ALDISS_^>a_'s _^<i_Barefoot in the Head_^>i_ (fixup
_^<b_1969_^>b_), rather than endorsing the view shared by Freud and Keller that repression of our more vicious urges is the necessary price we pay for society and civilization. Other notable sf stories which side with Keller in their suspicion of
the unfettered id are Jerome _^<a_!T622_BIXBY_^>a_'s "It's a Good Life" (1953) and James K. _^<a_!T3070_MORROW_^>a_'s _^<i_The Wine of Violence_^>i_ (_^<b_1981_^>b_)._^<n__^<n_The most impressive psychological study to appear in the pulps was not
in an sf magazine but in _^<a_!T5291_UNKNOWN_^>a_; this was L. Ron _^<a_!T4538_HUBBARD_^>a_'s classic _^<i_Fear_^>i_ (1940; _^<b_1957_^>b_), about a man who loses a slice of his life by repression and is tortured by the "demons" of guilt. Material
from the story was transplanted into Hubbard's substitute psychotherapy, _^<a_!T1220_DIANETICS_^>a_, which later became part of the dogma of _^<a_!T2881_SCIENTOLOGY_^>a_; dianetic theory is much in evidence in the stories collected in _^<i_Ole Doc
Methuselah_^>i_ (1947-50 as by Rene Lafayette; coll _^<b_1972_^>b_). It is a fairly common ploy in sf stories to use amnesiac heroes whose memories eventually turn out to be magnificently bizarre; examples are H.P. _^<a_!T3465_LOVECRAFT_^>a_'s "The
Shadow Out of Time" (cut 1936; restored 1939), L.P. _^<a_!T1089_DAVIES_^>a_'s _^<i_The Shadow Before_^>i_ (_^<b_1970_^>b_) and Keith _^<a_!T4206_LAUMER_^>a_'s _^<i_The Infinite Cage_^>i_ (_^<b_1972_^>b_)._^<n__^<n_One of the most famous pulp sf
stories, Isaac _^<a_!T268_ASIMOV_^>a_'s "Nightfall" (1941), deals with the psychology of revelation -- a subject dealt with in a less pessimistic fashion in other stories of _^<a_!T829_CONCEPTUAL BREAKTHROUGH_^>a_. Asimov's more significant
contribution to psychological sf, however, is the _^<a_!T4595_IMAGINARY SCIENCE_^>a_ of robopsychology, which he invented for the stories in _^<i__^<a_!B9053_I, ROBOT_^>a__^>i_ (1940-50; coll _^<b_1950_^>b_), many of which feature robopsychologist
Susan Calvin in confrontation with practical and theoretical problems arising from the Three Laws forming the basis of robotic ethics. Robopsychology remained an essential element in Asimov's _^<a_!T2646_ROBOT_^>a_ stories, especially such
philosophically inclined ones as "That Thou Art Mindful of Him" (1974) and "The Bicentennial Man" (1976)._^<n__^<n_Technologically assisted journeys into the hypothetical _^<a_!T3783_INNER SPACE_^>a_ of the human mind became increasingly common in
post-WWII sf. The hero of "Dreams are Sacred" (1948) by Peter Phillips (1921- ) has to entice a catatonic dreamer back to the real world by disrupting his fantasy world. Other such journeys are featured in "The Mental Assassins" (1950) by Gregg
Conrad (Rog _^<a_!T1887_PHILLIPS_^>a_), "City of the Tiger" (1958) by John _^<a_!T5049_BRUNNER_^>a_, "Descent into the Maelstrom" (1961) by Daniel F. _^<a_!T1692_GALOUYE_^>a_, "The Girl in his Mind" (1963) by Robert F. _^<a_!T6241_YOUNG_^>a_,
_^<i_Mindplayers_^>i_ (_^<b_1987_^>b_) by Pat _^<a_!T5117_CADIGAN_^>a_, _^<i_The Night Mayor_^>i_ (_^<b_1989_^>b_) by Kim _^<a_!T3173_NEWMAN_^>a_ and _^<i_Queen of Angels_^>i_ (_^<b_1990_^>b_) by Greg _^<a_!T478_BEAR_^>a_. Several of the
above-named stories extrapolate the idea of "telepathic psychiatry" with considerable intelligence; the Brunner story became the basis of the pioneering novel _^<i__^<a_!B9008_THE WHOLE MAN_^>a__^>i_ (fixup _^<b_1964_^>b_ US; vt
_^<i_Telepathist_^>i_ 1965 UK). Another fine novel on the same theme is _^<i__^<a_!B9248_THE DREAM MASTER_^>a__^>i_ (_^<b_1966_^>b_) by Roger _^<a_!T6264_ZELAZNY_^>a_; dreams are taken very seriously in Connie _^<a_!T5632_WILLIS_^>a_'s
_^<i_Lincoln's Dreams_^>i_ (_^<b_1987_^>b_)._^<n__^<n_Brunner's numerous essays in psychological sf also include a notable story about a reality-distorting drug, _^<i_The Gaudy Shadows_^>i_ (1960; exp _^<b_1971_^>b_), and a psychiatric case-study,
_^<i_Quicksand_^>i_ (_^<b_1967_^>b_); both belong to categories of sf story which became very abundant in the 1960s. Several other post-WWII writers have shown a consistent interest in psychology. Alfred _^<a_!T568_BESTER_^>a_ produced, among
others, the quasi-Freudian vignette, "The Devil's Invention" (1950; vt "Oddy and Id"), a classic novel about a psychotic murderer who eventually undergoes psychic demolition and reconstitution, _^<i__^<a_!B9094_THE DEMOLISHED MAN_^>a__^>i_
(_^<b_1953_^>b_), and a remarkable study of confused identity, "Fondly Fahrenheit" (1954). Most of Theodore _^<a_!T5810_STURGEON_^>a_'s sf consists of psychological studies of loneliness, angst and alienation, often resolved by the
quasitranscendental curative power of love; a few examples selected from a great many are the bitter study of prejudice, "The World Well Lost" (1953), the painful study of megalomania, "Mr Costello, Hero" (1953), and the classic novels of literal
psychic reintegration, _^<i__^<a_!B9221_MORE THAN HUMAN_^>a__^>i_ (fixup _^<b_1953_^>b_) and _^<i_The Cosmic Rape_^>i_ (_^<b_1958_^>b_). Ray _^<a_!T4963_BRADBURY_^>a_ has written a number of neat stories turning on the vagaries of child psychology,
most notably the ironic "Zero Hour" (1947) and "The World the Children Made" (1950; vt "The Veldt"), although most of his work in this nostalgic vein is pure fantasy. Very many of Philip K. _^<a_!T1222_DICK_^>a_'s sf stories are concerned with
false worldviews of various kinds -- and, indeed, with the possibility that reality is intrinsically subjective; _^<i_Eye in the Sky_^>i_ (_^<b_1957_^>b_) features a series of _^<a_!T131_ALTERNATE WORLDS_^>a_ incarnating neurotic worldviews, while
_^<i__^<a_!B9152_THE THREE STIGMATA OF PALMER ELDRITCH_^>a__^>i_ (_^<b_1965_^>b_) was the first of a sequence of novels dealing with reality-warping drugs which eventually culminated in the deeply embittered black comedy _^<i__^<a_!B9147_A SCANNER
DARKLY_^>a__^>i_ (_^<b_1977_^>b_). Several of Dick's novels deal with schizophrenia (in the true clinical meaning rather than the vulgar sense embodied in such split-personality stories as Wyman _^<a_!T4893_GUIN_^>a_'s "Beyond Bedlam" [1951]),
including _^<i_Martian Time-Slip_^>i_ (_^<b_1964_^>b_) and _^<i_We Can Build You_^>i_ (_^<b_1972_^>b_), while _^<i_Clans of the Alphane Moon_^>i_ (_^<b_1964_^>b_) features the full panoply of neuroses. _^<a_!T1795_PARANOIA_^>a_ and schizophrenia
are sufficiently widespread in modern sf to warrant a separate entry in this book, but mention may be made here of the paranoid fantasies in which Barry N. _^<a_!T3629_MALZBERG_^>a_ has specialized to great effect; different sf situations become
archetypes of paranoid delusion in _^<i_Overlay_^>i_ (_^<b_1972_^>b_), _^<i_Beyond Apollo_^>i_ (_^<b_1972_^>b_), _^<i_The Day of the Burning_^>i_ (_^<b_1974_^>b_) and _^<i_The Gamesman_^>i_ (_^<b_1975_^>b_), and even Freud cannot cope with the
situations which confront him in _^<i__^<a_!B9275_THE REMAKING OF SIGMUND FREUD_^>a__^>i_ (_^<b_1985_^>b_). Sf situations are used in much the same way to construct exaggerated models of alienation in a number of stories by Robert
_^<a_!T2216_SILVERBERG_^>a_, including _^<i_Thorns_^>i_ (_^<b_1967_^>b_), _^<i_The Man in the Maze_^>i_ (_^<b_1969_^>b_) and _^<i_Dying Inside_^>i_ (_^<b_1972_^>b_). Other writers who consistently extrapolate psychological syndromes into
situations, landscapes and world-designs include J.G. _^<a_!T378_BALLARD_^>a_, in virtually all his work, and Philip Jose _^<a_!T1435_FARMER_^>a_, whose early short stories -- including the Oedipus-complex fantasy "Mother" (1953) and "Rastignac the
Devil" (1954)-were pioneering exercises in this vein._^<n__^<n_The use of sf to address such psychological questions as the problem of identity -- as in Algis _^<a_!T5064_BUDRYS_^>a_'s excellent _^<i__^<a_!B9087_WHO?_^>a__^>i_ (_^<b_1958_^>b_) or
Silverberg's _^<i_The Second Trip_^>i_ (_^<b_1972_^>b_) -- is often closely related to mainstream work; in this instance, to such stories as Marcel _^<a_!T336_AYME_^>a_'s _^<i_The Second Face_^>i_ (_^<b_1941_^>b_; trans _^<b_1951_^>b_), David
_^<a_!T6649_ELY_^>a_'s _^<i_Seconds_^>i_ (_^<b_1963_^>b_) -- filmed as _^<a_!T2090_SECONDS_^>a_ (1966) -- and Kobo _^<a_!T10_ABE_^>a_'s _^<i_Tanin no Kao_^>i_ (_^<b_1964_^>b_; trans as _^<i_The Face of Another_^>i_ _^<b_1966_^>b_ US). Variants on
the sf/mainstream borderline include skin-colour-change fantasies, such as Chris Stratton's _^<i_Change of Mind_^>i_ (_^<b_1969_^>b_) and the film _^<i_Watermelon Man_^>i_ (1970), and sex-change fantasies, such as Hank _^<a_!T5746_STINE_^>a_'s
_^<i_Season of the Witch_^>i_ (_^<b_1968_^>b_) and Angela _^<a_!T5190_CARTER_^>a_'s _^<i_The Passion of New Eve_^>i_ (_^<b_1977_^>b_). The processes of mind control involved in "brainwashing" -- which play a key part in George
_^<a_!T1731_ORWELL_^>a_'s _^<i__^<a_!B9093_NINETEEN EIGHTY-FOUR_^>a__^>i_ (_^<b_1949_^>b_) and which have become a standard element in _^<a_!T1370_DYSTOPIAN_^>a_ fiction -- bestride the same borderline; exemplary works include _^<i__^<a_!B9068_A
CLOCKWORK ORANGE_^>a__^>i_ (_^<b_1962_^>b_) by Anthony _^<a_!T5084_BURGESS_^>a_ and _^<i_The Mind Benders_^>i_ (_^<b_1963_^>b_) by James _^<a_!T4025_KENNAWAY_^>a_. Sf writers can, however, come up with wild variants which attempt to clarify the
moral and philosophical questions involved; examples include _^<i_The Ring_^>i_ (_^<b_1968_^>b_) by Piers _^<a_!T196_ANTHONY_^>a_ and Robert E. _^<a_!T3662_MARGROFF_^>a_ and _^<i_The Barons of Behavior_^>i_ (_^<b_1972_^>b_) by Tom
_^<a_!T2037_PURDOM_^>a_. Psychological themes of considerable interest where sf has a monopoly include: the augmentation of _^<a_!T3787_INTELLIGENCE_^>a_, as featured in Poul _^<a_!T169_ANDERSON_^>a_'s _^<i_Brain Wave_^>i_ (_^<b_1954_^>b_), Daniel
_^<a_!T4050_KEYES_^>a_'s _^<i__^<a_!B9064_FLOWERS FOR ALGERNON_^>a__^>i_ (1959; exp _^<b_1966_^>b_) and Thomas M. _^<a_!T1244_DISCH_^>a_'s _^<i__^<a_!B9062_CAMP CONCENTRATION_^>a__^>i_ (_^<b_1968_^>b_); psychotic plague stories like Gregory
_^<a_!T526_BENFORD_^>a_'s _^<i_Deeper than the Darkness_^>i_ (_^<b_1970_^>b_; rev as _^<i_The Stars in Shroud_^>i_ _^<b_1978_^>b_) and Jack _^<a_!T1055_DANN_^>a_'s _^<i__^<a_!B9143_THE MAN WHO MELTED_^>a__^>i_ (_^<b_1984_^>b_); and stories dealing
with the recording of emotional experiences for replaying by consumers, including Lee _^<a_!T4286_HARDING_^>a_'s "All My Yesterdays" (1963) and D.G. _^<a_!T823_COMPTON_^>a_'s _^<i__^<a_!B8996_SYNTHAJOY_^>a__^>i_ (_^<b_1972_^>b_). The last story is
a variant of the more common notion that memories, and perhaps knowledge, might be transferred from one mind to another, a theme featured in Curt _^<a_!T2229_SIODMAK_^>a_'s _^<i_Hauser's Memory_^>i_ (_^<b_1968_^>b_) and various films by him, A.E.
_^<a_!T5333_VAN VOGT_^>a_'s _^<i_Future Glitter_^>i_ (_^<b_1973_^>b_; vt _^<i_Tyranopolis_^>i_) and James E. _^<a_!T4896_GUNN_^>a_'s _^<i_The Dreamers_^>i_ (fixup _^<b_1980_^>b_). Another related theme is that of recording and marketing dreams, a
notion elaborately developed in Chelsea Quinn _^<a_!T6225_YARBRO_^>a_'s _^<i_Hyacinths_^>i_ (_^<b_1983_^>b_) and James K. Morrow's _^<i_The Continent of Lies_^>i_ (_^<b_1984_^>b_)._^<n__^<n_Despite the profligacy of sf writers in devising machines
and drugs as facilitating devices, the actual progress of experimental and physiological psychology has had very little impact on sf by comparison with the more abstract and theoretical side of the science, perhaps because of the kind of repugnance
displayed in "The Psychologist who Wouldn't Do Awful Things to Rats" (1976) by James _^<a_!T6035_TIPTREE_^>a_ Jr -- herself a psychologist, and better qualified than most to draw upon that inspiration. The heroic analyst selected by Jeremy
_^<a_!T3354_LEVEN_^>a_'s computer-incarnated _^<i_Satan_^>i_ (_^<b_1982_^>b_) to solve the problem of evil is similarly horrified by the gruesome activities of his experimentally inclined colleagues. The psychological implications of theories in
_^<a_!T3398_LINGUISTICS_^>a_ have had more impact, notably in Samuel R. _^<a_!T1152_DELANY_^>a_'s _^<i__^<a_!B8976_BABEL-17_^>a__^>i_ (_^<b_1966_^>b_) and Ian _^<a_!T5484_WATSON_^>a_'s _^<i__^<a_!B9057_THE EMBEDDING_^>a__^>i_
(_^<b_1973_^>b_)._^<n__^<n_Mention must also be made of a group of stories dealing with the psychology of sf itself in a rather alarmingly cynical fashion. The pioneer was a story purporting to be an essay, Robert _^<a_!T3394_LINDNER_^>a_'s "The
Jet-Propelled Couch" (1955), about a psychiatrist's encounter with a patient who believes he has a second existence as the hero of a series of _^<a_!T2342_SPACE OPERAS_^>a_, a theme echoed by Iain _^<a_!T392_BANKS_^>a_ in _^<i_The Bridge_^>i_
(_^<b_1986_^>b_), where _^<a_!T5875_SWORD-AND-SORCERY_^>a_ motifs obtrude into real life. Norman _^<a_!T2370_SPINRAD_^>a_'s _^<i_The Iron Dream_^>i_ (_^<b_1972_^>b_), in which Hitler channels his power-fantasies into pulp sf rather than politics,
and Malzberg's _^<i_Herovit's World_^>i_ (_^<b_1973_^>b_) and _^<i__^<a_!B9184_GALAXIES_^>a__^>i_ (_^<b_1975_^>b_) offer uncompromisingly harsh judgments about the consolations of sf, and have aroused considerable ire among sf fans. Some
psychoanalytical literary criticism of well known sf works is even harsher -- examples are C.M. _^<a_!T6353_KORNBLUTH_^>a_'s "The Failure of the Science Fiction Novel as Social Criticism" (1959), Robert Plank's analysis of Robert A.
_^<a_!T4376_HEINLEIN_^>a_'s _^<i__^<a_!B9028_STRANGER IN A STRANGE LAND_^>a__^>i_ (_^<b_1961_^>b_) in "Omnipotent Cannibals" (1971), and Thomas M. _^<a_!T1244_DISCH_^>a_'s analysis of the same author's _^<i__^<a_!B9166_STARSHIP TROOPERS_^>a__^>i_
(_^<b_1959_^>b_) in "The Embarrassments of Science Fiction" in _^<i_Science Fiction at Large_^>i_ (_^<b_1976_^>b_; vt _^<i_Explorations of the Marvellous_^>i_) ed Peter _^<a_!T3189_NICHOLLS_^>a_. The basic charge of all three essays is infantilism:
together with the oft-quoted adage that the _^<a_!T4754_GOLDEN AGE OF SF_^>a_ is 13, they suggest that sf may appeal particularly strongly to people who cannot (yet) cope with reality, and to those condemned to remain existentially becalmed in
psychological pre-adolescence forever. Spinrad's _^<i_The Void Captain's Tale_^>i_ (_^<b_1983_^>b_) extrapolates the thesis that tales of the conquest of space are encoded sexual fantasies, and that _^<a_!T2348_SPACESHIPS_^>a_ are phallic symbols;
the one in the story is propelled by a literal sexual drive. On the other hand, K.W. _^<a_!T3901_JETER_^>a_'s _^<i_Dr Adder_^>i_ (_^<b_1984_^>b_) suggests that our deep _^<a_!T2115_SEX_^>a_ fantasies are much more exotic and much sicker than
anything which can routinely be found in sf. Given that no one really knows what secrets lurk in the shadowy recesses of the unconscious mind and how our imaginative fictions are shaped to flatter them, speculation on such matters will presumably
continue to roam freely across the whole spectrum of possibilities. [BS]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T822_COMMUNICATIONS_^>a_; _^<a_!T1014_CYBERNETICS_^>a_; _^<a_!T3744_MEDICINE_^>a_; _^<a_!T1851_PERCEPTION_^>a_; _^<a_!T5888_TABOOS_^>a_.
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US _^<a_!T1428_FANZINE_^>a_, ed Richard E. _^<a_!T4651_GEIS_^>a_; begun 1953; after 20 issues retitled _^<i_Science Fiction Review_^>i_ for 3 issues in 1955; then stopped publishing. Geis resumed it with _^<i_Psychotic_^>i_ #21 in 1967, then again
changed the title to _^<i_Science Fiction Review_^>i_ from #28. It was by this time printing more serious reviews and interviews, though its main feature remained Geis's amusing, rambling, personal comments. As _^<i_Science Fiction Review_^>i_ it
won a _^<a_!T4551_HUGO_^>a_ for Best Fanzine in 1969 and 1970; in its first incarnation _^<i_Science Fiction Review_^>i_ ended with #43, Mar 1971, at which point it had a circulation, unusually high for a fanzine, of 1700. The editor also won 7
Hugos as Best Fan Writer; 6 were for his work in _^<i_The_^<a_!T100_ALIEN CRITIC_^>a__^>i_ , a later fanzine he began in 1973 and which itself, confusingly, underwent a change of title to _^<i_Science Fiction Review_^>i_ in 1975. [PN]_^<n__^<n_
The history of sf publishing is, in its widest sense, the _^<a_!T4443_HISTORY OF SF_^>a_ itself; this entry, however, is concerned with a much more recent phenomenon, the emergence of _^<a_!T4659_GENRE SF_^>a_ as an identifiable and distinctive
category of publishing, and therefore concentrates on US firms. A great amount of sf was published in the UK 1900-1950, but, although some transplanted US genre sf appeared, until about 1950 most UK firms published sf without any clear generic
tagging, whether issued by prestige houses or by firms specializing in the library market._^<n__^<n_It was the first US sf magazines which, from 1926 onwards, established _^<a_!T2879_SCIENTIFICTION_^>a_ (for a few years) and then "science fiction"
as a generic term. The original material which they featured was viewed, outside an immediate circle of enthusiasts, as debased and trivial pulp literature. The term became synonymous with ill written space adventure, while
_^<a_!T3609_MAINSTREAM_^>a_ authors from outside the _^<a_!T2033_PULP MAGAZINES_^>a_, who in retrospect have become identified as sf writers, pursued their careers and published their books without being tarred with the sf brush. This entry
concentrates on sf book publishing; for magazine publishing > _^<a_!T2130_SF MAGAZINES_^>a_._^<n__^<n_Before 1945 only a small handful of stories from the sf and fantasy pulp magazines found their way into general publishers' lists; these included
J.M. _^<a_!T5444_WALSH_^>a_'s _^<i_Vandals of the Void_^>i_ (_^<b_1931_^>b_), Edmond _^<a_!T4258_HAMILTON_^>a_'s _^<i_The Horror on the Asteroid_^>i_ (coll _^<b_1936_^>b_ UK), L. Sprague _^<a_!T1133_DE CAMP_^>a_'s _^<i__^<a_!B9145_LEST DARKNESS
FALL_^>a__^>i_ (_^<b_1941_^>b_) and two of De Camp's collaborations with Fletcher _^<a_!T1976_PRATT_^>a_, and a number of UK anthologies partly or wholly drawn from the pages of _^<a_!T5512_WEIRD TALES_^>a_. Meanwhile authors who sold their sf and
fantasy to the better-paying and less-despised general-fiction pulps like _^<i_The_^<a_!T225_ARGOSY_^>a__^>i_ (Ray _^<a_!T997_CUMMINGS_^>a_, Otis Adelbert _^<a_!T4094_KLINE_^>a_, A. _^<a_!T2912_MERRITT_^>a_ and others) regularly had their magazine
serials issued in book form._^<n__^<n_In the absence of interest from established publishers, it fell to sf enthusiasts themselves to publish in book form the stories they admired (> _^<a_!T2261_SMALL PRESSES AND LIMITED EDITIONS_^>a_). The first
such project of real importance was the memorial volume of Stanley G. _^<a_!T5506_WEINBAUM_^>a_'s stories, _^<i_The Dawn of Flame and Other Stories_^>i_ (coll _^<b_1936_^>b_); the first enterprise to launch itself as a proper publishing imprint was
_^<a_!T232_ARKHAM HOUSE_^>a_, founded by August _^<a_!T1189_DERLETH_^>a_ and Donald _^<a_!T5450_WANDREI_^>a_ to preserve the memory of H.P. _^<a_!T3465_LOVECRAFT_^>a_, beginning with their first title, _^<i_The Outsider_^>i_ (coll
_^<b_1939_^>b_)._^<n__^<n_WWII postponed the establishment of any rival ventures. It also saw the publication of the first significant sf _^<a_!T195_ANTHOLOGIES_^>a_: Phil _^<a_!T5757_STONG_^>a_'s _^<i_The Other Worlds_^>i_ (anth _^<b_1941_^>b_)
and Donald A. _^<a_!T5679_WOLLHEIM_^>a_'s _^<i_Pocket Book of Science Fiction_^>i_ (anth _^<b_1943_^>b_) and _^<i_Portable Novels of Science_^>i_ (anth _^<b_1945_^>b_). The immediate post-WWII years saw a boom in sf anthology publishing from
respectable imprints, epitomized by _^<i_Adventures in Time and Space_^>i_ (anth _^<b_1946_^>b_), a mammoth compilation ed by Raymond J. _^<a_!T4364_HEALY_^>a_ and J. Francis _^<a_!T6309_MCCOMAS_^>a_ and published by the prestigious Random House.
Other anthologists, notably Groff _^<a_!T834_CONKLIN_^>a_ and Derleth, mined the sf magazines extensively. Successful as these books were, they did not immediately lead to an interest in publishing novels or single-author collections written by
magazine-sf writers, and a rash of specialist publishers appeared to fill the gap. Some of these, such as the Buffalo Book Company, New Era and Polaris Press, vanished rapidly; others, such as _^<a_!T4910_HADLEY PUBLISHING COMPANY_^>a_ and
_^<a_!T1993_PRIME PRESS_^>a_, though short-lived, were more significant; and four imprints, _^<a_!T1421_FANTASY PRESS_^>a_, _^<a_!T1422_FANTASY PUBLISHING COMPANY INC_^>a_, _^<a_!T4735_GNOME PRESS_^>a_ and _^<a_!T2149_SHASTA_^>a_, proved more
enduring. There was no shortage of material to draw on, and a plentiful readership of sf enthusiasts who did not have access to the old magazines in which many of the stories were confined. To a significant degree it was the specialist publishers
who determined the form in which future readers would perceive the stories of the stable of contributors to _^<a_!T277_ASTOUNDING SCIENCE FICTION_^>a_ who formed the core of their lists. For example, Isaac _^<a_!T268_ASIMOV_^>a_'s
_^<b_Foundation_^>b_ series was merely a long string of magazine stories until Gnome Press's packaging turned it into a trilogy of _^<a_!T1514_FIXUPS_^>a_; similarly, Shasta determined the shape of Robert A. _^<a_!T4376_HEINLEIN_^>a_'s _^<b_Future
History_^>b_ series._^<n__^<n_By the early 1950s, however, a number of established US publishers had become aware of the commercial potential of sf, and they began sf lists. _^<a_!T1299_DOUBLEDAY_^>a_ was the most significant and enduring of these,
though Scribners had begun a few years earlier with Heinlein juveniles; others included Grossett & Dunlap and Simon & Schuster. In the UK a similar boom occurred. Many of the giant US anthologies were republished, generally heavily cut, and such
publishers as Grayson & Grayson and Weidenfeld & Nicolson started sf lists. Michael Joseph Ltd attempted in the mid-1950s the first sf list to try to establish the category as worthwhile literature; its series, under the umbrella title "Novels of
the Future", was edited by the romantic novelist Clemence _^<a_!T1047_DANE_^>a_ and included work by C.M. _^<a_!T6353_KORNBLUTH_^>a_, Wilson _^<a_!T6117_TUCKER_^>a_ and others, but rode on the considerable reputation already established by John
_^<a_!T6211_WYNDHAM_^>a_, whose career with Michael Joseph had begun with _^<i_The Day of the Triffids_^>i_ (_^<b_1951_^>b_); John _^<a_!T719_CHRISTOPHER_^>a_ shortly followed a similar path. UK publishers like Michael Joseph found it easy to treat
sf, with some confidence, as an unstigmatized kind of literature. At the same time, however, some of the worst sf ever published -- assembly-line books from such publishers as _^<a_!T1009_CURTIS WARREN_^>a_, Scion, _^<a_!T349_BADGER BOOKS_^>a_,
Hamilton (who later became Panther Books) and the Tit-bits SF Library -- appeared in the UK during these years._^<n__^<n_Where paperback sf remained, with certain exceptions, largely worthless ephemera in the UK until the late 1950s, in the USA it
more quickly became an established part of publishers' lists. From their inception, publishers such as _^<a_!T20_ACE BOOKS_^>a_ and _^<a_!T377_BALLANTINE BOOKS_^>a_ relied heavily, and successfully, on sf; other publishers had a less considerable
but nevertheless significant involvement. Ace, in particular, gave much encouragement to newer writers, using their _^<b_Ace Double_^>b_ format (> _^<a_!T1298_DOS-A-DOS_^>a_) to couple them with more established names. Competition from paperback
publishers was already, by the 1960s, causing the magazine publishers severe difficulties, and from this time on it is fair to say that books became the dominant form of sf publishing, with work that had not previously been printed in magazine form
often appearing in paperback originals. Through the 1960s and 1970s sf continued to grow in strength as a publisher's category. The last of the important specialist sf publishers, Gnome Press, died in the early 1960s, although FPCI continued into
the 1970s on a semiprofessional basis; both had been squeezed out by the larger firms, whose resources they could not match. Arkham House, however, continued successfully to publish weird material, chiefly collections of macabre stories and
Lovecraftiana. Harper & Row and Berkley/Putnam joined Doubleday as the leading US hardcover publishers of sf (though Doubleday continued to produce the largest volume of titles); in the UK _^<a_!T4765_GOLLANCZ_^>a_ books, in their distinctive
yellow jackets, dominated the market, although Faber & Faber, Sidgwick & Jackson, Dennis Dobson and _^<a_!T6332_ROBERT HALE LIMITED_^>a_ (in descending order of discrimination and ascending order of volume) also made significant contributions. In
the paperback field Ace Books faded in importance following the departure of editor Donald A. Wollheim; his new imprint, _^<a_!T1100_DAW BOOKS_^>a_, begun 1972, took over Ace's place in the market with renewed success. In 1977 Ballantine retitled
its sf imprint _^<a_!T1165_DEL REY BOOKS_^>a_ after its editor, Judy-Lynn _^<a_!T1163_DEL REY_^>a_. From the late 1970s _^<a_!T397_BANTAM BOOKS_^>a_ became a major rather than a minor player in sf publishing, especially after joining forces with
Doubleday in 1986. In the UK, Panther Books was for many years the leading sf imprint, though this supremacy was challenged in the early 1960s by Penguin Books and in the 1970s by Sphere Books, Pan Books and the specialist imprint Orbit. By 1978
virtually every significant paperback publisher on both sides of the Atlantic included sf as an integral part of its list, and a high proportion of paperback editors were themselves sf enthusiasts._^<n__^<n_The 1970s also saw a revival of small
specialist publishers, but, whereas in the 1940s they had been largely animated by a wish to bring unobtainable novels back into print, in the 1970s they were to a great degree feeding the demand of the growing market of sf and fantasy
_^<i_collectors_^>i_, publishing obscure items by "collectable" authors (such as Lovecraft or, most particularly, Robert E. _^<a_!T4524_HOWARD_^>a_) or lavishly produced illustrated editions of favourite works. _^<a_!T1452_FAX COLLECTORS
EDITIONS_^>a_ was one of these, followed in the 1980s by _^<a_!T3668_MARK V. ZIESING_^>a_, _^<a_!T5283_UNDERWOOD-MILLER_^>a_ and others. Another phenomenon of the 1970s, attesting to the academic respectability which sf was achieving in some
quarters, was the establishment of scholarly reprint series, bringing classic sf works back into print in special durable editions. Such series have been published by _^<a_!T249_ARNO_^>a_, _^<a_!T4613_GARLAND_^>a_, _^<a_!T4573_HYPERION PRESS_^>a_
and, most notably, _^<a_!T4856_GREGG PRESS_^>a_. Thus sf novels first published in obscure and garish pulp magazines, later reprinted in hardcovers by loving enthusiasts when no commercial publisher would look at them, later still issued in equally
garish paperback editions, were now made safe for posterity._^<n__^<n_By the 1980s, especially in the USA, sf publishing had begun to be weighted, more heavily than previously, towards lower-end-of-the-market series books, books derived from
_^<a_!T1696_GAMES AND TOYS_^>a_, film _^<a_!T6014_TIES_^>a_ and so forth, a rather disturbing phenomenon noted and discussed in several of this encyclopedia's entries (e.g., _^<a_!T4443_HISTORY OF SF_^>a_, _^<a_!T2106_SERIES_^>a_,
_^<a_!T2126_SHARECROP_^>a_ and _^<a_!T2127_SHARED WORLDS_^>a_). Many serious sf writers became disturbed at what they perceived as the shrinking of the middle-of-the-road part of publisher's lists, the "midlist", to which much of their work had
previously belonged, as it was crowded out by formulaic "product". Nonetheless, serious sf publishing continued, and new companies arrived. Two brave, short-lived experiments were _^<a_!T6022_TIMESCAPE BOOKS_^>a_, an imprint of Simon &
Schuster/Pocket Books which lasted only 1981-3 but was prestigious and influential while it did, and _^<a_!T668_BLUEJAY BOOKS_^>a_ (1983-6), a quixotic attempt by a small press to enter mass-market publishing. Much more successful was
_^<a_!T6057_TOR BOOKS_^>a_, initially a mostly paperback house, founded in 1981 and brought under the umbrella of St Martin's Press, which came from nowhere to be for a time the leading sf publisher (in terms of number of titles, but also very
competitive in terms of quality) in the USA. By the beginning of the 1990s, US sf publishing was dominated by Putnam/Berkley/Ace, Bantam/Doubleday/Dell, Tor/St. Martins and Random House/Ballantine/Del Rey, with firms like Warner Books edging
towards a full involvement. Specialist sf publishers like DAW and Baen Books (> Jim _^<a_!T352_BAEN_^>a_), while not exactly languishing, are a good way down the list, publishing much less sf/fantasy/horror than the big four groups._^<n__^<n_Sf
publishing in the UK is on a much smaller scale, and is perhaps quirkier and more individualistic for that reason, though many titles published in the UK are reprints of US titles (a traffic that does not flow so efficiently in the other
direction). Of those publishers mentioned above, Gollancz has survived more than one change of ownership in the 1990s, Pan no longer publishes a large amount of sf, the Sphere sf list has been absorbed into Orbit, and Penguin is less and less
important as an sf publisher. Panther is long gone, having been transmuted into Granada and then Grafton, as such becoming a division of HarperCollins, which in 1992 is perhaps the major player in UK publishing. It has, however, received strong
competition from Legend (a division of Random Century), from New English Library (a division of Hodder & Stoughton), from Gollancz, which now publishes paperbacks as well as hardcovers, from Orbit (from early 1992 a division of Little, Brown UK),
from Headline (mostly fantasy and horror), and from Millennium (a division of the new-founded Orion Books). One interesting UK company has been The Women's Press, whose sf list has specialized in sf by women._^<n__^<n_A recession in book publishing
generally in the late 1980s and early 1990s was predicted to affect sf particularly adversely, but it is surviving well to date, though the overall number of sf books published per year shrank a little from its 1988 peak, but then reached -- in the
USA at least -- a new record, with _^<a_!T3419_LOCUS_^>a_ magazine counting 1990 separate sf/fantasy/horror titles (including reprints) published there in 1991, an average of over 5 per day. A further 1980s development in sf publishing has been the
rise in popularity of the large-format trade paperback, which has the same page size as the hardcover edition, and is often printed and published simultaneously with it; in fact, in such instances it is usually more accurate to say that the
trade-paperback version is the true first edition, the hardcover version representing a small run-on in a special binding for the institutional and gift markets. [MJE/PN]_^<n__^<n_
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PUCCETTI, ROLAND (PETER)
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(1922- ) US philosopher and writer, long professionally involved in mind-body problems. He published several essays on the split-brain controversy, perhaps most accessibly in "Sperry on Consciousness: A Critical Appreciation" for _^<i_The Journal
of Medicine and Philosophy_^>i_ in 1977. Both of his novels deal, in their way, with the question. In _^<i_The Death of the Fuhrer_^>i_ (_^<b_1972_^>b_ UK) Hitler's brain is transplanted into the body of a voluptuous woman, and "his" identity
discovered, in (as it were) flagrante delicto by the hero at a moment of passion. _^<i_The Trial of John and Henry Norton_^>i_ (_^<b_1973_^>b_ UK) convincingly updates the Jekyll and Hyde theme, in that the two Nortons of the title inhabit a single
body as the result of an operation to cut the link between the two lobes of the upper brain, the left and right lobes becoming in effect two different people. One of them proves to be a murderer, and they are tried "together". RP's concern with
identity problems was evident also in _^<i_Persons: A Study of Possible Moral Agents in the Universe_^>i_ (_^<b_1968_^>b_ UK), which argues an expansion of the concept of "person" beyond its usual human-centred limitations and provides serious
cognitive backing for the more speculative attempts in sf to apprehend the potential nature of _^<a_!T102_ALIENS_^>a_. [JC]_^<n__^<n_
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PULLA, ARMAS J.
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[r] > _^<a_!T1487_FINLAND_^>a_._^<n__^<n_
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PULP CLASSICS
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> Robert E. _^<a_!T5507_WEINBERG_^>a_._^<n__^<n_
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PULPHOUSE: A WEEKLY MAGAZINE
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> _^<a_!T2032_PULPHOUSE: THE HARDBACK MAGAZINE_^>a_._^<n__^<n_
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PULPHOUSE PUBLISHING
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Based in Eugene, Oregon, this _^<a_!T2261_SMALL PRESS_^>a_ was founded by its publisher Dean Wesley _^<a_!T2268_SMITH_^>a_ in 1988, in association with Kristine Kathryn _^<a_!T2738_RUSCH_^>a_ and others, and specializes in sf, fantasy and horror. It
began with _^<a_!T2032_PULPHOUSE: THE HARDBACK MAGAZINE_^>a_ in a limited edition. By 1990 it had become quite active in book publishing also, and in 1991, with 20 employees, the company seemed on the verge of becoming a full-scale publishing
house; by mid-1992, however, most of these employees had been laid off. Along with its subsidiary Axolotl Press, Pulphouse publishes mostly limited editions. These include: a most unusual line of small paperbacks each containing a single short
story (mostly reprints of award-winners and classics), a series that fell into abeyance in mid-1992; a series of novellas in book form; and the _^<i_Author's Choice Monthly_^>i_ numbered series of single-author collections (28 of these by late
1992). Most of the above are sf or fantasy, but in mid-1991 Pulphouse announced a projected Mystery Scene imprint also. [PN]_^<n__^<n_
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PULPHOUSE: THE HARDBACK MAGAZINE
-T-
Quarterly "magazine" in hardcover-book format, in fact an _^<a_!T1725_ORIGINAL-ANTHOLOGY_^>a_ series; ed Kristine Kathryn _^<a_!T2738_RUSCH_^>a_; published by Dean Wesley _^<a_!T2268_SMITH_^>a_ trading as _^<a_!T2031_PULPHOUSE PUBLISHING_^>a_ of
Eugene, Oregon; 11 issues (each 1250 copies) Fall 1988-Spring 1991; publication projected to cease after 12 issues._^<n__^<n_This interesting, eclectic and mostly successful experiment alternated horror, speculative fiction, fantasy and sf in
different issues. Horror and dark fantasy, in which categories much of the best work appeared, were the most repeated genres. The intended market appears to have been sophisticated: _^<i_P:THM_^>i_ published some experimental work, and despite the
notional pigeonholing of the fiction into categories, many of its stories transcend or ignore genre conventions. Many new authors were published by _^<i_P:THM_^>i_; more experienced contributors included George Alec _^<a_!T6592_EFFINGER_^>a_,
Charles _^<a_!T1155_DE LINT_^>a_, Robert _^<a_!T2164_SHECKLEY_^>a_, Lisa _^<a_!T4762_GOLDSTEIN_^>a_, Joe R. Lansdale (1951- ) and Harry _^<a_!T6132_TURTLEDOVE_^>a_. An anthology is _^<i_The Best of Pulphouse: The Hardcover Magazine_^>i_ (anth
_^<b_1991_^>b_) ed Rusch._^<n__^<n__^<i_P:THM_^>i_ was replaced in 1991 by _^<i_Pulphouse: A Weekly Magazine_^>i_ ed Smith, in small _^<a_!T492_BEDSHEET_^>a_ format -- first (test) issue marked "Issue Zero" (Mar 1, 1991), official #1 dated June 1,
1991 -- though for a number of months the two titles overlapped. The new 48pp magazine was anything but weekly to begin with, and, belatedly realistic, changed its title to _^<i_Pulphouse: A Fiction Magazine_^>i_ with #5 (Sep 20, 1991) and
announced a biweekly schedule. In its eight official issues to Dec 1991 it published short fiction, serialized novels by Robert _^<a_!T2164_SHECKLEY_^>a_, Spider and Jeanne _^<a_!T2636_ROBINSON_^>a_ and S.P. _^<a_!T2313_SOMTOW_^>a_, and published
nonfiction articles. _^<i_P_^>i_ became more irregular in 1992, with only six issues, then lurched on with only two further issues in 1993, and one in 1994. #18 came out in early 1995. This latter edition was guest-edited by Damon
_^<a_!T4098_KNIGHT_^>a_, and featured all stories about Jesus, all written by graduates of _^<a_!T733_CLARION SCIENCE FICTION WRITERS' WORKSHOP_^>a_. _^<i_P_^>i_ is perfectly capable of lingering on like this for years, displaying all the wan
fascination of the Undead. [PN]_^<n__^<n_
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PULP MAGAZINES
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In discussions of popular literature, as in this volume, the term "pulp" is used metaphorically as often as specifically, and when used specifically it has both a narrow and a wide sense._^<n__^<n__^<b_1._^>b_ "Pulp" is used in this encyclopedia as
an indication of format, in contrast to _^<a_!T492_BEDSHEET_^>a_ and _^<a_!T1231_DIGEST_^>a_. The pulp magazine normally measured 10in x 7in (about 25cm x 18cm); where the word "pulp" is used with no other indication of size, it can be assumed that
the magazine in question was of approximately these dimensions._^<n__^<n__^<b_2._^>b_ More broadly, "pulp" is used to designate the type of magazine whose format is as above. There was more to a pulp magazine than its size. Pulp magazines, as their
name suggests, were printed on cheap paper manufactured from chemically treated wood pulp, a process invented in the early 1880s. The paper is coarse, absorbent and acid, with a distinctive sharp smell much loved by magazine collectors. Pulp paper
ages badly, largely because of its acid content, yellowing and becoming brittle. Because of the thickness of the paper, pulp magazines tended to be quite bulky, often 1/2in (1.25cm) thick or more. They generally had ragged, untrimmed edges, and
later in their history had notoriously garish, brightly coloured covers, many of the coal-tar dyes used to make cover inks being of the most lurid hues._^<n__^<n_It is usually accepted that Frank A. _^<a_!T3106_MUNSEY_^>a_ invented the
pulp-magazine formula when in 1896 he changed the contents of _^<i_The_^<a_!T225_ARGOSY_^>a__^>i_ to contain nothing but fiction; previously the most popular periodicals had published a mixture of fiction, factual articles, poetry, etc. Sf was
already popular in magazine format before the advent of the pulps -- for example, in _^<i_The_^<a_!T5773_STRAND MAGAZINE_^>a__^>i_ , _^<i_The_^<a_!T4581_IDLER_^>a__^>i_ and _^<a_!T6306_MCCLURE'S MAGAZINE_^>a_. However, these three and the many like
them were aimed at a wealthier, more middle-class and possibly more literate audience than that which the pulps were invented to exploit: they were family magazines, with a more demure format and usually printed on coated, slick paper, which in the
USA led to their being dubbed the "slicks" to distinguish them from their humbler brethren, the pulps. It is sometimes stated that the slicks were more expensive than the pulps, but this was not necessarily so._^<n__^<n_The popular slicks and the
pulps were both part of a magazine-publishing revolution beginning in the 1880s, in which mass-distribution techniques and greatly increased advertising allowed the dropping of prices. Most magazines before the 1880s had had a small circulation and
been relatively expensive, aimed at a narrow, upper-middle-class, literate group. But now, in the UK and USA, literacy was becoming nearly universal, population was increasing at an amazing rate (doubling in 30 years in the USA), modern technology
was on the whole leading to more leisure, and there was as yet no cinema to offer opposition in the telling of stories. As a consequence, magazine circulations became massive towards the end of the century, over half a million in the most
successful cases._^<n__^<n_The slicks and, a little later, the pulps rode the crest of this wave, with the pulps cornering the all-fiction-magazine market. Other periodical formats -- some of which had a longer history (>_^<a_!T4958_BOYS'
PAPERS_^>a_; _^<a_!T1236_DIME-NOVEL SF_^>a_) included the popular weekly tabloid, such as _^<a_!T1831_PEARSON'S WEEKLY_^>a_._^<n__^<n_The general-fiction pulp magazine began to give way to specialized genre pulps after the founding in 1915 of
_^<i_Detective Story Monthly_^>i_. (Frank Munsey had been a pioneer here, too, with _^<i_Railroad Man's Magazine_^>i_ [1906] and _^<i_Ocean_^>i_ [1907].) _^<i_Western Story_^>i_ followed in 1919, _^<i_Love Stories_^>i_ in 1921 and _^<a_!T5512_WEIRD
TALES_^>a_ in 1923. It is surprising that sf did not get its own pulp until _^<a_!T141_AMAZING STORIES_^>a_ in 1926, for the _^<a_!T2878_SCIENTIFIC ROMANCE_^>a_ had been a staple of the general-fiction pulps, along with _^<a_!T3460_LOST-WORLD_^>a_
stories and _^<a_!T1412_FANTASY_^>a_, and in these fields the pulps had produced writers as celebrated and well loved as Edgar Rice _^<a_!T5097_BURROUGHS_^>a_, Ray _^<a_!T997_CUMMINGS_^>a_, George Allan _^<a_!T6673_ENGLAND_^>a_, Ralph Milne
_^<a_!T1434_FARLEY_^>a_, William Hope _^<a_!T4459_HODGSON_^>a_, A. _^<a_!T2912_MERRITT_^>a_, Sax _^<a_!T2675_ROHMER_^>a_ and Garrett P. _^<a_!T2112_SERVISS_^>a_, as well as helped to popularize H.G. _^<a_!T5528_WELLS_^>a_ (more commonly published
in the slicks) and H. Rider _^<a_!T4911_HAGGARD_^>a_. Many of these writers retain their popularity._^<n__^<n_The advent of specialized pulps did little at first to disturb the hardened pulp writers, who turned from pirate stories to jungle
stories, detective stories to sf, etc., with admirable _^<i_sang-froid_^>i_, though often with unhappy literary results. It was not until the late 1930s that sf writers in the pulps generally came to see themselves as specialists, concentrating
usually on sf, fantasy and horror, and seldom ranging further. (The crossing of genre boundaries is not, however, a rarity among pulp sf and fantasy writers; many have written detective novels, and more recently some have done very well with
_^<a_!T1243_DISASTER_^>a_ novels.)_^<n__^<n_Nor did the advent of specialized pulps mark the end of sf in the general-fiction pulps. _^<i_Argosy_^>i_ and _^<a_!T667_BLUE BOOK MAGAZINE_^>a_, for example, continued in the early 1930s to attract the
most popular sf writers, including Burroughs and Farley; _^<i_Argosy_^>i_ was paying up to 6 cents a word, and _^<i_Blue Book_^>i_ also paid well, considerably better than the cent or even half-cent a word available from the sf pulps. However, by
the end of the 1930s _^<i_Argosy_^>i_'s rates had dropped to 11/2 cents a word. This marked the effective death of the general-fiction pulp, and probably had a lot to do with the new vigour apparent in such sf pulps as _^<a_!T277_ASTOUNDING
SCIENCE-FICTION_^>a_._^<n__^<n_Although the sf pulps of the 1930s are remembered with great nostalgia by sf fans, the fact is that they formed a very minor portion of the overall pulp-publishing business. The great US pulp-publishing houses, such
as Clayton, _^<a_!T5789_STREET & SMITH_^>a_ and Standard, published dozens of titles of which sf, in terms of number of titles and overall sales, formed only a tiny proportion. Sf as big business had to wait for the post-WWII paperback-book
publishing boom (> _^<a_!T2026_PUBLISHING_^>a_)._^<n__^<n_Most of the pulp magazines, sf included, had died by the middle 1950s, to be replaced by _^<a_!T1231_DIGESTS_^>a_ (> _^<a_!T2130_SF MAGAZINES_^>a_) in increasingly unhappy competition with
paperback books; also, the reading of stories was itself giving way to the watching of _^<a_!T5926_TELEVISION_^>a_. Indeed, many pulp historians would claim that, despite the proliferation of titles in the 1930s, the heyday of the pulp magazines
with their half-million circulations ended with the paper shortages following WWI and the rapidly growing popularity of the _^<a_!T726_CINEMA_^>a_. The economic depression of the late 1920s probably prolonged the end, bringing with it an urgent
need for fiction which escaped the greyness of an ordinary world in which individuals seemed impotent. In the pulps, individuals not only influenced events, they regularly saved the world._^<n__^<n_A full index of sf and post-1930 fantasy magazines
with entries in this volume -- including many pulp magazines -- is given under _^<a_!T2130_SF MAGAZINES_^>a_. Other periodicals in which sf was published are discussed under _^<a_!T4958_BOYS' PAPERS_^>a_, _^<a_!T820_COMICS_^>a_,
_^<a_!T1236_DIME-NOVEL SF_^>a_ and _^<a_!T3597_MAGAZINES_^>a_, the latter entry listing the most important of the general slicks and tabloids which published sf in the period 1890-1940._^<n__^<n_The following are the general-fiction pulp-magazine
entries: _^<i_The_^<a_!T122_ALL-STORY_^>a__^>i_ , _^<i_The_^<a_!T225_ARGOSY_^>a__^>i_ , _^<i_The_^<a_!T667_BLUE BOOK MAGAZINE_^>a__^>i_ , _^<i_The_^<a_!T5215_CAVALIER_^>a__^>i_ , _^<i_The_^<a_!T1948_POPULAR MAGAZINE_^>a__^>i_ and
_^<i_The_^<a_!T2076_SCRAP BOOK_^>a__^>i_ . 3 specialized early pulps given entries are _^<a_!T2869_SCIENCE AND INVENTION_^>a_, _^<a_!T6001_THRILL BOOK_^>a_ and _^<a_!T5512_WEIRD TALES_^>a_. A number of 1930s "weird-menace" and science/detective
pulps whose sf content was very marginal do not receive entries, with the pious exception of Hugo _^<a_!T4668_GERNSBACK_^>a_'s _^<a_!T2876_SCIENTIFIC DETECTIVE MONTHLY_^>a_. There is a small fantasy element in such various genre pulps as
_^<i_Oriental Stories_^>i_ (1930), _^<i_Golden Fleece Historical Adventure_^>i_ (1938) and _^<i_Jungle Stories_^>i_ (1938), but the line had to be drawn somewhere in the no-man's-land between sf and fantasy, and they have been omitted. The sf
content of the _^<a_!T5829_SUPERHERO_^>a_/supervillain genre is sometimes greater and, though many are omitted -- including the extremely popular _^<i_The Shadow_^>i_ (1931-49), whose sf content was marginal and irregular (_^<i_but see_^>i_ Walter
B. _^<a_!T4688_GIBSON_^>a_ _^<i_for some details_^>i_) -- there are entries for _^<a_!T5152_CAPTAIN HAZZARD_^>a_, _^<a_!T5159_CAPTAIN ZERO_^>a_, _^<a_!T1258_DOC SAVAGE MAGAZINE_^>a_, _^<a_!T1271_DR. YEN SIN_^>a_, _^<a_!T1356_DUSTY AYRES AND HIS
BATTLE BIRDS_^>a_, _^<a_!T1519_FLASH GORDON STRANGE ADVENTURE MAGAZINE_^>a_, _^<a_!T4650_G-8 AND HIS BATTLE ACES_^>a_, _^<i_The_^<a_!T3134_MYSTERIOUS WU FANG_^>a__^>i_ , _^<i_The_^<a_!T3285_OCTOPUS_^>a__^>i_ , _^<a_!T1712_OPERATOR #5_^>a_,
_^<i_The_^<a_!T2886_SCORPION_^>a__^>i_ , _^<i_The_^<a_!T2366_SPIDER_^>a__^>i_ and _^<a_!T5938_TERENCE X. O'LEARY'S WAR BIRDS_^>a_._^<n__^<n_A good account of life as a pulp writer is _^<i_The Pulp Jungle_^>i_ (_^<b_1967_^>b_) by Frank Gruber; books
on pulp publishing are _^<i_Cheap Thrills: An Informal History of the Pulp Magazines_^>i_ (_^<b_1972_^>b_) by Ron _^<a_!T4785_GOULART_^>a_, _^<i_The Fiction Factory, or From Pulp Row to Quality Street: The Story of 100 Years of Publishing at Street
& Smith_^>i_ (_^<b_1955_^>b_) by Quentin James Reynolds (1902-1965), and _^<i_Pulp Voices: Interviews with Pulp Magazine Writers and Editors_^>i_ (chap _^<b_1983_^>b_) ed J.M. Elliot; the feeling of the pulps themselves is captured in _^<i_The
Pulps: 50 Years of American Pop Culture_^>i_ (_^<b_1970_^>b_) ed Tony Goodstone; and _^<i_The Shudder Pulps_^>i_ (_^<b_1975_^>b_) by Robert Kenneth Jones is on the "weird-menace" pulps. Also relevant is _^<i_Yesterday's Faces: A Study of Series
Figures in the Early Pulp Magazines: Volume 2: Strange Days_^>i_ (_^<b_1984_^>b_) by Robert Sampson, vol 1 being largely about precursors in the dime novels._^<n__^<n__^<b_3._^>b_ When used metaphorically the word "pulp" describes the quality and
style of the fiction published in the pulp magazines -- and, by extension, any similar fiction, no matter in what format it was published. The term is still used in this sense today, 40 years after the death of the pulps proper. The pulps
emphasized action, romance, heroism, success, exotic milieux, fantastic adventures (often with a sprinkling of love interest), and almost invariably a cheerful ending. In literary criticism "pulp" is often taken as a synonym for "stylistically
crude", but this was not necessarily the case. Good narrative pacing, by no means a negligible quality, was regularly found in the pulps, as were other the virtues of colour, inventiveness, clarity of image and occasional sharp observation, such as
might be seen in the work of the early pulp writer Jack _^<a_!T3427_LONDON_^>a_. But it is true that the voracious appetite of the pulp market led to many writers becoming, in effect, word factories, writing too swiftly and to a cynical formula.
The pulps did not generally pay as well for fiction as did the slicks, so economic pressure forced the pulp writer into high productivity._^<n__^<n_Today the term "pulp sf" is associated primarily with stories written, usually rapidly, for the
least intellectual segment of the sf market -- packed with adventure but with little emphasis on character, which is usually stereotyped, or on ideas, which are frugally and constantly recycled (> _^<a_!T752_CLICHES_^>a_). Many of the entries in
this volume discuss typical pulp-sf themes and modes, including _^<a_!T1678_GALACTIC EMPIRES_^>a_, _^<a_!T4395_HEROES_^>a_, _^<a_!T1714_OPTIMISM AND PESSIMISM_^>a_, _^<a_!T2115_SEX_^>a_, _^<a_!T2342_SPACE OPERA_^>a_, _^<a_!T5830_SUPERMAN_^>a_,
_^<a_!T5875_SWORD AND SORCERY_^>a_ and _^<a_!T5372_VILLAINS_^>a_. On the other hand, not all the fiction published in the pulp magazines was subject to the limitations that the word "pulp" usually suggests. Two famous examples from crime fiction of
writers transcending their pulp origins, even while continuing to be published in a pulp format, are Dashiell Hammett (1894-1961) and Raymond Chandler (1888-1959), both associated with _^<i_Black Mask_^>i_, and examples from sf are common, too, or
else the genre would long ago have died of malnutrition (>_^<a_!T4754_GOLDEN AGE OF SF_^>a_). [PN]_^<n__^<n_
Film (1970). Chartwell/Francoise. Dir Peter _^<a_!T5479_WATKINS_^>a_, starring Carmen Argenziano, Stan Armsted, Jim Bohan, Frederick Franklin, Gladys Golden. Screenplay Watkins. 89 mins. Colour._^<n__^<n_Set in the _^<a_!T6337_NEAR FUTURE_^>a_,
_^<i_PP_^>i_ concerns a group of young political dissidents who are forced to endure a government-controlled "run of the gauntlet" before they can attain amnesty for their political crimes. They must travel many miles across a US desert to reach a
flagpole flying the Stars and Stripes, at the same time avoiding the patrols of government troops who have orders to shoot to kill. The presence of a tv team that follows one group of dissidents, increasingly involved with their situation,
ingeniously increases our own involvement. Made at a time when youthful protest against the USA's involvement in Vietnam was at its peak, and a propaganda film on the side of the protesters, _^<i_PP_^>i_ nevertheless shows a genuinely individual
cinematic vision in its gloomy portrayal of a USA experiencing political repression. [JB/PN]_^<n__^<n_
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PURDOM, TOM
-T-
Working name of US writer Thomas Edward Purdom (1936- ) for all his sf, which he started publishing with "Grieve for a Man"_^<n__^<n_for _^<i_Fantastic Universe_^>i_ in 1957. His sf novels, beginning with _^<i_I Want the Stars_^>i_ (_^<b_1964_^>b_
dos), have been unpretentious but competent adventures, generally set on challenging alien worlds. _^<i_The Tree Lord of Imeten_^>i_ (_^<b_1966_^>b_ dos) vividly puts two human colonists into a crisis situation in the jungle while two native races
fight one another. _^<i_The Barons of Behavior_^>i_ (_^<b_1972_^>b_) mixes politics and social conditioning in a _^<a_!T1370_DYSTOPIAN_^>a_ future Earth. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Five against Arlane_^>i_ (_^<b_1967_^>b_ dos);
_^<i_Reduction in Arms_^>i_ (1967 _^<i_ASF_^>i_; exp _^<b_1971_^>b_)._^<b_As Editor:_^>b_ _^<i_Adventures in Discovery_^>i_ (anth _^<b_1969_^>b_)._^<b_See also:_^>b_ _^<a_!T2023_PSYCHOLOGY_^>a_.
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PURPLE DEATH FROM OUTER SPACE
-T-
> _^<a_!T1517_FLASH GORDON_^>a_._^<n__^<n_
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PURSUIT
-T-
Made-for-tv film (1972). ABC Circle/ABC TV. Dir Michael _^<a_!T954_CRICHTON_^>a_, starring Ben Gazzara, E.G. Marshall, William Windom, Joseph Wiseman, Martin Sheen. Screenplay Robert Dozier, based on _^<i_Binary_^>i_ (_^<b_1972_^>b_) by John Lange
(Crichton). 72 mins. Colour._^<n__^<n_In this lively thriller, Crichton's directorial debut, an extremist politician plans to use a nerve-gas chemical weapon, capable of killing millions, in San Diego during a Republican convention in order to kill
the US President. [JB/PN]_^<n__^<n_
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PYNCHON, THOMAS
-T-
(1937- ) US writer, all of whose works are _^<a_!T1372_FABULATIONS_^>a_ which resemble sf under some interpretations, though the _^<a_!T1795_PARANOIA_^>a_-wracked worlds his protagonists inhabit defeat any secure reading of the malign figurations
of reality. In _^<i_V_^>i_ (_^<b_1963_^>b_) dovetailing searches for a character named V geographically reproduce the title; some events in the book border on sf. _^<i_The Crying of Lot 49_^>i_ (_^<b_1966_^>b_) presents a complex conspiracy theory
of history, the tone of which seems to have influenced Robert _^<a_!T2163_SHEA_^>a_'s and Robert Anton _^<a_!T5643_WILSON_^>a_'s _^<b_Illuminatus!_^>b_ trilogy (_^<b_1975_^>b_). Enormous and complex, _^<i__^<a_!B9198_GRAVITY'S RAINBOW_^>a__^>i_
(_^<b_1973_^>b_) offers no repose for a secure reading, but the search for its main protagonist (whose sexual climaxes predict and attract rockets from the V-2s on) fabulously posits an sf world. The walking dead in _^<i_Vineland_^>i_
(_^<b_1990_^>b_) are -- it is almost certain -- not literally posthumous. TP's general concerns with _^<a_!T6679_ENTROPY_^>a_, paranoia and _^<a_!T822_COMMUNICATION_^>a_ have had a fruitful effect on some sf writers. [JC]_^<n__^<n__^<b_Other
works:_^>b_ _^<i_Entropy_^>i_ (1960; _^<b_1977_^>b_ chap UK), also contained in _^<i_Slow Learner_^>i_ (coll _^<b_1986_^>b_)._^<b_See also:_^>b_ _^<a_!T1015_CYBERPUNK_^>a_; _^<a_!T1412_FANTASY_^>a_; _^<a_!T4443_HISTORY OF SF_^>a_.
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SCIENCE FANTASY YEARBOOK
-T-
One of the many reprint _^<a_!T1231_DIGEST_^>a_-size magazines from Sol Cohen's Ultimate Publishing Co., using stories from old issues of _^<i_AMZ_^>i_ and _^<i_Fantastic Adventures_^>i_, including Theodore _^<a_!T5810_STURGEON_^>a_'s _^<i_The
Dreaming Jewels_^>i_ (1950 _^<i_Fantastic Adventures_^>i_; exp _^<b_1950_^>b_; vt _^<i_The Synthetic Man_^>i_ 1957). 4 quarterly issues appeared, 2 in 1970, 2 in 1971, all but #1 as _^<i_Science Fantasy_^>i_. [BS/PN]_^<n__^<n_
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360
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SF
-T-
Pronounced "esseff", the preferred abbreviation of "science fiction" within the community of sf writers and readers, as opposed to the journalistic _^<a_!T2882_SCI FI_^>a_. In this volume -- as often elsewhere -- it is rendered in lower-case
letters. [PN]_^<n__^<n_
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SCIENCE FICTION
-T-
US _^<a_!T2033_PULP MAGAZINE_^>a_, 12 issues Mar 1939-Sep 1941. Published by Blue Ribbon Magazines Inc. (Mar-Dec 1939), Double Action Magazines Inc. (Mar 1940-Jan 1941) and then Columbia Publications Inc. (Mar-Sep 1941); ed Charles D.
_^<a_!T4505_HORNIG_^>a_ (Mar 1939-Mar 1941) and Robert A.W. _^<a_!T3472_LOWNDES_^>a_ (June-Sep 1941)._^<n__^<n_The second venture into magazine editing by former _^<a_!T6152_WONDER STORIES_^>a_ editor Hornig, _^<i_SF_^>i_ was never better than very
mediocre; although its covers were all by Frank R. _^<a_!T1819_PAUL_^>a_, they were poor examples of his work. The stories were from such authors as John Russell _^<a_!T1455_FEARN_^>a_ and Eando _^<a_!T604_BINDER_^>a_, both of whom also used
pseudonyms to multiply their contributions to the magazine. The readers' departments were conducted on a determinedly chummy basis by Hornig, who spent a good deal of space airing his enthusiasm for Esperanto. (In later issues his firm pacifism
showed in some anguished editorials.) After 2 issues under Lowndes's editorship _^<i_SF_^>i_ was merged with its companion _^<a_!T1657_FUTURE FICTION_^>a_ to form _^<i_Future Combined with Science Fiction_^>i_. The Apr and July 1943 issues of
_^<a_!T2142_SCIENCE FICTION STORIES_^>a_, which revived the _^<i_SF_^>i_ cover design, were actually a continuation of _^<i_Future Fiction_^>i_ after a further title change. Some commentators see _^<i_The_^<a_!T1726_ORIGINAL SCIENCE FICTION
STORIES_^>a__^>i_ , also ed Lowndes, as a delayed continuation of _^<i_SF_^>i_ in the 1950s. 2 issues of _^<i_SF_^>i_, cut, were reprinted in the UK. [MJE/PN]_^<n__^<n_
Title used on 2 US _^<a_!T1231_DIGEST_^>a_-size magazines during the 1950s, and on 1 UK magazine that began as a reprint and continued, using original material, after its parent -- the 2nd US magazine -- folded. (The title was used also as a variant
title of _^<a_!T2057_SCIENCE FICTION CLASSICS_^>a_, Jan-May 1973, Sep and Nov 1974.)_^<n__^<n_The 1st US magazine published 9 issues Nov 1952-June 1954. #1 was published by Science Fiction Publications, the rest by Future Publications. The issues
Nov 1952-Sep 1953 were ed Lester _^<a_!T1164_DEL REY_^>a_ as Philip St John; Harry _^<a_!T4316_HARRISON_^>a_ took over shortly before the magazine folded. The schedule was irregularly bimonthly._^<n__^<n_The 2nd US magazine, published by Royal
Publications, was ed Larry T. _^<a_!T2158_SHAW_^>a_ and ran for 12 issues in 18 months, Dec 1956-June 1958. #1 was numbered, confusingly, vol 1 #6, continuing the numeration of a defunct magazine (_^<i_Suspect Detective Stories_^>i_) from the same
publisher; however, #2 was numbered vol 1 #2._^<n__^<n_The editorial policy in each case -- more overt in Shaw's magazine -- was to concentrate on adventure stories. The 1st _^<i_SFA_^>i_ serialized del Rey's _^<i_Police Your Planet_^>i_ (Mar-Sep
1953; _^<b_1956_^>b_), as by Erik Van Lhin, and C.M. _^<a_!T6353_KORNBLUTH_^>a_'s _^<i_The Syndic_^>i_ (Dec 1953-June 1954; _^<b_1953_^>b_). The 2nd _^<i_SFA_^>i_ used very few short stories, usually featuring 3 long novelettes per issue. Robert
_^<a_!T2216_SILVERBERG_^>a_, under various names, was a particularly prolific contributor, magazine versions of 6 of his early novels appearing there._^<n__^<n_Novelettes from Shaw's magazine were resorted into 5 issues of a UK edition marketed
Mar-Nov 1958 by Nova Publications, with both Shaw and John _^<a_!T5170_CARNELL_^>a_ credited as editors. Carnell alone, no longer using material from the parent magazine, continued _^<i_SFA_^>i_ for a further 27 issues until May 1963, using a great
deal of material by Kenneth _^<a_!T5073_BULMER_^>a_ (under various names) and novelettes by other writers regularly featured in the companion magazines _^<a_!T3182_NEW WORLDS_^>a_ and _^<a_!T2870_SCIENCE FANTASY_^>a_. Notable stories included John
_^<a_!T5049_BRUNNER_^>a_'s _^<b_Society of Time_^>b_ series (1962; fixup as _^<i_Times without Number_^>i_ _^<b_1962_^>b_; rev 1974) and the magazine version of J.G. _^<a_!T378_BALLARD_^>a_'s _^<i_The Drowned World_^>i_ (Jan 1962; rev
_^<b_1962_^>b_). The UK _^<i_SFA_^>i_ was numbered consecutively #1-#32, approximately bimonthly to #14, and regularly bimonthly from then on. Though sometimes regarded as more juvenile than its two companion publications, it remained continuously
enjoyable. [BS]_^<n__^<n_
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SCIENCE FICTION ADVERTISER
-T-
> _^<a_!T2610_RIVERSIDE QUARTERLY_^>a_._^<n__^<n_
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SCIENCE FICTION & FANTASY BOOK REVIEW
-T-
US critical magazine, founded and ed Neil _^<a_!T442_BARRON_^>a_, published by _^<a_!T705_BORGO PRESS_^>a_, 13 issues 1979-80; revived with the _^<a_!T2139_SCIENCE FICTION RESEARCH ASSOCIATION_^>a_ as publisher, still ed Barron, 20 issues 1982-3;
amalgamated with _^<i_Fantasy Newsletter_^>i_ to form _^<a_!T1423_FANTASY REVIEW_^>a_, Jan 1984, ed Robert A. Collins, with Barron as reviews editor. This useful journal often reviewed as many as 50 books an issue -- novels, collections, secondary
and associational literature -- and with so many reviewers involved was a triumph of editorial organization. Its passing is regretted, especially since _^<a_!T2136_SFRA NEWSLETTER_^>a_, which since the late 1980s has been doing something similar,
usually prints rather shorter reviews (especially since mid-1992) than did _^<i_SF&FBR_^>i_, and its standards seem a little more uneven. [PN]_^<n__^<n_
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SCIENCE FICTION AND FANTASY BOOK REVIEW ANNUAL
-T-
Beginning with _^<i_Science Fiction and Fantasy Book Review Annual 1988_^>i_ (dated 1988 but _^<b_1989_^>b_) ed Robert A. Collins and Robert Latham -- whose coverage is of 1987 -- this series is an annual book spin-off from the defunct magazine
_^<a_!T1423_FANTASY REVIEW_^>a_ (folded Aug 1987). The book-review section of the magazine had been its strongest feature, and continues as the central feature of the annual, whose first edition published around 550 brief reviews (most reprinted,
though individual reviews are not so acknowledged, from _^<a_!T2136_SFRA NEWSLETTER_^>a_) along with essay surveys of the year in sf, sf scholarship, horror, etc. _^<i_SFAFBRA_^>i_'s utility is dubious, since by the time its information is
published many of the books described are out of print. _^<i_SFAFBRA_^>i_, published by Meckler for 2 years then by _^<a_!T4852_GREENWOOD PRESS_^>a_, had (_^<i_1989_^>i_), (_^<i_1990_^>i_) and (_^<i_1991_^>i_) editions up to the end of 1994.
[PN]_^<n__^<n_
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SFFWA
-T-
> _^<a_!T2147_SCIENCE FICTION WRITERS OF AMERICA_^>a_._^<n__^<n_
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SCIENCE FICTION AND FANTASY WRITERS OF AMERICA
-T-
> _^<a_!T2147_SCIENCE FICTION WRITERS OF AMERICA_^>a_._^<n__^<n_
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SCIENCE FICTION: A REVIEW OF SPECULATIVE LITERATURE
-T-
Australian critical magazine ed Van Ikin from University of Sydney and later University of Western Australia; associate ed Terry _^<a_!T1309_DOWLING_^>a_; irregular; _^<a_!T2033_PULP-MAGAZINE_^>a_ format, 35 issues 1977-1993, presumably current.
Intended to be a reputable academic journal, as the editorial addresses suggest, _^<i_SF:AROSL_^>i_ has oscillated a little uneasily between the academic and the fannish, but has nevertheless published good critical features. Until the more regular
and perhaps livelier _^<a_!T317_AUSTRALIAN SCIENCE FICTION REVIEW: SECOND SERIES_^>a_ appeared in 1986, this was the main repository for Australian sf criticism (especially since its main rival, _^<a_!T2060_SF COMMENTARY_^>a_, was notably irregular
in the 1980s), publishing interesting material by its editors and by Russell _^<a_!T630_BLACKFORD_^>a_, George _^<a_!T6130_TURNER_^>a_ and others. The very irregular publication means letters and reviews often seem out of date even as they appear.
[PN]_^<n__^<n_
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-A-
SFBC AWARD
-T-
> _^<a_!T6321_AWARDS_^>a_._^<n__^<n_
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SCIENCE FICTION BOOK CLUB
-T-
Sf book clubs were started in both the UK and the USA at roughly the same time (_^<i_c_^>i_1953). The UK version was owned in its early years by Sidgwick & Jackson, then by Dent as part of that company's Readers' Union group of book clubs, and
finally by David & Charles, who bought the Readers' Union group in the 1970s. David & Charles's management, which contained no sf enthusiasts, was apathetic towards the SFBC, which later became subject to competition from Encounters, a book club
aggressively promoted by the larger group Book Club Associates. Even before the death in 1982 of its freelance consultant Edmund _^<a_!T870_COOPER_^>a_, the editorless UK SFBC was slowly petering out, despite part- and spare-time efforts by one
Readers' Union employee, Paul G. Begg, to keep it alive; it died altogether some time after Begg left the company._^<n__^<n_The US SFBC, by contrast, has had a history of continuity. It is published by Nelson Doubleday, Inc., an associate of, but
distinct from, _^<a_!T1299_DOUBLEDAY_^>a_, whose differing imprint is Doubleday & Company, Inc. In 1986 the US SFBC was sold, along with Doubleday, to the German company Bertelsmann. The US club is far larger than the UK club ever was, offers a
very much broader selection, publishes its own editions (including special hardcover editions of paperback originals) and creates books -- omnibuses of various sorts -- especially for its members. (The UK club normally presented no more than one
title per month, reprinted cheaply on cheap paper and with a cheap binding and cover.) The US SFBC has been a major force in sf publishing. [MJE/PN/JGr]_^<n__^<n_
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SFCD-LITERATURPREIS
-T-
> _^<a_!T6321_AWARDS_^>a_._^<n__^<n_
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SCIENCE FICTION CHRONICLE
-T-
US _^<a_!T2100_SEMIPROZINE_^>a_ published and ed from New York by Andrew _^<a_!T1953_PORTER_^>a_, monthly, current, 180 issues to Feb 1995. _^<i_SFC _^>i_was founded in 1978 as a department of Porter's more elaborate but now defunct magazine
_^<a_!T95_ALGOL_^>a_, and became a separate publication in Oct 1979. It is a general news magazine about sf, whose coverage is not as broad as that of its competitor, the West Coast magazine _^<a_!T3419_LOCUS_^>a_, though it contains fan material,
a film column by Ed _^<a_!T3136_NAHA_^>a_ (until Sep 1990) and the "London Report" by Stephen Jones and Jo Fletcher, all of which cover ground rather different from _^<i_Locus_^>i_'s. The film column is disappointingly fragmentary and the book
reviews, by Don D'Ammassa, are very short. Something of an East Coast institution, _^<i_SFC_^>i_ does offer an alternate voice for the sf community. In its one-man-band editorial performance it shows astonishing stamina in its producer, Porter, who
received a Special Award at the World _^<a_!T856_CONVENTION_^>a_ in 1991 for his "years of continuing excellence" in editing _^<i_SFC_^>i_, in the pages of which he subsequently apologized for his less than graceful acceptance of the award, which
he regarded as "a consolation prize". No such response was necessary in 1993 and 1994, for _^<i_SFC_^>i_ did indeed win the HUGO award in the semiprozine category in both those years, bringing to an end _^<i_Locus_^>i_'s astonishing run of nine
years' domination of the award ever since that category was first established. [PN]_^<n__^<n_
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SCIENCE FICTION CLASSICS
-T-
One of the many reprint _^<a_!T1231_DIGEST_^>a_-size magazines published by Sol Cohen's Ultimate Publishing Co., 30 issues published, ed Herb Lehrman as Ralph Adris #1-#5, then ed Cohen. It began Feb 1967, published #1-#6 in 1967-8 as _^<i_Science
Fiction Classics_^>i_ and #7-#8 in 1969 as _^<i_Science Fiction (Adventure) Classics_^>i_. It resumed publication in Winter 1970 under the latter title with #12 and published 22 more issues before merging with _^<i_Thrilling Science Fiction_^>i_ (>
_^<i_The_^<a_!T3077_MOST THRILLING SCIENCE FICTION EVER TOLD_^>a__^>i_ ) in early 1975. _^<i_SFC_^>i_ was numbered consecutively up to #19, and thereafter merely dated. The schedule was irregular. The hiatus in numbering (#9-#11 missing) is
connected with the fact that 2 other magazines took up their numbering from _^<i_SFC_^>i_ in 1969: _^<a_!T2330_SPACE ADVENTURES (CLASSICS)_^>a_ published 6 issues numbered #9-#14, and _^<a_!T5777_STRANGE FANTASY_^>a_ published 6 issues numbered
#8-#13; they folded in 1971 and 1970 respectively._^<n__^<n_In its early issues _^<i_SFC_^>i_ used a great deal of material from the 1930s _^<i_AMZ_^>i_, reprinting stories by John W. _^<a_!T5140_CAMPBELL_^>a_ Jr, Hugo _^<a_!T4668_GERNSBACK_^>a_,
Edmond _^<a_!T4258_HAMILTON_^>a_ _^<i_et al_^>i_., but from #13 it reprinted mainly poor stories from the period of Raymond A. _^<a_!T1774_PALMER_^>a_'s editorship. Variant titles were _^<i_Science Fiction Adventures Classics_^>i_ (July 1973-July
1974) and _^<i_Science Fiction Adventures_^>i_ (Jan-May 1973, Sep and Nov 1974). [BS]_^<n__^<n_
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SCIENCE FICTION CLASSICS ANNUAL
-T-
US _^<a_!T1231_DIGEST_^>a_-size magazine. 1 issue, dated 1970, published by Ultimate Publishing Co.; probably ed Sol Cohen. All stories were reprinted from the 1930s _^<i_AMZ_^>i_. [FHP]_^<n__^<n_
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SCIENCE-FICTION COLLECTOR, THE
-T-
Canadian bibliographical _^<a_!T2100_SEMIPROZINE_^>a_ (1976-81), describing itself as a _^<a_!T1428_FANZINE_^>a_, published by James Grant Books, Calgary, to #3, then by Pandora's Books Ltd; ed J. Grant Thiessen (1946- ). With #9 (June 1980) the
journal merged with the fanzine _^<i_Age of the Unicorn_^>i_, and was renamed _^<i_Megavore: The Journal of Popular Fiction_^>i_._^<n__^<n_Thiessen, a book dealer with a bibliographical bent, published in _^<i_TS-FC_^>i_ a good deal of extremely
useful research -- which quite often cannot be found duplicated elsewhere -- on sf _^<a_!T2026_PUBLISHING_^>a_, frequently in the more obscure and less reputable areas of paperback-book and magazine publishing, with features on _^<a_!T20_ACE
BOOKS_^>a_, sf pornography, defunct paperback lines, Avalon Books, A.E. _^<a_!T5333_VAN VOGT_^>a_ and much else. After the title-change the emphasis was less strongly on sf/fantasy; within a year the journal died. [PN]_^<n__^<n_
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SF COMMENTARY
-T-
Australian _^<a_!T1428_FANZINE_^>a_, irregular (Jan 1969-current), ed Bruce _^<a_!T4703_GILLESPIE_^>a_. _^<i_SFC_^>i_, which had reached #73/74/75 by Oct 1993, is a serious critical journal in stencilled format (until issue #69/70, Jan 1991, since
when it has been lithographed); it also includes rather charming autobiographical ramblings by Gillespie. It is generally considered one of the best serious fanzines, and has received 3 _^<a_!T4551_HUGO_^>a_ nominations. Important contributors have
included John Foyster, Yvonne Rousseau, George _^<a_!T6130_TURNER_^>a_ and Stanislaw _^<a_!T3329_LEM_^>a_; most of the earliest English translations of Lem's critical articles appeared in _^<i_SFC_^>i_. During June 1981-Jan 1989 _^<i_SFC_^>i_ did
not appear, Gillespie instead publishing his _^<i_The Metaphysical Review_^>i_, which is less concentratedly about sf, and which had reached #19/20/21 by July 1994. [PN]_^<n__^<n_
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SCIENCE FICTION DIGEST
-T-
_^<b_1._^>b_ US _^<a_!T1231_DIGEST_^>a_-size magazine. 2 issues, Feb and May 1954, published by Specific Fiction Corp., New York, ed Chester Whitehorn. _^<i_SFD_^>i_ was intended as a reprint magazine which would take its material from the slick
general-fiction magazines and other sources, but the selections were weak and it quickly failed. Its (purportedly) nonfiction articles had a strong occult bent. The same publisher and editor had already failed with _^<a_!T5410_VORTEX SCIENCE
FICTION_^>a_ the previous year._^<n__^<n__^<b_2._^>b_ US _^<a_!T1231_DIGEST_^>a_-sized magazine. 4 issues Oct/Nov 1981-Sep/Oct 1982, ed Shawna _^<a_!T6301_MCCARTHY_^>a_, published by Davis Publications, New York, as a companion magazine to
_^<a_!T3816_ISAAC ASIMOV'S SCIENCE FICTION MAGAZINE_^>a_ and _^<i_ASF_^>i_. This was an experiment in presenting excerpts from forthcoming books, both fiction and nonfiction, in the form of self-sufficient episodes. #4 was a 288pp double
issue._^<n__^<n__^<b_3._^>b_ _^<a_!T1428_FANZINE_^>a_ founded in 1932, better known under the title to which it changed its name in 1934, _^<a_!T1419_FANTASY MAGAZINE_^>a_ (_^<i_which see for details_^>i_)._^<n__^<n_None of these magazines should
be confused with the UK _^<a_!T2062_SF DIGEST_^>a_. [FHP/PN]_^<n__^<n_
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SF DIGEST
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UK small-_^<a_!T492_BEDSHEET_^>a_-size magazine. 1 undated issue, 1976, published by New English Library; ed Julie Davis. _^<i_SFD_^>i_ was to have been a quarterly successor to _^<a_!T2131_SCIENCE FICTION MONTHLY_^>a_, but was doomed even before #1
appeared by the publisher's decision to concentrate on books rather than magazines. _^<i_SFD_^>i_'s format was superior to that of _^<i_Science Fiction Monthly_^>i_, and was less obviously slanted toward a juvenile market. [PN]_^<n__^<n_
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SCIENCE FICTION EYE
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US _^<a_!T2100_SEMIPROZINE_^>a_, #1 Winter 1987; ed Stephen P. Brown, Daniel Steffan, and published by the 'Til You Go Blind Cooperative to #5; ed and published Brown alone from #6; published from Washington DC to #8, thereafter from Asheville,
North Carolina; thirteen issues to Spring 1994, theoretically 3 issues a year (actually highly irregular), maybe current._^<n__^<n_This intensely lively critical journal, professional in appearance, has at times been regarded as the house journal
of _^<a_!T1015_CYBERPUNK_^>a_; it prints its price in US dollars, pounds sterling and Japanese yen on the cover. It covers literature (mostly but not exclusively sf), music, technology, communications, or whatever is hot on the streets at a given
moment, with an agreeable if irritating air of seeing itself as living on the cutting edge. Its various controversies have included a continuing savage attack on Orson Scott _^<a_!T6359_CARD_^>a_. Contributors have included Paul Di Filippo, William
_^<a_!T4689_GIBSON_^>a_, Richard _^<a_!T4806_GRANT_^>a_, Eileen Gunn, Elizabeth _^<a_!T4269_HAND_^>a_, Richard _^<a_!T3961_KADREY_^>a_, John _^<a_!T4043_KESSEL_^>a_, Charles _^<a_!T1927_PLATT_^>a_, Lucius _^<a_!T2175_SHEPARD_^>a_ and Bruce
_^<a_!T5717_STERLING_^>a_. As time went by in the 1990s, and the frequency of publication went down to around once a year, the editor's riding the surf of the future was compromised by the likelihood he would slop off the back of the wave. But the
UK research unit set up in 1971 at the North East London Polytechnic (which became the University of East London in 1992), but semi-autonomous, being controlled by a council, partly academics and partly sf professionals, and including George
_^<a_!T4351_HAY_^>a_, whose enthusiasm had much to do with the SFF's inception. Peter _^<a_!T3189_NICHOLLS_^>a_, the first administrator (1971-7), was followed by Malcolm _^<a_!T6589_EDWARDS_^>a_ (1978-80). The SFF was the first and only academic
body in the UK set up to investigate sf: until 1980 it also supervised graduate research work in the field and investigated the usefulness of sf in education generally (> _^<a_!T2071_SF IN THE CLASSROOM_^>a_)._^<n__^<n_Severe restrictions on UK
educational budgets in 1980 led to the freezing of the position of administrator when Edwards left in May of that year, though Colin _^<a_!T4847_GREENLAND_^>a_, as an Arts-Council-funded Writing Fellow attached to the SFF, kept the flag flying for
a period, and Charles _^<a_!T435_BARREN_^>a_ served as (unsalaried) acting administrator for some years, followed by Ian MacPherson and Ted Chapman, variously designated but never paid. During 1980-91 the SFF was staffed only by a single part-time
employee, Joyce Day, becoming primarily known for its journal, _^<a_!T1577_FOUNDATION: THE REVIEW OF SCIENCE FICTION_^>a_, and its research library, housed at the Barking precinct of the Polytechnic, the largest publicly accessible
_^<a_!T799_COLLECTION_^>a_ of sf in the UK outside the British Library, with _^<i_c_^>i_20,000 items including magazines and fanzines. In 1991 it seemed briefly that the Polytechnic -- then about to be granted, as were other UK polytechnics, the
more prestigious designation "University" -- was prepared to refinance the SFF, and an additional clerical staff member was introduced, though not one either versed in sf or with a teaching brief. But the now "University" soon declared itself
unwilling to sustain the collection, to house the academic journal, or to appoint an academic lecturer to the essential post of Administrator; the "University" additionally proposed to evict the SFF on a short notice unless the SFF agreed to pay it
ps40,000 per annum -- though no Administrator would be appointed, nor any courses permitted, nor any accessions budget granted, if that sum were in fact advanced. In October 1992, the Council of the SFF therefore agreed in principle to move in
early 1993 to the University of Liverpool, which had expressed much interest in the chance to gain so substantial (and unique) a research resource. The University of Liverpool selected Andy Sawyer as Administrator in 1993; an MA course in sf was
announced; and the Collection was formally transferred into the University's keeping 26 January 1995, though ownership of SFF books remains with the Friends of Foundation, which was formed in the late 1980s specifically in order to help sustain the
SFF through the difficult period which was, even then, anticipated._^<n__^<n_The SFF patrons are Arthur C. _^<a_!T736_CLARKE_^>a_and Ursula K._^<a_!T3318_LE GUIN_^>a_; council and ordinary members have included practically all UK sf writers as well
as distinguished US writers including James _^<a_!T658_BLISH_^>a_. The SFF helps administer the _^<a_!T255_ARTHUR C. CLARKE AWARD_^>a_. [PN/JC]_^<n__^<n_
In September 1953 Sam _^<a_!T3074_MOSKOWITZ_^>a_ began to teach what was almost certainly the first sf course in the USA to be given through a college. The course was on Science Fiction Writing, was delivered on a non-credit basis through the City
College of New York, and was presented with the collaboration of a popular-science writer, Robert Frazier (not to be confused with the sf poet Robert _^<a_!T1613_FRAZIER_^>a_). For the Autumn 1953 sessions, Moskowitz arranged for several sf writers
-- including Isaac _^<a_!T268_ASIMOV_^>a_, Lester _^<a_!T1164_DEL REY_^>a_, Murray _^<a_!T3326_LEINSTER_^>a_, Robert _^<a_!T2164_SHECKLEY_^>a_ and Theodore _^<a_!T5810_STURGEON_^>a_ -- to give talks; later sessions included talks by Robert A.
_^<a_!T4376_HEINLEIN_^>a_ and others. Moskowitz left the course after 1955, and it probably ceased in 1957._^<n__^<n_Further sf courses were slow to be established. Guest lectures were occasionally given, including 2 by Moskowitz, the first in
December 1950 at New York University, the second in December 1953 at Columbia University. Those given by Heinlein, C.M. _^<a_!T6353_KORNBLUTH_^>a_, Robert _^<a_!T661_BLOCH_^>a_ and Alfred _^<a_!T568_BESTER_^>a_ at the University of Chicago in 1957
were collected as _^<i_The Science Fiction Novel_^>i_ (anth _^<b_1959_^>b_) with an introduction by Basil _^<a_!T1076_DAVENPORT_^>a_; those by Kingsley _^<a_!T153_AMIS_^>a_ at Princeton in 1959 were published as _^<i_New Maps of Hell_^>i_
(_^<b_1960_^>b_ US). A key year was 1961, when courses were set up by Mark R. _^<a_!T4433_HILLEGAS_^>a_ at Colgate and H. Bruce _^<a_!T1604_FRANKLIN_^>a_ at Stanford. 10 years later Jack _^<a_!T5629_WILLIAMSON_^>a_'s pamphlet _^<i_Science Fiction
Comes to College_^>i_ (_^<b_1971_^>b_ chap) listed 61 universities offering such courses, and he judged that to be a mere sampling; by the time of his later pamphlet, _^<i_Teaching SF_^>i_ (_^<b_1975_^>b_ chap), that estimate had considerably
increased, and it seems likely that today there are at least 250 such courses in the USA. _^<i_A Research Guide to Science Fiction Studies_^>i_ (_^<b_1977_^>b_), compiled by Marshall B. _^<a_!T6150_TYMN_^>a_, Roger C. _^<a_!T2845_SCHLOBIN_^>a_ and
L.W. _^<a_!T1001_CURREY_^>a_, lists 412 doctoral dissertations on sf subjects, the great majority having been submitted in the USA. Sf scholars have their own association, the _^<a_!T2139_SCIENCE FICTION RESEARCH ASSOCIATION_^>a_, whose membership
in the early 1990s hovered just above 300, perhaps two-thirds being US-based teachers of sf. It is clear that there has also been a greatly increased use of sf material at high-school level, sf being studied not only in its own right but because it
helps to dramatize issues of _^<a_!T6576_ECOLOGY_^>a_, _^<a_!T1669_FUTUROLOGY_^>a_, _^<a_!T1752_OVERPOPULATION_^>a_, _^<a_!T2300_SOCIOLOGY_^>a_, _^<a_!T5916_TECHNOLOGY_^>a_, etc. Also, as one of the most interesting and rapidly evolving forms of
popular culture, sf is an important register of social history, reflecting shifts in the prejudices and expectations of society at large._^<n__^<n_The story is very different outside the USA. A scattering of universities in Canada, Europe and
Australia have sf courses. The first sf course in the UK was a non-credit course begun by Philip _^<a_!T5792_STRICK_^>a_ in 1969 at the City Literary Institute, London; it had various leaders (including the editors of this encyclopedia: John
_^<a_!T769_CLUTE_^>a_, Peter _^<a_!T3189_NICHOLLS_^>a_ and Brian M. _^<a_!T2385_STABLEFORD_^>a_) before its demise in 1992. Brief academic sf courses were taught by Nicholls and Ian _^<a_!T5484_WATSON_^>a_ in the 1970s, and occasional sf texts
still find their way on to more conventional courses in English, politics, etc., but sf courses at university level remain a rarity in the UK._^<n__^<n_Fears have been expressed that the academic study of sf will domesticate it. (A common
catchphrase among sf fans was "Kick sf out of the classroom and back to the gutter where it belongs".) They are not groundless. Anecdotal evidence suggests that too often the sf course is regarded as a "soft option", and, although the number of
distinguished scholars and teachers of sf, especially in the USA, has certainly increased through the 1970s and 1980s, the overall standard of academic sf criticism is not notably high. Also, the academic acceptance of sf may have suffered a
setback through the popular perception, in the post-_^<a_!T5686_STAR WARS_^>a_ era, that sf books are largely juvenilia -- a perception partly justified in a period when sf _^<a_!T2026_PUBLISHING_^>a_, chiefly in the USA, appeared to have become
cynically focused on a routine, mass-market product to the detriment of "mid-list" writers whose work was more serious, more carefully written and, it could be argued, more entertaining. Nonetheless, the number of _^<a_!T963_CRITICAL AND HISTORICAL
WORKS ABOUT SF_^>a_ increased very dramatically during this period: during 1991 _^<a_!T2136_SFRA NEWSLETTER_^>a_ reviewed about 15 books a month on sf/fantasy. Also, many more academic essays on sf are being published; they are now likely to turn
up in all sorts of nonspecialist literary and critical journals, not just the specialist journals, whose "Big Three" remain _^<a_!T2143_SCIENCE-FICTION STUDIES_^>a_ and _^<a_!T6730_EXTRAPOLATION_^>a_ in the USA, and _^<a_!T1577_FOUNDATION: THE
REVIEW OF SCIENCE FICTION_^>a_ in the UK; it is too soon to say with what success _^<a_!T3941_JOURNAL OF THE FANTASTIC IN THE ARTS_^>a_ (founded 1988) will join this group. These journals regularly publish a proportion of unexciting and mediocre
work, as they always did, but there is currently a strong sense that more good and lively sf criticism and scholarship are abroad in the land now than when the 1st edn of this encyclopedia was prepared._^<n__^<n_Especially since the early 1970s,
many books -- far too many to be listed here -- have been published for use by teachers of sf at high-school level. Some have unfortunately tended towards the patronizing and simplistic, or to the formulaic, as in too many (but not all) of the
readers' guides to individual authors published by companies like _^<a_!T705_BORGO PRESS_^>a_, Cliffs Notes, _^<a_!T4852_GREENWOOD PRESS, _^>a__^<a_!T2417_STARMONT HOUSE_^>a_, Twayne and Ungar. Among the useful classroom guides are: _^<i_Science
Fiction: An Introduction_^>i_ (_^<b_1973_^>b_; rev vt _^<i_Science Fiction Reader's Guide_^>i_ 1974) by L. David Allen; _^<i_Grokking the Future: Science Fiction in the Classroom_^>i_ (_^<b_1973_^>b_) by Bernard C. Hollister and Deane C. Thompson;
_^<i_Science Fiction: Its Criticism and Teaching_^>i_ (_^<b_1980_^>b_) by Patrick _^<a_!T6328_PARRINDER_^>a_; _^<i_Critical Encounters: Writers and Themes in Science Fiction_^>i_ (anth _^<b_1978_^>b_) ed Dick Riley; _^<i_Science Fiction: A
Teacher's Guide and Resource Book_^>i_ (_^<b_1988_^>b_) by Marshall B. Tymn; and _^<i_Teaching Science Fiction: Education for Tomorrow_^>i_ (anth _^<b_1980_^>b_) ed Jack Williamson._^<n__^<n_The standard of books aimed at university-level readers
and graduates ranges bafflingly from the opaque and semiliterate to the stimulating and rigorous, and their sheer volume -- as suggested under _^<a_!T963_CRITICAL AND HISTORICAL WORKS ABOUT SF_^>a_ -- is now dizzying. Among the more important
(English-language) academic authors to have written books in this field are Paul K. _^<a_!T106_ALKON_^>a_, Thomas D. _^<a_!T732_CLARESON_^>a_, I.F. _^<a_!T736_CLARKE_^>a_, Samuel R. _^<a_!T1152_DELANY_^>a_ (a part-time academic), H. Bruce
_^<a_!T1604_FRANKLIN_^>a_, James E. _^<a_!T4896_GUNN_^>a_, Hal W. _^<a_!T4933_HALL_^>a_, Mark R. _^<a_!T4433_HILLEGAS_^>a_, David _^<a_!T4045_KETTERER_^>a_, C.N. _^<a_!T3643_MANLOVE_^>a_, Walter E. _^<a_!T2932_MEYERS_^>a_, Patrick
_^<a_!T6328_PARRINDER_^>a_, Robert M. _^<a_!T1890_PHILMUS_^>a_, Eric S. _^<a_!T2474_RABKIN_^>a_, Mark _^<a_!T2693_ROSE_^>a_, Joanna _^<a_!T2741_RUSS_^>a_, David N. _^<a_!T2789_SAMUELSON_^>a_, Lyman Tower _^<a_!T2807_SARGENT_^>a_, Roger C.
_^<a_!T2845_SCHLOBIN_^>a_, Robert _^<a_!T2856_SCHOLES_^>a_, George Edgar _^<a_!T2259_SLUSSER_^>a_, Brian M. _^<a_!T2385_STABLEFORD_^>a_, Darko _^<a_!T5858_SUVIN_^>a_, W. Warren _^<a_!T5422_WAGAR_^>a_, Patricia S. _^<a_!T5471_WARRICK_^>a_ and Gary
K. _^<a_!T5675_WOLFE_^>a_. Critical anthologies and journals contain -- amid the dross -- the work of other interesting sf academics who have yet to publish books. An early set of essays about the academic interest in sf is _^<i_Science Fiction:
The Academic Awakening_^>i_ (anth _^<b_1974_^>b_) ed Willis E. _^<a_!T3571_MCNELLY_^>a_._^<n__^<n_Sf _^<a_!T585_BIBLIOGRAPHIES_^>a_ have become a marketable commodity only because of the academic interest in sf. The 1980s saw the publication of
many more of them than ever before. Somewhere between bibliography, history and critical reference work is one of the outstanding reference works in the field, a book whose most recent incarnation is _^<i_Anatomy of Wonder: A Critical Guide to
Science Fiction: Third Edition_^>i_ (_^<b_1987_^>b_) ed Neil _^<a_!T442_BARRON_^>a_, aimed in the first instance at librarians but useful for all sf academics; it contains a chapter on the teaching of sf, with suggested texts._^<n__^<n_This
interest has brought about the publication of many sf _^<a_!T195_ANTHOLOGIES_^>a_ that are obviously designed for the classroom, the stories they contain being complemented by introductions or some kind of critical apparatus. Some notably
thoughtful compilations are _^<i_The Mirror of Infinity: A Critic's Anthology of Science Fiction_^>i_ (anth _^<b_1970_^>b_) ed Robert _^<a_!T2216_SILVERBERG_^>a_, _^<i_Those who Can_^>i_ (anth _^<b_1973_^>b_) ed Robin Scott _^<a_!T5645_WILSON_^>a_,
_^<i_Modern Science Fiction_^>i_ (anth _^<b_1974_^>b_) ed Norman _^<a_!T2370_SPINRAD_^>a_, _^<i_Future Perfect: American Science Fiction of the Nineteenth Century_^>i_ (anth _^<b_1966_^>b_; rev 1968; rev 1978) ed H. Bruce Franklin, and _^<i_The
Road to Science Fiction_^>i_ (anth in 4 vols _^<b_1977-82_^>b_) ed James E. Gunn. There are also, of course, a great many theme anthologies collecting sf stories about everything from _^<a_!T197_ANTHROPOLOGY_^>a_ to _^<a_!T2551_RELIGION_^>a_. One
of the most active theme anthologists for the academic market has been Martin Harry _^<a_!T4842_GREENBERG_^>a_, along with several colleagues with whom he often works._^<n__^<n_Beyond all these direct responses to the academic stimulus is the now
very general interest in sf to be found in the intellectual world generally: even newspapers and magazines are less dismissive or ignorant about sf than was the case in, say, the 1960s. Much of the material now published about sf -- notably in the
1980s and 1990s in newspaper articles about _^<a_!T1015_CYBERPUNK_^>a_ -- has been hacked out by trend-spotters and journalists cashing in on a good thing, but this is inevitable. Sceptics see the breaking down of the walls of sf's ghetto -- a
process hastened by sf's partial academic acceptance -- as leading to such a general diffusion of sf ideas into the community at large as to leave sf itself less identifiable as a genre, perhaps less relevant, and even, according to the pessimists,
moribund. If so, we have the paradox of a genre so disreputable in life that decent persons turned aside from it in disgust, only for its corpse to be praised for its beauty and vigour. [PN]_^<n__^<n_
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SCIENCE FICTION LEAGUE
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Launched Apr 1934 by Charles D. _^<a_!T4505_HORNIG_^>a_ and Hugo _^<a_!T4668_GERNSBACK_^>a_ through _^<a_!T6152_WONDER STORIES_^>a_, the SFL was the first and most successful of several professionally sponsored sf organizations. The formation of
local chapters in the USA, Australia, and the UK brought sf readers together and provided a firm foundation for present-day sf _^<a_!T1389_FANDOM_^>a_; in particular, the establishment of the Leeds and Nuneaton SFL chapters led directly to the
first UK _^<a_!T1428_FANZINES_^>a_. [PR]_^<n__^<n_
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SCIENCE FICTION LIBRARY
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UK pocketbook magazine. 3 numbered undated issues 1960; published by G.G. Swan, London; no ed named. _^<i_SFL_^>i_ had no table of contents, poor paper and very small type. Original and reprinted stories were used, including some from the first
incarnation of _^<a_!T2135_SCIENCE FICTION QUARTERLY_^>a_. A companion magazine was _^<a_!T6363_WEIRD AND OCCULT LIBRARY_^>a_. [FHP]_^<n__^<n_
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SCOTT, ROBIN
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[s] > Robin Scott _^<a_!T5645_WILSON_^>a_._^<n__^<n_
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SCOTT, WARWICK
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> Elleston _^<a_!T6092_TREVOR_^>a_._^<n__^<n_
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SCRAP BOOK, THE
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US _^<a_!T2033_PULP MAGAZINE_^>a_ published monthly Mar 1906-Jan 1912 by the Frank A. _^<a_!T3106_MUNSEY_^>a_ Corp.; ed Perley Poore Sheehan. _^<i_TSB_^>i_ was published in 2 separate sections from July 1907, the first containing articles, the
second fiction. The second section became _^<i_The_^<a_!T5215_CAVALIER_^>a__^>i_ from Sep 1908, the first continuing as _^<i_SB_^>i_, with some fiction content, until merging with _^<i_The Cavalier_^>i_ to form _^<i_The Cavalier
Weekly_^>i_._^<n__^<n__^<i_SB_^>i_ began as a reprint magazine, often featuring classic weird fiction. Later it published original stories, including some sf, notably Julian Johnson's "When Science Warred" (1907), George Allan
_^<a_!T6673_ENGLAND_^>a_'s "The House of Transformation" (Sep-Nov 1909) and Garrett P. _^<a_!T2112_SERVISS_^>a_'s "The Sky Pirate" (Apr-Sep 1909). [JE]_^<n__^<n_
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SCREAM AND SCREAM AGAIN
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Film (1969). Amicus/AIP. Dir Gordon Hessler, starring Vincent Price, Christopher Lee, Alfred Marks, Michael Gothard. Screenplay Christopher Wicking, based on _^<i_The Disorientated Man_^>i_ (_^<b_1966_^>b_; vt _^<i_Scream and Scream Again_^>i_ 1967
US) by Peter _^<a_!T2829_SAXON_^>a_. 94 mins. Colour._^<n__^<n_This blend of _^<i_policier_^>i_, cold-war political thriller, _^<a_!T1599_FRANKENSTEIN_^>a_ and vampire movie, initially ignored, was later seen by some cineastes as one of the major
UK sf films. An enjoyable farrago, it does have moments of distinction, but its silliness gets in the way: the opening sequence -- a hospital patient is understandably upset to find that each day he is missing yet another limb -- could be a sketch
from the _^<b_Monty Python_^>b_ tv series. Nowhere is it explained why mad _^<a_!T2880_SCIENTISTS_^>a_ (the main one played by Price) need to construct a super-race (which they do using stolen body parts), why the constructed beings are so
incredibly strong, why they suck blood and murder people, and why this makes them good prime-ministerial material. Marks's energetically down-to-earth performance as the baffled police inspector almost saves the film, but _^<i_SASA_^>i_ works only
as a (literally) disjointed series of paranoid surreal nightmares -- and, even then, poor production values and mostly indifferent performances are as likely to elicit laughter as horror. The radical subtext -- our political masters are literally
_^<a_!T3013_MONSTERS_^>a_ -- had been better done elsewhere; e.g., _^<a_!T2450_QUATERMASS II_^>a_ (1957; vt _^<i_Enemy from Space_^>i_). [PN]_^<n__^<n_
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SCREAMERS
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> _^<i_L'_^>i__^<a_!T3824_ISOLA DEGLI UOMINI PESCE_^>a_._^<n__^<n_
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SCRYMSOUR, ELLA M.
-T-
(1888-? ) UK writer whose remarkable _^<i_The Perfect World: A Romance of Strange People and Strange Places_^>i_ (fixup _^<b_1922_^>b_) is thought by E.F. _^<a_!T654_BLEILER_^>a_ almost certainly to consist of 2 separate magazine novels here
published sequentially; however, as EMS clearly attempted to weave their plots together, we designate the outcome a _^<a_!T1514_FIXUP_^>a_. In the first main sequence the two young gentlemen protagonists are transported from a company town
dominated by their family coalmine into an underground cave system populated by theocratic relics of an Old Testament quarrel; after they finally emerge in Australia and note that the world is about to blow up, they travel with their inventor uncle
to _^<a_!T3957_JUPITER_^>a_, where a similar oligarchy, this time pre-Adamic, subjects the main protagonist -- as had happened already underground -- to erotic inducements. He marries the relevant princess and together they rule Jupiter in peace.
In dealing with the sinlessness of the Jovians, EMS ineffectively prefigured the work of C.S. _^<a_!T3368_LEWIS_^>a_. [JC]_^<n__^<n_
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SEA
-T-
> _^<a_!T5281_UNDER THE SEA_^>a_._^<n__^<n_
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SEABORN, ADAM
-T-
Unidentified pseudonym of the author of the well written _^<i_Symzonia: A Voyage of Discovery_^>i_ (_^<b_1820_^>b_), which sets a _^<a_!T5303_UTOPIA_^>a_ inside a _^<a_!T4474_HOLLOW EARTH_^>a_. Some commentators have assumed AS to have been Captain
John Cleves _^<a_!T5879_SYMMES_^>a_, whose hollow-earth theories are exploited in the book. However, they are also satirized, so a more likely candidate may be Nathaniel Ames (? -1835), whose style in his books about the sea resembles AS's.
[JC/PN]_^<n__^<n__^<b_About the author:_^>b_ "The Authorship of Symzonia: The Case for Nathaniel Ames" by Hans-Joachim Lang and Benjamin Lease in _^<i_New England Quarterly_^>i_ (June 1975)._^<b_See also:_^>b_ _^<a_!T1410_FANTASTIC VOYAGES_^>a_;
_^<a_!T4443_HISTORY OF SF_^>a_.
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SEABRIGHT, IDRIS
-T-
[s] > Margaret _^<a_!T2770_ST CLAIR_^>a_._^<n__^<n_
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SEAFORTH
-T-
A pseudonym used by 2 entirely separate authors._^<n__^<n__^<b_1._^>b_ As A. Nelson Seaforth, UK author George Sydenham Clarke (1848-1933), 1st Baron Sydenham of Combe, wrote the future-_^<a_!T5452_WAR_^>a_ novel, _^<i_The Last Great Naval War_^>i_
(_^<b_1891_^>b_), in which France and the UK become involved._^<n__^<n__^<b_2._^>b_ > George C. _^<a_!T1573_FOSTER_^>a_. [JC]_^<n__^<n_
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SEA-LION
-T-
Pseudonym of UK naval officer and writer Geoffrey Martin Bennett (1909-1983), whose two sf novels both deal with menaces at sea: _^<i_The Invisible Ships_^>i_ (_^<b_1950_^>b_) indeed features invisible ships, and _^<i_This Creeping Evil_^>i_
(_^<b_1950_^>b_) features sea monsters. [JC]_^<n__^<n_
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SEAMARK
-T-
> Austin J. _^<a_!T2260_SMALL_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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SEARLES, A(RTHUR) LANGLEY
-T-
(1920- ) US _^<a_!T1428_FANZINE_^>a_ publisher and Professor of Chemistry at the College of Mount St Vincent, New York (he retired in 1987); as publisher from 1943 of _^<a_!T1416_FANTASY COMMENTATOR_^>a_ (_^<i_which see for details_^>i_), he has
maintained the journal as a significant forum for the study of sf in many of its aspects, though concentrating on early _^<a_!T4659_GENRE SF_^>a_. [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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SEARLES, (WILLIAM) BAIRD
-T-
(1934-1993) US writer known mainly for his several nonfiction works on sf and fantasy, beginning with _^<i_Stranger in a Strange Land & Other Works_^>i_ (_^<b_1975_^>b_ chap) and continuing with _^<i_The Science Fiction Quizbook_^>i_
(_^<b_1976_^>b_) with Martin Last,(_^<b_1929- _^>b_) _^<i_A Reader's Guide to Science Fiction_^>i_ (_^<b_1979_^>b_) with Last, Michael Franklin and Beth _^<a_!T3740_MEACHAM_^>a_, _^<i_A Reader's Guide to Fantasy_^>i_ (_^<b_1982_^>b_) with Franklin
and Meacham, and _^<i_Films of Science Fiction and Fantasy_^>i_ (_^<b_1988_^>b_). With Brian Thomsen he edited _^<i_Halflings, Hobbits, Warrows & Weefolk: A Collection of Tales of Heroes Short in Stature_^>i_ (anth _^<b_1991_^>b_). He is a useful
figure in the field as a practical critic and guide. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T3816_ISAAC ASIMOV'S SCIENCE FICTION MAGAZINE_^>a_.
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SEARLS, HANK
-T-
Working name of US writer Henry Hunt Searls Jr (1922- ), who began publishing sf with "Martyr's Flight" for _^<i_Imagination_^>i_ in 1955, and whose sf has been primarily restricted to _^<a_!T6337_NEAR-FUTURE_^>a_ tales of the early space age. In
his first novel, _^<i_The Big X_^>i_ (_^<b_1959_^>b_), a test pilot flies a plane designed to reach Mach 8. HS's best-known tale, _^<i_The Pilgrim Project_^>i_ (_^<b_1964_^>b_) -- filmed as _^<a_!T914_COUNTDOWN_^>a_ (1968) -- is about a race
between the USA and the USSR to get to the Moon first, with both countries launching flights almost simultaneously. Melodramatically plotted, and technologically bound (with considerable expertise) to the world of the 1950s and 1960s, HS's work is
now an artefact of an earlier (and in some ways bolder) age. From about 1980 he has concentrated on non-sf tales, some of them _^<a_!T5917_TECHNOTHRILLERS_^>a_. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_The Crowded Sky_^>i_ (_^<b_1960_^>b_);
Film (1966). Paramount/Joel/Gibraltar. Dir John _^<a_!T1598_FRANKENHEIMER_^>a_, starring Rock Hudson, Salome Jens, John Randolph, Will Geer. Screenplay Lewis John Carlino, from _^<i_Seconds_^>i_ (_^<b_1963_^>b_) by David _^<a_!T6649_ELY_^>a_. 106
mins. B/w._^<n__^<n_A middle-aged businessman (Randolph) pays a large sum to have his death faked and his youth restored by futuristic surgery, so that he can start a new life in a new body (Hudson). Tiring of the young swingers he now moves with,
he learns it is impossible to return to his old life. The shadowy organization which arranged all this turns menacing at his backsliding, and eventually has him killed, to be recycled for his body parts. The idea was old, but the treatment, with
its cold evocation of _^<a_!T1795_PARANOIA_^>a_ -- all Frankenheimer's best films feature powerful conspiracies using technological means of manipulation (brainwashing in the case of 1962's _^<i_The_^<a_!T3632_MANCHURIAN CANDIDATE_^>a__^>i_ ) --
was in advance of its time, anticipating the sombre conspiracy movies of the 1970s. _^<i_S_^>i_ is much helped by James Wong Howe's moody, alienating black-and-white photography. [JB/PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T726_CINEMA_^>a_.
(1863-? ) US writer known only for _^<i_Under the Flag of the Cross_^>i_ (_^<b_1908_^>b_), in which, in AD2005, a valiant US Army fights off a Mongolian-Japanese invasion with electric rifles. [JC]_^<n__^<n_
(vt _^<i_Sex Mission_^>i_) Film (1984). Zespoly Filmowe. Dir Juliusz Machulski, starring Olgierd psukaszewicz, Jerzy Stuhr, Bozena Stryjkowna, Boguslawa Pawelec. Screenplay Machulski, Jolanta Hartwig, Pawel Hajny. 121 mins. Colour._^<n__^<n_A solemn
adventurer and a jolly wastrel volunteer for a _^<a_!T986_CRYOGENICS_^>a_ experiment and wake up 50 years later, after atomic war has (supposedly) devastated the surface and the survivors have retreated into the usual underground enclaves. There
are no more men, and the mildly totalitarian society is run by parthenogenetic women. The wastrel is keen on reintroducing traditional methods of procreation, while the _^<a_!T2880_SCIENTIST_^>a_ is more interested in demonstrating the follies of
the brave new world. In the Eastern European tradition of satirical sf, this Polish production uses _^<a_!T5062_BUCK ROGERS_^>a_ trappings to get a few cheap laughs out of women. The occasional sharp point is made, but _^<i_S_^>i_ is surprisingly
unwitty and obvious; its anti-_^<a_!T1461_FEMINISM_^>a_, latent throughout, emerges at the end when it is revealed that society's matriarch is a manipulative male transvestite. _^<i_S_^>i_ is mainly redeemed by its wry performances, particularly by
Stuhr, _^<a_!T1938_POLAND_^>a_'s favourite comedian, as the lecherous lazybones. [KN]_^<n__^<n_
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SELBY, CURT
-T-
> Doris _^<a_!T1911_PISERCHIA_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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SELECTED SCIENCE FICTION
-T-
Australian _^<a_!T1231_DIGEST_^>a_-size magazine. 5 slim (32pp saddle-stapled) monthly issues May-Sep 1955, published by Malian Press, Sydney; ed anon. _^<i_SSF_^>i_, a companion to _^<a_!T148_AMERICAN SCIENCE FICTION MAGAZINE_^>a_, reprinted US
material of quite good quality. [FHP]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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SELLINGS, ARTHUR
-T-
Pseudonym of UK writer and bookseller Robert Arthur Ley (1921-1968), who began publishing sf stories with "The Haunting" for _^<i_Authentic_^>i_ in 1953; the best of his output of about_^<n__^<n_30 tales was assembled in _^<i_Time Transfer_^>i_
(coll _^<b_1956_^>b_; with 5 stories cut 1966) and _^<i_The Long Eureka_^>i_ (coll _^<b_1968_^>b_). In the 1960s his productivity increased; he died (suddenly, of a heart attack) just as he was gaining more and more notice. His first novel,
_^<i_Telepath_^>i_ (_^<b_1962_^>b_ US; vt _^<i_The Silent Speakers_^>i_ 1963 UK), is typical of all his best work in the complexity of its protagonist (who must deal with his discovery of his own limited _^<a_!T6697_ESP_^>a_ ability), the careful
realization of venue, and a sense that, although it may be intrusive, the unknown must be faced and lived with. Later novels, quite variously expressing this quiet but competent point of view, include: _^<i_The Uncensored Man_^>i_ (_^<b_1964_^>b_),
whose protagonist is transferred via drugs into another _^<a_!T1239_DIMENSION_^>a_ where he develops previously masked _^<a_!T2021_PSI POWERS_^>a_ and meets dubiously superior forms of life (> _^<a_!T5830_SUPERMAN_^>a_); _^<i_The Quy Effect_^>i_
(_^<b_1966_^>b_), in which a man faces the consequences attendant upon his invention of _^<a_!T198_ANTIGRAVITY_^>a_ while at the same time falling in love; _^<i_Intermind_^>i_ (_^<b_1967_^>b_ US as Ray Luther; 1969 UK as AS), in which a secret
agent is injected with another person's memory to pursue a complex case; and _^<i_The Power of X_^>i_ (_^<b_1968_^>b_), which sets an art dealer -- perhaps a self-portrayal-into a world where material objects can be perfectly duplicated, calling
into question the nature of the authentic work of art. AS's finest novel was his last. _^<i_Junk Day_^>i_ (_^<b_1970_^>b_), a post-_^<a_!T4482_HOLOCAUST_^>a_ tale set in the ruins of his native London and peopled with engrossing character types, is
perhaps grimmer than his previous work but pointedly more energetic. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T6697_ESP_^>a_; _^<a_!T4655_GENERATION STARSHIPS_^>a_; _^<a_!T1851_PERCEPTION_^>a_.
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(c) 1995 John Clute and Peter Nicholls
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SEMIPROZINE
-T-
In the terminology of sf _^<a_!T1389_FANDOM_^>a_, this expression -- once colloquial but enshrined since 1983 in the constitution of the World Science Fiction Society, the body that administers the _^<a_!T4551_HUGO_^>a_s -- means a semiprofessional
magazine as opposed to an amateur magazine, or _^<a_!T1428_FANZINE_^>a_. According to that constitution a magazine with a circulation of more than 10,000 is a professional magazine. A semiprozine must therefore have a circulation of less than
10,000. It must also, according to the constitution, have published at least 4 issues (at least 1 in the previous calendar year) and fulfil 2 of the following 5 criteria: have an average press run of at least 1000 copies; pay its contributors
and/or staff in other than copies of the publication; provide at least half the income of any one person; have at least 15% of its total space occupied by advertising; announce itself to be a semiprozine. Charles N. _^<a_!T5026_BROWN_^>a_, editor
of _^<a_!T3419_LOCUS_^>a_ magazine (which has won numerous Hugos for Best Semiprozine), states additionally in his regular commentaries on magazine publishing that the frequency of a semiprozine should be at least quarterly, and that unlike a
professional magazine it should not have national newsstand circulation. A number of the most important magazines of comment in the fields of sf and fantasy, and several of the magazines that publish fiction, are or have been semiprozines.
[PN]_^<n__^<n_
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-C- 2100 SF02104.t
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SENARENS, LUIS PHILIP
-T-
(1863-1939) US writer, editor and publishing aide. Under at least 27 pseudonyms he wrote perhaps 2000 stories, mostly boys' fiction, beginning in his teens. In later life, when that market declined, he served as managing editor for the Tousey
publications, edited the weekly _^<i_Motion Picture Stories_^>i_ and wrote motion-picture scenarios. He remains best known for his early work. In 1882, under the house pseudonym "_^<a_!T3230_NONAME_^>a_", he took over the _^<b_Frank Reade, Jr._^>b_
series of dime novels (> _^<a_!T1236_DIME-NOVEL SF_^>a_; _^<a_!T1606_FRANK READE LIBRARY_^>a_), later claiming to have written "most" of the 179 stories about _^<b_Frank Reade, Jr._^>b_ and "all" the comparable _^<b_Jack Wright_^>b_ yarns; these
claims may be overstated. LPS exemplified the worst in the dime-novel tradition: very bad writing, sadism, ethnic rancour, factual ignorance and an exploitational mentality. On the positive side, he led the dime novel away from eccentric inventions
into a developmental stream that culminated in modern _^<a_!T710_CHILDREN'S SF_^>a_. [EFB/JE]_^<n__^<n__^<b_About the author:_^>b_ "The American Jules Verne" (anon) in _^<i_Science and Invention_^>i_, Oct 1920; "Lu Senarens, Writer of a Thousand
Thrillers" by E. Alden in _^<i_American Magazine_^>i_, Apr 1921; "Ghosts of Prophecies Past" by Sam _^<a_!T3074_MOSKOWITZ_^>a_ in _^<i_Explorers of the Infinite_^>i_ (coll _^<b_1963_^>b_); intro by E.F. _^<a_!T654_BLEILER_^>a_ to _^<i_The Frank
Reade Library_^>i_ (omni, 10 vols _^<b_1979-86_^>b_), which reprinted the complete _^<a_!T1606_FRANK READE LIBRARY_^>a_.
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(c) 1995 John Clute and Peter Nicholls
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SENDER, THE
-T-
Film (1982). Kingsmere Properties/Paramount. Dir Roger Christian, starring Shirley Knight, Kathryn Harrold, Zeljko Ivanek, Paul Freeman. Screenplay Thomas Baum. 91 mins. Colour._^<n__^<n_This modest melodrama, on the borderline between sf and
_^<a_!T4509_HORROR_^>a_, tells of a hospitalized young man (Ivanek) whose _^<a_!T2021_PSI POWERS_^>a_ of telepathic projection and _^<a_!T5923_TELEKINESIS_^>a_ cause major disruption. As in _^<a_!T5368_VIDEODROME_^>a_ of the same year, the dividing
line between the real and the hallucinatory is invisible, to disturbing effect, as bleeding mirrors and severed heads proliferate. It is a crisply told story, though the cod psychiatric explanation (which hinges on a possibly incestuous
relationship of the patient with his mother, played by Knight) is less interesting than the phenomena themselves. This was the debut feature of the director, Christian, who had previously worked as set decorator on _^<a_!T5686_STAR WARS_^>a_ and as
joint art director on _^<a_!T98_ALIEN_^>a_. [PN]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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SENGOKU JIETAI
-T-
(vt _^<i_Time Slip_^>i_) Film (1981). Toho. Dir Kosei Saito, starring Sonny Chiba, Iasao Natsuki, Miyuki Ono, Jana Okada. Screenplay Toshio Kaneda, based on _^<i_Sengoku Jietai_^>i_ (_^<b_1971_^>b_) by Ryo Hammura (> _^<a_!T3872_JAPAN_^>a_). 139
mins, cut to 100 mins. Colour._^<n__^<n_Based on one of Ryo Hammura's intelligent novels, which use sf reinterpretations to comment on Japanese history, this tells of a troop of modern Japanese soldiers caught in a timeslip and transported back to
16th-century conflicts in the same area between local warlords. The troop's commander, unlike the agonized ship's captain in _^<i_The_^<a_!T1481_FINAL COUNTDOWN_^>a__^>i_ (1980), has no hesitation in trying to change history so that he and his men
might somehow be returned to their own time, and sets about conquering Japan. This action adventure plays its sf riffs confidently, and shows visual flair in the numerous gory battle scenes in which few soldiers (with modern technology) face many
samurai (with very sharp swords). [PN]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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SENSE OF WONDER
-T-
A term used to describe the sensation which, according to the _^<a_!T752_CLICHE_^>a_ of fan criticism that goes back at least to the 1940s, good sf should inspire in the reader. In _^<i_Metamorphoses of Science Fiction_^>i_ (_^<b_1979_^>b_) Darko
_^<a_!T5858_SUVIN_^>a_ summed up the attitude of many critics by describing the term as "another superannuated slogan of much SF criticism due for a deserved retirement into the same limbo as extrapolation". And yet . . ._^<n__^<n_"Sense of wonder"
is an interesting critical phrase, for it defines sf not by its content but by its effect (the term "_^<a_!T4509_HORROR_^>a_" is another such). Several fan critics, notably Alexei and Cory _^<a_!T1782_PANSHIN_^>a_ in _^<i_The World Beyond the
Hill_^>i_ (_^<b_1989_^>b_), have attempted to locate the "sense of wonder" more specifically; the Panshins found it in sf's "quest for transcendence", which elicited wonderment from John _^<a_!T769_CLUTE_^>a_ that the Panshins could give such
emphasis to "the reified wet-dream they think of as transcendence, but which others might call fetish". It is true that to locate one abstraction, "sense of wonder", within another, "transcendence", does not take us far forward, but that does not
necessarily rob the former phrase of its usefulness._^<n__^<n_The second interesting thing about "sense of wonder" is that, by consensus, it can be found _^<i_par excellence_^>i_ in a number of books that are usually regarded as rather badly
written. Both E.E. "Doc" _^<a_!T2269_SMITH_^>a_ and A.E. _^<a_!T5333_VAN VOGT_^>a_, for example, failed to transcend the pulp style in novels which involved the transcending of many other Earthly perspectives. The simplest escape from the paradox
-- that sf's highest aspiration, the "sense of wonder", should often be located in its lowest form, pulp prose -- is to claim that those readers who find the diamond in the dung-heap are mistaken, misled not by Smith and van Vogt directly but by
their own yearning adolescent dreams, as _^<i_fed_^>i_ by Smith, van Vogt and the others. This becomes another version of the cynical old epigram that the _^<a_!T4754_GOLDEN AGE OF SF_^>a_ is 12 (or 13, or 14), and as such may be rejected by the
many readers who can still recall with perfect clarity the feelings inspired in them by their first childhood or adolescent encounters with these books, feelings that seem too honest and strong to be dismissed as youthful illusion. The term "sense
of wonder" is useful precisely because it sums up these feelings accurately and succinctly. Indeed, the principle of Occam's Razor suggests that, rather than arguing (without evidence) that the diamond in the dung-heap was (or is) really a bit of
old quartz, it would be more useful to accept it as a diamond, and to go on to ask the really interesting question: what was (and is) it doing there?_^<n__^<n_Twin _^<i_loci classici_^>i_ of the "sense of wonder" are the final sentences of van
Against Eternity_^>i_ 1955 dos). The first novel ends: "He would not witness but he would aid in the formation of the planets." The second novel ends: "This much we have learned. Here is the race that shall rule the sevagram."_^<n__^<n_The first of
these examples (the second is discussed in the entry on A.E. _^<a_!T5333_VAN VOGT_^>a_) presents a sudden shift in perspective, as the previously human protagonist of the novel now, compelled by ever deeper seesaw-swings into the past and the
future, becomes an astronomical phenomenon, the phenomenon from which _^<i_we all sprang_^>i_: here is the _^<a_!T4395_HERO_^>a_ as cosmological Adam. The "sense of wonder" comes not from brilliant writing nor even from brilliant conceptualizing;
it comes from a sudden opening of a closed door in the reader's mind. (This phenomenon may explain why generations of readers can still quote these final lines verbatim.) In other words, the "sense of wonder" may not necessarily be something
generated _^<i_in the text_^>i_ by a writer (which is where the Panshins' analysis foundered, in their suggestion, for example, that Edgar Rice _^<a_!T5097_BURROUGHS_^>a_'s Barsoom _^<i_is_^>i_ a "transcendent realm"): it is created by the writer
putting the readers in a position from which they can glimpse for themselves, with no further auctorial aid, a scheme of things where mankind is seen in a new perspective._^<n__^<n_Cornel _^<a_!T2647_ROBU_^>a_, in "A Key to Science Fiction: The
Sublime" (_^<i_Foundation_^>i_ #42 [Spring 1988]) and elsewhere, has argued that the new perspective is often a sudden dislocation of scale, a shift to a new position along the enormous span between cosmos and microcosm. Robu's argument that the
"sublime" is the key to "sense of wonder" takes its cue from a review by Peter _^<a_!T3189_NICHOLLS_^>a_ (in _^<i_Foundation_^>i_ #2 [June 1972]) of Poul _^<a_!T169_ANDERSON_^>a_'s _^<i_Tau Zero_^>i_ (1967 _^<i_Gal_^>i_; exp _^<b_1970_^>b_), where,
in an attempt to understand why so flatly characterized a book could be so moving, Nicholls took refuge in defining"sense of wonder" by quoting Wordsworth's "Tintern Abbey":"And I have felt . . . a sense sublime / Of something far more deeply
interfused, / Whose dwelling is the light of setting suns, / And the round ocean and the living air, / And the blue sky, and in the mind of man: / A motion and a spirit, that impels. / All thinking things, all objects of all thought, / And rolls
through all things." Another critic to use aesthetic notions of what he calls "the natural sublime" in an sf context has been David _^<a_!T4045_KETTERER_^>a_ in "Science Fiction and Allied Literature" (_^<i_Science-Fiction Studies_^>i_ Mar
1976)._^<n__^<n_To move from Wordsworth to van Vogt may not quite be to move from the sublime to the ridiculous. Van Vogt's hero poised in the archaic heavens ready to create the planets will indeed, and literally, be far more deeply "interfused"
than the reader could possibly have expected up to that point of the novel. Young readers of van Vogt might have been amused to know that they would have to wait three decades, until about the mid-1970s, before again encountering the view implied
by van Vogt's sentence -- but this time lent support by the speculations of quantum physicists -- that the Universe exists as an external structure only through the consciousness of its participants. The suggestion is not that van Vogt seriously
anticipated the quantum physicists; it is that his last sentence _^<i_invites_^>i_ readers to open their minds to such thoughts._^<n__^<n_Arguably, almost any "sense-of-wonder"-producing case embedded in an sf text, no matter how weak that text may
be elsewhere, could be analysed to show a comparable forcing of _^<a_!T829_CONCEPTUAL BREAKTHROUGH_^>a_. That term was coined in the 1st edn of this encyclopedia in recognition of the fact that Nicholls's earlier "sense-of-wonder" definition in
terms of the sublime was open to abuse in the form of vaguely mystical, pantheist -- or, indeed, transcendent! -- readings of sf texts. "Conceptual breakthrough", whereby the "sense of wonder" is inspired through paradigm shifts -- a variant of the
shift in perspective noted above -- is a more focused term than "sublime", and perhaps a more helpful one. (A further essay by Nicholls exploring the links between conceptual breakthrough and "sense of wonder" is "Doors and Breakthroughs" in
_^<i_Frontier Crossings_^>i_ [anth _^<b_1987_^>b_] ed Robert Jackson.)_^<n__^<n_We do contend that, _^<i_pace_^>i_ Suvin, the concept of "sense of wonder" may be necessary if we are to understand the essence of sf that distinguishes it from other
forms of fiction, including most _^<a_!T1412_FANTASY_^>a_. The diamond is real, and cuts. But before we can use "sense of wonder" as a defining feature we must first know more accurately what fictional elements produce it. The discussion here does
not pretend to do that, only to point in some possibly useful directions._^<n__^<n_The task is made more difficult by the fact that"sense of wonder" has become a debased term even within sf_^<a_!T1389_FANDOM_^>a_, which these days is as likely to
use it ironically, spelling and pronouncing it"sensawunna"This is in part because there are so many ways in which sf writers can counterfeit, and have counterfeited, the "sense of wonder", the simplest method being to introduce into the plot
something (a) alien, and (b) very, very big. > _^<a_!T590_BIG DUMB OBJECTS_^>a_ for a discussion of a subgenre particularly subject to ersatz or automatic-pilot "sense of wonder" of this kind -- yet which often contrives to produce the genuine
article as well._^<n__^<n_As we become older and at least in our own eyes more sophisticated, we are of course less likely to seek diamonds in dung-heaps. Perhaps younger readers find them more readily because, while they recognize a diamond when
they see one, they haven't yet learned to recognize a dung-heap. In this respect the "sense of wonder"_^<i_is_^>i_ a phenomenon of youth -- but that does not make it any less real. [PN/CR]_^<n__^<n_
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[s] > Algis _^<a_!T5064_BUDRYS_^>a_._^<n__^<n_
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SERIES
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There have been series in popular fiction, both within and outside _^<a_!T4659_GENRE SF_^>a_, at least since there have been magazines. For example, fans of Arthur Conan _^<a_!T1312_DOYLE_^>a_ may have waited eagerly a century ago for the next
_^<b_Sherlock Holmes_^>b_ story, or, inside sf and a bit later, the next _^<b_Professor Challenger_^>b_ story. Series are fun to write, fun to read, and they help sell magazines. There were many sf series before the advent of specialized sf
magazines, examples being the _^<b_Quatermain_^>b_ books of H. Rider _^<a_!T4911_HAGGARD_^>a_ and the much loved _^<b_Barsoom_^>b_ and _^<b_Pellucidar_^>b_ stories of Edgar Rice _^<a_!T5097_BURROUGHS_^>a_, or, popular at the time but now mostly
forgotten, the _^<b_Dr Hackensaw_^>b_ series of Clement _^<a_!T1470_FEZANDIE_^>a_. (In this encyclopedia we print series titles in bold type.) There is no point here in trying to list the most popular fantasy and sf series from, say, Robert E.
_^<a_!T4524_HOWARD_^>a_'s _^<b_Conan_^>b_ through Nelson S. _^<a_!T695_BOND_^>a_'s _^<b_Pat Pending_^>b_, but there may be a point in spelling out some of the ways sf _^<a_!T2026_PUBLISHING_^>a_ has affected, and been affected by, series
publication._^<n__^<n_In the 1930s, it became quite common to devote entire _^<a_!T2033_PULP MAGAZINES_^>a_ -- or at least their lead novels -- to a single series featuring one main character and his (or her) sidekicks. Examples include scientific
detective _^<b_Craig Kennedy_^>b_ in _^<a_!T2876_SCIENTIFIC DETECTIVE MONTHLY_^>a_ (1930) or _^<a_!T1356_DUSTY AYRES AND HIS BATTLEBIRDS_^>a_ (1934-5), or, more spectacularly in terms of longevity, _^<b_Doc Savage_^>b_ in _^<a_!T1258_DOC SAVAGE
MAGAZINE_^>a_ (1933-49) or _^<i_The Shadow_^>i_ (1931-49) or _^<a_!T5151_CAPTAIN FUTURE_^>a_ (1940-44)._^<n__^<n_When, in the late 1940s and the 1950s, _^<a_!T2261_SMALL PRESSES_^>a_ were set up devoted to republishing classic magazine sf, it quite
often happened that their sometimes arbitrary dividing up of a series into books set the shape by which that series was ever afterwards known. Thus Isaac _^<a_!T268_ASIMOV_^>a_'s _^<b_Foundation_^>b_ series of 8 stories (mostly novelettes),
published in _^<i_ASF_^>i_ (1942-49), appeared in book form as if 3 novels: _^<i_Foundation_^>i_ (fixup _^<b_1951_^>b_), _^<i_Foundation and Empire_^>i_ (fixup _^<b_1952_^>b_) and _^<i_Second Foundation_^>i_ (fixup _^<b_1953_^>b_). In this instance
the illusion of them being novels was not difficult to sustain, because the stories had been well planned to fit a coherent and developing pattern._^<n__^<n_When a series of stories is collected in book form, however, it is not always easy to
decide, bibliographically, the degree of cohesion the stories (often revised for this format) have been given. Thus we might describe one book as "coll of linked stories" and another as a _^<a_!T1514_FIXUP_^>a_, the latter term being used by us to
describe stories sufficiently jelled together even in their first writing, or woven together by rewriting, for the result to be called a novel. To take examples, it seems fair to call George O. _^<a_!T2275_SMITH_^>a_'s _^<i_Venus Equilateral_^>i_
(_^<b_1947_^>b_) a collection of linked stories, although we describe A.E. _^<a_!T5333_VAN VOGT_^>a_'s _^<i__^<a_!B9228_THE WEAPON SHOPS OF ISHER_^>a__^>i_ (1941-2 _^<i_ASF_^>i_; 1949 _^<i_Thrilling Wonder Stories_^>i_; _^<b_1951_^>b_) as a fixup
(a term its author also uses), because the degree of cohesion and plotting towards a climax is very much greater in the latter than in the former. But what, for example, of Gene _^<a_!T5676_WOLFE_^>a_'s _^<i__^<a_!B9092_THE FIFTH HEAD OF
CERBERUS_^>a__^>i_ (fixup _^<b_1972_^>b_)? This is described by many bibliographers as a collection of linked stories, which is true. But when one comes to examine the links, including those that lie half-concealed beneath the surface of the text,
then the interweaving comes to appear so strong that the book, although indeed in 3 parts, must surely be read as a single novel._^<n__^<n_These problems about sf series whose first appearance was in magazines and original anthologies came to seem
somewhat old-fashioned during the 1980s and 1990s, because by far the greater number of sf series now being published were appearing in books _^<i_in the first instance_^>i_. That, on the face of it, is not very important, but the sinister aspect
of 1980s series publishing was the implacable way in which book series were taking over more and more of the industry. These were often series thought up by a publisher or some sort of entrepreneur, or even licensed out by a film studio. That is to
say, the author's primacy in writing series was beginning to lose out to the purveyors of product concept, to whose instructions the authors wrote. (The question of whether or not the authors retained copyright in the work is not necessarily
connected to their following of instructions, though those authors who followed instructions but retained copyright no doubt felt rather more dignified than those who did not.) This whole depressing issue is touched on (from different perspectives)
under the rubrics _^<a_!T4597_GAME-WORLDS_^>a_, _^<a_!T2026_PUBLISHING_^>a_,_^<a_!T2126_SHARECROP_^>a_,_^<a_!T2127_SHARED WORLD_^>a_and _^<a_!T6014_TIE_^>a_. Things are seldom entirely bad, however: there have been, for example, many enjoyable
original novels among the 100 or so _^<a_!T2429_STAR TREK_^>a_ ties. Even the book series spun off from _^<a_!T1696_GAMES AND TOYS_^>a_ are not all bad, though many are; in the UK, the company _^<a_!T4596_GAMES WORKSHOP_^>a_ persuaded several quite
distinguished writers to write novels and stories set in worlds first created for a games format. Some of the shared-world series like _^<a_!T5599_WILD CARDS_^>a_ have produced excellent work. But, even when the exceptions are admitted, there
remains a huge residue that few demanding readers could find anything but dispiriting: series as formula, writing by numbers. In _^<a_!T1412_FANTASY_^>a_ writing, for example, for every trilogy published that actually requires 3 vols for its
adequate development, there are half a dozen that are trilogies (or even longer) for no better reason than to fill slots in the marketing space. In _^<a_!T4396_HEROIC FANTASY_^>a_ (or _^<a_!T5875_SWORD AND SORCERY_^>a_) the series mentality is
especially strong, as it is in _^<a_!T5849_SURVIVALIST FICTION_^>a_ and post-_^<a_!T4482_HOLOCAUST_^>a_ sf._^<n__^<n_All this is saddening, because previously series had held a very honourable position in the history of sf's development. Many
readers of an earlier generation had their innocent _^<a_!T2104_SENSE OF WONDER_^>a_ first awakened by E.E. "Doc" _^<a_!T2269_SMITH_^>a_'s _^<b_Lensmen_^>b_ stories (1934-50), and that is a comparatively straightforward _^<a_!T2342_SPACE-OPERA_^>a_
example. In a series, there can be room for enormous conceptual elaborations which could scarcely be confined within the covers of a single book, as (arguably) in Frank _^<a_!T4389_HERBERT_^>a_'s _^<b_Dune_^>b_ series, or Larry
_^<a_!T3223_NIVEN_^>a_'s _^<b_Known Space_^>b_ series (a good example of the whole coming to seem greater than the sum of its parts), or Ursula K. _^<a_!T3318_LE GUIN_^>a_'s _^<b_Hainish_^>b_ novels, or C.J. _^<a_!T5255_CHERRYH_^>a_'s
_^<b_Union/Alliance_^>b_ sequence, or Bruce _^<a_!T5717_STERLING_^>a_'s _^<b_Shaper/Mechanist_^>b_ series, or Brian W. _^<a_!T87_ALDISS_^>a_'s _^<b_Helliconia_^>b_ novels, or Gene _^<a_!T5676_WOLFE_^>a_'s _^<b_Book of the New Sun_^>b_ (more readily
thought of as a 4-vol novel), or Michael _^<a_!T3030_MOORCOCK_^>a_'s _^<b_Jerry Cornelius_^>b_ books. It would obviously be possible to extend this sequence for a very long way even while restricting it to unusually distinguished work. Be sf in the
form of _^<a_!T4288_HARD SF_^>a_, _^<a_!T3181_NEW WAVE_^>a_, _^<a_!T1015_CYBERPUNK_^>a_ or _^<a_!T2870_SCIENCE FANTASY_^>a_, it has been one of its great strengths (and one of its unifying factors) that, unlike most _^<a_!T3609_MAINSTREAM_^>a_
fiction, it has been able to work on such broad canvases. So far as we are aware, nobody has made any academic analysis of the effect of series-writing on the _^<a_!T4443_HISTORY OF SF_^>a_, but the result would surely be a confirmation that series
developments have been at sf's very heart, certainly in the special but vital case of future histories (> _^<a_!T4443_HISTORY OF SF_^>a_). It may not be too great an imaginative leap to see the _^<i_whole_^>i_ of _^<a_!T4659_GENRE SF_^>a_ as
constituting a kind of gigantic meta-series (or multiverse), in which intellectual developments in the form of constantly evolving protocols and motifs are passed from writer to writer. Certainly many sf readers share an intuitive, metaphysical
sense that the entirety of genre sf somehow (ignoring nitpicking distinctions) shares a _^<i_common background_^>i_, as if there were now a real future that has been invented by consensus of the sf community. If that seems an overstatement, then at
least it can be granted that some of sf's most heroic generic exploits have been conducted, and could only have been conducted, in series form. All the more tragic, then, that the word "series" in the 1980s (and still) should gradually be changing
its meaning to "multi-volume packaged commercial product". [PN]_^<n__^<n_
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SERIMAN, ZACCARIA
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[r] > _^<a_!T3826_ITALY_^>a_._^<n__^<n_
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SERLING, ROD
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Working name of US screenwriter and _^<a_!T5926_TELEVISION_^>a_ producer Rodman Edward Serling (1924-1975), best known for the tv series _^<i_The_^<a_!T6141_TWILIGHT ZONE_^>a__^>i_ , for which he won 3 _^<a_!T4551_HUGOS_^>a_ (1960-62). A paratrooper
in WWII, he went to New York in 1948 as a freelance writer, first for radio and then for tv. During the 1950s he became one of the most highly regarded tv writers, winning many awards including 6 Emmies for such tv plays as _^<i_Patterns_^>i_
(1955), _^<i_Requiem for a Heavyweight_^>i_ (1956) and _^<i_The Comedian_^>i_ (1957). In 1959 he created, wrote and produced the first of his _^<b_The Twilight Zone_^>b_ anthology series, on which he also appeared as host; his dark figure and
gravelly tones became very familiar to viewers. The series, mainly fantasy dramas with some sf, lasted 5 years. In 1970 he tried to repeat this success with a similar series, _^<a_!T2661_ROD SERLING'S NIGHT GALLERY_^>a_, but it lasted only until
1972. In addition to his tv work, which included writing many episodes for both _^<b_The Twilight Zone_^>b_ and _^<b_Night Gallery_^>b_, RS wrote a number of filmscripts such as those for _^<i_Requiem for a Heavyweight_^>i_ (1963; based on his tv
script), John _^<a_!T1598_FRANKENHEIMER_^>a_'s _^<i_Seven Days in May_^>i_ (1964) and the original version (later rewritten) of _^<a_!T1919_PLANET OF THE APES_^>a_ (1968)._^<n__^<n_RS could hardly be described as an original writer, but he was
certainly clever at adapting existing ideas and was a capable craftsman. He had the knack of producing work that, in the context of most tv material, seemed more daring and profound than it really was; his major flaw was slickness. Whatever his
limitations, _^<b_The Twilight Zone_^>b_ came as a breath of fresh air to fans of fantasy and sf, who had previously had little tv material available._^<n__^<n_RS wrote some of his teleplays into short-story form and published several collections:
_^<i_Stories from The Twilight Zone_^>i_ * (coll _^<b_1960_^>b_), _^<i_More Stories from The Twilight Zone_^>i_ * (coll _^<b_1961_^>b_), _^<i_New Stories from The Twilight Zone_^>i_ * (coll _^<b_1962_^>b_) -- these two almost certainly
ghostwritten, possibly by Walter B. _^<a_!T4688_GIBSON_^>a_ -- _^<i_The Season to Be Wary_^>i_ * (coll _^<b_1967_^>b_), _^<i_Night Gallery_^>i_ * (coll _^<b_1971_^>b_) and _^<i_Night Gallery 2_^>i_ * (coll _^<b_1972_^>b_). Selections from the first
3 of these appeared in _^<i_From The Twilight Zone_^>i_ * (coll _^<b_1962_^>b_) and all the contents of the first 3 in an omnibus, again titled _^<i_Stories from The Twilight Zone_^>i_ * (omni _^<b_1986_^>b_). _^<i_Rod Serling's The Twilight
Zone_^>i_ * (coll _^<b_1963_^>b_) and _^<i_Rod Serling's Twilight Zone Revisited_^>i_ * (coll _^<b_1964_^>b_), ghostwritten by Walter B. Gibson, were collected as the omnibus _^<i_Rod Serling's Twilight Zone_^>i_ * (omni _^<b_1984_^>b_). Of 3
further anthologies, _^<i_Rod Serling's Triple W: Witches, Warlocks and Werewolves_^>i_ (anth _^<b_1963_^>b_), _^<i_Rod Serling's Devils and Demons_^>i_ (anth _^<b_1967_^>b_) and _^<i_Rod Serling's Other Worlds_^>i_ (coll _^<b_1978_^>b_), the first
2 at least were ghost-edited by Gordon R. _^<a_!T1227_DICKSON_^>a_, and RS had been dead for 3 years by the time the 3rd appeared._^<n__^<n_RS's name has continued to be used as a marketing device. His widow, Carol Serling, who retains RS's tv
rights, edited _^<i_Rod Serling's Night Gallery Reader_^>i_ * (anth _^<b_1987_^>b_) with Martin H. _^<a_!T4842_GREENBERG_^>a_ and Charles G. _^<a_!T5488_WAUGH_^>a_. More importantly, she also played a prominent role as editorial consultant in
setting up _^<i_Rod Serling's The Twilight Zone Magazine_^>i_ (1981-9), initially monthly, which achieved prominence in the fantasy/horror field. [JB/PN]_^<n__^<n_
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SERNINE, DANIEL
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Pseudonym of Canadian writer Alain Lortie (1955- ), a central force in Canadian sf, who began publishing in 1975 with the dark fantasies "Jalbert" and "La Bouteille" ["The Bottle"] for _^<i_Requiem_^>i_, later serving (from 1983) on the editorial
collective of that magazine, now renamed _^<i__^<a_!B9183_SOLARIS_^>a__^>i_ (> _^<a_!T5141_CANADA_^>a_). His early work has been collected in _^<i_Les Contes de l'ombre_^>i_ ["Tales from the Shadow"] (coll _^<b_1979_^>b_). His novels, marketed as
juveniles, are split into 2 main series: the _^<b_Grandverger_^>b_ fantasies, set in an imaginary enclave of New France -- _^<i_Legendes du vieux manoir_^>i_ ["Tales from the Old Manor House"] (coll _^<b_1979_^>b_), _^<i_Le Tresor du
"Scorpion"_^>i_ (_^<b_1980_^>b_; trans as _^<i_The "Scorpion" Treasure_^>i_ _^<b_1990_^>b_), _^<i_L'Epee Arhapal_^>i_ (_^<b_1981_^>b_; trans as _^<i_The Sword Arhapal_^>i_ _^<b_1990_^>b_) and _^<i_Le Cercle Violet_^>i_ ["The Purple Circle"]
(_^<b_1984_^>b_) -- and the _^<b_Exode_^>b_ or _^<b_Argus_^>b_ sequence, about a benevolent extraterrestrial organization keeping watch on the Earth: _^<i_Organisation Argus_^>i_ (_^<b_1979_^>b_; trans David Homel as _^<i_Those Who Watch the
Skies_^>i_ _^<b_1990_^>b_), _^<i_Argus Intervient_^>i_ (_^<b_1983_^>b_; trans David Homel as _^<i_Argus Steps In_^>i_ _^<b_1990_^>b_), _^<i_Argus: mission mille_^>i_ ["Argus: The Thousandth Mission"] (_^<b_1989_^>b_) and _^<i_Les Reves d'Argus_^>i_
["The Dreams of Argus"] (_^<b_1991_^>b_). Both series are brought together in _^<i_La nef dans le nuages_^>i_ ["The Ship in the Clouds"] (_^<b_1989_^>b_). Some of the adult stories assembled in _^<i_Le Vieil Homme et l'espace_^>i_ ["The Old Man and
Space"] (coll _^<b_1981_^>b_) also belong to the _^<b_Exode_^>b_ saga; the collection as a whole effectively displays DS's social and political interests, as does the ambitious and well received _^<i_Les Meandres du temps_^>i_ ["The Meanders of
Time"] (_^<b_1983_^>b_). More recently, he has begun publishing tales set in a neverending _^<b_Carnival_^>b_; these have been assembled as _^<i_Boulevard des etoiles_^>i_ ["Stardust Boulevard"] (coll _^<b_1991_^>b_) and _^<i_A la Recherche de
Monsieur Goodtheim_^>i_ ["Looking for Mr Goodtheim"] (coll _^<b_1991_^>b_). This more recent work shows a willingness to explore new avenues, a willingness also demonstrated by _^<i_Chronoreg_^>i_ (_^<b_1992_^>b_), a complex and bleak time-travel
tale, set in an _^<a_!T131_ALTERNATE WORLD_^>a_ Earth, and featuring a homosexual telepathic death-haunted mercenary. [LP]_^<n__^<n__^<b_Other works:_^>b_ _^<i_La Cite inconnue_^>i_ ["The Unknown City"] (_^<b_1982_^>b_); _^<i_Ludovic_^>i_
(_^<b_1990_^>b_); _^<i_Quatres destins_^>i_ ["Four Destinies"] (_^<b_1990_^>b_); _^<i_La Magicienne bleue_^>i_ ["The Blue Magician"] (_^<b_1991_^>b_); _^<i_Le Cercle de Khaleb_^>i_ ["Khaleb's Circle"] (_^<b_1991_^>b_).
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SERVICE, PAMELA F.
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(1945- ) US writer of fantasy and sf, usually for older children, beginning with the _^<b_Winter_^>b_ sequence of post-_^<a_!T4482_HOLOCAUST_^>a_ fantasies invoking King Arthur: _^<i_Winter of Magic's Return_^>i_ (_^<b_1985_^>b_) and
_^<i_Tomorrow's Magic_^>i_ (_^<b_1987_^>b_). Of sf interest are: _^<i_A Question of Destiny_^>i_ (_^<b_1986_^>b_), a young-adult sf thriller; _^<i_Stinker from Space_^>i_ (_^<b_1988_^>b_ chap) and its sequel, _^<i_Stinkers Return_^>i_
(_^<b_1993_^>b_); _^<i_Under Alien Stars_^>i_ (_^<b_1990_^>b_), set on an Earth occupied by _^<a_!T98_ALIEN_^>a_ invaders whose mores challenge human prejudices, and who themselves are under attack from space; and _^<i_Weirdos of the Universe,
Unite!_^>i_ (_^<b_1992_^>b_), which unconvincingly pits figures from human _^<a_!T3135_MYTHOLOGY_^>a_ against another alien _^<a_!T3796_INVASION_^>a_. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_When the Night Wind Howls_^>i_ (_^<b_1987_^>b_);
_^<i_The Reluctant God_^>i_ (_^<b_1988_^>b_), a _^<a_!T6026_TIME-TRAVEL_^>a_ fantasy; _^<i_Vision Quest_^>i_ (_^<b_1989_^>b_); _^<i_Wizard of Wind and Rock_^>i_ (_^<b_1990_^>b_); _^<i_Being of Two Minds_^>i_ (_^<b_1991_^>b_); _^<i_Weirdos of the
Universe, Unite!_^>i_ (_^<b_1993_^>b_).
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SERVICE, ROBERT W(ILLIAM)
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(1874-1958) UK-born poet and novelist, in Canada 1896-1912, where much of his exceedingly popular verse was set. Of his several novels, _^<i_The Master of the Microbe: A Fantastic Romance_^>i_ (_^<b_1926_^>b_) is sf, featuring a deadly plague virus
developed by a vengeful German but stolen from him by a master-criminal. _^<i_The House of Fear_^>i_ (_^<b_1927_^>b_) is a werewolf tale. [JC]_^<n__^<n_
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SERVISS, GARRETT P(UTMAN)
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(1851-1929) US journalist and writer who majored in science at Cornell University, then studied law, and only afterwards entered journalism, working on 2 New York newspapers before moving into freelance writing and lecturing. His speciality was
_^<a_!T283_ASTRONOMY_^>a_; his _^<i_Other Worlds_^>i_ (_^<b_1901_^>b_) was a significant work of popular science. In 1897 he was commissioned to write an unofficial sequel to an equally unofficial US newspaper recasting of H.G.
_^<a_!T5528_WELLS_^>a_'s _^<i__^<a_!B9242_THE WAR OF THE WORLDS_^>a__^>i_ (_^<b_1898_^>b_), which was then making a considerable stir as a newspaper and magazine serial, and -- in the absence of adequate copyright protection -- inspiring various
imitations along the way. GPS's "sequel" was _^<i_Edison's Conquest of Mars_^>i_ (1898 _^<i_The New York Journal_^>i_; _^<b_1947_^>b_; cut vt _^<i_Forrest J. Ackerman Presents Invasion of Mars_^>i_ 1969), a tale which quite remarkably captured the
ebullient US spirit of the time. Edison himself (> _^<a_!T6580_EDISONADE_^>a_) is the protagonist. After the first wave of Martians have duly perished of bacteria, he invents a disintegrating _^<a_!T5492_WEAPON_^>a_ and an
_^<a_!T198_ANTIGRAVITY_^>a_ machine, using the latter to power 100 _^<a_!T2348_SPACESHIPS_^>a_ he has persuaded the nations of the world to build. The armada invades _^<a_!T3677_MARS_^>a_, and after many battles causes its polar icecap to melt,
which results in a genocidal flood. The book was one of the first edisonades to be written for adults, and perhaps the only adult presentation of the entrepreneurial inventor to mention his name on its title page. In details of plot, and in its
triumphal narrative tone, it closely prefigured the _^<a_!T2342_SPACE-OPERA_^>a_ edisonades of E.E. "Doc" _^<a_!T2269_SMITH_^>a_ and his imitators._^<n__^<n_GPS's remaining sf is intermittently vivid, but lacks the seemingly unconscious mythopoeic
potency of his first. In _^<i_The Moon Metal_^>i_ (_^<b_1900_^>b_), set in 1940, a mysterious figure supplies the world with a rare untraceable metal which serves, for a while, as a new fiscal standard (> _^<a_!T3001_MONEY_^>a_). "The Sky Pirate"
(1909 _^<i_The Scrap Book_^>i_) features the superscientific exploits of the eponymous adventurer. _^<i_A Columbus in Space_^>i_ (1909 _^<i_All-Story Magazine_^>i_; rev _^<b_1911_^>b_) features another pioneering _^<a_!T2337_SPACE FLIGHT_^>a_, this
time to _^<a_!T5351_VENUS_^>a_. _^<i_The Second Deluge_^>i_ (_^<b_1912_^>b_) is a _^<a_!T1243_DISASTER_^>a_ novel in which the Earth is inundated to a depth of several miles as a result of passing through a "nebula" composed of water; a latter-day
Noah, having built an ark, saves all God's creatures and visits the US West, where the President has also been saved. This novel was reprinted 3 times: in _^<a_!T141_AMAZING STORIES_^>a_ (1926), _^<a_!T143_AMAZING STORIES QUARTERLY_^>a_ (1933) and
_^<a_!T1399_FANTASTIC NOVELS_^>a_ (1948). GPS's last story, _^<i_The Moon Maiden_^>i_ (1915 _^<i_The Argosy_^>i_; _^<b_1978_^>b_ chap), is a dubiously complicated love tale in which it is revealed that lunar beings have been guiding us upwards for
millennia. In a sense, GPS was born too soon; born 20 years later he might have become one of the prolific masters of the new sf. [JC/MJE]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T1245_DISCOVERY AND INVENTION_^>a_; _^<a_!T6661_END OF THE WORLD_^>a_;
_^<a_!T4443_HISTORY OF SF_^>a_; _^<a_!T4482_HOLOCAUST AND AFTER_^>a_; _^<a_!T3721_MATTER TRANSMISSION_^>a_; _^<a_!T3265_NUCLEAR POWER_^>a_; _^<a_!T2033_PULP MAGAZINES_^>a_; _^<a_!T2880_SCIENTISTS_^>a_.
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SEVEN DAYS IN MAY
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> Fletcher _^<a_!T4096_KNEBEL_^>a_; John _^<a_!T1598_FRANKENHEIMER_^>a_._^<n__^<n_
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SEVERANCE, CAROL (ANN WILCOX)
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(1944- ) US writer who began publishing work of genre interest with "Isle of Illusion" for _^<i_Tales of the Witch World_^>i_ (anth _^<b_1987_^>b_) ed Andre _^<a_!T3243_NORTON_^>a_. Her first novel, _^<i_Reefsong_^>i_ (_^<b_1991_^>b_), features a
genetically altered female protagonist sent on an interstellar mission by the corporation which controls her destiny. The _^<b_Island Warrior_^>b_ sequence -- comprising_^<i_Demon Drums_^>i_ (_^<b_1992_^>b_), _^<i_Storm Caller_^>i_ (_^<b_1993_^>b_)
and _^<i_Sorcerous Sea_^>i_ (_^<b_1993_^>b_) -- is fantasy. [JC]_^<n__^<n_
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SEX
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This entry is primarily about human sexual relationships and sexual stereotypes as themes in sf; i.e., it is primarily about _^<a_!T2023_PSYCHOLOGY_^>a_ and _^<a_!T2300_SOCIOLOGY_^>a_. It discusses neither procreation nor the various inventive
methods of _^<a_!T98_ALIEN_^>a_ sexual reproduction devised by sf writers._^<n__^<n_Traditionally sf has been a puritanical and male-oriented literature. Before the 1960s there was little sf that consciously investigated sexual questions but, as
with all popular literatures, what is implied is often as important as what is openly put forward. Seen from this viewpoint, sf has been an accurate reflector of popular prejudices and feelings about sex over the years -- especially in stories at
the _^<a_!T2033_PULP-MAGAZINE_^>a_ end of the sf spectrum, where the fantasies and _^<a_!T5888_TABOOS_^>a_ of the day are encapsulated more clearly than in sophisticated works._^<n__^<n_An important theme of pulp sf -- sex as beastliness --
appeared much earlier. Jonathan _^<a_!T5873_SWIFT_^>a_'s famous work of _^<a_!T2013_PROTO SCIENCE FICTION_^>a_, _^<i_Gulliver's Travels_^>i_ (_^<b_1726_^>b_; rev 1735), in its 4th book contrasts the brutish life of carnality led by the human-like
Yahoos -- much given to public defecation and genital display -- with the life of reason led by the intelligent, horse-like Houyhnhnms; everyone understands the satirical assault on the Yahoos, but fewer critics have recognized the horses'
fastidious squeamishness as being also, more subtly, under attack. Swift's 18th-century frankness about sex was not to appear in sf again with the same force for more than two centuries._^<n__^<n_In the 19th century, feelings about sex were implied
but seldom dealt with openly. The sexual fears and fantasies often involved in _^<a_!T4780_GOTHIC SF_^>a_ tended to be envisioned as powerful, irrational forces, difficult to quell. _^<i_Frankenstein, or The Modern Prometheus_^>i_ (_^<b_1818_^>b_;
rev 1831) by Mary _^<a_!T2173_SHELLEY_^>a_ is more overt than most in asking whether the artificial man's bestial urges, unfettered by a soul, would prove devastating. This aspect of the story has been emphasized in several film versions of
_^<a_!T1599_FRANKENSTEIN_^>a_, especially in the parody _^<i_Young Frankenstein_^>i_ (1974), where the monster's amorous abilities prove as formidable as we had always suspected._^<n__^<n__^<i_Frankenstein_^>i_ points towards a recurrent theme in
pulp sf: fear of the _^<a_!T98_ALIEN_^>a_ manifest (at least in the subtext) as fear of a sexual capacity greater than ours, just as White men stereotypically fear Black as sexual athletes too well endowed to compete against. The menace of the
alien is often seen in sexual terms in sf _^<a_!T4593_ILLUSTRATIONS_^>a_, which right through the magazines of the 1930s and 1940s had a stronger sexual charge than the milk-and-water stories they purported to illuminate._^<n__^<n_The sf pulp
magazines seldom attempted to titillate in the manner of, say, _^<i_Spicy Mystery Stories_^>i_ -- an exception was _^<a_!T3698_MARVEL SCIENCE STORIES_^>a_ (especially in its incarnation as _^<i_Marvel Tales_^>i_), which contained stories like "Lust
Rides the Roller Coaster". Generally, however, the _^<a_!T2130_SF MAGAZINES_^>a_ proved unable to link the two genres of the spicy and the technological with any conviction. (The conjunction of flesh and metal, however, later proved inspirational
to sf _^<a_!T820_COMICS_^>a_ artist Jean-Claude Forest [1930- ], whose mildly erotic _^<a_!T398_BARBARELLA_^>a_ featured a heroine who was prepared to receive even the embrace of a _^<a_!T2646_ROBOT_^>a_ -- a not uncommon theme in the liberated
1970s, most amusingly dealt with in Robert _^<a_!T2164_SHECKLEY_^>a_'s "Can You Feel Anything When I Do This?" [1969]. _^<b_Barbarella_^>b_ was successfully filmed in 1967 by Roger Vadim as a veritable compendium of the sexual fantasies to be found
in sf.)_^<n__^<n_The sexual implications of sf stories have varied remarkably little in the past 100 years, and most of the themes were already well established in the popular literature of the 19th century. _^<i_Strange Case of Dr Jekyll and Mr
Hyde_^>i_ (_^<b_1886_^>b_) by Robert Louis _^<a_!T5731_STEVENSON_^>a_ explores the notion that the human mind contains a cheerfully bestial component controlled by a mental censor that can -- in this case with drugs -- be bypassed. Although there
was more of _^<a_!T2924_METAPHYSICS_^>a_ than science in the idea when Stevenson penned it, developments in psychology (beginning, even as Stevenson wrote, with the work of Sigmund Freud [1856-1939]) and later neurology showed him to have been not
so very far from the truth. Stevenson's fundamental theme, however, has a long history in the Christian West, where the pleasures of the flesh have traditionally been seen as sinful: it is the theme of Original Sin. Hyde was an incarnation of "the
evil that lurks in the heart of Man". Sin and retribution remains a popular theme in _^<a_!T4509_HORROR_^>a_ and _^<a_!T3011_MONSTER MOVIES_^>a_._^<n__^<n_Sf has been largely written by men, and tends to reveal specifically masculine sexual
prejudices. (The female archetypes created by men are further discussed in _^<a_!T5683_WOMEN AS PORTRAYED IN SCIENCE FICTION_^>a_.) An interesting early example of gender archetype is found in _^<i__^<a_!B9070_THE TIME MACHINE_^>a__^>i_
(_^<b_1895_^>b_) by H.G. _^<a_!T5528_WELLS_^>a_. The future races discovered by the Time Traveller are the masculine, hairy Morlocks and the effeminate, beautiful, irresponsible Eloi, who are ultimately just cattle for the Morlocks. The two races
allegorize 19th-century sexual distinctions and class distinctions simultaneously. One of the illustrations by Virgil _^<a_!T1488_FINLAY_^>a_ to a magazine reprint of the story makes the point vividly._^<n__^<n_To immature men, women often appear
like an alien race, and much popular sf reflects a fear of their threatening foreignness. The stereotype of the Amazon Queen -- imperious, cruel and desirable -- is abundantly present in _^<i_She_^>i_ (_^<b_1887_^>b_) and other novels by H. Rider
_^<a_!T4911_HAGGARD_^>a_. The she-devil, a favourite recurring Victorian literary archetype (Victorian pornography makes just as much of women chastising men with whips as vice versa), turns up throughout pulp sf, notably in the romances of Edgar
Rice _^<a_!T5097_BURROUGHS_^>a_ and in many tales published in _^<a_!T1924_PLANET STORIES_^>a_._^<n__^<n_It might be expected that the image of woman as all-engulfing Holy Prostitute and She-Fiend would be an exclusively masculine fantasy, but --
perhaps because it is at least an image of power in a world where, during the era of the pulp magazines, women were relatively powerless -- it attracted some women writers. C.L. _^<a_!T3033_MOORE_^>a_ made a speciality of such figures, notably in
her _^<b_Northwest Smith_^>b_ tales. The Medusa creature in Moore's "Shambleau" (1933) is an archetype of the female as a fantasy of sexual horror: "From head to foot he was slimy from the embrace of the crawling horror about him . . . and the look
of terrible ecstasy that overspread [his face] seemed to come from somewhere far within"_^<n__^<n_The conjunction of womanhood and slime may have pathological connotations, but is familiar enough in _^<a_!T4659_GENRE SF_^>a_ and elsewhere. Consider
the following passage from _^<i_The Deathworms of Kratos_^>i_ (_^<b_1975_^>b_) by Richard Avery (Edmund _^<a_!T870_COOPER_^>a_): "Each time she was penetrated, the queen's huge body rippled and arched and she gave out a hissing, screaming grunt.
Steam rose from her straining body, gouts of milky fluid dripped from her immense length, bubbling from her orifices . . ." The sexual confusions are intense: the queen is a giant worm, and, though female, unmistakably phallic in shape. The
watchers are "sickened" but excited and, within pages, are asking the spaceship captain for permission to pair off and copulate. The sexual ambiguities here are of the very essence of pulp sf._^<n__^<n_Some of the worst sexual crudities in sf, much
attacked by _^<a_!T1461_FEMINISTS_^>a_ of both sexes, are found in the male writers of _^<a_!T4396_HEROIC FANTASY_^>a_. What was merely a subtext in Robert E. _^<a_!T4524_HOWARD_^>a_'s _^<b_Conan_^>b_ stories of the 1930s had become explicit and
central in John _^<a_!T3236_NORMAN_^>a_'s _^<b_Gor_^>b_ books of the 1960s: a male desire to exert power over women, which Norman depicts in his many bondage and flagellation scenes in a manner clearly intended to be sexually arousing. The visual
counterpart of these writings can be seen in the paintings of Frank _^<a_!T1612_FRAZETTA_^>a_, whose ripe, lush beauties, when not being menaced by scaly, phallic monsters or subdued by men, are themselves cruel Amazons, holding the most
brawny-thewed men in thrall._^<n__^<n_Miscegenation, the mixing of races, is another common sexual theme in sf. It was often seen in _^<a_!T3460_LOST-WORLD_^>a_ fiction from around the turn of the century to be degrading (>
_^<a_!T1209_DEVOLUTION_^>a_), as in Austyn _^<a_!T4808_GRANVILLE_^>a_'s _^<i_The Fallen Race_^>i_ (_^<b_1892_^>b_), where a primitive tribe has resulted from the bestial union of aboriginals and kangaroos. But even during the period up to the
1920s, when racist popular fiction was the rule rather than the exception, miscegenation could be seen as a good thing. An early human-alien union can be found in Burroughs's _^<i__^<a_!B9078_A PRINCESS OF MARS_^>a__^>i_ (1912; exp _^<b_1917_^>b_),
symbolized in the amusing scene where John Carter stands proudly next to his wife, the princess, looking at their child in its incubator: the child at this stage is a large egg. For decades the sf magazines, notably _^<i_Planet Stories_^>i_, often
featured on their covers _^<a_!T6357_BEMS_^>a_ with lascivious expressions pursuing human women -- an obvious absurdity (> _^<a_!T2877_SCIENTIFIC ERRORS_^>a_)._^<n__^<n_Thus far we have emphasized the sexual assumptions of society -- especially
male society -- as revealed in sf, but not as _^<i_analysed_^>i_ in sf. The very nature of sf, however, in which societies with cultures and appearances different from our own can be readily imagined, makes it an excellent medium for asking hard
questions about our own sexual prejudices. By the 1980s, the conservative sexual bigotry of sf had largely given way to a radical exploration of alternative sexual possibilities (though these, too, produced their own _^<a_!T752_CLICHES_^>a_). The
process had first got under way in the early 1950s, when Philip Jose _^<a_!T1435_FARMER_^>a_ and Theodore _^<a_!T5810_STURGEON_^>a_ treated the miscegenation theme more seriously. Hitherto magazine sf, no matter what it might coyly imply, had never
been sexually explicit. Kay Tarrant, assistant to John W. _^<a_!T5140_CAMPBELL_^>a_ Jr, the editor of _^<a_!T277_ASTOUNDING SCIENCE-FICTION_^>a_ (later _^<i_Analog_^>i_), was famous for her prudishness, and persuaded many writers to remove
"offensive" scenes and "bad language" from their stories. This was partly in keeping with the spirit of the age and partly to protect adolescent boys, probably _^<i_ASF_^>i_'s main readership. Some writers made a game of outwitting her; in his
story"Rat Race" (1947) George O. _^<a_!T2275_SMITH_^>a_ got away with mentioning a "ball-bearing mousetrap" on one page, revealing on the next page the device: a tomcat. But both Farmer and Sturgeon were, for their period, explicit. They recognized
that, in a genre which prided itself on imagining new and different societies, the sexual taboo was absurdly anachronistic, particularly because it did not exist to the same degree in conventional fiction. Sturgeon explored both three-way
relationships and human-alien relationships in a number of stories and novels, notably _^<i_Venus Plux X_^>i_ (_^<b_1960_^>b_), a savage attack on gender stereotyping. Farmer's _^<i__^<a_!B9017_THE LOVERS_^>a__^>i_ (1952 _^<i_Startling
Stories_^>i_; exp _^<b_1961_^>b_) dealt with inter-species love and sex, as did many of his stories, including "Mother" (1953), in which a spaceman is inveigled into an alien womb, where he makes his home -- perhaps the ultimate in Freudian sf
stories. Both these writers questioned concepts of "normal" and "perverse" (although there is a critical argument about the degree of crudeness, salacity or sometimes sentimentality with which the attempt was made)._^<n__^<n_By the 1960s
miscegenation was an acceptable serious theme in sf, and it was perhaps most carefully and delicately explored in Ursula K. _^<a_!T3318_LE GUIN_^>a_'s novel _^<i__^<a_!B8985_THE LEFT HAND OF DARKNESS_^>a__^>i_ (_^<b_1969_^>b_). An ordinary human is
forced to rethink the whole question of sexual roles when faced with a race (and emotionally involved with one of its members) who are bisexual in that they can be, at different times, either man, woman or neuter. A sensitive treatment of love
between alien races is _^<i__^<a_!B9280_STRANGERS_^>a__^>i_ (1974 _^<i_New Dimensions_^>i_; exp _^<b_1978_^>b_) by Gardner _^<a_!T1313_DOZOIS_^>a_, which draws attention to the ghastly errors that can occur from trying to understand a foreign
society in terms of the assumptions of one's own._^<n__^<n_After the pioneer work of Sturgeon and Farmer-and also such mildly daring works as _^<i_The Disappearance_^>i_ (_^<b_1951_^>b_) by Philip _^<a_!T6210_WYLIE_^>a_, which postulates a total
but temporary division between the societies of men and of women, "Consider Her Ways" (1956) by John _^<a_!T6211_WYNDHAM_^>a_, which deals with an ambiguously utopian all-women society, and _^<i_The Girls from Planet 5_^>i_ (_^<b_1955_^>b_) by
Richard _^<a_!T5642_WILSON_^>a_, which deals skittishly with a similar theme -- the breaking of the dam came with the so-called _^<a_!T3181_NEW WAVE_^>a_ in the 1960s. Suddenly, explicit sex was commonplace in sf, in work by Brian W.
_^<a_!T87_ALDISS_^>a_, J.G. _^<a_!T378_BALLARD_^>a_, Samuel R. _^<a_!T1152_DELANY_^>a_, Norman _^<a_!T2370_SPINRAD_^>a_ and many others. Harlan _^<a_!T6641_ELLISON_^>a_'s consciously taboo-breaking anthology _^<i__^<a_!B9046_DANGEROUS
VISIONS_^>a__^>i_ (anth _^<b_1967_^>b_) printed some stories of this type._^<n__^<n_Writers of an older generation, such as Isaac _^<a_!T268_ASIMOV_^>a_ and Robert A. _^<a_!T4376_HEINLEIN_^>a_, also blossomed out into the freedom of the 1960s. In
much of Heinlein's late work the central theme is a strong plea for sexual emancipation, sometimes expressed with a kind of embarrassing locker-room prurience. This was his emphasis from his popular _^<i__^<a_!B9028_STRANGER IN A STRANGE
LAND_^>a__^>i_ (_^<b_1961_^>b_) onwards, most obviously in _^<i_I Will Fear No Evil_^>i_ (_^<b_1970_^>b_) -- in which an old man is given new life in the body of his young female secretary -- and again in _^<i_Time Enough for Love_^>i_
(_^<b_1973_^>b_) and _^<i__^<a_!B9036_FRIDAY_^>a__^>i_ (_^<b_1982_^>b_)._^<n__^<n_One publisher, _^<a_!T6699_ESSEX HOUSE_^>a_, specialized in pornographic sf (a genre that had its heyday in the late 1960s and early 1970s) including Farmer's
_^<i_The Image of the Beast_^>i_ (_^<b_1968_^>b_) and _^<i_A Feast Unknown_^>i_ (_^<b_1969_^>b_) as well as books by Hank _^<a_!T5746_STINE_^>a_ and David _^<a_!T3757_MELTZER_^>a_. Other publishers followed suit, notably Olympia and Ophelia Press,
which published sf erotica by, among others, Charles _^<a_!T1927_PLATT_^>a_ and Barry N. _^<a_!T3629_MALZBERG_^>a_, the latter's work being perhaps the gloomiest pornography ever published. Most of the above were partially serious in intent, and
sometimes more emetic than erotic. Slightly less reputable houses published pornography by Richard E. _^<a_!T4651_GEIS_^>a_ and Andrew J. _^<a_!T3296_OFFUTT_^>a_, and down at the bottom of the barrel could be found books with titles like _^<i_Anal
Planet_^>i_ (_^<b_1976_^>b_) by Alex Forbes. (A number of other sf writers -- including both Marion Zimmer _^<a_!T4968_BRADLEY_^>a_ and Robert _^<a_!T2216_SILVERBERG_^>a_ under pseudonyms -- occasionally published non-sf erotica, usually as a quick
way of earning money.)_^<n__^<n_Some critics consider that the most distinguished work of "pornographic" sf is _^<i_Crash_^>i_ (_^<b_1973_^>b_) by J.G. Ballard, in which images of technology and images of sex are interwoven to make an ambiguous and
not necessarily disapproving comment on the nature of technological society and its alienations. The central images of this book are the orgasm and the car crash, the one often leading to the other. Also of note are some of the stories in Ballard's
_^<i__^<a_!B9073_THE ATROCITY EXHIBITION_^>a__^>i_ (coll _^<b_1970_^>b_; vt _^<i_Love and Napalm: Export USA_^>i_ 1972 US)._^<n__^<n_Sf is more liable than other genres, with the exception of horror, to link sex with disgust. Robert
_^<a_!T661_BLOCH_^>a_, Ray _^<a_!T4963_BRADBURY_^>a_ and Sturgeon all wrote stories in which images of sex overlap with images of violence, blood, revulsion and pain, yet these authors are generally considered to be towards the more "liberal" end
of the sf spectrum. This dis-ease with sexuality, perhaps cultural in origin, is also reflected in a recurrent image of overtly sexual sf: a mind/body dualism in which the body is seen as "alien" and governing the mind, rather than governed by it
or in partnership with it._^<n__^<n_On the more positive side, sf that consciously judges the sexual prejudices of our own society by imagining societies with quite different sexual expectations began -- relatively speaking -- to flourish from the
1970s on, though remaining rather a small subgenre within sf as a whole. Many of these works were written by women, especially feminist writers, most notably Joanna _^<a_!T2741_RUSS_^>a_, and are discussed under _^<a_!T1461_FEMINISM_^>a_. Such
writers have made extrapolations towards cultures where troilism, homosexuality, bisexuality or even pansexuality is the norm. Samuel R. _^<a_!T1152_DELANY_^>a_ does so in much of his writing, notably in _^<i__^<a_!B9021_DHALGREN_^>a__^>i_
(_^<b_1975_^>b_) and _^<i_Triton_^>i_ (_^<b_1976_^>b_) along with later works. Thomas M. _^<a_!T1244_DISCH_^>a_ does so in _^<i__^<a_!B9077_334_^>a__^>i_ (_^<b_1972_^>b_). Sf with a homosexual or bisexual theme is now commonplace, though Delany,
for one, has suffered censorship from book-distribution companies for dramatizing these issues. An interesting reference work in this field is _^<i_Uranian Worlds: A Reader's Guide to Alternative Science Fiction and Fantasy_^>i_ (_^<b_1983_^>b_;
rev 1990) by Eric Garber and Lyn Paleo, which annotates 935 novels and stories of "variant sexuality", plus films. (Sf _^<a_!T1389_FANDOM_^>a_, too, has recognized the interest in gay sf with the formation in 1987 of the Gaylactic Network, based in
Massachusetts, with 7 affiliated Gaylaxian groups in the USA and Canada.)_^<n__^<n_Two important writers on sexual themes, both interested in "alternative" sexuality and both attaining prominence in the 1970s, have been James
_^<a_!T6035_TIPTREE_^>a_ Jr and John _^<a_!T5339_VARLEY_^>a_. Tiptree (not revealed to be a woman until 1977, when she had been publishing sf for a decade) sadly, savagely examined the skewings of sexual impulse in much of her work; it was her
central theme, and with her anthropologist's eye she dissected it with great power. Varley, who works with broader strokes, examines polymorphous eroticism -- with dazzle and schmaltz perhaps approaching too closely the condition of the romp --
among the several themes of his _^<b_Gaean_^>b_ trilogy: _^<i_Titan_^>i_ (_^<b_1979_^>b_), _^<i_Wizard_^>i_ (_^<b_1980_^>b_) and _^<i_Demon_^>i_ (_^<b_1984_^>b_). More recently, _^<i_Sexual Chemistry_^>i_ (coll _^<b_1991_^>b_) by Brian M.
_^<a_!T2385_STABLEFORD_^>a_ deals wryly with sexual issues, though its prime theme is _^<a_!T4657_GENETIC ENGINEERING_^>a_._^<n__^<n_The great change in sexual life during the 1980s was (as it still is) the AIDS epidemic, among whose many results
has been the higher premium now placed on monogamy. Much sf of the 1980s has (either directly or metaphorically) touched on the AIDS theme, including _^<i_Unicorn Mountain_^>i_ (_^<b_1988_^>b_) by Michael _^<a_!T620_BISHOP_^>a_ and the surreal,
sodomitical nightmares of _^<i_The Fire Worm_^>i_ (_^<b_1988_^>b_) by Ian _^<a_!T5484_WATSON_^>a_. A distinguished short story on the theme is Judith _^<a_!T2998_MOFFETT_^>a_'s "Tiny Tango" (1989), later incorporated into _^<i__^<a_!B9282_THE
RAGGED WORLD: A NOVEL OF THE HEFN ON EARTH_^>a__^>i_ (_^<b_1991_^>b_), which features, among many strange, sad images, that of an HIV-positive woman who voyeuristically frequents male lavatories wearing a fake penis._^<n__^<n_Sf
_^<a_!T726_CINEMA_^>a_ has also been transformed in the past two decades, though much of its sexual explicitness in the 1970s and 1980s is merely titillation, as in _^<a_!T3130_MY STEPMOTHER IS AN ALIEN_^>a_ (1988). The mild frissons of
_^<a_!T128_ALRAUNE_^>a_ (1928), with its image of the soulless seductress formed by artificial insemination, or _^<a_!T3769_I MARRIED A MONSTER FROM OUTER SPACE_^>a_ (1958), with its theme of the bridegroom-cum-_^<a_!T3008_MONSTER_^>a_ (a
traditional fear), have given way to the women who kill with sex in _^<a_!T3801_INVASION OF THE BEE GIRLS_^>a_ (1973) and the alien orgasm-feeders of _^<a_!T3403_LIQUID SKY_^>a_ (1982). But by far the most sophisticated, and to some disgusting, of
modern cinematic explorations of sexuality are the films of David _^<a_!T970_CRONENBERG_^>a_, especially _^<i_The_^<a_!T1796_PARASITE MURDERS_^>a__^>i_ (1974; vt _^<i_They Came from Within_^>i_; vt _^<i_Shivers_^>i_), _^<a_!T2473_RABID_^>a_ (1976),
_^<i_The_^<a_!T5015_BROOD_^>a__^>i_ (1979), _^<a_!T5368_VIDEODROME_^>a_ (1982), _^<i_The_^<a_!T1537_FLY_^>a__^>i_ (1986) and _^<i_Dead Ringers_^>i_ (1989). From the parasite-induced nymphomania of the first, through the sexual metamorphoses of the
next four, to the grotesquely cruel gynaecological technology of the last, the much-abused and -penetrated body is both the battlefield of Cronenberg's mind/body metaphysics and the object of his tenderness._^<n__^<n_Perhaps the strongest anthology
of sf stories with sexual themes is _^<i_Alien Sex_^>i_ (anth _^<b_1990_^>b_) ed Ellen _^<a_!T1073_DATLOW_^>a_; this includes Connie _^<a_!T5632_WILLIS_^>a_'s shocking, but to some unconvincing, "All My Darling Daughters" (1985), about child and
animal abuse, which presents men as sexual sadists. _^<i_Arrows of Eros_^>i_ (anth _^<b_1989_^>b_) ed Alex Stewart is a recent UK anthology. _^<i_Strange Bedfellows: Sex and Science Fiction_^>i_ (_^<b_1972_^>b_) ed Thomas N.
_^<a_!T2887_SCORTIA_^>a_, _^<i_Eros in Orbit_^>i_ (_^<b_1973_^>b_) ed Joseph Elder and _^<i_The Shape of Sex to Come_^>i_ (_^<b_1978_^>b_) ed Douglas _^<a_!T4426_HILL_^>a_ are earlier theme anthologies. An amusing study, with special reference to
sf _^<a_!T4593_ILLUSTRATION_^>a_, is _^<i_Great Balls of Fire! A History of Sex in Science Fiction_^>i_ (_^<b_1977_^>b_) by Harry _^<a_!T4316_HARRISON_^>a_. 2 anthologies of critical essays about sex in sf/fantasy are _^<i_Erotic Universe_^>i_
(anth _^<b_1986_^>b_) and _^<i_Eros in the Mind's Eye_^>i_ (anth _^<b_1986_^>b_), both ed Donald Palumbo. [PN]_^<n__^<n_
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SEX MISSION
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> _^<a_!T2096_SEKSMISJA_^>a_._^<n__^<n_
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SEYMOUR, ALAN
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_^<b_1._^>b_ (1927- ) Australian writer, long resident in the UK, whose _^<i_The Coming Self-Destruction of the United States of America_^>i_ (_^<b_1969_^>b_) features a Black revolution that, though temporarily successful, precipitates an atomic
catastrophe._^<n__^<n__^<b_2._^>b_ Early pseudonym used by S. Fowler _^<a_!T6194_WRIGHT_^>a_. [JC]_^<n__^<n_
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SF
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Titles of organizations, magazines, etc., which begin "SF", meaning "science fiction", are listed as if that acronym were spelt out in full._^<n__^<n_
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SHAARA, MICHAEL
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(1929-1988) US writer who began publishing sf with "All the Way Back" for _^<i_ASF_^>i_ in 1952, and who for a few years seemed to be one of the heirs apparent to the sf pantheon. He did not remain in the field, however, and his name faded from its
collective memory. His Civil War novel, _^<i_The Killer Angels_^>i_ (_^<b_1974_^>b_), won a Pulitzer Prize. In the early 1980s he returned to sf for a short while with _^<i_The Herald_^>i_ (_^<b_1981_^>b_), a novel set in a
_^<a_!T6337_NEAR-FUTURE_^>a_ USA, where a scientist has developed a plague with which to rid the Earth of humanity. In _^<i_Soldier Boy_^>i_ (coll _^<b_1982_^>b_) he assembled his most memorable sf stories, in which a slightly distanced diction is
at times absorbingly applied to straightforward genre plots involving strange planets, _^<a_!T102_ALIENS_^>a_ and quick revelatory ironies about the human condition. [JC]_^<n__^<n_
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SHACKLETON, C.C.
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[s] > Brian W. _^<a_!T87_ALDISS_^>a_._^<n__^<n_
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SHADOW, THE
-T-
> Walter B. _^<a_!T4688_GIBSON_^>a_; _^<a_!T2480_RADIO_^>a_._^<n__^<n_
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SHAHAR, ELUKI BES
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[r] > Eluki _^<a_!T566_BES SHAHAR_^>a_._^<n__^<n_
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SHANKS, EDWARD (RICHARD BUXTON)
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(1892-1953) UK editor and writer in various genres whose sf novel, _^<i_The People of the Ruins: A Story of the English Revolution and After_^>i_ (_^<b_1920_^>b_), uses _^<a_!T5851_SUSPENDED ANIMATION_^>a_ to take a man 150 years onwards from a
strife-torn 1924 into a balkanized primitive land whose descent into final chaos his reintroduction of WWI weaponry fails to prevent. Coming so soon after WWI, this novel may be the first to express the conservative aftermath pessimism (ES's 1924
is ruined by labour strife) that soon became common in UK sf. [JC]_^<n__^<n__^<b_Other work:_^>b_ _^<i_Old King Cole_^>i_ (_^<b_1936_^>b_), involving the revival of ancient British rites._^<n__^<n__^<b_See also:_^>b_ _^<a_!T6661_END OF THE
WORLD_^>a_; _^<a_!T4442_HISTORY IN SF_^>a_; _^<a_!T2248_SLEEPER AWAKES_^>a_; _^<a_!T5452_WAR_^>a_.
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SHANNON, FRED
-T-
> William S. _^<a_!T2725_RUBEN_^>a_._^<n__^<n_
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SHAPIRO, STANLEY
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(1926-1990) US writer in whose _^<i_A Time to Remember_^>i_ (_^<b_1986_^>b_) a man travels back _^<i_via_^>i_ timeslip to prevent John F. Kennedy's assassination. [JC]_^<n__^<n__^<b_Other work:_^>b_ _^<i_Simon's Soul_^>i_ (_^<b_1977_^>b_), a
fantasy._^<n__^<n_
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SHARECROP
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A term almost certainly devised by Gardner _^<a_!T1313_DOZOIS_^>a_ in the late 1980s to designate a story or book which has been written on hire; that is, assigned to an author -- who will not hold copyright in the piece that s/he writes -- by a
franchiser or the copyright owner of the concept being developed. To describe a text as sharecropped is in 1995 almost certainly to disparage it as commodity fiction, designed to fit a prearranged marketing slot and written to order according to
strict instructions from the owner. Most pieces written for hire are in fact spun off from _^<i_previous_^>i_ works or concepts, and for this reason the term has often been used to designate any tie or shared-world text, without respect to the
ownership of that text. This usage tends to reduce the term to an epithet whose actual meaning is impossible to fix. In this encyclopedia -- given that we are not as a whole much interested in examining contractual arrangements between authors and
publishers -- the term is used infrequently, and then only to designate a condition of ownership. Any text spun off from a previous work or concept _^<i_not originated by the author of the text_^>i_ is here designated a _^<a_!T6014_TIE_^>a_
(_^<i_which see for further discussion_^>i_). Similarly, many sharecrops are tied to _^<a_!T2127_SHARED WORLDS_^>a_; but the author of a shared-world text may be the originator of that world (so the work in question cannot properly be called a tie)
and may also retain copyright in his or her own name (so the work cannot properly be called a sharecrop). In sum, although the three terms often overlap, they are in fact quite distinct. [JC]_^<n__^<n_
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SHARED WORLDS
-T-
Stories and novels written by different hands but sharing a setting are in this encyclopedia called shared-world stories. They are usually (but not always) published as contributions to original-_^<a_!T195_ANTHOLOGY_^>a_ series, in turn usually (but
not always) edited by the creator(s) of the original setting, who also controls the "bible". This "bible" is a set of rules controlling a shared world by defining the roles, actors, venues, genres, plots and significance of any story written within
that world, and is usually shaped in the first instance by the owner(s) and/or creator(s) of the shared world in question, although it may often be augmented by later contributors, who may or may not own a share of the enterprise. A mature "bible"
-- like that for Jerry E. _^<a_!T1961_POURNELLE_^>a_'s _^<b_War World_^>b_ -- will almost certainly accrete, over the years, an onion growth of supplementary speculations, genealogies, tables, maps and ancillary tales; but at heart it remains a set
of instructions, a kind of genetic code, for writing stories._^<n__^<n_It could be argued that the first shared-world anthology to make a significant impact on the Western World was the Christian New Testament, and that the authors of the various
pieces which were eventually assembled under that name used the Old Testament as their "bible". It is, of course, understood that the Old Testament typologies which the authors of the New Testament felt impelled to match served for them as profound
adumbrations of a Story which was True; but the point is made to underline the fact that the concept of pooling a vision of the Universe did not originate (as has been asserted by some) in the _^<b_Thieves' World_^>b_ anthologies (published from
1979) created by Robert _^<a_!T272_ASPRIN_^>a_. Beneath and beyond the commercial shared-world enterprises of today lies a vision of (and perhaps a nostalgia for) a human Universe in the hands of a Creator, whose Book we obey (and
share)._^<n__^<n_If we place round-robin novels to one side as being forms of collaboration, we find that the first relevant shared-world enterprises were probably the Christmas Annual anthology/special issues produced by popular magazines and
publishers in the UK after about 1860. The most significant shared-world anthology thus produced was probably _^<i_Mugby Junction_^>i_ * (anth _^<b_1866_^>b_ chap) ed Charles _^<a_!T1223_DICKENS_^>a_, a special Christmas issue of _^<i_All the Year
Round_^>i_, a self-contained volume entirely given over to 2 frame narratives plus 6 stories (the most famous being Dickens's own "No. 1 Branch Line, the Signalman") set at the eponymous railway stop; it involved 5 writers, 4 of them following
Dickens's instructions. Other examples of the form include _^<i_Beeton's Christmas Annual_^>i_ (anth _^<b_1880_^>b_), which contained Max _^<a_!T47_ADELER_^>a_'s "Professor Baffin's Adventures", a long lost-race tale (> _^<a_!T3460_LOST
WORLDS_^>a_) that served as the centrepiece of a series of linked stories over-titled _^<b_The Fortunate Island_^>b_, and was quite probably a source for Mark _^<a_!T6135_TWAIN_^>a_'s _^<i_A Connecticut Yankee in King Arthur's Court_^>i_
(_^<b_1889_^>b_); and some of the parodic journal _^<i_Truth_^>i_'s Christmas Numbers, including _^<i_The Spookeries_^>i_ * (anth _^<b_1893_^>b_ chap), _^<i_Munchausen_^>i_ [_^<i_sic_^>i_] _^<i_Up to Date_^>i_ * (anth _^<b_1894_^>b_ chap),
_^<i_Phon-Photopsy-Grams, or Speaking Likenesses_^>i_ * (anth _^<b_1897_^>b_ chap), _^<i_Nineteen Hundred and Seven_^>i_ * (anth _^<b_1900_^>b_ chap) and _^<i_Interview with the Departed_^>i_ * (anth _^<b_1908_^>b_ chap)._^<n__^<n_Again ignoring
round-robin collaborations, the first shared-world anthology in _^<a_!T4659_GENRE SF_^>a_ was _^<i_The Petrified Planet_^>i_ (anth _^<b_1952_^>b_) ed Fletcher _^<a_!T1976_PRATT_^>a_, which contained long stories by Judith _^<a_!T2908_MERRIL_^>a_,
H. Beam _^<a_!T1908_PIPER_^>a_ and Pratt. These stories were set on the world of the title, were written according to a primitive "bible", and were the first to engage upon what would become a central activity of sf shared-world writers:
world-building. While almost any premise, however loose, can become the basis of a shared world, in sf the essential shared world is literally a _^<i_world_^>i_, and the "bible" serves as a manual for world-building (or, in less rigorously
constructed collaborations, for _^<a_!T1913_PLANETARY-ROMANCE_^>a_ excursions). _^<i_A World Named Cleopatra_^>i_ * (anth _^<b_1977_^>b_) ed Roger _^<a_!T6648_ELWOOD_^>a_ from a concept by Poul _^<a_!T169_ANDERSON_^>a_, _^<i_Medea: Harlan's
World_^>i_ * (anth _^<b_1985_^>b_) ed Harlan _^<a_!T6641_ELLISON_^>a_ and _^<i_Murasaki_^>i_ * (anth _^<b_1992_^>b_) ed Robert _^<a_!T2216_SILVERBERG_^>a_ and Martin Harry _^<a_!T4842_GREENBERG_^>a_ are examples of planet-building exercises, and
all stand close to the heart of sf. Marion Zimmer _^<a_!T4968_BRADLEY_^>a_'s _^<b_Darkover_^>b_ sequence is an example of the planetary-romance shared world._^<n__^<n_In the meanwhile, however, the _^<a_!T2429_STAR TREK_^>a_ tv series began to
generate adaptations of individual episodes, these first tales being simple novelizations rather than contributions to a shared-world enterprise (although of course in script form they adhered to series continuity); but the _^<b_Star Trek_^>b_
owners soon ran out of adaptable stories, and the first original novels within the world -- Mack REYNOLDS's children's book _^<i_Mission to Horatius_^>i_ * (_^<b_1968_^>b_) and James _^<a_!T658_BLISH_^>a_'s adult novel _^<i_Spock Must Die!_^>i_ *
(_^<b_1970_^>b_) -- soon appeared. It is not known if Blish was tied to an extensive "bible" for the writing of this novel, but certainly later original stories -- from _^<i_Spock Messiah!_^>i_ * (_^<b_1976_^>b_) by Theodore
_^<a_!T781_COGSWELL_^>a_ and Charles A. Spano onward -- were shaped according to a "bible" that became more and more strict as the years passed. Over a similar timespan, the approximately 140 _^<a_!T1268_DR WHO_^>a_ ties also appeared, though many
of these have been adaptations -- as have been most novels tied to tv series. (The simple distinction between an adaptation and a shared-world story should perhaps be made explicit: an adaptation is the reworking of an existing story or script; a
shared-world tale is a narrative written according to the set of instructions, or agreements, which generate that particular setting.)_^<n__^<n_There is a general assumption -- which may or may not be well founded -- that almost all shared-world
novels tied to tv or film series are _^<a_!T2126_SHARECROPS_^>a_, and can therefore be defined as work-for-hire contributions to "franchised worlds". In this encyclopedia, however, our focus is on the literary nature of shared worlds rather than on
issues of ownership, and thus we have barely used the term "franchised"; it may be noted in passing that most franchised worlds are in fact shared-world enterprises written to strict "bibles" by authors whose disenfranchisement is generally all too
evident.)_^<n__^<n__^<b_Star Trek_^>b_ and _^<b_Dr Who_^>b_ are examples of shared-world series whose inspiration lies in media other than the written word; the _^<b_Star Wars_^>b_ novels of L. Neil _^<a_!T2281_SMITH_^>a_ and Timothy
_^<a_!T6254_ZAHN_^>a_ belong in this category, as does the _^<b_Dark Futures_^>b_ sequence edited by David _^<a_!T1995_PRINGLE_^>a_, which constitutes one of the very few sf sequences based on a role-playing game (>_^<a_!T4597_GAME WORLDS_^>a_)
whose authors (although the books were sharecropped) were able to write with apparent autonomy._^<n__^<n_During the past 15 years or so, two rough categories of shared worlds have become popular. Stories written for the _^<b_Witch World_^>b_
setting by hands other than Andre _^<a_!T3243_NORTON_^>a_ (or by other hands for Bradley's _^<b_Darkover_^>b_) typify the class of shared-world enterprises which are based on a setting already created by an author for his or her own use, and
subsequently made available to other writers (>_^<a_!T763_CLOSED UNIVERSE_^>a_ _^<i_and_^>i_ _^<a_!T1708_OPEN UNIVERSE_^>a_ _^<i_for brief analysis of the generally very restrictive nature of that availability_^>i_). Other shared worlds of this
sort include Isaac _^<a_!T268_ASIMOV_^>a_'s _^<b_Robot City_^>b_, Larry _^<a_!T3223_NIVEN_^>a_'s _^<b_Man-Kzin Wars_^>b_, Jerry Pournelle's _^<b_War World_^>b_ and Fred _^<a_!T2761_SABERHAGEN_^>a_'s _^<b_Berserker_^>b_. The second category concerns
the shared-world setting created -- either alone by its inventor, or by creative personnel working for hire for a packager such as the Byron _^<a_!T1982_PREISS_^>a_ enterprise, or as a communal enterprise on the part of those who plan to write
within its terms -- as a pure and original shared world without any preceding text to sanction or constrain it, and only a "bible" for its initial guide. Asprin's _^<b_Thieves' World_^>b_ is of this sort. Others include: _^<b_Liavek_^>b_, ed Emma
_^<a_!T5071_BULL_^>a_ and Will Shetterly; the _^<b_Fleet_^>b_, run by David A. _^<a_!T1318_DRAKE_^>a_ and Bill _^<a_!T1447_FAWCETT_^>a_; _^<b_Temps_^>b_, _^<b_The Weerde_^>b_ and _^<b_Villains_^>b_ ed by members of Midnight Rose (Neil
_^<a_!T1675_GAIMAN_^>a_, Mary _^<a_!T4660_GENTLE_^>a_, Roz _^<a_!T3994_KAVENEY_^>a_ and Alex Stewart); _^<a_!T5599_WILD CARDS_^>a_, supervised by George R.R. _^<a_!T3685_MARTIN_^>a_; and _^<b_Time Machine_^>b_, one of several controlled by Byron
Preiss._^<n__^<n_In recent years the concept of the shared world has generated large masses of mediocre work, often written for hire, without joy, or taste, or thought. But that is not a universal rule. Some shared worlds begin in comradeship and
continue to demonstrate the pleasures of sharing. The collegial shared world is a model of the sf community at play. Good shared worlds of this sort may, we can hope, in due course drive out the bad. [JC]_^<n__^<n_
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4075
8049
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SHARKEY, JACK
-T-
Working name of US writer John Michael Sharkey (1931-1992) for all his sf, which he began publishing with "The Captain of his Soul" for _^<i_Fantastic_^>i_ in 1959. He produced about 50 stories over the next 5 years or so, including several in the
1960s for _^<i_Gal_^>i_ on _^<a_!T6576_ECOLOGY_^>a_. His sf novels, _^<i_The Secret Martians_^>i_ (_^<b_1960_^>b_ dos) and _^<i_Ultimatum in 2050 A.D._^>i_ (1963 _^<i_AMZ_^>i_ as "The Programmed People"; _^<b_1965_^>b_ dos), were enjoyable
contributions to the genre. The protagonist in the first book is a thoroughly likable _^<a_!T5830_SUPERMAN_^>a_; the second book is by contrast downbeat. After 1965 he was actively mainly as a playwright. [JC]_^<n__^<n__^<b_Other work:_^>b_
_^<i_The Addams Family_^>i_ * (_^<b_1965_^>b_), a tv tie._^<n__^<n_
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SHARON, ROSE
-T-
[s] > Judith _^<a_!T2908_MERRIL_^>a_._^<n__^<n_
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SF MAGAZINES
-T-
Sf stories were a popular and prominent feature of such general-fiction _^<a_!T2033_PULP MAGAZINES_^>a_ as _^<i_The_^<a_!T225_ARGOSY_^>a__^>i_ and _^<i_The_^<a_!T122_ALL-STORY_^>a__^>i_ during the first quarter of the 20th century. They were not,
however, known as sf: if there were any need to differentiate them, the terms _^<a_!T2878_SCIENTIFIC ROMANCE_^>a_ or "different stories" might be used, but until the appearance of a magazine specifically devoted to sf there was no need of a label
to describe the category. The first specialized English-language pulps with a leaning towards the fantastic were _^<a_!T6001_THRILL BOOK_^>a_ (1919) and _^<a_!T5512_WEIRD TALES_^>a_ (1923), but the editorial policy of both was aimed much more
towards weird-occult fiction than towards sf._^<n__^<n_As specialized pulps became common it was inevitable that there would be one devoted in some fashion to sf; it fell to Hugo _^<a_!T4668_GERNSBACK_^>a_ actually to publish the first such
magazine (if we discount the "Twentieth Century Number" [June 1890] of the _^<a_!T1751_OVERLAND MONTHLY_^>a_). Gernsback's _^<a_!T2869_SCIENCE AND INVENTION_^>a_ consistently published much sf among its otherwise nonfiction articles, and in Aug
1923 had a special issue devoted to "scientific fiction"; in 1924 he solicited subscriptions for a magazine to be called _^<i_Scientifiction_^>i_. This did not materialize, but two years later (Apr 1926) #1 of _^<a_!T141_AMAZING STORIES_^>a_
appeared. Gernsback's coinage, _^<a_!T2879_SCIENTIFICTION_^>a_, reflected his particular interest in sf as a vehicle for prediction and for the teaching of science. In a magazine which featured both Jules _^<a_!T5355_VERNE_^>a_ and Edgar Rice
_^<a_!T5097_BURROUGHS_^>a_, it was a label that fitted the former's stories far more readily than the latter's._^<n__^<n__^<i_AMZ_^>i_ was somewhat different in appearance from the usual pulp magazines, which measured approximately 7in x 10in (20cm
x 30cm) and were printed on poor-quality paper with rough, untrimmed edges. _^<i_AMZ_^>i_ adopted the larger _^<a_!T492_BEDSHEET_^>a_ size (approx 81/2in x 111/2in [24cm x 32.5cm]) and its pages were trimmed. The reason for this may have been to
give an impression of greater respectability in order to have the magazine displayed on newsstands with the more prestigious "slick" magazines; certainly this was the result. The attempt at dignity was belied by the garishness of some of Frank R.
_^<a_!T1819_PAUL_^>a_'s cover art, while the magazine's editorial matter had a stuffy, Victorian air. However, _^<i_AMZ_^>i_ proved initially successful; according to Gernsback in the Sep 1928 issue, 150,000 copies were printed monthly, although
"Very frequently we do not sell more than 125,000 copies". The same issue gives a clue to _^<i_AMZ_^>i_'s readership; of 22 letters printed, 11 are avowedly from high-school pupils. It was through the letters column of _^<i_AMZ_^>i_ and later
magazines that sf _^<a_!T1389_FANDOM_^>a_ began._^<n__^<n_When Gernsback lost control of _^<i_AMZ_^>i_ in 1929 through bankruptcy it remained in the hands of his assistant, the venerable T. O'Conor _^<a_!T2254_SLOANE_^>a_, and changed little, while
the new magazines which Gernsback then started -- _^<a_!T75_AIR WONDER STORIES_^>a_ and _^<a_!T2875_SCIENCE WONDER STORIES_^>a_ -- adopted the same format and were very much the mixture as before. In fact, including _^<a_!T143_AMAZING STORIES
QUARTERLY_^>a_ and _^<i_Science Wonder Quarterly_^>i_ (later _^<a_!T6153_WONDER STORIES QUARTERLY_^>a_), Gernsback started not just the first English-language sf magazine but the first _^<i_five_^>i_. It is not surprising that the limited
Gernsbackian view of sf gained a strong hold. The emphasis on "science" in the category label (either "scientifiction" or "science fiction"), often quite inappropriately, is a legacy of this._^<n__^<n_The first challenge to Gernsback's view of sf
magazine publishing came in 1930 with the appearance of _^<i_Astounding Stories of Super-Science_^>i_ (> _^<a_!T277_ASTOUNDING SCIENCE-FICTION_^>a_). _^<i_ASF_^>i_ belonged to the large Clayton magazine chain, and was unequivocally a pulp magazine.
Its editor, Harry _^<a_!T459_BATES_^>a_, was unimpressed by Gernsback's achievements ("Packed with puerilities! Written by unimaginables!" was his later assessment of _^<i_AMZ_^>i_), and _^<i_ASF_^>i_'s priorities were adventure first and science a
long way second. Aficionados of _^<i_AMZ_^>i_ were, in turn, unimpressed by _^<i_ASF_^>i_'s vulgarity, and certainly the Clayton _^<i_ASF_^>i_ produced vanishingly few stories of enduring quality. However, the same is true of its
competitors._^<n__^<n__^<i_Air Wonder_^>i_ and _^<i_Science Wonder_^>i_ soon amalgamated into _^<a_!T6152_WONDER STORIES_^>a_; with minor exceptions (in 1931 _^<a_!T2974_MIRACLE SCIENCE AND FANTASY STORIES_^>a_ published 2 issues; in 1934 the
semiprofessional _^<a_!T3700_MARVEL TALES_^>a_ began its short life), _^<i_AMZ_^>i_, _^<i_ASF_^>i_ and _^<i_Wonder Stories_^>i_ constituted the US sf-magazine field until 1939. Interestingly, not one of them finished the decade under the same
ownership it had had at the beginning. _^<i_ASF_^>i_ was initially the only sf magazine belonging to a pulp chain; when it was sold to another group, _^<a_!T5789_STREET & SMITH_^>a_, in 1933, it was because of the collapse of the whole Clayton
chain. The magazine itself had been quite successful, if undistinguished in content; under its new management and new editor F. Orlin _^<a_!T6086_TREMAINE_^>a_ it went from strength to strength, its popular success matched by a notable increase in
quality. It had the advantage of paying considerably better than its sf competitors (one cent a word on acceptance, rather than half a cent a word on publication or later -- "payment on lawsuit" as the saying had it). Even so, _^<i_ASF_^>i_'s
payment rates were only half what they had been in its Clayton days, and represented the lowest standard pulp rates; it was a question of the other sf magazines' paying very badly rather than _^<i_ASF_^>i_'s paying particularly well. This had
obvious repercussions on the quality of the writers prepared to contribute. Authors who could sell their work to _^<i_Argosy_^>i_ for six cents a word were not going to favour the sf magazines with anything other than their rejects. More
importantly, the prolific professional pulp writers, turning out hundreds of thousands of words each year in any and every category, never made the sf magazines their chief focus of attention. The adverse result of this was that the sf magazines
published a great deal of material by writers ignorant even of the minimal standards of professionalism of the pulp hack (hence Bates's dismay with _^<i_AMZ_^>i_), but in the longer term the advantage was that the field was able to develop itself
from within. Fans of the magazines believed, with justification, that they could do as well as the published writers. They tried; a proportion of them succeeded. Jack _^<a_!T5629_WILLIAMSON_^>a_, an early example of such a writer, describes in
_^<i_The Early Williamson_^>i_ (_^<b_1975_^>b_) how he received little useful encouragement from Gernsback and Sloane; things changed when _^<i_ASF_^>i_ under Tremaine became the first sf magazine with a dynamic editorial policy. It reaped
dividends._^<n__^<n_While _^<i_ASF_^>i_ prospered, its competitors floundered, losing their better writers and failing to replace them. By the end of 1933 both _^<i_AMZ_^>i_ and _^<i_Wonder Stories_^>i_ had adopted the standard pulp format. By the
end of 1935 both had gone over to bimonthly publication (the same year that _^<i_ASF_^>i_ was contemplating twice-monthly publication). In 1936 _^<i_Wonder Stories_^>i_ was sold, reappearing after a short gap as _^<a_!T6004_THRILLING WONDER
STORIES_^>a_ with a change of emphasis epitomized by the _^<a_!T521_BEMS_^>a_ (bug-eyed monsters) on the cover of #1; _^<i_AMZ_^>i_ followed suit in 1938._^<n__^<n_The failure of the sf magazines to establish themselves as a healthy pulp category
in the 1930s is surprising in that, during that decade of the Great Depression, the pulps provided cheap entertainment and were thus generally popular. As a comparison, the far more specialized, peripherally associated field of "weird menace" pulps
(as described in _^<i_The Shudder Pulps_^>i_ [_^<b_1975_^>b_] by Robert Kenneth Jones) -- i.e., magazines devoted entirely to stories in which apparently strange happenings turned out to have mundane explanations -- was thriving, with such titles
as _^<i_Dime Mystery Magazine_^>i_, _^<i_Horror Stories_^>i_, _^<i_Terror Tales_^>i_ and _^<i_Thrilling Mystery_^>i_. The only sf magazine to establish itself on a regular monthly basis was also the only sf magazine with which Gernsback had never
been associated, which suggests that Gernsback's conception of sf, and of sf-magazine publishing, failed to capture the audience it sought. The emphasis of the early sf magazines on _^<a_!T3540_MACHINES_^>a_, as represented by Paul's cover art, may
have alienated as many readers as it attracted._^<n__^<n_The first boom in sf-magazine publishing came towards the end of the 1930s. In 1938 _^<a_!T3698_MARVEL SCIENCE STORIES_^>a_ became the first fully professional new title since
_^<i_Miracle_^>i_ in 1931; it gained some notoriety by trying briefly to introduce to sf a little mild lasciviousness of the kind common in other pulps. In 1939 it was followed by a rush of new titles. _^<i_AMZ_^>i_ and _^<i_TWS_^>i_ had both
proved successful enough under new management and with a more lively approach to give birth to companion magazines, _^<a_!T1395_FANTASTIC ADVENTURES_^>a_ and _^<a_!T2428_STARTLING STORIES_^>a_ respectively. John W. _^<a_!T5140_CAMPBELL_^>a_ Jr, who
had become editor of _^<i_ASF_^>i_ late in 1937, began in 1939 a fantasy companion, _^<a_!T5291_UNKNOWN_^>a_, as well as printing during that year the first stories by Robert A. _^<a_!T4376_HEINLEIN_^>a_, Theodore _^<a_!T5810_STURGEON_^>a_ and A.E.
_^<a_!T5333_VAN VOGT_^>a_, which heralded the start of _^<i_ASF_^>i_'s greatest period of dominance. Other new magazines of 1939 were _^<a_!T1367_DYNAMIC SCIENCE STORIES_^>a_, _^<a_!T1657_FUTURE FICTION_^>a_, _^<a_!T1924_PLANET STORIES_^>a_,
_^<a_!T2043_SCIENCE FICTION_^>a_, _^<a_!T5782_STRANGE STORIES_^>a_ and the reprint magazine _^<a_!T1384_FAMOUS FANTASTIC MYSTERIES_^>a_. In 1940 _^<a_!T274_ASTONISHING STORIES_^>a_, _^<a_!T5151_CAPTAIN FUTURE_^>a_, _^<a_!T819_COMET_^>a_,
_^<a_!T2135_SCIENCE FICTION QUARTERLY_^>a_, _^<a_!T5847_SUPER SCIENCE STORIES_^>a_ and the reprint _^<a_!T1399_FANTASTIC NOVELS_^>a_ came along; in 1941 _^<a_!T900_COSMIC STORIES_^>a_ and _^<a_!T5749_STIRRING SCIENCE STORIES_^>a_ made their
appearance. However, this was not quite the flood it might seem. The economics of magazine publishing meant that when a bimonthly magazine was successful it was often better to start a companion title in the alternate months than to switch to
monthly publication. In this way the magazines gained twice as much display space and twice as long a period on sale, while the publisher could hope for an increased share of the total market through product diversification. So _^<i_Startling
Stories_^>i_ was paired with _^<i_TWS_^>i_ (although _^<i_TWS_^>i_ went monthly in 1940-41), _^<i_Marvel Science Stories_^>i_ with _^<i_Dynamic Science Stories_^>i_, _^<i_Astonishing Stories_^>i_ with _^<i_Super Science Stories_^>i_, _^<i_Cosmic
Stories_^>i_ with _^<i_Stirring Science Stories_^>i_ and _^<i_Future Fiction_^>i_ with _^<i_Science Fiction_^>i_. Nevertheless, much more sf was needed each month, most of it paid for at minimal rates (if at all), and many young sf fans were able
to gain invaluable early experience as writers or editors. Asimov, James _^<a_!T658_BLISH_^>a_, Damon _^<a_!T4098_KNIGHT_^>a_, C.M. _^<a_!T6353_KORNBLUTH_^>a_, Robert A.W. _^<a_!T3472_LOWNDES_^>a_, Frederik _^<a_!T1937_POHL_^>a_ and Donald A.
_^<a_!T5679_WOLLHEIM_^>a_ -- all _^<a_!T1665_FUTURIANS_^>a_ -- launched their careers in this period._^<n__^<n_Inevitably, the boom oversaturated the market: some of the new titles published only 2-3 issues. US involvement in WWII, with consequent
paper shortages, took its toll of other titles. By the middle of 1944 all but 4 of the new titles had disappeared; nevertheless, these had all established themselves, and for the duration of the 1940s there were 7 regular sf magazines:
_^<i_AMZ_^>i_, _^<i_ASF_^>i_, _^<i_Fantastic Adventures_^>i_, _^<i_Planet Stories_^>i_, _^<i_Startling Stories_^>i_, _^<i_TWS_^>i_ and _^<i_Famous Fantastic Mysteries_^>i_, the latter still a reprint magazine. _^<i_ASF_^>i_ was in a different class
from the others in terms of both quality and appearance. In 1943 it changed to _^<a_!T1231_DIGEST_^>a_ size (approx 51/2in x 71/2in [14cm x 21.5cm]), anticipating the general trend of the 1950s. Discovering a serious adult readership for sf -- and
discovering and developing the writers to provide appropriate stories -- it changed its appearance until it looked as different as possible from the sf pulps, often seeming deliberately to cultivate a drab look. In the early 1940s _^<i_Startling
Stories_^>i_ and _^<i_TWS_^>i_ aimed themselves overtly at a juvenile audience -- perhaps recognizing their readership for what it was (although later, under the editorship of Sam _^<a_!T2913_MERWIN_^>a_ Jr, the standard soared, until by 1948
_^<i_Startling Stories_^>i_ represented the closest challenge to _^<i_ASF_^>i_). Their cover art, largely the work of Earle K. _^<a_!T547_BERGEY_^>a_, typified the drift away from the appeal of futuristic technology -- scantily clad girls
threatened by monstrous aliens promised more undemanding entertainment, and evidently provided the necessary sales appeal to sustain the enlarged market. _^<i_Planet Stories_^>i_ was more garish still, the epitome of _^<a_!T2342_SPACE OPERA_^>a_.
The _^<a_!T6269_ZIFF-DAVIS_^>a_ magazines _^<i_AMZ_^>i_ and _^<i_Fantastic Adventures_^>i_ appeared crude, but prospered under the editorship of Raymond A. _^<a_!T1774_PALMER_^>a_. _^<i_AMZ_^>i_, especially, grew huge (a peak of 274pp in 1942).
Palmer showed a shrewd ability to tap the market for occultism and _^<a_!T2019_PSEUDO-SCIENCE_^>a_, using in particular the allegedly factual stories of Richard S. _^<a_!T2151_SHAVER_^>a_ to attain for _^<i_AMZ_^>i_ (he claimed) the highest
circulation ever reached by an sf magazine._^<n__^<n_New magazines began to appear again in 1947-8, although at first they were either reprint-inspired (_^<a_!T328_AVON FANTASY READER_^>a_, _^<a_!T233_ARKHAM SAMPLER_^>a_(which also published
original stories), though in fact reprints only comprised about 25% of an issue, the revived _^<a_!T1399_FANTASTIC NOVELS_^>a_) or of only _^<a_!T2100_SEMIPROZINE_^>a_ (i.e., semiprofessional) status (_^<a_!T1415_FANTASY BOOK_^>a_). They were
followed in 1949 by _^<a_!T149_A. MERRITT'S FANTASY MAGAZINE_^>a_, the revived _^<i_Super Science Stories_^>i_ and _^<a_!T1738_OTHER WORLDS SCIENCE STORIES_^>a_. However, the significant development of the period was the appearance in 1949 of
_^<i_The_^<a_!T3595_MAGAZINE OF FANTASY AND SCIENCE FICTION_^>a__^>i_ , followed in 1950 by _^<a_!T1686_GALAXY SCIENCE FICTION_^>a_. Both magazines originated in digest format, and from their inception were aimed at the adult audience which
_^<i_ASF_^>i_ had shown existed. Campbell's _^<i_ASF_^>i_ was by this time showing evidence of stagnation, and both _^<i_FSF_^>i_, with its emphasis on literary standards, and _^<i_Gal_^>i_, which concentrated on the _^<a_!T2302_SOFT SCIENCES_^>a_
and _^<a_!T2812_SATIRE_^>a_, appeared more sophisticated; they quickly established themselves alongside _^<i_ASF_^>i_, so that these three became the leading magazines -- a situation which, generally speaking, continued until the late
1970s._^<n__^<n_New and revived magazines continued to appear in profusion, and to disappear almost as regularly. They included: _^<i_Future Combined with Science Fiction Stories_^>i_, _^<a_!T3766_IMAGINATION_^>a_, _^<i_Marvel_^>i_, _^<a_!T1749_OUT
OF THIS WORLD ADVENTURES_^>a_, _^<a_!T6143_TWO COMPLETE SCIENCE-ADVENTURE BOOKS_^>a_ and _^<a_!T6170_WORLDS BEYOND_^>a_ in 1950; _^<a_!T4583_IF_^>a_ and _^<i_Science Fiction Quarterly_^>i_ in 1951; _^<a_!T1366_DYNAMIC SCIENCE FICTION_^>a_,
_^<a_!T1394_FANTASTIC_^>a_, _^<a_!T2046_SCIENCE FICTION ADVENTURES_^>a_, _^<a_!T2346_SPACE SCIENCE FICTION_^>a_ and _^<a_!T2350_SPACE STORIES_^>a_ in 1952; _^<a_!T580_BEYOND FANTASY FICTION_^>a_, _^<a_!T1408_FANTASTIC UNIVERSE_^>a_,
_^<a_!T1419_FANTASY MAGAZINE_^>a_, _^<a_!T1726_ORIGINAL SCIENCE FICTION STORIES_^>a_, _^<a_!T2132_SCIENCE FICTION PLUS_^>a_ and _^<a_!T5289_UNIVERSE SCIENCE FICTION_^>a_ in 1953; _^<a_!T3767_IMAGINATIVE TALES_^>a_ in 1954; _^<a_!T6341_INFINITY
SCIENCE FICTION_^>a_ in 1955; _^<a_!T2811_SATELLITE SCIENCE FICTION_^>a_, _^<a_!T2046_SCIENCE FICTION ADVENTURES_^>a_ (the 2nd magazine of this title) and _^<a_!T5845_SUPER-SCIENCE FICTION_^>a_ in 1956; and _^<a_!T1321_DREAM WORLD_^>a_,
_^<a_!T2814_SATURN_^>a_ and _^<a_!T5350_VENTURE SCIENCE FICTION_^>a_ in 1957. From this plethora of new titles, the group of magazines ed Robert A.W. Lowndes -- _^<i_Future_^>i_, _^<i_Original_^>i_ and _^<i_Science Fiction Quarterly_^>i_ -- managed
well for a number of years on tiny budgets; _^<i_Fantastic Universe_^>i_, _^<i_Imagination_^>i_ and _^<i_Imaginative Tales_^>i_ continued for several years; and _^<i_Infinity_^>i_, _^<i_Satellite_^>i_ and _^<i_Venture_^>i_ were notable among the
shorter-lived magazines. Many other titles came and went after only 1-2 issues, and only _^<i_Fantastic_^>i_ and _^<i_If_^>i_ survived the end of the decade. _^<i_Fantastic_^>i_ was a digest-size companion to _^<i_AMZ_^>i_ and _^<i_Fantastic
Adventures_^>i_. _^<i_AMZ_^>i_ switched to digest size in 1953, at which point _^<i_Fantastic Adventures_^>i_ ceased, although _^<i_Fantastic_^>i_ can be considered as in effect a continuation. _^<i_If_^>i_ would have been another 1950s casualty
had not the title been sold in 1958 to Galaxy Publishing Corporation, which wanted a companion for _^<i_Gal_^>i_._^<n__^<n_The new magazines that succeeded were digests; of the 6 1940s pulps only _^<i_AMZ_^>i_ (and, in a sense, _^<i_Fantastic
Adventures_^>i_) survived the change in the publishing industry. The pulp-magazine business in general died in the early 1950s, a victim of increasing distribution problems and of the growing tv industry, which provided a more immediate cheap home
entertainment. _^<i_Weird Tales_^>i_ (which had pursued its own course through the 1930s-40s, publishing occasional sf) failed in 1954. _^<i_Famous Fantastic Mysteries_^>i_ ceased in 1953; _^<i_TWS_^>i_, _^<i_Startling Stories_^>i_ and _^<i_Planet
Stories_^>i_ survived until 1955, when they were among the last of all pulp magazines to die._^<n__^<n_In the UK, sf magazines had gained less of a foothold before WWII. The first was _^<a_!T2885_SCOOPS_^>a_ (1934), a short-lived _^<a_!T4958_BOYS'
PAPER_^>a_. This was followed in 1937 by _^<a_!T5899_TALES OF WONDER_^>a_, the most notable early UK magazine, which survived until 1942. The first _^<a_!T1412_FANTASY_^>a_ appeared briefly in 1938-9. However, the post-WWII revival started earlier
in the UK than in the USA, with the appearance of two magazines in 1946. Walter _^<a_!T4706_GILLINGS_^>a_, editor of the prewar _^<i_Tales of Wonder_^>i_, now edited the second, equally short-lived _^<a_!T1412_FANTASY_^>a_; _^<a_!T3182_NEW
WORLDS_^>a_, under John _^<a_!T5170_CARNELL_^>a_, began in the same year. Both ceased publication in 1947, but _^<i_NW_^>i_ was revived in 1949. In 1950 a companion magazine to _^<i_NW_^>i_, _^<a_!T2870_SCIENCE FANTASY_^>a_, began under Gillings's
editorship. Carnell took over from #3 and continued the magazines successfully through the decade, publishing the early work of such authors as Brian W. _^<a_!T87_ALDISS_^>a_, J.G. _^<a_!T378_BALLARD_^>a_ and John _^<a_!T5049_BRUNNER_^>a_. In 1958
_^<a_!T2046_SCIENCE FICTION ADVENTURES_^>a_ joined these two magazines; initially a reprint of the US title, it continued after its transatlantic parent had died, publishing original stories under Carnell's editorship. Other UK magazines of the
1950s were _^<a_!T319_AUTHENTIC SCIENCE FICTION_^>a_ and _^<a_!T3148_NEBULA SCIENCE FICTION_^>a_; there were also a number of minor titles, such as _^<a_!T5338_VARGO STATTEN SCIENCE FICTION MAGAZINE_^>a_._^<n__^<n_Six US magazines continued into
the 1960s: _^<i_AMZ_^>i_, _^<i_ASF_^>i_ (now retitled _^<i_Analog_^>i_), _^<i_Fantastic_^>i_, _^<i_FSF_^>i_, _^<i_Gal_^>i_ and _^<i_If_^>i_. _^<i_AMZ_^>i_ and _^<i_Fantastic_^>i_ began the decade strongly under the editorship of Cele
_^<a_!T4760_GOLDSMITH_^>a_, who raised _^<i_AMZ_^>i_ to a relative prominence which it had not enjoyed since the mid-1930s (although it was still of only secondary interest). In 1965 _^<a_!T6269_ZIFF-DAVIS_^>a_ sold _^<i_AMZ_^>i_ and
_^<i_Fantastic_^>i_, and they became reprint magazines, spawning numerous companion titles. Later they began to include original fiction once more, undergoing a resurgence with Ted _^<a_!T5582_WHITE_^>a_'s accession to the editorship in 1969.
_^<i_Analog_^>i_, under new management, took on a more modern, glossy appearance -- experimenting for a while with a handsome large format -- and continued to lead the field in sales. _^<i_FSF_^>i_, established as the "quality" sf magazine,
maintained its reputation through two changes of editor. _^<i_Gal_^>i_ and _^<i_If_^>i_ had a new editor, Frederik _^<a_!T1937_POHL_^>a_, under whom they remained successful; in the mid-1960s _^<i_If_^>i_ concentrated strongly on adventure sf with
a popular success that showed itself in 3 consecutive _^<a_!T4551_HUGOS_^>a_ (otherwise shared between _^<i_Analog_^>i_ and _^<i_FSF_^>i_). Later _^<i_Gal_^>i_ and _^<i_If_^>i_ came under the editorship of Ejler _^<a_!T3853_JAKOBSSON_^>a_, who made
an unconvincing, gimmicky attempt to "modernize" them. Chief among the few attempts to launch new magazines during the decade, although a great number of reprint titles appeared, were the short-lived _^<a_!T4598_GAMMA_^>a_ and another companion to
_^<i_Gal_^>i_ and _^<i_If_^>i_, _^<a_!T6176_WORLDS OF TOMORROW_^>a_. The most significant event for the future of sf magazines was the publication in 1966 of the first volume of Damon Knight's _^<a_!T1718_ORBIT_^>a_ series of _^<a_!T1725_ORIGINAL
ANTHOLOGIES_^>a_. It was not the first such series -- Pohl had edited _^<a_!T2424_STAR SCIENCE FICTION STORIES_^>a_ in the 1950s -- but it came at a more significant time, when the magazines were suffering increasing problems in distribution and in
many cases falling circulations, while the paperback book industry continued to grow strongly. Anthology series like _^<b_Orbit_^>b_ -- essentially magazines in book format, less frequent, and without some of the readers' departments -- could
obtain better distribution, would remain on sale for longer periods, could be more selective in their choice of material, and could offer better payment than the majority of sf magazines. In due course _^<b_Orbit_^>b_ was followed by other
anthology series -- _^<a_!T3779_INFINITY_^>a_, _^<a_!T3169_NEW DIMENSIONS_^>a_, _^<a_!T3254_NOVA_^>a_, _^<a_!T2444_QUARK_^>a_ and _^<a_!T5288_UNIVERSE_^>a_ -- as well as many one-off original anthologies, most notably _^<a_!T1050_DANGEROUS
VISIONS_^>a_. It was widely felt that the traditional sf magazine had become an anachronism and in due course would be replaced by the paperback anthology, just as the digest magazines had supplanted the pulps. (In the event the magazines were not
supplanted, but both the magazine market and the original-anthology market shrank radically in the 1980s.)_^<n__^<n_In the UK it all happened rather differently. _^<i_NW_^>i_ and _^<i_Science Fantasy_^>i_ were taken over by a new publisher, Roberts
& Vinter, in 1964, and Carnell left. Both magazines now adopted paperback format, although continuing to be marketed as magazines rather than books. _^<i_Science Fantasy_^>i_ went through various changes of editor -- and in 1966 of title, to
_^<i_Impulse_^>i_ and then _^<i_SF Impulse_^>i_ -- before folding in 1967. NW's new editor, Michael _^<a_!T3030_MOORCOCK_^>a_, gradually transformed its outlook, making it more experimental and less bound to the conventions of _^<a_!T4659_GENRE
SF_^>a_; it became known as the standard-bearer of the _^<a_!T3181_NEW WAVE_^>a_. In 1967 Moorcock, with Arts Council assistance, took over as publisher of the magazine, changing it to a large (approx 8in x 111/2in [A4]) format which allowed for
more graphic adventurousness. _^<i_NW_^>i_ encountered moments of controversy and subsequent distribution problems; it was banned by W.H. Smith & Sons, by far the largest retail newsagent chain in the UK. _^<i_NW_^>i_ eventually ceased magazine
publication in 1971, though various attempts to revive it in both book and magazine format have taken place sporadically since. Carnell, meanwhile, had begun _^<a_!T3184_NEW WRITINGS IN SF_^>a_, a quarterly original anthology series which predated
_^<b_Orbit_^>b_ by two years. In 1969 the short-lived magazine _^<a_!T5383_VISION OF TOMORROW_^>a_ appeared._^<n__^<n_Between the mid-1970s and 1980 there were several major changes among the established US sf magazines. At the beginning of 1975
_^<i_If_^>i_ was absorbed into _^<i_Gal_^>i_ (which had acquired a new editor, Jim _^<a_!T352_BAEN_^>a_, in 1974). From the beginning of 1977, _^<i_Gal_^>i_ began to miss issues; it managed to stagger on until Summer 1980. _^<i_AMZ_^>i_ and
_^<i_Fantastic_^>i_ suffered slowly dwindling circulations; even produced with minimal staff and budget, they were only just viable. The last separate issue of _^<i_Fantastic_^>i_ came in Oct 1980; thereafter only _^<i_AMZ_^>i_ survived . . . by
the skin of its teeth. _^<i_FSF_^>i_ and _^<i_Analog_^>i_ remained stable, _^<i_Analog_^>i_ with by far the greater circulation and, from 1972, a new editor, Ben _^<a_!T4943_BOVA_^>a_, who did much to revive it from the stagnation of the later
years of Campbell's reign._^<n__^<n_In the UK _^<i_NW_^>i_ reappeared as an irregular paperback series (1971-6), changing editors and publishers along the way. In 1974-6 _^<a_!T2131_SCIENCE FICTION MONTHLY_^>a_ was published, a poster-size magazine
relying heavily on the appeal of pages of full-colour art. A projected successor, _^<a_!T2062_SF DIGEST_^>a_, was aborted even before #1 had been distributed._^<n__^<n_Despite the predictions that original anthologies would replace magazines, in
the USA the 1970s proved a more fertile period for new titles than the previous decade, while several of the anthology series failed. _^<a_!T5360_VERTEX_^>a_, a glossy bedsheet-size magazine, was begun in 1973 and enjoyed success until forced by
paper shortages to change to a newsprint format, dying soon after, in 1975. 1976 saw the launch of the short-lived _^<a_!T3294_ODYSSEY_^>a_ and the subscription-based semiprozine _^<a_!T1688_GALILEO_^>a_ (1976-80). It was at around this time that
the semiprozine started making real progress; production costs could be kept low with a small (maybe one-person) operation, so compensating in part for distribution difficulties and consequent low sales. Few lasted long, although besides
_^<i_Galileo_^>i_ two-_^<a_!T5284_UNEARTH_^>a_ (8 issues 1977-9) and _^<a_!T2160_SHAYOL_^>a_ (7 issues 1977-85) -- had an influence greater than their small-scale production might suggest. 1977 saw 3 further titles: in the UK
_^<a_!T5408_VORTEX_^>a_ came and went; in the USA _^<a_!T905_COSMOS SCIENCE FICTION AND FANTASY MAGAZINE_^>a_ and _^<a_!T3816_ISAAC ASIMOV'S SCIENCE FICTION MAGAZINE_^>a_ were launched, both on apparently firm foundations. In the event the former
lasted only 4 issues, but the latter steadily improved, to overtake all but _^<i_Analog_^>i_ in terms of circulation, and to rival and then perhaps to supersede the big three (_^<i_Analog_^>i_, _^<i_AMZ_^>i_ and _^<i_FSF_^>i_) in terms of quality.
While _^<i_IASFM_^>i_ was the major success story of the 1970s among the pure-sf magazines, a spectacular development took place in 1978 with the launch of a new science magazine in slick format, _^<a_!T3315_OMNI_^>a_, by the publisher best known
previously for the sex magazine _^<i_Penthouse_^>i_. _^<i_Omni_^>i_'s circulation, at well over 800,000 in some years, was about 8 times higher than that of any sf magazine, so it was a matter of considerable significance when _^<i_Omni_^>i_
decided at the outset to include some sf stories as part of its mix. This it did with great success: although it published only 20-40 stories annually, these were often of high quality. 1978 also saw the launch of _^<a_!T44_AD ASTRA_^>a_ in the UK;
it lasted until 1981. Also in 1978, Jim Baen at _^<a_!T20_ACE BOOKS_^>a_ decided to get the best of both worlds by combining the sf magazine with the original-anthology series, launching _^<a_!T1197_DESTINIES_^>a_, subtitled "The Paperback Magazine
of Science Fiction and Speculative Fact", in book format._^<n__^<n_By the 1980s it seemed that the magazines were ultimately doomed: they could no longer compete with paperback publishers, video rentals and so on for the consumer's dollar. Through
the decade the survivors faced steadily dropping circulations (with occasional fluctuations), and the founding of a new magazine could be seen as an act of insane courage. Nonetheless, new titles did appear. In the UK _^<a_!T6734_EXTRO_^>a_ lasted
only 3 issues, but _^<a_!T3791_INTERZONE_^>a_, likewise launched in 1982, proved quite another story. Founded by a collective (several members of which worked professionally in sf publishing as critics or editors), it began with the slightly morose
air of yet another _^<i_NW_^>i_ clone, with plenty of stories about ravaged societies. But bit by bit it picked up until, a decade later, now under the editorship and ownership of David _^<a_!T1995_PRINGLE_^>a_, it rivals the very best US magazines
in terms of quality, although the circulation is still small. In the USA Charles _^<a_!T2755_RYAN_^>a_ (who had edited _^<i_Galileo_^>i_) returned in 1986 with _^<a_!T13_ABORIGINAL SCIENCE FICTION_^>a_, which continues, though floundering, in the
1990s._^<n__^<n_Of possible future significance is the proliferation of desk-top published magazines produced by small groups of enthusiasts and aimed not at the mass market but at a continuing specialist readership. These magazines, partly a
result of technological developments having brought home publishing within the financial reach of people who could once not have considered it, provide extremely valuable proving grounds for young writers who then may move elsewhere. Among the more
distinguished such titles of the 1980s devoted to publishing fiction have been _^<a_!T343_BACK BRAIN RECLUSE_^>a_ (UK), _^<a_!T6601_EIDOLON_^>a_ (Australia), _^<a_!T3942_JOURNAL WIRED_^>a_ (US), _^<a_!T3175_NEW PATHWAYS_^>a_ (US) and
_^<a_!T5780_STRANGE PLASMA_^>a_ (US). Many more thus published are critical journals, such as _^<a_!T2063_SCIENCE FICTION EYE_^>a_ (US). Other _^<a_!T2261_SMALL PRESSES_^>a_ with considerably better financial backing have occasionally moved into
the periodical field, notably _^<a_!T2031_PULPHOUSE PUBLISHING_^>a_ with first _^<a_!T2032_PULPHOUSE: THE HARDBACK MAGAZINE_^>a_ (1988-91) and then its successor, _^<i_Pulphouse: A Weekly Magazine_^>i_, which in late 1992 was continuing on a
monthly basis. This, too, is aimed at a specialist market. In 1992 it was reported that Pulphouse was launching <Tomorrow Speculative Fiction>, ed Algis _^<a_!T5064_BUDRYS_^>a_._^<n__^<n_By the end of 1991, the only English-language sf magazines
with circulations over 20,000 were _^<i_Aboriginal SF_^>i_, _^<i_Analog_^>i_, _^<i_IASFM_^>i_, _^<i_FSF_^>i_ and _^<i_Omni_^>i_, and only 3 of these topped 70,000: _^<i_Analog_^>i_, _^<i_IASFM_^>i_ (both sold to Dell in 1992) and _^<i_Omni_^>i_.
All have problems, even _^<i_Omni_^>i_. When seen in the context of magazine publication generally, sales figures of this order (apart from _^<i_Omni_^>i_'s) are minuscule, and from the economic point of view sf has long since ceased to be of any
importance at all in periodical publishing. These magazines, however, remain absolutely vital to sf's continued health, because it is primarily through them that short sf -- which is in a remarkably healthy state at the beginning of the 1990s --
remains alive at all. [MJE/PN]_^<n__^<n__^<b_Further reading:_^>b_ The Introduction (> page xix) gives an explanation of which sf magazines are given individual entries. Early fantasy magazines and hero/villain pulp magazines with an sf content,
such as _^<i_The_^<a_!T2366_SPIDER_^>a__^>i_ , are separately listed under _^<a_!T2033_PULP MAGAZINES_^>a_, as are general-fiction pulps like _^<i_The_^<a_!T667_BLUE BOOK MAGAZINE_^>a__^>i_ . Further information on the publishing of sf in
periodical format can be found under _^<a_!T4958_BOYS' PAPERS_^>a_, _^<a_!T820_COMICS_^>a_, _^<a_!T1236_DIME-NOVEL SF_^>a_, _^<a_!T1428_FANZINES_^>a_, _^<a_!T3960_JUVENILE SERIES_^>a_, _^<a_!T2100_SEMIPROZINES_^>a_ and _^<a_!T3597_MAGAZINES_^>a_;
the latter entry lists all general-fiction slicks and tabloids which regularly published sf. An excellent reference on individual sf and fantasy magazines up to 1984 is _^<i_Science Fiction, Fantasy, and Weird Fiction Magazines_^>i_
(_^<b_1985_^>b_) ed Marshall B. _^<a_!T6150_TYMN_^>a_ and Mike _^<a_!T265_ASHLEY_^>a_.
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SCIENCE FICTION MONTHLY
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_^<b_1._^>b_ As _^<i_Science-Fiction Monthly_^>i_, Australian _^<a_!T1231_DIGEST_^>a_-size magazine, 18 numbered undated issues, Aug 1955-Feb 1957, published by Atlas Publications, Melbourne; ed anon Michael Cannon. The fiction, reprinted from
various US magazines, was mostly routine, but included some good work by Ray _^<a_!T4963_BRADBURY_^>a_ and others. The covers were reprinted from the same sources. A feature from #12 was Graham Stone's column of commentary, _^<b_Science Fiction
Scene_^>b_._^<n__^<n__^<b_2._^>b_ Name used by _^<a_!T319_AUTHENTIC SCIENCE FICTION_^>a_ in an early manifestation, May-Aug 1951._^<n__^<n__^<b_3._^>b_ UK magazine, tabloid-size (11in x 16in [280mm x 405mm]). 28 monthly issues Feb 1974-May 1976 (2
vols of 12 issues, 1 vol of 4 issues), numbered, undated, published by New English Library; ed Feb 1974-Jan 1975 Pat Hornsey and Feb 1975-May 1976 Julie Davis. Born after the demise of _^<a_!T3182_NEW WORLDS_^>a_, _^<i_SFM_^>i_ -- published by a
paperback-book company which had a big sf list -- was the only UK sf magazine of its time. It featured much full-page colour artwork, often in the form of pull-out posters, in an effort to find a teenage audience similar to that for pop-music
magazines. Neither editor had previous experience of sf, and at first the quality of fiction was low, though it improved under Davis's editorship. From the beginning a feature was the number of well researched factual articles, review pages, news
pages and interviews, with Mike _^<a_!T265_ASHLEY_^>a_ and Walter _^<a_!T4706_GILLINGS_^>a_ regular contributors. Featured UK authors included Robert P. _^<a_!T4468_HOLDSTOCK_^>a_, Bob _^<a_!T2153_SHAW_^>a_, Brian M. _^<a_!T2385_STABLEFORD_^>a_ and
Ian _^<a_!T5484_WATSON_^>a_; reprints of well known US stories also appeared. The juvenile policy succeeded at first, but circulation dropped from above 100,000 to below 20,000. A plan to replace it with _^<a_!T2062_SF DIGEST_^>a_ was aborted. A
spin-off book is _^<i_The Best of Science Fiction Monthly_^>i_ (anth _^<b_1975_^>b_) ed Janet Sacks. [PN/FHP]_^<n__^<n_
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SCIENCE FICTION PLUS
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US _^<a_!T492_BEDSHEET_^>a_-size magazine. 7 issues Mar-Dec 1953, monthly for 4 months, then bimonthly, published by Hugo _^<a_!T4668_GERNSBACK_^>a_'s Gernsback Publications, with Sam _^<a_!T3074_MOSKOWITZ_^>a_ as managing ed. This was Gernsback's
last venture in the sf field, and attempted to recover something of the flavour of his early pulps, including some Frank R. _^<a_!T1819_PAUL_^>a_ covers, but it was a financial failure. Notable stories -- there were few -- included 2 of Philip Jose
_^<a_!T1435_FARMER_^>a_'s early novelettes, "The Biological Revolt" (Mar 1953) and "Strange Compulsion" (Oct 1953), and 2 stories by veteran Harry _^<a_!T459_BATES_^>a_: "Death of a Sensitive" (May 1953) and "The Triggered Dimension" (Dec 1953).
The magazine was well produced, #1-#5 being on slick paper, but an appeal to nostalgia was not enough, and Gernsback retired hurt, complaining in his final editorial that fans had become too highbrow. [BS/PN]_^<n__^<n_
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SCIENCE FICTION POETRY ASSOCIATION
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The SFPA was founded in 1978 by Suzette Haden _^<a_!T6615_ELGIN_^>a_ to promote a wide range of _^<a_!T1934_POETRY_^>a_ (from sf to horror) through the publication of a bimonthly journal, _^<i_Star*Line_^>i_, ed Robert _^<a_!T1613_FRAZIER_^>a_, and
the annual presentation of the Rhysling _^<a_!T6321_AWARD_^>a_; Rhysling was the blind poet in "The Green Hills of Earth" (1947) by Robert A. _^<a_!T4376_HEINLEIN_^>a_. [JC]_^<n__^<n_
US _^<a_!T2033_PULP MAGAZINE_^>a_. Summer 1940-Spring 1943 (10 issues) and May 1951-Feb 1958 (28 issues), published by Columbia Publications. #1-#2 of the 1st series were ed Charles _^<a_!T4505_HORNIG_^>a_, all others by Robert A.W.
_^<a_!T3472_LOWNDES_^>a_._^<n__^<n_In its 1st incarnation _^<i_SFQ_^>i_ -- a companion to _^<a_!T2043_SCIENCE FICTION_^>a_ and _^<a_!T1657_FUTURE FICTION_^>a_ -- featured a complete novel in every issue, most reprints from varied sources; 5 were by
Ray _^<a_!T997_CUMMINGS_^>a_. Many of the short stories were original, and the magazine, under Lowndes, was an important market for members of the _^<a_!T1665_FUTURIANS_^>a_, notably C.M. _^<a_!T6353_KORNBLUTH_^>a_ under various pseudonyms. 2
undated reprint editions of the Summer 1940 and Winter 1941-2 issues were published in the UK in 1943. The 2nd version published a number of notable articles, including the series _^<b_Science in Science Fiction_^>b_ by James _^<a_!T658_BLISH_^>a_
(May 1951-May 1952) and "The Evolution of Science Fiction" by Thomas D. _^<a_!T732_CLARESON_^>a_ (Aug 1953). Notable stories included Blish's "Common Time" (Aug 1953) and Isaac _^<a_!T268_ASIMOV_^>a_'s "The Last Question" (Nov 1956). When
_^<i_SFQ_^>i_ died in 1956 it was the last of the sf pulp magazines, and an era had come to an end._^<n__^<n_Some stories from series 1 were reprinted in the UK as part of _^<a_!T2073_SCIENCE FICTION LIBRARY_^>a_ (a 1960 pocketbook series). Winter
1942 was reprinted as #15 of _^<a_!T5862_SWAN AMERICAN MAGAZINE_^>a_ in 1950. 10 numbered undated issues of series 2 were published by Thorpe & Porter in the UK during 1952-5. [BS/PN]_^<n__^<n_
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SFRA NEWSLETTER
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US _^<a_!T1231_DIGEST_^>a_-format magazine, the official newsletter, mostly monthly, of the _^<a_!T2139_SCIENCE FICTION RESEARCH ASSOCIATION_^>a_; founded 1971, current, 215 issues to Jan/Feb 1995, ed Fred Lerner (1971-4), Beverly Friend (1974-8),
Roald Tweet (1978-81), Elizabeth Anne Hull (1981-4), Richard W. Miller (1984-7), Robert A. Collins (1987-9), Betsy Harfst (1989-92), Daryl F. _^<a_!T3625_MALLETT_^>a_ (1993-94) and Amy Sisson (1994- ). Aside from news of specific interest to
SFRA's mostly academic members, the newsletter has published much material of general interest, including _^<a_!T1900_PILGRIM-AWARD_^>a_ speeches, but is most obviously of use for its book reviews, which, though very intermittent to Aug 1987,
became a regular feature from the Sep 1987 issue (#151) onward. Books about sf and fantasy are covered very fully and well; reviews of sf are variable in quality, but still useful. Collected reviews from _^<i_SFRAN_^>i_ form a substantial part of
those published in _^<a_!T2049_SCIENCE FICTION AND FANTASY BOOK REVIEW ANNUAL_^>a_ (begun 1988), whose editors, Robert A. Collins and Robert Latham, have been stalwarts of _^<i_SFRAN_^>i_. Other important _^<i_SFRAN_^>i_ contributors have been Neil
_^<a_!T442_BARRON_^>a_ and Michael Klossner. From #194, Jan/Feb 1992, the magazine changed its name to _^<i_SFRA Review_^>i_, which better describes its function. [PN]_^<n__^<n_
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SFRA REVIEW
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> _^<a_!T2136_SFRA NEWSLETTER_^>a_._^<n__^<n_
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SF REPRISE
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At the time when both magazines were being published by Roberts & Vinter, some unsold issues of _^<a_!T3182_NEW WORLDS_^>a_ and _^<a_!T2870_SCIENCE FANTASY_^>a_ were bound up in 2s and 3s and sold as _^<i_SF Reprise_^>i_, which had 6 numbers: 4 in
1966, 2 in 1967. #1, #2 and #5 were _^<i_NW_^>i_; #3, #4 and #6 were _^<i_Science Fantasy_^>i_. [PN]_^<n__^<n_
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SCIENCE FICTION RESEARCH ASSOCIATION
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This group was formed in October 1970 to aid and encourage sf scholarship, especially in the USA and Canada. The first chairman was Thomas D. _^<a_!T732_CLARESON_^>a_. The organization has acted as a central liaison between academics teaching sf in
the USA, though academic affiliation is not a requirement for membership, which can be active, honorary, institutional, student or emeritus. Members receive _^<a_!T2136_SFRA NEWSLETTER_^>a_ (retitled _^<i_SFRA Review_^>i_ in 1992) 10 times a year;
the annual _^<i_SFRA Directory_^>i_; and the critical journals _^<a_!T6730_EXTRAPOLATION_^>a_ and _^<a_!T2143_SCIENCE-FICTION STUDIES_^>a_. 1977 membership was 330, 1991 membership was 313 -- of whom over 50 came from outside the USA -- so it has
remained much the same size. The SFRA holds an annual conference, usually in June, at which papers are delivered and its annual _^<a_!T1900_PILGRIM AWARD_^>a_ for services to sf scholarship and/or criticism is announced. Since 1990 the SFRA has
given a second annual award, the Pioneer Award, for best critical essay of the year, the first 2 being won by Veronica Hollinger (1990) and H. Bruce _^<a_!T1604_FRANKLIN_^>a_ (1991). Although SFRA was originally envisaged as focusing primarily on
sf, it has for some time announced itself as "the oldest professional association for the study of science fiction, fantasy and horror/Gothic literature and film, and utopian studies". [PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T2071_SF IN THE
CLASSROOM_^>a_.
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SCIENCE FICTION REVIEW
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Variant title of 2 _^<a_!T1428_FANZINES_^>a_ -- _^<i_The_^<a_!T100_ALIEN CRITIC_^>a_ and _^<a_!T2024_PSYCHOTIC_^>a__^>i_ -- ed Richard E. _^<a_!T4651_GEIS_^>a_. [PN]_^<n__^<n_
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SF SERIES
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> _^<a_!T2106_SERIES_^>a_._^<n__^<n_
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SCIENCE FICTION STORIES
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> _^<a_!T1657_FUTURE FICTION_^>a_ (for the 1943 magazine); _^<i_The_^<a_!T1726_ORIGINAL SCIENCE FICTION STORIES_^>a__^>i_ (for the 1953-5 magazine)._^<n__^<n_
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SCIENCE-FICTION STUDIES
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Academic journal, published both from the USA and from Canada, founded Spring 1973, current, 65 issues to Mar 1995, 3 issues a year. _^<i_S-FS_^>i_ was co-edited from the outset by R.D. _^<a_!T3095_MULLEN_^>a_ and Darko _^<a_!T5858_SUVIN_^>a_, with
Mullen also acting as publisher; the magazine was first published from Indiana State University, where Mullen taught. He left at the end of 1978, and in 1979 with #17 the magazine moved to McGill University in Montreal, where it was ed Suvin, Marc
Angenot and Robert M. _^<a_!T1890_PHILMUS_^>a_, joined by Charles Elkins with #20 (1980). Suvin's last issue was #22 (1980) and Angenot's #25 (1982). Philmus and Elkins remained in charge until #52, Nov 1990. With #53, 1991, Mullen resumed the
editorship along with Philmus, Istvan Csicsery-Ronay, Arthur B. Evans and Veronica Hollinger, Philmus dropping out with #54. _^<i_S-FS_^>i_ returned to Indiana with #56 (1992), now published at DePauw University._^<n__^<n__^<i_S-FS_^>i_ is the
second youngest of the 4 academic journals about sf (_^<a_!T6730_EXTRAPOLATION_^>a_ and _^<a_!T1577_FOUNDATION_^>a_ are older, _^<a_!T3941_JOURNAL OF THE FANTASTIC IN THE ARTS_^>a_ is younger). It does not normally review contemporary sf, though it
runs excellent reviews of books _^<i_about_^>i_ sf. Over the years it has probably published more good, substantial articles on sf than any of its competitors, being especially strong on European sf, on debate about the nature of the genre, on
_^<a_!T5303_UTOPIAS_^>a_, on _^<a_!T1461_FEMINISM_^>a_ and on _^<a_!T1958_POSTMODERNISM_^>a_, but very patchy on _^<a_!T4659_GENRE SF_^>a_. There have been 2 special issues on Philip K. _^<a_!T1222_DICK_^>a_, 1 on Ursula K. _^<a_!T3318_LE
GUIN_^>a_, and sporadic articles on authors like Gregory _^<a_!T526_BENFORD_^>a_, Pamela _^<a_!T2808_SARGENT_^>a_ and William _^<a_!T4689_GIBSON_^>a_, but these are in a minority, so that sometimes _^<i_S-FS_^>i_ gives the impression of looking
anywhere rather than at the heart of its subject. Unusually for a US journal, some of its critical material is Marxist-oriented. _^<i_S-FS_^>i_ is a responsible, intellectually robust journal which, while it reflects some of the excesses of
academic criticism generally (e.g., too much critical jargon), also reflects its strengths. [PN]_^<n__^<n_
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SCIENCE FICTION THEATRE
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US tv series (1955-7). ZIV/WRCA-TV. Prod Ivan Tors. Hosted by Truman Bradley. Technical adviser Dr Maxwell Smith. 3 seasons, 78 25min episodes. First 2 seasons b/w, last season colour._^<n__^<n_This anthology series, presenting a different sf play
each week, went out of its way to avoid the sensationalism so prevalent in sf films of the period. The result was prosaic. In 1956 the producer said, revealingly: "One of the traps into which such a series may fall is complete dependence on science
for interest. This is avoided at the story conference by excluding the scientists at the start and depending on the writers to come up with a story with human interest . . . After the story is developed it is up to . . . the research people to
suggest some scientific fact on which the story can be hung."_^<n__^<n_Each episode began with dignified Truman Bradley sitting at a desk covered with "scientific" objects (some of which were spinning, or had flashing lights) and introducing the
audience to the theme of the story. A typical episode from 1955 involves a hurricane moving towards Miami. A young meteorologist and his wife sit worrying about their son, who is on a camping trip. But, just as the hurricane reaches the shore, a
high-pressure area pushes it back again. The sf element in the story consists of the discovery that the hurricane was created by a meteor landing in the sea. [JB]_^<n__^<n_
> _^<a_!T2147_SCIENCE FICTION WRITERS OF AMERICA_^>a_._^<n__^<n_
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SCIENCE FICTION WRITERS OF AMERICA
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A professional guild created to inform sf writers on matters of professional interest, to promote their professional welfare, and to help them deal effectively with publishers, agents, editors and anthologists; in 1992 (see below) renamed the
Science Fiction and Fantasy Writers of America (SFFWA). The initial impulse for the SFWA came through discussions and activities at the _^<a_!T2947_MILFORD SCIENCE FICTION WRITERS' CONFERENCES_^>a_, founded by Damon _^<a_!T4098_KNIGHT_^>a_ and
others; in 1965, feeling the need for a formal body to represent sf writers, Knight founded the SFWA and served as its first president (1965-7). Later presidents have been Robert _^<a_!T2216_SILVERBERG_^>a_ (1967-8), Alan E. _^<a_!T3253_NOURSE_^>a_
(1968-9), Gordon R. _^<a_!T1227_DICKSON_^>a_ (1969-71), James E. _^<a_!T4896_GUNN_^>a_ (1971-2), Poul _^<a_!T169_ANDERSON_^>a_ (1972-3), Jerry _^<a_!T1961_POURNELLE_^>a_ (1973-4), Frederik _^<a_!T1937_POHL_^>a_ (1974-6), Andrew J.
_^<a_!T3296_OFFUTT_^>a_ (1976-8). Jack _^<a_!T5629_WILLIAMSON_^>a_ (1978-80), Norman _^<a_!T2370_SPINRAD_^>a_ (1980-82), Marta _^<a_!T2489_RANDALL_^>a_ (1982-4; 1st woman president), Charles _^<a_!T2167_SHEFFIELD_^>a_ (1984-6), Jane
_^<a_!T6235_YOLEN_^>a_ (1986-8), Greg _^<a_!T478_BEAR_^>a_ (1988-90), Ben _^<a_!T4943_BOVA_^>a_ (1990-92) and Joe _^<a_!T4925_HALDEMAN_^>a_ (1992-current). Full or "active" membership is restricted to professional writers -- defined as writers who
have sold a minimum of 3 short stories or 1 full-length book of fiction (collaborations are acceptable) to a "professional" US market, which excludes journals of less than 12,000 circulation (an exclusion which nullifies work in almost any literary
journal). The qualification is one-off; a writer, once he or she has become a member, need never re-qualify._^<n__^<n_In addition to its guild activities, the SFWA sponsors the annual _^<a_!T3147_NEBULA_^>a_ Awards and the annual anthologies
resulting from them. There are, in addition, 2 SFWA journals: _^<i_The Bulletin of the Science Fiction and Fantasy Writers of America_^>i_ (> _^<a_!T6380_SFWA BULLETIN_^>a_), which is available to the public; and _^<a_!T2148_SFWA FORUM_^>a_, whose
circulation is restricted to active members (and some other categories of membership). As well as the _^<b_Nebula_^>b_ anthologies, the SFWA has been responsible for the _^<i_SFWA Handbook_^>i_, a writer's guide which has gone through various
editions and formats, the most recent (and fullest) incarnation being _^<i_Science Fiction Writers of America Handbook: The Professional Writer's Guide to Writing Professionally_^>i_ (anth _^<b_1990_^>b_) ed Kristine Kathryn _^<a_!T2738_RUSCH_^>a_
and Dean Wesley _^<a_!T2268_SMITH_^>a_, which is packed with information (but lacks an index)._^<n__^<n_The SFWA membership has been given to polemics, and resignations have been moderately commonplace. One major rift occurred in 1976 when
Stanislaw _^<a_!T3329_LEM_^>a_'s honorary membership was cancelled. Another controversy erupted in 1992, a US election year, when outgoing president Bova unilaterally invited the conservative Republican Newt Gingrich to give the keynote address at
the annual Nebula banquet. All the same, although the SFWA has suffered public accusations of parochialism, and although much of its energies in recent years seems to have been devoted to increasingly arcane attempts to revise the already
labyrinthine rules governing the Nebula Awards, it has played an important role in improving the conditions of the sf writer's life -- by, for example, negotiating with publishers to improve the wording of contracts._^<n__^<n_The 1980s witnessed a
_^<i_de facto_^>i_ but _^<i_ex jure_^>i_ increase in the proportion of fantasy and horror writers in the SFWA. At the beginning of 1992 a name change was agreed, and the SFWA became the Science Fiction and Fantasy Writers of America, or SFFWA.
Privy journal of the _^<a_!T2147_SCIENCE FICTION WRITERS OF AMERICA_^>a_ (since early 1992 the journal's name has been _^<i_SFFWA Forum_^>i_). One of the few publications -- perhaps the only one -- in the sf world restricted to a designated
readership, the _^<i_SFWAF_^>i_ is circulated only to "active" SFWA members (the term "active" being defined by the rules of that guild). Where the _^<a_!T6380_SFWA BULLETIN_^>a_, which is the official public journal of the SFWA, maintains a strict
public-relations approach to material, _^<i_SFWAF_^>i_ allows (reportedly) unfettered expressions of opinion -- which are (reportedly) not always exhilarating. [JC]_^<n__^<n_
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SHASTA PUBLISHERS
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Chicago-based US specialist publisher founded by T.E. _^<a_!T1232_DIKTY_^>a_, Erle Melvin Korshak and Mark Reinsberg (who soon dropped out), originally to publish books about fantasy and sf. Its first title was E.F. _^<a_!T654_BLEILER_^>a_'s
_^<i_The Checklist of Fantastic Literature_^>i_ (_^<b_1948_^>b_). The company soon expanded into fiction publishing with such titles as John W. _^<a_!T5140_CAMPBELL_^>a_ Jr's _^<i_Who Goes There?_^>i_ (coll _^<b_1948_^>b_), L. Sprague
_^<a_!T1133_DE CAMP_^>a_'s _^<i_The Wheels of If_^>i_ (coll _^<b_1949_^>b_) and L. Ron _^<a_!T4538_HUBBARD_^>a_'s _^<i_Slaves of Sleep_^>i_ (_^<b_1948_^>b_); it turned down a Hubbard book on _^<a_!T1220_DIANETICS_^>a_. All these early titles
featured jackets by Hannes _^<a_!T6322_BOK_^>a_. Subsequent publications include the first 3 vols of Robert A. _^<a_!T4376_HEINLEIN_^>a_'s _^<b_Future History_^>b_ series and Alfred _^<a_!T568_BESTER_^>a_'s _^<i__^<a_!B9094_THE DEMOLISHED
MAN_^>a__^>i_ (_^<b_1953_^>b_). In 1953 Shasta sponsored a novel competition in conjunction with the paperback publisher Pocket Books. This was won by Philip Jose _^<a_!T1435_FARMER_^>a_ with <I Owe for the Flesh>. By this time the company was in
financial difficulties; the book was never published and the prize money never paid. (The novel later formed the basis of Farmer's _^<b_Riverworld_^>b_ series.) Shasta produced one or two further titles, then expired in 1957.
[MJE]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T2261_SMALL PRESSES AND LIMITED EDITIONS_^>a_.
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SHATNER, WILLIAM
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(1931- ) Canadian actor and writer, long resident in the USA, where he gained fame as Captain Kirk in the _^<a_!T2429_STAR TREK_^>a_ tv series, going on to star in all the film sequels; he also directed the disappointing _^<a_!T2434_STAR TREK V:
THE FINAL FRONTIER_^>a_ (_^<b_1989_^>b_), about which he wrote, with Lisbeth Shatner, _^<i_The Captain's Log: William Shatner's Personal Account of the Making of Star Trek V, the Final Frontier_^>i_ (_^<b_1989_^>b_). Other books incorporating
public memories include _^<i_Star Trek Memories_^>i_ (_^<b_1993_^>b_) with Chris Kreski and _^<i_Star Trek Movies Memories _^>i_(_^<b_1994_^>b_), also with Kreski. In the preface to his first sf novel, _^<i_TekWar_^>i_ (_^<b_1989_^>b_) -- set in a
22nd-century Los Angeles where crime is rife, and where a wise-mouth robot resignedly helps a lanky protagonist solve a mystery -- WS acknowledges the assistance of Ron _^<a_!T4785_GOULART_^>a_, who is otherwise uncredited as co-author.
_^<i_Teklords_^>i_ (_^<b_1991_^>b_),_^<i_TekLab_^>i_ (_^<b_1991_^>b_), _^<i_Tek Vengeance_^>i_ (_^<b_1993_^>b_), _^<i_Tek Secret_^>i_ (_^<b_1993_^>b_) and _^<i_Tek Power_^>i_ (_^<b_1994_^>b_), all also with Goulart (uncredited), soon followed.
_^<i_Believe Me_^>i_ (_^<b_1992_^>b_) with Michael Tobias is associational, with tinges of the occult. [JC]_^<n__^<n_
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SHAVER, RICHARD S(HARPE)
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(1907-1975) US writer, author of some sf stories (some under the house name Paul _^<a_!T3426_LOHRMAN_^>a_) but now remembered almost exclusively for his hoax-like sequence of _^<b_Shaver Mystery_^>b_ stories, presented as based on fact, published in
Raymond A. _^<a_!T1774_PALMER_^>a_'s _^<a_!T141_AMAZING STORIES_^>a_ 1945-7, beginning with "I Remember Lemuria" in March 1945. It brought over 2500 letters in response, and the sequence boosted _^<i_AMZ_^>i_'s circulation though at the same time
alienating many fans; the June 1947 _^<i_AMZ_^>i_ was an all-Shaver issue. RS continued to release the same sort of material briefly in _^<i_Other Worlds_^>i_ (still as Palmer's protege), and enjoyed a further comeback in Palmer's small-circulation
_^<i_The_^<a_!T4420_HIDDEN WORLD_^>a__^>i_ in 1961. A selection of the "articles" was published as _^<i_I Remember Lemuria & The Return of Sathanas_^>i_ (coll _^<b_1948_^>b_). Essentially the "articles" comprise a series of messages from an
underground world and, _^<a_!T5397_VON DANIKEN_^>a_-like, establish a new, conspiracy-oriented, highly lurid history and cosmology in which humans (it transpires) have long been manipulated by "deros" (detrimental robots) through various
_^<a_!T6697_ESP_^>a_ powers. Until the end of his life RS maintained that he genuinely believed what he wrote. [JC/PN] _^<n__^<n__^<b_See also:_^>b_ _^<a_!T4474_HOLLOW EARTH_^>a_; _^<a_!T1795_PARANOIA_^>a_; _^<a_!T2019_PSEUDO-SCIENCE_^>a_;
_^<a_!T2130_SF MAGAZINES_^>a_.
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SHAW, BARCLAY
-T-
(1949- ) US illustrator; attended the New England School of Art and Design. BS's earliest magazine cover was for _^<i_FSF_^>i_ in 1979 (followed by 8 more in the next two years); also in 1979 he did one for _^<a_!T725_CINEFANTASTIQUE_^>a_. By
1980 he was doing book covers; and in 1982 a series of reissues of Harlan _^<a_!T6641_ELLISON_^>a_ books, with covers by BS at Ellison's request, began to appear. Another interesting series of covers was for some of the Robert A.
_^<a_!T4376_HEINLEIN_^>a_ reissues of the late 1980s. BS's _^<a_!T4593_ILLUSTRATION_^>a_, indebted to European Surrealists and painters of the grotesque, is sophisticated: often surreal and sometimes a touch decadent, typically shadowy with some
areas or objects glowing. [PN]_^<n__^<n_
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SHAW, BOB
-T-
Working name of Northern Irish writer Robert Shaw (1931- ), in mainland UK from 1973. He worked in structural engineering until the age of 27, then aircraft design, then industrial public relations and journalism, becoming a full-time author in
1975. BS was early involved in sf, initially as a fan, his first book being, with Walt Willis (1919- ), _^<i_The Enchanted Duplicator_^>i_ (_^<b_1954_^>b_ chap), an allegory of fan and _^<a_!T1428_FANZINE_^>a_ activities; he received
_^<a_!T4551_HUGOS_^>a_ in 1979 and 1980 for his fan writing. He published his first story, "Aspect", with _^<i_Nebula Science Fiction_^>i_ in 1954, and during the mid-1950s contributed several more stories to that magazine and one to
_^<i_Authentic_^>i_ before ceasing to write for some years. After a "come-back" story -- ". . . And Isles Where Good Men Lie" (1965) -- he published "Light of Other Days" (1966 _^<i_ASF_^>i_), which gained a _^<a_!T3147_NEBULA_^>a_ nomination and
established his reputation as a writer of remarkable ingenuity. Built around the intriguing concept of "slow glass", through which light can take years to travel -- thus allowing people to view scenes from the past -- this story remains BS's best
known. He would later incorporate it, together with two sequels, into the novel _^<i_Other Days, Other Eyes_^>i_ (fixup _^<b_1972_^>b_; expurgated 1974)._^<n__^<n_His first novel was _^<i_Night Walk_^>i_ (_^<b_1967_^>b_ US), a fast-moving chase
story. A man who has been blinded and condemned to a penal colony on a far planet invents a device that enables him to see through other people's (and animals') eyes and thus manages to escape. _^<i_The Two-Timers_^>i_ (_^<b_1968_^>b_ US), a well
written tale of _^<a_!T1794_PARALLEL WORLDS_^>a_, doppelgangers and murder, demonstrates BS's ability to handle characterization and, in particular, his talent for realistic dialogue. In _^<i_The Palace of Eternity_^>i_ (_^<b_1969_^>b_ US) he still
more impressively controls a wide canvas featuring interstellar warfare, the environmental degradation of an Edenic planet, and human transcendence; the final section of the novel, where the hero finds himself reincarnated as an "Egon", or
soul-like entity, displeased some critics, though it is in fact an effective handling of a traditional sf displacement of ideas from _^<a_!T2924_METAPHYSICS_^>a_ or _^<a_!T2551_RELIGION_^>a_. This intelligent reworking of well worn sf theses was
from the first BS's forte, as was demonstrated in his next novel, _^<i_One Million Tomorrows_^>i_ (_^<b_1970_^>b_ US), an _^<a_!T3771_IMMORTALITY_^>a_ tale whose twist lies in the fact that the option of eternal youth entails sexual
impotence._^<n__^<n_All BS's early books -- which include also _^<i_Shadow of Heaven_^>i_ (_^<b_1969_^>b_ US; cut 1970 UK; rev vt _^<i_The Shadow of Heaven_^>i_ 1991 UK) and _^<i_Ground Zero Man_^>i_ (_^<b_1971_^>b_ US; rev vt _^<i_The Peace
Machine_^>i_ 1985 UK) -- were published first (and sometimes solely) in the USA; and their efficient anonymity of venue may result from an attempt to appeal to a transatlantic audience. Only slowly did BS come to write tales whose venue and
protagonists were distinctly UK in feel; and it could be argued that his best work is his most general. _^<i_Orbitsville_^>i_ (_^<b_1975_^>b_) -- along with its rather less effective sequels, _^<i_Orbitsville Departure_^>i_ (_^<b_1983_^>b_) and
_^<i_Orbitsville Judgement_^>i_ (_^<b_1990_^>b_)-must stand, after _^<i_Other Days, Other Eyes_^>i_, as his finest early inspiration. Like Larry _^<a_!T3223_NIVEN_^>a_'s _^<i__^<a_!B9015_RINGWORLD_^>a__^>i_ (_^<b_1970_^>b_) and Arthur C.
_^<a_!T736_CLARKE_^>a_'s _^<i__^<a_!B9055_RENDEZVOUS WITH RAMA_^>a__^>i_ (_^<b_1973_^>b_), the _^<b_Orbitsville_^>b_ books centre on the discovery of -- and later developments within -- a vast alien artefact in space (a _^<a_!T590_BIG DUMB
OBJECT_^>a_, in fact), in this case a _^<a_!T1369_DYSON SPHERE_^>a_. Within the living-space provided by the inner surface of this artificial shell -- billions of times the surface area of the Earth -- BS spins an exciting story of political
intrigue and exploration, which in later volumes develops, perhaps rather impatiently, into a heavily plotted move into another universe entirely. _^<i_Orbitsville_^>i_ gained a 1976 _^<a_!T5005_BRITISH SCIENCE FICTION AWARD_^>a_._^<n__^<n__^<i_A
Wreath of Stars_^>i_ (_^<b_1976_^>b_) may be BS's most original, and perhaps his finest, singleton. A rogue star, composed entirely of antineutrinos, approaches the Earth. It passes nearby with no immediately discernible effect. However, it is soon
discovered that an antineutrino "Earth" exists within our planet, and its orbit has been seriously disturbed by the passage of the star. This is an ingenious, almost a poetic, idea, to which the plot only just fails to do full justice. Other books
followed quickly: the overcomplicated _^<i_Medusa's Children_^>i_ (_^<b_1977_^>b_); _^<i_Who Goes Here?_^>i_ (_^<b_1977_^>b_), and its sequel, _^<i_Warren Peace_^>i_ (_^<b_1993_^>b_), _^<i_jeux d'esprit_^>i_ akin to Harry
_^<a_!T4316_HARRISON_^>a_'s _^<i_Bill, the Galactic Hero_^>i_ (_^<b_1965_^>b_); _^<i_Ship of Strangers_^>i_ (fixup _^<b_1978_^>b_), in which the crew of the Stellar Survey Ship _^<i_Sarafand_^>i_, after some routine adventures, confront a
cosmological issue; _^<i_Vertigo_^>i_ (_^<b_1978_^>b_; with "Dark Icarus" added as prologue, exp vt _^<i_Terminal Velocity_^>i_ 1991), an effective _^<i_policier_^>i_ set in a world transformed by _^<a_!T198_ANTIGRAVITY_^>a_ devices; and
_^<i_Dagger of the Mind_^>i_ (_^<b_1979_^>b_) and _^<i_The Ceres Solution_^>i_ (_^<b_1981_^>b_), in both of which BS's ingenuity declined, for a period, into something close to jumble. He had meanwhile been writing short stories -- his collections
include _^<i_Tomorrow Lies in Ambush_^>i_ (coll _^<b_1973_^>b_; with 2 stories added, rev 1973 US), _^<i_Cosmic Kaleidoscope_^>i_ (coll _^<b_1976_^>b_; with 1 story omitted and 2 added, rev 1977 US), _^<i_A Better Mantrap_^>i_ (coll
_^<b_1982_^>b_), _^<i_Between Two Worlds_^>i_ (coll _^<b_1986_^>b_ dos US) and _^<i_Dark Night in Toyland_^>i_ (coll _^<b_1989_^>b_) -- which again demonstrate his professional skills but tend to lack a sense of personal
involvement._^<n__^<n_However, with the _^<b_Ragged Astronauts_^>b_ sequence -- _^<i__^<a_!B9205_THE RAGGED ASTRONAUTS_^>a__^>i_ (_^<b_1986_^>b_), _^<i_The Wooden Spaceships_^>i_ (_^<b_1988_^>b_) and _^<i_The Fugitive Worlds_^>i_ (_^<b_1989_^>b_)
-- BS returned to his very best and most inventive form, describing with joyful exactness the sensation of emigrating, via hot-air _^<a_!T382_BALLOON_^>a_, up the hourglass funnel of atmosphere that connects two planets which orbit each other.
Later volumes lost some of the freshness and elation of the first, but the series as a whole emphasizes BS's genuine stature in the genre as an entertainer who rarely fails to thrill the mind's eye with a new prospect. At his best, BS has been a
lover of the worlds of sf. [DP/JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_The Best of the Bushel_^>i_ (coll _^<b_1979_^>b_ chap) and _^<i_The Eastercon Speeches_^>i_ (coll _^<b_1979_^>b_ chap), both humorous fan writing, and both assembled with
additional material as _^<i_A Load of Old BoSh_^>i_ (coll _^<b_1995_^>b_ chap); _^<i_Galactic Tours: Thomas Cook Out of This World Vacations_^>i_ (_^<b_1981_^>b_ US) with David _^<a_!T4291_HARDY_^>a_; _^<i_Courageous New Planet_^>i_ (_^<b_1981_^>b_
chap); _^<i_Serious Scientific Talks_^>i_ (coll _^<b_1984_^>b_ chap), humorous fan writing; _^<i_Fire Pattern_^>i_ (_^<b_1984_^>b_); _^<i_Messages Found in an Oxygen Bottle_^>i_ (coll _^<b_1986_^>b_ dos US); _^<i_Killer Planet_^>i_
(_^<b_1989_^>b_), juvenile sf; _^<i_How to Write Science Fiction_^>i_ (_^<b_1993_^>b_)._^<b_About the author:_^>b_ _^<i_Bob Shaw_^>i_ (anth _^<b_1981_^>b_ chap) ed Paul Kincaid and Geoff Rippington; _^<i_Bob Shaw, Artist at Ground Zero_^>i_ (last
rev _^<b_1989_^>b_ chap) by Gordon _^<a_!T540_BENSON_^>a_ Jr, Chris Nelson and Phil _^<a_!T5712_STEPHENSEN-PAYNE_^>a_._^<b_See also:_^>b_ _^<a_!T131_ALTERNATE WORLDS_^>a_; _^<a_!T257_ARTS_^>a_; _^<a_!T273_ASTEROIDS_^>a_; _^<a_!T820_COMICS_^>a_;
_^<a_!T829_CONCEPTUAL BREAKTHROUGH_^>a_; _^<a_!T902_COSMOLOGY_^>a_; _^<a_!T1245_DISCOVERY AND INVENTION_^>a_; _^<a_!T6694_ESCHATOLOGY_^>a_; _^<a_!T1410_FANTASTIC VOYAGES_^>a_; _^<a_!T1443_FASTER THAN LIGHT_^>a_; _^<a_!T4817_GRAVITY_^>a_;
_^<a_!T2877_SCIENTIFIC ERRORS_^>a_; _^<a_!T2880_SCIENTISTS_^>a_; _^<a_!T2337_SPACE FLIGHT_^>a_; _^<a_!T6020_TIME PARADOXES_^>a_; _^<a_!T5281_UNDER THE SEA_^>a_.
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SHAW, BRIAN
-T-
House name used by _^<a_!T1009_CURTIS WARREN_^>a_ on 4 novels by 4 different authors: _^<i_Argentis_^>i_ (_^<b_1952_^>b_) by E.C. _^<a_!T6112_TUBB_^>a_, _^<i_Ships of Vero_^>i_ (_^<b_1952_^>b_) by David _^<a_!T3273_O'BRIEN_^>a_, _^<i_Z
Formation_^>i_ (_^<b_1953_^>b_) by John Russell _^<a_!T1455_FEARN_^>a_ (signing himself Bryan Shaw) and _^<i_Lost World_^>i_ (_^<b_1953_^>b_) by Brian _^<a_!T4473_HOLLOWAY_^>a_. All are adventure sf. [PN/JC]_^<n__^<n_
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SHAW, DAVID
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> David Arthur _^<a_!T4873_GRIFFITHS_^>a_._^<n__^<n_
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SHAW, FREDERICK L(INCOLN)
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(1928-1978) US writer in whose routine sf novel, _^<i_Envoy to the Dog Star_^>i_ (_^<b_1967_^>b_ dos), a dog's brain travels to Sirius. [JC]_^<n__^<n_
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SHAW, GEORGE BERNARD
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(1856-1950) Irish-born writer of novels, plays and much controversial nonfiction; Nobel Literature Prize 1925. He lived most of his life in England, where he remained ferociously active over a writing career lasting 70 years. Some of his early plays
-- like _^<i_Man and Superman: A Comedy and a Philosophy_^>i_ (_^<b_1903_^>b_) and _^<i_Androcles and the Lion_^>i_ (performed 1913; as title of omni _^<b_1916_^>b_) -- contain fantasy elements, though deployed with a cool Shavian sanity which
repudiates any sense of escapism. _^<i_Press Cuttings_^>i_ (_^<b_1909_^>b_ chap), a play about women's rights set in the _^<a_!T6337_NEAR FUTURE_^>a_, was close to sf, and the destruction of the old world order in _^<i_Heartbreak House_^>i_ (as
title of omni _^<b_1919_^>b_) seemed backward-looking only because of the play's five-year wait for publication. GBS's first genuine sf play was _^<i_Back to Methuselah: A Metabiological Pentateuch_^>i_ (_^<b_1921_^>b_ US; rev 1921 UK and several
times further to 1945 UK), a 5-part depiction of mankind's _^<a_!T6717_EVOLUTION_^>a_ from the time of _^<i_Genesis_^>i_ into the _^<a_!T1432_FAR FUTURE_^>a_, when people have become long-lived and, by AD31,920, are on the verge of suffering
corporeal transcendence into disembodied thought-entities. Hereafter GBS's plays -- which have only posthumously escaped the charge that their dissolution of realist conventions simply demonstrated the senility of their author -- increasingly
utilized sf or fantasy modes to make a series of remarkably bleak utterances about _^<i_Homo sapiens_^>i_ and about the chances of the species ever doing well. _^<i_The Apple Cart: A Political Extravaganza_^>i_ (first English-language publication
_^<b_1930_^>b_), set in the UK near the end of the century after a Channel Tunnel has been built, ironically posits monarchism as an answer to the power of great corporations. _^<i_Too True to be Good: A Political Extravaganza_^>i_ (performed 1932)
and _^<i_On the Rocks: A Political Comedy_^>i_ (performed 1933) -- both assembled in _^<i_Too True to be Good, Village Wooing & On the Rocks_^>i_ (omni _^<b_1934_^>b_) -- more scathingly and far-rangingly explore similar material, as do _^<i_The
Simpleton of the Unexpected Isles: A Vision of Judgment_^>i_ (_^<b_1935_^>b_) and _^<i_Geneva: A Fancied Page of History_^>i_ (_^<b_1939_^>b_). _^<i_Buoyant Billions_^>i_ (_^<b_1948_^>b_ Switzerland; with _^<i_Farfetched Fables_^>i_ as omni
_^<b_1950_^>b_) presents some terminal _^<a_!T5303_UTOPIAN_^>a_ thoughts in the guise of fantasy._^<n__^<n_None of GBS's 19th-century novels are of genre interest, but _^<i_The Adventures of the Black Girl in her Search for God_^>i_ (_^<b_1932_^>b_
chap) is fantasy, and some of the items assembled in _^<i_Short Stories_^>i_ (coll _^<b_1932_^>b_) are sf. Both books were assembled with revisions as _^<i_Short Stories, Scraps and Shavings_^>i_ (omni _^<b_1934_^>b_); _^<i_The Black Girl in Search
of God, and Some Lesser Tales_^>i_ (coll _^<b_1946_^>b_) also assembles this part of his oeuvre._^<n__^<n_It should be noted that many of GBS's plays were "published" for the use of actors long before their official release, and that the official
release was generally revised; moreover, during the last half century of his life -- financial independence allowing him to subsidize this activity -- GBS was in the habit of making constant unsignalled revisions to the extremely numerous reprints
of his work. We have not attempted to trace these changes. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T29_ADAM AND EVE_^>a_; _^<a_!T3771_IMMORTALITY_^>a_; _^<a_!T5830_SUPERMAN_^>a_; _^<a_!T5959_THEATRE_^>a_.
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SHAW, LARRY T.
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Working name of US writer and editor Lawrence Taylor Shaw (1924-1985), an active sf fan from the early 1940s and a member of the _^<a_!T1665_FUTURIANS_^>a_; married to Lee _^<a_!T4460_HOFFMAN_^>a_ 1956-9. Beginning with "Secret Weapon" for
_^<i_Fantasy Book_^>i_ in 1948 as by Terry Thor, he published some sf stories into the early 1950s, but was primarily known for his editorial work. He was associate editor of _^<a_!T4583_IF_^>a_ May 1953-Mar 1954. In 1955 he became editor of
_^<a_!T6341_INFINITY SCIENCE FICTION_^>a_, which grew to be one of the leading sf magazines of its period; and he later started a companion title, _^<a_!T2046_SCIENCE FICTION ADVENTURES_^>a_. When both magazines failed, in 1958, he turned to
editing in other fields. He came back to sf as editor for Lancer Books (1963-8), where he built a successful sf line and edited the anthologies _^<i_Great Science Fiction Adventures_^>i_ (anth _^<b_1964_^>b_) and _^<i_Terror!_^>i_ (anth
_^<b_1966_^>b_). He subsequently worked for Dell Books (1968-9) and American Art Enterprises (1969-75), founding Major Books for the firm. In 1975 he began to work as a literary agent, but this new career was hampered by poor health. He received a
Special _^<a_!T4551_HUGO_^>a_ in 1984. [MJE/JC]_^<n__^<n_
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SHAWN, FRANK S.
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> Ron _^<a_!T4785_GOULART_^>a_._^<n__^<n_
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SHAYOL
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US _^<a_!T2100_SEMIPROZINE_^>a_, 7 issues, irregular, Nov 1977-1985, small-_^<a_!T492_BEDSHEET_^>a_ slick format, published by Flight Unlimited, Kansas City; ed Pat _^<a_!T5117_CADIGAN_^>a_. This was brought out by a partnership of Arnold Fenner
(publisher) and Cadigan, now better known as a writer, whose first story, "Death from Exposure", was published in #2 (1978) and went on to win a Balrog _^<a_!T6321_AWARD_^>a_. _^<i_S_^>i_ was a development from Fenner's previous publication,
_^<i_Chacal_^>i_, which had been largely devoted to _^<a_!T5875_SWORD AND SORCERY_^>a_. With good covers, and excellent design and interior artwork -- including work by Stephen _^<a_!T1371_FABIAN_^>a_ -- _^<i_S_^>i_ seemed almost created to prove a
point about magazines not having to look tacky. It showcased good fiction, too, mixing sf and fantasy, from Michael _^<a_!T620_BISHOP_^>a_, C.J. _^<a_!T5255_CHERRYH_^>a_, Charles L. _^<a_!T4801_GRANT_^>a_, Tanith _^<a_!T4234_LEE_^>a_, Tom
_^<a_!T2524_REAMY_^>a_, Lisa _^<a_!T6134_TUTTLE_^>a_, Howard _^<a_!T5425_WALDROP_^>a_ and others. It was an astonishingly adept performance, the most spectacular (though by no means the most regular) sf/fantasy magazine of its era, though as a
_^<a_!T2261_SMALL-PRESS_^>a_ publication it was not indexed in the N.E.S.F.A. magazine indexes. Having proved they could do it, Cadigan and Fenner simply stopped. [PN]_^<n__^<n_
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SHEA, CORNELIUS
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(1863-1920) US writer of dime novels (>_^<a_!T1236_DIME-NOVEL SF_^>a_), prolific in many categories but best remembered for marvel stories using a fairly consistent "mythology" of dwarfs, subterranean eruptions, and stage illusion masquerading as
supernatural magic. _^<i_Van Vincent's Vow_^>i_ (_^<b_1892_^>b_) offers African adventures, sex-exploiting Amazons, and a socialist _^<a_!T5303_UTOPIA_^>a_ founded by Egyptians who possess superscience. _^<i_The Enchanted Diamond_^>i_
(_^<b_1894_^>b_) is a lost-race tale (>_^<a_!T3460_LOST WORLDS_^>a_) featuring a passage underground between Alaska and Asia and a magical monarch. _^<i_The Hidden Island_^>i_ (_^<b_1898_^>b_) describes a vicious She-like _^<i_femme fatale_^>i_ (>
H. Rider _^<a_!T4911_HAGGARD_^>a_), who claims to be of Jovian descent, and a sinking island. In _^<i_The Wonderful Electric Man_^>i_ (_^<b_1899_^>b_), to prevent _^<a_!T1752_OVERPOPULATION_^>a_ couples are put to death after the birth of their
first child; if they have no children, they are put to death anyway. Probably by CS, _^<i_The Enchanted Emerald_^>i_ (_^<b_1902_^>b_) as by P.T. Raymond describes an emerald with seemingly magical powers, plus lost civilizations and another
She-like queen in Africa. CS's work was widely reprinted, often pseudonymously as "By the Author of 'The Wreck of the Glaucus'". [EFB]_^<n__^<n_
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SHEA, MICHAEL
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_^<b_1._^>b_ Michael (Sinclair MacAuslan) Shea (1938- ) UK writer, press secretary to the Queen for a decade from 1978. As_^<n__^<n_Michael Sinclair he wrote a _^<a_!T6337_NEAR-FUTURE_^>a_ thriller, _^<i_The Dollar Covenant_^>i_ (_^<b_1973_^>b_);
and as MS _^<i_Tomorrow's Men_^>i_ (_^<b_1982_^>b_), a _^<a_!T1370_DYSTOPIAN_^>a_ tale of the near-future UK in the grip of private armies -- the USA soon takes a hand in straightening things out._^<n__^<n__^<b_2._^>b_ (1946- ) US writer, mostly
of _^<a_!T1412_FANTASY_^>a_; most of his few sf stories border on horror. His books, which are both witty and disquieting, include _^<i_A Quest for Simbilis_^>i_ (_^<b_1974_^>b_) -- derived, with permission, from Jack _^<a_!T5317_VANCE_^>a_'s
_^<i_The Eyes of the Overworld_^>i_ (_^<b_1966_^>b_) -- plus _^<i_Nifft the Lean_^>i_ (coll of linked stories _^<b_1982_^>b_) and _^<i_In Yana, the Touch of Undying_^>i_ (_^<b_1985_^>b_), both showing Vance's influence less explicitly. Other books
include _^<i_The Color out of Time_^>i_ (_^<b_1984_^>b_), a sequel to H.P. _^<a_!T3465_LOVECRAFT_^>a_'s _^<i_The Colour out of Space_^>i_ (_^<b_1927_^>b_), _^<i_Fat Face_^>i_ (_^<b_1987_^>b_ chap),_^<i_Polyphemus_^>i_ (coll _^<b_1987_^>b_) -- which
contains several deft sf tales, including the title story and the horrific "The Autopsy" (1980) about possession by an alien parasite. [JC]_^<n__^<n_
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SHEA, ROBERT (JOSEPH)
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(1933-1994) US writer and senior editor of _^<i_Playboy_^>i_ magazine best known for collaborating with Robert Anton _^<a_!T5643_WILSON_^>a_ on the _^<b_Illuminatus!_^>b_ trilogy -- _^<i_The Eye in the Pyramid_^>i_ (_^<b_1975_^>b_), _^<i_The Golden
Apple_^>i_ (_^<b_1975_^>b_) and _^<i_Leviathan_^>i_ (_^<b_1975_^>b_), all assembled as _^<i_The Illuminatus Trilogy_^>i_ (omni _^<b_1984_^>b_) -- in which detective, _^<a_!T1412_FANTASY_^>a_ and sf components combine in the extremely complex tale
of a vast conspiracy on the part of the Illuminati, historically a late-18th-century German association of freethinkers but here rendered into the gods of H.P. _^<a_!T3465_LOVECRAFT_^>a_'s _^<b_Cthulhu Mythos_^>b_ (among other incarnations). The
Illuminati plan, more or less, to destroy the world in their search for power; almost everything of meaning in the contemporary world turns out somehow to signify their malign omnipresence. The influence of Thomas _^<a_!T2040_PYNCHON_^>a_'s
_^<i_The Crying of Lot 49_^>i_ (_^<b_1966_^>b_) is evident though, where the _^<a_!T1795_PARANOIA_^>a_ of that novel was presented with haunting conviction, the _^<b_Illuminatus!_^>b_ books, simultaneously deadpan and hysterical, treat conspiracy
as a game. RS subsequently wrote solo contributions (_^<i_see Wilson's entry for his own continuations_^>i_): _^<i_The Saracen: Land of the Infidel_^>i_ (_^<b_1989_^>b_) and _^<i_The Saracen: The Holy War_^>i_ (_^<b_1989_^>b_) provide background to
the main enterprise. _^<i_Time of the Dragons_^>i_ (_^<b_1981_^>b_) and _^<i_Last of the Zinja_^>i_ (_^<b_1981_^>b_), both assembled as _^<i_Shike_^>i_ (omni _^<b_1992_^>b_), are historical novels with fantasy elements. _^<i_Shaman_^>i_
(_^<b_1991_^>b_) is a fantasy. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T4555_HUMOUR_^>a_; _^<a_!T3378_LIBERTARIAN SF_^>a_; _^<a_!T3118_MUSIC_^>a_; _^<a_!T5959_THEATRE_^>a_.
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SHECKLEY, ROBERT
-T-
(1928- ) US writer, born and educated in New York, where he set some of his fiction, publishing his first story, "Final Examination", for _^<i_Imagination_^>i_ in 1952. RS's career falls into 3 periods: the 1950s, the 1960s, and afterwards. In
the first period he produced short fiction prolifically for several years in various magazines, though his supple, witty, talkative, well crafted work was especially suited to _^<a_!T1686_GALAXY SCIENCE FICTION_^>a_, where much of it appeared. This
work remains, perhaps, his best known. In the second period he wrote several novels which combined "zany" plots, metaphysical speculation and comic _^<a_!T2812_SATIRE_^>a_. In the third period he has rested. _^<i_The Collected Short Stories of
Robert Sheckley_^>i_ (coll in 5 vols _^<b_1991_^>b_), though incomplete, gives a good view of the entire career._^<n__^<n_RS's first collection, _^<i__^<a_!B9012_UNTOUCHED BY HUMAN HANDS_^>a__^>i_ (coll _^<b_1954_^>b_; with differing contents 1955
UK), is one of the finest debut volumes ever published in the field, and contains several tales which have remained famous, including "The Monsters" (1953), the title story (1952), and the superb "Specialist" (1953) which, with an energy and
adroitness typical of his early work, posits a Galaxy inhabited by a variety of cooperating races who can merge their specialized functions to become, literally, _^<a_!T2348_SPACESHIPS_^>a_. The story describes the search for a new Pusher, a being
capable of shoving the ship to _^<a_!T1443_FASTER-THAN-LIGHT_^>a_ velocities -- unsurprisingly for the 1950s, _^<i_Homo sapiens_^>i_ turns out to be a Pusher species. Also in the collection is "Seventh Victim" (1953), much later filmed as
_^<i_La_^<a_!T1136_DECIMA VITTIMA_^>a__^>i_ (1965), in turn novelized by RS as _^<i_The Tenth Victim_^>i_ * (_^<b_1966_^>b_); see below for its feeble continuation into a series. Further successful collections followed swiftly: _^<i_Citizen in
Space_^>i_ (coll _^<b_1955_^>b_), _^<i_Pilgrimage to Earth_^>i_ (coll _^<b_1957_^>b_), _^<i_Notions: Unlimited_^>i_ (coll _^<b_1960_^>b_), _^<i_Store of Infinity_^>i_ (coll _^<b_1960_^>b_) and _^<i_Shards of Space_^>i_ (coll _^<b_1962_^>b_). Later
compilations include _^<i_The Robert Sheckley Omnibus_^>i_ (coll _^<b_1973_^>b_ UK) ed Robert _^<a_!T841_CONQUEST_^>a_ and _^<i_Is THAT What People Do?: The Selected Short Stories_^>i_ (coll _^<b_1984_^>b_). RS's stories are unfailingly elegant and
literate; their mordant humour and sudden plot reversals separate them from the mass of magazine sf stories of the time, for the wit and surprises usually function to make serious points about the calamitous aspects of life in the later 20th
century. At the same time, RS clearly found it worthwhile during these early years to express the corrosive pessimism of his wit within the storytelling conventions of sf, to dress his nihilism in sheep's clothing._^<n__^<n_The second period began
with _^<i_Immortality Delivered_^>i_ (1958-9 _^<i_Gal_^>i_ as "Time Killer"; _^<b_1958_^>b_; exp vt _^<i_Immortality, Inc._^>i_ 1959), filmed in 1992 as _^<a_!T1617_FREEJACK_^>a_, and continued with his best novels, _^<i_The Status
Civilization_^>i_ (_^<b_1960_^>b_), _^<i_Journey Beyond Tomorrow_^>i_ (_^<b_1962_^>b_; vt _^<i_The Journey of Joenes_^>i_ 1978 UK) and _^<i_Mindswap_^>i_ (_^<b_1966_^>b_). In these books the typical Candide-like RS protagonist began, at times
unduly, to dominate. In short stories, the occasionally venal naivete of this character did not much impair the rhythm of the tale; but in the novels his lethargy tended to be translated into plots which lacked drive. The typical RS full-length
story is episodic, befitting the protagonist's lack of drive, and structured as a kind of guided tour of a particular sf milieu RS wishes to expose to satirical view; dumped into this disconcerting circuit, his typical protagonist must scramble
about -- sometimes comically -- in order to survive and to gain some orientation. The protagonist of the first novel, after dying in a car crash, awakens 150 years hence in a whirligig USA where most forms of psychic phenomena, including life and
death, have been verified. _^<i_The Status Civilization_^>i_ is genuinely successful, embodying its satirical despairs in a shaped narrative set on a prison planet, where social hierarchies have turned topsy-turvy and conformity means being always
wicked. In _^<i_Journey Beyond Tomorrow_^>i_ the RS protagonist is an innocent who suffers a variety of alarming adventures after leaving his quiet _^<a_!T6337_NEAR-FUTURE_^>a_ Pacific island; the novel takes the form of a series of remembrances
enshrined as myths 1000 years later. In _^<i_Mindswap_^>i_ the protagonist switches minds with a Martian and is subjected to reality displacements galore. That was the end of RS's easy years._^<n__^<n__^<i_Dimension of Miracles_^>i_
(_^<b_1968_^>b_) -- in which the protagonist wins in error a prize which shunts him back and forth across a Galaxy whose reality is disconcertingly arbitrary -- may be thought to signal the slow onset of the third RS period, which was marked by
novels either uneasy (like _^<i_Miracles_^>i_) or absent-minded, like _^<i_Dramocles: An Intergalactic Soap Opera_^>i_ (_^<b_1983_^>b_). RS also continued his _^<b_Victim_^>b_ sequence, begun in 1966 with _^<i_The Tenth Victim_^>i_, in 2 uninspired
sequels, _^<i_Victim Prime_^>i_ (_^<b_1987_^>b_ UK) and _^<i_Hunter/Victim_^>i_ (_^<b_1988_^>b_ UK). The best novel of the period was probably _^<i_Options_^>i_ (_^<b_1975_^>b_), a tale whose sf apparatus could be taken as a delusional frame, or
understood as a series of dramatic projections -- generated by the protagonist -- of the various forms his life could be read as taking, rather after the fashion of Barry N. _^<a_!T3629_MALZBERG_^>a_, whose treatment of sf themes as metaphors for
all-too-human problems RS's late work most resembles. But _^<i_The Alchemical Marriage of Alistair Crompton_^>i_ (1958 _^<i_Gal_^>i_ as "The Humours"; exp _^<b_1978_^>b_ UK; vt _^<i_Crompton Divided_^>i_ 1978 US) -- about the attempts of a paranoid
schizophrenic to reassemble his mind, which has been split off into three widely separated receptacles -- is also strong. The quality of RS's short fiction was less variable, though his increasing tendency to write almost _^<a_!T18_ABSURDIST_^>a_
stories (>_^<a_!T1372_FABULATION_^>a_) was not perhaps to the taste of the sf market in general -- a sense reflected in the fact that many of them were first published in slick magazines such as _^<i_Playboy_^>i_ rather than in sf magazines, though
"A Suppliant in Space" won the Jupiter _^<a_!T6321_AWARD_^>a_ for the Best Short Story of 1973. _^<i_The People Trap_^>i_ (coll _^<b_1968_^>b_) contains a mixture of old and new stories, but most of the fiction in _^<i_Can You Feel Anything When I
Do This?_^>i_ (coll _^<b_1971_^>b_; vt _^<i_The Same to You Doubled_^>i_ 1974 UK) is typical of his late work-spasmodic, hilarious, despairing. Further examples can be found in _^<i_The Robot who Looked like Me_^>i_ (coll _^<b_1978_^>b_ UK) and
_^<i_The Wonderful World of Robert Sheckley_^>i_ (coll _^<b_1979_^>b_). It may be that RS's inability to take seriously the simpler, more adventurous forms the genre can take, which he regularly and affectionately parodied when young, has had a
paralysing effect on the mature writer, who sometimes sounds like a tongue-tied Kurt _^<a_!T5402_VONNEGUT_^>a_ Jr. If this is so, it is a considerable loss to the sf field that one of its sharpest wits can no longer pay it serious attention.
[JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Futuropolis_^>i_ (_^<b_1978_^>b_), nonfiction; _^<i_The Status Civilization, and Notions: Unlimited_^>i_ (omni _^<b_1979_^>b_); _^<i_After the Fall_^>i_ (anth _^<b_1980_^>b_); _^<i_The People
Trap/Mindswap_^>i_ (omni _^<b_1981_^>b_); _^<i_Bill, the Galactic Hero on the Planet of Bottled Brains_^>i_ * (_^<b_1990_^>b_) with Harry _^<a_!T4316_HARRISON_^>a_; _^<i_Watchbird_^>i_ (_^<b_1990_^>b_ chap); _^<i_Minotaur Maze_^>i_
(_^<b_1991_^>b_); _^<i_Xolotl_^>i_ (_^<b_1991_^>b_ chap); _^<i_Alien Starswarm_^>i_ (_^<b_1991_^>b_ chap); _^<i_Bring Me the Head of Prince Charming_^>i_ (_^<b_1991_^>b_) with Roger _^<a_!T6264_ZELAZNY_^>a_._^<b_Crime fiction/thrillers:_^>b_ 8
novels, from _^<i_Calibre .50_^>i_ (_^<b_1961_^>b_) to _^<i_The Alternate Detective _^>i_(_^<b_1993_^>b_)._^<b_See also:_^>b_ _^<a_!T200_ANTI-INTELLECTUALISM IN SF_^>a_; _^<a_!T727_CITIES_^>a_; _^<a_!T956_CRIME AND PUNISHMENT_^>a_;
_^<a_!T1245_DISCOVERY AND INVENTION_^>a_; _^<a_!T6577_ECONOMICS_^>a_; _^<a_!T6694_ESCHATOLOGY_^>a_; _^<a_!T1554_FORCE FIELD_^>a_; _^<a_!T1695_GAMES AND SPORTS_^>a_; _^<a_!T4740_GODS AND DEMONS_^>a_; _^<a_!T4443_HISTORY OF SF_^>a_;
Pseudonym of Belgian-born writer Boris Beiser (1934- ), in the USA from 1941. In _^<i_Earth Ship and Star Song_^>i_ (_^<b_1979_^>b_) humanity finds itself banned from ruined Earth. _^<i_The Medusa Conspiracy_^>i_ (_^<b_1980_^>b_) is a more
conventional adventure. [JC]_^<n__^<n_
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SHEEHAN, PERLEY POORE
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(1875-1943) US writer and journalist responsible for much magazine fiction. _^<i_The Abyss of Wonders_^>i_ (1915 _^<i_Argosy_^>i_; _^<b_1953_^>b_) mixes Theosophy and superscience in its tale of a lost race in the Gobi Desert (> _^<a_!T3460_LOST
(1935- ) UK-born physicist and writer, in the USA from the mid-1960s, publishing the first of nearly 100 technical papers and science articles in 1962, and the first of 80 or more sf stories, "What Song the Sirens Sang", for _^<i_Gal_^>i_ in
1977; many of these stories are assembled in _^<i_Vectors_^>i_ (coll _^<b_1979_^>b_), _^<i_Hidden Variables_^>i_ (coll _^<b_1981_^>b_), _^<i_Dancing With Myself_^>i_ (coll _^<b_1993_^>b_) and <Georgia on my Mind, and Other Places> (coll 1995), the
title story of which won the 1993 _^<a_!T3147_NEBULA_^>a_ and the 1994 _^<a_!T4551_HUGO_^>a_ awards for Best Novelette. His first novel, _^<i_Sight of Proteus_^>i_ (_^<b_1978_^>b_), describes in ultimately optimistic terms the wide-ranging effects
of machine-driven shapechanging technologies which might open the way to the nearby stars; the book almost instantly established CS's reputation for briskly argued, cleverly plotted, sanguine _^<a_!T4288_HARD SF_^>a_, a reputation only marginally
darkened by its first sequel _^<i_Proteus Unbound_^>i_ (_^<b_1989_^>b_), which recasts material from the earlier book. Both tales were assembled as _^<i_Proteus Manifest_^>i_ (omni _^<b_1989_^>b_; rev vt _^<i_Proteus Combined_^>i_ 1994); a second
sequel is <Proteus in the Underworld> (1995). CS's second novel, _^<i_The Web Between the Stars_^>i_ (_^<b_1979_^>b_; exp 1989), famously posited a sky-hook space elevator at almost exactly the same time as Arthur C. _^<a_!T736_CLARKE_^>a_
presented an astonishingly similar space elevator in _^<i__^<a_!B9140_THE FOUNTAINS OF PARADISE_^>a__^>i_ (_^<b_1979_^>b_); the concepts had clearly been arrived at independently, and their similarity only underscored the clarity of each man's
scientific imagination._^<n__^<n_In the 1980s, with an exuberance that seemed almost irresponsible in a writer of his scientific bent, CS ranged very widely in his choice of metier. _^<i_The Selkie_^>i_ (_^<b_1982_^>b_) with David F.
_^<a_!T618_BISCHOFF_^>a_, a _^<a_!T2870_SCIENCE-FANTASY_^>a_ novel tinged with elements of horror, describes a _^<a_!T3119_MUTANT_^>a_ race of male "wereseals" who must mate with human women to perpetuate their kind. _^<i_My Brother's Keeper_^>i_
(_^<b_1982_^>b_) is an sf thriller whose _^<a_!T3535_MCGUFFIN_^>a_, astonishingly, is half of the protagonist's brother's brain, housed in half the protagonist's head. _^<i_Erasmus Magister_^>i_ (coll of linked stories _^<b_1982_^>b_) features
Erasmus _^<a_!T1071_DARWIN_^>a_ in a series of lightly told scientific adventures, and _^<i_The McAndrew Chronicles_^>i_ (coll of linked stories _^<b_1983_^>b_;rev vt _^<i_One Man's Universe_^>i_ 1994) follows the exploits of the eponymous
inventor. _^<i_Between the Strokes of Night_^>i_ (_^<b_1985_^>b_) is a "cosmogony opera" sometimes compared to novels by Greg _^<a_!T478_BEAR_^>a_ about exploring, understanding and transforming the Universe; in this case, exiled from Earth,
humanity finds infinite resources in "S-space" and travels down the aisles of time to visit the Galaxy. _^<i_The Nimrod Hunt_^>i_ (_^<b_1986_^>b_; with original text restored, exp vt _^<i_The Mind Pool_^>i_ 1993) features intricately interesting
_^<a_!T102_ALIENS_^>a_ and _^<a_!T1017_CYBORGS_^>a_ in a _^<a_!T2342_SPACE-OPERA_^>a_ setting. _^<i_Trader's World_^>i_ (fixup _^<b_1988_^>b_) moves from a post-_^<a_!T4482_HOLOCAUST_^>a_ venue to higher things, including the threat of alien
_^<a_!T3796_INVASION_^>a_. _^<i_Cold as Ice_^>i_ (_^<b_1992_^>b_), an intricate and polished space opera, depicts with glad clarity a Solar System full of highly active and scientifically curious human beings. The _^<b_Heritage Universe_^>b_
sequence for younger readers -- _^<i_Summertide_^>i_ (_^<b_1990_^>b_), _^<i_Divergence_^>i_ (_^<b_1991_^>b_) and _^<i_Transcendence_^>i_ (_^<b_1992_^>b_), with a further volume published only in German -- fills much of the Universe with
_^<a_!T590_BIG DUMB OBJECTS_^>a_ and sets in train a complex of plots hinging upon their decipherment and use. Some of his tales are dark enough, and ironies are frequently evident; but CS continues to seem ready to feel that the Universe may be
enjoyed. [JC]_^<n__^<n__^<b_Other works (all nonfiction):_^>b_ _^<i_Commercial Operations in Space 1980-2000_^>i_ (anth _^<b_1981_^>b_) ed with John L. McLucas; _^<i_Earthwatch: A Survey of the World from Space_^>i_ (_^<b_1981_^>b_ UK); _^<i_Man on
Earth: How Civilization and Technology Changed the Face of the World -- A Survey from Space_^>i_ (_^<b_1983_^>b_); _^<i_Space Careers_^>i_ (_^<b_1984_^>b_) with Carol Rosin; _^<i_Brother to Dragons_^>i_ (_^<b_1992_^>b_); _^<i_Godspeed_^>i_
(_^<b_1993_^>b_); _^<i_The Judas Cross_^>i_ (_^<b_1994_^>b_) with David Bischoff; _^<i_Future Quartet_^>i_ (anth _^<b_1994_^>b_); _^<i_The World of 2044: Technological Development and the Future of Society_^>i_ (anth _^<b_1994_^>b_) with Marcelo
Alonso and Morton A. Kaplan._^<b_See also:_^>b_ _^<a_!T277_ASTOUNDING SCIENCE-FICTION_^>a_; _^<a_!T611_BIOLOGY_^>a_; _^<a_!T902_COSMOLOGY_^>a_; _^<a_!T1165_DEL REY BOOKS_^>a_; _^<a_!T1245_DISCOVERY AND INVENTION_^>a_; _^<a_!T6661_END OF THE
WORLD_^>a_; _^<a_!T4657_GENETIC ENGINEERING_^>a_; _^<a_!T3923_JOHN W. CAMPBELL MEMORIAL AWARD_^>a_; _^<a_!T5851_SUSPENDED ANIMATION_^>a_; _^<a_!T6080_TRANSPORTATION_^>a_.
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SHEFNER, VADIM (SERGEEVICH)
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(1915- ) Russian writer known mostly for his poetry (from _^<i_c_^>i_1963) and mainstream fiction. Two short novels, _^<i_Tchelovek S Piatiu "Ne"_^>i_ (trans Alice Stone Nakhimovsky and Alexander Nakhimovsky as "The Unman") and _^<i_Devushka U
Obryva_^>i_ (_^<b_1970_^>b_; trans Antonina W. Bouis as "Kovrigin's Chronicles"), were published in omnibus form as _^<i_The Unman; Kovrigin's Chronicles_^>i_ (omni _^<b_1980_^>b_ US). Both are -- like other work assembled as _^<i_Skromny
Genii_^>i_ ["A Modest Genius"] (coll _^<b_1974_^>b_), _^<i_Imia Dlia Ptitsy_^>i_ ["The Name for the Bird"] (coll _^<b_1976_^>b_), _^<i_Kruglaia Taina_^>i_ ["The Round Mystery"] (coll _^<b_1977_^>b_) and _^<i_Skazki Dlia Unmykh_^>i_ ["Fairy-Tales
for Smart Ones"] (coll _^<b_1985_^>b_) -- poetical and sometimes ironical borderline fantasies: modern urban fairy-tales. VS's full-length novel, _^<i_Latchuga Dolzhnika_^>i_ ["A Debtor's Hovel"], is a mature literary work, combining elements of sf
with those of philosophical prose. [VG]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T2880_SCIENTISTS_^>a_.
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SHELDON, ALICE B.
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[r] > James _^<a_!T6035_TIPTREE_^>a_ Jr._^<n__^<n_
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SHELDON, LEE
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Pseudonym of US writer and mailman Wayne Cyril Lee (1917-1987), who began publishing sf with "Project Asteroid" for _^<i_Teens_^>i_ in 1966. His routine sf adventure novel was _^<i_Doomed Planet_^>i_ (_^<b_1967_^>b_). [JC]_^<n__^<n_
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SHELDON, RACCOONA
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[s] > James _^<a_!T6035_TIPTREE_^>a_ Jr._^<n__^<n_
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SHELDON, ROY
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UK house name used by Hamilton & Co. (which published Panther Books) on short fiction and full-length novels in _^<a_!T319_AUTHENTIC_^>a_ 1951-2 and on some routine sf novels 1952-4 by H.J. _^<a_!T5139_CAMPBELL_^>a_, George _^<a_!T4351_HAY_^>a_ and
E.C. _^<a_!T6112_TUBB_^>a_. [JC]_^<n__^<n_
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SHELLEY, MARY WOLLSTONECRAFT
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(1797-1851) UK writer, daughter of the philosopher and novelist William Godwin (1756-1836) and of the feminist and educationist Mary Wollstonecraft (1759-1797), who died giving birth to her. MWS married Percy Bysshe Shelley (1792-1822) in 1816, 2
years after they had eloped to the Continent, and after his first wife had committed suicide. During 1816 the Shelleys spent much time with Lord Byron (1788-1824) who (or possibly his physician, John William Polidori [1795-1821]) suggested, after
reading some of their work, that they should each write a ghost story. Nothing much came of Byron's or Percy Shelley's efforts, though Dr Polidori wrote _^<i_The Vampyre_^>i_ (_^<b_1819_^>b_), but MWS -- who was in her teens -- wrote
_^<i_Frankenstein, or The Modern Prometheus_^>i_ (_^<b_1818_^>b_; rev 1831), the most famous English _^<a_!T4509_HORROR_^>a_ novel -- though perhaps not the most widely read, as its conventional _^<a_!T4780_GOTHIC_^>a_ narrative structure, which
involves stories within frames and sentimentalized rhetoric, makes it somewhat difficult going for many modern readers more familiar with the numerous film, tv and other spin-offs from the original tale (> _^<a_!T1599_FRANKENSTEIN_^>a_;
_^<a_!T1600_FRANKENSTEIN MONSTER_^>a_). The young Swiss scientist Frankenstein is obsessed with the notion that the spark of life may be a "spark" in some literal fashion, and hopes to create life by galvanizing dead matter. To this end he collects
human remains, constructs a grotesque but mechanically sound body, and shocks it into life. The awakened/created _^<a_!T3008_MONSTER_^>a_, initially innocent but soon corrupted by Frankenstein's growing revulsion, demands of his maker that a mate
be created for him, and when this demand is refused starts on a rampage in which Frankenstein's wife and brother are killed. Frankenstein begins to track the monster down to destroy it, but eventually perishes, his mind gone, deep in the Arctic.
The monster disappears across the ice floes._^<n__^<n_The increasing critical attention _^<i_Frankenstein_^>i_ has received in recent years has focused on MWS herself, on her relation to her father's rationalist philosophy, and on her life with her
husband at the time of the book's genesis. The novel itself has been analysed in terms of these concerns, perhaps most fruitfully in studies of its relation to the idea of the "natural man". The monster -- who reads Goethe's _^<i_The Sorrows of
Young Werther_^>i_ (_^<b_1774_^>b_) -- is in a sense a _^<i_tabula rasa_^>i_, and the evil that he does, he is shaped to do by the revulsion and persecution of others; he has to _^<i_learn_^>i_ to be a monster. Alternatively, he can be thought of
as an embodiment of the evil latent in mankind, in which case he need merely be given the opportunity to be a monster. The novel has also been studied as a defining model of the Gothic mode of fiction, and in _^<i_Billion Year Spree_^>i_
(_^<b_1973_^>b_; much exp vt _^<i_Trillion Year Spree_^>i_ 1986 with David _^<a_!T5653_WINGROVE_^>a_), Brian W. _^<a_!T87_ALDISS_^>a_ argues its importance as the first genuine sf novel, the first significant rendering of the relations between
mankind and science through an image of mankind's dual nature appropriate to an age of science. Aldiss's own _^<i_Frankenstein Unbound_^>i_ (_^<b_1973_^>b_) treats of both MWS and her creation. Although MWS's novel does seem vulgarly to argue that
there are things that Man is not meant to know, it is far more than an awful-warning shot across the bows of the evils of scientism; no simple paraphrase of this sort can adequately describe it._^<n__^<n_MWS wrote a further
_^<a_!T2013_PROTO-SCIENCE-FICTION_^>a_ novel, _^<i_The Last Man_^>i_ (_^<b_1826_^>b_), set at the end of the 21st century, in which a plague decimates humanity. The surviving Americans invade Europe but, although war ends before the extinction of
humanity, the remaining British are soon reduced through strife to the last man of the title, who much resembles MS's late husband, and who ends the novel in a small boat sailing off to the Eastern Isles. The tale served as a model for much
subsequent work using its basic idea of a world in which there can be a last, secular survivor. The story of most interest assembled by Richard _^<a_!T4621_GARNETT_^>a_ in _^<i_Tales and Stories by Mary Wollstonecraft Shelley_^>i_ (coll
_^<b_1891_^>b_) is _^<i_The Mortal Immortal_^>i_ (in _^<i_The Keepsake_^>i_ [anth _^<b_1934_^>b_]; _^<i_c_^>i__^<b_1910_^>b_ chap US); the later _^<i_Collected Tales and Stories_^>i_ (coll _^<b_1976_^>b_ US) is more convenient. _^<i_The Mary
Shelley Reader_^>i_ (coll _^<b_1990_^>b_ US) presents the original-and rather more sharply told -- 1818 version of _^<i_Frankenstein_^>i_, several short stories, and other valuable material. [JC]_^<n__^<n__^<b_About the author:_^>b_ There is much
criticism. _^<i_Mary Shelley_^>i_ (_^<b_1959_^>b_) by E. Bigland; _^<i_Mary Shelley_^>i_ (_^<b_1972_^>b_) by William A. Walling; _^<i_Ariel Like a Harpy: Shelley, Mary and Frankenstein_^>i_ (_^<b_1972_^>b_; vt _^<i_Mary Shelley's Frankenstein:
Tracing the Myth_^>i_ US) by Christopher Small; _^<i_Mary Shelley's Monster -- The Story of Frankenstein_^>i_ (_^<b_1976_^>b_) by Martin Tropp; _^<i_Moon in Eclipse: A Life of Mary Shelley_^>i_ (_^<b_1978_^>b_) by Jane Dunn; _^<i_Mary Shelley_^>i_
(_^<b_1985_^>b_) by Harold _^<a_!T665_BLOOM_^>a_. Critical editions of _^<i_Frankenstein_^>i_ include those ed M.K. _^<a_!T3940_JOSEPH_^>a_ (_^<b_1969_^>b_), James Rieger (_^<b_1974_^>b_ US), Maurice Hindle (_^<b_1985_^>b_), Marilyn Butler
(_^<b_1994_^>b_), which gives the 1818 text; and _^<i_The Annotated Frankenstein_^>i_ (_^<b_1979_^>b_; rev vt _^<i_The Essential Frankenstein_^>i_ 1993), ed Leonard Wolf, also giving the 1818 text._^<b_See also:_^>b_ _^<a_!T177_ANDROIDS_^>a_;
_^<a_!T189_ANONYMOUS SF AUTHORS_^>a_; _^<a_!T611_BIOLOGY_^>a_; _^<a_!T829_CONCEPTUAL BREAKTHROUGH_^>a_; _^<a_!T963_CRITICAL AND HISTORICAL WORKS ABOUT SF_^>a_; _^<a_!T1245_DISCOVERY AND INVENTION_^>a_; _^<a_!T6661_END OF THE WORLD_^>a_;
_^<a_!T1410_FANTASTIC VOYAGES_^>a_; _^<a_!T4740_GODS AND DEMONS_^>a_; _^<a_!T4443_HISTORY OF SF_^>a_; _^<a_!T4482_HOLOCAUST AND AFTER_^>a_; _^<a_!T4509_HORROR IN SF_^>a_; _^<a_!T3744_MEDICINE_^>a_; _^<a_!T1968_POWER SOURCES_^>a_;
_^<a_!T2551_RELIGION_^>a_; _^<a_!T2880_SCIENTISTS_^>a_; _^<a_!T2115_SEX_^>a_; _^<a_!T5959_THEATRE_^>a_; _^<a_!T5684_WOMEN SF WRITERS_^>a_.
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SHELTON, MILES
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[s] > Don _^<a_!T5597_WILCOX_^>a_._^<n__^<n_
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SHEPARD, LUCIUS
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(1947- ) US writer about whose first appearances in print there has been some confusion, due to the fact that he is credited with 4 stories and 4 articles in _^<i_Collins Magazine_^>i_ (various retitled _^<i_Collins, the Magazine to Grow Up
With_^>i_ and _^<i_Collins Young Elizabethan_^>i_) between 1952 and 1955, the first short story thus credited being "Camp Greenville" in 1953; it is understood that a family member may have placed these stories under LS's name (he would otherwise
need to be described as an author of noticeably competent short stories from the age of 6). LS's first acknowledged work was _^<a_!T1934_POETRY_^>a_, and his first book was a poem, _^<i_Cantata of Death, Weakmind & Generation_^>i_ (_^<b_1967_^>b_
chap); he began to publish adult prose fictions of genre interest only with "The Taylorsville Reconstruction" for _^<i_Universe 13_^>i_ (anth _^<b_1983_^>b_) ed Terry _^<a_!T5182_CARR_^>a_. Between the mid-1960s and the beginning of the 1980s, LS
lived in various parts of the world, travelled widely, became -- according to his own testimony -- marginally and incompetently involved in the fringes of the international drug trade, and in about 1972 started a rock band which went through
various incarnations over the following years. Some of the experiences of this long apprenticeship are directly reflected in stories like "A Spanish Lesson" (1985); but the abiding sense of authority generated by all his best work depends upon the
born exile's passionate fixation on place. It is no accident that -- aside from the Latin American _^<a_!T3599_MAGIC-REALIST_^>a_ tradition whose influence upon him is often suggested -- the writer whom LS seems at times most to resemble is Joseph
_^<a_!T847_CONRAD_^>a_, for both authors respond to the places of the world with imaginative avarice and a hallucinated intensity of portrayal; both create deeply alienated protagonists whose displacement from the venues in which they live
generates constant ironies and regrets; and both tend to subordinate mundane resolutions of plot to moments of terminal, deathly transcendence. None of this constitutes a necessary or sufficient description of an sf writer; and certainly, despite
his aesthetic influence on the genre in the years since his explosive debut (for which he received a _^<a_!T3922_JOHN W. CAMPBELL AWARD_^>a_ in 1985), LS is not at heart an sf writer._^<n__^<n_His first novel, however, is as much sf as horror. In
_^<i_Green Eyes_^>i_ (_^<b_1984_^>b_) a research organization in the US Deep South has successfully created zombies by injecting cadavers with bacteria from a graveyard. As an sf premise, this is unconvincing; but LS presents the transformation of
dead bodies into representative human archetypes, and the escape of one of them into bayou country, with a gripping closeness of touch; the transcendental epiphany at the end, already characteristic of his work, also tests true. His second novel,
_^<i_Life during Wartime_^>i_ (fixup _^<b_1987_^>b_), similarly embeds sf elements -- a 21st-century setting, advanced forms of drug manipulation -- into a Latin American venue which, essentially, absorbs these elements in a horrified, dense
presentation of a Vietnam _^<a_!T5452_WAR_^>a_ conducted, this time, in the Western Hemisphere. "R & R" (1986), which won a _^<a_!T3147_NEBULA_^>a_, shapes the first part of the book; and a hallucinated, obsessed journey into the heart of darkness
in search of underlying transcendence dominates its last sections. _^<i_Kallimantan_^>i_ (_^<b_1990_^>b_ UK) evokes, with extreme vividness, Conrad himself as well as Graham Greene (1904-1991) in another transcendental heart-of-darkness tale, set
this time in Borneo and featuring at its centre a not altogether convincing transference to an sf _^<a_!T131_ALTERNATE WORLD_^>a_._^<n__^<n_LS continues to be most successful at novelette/novella length, and several of the longer tales assembled in
_^<i__^<a_!B9001_THE JAGUAR HUNTER_^>a__^>i_ (coll _^<b_1987_^>b_; with 1 story cut and 3 added, rev 1988 UK; cut 1989 US) and _^<i_The Ends of the Earth_^>i_ (coll _^<b_1991_^>b_) are among the finest _^<a_!T1372_FABULATIONS_^>a_ composed by a US
writer in recent years; he won a 1993 _^<a_!T4551_HUGO_^>a_ Best Novella Award for"Barnacle Bill the Spacer" (1992). A story sequence -- "The Man who Painted the Dragon Griaule" (1984) plus 2 novellas, _^<i_The Scalehunter's Beautiful Daughter_^>i_
(_^<b_1988_^>b_) and _^<i_The Father of Stones_^>i_ (_^<b_1988_^>b_) -- makes the same use of the devices of high fantasy that the full-length novels made of sf: as material to massage into thematic compost, in the heart of which dark epiphanies
may be viewed and embraced, perhaps at the cost of death. LS has clearly felt comfortable with sf, as he uses it; and the genre has benefited from the publication of a dozen tales which assimilate sf into a wider imaginative world. At the time of
writing, however, there is some sense that two ships may have passed in the night. [JC]_^<n__^<n__^<b_About the author:_^>b_ _^<i_A Checklist of Lucius Shepard_^>i_ (_^<b_1991_^>b_ chap) by Tom Joyce and Christopher P.
(1912- ) US author of an sf novel for older children, _^<i_The Girl who Knew Tomorrow_^>i_ (_^<b_1970_^>b_). _^<i_Why Have the Birds Stopped Singing?_^>i_ (_^<b_1974_^>b_) is fantasy. [JC]_^<n__^<n_
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SHERIDAN, THOMAS
-T-
[s] > Walter _^<a_!T4706_GILLINGS_^>a_._^<n__^<n_
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SHERMAN, HAROLD M(ORROW)
-T-
(1898-1987) US writer. His first work was the _^<b_Tahara_^>b_ sequence -- _^<i_Tahara, Boy King of the Desert_^>i_ (_^<b_1933_^>b_), _^<i_Tahara Among African Tribes_^>i_ (_^<b_1933_^>b_), _^<i_Tahara, Boy Mystic of India_^>i_ (_^<b_1933_^>b_) and
_^<i_Tahara in the Land of Yucatan_^>i_ (_^<b_1933_^>b_) -- in which a young White boy parachutes into the Sahara and becomes king of the Stone Age inhabitants of a _^<a_!T3460_LOST WORLD_^>a_; subsequent novels take him and his companions to
various lands (_^<a_!T290_ATLANTIS_^>a_ is mentioned but not visited), where they solve various mysteries (sometimes by _^<a_!T6697_ESP_^>a_). HMS later became known almost exclusively for work published in _^<a_!T141_AMAZING STORIES_^>a_ in the
1940s, most notably _^<i_The Green Man_^>i_ (_^<b_1946_^>b_) and its sequel, "The Green Man Returns" (1947 _^<i_AMZ_^>i_), both assembled as _^<i_The Green Man and his Return_^>i_ (coll _^<b_1979_^>b_), in which the eponymous _^<a_!T98_ALIEN_^>a_
tries to bring peace to a recalcitrant Earth. [JC]_^<n__^<n_
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SHERMAN, JOEL HENRY
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(1957- ) US writer who began publishing sf with "Medium" for _^<i_AMZ_^>i_ in 1984. His first novel, _^<i_Corpseman_^>i_ (_^<b_1988_^>b_), is an unremarkable tale of a _^<a_!T1017_CYBORG_^>a_ who must cope with false imprisonment. More
interestingly, _^<i_Random Factor_^>i_ (_^<b_1991_^>b_) combines routine sf-thriller components with an _^<a_!T98_ALIEN_^>a_ race whose nature must be deciphered at the interstellar station where various species are in conflict. [JC]_^<n__^<n_
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SHERMAN, MICHAEL and PETER MICHAEL
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[s] > Robert A.W. _^<a_!T3472_LOWNDES_^>a_._^<n__^<n_
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SHERRED, T(HOMAS) L.
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(1915-1985) US writer who worked in Detroit for the auto industry as a technical writer. His production of fiction was small, and _^<i_First Person, Peculiar_^>i_ (coll _^<b_1972_^>b_) contains all the stories for which he is remembered, most
significantly "E for Effort", his first published story (1947 _^<i_ASF_^>i_). It describes, humorously but with a fundamental pessimism, the consequences of a device that permits its users to view past and present events. Its inventor and his
associate are successful at first, but are soon defeated by government forces. Ultimately the existence of the "camera" in the hands of the US military causes a final _^<a_!T5452_WAR_^>a_, as the victim-narrator has predicted. (It is understood
that the story was accepted for _^<i_ASF_^>i_ in John W. _^<a_!T5140_CAMPBELL_^>a_ Jr's absence.) The other tales are "Cue for Quiet" (1953), "Eye for Iniquity" (1953) and "Cure, Guaranteed" (1954); they are clear-cut, forceful and black. The note
accompanying "Bounty" in _^<i_Again, Dangerous Visions_^>i_ (anth _^<b_1972_^>b_) ed Harlan _^<a_!T6641_ELLISON_^>a_ revealed that TLS had suffered a mild stroke before 1971 and was unlikely to write further. However, _^<i_Alien Island_^>i_
(_^<b_1970_^>b_), his first novel, had already been written; its sequel, _^<i_Alien Main_^>i_ (_^<b_1985_^>b_) with Lloyd _^<a_!T592_BIGGLE_^>a_ Jr, was completed by his collaborator. _^<i_Alien Island_^>i_ is a sometimes comic but fundamentally
melancholy tale about _^<a_!T102_ALIENS_^>a_ secretly on Earth and the eventual disaster that results; the sequel -- set two centuries later, with an Earth-descended alien defending the beleaguered planet -- broadens and softens the implications of
the first book, but returned TLS, at the close of his life, to the sf main. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T3540_MACHINES_^>a_; _^<a_!T3001_MONEY_^>a_; _^<a_!T6026_TIME TRAVEL_^>a_.
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SHERRELL, CARL
-T-
(1929-1990) US commercial artist and, later, writer whose novels are essentially fantasies, with the exception of the unremarkable _^<i_The Space Prodigal_^>i_ (_^<b_1981_^>b_). His fantasies are the _^<b_Raum_^>b_ sequence -- _^<i_Raum_^>i_
(_^<b_1977_^>b_) and _^<i_Skraelings_^>i_ (_^<b_1987_^>b_) -- plus _^<i_Arcane_^>i_ (_^<b_1978_^>b_) and _^<i_The Curse_^>i_ (_^<b_1989_^>b_). [JC]_^<n__^<n_
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SHERRIFF, R(OBERT) C(EDRIC)
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(1896-1975) UK playwright, novelist and film-writer, known mainly for his hit play _^<i_Journey's End_^>i_ (_^<b_1929_^>b_), filmed in 1930 by James Whale and in 1975 as _^<i_Aces High_^>i_. His sf novel, _^<i_The Hopkins Manuscript_^>i_
(_^<b_1939_^>b_; rev vt _^<i_The Cataclysm_^>i_ 1958), is a _^<a_!T1243_DISASTER_^>a_ tale set mostly in rural England where the protagonist, Edgar Hopkins (whose manuscript is discovered hundreds of years later by Abyssinian archaeologists),
fussily eulogizes his beloved countryside and people as the dislodged Moon crashes into the Atlantic Ocean, causing tornadoes and tsunamis. Hopkins then records an abortive recovery of civilization before the Moon's mineral wealth tempts the
shattered nations of Europe into terminal conflict and an Asian warlord moves in. The science is derisory, but the elegy is strongly felt. RCS wrote the screenplay for the 1933 film _^<i_The_^<a_!T3809_INVISIBLE MAN_^>a__^>i_ . [JC]_^<n__^<n_
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SHERWOOD, MARTIN (ANTHONY)
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(1942- ) UK writer with a PhD in organic chemistry; editor of _^<i_Chemistry & Industry_^>i_. His sf novels are _^<i_Survival_^>i_ (_^<b_1975_^>b_) and _^<i_Maxwell's Demon_^>i_ (_^<b_1976_^>b_); in the latter, _^<a_!T102_ALIENS_^>a_ invade
humans, thus putting them to sleep. [JC]_^<n__^<n_
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SHETTERLY, WILL
-T-
[r] > Emma _^<a_!T5071_BULL_^>a_._^<n__^<n_
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SHEW, ROWLAND
-T-
> Michael F. _^<a_!T1541_FLYNN_^>a_._^<n__^<n_
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SHIBANO, TAKUMI
-T-
(1926- ) Japanese writer, translator and critic. TS began writing sf as Rei Kozumi while a high-school mathematics teacher -- a job he quit in 1977 to become a full-time translator; he published his first short story in 1951. Later, 1969-75, he
published 3 sf juveniles, including _^<i_Hokkyoku-Shi No Hanran_^>i_ ["Revolt in North-Pole City"] (_^<b_1977_^>b_). But his influence on Japanese sf was more in his work as editor and publisher of the widely circulated _^<i_Uchujin_^>i_
(1957-current), the first Japanese _^<a_!T1428_FANZINE_^>a_, in which many stories by later-prominent sf writers -- such as Sakyo _^<a_!T4114_KOMATSU_^>a_ -- were published; it reached #190 in 1991 and continues to introduce new writers. One of the
most prominent figures in the Japanese sf community, TS has received many sf awards; the "Takumi Shibano Award", given since 1982 to people who have performed generous work in fandom, was named after him. As a translator he has specialized in
_^<a_!T4288_HARD SF_^>a_: most of Larry _^<a_!T3223_NIVEN_^>a_'s books as well as works by James P. _^<a_!T4464_HOGAN_^>a_, Poul _^<a_!T169_ANDERSON_^>a_, Hal _^<a_!T749_CLEMENT_^>a_ and many more -- about 50 books in all. TS has also ed 2
anthologies of stories from _^<i_Uchujin_^>i_, the first in 3 vols (1977) and the second in 2 (1987). He wrote the entry on _^<a_!T3872_JAPAN_^>a_ in this encyclopedia. [PN]_^<n__^<n_
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SHIEL, M(ATTHEW) P(HIPPS)
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(1865-1947) UK writer, born Shiell in Montserrat in the British West Indies; in the UK from his late teens. He began writing fiction in the late 1880s and continued intermittently until his death, although his significant fantastic fiction was
published 1896-1901. MPS was intensely concerned with style _^<i_per se_^>i_, incorporating poetic techniques into narrative prose; he also used sensational adventure fiction as a vehicle for idiosyncratic ideas about _^<a_!T6577_ECONOMICS_^>a_,
science and _^<a_!T2551_RELIGION_^>a_. As a result, his work is not to every reader's taste, although it has been praised highly by such critics and fellow writers as Rebecca West (1892-1983), Dashiell Hammett (1894-1961) and Dorothy L. Sayers
(1893-1957)._^<n__^<n_Since MPS matured in England during the _^<i_fin de siecle_^>i_, it is not surprising that his early work shows highly romantic subject matter and an obsessive concern with decorated prose, his models being mostly Edgar Allan
_^<a_!T1933_POE_^>a_ and mid-19th-century French writers. Early work includes extremely baroque detective short stories, in _^<i_Prince Zaleski_^>i_ (coll _^<b_1895_^>b_), and horror fiction collected in _^<i_Shapes in the Fire_^>i_ (coll
_^<b_1896_^>b_) and _^<i_The Pale Ape_^>i_ (coll _^<b_1911_^>b_). Although these stories, written in a lapidary style, were on the edge of being old-fashioned when they appeared, they are among the very best examples of their sort._^<n__^<n_After
his noncommercial early work, MPS shifted to serials for the popular press. Future-_^<a_!T5452_WAR_^>a_ novels include _^<i_The Yellow Danger_^>i_ (1889 _^<i_Short Stories_^>i_ as "The Empress of the Earth"; _^<b_1898_^>b_) and _^<i_The Dragon_^>i_
(1913 _^<i_The Red Magazine_^>i_ as "To Arms!"; _^<b_1913_^>b_). Both novels, which contain sf elements (especially _^<i_The Dragon_^>i_), are adventure stories in which the Yellow Peril -- i.e., Chinese hordes -- overwhelms the world by sheer
quantity of manpower. Both, however, depart from the stereotyped Yellow Peril story in seeing the quarrel between Orient and Occident as ultimately a spiritual matter, rather than economic, as Chinese and UK _^<a_!T5830_SUPERMEN_^>a_ strive for
domination. Both novels are developed along similar lines, basic ideas being: the horrors of war (depicted on such a colossal scale and with such sangfroid that some have seen MPS's attitude as callous approval); a strange mixing of Nietzschean and
Tolstoyan theories of history, in which supermen make history but are generated by their culture; a Spencerian survival of the fittest on a racial level; and thinly veiled suggestions of paranoia. Both books, aimed at a popular market, are sparsely
written with no attempt at stylistic decoration. A third war novel, _^<i_The Yellow Wave_^>i_ (_^<b_1905_^>b_), is a non-fantastic work based on the Russo-Japanese War (1904-5)._^<n__^<n_MPS's finest work is generally conceded to have been _^<i_The
Purple Cloud_^>i_ (_^<b_1901_^>b_), the story of the last man left on Earth after hydrocyanic acid gas liberated by volcanism has killed off mammalian life. The doings of the protagonist, driven mad by solitude, are brilliantly and vividly
imagined. Behind the story, however, lies a mythic cosmic struggle between opposing forces that use humans as tools. _^<i_The Lord of the Sea_^>i_ (_^<b_1901_^>b_; savagely cut 1924 US), almost as fine, is strongly based on _^<i_Le Comte de
Monte-Cristo_^>i_ (_^<b_1844-5_^>b_; trans anon as _^<i_The Count of Monte-Cristo_^>i_ _^<b_1846_^>b_ UK) by Alexandre Dumas (1802-1870). It develops a network of mid-19th-century sensational motifs -- incredible coincidences, swapped babies,
hidden identities, chance-found incredible wealth, documents in a trunk, festering revenges, elaborate prison escapes, frustrated romance, Napoleonic megalomania -- yet, though written to an aesthetic outdated for its time, it embodies that
aesthetic with enormous elan and vitality. The essence of the book is a concept adapted from the work of the popular US economist Henry George (1839-1897): if certain individuals can hog the land, others can hog the sea. Building on this insight,
one Hogarth, using the wealth plucked from a diamond-laden meteorite, builds sea forts and claims ownership of the oceans. _^<i_The Lord of the Sea_^>i_ has been criticized as antisemitic, since it depicts a UK overrun by Jewish refugees from
Continental pogroms, including unpleasant caricatures reminiscent of the stage Jew of earlier drama; other critics, however, have rejected the accusation._^<n__^<n_MPS's other fantastic fiction includes: _^<i_The Last Miracle_^>i_ (_^<b_1906_^>b_),
about a plot to discredit Christianity with fake miraculous visions created by gigantic hologram-like devices; "The Place of Pain Day" (1914 _^<i_The Red Magazine_^>i_), about a natural water lens that shows horrors on the Moon, and "The Future
Day" (1928 _^<i_London Daily Herald_^>i_), about life and love in an aeronautic culture, which both appeared in _^<i_The Invisible Voices_^>i_ (coll _^<b_1935_^>b_); and _^<i_This Above All_^>i_ (_^<b_1933_^>b_; vt _^<i_Above All Else_^>i_ 1943),
about a trio of immortals made so by Jesus, who is alive in Tibet. MPS also occasionally ghost-wrote for Louis _^<a_!T6072_TRACY_^>a_; the sf novel _^<i_An American Emperor_^>i_ (_^<b_1897_^>b_), as by Tracy, is in large part by MPS. His last sf
work, _^<i_The Young Men are Coming_^>i_ (_^<b_1937_^>b_), deals partly with contemporary social upheaval and partly with an interstellar visit. The multiple-sex _^<a_!T102_ALIENS_^>a_ are far superior to humanity and possess an incredible
superscience. The sf element is much more sophisticated and imaginative than contemporary _^<a_!T4659_GENRE SF_^>a_, but is buried in a welter of eccentric social philosophy, and told in the decorated style of its author's youth. The result is at
times almost unreadable._^<n__^<n_With MPS is associated the "Kingdom of Redonda". His sea-trader father (MPS claimed) laid claim to the small uninhabited _^<a_!T3823_ISLAND_^>a_ of Redonda, near Antigua, and in a ceremony there crowned young
Matthew king. On MPS's death the "crown" passed to John _^<a_!T4639_GAWSWORTH_^>a_, who awarded titles of nobility to persons associated with Shiel, including Sayers, West, Edward _^<a_!T2123_SHANKS_^>a_ and Dylan Thomas (1914-1953). On Gawsworth's
death the title became clouded._^<n__^<n_MPS has received some attention outside fantastic fiction as a writer of partial Black ancestry, and as perhaps the first UK novelist of Caribbean origin. [EFB]_^<n__^<n__^<b_Other works:_^>b_ _^<i_The Best
Short Stories of M.P. Shiel_^>i_ (coll _^<b_1948_^>b_) ed John Gawsworth; _^<i_Xelucha and Others_^>i_ (coll _^<b_1975_^>b_ US); _^<i_Prince Zaleski and Cummings King Monk_^>i_ (coll _^<b_1977_^>b_ US); _^<i_Xelucha and the Primate of the Rose_^>i_
(coll _^<b_1994_^>b_ chap)._^<b_About the author:_^>b_ _^<i_The Works of M.P. Shiel: A Study in Bibliography_^>i_ (_^<b_1948_^>b_), rev and much exp as _^<i_The Works of M.P. Shiel -- Updated_^>i_ (in 2 vols _^<b_1980_^>b_) by A. Reynolds Morse,
along with _^<i_Shiel in Diverse Hands_^>i_ (anth _^<b_1984_^>b_), also ed Morse; "The World, the Devil, and M.P. Shiel" by Sam Moskowitz in _^<i_Explorers of the Infinite_^>i_ (coll _^<b_1963_^>b_); "The Politics of Evolution: Philosophical Themes
in the Speculative Fiction of M.P. Shiel" in _^<i_Foundation_^>i_ #27 (1983) by Brian M. _^<a_!T2385_STABLEFORD_^>a_._^<b_See also:_^>b_ _^<a_!T6661_END OF THE WORLD_^>a_; _^<a_!T3744_MEDICINE_^>a_; _^<a_!T2918_MESSIAHS_^>a_;
(1950- ) US writer who began publishing sf with "Tinker's Damn" for _^<i_Galileo_^>i_ in 1977, and who wrote a substantial number of tales before beginning to assemble them in _^<i_Nine Hard Questions about the Nature of the Universe_^>i_ (coll
_^<b_1990_^>b_) and _^<i_The Edges of Things_^>i_ (coll _^<b_1991_^>b_). His work in short form has been various, tending at its best to a clear-edged intensity which gives his venues, whether or not sf, a glow of seriousness; at its less
impressive, in earlier stories, there is a sense of overindustrious journeyman plundering of recent sf writers for models. But increasingly an engaged and sophisticated mind can be seen extracting hard kernels of import out of those models. LS's
first novel, _^<i_Frontera_^>i_ (_^<b_1984_^>b_), in which a team is sent to _^<a_!T3677_MARS_^>a_ by a large corporation to investigate an abandoned colony, ostensibly obeys the sf-adventure rules governing tales of that sort, but insinuates
throughout a bleaker, denser view of humanity's life in space. _^<i_Deserted Cities of the Heart_^>i_ (_^<b_1988_^>b_), set in a _^<a_!T3599_MAGIC-REALIST_^>a_ Mexico, features a complexity of plots, involving imagined _^<a_!T6026_TIME TRAVEL_^>a_
back to the age of the Mayas, heated sexual and political intertwinings, and moments of not entirely convinced transcendence; but the style of the tale is shining and faceted, and its various protagonists are vividly realized. _^<i_Slam_^>i_
(_^<b_1990_^>b_), a non-sf tale about a reformed tax-evader paroled from prison (or "slam"), competently and copiously evokes a sense of Texas not dissimilar to that imparted by fellow Texans like Neal _^<a_!T437_BARRETT_^>a_ Jr and Howard
_^<a_!T5425_WALDROP_^>a_; the ambitious _^<i_Glimpses_^>i_ (_^<b_1993_^>b_) is fantasy. It is sf's loss that LS's career seems to be moving swiftly away from the genre. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Twilight Time_^>i_ (1984
(1908-1990) US writer whose first novel, _^<i_Slow Dawning_^>i_ (_^<b_1946_^>b_) as by Jane Howes, was not sf or fantasy. She began publishing sf with "In Hiding" (1948 _^<i_ASF_^>i_), the first of several stories assembled as _^<i_Children of the
Atom_^>i_ (1948-50 _^<i_ASF_^>i_; fixup _^<b_1953_^>b_). This concerns a number of radiation-engendered child geniuses who initially hide their abilities from the world, then reveal themselves, taking the risk that in trying to help normal humans
they may merely end as martyrs. The story is sensitively told, avoiding most of the _^<a_!T752_CLICHES_^>a_ of pulp-sf _^<a_!T5830_SUPERMAN_^>a_ stories. WHS remained active as a story writer until the 1970s. [JC]_^<n__^<n__^<b_See also:_^>b_
_^<a_!T200_ANTI-INTELLECTUALISM IN SF_^>a_; _^<a_!T708_CHILDREN IN SF_^>a_; _^<a_!T3787_INTELLIGENCE_^>a_; _^<a_!T3120_MUTANTS_^>a_; _^<a_!T5684_WOMEN SF WRITERS_^>a_.
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SHIRLEY, JOHN (PATRICK)
-T-
(1954- ) US writer who began publishing sf with "The Word 'Random,' Deliberately Repeated" for _^<i_Clarion_^>i_ (anth _^<b_1973_^>b_) ed Robin Scott _^<a_!T5645_WILSON_^>a_, and who has performed as lead singer in rock bands, including the punk
band Sado Nation. This background heavily influenced his first novel, the _^<a_!T1370_DYSTOPIAN_^>a_ _^<i_Transmaniacon_^>i_ (_^<b_1979_^>b_), in which the typical JS protagonist appears: punk, anarchic, exorbitant, his mind evacuated of normal
constraints, death-loving. Similar characters appear in _^<i_Three-Ring Psychus_^>i_ (_^<b_1980_^>b_), which describes mass levitation (> _^<a_!T2021_PSI POWERS_^>a_) with anarchist rapture, and _^<i_City Come A-Walkin'_^>i_ (_^<b_1980_^>b_), set
in a surrealistically harsh inner city. After writing some horror novels -- to which genre his inclinations have constantly urged him, for JS is not at heart an sf writer -- and most titles in the _^<b_Traveler_^>b_ sequence as by D.B.
_^<a_!T1328_DRUMM_^>a_ (> Ed _^<a_!T3136_NAHA_^>a_), he created his finest sf work in the _^<a_!T1015_CYBERPUNK_^>a_-coloured _^<b_Song Called Youth_^>b_ trilogy -- _^<i_Eclipse_^>i_ (_^<b_1985_^>b_), _^<i_Eclipse Penumbra_^>i_ (_^<b_1988_^>b_) and
_^<i_Eclipse Corona_^>i_ (_^<b_1990_^>b_) -- set after a realistically conceived WWIII and describing a technologically deft resistance movement which fights a neofascist regime to a standstill, ultimately defeating it. In another late novel,
_^<i_A Splendid Chaos_^>i_ (_^<b_1988_^>b_), JS returns to a more surreal background, this time a hazardous planet where a small group of humans must compete for survival against unpredictable _^<a_!T102_ALIENS_^>a_. But the main challenge to
"normal" humans comes from some of their own species, who have been remoulded in the image of their darkest fantasies -- a horror device typical of the author, whose best effects have always come from sparking the gap between normality and horrific
madness._^<n__^<n_Though his short work sometimes suffers burnout from excessive intensity, the stories assembled in _^<i_Heatseeker_^>i_ (coll _^<b_1988_^>b_) effectively demonstrate JS's solitudinous strengths, the flare of his anger.
[JC/CW]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Dracula in Love_^>i_ (_^<b_1979_^>b_); _^<i_The Brigade_^>i_ (_^<b_1982_^>b_); _^<i_Cellars_^>i_ (_^<b_1982_^>b_); _^<i_Kamus of Kadizhar: The Black Hole of Carcosa: A Tale of the Darkworld
Detective_^>i_ * (_^<b_1988_^>b_), tied to J. Michael _^<a_!T2527_REAVES_^>a_'s _^<i_Darkworld Detective_^>i_ (coll of linked stories _^<b_1982_^>b_); _^<i_In Darkness Waiting_^>i_ (_^<b_1988_^>b_); _^<i_Wetbones_^>i_ (_^<b_1992_^>b_); _^<i_New
[s] > A. Bertram _^<a_!T5232_CHANDLER_^>a_._^<n__^<n_
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SHORT CIRCUIT
-T-
Film (1986). Turman-Foster/Tri-Star. Dir John _^<a_!T350_BADHAM_^>a_, starring Ally Sheedy, Steve Guttenberg, Fisher Stevens, Brian McNamara. Screenplay S.S. Wilson, Brent Maddock. 98 mins. Colour._^<n__^<n_Military _^<a_!T2646_ROBOT_^>a_ Number
Five, a prototype killing machine, is struck by lightning which endows it with sentience. It escapes from evil Nova Robotics, finding refuge with nice animal-lover Stephanie (Sheedy), who assumes it to be an _^<a_!T98_ALIEN_^>a_. It educates itself
and is winsome. When she finds it is a robot she turns it in, but has second thoughts and helps save it from deactivation. _^<i_SC_^>i_'s assumption that, with a bit of divine aid, even a weapon will turn to peace and love is pleasantly silly.
_^<i_SC_^>i_ is amusing but formulaic, and the robot is nauseatingly cute; the film is much weaker than Badham's _^<a_!T671_BLUE THUNDER_^>a_ and _^<a_!T5457_WARGAMES_^>a_. The displeasing sequel is _^<i_Short Circuit 2_^>i_ (_^<b_1988_^>b_), dir
Kenneth Johnson, who normally directs tv (_^<i_The_^<a_!T613_BIONIC WOMAN_^>a__^>i_ , _^<i_The_^<a_!T3775_INCREDIBLE HULK_^>a__^>i_ ), and stars Fisher Stevens again as the Indian co-inventor of the robot, played in an offensively patronising Peter
Sellers Indian accent. This is a caper movie in which Number Five (now Johnny Five) is duped into helping criminals out with a jewel robbery. [PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T726_CINEMA_^>a_.
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SHORT CIRCUIT 2
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> _^<a_!T2194_SHORT CIRCUIT_^>a_._^<n__^<n_
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SHORT STORIES INC.
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> _^<a_!T5512_WEIRD TALES_^>a_._^<n__^<n_
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SHRINKING MEN
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> _^<a_!T4823_GREAT AND SMALL_^>a_._^<n__^<n_
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SHUPP, MIKE
-T-
(1946- ) US aerospace engineer and writer known for his _^<b_Destiny Makers_^>b_ sequence-_^<i_With Fate Conspire_^>i_ (_^<b_1985_^>b_), _^<i_Morning of Creation_^>i_ (_^<b_1985_^>b_), _^<i_Soldier of Another Fortune_^>i_ (_^<b_1988_^>b_),
_^<i_Death's Gray Land_^>i_ (_^<b_1991_^>b_) and _^<i_The Last Reckoning_^>i_ (_^<b_1991_^>b_) -- featuring the exploits of a Vietnam veteran transported by _^<a_!T6026_TIME TRAVEL_^>a_ into a future where telepaths, being despised, are trying to
change history. Time wars of the usual complexity ensue. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T6697_ESP_^>a_.
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SHUSTER, JOE
-T-
[r] > Jerry _^<a_!T2204_SIEGEL_^>a_; _^<a_!T5830_SUPERMAN_^>a_._^<n__^<n_
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SHUTE, NEVIL
-T-
Working name of UK writer Nevil Shute Norway (1899-1960), who for many years combined writing with work as an aeronautical engineer, specializing in Zeppelins; after moving for health reasons in 1950 to Australia -- where he set much of his later
fiction -- he wrote full-time. Some of his earlier fiction, by taking advantage of his intense and very up-to-date knowledge of aeronautics, verges very closely on sf, and _^<i_What Happened to the Corbetts_^>i_ (_^<b_1939_^>b_; vt _^<i_Ordeal_^>i_
1939 US) is a genuine future-_^<a_!T5452_WAR_^>a_ tale. _^<i_An Old Captivity_^>i_ (_^<b_1940_^>b_) is the tale of a man who dreams in a coma (accurately, it proves, and on the basis of data unknown at the time of the dream) of Vikings in Greenland
and of their life there; a later screenplay to an unmade film, _^<i_Vinland the Good_^>i_ (_^<b_1946_^>b_), treats similar material. _^<i_No Highway_^>i_ (_^<b_1948_^>b_) deals with metal fatigue as the cause of airplane disasters and was published
just before the first of the Comet jet crashes that occurred for exactly that reason; the protagonist's daughter seems, as well, to have _^<a_!T6697_ESP_^>a_ powers. It was filmed as _^<i_No Highway in the Sky_^>i_ (1951)._^<n__^<n_NS's two
Australian sf novels remain his best known. _^<i_In the Wet_^>i_ (_^<b_1953_^>b_), the journal of an Australian outback priest who copies down from a dying man a _^<a_!T5303_UTOPIAN_^>a_ vision (or memory) of the British Empire _^<i_c_^>i_AD2000,
anticipates a time when Australia has become the leader of the Commonwealth, royalty has survived handsomely, socialism has faded away, and the Empire is secure. Much closer to the bone was the famous _^<i_On the Beach_^>i_ (_^<b_1957_^>b_), filmed
as _^<a_!T1707_ON THE BEACH_^>a_ (1959), a near-future _^<a_!T1243_DISASTER_^>a_ tale in which nuclear war has eliminated all life in the northern hemisphere, leaving Australia to await the inevitable spread of radioactive contamination -- delayed
by global wind-patterns -- that will end human life on Earth. NS was an excellent popular novelist; his stories demonstrate a seamless narrative skill, and his protagonists are, unfailingly, decent men. [JC]_^<n__^<n__^<b_See also:_^>b_
_^<a_!T6661_END OF THE WORLD_^>a_; _^<a_!T1979_PREDICTION_^>a_.
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SHUTTLE, PENELOPE (DIANE)
-T-
(1947- ) UK poet and novelist, married to Peter _^<a_!T2532_REDGROVE_^>a_ (_^<i_whom see for their sf collaborations_^>i_). Her only solo novel of genre interest, _^<i_The Mirror of the Giant_^>i_ (_^<b_1980_^>b_), combines
_^<a_!T1461_FEMINIST_^>a_ self-analysis with elements of the traditional ghost story. [JC]_^<n__^<n_
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SHWARTZ, SUSAN M(ARTHA)
-T-
(1949- ) US writer who has been much more clearly associated with fantasy than with sf, beginning with her first story, "The Fires of Her Vengeance" in _^<i_The Keeper's Price_^>i_ (anth _^<b_1979_^>b_) ed Marion Zimmer _^<a_!T4968_BRADLEY_^>a_,
and continuing with extended works like the impressive _^<b_Heirs to Byzantium_^>b_ _^<a_!T131_ALTERNATE-WORLD_^>a_ fantasy trilogy: _^<i_Byzantium's Crown_^>i_ (_^<b_1987_^>b_), _^<i_The Woman of Flowers_^>i_ (_^<b_1987_^>b_) and
_^<i_Queensblade_^>i_ (_^<b_1988_^>b_). Her 2 sf novels are _^<i_White Wing_^>i_ (_^<b_1985_^>b_) with S.N. _^<a_!T3374_LEWITT_^>a_, writing together as Gordon Kendall, which is a vigorous sf adventure, and _^<i_Heritage of Flight_^>i_ (fixup
_^<b_1989_^>b_), an adventure set on an alien planet. Though sf has not attracted her full attention, a caring literacy attractively infuses both tales; and _^<i_Habitats_^>i_ (anth _^<b_1984_^>b_) contains several interesting sf tales original to
that volume. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Silk Roads and Shadows_^>i_ (_^<b_1988_^>b_); _^<i_Imperial Lady_^>i_ (_^<b_1989_^>b_) with Andre _^<a_!T3243_NORTON_^>a_; _^<i_The Grail of Hearts_^>i_ (_^<b_1992_^>b_); _^<i_Empire of the
Eagle_^>i_ (_^<b_1993_^>b_) with Norton._^<b_As Editor:_^>b_ _^<i_Hecate's Cauldron_^>i_ (anth _^<b_1982_^>b_); _^<i_Moonsinger's Friends_^>i_ (anth _^<b_1985_^>b_), in honour of Norton; _^<i_Arabesques: More Tales of the Arabian Nights_^>i_ (anth
_^<b_1988_^>b_) and its sequel, _^<i_Arabesques II_^>i_ (anth _^<b_1989_^>b_).
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SIBSON, FRANCIS H(ENRY)
-T-
(1899-? ) South African writer, prolific during the 1930s; most of his work, which was technically proficient, had something to do with airplanes or the sea and ships. _^<i_The Survivors_^>i_ (_^<b_1932_^>b_) and its sequel _^<i_The Stolen
Continent_^>i_ (_^<b_1934_^>b_) describe first the violent creation of a new island in the Sargasso Sea (its rapid surfacing beaches an ocean liner), and second the international conflicts surrounding claims to the new territory, named New Canada.
_^<i_Unthinkable_^>i_ (_^<b_1933_^>b_) depicts an arduous Antarctic expedition whose members find, on their return north, that civilization has been destroyed by a final _^<a_!T5452_WAR_^>a_ involving gas and other weapons. [JC]_^<n__^<n_
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SIEGEL, JERRY
-T-
(1914- ) US writer and sf fan who founded and issued with the illustrator Joe Shuster (1914-1992) the _^<a_!T1428_FANZINE_^>a_ _^<i_Science Fiction_^>i_ in October 1932, one of the earliest occasions on which the term was used in a title; it ran
for 5 issues, publishing stories by Raymond A. _^<a_!T1774_PALMER_^>a_ and others. In the same year he published a story, _^<i_Guest of the Earth_^>i_ (_^<b_1932_^>b_ chap). Also with Shuster he created the comic _^<a_!T5830_SUPERMAN_^>a_, which
first appeared in 1938, after they had spent years trying to sell the idea to publishers. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T820_COMICS_^>a_; _^<a_!T1115_DC COMICS_^>a_; _^<a_!T4593_ILLUSTRATION_^>a_.
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SIEGEL, MARTIN
-T-
(1941-1972) US writer who died young of leukemia. His sf novels are _^<i_Agent of Entropy_^>i_ (_^<b_1969_^>b_) and _^<i_The Unreal People_^>i_ (_^<b_1973_^>b_). The first combines _^<a_!T2812_SATIRE_^>a_ and _^<a_!T2342_SPACE OPERA_^>a_ in a heated
tale; the second is a post-holocaust _^<a_!T1932_POCKET-UNIVERSE_^>a_ tale in which Earth's surface is uninhabitable and people live frenetically and desperately underground. [JC]_^<n__^<n_
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SIENKIEWICZ, BILL
-T-
(1958- ) US _^<a_!T820_COMICS_^>a_ artist. His early work was heavily influenced by Neal _^<a_!T38_ADAMS_^>a_, although his fine pen line was more fluid and expressive, and his brushwork freer. His work matured, becoming more painterly and
stylish, as he graduated to _^<a_!T4809_GRAPHIC NOVELS_^>a_. BS appears now to have deserted narrative art for advertising, record-cover design and more upmarket illustration. He has won many awards, including the 1987 Jack Kirby Award for Best
Artist and the 1986 Yellow Kid (Italy)._^<n__^<n_He attended the Newark School of Fine and Industrial Art, and began illustrating comic books in 1978 with a story in _^<i_The Hulk_^>i_ magazine featuring _^<b_Moon Knight_^>b_, a character who gave
the title to a comic-book series which BS drew 1980-84, developing a dramatic narrative technique along with his energetic and increasingly sophisticated drawing. He drew and coloured an adaptation of the 1984 film _^<a_!T1348_DUNE_^>a_
(_^<b_Marvel Super Special_^>b_ #36, 1984), and contributed a number of exciting issues to _^<a_!T3694_MARVEL COMICS_^>a_'s _^<b_New Mutants_^>b_ title 1984-6. His first fully painted strip, which appeared in the last issue of _^<i_Epic
Illustrated_^>i_ (1986), was "Slow Down Sir"; he went on to develop this aspect of his work further with the graphic novel _^<i_Electra Assassin_^>i_ (1986-7; graph _^<b_1987_^>b_). His _^<i_magnum opus_^>i_ was _^<i_Stray Toasters_^>i_ (graph
_^<b_1988_^>b_), a 4-part graphic novel inspired by the film-maker David Lynch (1945- ). Since then his comic-book work has been limited to the first 2 episodes of Alan _^<a_!T3031_MOORE_^>a_'s _^<b_Big Numbers_^>b_ (1990).
Working name of UK writer and radio producer Lancelot de Giberne Sieveking (1896-1972) on his later work, though his first books were signed L. de Giberne Sieveking. He was with the BBC 1924-56; in 1955-6 he edited the publisher Ward Lock's sf list;
his literary memoir, _^<i_The Eye of the Beholder_^>i_ (_^<b_1957_^>b_), included portraits of figures of sf interest such as H.G. _^<a_!T5528_WELLS_^>a_. He began publishing sf with "The Prophetic Camera" for _^<i_The English Review_^>i_ in 1922,
and his first novel _^<i_Stampede!_^>i_ (_^<b_1924_^>b_)-dedicated to, illustrated by, and in its side-of-the-mouth fantasticality derivative of G.K. _^<a_!T5261_CHESTERTON_^>a_-featured a Thought Machine used by anarchists to convey telepathic
commands. In _^<i_The Ultimate Island: A Strange Adventure_^>i_ (_^<b_1925_^>b_) _^<a_!T290_ATLANTIS_^>a_ has survived in the midst of concealing fog and whirlpools, into which maelstrom ships have for centuries been lured. LS's best known sf work,
_^<i_A Private Volcano_^>i_ (_^<b_1955_^>b_), depicts the effects of a catalyst (thrown up from a volcano) which turns all dross to gold. After outgrowing his borrowed manners, LS became a literate writer, though sometimes uneasy in his handling of
(1954- ) US editor and writer, active in the former capacity with Putnam/Berkley books 1977-81, with New American Library 1986-92, with Warner Books in 1992, and with Harper Collins from 1993. Throughout his career he has been noted for a swift
and canny knowledgeability about the sf world. With Victoria Schochet he ed the first 4 vols of the _^<b_Berkley Showcase: New Writings in Science Fiction and Fantasy_^>b_ anthology series (#1 and #2 _^<b_1980_^>b_; #3 and #4 _^<b_1981_^>b_) (>
_^<i_The_^<a_!T551_BERKLEY SHOWCASE_^>a__^>i_ _^<i_for further details_^>i_). He has also ed 2 collections: Fritz _^<a_!T3322_LEIBER_^>a_'s _^<i_The Change War_^>i_ (coll _^<b_1978_^>b_) and Avram _^<a_!T1082_DAVIDSON_^>a_'s _^<i_Collected
Fantasies_^>i_ (coll _^<b_1982_^>b_). His own writing has been, by comparison, peripheral, consisting of an anonymous sf spoof, _^<i_No Frills Science Fiction_^>i_ (_^<b_1981_^>b_ chap), and _^<i_Rogers' Rangers_^>i_ * (_^<b_1983_^>b_), a
_^<a_!T5063_BUCK ROGERS IN THE 25TH CENTURY_^>a_ tie. [JC]_^<n__^<n_
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SILENT, WILLIAM T.
-T-
Pseudonym of US writer John William Jackson Jr (1945- ), author of the sf adventure novel _^<i_Lord of the Red Sun_^>i_ (_^<b_1972_^>b_). [JC]_^<n__^<n_
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SILENT RUNNING
-T-
Film (1971). Universal. Dir Douglas Trumbull, starring Bruce Dern. Screenplay Deric Washburn, Mike Cimino, Steve Bocho, from a story by Trumbull. 90 mins. Colour._^<n__^<n_All plant life on Earth has been destroyed in the aftermath of a nuclear
_^<a_!T4482_HOLOCAUST_^>a_; only vast orbiting spaceships like _^<i_Valley Forge_^>i_, with its external hydroponic domes, still contain trees and flowers, the hope being that these may one day be used to re-seed the planet; but then their
destruction is ordered by the totalitarian Earth government. _^<i_SR_^>i_'s premise is obviously fatuous -- it would be cheaper to leave the spaceships in place. Bruce Dern plays, in penitent's robes, the only true conservationist left alive, a
low-grade gardener aboard the _^<i_Valley Forge_^>i_. When the order comes through to dump the vegetation he kills his companions (with the film's tacit approval) and sets off into deep space with the plants (apparently forgetting they have
previously needed sunlight to live). He is accompanied only by three small, cute, box-shaped _^<a_!T2646_ROBOTS_^>a_ (in fact operated by amputees). _^<i_SR_^>i_ is occasionally spectacular -- Trumbull was one of the special-effects supervisors on
_^<a_!T6146_2001: A SPACE ODYSSEY_^>a_ (1968), and _^<i_SR_^>i_'s scenes of vast spaceships floating through space compare well with those in Stanley _^<a_!T4135_KUBRICK_^>a_'s epic -- but the film is morally dubious, scientifically unsound and
sociologically implausible. [PN/JB]_^<n__^<n_
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SILKE, JAMES R.
-T-
[r] > Frank _^<a_!T1612_FRAZETTA_^>a_._^<n__^<n_
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SILLITOE, ALAN
-T-
(1928- ) UK writer best known for novels like _^<i_Saturday Night and Sunday Morning_^>i_ (_^<b_1958_^>b_). _^<i_The General_^>i_ (_^<b_1960_^>b_) sets abstract armies clashing on an abstract ground, perhaps not Terran. The anti-authoritarian
_^<a_!T2812_SATIRE_^>a_, _^<i_Travels in Nihilon_^>i_ (_^<b_1971_^>b_), initially reads as a _^<a_!T1370_DYSTOPIA_^>a_, for the 5 travellers to that country despise its government and work to overthrow it; but, by story's close, Nihilism as a
political creed seems to gain the author's guarded sanction. _^<i_Snow on the North Side of Lucifer_^>i_ (_^<b_1979_^>b_) is a poetry sequence about conflicts between God and Satan. [JC]_^<n__^<n_
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SILVA, JOSEPH
-T-
> Ron _^<a_!T4785_GOULART_^>a_._^<n__^<n_
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SHIPPEY, TOM
-T-
Working name of UK academic and editor Thomas A. Shippey (1943- ), Professor of English Language and Medieval Literature at the University of Leeds. In essays and reviews, which he has been publishing since the mid-1970s, he takes a clear-headed
orthodox view of the central figures of sf and fantasy; _^<i_Fictional Space: Essays on Contemporary Science Fiction_^>i_ (coll _^<b_1991_^>b_) assembles some of this work. _^<i_The Road to Middle-Earth_^>i_ (_^<b_1982_^>b_) is a study of J.R.R.
_^<a_!T6041_TOLKIEN_^>a_. TS also ed _^<i_The Oxford Book of Science Fiction Stories_^>i_ (anth _^<b_1992_^>b_), in the Introduction to which he espouses James Bradley's notion that sf is a literature whose central image is "the creator of
artefacts" or _^<i_Homo "fabril"_^>i_. TS cowrote the theme entries on _^<a_!T3598_MAGIC_^>a_ and _^<a_!T4442_HISTORY IN SF_^>a_ in this encyclopedia. [JC]_^<n__^<n_
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SILVERBERG, ROBERT
-T-
(1935- ) Extremely prolific US writer, author of more than 100 sf books, more than 60 nonfiction books and a great deal of other work, including an estimated 100-150 erotic novels as by Don Elliott and other undisclosed pseudonyms; he has also
edited or co-edited more than 60 anthologies. He began to write while studying for his BA at Columbia University; his first published story was "Gorgon Planet" (1954). His first novel, a juvenile, was _^<i_Revolt on Alpha C_^>i_ (_^<b_1955_^>b_).
He began to publish prolifically in 1956, winning a _^<a_!T4551_HUGO_^>a_ in that year as Most Promising New Author, and continued to specialize in sf for 3 years. He worked for the _^<a_!T6269_ZIFF-DAVIS_^>a_ stable, producing wordage at
assembly-line speed for _^<a_!T141_AMAZING STORIES_^>a_ and _^<a_!T1394_FANTASTIC_^>a_, and was a prolific contributor to such magazines as _^<a_!T2046_SCIENCE FICTION ADVENTURES_^>a_ and _^<a_!T5845_SUPER-SCIENCE FICTION_^>a_, using many different
names. For part of this time Randall _^<a_!T4623_GARRETT_^>a_ was a partner in this "fiction factory"; they wrote in collaboration as Robert Randall, Gordon Aghill and Ralph Burke (RS also used the Burke pseudonym on solo work). The most important
pseudonyms which RS used exclusively were Calvin M. Knox and David Osborne; he also wrote sf as T.D. Bethlen, Dirk Clinton, Dan Elliot, Ivar Jorgenson (a variant spelling of the floating pseudonym Ivar _^<a_!T3938_JORGENSEN_^>a_), Dan Malcolm,
Webber Martin, Alex Merriman, George Osborne, Eric Rodman, Hall Thornton and Richard F. Watson. He appeared under such Ziff-Davis house names as Robert _^<a_!T244_ARNETTE_^>a_, Alexander _^<a_!T639_BLADE_^>a_, E.K. _^<a_!T3874_JARVIS_^>a_, Warren
_^<a_!T3990_KASTEL_^>a_ and S.M. _^<a_!T5934_TENNESHAW_^>a_; Blade and Tenneshaw were used also on collaborations with Garrett, as were Richard _^<a_!T4853_GREER_^>a_, Clyde _^<a_!T2983_MITCHELL_^>a_, Leonard G. _^<a_!T2365_SPENCER_^>a_ and Gerald
_^<a_!T5316_VANCE_^>a_. Silverberg wrote 1 story in collaboration with his 1st wife Barbara; _^<i_The Mutant Season_^>i_ (_^<b_1989_^>b_), a novel developed from one of his short stories by his 2nd wife (from 1987) Karen _^<a_!T4905_HABER_^>a_, was
published as a collaboration. Later volumes were by Haber alone._^<n__^<n_He also published 3 "collaborations" with Isaac _^<a_!T268_ASIMOV_^>a_, developing full-length novels from classic Asimov short stories: these are _^<i_Nightfall_^>i_ (1941
_^<i_ASF_^>i_; exp _^<b_1990_^>b_ UK; vt _^<i_The Ugly Little Boy_^>i_ 1992 US), _^<i_Child of Time_^>i_ (1958 _^<i_Gal_^>i_ as "Lastborn"; vt "The Ugly Little Boy"; exp _^<b_1991_^>b_ UK) and _^<i_The Positronic Man_^>i_ (in _^<i_Stellar_^>i_,
anth _^<b_1976_^>b_, ed Judy-Lynn _^<a_!T1165_DEL REY_^>a_ as "The Bicentennial Man"; exp _^<b_1992_^>b_ UK)._^<n__^<n_The most notable novels of RS's early period are _^<i_Master of Life and Death_^>i_ (_^<b_1957_^>b_ dos), a novel dealing with
institutionalized measures to combat _^<a_!T1752_OVERPOPULATION_^>a_, _^<i_Invaders from Earth_^>i_ (_^<b_1958_^>b_ dos), a drama of political corruption involved with the _^<a_!T811_COLONIZATION_^>a_ of Ganymede, and _^<i_Recalled to Life_^>i_
(1958 _^<i_Infinity_^>i_; _^<b_1962_^>b_; rev 1972), which investigates the social response to a method of reviving the newly dead. The _^<b_Nidorian_^>b_ series, which he wrote with Garrett as Robert Randall -- _^<i_The Shrouded Planet_^>i_ (fixup
_^<b_1957_^>b_) and _^<i_The Dawning Light_^>i_ (_^<b_1959_^>b_) -- is also interesting._^<n__^<n_As the magazine market shrank, in 1959 RS virtually abandoned sf for some years. The majority of the sf books he published 1960-66 were rewritten from
work originally done in 1957-9. His output was prodigious, but somewhat mechanical, except for a handful of nonfiction books -- notably _^<i_The Golden Dream_^>i_ (_^<b_1967_^>b_) and _^<i_Mound-Builders of Ancient America_^>i_ (_^<b_1968_^>b_),
which were painstakingly researched and carefully written._^<n__^<n_A new phase of RS's career, in which he brought the full range of his artistic abilities to bear on writing sf, began with _^<i_Thorns_^>i_ (_^<b_1967_^>b_), a stylized novel of
alienation and psychic vampirism, and _^<i_Hawksbill Station_^>i_ (_^<b_1968_^>b_; vt _^<i_The Anvil of Time_^>i_ 1969 UK), in which political exiles are sent back in time to a Cambrian prison camp; this full-length version should not be confused
with the novelette version, _^<i_Hawksbill Station_^>i_ (1967 _^<i_Gal_^>i_; _^<b_1990_^>b_ chap dos). _^<i_The Masks of Time_^>i_ (_^<b_1968_^>b_; vt _^<i_Vornan-19_^>i_ 1970 UK) describes a visit by an enigmatic time traveller to the world of
1999. _^<i_The Man in the Maze_^>i_ (_^<b_1969_^>b_) is a dramatization of the problems of alienation, based on the Greek myth of Philoctetes, the hero whose wound makes him both necessary and repulsive. _^<i_Nightwings_^>i_ (fixup _^<b_1969_^>b_)
is a lyrical account of the conquest of a senescent Earth by _^<a_!T102_ALIENS_^>a_, which culminates with the rebirth of its hero; it should not be confused with the Hugo-winning novella which contributed to the fixup, _^<i_Nightwings_^>i_ (1968
_^<i_Gal_^>i_; _^<b_1989_^>b_ chap dos). _^<i_Up the Line_^>i_ (_^<b_1969_^>b_) is a clever _^<a_!T6020_TIME-PARADOX_^>a_ story. _^<i_Downward to the Earth_^>i_ (_^<b_1970_^>b_) is a story of repentance and rebirth, with calculated echoes of Joseph
Conrad's "Heart of Darkness" (1902) and strong religious imagery (> _^<a_!T2551_RELIGION_^>a_). _^<i_Tower of Glass_^>i_ (_^<b_1970_^>b_) also makes use of religious imagery in its study of the obsessional construction of a new "Tower of Babel" and
the struggle of an _^<a_!T178_ANDROID_^>a_ race to win emancipation. _^<i__^<a_!B9208_A TIME OF CHANGES_^>a__^>i_ (_^<b_1971_^>b_) describes a society in which selfhood is a cardinal sin. _^<i_Son of Man_^>i_ (_^<b_1971_^>b_) is a surreal
evolutionary fantasy of the _^<a_!T1432_FAR FUTURE_^>a_. _^<i_The World Inside_^>i_ (fixup _^<b_1971_^>b_) is a study of life under conditions of high population density. _^<i_The Second Trip_^>i_ (_^<b_1972_^>b_) is an intense psychological novel
describing the predicaments of a telepathic girl and a man who has been newly created in the body of an "erased" criminal. _^<i_The Book of Skulls_^>i_ (_^<b_1971_^>b_) is a painstaking analysis of relationships among 4 young men on a competitive
quest for _^<a_!T3771_IMMORTALITY_^>a_. _^<i_Dying Inside_^>i_ (_^<b_1972_^>b_) is a brilliant study of a telepath losing his power. _^<i_The Stochastic Man_^>i_ (_^<b_1975_^>b_) is a complementary study of a man developing the power to foresee the
future. _^<i_Shadrach in the Furnace_^>i_ (_^<b_1976_^>b_) concerns the predicament of the personal physician of a future dictator who finds his identity in jeopardy. After writing the last-named, RS quit writing for 4 years, ostensibly because of
his disenchantment with the functioning of the sf marketplace, where his books seemed to him to be suffering "assassination" as they were allowed to go out of print after a few months; sheer exhaustion may also have been a factor._^<n__^<n_In view
of the sustained quality of this astonishing burst of creativity, it is perhaps surprising that only one of these full-length works won a major award in the USA -- _^<i__^<a_!B9208_A TIME OF CHANGES_^>a__^>i_ (_^<a_!T3147_NEBULA_^>a_). Several
better novels, most notably _^<i_Dying Inside_^>i_, went unrewarded, perhaps because the voters found them too intense and too uncompromising in their depictions of anguish and desperation. RS did, however, win awards for several shorter pieces:
the novella _^<i_Nightwings_^>i_ won a Hugo, and Nebulas went to "Passengers" (1968), a story about people who temporarily lose control of their bodies to alien invaders, "Good News from the Vatican" (1970), about the election of the first
_^<a_!T2646_ROBOT_^>a_ pope, and the brilliant novella _^<i_Born with the Dead_^>i_ (1974; _^<b_1988_^>b_ chap dos), about relationships between the living and the beneficiaries of a scientific technique guaranteeing life after death. The novella
"The Feast of St Dionysus" (1972), about the experience of religious ecstasy, won a Jupiter award; it became the lead title of one of his finest collections, _^<i_The Feast of St Dionysus_^>i_ (coll _^<b_1975_^>b_), which also includes "Schwartz
Between the Galaxies" (1974). In addition to his award-winners RS published a great deal of excellent short fiction during this second phase of his career. Particularly notable are "To See the Invisible Man" (1963), assembled in _^<i_Earth's Other
Shadow_^>i_ (coll _^<b_1973_^>b_), "Sundance" (1969), assembled in _^<i_The Cube Root of Uncertainty_^>i_ (coll _^<b_1970_^>b_), and "In Entropy's Jaws" (1971), assembled in _^<i_The Reality Trip and Other Implausibilities_^>i_ (coll
_^<b_1972_^>b_). Other collections assembling material from this period include _^<i_The Calibrated Alligator_^>i_ (coll _^<b_1969_^>b_), _^<i_Dimension Thirteen_^>i_ (coll _^<b_1969_^>b_), _^<i_Parsecs and Parables_^>i_ (coll _^<b_1970_^>b_),
_^<i_Moonferns and Starsongs_^>i_ (coll _^<b_1971_^>b_), _^<i_Unfamiliar Territory_^>i_ (coll _^<b_1973_^>b_), _^<i_Sundance and Other Science Fiction Stories_^>i_ (coll _^<b_1974_^>b_), _^<i_Born with the Dead_^>i_ (coll _^<b_1974_^>b_),
_^<i_Sunrise on Mercury_^>i_ (coll _^<b_1975_^>b_), _^<i_The Best of Robert Silverberg_^>i_ (coll _^<b_1976_^>b_) and _^<i_The Best of Robert Silverberg, Volume Two_^>i_ (coll _^<b_1978_^>b_), _^<i_Capricorn Games_^>i_ (coll _^<b_1976_^>b_),
_^<i_The Shores of Tomorrow_^>i_ (coll _^<b_1976_^>b_), _^<i_The Songs of Summer and Other Stories_^>i_ (coll _^<b_1979_^>b_ UK), and _^<i_Beyond the Safe Zone: The Collected Short Fiction of Robert Silverberg_^>i_ (coll
_^<b_1986_^>b_)._^<n__^<n_RS returned to writing with _^<i_Lord Valentine's Castle_^>i_ (_^<b_1980_^>b_), a polished but rather languid _^<a_!T4396_HEROIC FANTASY_^>a_ set on the world of Majipoor, where he also set the shorter pieces -- including
_^<i_The Desert of Stolen Dreams_^>i_ (_^<b_1981_^>b_ chap) -- collected in _^<i_The Majipoor Chronicles_^>i_ (coll of linked stories _^<b_1982_^>b_). The addition of _^<i_Valentine Pontifex_^>i_ (_^<b_1983_^>b_), a sequel to the novel, converted
the series into a trilogy of sorts. In the mid 1990s, beginning with <The Mountains of Majipoor> (_^<b_1995_^>b_ UK), several new volumes were projected. Almost all of RS's work of the 1980s was in the same relaxed vein: the psychological intensity
of his mid-period work was toned down, and much of his sf was evidently pitched towards what RS considered to be the demands of the market. His work of this period has been commercially successful, but the full-length sf often seems rather
mechanical; the historical novels _^<i_Lord of Darkness_^>i_ (_^<b_1983_^>b_) and _^<i_Gilgamesh the King_^>i_ (_^<b_1984_^>b_) appear to have been projects dearer to his heart. The gypsy king in _^<i_Star of Gypsies_^>i_ (_^<b_1986_^>b_), waiting
in self-imposed exile for his one-time followers to realize how badly they need him, might be reckoned an ironic self-portrait. The best works of this third phase of RS's career are novellas, most notably _^<i_Sailing to Byzantium_^>i_
(_^<b_1985_^>b_), winner of a 1985 Nebula, and _^<i_The Secret Sharer_^>i_ (_^<b_1988_^>b_), a sciencefictionalization of _^<a_!T847_CONRAD_^>a_'s 1912 story of the same title. RS also won Hugo awards in this period for the novella "Gilgamesh in
the Outback" (1986), which was a sequel to _^<i_Gilgamesh the King_^>i_ and was integrated into _^<i_To the Land of the Living_^>i_ (fixup _^<b_1989_^>b_), and the novelette "Enter a Soldier. Later, Enter Another" (1989). His recent work includes
the first 2 vols of the _^<b_New Springtime_^>b_ trilogy about the repopulation of Earth by various races (not including humans) after a future ice age -- _^<i_At Winter's End_^>i_ (_^<b_1988_^>b_; vt _^<i_Winter's End_^>i_ 1990 UK) and _^<i_The
Queen of Springtime_^>i_ (_^<b_1989_^>b_ UK; vt _^<i_The New Springtime_^>i_ 1990 US) -- a novel about humans living as exiles on a watery world after the destruction of Earth, _^<i_The Face of the Waters_^>i_ (_^<b_1991_^>b_ UK); and _^<i_Hot Sky
at Midnight_^>i_ (fixup _^<b_1994_^>b_), a tale which, set in the early years of the 21st century, is told in a tone of searingly bleak pessimism increasingly to be encountered in sf writers in their late prime as the millennium approaches. Much of
his short fiction of this period is assembled in _^<i_The Conglomeroid Cocktail Party_^>i_ (coll _^<b_1984_^>b_),_^<i_The Collected Stories of Robert Silverberg: Volume One: Pluto in the Morning Light_^>i_ (coll _^<b_1992_^>b_ UK; vt _^<i_The
Collected Stories of Robert Silverberg: Volume One: Secret Sharers_^>i_ 1992 US) and _^<i_The Collected Stories of Robert Silverberg: Volume Two: The Secret Sharer_^>i_ (coll _^<b_1993_^>b_ UK; cut 1993 US). He remains one of the most imaginative
and versatile writers ever to have been involved with sf. His productivity has seemed almost superhuman, and his abrupt metamorphosis from a writer of standardized pulp fiction into a prose artist was an accomplishment unparalleled within the
field._^<n__^<n_As an editor, RS was responsible for an excellent series of original _^<a_!T195_ANTHOLOGIES_^>a_, _^<a_!T3169_NEW DIMENSIONS_^>a_ (see listing below). In collaboration with Haber he has taken over the _^<a_!T5288_UNIVERSE_^>a_
series once ed Terry _^<a_!T5182_CARR_^>a_, relaunching the title with _^<i_Universe 1_^>i_ (anth _^<b_1990_^>b_),_^<i_Universe 2_^>i_ (anth _^<b_1992_^>b_) and _^<i_Universe 3 _^>i_(anth _^<b_1994_^>b_). He has also been a prolific compiler of
_^<a_!T1725_ORIGINAL ANTHOLOGIES_^>a_ that comprise 3 novellas, and has edited many reprint anthologies, recently doing much of this kind of work in collaboration with Martin H. _^<a_!T4842_GREENBERG_^>a_. RS was president of the
_^<a_!T2147_SCIENCE FICTION WRITERS OF AMERICA_^>a_ 1967-8. _^<i_The_^<a_!T3595_MAGAZINE OF FANTASY AND SCIENCE FICTION_^>a__^>i_ published a special issue devoted to him in Apr 1974. An autobiographical essay appeared in _^<i_Hell's
Cartographers_^>i_ (anth _^<b_1975_^>b_) ed Brian W. _^<a_!T87_ALDISS_^>a_ and Harry _^<a_!T4316_HARRISON_^>a_. [BS]_^<n__^<n__^<b_Other works:_^>b_ _^<i_The 13th Immortal_^>i_ (_^<b_1957_^>b_ dos); _^<i_Aliens from Space_^>i_ (_^<b_1958_^>b_) as
by David Osborne; _^<i_Invisible Barriers_^>i_ (_^<b_1958_^>b_) as by Osborne; _^<i_Lest We Forget Thee, Earth_^>i_ (fixup _^<b_1958_^>b_ dos) as by Calvin M. Knox; _^<i_Starhaven_^>i_ (_^<b_1958_^>b_) as by Ivar Jorgenson; _^<i_Stepsons of
Terra_^>i_ (_^<b_1958_^>b_ dos); _^<i_The Planet Killers_^>i_ (_^<b_1959_^>b_ dos); _^<i_The Plot against Earth_^>i_ (_^<b_1959_^>b_ dos) as by Knox; _^<i_Starman's Quest_^>i_ (_^<b_1959_^>b_); _^<i_Lost Race of Mars_^>i_ (_^<b_1960_^>b_);
_^<i_Collision Course_^>i_ (_^<b_1961_^>b_); _^<i_Next Stop the Stars_^>i_ (coll _^<b_1962_^>b_ dos); _^<i_The Seed of Earth_^>i_ (_^<b_1962_^>b_ dos); _^<i_The Silent Invaders_^>i_ (1958 _^<i_Infinity_^>i_ as by Knox; exp _^<b_1963_^>b_ dos; with
"Valley beyond Time" added, as coll 1985); _^<i_Godling, Go Home!_^>i_ (coll _^<b_1964_^>b_); _^<i_One of Our Asteroids is Missing_^>i_ (_^<b_1964_^>b_ dos) as by Knox; _^<i_Regan's Planet_^>i_ (_^<b_1964_^>b_); _^<i_Time of the Great Freeze_^>i_
(_^<b_1964_^>b_); _^<i_Sex Machine_^>i_ (_^<b_1964_^>b_) as by Dan Elliot; _^<i_Conquerors from the Darkness_^>i_ (1957 _^<i_Science Fiction Adventures_^>i_ as "Spawn of the Deadly Sea"; _^<b_1965_^>b_); _^<i_To Worlds Beyond_^>i_ (coll
_^<b_1965_^>b_); _^<i_Needle in a Timestack_^>i_ (coll _^<b_1966_^>b_; rev 1967 UK); _^<i_The Gate of Worlds_^>i_ (_^<b_1967_^>b_); _^<i_Planet of Death_^>i_ (_^<b_1967_^>b_); _^<i_Those who Watch_^>i_ (_^<b_1967_^>b_); _^<i_The Time-Hoppers_^>i_
(1956 _^<i_Infinity_^>i_ as "Hopper"; exp _^<b_1967_^>b_); _^<i_To Open the Sky_^>i_ (fixup _^<b_1967_^>b_); _^<i_Across a Billion Years_^>i_ (_^<b_1969_^>b_); _^<i_Three Survived_^>i_ (1957; exp _^<b_1969_^>b_); _^<i_To Live Again_^>i_
(_^<b_1969_^>b_); _^<i_World's Fair 1992_^>i_ (_^<b_1970_^>b_); _^<i_Valley beyond Time_^>i_ (coll _^<b_1973_^>b_); _^<i_Unfamiliar Territory_^>i_ (coll _^<b_1973_^>b_); _^<i_A Robert Silverberg Omnibus_^>i_ (omni _^<b_1981_^>b_); _^<i_World of a
Thousand Colors_^>i_ (coll _^<b_1982_^>b_); _^<i_Tom O'Bedlam_^>i_ (_^<b_1985_^>b_); _^<i_Nightwings_^>i_ (graph _^<b_1985_^>b_), an adaptation in _^<a_!T4809_GRAPHIC-NOVEL_^>a_ form; _^<i_Project Pendulum_^>i_ (_^<b_1987_^>b_), a juvenile; _^<i_In
Another Country_^>i_ (_^<b_1990_^>b_ chap dos) with C.L. _^<a_!T3033_MOORE_^>a_'s _^<i_Vintage Season_^>i_ (1946), to which it is a sequel; _^<i_Lion Time in Timbuctoo_^>i_ (_^<b_1990_^>b_); _^<i_Letters from Atlantis_^>i_ (_^<b_1990_^>b_);
_^<i_Thebes of the Hundred Gates_^>i_ (_^<b_1991_^>b_); _^<i_Kingdoms of the Wall_^>i_ (_^<b_1992_^>b_ UK)._^<b_Omnibuses:_^>b_ _^<i_A Robert Silverberg Omnibus_^>i_ (omni _^<b_1970_^>b_ UK), assembling _^<i_Master of Life and Death_^>i_,
_^<i_Invaders from Earth_^>i_ and _^<i_The Time-Hoppers_^>i_; _^<i_Science Fiction Special (30): Invaders from Earth; The Best of Robert Silverberg_^>i_ (omni _^<b_1978_^>b_ UK); _^<i_Conquerors from the Darkness, and Master of Life and Death_^>i_
(omni _^<b_1979_^>b_); _^<i_Invaders from Earth, and To Worlds Beyond_^>i_ (omni _^<b_1980_^>b_); _^<i_A Robert Silverberg Omnibus_^>i_ (omni _^<b_1981_^>b_), assembling _^<i_The Man in the Maze_^>i_, _^<i_Nightwings_^>i_ and _^<i_Downward to the
Earth_^>i_; _^<i_The Masks of Time/Born with the Dead/Dying Inside_^>i_ (omni _^<b_1988_^>b_); _^<i_Three Novels: The World Inside/Thorns/Downward to the Earth_^>i_ (omni _^<b_1988_^>b_); _^<i_The Book of Skulls/Nightwings/Dying Inside_^>i_ (omni
_^<b_1991_^>b_)._^<b_Nonfiction:_^>b_ _^<i_Drug Themes in Science Fiction_^>i_ (_^<b_1974_^>b_ chap)._^<b_As Editor:_^>b_ _^<i_Earthmen and Strangers_^>i_ (anth _^<b_1966_^>b_); _^<i_Voyagers in Time_^>i_ (anth _^<b_1967_^>b_), _^<i_Men and
Machines_^>i_ (anth _^<b_1968_^>b_); _^<i_Dark Stars_^>i_ (anth _^<b_1969_^>b_); _^<i_Three for Tomorrow_^>i_ (anth _^<b_1969_^>b_; UK edn credits Arthur C. _^<a_!T736_CLARKE_^>a_ as ed); _^<i_Tomorrow's Worlds_^>i_ (anth _^<b_1969_^>b_); _^<i_The
Ends of Time_^>i_ (anth _^<b_1970_^>b_); _^<i_Great Short Novels of Science Fiction_^>i_ (anth _^<b_1970_^>b_); _^<i_The Mirror of Infinity_^>i_ (anth _^<b_1970_^>b_); _^<i_Worlds of Maybe_^>i_ (anth _^<b_1970_^>b_); _^<i_The Science Fiction Hall
of Fame Vol 1_^>i_ (anth _^<b_1970_^>b_); _^<i_To the Stars_^>i_ (anth _^<b_1971_^>b_); _^<i_Four Futures_^>i_ (anth _^<b_1971_^>b_); _^<i_Mind to Mind_^>i_ (anth _^<b_1971_^>b_); _^<i_The Science Fiction Bestiary_^>i_ (anth _^<b_1971_^>b_);
_^<i_Beyond Control_^>i_ (anth _^<b_1972_^>b_); _^<i_Invaders from Space_^>i_ (anth _^<b_1972_^>b_); _^<i_The Day the Sun Stood Still_^>i_ (anth _^<b_1972_^>b_); _^<i_Chains of the Sea_^>i_ (anth _^<b_1973_^>b_); _^<i_Other Dimensions_^>i_ (anth
_^<b_1973_^>b_); _^<i_Three Trips in Time and Space_^>i_ (anth _^<b_1973_^>b_); _^<i_No Mind of Man_^>i_ (anth _^<b_1973_^>b_); _^<i_Deep Space_^>i_ (anth _^<b_1973_^>b_); _^<i_Threads of Time_^>i_ (anth _^<b_1974_^>b_); _^<i_Mutants_^>i_
(_^<b_1974_^>b_); _^<i_Infinite Jests_^>i_ (anth _^<b_1974_^>b_); _^<i_Windows into Tomorrow_^>i_ (anth _^<b_1974_^>b_); _^<i_The Aliens_^>i_ (anth _^<b_1976_^>b_); _^<i_Epoch_^>i_ (anth _^<b_1975_^>b_) with Roger _^<a_!T6648_ELWOOD_^>a_; _^<i_The
_^<b_1979_^>b_) with Martin H. Greenberg and Joseph D. _^<a_!T3303_OLANDER_^>a_; _^<i_Dawn of Time: Prehistory through Science Fiction_^>i_ (anth _^<b_1979_^>b_) with Greenberg and Olander; _^<i_The Arbor House Treasury of Modern Science
Fiction_^>i_ (anth _^<b_1980_^>b_; cut vt _^<i_Great Science Fiction of the 20th Century_^>i_ 1987) with Greenberg; _^<i_The Arbor House Treasury of Great Science Fiction Short Novels_^>i_ (anth _^<b_1980_^>b_; cut vt _^<i_Worlds Imagined_^>i_
1988) with Greenberg; _^<i_The Science Fictional Dinosaur_^>i_ (anth _^<b_1982_^>b_) with Greenberg and Charles G. _^<a_!T5488_WAUGH_^>a_; _^<i_The Best of Randall Garrett_^>i_ (coll _^<b_1982_^>b_); _^<i_The Arbor House Treasury of Science Fiction
Masterpieces_^>i_ (anth _^<b_1983_^>b_; cut vt _^<i_Great Tales of Science Fiction_^>i_ 1988) with Greenberg; _^<i_The Fantasy Hall of Fame_^>i_ (anth _^<b_1983_^>b_; vt _^<i_The Mammoth Book of Fantasy All-Time Greats_^>i_ 1988 UK) with Greenberg;
_^<i_Nebula Award Winners 18_^>i_ (anth _^<b_1983_^>b_); _^<i_The Time Travelers: A Science Fiction Quartet_^>i_ (anth _^<b_1985_^>b_) with Greenberg; _^<i_Neanderthals_^>i_ (anth _^<b_1987_^>b_) with Greenberg and Waugh; _^<i_Robert Silverberg's
Worlds of Wonder_^>i_ (anth _^<b_1987_^>b_); _^<i_Time Gate_^>i_ (anth _^<b_1989_^>b_); _^<i_Time Gate 2: Dangerous Interfaces_^>i_ (anth _^<b_1990_^>b_); _^<i_Beyond the Gate of Worlds_^>i_ (anth _^<b_1991_^>b_); _^<i_The Horror Hall of Fame_^>i_
(anth _^<b_1991_^>b_) with Greenberg; _^<i_The Ultimate Dinosaur_^>i_ (anth _^<b_1992_^>b_) with Byron _^<a_!T1982_PREISS_^>a_; _^<i_Murasaki _^>i_(anth _^<b_1992_^>b_) with Greenberg (uncredited), assembling stories set in an elaborated crafted
_^<i_#7_^>i_ (anth _^<b_1977_^>b_), _^<i_#8_^>i_ (anth _^<b_1978_^>b_), _^<i_#9_^>i_ (anth _^<b_1979_^>b_), _^<i_#10_^>i_ (anth _^<b_1980_^>b_), _^<i_#11_^>i_ (anth _^<b_1980_^>b_) with Marta _^<a_!T2489_RANDALL_^>a_ and _^<i_#12_^>i_ (anth
_^<b_1981_^>b_) with Randall, plus _^<i_The Best of New Dimensions_^>i_ (anth _^<b_1979_^>b_)._^<b_About the author:_^>b_ _^<i_Robert Silverberg: A Primary and Secondary Bibliography_^>i_ (_^<b_1983_^>b_) and _^<i_Robert Silverberg_^>i_
(_^<b_1983_^>b_ chap), both by Thomas D. _^<a_!T732_CLARESON_^>a_._^<b_See also:_^>b_ _^<a_!T20_ACE BOOKS_^>a_; _^<a_!T131_ALTERNATE WORLDS_^>a_; _^<a_!T197_ANTHROPOLOGY_^>a_; _^<a_!T206_APES AND CAVEMEN (IN THE HUMAN WORLD)_^>a_;
_^<a_!T963_CRITICAL AND HISTORICAL WORKS ABOUT SF_^>a_; _^<a_!T1115_DC COMICS_^>a_; _^<a_!T1370_DYSTOPIAS_^>a_; _^<a_!T6661_END OF THE WORLD_^>a_; _^<a_!T6679_ENTROPY_^>a_; _^<a_!T6694_ESCHATOLOGY_^>a_; _^<a_!T6697_ESP_^>a_;
_^<a_!T5281_UNDER THE SEA_^>a_; _^<a_!T5684_WOMEN SF WRITERS_^>a_; _^<a_!T6197_WRITERS OF THE FUTURE CONTEST_^>a_.
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SIM, DAVE
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(1958- ) US artist and writer, creator of _^<b_Cerebus the Aardvark_^>b_, the abrasive and perverse eponymous star of a satirical _^<a_!T820_COMIC_^>a_ book originally intended as a pastiche of Robert E. _^<a_!T4524_HOWARD_^>a_'s _^<b_Conan the
Barbarian_^>b_, and which has lampooned a number of the leading characters of the _^<a_!T4396_HEROIC-FANTASY_^>a_ genre. Published by DS himself, the comic book has become so popular that _^<i_Cerebus_^>i_ #1 (Dec 1977) is reputed now to be worth
several hundred times its original $1 cover price. Much of the series is available in reprint assemblage, beginning with _^<i_Cerebus_^>i_ (graph coll _^<b_1987_^>b_). DS's early style was heavily influenced by Barry Windsor-Smith. The comic book
features characters such as Elrod of Melvinbone, Bran Mak Mufin and Wolveroach. DS's stated ambition is to complete the projected 6000pp of _^<b_Cerebus the Aardvark_^>b_ in AD2004. [RT]_^<n__^<n_
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SIMAK, CLIFFORD D(ONALD)
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(1904-1988) US writer whose primary occupation 1929-76 was newspaper work, and who became a full-time writer of sf only after his retirement. He was, however, a prolific and increasingly popular sf figure -- after a false start in 1931 -- from the
true beginning of his career in 1938. His first published stories, beginning with "The World of the Red Sun" for _^<i_Wonder Stories_^>i_ in 1931, were unremarkable, though significantly that first tale deals with _^<a_!T6026_TIME TRAVEL_^>a_,
which became his favourite sf device for the importation of _^<a_!T102_ALIENS_^>a_ into rural Wisconsin, always his favourite venue. Apart from 1 novelette, _^<i_The Creator_^>i_ (1935 _^<i_Marvel Tales_^>i_; _^<b_1946_^>b_ chap), he published no
sf 1932-8; then, inspired by John W. _^<a_!T5140_CAMPBELL_^>a_ Jr's editorial policy at _^<a_!T277_ASTOUNDING SCIENCE-FICTION_^>a_, he began to produce such stories as "Rule 18" and "Reunion on Ganymede" (both 1938). He swiftly followed with his
first full-length novel, _^<i_Cosmic Engineers_^>i_ (1939 _^<i_ASF_^>i_; rev _^<b_1950_^>b_), a Galaxy-spanning epic in the vein of E.E. _^<a_!T2269_SMITH_^>a_ and Edmond _^<a_!T4258_HAMILTON_^>a_. He continued to write steadily for Campbell, and
his work gradually became identifiably Simakian -- constrained, nostalgic, intensely emotional beneath a calmly competent generic surface. Stories like "Rim of the Deep" (1940), "Tools" (1942) and "Hunch" (1943) were signs of this development,
though the full CDS did not "arrive" until the appearance of "City" and its sequel, "Huddling Place" (both 1944). These tales concerned the _^<a_!T6337_NEAR-FUTURE_^>a_ exodus of mankind from the _^<a_!T727_CITIES_^>a_ and the return to a
_^<a_!T1812_PASTORAL_^>a_ existence aided by a benign technology. As the series progresses, the planet is abandoned by all humans except the reclusive Websters; and Jenkins, an excellently depicted _^<a_!T2646_ROBOT_^>a_, is left to monitor the
forced _^<a_!T6717_EVOLUTION_^>a_ of intelligent dogs, who are destined to inherit the Earth. As _^<i__^<a_!B9054_CITY_^>a__^>i_ (fixup _^<b_1952_^>b_; exp 1981) the sequence won an _^<a_!T3788_INTERNATIONAL FANTASY AWARD_^>a_. It remains CDS's
best known work._^<n__^<n_In 1950 he found another market in the new magazine _^<a_!T1686_GALAXY SCIENCE FICTION_^>a_, which serialized his novel _^<i_Time and Again_^>i_ (_^<b_1951_^>b_; vt _^<i_First He Died_^>i_ 1953). A trickily plotted
time-travel story, it proved to be very popular -- though ominously prefiguring some of his over-plotted works of the late 1970s. Also of strong interest is _^<i_Ring Around the Sun_^>i_ (_^<b_1953_^>b_), which involves the discovery of a chain of
_^<a_!T1794_PARALLEL WORLDS_^>a_ and the machinations of a secret society of mutants who are plotting to subvert the world's economy by producing everlasting goods. Its anti-urban and pro-agrarian sentiments were by now a standard part of CDS's
work; in stories like "Neighbors" (1954) he became sf's leading spokesman for rural, Midwestern values. His stories in general contain little violence and much folk humour, and stress the value of individualism tempered by compassion -- "good
neighbourliness", in short. Throughout the 1950s, he produced dozens of competent short stories, many assembled in _^<i_Strangers in the Universe_^>i_ (coll _^<b_1956_^>b_; with 4 stories cut 1957; with 4 different stories cut 1958 UK), _^<i_The
Worlds of Clifford Simak_^>i_ (coll _^<b_1960_^>b_; with 6 stories cut 1961; with 3 stories cut, vt _^<i_Aliens for Neighbours_^>i_ 1961 UK; text restored in 2 vols, vt _^<i_The Worlds of Clifford Simak_^>i_ 1961 US and _^<i_Other Worlds of
Clifford Simak_^>i_ 1962 US) and _^<i_All the Traps of Earth_^>i_ (coll _^<b_1962_^>b_; with 3 stories cut 1963; text restored in 2 vols, vt _^<i_All the Traps of Earth_^>i_ 1964 UK and _^<i_The Night of the Puudly_^>i_ 1964 UK). Two highpoints
were the stories "The Big Front Yard" (1958), which won a 1959 _^<a_!T4551_HUGO_^>a_, and "A Death in the House" (1959). Many of these tales appear in the retrospective _^<i_Skirmish: The Great Short Fiction_^>i_ (coll
_^<b_1977_^>b_)._^<n__^<n_After 1960 CDS began to produce novels at the rate of roughly one a year. _^<i_Time is the Simplest Thing_^>i_ (_^<b_1961_^>b_) and _^<i_They Walked Like Men_^>i_ (_^<b_1962_^>b_) are workmanlike and entertaining, but
_^<i__^<a_!B9210_WAY STATION_^>a__^>i_ (_^<b_1963_^>b_), which won the 1964 Hugo, more impressively concerns a lonely farmer given _^<a_!T3771_IMMORTALITY_^>a_ in return for his services as a galactic station-master, his house having been made into
a way-station for aliens who teleport from star to star. Its warmth, imaginative detail and finely rendered bucolic scenes make this probably CDS's best novel. _^<i_All Flesh is Grass_^>i_ (_^<b_1965_^>b_), _^<i_Why Call them Back from Heaven?_^>i_
(_^<b_1967_^>b_) and _^<i_The Werewolf Principle_^>i_ (_^<b_1967_^>b_) are enjoyable, if essentially repetitive. _^<i_The Goblin Reservation_^>i_ (_^<b_1968_^>b_) seemed at first glance to be innovative, striking out into new territory; but in fact
it turned out to be the old Wisconsin-valley fantasy in a new and whimsical guise. CDS had always wrestled with such whimsy -- notoriously paired with nostalgia in many authors -- and by the start of the 1970s whimsy seemed to be winning. Its
triumph may have derived from the fact that the venues for which CDS felt genuine emotion were now 40 years gone, and the world had irrevocably repudiated and scummed over the rural simplicities dear to his heart; however, this cannot excuse his
sentimental sidestepping of change. Novels like _^<i_Destiny Doll_^>i_ (_^<b_1971_^>b_), _^<i_Cemetery World_^>i_ (cut _^<b_1973_^>b_; text restored 1983), _^<i_Enchanted Pilgrimage_^>i_ (_^<b_1975_^>b_), _^<i_Shakespeare's Planet_^>i_
(_^<b_1976_^>b_), _^<i_Mastodonia_^>i_ (_^<b_1978_^>b_; vt _^<i_Catface_^>i_ 1978 UK), _^<i_Special Deliverance_^>i_ (_^<b_1982_^>b_), _^<i_Where the Evil Dwells_^>i_ (_^<b_1982_^>b_) and _^<i_Highway of Eternity_^>i_ (_^<b_1986_^>b_; vt
_^<i_Highway to Eternity_^>i_ 1987 UK), his last novel, contain only flashes of the old talent, mingled with a good deal of sheer silliness. There were exceptions. _^<i_A Choice of Gods_^>i_ (_^<b_1972_^>b_) is an elegiac tale in which CDS
reiterated the plainsong of his favourite themes: the depopulated world, the sage old man, the liberated robots, the "haunted" house, teleporting to the stars, etc. _^<i_A Heritage of Stars_^>i_ (_^<b_1977_^>b_), a quest novel set in a
post-technological society, is another compendium of CDS's old material. Though he seemed generally to need the relative discipline of sf to achieve his best effects, _^<i_The Fellowship of the Talisman_^>i_ (_^<b_1978_^>b_) is an effective
_^<a_!T1412_FANTASY_^>a_. _^<i_The Visitors_^>i_ (_^<b_1980_^>b_), in which aliens once again visit Earth bearing enigmatic gifts, may be his finest late novel, for a vein of irony is allowed some play. The strengths of _^<i_Project Pope_^>i_
(_^<b_1981_^>b_), about the devising of an _^<a_!T68_AI_^>a_ to serve as the ultimate pope, are somewhat vitiated by CDS's visible reluctance to understand _^<a_!T826_COMPUTERS_^>a_._^<n__^<n_CDS's late short stories are less mixed, and the tales
assembled in _^<i_The Marathon Photograph and Other Stories_^>i_ (coll _^<b_1986_^>b_ UK), including the Hugo- and Nebula-winning "Grotto of the Dancing Deer" (1980), retain all the skill and much of the emotional saliency of his prime. He was a
man of strong moral convictions and little real concern for ideas, and surprisingly for a man of such professional attainments he rarely tended to stray outside his natural bailiwick. Wisconsin in about 1925 -- or any extraterrestrial venue
demonstrating the same rooted virtues -- was that true home, and when he was in residence CDS reigned as the pastoral king of his genre. He received the _^<a_!T3147_NEBULA_^>a_ Grand Master Award in 1977. [DP/JC]_^<n__^<n__^<b_Other works:_^>b_
_^<i_Empire_^>i_ (_^<b_1951_^>b_); _^<i_The Trouble with Tycho_^>i_ (_^<b_1961_^>b_ chap dos); _^<i_Worlds without End_^>i_ (coll _^<b_1964_^>b_); _^<i_Best Science Fiction Stories of Clifford Simak_^>i_ (coll _^<b_1967_^>b_ UK); _^<i_So Bright the
Vision_^>i_ (coll _^<b_1968_^>b_ dos); _^<i_Out of their Minds_^>i_ (_^<b_1969_^>b_); _^<i_Our Children's Children_^>i_ (_^<b_1974_^>b_); _^<i_The Best of Clifford D. Simak_^>i_ (coll _^<b_1975_^>b_ UK); 4 collections ed Francis Lyall, being
_^<i_Brother and Other Stories_^>i_ (coll _^<b_1986_^>b_ UK), _^<i_Off-Planet_^>i_ (coll _^<b_1988_^>b_ UK), _^<i_The Autumn Land and Other Stories_^>i_ (coll _^<b_1990_^>b_ UK) and _^<i_Immigrant and Other Stories_^>i_ (coll _^<b_1991_^>b_ UK);
_^<i_The Creator and Other Stories_^>i_ (coll _^<b_1993_^>b_ UK), the title story being the same text as the 1946 pamphlet._^<b_As Editor:_^>b_ _^<i_Nebula Award Stories 6_^>i_ (anth _^<b_1971_^>b_); _^<i_The Best of Astounding_^>i_ (anth
_^<b_1978_^>b_)._^<b_About the author:_^>b_ "Clifford D. Simak" by Sam _^<a_!T3074_MOSKOWITZ_^>a_, in _^<i_Seekers of Tomorrow_^>i_ (_^<b_1966_^>b_); _^<i_Clifford D. Simak: A Primary and Secondary Bibliography_^>i_ (_^<b_1949_^>b_) by Muriel R.
Becker._^<b_See also:_^>b_ _^<a_!T177_ANDROIDS_^>a_; _^<a_!T257_ARTS_^>a_; _^<a_!T273_ASTEROIDS_^>a_; _^<a_!T811_COLONIZATION OF OTHER WORLDS_^>a_; _^<a_!T822_COMMUNICATIONS_^>a_; _^<a_!T987_CRYONICS_^>a_; _^<a_!T1239_DIMENSIONS_^>a_;
_^<a_!T6576_ECOLOGY_^>a_; _^<a_!T6577_ECONOMICS_^>a_; _^<a_!T6694_ESCHATOLOGY_^>a_; _^<a_!T6697_ESP_^>a_; _^<a_!T1678_GALACTIC EMPIRES_^>a_; _^<a_!T1695_GAMES AND SPORTS_^>a_; _^<a_!T4655_GENERATION STARSHIPS_^>a_; _^<a_!T4740_GODS AND DEMONS_^>a_;
_^<a_!T4754_GOLDEN AGE OF SF_^>a_; _^<a_!T3957_JUPITER_^>a_; _^<a_!T3385_LIFE ON OTHER WORLDS_^>a_; _^<a_!T3435_LONGEVITY (IN WRITERS AND PUBLICATIONS)_^>a_; _^<a_!T3540_MACHINES_^>a_; _^<a_!T3677_MARS_^>a_; _^<a_!T3721_MATTER TRANSMISSION_^>a_;
(1948- ) US writer, for many years a teacher of gifted children, who began publishing with "The River Styx Runs Upstream" for _^<i_Rod Serling's The Twilight Zone Magazine_^>i_ in 1982, and who was for some time best regarded as an author of
tales of _^<a_!T4509_HORROR_^>a_, some of which -- along with sf and _^<a_!T1412_FANTASY_^>a_ stories -- were assembled in _^<i_Prayers to Broken Stones_^>i_ (coll _^<b_1990_^>b_). True to the instincts of that genre, his first novel, _^<i_Song of
Kali_^>i_ (_^<b_1985_^>b_), rendered modern-day Calcutta as a moral and psychic cesspool, into which the protagonists of the book sink very deep indeed as unleashed evil from the world's ancient heart threatens to flood the 1980s. His second novel,
the immense _^<i_Carrion Comfort_^>i_ (1983 _^<i_Omni_^>i_; much exp _^<b_1989_^>b_), is also horror, though with an sf underpinning, and as such its basic premise is un-new. The "carrion-eaters" of the title are _^<a_!T3119_MUTANT_^>a_ humans who
have acquired the capacity to control other humans through direct psychic access to their hind-brains, while at the same time feasting psychically on the experiences into which they force their victims. True to the dictates of the horror genre --
to which Simmons remains astonishingly faithful for nearly 500,000 words -- his mutants soon decay into lovers of pain and death, and the protagonists of the book must attempt to exploit divisions among these puppet masters. Their survival seems
genuinely triumphant, though the sole surviving vampire is preparing to start WWIII._^<n__^<n_However, despite the haunting rationality of this tale, DS's later work is of much greater sf interest. _^<i_Phases of Gravity_^>i_ (_^<b_1989_^>b_) is
not sf, being instead -- if one is able to ignore a moment or two of muffled transcendence -- perhaps the first historical novel by an sf author about the space programme, recounting the psychic rejuvenation of a grounded astronaut. But
_^<i__^<a_!B9211_HYPERION_^>a__^>i_ (_^<b_1989_^>b_) -- which won a 1990 _^<a_!T4551_HUGO_^>a_ -- and _^<i_The Fall of Hyperion_^>i_ (_^<b_1990_^>b_) -- 2 vols which together, under the preferred title _^<i_Hyperion Cantos_^>i_ (omni
_^<b_1990_^>b_), clearly make a single novel -- are genuine, full-blown _^<a_!T2924_METAPHYSICAL_^>a_ sf. Over a _^<a_!T2342_SPACE-OPERA_^>a_ structure -- ages after a _^<a_!T632_BLACK HOLE_^>a_ has destroyed Old Earth, the Galaxy is dominated by a
vast human hegemony knit together by _^<a_!T191_ANSIBLE_^>a_-like fatlines and farcasters that plumb discontinuities in space -- an extremely complex narrative engages with many themes, including religious quests, _^<a_!T6026_TIME TRAVEL_^>a_,
_^<a_!T1016_CYBERSPACE_^>a_, _^<a_!T6576_ECOLOGY_^>a_, bioengineering and much else. In the first volume, which is structured after Chaucer's _^<i_The Canterbury Tales_^>i_, 7 "pilgrims" have been called to the planet Hyperion, where the
time-travelling Shrike which guards the Time Tombs promises some dreadful transcendence; en route they tell tales which reveal their significant life-experiences (one of these tales, "Remembering Siri", was first published separately in 1983), each
tale being recounted in a different sf idiom, and each contributing to the growing mosaic of the overall story, described by John _^<a_!T769_CLUTE_^>a_ as a space opera about the end of things, an "entelechy opera" or tale of cosmogony. Every
member of the cast bears a secret burden, and each burden expands in significance as the surviving protagonists arrive on Hyperion and engage more and more deeply with the Keatsian implications of their mission (the two sections of _^<i_Hyperion
Cantos_^>i_ take the titles of Keats's long but incomplete poems about the displacement of the old gods, the victory of a new pantheon). Meanwhile, wars and apocalypse and _^<a_!T6679_ENTROPY_^>a_ threaten the entire Galaxy. The _^<a_!T68_AIS_^>a_
that run everything turn out to inhabit the quantum-level interstices of the farcaster net -- just as does the AI who tends to dominate Orson Scott _^<a_!T6359_CARD_^>a_'s _^<i_Xenocide_^>i_ (_^<b_1991_^>b_) -- and the end of the Universe will
depend upon which AI faction is able to corner for itself the significance of Hyperion, the Shrike, and the human saintliness which begins to invest activities there._^<n__^<n_As a compendium and culminating presentation of _^<a_!T4659_GENRE
SF_^>a_'s devices and deep impulses, _^<i_Hyperion Cantos_^>i_ is perhaps definitive for the 1980s. In one novel, DS became one of the half-dozen central figures of that decade. A slight sentimentality about children and a love of generic
competence for its own sake only slightly modify the sense of excitement generated by his arrival on the scene, though his two 1992 novels may have calmed that excitement to some degree._^<n__^<n__^<i_The Hollow Man_^>i_ (1982 _^<i_Omni_^>i_ as
"Eyes I Dare Not Meet in Dreams"; much exp _^<b_1992_^>b_), though pure sf in its rationale, is structured (somewhat stiffly) to reflect the metaphysical journey of _^<a_!T1057_DANTE ALIGHIERI_^>a_'s protagonist in _^<i_La Divina Commedia_^>i_
(written _^<i_c_^>i_1304-21), containing ample references as well to the poetry of T.S. Eliot (1888-1965). It deals with a tortured man whose _^<a_!T6697_ESP_^>a_ powers are explained in terms of quantum physics and Chaos-theory mathematics; a
longish horror story is implanted in its midst. _^<i_Children of the Night_^>i_ (_^<b_1992_^>b_) -- which features a priest who had appeared as a child in _^<i_Summer of Night_^>i_ (_^<b_1991_^>b_), a Stephen-_^<a_!T4066_KING_^>a_-like tale of
supernatural horror -- rationalizes the vampire novel, and is a pure-sf thriller in its AIDS-related story of Romanian vampires, led by the still-living Vlad Dracula, whose condition turns out to be a hereditary immune deficiency curable by the
intake of human blood. The novel arguably trivializes the agonies of post-Ceausescu Romania and of AIDS by linking them to vampirism, and does not fully justify DS's return to themes he had already used so forcefully in _^<i_Carrion Comfort_^>i_.
And _^<i_Fires of Eden_^>i_ (_^<b_1994_^>b_), a horror novel with supernatural elements set in 19th and 20th century Hawaii, quite as fully overmaster his material as initially he was inclined to. There is an intellectual chill about all three
novels, which are well crafted but dispassionate, suggesting that for the moment at least DS is marking time. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Entropy's Bed at Midnight_^>i_ (_^<b_1990_^>b_ chap); _^<i_Banished Dreams_^>i_ (_^<b_1990_^>b_
chap); _^<i_Going After the Rubber Chicken_^>i_ (coll _^<b_1991_^>b_ chap), 3 cogent after-dinner speeches; _^<i_Summer Sketches_^>i_ (coll _^<b_1992_^>b_), nonfiction._^<b_About the author:_^>b_ "The True and Blushful Chutzpah" by John Clute,
_^<a_!T4780_GOTHIC SF_^>a_; _^<a_!T1797_PARASITISM AND SYMBIOSIS_^>a_; _^<a_!T2548_REINCARNATION_^>a_; _^<a_!T2551_RELIGION_^>a_; _^<a_!T2337_SPACE FLIGHT_^>a_; _^<a_!T5372_VILLAINS_^>a_.
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SIMMONS, GEOFFREY
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(1943- ) US writer and medical doctor whose first sf novel, _^<i_The Adam Experiment_^>i_ (_^<b_1978_^>b_), set in an orbital space lab, features an experiment in human procreation which runs up against the fact that _^<a_!T102_ALIENS_^>a_ have
been monitoring _^<i_Homo sapiens_^>i_ and will not permit us to breed off-planet. _^<i_Pandemic_^>i_ (_^<b_1980_^>b_) is a medical sf thriller; _^<i_Murdock_^>i_ (_^<b_1983)_^>b_, a heavily plotted tale involving _^<a_!T986_CRYOGENICS_^>a_, again
makes some effective use of GS's medical expertise. [JC]_^<n__^<n_
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[r] > _^<a_!T4667_GERMANY_^>a_._^<n__^<n_
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SIMPSON, HELEN (de GUERRY)
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(1897-1940) UK novelist, the last and longest section of whose _^<i_The Woman on the Beast_^>i_ (_^<b_1933_^>b_) is set in 1999, when a woman anarchist becomes ruler of the world with apocalyptic intentions, including the purificatory abolition of
all reading. [JC]_^<n__^<n_
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SIMS, D(ENISE) N(ATALIE)
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[r] > _^<a_!T6332_ROBERT HALE LIMITED_^>a_._^<n__^<n_
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SINCLAIR, ANDREW (ANNANDALE)
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(1935- ) UK writer of much fiction and nonfiction. His _^<i_The Project_^>i_ (_^<b_1960_^>b_) comes as close to nuclear _^<a_!T4482_HOLOCAUST_^>a_ as possible -- a doomsday weapon is just about to go off as the final page ends -- without actually
meeting the _^<a_!T6661_END OF THE WORLD_^>a_ head-on. AS remains best known for his _^<b_Gog_^>b_ sequence -- _^<i_Gog_^>i_ (_^<b_1967_^>b_), _^<i_Magog_^>i_ (_^<b_1972_^>b_) and _^<i_King Ludd_^>i_ (_^<b_1988_^>b_) -- a
_^<a_!T1372_FABULATION_^>a_ about the Matter of Britain which is half sentimental _^<a_!T2812_SATIRE_^>a_ and half mythopoesis. [JC]_^<n__^<n_
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SINCLAIR, IAIN (MacGREGOR)
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(1943- ) UK poet and novelist whose _^<i_Lud Heat: A Book of the Dead Hamlets_^>i_ (_^<b_1975_^>b_) is a narrative prose-poem which fabricates a numerological myth of the geography of London; it provided a direct inspiration for Peter
_^<a_!T24_ACKROYD_^>a_'s _^<i_Hawksmoor_^>i_ (_^<b_1985_^>b_). A novel, _^<i_Downriver (Or, the Vessels of Wrath): A Narrative in Twelve Tales_^>i_ (_^<b_1991_^>b_), develops similar material in a _^<a_!T1372_FABULATION_^>a_ which combines
detective modes and _^<a_!T6337_NEAR-FUTURE_^>a_ sf visions of the complex destiny of London. _^<i_Radon Daughters: A Voyage, Between Art and Terror, from the Mound of Whitechapel to the Limestone Pavements of the Burren_^>i_ (_^<b_1994_^>b_)
covers similar territory in an ornately constructed fantasia based on a perhaps non-existent sequel to William Hope _^<a_!T4459_HODGSON_^>a_'s _^<i_The House on the Borderland_^>i_ (_^<b_1908_^>b_), but also includes an elaborately ironic
description of an sf convention. [JC]_^<n__^<n_
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SINCLAIR, MICHAEL
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> Michael _^<a_!T2162_SHEA_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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SINCLAIR, UPTON (BEALL)
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(1878-1968) US writer known primarily for his work outside the sf field, particularly for his novels of social criticism, including _^<i_The Jungle_^>i_ (_^<b_1905_^>b_). His most notable sf work is the comedy _^<i_The Millennium: A Comedy of the
Year 2000_^>i_ (1914 _^<i_Appeal to Reason_^>i_; in 3 vols _^<b_1924_^>b_), based on a play, in which the survivors of a _^<a_!T1243_DISASTER_^>a_ recapitulate the economic stages described by the Marxist theory of history. In _^<i_Prince
Hagen_^>i_ (_^<b_1903_^>b_; play _^<b_1921_^>b_) a Nibelung ruler acknowledges that US capitalists are his superiors in avarice. _^<i_The Industrial Republic: A Study of the America of Ten Years Hence_^>i_ (_^<b_1907_^>b_) is a utopian fantasy.
_^<i_Roman Holiday_^>i_ (_^<b_1931_^>b_) is an interesting and curiously bittersweet account of a delusional timeslip in which an industrialist discovers parallels between his own time and a nascent Roman republic which cannot anticipate the
indignities that history has in store for it. US's lighter political satires include the documentary future histories _^<i_I, Governor of California, and How I Ended Poverty_^>i_ (_^<b_1933_^>b_) and _^<i_We, People of America, and How We Ended
Poverty: A True Story of the Future_^>i_ (_^<b_1934_^>b_). He also wrote a number of religious fantasies in which _^<a_!T2918_MESSIAH_^>a_ figures are frustrated by the injustices of the modern world: _^<i_They Call me Carpenter_^>i_
(_^<b_1922_^>b_) is a delusional fantasy starring Jesus; _^<i_Our Lady_^>i_ (_^<b_1938_^>b_) is an effective timeslip story which brings the Blessed Virgin to contemporary California; and _^<i_What Didymus Did_^>i_ (_^<b_1954_^>b_ UK; vt _^<i_It
Happened to Didymus_^>i_ 1958 US) is a dispirited account of the failure of a reluctant miracle-worker commissioned by Heaven to spread spiritual enlightenment in an unappreciative world. [BS]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Plays of
Protest_^>i_ (coll _^<b_1912_^>b_) includes _^<i_Prince Hagen_^>i_ and a play featuring a female noble savage, _^<i_The Naturewoman_^>i_; _^<i_Co-op: A Novel of Living Together_^>i_ (_^<b_1936_^>b_ UK); _^<i_The Gnomobile_^>i_ (_^<b_1936_^>b_), a
juvenile filmed by Disney as _^<i_The Gnome-Mobile_^>i_ (1967); _^<i_A Giant's Strength: A Three-Act Drama of the Atomic Bomb_^>i_ (_^<b_1947_^>b_), a post-_^<a_!T4482_HOLOCAUST_^>a_ play._^<b_See also:_^>b_ _^<a_!T4958_BOYS' PAPERS_^>a_;
(1925- ) Russian dissident writer and literary critic who published the manuscripts he smuggled into the West in the late 1950s and early 1960s under the name Abram Tertz. His identity became known when the Soviet authorities arrested him in 1966
and subjected him, along with his friend and fellow dissident Yuli _^<a_!T1052_DANIEL_^>a_ (who wrote as Nikolai Arzhak), to a show trial; both were imprisoned and subsequently exiled. Several of AS's "fantastic stories" are of sf interest, most
being assembled in _^<i_Fantasticheskiye Povesti_^>i_ (coll _^<b_1961_^>b_ Paris; trans Max Hayward and R. Hingley as _^<i_The Icicle and Other Stories_^>i_ _^<b_1963_^>b_ UK; vt _^<i_Fantastic Stories_^>i_ 1963 US), though the most striking of
all, "Pkhentz" (trans 1966; Russian text in _^<i_Fantasticheski Mir Abrama Tertza_^>i_, coll _^<b_1967_^>b_ US), was only later smuggled to the West. In this story an _^<a_!T98_ALIEN_^>a_ spaceship crashes in Russia leaving only one survivor, who
is forced to exist for years in a desperate limbo under a false identity, passing for an ordinary citizen. "The Icicle" (1961) features a man of whose clairvoyant powers the state makes destructive use in its attempts to control the future. AS's
finest novel, _^<i_Lyubimov_^>i_ (Washington _^<b_1964_^>b_; trans Manya Harari as _^<i_The Makepeace Experiment_^>i_ _^<b_1965_^>b_ UK), tells with warmth and power of the transformation of a small Russian village through the ability of one man to
broadcast his will hypnotically through space; when he loses this power, robot tanks regain the village and he flees. The satirical implications of this allegorical recasting of the triumph of communism in Russia are obvious. At the same time, AS's
satirical effects are mediated through an imagination deeply Russian in its metaphysical, fundamentally religious, Slavophile bent; his sf stories are slashing moral fables rather than political diatribes. [JC]_^<n__^<n__^<b_Other work:_^>b_
_^<i_For Freedom of Imagination_^>i_ (coll trans Laszlo Tikos and Murray Peppard_^<b_ 1971_^>b_ US) contains speculations on the nature of sf._^<n__^<n__^<b_About the author:_^>b_ _^<i_On Trial: The Case of Sinyavsky (Tertz) and Daniel
(Arzhak)_^>i_ (_^<b_1967_^>b_) ed Leopold Lebedz and Max Hayward deals largely with AS, and discusses his work in literary as well as political terms._^<b_See also:_^>b_ _^<a_!T5888_TABOOS_^>a_.
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SIODMAK, CURT or KURT
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(1902- ) German writer/film-director based in Hollywood who began to publish adult stories in Germany as early as 1919, and whose first English-language publication was "The Eggs from Lake Tanganyika" (1926 _^<i_AMZ_^>i_), a tale almost certainly
translated from an earlier German version. CS entered the film industry in 1929 as a screen-writer; his credits include _^<a_!T1587_F.P.1 ANTWORTET NICHT_^>a_ (1932; vt _^<a_!T1588_F.P.1 DOESN'T ANSWER_^>a_; based on his own novel _^<i_F.P.1
Antwortet Nicht_^>i_ [_^<b_1932_^>b_; trans H.W. Farrel as _^<i_F.P.1 Does not Reply_^>i_ _^<b_1933_^>b_ US; vt _^<i_F.P.1 Fails to Reply_^>i_ 1933 UK]). He emigrated to the USA in 1937; his US screenplays (some co-authorships) include _^<i_The
Ape_^>i_ (1940), _^<i_The Invisible Man Returns_^>i_ (1940), _^<i_The Invisible Woman_^>i_ (1940), _^<i_Invisible Agent_^>i_ (1942), _^<i_The Wolf Man_^>i_ (1942), _^<i_Son of Dracula_^>i_ (1943), _^<i_Frankenstein Meets the Wolf Man_^>i_ (1943),
_^<i_I Walked with a Zombie_^>i_ (1943), _^<i_House of Frankenstein_^>i_ (1944), _^<i_The_^>i_ _^<a_!T4149_LADY AND THE MONSTER_^>a_ (1944; based on his novel _^<i_Donovan's Brain_^>i_ [_^<b_1943_^>b_], subsequently filmed again as
_^<a_!T1287_DONOVAN'S BRAIN_^>a_ [1953] and _^<a_!T5348_VENGEANCE_^>a_ [1963]), _^<i_The Beast with Five Fingers_^>i_ (1946), _^<i_Tarzan's Magic Fountain_^>i_ (1949), _^<a_!T2596_RIDERS TO THE STARS_^>a_ (1953) and _^<i_Creature with the Atom
Brain_^>i_ (1955). He also wrote the story for _^<a_!T6565_EARTH VS. THE FLYING SAUCERS_^>a_ (1956; vt _^<i_Invasion of the Flying Saucers_^>i_). Later in his career he also directed films, rather badly, including _^<i_Bride of the Gorilla_^>i_
(1951), _^<i_The_^<a_!T3602_MAGNETIC MONSTER_^>a__^>i_ (1953) and _^<i_Curucu, Beast of the Amazon_^>i_ (1956). Although often involved with sf-oriented subjects, he never displayed much understanding for the genre: like other German film-makers of
his generation, he was more at home with the _^<a_!T4780_GOTHIC_^>a_ (the supernatural, the macabre and the grotesque) than with science, and such science as he introduced tended to be for picturesque atmosphere. _^<i_Donovan's Brain_^>i_ was
parodied in _^<i_The_^<a_!T3658_MAN WITH TWO BRAINS_^>a__^>i_ (1983)._^<n__^<n_CS has 35 movie credits in the USA and 18 in Europe. Before emigrating he had 18 novels published in Germany, _^<i_F.P.1 Does Not Reply_^>i_ being the only one
translated into English. His novels in English, aside from _^<i_Donovan's Brain_^>i_ -- his most interesting -- are its belated sequel _^<i_Hauser's Memory_^>i_ (_^<b_1968_^>b_), filmed as _^<a_!T4343_HAUSER'S MEMORY_^>a_ (1970); _^<i_Skyport_^>i_
(_^<b_1959_^>b_), _^<i_The Third Ear_^>i_ (_^<b_1971_^>b_) and _^<i_City in the Sky_^>i_ (_^<b_1974_^>b_), the last dealing with rebellion in a prison satellite. _^<i_Riders to the Stars_^>i_ * (_^<b_1953_^>b_) was published as by CS and Robert
Smith (1920- ), but CS's only connection with it was the original screenplay. _^<i_Hauser's Memory_^>i_ and _^<i_The Third Ear_^>i_ both feature spy-thriller plots and absurd experiments carried out by biochemists; _^<i_Gabriel's Body_^>i_
(_^<b_1992_^>b_) is an sf medical thriller. [JB/PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T1017_CYBORGS_^>a_; _^<a_!T2023_PSYCHOLOGY_^>a_; _^<a_!T6080_TRANSPORTATION_^>a_.
(1892-1969) UK writer. The title novella in _^<i_Triple Fugue_^>i_ (coll _^<b_1924_^>b_) posits a 1948 world in which Trotsky is President of Russia and lifespans have been trebled for the rich. _^<i_The Man who Lost Himself_^>i_ (_^<b_1929_^>b_)
tells the complex psychological life-story of a man from his youth to his death sometime after the middle of the 20th century. _^<i_Miracle on Sinai_^>i_ (_^<b_1933_^>b_), a discussion novel like several of H.G. _^<a_!T5528_WELLS_^>a_'s from this
period, is set in a luxury hotel near Mount Sinai and on the Mount itself, where a glowing cloud deposits new Tablets of the Law, which are variously interpreted; in the final chapter a cataclysmic war begins. _^<i_A Place of One's Own_^>i_
(_^<b_1941_^>b_ chap) is a ghost story. _^<i_Fee Fi Fo Fum!: A Book of Fairy Stories_^>i_ (coll _^<b_1959_^>b_) assembles _^<a_!T2812_SATIRES_^>a_. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T6020_TIME PARADOXES_^>a_.
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SIX MILLION DOLLAR MAN, THE
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US tv series (1973-8). A Silverton and Universal Production for ABC. Executive prods Glen A. _^<a_!T4191_LARSON_^>a_, Harve Bennett, Allan Balter. Prod Michael Gleason, Lionel E. Siegel, Joe L. Cramer, Fred Freiberger. Based on the novel
_^<i_Cyborg_^>i_ (_^<b_1972_^>b_) by Martin _^<a_!T5119_CAIDIN_^>a_. The series began as a 90min ABC "Wednesday Movie of the Week" in 1973; 2 more made-for-tv movies followed, then the series: 5 seasons, 100 50min episodes. Colour._^<n__^<n_Lee
Majors plays Steve Austin, a former US Air Force astronaut who, after an accident in an experimental aircraft, has his badly injured body rebuilt with artificial parts (2 legs, 1 arm, 1 eye), becoming a _^<a_!T1017_CYBORG_^>a_, though it is
impossible to tell externally which parts are artificial. His unique situation is treated in purely comic-book terms for a presumably juvenile audience. He becomes a latter-day _^<a_!T5830_SUPERMAN_^>a_, able to perform feats of great strength and
move at incredible speeds, and is used as a special agent by a CIA-like government organization. The basic premise of the series is technologically absurd -- while Austin's bionic arm might be able to withstand lifting huge weights, the leverage
would pull the rest of his body apart. The success of the series resulted in a rather better spin-off series, _^<i_The_^<a_!T613_BIONIC WOMAN_^>a__^>i_ . [JB]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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SKAL, DAVID J(OHN)
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(1952- ) US writer whose first novel, _^<i_Scavengers_^>i_ (_^<b_1980_^>b_), suggests some sf basis for a plot involving memory transfer in a corrupt world. His second, _^<i_When We Were Good_^>i_ (_^<b_1981_^>b_), evokes a powerful sense of
cultural despair in the tale of a sterile world in which genetically engineered hermaphrodites fail to represent an emblem of hope for the terminal remnants of normal humanity. A sense that DJS is by inclination a horror writer was intensified by
the entropic dismay evoked by _^<i_Antibodies_^>i_ (_^<b_1989_^>b_), a short accusatory trawl through Californian subcultures, where sf characters emit pretentious twaddle about transcendence and the military-industrial complex conspires to
transform pseudo-hippies into spare computer parts; all this is told with a sense of gnawing revulsion. _^<i_Hollywood Gothic: The Tangled Web of "Dracula" from Novel to Stage to Screen_^>i_ (_^<b_1990_^>b_), and _^<i_The Monster Show: A Cultural
History of Horror _^>i_(_^<b_1993_^>b_), are both extremely competent nonfiction studies. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T4657_GENETIC ENGINEERING_^>a_.
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SKIFFY
-T-
> _^<a_!T2882_SCI FI_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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SKINNER, AINSLIE
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Pseudonym used by US-born crime writer Paula Gosling (1939- ), resident in the UK, for her sf novel _^<i_Mind's Eye_^>i_ (_^<b_1981_^>b_; vt _^<i_The Harrowing_^>i_ 1980 US), which convincingly (and often movingly) depicts the scientific testing
of a girl possessed of _^<a_!T6697_ESP_^>a_ and the realization of the consequences of the fact that this power is transferable to others. [JGr/JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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349
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SKINNER, B(URRHUS) F(REDERICK)
-T-
(1904-1990) US psychologist and writer whose cogently argued (and just as cogently refuted) brand of behaviourism dominated that theory of _^<a_!T2023_PSYCHOLOGY_^>a_ for many years in the USA, and provides the basic tenets for his one work of
fiction, _^<i_Walden Two_^>i_ (_^<b_1948_^>b_), depicting a _^<a_!T5303_UTOPIA_^>a_ whose inhabitants grow up as successful experiments in behavioural engineering. The title refers, of course, to _^<i_Walden, or Life in the Woods_^>i_
(_^<b_1854_^>b_) by Henry David Thoreau (1817-1862). _^<i_Walden Two_^>i_ is conducted in the main as a dialogue between Castle and Frazier, two colleagues of a professor named Burris, a clear stand-in for the author himself. Frazier, who has
founded the colony, dismisses -- as BFS later did himself in _^<i_Beyond Freedom and Dignity_^>i_ (_^<b_1972_^>b_) -- the traditional notions of free will, and disparages democratic forms of government; his opponent, Castle, argues for the
time-tested liberal solutions to the problems of human happiness. Burris seems neutral, but the colony, with its creches, positive reinforcement regimes and transparently happy residents, is obviously intended to represent the power of Frazier's
(1943- ) US writer whose first genre story was "One Ordinary Day, with Box" in _^<i_Generation_^>i_ (anth _^<b_1972_^>b_) ed David _^<a_!T4671_GERROLD_^>a_. She was married to Stephen _^<a_!T4756_GOLDIN_^>a_ 1972-82, and wrote with him _^<i_The
Business of Being a Writer_^>i_ (_^<b_1982_^>b_). Her debut novel _^<i_Birthright_^>i_ (_^<b_1975_^>b_) speculates emotionally about distinctions between human and _^<a_!T178_ANDROID_^>a_ after _^<a_!T4657_GENETIC ENGINEERING_^>a_ has become a
common practice. Her other work in the genre has also been romantic, including 2 competent _^<a_!T2429_STAR-TREK_^>a_ ties, _^<i_Vulcan!_^>i_ * (_^<b_1978_^>b_) and _^<i_Death's Angel_^>i_ * (_^<b_1981_^>b_), and the separate novels _^<i_Ice
Prison_^>i_ (_^<b_1976_^>b_) and _^<i_Witchdame_^>i_ (_^<b_1985_^>b_), the latter being a fantasy, and seemingly #1 in a projected series. [PN]_^<n__^<n_
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SKYWORLDS
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US _^<a_!T1231_DIGEST_^>a_-size reprint magazine, subtitled "Classics in Science Fiction" on #1, thereafter "Marvels in Science Fiction". 4 issues Nov 1977-Aug 1978, published by Humorama Inc., New York; ed Jeff Stevens (uncredited). _^<i_S_^>i_
reprinted mostly from _^<a_!T3698_MARVEL SCIENCE STORIES_^>a_ of 1950-52, material badly dated by the 1970s and undistinguished when it had first appeared. Production was terrible. [FHP/PN]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zpubz
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380
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SLADEK, JOHN T(HOMAS)
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(1937- ) US writer who spent two decades in the UK from 1966, becoming involved in the UK _^<a_!T3181_NEW-WAVE_^>a_ movement centred on Michael _^<a_!T3030_MOORCOCK_^>a_'s _^<a_!T3182_NEW WORLDS_^>a_, and co-editing with Pamela
_^<a_!T6277_ZOLINE_^>a_ _^<i_Ronald Reagan: The Magazine of Poetry_^>i_ (2 issues 1968), in which work by both editors, J.G. _^<a_!T378_BALLARD_^>a_, Thomas M. _^<a_!T1244_DISCH_^>a_ and others appeared. In the mid-1980s he returned to Minneapolis,
a town which had long supplied local colour to many of his more severely satirical stories, whose protagonists ricochet through their preordained and absurd lives within the vast, hyperbolic flatlands of middle America. This _^<i_mise en
scene_^>i_, when illuminated by his adept control of the language and pretensions of the modern bureaucratic state, provides a matrix for his best work, and helps make plausible the frequent comparisons that have been drawn between him and Kurt
_^<a_!T5402_VONNEGUT_^>a_ Jr; but Vonnegut has an easier emotional flow than JTS, while JTS lacks Vonnegut's rhetoric and avoids his excessive simplicity of effect._^<n__^<n_He began writing sf with "The Happy Breed", published in Harlan
_^<a_!T6641_ELLISON_^>a_'s _^<i__^<a_!B9046_DANGEROUS VISIONS_^>a__^>i_ (anth _^<b_1967_^>b_), though his first published story was "The Poets of Millgrove, Iowa" for _^<i_NW_^>i_ in 1966; his first 2 novels -- _^<i_The House that Fear Built_^>i_
(_^<b_1966_^>b_ US) with Disch and _^<i_The Castle and the Key_^>i_ (_^<b_1967_^>b_ US) -- were _^<a_!T4780_GOTHICS_^>a_, both as by Cassandra Knye. His first sf novel, _^<i_The Reproductive System_^>i_ (_^<b_1968_^>b_; vt
_^<i__^<a_!B8983_MECHASM_^>a__^>i_ 1969 US), introduced into his typical small-town-US setting a brilliant maelstrom of sf activity: a self-reproducing technological device goes out of control in passages of allegorical broadness, but everything
turns out all right in the end, though not through positive efforts of the inept cast, and a dreamlike _^<a_!T5303_UTOPIA_^>a_ looms on the horizon; governing the conniptions of the tale is an obsessive discourse upon and dramatization of the
metamorphic relationships between human and _^<a_!T2646_ROBOT_^>a_, a relationship which lies at the centre of all his subsequent solo novels and much of his short fiction. His next book, however, _^<i_Black Alice_^>i_ (_^<b_1968_^>b_ US) with
Disch, both as Thom Demijohn, was a mystery novel, not sf. In JTS's next sf book, _^<i_The Muller-Fokker Effect_^>i_ (_^<b_1970_^>b_), a man's character is transferred onto _^<a_!T826_COMPUTER_^>a_ tape, and the dissemination of several copies of
this "personality" instigates a series of absurd events (> _^<a_!T1372_FABULATION_^>a_), some of them extremely comic in effect, some horrifying, all mounting to a picture of a USA disintegrated morally and physically by its own surrender to
_^<a_!T5916_TECHNOLOGY_^>a_, the profit motive and the ethical falseness that leads to dehumanization. In its questioning of the nature of narrative events and of fiction itself, the book is a significant example of modern US self-analysis at its
highly impressive best. In 1970 the book gained little response, and for a decade JTS wrote no more sf novels._^<n__^<n_Through his career, JTS has written numerous stories whose strenuous formal ingenuity, and whose surreal combining of a deadpan
ribaldry and pathos, have made them underground classics of the genre. The most notable of them all, because of its length and impassioned veracity of tone, may be "Masterson and the Clerks" (1967), in which the immolation of its protagonists in
the process of a US business is first hilariously then movingly presented; true to the oddly uncommercial course of his career, JTS collected this tale only much later, in _^<i_Alien Accounts_^>i_ (coll _^<b_1982_^>b_). Previous collections --
_^<i_The Steam-Driven Boy and Other Strangers_^>i_ (coll _^<b_1973_^>b_), which contains several superb parodies of well known sf writers (> _^<a_!T2812_SATIRE_^>a_), and _^<i_Keep the Giraffe Burning_^>i_ (coll dated 1977 but _^<b_1978_^>b_),
selections from both vols being brought together as _^<i_The Best of John Sladek_^>i_ (coll _^<b_1981_^>b_ US) -- tended to assemble stories which, perhaps more formally brilliant than "Masterson", lack something of its human intensity. Later
stories were assembled in _^<i_The Lunatics of Terra_^>i_ (coll _^<b_1984_^>b_), in which the comic melancholy of his early work wears a somewhat calmer guise. During the 1970s, when most of his stories became generally available, JTS published two
detective novels, _^<i_Black Aura_^>i_ (_^<b_1974_^>b_) -- which contains some borderline-sf elements -- and _^<i_Invisible Green: A thackeray Phin Mystery_^>i_ (_^<b_1977_^>b_), as well as a sequence of nonfiction texts of considerable interest.
_^<i_The New Apocrypha: A Guide to Strange Sciences and Occult Beliefs_^>i_ (_^<b_1973_^>b_) -- all subsequent texts modified under threat of legal action from the Church of Scientology -- scathingly anatomizes the various cults and
_^<a_!T2019_PSEUDO-SCIENCES_^>a_ that exist as a kind of fringe around the sf reader's areas of interest, from _^<a_!T2881_SCIENTOLOGY_^>a_ to _^<a_!T5397_VON DANIKEN_^>a_. _^<i_Arachne Rising: The Thirteenth Sign of the Zodiac_^>i_
(_^<b_1977_^>b_; vt _^<i_The Thirteenth Zodiac: The Sign of Arachne_^>i_ 1979 ) as James Vogh, _^<i_The Cosmic Factor_^>i_ (_^<b_1978_^>b_) as James Vogh and _^<i_Judgement of Jupiter_^>i_ (_^<b_1980_^>b_) as Richard A. Tilms were hoax
demonstrations of the kind of fringe theorizing that underpins the cults described in _^<i_The New Apocrypha_^>i_._^<n__^<n_JTS then returned to sf with _^<i_Roderick, or The Education of a Young Machine_^>i_ (_^<b_1980_^>b_) and _^<i_Roderick at
Random, or Further Education of a Young Machine_^>i_ (_^<b_1983_^>b_), 2 texts conceived as a single novel. The US version, also entitled _^<i__^<a_!B9060_RODERICK_^>a__^>i_ (1982 US), constituted only about two-thirds of the original
_^<i__^<a_!B9060_RODERICK_^>a__^>i_; the publisher had intended to make a trilogy out of the 2-vol novel, but the project foundered, and only the single savagely truncated vol appeared. The novel represents the autobiography of the eponymous robot
and is JTS's most ambitious work to date, conveying with considerable ingenuity and some pathos its protagonist's Candide-like innocence and its author's _^<a_!T6327_OULIPO_^>a_-derived numerological sense of narrative structure. _^<i_Tik-Tok_^>i_
(_^<b_1983_^>b_), a thematic pendant which again took its structure from the arbitrary rule-generating principles of oulipo, follows the career of a robot who, once his "asimov circuits" go on the blink, becomes criminally ambitious. Though robots
inevitably appear, _^<i_Bugs_^>i_ (_^<b_1989_^>b_ UK) was JTS's first sf novel to feature a "normal" human protagonist; and in its tracing of the deranging experiences of a UK immigrant to a strange Midwestern city the tale could be seen as
guardedly autobiographical._^<n__^<n_As the most formally inventive, the funniest, and very nearly the most melancholy of modern US sf writers, JTS has always addressed the heart of the genre, but never spoken from it. We need his attention: he
deserves ours. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Red Noise_^>i_ (_^<b_1982_^>b_ chap US); _^<i_Flatland_^>i_ (_^<b_1982_^>b_ chap US); _^<i_The Book of Clues_^>i_ (_^<b_1984_^>b_), a series of short detective puzzles; _^<i_Blood and
Gingerbread_^>i_ (_^<b_1990_^>b_ chap)._^<b_About the author:_^>b_ _^<i_A John Sladek Checklist_^>i_ (_^<b_1984_^>b_ chap) by Chris _^<a_!T1327_DRUMM_^>a_._^<b_See also:_^>b_ _^<a_!T18_ABSURDIST SF_^>a_; _^<a_!T323_AUTOMATION_^>a_;
UK _^<a_!T1428_FANZINE_^>a_ (1948-53) ed from Belfast by Walt Willis. Neatly hand-printed on a small letterpress machine, and containing woodcut illustrations by James _^<a_!T5577_WHITE_^>a_ and Bob _^<a_!T2153_SHAW_^>a_, _^<i_S_^>i_ is best
remembered for introducing Irish _^<a_!T1389_FANDOM_^>a_ (principally Willis, Shaw and White) to sf fandom at large; it also contained fine pieces of humorous writing (continued in _^<a_!T4575_HYPHEN_^>a_) and featured fiction by authors such as
Kenneth _^<a_!T5073_BULMER_^>a_, John _^<a_!T5049_BRUNNER_^>a_, A. Bertram _^<a_!T5232_CHANDLER_^>a_ and Shaw. [PR]_^<n__^<n_
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SLATER, HENRY J.
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(1879-1963) UK author whose work showed the influence of H.G. _^<a_!T5528_WELLS_^>a_ in both _^<i_Ship of Destiny_^>i_ (_^<b_1951_^>b_), where survivors of a _^<a_!T4482_HOLOCAUST_^>a_ sail across a drowned world, and _^<i_The Smashed World_^>i_
(_^<b_1952_^>b_), set 3000 years hence in a World State which is destroyed by a reborn Napoleon. Some of HJS's effects oddly prefigure the afterlife fantasies of Philip Jose _^<a_!T1435_FARMER_^>a_. [JC]_^<n__^<n__^<b_See also:_^>b_
_^<a_!T2548_REINCARNATION_^>a_.
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SLATER, PHILIP (ELLIOT)
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(1927- ) US writer who remains best known for acute analyses of Western culture like _^<i_The Pursuit of Loneliness_^>i_ (_^<b_1970_^>b_) and _^<i_Earthwalk_^>i_ (_^<b_1974_^>b_). His _^<i_How I Saved the World_^>i_ (_^<b_1985_^>b_), about
nuclear _^<a_!T1243_DISASTER_^>a_, reiterates in spoof-thriller guise the lessons urged in his nonfiction. [JC]_^<n__^<n_
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SLAUGHTERHOUSE-FIVE
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Film (1972). Vanadas/Universal. Dir George Roy Hill, starring Michael Sacks, Ron Leibman, Eugene Roche, Sharon Gans, Valerie Perrine. Screenplay Stephen Geller, based on _^<i_Slaughterhouse-Five, or The Children's Crusade_^>i_ (_^<b_1969_^>b_) by
Kurt _^<a_!T5402_VONNEGUT_^>a_ Jr. 104 mins. Colour._^<n__^<n_A middle-class, middle-aged American (Sacks), dissatisfied with his job, marriage and life in general, starts to experience sudden shifts in time, mainly back to when he was a PoW in the
German city of Dresden before its fire-bombing on a massive scale by the Allies. He later experiences forward shifts in time to when he has become a prisoner of the _^<a_!T98_ALIEN_^>a_ Tralfamadorians, who keep him in a zoo on their planet and
provide him with a half-naked Hollywood starlet for company. The novel's _^<a_!T18_ABSURDIST_^>a_ disjunctions between the real horrors of war and the minor horrors of suburban life are arguably satirical, and certainly agonized, though arbitrary;
here, with quite extraordinary vulgarity, they become merely flippant, especially in the context of the Tralfamadore sequences, where what is black in the book is merely whimsical in the movie, which nevertheless won a 1973 _^<a_!T4551_HUGO_^>a_.
[JB/PN]_^<n__^<n_
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SLEATOR, WILLIAM (WARNER III)
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(1945- ) US writer of books for older children. His first novel, _^<i_Blackbriar_^>i_ (_^<b_1972_^>b_), is an occult fantasy. Titles of sf interest include: _^<i_House of Stairs_^>i_ (_^<b_1974_^>b_), an attack on behavioural science and the
experiments to which it might lead; _^<i_Green Futures of Tycho_^>i_ (_^<b_1981_^>b_), set in a familiar version of the Solar System; _^<i_Interstellar Pig_^>i_ (_^<b_1984_^>b_), which intermixes gaming (>_^<a_!T1695_GAMES AND SPORTS_^>a_) and
_^<a_!T98_ALIEN_^>a_ themes in the tale of a game whose pieces represent moves in a nonhuman conflict; _^<i_The Boy who Reversed Himself_^>i_ (_^<b_1986_^>b_), about travel through the _^<a_!T1239_DIMENSIONS_^>a_ at some risk to the lad; _^<i_The
Duplicate_^>i_ (_^<b_1988_^>b_), in which a machine _^<a_!T761_CLONES_^>a_ duplicates of a teenaged boy, all of them upset; and _^<i_Strange Attractors_^>i_ (_^<b_1990_^>b_; vt _^<i_Strange Attractions_^>i_ 1991 UK), a _^<a_!T6026_TIME-TRAVEL_^>a_
tale. WS's range is wide, and his recalcitrant protagonists stick doggedly in the reader's memory, but he has a tendency sometimes to accept sf devices without much bothering to examine them, and this in turn thins the texture of reality of his
tales. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Among the Dolls_^>i_ (_^<b_1975_^>b_ chap), fantasy; _^<i_Into the Dream_^>i_ (_^<b_1979_^>b_); _^<i_Fingers_^>i_ (_^<b_1983_^>b_); _^<i_Singularity_^>i_ (_^<b_1985_^>b_); _^<i_The Spirit House_^>i_
(_^<b_1991_^>b_); _^<i_Others See Us_^>i_ (_^<b_1993_^>b_).
Film (1973). Rollins-Joffe Productions/United Artists. Dir Woody Allen, starring Allen, Diane Keaton, John Beck, Mary Gregory, Don Keefer. Screenplay Allen, Marshall Brickman. 88 mins. Colour._^<n__^<n_The plot device of having a man from the
present suddenly finding himself in the future (this time through _^<a_!T987_CRYONICS_^>a_) is nearly always used to comment on contemporary society rather than to speculate about the future (> _^<a_!T2248_SLEEPER AWAKES_^>a_). This, one of Allen's
best slapstick _^<a_!T2812_SATIRES_^>a_, targets Nixon, health food, beauty contests and revolutionary politics, but it does include genuinely futuristic sf gags involving _^<a_!T2646_ROBOTS_^>a_ and robot pets, _^<a_!T2115_SEX_^>a_ practices and
artificial food (which has to be beaten into submission before it can be served). One of the best sequences involves an attempt to _^<a_!T761_CLONE_^>a_ a new body from the nose of the country's assassinated dictator, the only bit left. Allen is
the always-anxious heath-food faddist who cannot come to terms with the future's partiality to pleasure. The film won both _^<a_!T4551_HUGO_^>a_ and _^<a_!T3147_NEBULA_^>a_. [JB/PN]_^<n__^<n_
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SLEEPER AWAKES
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As the 19th century progressed and the planet became more and more thoroughly explored, authors of _^<a_!T5303_UTOPIAS_^>a_ and _^<a_!T1370_DYSTOPIAS_^>a_ began to abandon present-day _^<a_!T3460_LOST WORLDS_^>a_ and _^<a_!T3823_ISLANDS_^>a_ as
venues for their ideal societies, and instead to locate their speculations in the future, perhaps hundreds of years hence. Almost always these speculations were framed by prologues (and sometimes epilogues) set at the time the novel was written;
this frame served to introduce the protagonist who was to travel into the future and act the role of inquisitive visitor to the new world. The route he (the protagonist was almost always male) generally took seems in retrospect an odd one. Though
_^<a_!T6018_TIME MACHINES_^>a_ were available to fiction writers before the end of the century, they were rarely used, either by utopian/dystopian speculators or by tellers of tales. Even H.G. _^<a_!T5528_WELLS_^>a_, who conceived perhaps the first
imaginatively plausible device in _^<i__^<a_!B9070_THE TIME MACHINE_^>a__^>i_ (_^<b_1895_^>b_), did not re-use the idea, even though the notion of an instantaneous trip through time served one essential function for the writer who wished to
illuminate the world to come: it brought the then and the now into abrupt and glaring contrast. When Wells came to write his first dystopia, _^<i_When the Sleeper Wakes_^>i_ (_^<b_1899_^>b_; rev vt _^<i_The Sleeper Awakes_^>i_ 1910), he fell back
on the convention of the protagonist who falls asleep in the present day and wakes again in the future. Not for the first time in his career, he did not invent but gave definitive form to (and named, in the vt) a significant sf theme or
motif._^<n__^<n_The sleeper-awakes device shares with _^<a_!T6026_TIME TRAVEL_^>a_, however, the capacity to transit centuries in the turning of a page, so that the essential function of contrast between the then and the now can be retained in
exemplary focus. The two most famous late-19th-century utopias in the English language, Edward _^<a_!T514_BELLAMY_^>a_'s _^<i_Looking Backward, 2000-1887_^>i_ (_^<b_1888_^>b_) and William _^<a_!T3066_MORRIS_^>a_'s _^<i_News from Nowhere_^>i_
(_^<b_1890_^>b_ US), took advantage of the device to sharpen contrasts throughout. Many less famous titles, like Ismar _^<a_!T5978_THIUSEN_^>a_'s _^<i_The Diothas_^>i_ (_^<b_1883_^>b_), also utilized it. In his _^<i_Science Fiction: The Early
Years_^>i_ (_^<b_1991_^>b_), E.F. _^<a_!T654_BLEILER_^>a_ lists about 40 further novels and stories published before 1930 -- by no means all of them utopias or dystopias -- which feature an awakened sleeper. Few have retained much popularity,
vt _^<i_The Red Fury_^>i_ 1919) and Edward _^<a_!T2123_SHANKS_^>a_'s _^<i_The People of the Ruins_^>i_ (_^<b_1920_^>b_) remain of some interest._^<n__^<n_It is hard to escape the sense that the sleeper-awakes structure betrayed, even before the
beginning of the 20th century, an undue fastidiousness of imagination, and that some straightforward magic (like a time machine) might always have been a more elegant option; even more attractive to the imagination, of course, would have been a
story which did not need a time-frame or anchor to make its point about the worlds to come, or to thrill its readers with the new. One of the centrally important accomplishments of _^<a_!T4659_GENRE SF_^>a_ has been the abandonment of the anchor of
the present day, for most genre sf is set unabashedly in the future, and needs no present-day protagonist to reassure its readers of the imaginative reality of the new worlds. A non-genre writer like J. Leslie _^<a_!T2985_MITCHELL_^>a_ might still
hint at something along the lines of the device when he sent the eponymous heroine of _^<i_Gay Hunter_^>i_ (_^<b_1934_^>b_) 20,000 years hence, but few sleepers-awake stories appeared in genre sf until the development of the notion of the
_^<a_!T4655_GENERATION STARSHIP_^>a_, in the bowels of which might repose thousands of humans in _^<a_!T5851_SUSPENDED ANIMATION_^>a_; and, anyway, here the sleepers tend not to be the protagonists of the tale -- it is their shepherds, in the here
and now of the narrative, who generally fill that role. Only occasionally -- as in Orson Scott _^<a_!T6359_CARD_^>a_'s _^<i_Hot Sleep_^>i_ (fixup _^<b_1979_^>b_) -- will a sleeper awake from generation-starship solitude as protagonist in a changed
world. Other genre-sf examples of the device either -- like Mack _^<a_!T2576_REYNOLDS_^>a_'s _^<i_Looking Backward, from the Year 2000_^>i_ (_^<b_1973_^>b_) -- are introduced as a homage, or -- as in T.J. _^<a_!T456_BASS_^>a_'s remarkable _^<i_Half
Past Human _^>i_(fixup _^<b_1971_^>b_) -- are integrated into genre pyrotechnics that far transcend the original simplicity of the notion. But these are eccentric examples. When, after 1926, the future became domesticated as a venue for the
imagination, the sleeper-awakes tale faded away._^<n__^<n_There are also many tales in both 19th-century sf and genre sf which feature a figure from the past who awakens into the present. Indeed, this is a far older theme, growing perhaps from
legends like that of Sleeping Beauty and famously given new life by Washington Irving (1783-1859) in "Rip Van Winkle" (in _^<i_The Sketch Book of Geoffrey Crayon, Gent_^>i_ [in parts _^<b_1819-20_^>b_]), whose lazy protagonist falls asleep in the
Catskills for 20 years. Modern tales of this sort rarely focus on the awakened sleeper, but on the impact that an intruder from beyond, whose responses to us may well be inappropriate or alien, might have upon our own world. [JC]_^<n__^<n_
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SLEEPING DOGS
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> _^<a_!T3186_NEW ZEALAND_^>a_._^<n__^<n_
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SLESAR, HENRY
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(1927- ) US writer who began his career in advertising. He started to publish sf with "The Brat" for _^<i_Imaginative Tales_^>i_ in 1955. Of his several hundred stories, about a third have been sf or fantasy, most of them appearing in his first
decade as a writer; many are as by O.H. Leslie. He is best known for his work in the mystery field, with a number of thrillers from _^<i_The Gray Flannel Shroud_^>i_ (_^<b_1958_^>b_), which won an Edgar, onwards. Among them was a borderline-sf
tale, _^<i_The Bridge of Lions_^>i_ (_^<b_1963_^>b_); closely connected to this kind of work was his stint as headwriter for the US daytime suspense serial, _^<i_The Edge of Night_^>i_, in the late 1950s and 1960s. Other tv work included 24
episodes for _^<b_Alfred Hitchcock Presents_^>b_ (1955-61), _^<i_The Virtue Affair_^>i_ for _^<i_The_^<a_!T3637_MAN FROM U.N.C.L.E._^>a__^>i_ in 1965, and at least 100 additional scripts, many of them fantasy or sf. His one sf book has been the
novelization of _^<a_!T6137_TWENTY MILLION MILES TO EARTH_^>a_ (1957; _^<b_1957_^>b_), published as #1 in the abortive _^<a_!T144_AMAZING STORIES SCIENCE FICTION NOVELS_^>a_ series. [JC/PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T2021_PSI POWERS_^>a_.
Film (1989). Entertainment Film Productions. Prod Gary Kurtz. Dir Steven M. Lisberger, starring Bill Paxton, Bob Peck, Mark Hamill, Kitty Aldridge, Eleanor David, Ben Kingsley. Screenplay Tony Kayden, based on a story by Bill Bauer. 102 mins.
Colour._^<n__^<n_Unspecified ecological rape has led to great earthquakes and geological changes all over the world. A strong, constant "river" of wind, the Slipstream, blows always in one direction across a scarred landscape which confusingly
alternates between scenes shot in Yorkshire and in Turkey. Eccentric remnants of civilization persist in isolated pockets; transport is, inexplicably, by microlight aircraft. A supposedly criminal _^<a_!T178_ANDROID_^>a_ (Peck) is hunted by a
psychotic cop (Hamill) and protected by a young bounty hunter (Paxton). The post-_^<a_!T4482_HOLOCAUST_^>a_ scenario is intriguing, the execution is dreadful. Kurtz, who produced _^<a_!T5686_STAR WARS_^>a_ (1977), was attempting a come-back here,
along with _^<i_Star Wars_^>i_ star Hamill; both failed. A few powerful moments focus on Peck's intelligent performance as the Christlike healer-android. Lisberger's previous sf film, _^<a_!T6102_TRON_^>a_ (1982), was not bad, and one can only
wonder why this apparently promising project suffered from murky photography, confused editing and an incoherent and pretentious script. [PN]_^<n__^<n_
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SLIPSTREAM SF
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A term devised, apparently by Bruce _^<a_!T5717_STERLING_^>a_ -- in part as a pun on, or echo of, _^<a_!T3609_MAINSTREAM_^>a_ -- to designate stories which make use of sf devices but which are not _^<a_!T4659_GENRE SF_^>a_. The image is either
nautical or aeronautical: a ship or an airplane (either of which stands for genre sf) can create a slipstream which may be strong enough to give non-paying passengers (Paul _^<a_!T5965_THEROUX_^>a_, say) a ride. As a description of commercial
piggybacking, the term seems apt; however, when used to designate the whole range of non-genre sf here called _^<a_!T1372_FABULATION_^>a_ (_^<i_which see for discussion_^>i_), the term -- which implies a relationship of dependency -- can seem
derogatory. [JC]_^<n__^<n_
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SLOANE, T(HOMAS) O'CONOR
-T-
(1851-1940) US editor and author of popular scientific works. He was associate editor (designated managing editor for #1) of _^<a_!T141_AMAZING STORIES_^>a_ and of _^<a_!T143_AMAZING STORIES QUARTERLY_^>a_ from the beginning, and carried much
responsibility for the actual running of the magazines, although they were in the overall charge of, successively, Hugo _^<a_!T4668_GERNSBACK_^>a_ and Arthur Lynch. He succeeded to the editorship of both journals in 1929. _^<i_Amazing Stories
Quarterly_^>i_ ceased publication in 1934, but he retained the editorship of _^<i_AMZ_^>i_ until June 1938, when the ailing magazine was sold to the Chicago-based _^<a_!T6269_ZIFF-DAVIS_^>a_. Nearing his 80th year when he finally succeeded to the
editorship, TOS had a long white beard and an appropriately Rip Van Winkle-like approach to the job; though he worked for 12 years on _^<a_!T2130_SF MAGAZINES_^>a_, he stated publicly (in a 1929 _^<i_AMZ_^>i_ editorial) his belief that Man would
never achieve space travel. _^<i_AMZ_^>i_ nevertheless bought the first stories of such writers as E.E. _^<a_!T2270_SMITH_^>a_, John W. _^<a_!T5140_CAMPBELL_^>a_ Jr and Jack _^<a_!T5629_WILLIAMSON_^>a_; but the combination of poor payment and slack
management made it inevitable that writers of any calibre would soon move to more attractive markets. TOS actually lost the manuscript of Campbell's first story, and returned Clifford D. _^<a_!T2218_SIMAK_^>a_'s first submission after 4 years'
silence, remarking that it was "a bit dated". He was more than once fooled into publishing plagiarisms. On one occasion (Feb 1933) he printed a story ("The Ho-Ming Gland" by Malcolm R. Afford) which had already appeared in _^<a_!T6152_WONDER
STORIES_^>a_ (Jan 1931): the author had submitted the story to TOS 4 years earlier but, having heard nothing after a year, had sold it to the rival magazine._^<n__^<n_TOS, a PhD, had been an inventor, and his son married a daughter of a more
celebrated inventor, Thomas Alva Edison (1847-1931). [MJE]_^<n__^<n_
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SLOANE, WILLIAM M(ILLIGAN)
-T-
(1906-1974) US playwright, novelist and publisher whose interest in the occult was reflected in his sf novels, _^<i_To Walk the Night_^>i_ (_^<b_1937_^>b_; rev 1954) and _^<i_The Edge of Running Water_^>i_ (_^<b_1939_^>b_; vt _^<i_The Unquiet
Corpse_^>i_ 1946), both later assembled as _^<i_The Rim of Morning_^>i_ (omni _^<b_1964_^>b_); along with 1 story, "Let Nothing You Dismay" (1954), they are all the sf he wrote. The first complexly combines horror and sf in the story of an
_^<a_!T98_ALIEN_^>a_ entrapped in a human life as the widow of a famous physicist, in whose death she seems implicated; the story is absorbing and polished. The second, rather similarly, features a scientist's attempts to communicate with his dead
wife and to revive her; horrors ensue, and local prejudice exacts its toll. WMS also ed 2 sf anthologies, _^<i_Space, Space, Space_^>i_ (anth _^<b_1953_^>b_) and _^<i_Stories for Tomorrow_^>i_ (anth _^<b_1954_^>b_); the latter was one of the finest
collections of its period. [JC]_^<n__^<n_
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SLOCOMBE, GEORGE (EDWARD)
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(1894-1963) UK writer whose _^<i_Dictator_^>i_ (_^<b_1932_^>b_), set in an imaginary European country, describes the rise of a tyranny there. _^<i_Escape into the Past_^>i_ (_^<b_1943_^>b_) features an artist's wife who escapes irrevocably into the
17th century. [JC]_^<n__^<n_
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SLONCZEWSKI, JOAN (LYN)
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(1956- ) US writer and professor of biology, specializing in genetics, who began publishing sf with her first novel, _^<i_Still Forms on Foxfield_^>i_ (_^<b_1980_^>b_), a tale in which most of her subsequent concerns take initial shape. A human
community of Quakers, having fled an apparently doomed Earth and establishing on the planet Foxfield a sane and _^<a_!T6576_ECOLOGY_^>a_-obedient relationship with the native species, is contacted centuries later by a technologically resurgent
humanity and must now deal with the challenge to its ways. Significantly, the book deals not with rediscovery -- an old and typically triumphalist sf theme -- but with being discovered, a point of view reiterated in her second and best known novel,
_^<i_A Door into Ocean_^>i_ (_^<b_1986_^>b_), which won the _^<a_!T3923_JOHN W. CAMPBELL MEMORIAL AWARD_^>a_. The planet (in fact a moon) is in this case water-covered and inhabited by _^<a_!T5683_WOMEN_^>a_, who thwart a military invasion; the
book teaches some sharp _^<a_!T1461_FEMINIST_^>a_ lessons _^<i_en passant_^>i_. The sequel, _^<i_Daughter of Elysium_^>i_ (_^<b_1993_^>b_), broadens the terms of discourse -- several contrasting societies are portrayed -- at some cost to narrative
vigour, though sharp subtle observations constantly, as before, prickle and amuse._^<i_The Wall around Eden_^>i_ (_^<b_1989_^>b_), set on a devastated post-_^<a_!T4482_HOLOCAUST_^>a_ Earth, provides its female protagonist with numbing challenges of
comprehension (the supervising _^<a_!T102_ALIENS_^>a_ are invisible and their insect-like culture may in fact have been decorticated -- i.e., its central control systems may have been destroyed) and response, with no clear answers available in the
waste. From the slightly sentimentalized burden of her first book, JS has moved rapidly into supple command of her ample concerns. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T1812_PASTORAL_^>a_; _^<a_!T5281_UNDER THE SEA_^>a_.
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SLOVAK SF
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> _^<a_!T1020_CZECH AND SLOVAK SF_^>a_._^<n__^<n_
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SLUSSER, GEORGE EDGAR
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(1939- ) US academic and critic with a PhD in literature from Harvard. He is Professor of Comparative Literature at the University of California, Riverside, and Curator of the _^<a_!T3906_J. LLOYD EATON COLLECTION_^>a_ there; he is also Director
of the Eaton Program for Science Fiction and Fantasy Studies, which is devoted to research. GES has written and edited a number of critical books on sf, and has also translated sf-related works by Honore de _^<a_!T386_BALZAC_^>a_ and J.H.
_^<a_!T2696_ROSNY_^>a_ aine._^<n__^<n_His critical books, all from _^<a_!T705_BORGO PRESS_^>a_, are _^<i_Robert A. Heinlein: Stranger in His Own Land_^>i_ (chap _^<b_1976_^>b_; rev 1977), _^<i_The Farthest Shores of Ursula K. Le Guin_^>i_ (chap
_^<b_1976_^>b_), _^<i_The Bradbury Chronicles_^>i_ (chap _^<b_1977_^>b_), _^<i_Harlan Ellison: Unrepentant Harlequin_^>i_ (chap _^<b_1977_^>b_), _^<i_The Delany Intersection_^>i_ (chap _^<b_1977_^>b_), _^<i_The Classic Years of Robert A.
Heinlein_^>i_ (chap _^<b_1977_^>b_) and _^<i_The Space Odysseys of Arthur C. Clarke_^>i_ (chap _^<b_1978_^>b_)._^<n__^<n_Anthologies of critical essays ed GES, most collecting papers delivered at the annual Eaton Conference on fantasy and sf, and
generally edited collaboratively with other academics involved in the Conference, are _^<i_Bridges to Science Fiction_^>i_ (anth _^<b_1980_^>b_) ed with George R. Guffey and Mark _^<a_!T2693_ROSE_^>a_, _^<i_Bridges to Fantasy_^>i_ (anth
_^<b_1982_^>b_) ed with Eric _^<a_!T2474_RABKIN_^>a_ and Robert _^<a_!T2856_SCHOLES_^>a_, _^<i_Co-Ordinates: Placing Science Fiction and Fantasy_^>i_ (anth _^<b_1983_^>b_) ed with Rabkin and Scholes, _^<i_Shadows of the Magic Lamp: Fantasy and
Science Fiction in Film_^>i_ (anth _^<b_1985_^>b_) ed with Rabkin, _^<i_Hard Science Fiction_^>i_ (anth _^<b_1986_^>b_) ed with Rabkin, _^<i_Storm Warnings: Science Fiction Confronts the Future_^>i_ (anth _^<b_1987_^>b_) ed with Rabkin and Colin
_^<a_!T4847_GREENLAND_^>a_, _^<i_Intersections: Fantasy and Science Fiction_^>i_ (anth _^<b_1987_^>b_) ed with Rabkin, _^<i_Aliens: The Anthropology of Science Fiction_^>i_ (anth _^<b_1987_^>b_) ed with Rabkin,_^<i_Mindscapes: The Geographies of
Imagined Worlds_^>i_ (anth _^<b_1989_^>b_) ed with Rabkin, _^<i_Styles of Creation: Aesthetic Technique and the Creation of Fictional Worlds_^>i_ (anth _^<b_1992_^>b_) with Rabkin, _^<i_Fiction 2000: Cyberpunk and the Future of Narrative_^>i_ (anth
_^<b_1992_^>b_) with Tom _^<a_!T2215_SHIPPEY_^>a_, _^<i_Fights of Fancy: Armed Conflict in Science Fiction and Fantasy _^>i_(anth _^<b_1993_^>b_) with Rabkin and _^<i_Styles of Creation: Aesthetic Technique and the Creation of Fictional Worlds_^>i_
(anth _^<b_1993_^>b_) with Rabkin. By academic standards, at least, GES is a controversialist. On receiving the _^<a_!T1900_PILGRIM AWARD_^>a_ for services to sf criticism and scholarship in 1986, he argued that "we need to get sf out of the
English department" into comparative literature, interdisciplinary studies or even as "a discipline in itself". [PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T197_ANTHROPOLOGY_^>a_; _^<a_!T726_CINEMA_^>a_; _^<a_!T963_CRITICAL AND HISTORICAL WORKS ABOUT
SF_^>a_.
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SMALL, AUSTIN J(AMES)
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(1894-1929) UK adventure and thriller writer, born Austin Small Major, though his death certificate gives AJS. He wrote 3 books of sf interest. In _^<i_Master Vorst_^>i_ (_^<b_1926_^>b_; vt _^<i_The Death Maker_^>i_ 1926 US) an insane plan to kill
off the human race by germ warfare is thwarted in the nick of time. _^<i_The Man They Couldn't Arrest_^>i_ (_^<b_1927_^>b_) is a mystery novel incorporating unusual devices and inventions into the plot. _^<i_The Avenging Ray_^>i_ (_^<b_1930_^>b_),
as Seamark, again features a mad scientist intent upon destroying the world, his _^<a_!T5492_WEAPON_^>a_ in this case being a "Degravitisor" _^<a_!T1128_DEATH-RAY_^>a_. The title story of _^<i_Out of the Dark_^>i_ (coll _^<b_1931_^>b_, assembled
after the author's suicide) as by Seamark features a were-leopard. [JC/JE]_^<n__^<n_
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SMALL PRESSES AND LIMITED EDITIONS
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_^<b_1. The USA_^>b_ Any firm founded to release work of personal interest to the publisher, and which distributes that work to readers whose interest can also be assumed, may be called a small press. Four years before Hugo
_^<a_!T4668_GERNSBACK_^>a_ began _^<a_!T141_AMAZING STORIES_^>a_ in 1926, The Lunar Publishing Company of Providence, Kentucky, was founded by friends of the author of the book it had been created in order to publish -- and then folded. _^<i_To the
Moon and Back in Ninety Days: A Thrilling Narrative of Blended Science and Adventure_^>i_ (_^<b_1922_^>b_) by John Young Brown (1858-1921) was a genuine exercise in Gernsbackian sf, featuring a ship driven by _^<a_!T198_ANTIGRAVITY_^>a_ plus
lessons in _^<a_!T283_ASTRONOMY_^>a_ and other sciences. It may have been the first _^<a_!T4659_GENRE-SF_^>a_ novel to reach book form in the USA; it was certainly the first such novel to be published for an affinity readership._^<n__^<n_Several
years passed, however, before the Lunar example was followed for sf publications; for more than a decade, the only small-press activity of genre interest took place in the fields of _^<a_!T1412_FANTASY_^>a_ and _^<a_!T4509_HORROR_^>a_. The writers
who formed a circle around H.P. _^<a_!T3465_LOVECRAFT_^>a_ -- they included Robert E. _^<a_!T4524_HOWARD_^>a_, Frank Belknap _^<a_!T3430_LONG_^>a_, Edgar Hoffman _^<a_!T1988_PRICE_^>a_, Clark Ashton _^<a_!T2264_SMITH_^>a_ and Donald
_^<a_!T5450_WANDREI_^>a_ -- all found it difficult to publish with conventional houses, and when W. Paul Cook (1881-1948), a friend of Lovecraft's and editor of some influential early _^<a_!T205_APAS_^>a_, decided in 1925 to move into
_^<a_!T2026_PUBLISHING_^>a_ they were happy to contemplate having material released by his Recluse Press. In the event, its sole publications of interest were Long's first book, _^<i_A Man from Genoa_^>i_ (coll _^<b_1926_^>b_ chap), Wandrei's first
book, _^<i_Ecstasy_^>i_ (coll _^<b_1928_^>b_ chap), and Lovecraft's _^<i_The Shunned House_^>i_ (_^<b_1928_^>b_ chap), only a very few copies of which were bound. Another start-and-stop small press, The ARRA Printers run by Conrad H. Ruppert,
released 4 pamphlets in the early 1930s as a sidebar to _^<a_!T1419_FANTASY MAGAZINE_^>a_, including Allen _^<a_!T6460_GLASSER_^>a_'s _^<i_The Cavemen of Venus_^>i_ (_^<b_1932_^>b_ chap), which seems to have been the first independent work of
fiction produced from within fandom._^<n__^<n_The most important figure in this first flowering of the small press -- although the quality of his work aroused controversy in the field -- may have been William L. _^<a_!T943_CRAWFORD_^>a_ (_^<i_whom
see for details of his long career_^>i_), who began in imitation of Ruppert as a magazine producer, and who similarly moved into books; operating as Fantasy Pubs., his first release was _^<i_Men of Avalon/The White Sybil_^>i_ (anth _^<b_1935_^>b_
chap), which featured a story each by David H. _^<a_!T4008_KELLER_^>a_ and Clark Ashton Smith, and he continued with _^<i_Mars Mountain_^>i_ (_^<b_1935_^>b_) by Eugene George _^<a_!T4049_KEY_^>a_. More importantly, operating as Visionary Publishing
Company, he then released _^<i_The Shadow over Innsmouth_^>i_ (_^<b_1937_^>b_) by Lovecraft. It is worth noting that Crawford, like his predecessors, clearly found it easier to publish fantasy than sf; it was not until after WWII that any
significant sf, with one exception, reached book form via the small presses; that exception was _^<i_Dawn of Flame and Other Stories_^>i_ (coll _^<b_1936_^>b_) by Stanley G. _^<a_!T5506_WEINBAUM_^>a_, a memorial volume put together by The Milwaukee
Fictioneers, a fan group whose members included, among others, Robert _^<a_!T661_BLOCH_^>a_, Ralph Milne _^<a_!T1434_FARLEY_^>a_ and Raymond A. _^<a_!T1774_PALMER_^>a_, and which would soon be seen as of great importance. But when in 1939 August
_^<a_!T1189_DERLETH_^>a_ and Wandrei founded _^<a_!T232_ARKHAM HOUSE: PUBLISHERS_^>a_ -- which soon became and which remains the most famous of all small presses -- they were inspired by Crawford's publication of the Lovecraft title. The reasons
for this dominance of fantasy are not entirely clear, but probably come down to accidents of personality and opportunity: the early small presses could be described as close-knit "family" endeavours, and their publications were released to an
extremely narrow group of buyers; and the Lovecraft circle, active through the 1920s and 1930s, was exactly the sort of "family" required for primitive small-press activities. It was only after sf _^<a_!T1389_FANDOM_^>a_ became properly organized
at the end of the 1930s that sf itself was able to give birth to the "family" firms that multiplied after WWII._^<n__^<n_It all changed after 1945. Crawford himself began to publish sf with real frequency in 1947, when he founded
_^<a_!T1422_FANTASY PUBLISHING COMPANY INC._^>a_ (better known as FPCI), but by then he found himself sharing the sf world with several other new houses, including _^<a_!T1421_FANTASY PRESS_^>a_, founded by Lloyd Arthur _^<a_!T6696_ESHBACH_^>a_ in
1946, _^<a_!T4735_GNOME PRESS_^>a_, founded by David A. _^<a_!T4146_KYLE_^>a_ and Martin _^<a_!T4841_GREENBERG_^>a_ in 1948, the _^<a_!T4910_HADLEY PUBLISHING COMPANY_^>a_, founded by Donald M. Grant (1927- ) and Thomas G. Hadley in 1946,
_^<a_!T1993_PRIME PRESS_^>a_, founded by Oswald _^<a_!T6074_TRAIN_^>a_ and others in 1947, The Avalon Company, founded in 1947 by Will Sykora (1913-1994), which published only one title, _^<i_Life Everlasting and Other Tales of Science, Fantasy and
Horror_^>i_ (coll _^<b_1947_^>b_) by David H. _^<a_!T4008_KELLER_^>a_, and _^<a_!T2149_SHASTA PUBLISHERS_^>a_, founded by T.E. _^<a_!T1232_DIKTY_^>a_ (_^<i_whom see for details of his long career_^>i_), Erle Melvin Korshak and Mark Reinsberg in
1947. For almost a decade from 1946 these small presses -- along with a few even smaller enterprises -- dominated sf publishing. Various factors came together to explain this dominance: general-list firms had not yet discovered the field, while at
the same time an influx of young men, all potential readers and book-buyers, had been released from military service; a large backlog of _^<a_!T4659_GENRE SF_^>a_ had built up in the magazines, including work by several prominent authors who were
eager to see their material in book form; the genre was now old enough to have a past worthy of celebration, and had gained through the workings of fandom a singularly loyal readership; and the men (no women were importantly involved) who wished to
celebrate the genre by publishing its works were now, most of them, mature and experienced enough to operate small publishing firms with some chance of success. For almost a decade from 1946, the fans and writers of sf seemed to be in control of
their own house. For many still alive, those years were the true _^<a_!T4754_GOLDEN AGE OF SF_^>a_._^<n__^<n_By the middle of the 1950s, however, almost all the small presses were moribund or dead, crushed by the rise of the paperback
(>_^<a_!T20_ACE BOOKS_^>a_; _^<a_!T377_BALLANTINE BOOKS_^>a_; _^<a_!T397_BANTAM BOOKS_^>a_) and the incursion of general publishers (like _^<a_!T1299_DOUBLEDAY_^>a_ and Scribners) into what had become a profitable market; in 1995, limited editions
remain comparatively difficult to market. Arkham House survived, and some small presses devoted in the main to nonfiction -- like _^<a_!T52_ADVENT: PUBLISHERS_^>a_ from 1956, Jack L. _^<a_!T5223_CHALKER_^>a_'s _^<a_!T2975_MIRAGE PRESS_^>a_ from
1961, Lloyd C. _^<a_!T1001_CURREY_^>a_'s and David G. _^<a_!T4329_HARTWELL_^>a_'s Dragon Press from 1971, and Dikty's _^<a_!T1452_FAX COLLECTOR'S EDITIONS_^>a_ and _^<a_!T2417_STARMONT HOUSE_^>a_ from 1972 -- continued to produce work. But genre
sf, it seemed, had outgrown its familial dependence on fans; it had entered the commercial world, and what small presses remained could hope only to service the fringes of the genre, supplying readers with books of criticism (until the academic
houses began to sense that sf might be a growth subject), fan _^<a_!T585_BIBLIOGRAPHIES_^>a_ and indexes, and memoirs. Or so it seemed._^<n__^<n_There is no doubt that in the 1990s general publishers still dominate commercial sf; but from the early
1970s small presses began to reappear, for reasons which are not entirely understood. Owlswick Press was founded by George _^<a_!T2884_SCITHERS_^>a_ in 1973, Robert Weinberg Publications by Robert E. _^<a_!T5507_WEINBERG_^>a_ in 1974, the
_^<a_!T705_BORGO PRESS_^>a_ by Robert _^<a_!T2543_REGINALD_^>a_ in 1975, _^<a_!T5283_UNDERWOOD-MILLER INC._^>a_ by Tim _^<a_!T5283_UNDERWOOD_^>a_ and Chuck _^<a_!T2952_MILLER_^>a_ in 1976, Phantasia Press by Sid Altus and Alex Berman in 1978, Locus
Press by Charles N. _^<a_!T5026_BROWN_^>a_ in 1981 (with an emphasis on reference material), _^<a_!T3668_MARK V. ZIESING_^>a_ by Ziesing in 1982, and Dark Harvest by Paul Mikol and Mark Stadalsky in 1983 (with an emphasis on fantasy). Many more
followed, including (most importantly) _^<a_!T2031_PULPHOUSE PUBLISHING_^>a_, founded by Kristine Kathryn _^<a_!T2738_RUSCH_^>a_, Dean Wesley _^<a_!T2268_SMITH_^>a_ and others in 1988. Two fine presses (see below) were also active: Roy A. Squires,
founded by Squires (1920-1988) in 1960, and Cheap Street, founded by Jan and George O'Nale in 1980._^<n__^<n_Though nothing can be certain in a field which has expanded so very much, three broad sets of explanations for the small-press renaissance
can be suggested: a desire on the part of new generations of sf aficionados to re-occupy the "family" territory, which had for so many years been spoken for by ever-huger publishing firms whose interest in sf was (understandably) merely commercial;
a sense that the large general-list firms tended to ignore some writers whose sales potential was limited, and who might profitably be published by a press with an affinity for the author or the material; and a more general sense that small presses
might profitably occupy niches left vacant by the commercial houses._^<n__^<n_There are several such niches. Because paperback houses became the dominant form of sf publishing after the early 1950s, the work of many significant post-WWII authors
appeared only in the form of paperback originals, and by the 1970s a second pool of publishable work -- larger in fact than the pool of material available just after WWII -- had accumulated. Many of the small presses, therefore, concentrated on
republishing, in hardback, novels from the previous two decades, thus putting some of the best sf into permanent form, generating library sales for their authors, and making their oeuvres available -- a mixed blessing, perhaps -- to academics. A
second important niche was the collectors' market, which could itself be divided into three sectors: first editions, limited editions, and fine-press productions._^<n__^<n_For many sf collectors -- whose rationality on the subject is a matter of
dispute -- the publication of a book as a paperback original does not constitute its first edition as a collectable item, which status is reserved for the first hardback publication. Small-press publishers were very quick to understand and to
profit from this bias, and the entirely responsible republication in hardback form of fragile paperback originals soon became somewhat tainted by fetishism, especially when limited editions became popular._^<n__^<n_Limited editions are generally
thought to be independently created books, identifiable by some statement of limitation, which usually gives the total number of copies produced along with a handwritten or hand-stamped number indicating which precise copy is in the collector's
hands. They are often signed. Many collectors assume that limited editions by definition boast at least subtle differences in typesetting, binding or paper quality from the trade issue; unfortunately, this is not always the case, and many are
distinguishable from the trade issue by no more than a tipped-in label designating them as special. This practice -- added to the extraordinary proliferation of limited editions of unremarkable work, plus the quite astonishing ugliness of many
small-press releases -- has not unsurprisingly led to a 1990s glut in the limited-edition market; in 1995, limited editions remain comparatively difficult to market._^<n__^<n_In distinction to this crassness, publishers of fine-press books like Roy
A. Squires and Cheap Street have concentrated on the individual crafting of extremely small editions of books produced on the premises by letterpress (a technique of printing directly from movable metal type, an expensive and slow typesetting
process otherwise rarely encountered in book-production today). However, because such items are relatively expensive and are purchased by a very particular kind of book collector, it cannot be argued that fine presses represent a return to the
roots of the fantasy and sf small press. Those roots continue to be watered, though intermittently, by the small presses cited above, and by dozens of other similar houses. Refreshingly opinionated, though occasionally inaccurate, _^<i_The
Science-Fantasy Publishers: A Critical and Bibliographic History_^>i_ (3rd, hugely expanded edn _^<b_1991_^>b_; various revs whose presence must be discovered, as copyright data do not reflect them) by Jack L. _^<a_!T5223_CHALKER_^>a_ and Mark
_^<a_!T1755_OWINGS_^>a_ provides a comprehensive analysis of about 150 firms._^<n__^<n__^<b_2. Other countries_^>b_ There is little to say about small-press activity in other English-speaking countries before the past couple of
decades._^<n__^<n_The Australian Futurian Press, founded in Sydney in 1950 by Vol _^<a_!T3000_MOLESWORTH_^>a_ and others, operated for a few years; and Donald H. _^<a_!T6113_TUCK_^>a_ formed Donald H. Tuck in 1954 to publish the first versions of
what became the essential _^<i_Encyclopedia of Science Fiction and Fantasy through 1968_^>i_ (3 vols _^<b_1974_^>b_, _^<b_1978_^>b_ and _^<b_1982_^>b_, all US, from Advent). Two decades later, however, with the founding of two houses -- Norstrilia
Press in 1975 by Bruce _^<a_!T4703_GILLESPIE_^>a_ and Void Publications (> _^<a_!T5388_VOID_^>a_) by Paul _^<a_!T808_COLLINS_^>a_ in 1978 -- small presses finally became a visible component of _^<a_!T315_AUSTRALIA_^>a_'s sf scene. Later imprints
include Graham Stone from 1989, Aphelion Publications from 1990 and Dreamstone from 1991. However, Norstrilia and Void stopped publishing in 1984 and the other firms are frail._^<n__^<n__^<a_!T5141_CANADA_^>a_ saw even less activity than Australia,
perhaps because Canadian sf fans had readily available to them the formidable output of US small presses. Occasional imprints appeared -- like the Kakabeka Publishing Company, which published Judith _^<a_!T2908_MERRIL_^>a_'s _^<i_Survival Ship_^>i_
(coll _^<b_1973_^>b_) and some non-sf books. More recently, the Press Porcepic issued an anthology of Canadian sf, _^<i_Tesseracts_^>i_ (anth _^<b_1985_^>b_) ed Merril, the first in a series, and subsequently calved a second small press, Tesseract
Books, in 1988. And United Mythologies Press was founded in 1990 essentially to print unpublished works by R.A. _^<a_!T4152_LAFFERTY_^>a_, though it soon began to look further afield._^<n__^<n_In the UK, small-press publishing did not awake
sustained interest among the sf community until the 1980s, the only example of an interest from earlier being Ferret Fantasy, founded by George _^<a_!T3416_LOCKE_^>a_ in 1972 mainly to publish bibliographical work plus occasional reprints. However,
with the founding of Kerosina Publications in 1986 by James Goddard and several colleagues, a small flowering occurred. Morrigan Publications was founded in 1987 by Jim and Les Escott, Kinnell Publications in 1987 by A.E. Cunningham and Richard G.
Lewis, and Drunken Dragon Press in 1988 by Rod Milner and Rog Peyton; by 1995, however, all these firms had either formally given up the ghost, or were inactive. Slightly earlier, Titan Books, an arm of the Forbidden Planet/Titan bookselling and
distribution complex, was brought into existence as a small press, but by 1990 (after 3 books) it had moved into general publishing; in late 1992 it was in the throes of restructuring and takeover. However, none of these firms -- with the exception
of Kerosina for a year or so -- has published original UK work with enough frequency to make a significant impact. [JC]_^<n__^<n_
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SMITH, A(NTHONY) C(HARLES)
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[r] > _^<a_!T6332_ROBERT HALE LIMITED_^>a_._^<n__^<n_
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SMITH, ARTEGALL
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> Philip _^<a_!T3244_NORTON_^>a_._^<n__^<n_
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SMITH, CLARK ASHTON
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(1893-1961) US writer and sculptor, of most interest to the sf reader as a fantasist whose rich style (sometimes idiomatic, sometimes "jewelled" in the Lord _^<a_!T1353_DUNSANY_^>a_ manner) and baroque invention had a loosening effect on the sf
field, doing much to transform the interplanetary romance of the early years of the century into the full-fledged _^<a_!T1913_PLANETARY ROMANCE_^>a_, whose characteristic attitude towards the _^<a_!T1432_FAR FUTURE_^>a_ and the possibilities
inherent therein was capitalized upon by Jack _^<a_!T5317_VANCE_^>a_ and others._^<n__^<n_By 1910 CAS had sold stories to _^<i_The Black Cat_^>i_ and _^<i_The_^<a_!T1751_OVERLAND MONTHLY_^>a__^>i_ , but he concentrated on poetry (see listing
below). Although he published some desultory fantasy before 1930, almost all his work of note within the genre, commencing with "The Last Incantation" (1930), was written for _^<a_!T2033_PULP MAGAZINES_^>a_ -- most frequently _^<i_Weird Tales_^>i_,
occasionally _^<i_Wonder Stories_^>i_ -- from that date to about 1936, when he virtually stopped writing. Of most importance as an influence on sf was "City of the Singing Flame" (1931; 1940), notable for the power of the _^<a_!T2104_SENSE OF
WONDER_^>a_ it evoked. These stories, over 100 of them, can be found in _^<i_The Immortals of Mercury_^>i_ (_^<b_1932_^>b_ chap), _^<i_The Double Shadow and Other Fantasies_^>i_ (coll _^<b_1933_^>b_ chap), _^<i_Out of Space and Time_^>i_ (coll
_^<b_1942_^>b_; in 2 vols 1974 UK), _^<i_Lost Worlds_^>i_ (coll _^<b_1944_^>b_; in 2 vols vt _^<i_Lost Worlds: Zothique, Averoigne, and Others_^>i_ 1974 UK and _^<i_Lost Worlds: Atlantis, Hyperborea, Xiccarph, and Others_^>i_ 1974 UK) -- which
includes _^<i_Sadastor_^>i_ (1930 _^<i_Weird Tales_^>i_; _^<b_1972_^>b_ chap) -- _^<i_Genius Loci and Other Tales_^>i_ (coll _^<b_1948_^>b_), _^<i_The Abominations of Yondo_^>i_ (coll _^<b_1960_^>b_), _^<i_Poems in Prose_^>i_ (coll _^<b_1964_^>b_
chap), _^<i_Tales of Science and Sorcery_^>i_ (coll _^<b_1964_^>b_) and _^<i_Other Dimensions_^>i_ (coll _^<b_1970_^>b_; in 2 vols 1977 UK). The last 2 collections contain most of his sf, most of it interplanetary _^<a_!T2342_SPACE OPERA_^>a_.
Subsequently, Lin _^<a_!T5194_CARTER_^>a_ reassembled those of CAS's tales set in particular venues and republished them as _^<i_Zothique_^>i_ (coll of linked stories _^<b_1970_^>b_), _^<i_Hyperborea_^>i_ (coll of linked stories _^<b_1971_^>b_),
_^<i_Xiccarph_^>i_ (coll of stories, some linked, _^<b_1972_^>b_) and _^<i_Poseidonis_^>i_ (coll of linked stories _^<b_1973_^>b_)._^<n__^<n_CAS was not much interested in science, or in expressing the forward thrust of conventional sf, and it is
perhaps inadvisable to think of him in sf terms. His work is better considered in conjunction with the weird fantasies written by his friend H.P. _^<a_!T3465_LOVECRAFT_^>a_ and by Robert E. _^<a_!T4524_HOWARD_^>a_. His best work has not dated.
[JC/PN]_^<n__^<n__^<b_Other works:_^>b_ _^<i_The Mortuary_^>i_ (_^<b_1971_^>b_ chap); _^<i_Prince Alcouz and the Magician_^>i_ (_^<b_1977_^>b_ chap), previously unpublished early tale; _^<i_The City of the Singing Flame_^>i_ (coll _^<b_1981_^>b_),
which assembles previously collected material; _^<i_As it is Written_^>i_ (_^<b_1982_^>b_), written as CAS by De Lysle Ferree Cass; _^<i_The Last Incantation_^>i_ (coll _^<b_1982_^>b_); _^<i_The Monster of the Prophecy_^>i_ (coll _^<b_1983_^>b_);
the _^<b_Unexpurgated Clark Ashton Smith_^>b_ sequence, comprising _^<i_The Dweller in the Gulf_^>i_ (cut 1933 as "Dweller in Martian Depths"; _^<b_1987_^>b_ chap), _^<i_Mother of Toads_^>i_ (cut 1938 _^<i_Weird Tales_^>i_; _^<b_1987_^>b_ chap),
_^<i_The Vaults of Yoh-Vombis_^>i_ (cut 1932 _^<i_Weird Tales_^>i_; _^<b_1988_^>b_ chap), _^<i_The Monster of the Prophecy_^>i_ (cut 1932 _^<i_Weird Tales_^>i_; _^<b_1988_^>b_ chap), _^<i_The Witchcraft of Ulua_^>i_ (cut 1934 _^<i_Weird Tales_^>i_;
_^<b_1988_^>b_ chap) and _^<i_Xeethra_^>i_ (cut 1934 _^<i_Weird Tales_^>i_; _^<b_1988_^>b_ chap); _^<i_Nostalgia of the Unknown: Complete Prose Poetry_^>i_ (coll _^<b_1988_^>b_ chap); _^<i_A Rendezvous in Averoigne_^>i_ (coll _^<b_1988_^>b_);
_^<i_Strange Shadows: The Uncollected Fiction and Essays_^>i_ (coll _^<b_1989_^>b_)._^<b_Poetry:_^>b_ _^<i_The Star-Treader_^>i_ (coll _^<b_1912_^>b_); _^<i_Odes and Sonnets_^>i_ (coll _^<b_1918_^>b_ chap); _^<i_Ebony and Crystal: Poems in Verse
and Prose_^>i_ (coll _^<b_1923_^>b_), which includes _^<i_From the Crypts of Memory_^>i_ (_^<b_1973_^>b_ chap) and _^<i_The Hashish-Eater, or The Apocalypse of Evil_^>i_ (_^<b_1989_^>b_ chap); _^<i_Sandalwood_^>i_ (coll _^<b_1925_^>b_ chap);
_^<i_Nero and Other Poems_^>i_ (coll _^<b_1937_^>b_ chap); _^<i_The Dark Chateau_^>i_ (coll _^<b_1951_^>b_ chap); _^<i_Selected Poems_^>i_ (coll _^<b_1971_^>b_); _^<i_Grotesques and Fantastiques_^>i_ (coll _^<b_1973_^>b_ chap), which includes
drawings; _^<i_Klarkash-ton and Monstro Lieriv_^>i_ (coll _^<b_1974_^>b_ chap) with Virgil _^<a_!T1488_FINLAY_^>a_; many further vols, usually chapbooks, have been issued._^<b_Nonfiction:_^>b_ _^<i_Planets and Dimensions: Collected Essays_^>i_
(coll _^<b_1973_^>b_ chap) ed Charles K. Wolfe (brother of Gary K. _^<a_!T5675_WOLFE_^>a_); _^<i_The Black Book of Clark Ashton Smith_^>i_ (coll _^<b_1979_^>b_); _^<i_The Devil's Notebook: Collected Epigrams and Pensees_^>i_ (coll _^<b_1990_^>b_
chap)._^<b_About the author:_^>b_ _^<i_Emperor of Dreams: A Clark Ashton Smith Bibliography_^>i_ (_^<b_1978_^>b_) by Donald Sydney-Fryer._^<b_See also:_^>b_ _^<a_!T232_ARKHAM HOUSE_^>a_; _^<a_!T273_ASTEROIDS_^>a_; _^<a_!T290_ATLANTIS_^>a_;
_^<a_!T4509_HORROR IN SF_^>a_; _^<a_!T3677_MARS_^>a_; _^<a_!T2902_MERCURY_^>a_; _^<a_!T1794_PARALLEL WORLDS_^>a_; _^<a_!T2261_SMALL PRESSES AND LIMITED EDITIONS_^>a_; _^<a_!T5825_SUN_^>a_; _^<a_!T5875_SWORD AND SORCERY_^>a_;
Most famous pseudonym of Paul Myron Anthony Linebarger (1913-1966), US writer, political scientist, military adviser in Korea and Malaya (though not Vietnam). A polyglot, he spent many of his early years in Europe, Japan and China, in the footsteps
of his father, Paul M.W. Linebarger, a sinologist and propagandist for Sun Yat-sen. He was a devout High Anglican, deeply interested in psychoanalysis and expert in "brainwashing" techniques, on which he wrote an early text, _^<i_Psychological
Warfare_^>i_ (_^<b_1948_^>b_; rev 1954). Right-wing in politics, he played an active role in propping up the Chiang Kai-shek regime in China before the communist takeover._^<n__^<n_His interest in China was profound -- he studied there, and there
edited his father's _^<i_The Gospel of Chuang Shan_^>i_ (_^<b_1932_^>b_ chap France), writing as well several texts of his own, beginning with _^<i_Government in Republican China_^>i_ (_^<b_1938_^>b_); the style of some of his later stories
reflects his attempts to translate a Chinese narrative and structural style into his sf writing, not perhaps with complete success, as the fabulist's voice he assumed (> _^<a_!T1372_FABULATION_^>a_) verged towards the garrulous when opened out into
English prose. He began to publish sf with "War No. 81-Q" as by Karloman Jungahr for _^<i_The Adjutant_^>i_ -- a high-school journal -- in 1928; the tale bore some relationship to the _^<b_Instrumentality of Mankind_^>b_ Universe into which almost
all his mature work fitted. Before beginning to write that mature work, however, CS served with the US Army Intelligence Corps in China during WWII and published 3 non-sf novels: _^<i_Ria_^>i_ (_^<b_1947_^>b_) and _^<i_Carola_^>i_ (_^<b_1948_^>b_),
both as by Felix C. Forrest, and _^<i_Atomsk: A Novel of Suspense_^>i_ (_^<b_1949_^>b_) as by Carmichael Smith. After that date he published fiction only as CS._^<n__^<n_His first CS story, and one of the finest of his mature tales, "Scanners Live
in Vain" (1950), appeared obscurely in _^<a_!T1415_FANTASY BOOK_^>a_ 5 years after it had been rejected by the more prestigious sf journals (although John W. _^<a_!T5140_CAMPBELL_^>a_ Jr had penned an encouraging rejection note from _^<i_ASF_^>i_),
perhaps because its foreboding intensity made the editors of the time uneasy, perhaps because it plunges _^<i_in medias res_^>i_ into the _^<b_Instrumentality_^>b_ Universe, generating a sense that much remains untold beyond the dark edges of the
tale. Scanners are space pilots; the rigours of their job entail the functional loss of the sensory region of their brains. The story deals with their contorted lives and with the end of the form of space travel necessitating the contortions: it is
clear that much has happened in the Universe before the tale begins, and that much will ensue. The _^<b_Instrumentality_^>b_ dominated the rest of CS's creative life, which lasted 1955-66, with individual stories making up the bulk of several
collections -- including _^<i_You Will Never Be the Same_^>i_ (coll _^<b_1963_^>b_), _^<i_Space Lords_^>i_ (coll _^<b_1965_^>b_), _^<i_Under Old Earth and Other Explorations_^>i_ (coll _^<b_1970_^>b_ UK) and _^<i_Stardreamer_^>i_ (coll
_^<b_1971_^>b_) -- before being re-sorted into 2 definitive vols, _^<i_The Best of Cordwainer Smith_^>i_ (coll _^<b_1975_^>b_; vt _^<i_The Rediscovery of Man_^>i_ 1988 UK) ed John J. _^<a_!T1896_PIERCE_^>a_ and _^<i_The Instrumentality of
Mankind_^>i_ (coll _^<b_1979_^>b_); and subsequently resorted again, this time definitively, as _^<i_The Rediscovery of Man: The Complete Short Fiction of Cordwainer Smith_^>i_ (coll _^<b_1993_^>b_). A similar complexity obscured the publication of
his only full-scale sf novel, _^<i_Norstrilia_^>i_ (_^<b_1975_^>b_), which first appeared as 2 separate novels -- each in fact an extract from the original single manuscript -- as _^<i_The Planet Buyer_^>i_ (1964 _^<i_Gal_^>i_ as "The Boy who
Bought Old Earth"; rev _^<b_1964_^>b_) and _^<i_The Underpeople_^>i_ (1964 _^<i_Worlds of If_^>i_ as "The Store of Heart's Desire"; rev _^<b_1968_^>b_). Along with _^<i_Quest of the Three Worlds_^>i_ (coll of linked stories _^<b_1966_^>b_), the 2
re-sorted collections and _^<i_Norstrilia_^>i_ assemble all of CS's sf._^<n__^<n_The _^<b_Instrumentality of Mankind_^>b_ covers several millennia of humanity's uncertain progress into a _^<a_!T1432_FAR-FUTURE_^>a_ plenitude. Before the period of
"Scanners Live in Vain" a shattered Earth is dubiously revitalized by the family of a Nazi scientist who awake from _^<a_!T5851_SUSPENDED ANIMATION_^>a_ to found the Instrumentality, a hereditary caste of rulers, under whose hegemony space is
explored by scanners, then by ships which sail by photonic winds, then via planoforming, which is more or less instantaneous. Genetically modified animals are bred as slaves (> _^<a_!T4657_GENETIC ENGINEERING_^>a_). On the Australian colony planet
of Norstrilia, an _^<a_!T3771_IMMORTALITY_^>a_ drug called stroon is discovered, making the planet very rich indeed and granting the oligarchy on Earth eternal dominance, with no one but Norstrilians and members of the Instrumentality being
permitted to live beyond 400 years. (_^<i_Norstrilia_^>i_ deals with a young heir to much of the planet's wealth who travels to Earth, which he has purchased, discovering _^<i_en passant_^>i_ a great deal about the animal-descended Underpeople.)
Human life becomes baroque, aesthetical, decadent. But a fruitful concourse of Underpeople and aristocrats generates the Rediscovery of Man -- as witnessed in tales like "The Dead Lady of Clown Town" (1964), "Alpha Ralpha Boulevard" (1961) and "The
Ballad of Lost C'Mell" (1962), which embodies a sympathetic response to the Civil Rights movement of the 1960s -- through which disease, ethnicity and strife are deliberately reintroduced into the painless world. Much later an adventurer makes a
Quest through Three Worlds in a Universe seemingly benign._^<n__^<n_The _^<b_Instrumentality of Mankind_^>b_ remains, all the same, a fragment -- as, therefore, does CS's work as a whole -- for the long conflict between Underpeople and
Instrumentality, the details of which are recounted by CS with what might be called oceanic sentiment, is never resolved; and CS's habitual teasing of the reader with implications of a fuller yet never-told tale only strengthens the sense of an
almost coy incompletion. This sense is also reinforced by the Chinese ancestry of some of CS's devices, which inspired in him a narrative voice that, in ruminating upon a tale of long ago, seemed to _^<i_confer_^>i_, both with the reader and with
general tradition, about the tale's meaning. Alfred Doblin (1878-1957) (> _^<a_!T4667_GERMANY_^>a_) has also been suggested as a significant influence, both for his early expressionist work set in China, like _^<i_Die drei Sprunge des Wang-Lun_^>i_
["The Three Leaps of Wang-Lun"] (_^<b_1915_^>b_), and for his surreal metamorphic sf novels -- none translated -- like _^<i_Wadzeks Kampf mit der Dampfmaschine_^>i_ ["Wadzek's Struggle with the Steam-Machine"] (_^<b_1918_^>b_) and _^<i_Berge, Meere
und Giganten_^>i_ ["Mountains, Sea and Giants"] (_^<b_1924_^>b_; rev vt _^<i_Giganten_^>i_ ["Giants"] 1931). CS's best later stories glow with an air of complexity and antiquity that, on analysis, their plots do not not always sustain. Much of the
structuring of the series is lyrical and incantatory (down to the literal use of rather bad poetry, and much internal rhyming) but, beyond stroon, and Norstrilia, and Old Earth and the absorbingly described _^<a_!T2348_SPACESHIPS_^>a_, much of the
CS Universe remains only glimpsed. Whether such a Universe, recounted in such a voice, could ever be fully seen is a question which, of course, cannot be answered. [JC]_^<n__^<n__^<b_About the author:_^>b_ _^<i_Exploring Cordwainer Smith_^>i_ (anth
_^<b_1975_^>b_) ed John Bangsund, from _^<a_!T95_ALGOL_^>a_ Press; almost the whole of _^<a_!T2362_SPECULATION_^>a_ #33, 1976, is an analysis of CS's work by John J. Pierce; "The Creation of Cordwainer Smith" by Alan C. Elms, _^<i_Science Fiction
Studies_^>i_ #34 (11,3) (1984); _^<i_Concordance to Cordwainer Smith_^>i_ (_^<b_1984_^>b_ chap) by Anthony R. _^<a_!T3364_LEWIS_^>a_; _^<i_A Cordwainer Smith Checklist_^>i_ (_^<b_1991_^>b_ chap) by Mike Bennett._^<b_See also:_^>b_
_^<a_!T177_ANDROIDS_^>a_; _^<a_!T811_COLONIZATION OF OTHER WORLDS_^>a_; _^<a_!T956_CRIME AND PUNISHMENT_^>a_; _^<a_!T1017_CYBORGS_^>a_; _^<a_!T1443_FASTER THAN LIGHT_^>a_; _^<a_!T1678_GALACTIC EMPIRES_^>a_; _^<a_!T1686_GALAXY SCIENCE FICTION_^>a_;
(1939- ) US critic and bibliographer, most of whose work in the first category has focused upon Olaf _^<a_!T2404_STAPLEDON_^>a_, beginning with essays like "William Olaf Stapledon: Saint and Revolutionary" for _^<i_Extrapolation_^>i_ in 1971, and
culminating in _^<i_Olaf Stapledon: A Bibliography_^>i_ (_^<b_1984_^>b_) with Harvey J. Satty. He is best known, however, for editing the first 2 edns of _^<i_Twentieth-Century Science-Fiction Writers_^>i_ (_^<b_1981_^>b_; rev 1986), part of a
series of genre _^<a_!T585_BIBLIOGRAPHIES_^>a_ designed for library use; he did not participate in the 3rd edn of 1991. The work offers coverage of about 600 sf (and fantasy) writers, some names being dropped (and others added) with each successive
edn. The brief biographical sections are generally accurate; the critical pieces vary in quality, with some excellent short essays being included; but the bibliographies are flawed by a murkily inconsistent methoddology (perhaps due to the series'
house style), and are error-strewn. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T963_CRITICAL AND HISTORICAL WORKS ABOUT SF_^>a_.
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SMITH, D(AVID) ALEXANDER
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(1953- ) US investment banker and writer who served as Treasurer of the _^<a_!T2147_SCIENCE FICTION WRITERS OF AMERICA_^>a_ 1987-90 and has written several articles on wargame strategy (> _^<a_!T1696_GAMES AND TOYS_^>a_). He began publishing sf
with _^<i_Marathon_^>i_ (_^<b_1982_^>b_), #1 in the _^<b_Marathon_^>b_ sequence, which continues with _^<i_Rendezvous_^>i_ (_^<b_1988_^>b_) and _^<i_Homecoming_^>i_ (_^<b_1990_^>b_). The sequence is a First-Contact tale which depicts, with very
considerable cunning, the slow process of learning and ultimate _^<a_!T829_CONCEPTUAL BREAKTHROUGH_^>a_ attendant upon any genuine confrontation of _^<i_Homo sapiens_^>i_ with the Other. In this case, the Cygnan _^<a_!T102_ALIENS_^>a_, who are
rendezvousing with humans in interstellar space, are intriguingly perceived through flawed human eyes. Although DAS succumbs to some cliched presentation of sf conventions -- for instance, the neurotic _^<a_!T68_AI_^>a_ aboard the human starship --
this slow, densely realized _^<a_!T2342_SPACE-OPERA_^>a_ epic deserves considerable notice._^<n__^<n_For some time, in conjunction with the Cambridge Science Fiction Writers' Workshop, DAS had been building a _^<a_!T2127_SHARED-WORLD_^>a_ portrait
of Boston, Massachusetts, focusing on a period about 100 years hence when the central city has accreted into a vast defensive cube and has seceded from the USA. His own novel, _^<i_In the Cube: A Novel of Future Boston_^>i_ (_^<b_1993_^>b_),
focuses on this historical moment; a shared-world anthology, _^<i_Future Boston_^>i_ (anth _^<b_1994_^>b_) ed DAS, ranges backwards and forwards around the locus of the Cube. The whole enterprise demonstrates the potency of the shared world in
those cases where creators, owners and writers are the same persons. [JC]_^<n__^<n_
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SMITH, DEAN WESLEY
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(1950- ) US editor and writer who remains best known for founding, in 1988, _^<a_!T2031_PULPHOUSE PUBLISHING_^>a_, whose various enterprises he has since dominated, in partnership with Kristine Kathryn _^<a_!T2738_RUSCH_^>a_. With her he also ed
_^<i_Science Fiction Writers of America Handbook: The Professional Writer's Guide to Writing Professionally_^>i_ (anth _^<b_1990_^>b_), a vade mecum full of necessary data, though not supremely well organized. After a vignette in _^<i_The Clarion
Awards_^>i_ (anth _^<b_1984_^>b_) ed Damon _^<a_!T4098_KNIGHT_^>a_, his first sf story was "Adrift in the Erotic Zone" for _^<i_Gem_^>i_ in 1985. He won an award from the _^<a_!T6197_WRITERS OF THE FUTURE CONTEST_^>a_ for "One Last Dance", which
appeared in _^<i_L. Ron Hubbard Presents Writers of the Future_^>i_ (anth _^<b_1985_^>b_) ed Algis _^<a_!T5064_BUDRYS_^>a_. His first novel, _^<i_Laying the Music to Rest_^>i_ (_^<b_1989_^>b_), begins slowly, with an attempt to exorcise a ghost
from a deep lake, but soon entangles itself in the routines of a _^<a_!T6026_TIME-TRAVEL_^>a_ conflict between warring factions; _^<i_en passant_^>i_ the protagonist visits the _^<i_Titanic_^>i_, where it seems he may be stuck forever. There is
energy and feeling in DWS's work, but also a sense of scurry. [JC]_^<n__^<n__^<b_Other work:_^>b_ _^<i_The Moscow Mafia Presents Rat Tales_^>i_ (anth _^<b_1987_^>b_) with Jon Gustafson, both as Smith Gustafson._^<n__^<n__^<b_See also:_^>b_
_^<a_!T2147_SCIENCE FICTION WRITERS OF AMERICA_^>a_; _^<a_!T2261_SMALL PRESSES AND LIMITED EDITIONS_^>a_.
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SMITH, E(DWARD) E(LMER)
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(1890-1965) US writer and food chemist specializing in doughnut mixes, often called the "Father of _^<a_!T2342_SPACE OPERA_^>a_". Because Hugo _^<a_!T4668_GERNSBACK_^>a_ appended "PhD" to EES's name for his contributions to _^<i_AMZ_^>i_ from 1928,
he became known as "Doc" Smith. Greatly influential in US _^<a_!T2033_PULP-MAGAZINE_^>a_ sf between 1928 and about 1945, he found his reputation fading somewhat just after the end of WWII, when it seemed the dream-like simplicities of his
world-view could no longer attract the modern reader of _^<a_!T4659_GENRE SF_^>a_; but the specialty houses that became active after 1945 (> _^<a_!T2261_SMALL PRESSES AND LIMITED EDITIONS_^>a_) soon put his vast space-opera sagas into book form,
and his name was kept alive. Towards the end of his life, after his retirement around 1960, he began producing space operas again, and his earlier work started to appear in paperback editions; after his death, yet another new generation made him an
sf bestseller, first in the USA and later in the UK._^<n__^<n_EES's work is strongly identified with the beginnings of US pulp sf as a separate marketing genre, and did much to define its essential territory, galactic space. When in 1915 he began
to write the first novel of his _^<b_Skylark_^>b_ series with Mrs Lee Hawkins Garby (1890-? ) -- a neighbour seconded to help with feminine matters such as dialogue -- no models existed (or, at least, none that were available to a monolingual US
food chemist) that could explain the combined exuberance and scale that _^<i_The Skylark of Space_^>i_ (written 1915-20; 1928 _^<i_AMZ_^>i_; _^<b_1946_^>b_; rev with cuts 1958) demonstrated when it finally appeared in _^<a_!T141_AMAZING
STORIES_^>a_, 2 years after the start of that magazine, in the same issue as Philip _^<a_!T3259_NOWLAN_^>a_'s "Armageddon -- 2419 A.D.", the story which introduced _^<a_!T5063_BUCK ROGERS IN THE 25TH CENTURY_^>a_. (Mrs Garby retained co-author
credit in the 1st book edn, but the 1958 rev was as by EES alone.) Elements of EES's prelapsarian exuberance may have been discernible in some of the _^<a_!T6580_EDISONADES_^>a_ which proliferated in the USA from about 1890; and a certain
cosmogonic high-handedness is traceable to the works of H.G. _^<a_!T5528_WELLS_^>a_ and his UK contemporaries. But it was EES who combined the two. Along with its sequels -- _^<i_Skylark Three_^>i_ (1930 _^<i_AMZ_^>i_; _^<b_1948_^>b_), _^<i_Skylark
of Valeron_^>i_ (1934-5 _^<i_ASF_^>i_; _^<b_1949_^>b_) and _^<i_Skylark DuQuesne_^>i_ (_^<b_1966_^>b_) -- _^<i_The Skylark of Space_^>i_ brought the edisonade to its first full maturity, creating a proper galactic forum for the exploits of the
inventor/scientist/action-hero who keeps the world (or the Universe) safe for US values despite the efforts of a foreign-hued villain (Marc "Blackie" DuQuesne) to pollute those values. But the highly personalized conflict between
_^<a_!T4395_HERO_^>a_-inventor Richard Seaton and _^<a_!T5372_VILLAIN_^>a_-inventor DuQuesne -- who develops from the stage histrionics of the first novel to the dominating antiheroics of the last and is perhaps EES's most vivid creation -- did not
very satisfactorily motivate the vast intergalactic conflicts of the later volumes of the series, as the scale of everything -- the potency of the _^<a_!T5492_WEAPONS_^>a_, the power, size and speed of the _^<a_!T2348_SPACESHIPS_^>a_, the number of
planets overawed -- increased by leaps and bounds. Nor was EES much concerned to sophisticate the chummy, clammy idiocy of his women (> _^<a_!T2115_SEX_^>a_; _^<a_!T5683_WOMEN AS PORTRAYED IN SCIENCE FICTION_^>a_) or the hokum of the slang in which
all emotions were conveyed._^<n__^<n_It was not until he began to unveil the architectural structure of his second and definitive _^<a_!T2106_SERIES_^>a_ that EES was able to demonstrate the thoroughness of his thinking about space opera. And it is
with the _^<b_Lensmen_^>b_ series -- or _^<b_The History of Civilization_^>b_, the over-title for the 1953-5 limited-edn boxed reprint of the original books -- that his name is most strongly and justly associated. In order of internal chronology,
the sequence is _^<i_Triplanetary_^>i_ (1934 _^<i_AMZ_^>i_; rev to fit the series _^<b_1948_^>b_), _^<i_First Lensman_^>i_ (_^<b_1950_^>b_), _^<i_Galactic Patrol_^>i_ (1937-8 _^<i_ASF_^>i_; _^<b_1950_^>b_), _^<i_Gray Lensman_^>i_ (1939-40
_^<i_ASF_^>i_; _^<b_1951_^>b_), _^<i_Second-Stage Lensmen_^>i_ (1941-2 _^<i_ASF_^>i_; _^<b_1953_^>b_) and _^<i_Children of the Lens_^>i_ (1947-8 _^<i_ASF_^>i_; _^<b_1954_^>b_). _^<i_The Vortex Blaster_^>i_ (1941-2 var mags; fixup _^<b_1960_^>b_; vt
_^<i_Masters of the Vortex_^>i_ 1968 US) is also set in the _^<b_Lensman_^>b_ Universe, probably some time before _^<i_Children of the Lens_^>i_, but does not deal with the central progress of the main series, the working out of which was EES's
most brilliant auctorial coup. As published in book form, the first 2 novels likewise stand outside the main action; it is the final 4 that lie at the heart of EES's accomplishment. Conceived as one 400,000-word novel, and divided into separate
titles for publication 1937-48 in _^<i_ASF_^>i_ -- from before John W. _^<a_!T5140_CAMPBELL_^>a_ Jr began editing the journal, through the high pitch of the _^<a_!T4754_GOLDEN AGE OF SF_^>a_ (1939-42) he supervised, and into the post-WWII period --
the central _^<b_Lensmen_^>b_ tale is constructed around the gradual revelation of the hierarchical nature of the Universe._^<n__^<n_Two vastly advanced and radically opposed races, the good Arisians and the evil Eddorians, have been in essential
opposition for billions of years. The Arisians understand that their only hope of defeating the absolute Evil represented by the Eddorians is to develop over eons a countervailing Civilization via special breeding lines on selected planets, of
which Earth (Tellus) is one. These breeding lines will develop beings capable of enduring the enormous stress of inevitable conflict with the forces of Evil: the various planets and empires, known collectively as Boskone, inimical to Civilization
and secretly commanded through a nest of hierarchies by the invisible Eddorians. We are introduced first to the broad picture and to the idea of the Lens, a bracelet which tenders to suitable members of the Arisian-influenced Galactic Patrol
certain telepathic and other powers; then, as the central sequence progresses, we climb, link by link, the vast chain of command, as seen through the eyes of the series' main protagonist, Kim Kinnison -- who with his wife represents the penultimate
stage in the Arisian breeding programme, and whose children will finally defeat the Eddorians. Kinnison never knows that the layer just penetrated has layers behind it, and has never so much as heard of the Eddorians; each new volume of the
sequence, therefore, begins with the revelation that the Universe is greater, and requires greater powers to confront, than Kinnison had hitherto imagined. In the _^<b_Skylark_^>b_ books, Seaton's acquisition of similar powers was distressingly
unbridled; but Kinnison, as a commanding member of the organization of Lensmen (itself hierarchical), is by contrast licensed, and his institutionalized gaining of superpowers and special knowledge is measured, inevitable, and kinetically
enthralling. It was almost certainly these _^<i_controlled_^>i_ jumps in scale that fascinated most early readers of the series and which, for many of them, represented the essence of the _^<a_!T2104_SENSE OF WONDER_^>a_. The _^<b_Lensmen_^>b_
books had the shape of dreams._^<n__^<n_EES wrote some rather less popular out-of-series books, none having anything like the force of his major effort. A decade after his death, books he had begun or completed in manuscript, or had merely inspired
or authorized, began to appear in response to his great posthumous popularity. _^<b_Lensmen_^>b_ ties included _^<i_New Lensman_^>i_ * (_^<b_1976_^>b_) by William B. Ellern (1933- ) and _^<i_The Dragon Lensman_^>i_ * (_^<b_1980_^>b_),
_^<i_Lensman from Rigel_^>i_ * (_^<b_1982_^>b_) and _^<i_Z-Lensman_^>i_ * (_^<b_1983_^>b_), all by David A. _^<a_!T4146_KYLE_^>a_. The_^<b_ Family d'Alembert_^>b_ series, published as by EES "with Stephen _^<a_!T4756_GOLDIN_^>a_", derived some
material from posthumous manuscripts; the 1st vol, _^<i_The Imperial Stars_^>i_ * (1964 _^<i_If_^>i_; exp _^<b_1976_^>b_), was based on published material, but subsequent volumes were essentially the work of Goldin (_^<i_whom see for details_^>i_).
Lloyd Arthur _^<a_!T6696_ESHBACH_^>a_ constructed in _^<i_Subspace Encounter_^>i_ * (_^<b_1983_^>b_) a sequel to the inferior _^<i_Subspace Explorers_^>i_ (1960 _^<i_ASF_^>i_ as "Subspace Survivors"; exp _^<b_1965_^>b_). None of these adjuncts did
anything to help EES's reputation. Today, while he must be read, it has to be in the loving awareness that he is a creature of the dawn. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_What Does this Convention Mean?: A Speech Delivered at the Chicago
1940 World's Science Fiction Convention_^>i_ (_^<b_1941_^>b_ chap); _^<i_Spacehounds of IPC_^>i_ (1931 _^<i_AMZ_^>i_; _^<b_1947_^>b_); _^<i_The Galaxy Primes_^>i_ (1959 _^<i_AMZ_^>i_; _^<b_1965_^>b_); _^<i_The Best of E.E. "Doc" Smith_^>i_ (coll
_^<b_1975_^>b_); _^<i_Masters of Space_^>i_ (1961-2 _^<i_If_^>i_; _^<b_1976_^>b_) with E. Everett _^<a_!T6709_EVANS_^>a_._^<b_About the author:_^>b_ _^<i_The Universes of E.E. Smith_^>i_ (_^<b_1966_^>b_) by Ron _^<a_!T6623_ELLIK_^>a_ and Bill
_^<a_!T6707_EVANS_^>a_; "E.E. Smith" in _^<i_Seekers of Tomorrow_^>i_ (coll _^<b_1966_^>b_) by Sam _^<a_!T3074_MOSKOWITZ_^>a_._^<b_See also:_^>b_ _^<a_!T102_ALIENS_^>a_; _^<a_!T590_BIG DUMB OBJECTS_^>a_; _^<a_!T710_CHILDREN'S SF_^>a_;
_^<a_!T902_COSMOLOGY_^>a_; _^<a_!T956_CRIME AND PUNISHMENT_^>a_; _^<a_!T1142_DEFINITIONS OF SF_^>a_; _^<a_!T1239_DIMENSIONS_^>a_; _^<a_!T6717_EVOLUTION_^>a_; _^<a_!T1372_FABULATION_^>a_; _^<a_!T1410_FANTASTIC VOYAGES_^>a_; _^<a_!T1554_FORCE
FIELD_^>a_; _^<a_!T1696_GAMES AND TOYS_^>a_; _^<a_!T4443_HISTORY OF SF_^>a_; _^<a_!T3957_JUPITER_^>a_; _^<a_!T3435_LONGEVITY (IN WRITERS AND PUBLICATIONS)_^>a_; _^<a_!T1968_POWER SOURCES_^>a_; _^<a_!T2877_SCIENTIFIC ERRORS_^>a_;
The real name of the US author who for obvious reasons writes under a pseudonym, Gordon _^<a_!T6608_EKLUND_^>a_. [JC]_^<n__^<n_
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SMITH, EVELYN E.
-T-
(1927- ) US writer and crossword-puzzle compiler who began publishing sf with "Tea Tray in the Sky" for _^<i_Gal_^>i_ in 1952, and for about a decade published actively in the magazines; after about 1960 she appeared there only infrequently. She
has also written as Delphine C. Lyons. Her first novel, _^<i_The Perfect Planet_^>i_ (_^<b_1962_^>b_), is set on a planet which was once a health farm. _^<i_Valley of Shadows_^>i_ (_^<b_1968_^>b_) as Delphine C. Lyons is a fantasy. _^<i_Unpopular
Planet_^>i_ (_^<b_1975_^>b_) -- no connection to the first book -- is a comparatively ambitious work, written in a sometimes passable imitation of 18th-century typographical (if not stylistic) practices and presenting the memoirs, set down long
after most of the events recounted, of a human from an overpopulated future Earth whose contacts with _^<a_!T102_ALIENS_^>a_ trying to maintain the planet as a breeding-ground for humans and other species have led to picaresque adventures, some of
them sexual. _^<i_The Copy Shop_^>i_ (_^<b_1985_^>b_) -- again an element of _^<a_!T2812_SATIRE_^>a_ is mildly evident -- places aliens in New York City; they are not noticed. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T811_COLONIZATION OF OTHER
WORLDS_^>a_; _^<a_!T5684_WOMEN SF WRITERS_^>a_.
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SMITH, GARRET
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(?1876-1954) US journalist and newspaper editor who was active with sf stories in magazines like _^<i_The Argosy_^>i_, where several novels appeared. Only _^<i_Between Worlds_^>i_ (1919 _^<i_Argosy_^>i_; _^<b_1929_^>b_), one of his weakest, reached
book form; it is a semi-juvenile tale that begins on a _^<a_!T1370_DYSTOPIAN_^>a_ Venus and concludes on Earth, with female protagonists plotting to conquer the world. Of more interest are "On the Brink of 2000" (1910 _^<i_Argosy_^>i_) and "The
Treasures of Tantalus" (1920-21 _^<i_Argosy All-Story_^>i_), which feature devices to see anything happening anywhere in the world; the morality of these is discussed, though at no great length. The _^<a_!T1516_FLAMMARION_^>a_-inspired "After a
Million Years" (1919 _^<i_Argosy_^>i_) comprehends a dystopian Earth, an Edenic Jupiter, mad scientists, telepathic powers, aliens and the virtual extinction of humanity. Other magazine novels include "Thirty Years Late" (1928 _^<i_Argosy
All-Story_^>i_) and "The Girl in the Moon" (1928 _^<i_Argosy All-Story_^>i_). GS was a sometimes capable writer whose ideas tended to outclass his fiction. [RB]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T1410_FANTASTIC VOYAGES_^>a_.
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SMITH, GEORGE H(ENRY)
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(1922- ) US writer of much popular fiction and considerable sf, under his own name and several pseudonyms including books as Jan Hudson, Jerry Jason, Jan Smith, George Hudson Smith, Diana Summers (not sf), Hal Stryker and -- mostly with his wife
M. Jane Deer -- M.J. Deer. He began publishing sf with "The Last Spring" for _^<i_Startling Stories_^>i_ in 1953, and became very active after about 1960, releasing his first sf novels -- _^<i_Satan's Daughter_^>i_ (_^<b_1961_^>b_), _^<i_1976 --
Year of Terror_^>i_ (_^<b_1961_^>b_; vt _^<i_The Year for Love_^>i_ _^<i_c_^>i_1965), _^<i_Scourge of the Blood Cult_^>i_ (_^<b_1961_^>b_), _^<i_The Coming of the Rats_^>i_ (_^<b_1961_^>b_) and _^<i_Love Cult_^>i_ (_^<b_1961_^>b_ as by Jan Hudson)
-- in a rush. These early novels are, however, rather negligible, and the collaborative _^<i_Flames of Desire_^>i_ (_^<b_1963_^>b_) as by M.J. Deer is post-_^<a_!T4482_HOLOCAUST_^>a_ soft pornography. But with _^<i_The Four-Day Weekend_^>i_
(_^<b_1966_^>b_) he began to strike a more sustained note, and in the following year started a series set in the _^<a_!T131_ALTERNATE WORLD_^>a_ of _^<b_Annwn_^>b_: _^<i_Druids' World_^>i_ (_^<b_1967_^>b_), _^<i_Witch Queen of Lochlann_^>i_
(_^<b_1969_^>b_), _^<i_Kar Kaballa_^>i_ (_^<b_1969_^>b_ dos), _^<i_Second War of the Worlds_^>i_ (_^<b_1976_^>b_) and _^<i_The Island Snatchers_^>i_ (_^<b_1978_^>b_). The last 3 vols of this sequence share the same main characters and present a
complex interplay between this world and the alternative Welsh domain; they are GHS's most telling example of the kind of fantasy-textured sf at which he was best. Short stories of interest include "The Last Days of L.A." (1959) and "In the
Imagicon" (1966). [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Doomsday Wing_^>i_ (_^<b_1963_^>b_); _^<i_The Unending Night_^>i_ (_^<b_1964_^>b_); _^<i_The Forgotten Planet_^>i_ (_^<b_1965_^>b_)._^<b_As M.J.Deer:_^>b_ _^<i_A Place Named Hell_^>i_
(_^<b_1963_^>b_)._^<b_As Jan Hudson:_^>b_ _^<i_Loveswept #293: Water Witch_^>i_ * (_^<b_1988_^>b_)._^<b_As Jerry Jason:_^>b_ _^<i_Sexodus_^>i_ (_^<b_1963_^>b_); _^<i_The Psycho Makers_^>i_ (_^<b_1965_^>b_)._^<b_As Hal Stryker:_^>b_ _^<i_NYPD
2025_^>i_ (_^<b_1985_^>b_), the first of an apparently abortive series; _^<i_Hawkeye_^>i_ (_^<b_1991_^>b_), a _^<a_!T5917_TECHNOTHRILLER_^>a_.
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SMITH, GEORGE HUDSON
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> George H. _^<a_!T2273_SMITH_^>a_._^<n__^<n_
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SMITH, GEORGE O(LIVER)
-T-
(1911-1981) US writer and electronics engineer, most active and prominent in the 1940s in _^<a_!T277_ASTOUNDING SCIENCE-FICTION_^>a_, for which he wrote his first story in 1942; "QRM -- Interplanetary" began both his sf career and his most famous
endeavour, the _^<b_Venus Equilateral_^>b_ _^<a_!T2106_SERIES_^>a_ of stories (all in _^<i_ASF_^>i_) about a _^<a_!T822_COMMUNICATIONS_^>a_ space station in the Trojan position (60deg ahead of the planet) of the orbit of _^<a_!T5351_VENUS_^>a_, and
the various crises that must be solved. These stories were assembled as _^<i_Venus Equilateral_^>i_ (coll of linked stories _^<b_1947_^>b_; with 3 stories added, exp in 2 vols 1975 UK; the UK version in 1 vol vt _^<i_The Complete Venus
Equilateral_^>i_ 1976 US). They exhibit GOS's main strength, a fascination with technical problems and their didactic explanation, after the fashion of Hugo _^<a_!T4668_GERNSBACK_^>a_ and the early _^<i_AMZ_^>i_, as well as his main weakness, an
almost complete lack of interest in character or plot plausibility. However, though the technical presuppositions on which he based his communications station dated very swiftly, the sequence -- featuring as it does a passel of cheerful
wisecracking engineer/troubleshooters -- vividly evokes a characteristic 1940s sf point of view about the future and the kinds of problems we might have to handle in space._^<n__^<n_GOS also wrote several _^<a_!T2342_SPACE OPERAS_^>a_ whose
technical assumptions have likewise dated -- perhaps because he was sufficiently numerate to make use of falsifiable speculations. The rocket gimmickry, the sense of space, and the kind of protagonists featured in his stories were -- for instance
-- strongly reminiscent of but markedly less entrancing than the more expansive galactic venues of E.E. "Doc" _^<a_!T2269_SMITH_^>a_'s _^<b_Lensmen_^>b_ series, the later vols of which were being serialized in _^<i_ASF_^>i_ at about the same time.
The best of GOS's space operas, originally published under his occasional pseudonym Wesley Long, is _^<i_Nomad_^>i_ (1944 _^<i_ASF_^>i_; _^<b_1950_^>b_ as GOS). Like most of his space epics, the story concerns an alien _^<a_!T3796_INVASION_^>a_ of
the Solar System, in this case by means of a wandering planet. Other similar novels are _^<i_Pattern for Conquest_^>i_ (1946 _^<i_ASF_^>i_; _^<b_1949_^>b_) and the inferior _^<i_Hellflower_^>i_ (_^<b_1953_^>b_)._^<n__^<n_Though GOS wrote several
further novels before becoming relatively inactive in 1959, he published only one other memorable book, the vivid _^<a_!T5830_SUPERMAN_^>a_ story _^<i_The Fourth "R"_^>i_ (_^<b_1959_^>b_; vt _^<i_The Brain Machine_^>i_ 1968). Although the story --
about an artificially created _^<i_Homo superior_^>i_ child who must fight to remain independent until adulthood -- reflects earlier novels, such as Theodore _^<a_!T5810_STURGEON_^>a_'s _^<i_The Dreaming Jewels_^>i_ (_^<b_1950_^>b_; vt _^<i_The
Synthetic Man_^>i_ 1957), _^<i_The Fourth "R"_^>i_ so vividly enters into its protagonist's young mind, and so intriguingly details his strategy for survival against a particularly unpleasant villain, that it has become a model for tales of this
kind (_^<i_see also_^>i_ _^<a_!T3787_INTELLIGENCE_^>a_). Another novel that combines both invasion and superman themes is _^<i_Highways in Hiding_^>i_ (_^<b_1956_^>b_; cut vt _^<i_The Space Plague_^>i_ 1957)._^<n__^<n_Never strongly original, GOS
was nonetheless an effective expounder of ideas and an enjoyable sf novelist of the second rank. The autobiographical notes in _^<i_The Worlds of George O._^>i_ (coll _^<b_1982_^>b_) warmly and modestly evoke his life in the 1940s as a colleague
and friend of John W. _^<a_!T5140_CAMPBELL_^>a_ Jr, Robert A. _^<a_!T4376_HEINLEIN_^>a_ and others; the collection assembles the best of his short work. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Operation Interstellar_^>i_ (_^<b_1950_^>b_);
_^<i_Troubled Star_^>i_ (1953 _^<i_Startling Stories_^>i_; _^<b_1957_^>b_); _^<i_Fire in the Heavens_^>i_ (1949 _^<i_Startling Stories_^>i_; _^<b_1958_^>b_); _^<i_Lost in Space_^>i_ (1954 _^<i_Startling Stories_^>i_ as "Spacemen Lost";
_^<b_1959_^>b_); _^<i_The Path of Unreason_^>i_ (1947 _^<i_Startling Stories_^>i_ as "Kingdom of the Blind"; rev _^<b_1958_^>b_)._^<b_See also:_^>b_ _^<a_!T1245_DISCOVERY AND INVENTION_^>a_; _^<a_!T6577_ECONOMICS_^>a_; _^<a_!T6697_ESP_^>a_;
(1907-1976) US newspaperman and author, mostly of humorous sketches and books, often for _^<i_Saturday Evening Post_^>i_. In his first sf novel, _^<i_Mr Klein's Kampf, or His Life as Hitler's Double_^>i_ (_^<b_1939_^>b_), a Jew takes over from
Hitler and declares Germany to be the new Zion. _^<i_The Age of the Tail_^>i_ (_^<b_1955_^>b_), also a comic _^<a_!T2812_SATIRE_^>a_, depicts the effect on a _^<a_!T6337_NEAR-FUTURE_^>a_ world of all children being born with tails. [JC]_^<n__^<n_
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SMITH, JAN
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> George H. _^<a_!T2273_SMITH_^>a_._^<n__^<n_
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SMITH, JUNIUS
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[r] > J.U. _^<a_!T4690_GIESY_^>a_._^<n__^<n_
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SMITH, KENT
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(? - ) US writer in whose sf novel, _^<i_Future X_^>i_ (_^<b_1990_^>b_), a Black man from a racist 21st century discovers a _^<a_!T6025_TIME-TRAVEL_^>a_ device, returns to the time of Malcolm X (1925-1965) with the intention of saving him from
assassination, causes his death months too early, and finds himself bound into taking his place. But history continues as before, for there is no way, the book seems to argue, of curing the system that killed Malcolm X in the first place.
[JC]_^<n__^<n_
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SMITH, LAURE
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[r] > Seth _^<a_!T3525_MCEVOY_^>a_._^<n__^<n_
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SMITH, L. NEIL
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(1946- ) US writer, ex-police reserve officer, gunsmith and former state candidate for the US _^<a_!T3378_LIBERTARIAN_^>a_ Party who began publishing sf with "Grimm's Law" for _^<i_Stellar 5_^>i_ (anth _^<b_1980_^>b_) ed Judy-Lynn _^<a_!T1163_DEL
REY_^>a_. The _^<b_Win Bear_^>b_ sequence, set in a parallel universe (> _^<a_!T131_ALTERNATE WORLDS_^>a_) in which a libertarian version of the USA has become progressively decentralized ever since its foundation, includes _^<i_The Probability
Broach_^>i_ (_^<b_1980_^>b_), _^<i_The Venus Belt_^>i_ (_^<b_1981_^>b_) and _^<i_The Nagasaki Vector_^>i_ (_^<b_1983_^>b_), with _^<i_Their Majesties' Bucketeers_^>i_ (_^<b_1981_^>b_) set in the same universe. A second series, the _^<b_North
American Confederacy_^>b_ sequence -- _^<i_Tom Paine Maru_^>i_ (_^<b_1984_^>b_), _^<i_The Gallatin Divergence_^>i_ (_^<b_1985_^>b_) and _^<i_Brightsuit MacBear_^>i_ (_^<b_1988_^>b_)-shows the descendants of the original protagonists expanding out
into the Galaxy, spreading the libertarian gospel to _^<a_!T102_ALIENS_^>a_ and abandoned human colonies in both the parallel universe and our own. _^<i_Taflak Lysandra_^>i_ (_^<b_1988_^>b_), although set in the same universe, is unconnected to the
main series._^<n__^<n__^<i_The Crystal Empire_^>i_ (_^<b_1986_^>b_), a somewhat confused tale of libertarian technological inventiveness, is set in another alternate world, a Europe destroyed by a far more devastating Black Death. _^<i_The
Wardove_^>i_ (_^<b_1986_^>b_), set on a terraformed Moon long after a nuclear _^<a_!T4482_HOLOCAUST_^>a_ has made Earth uninhabitable, depicts a state of war between anarcho-capitalists of several different species (including humans) and a
repressive government, and is unusual among LNS's work for its general darkness of tone and comparative lack of humour. Contrastingly, _^<i_Henry Martyn_^>i_ (_^<b_1989_^>b_) is a light-hearted _^<a_!T2342_SPACE OPERA_^>a_ written in a style
strongly reminiscent of Raphael Sabatini's _^<b_Captain Blood_^>b_. A further sequence -- _^<i_Contact and Commune_^>i_ (_^<b_1990_^>b_),_^<i_Converse and Conflict_^>i_ (_^<b_1990_^>b_) and _^<i_Pallas_^>i_ (_^<b_1993_^>b_) -- is set in yet another
alternate world; in this instance Mikhail Gorbachev (1931- ) has been deposed (as was soon, indeed, to happen in the real world), Soviet hardliners have (perhaps rather mysteriously) taken over the USA, and disturbingly alert anarcho-capitalists
(once again) begin to upset the apple cart. One of the protagonists is (also mysteriously) descended from the inhabitants of _^<a_!T290_ATLANTIS_^>a_._^<n__^<n_LNS is a writer of generally competent, fast-moving and often amusing adventures which
can be marred by preachiness and intolerance where matters of _^<a_!T1939_POLITICS_^>a_ and morality are concerned. Almost all are distinguished by their relentlessly upbeat mood; the more recent are often rather poorly constructed.
[NT]_^<n__^<n__^<b_Other works:_^>b_ 3 _^<a_!T5686_STAR WARS_^>a_ ties, _^<i_Lando Calrissian and the Mindharp of Sharu_^>i_ * (_^<b_1983_^>b_), _^<i_Lando Calrissian and the Flamewind of Oseon_^>i_ * (_^<b_1983_^>b_) and _^<i_Lando Calrissian and
the Starcave of ThonBoka_^>i_ * (_^<b_1983_^>b_)._^<b_See also:_^>b_ _^<a_!T6577_ECONOMICS_^>a_; _^<a_!T2127_SHARED WORLDS_^>a_.
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SMITH, MARTIN
-T-
> Martin Cruz _^<a_!T2283_SMITH_^>a_._^<n__^<n_
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SMITH, MARTIN (WILLIAM) CRUZ
-T-
(1942- ) US writer who became famous with the political thriller/detective novel _^<i_Gorky Park_^>i_ (_^<b_1981_^>b_), but whose first book, _^<i_The Indians Won_^>i_ (_^<b_1970_^>b_), originally published as by Martin Smith, is genuine sf,
positing an _^<a_!T131_ALTERNATE WORLD_^>a_ in which the Native Americans -- after Sitting Bull (_^<i_c_^>i_1834-1893) defeated General Custer (1839-1876) -- have managed to consolidate themselves into an independent state, and in the 20th century
hold the balance of power. _^<i_Gypsy in Amber_^>i_ (_^<b_1971_^>b_) and its sequel, _^<i_Canto for a Gypsy_^>i_ (_^<b_1972_^>b_), both originally published as by Martin Smith, feature a detective with ESP. _^<i_The Analog Bullet_^>i_
(_^<b_1972_^>b_) utilizes the paranormal in similar circumstances. Under the house name Nick _^<a_!T5195_CARTER_^>a_ MCS wrote 3 borderline-sf thrillers, _^<i_The Inca Death Squad_^>i_ * (_^<b_1972_^>b_), _^<i_Code Name: Werewolf_^>i_ *
(_^<b_1973_^>b_) and _^<i_The Devil's Dozen_^>i_ * (_^<b_1973_^>b_). As Simon Quinn he published the non-sf _^<b_Inquisitor_^>b_ series of novels about a Catholic organization opposed to Satanists. In _^<i_Nightwing_^>i_ (_^<b_1977_^>b_), as MCS,
it is discovered that a swarm of vampire bats is burdened with fleas which serve as vectors for a deadly plague; it was filmed as _^<i_Nightwing_^>i_ (1979). [JC]_^<n__^<n_
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SMITH, ROBERT CHARLES
-T-
(1938- ) UK writer, prolific in various genres under several pseudonyms, including Roger C. Brandon, Robert Charles and Charles Leader. _^<i_Flowers of Evil_^>i_ (_^<b_1981_^>b_) as by Robert Charles is horror, and _^<i_Nightworld_^>i_
(_^<b_1984_^>b_; vt _^<i_The Comet_^>i_ 1985 US), also as by Charles, is an expertly told but fairly unadventurous sf _^<a_!T1243_DISASTER_^>a_ tale. [JC]_^<n__^<n_
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SMITH, WALTER J(AMES)
-T-
[r] > _^<a_!T6332_ROBERT HALE LIMITED_^>a_._^<n__^<n_
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SMITH, WAYLAND
-T-
Pseudonym for his sf novel of UK engineer Victor Bayley (1880-1972), whose career at a high level in the Indian railway system was reflected in much of his adventure fiction, some of which verged on fantasy, and which he signed with his real name.
In his sf novel, _^<i_The Machine Stops_^>i_ (_^<b_1936_^>b_), all metals disintegrate, casting humanity back into barbarism; one young man attempts to fabricate a new alloy to save the race. [JC]_^<n__^<n_
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SMITH, WOODROW WILSON
-T-
[s] > Henry _^<a_!T4144_KUTTNER_^>a_._^<n__^<n_
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23
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SNAITH, J(OHN) C(OLLIS)
-T-
(1876-1936) UK writer, mostly of historical novels, whose first sf novel, _^<i_An Affair of State_^>i_ (_^<b_1913_^>b_), is set in a _^<a_!T6337_NEAR FUTURE _^>a_England raddled by social strife, whose _^<i_The Council of Seven_^>i_ (_^<b_1921_^>b_)
describes a totalitarian _^<a_!T1370_DYSTOPIA_^>a_, and whose _^<i_Thus Far_^>i_ (_^<b_1925_^>b_) depicts the creation of an enormously powerful, telepathic _^<a_!T5830_SUPERMAN_^>a_ by the application of various rays, chemicals and, as E.F.
_^<a_!T654_BLEILER_^>a_ states, "glandular extracts from a missing link"; Bleiler further suggests that JCS may have published an earlier work describing the discovery of this link, but no such work has yet been unearthed. [JC]_^<n__^<n_
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SNELL, EDMUND
-T-
(1889-? ) UK writer, exceedingly prolific between the Wars, specializing in thrillers (often with Oriental villains) and mysteries. He wrote some sf books, including _^<i_Kontrol_^>i_ (_^<b_1928_^>b_), in which a mad _^<a_!T2880_SCIENTIST_^>a_
switches a genius brain into an athlete's body and vice versa; he is in league with a Bolshevik agent who has built a fleet of futuristic vertical-take-off aerial juggernauts and a _^<a_!T5303_UTOPIAN_^>a_ supercity on a secret
_^<a_!T3823_ISLAND_^>a_ with an active volcano. It is a well written sf thriller with an exuberance that lifts it above the ordinary._^<n__^<n__^<i_The Sound-Machine_^>i_ (_^<b_1932_^>b_) likewise features a crazed inventor; this one uses
sound-waves to kill and disintegrate. [PN]_^<n__^<n__^<b_Other works:_^>b_ _^<i_The Yellow Seven_^>i_ (_^<b_1923_^>b_); _^<i_The Yu-Chi Stone_^>i_ (_^<b_1925_^>b_); _^<i_Blue Murder_^>i_ (_^<b_1927_^>b_); _^<i_The White Owl_^>i_ (_^<b_1930_^>b_);
_^<i_The "Z" Ray_^>i_ (_^<b_1932_^>b_); _^<i_The Sign of the Scorpion_^>i_ (_^<b_1934_^>b_)._^<b_See also:_^>b_ _^<a_!T3823_ISLANDS_^>a_; _^<a_!T1939_POLITICS_^>a_; _^<a_!T5492_WEAPONS_^>a_.
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SNODGRASS, MELINDA M(ARILYN)
-T-
(1951- ) US lawyer and writer who has been associated with _^<b_Star Trek_^>b_ since the publication of her first novel, _^<i_Star Trek: The Tears of the Singers_^>i_ * (_^<b_1984_^>b_). She served as Executive Script Consultant for the first 2
seasons of _^<a_!T2436_STAR TREK: THE NEXT GENERATION_^>a_. Of ostensibly greater sf interest is her _^<b_Circuit Trilogy_^>b_ -- _^<i_Circuit_^>i_ (_^<b_1986_^>b_), _^<i_Circuit Breaker_^>i_ (_^<b_1987_^>b_) and _^<i_Final Circuit_^>i_
(_^<b_1988_^>b_) -- which takes a handsome lawyer and his extremely clever female sidekick into space, where they become involved in defending a batch of individualistic space stations and settlements against the hidebound bureaucracies of Earth.
This point of view is not, of course, a fresh one, and a sense that MMS was not perhaps concentrating fully on the richer implications of her setting is strengthened by a plot structure which eventually relegates the tough female protagonist to the
sidelines -- in strict accordance with the Robert A. _^<a_!T4376_HEINLEIN_^>a_ guidelines on such matters-as soon as she becomes pregnant. _^<i_Runespear_^>i_ (_^<b_1987_^>b_) with Victor _^<a_!T2944_MILAN_^>a_ is fantasy, as is _^<i_Queen's Gambit
Declined_^>i_ (_^<b_1989_^>b_)._^<n__^<n__^<i_A Very Large Array: New Mexico Science Fiction and Fantasy_^>i_ (anth _^<b_1987_^>b_) embodies MMS's theory that the urgent New Mexico landscape might serve to unify in some sense the work of writers
there resident; in the event, though the theory still proves difficult to assess, the stories assembled are of admirable quality. [JC]_^<n__^<n__^<b_Other works:_^>b_ MMS was assistant editor to George R.R. _^<a_!T3685_MARTIN_^>a_, the editor, on 4
of the _^<a_!T5599_WILD CARDS_^>a_ series to date, these being _^<i_#6: Ace in the Hole: A Wild Cards Mosaic Novel_^>i_ * (anth _^<b_1990_^>b_), _^<i_#7: Dead Man's Hand * _^>i_(_^<b_1990_^>b_), written by Martin with John J. Miller, the 1st true
novel in the series, _^<i_#8: One-Eyed Jacks: A Wild Cards Mosaic Novel_^>i_ * (anth _^<b_1991_^>b_) and _^<i_#9: Jokertown Shuffle: A Wild Cards Mosaic Novel_^>i_ * (anth _^<b_1991_^>b_); the next title, _^<i_#10: Double Solitaire_^>i_ *
(_^<b_1992_^>b_) is another true novel, written by MMS solo._^<b_As Melinda McKenzie:_^>b_ _^<i_Magic to Do: Paul's Story_^>i_ (_^<b_1985_^>b_); _^<i_Of Earth and High Heaven_^>i_ (_^<b_1985_^>b_)_^<b_See also:_^>b_ _^<a_!T3378_LIBERTARIAN SF_^>a_.
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SNOW, C(HARLES) P(ERCY)
-T-
(1905-1980) UK writer, created Baron Snow of Leicester in 1964, best known for the long _^<b_Strangers and Brothers_^>b_ sequence of novels, several of which deal intimately with science and the scientific establishment. In _^<i_Two Cultures and the
Scientific Revolution_^>i_ (_^<b_1959_^>b_), nonfiction, he famously suggested that science and the humanities had indeed become "two cultures", a phrase which has become part of the language. His sf novel, _^<i_New Lives for Old_^>i_
(_^<b_1933_^>b_), published anon, depicts a search for _^<a_!T3771_IMMORTALITY_^>a_ and the negative consequences that attend its success. [JC]_^<n__^<n_
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SNYDER, CECIL III
-T-
(? - ) US author of _^<i_The Hawks of Arcturus_^>i_ (_^<b_1974_^>b_), in which a lone Earthman defies the eponymous _^<a_!T102_ALIENS_^>a_ in their attempt to find the secrets of an ancient Galaxy-ruling race. [JC]_^<n__^<n_
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SNYDER, E.V.
-T-
[r] > Gene _^<a_!T2294_SNYDER_^>a_._^<n__^<n_
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SNYDER, GENE
-T-
(1943- ) Working name of US writer and academic Eugene Vincent Snyder. With William Jon _^<a_!T5480_WATKINS_^>a_ (_^<i_whom see for details_^>i_), he published 2 sf novels, _^<i_Ecodeath_^>i_ (_^<b_1972_^>b_) as E.V. Snyder and _^<i_The Litany of
Sh'reev_^>i_ (_^<b_1976_^>b_). His solo works include _^<i_Mind War_^>i_ (_^<b_1980_^>b_), _^<i_The Ogden Enigma_^>i_ (_^<b_1980_^>b_) -- in which the US military must deal with the fact that it has repressed all evidence that a
_^<a_!T5271_UFO_^>a_ landed in 1950, a matter of urgency because the UFO now wants to go home -- _^<i_Dark Dreaming_^>i_ (_^<b_1981_^>b_), _^<i_Tomb Seven_^>i_ (_^<b_1985_^>b_), a fantasy, and _^<i_The Sigma Project_^>i_ (_^<b_1988_^>b_), a
(1951- ) US author and journalist in whose _^<i_Testament XXI_^>i_ (_^<b_1973_^>b_) a space explorer returns to Earth a century after a nuclear _^<a_!T4482_HOLOCAUST_^>a_ to find a balkanized land at war with itself. [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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SOBCHACK, VIVIAN (CAROL)
-T-
(1940- ) US author of academic film criticism, notably _^<i_The Limits of Infinity: The American Science Fiction Film 1950-1975_^>i_ (_^<b_1980_^>b_), expanded as _^<i_Screening Space: The American Science Fiction Film_^>i_ (1987), retaining the
unaltered text of the earlier book but adding a long final chapter, "Postfuturism", which gives a reading of sf _^<a_!T726_CINEMA_^>a_ developed from the critical theories of Fredric Jameson (> _^<a_!T1958_POSTMODERNISM AND SF_^>a_). The original
text is among the most sophisticated analyses of sf film yet published; the added chapter is clotted, but important in its placing of recent sf films in a Postmodernist context where, for example, computer imagery and outer space in film are
registered as flat imitations of one another, or where we read schizophrenic narrative structures as zany comedies. VS's _^<a_!T1461_FEMINISM_^>a_ informs her work, particularly the essay "The Virginity of Astronauts: Sex and the Science Fiction
Film" in _^<i_Shadows of the Magic Lamp: Fantasy and Science Fiction in Film_^>i_ (anth _^<b_1985_^>b_) ed George E. _^<a_!T2259_SLUSSER_^>a_ and Eric S. _^<a_!T2474_RABKIN_^>a_. [PN]_^<n__^<n_
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SOCIAL DARWINISM
-T-
Social Darwinism is the thesis that social evolution and social history are governed by the same principles that govern the _^<a_!T6717_EVOLUTION_^>a_ of species in Nature, so that conflict between and within cultures constitutes a struggle for
existence which is the motor of progress. Such ideas are inherent in the socio-economic theories of Herbert Spencer (1820-1903), who actually coined the phrase "the survival of the fittest", borrowed by Charles Darwin (1809-1882). Darwin himself
was not a Social Darwinist, preferring to stress the survival value of cooperation in human societies. Social Darwinism was popularized in the USA by ardent political champions of _^<i_laissez-faire_^>i_ capitalism, notably William Graham Sumner
(1840-1910) -- whose pessimistic anticipation of a coming war between the social classes echoed the Marxist theory of history, and presumably inspired Ignatius _^<a_!T1285_DONNELLY_^>a_'s apocalyptic _^<i_Caesar's Column_^>i_ (_^<b_1890_^>b_; early
edns as by Edmund Boisgilbert) -- and the industrialist Andrew Carnegie (1835-1919). Social Darwinist rhetoric was co-opted to the justification of race hatred by the German writer Heinrich von Treitschke (1834-1896), a major source of inspiration
for Hitler's _^<i_Mein Kampf_^>i_ (2 vols _^<b_1925-6_^>b_; trans _^<b_1939_^>b_ UK) and the political ideology of Nazism. There is, however, no logically necessary connection between Social Darwinism and right-wing _^<a_!T1939_POLITICS_^>a_; it is
a versatile analogy which lends itself to many differing opinions as to which group ought to be designated "the fittest", and its arguments can be deployed both for and against calculated eugenic selection._^<n__^<n_The most important sf writer who
might be termed a Social Darwinist was the socialist H.G. _^<a_!T5528_WELLS_^>a_, who had no doubt that the "laws of evolution" discovered by Darwin applied to human society. His account of the future evolution of society in _^<i__^<a_!B9070_THE
TIME MACHINE_^>a__^>i_ (_^<b_1895_^>b_) is based on a Social Darwinist logic, and in such _^<a_!T5303_UTOPIAS_^>a_ as _^<i_A Modern Utopia_^>i_ (_^<b_1905_^>b_) a "struggle for existence" is artificially maintained -- here in the ascetic training
of the elite "samurai". Many of Wells's blueprints for the future assume that a better society can emerge only out of the destruction of the present one, by a process of rigorous winnowing; such future histories are sketched in _^<i_The World Set
Free_^>i_ (_^<b_1914_^>b_), _^<i_Men Like Gods_^>i_ (_^<b_1923_^>b_) and _^<i_The Shape of Things to Come_^>i_ (_^<b_1933_^>b_). When Wells finally despaired of his world-saving mission it was the logic of Darwinian law that he invoked to condemn
society for its failure in _^<i_Mind at the End of its Tether_^>i_ (_^<b_1945_^>b_). Louis _^<a_!T6072_TRACY_^>a_'s _^<i_The Final War_^>i_ (_^<b_1896_^>b_) and M.P. _^<a_!T2188_SHIEL_^>a_'s _^<i_The Yellow Danger_^>i_ (_^<b_1898_^>b_) are early
future-_^<a_!T5452_WAR_^>a_ stories deploying a Social Darwinist species of racism, the latter suggesting that there must ultimately be a war between the different races of _^<i_Homo sapiens_^>i_ for possession of the Earth; but Shiel later
modified his Spencerian views and espoused a curiously Nietzschean kind of Social Darwinism most vividly displayed in _^<i_The Young Men are Coming_^>i_ (_^<b_1937_^>b_). S. Fowler _^<a_!T6194_WRIGHT_^>a_ is the UK writer of _^<a_!T2878_SCIENTIFIC
ROMANCE_^>a_ who most consistently glorified the struggle for existence and railed against the "utopia of comforts"._^<n__^<n_Opposition to Darwinist analogies is evident in Claude _^<a_!T1440_FARRERE_^>a_'s _^<i_Useless Hands_^>i_
(_^<b_1926_^>b_), a lurid warning of the ultimate effects of applying Darwinian logic to human society, and in Raymond Z. _^<a_!T1691_GALLUN_^>a_'s _^<a_!T2033_PULP-MAGAZINE_^>a_ story "Old Faithful" (1934), which argues that intellectual kinship
is more important than biological difference. A fierce attack on Social Darwinism is mounted by C.S. _^<a_!T3368_LEWIS_^>a_ in his _^<b_Ransom_^>b_ trilogy: _^<i__^<a_!B9075_OUT OF THE SILENT PLANET_^>a__^>i_ (_^<b_1938_^>b_), _^<i_Perelandra_^>i_
(_^<b_1943_^>b_; vt _^<i_Voyage to Venus_^>i_) and _^<i_That Hideous Strength_^>i_ (_^<b_1945_^>b_). The last volume -- in which the organization N.I.C.E. begins to mould UK society along Social Darwinist lines -- is the most direct._^<n__^<n_The
logic of Social Darwinism has cropped up continually, but rather inconsistently, in _^<a_!T4659_GENRE SF_^>a_. One writer particularly fond of invoking such ideas was Robert A. _^<a_!T4376_HEINLEIN_^>a_. The assumptions of Social Darwinism seem to
have shaped many of his perspectives -- notably his attitude towards _^<a_!T102_ALIENS_^>a_, as displayed in _^<i_The Puppet Masters_^>i_ (_^<b_1951_^>b_) and _^<i__^<a_!B9166_STARSHIP TROOPERS_^>a__^>i_ (_^<b_1959_^>b_), the "robust"
_^<a_!T3378_LIBERTARIAN_^>a_ social theory of TANSTA AFL (There Ain't No Such Thing As A Free Lunch) propounded in _^<i__^<a_!B9167_THE MOON IS A HARSH MISTRESS_^>a__^>i_ (_^<b_1966_^>b_), and the collection of aphorisms called "The Notebooks of
Lazarus Long" in _^<i_Time Enough for Love_^>i_ (_^<b_1973_^>b_). Other libertarian sf writers make less use of this type of supportive logic. Poul _^<a_!T169_ANDERSON_^>a_'s political views are based on more pragmatic grounds, and the same appears
to be true of Jerry E. _^<a_!T1961_POURNELLE_^>a_, although his collaboration with Larry _^<a_!T3223_NIVEN_^>a_, _^<i_Lucifer's Hammer_^>i_ (_^<b_1977_^>b_), employs some Social Darwinist arguments. Echoes of Sumner and Carnegie frequently resound
in the work of genre libertarians, as they do more plangently in Ayn _^<a_!T2488_RAND_^>a_'s Objectivist tracts _^<i_Anthem_^>i_ (_^<b_1938_^>b_) and _^<i_Atlas Shrugged_^>i_ (_^<b_1957_^>b_). L. Ron _^<a_!T4538_HUBBARD_^>a_'s _^<i_Return to
Tomorrow_^>i_ (_^<b_1954_^>b_) is the most hysterically Social Darwinist work in genre sf, advocating that the human race commit universal genocide of all alien races to secure its hegemony. John W. _^<a_!T5140_CAMPBELL_^>a_ Jr was a notorious
human chauvinist, but he made relatively little (and rather inconsistent) use of Social Darwinist ideas in his editorials. His variously argued defences of slavery as an institution inspired some of the odder fiction published in _^<i_ASF_^>i_,
including Lloyd _^<a_!T592_BIGGLE_^>a_ Jr's _^<i_The World Menders_^>i_ (_^<b_1971_^>b_), and his opinion that mankind needs some kind of external enemy -- if not actual, then imaginary -- to maintain the competitive thrust of progress is also
reflected in work by writers from his stable, notably Mack _^<a_!T2576_REYNOLDS_^>a_, as in _^<i_Space Visitor_^>i_ (_^<b_1977_^>b_). Lester _^<a_!T1164_DEL REY_^>a_, whose early short stories displayed a strongly humanist outlook, seemingly
embraces a kind of Social Darwinism in _^<i_The Eleventh Commandment_^>i_ (_^<b_1962_^>b_; rev 1970)._^<n__^<n_The idea that aliens should be seen primarily as Darwinian competitors has fallen into considerable disrepute in modern sf, but there has
been a marked resurgence of Social Darwinist thinking in recent years in _^<a_!T5849_SURVIVALIST FICTION_^>a_, mostly brutal action-adventure stuff in the vein of Jerry _^<a_!T64_AHERN_^>a_. Dean _^<a_!T6342_ING_^>a_'s _^<i_Pulling Through_^>i_
(coll _^<b_1983_^>b_) is more level-headed, while David _^<a_!T4999_BRIN_^>a_'s _^<i_The Postman_^>i_ (fixup _^<b_1985_^>b_) is profoundly sceptical of the Social Darwinist ethos of survivalism. [BS]_^<n__^<n__^<b_See also:_^>b_
_^<a_!T6577_ECONOMICS_^>a_; _^<a_!T4442_HISTORY IN SF_^>a_; _^<a_!T2300_SOCIOLOGY_^>a_.
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> _^<a_!T994_CULTURAL ENGINEERING_^>a_._^<n__^<n_
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Film (1989). Wild Street Pictures. Dir Brian Yuzna, starring Bill Warlock, Devin DeVasquez, Ben Meyerson. Screenplay Woody Keith, Rick Fry. 99 mins. Colour._^<n__^<n_"Society" (as in the upper classes) is an _^<a_!T98_ALIEN_^>a_ race, parasitic on
humanity (as in the poor), that has been around as long as humans have, but we learn this only at the end. In the tradition of 1980s schlock/surrealist horror cinema (e.g., _^<a_!T2525_RE-ANIMATOR_^>a_ [1985]), there is gross bad taste, but the
film is unusual in the demureness of its first hour, and in its knowing and relentless use of metaphor, both visual and verbal. Bill is a wealthy teenage boy whose _^<a_!T1795_PARANOIA_^>a_ (he feels alienated from his family) turns out gradually
to be justified. Intimations of incest and half-glimpsed bodily distortions deepen into the discovery by Bill of Society's devotion to "shunting", a combination of cuddling, tenderizing, sodomitic rape and cannibalism deplorably unpleasant for the
human victims. The alien rich are shapeshifters capable of gazing out quizzically from their own rectums. The shock tactics of the climax struck some viewers as more nadir than peak; certainly Yuzna lacks the intensity of a David Lynch, and there
is a strong element of gleeful childishness. But new cinematic ground is promisingly broken. [PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T3011_MONSTER MOVIES_^>a_.
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Sociology is the systematic study of society and social relationships. The word was coined by Auguste Comte (1798-1857) in the mid-19th century, and it was then that the first attempts were made to divorce studies of society employing the scientific
method, on the one hand, from dogmatic political and ethical presuppositions, on the other. Social studies in a more general sense have, of course, a much longer history, going back to _^<a_!T1925_PLATO_^>a_. Sociology and sf have a common
precursor in _^<a_!T5303_UTOPIAN_^>a_ philosophy, which often used literary forms -- most commonly the imaginary voyage -- for the imaginative modelling of ideal societies (> _^<a_!T1410_FANTASTIC VOYAGES_^>a_; _^<a_!T2013_PROTOSCIENCE
FICTION_^>a_). The evaluation and criticism of such models may be regarded as a crude form of hypothesis-testing. As utopian fiction evolved, more reliance was placed on literary techniques; the modelling of characters and personal relationships
became a means of evaluating the "quality of life" in these hypothetical societies. The increasing use of such purely literary strategies in the late 19th century is also highly relevant to the evolution of _^<a_!T1370_DYSTOPIAN_^>a_ images of the
future._^<n__^<n_Insofar as sf involves the construction of hypothetical societies, both human and nonhuman, it is an implicitly sociological literature and many observers -- including Isaac _^<a_!T268_ASIMOV_^>a_ -- have described the
sophistication of _^<a_!T4659_GENRE SF_^>a_ encouraged by John W. _^<a_!T5140_CAMPBELL_^>a_ Jr in terms of its becoming "more sociological". Any assumptions which are consciously or unconsciously deployed in the building of hypothetical societies
are sociological hypotheses, and any attempt to construct a narrative which analyses or tracks changes within imaginary societies is a form of sociological theorizing. This is very rarely the primary purpose of sf writers, of course, but it is a
significant aspect of their work. The investigation of "sociological themes" in sf has to be an examination of the fruits of this process rather than an exploration of the influence of academic sociology itself upon sf, because such influence is
clearly negligible. Even works of sf which mirror formal sociological hypotheses -- such as Keith _^<a_!T2619_ROBERTS_^>a_'s _^<i__^<a_!B8982_PAVANE_^>a__^>i_ (coll of linked stories _^<b_1968_^>b_), which recalls the thesis of Max Weber
(1864-1920) that a complicit relationship connects the Protestant Ethic and the rise of capitalism, in its depiction of an _^<a_!T131_ALTERNATE WORLD_^>a_ in which modern Europe remains under Catholic domination -- almost invariably do so
unconsciously. Some sf writers have borrowed extensively from academic _^<a_!T197_ANTHROPOLOGY_^>a_ in constructing _^<a_!T98_ALIEN_^>a_ societies, but almost all have preferred to rely upon their own intuitive judgements regarding human society
and social relationships._^<n__^<n_Some sf stories are quite straightforward thought-experiments in sociology: Philip _^<a_!T6210_WYLIE_^>a_'s _^<i_The Disappearance_^>i_ (_^<b_1951_^>b_), Theodore _^<a_!T5810_STURGEON_^>a_'s _^<i_Venus Plus X_^>i_
(_^<b_1960_^>b_) and Ursula K. _^<a_!T3318_LE GUIN_^>a_'s _^<i__^<a_!B8985_THE LEFT HAND OF DARKNESS_^>a__^>i_ (_^<b_1969_^>b_) are notable examples investigating issues of sexual politics, while the brief account of a factory-society run according
to the tenet of "from each according to his ability, to each according to his need" in Ayn _^<a_!T2488_RAND_^>a_'s _^<i_Atlas Shrugged_^>i_ (_^<b_1957_^>b_) aspires to prove the impracticability of socialism. Poul _^<a_!T169_ANDERSON_^>a_'s "The
Helping Hand" (1950) carefully compares the fortunes of two conquered cultures, one of which accepts economic aid from its conquerors while the other -- the "control group" -- does not. Many of the classics of UK _^<a_!T2878_SCIENTIFIC ROMANCE_^>a_
-- including Grant _^<a_!T111_ALLEN_^>a_'s _^<i_The British Barbarians_^>i_ (_^<b_1895_^>b_), J.D. _^<a_!T543_BERESFORD_^>a_'s _^<i_The Hampdenshire Wonder_^>i_ (_^<b_1911_^>b_), Aldous _^<a_!T4566_HUXLEY_^>a_'s _^<i__^<a_!B9261_BRAVE NEW
WORLD_^>a__^>i_ (_^<b_1932_^>b_), Olaf _^<a_!T2404_STAPLEDON_^>a_'s _^<i_Odd John_^>i_ (_^<b_1935_^>b_) and Eden _^<a_!T1889_PHILLPOTTS_^>a_'s _^<i_Saurus_^>i_ (_^<b_1938_^>b_) -- introduce an outside observer into a society in order to evaluate
its merits and faults "objectively". If the society is contemporary, then the observer must be an sf artefact, like Allen's time-travelling anthropologist, Beresford's and Stapledon's _^<a_!T5829_SUPERMEN_^>a_, and Phillpotts's alien; if the
society is exotic then an ordinary human being will do. Such social displacements are a staple strategy of _^<a_!T2812_SATIRE_^>a_, another common precursor of sociology and sf; works like the fourth book of Jonathan _^<a_!T5873_SWIFT_^>a_'s
_^<i_Gulliver's Travels_^>i_ (_^<b_1726_^>b_) and _^<i_The Voyage of Captain Popanilla_^>i_ (_^<b_1828_^>b_) by Benjamin _^<a_!T1248_DISRAELI_^>a_ can embody scathing social criticism. Other modern sf novels using this strategy include Robert A.
_^<a_!T4376_HEINLEIN_^>a_'s _^<i__^<a_!B9028_STRANGER IN A STRANGE LAND_^>a__^>i_ (_^<b_1961_^>b_) and Robert _^<a_!T2216_SILVERBERG_^>a_'s _^<i_The Masks of Time_^>i_ (_^<b_1968_^>b_; vt _^<i_Vornan-19_^>i_). An interesting
_^<a_!T3609_MAINSTREAM_^>a_ novel in which sociologists investigate a cult whose _^<a_!T3135_MYTHOLOGY_^>a_ is sciencefictional in kind is _^<i_Imaginary Friends_^>i_ (_^<b_1967_^>b_) by Alison Lurie (1926- ). Stories of the type that construct
hypothetical "human studies" projects for alien sociologists -- like S.P. _^<a_!T2313_SOMTOW_^>a_'s _^<i_Mallworld_^>i_ (_^<b_1981_^>b_) and Karen Joy _^<a_!T1581_FOWLER_^>a_'s "The Poplar Street Study" (1985) and "The View from Venus" (1986)-tend
to be darkly humorous and satirical._^<n__^<n_The quasiscientific activities featured in these kinds of sf are impracticable in the real world (although there are analogues in cultural anthropology) both because culture-bound sociologists find it
virtually impossible to become "objective observers" and because they cannot construct actual societies by way of experiment. Natural scientists do not, for the most part, encounter problems of these kinds, and so the relationship between the
social sciences and speculative fiction is markedly different from that involving the natural sciences; that is, sociological fiction may try to accomplish what the practical science cannot, and thus is a generator of ideas rather than a borrower.
Ideas from speculative fiction are occasionally "fed back" into ways of thinking about the real world: Aldous _^<a_!T4566_HUXLEY_^>a_'s _^<i__^<a_!B9261_BRAVE NEW WORLD_^>a__^>i_ and George _^<a_!T1731_ORWELL_^>a_'s _^<i__^<a_!B9093_NINETEEN
EIGHTY-FOUR_^>a__^>i_ (_^<b_1949_^>b_) have had considerable influence on attitudes to social trends and actual political rhetoric. Some modern social theorists have built literary models to dramatize their theories, notably B.F.
_^<a_!T2236_SKINNER_^>a_ in _^<i_Walden Two_^>i_ (_^<b_1948_^>b_) and Michael _^<a_!T6239_YOUNG_^>a_ in _^<i_The Rise of the Meritocracy_^>i_ (_^<b_1958_^>b_). Where Skinner's work is a utopia, Young's is a _^<a_!T1370_DYSTOPIA_^>a_ -- he promotes
his own ideas by displaying the folly of opposite ideas in action. The US sociologist Richard Ofshe (1941- ) compiled an anthology of sf stories, with appropriate commentary, as a textbook on _^<i_The Sociology of the Possible_^>i_ (anth
_^<b_1970_^>b_); John Milstead, Martin H. _^<a_!T4842_GREENBERG_^>a_, Joseph D. _^<a_!T3303_OLANDER_^>a_ and Patricia S. _^<a_!T5471_WARRICK_^>a_'s _^<i_Sociology through Science Fiction_^>i_ (anth _^<b_1974_^>b_) and _^<i_Social Problems through
Science Fiction_^>i_ (anth _^<b_1975_^>b_) are similar but less competent._^<n__^<n_The simple classification of hypothetical societies into satires, utopias and dystopias serves moderately well for models built outside genre sf, but
_^<a_!T4659_GENRE-SF_^>a_ writers are very rarely concerned with trying to design ideal societies, and, although they do have a tendency to offer dire polemical warnings about the way the world is going, the extent to which their visions may be
described as satirical or dystopian has also been exaggerated. Sf writers often try to envisage forms of society which are quite simply _^<i_conceivable_^>i_; they invent for the sheer joy of invention, and often it does them some disservice to
invoke the commonplace category labels. For example, although the first significant model of a purely hypothetical society, H.G. _^<a_!T5528_WELLS_^>a_'s _^<i__^<a_!B9270_THE FIRST MEN IN THE MOON_^>a__^>i_ (_^<b_1901_^>b_), has definite dystopian
aspects, such a classification would be too narrow, and the same is true of many subsequent novels which take the ant-nest as their model (> _^<a_!T4447_HIVE-MINDS_^>a_)._^<n__^<n_Another interesting early example of a hypothetical society which is
really neither a satire nor a dystopia is _^<i_The Revolt of Man_^>i_ (_^<b_1882_^>b_) by Walter _^<a_!T564_BESANT_^>a_, the prototype of a whole subgenre of stories depicting female-dominated societies. Its assumptions regarding the structure and
fortunes of the society clearly reveal the main tenets of Victorian male chauvinism, and it makes an interesting comparison with more recent explorations of the same theme, including Edmund _^<a_!T870_COOPER_^>a_'s _^<i_Five to Twelve_^>i_
(_^<b_1968_^>b_), Robert _^<a_!T661_BLOCH_^>a_'s _^<i_Ladies' Day_^>i_ (_^<b_1968_^>b_ dos) and Thomas _^<a_!T546_BERGER_^>a_'s _^<i_Regiment of Women_^>i_ (_^<b_1973_^>b_). This is one of the commonest themes in social modelling. Its early phases
are tracked by Sam _^<a_!T3074_MOSKOWITZ_^>a_ in _^<i_When Women Rule_^>i_ (anth _^<b_1972_^>b_), and further relevant fictions include J.D. _^<a_!T543_BERESFORD_^>a_'s _^<i_Goslings_^>i_ (_^<b_1913_^>b_; vt _^<i_A World of Women_^>i_ US), Owen M.
_^<a_!T3919_JOHNSON_^>a_'s _^<i_The Coming of the Amazons_^>i_ (_^<b_1931_^>b_), Philip _^<a_!T6210_WYLIE_^>a_'s _^<i_The Disappearance_^>i_ (_^<b_1951_^>b_), Richard _^<a_!T5642_WILSON_^>a_'s _^<i_The Girls from Planet 5_^>i_ (_^<b_1955_^>b_),
John _^<a_!T6211_WYNDHAM_^>a_'s "Consider Her Ways" (1956), Charles Eric _^<a_!T3606_MAINE_^>a_'s _^<i_World without Men_^>i_ (_^<b_1958_^>b_; vt _^<i_Alph_^>i_), Poul _^<a_!T169_ANDERSON_^>a_'s _^<i_Virgin Planet_^>i_ (_^<b_1959_^>b_) and Edmund
_^<a_!T870_COOPER_^>a_'s _^<i_Who Needs Men_^>i_ (_^<b_1972_^>b_; vt _^<i_Gender Genocide_^>i_). Sf stories in which the social roles associated with the sexes are in some fashion revised have become a highly significant instrument of ideative
exploration in the hands of _^<a_!T1461_FEMINIST_^>a_ writers. Outstanding works of this kind include Joanna _^<a_!T2741_RUSS_^>a_'s _^<i__^<a_!B9022_THE FEMALE MAN_^>a__^>i_ (_^<b_1975_^>b_) and Marge _^<a_!T1898_PIERCY_^>a_'s
_^<i__^<a_!B9193_WOMAN ON THE EDGE OF TIME_^>a__^>i_ (_^<b_1976_^>b_). In the UK The Women's Press has an sf line, and many of the books published by the radical lesbian Onlywomen Press are sf._^<n__^<n_Both _^<i_The Revolt of Man_^>i_ and
_^<i__^<a_!B9270_THE FIRST MEN IN THE MOON_^>a__^>i_ show "distorted societies" constructed by altering a single variable in a quasi-experimental fashion. Outside _^<a_!T4659_GENRE SF_^>a_ such distortions are almost always invoked for dystopian or
satirical ends, but inside the genre distortion often seems to be an end in itself. Alien societies _^<i_have_^>i_ been used in sf for satirical purposes -- Stanton A. _^<a_!T773_COBLENTZ_^>a_ made a habit of it in such works as _^<i_The Blue
Barbarians_^>i_ (1931; _^<b_1958_^>b_) and _^<i_Hidden World_^>i_ (1935; _^<b_1957_^>b_; vt _^<i_In Caverns Below_^>i_) -- but this is comparatively rare. The most memorable nonhuman societies in sf -- they are so numerous that any list has to be
highly selective -- reflect a far more open-minded kind of creativity: Clifford D. _^<a_!T2218_SIMAK_^>a_'s _^<i__^<a_!B9054_CITY_^>a__^>i_ (1944-51; fixup _^<b_1952_^>b_), L. Sprague _^<a_!T1133_DE CAMP_^>a_'s _^<i_Rogue Queen_^>i_
(_^<b_1951_^>b_), Philip Jose _^<a_!T1435_FARMER_^>a_'s _^<i__^<a_!B9017_THE LOVERS_^>a__^>i_ (1952; exp _^<b_1961_^>b_), James _^<a_!T658_BLISH_^>a_'s "A Case of Conscience" (1953), Poul _^<a_!T169_ANDERSON_^>a_'s _^<i_War of the Wing-Men_^>i_
(_^<b_1958_^>b_; vt _^<i_The Man who Counts_^>i_) and _^<i_The People of the Wind_^>i_ (_^<b_1973_^>b_), Brian W. _^<a_!T87_ALDISS_^>a_'s _^<i_The Dark Light Years_^>i_ (_^<b_1964_^>b_), Isaac _^<a_!T268_ASIMOV_^>a_'s _^<i__^<a_!B9117_THE GODS
THEMSELVES_^>a__^>i_ (_^<b_1972_^>b_), Stanley _^<a_!T2848_SCHMIDT_^>a_'s _^<i_The Sins of the Fathers_^>i_ (_^<b_1976_^>b_), David _^<a_!T4156_LAKE_^>a_'s _^<i_The Right Hand of Dextra_^>i_ (_^<b_1977_^>b_), Ian _^<a_!T5484_WATSON_^>a_'s and
Michael _^<a_!T620_BISHOP_^>a_'s _^<i_Under Heaven's Bridge_^>i_ (_^<b_1981_^>b_), Phillip _^<a_!T3645_MANN_^>a_'s _^<i_The Eye of the Queen_^>i_ (_^<b_1982_^>b_) and Timothy _^<a_!T6254_ZAHN_^>a_'s _^<i_A Coming of Age_^>i_ (_^<b_1985_^>b_).
Distorted human societies are even more numerous, but some notable examples are: Wyman _^<a_!T4893_GUIN_^>a_'s "Beyond Bedlam" (1951), Frederik _^<a_!T1937_POHL_^>a_'s and C.M. _^<a_!T6353_KORNBLUTH_^>a_'s _^<i__^<a_!B9011_THE SPACE
MERCHANTS_^>a__^>i_ (_^<b_1953_^>b_), James E. _^<a_!T4896_GUNN_^>a_'s _^<i_The Joy Makers_^>i_ (fixup _^<b_1961_^>b_), Jack _^<a_!T5317_VANCE_^>a_'s _^<i_The Languages of Pao_^>i_ (_^<b_1958_^>b_), Alexei _^<a_!T1782_PANSHIN_^>a_'s
_^<i__^<a_!B8981_RITE OF PASSAGE_^>a__^>i_ (1963; exp _^<b_1968_^>b_), John _^<a_!T3851_JAKES_^>a_'s _^<i_Mask of Chaos_^>i_ (_^<b_1970_^>b_), Robert _^<a_!T2216_SILVERBERG_^>a_'s _^<i__^<a_!B9208_A TIME OF CHANGES_^>a__^>i_ (_^<b_1971_^>b_),
Samuel R. _^<a_!T1152_DELANY_^>a_'s _^<i_Triton_^>i_ (_^<b_1976_^>b_), Ludek _^<a_!T1867_PESEK_^>a_'s _^<i_A Trap for Perseus_^>i_ (_^<b_1976_^>b_; trans _^<b_1980_^>b_), George _^<a_!T6261_ZEBROWSKI_^>a_'s _^<i_Macrolife_^>i_ (_^<b_1979_^>b_),
Bruce _^<a_!T5717_STERLING_^>a_'s _^<i__^<a_!B9218_SCHISMATRIX_^>a__^>i_ (_^<b_1985_^>b_), Keith _^<a_!T2619_ROBERTS_^>a_'s _^<i_Kiteworld_^>i_ (_^<b_1985_^>b_) and Philip Jose _^<a_!T1435_FARMER_^>a_'s _^<i_Dayworld_^>i_ (_^<b_1985_^>b_). Implicit
in all these stories, whatever their immediate dramatic purpose, are arguments about directions and limits of social possibility._^<n__^<n_One of the commonest forms of sociological thought-experiment in sf is that of taking society apart and
building it up again. Many stories of this type are discussed in the sections on _^<a_!T1243_DISASTER_^>a_ and _^<a_!T4482_HOLOCAUST AND AFTER_^>a_; classic examples include S. Fowler _^<a_!T6194_WRIGHT_^>a_'s _^<i_Deluge_^>i_ (_^<b_1928_^>b_) and
_^<i_Dawn_^>i_ (_^<b_1929_^>b_), George R. _^<a_!T5734_STEWART_^>a_'s _^<i__^<a_!B9088_EARTH ABIDES_^>a__^>i_ (_^<b_1949_^>b_) and Walter M. _^<a_!T2960_MILLER_^>a_'s _^<i__^<a_!B9076_A CANTICLE FOR LEIBOWITZ_^>a__^>i_ (1955-7; fixup
_^<b_1960_^>b_). The pattern of social disintegration is subject to detailed scrutiny in William _^<a_!T4758_GOLDING_^>a_'s _^<i_Lord of the Flies_^>i_ (_^<b_1954_^>b_), while the building of a society from scratch is satirically featured in E.C.
_^<a_!T4190_LARGE_^>a_'s _^<i_Dawn in Andromeda_^>i_ (_^<b_1956_^>b_). Investigations of the theme range in character from outright _^<a_!T4509_HORROR_^>a_ stories to _^<a_!T2641_ROBINSONADES_^>a_, often steering a very uneasy course between
realism and romanticism._^<n__^<n_Many particular fields within sociology are not widely reflected in sf, but there is an abundance of stories bearing upon issues in the sociology of _^<a_!T2551_RELIGION_^>a_, including Heinlein's "If This Goes On
. . ." (1940), Bertrand _^<a_!T2742_RUSSELL_^>a_'s "Zahatopolk" (1954), Miller's _^<i__^<a_!B9076_A CANTICLE FOR LEIBOWITZ_^>a__^>i_, Anderson's "The Problem of Pain" (1973) and Gerald Jonas's "The Shaker Revival" (1970). There is no such abundance
of stories relating to the sociology of science, largely because most sf -- unlike most mundane fiction -- treats religion sceptically and science reverently; but Asimov's _^<i__^<a_!B9117_THE GODS THEMSELVES_^>a__^>i_ includes some shrewd
observations on the working of the community of _^<a_!T2880_SCIENTISTS_^>a_, as does Howard L. _^<a_!T3122_MYERS_^>a_'s pointed comedy "Out, Wit!" (1972). An interesting exercise in hypothetical applied sociology is featured in Katherine
_^<a_!T3563_MACLEAN_^>a_'s "The Snowball Effect" (1952), in which a sociologist draws up an incentive scheme which permits the Watashaw Ladies Sewing Circle to recruit the entire world (the technique later became known in the real world as "pyramid
selling"). The definitive sf exercise in the sociology of _^<a_!T1939_POLITICS_^>a_ is Michael D. _^<a_!T2559_RESNICK_^>a_'s vivid account of the _^<a_!T811_COLONIZATION_^>a_ and subsequent "liberation" of _^<i_Paradise_^>i_ (_^<b_1989_^>b_).
Sociologists working in the field of demography play a key role in Hilbert _^<a_!T2843_SCHENCK_^>a_'s curious timeslip romance, _^<i__^<a_!B8978_A ROSE FOR ARMAGEDDON_^>a__^>i_ (_^<b_1982_^>b_), although they rarely feature in stories of
_^<a_!T1752_OVERPOPULATION_^>a_._^<n__^<n_The marked shift in the emphasis of genre sf away from scientific hardware towards sociological issues has had several causes. Sheer literary sophistication is one; the expansion of the sf audience to take
in many readers (and writers) who have little scientific education is another. It also reflects a growing awareness of the pace of social change and of insistent challenges to social values which were once supported by wider consensus. Elementary
features of social organization like the family are increasingly subject to the erosions of individual liberty. Commonplace social problems like crime (> _^<a_!T956_CRIME AND PUNISHMENT_^>a_) and care of the aged and the sick are becoming magnified
-- ironically, by virtue of the very success of the technologies which have been brought to bear on the problems. The fact that social situations do and will determine the context in which scientific inventions are and will be made and used was
frequently glossed over by early sf writers, but is now clearly recognized. The slowly but steadily growing interest in sf may be a symptom of wider recognition of the acceleration of social change and the imaginative utility of sociological
thought-experiments; if so, the academic study of sf (> _^<a_!T2071_SF IN THE CLASSROOM_^>a_) might perhaps be a matter more suited to sociologists than to students of literature _^<i_per se_^>i_. [BS]_^<n__^<n__^<b_See also:_^>b_
_^<a_!T727_CITIES_^>a_; _^<a_!T4442_HISTORY IN SF_^>a_; _^<a_!T3385_LIFE ON OTHER WORLDS_^>a_; _^<a_!T3398_LINGUISTICS_^>a_; _^<a_!T2297_SOCIAL DARWINISM_^>a_; _^<a_!T5888_TABOOS_^>a_; _^<a_!T5683_WOMEN AS PORTRAYED IN SCIENCE FICTION_^>a_.
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SOFT SF
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This not very precise item of sf _^<a_!T5942_TERMINOLOGY_^>a_, formed by analogy with _^<a_!T4288_HARD SF_^>a_, is generally applied either to sf that deals with the _^<a_!T2302_SOFT SCIENCES_^>a_ or to sf that does not deal with recognizable
science at all, but emphasizes human feelings. The contrasting of soft sf with hard sf is sometimes illogical. Stories of _^<a_!T2021_PSI POWERS_^>a_ or _^<a_!T5830_SUPERMEN_^>a_, for example, have little to do with real science, but are regularly
regarded by sf readers as hard sf. The _^<a_!T3181_NEW WAVE_^>a_ was generally associated with soft sf; _^<a_!T1015_CYBERPUNK_^>a_ falls somewhere between the two. [PN]_^<n__^<n_
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SOFT SCIENCES
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In academic slang and sf _^<a_!T5942_TERMINOLOGY_^>a_, the soft sciences are in the main the social sciences, those which deal mainly with human affairs -- very often the sciences that require little or no hardware for their carrying out. (Most
would claim _^<a_!T611_BIOLOGY_^>a_ and subsidiary fields -- e.g., _^<a_!T761_CLONES_^>a_ and _^<a_!T4657_GENETIC ENGINEERING_^>a_ -- as hard sciences [> _^<a_!T4288_HARD SF_^>a_].) Theme entries in this volume which deal directly or indirectly
with soft sciences include _^<a_!T197_ANTHROPOLOGY_^>a_, _^<a_!T6576_ECOLOGY_^>a_, _^<a_!T6577_ECONOMICS_^>a_, _^<a_!T6717_EVOLUTION_^>a_, _^<a_!T1669_FUTUROLOGY_^>a_, _^<a_!T3787_INTELLIGENCE_^>a_, _^<a_!T3398_LINGUISTICS_^>a_,
_^<a_!T1851_PERCEPTION_^>a_, _^<a_!T2023_PSYCHOLOGY_^>a_ and _^<a_!T2300_SOCIOLOGY_^>a_. The soft sciences very often work through statistics, and hard scientists have been known to despise them for their lack of rigour and their occasional
difficulty in predicting quantifiable results; sociology has been particularly criticized in this context. Sf that deals primarily with the soft sciences is sometimes known as _^<a_!T2301_SOFT SF_^>a_. [PN]_^<n__^<n_
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SOHL, JERRY
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Working name of US writer and former journalist Gerald Allan Sohl Sr (1913- ), active from about 1950 in sf and other genres as JS and under various pseudonyms, including Nathan Butler and Sean Mei Sullivan. He began publishing sf with "The 7th
Order" for _^<i_Gal_^>i_ in 1952, and soon released _^<i_The Haploids_^>i_ (_^<b_1952_^>b_), the first of several 1950s novels whose slick surface and sharp economy of scale marked him as a professional craftsman. These books include
_^<i_Transcendent Man_^>i_ (_^<b_1953_^>b_), _^<i_Costigan's Needle_^>i_ (_^<b_1953_^>b_) -- which deftly depicts the colonizing of a _^<a_!T1794_PARALLEL WORLD_^>a_ -- _^<i_The Altered Ego_^>i_ (_^<b_1954_^>b_) -- which ingeniously treats as a
problem in detection an _^<a_!T3771_IMMORTALITY_^>a_ puzzle involving personality recordings, though without the concept of _^<a_!T761_CLONES_^>a_ the technology of transference was clearly unwieldy -- and _^<i_Point Ultimate_^>i_ (_^<b_1955_^>b_),
a fine example of 1950s _^<a_!T1795_PARANOIA_^>a_ in its picture of Russians occupying the USA through use of a plague virus. In all these books JS's use of science, though attractive, seems in hindsight somewhat opportunistic, and several of them
fail ultimately to make much sense of the premises they dramatize. His sf output began to slacken by the end of the decade, though he remained active in other areas, several non-sf novels being published as by Butler. Of his later sf, _^<i_The
Odious Ones_^>i_ (_^<b_1959_^>b_) and _^<i_Night Slaves_^>i_ (_^<b_1965_^>b_), later televised, best demonstrate his competence. From 1958 JS did considerable tv work, including scripts, under various names, for
_^<i_The_^<a_!T3793_INVADERS_^>a__^>i_ , _^<i_The_^<a_!T1742_OUTER LIMITS_^>a_, _^<a_!T2429_STAR TREK_^>a__^>i_ and _^<i_The_^<a_!T6141_TWILIGHT ZONE_^>a__^>i_ . [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_The Mars Monopoly_^>i_ (_^<b_1956_^>b_ dos);
_^<i_The Time Dissolver_^>i_ (_^<b_1957_^>b_); _^<i_One Against Herculum_^>i_ (_^<b_1959_^>b_ dos); _^<i_The Anomaly_^>i_ (_^<b_1971_^>b_); _^<i_I, Aleppo_^>i_ (as "I am Aleppo" in _^<i_The New Mind_^>i_ [anth _^<b_1973_^>b_] ed Roger
_^<a_!T6648_ELWOOD_^>a_; exp _^<b_1976_^>b_); _^<i_Death Sleep_^>i_ (_^<b_1983_^>b_); _^<i_Kaheesh_^>i_ (_^<b_1983_^>b_) as by Nathan Butler.
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SOKOpsOWSKI, KRZYSZTOF
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(1955- ) Polish critic, translator and editor, author of the _^<a_!T1938_POLAND_^>a_ entry in this encyclopedia. A graduate of Warsaw University, KS is well known for his critical pieces on US-UK sf in the magazine _^<i_Fantastyka_^>i_. Since its
foundation in 1990 he has been editor of _^<i_Fenix_^>i_, the first privately owned professional sf magazine in Poland; he is also a professional translator of sf. [PN]_^<n__^<n_
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SOLARIS
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_^<b_1._^>b_ French-language Canadian magazine. >_^<a_!T5141_CANADA_^>a_; Luc _^<a_!T1943_POMERLEAU_^>a_; Daniel _^<a_!T2109_SERNINE_^>a_._^<n__^<n__^<b_2._^>b_ Russian film (1971). Mosfilm. Dir Andrei _^<a_!T5909_TARKOVSKY_^>a_, starring Donatas
Banionis, Natalia Bondarchuk, Youri Jarvet, Anatoli Solinitsin. Screenplay Tarkovsky, Friedrich Gorenstein, based on _^<i__^<a_!B9183_SOLARIS_^>a__^>i_ (_^<b_1961_^>b_; trans _^<b_1970_^>b_) by Stanislaw _^<a_!T3329_LEM_^>a_. 165 mins; first US
version 132 mins. Colour._^<n__^<n_This long, ambitious rendering of Lem's metaphysical novel is regarded by some as one of the finest sf films made; a minority sees it as tediously slow-moving. _^<i_S_^>i_ changes the emphasis of the story from
the intellectual to the emotional, partly by restructuring the narrative, which in the film is framed by elegiac and nostalgic sequences at the country house of the young space-scientist hero's parents, focusing on the scientist's relationship with
his father; the opening passage is on Earth, the closing passage on Solaris's recreation of Earth. The main action is set on a space-station hovering above the planet Solaris, whose ever-changing ocean is thought to be organic and sentient. The
protagonist finds the station in disrepair and his colleagues demoralized by the materialization of "phantoms" (quite real and solid) of their innermost obsessions; soon he is himself haunted by a reincarnation of his suicided wife. These phantoms
may be an attempt by Solaris to communicate. Horrified, he kills the phantom wife, but a replica arrives that night. Ultimately he recognizes that, no matter what her source, she is both living and lovable; but while he sleeps she connives at her
own exorcism. Solaris remains an enigma. The philosophical questions about the limits of human understanding are not put so sharply as in the book, but the visual images, despite occasionally mediocre special effects, are potent -- haunting
leitmotivs of water, sundering screens, technology and snow. [PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T3118_MUSIC_^>a_; _^<a_!T2748_RUSSIA_^>a_; _^<a_!T2338_SPACE HABITATS_^>a_.
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SOLAR WIND
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This scientific term has found much favour in sf _^<a_!T5942_TERMINOLOGY_^>a_. The stars constantly emit highly energetic particles as well as, of course, light, which is itself composed of tiny particles, photons (although here the word "particle"
has a slightly different meaning). These particles exert a gentle outward pressure (which is why the tail of a comet always points away from the Sun). A low-mass spacecraft with a huge, incredibly thin sail, perhaps made of aluminium, could take
advantage of this pressure just as a yacht uses wind -- hence the proliferation of rather charming space-sailing stories, including "The Lady who Sailed the _^<i_Soul_^>i_" (1960) by Cordwainer _^<a_!T2265_SMITH_^>a_ and "Sunjammer" (1964; vt "The
Wind from the Sun") by Arthur C. _^<a_!T736_CLARKE_^>a_. An anthology including 4 original stories, a number of reprints and some nonfiction is _^<i_Project Solar Sail_^>i_ (anth _^<b_1990_^>b_) ed Clarke and (anon) David _^<a_!T4999_BRIN_^>a_.
[PN]_^<n__^<n_
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SOLO, JAY
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[s] > Harlan _^<a_!T6641_ELLISON_^>a_._^<n__^<n_
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SOLOGUB, FYODOR
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Pseudonym of Russian poet and novelist Fyodor-Kuzmich Teternikov (1863-1927), who remains best known for his second novel, _^<i_Melkii bes_^>i_ (_^<b_1907_^>b_; best trans R. Wilks as _^<i_The Little Demon_^>i_ _^<b_1962_^>b_ UK); the title refers
to the apotheosis of numbing mediocrity, mercilessly depicted, which devours the schoolteacher protagonist. FS's third novel, _^<i_Tvorimaia legenda_^>i_ (1907-13 _^<i_Shipovnik_^>i_, then _^<i_Zemlya_^>i_; cut _^<b_1914_^>b_; part 1 only of cut
text trans John Cournos as _^<i_The Created Legend_^>i_ _^<b_1916_^>b_ UK; complete trans Samuel D. Cioran of restored text in 3 vols as _^<i_The Created Legend_^>i_ _^<b_1979_^>b_ US), is sf, though of a strange order. The 1st vol describes the
life in 1905 Russia of the protagonist who-pedagogue, inventor, sybarite and mage -- clearly represents a wish-fulfilment version of the author. The 2nd describes the _^<a_!T2737_RURITANIAN_^>a_ kingdom of the United Isles, threatened by volcanoes
and dynastic upheavals. In the 3rd, after successfully applying to become king -- echoes of Frederick _^<a_!T2679_ROLFE_^>a_'s _^<i_Hadrian VII_^>i_ (_^<b_1904_^>b_) are clear -- the protagonist escapes Russia in a spherical flying device of his
own invention and enters into his meritocratic heritage. The text as a whole irretrievably mixes superscience, Satanism, an eroticized vision of history, _^<a_!T2812_SATIRE_^>a_ and dream. _^<i_The Sweet-Scented Name, and Other Fairy Tales, Fables
and Stories_^>i_ (coll trans Stephen Graham _^<b_1915_^>b_ UK) and _^<i_The Old House and Other Tales_^>i_ (coll trans John Cournos _^<b_1916_^>b_ UK) contain some fantasies. [JC]_^<n__^<n_
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SOL RISING
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The quarterly newsletter of the _^<a_!T2909_MERRIL COLLECTION OF SCIENCE FICTION, SPECULATION AND FANTASY_^>a_._^<n__^<n_
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SOMERS, BART
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> Gardner F. _^<a_!T1584_FOX_^>a_._^<n__^<n_
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SOMETHING ELSE
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UK _^<a_!T2100_SEMIPROZINE_^>a_, 3 issues (Spring 1980, Winter 1980, Spring 1984), small-_^<a_!T492_BEDSHEET_^>a_ format, published and ed Charles Partington from Manchester. This was a short-lived but brave attempt by Partington, who had previously
edited _^<a_!T105_ALIEN WORLDS_^>a_, to continue the _^<a_!T3182_NEW WORLDS_^>a_ tradition. Many of the stalwarts of _^<i_NW_^>i_ appeared, including Brian W. _^<a_!T87_ALDISS_^>a_, Hilary _^<a_!T361_BAILEY_^>a_, John _^<a_!T5049_BRUNNER_^>a_, M.
John _^<a_!T4319_HARRISON_^>a_ and Michael _^<a_!T3030_MOORCOCK_^>a_. Like its more illustrious predecessor, _^<i_SE_^>i_ did not get the distribution it deserved. [RR]_^<n__^<n_
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SOMETHING IS OUT THERE
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_^<b_1._^>b_ US/Australian tv miniseries (1988). CPT Holdings/Hoyts for NBC. Executive prods Frank Lupo, John Ashley. Dir Richard Colla, starring Joe Cortese, Maryam d'Abo, George Dzundza. Written Lupo. 2 100min episodes._^<n__^<n_This sometimes
exciting, often threadbare _^<i_policier_^>i_ pits a tough Earth cop (Cortese) and a marooned, telepathic medical officer from an _^<a_!T98_ALIEN_^>a_ prison spaceship (d'Abo) -- she looks both human and beautiful-against an escaped alien
"xenomorph", extremely dangerous and capable of invading a human host (as in _^<i_The_^<a_!T4419_HIDDEN_^>a__^>i_ [1988], which _^<i_SIOT_^>i_ strongly resembles). In romantic buddy-movie style, he teaches her Earth customs and she teaches him
monster-catching. Rick Baker's creature effects are good; the pacing is bad; the ending is ambiguous. An edited version (165 mins) was released on videotape._^<n__^<n__^<b_2._^>b_ US tv series (1989). NBC. 8 50min episodes, the last two not aired
in the USA. After the promising if uneven pilot miniseries, the series proper, again starring Cortese and d'Abo, was disappointing: crime-fighting cliches, unremarkable scripts, and little use made of the extraterrestrial elements. [PN]_^<n__^<n_
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SOMTOW, S.P.
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Working name of Thai composer and writer Somtow Papinian Sucharitkul (1952- ), who used his surname from the beginning of his career to 1985, when he switched to SPS, announcing that any book previously signed Sucharitkul would be signed SPS on
reprinting (although some children's books continued to appear under the earlier form of his name). After university education in the UK and a period in the USA, SPS began in recent years to spend about half his time in Thailand and half in the
USA. His first publication of any genre interest was a poem, "Kith of Infinity", which appeared in the _^<i_Bangkok Press_^>i_ in 1967 and was assembled -- along with early stories like "Sunsteps" (1977 _^<i_Unearth_^>i_) -- in _^<i_Fire from the
Wine Dark Sea_^>i_ (coll _^<b_1983_^>b_). He won the _^<a_!T3922_JOHN W. CAMPBELL AWARD_^>a_ for Best New Writer in 1981._^<n__^<n_His first novel, _^<i_Starship and Haiku_^>i_ (_^<b_1981_^>b_), is typical of much of his work: the tale takes place
in a crowded but fluid venue, with culture shocks leading to ornate resolutions; in this case, the citizens of a post-_^<a_!T4482_HOLOCAUST_^>a_ Earth are committing suicide, but whales contact Japanese survivors (with whom they share a genetic
heritage) and the novel closes as a new hybrid species sets off for the stars._^<n__^<n_The _^<b_Chronicles of the High Inquest_^>b_ sequence -- _^<i_Light on the Sound_^>i_ (_^<b_1982_^>b_; rev vt _^<i_The Dawning Shadow #1: Light on the
Sound_^>i_ 1986), _^<i_The Throne of Madness_^>i_ (_^<b_1983_^>b_; rev vt _^<i_The Dawning Shadow #2: The Throne of Madness_^>i_ 1986), _^<i_Utopia Hunters_^>i_ (coll of linked stories _^<b_1984_^>b_) and _^<i_The Darkling Wind_^>i_
(_^<b_1985_^>b_) -- again injects whale-like sentients into a complex mix, following the interactions of the mutilated humans who hunt them on instructions from the Inquestors, a Galaxy-spanning race whose pretensions to moral superiority are
harshly examined as the sequence advances. In the end, the Inquestor race dies in cataclysm, leaving a deposit of myth for later races to decipher. Other sf of interest includes the _^<a_!T131_ALTERNATE-WORLD_^>a_ _^<b_Aquiliad_^>b_ sequence --
_^<i_The Aquiliad_^>i_ (_^<b_1983_^>b_; vt _^<i_The Aquiliad: Aquila in the New World_^>i_ 1988), _^<i_The Aquiliad #2: Aquila and the Iron Horse_^>i_ (_^<b_1988_^>b_) and _^<i_#3: Aquila and the Sphinx_^>i_ (_^<b_1988_^>b_) -- set in a Western
Hemisphere dominated by the Roman Empire; a resident time traveller injects a malicious note of imbalance and insecurity, generating a state of fluid near-chaos typical of SPS at his best. Sf singletons include _^<i_Mallworld_^>i_ (coll of linked
stories _^<b_1981_^>b_), in which the eponymous venue doubles as an observation post for _^<a_!T102_ALIENS_^>a_ fascinated by the human race; and _^<i_The Shattered Horse_^>i_ (_^<b_1986_^>b_), another alternate-world tale in which the Trojans
win._^<n__^<n_At about the time he changed his byline he also began to move from sf into fantasy and horror, notably with the _^<b_Valentine_^>b_ sequence of vampire novels -- _^<i_Vampire Junction_^>i_ (_^<b_1984_^>b_) and _^<i_Valentine_^>i_
(_^<b_1992_^>b_ UK) -- and _^<i_Moondance_^>i_ (_^<b_1989_^>b_), a powerful werewolf tale. It is to be hoped, however, that he will continue to contribute sf tales which reflect his quicksilver, sea-change imagination. [JC]_^<n__^<n__^<b_Other
works:_^>b_ 2 _^<a_!T5304_"V"_^>a_ novelizations, _^<i_The Alien Swordmaster_^>i_ * (_^<b_1985_^>b_) and _^<i_Symphony of Terror_^>i_ * (_^<b_1988_^>b_); _^<i_The Fallen Country_^>i_ (_^<b_1986_^>b_), for children; _^<i_Forgetting Places_^>i_
(_^<b_1987_^>b_), associational; _^<i_Riverrun_^>i_ (_^<b_1991_^>b_), first volume of the projected _^<b_Riverrun_^>b_ or _^<b_Darkling Wars_^>b_ sequence, comprising _^<i_Riverrun _^>i_(_^<b_1991_^>b_), _^<i_Forest of the Night_^>i_
(_^<b_1992_^>b_) and _^<i_Music of Madness_^>i_ (_^<b_1993_^>b_); _^<i_Fiddling for Waterbuffaloes_^>i_ (1986 _^<i_ASF_^>i_; _^<b_1992_^>b_ chap)_^<i_I Wake from a Dream of a Drowned Star City_^>i_ (_^<b_1992_^>b_ chap); _^<i_The Wizard's
Apprentice_^>i_ (_^<b_1993_^>b_); _^<i_Jasmine Nights_^>i_ (_^<b_1994_^>b_ UK), an associational novel with autobiographical elements._^<b_See also:_^>b_ _^<a_!T197_ANTHROPOLOGY_^>a_; _^<a_!T6576_ECOLOGY_^>a_; _^<a_!T1678_GALACTIC EMPIRES_^>a_;
Film (1933). RKO. Dir Ernest B. Schoedsack, starring Robert Armstrong, Helen Mack, Frank Reicher, Noble Johnson. Screenplay Ruth Rose. 70 mins. B/w._^<n__^<n_This film was made immediately after _^<a_!T4072_KING KONG_^>a_ (1933) as a small-scale
sequel. The hero returns to Skull Island and discovers Kong's son, a 20ft (6m) white ape with all the characteristics of a friendly puppy. Various prehistoric monsters appear before a volcanic upheaval destroys the island. The ape saves the hero by
holding him above the flood waters. There are good special effects by Willis H. _^<a_!T3280_O'BRIEN_^>a_, but the film is obviously a rush job to cash in on the success of the original, whose mythic resonance this lacks. [JB]_^<n__^<n_
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SOREL, EDWARD
-T-
(1929- ) US illustrator and writer. In _^<i_Moon Missing: An Illustrated Guide to the Future_^>i_ (_^<b_1962_^>b_) the _^<a_!T3023_MOON_^>a_ disappears and the early 1960s are satirized. The illustrations are more satisfyingly vindictive than the
text. [PN]_^<n__^<n_
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SOUCEK, LUDVIK
-T-
[r] > _^<a_!T1020_CZECH AND SLOVAK SF_^>a_._^<n__^<n_
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SOUTH, CLARK
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[s] > Dwight V. _^<a_!T5860_SWAIN_^>a_._^<n__^<n_
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SOUTH AMERICA
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> _^<a_!T4204_LATIN AMERICA_^>a_._^<n__^<n_
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SOUTHERN, TERRY
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[r] > Peter _^<a_!T4663_GEORGE_^>a_._^<n__^<n_
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SOUTHWOLD, STEPHEN
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> Neil _^<a_!T512_BELL_^>a_._^<n__^<n_
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SOVIET UNION
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The vast majority of the sf from what until 1991 was the Soviet Union, especially that translated into English, was in the first instance written and published in Russian (> _^<a_!T2748_RUSSIA_^>a_). A small amount of Soviet sf exists in the various
languages other than Russian, notably Ukrainian, in which the dissident writer Oles Berdnyk writes. Little of this material has been translated into Russian, let alone English. The break-up of the USSR will certainly in due course increase interest
from both within and outside their borders in the native writings of the new (or re-established) nations. [PN]_^<n__^<n_
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SOWDEN, LEWIS
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(1905-1974) UK-born South African writer and newspaperman whose _^<i_Tomorrow's Comet_^>i_ (1949 _^<i_Blue Book_^>i_ as "Star of Doom"; _^<b_1951_^>b_ UK) treats the _^<a_!T6661_END OF THE WORLD_^>a_ in psychological terms.
[JC/PN]_^<n__^<n__^<b_Other works:_^>b_ _^<i_The Man who was Emperor: A Romance_^>i_ (_^<b_1946_^>b_ UK).
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SOYKA, OTTO
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[r] > _^<a_!T318_AUSTRIA_^>a_._^<n__^<n_
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SOYLENT GREEN
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Film (1973). MGM. Dir Richard Fleischer, starring Charlton Heston, Edward G. Robinson, Leigh Taylor-Young, Chuck Connors, Joseph Cotten, Paula Kelly. Screenplay Stanley R. Greenberg, based on _^<i__^<a_!B9163_MAKE ROOM! MAKE ROOM!_^>a__^>i_
(_^<b_1966_^>b_) by Harry _^<a_!T4315_HARRISON_^>a_. 97 mins. Colour._^<n__^<n_A New York police detective (Heston) in an AD2022 marked by _^<a_!T1752_OVERPOPULATION_^>a_ investigates what appears to be a routine murder and in the end discovers
that "soylent green", the main food for the world's population, is actually made from dead human bodies. The plot has little to do with Harrison's book, whose pro-contraception message it nervously avoids for fear of alienating Roman Catholic
viewers (Harrison has spoken eloquently of the perversion of his work), but the vision of a teeming, overpopulated and festering New York is recreated quite well. The cannibalistic denouement is purely for shock value, and makes no rational sense;
indeed Harrison coined the word "soylent" from "soy beans" and "lentils", and the people of his future are largely and necessarily vegetarian. Edward G. Robinson's fine performance as a dying old man coaxed into a euthanasia clinic is touching, for
he was dying in real life as well. The film won a _^<a_!T3147_NEBULA_^>a_. [JB/PN]_^<n__^<n_
One of the reprint _^<a_!T1231_DIGEST_^>a_-size magazines published by Sol Cohen's Ultimate Publishing Co. 6 issues Winter 1970-Summer 1971. The title was shortened to _^<i_Space Adventures_^>i_ after the first 2. The numbering ran, strangely,
#9-#14, apparently picking up where _^<a_!T2045_SCIENCE FICTION (ADVENTURE) CLASSICS_^>a_ left off, and _^<i_SAC_^>i_ would be regarded as simply a variant title were it not that the latter resumed publication, also in Winter 1970, with #12. Most
of _^<i_SA(C)_^>i_'s stories were reprinted from _^<a_!T141_AMAZING STORIES_^>a_, from the rather dismal period of Raymond A. _^<a_!T1774_PALMER_^>a_'s editorship. [BS]_^<n__^<n_
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SPACE CAMP
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Film (1986). ABC. Dir Harry Winer, starring Kate Capshaw, Lea Thompson, Kelly Preston, Larry B. Scott, Leaf Phoenix, Tate Donovan, Tom Skerritt. Screenplay W.W. Wicket, Casey T. Mitchell, from a story by Patrick Bailey, Larry B. Williams. 108 mins.
Colour._^<n__^<n_At a NASA-sponsored summer space camp, a flight simulation in a space shuttle becomes the real thing after the intervention of a well meaning _^<a_!T2646_ROBOT_^>a_, and 4 teenagers and a small boy have to replenish their oxygen
from a satellite and then bring the shuttle down again. With the help of the Force (from _^<a_!T5686_STAR WARS_^>a_ [1977]) and their own self-reliance they manage. This implausible but patriotic advertisement for Teamwork and the American Way has
plenty of tension (and, in the wake of the _^<i_Challenger_^>i_ disaster, plenty of bad taste), but stereotyped characters, mediocre process work in the space scenes and flat direction render it routine. [PN]_^<n__^<n_
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SPACE CHILDREN, THE
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Film (1958). Paramount. Dir Jack _^<a_!T248_ARNOLD_^>a_, starring Michel Ray, Adam Williams, Peggy Webber, Johnny Crawford, Jackie Coogan. Screenplay Bernard C. Schoenfeld, from a story by Tom Filer. 69 mins. B/w._^<n__^<n_This was the last of
Arnold's cycle of sf films with producer William Alland, though here the studio is Paramount, not Universal. In this earnest but likeable moral fable, a group of children are "taken over" by a benign _^<a_!T98_ALIEN_^>a_ resembling a glowing brain
(which expands as the film progresses). The peace-loving alien's aim is to use the children in the sabotage of a missile project on which their parents are working, and it gives them special powers to help them do this. The alien is not entirely a
pacifist; it kills the brutal father of one of the children. Arnold makes his usual evocative use of landscape -- this time a remote beach. [JB/PN]_^<n__^<n_
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SPACE COLONIES
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> _^<a_!T2338_SPACE HABITATS_^>a_._^<n__^<n_
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SPACED INVADERS
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Film (1989). Smart Egg Pictures. Dir Patrick Read Johnson, starring Douglas Barr, Royal Dano, Ariana Richards, J.J. Anderson, Gregg Berger, Fred Applegate. Screenplay Johnson, Scott Alexander. 100 mins. Colour._^<n__^<n_This spoof, obviously made
for younger viewers, starts promisingly with the premise that the diminutive crew of a Martian spaceship, in the middle of a battle, pick up the radio signal of Orson Welles's broadcast of _^<a_!T5465_WAR OF THE WORLDS_^>a_, and hasten to Earth to
join the presumptive Martian invasion, only to find a disinterested population (in small-town Illinois) more or less ignoring them, or mistaking them for trick-or-treating children. The ensuing gags seldom rise above poorly choreographed knockabout
farce, with no great ingenuity but a perceptible flavour of bigotry. [PN]_^<n__^<n_
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SPACED OUT LIBRARY
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> _^<a_!T2909_MERRIL COLLECTION OF SCIENCE FICTION, SPECULATION AND FANTASY_^>a_._^<n__^<n_
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SPACE FACT AND FICTION
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UK magazine, _^<a_!T2033_PULP-MAGAZINE_^>a_ size. 8 monthly issues Mar-Oct 1954, several undated, published by G.G. Swan, London; ed anon. _^<i_SFAF _^>i_ published mainly reprints from wartime issues of _^<a_!T1657_FUTURE FICTION_^>a_ and
_^<a_!T2043_SCIENCE FICTION_^>a_, slanted towards the juvenile reader, but also new stories; the Apr 1954 issue was all new. An album of unsold copies in jumbled order was issued, presumably as a Christmas annual. [FHP]_^<n__^<n_
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SPACE FLIGHT
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Flight into space is _^<i_the_^>i_ classic theme in sf. The lunar romances of Francis _^<a_!T4742_GODWIN_^>a_, _^<a_!T1019_CYRANO DE BERGERAC_^>a_ _^<i_et al._^>i_ are the works most commonly and readily identified as _^<a_!T2013_PROTO SCIENCE
FICTION_^>a_. In modern times, as _^<a_!T4659_GENRE SF_^>a_ spilled out of print into the _^<a_!T726_CINEMA_^>a_, _^<a_!T2480_RADIO_^>a_ and _^<a_!T5926_TELEVISION_^>a_, many of the archetypal works produced for these media were romances of space
travel. Flight into space provides the stirring climax of the film _^<a_!T5975_THINGS TO COME_^>a_ (1936) and the subject-matter of _^<a_!T1194_DESTINATION MOON_^>a_ (1950) and _^<a_!T6146_2001: A SPACE ODYSSEY_^>a_ (1968), as well as of Charles
_^<a_!T713_CHILTON_^>a_'s BBC radio serial _^<i_Journey into Space_^>i_ (1953) and its sequels, and tv's _^<a_!T2429_STAR TREK_^>a_. The landing of Apollo 11 on the _^<a_!T3023_MOON_^>a_ was seen by many as "science fiction come true". It is
natural that sf should be symbolized by the theme of space flight, in that it is primarily concerned with transcending imaginative boundaries, with breaking free of the gravitational force which holds consciousness to a traditional core of belief
and expectancy. The means by which space flight has been achieved in sf -- its many and various _^<a_!T2348_SPACESHIPS_^>a_ -- have always been of secondary importance to the mythical impact of the theme. Only a handful of writers -- notably
Konstantin _^<a_!T6108_TSIOLKOVSKY_^>a_ -- embodied real scientific ideas about the feasibility of space _^<a_!T2651_ROCKETS_^>a_ in fictional form for didactic purposes._^<n__^<n_Actually, all the early lunar voyages are stories of flight rather
than of _^<i_space_^>i_ flight, in that their authors took for granted the continuity of an atmospheric "ether" (a convenience ingeniously co-opted into modern sf by Bob _^<a_!T2153_SHAW_^>a_ in _^<i__^<a_!B9205_THE RAGGED ASTRONAUTS_^>a__^>i_
[_^<b_1986_^>b_] and its sequels). No early travellers had to contend with the interplanetary vacuum, not even the hero of Edgar Allan _^<a_!T1933_POE_^>a_'s "The Unparalleled Adventure of One Hans Pfaall" (1835; rev 1840), although this was the
first of the traveller's tales in which the protagonist takes elaborate precautions to provide himself with air, in recognition of the tenuousness of the sublunar atmosphere. All romances of interplanetary flight prior to "Hans Pfaall" are didactic
-- either straightforwardly, after the fashion of Johannes _^<a_!T4037_KEPLER_^>a_'s _^<i_Somnium_^>i_ (_^<b_1634_^>b_) and Gabriel Daniel's _^<i_A Voyage to the World of Cartesius_^>i_ (_^<b_1690_^>b_), or satirically, after the fashion of Daniel
_^<a_!T1143_DEFOE_^>a_'s _^<i_The Consolidator_^>i_ (_^<b_1705_^>b_). Poe's story is a satire, too, although the author advanced claims as to its verisimilitude. But it was really Jules _^<a_!T5355_VERNE_^>a_ who made the first serious attempt at
realism in _^<i_De la terre a la lune_^>i_ (_^<b_1865_^>b_; trans J.K. Hoyte as _^<i_From the Earth to the Moon_^>i_ _^<b_1869_^>b_ US) and its sequel _^<i_Autour de la lune_^>i_ (_^<b_1870_^>b_; both trans Lewis Mercier and Eleanor King as
_^<i_From the Earth to the Moon_^>i_ _^<b_1873_^>b_ UK). Hindsight invests 19th-century lunar romances with the same mythical significance that sf has more recently lent to the notion of space travel, but the stories had no such significance in
their own day. The idea of flight into space became the central myth of sf only once the genre had been identified and demarcated by Hugo _^<a_!T4668_GERNSBACK_^>a_. This was not really a strategic move on Gernsback's part: his interest in the
future and in the effect of _^<a_!T5916_TECHNOLOGY_^>a_ on society was more catholic-with space travel as only one among a whole series of probable developments. It was because of the kind of impact sf made on the readers who discovered it --
young, for the most part -- that space flight acquired its special significance. Many sf readers found in sf a kind of revelation, a sudden mind-opening shock (> _^<a_!T829_CONCEPTUAL BREAKTHROUGH_^>a_; _^<a_!T2104_SENSE OF WONDER_^>a_): this was
not the effect of any single story but the discovery of sf as a category, a genre of fictions presenting an infinity of possibilities. It is because of this element of revelation, the sudden awareness of a vast range of possibilities, that the
paradigmatic examples of early sf are stories of escape from Earth into a Universe filled with worlds: the first _^<a_!T2342_SPACE OPERAS_^>a_, notably E.E. "Doc" _^<a_!T2269_SMITH_^>a_'s _^<i_The Skylark of Space_^>i_ (1928;
_^<b_1946_^>b_)._^<n__^<n_As with other themes in sf, the post-WWII period saw considerable sophistication of the myth of space flight. Significantly, and perhaps contrary to popular belief, there was relatively little development in verisimilitude
outside the work of a very few technically adept authors. The most significant post-WWII stories related to the theme are not so much stories about space flight as commentaries upon the myth itself; they are concerned with imaginative horizons
rather than hardware. One of the earliest examples of this kind of commentary is Ray _^<a_!T4963_BRADBURY_^>a_'s "King of the Gray Spaces" (1943; vt "R is for Rocket"); the classics are Robert A. _^<a_!T4376_HEINLEIN_^>a_'s "The Man who Sold the
Moon" (1950) and Arthur C. _^<a_!T736_CLARKE_^>a_'s _^<i_Prelude to Space_^>i_ (_^<b_1951_^>b_). Others include Murray _^<a_!T3326_LEINSTER_^>a_'s "The Story of Rod Cantrell" (1949), Fredric _^<a_!T5028_BROWN_^>a_'s _^<i_The Lights in the Sky are
Stars_^>i_ (_^<b_1953_^>b_; vt _^<i_Project Jupiter_^>i_ 1954 UK), Walter M. _^<a_!T2960_MILLER_^>a_'s "Death of a Spaceman" (1954; vt "Memento Homo") and Dean _^<a_!T3561_MCLAUGHLIN_^>a_'s _^<i_The Man who Wanted Stars_^>i_ (fixup _^<b_1965_^>b_).
The mythic significance of the theme is most obvious in a story in which "space flight" is, from the viewpoint of the reader, purely metaphorical: James _^<a_!T658_BLISH_^>a_'s "Surface Tension" (1952), in which a microscopic man builds himself a
protective shell and forces his way up through the surface of a pond into the open air. Also notable is a short story by Edmond _^<a_!T4258_HAMILTON_^>a_, "The Pro" (1964), in which an ageing sf writer meets up with the reality of the myth when his
son goes into space._^<n__^<n_Sf writers often became annoyed when, following Neil Armstrong's Moon landing in 1969, they were asked what they would find to write about in the future. In fact, a subtle change did overcome sf during the course of
the Apollo programme. Since then, stories about space flight within the Solar System have been "demystified", and we have a generation of stories in which spacemen operating within a "real" context come into conflict with the myth: Barry N.
trans Anthea Bell as _^<i_The Earth is Near_^>i_ _^<b_1974_^>b_) and Dan _^<a_!T2219_SIMMONS_^>a_'s _^<i_Phases of Gravity_^>i_ (_^<b_1989_^>b_) are examples; while J.G. _^<a_!T378_BALLARD_^>a_ has for some time been writing nostalgic stories which
regard the space programme as a glorious folly of the 1960s (8 are collected in the ironically titled _^<i_Memories of the Space Age_^>i_ [coll _^<b_1988_^>b_]). Sf novels which bitterly assume that a second break-out into space may well be
necessary if the actual space programme is allowed to fade away include _^<i_The Man who Corrupted Earth_^>i_ (_^<b_1980_^>b_) by G.C. _^<a_!T6583_EDMONDSON_^>a_ and _^<i_Privateers_^>i_ (_^<b_1985_^>b_) by Ben _^<a_!T4943_BOVA_^>a_. However, the
myth of transcending the closed world of the known and familiar is now more often tied specifically to interstellar travel, as in _^<i_2001: A Space Odyssey_^>i_, Poul _^<a_!T169_ANDERSON_^>a_'s _^<i_Tau Zero_^>i_ (1967; exp _^<b_1970_^>b_), Vonda
_^<a_!T3545_MCINTYRE_^>a_'s _^<i_Superluminal_^>i_ (_^<b_1984_^>b_) and some of the stories in _^<i_Faster than Light_^>i_ (anth _^<b_1976_^>b_) ed Jack _^<a_!T1055_DANN_^>a_ and George _^<a_!T6261_ZEBROWSKI_^>a_. Star-drives which free mankind
from the prison of the Solar System take on an iconic significance in such novels as _^<i__^<a_!B9105_TAKE BACK PLENTY_^>a__^>i_ (_^<b_1990_^>b_) by Colin _^<a_!T4847_GREENLAND_^>a_ and _^<i_Carve the Sky_^>i_ (_^<b_1991_^>b_) by Alexander
_^<a_!T3839_JABLOKOV_^>a_. [BS]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T1443_FASTER THAN LIGHT; GALACTIC EMPIRES_^>a_.
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SPACE HABITATS
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Stories of space stations or artificial satellites appear early in sf, the first example being Edward Everett _^<a_!T4926_HALE_^>a_'s extraordinary "The Brick Moon" (1869) and its sequel "Life in the Brick Moon" (1870), in which the satellite of the
title consists of many brick spheres connected by brick arches, and is launched, with people on board, by gigantic flywheels. Kurd _^<a_!T4196_LASSWITZ_^>a_'s _^<i_Auf Zwei Planeten_^>i_ (_^<b_1897_^>b_; cut trans as _^<i_Two Planets_^>i_
_^<b_1971_^>b_ US) has Martian space stations shaped like spoked wheels floating above the poles, but these are kept hovering by gravity-control devices of a somewhat implausible kind. The first detailed and thoroughly scientific treatment is in
Konstantin _^<a_!T6108_TSIOLKOVSKY_^>a_'s _^<i_Vne zemli_^>i_ (written 1896-1920; _^<b_1920_^>b_; trans as "Out of the Earth" in _^<i_The Call of the Cosmos_^>i_ _^<b_1963_^>b_ Russia), a semifictionalized didactic speculation; it deals with free
fall, space greenhouses for growing food, communication via space mirrors, and artificial _^<a_!T4817_GRAVITY_^>a_ effected by spinning the station on its axis -- indeed, much of the spectrum of space-habitat ideas that would first begin to appear
in any profusion after WWII, at a time when space travel by _^<a_!T2651_ROCKETS_^>a_ was generally realized to be something actually likely to happen._^<n__^<n_A highly influential book of popular science, dealing with (among other things) the
construction of space stations was _^<i_The Conquest of Space_^>i_ (_^<b_1949_^>b_) by Willy _^<a_!T3375_LEY_^>a_, illustrated by Chesley _^<a_!T697_BONESTELL_^>a_, and it was after this that the space-station story began to appear commonly in
_^<a_!T4659_GENRE SF_^>a_. However, the idea was not new to the genre, a celebrated earlier example being George O. _^<a_!T2275_SMITH_^>a_'s _^<b_Venus Equilateral_^>b_ stories, published in _^<i_ASF_^>i_ from 1942, about a communications space
station in a Trojan position (60deg ahead of the planet) in the orbit of Venus._^<n__^<n_The image of the space habitat presented through the 1950s was usually (though not always) as a way station, a stopping-off point prior to flights deeper into
space. Indeed, the usual term of the time was "space station"; another book by Ley was titled _^<i_Space Stations_^>i_ (_^<b_1958_^>b_). Such stations were envisaged as being in Earth orbit, the first place you reach after leaving Earth. We see
this image of the stopping-off place quite often in movies, an early example being _^<a_!T842_CONQUEST OF SPACE_^>a_ (1955) and a later one _^<a_!T6146_2001: A SPACE ODYSSEY_^>a_ (1968), and of course in books, as in Arthur C.
_^<a_!T736_CLARKE_^>a_'s children's novel _^<i_Islands in the Sky_^>i_ (_^<b_1952_^>b_). Other 1950s books and stories in which the space station is totemic include Rafe _^<a_!T554_BERNARD_^>a_'s _^<i_The Wheel in the Sky_^>i_ (_^<b_1954_^>b_),
Frank Belknap _^<a_!T3430_LONG_^>a_'s _^<i_Space Station No 1_^>i_ (_^<b_1957_^>b_ dos), James E. _^<a_!T4896_GUNN_^>a_'s _^<i_Station in Space_^>i_ (_^<b_1958_^>b_) and Damon _^<a_!T4098_KNIGHT_^>a_'s psychological melodrama about the trauma of
meeting an alien, "Stranger Station" (1959)._^<n__^<n_One version of the theme that might have been expected to play a far greater role than it actually has in genre sf is the space station as menace, as a weapons-delivery platform in space easily
able to target any point on Earth's surface. This notion has popped up occasionally in films, such as _^<a_!T3028_MOONRAKER_^>a_ (1979) (biological warfare) and _^<a_!T4377_HELLFIRE_^>a_ (1986) (a new energy source that can fry people). An early
novel to use the theme is C.M. _^<a_!T6353_KORNBLUTH_^>a_'s _^<i_Not This August_^>i_ (_^<b_1955_^>b_; vt _^<i_Christmas Eve_^>i_ 1956 UK), in which it is hoped that a military space station will evict the Russians occupying the
USA._^<n__^<n_Although this Earth-orbit phase of the space-station story has now largely been superseded, there is still in _^<a_!T4288_HARD SF_^>a_ a sense of real nuts-and-bolts excitement when the actual building of one is envisaged, and books
are still written on the theme; e.g., Donald _^<a_!T4075_KINGSBURY_^>a_'s _^<i_The Moon Goddess and the Son_^>i_ (1979 _^<i_ASF_^>i_; exp _^<b_1986_^>b_) and Allen _^<a_!T5698_STEELE_^>a_'s _^<i_Orbital Decay_^>i_ (_^<b_1989_^>b_)._^<n__^<n_Soon,
as the space station became absorbed into _^<a_!T4659_GENRE SF_^>a_ as one of its primary icons, they were popping up all over the place, not just in Earth orbit. We can obviously regard (perhaps not very usefully) all _^<a_!T2348_SPACESHIPS_^>a_
as space habitats, not to mention hollowed-out _^<a_!T273_ASTEROIDS_^>a_ and, of course, _^<a_!T4655_GENERATION STARSHIPS_^>a_. Alien space habitats of incredible complexity may be stumbled across by human observers, who have to make sense of their
enigmatic qualities and deduce their purpose and the lifeforms for which they were built (>_^<a_!T590_BIG DUMB OBJECTS_^>a_). 3 such works are Clarke's _^<i__^<a_!B9055_RENDEZVOUS WITH RAMA_^>a__^>i_ (_^<b_1973_^>b_), John _^<a_!T5339_VARLEY_^>a_'s
_^<b_Gaean_^>b_ trilogy (_^<b_1979-84_^>b_) and Greg _^<a_!T478_BEAR_^>a_'s _^<i__^<a_!B9100_EON_^>a__^>i_ (_^<b_1985_^>b_)._^<n__^<n_One iconic space-habitat motif has the space station representing the anthropological observers in the sky,
looking down at the primitives below, as in Patricia _^<a_!T3558_MCKILLIP_^>a_'s _^<i_Moon-Flash_^>i_ (_^<b_1984_^>b_), where the superstitiously regarded flash of the title turns out to be the firing retro-rockets of spacecraft visiting the
station; a particularly good example is Brian W. _^<a_!T87_ALDISS_^>a_'s _^<b_Helliconia_^>b_ trilogy (_^<b_1982-5_^>b_), whose observing space habitat, ironically named "Avernus", is central to the structure of the whole long tale, its "superior"
observers standing for a civilization that is played out. The observers in Stanislaw _^<a_!T3329_LEM_^>a_'s _^<i__^<a_!B9183_SOLARIS_^>a__^>i_ (_^<b_1961_^>b_; trans _^<b_1970_^>b_), filmed as _^<a_!T2305_SOLARIS_^>a_ (1971), are also played out
and receive the come-uppance due to people who try to hold themselves aloof, their space station becoming a shambles, as the _^<a_!T3411_LIVING WORLD_^>a_ beneath reconstructs in the flesh their most feared and desired memories and nightmares. An
interesting variant of the space-habitat story is Fritz _^<a_!T3322_LEIBER_^>a_'s _^<i_A Specter is Haunting Texas_^>i_ (_^<b_1969_^>b_), whose spectre is, in fact, the skinny body of a visitor from a space habitat who, unable to move properly in
Earth gravity, is supported by an exoskeleton._^<n__^<n_The second boom in space-station stories was, like the first, catalysed by a book of popular science, this time _^<i_The High Frontier_^>i_ (_^<b_1977_^>b_) by Princeton physicist Gerard K.
_^<a_!T1701_O'NEILL_^>a_ (1927-1992), which vigorously proselytized for the construction of colonies in space, either in Earth orbit or at one of the _^<a_!T4153_LAGRANGE POINTS_^>a_ -- especially L5, 60deg behind the Moon in the Moon's orbit
around Earth. The amazing long-range quality of Tsiolkovsky's prescience has never been more evident than in the fact that his predictions -- not just of space stations, but of huge self-sufficient, heavily populated space colonies -- took more
than half a century to come to their full flowering in scientific speculation and in sf._^<n__^<n_One of the first writers to take O'Neill's tip was Mack _^<a_!T2576_REYNOLDS_^>a_, in _^<i_Lagrange Five_^>i_ (_^<b_1979_^>b_), _^<i_The
Lagrangists_^>i_ (_^<b_1983_^>b_) and _^<i_Chaos in Lagrangia_^>i_ (_^<b_1984_^>b_) (the latter 2 ed Dean _^<a_!T6342_ING_^>a_ from manuscripts found after Reynolds's death). Now that the space station was being re-envisioned as the space colony or
space habitat -- a home where people might live all their lives -- its iconic significance was radically changing. The space habitat has become the locus of the new, with everything old, washed-up and politically out-of-date being left rotting back
on Earth while the real action is in space. The second new thing about space habitats has to do with diversity and cultural evolution: there can be a lot of them, each giving a home to a different political or racial or social group, so that the
habitat takes over the function of _^<a_!T3823_ISLANDS_^>a_ in earlier sf as an isolated area that can be used as a laboratory in which to conduct thought experiments in cultural anthropology. (Not all these motifs are post-O'Neill, of course; some
-- including the idea of diverse habitats each catering for different tastes-were prefigured in Jack _^<a_!T5317_VANCE_^>a_'s eccentric "Abercrombie Station" [1952].)_^<n__^<n_Among the many books of the past 15 years to make use of space-habitat
themes, mostly along the lines suggested above, are _^<i_Colony_^>i_ (_^<b_1978_^>b_) by Ben _^<a_!T4943_BOVA_^>a_, Joe _^<a_!T4925_HALDEMAN_^>a_'s _^<b_Worlds_^>b_ series, starting with _^<i__^<a_!B9106_WORLDS_^>a__^>i_ (_^<b_1981_^>b_), Melinda
_^<a_!T2290_SNODGRASS_^>a_'s _^<b_Circuit_^>b_ trilogy, beginning with _^<i_Circuit_^>i_ (_^<b_1986_^>b_), Lois McMaster _^<a_!T5068_BUJOLD_^>a_'s _^<i__^<a_!B9131_FALLING FREE_^>a__^>i_ (_^<b_1988_^>b_), Christopher _^<a_!T4439_HINZ_^>a_'s
_^<b_Paratwa_^>b_ series, starting with _^<i_Liege-Killer_^>i_ (_^<b_1987_^>b_), and Richard _^<a_!T3493_LUPOFF_^>a_'s _^<i_The Forever City_^>i_ (_^<b_1988_^>b_). The idea is taken to its extremes in George _^<a_!T6261_ZEBROWSKI_^>a_'s
_^<i_Macrolife_^>i_ (_^<b_1979_^>b_; rev 1990), in which humanity largely abandons planetary environments in favour of star-travelling habitats._^<n__^<n_Obviously the iconic significance of the space-habitat story is evolving rapidly, a topic
analyzed (rather differently) in "Small Worlds and Strange Tomorrows: The Icon of the Space Station in Science Fiction" by Gary Westfahl in _^<i_Foundation_^>i_ #51 (Spring 1991) (Westfahl has published pieces elsewhere on the same theme). Complex
use of the motif -- the space habitat both as cultural forcing ground and as creator of instability through cultural claustrophobia -- appears in some key _^<a_!T1015_CYBERPUNK_^>a_ works, notably William _^<a_!T4689_GIBSON_^>a_'s
_^<b_Neuromancer_^>b_ trilogy (_^<b_1984-8_^>b_) and Bruce _^<a_!T5717_STERLING_^>a_'s vastly inventive _^<i__^<a_!B9218_SCHISMATRIX_^>a__^>i_ (_^<b_1985_^>b_), and also -- to a degree -- Michael _^<a_!T5864_SWANWICK_^>a_'s _^<i_Vacuum Flowers_^>i_
(_^<b_1987_^>b_). In only a decade we have seen the emphasis move from space habitat as brave new world to space habitat as a trap that corrupts and is prey to cultural and technological dereliction._^<n__^<n_Though space habitats are likely to
remain popular in sf because of their peculiar usefulness in creating specific kinds of cultural scenario, in the real world the idea seems, outside a hard core of O'Neill cultists, to be receiving less and less support as something towards which
we should currently be working. Although the theoretical advantages of low gravity and permanent energy supply are real, it is difficult to envisage any remotely plausible circumstances that would make the capital cost of space habitats, at least
when considered in isolation, redeemable economically, nor any evolutionary advantages in the small-town-mentality balkanization (and shrinkage of the gene pool) that their building and occupation might come to represent. [PN]_^<n__^<n_
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SPACEHUNTER: ADVENTURES IN THE FORBIDDEN ZONE
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Film (1983). Delphi Productions/Columbia. Dir Lamont Johnson, starring Peter Strauss, Molly Ringwald, Ernie Hudson, Michael Ironside. Screenplay David Preston, Edith Rey, Dan Goldberg, Len Blum, from a story by Stewart Harding, Jean Lafleur. 90 mins
(but reported as being originally 105 mins). Made in 3D. Colour._^<n__^<n_Bedevilled with production problems, changing directors in midstream (it was begun by Jean Lafleur), suffering from the ominous stigma of 6 screenwriting credits,
_^<i_S:AITFZ_^>i_ is surprisingly relaxed. Strauss is a space scavenger who comes to plague-and-pollution ridden Terra Eleven, the post-_^<a_!T4482_HOLOCAUST_^>a_ chic of whose citizens owes much to _^<a_!T3591_MAD MAX 2_^>a_ (1981; vt _^<i_The
Road Warrior_^>i_), to save three maidens. He is joined by a fast-talking tomboy (Ringwald) and an old army buddy (Hudson), and they fight their way past Bat People, Barracuda Women and feral children to the showdown with _^<a_!T1017_CYBORG_^>a_
woman-despoiler Overdog (Ironside) and his barbarian cohorts. Strauss is appealing as a down-at-heel Indiana Jones in space, and, while the movie is derivative and meandering, it is also often ingenious and enjoyable. The overtactfully used 3D
becomes an inconsequential irritant. [PN]_^<n__^<n_
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"SPACE" KINGLEY
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The tough and resourceful Captain "Space" Kingley was the hero of 3 UK children's _^<a_!T2342_SPACE-OPERA_^>a_ annuals of the early 1950s. Beyond his pukka Britishness he displayed few individual characteristics. The sequence (which remains
extremely difficult to date precisely; the dates here may not be reliable) comprises _^<i_The Adventures of Captain "Space" Kingley_^>i_ (coll _^<b_1952_^>b_) with stories by Ray Sonin, _^<i_The "Space" Kingley Annual_^>i_ (coll _^<b_1953_^>b_)
with stories by Ernest A. Player, and _^<i_"Space" Kingley and the Secret Squadron_^>i_ (coll _^<b_1954_^>b_) with stories by David White. All were heavily illustrated by R.W. Jobson. [JC/RR]_^<n__^<n_
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SPACE 1999
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UK tv series (1975-7). A Gerry Anderson Production for ITC. Created Gerry and Sylvia Anderson. Prods Sylvia Anderson (season 1), Fred Freiberger (season 2). Executive prod Gerry Anderson. Story consultant Christopher Penfold. Special effects Brian
Johnson. 2 seasons, 48 50min episodes in all. Colour._^<n__^<n_This UK-made series, created by Gerry and Sylvia _^<a_!T164_ANDERSON_^>a_ -- who had previously produced a number of tv series (_^<a_!T5747_STINGRAY_^>a_, _^<a_!T6007_THUNDERBIRDS_^>a_
and others) with puppets and _^<a_!T5271_UFO_^>a_ and the film _^<a_!T1291_DOPPELGANGER_^>a_ (1969) with real actors -- was obviously inspired in part by the success of _^<a_!T2429_STAR TREK_^>a_. The format has a group of people -- live actors
again -- travelling through the Galaxy, visiting various planets and encountering strange lifeforms; but, where the _^<b_Star Trek_^>b_ characters travelled on a spaceship, the _^<b_Space 1999_^>b_ personnel do their interplanetary wandering on
Earth's runaway Moon -- an unwieldy gimmick that must have caused many frustrations to the writers. Despite good special effects and sometimes imaginative sets the series, with its stereotyped characters and humourless scripts, was remarkably
wooden, eliciting predictable jokes about puppets. The other major flaw was a scandalous disregard for basic science (>_^<a_!T2877_SCIENTIFIC ERRORS_^>a_): stars are confused with asteroids, the Moon's progress through space follows no physical
laws, and _^<a_!T1808_PARSECS_^>a_ are assumed to be a unit of velocity. The series was cancelled in 1977, though 1 episode was delayed until 1978. The regular cast included Martin Landau, Barbara Bain, Barry Morse (season 1), Nick Tate, Catherine
Schell (season 2), Tony Anholt (season 2), Zienia Merton. Dirs included Ray Austin, Lee H. Katzin, Charles Crichton, David Tomblin, Val Guest, Tom Clegg. Writers included Christopher Penfold, Johnny Byrne, Terence Feely, Donald James and Charles
Woodgrove (pseudonym of Freiberger). The series did better in the USA than in the UK, perhaps because of lower expectations, perhaps because of the deliberately international cast._^<n__^<n_At the end of the 1970s 8 episodes were cobbled together
in pairs and recycled by ITC in the guise of 4 movies; the words "Space 1999" nowhere appeared in their titles. Though we have been unable to trace any theatrical release, at least 2 have turned up on tv: _^<i_Destination Moonbase-Alpha_^>i_
(1978), dir Tom Clegg (based on a 2-episode story, _^<i_The Bringers of Wonder_^>i_, by Terence Feely), and _^<i_Journey through the Black Sun_^>i_ (1982) dir Ray Austin and Lee (based on the episodes _^<i_Collision Course_^>i_ by Anthony Terpiloff
and _^<i_The Black Sun_^>i_ by David Weir). The other 2 were _^<i_The Cosmic Princess_^>i_ and _^<i_Alien Attack_^>i_._^<n__^<n_A book about the series is _^<i_The Making of Space 1999: A Gerry Anderson Production_^>i_ (_^<b_1976_^>b_) by Tim
Heald. A number of novelizations appeared. Brian N. _^<a_!T375_BALL_^>a_ wrote _^<i_The Space Guardians_^>i_ * (_^<b_1975_^>b_). Michael _^<a_!T5109_BUTTERWORTH_^>a_ wrote _^<i_Planets of Peril_^>i_ * (_^<b_1977_^>b_), _^<i_Mind-Breaks of
Space_^>i_ * (_^<b_1977_^>b_) with Jeff Jones, _^<i_The Space-Jackers_^>i_ * (_^<b_1977_^>b_), _^<i_The Psychomorph_^>i_ * (_^<b_1977_^>b_), _^<i_The Time Fighters_^>i_ * (_^<b_1977_^>b_) and _^<i_The Edge of the Infinite_^>i_ * (_^<b_1977_^>b_).
John Rankine (Douglas R. _^<a_!T3704_MASON_^>a_) wrote _^<i_Moon Odyssey_^>i_ * (_^<b_1975_^>b_), _^<i_Lunar Attack_^>i_ * (_^<b_1975_^>b_), _^<i_Astral Quest_^>i_ * (_^<b_1975_^>b_), _^<i_Android Planet_^>i_ * (_^<b_1976_^>b_) and _^<i_Phoenix of
When _^<a_!T2480_RADIO_^>a_ was the principal medium of home entertainment in the USA, daytime serials intended for housewives were often sponsored by soap-powder companies; the series were thus dubbed "soap operas". The name was soon generalized to
refer to any corny domestic drama. Westerns were sometimes called "horse operas" by false analogy, and the pattern was extended into sf terminology by Wilson _^<a_!T6117_TUCKER_^>a_ in 1941, who proposed "space opera" as the appropriate term for
the "hacky, grinding, stinking, outworn, spaceship yarn". It soon came to be applied instead to colourful action-adventure stories of interplanetary or interstellar conflict. Although the term still retains a pejorative implication, it is
frequently used with nostalgic affection, applying to space-adventure stories which have a calculatedly romantic element. The term might be applied retrospectively to such early space adventures as Robert W. _^<a_!T791_COLE_^>a_'s _^<i_The Struggle
for Empire_^>i_ (_^<b_1900_^>b_) but, as it was coined as a complaint about pulp _^<a_!T752_CLICHE_^>a_, it seems reasonable to limit its use to _^<a_!T4659_GENRE SF_^>a_._^<n__^<n_Five writers were principally involved in the development of space
opera in the 1920s and 1930s. E.E. "Doc" _^<a_!T2269_SMITH_^>a_ made his debut with the exuberant interstellar adventure _^<i_The Skylark of Space_^>i_ (1928; _^<b_1946_^>b_), and continued to write stories in a similar vein until the mid-1960s; 2
sequels, _^<i_Skylark Three_^>i_ (1930; _^<b_1948_^>b_) and _^<i_Skylark of Valeron_^>i_ (1934-5; _^<b_1949_^>b_), escalated the scale of the action before the _^<b_Lensmen_^>b_ series took over, the _^<a_!T2348_SPACESHIPS_^>a_ growing ever-larger
and the _^<a_!T5492_WEAPONS_^>a_ more destructive until _^<a_!T1678_GALACTIC EMPIRES_^>a_ were toppling like card-houses in _^<i_Children of the Lens_^>i_ (1947-8; _^<b_1954_^>b_). Once there was no greater scale of action to be employed, Smith had
little more to offer, and his last novels -- _^<i_The Galaxy Primes_^>i_ (1959; _^<b_1965_^>b_) and _^<i_Skylark DuQuesne_^>i_ (_^<b_1966_^>b_) -- are mere exercises in recapitulation. In the 1970s, however, a reissue of the _^<b_Lensmen_^>b_
series enjoyed such success with readers that Smith's banner was picked up by William B. Ellern (1933- ), David A. _^<a_!T4146_KYLE_^>a_ and Stephen _^<a_!T4756_GOLDIN_^>a_ (> E.E. _^<a_!T2269_SMITH_^>a_ _^<i_for details_^>i_). Contemporary with
Smith's first interstellar epic was a series of stories written by Edmond _^<a_!T4258_HAMILTON_^>a_ for _^<a_!T5512_WEIRD TALES_^>a_, ultimately collected in _^<i_Crashing Suns_^>i_ (1928-9; coll _^<b_1965_^>b_) and _^<i_Outside the Universe_^>i_
(1929; _^<b_1964_^>b_). Although he was a more versatile writer than Smith, Hamilton took great delight in wrecking worlds and destroying suns, and his name was made with space opera (he too continued to write it until the 1960s), other early
examples being "The Universe Wreckers" (1930) and the _^<a_!T5151_CAPTAIN FUTURE_^>a_ series. In the late 1940s Hamilton wrote _^<i_The Star of Life_^>i_ (1947; _^<b_1959_^>b_) and the memorable _^<i_The Star Kings_^>i_ (_^<b_1949_^>b_; vt
_^<i_Beyond the Moon_^>i_), an sf version of _^<i_The Prisoner of Zenda_^>i_ (_^<b_1894_^>b_) by Anthony Hope (1863-1933). The last of Hamilton's works in this vein were _^<i_Doomstar_^>i_ (_^<b_1966_^>b_) and the _^<b_Starwolf_^>b_ trilogy
(_^<b_1967-8_^>b_). Even before Smith and Hamilton made their debuts, Ray _^<a_!T997_CUMMINGS_^>a_ was writing interplanetary novels for the general-fiction pulps and for Hugo _^<a_!T4668_GERNSBACK_^>a_'s _^<a_!T2869_SCIENCE AND INVENTION_^>a_. His
principal space operas were _^<i_Tarrano the Conqueror_^>i_ (1925; _^<b_1930_^>b_), _^<i_A Brand New World_^>i_ (1928; _^<b_1964_^>b_), _^<i_Brigands of the Moon_^>i_ (_^<b_1931_^>b_) and its sequel _^<i_Wandl the Invader_^>i_ (1932;
_^<b_1961_^>b_), but his reputation was made by his microcosmic romances (> _^<a_!T4823_GREAT AND SMALL_^>a_), and it was to such adventures that he reverted when he turned to self-plagiarism in later years. The two most important writers who
carried space opera forward in the wake of Smith and Hamilton were John W. _^<a_!T5140_CAMPBELL_^>a_ Jr and Jack _^<a_!T5629_WILLIAMSON_^>a_. Campbell made his first impact with the novelettes collected in _^<i_The Black Star Passes_^>i_ (1930;
fixup _^<b_1953_^>b_), and he went on to write Galaxy-spanning adventures like _^<i_Islands of Space_^>i_ (1931; _^<b_1957_^>b_), _^<i_Invaders from the Infinite_^>i_ (1932; _^<b_1961_^>b_) and _^<i_The Mightiest Machine_^>i_ (1934;
_^<b_1947_^>b_). Campbell had a better command of scientific jargon than his contemporaries, and a slicker line in superscientific wizardry, but he began writing a different kind of sf as Don A. Stuart and subsequently abandoned writing altogether
when it clashed with his duties as editor of _^<a_!T277_ASTOUNDING SCIENCE-FICTION_^>a_. Williamson flavoured space opera with a more ancient brand of romanticism, basing characters in _^<i_The Legion of Space_^>i_ (1934; rev _^<b_1947_^>b_) on the
Three Musketeers and Falstaff; although he soon moved on to more sophisticated varieties of exotic adventure, he never quite abandoned space opera: _^<i_Bright New Universe_^>i_ (_^<b_1967_^>b_) and _^<i_Lifeburst_^>i_ (_^<b_1984_^>b_) carry
forward the tradition, and his collaborations with Frederik _^<a_!T1937_POHL_^>a_, such as _^<i_The Singers of Time_^>i_ (_^<b_1991_^>b_), retain a deliberate but deft romanticism which places them among the best modern examples of the species.
Another notable space opera from the 1930s is Clifford D. _^<a_!T2218_SIMAK_^>a_'s _^<i_Cosmic Engineers_^>i_ (1939; rev _^<b_1950_^>b_)._^<n__^<n_During the 1940s some of the naive charm of space opera was lost as standards of writing rose and
plots became somewhat more complicated, and the trend was towards a more vivid and lush romanticism. Notable examples are _^<i_Judgement Night_^>i_ (1943; title story of coll _^<b_1952_^>b_; separate publication _^<b_1965_^>b_) by C.L.
_^<a_!T3033_MOORE_^>a_ and several works by A.E. _^<a_!T5333_VAN VOGT_^>a_, including _^<i_The Mixed Men_^>i_ (1943-5; fixup _^<b_1952_^>b_; cut vt _^<i_Mission to the Stars_^>i_) and _^<i_Earth's Last Fortress_^>i_ (1942 as "Recruiting Station";
vt as title story of _^<i_Masters of Time_^>i_ coll _^<b_1950_^>b_; _^<b_1960_^>b_ dos). By this time the _^<a_!T1678_GALACTIC-EMPIRE_^>a_ scenario was being used for other purposes, most effectively by Isaac _^<a_!T268_ASIMOV_^>a_ in the
_^<b_Foundation_^>b_ series (1942-50; fixups _^<b_1951-3_^>b_); by the 1950s it had become a standardized framework available for use in entirely serious sf. Once this happened, the impression of vast scale so important to space opera was no longer
the sole prerogative of straightforward adventure stories, and the day of the "classical" space opera was done. But Asimov, like many others, retained a deep affection for old-fashioned romanticism, deploying it conscientiously in _^<i_The Stars
Like Dust_^>i_ (_^<b_1951_^>b_). Many of the more "realistic" space adventures of the 1950s incorporate space-operatic flourishes, including James _^<a_!T658_BLISH_^>a_'s _^<i_Earthman Come Home_^>i_ (1950-53; fixup _^<b_1955_^>b_), which features
space battles between star-travelling cities -- although the other novels in the _^<b_Okie_^>b_ series have rather different priorities. The old-style space opera seemed rather juvenile by this time, but it remained an important component of the
fiction published by the more downmarket pulps while they were still being published, especially _^<a_!T1924_PLANET STORIES_^>a_ and _^<a_!T6004_THRILLING WONDER STORIES_^>a_. New life could still be breathed into it by the better writers
associated with those magazines; prominent were Leigh _^<a_!T4961_BRACKETT_^>a_, as in _^<i_The Starmen_^>i_ (_^<b_1952_^>b_), and Jack _^<a_!T5317_VANCE_^>a_, as in _^<i_The Space Pirate_^>i_ (_^<b_1953_^>b_; cut vt _^<i_The Five Gold Bands_^>i_).
There were _^<a_!T1231_DIGEST_^>a_ magazines which specialized in exotic adventure stories, including space operas -- notably _^<a_!T3766_IMAGINATION_^>a_ and the 2nd of the 2 US magazines entitled _^<a_!T2046_SCIENCE FICTION ADVENTURES_^>a_ (which
survived as a UK magazine for some years after its death in the USA) -- but they did not long outlast the pulps. When it was abandoned by the magazines, space opera found a new home in the _^<a_!T20_ACE BOOKS_^>a_ Doubles ed Donald A.
_^<a_!T5679_WOLLHEIM_^>a_ (_^<i_see also_^>i_ _^<a_!T1298_DOS_^>a_). Robert _^<a_!T2216_SILVERBERG_^>a_ published a good deal of colourful material in this format, including the trilogy assembled as _^<i_Lest We Forget Thee, Earth_^>i_ (fixup
_^<b_1958_^>b_) as by Calvin M. Knox, while Kenneth _^<a_!T5073_BULMER_^>a_, John _^<a_!T5049_BRUNNER_^>a_ and E.C. _^<a_!T6112_TUBB_^>a_ became UK recruits to this largely US tradition, the last-named labouring to preserve it with his long-running
_^<b_Dumarest_^>b_ series._^<n__^<n_Space-operatic romanticism is still widely evident, usually cleverly combined with other elements. Examples include Gordon R. _^<a_!T1227_DICKSON_^>a_'s long-running _^<b_Dorsai_^>b_ series, Poul
_^<a_!T169_ANDERSON_^>a_'s _^<b_Ensign Flandry_^>b_ series, H. Beam _^<a_!T1908_PIPER_^>a_'s _^<i_Space Viking_^>i_ (_^<b_1963_^>b_), Michael _^<a_!T3030_MOORCOCK_^>a_'s _^<i_The Sundered Worlds_^>i_ (fixup _^<b_1965_^>b_; vt _^<i_The Blood Red
Game_^>i_), Ian _^<a_!T5435_WALLACE_^>a_'s _^<i_Croyd_^>i_ (_^<b_1967_^>b_) and _^<i_Dr Orpheus_^>i_ (_^<b_1968_^>b_), Samuel R. _^<a_!T1152_DELANY_^>a_'s _^<i__^<a_!B9048_NOVA_^>a__^>i_ (_^<b_1968_^>b_), Alan Dean _^<a_!T1572_FOSTER_^>a_'s
_^<i_The Tar-Aiym Krang_^>i_ (_^<b_1972_^>b_) and its sequels, Barrington J. _^<a_!T472_BAYLEY_^>a_'s _^<i_Star Winds_^>i_ (_^<b_1978_^>b_), Philip Jose _^<a_!T1435_FARMER_^>a_'s _^<i_The Unreasoning Mask_^>i_ (_^<b_1981_^>b_), S.P.
_^<a_!T2313_SOMTOW_^>a_'s _^<i_Light on the Sound_^>i_ (_^<b_1982_^>b_) and its sequels, F.M. _^<a_!T5100_BUSBY_^>a_'s _^<i_Star Rebel_^>i_ (_^<b_1984_^>b_) and its sequels, Ben _^<a_!T4943_BOVA_^>a_'s _^<i_Privateers_^>i_ (_^<b_1985_^>b_), Michael
D. _^<a_!T2559_RESNICK_^>a_'s _^<i_Santiago_^>i_ (_^<b_1986_^>b_), Iain M. _^<a_!T392_BANKS_^>a_'s _^<i_Consider Phlebas_^>i_ (_^<b_1987_^>b_) and other _^<b_Culture_^>b_ novels, Colin _^<a_!T4847_GREENLAND_^>a_'s _^<i__^<a_!B9105_TAKE BACK
PLENTY_^>a__^>i_ (_^<b_1990_^>b_) and Stephen R. _^<a_!T1283_DONALDSON_^>a_'s _^<b_Gap_^>b_ series, begun with _^<i_The Gap into Conflict: The Real Story_^>i_ (_^<b_1990_^>b_), which transfigures Wagner's Ring Cycle of _^<i_real_^>i_ operas. It
seems in no danger of losing its popularity, given the recent winning of Hugo awards by space operas like C.J. _^<a_!T5255_CHERRYH_^>a_'s _^<i__^<a_!B9138_DOWNBELOW STATION_^>a__^>i_ (_^<b_1981_^>b_), David _^<a_!T4999_BRIN_^>a_'s
_^<i__^<a_!B9019_STARTIDE RISING_^>a__^>i_ (_^<b_1983_^>b_) and Lois McMaster _^<a_!T5068_BUJOLD_^>a_'s _^<i__^<a_!B9132_THE VOR GAME_^>a__^>i_ (_^<b_1990_^>b_). The crudities of the subgenre are easily parodied by such comedies as Harry
_^<a_!T4319_HARRISON_^>a_'s _^<i_Bill, the Galactic Hero_^>i_ (_^<b_1965_^>b_) and _^<i_Star Smashers of the Galaxy Rangers_^>i_ (_^<b_1973_^>b_), M. John _^<a_!T4319_HARRISON_^>a_'s _^<i_The Centauri Device_^>i_ (_^<b_1974_^>b_) and Douglas
_^<a_!T31_ADAMS_^>a_'s _^<b_Hitch-Hiker_^>b_ books, but the affection in which it is held defies total deflation -- as evidenced by the much more recent _^<b_Bill, the Galactic Hero_^>b_ series of _^<a_!T2127_SHARED-WORLD_^>a_ adventures. The tv
series _^<a_!T2429_STAR TREK_^>a_ has given rise to a long-running series of spinoff novels, many of which are more space operatic than the studio budget ever permitted the tv scripts to be._^<n__^<n_An excellent theme anthology is _^<i_Space
Opera_^>i_ (anth _^<b_1974_^>b_) ed Brian W. _^<a_!T87_ALDISS_^>a_; his _^<i_Galactic Empires_^>i_ (anth 2 vols _^<b_1976_^>b_) is also relevant. [BS]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T1410_FANTASTIC VOYAGES_^>a_; _^<a_!T2337_SPACE FLIGHT_^>a_.
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SPACE PATROL
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_^<b_1._^>b_ US tv serial (1950-55). ABC TV. Prod Mike Moser (1950-52), Helen Moser (1953-5), dir Dik Darley, starring Ed Kemmer, Lyn Osborn, Ken Mayer, Virginia Hewitt, Nina Bara. Written Norman Jolley. 210 25min episodes. B/w._^<n__^<n_One of the
many _^<a_!T2342_SPACE-OPERA_^>a_ serials on _^<a_!T5926_TELEVISION_^>a_ after _^<a_!T6358_CAPTAIN VIDEO_^>a_, and possibly the first to feature _^<a_!T1443_FASTER-THAN-LIGHT_^>a_ travel to the stars, _^<i_SP_^>i_ began as a 5-times-a-week 15min
programme on local tv; soon after, it went on _^<a_!T2480_RADIO_^>a_ and network tv. The patrol leader was Commander Buzz Corry. Viewers were invited to "become space cadets of the SP" (join the fan club) and to buy special SP cosmic smoke guns,
etc. Like most such programmes of the time _^<i_SP_^>i_ was transmitted live, and with some ad-libbing. Special effects were minimal, but a mild attempt was made to keep the stories scientifically plausible._^<n__^<n__^<b_2._^>b_ UK tv series
(1963-4). National Interest Picture Production/Wonderama Productions. Created/written Roberta Leigh, prod Leigh and Arthur Provis, dir Frank Goulding. 2 seasons, 39 25-min episodes in all. This was a _^<a_!T2342_SPACE-OPERA_^>a_ series for children
produced with animated puppets, not unlike the various _^<b_SuperMarionation_^>b_ series made by Gerry _^<a_!T164_ANDERSON_^>a_, and indeed created by one of Anderson's former colleagues. Main characters were Captain Larry Dart, Slim the Venusian
and Husky the Martian in the spacecraft _^<i_Galasphere 347_^>i_; also important were Haggerty the genius inventor and Gabblerdictum the Martian parrot. [PN]_^<n__^<n_
> _^<a_!T462_BATTLE BEYOND THE STARS_^>a_; Roger _^<a_!T884_CORMAN_^>a_._^<n__^<n_
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SPACE SCIENCE FICTION
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US _^<a_!T1231_DIGEST_^>a_-size magazine. 8 issues May 1952-Sep 1953, published by Space Publications; ed Lester _^<a_!T1164_DEL REY_^>a_. The most prolific contributor was del Rey himself, sometimes as Erik van Lhin or Philip St John. Notable
stories included T.L. _^<a_!T2181_SHERRED_^>a_'s "Cue For Quiet" (May-July 1953) and Philip K. _^<a_!T1222_DICK_^>a_'s "Second Variety" (May 1953) and "The Variable Man" (Sep 1953). #8 began serialization of Poul _^<a_!T169_ANDERSON_^>a_'s
_^<i_Brain Wave_^>i_ (as "The Escape"; _^<b_1954_^>b_), but it was not completed. All 8 issues were reprinted in the UK 1952-3, numbered but undated, published by the Archer Press, London. [BS]_^<n__^<n_
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SPACE SCIENCE FICTION MAGAZINE
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US _^<a_!T1231_DIGEST_^>a_-size magazine. 2 issues, Spring and Aug 1957, published by the Republic Features Syndicate; ed Lyle Kenyon _^<a_!T6670_ENGEL_^>a_, with much editorial work, uncredited, by Michael _^<a_!T324_AVALLONE_^>a_. The best story
may have been John _^<a_!T3851_JAKES_^>a_'s "The Devil Spins a Sun-Dream" (Spring 1957). [BS/PN]_^<n__^<n_
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SPACESHIPS
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The suggestion that people might one day travel to the _^<a_!T3023_MOON_^>a_ inside a flying machine was first put forward seriously by John _^<a_!T5607_WILKINS_^>a_ in 1638. There had been cosmic voyages prior to that date, and there were to be
many more thereafter (>_^<a_!T1410_FANTASTIC VOYAGES_^>a_; _^<a_!T2337_SPACE FLIGHT_^>a_), but few took the mechanics of the journey seriously enough to invest much imaginative effort in the design of credible vehicles. Edgar Allan
_^<a_!T1933_POE_^>a_'s "The Unparalleled Adventure of One Hans Pfaall" (1835) has an afterword complaining about the failure of other writers to achieve verisimilitude, but Pfaall makes his journey by _^<a_!T382_BALLOON_^>a_, and Poe's assumption
of the continuity of the atmosphere -- a full 2 centuries after Torricelli had concluded that the Earth's atmosphere could extend upwards for only a few miles -- is hardly scientific._^<n__^<n_Jules _^<a_!T5355_VERNE_^>a_'s travellers in _^<i_De la
terre a la lune_^>i_ (_^<b_1865_^>b_; trans J.K. Hoyte as _^<i_From the Earth to the Moon_^>i_ _^<b_1869_^>b_ US) and its sequel, _^<i_Autour de la lune_^>i_ (_^<b_1870_^>b_, both trans as _^<i_From the Earth to the Moon_^>i_ _^<b_1873_^>b_ UK) use
a projectile fired from a gun rather than a vessel, and most of those who followed in his footsteps treated their vessels as facilitating devices, inventing various jargon terms to signify mysterious forces of propulsion. Percy
_^<a_!T4855_GREG_^>a_'s spaceship in _^<i_Across the Zodiac_^>i_ (_^<b_1880_^>b_) is powered by "apergy"; H.G. _^<a_!T5528_WELLS_^>a_ invented the antigravitic "Cavorite" for _^<i__^<a_!B9270_THE FIRST MEN IN THE MOON_^>a__^>i_ _^<b_(1901_^>b_);
John _^<a_!T3716_MASTIN_^>a_'s "airship" is borne into space by a "new gas" in _^<i_The Stolen Planet_^>i_ (_^<b_1905_^>b_); and Garrett P. _^<a_!T2112_SERVISS_^>a_'s _^<i_A Columbus of Space_^>i_ (1909; rev _^<b_1911_^>b_) employed an atomic
powered "space-car". Because their means of propulsion were so often mysterious, spaceships in this period could easily assume the "perfect" spheroid shape of the heavenly bodies themselves; a notable example is in Robert _^<a_!T969_CROMIE_^>a_'s
_^<i_A Plunge into Space_^>i_ (_^<b_1890_^>b_). When not round or bullet-shaped they tended to resemble flying submarines._^<n__^<n_Spaceships were taken up in a big way by the early sf _^<a_!T2033_PULP MAGAZINES_^>a_, and their visual image was
dramatically changed. Frank R. _^<a_!T1819_PAUL_^>a_ and other contemporary illustrators (>_^<a_!T4593_ILLUSTRATION_^>a_) showed a strong preference for bulbous machines like enormously bloated aeroplanes or rounded-off oceangoing liners with long
rows of portholes. These were often shown with jets of flame or vapour gushing out behind, but this was as much to suggest speed as to indicate that the means of propulsion involved might be one or more _^<a_!T2651_ROCKETS_^>a_; similarly, the slow
process whereby hulls became streamlined and elegant fins appeared corresponded less to any realization of the importance of rocket-power than to the development of sleeker automobiles in the real world. Two of the more convincing early pulp-sf
spaceships are featured in Otto Willi _^<a_!T1674_GAIL_^>a_'s _^<i_The Shot into Infinity_^>i_ (_^<b_1925_^>b_; trans 1929; _^<b_1975_^>b_) and Laurence _^<a_!T3648_MANNING_^>a_'s "The Voyage of the _^<i_Asteroid_^>i_" (1932), but such stories were
overshadowed by extravagant _^<a_!T2342_SPACE OPERAS_^>a_ which thrived on fantastic machines with limitless capabilities, fighting interstellar _^<a_!T5452_WARS_^>a_ with all manner of exotic _^<a_!T5492_WEAPONS_^>a_ -- the ultimate fulfilment of
childhood fantasies. Classic examples include the various _^<i_Skylarks_^>i_ employed by E.E. "Doc" _^<a_!T2269_SMITH_^>a_'s Richard Seaton and friends. Many pulp-sf writers still regarded spaceships as mere facilitating devices -- Edgar Rice
_^<a_!T5097_BURROUGHS_^>a_ was prepared to do without them in many of his interplanetary romances -- but the pioneers of space opera exploited the fantasies of unlimited opportunity and luxurious seclusion which had hitherto been attached to such
Earthly vessels as Captain Nemo's _^<i_Nautilus_^>i_, the Crystal Boat in Gordon _^<a_!T2386_STABLES_^>a_'s _^<i_The Cruise of the Crystal Boat_^>i_ (_^<b_1891_^>b_) and the Golden Ship used in Max _^<a_!T1840_PEMBERTON_^>a_'s _^<i_The Iron
Pirate_^>i_ (_^<b_1897_^>b_). Outside the pulps, the hero of Friedrich W. _^<a_!T3586_MADER_^>a_'s _^<i_Distant Worlds_^>i_ (_^<b_1921_^>b_; trans _^<b_1932_^>b_) declared that his spacefaring vessel was no mere "airship" but a _^<i_world-ship_^>i_
with the freedom of the Universe._^<n__^<n_By the 1930s writers of _^<a_!T4288_HARD SF_^>a_ had become convinced that the first real spaceships would be rockets, and stories about the large-scale projects required to build them were being written
as early as Lester _^<a_!T1164_DEL REY_^>a_'s "The Stars Look Down" (1940); other notable examples include Arthur C. _^<a_!T736_CLARKE_^>a_'s _^<i_Prelude to Space_^>i_ (_^<b_1951_^>b_) and Gordon R. _^<a_!T1227_DICKSON_^>a_'s _^<i_The Far
Call_^>i_ (1973; exp _^<b_1978_^>b_). But dominance was always retained by naive fantasies in which spaceships could be casually built in anyone's back yard, or in which their familiarity was simply taken for granted. Realistic stories of the
building and launching of spaceships can still be written -- _^<i_Manna_^>i_ (_^<b_1984_^>b_) by Lee Correy (G. Harry _^<a_!T5745_STINE_^>a_) is noteworthy -- but we have now become so blase about the spectacle of Saturn rockets blasting off from
Cape Canaveral and space shuttles gliding down to land at Edwards Air Force Base that modern sf rarely bothers with matters of construction or with maiden voyages. Tense _^<a_!T6337_NEAR-FUTURE_^>a_ melodramas involving moderately advanced hardware
can still be very suspenseful -- _^<i_The Descent of Anansi_^>i_ (_^<b_1982_^>b_) by Larry _^<a_!T3223_NIVEN_^>a_ and Steven _^<a_!T424_BARNES_^>a_ is a good example -- but the vast majority of sf stories look towards further horizons._^<n__^<n_A
different kind of realism was introduced into spaceship stories by Robert A. _^<a_!T4376_HEINLEIN_^>a_ in "Universe" (1941), which scorned the convenience of _^<a_!T1443_FASTER-THAN-LIGHT_^>a_ travel and established the archetypal image of the
_^<a_!T4655_GENERATION STARSHIP_^>a_. This notion -- an ironic embodiment of the motto _^<i_per ardua ad astra_^>i_ -- quickly took over the sf version of the myth of the Ark, earlier displayed in such novels as _^<i_When Worlds Collide_^>i_
(_^<b_1933_^>b_) by Philip _^<a_!T6210_WYLIE_^>a_ and Edwin _^<a_!T383_BALMER_^>a_. Notable later examples include Leigh _^<a_!T4961_BRACKETT_^>a_'s _^<i_Alpha Centauri -- or Die!_^>i_ (1953 as "The Ark of Mars"; exp _^<b_1963_^>b_) and Roger
_^<a_!T1254_DIXON_^>a_'s _^<i_Noah II_^>i_ (_^<b_1970_^>b_). The spaceship became a powerful symbol of permanent escape, invoked continually throughout the 1950s in stories of future tyranny and the struggles of oppressed minorities. The myth of
escape is taken to its extreme in Poul _^<a_!T169_ANDERSON_^>a_'s time-dilatation fantasy _^<i_Tau Zero_^>i_ (1967; exp _^<b_1970_^>b_), the first of several stories in which the spaceship provides its human crew with a means to escape the end of
the Universe. Such escape motifs are, however, opposed in stories of space disaster; two interesting stories which recast the voyage of the _^<i_Titanic_^>i_ (1912) as sf are "The Star Lord" (1953) by Boyd Ellanby (William Boyd [1903-1983]) and
"The _^<i_Corianis_^>i_ Disaster" (1960) by Murray _^<a_!T3326_LEINSTER_^>a_. Other stories developed the notion of far-travelling starships into the idea of a starship culture. Notable examples are Heinlein's _^<i__^<a_!B9165_CITIZEN OF THE
GALAXY_^>a__^>i_ (_^<b_1957_^>b_) and Alexei _^<a_!T1782_PANSHIN_^>a_'s _^<i__^<a_!B8981_RITE OF PASSAGE_^>a__^>i_ (1963; exp _^<b_1968_^>b_). Relativistic effects were built into the idea of a starship culture in L. Ron _^<a_!T4538_HUBBARD_^>a_'s
_^<i_Return to Tomorrow_^>i_ (1950; _^<b_1954_^>b_), in which spacefarers become alienated from the course of history by the time-dilatation effect of travelling at near-lightspeed._^<n__^<n_The _^<a_!T5271_UFO_^>a_ crazes of the post-WWII years
made some impact on sf imagery in the magazines. Disc-shaped spaceships became more common in _^<a_!T4593_ILLUSTRATIONS_^>a_, and the interest of editors Sam _^<a_!T2913_MERWIN_^>a_ Jr -- who also wrote about flying saucers in "Centaurus"
(1953)-and Raymond A. _^<a_!T1774_PALMER_^>a_ was reflected in the magazines of which they had charge. Ufology had far more influence on the imagery of sf _^<a_!T726_CINEMA_^>a_, where saucer-shaped ships became commonplace. The sleekly streamlined
ships which still dominated magazine illustration continued to hold their ground until the 1970s; when their imagery was finally challenged, it was by the bizarre and surreal hardware of artists like Eddie _^<a_!T3927_JONES_^>a_ and Christopher
_^<a_!T1571_FOSS_^>a_. This movement towards a more complicated topography -- licensed by the knowledge that starships built in space for journeys in hard vacuum had no need of streamlining -- had been foreshadowed in fiction since the 1950s. Among
the more romantic spaceships featured in the later years of magazine sf are those in Cordwainer _^<a_!T2265_SMITH_^>a_'s _^<b_Instrumentality_^>b_ stories, which include the light-powered "sailing ships" in "The Lady who Sailed the _^<i_Soul_^>i_"
(1960) and "Think Blue, Count Two" (1963) (>_^<a_!T2306_SOLAR WIND_^>a_). The tree-grown starships of Jack _^<a_!T5629_WILLIAMSON_^>a_'s _^<i_Dragon's Island_^>i_ (_^<b_1951_^>b_; vt _^<i_The Not-Men_^>i_) and the animal-drawn starships of Robert
Franson's _^<i_The Shadow of the Ship_^>i_ (_^<b_1983_^>b_) are among the most curious in sf._^<n__^<n_The men who sail or fly in them often refer to ships and aircraft as "she", crediting them with personalities and giving them names. Much sf
transplants this tendency in perfectly straightforward terms, but other stories carry it to its logical and literal extreme. Human brains are frequently transplanted into spaceship bodies to become functional _^<a_!T1017_CYBORGS_^>a_, as in Thomas
N. _^<a_!T2887_SCORTIA_^>a_'s "Sea Change" (1956; vt "The Shores of Night"), Anne _^<a_!T6298_MCCAFFREY_^>a_'s _^<i_The Ship who Sang_^>i_ (coll of linked stories _^<b_1969_^>b_), Cordwainer Smith's "Three to a Given Star" (1965) and Kevin
_^<a_!T3289_O'DONNELL_^>a_ Jr's _^<i_Mayflies_^>i_ (_^<b_1979_^>b_). Other spaceships acquire intelligence and personality in their own right thanks to their sophisticated _^<a_!T826_COMPUTER_^>a_ networks; the one in Frank
_^<a_!T4389_HERBERT_^>a_'s _^<i_Destination: Void_^>i_ (_^<b_1966_^>b_) has delusions of godlike grandeur, and the one in Clifford D. _^<a_!T2218_SIMAK_^>a_'s _^<i_Shakespeare's Planet_^>i_ (_^<b_1976_^>b_) has a multiply split personality. More
often, though, the relationship between humans and spaceships maintains a traditional naval rigour, as in many novels by the Merchant Navy writer A. Bertram _^<a_!T5232_CHANDLER_^>a_, _^<i_Starman Jones_^>i_ (_^<b_1953_^>b_) by ex-US Navy officer
Robert Heinlein and _^<i__^<a_!B9191_THE MOTE IN GOD'S EYE_^>a__^>i_ (_^<b_1974_^>b_) by Larry Niven and Jerry E. _^<a_!T1961_POURNELLE_^>a_._^<n__^<n_Sf stories whose subject matter is the spaceship _^<a_!T3135_MYTHOLOGY_^>a_ built up by their
predecessors include Stanislaw _^<a_!T3329_LEM_^>a_'s _^<i_Niezwyciezony_^>i_ (_^<b_1964_^>b_; trans as _^<i_The Invincible_^>i_ _^<b_1973_^>b_) and Mark _^<a_!T4672_GESTON_^>a_'s _^<i_Lords of the Starship_^>i_ (_^<b_1967_^>b_). The idea that the
spaceship owes much of its charisma to phallic symbolism has been much bandied about -- as reflected in Virgil _^<a_!T1488_FINLAY_^>a_'s cover for the Oct 1963 issue of _^<a_!T6176_WORLDS OF TOMORROW_^>a_, Kurt _^<a_!T5402_VONNEGUT_^>a_ Jr's "The
Big Space Fuck" (1972) and Norman _^<a_!T2370_SPINRAD_^>a_'s _^<i_The Void Captain's Tale_^>i_ (_^<b_1983_^>b_) -- but a more convincing analogy would liken spaceships to the "sperms" of sea-dwelling creatures which require no intromission (and
hence no phallus) but are simply released into an oceanic wilderness to seek out the object of their fertilizing mission. This is the metaphor contained in such novels as Jack Williamson's _^<i_Manseed_^>i_ (fixup _^<b_1982_^>b_). The spaceship is
still commonly deployed as a straightforward facilitating device -- a means to send ordinary near-contemporary characters into exotic and fabulous situations -- but even in this role it can become as charismatic as _^<a_!T2429_STAR TREK_^>a_'s
Starship _^<i_Enterprise_^>i_. The terminal decline in the plausibility of the home-made spaceship in the face of the magnitude and complexity of the actual space programme has to some extent been compensated for by the remarkable frequency with
which sf characters serendipitously discover _^<a_!T98_ALIEN_^>a_ spaceships; a notable example is Frederik _^<a_!T1937_POHL_^>a_'s _^<i__^<a_!B9035_GATEWAY_^>a__^>i_ (_^<b_1977_^>b_) and its sequels. Alien starships are sometimes invested with
even more mystique than those constructed by humans; notable examples include those whose one-time arrival on Earth is revealed in Ivan _^<a_!T6227_YEFREMOV_^>a_'s "Stellar Ships" (trans 1954) and the gargantuan vessel featured in Arthur C.
Clarke's _^<i__^<a_!B9055_RENDEZVOUS WITH RAMA_^>a__^>i_ (_^<b_1973_^>b_). Awesome alien spaceships provide stirring climaxes for such films as _^<a_!T764_CLOSE ENCOUNTERS OF THE THIRD KIND_^>a_ (1977) and _^<i_The _^<a_!T19_ABYSS_^>a__^>i_ (1989),
but they can also perform a much more sinister role, as in Stephen _^<a_!T4066_KING_^>a_'s novel _^<i_The Tommyknockers_^>i_ (_^<b_1988_^>b_)._^<n__^<n_The power of the sf mythology of the spaceship was made evident by the decision to bow to public
pressure and name one of the experimental space shuttles, constructed in 1977, the _^<i_Enterprise_^>i_.[BS]_^<n__^<n_
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> _^<a_!T1517_FLASH GORDON_^>a_._^<n__^<n_
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SPACE STORIES
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US _^<a_!T2033_PULP_^>a_ magazine. 5 bimonthly issues Oct 1952-June 1953, published by Standard Magazines as a companion to _^<a_!T2428_STARTLING STORIES_^>a_ _^<i_et al._^>i_; ed Samuel _^<a_!T2970_MINES_^>a_. Its policy, identical to that of
_^<i_Startling Stories_^>i_, was to feature a complete novel in every issue; the most notable was _^<i_The Big Jump_^>i_ (Feb 1953; _^<b_1955_^>b_) by Leigh _^<a_!T4961_BRACKETT_^>a_. [BS]_^<n__^<n_
In sf _^<a_!T5942_TERMINOLOGY_^>a_, a concept similar to that of hyperspace and subspace. The term (along with "hyperspace") may first have been used by John W. _^<a_!T5140_CAMPBELL_^>a_ Jr in _^<i_Islands of Space_^>i_ (1931 _^<i_Amazing Stories
Quarterly_^>i_; _^<b_1957_^>b_). If a handkerchief is folded, two otherwise separated points of it can become adjacent; if space -- more accurately, spacetime -- could be warped in like style (which it cannot), the resulting short cut would
effectively enable _^<a_!T2348_SPACESHIPS_^>a_ to travel _^<a_!T1443_FASTER THAN LIGHT_^>a_: the topic is discussed further in _^<a_!T4574_HYPERSPACE_^>a_. Space warp has become such a _^<a_!T752_CLICHE_^>a_ in sf that it allows endless variants.
One of the best known is the "warp factor" used in _^<a_!T2429_STAR TREK_^>a_ as a measure of velocity. This is illogical on all levels._^<n__^<n_The idea of _^<a_!T198_ANTIGRAVITY_^>a_ is also connected with the warping of space: since
_^<a_!T4817_GRAVITY_^>a_ (or a gravitational field) is an effect dependent on the curving (or warping) of spacetime in the presence of mass, then antigravity could be envisaged as what would happen if you contrived to warp space the other way, an
idea proposed by Charles Eric _^<a_!T3606_MAINE_^>a_ in _^<i_Count-Down_^>i_ (_^<b_1959_^>b_; vt _^<i_Fire Past the Future_^>i_ 1959 US). This is actually a development of that same idea proposed by Campbell in _^<i_Islands in Space_^>i_; Campbell
correctly recognized that to warp spacetime would not only alter gravitational fields but be equivalent to altering the velocity of light. Maine's negative space curvature is anyway impossible, since it would require the existence of negative mass,
an existence prohibited on several theoretical grounds. [PN]_^<n__^<n_
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SPACEWAY
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US _^<a_!T1231_DIGEST_^>a_-size magazine, 8 issues Dec 1953-June 1955, 12 issues in all, published by William L. _^<a_!T943_CRAWFORD_^>a_'s _^<a_!T1586_FPCI_^>a_ in Los Angeles; the subtitle "Stories of the Future" was changed to "Science Fiction"
Dec 1954. The title was taken from the UK film _^<a_!T2355_SPACEWAYS_^>a_ (1953). When _^<i_S_^>i_ died it had published only the first part of Ralph Milne _^<a_!T1434_FARLEY_^>a_'s "Radio Minds of Mars"; on its resurrection by the same publisher
many years later to publish 4 more issues, Jan 1969-June 1970, it printed the serial in full. This new version of _^<i_S_^>i_ reprinted material from the first, but added a few new stories. The most notable story carried by the magazine was "The
Cosmic Geoids" by John _^<a_!T5892_TAINE_^>a_ (Dec 1954-Apr 1955), though this had already been published in book form, by the same publisher, as the lead novel of _^<i_The Cosmic Geoids, and One Other_^>i_ (coll _^<b_1949_^>b_). An unfinished
serial in the 2nd version of _^<i_S_^>i_ was Andre _^<a_!T3243_NORTON_^>a_'s "Garan of Yu-Lac", which Crawford had been holding since 1935; he later published it in book form as _^<i_Garan the Eternal_^>i_ (_^<b_1972_^>b_). #1-#4 were reprinted in
the UK 1954-5 by Regular Publications. [BS/PN]_^<n__^<n_
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SPACEWAYS
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Film (1953). Hammer/Exclusive. Dir Terence Fisher, starring Howard Duff, Eva Bartok, Alan Wheatley, Andrew Osborn. Screenplay Paul _^<a_!T5889_TABORI_^>a_, Richard Landau, based on a 1952 radio play by Charles Eric _^<a_!T3606_MAINE_^>a_. 76 mins.
B/w._^<n__^<n_In this first UK space movie since _^<a_!T5975_THINGS TO COME_^>a_ (1936) a scientist falsely suspected of murdering his wife and placing her body in a satellite takes a space trip to establish his innocence. This is an early,
low-budget Hammer melodrama of indifferent quality. Maine's novel _^<i_Spaceways: A Story of the Very Near Future_^>i_ (_^<b_1953_^>b_; vt _^<i_Spaceways Satellite_^>i_ 1958 US), also based on the radio play, appeared the same year as the film.
[JB/PN]_^<n__^<n_
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SPACE-WISE
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UK _^<a_!T492_BEDSHEET_^>a_-size magazine. 3 issues, Dec 1969, Jan and Mar 1970, published by the Martec Publishing Group; ed Derek R. Threadgall. _^<i_SW_^>i_ contained a mixture of sf and science and occult articles which proved not viable.
[FHP]_^<n__^<n_
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SPAIN
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Modern sf appeared in Spain during the 1950s with the publishing imprint Minotauro and the magazine _^<i_Mas Alla_^>i_ (1953-7), both from Argentina (> _^<a_!T4204_LATIN AMERICA_^>a_). Spanish sf editions began in 1953, with pulp novelettes in the
_^<b_Futuro_^>b_ and _^<b_Luchadores del Espacio_^>b_ series, followed by _^<b_Nebulae_^>b_, the first specialized Spanish imprint for sf books. During 1955-90 about 1300 sf books were published in Spain, mostly translations from English, with only
about 50 by Spanish authors._^<n__^<n_Before the Civil War, Coronel Ignotus (the pseudonym of Jose de Elola), Frederic Pujula, Elias Cerda and Domingo Ventallo were the most important authors of old-fashioned speculations and fantasies, mainly
satirical and sometimes political. Ignotus was published in one of the earliest quasi-sf _^<a_!T3597_MAGAZINES_^>a_ in the world, earlier than any in the USA or UK: _^<i_Biblioteca Novelesco-Cientifica_^>i_ (1921-3), each of whose 10 issues
containing a single novel by Ignotus, 3 featuring interplanetary voyages. In the 1950s George H. White (pseudonym of Pascual Enguidanos) wrote a series of 32 sf adventure novelettes known collectively as the _^<b_Saga de los Aznar_^>b_ ["Aznar
Saga"] series (1953-8). More interesting are subsequent stories in the 1950s and 1960s by Antonio Ribera, Francisco Valverde, Juan G. Atienza, Domingo Santos, Carlos Buiza and Luis Vigil (1940- ); it was with these that modern Spanish sf really
began._^<n__^<n_The 1960s saw the first boom in sf publishing in Spain. After the short life of the magazine _^<i_Anticipacion_^>i_ (1966-7), the most influential of all Spanish sf magazines began: _^<i_Nueva Dimension_^>i_, founded in 1968, ed
Sebastian Martinez (1937- ), Domingo Santos and Luis Vigil; it was voted the best European sf magazine at the 1972 Eurocon in Trieste. A real milestone in Spanish sf, _^<i_ND_^>i_ published local authors alongside the best sf from other
countries. It lasted 148 issues, until Dec 1983._^<n__^<n_Incursions into sf have also been made by writers who normally work outside the genre, such as Tomas Salvador (1921- ), whose _^<i_La nave_^>i_ ["The Ship"] (_^<b_1959_^>b_) is a
reworking of the popular _^<a_!T4655_GENERATION-STARSHIP_^>a_ theme, and Manuel de Pedrolo (1918-1990), who had a big success with his novel written in Catalan, _^<i_Mecanoscrit del segon origen_^>i_ ["Mechanuscript of the Second Origin"]
(_^<b_1974_^>b_), about life after a world _^<a_!T4482_HOLOCAUST_^>a_._^<n__^<n_Domingo Santos -- the pseudonym of Pedro Domingo Mutino (1941- ) -- is the major contemporary Spanish sf writer. Some of his stories and novels have been translated
into several foreign languages. His best known novel is _^<i_Gabriel, historia de un robot_^>i_ ["Gabriel, The Story of a Robot"] (_^<b_1963_^>b_), about the personality and coming of age of a _^<a_!T2646_ROBOT_^>a_ not subject to the "fundamental
laws" that compel other robots to obedience. Another interesting novel is _^<i_Burbuja_^>i_ ["Bubble"] (_^<b_1965_^>b_), but the best of Santos is found in his short fiction. _^<i_Meteoritos_^>i_ ["Meteorites"] (coll _^<b_1965_^>b_) is a classic
collection, but more demanding are the stories in _^<i_Futuro imperfecto_^>i_ ["Future Imperfect"] (coll _^<b_1981_^>b_) and _^<i_No lejos de la Tierra_^>i_ ["Not Far from Earth"] (coll _^<b_1986_^>b_), set in the _^<a_!T6337_NEAR FUTURE_^>a_ and
often concerned with _^<a_!T6576_ECOLOGY_^>a_ and the threats that endanger the quality of our lives._^<n__^<n_In the 1970s Gabriel Bermudez Castillo (1934- ) appeared with well written books such as _^<i_Viaje a un planeta Wu-Wei_^>i_ ["Travel
to a Wu-Wei Planet"] (_^<b_1976_^>b_) and action-adventure novels like _^<i_El senor de la rueda_^>i_ ["The Lord of the Wheel"] (_^<b_1978_^>b_). Carlos Saiz Cidoncha (1939- ) has specialized in _^<a_!T2342_SPACE OPERA_^>a_, and in 1976 also
privately published the first history of Spanish sf; this was the embryo of his 1988 PhD thesis, the first in Spain on such a topic._^<n__^<n_The political changes following Franco's death in 1975 appear to have had no effect on sf publishing. Sf
in Spain has always had a restricted market, perhaps too small to bother with. Its only political censorship under Franco may have been the prohibition in 1970 of _^<i_Nueva Dimension_^>i_ #14, which contained a story by an Argentinian that
appeared to advocate Basque separatism._^<n__^<n_A second boom in sf publishing took place in the 1980s, and more new authors appeared, the most gifted perhaps being Elia Barcelo (1957- ). Her novelette "La Dama Dragon" ["The Dragon Lady"]
(1982) has been translated into several foreign languages and is collected in _^<i_Sagrada_^>i_ (coll _^<b_1990_^>b_), the title being the feminine form of the word for "sacred". The first Spanish woman to publish an sf book, Barcelo is a very good
stylist in a country where the usual style of sf writing precludes it from consideration by more demanding literary critics. Her stories are concerned with women's role in society and with the contrast between technological and primitive cultures.
Other new authors are Rafael Marin Trechera (1959- ) with _^<i_Lagrimas de Luz_^>i_ ["Tears of Light"] (_^<b_1982_^>b_), an interstellar epic, and the collaboration of Javier Redal (1952- ) and Juan Miguel Aguilera (1960- ) in a modern
_^<a_!T4288_HARD-SF_^>a_ space opera, _^<i_Mundos en al abismo_^>i_ ["Worlds in the Abyss"] (_^<b_1988_^>b_), an unusually science-conscious book for Spain. A_^<n__^<n_
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SPANNER, E(DWARD) F(RANK)
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(1888-? ) UK writer and naval architect, author of 3 future-_^<a_!T5452_WAR_^>a_ novels -- _^<i_The Broken Trident_^>i_ (_^<b_1926_^>b_), _^<i_The Naviators_^>i_ (_^<b_1926_^>b_) and _^<i_The Harbour of Death_^>i_ (_^<b_1927_^>b_) -- in all of
which the UK is warned to beware remaining unduly dependent upon her navy; the dire consequences of so doing are dramatized in imaginary conflicts with-presciently -- both Germany and Japan. [JC]_^<n__^<n_
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SPARKROCK, FRED
-T-
> Robert E. _^<a_!T5334_VARDEMAN_^>a_._^<n__^<n_
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SPARTACUS, DEUTERO
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> R.L. _^<a_!T1427_FANTHORPE_^>a_._^<n__^<n_
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SPECIAL BULLETIN
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Made-for-tv film (1983). NBC. Dir Edward Zwick, starring Christopher Allport, David Clennon, Ed Flanders, Kathryn Walker, David Rasche. Screenplay Marshall Herskovitz. 92 mins. Colour._^<n__^<n_An unnervingly effective pseudodocumentary, this
presents itself as tv coverage of an escalating terrorist crisis in Charleston, where a dissident group of nuclear scientists and peace activists threatens to set off an atomic bomb in the dockyard unless all the nuclear weapons in the region are
turned over to them for dumping. With cutaways to White House spokesmen lying, conflicting reports from political correspondents, interviews with experts, on-the-spot reports, ranting demands from the terrorists and hastily assembled background
profiles on the offenders, _^<i_SB_^>i_ is a fine recreation of a now-familiar style of tv coverage, and in a surprisingly rigorous manner examines the _^<a_!T3743_MEDIA_^>a_ influencing the atrocities they purport to cover. The glimpses at the end
of the detonation of the bomb -- a defusing attempt is bungled -- are perhaps more effective than the special-effects holocausts of _^<i_The_^<a_!T1106_DAY AFTER_^>a__^>i_ (1983) and _^<a_!T6000_THREADS_^>a_ (1984), and the final moments, in which
other news issues creep into the schedule, are understated but cutting. [KN]_^<n__^<n_
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SPECULATION
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UK _^<a_!T1428_FANZINE_^>a_ ed Peter _^<a_!T5555_WESTON_^>a_ from Birmingham 1963-73. Averaging 60pp, _^<i_S_^>i_ was for many years consistently the UK's best amateur magazine of comment and criticism. Regular contributors included James
_^<a_!T658_BLISH_^>a_, Kenneth _^<a_!T5073_BULMER_^>a_, M. John _^<a_!T4319_HARRISON_^>a_, Michael _^<a_!T3030_MOORCOCK_^>a_ and Frederik _^<a_!T1937_POHL_^>a_. Several fans whose writing often appeared in _^<i_S_^>i_ later became sf writers,
Christopher _^<a_!T1990_PRIEST_^>a_ and Brian M. _^<a_!T2385_STABLEFORD_^>a_ among them. The final issue, #33, though printed 1973, was not distributed until 1976. [PN]_^<n__^<n_
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SPECULATIVE FICTION
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Term used by some writers and critics in place of "science fiction". In the symposium published as _^<i_Of Other Worlds_^>i_ (coll _^<b_1947_^>b_) ed Lloyd Arthur _^<a_!T6696_ESHBACH_^>a_, Robert A. _^<a_!T4376_HEINLEIN_^>a_ proposed the term to
describe a subset of sf involving extrapolation from known science and technology "to produce a new situation, a new framework for human action". Judith _^<a_!T2908_MERRIL_^>a_ borrowed the term in 1966, spelling out her version of "speculative
fiction" in rather more detail (> _^<a_!T1142_DEFINITIONS OF SF_^>a_) in such a way as to de-emphasize the science component of sf (which acronym can equally stand for "speculative fiction") while keeping the idea of extrapolation -- i.e., Merril's
use of the term was useful for that kind of sociological sf which concentrates on social change without necessarily any great emphasis on science or _^<a_!T5916_TECHNOLOGY_^>a_. Since then the term has generally appealed to writers and readers who
are as interested in _^<a_!T2301_SOFT SF_^>a_ as in _^<a_!T4288_HARD SF_^>a_. Though the term has proved attractive to many, especially perhaps academics who find the term more respectable-sounding than "science fiction" and lacking the pulp
associations, nobody's definition of "speculative fiction" has as yet any formal rigour, though the term has come to be used with a very wide application (as by Samuel R. _^<a_!T1152_DELANY_^>a_ in his _^<a_!T1725_ORIGINAL-ANTHOLOGY_^>a_ series
_^<a_!T2444_QUARK_^>a_), as if science fiction were a subset of speculative fiction rather than _^<i_vice versa_^>i_. Because the term "speculative fiction", as now most often used, does not clearly define any generic boundary, it has come to
include not only soft and hard sf but also _^<a_!T1412_FANTASY_^>a_ as a whole. Many critics do not find it a consistently helpful term but, as Gary K. _^<a_!T5675_WOLFE_^>a_ points out in _^<i_Critical Terms for Science Fiction and Fantasy_^>i_
(_^<b_1986_^>b_), critics tend to worry more about the demarcation of genres than writers do, and, as a propaganda weapon, the term has been useful precisely _^<i_because_^>i_ it allows the blurring of boundaries, which in turn permits a greater
auctorial freedom from genre constraints and "rules". [PN] _^<n__^<n_
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SPENCER, JOHN (BARRY)
-T-
(1944- ) UK writer, rock musician and one-time art-agency director, founding what would become Young Artists, a major UK agency for preponderantly sf/fantasy artists. His first sf novel, _^<i_The Electronic Lullaby Meat Market_^>i_
(_^<b_1975_^>b_), in a manner somewhat reminiscent of Mick _^<a_!T1439_FARREN_^>a_ sets a quirky thriller in a violently hyperbolic _^<a_!T6337_NEAR-FUTURE_^>a_ world described in sex-charged terms reminiscent of the late-1960s counterculture.
After editing _^<i_Echoes of Terror_^>i_ (anth _^<b_1980_^>b_ chap) with Mike Jarvis, JS returned to sf with _^<i_A Case for Charley_^>i_ (_^<b_1985_^>b_) and _^<i_Charley Gets the Picture_^>i_ (_^<b_1986_^>b_), two idiosyncratic murder mysteries
set after the _^<a_!T4482_HOLOCAUST_^>a_, when Nevada and Arizona have been destroyed by earthquakes and California has been rebuilt as a vast tourist centre. He is not to be confused with the John Spencer (1946- ) who illustrated a number of
fantasy/folklore juveniles in the early 1970s, nor with the publisher John Spencer (> _^<a_!T349_BADGER BOOKS_^>a_). [JC/JGr]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T3118_MUSIC_^>a_.
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SPENCER, LEONARD G.
-T-
_^<a_!T6269_ZIFF-DAVIS_^>a_ house name used once by Robert _^<a_!T2216_SILVERBERG_^>a_ and Randall _^<a_!T4623_GARRETT_^>a_ in collaboration on "The Beast With 7 Tails" (_^<i_AMZ_^>i_ 1956), and twice by unknown writers, 1956-7. [PN]_^<n__^<n_
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SPIDER, THE
-T-
US _^<a_!T2033_PULP MAGAZINE_^>a_. 118 issues Oct 1933-Dec 1943; monthly until Feb 1943, bimonthly thereafter. Published by Popular Publications; ed Rogers Terrill until near the end. _^<i_TS_^>i_, one of the hero/villain pulps, began as a
straightforward imitation of the highly successful _^<i_The Shadow_^>i_, telling of a mysterious caped avenger. The first 2 novels were by R.T.M. Scott; the remainder, credited to the house name Grant _^<a_!T5751_STOCKBRIDGE_^>a_, were mainly by
Norvell W. _^<a_!T1758_PAGE_^>a_ with others by Emile Tepperman, Wayne Rogers and Prentice Winchell (1915-? ). Under Page's guidance, the Spider became a more ruthless character who stamped a spider sign on the foreheads of the villains he
killed, and the menaces he combated became more fantastic, including a metal-eating virus and Neanderthal hordes (the 2 novels concerned were reprinted as _^<i_The City Destroyer_^>i_ [1935; _^<b_1975_^>b_] and _^<i_Hordes of the Red Butcher_^>i_
[1935; _^<b_1975_^>b_]). _^<i_TS_^>i_ also contained short stories, including the non-sf _^<b_Doc Turner_^>b_ series by Arthur Leo _^<a_!T6253_ZAGAT_^>a_. The character later featured in a cinema serial, _^<i_The Spider's Web_^>i_ (1938; 15
episodes, Columbia, starring Robert E. Kent). Since 1969 further novels have been reprinted in book form (> Norvell W. _^<a_!T1758_PAGE_^>a_ _^<i_for details_^>i_). A final _^<b_Spider_^>b_ title, left unpublished when the magazine folded, was
reworked with new characters as _^<i_Blue Steel_^>i_ (_^<b_1979_^>b_) as by Spider Page. [MJE/FHP/PN]_^<n__^<n_
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SPIELBERG, STEVEN
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(1947- ) US film-maker. Born in Cincinnati, raised in Arizona and an amateur film-maker in his early teens, SS completed his first sf feature -- the 140min _^<i_Firelight_^>i_ (1963) -- at the age of 16; he studied English rather than film at
college in California. His first professional film was _^<i_Amblin'_^>i_ (1969), a slick short about hitch-hiking which was distributed as a support feature with the very successful _^<i_Love Story_^>i_ (1970); it secured SS a contract with
Universal Pictures' tv division. His tv debut was a segment of the 1969 pilot for _^<a_!T2661_ROD SERLING'S NIGHT GALLERY_^>a_, starring Joan Crawford; in 1971 he made _^<i_LA 2019_^>i_, an sf-themed episode of _^<b_The Name of the Game_^>b_
(1968-71), and went on to tv features: _^<i_Columbo: Murder by the Book_^>i_ (1971), _^<i_Something Evil_^>i_ (1972), a ghost story, and _^<i_Savage_^>i_ (1972), a high-tech thriller. He first attracted widespread attention with _^<i_Duel_^>i_
(1971), a suspenseful tv adaptation of Richard _^<a_!T3718_MATHESON_^>a_'s horror story about a motorist pursued by a vindictive petrol tanker._^<n__^<n__^<i_Duel_^>i_ was successfully released overseas as a movie, with 15 extra minutes of
characterization to bring it up to feature length, and it led to SS's first theatrical feature, _^<i_The Sugarland Express_^>i_ (1974), and to the enormously successful assignment of the _^<a_!T3011_MONSTER MOVIE_^>a_ _^<i_Jaws_^>i_ (1975), a
box-office rollercoaster about the hunting of a giant shark. After _^<i_Jaws_^>i_, in which SS had little script involvement, he opted for a more personal and visionary film, _^<a_!T764_CLOSE ENCOUNTERS OF THE THIRD KIND_^>a_ (1977), which managed
on the strength of its extraordinary climactic vision of an alien epiphany to become another major box-office success, despite a lopsided story and an unevenness of tone SS himself tried in vain to rectify in his revision of the material,
_^<a_!T765_CLOSE ENCOUNTERS OF THE THIRD KIND -- THE SPECIAL EDITION_^>a_ (1980). The novelization _^<i_Close Encounters of the Third Kind_^>i_ * (_^<b_1977_^>b_; rev vt _^<i_Close Encounters of the Third Kind: The Special Edition_^>i_ 1980) was
published as by SS._^<n__^<n_After the critically vilified _^<i_1941_^>i_ (1979), SS made a solid return to popular acceptance with the George _^<a_!T3477_LUCAS_^>a_-produced _^<i_Raiders of the Lost Ark_^>i_ (1981), a tribute to the Saturday
matinee serials of the 1940s, and then scored a phenomenal hit with _^<a_!T6704_E.T.: THE EXTRATERRESTRIAL_^>a_ (1982), which currently stands as the most commercially successful film of all time. Sciencefictional in its subject matter but a
fairy-tale in feeling, it tells of a child's miraculous friend who happens to be an _^<a_!T98_ALIEN_^>a_. Since that career high SS has made two _^<b_Raiders_^>b_ sequels -- _^<i_Indiana Jones and the Temple of Doom_^>i_ (1984) and _^<i_Indiana
Jones and the Last Crusade_^>i_ (1989)-in between more ambitious, less obviously box-office pictures, adaptations of novels by Alice _^<a_!T5426_WALKER_^>a_ and J.G. _^<a_!T378_BALLARD_^>a_, respectively _^<i_The Color Purple_^>i_ (1985) and
_^<i_Empire of the Sun_^>i_ (1987), and the wistful fantasy _^<i_Always_^>i_ (1990). His long-awaited but disappointing homage to Disney's _^<i_Peter Pan_^>i_ (1953) was _^<i_Hook_^>i_ (1991), a lumbering and sentimental rendition of a fantasy that
should have had a certain delicacy in its otherworldliness. However, he had a splendid return to form in 1993, when he directed both the hugely popular sf extravaganza _^<i__^<a_!B9142__^<a_!T6433_JURASSIC PARK_^>a__^>a__^>i_ (1993) and the
critically acclaimed drama about efforts to shelter Jews in wartime Germany, _^<i_Schindler's List_^>i_ (1993), which won seven Oscars including -- it was a long wait -- Best Director._^<n__^<n_In addition to his work as a director, SS has shown a
commitment to genre material in his work as a producer, coproducing and directing episodes of _^<i_Twilight Zone: The Movie_^>i_ (1983) and the tv series _^<a_!T141_AMAZING STORIES_^>a_ (1985-7). He has done much to further the careers of fellow
film-makers Joe _^<a_!T1056_DANTE_^>a_, Robert Zemeckis and Frank Marshall, and has coproduced, usually as Executive Producer through his Amblin Entertainment group, a wide variety of sf, fantasy and horror productions, including
_^<i_Poltergeist_^>i_ (1982), _^<i_Gremlins_^>i_ (1984), _^<i_The Goonies_^>i_ (1985), _^<a_!T344_BACK TO THE FUTURE_^>a_ (1985), _^<i_Young Sherlock Holmes_^>i_ (1985; vt _^<i_Young Sherlock Holmes and the Pyramid of Fear_^>i_), _^<i_An American
Tail_^>i_ (1986), _^<a_!T4321_HARRY AND THE HENDERSONS_^>a_ (1987; vt _^<i_Bigfoot and the Hendersons_^>i_),_^<n__^<n__^<a_!T3784_INNERSPACE_^>a_ (1987), _^<a_!T461_,*BATTERIES NOTINCLUDED_^>a_ (1987), _^<i_Who Framed Roger Rabbit_^>i_ (1988),
_^<i_The Land Before Time_^>i_ (1988), _^<a_!T345_BACK TO THE FUTURE PART II_^>a_ (1989), _^<a_!T346_BACK TO THE FUTURE PART III_^>a_ (1989), _^<i_Gremlins 2: The New Batch_^>i_ (1990), _^<i_Joe vs the Volcano_^>i_ (1990),
_^<a_!T6324_ARACHNOPHOBIA_^>a_ (1990), _^<i_An American Tail II_^>i_ (1991) and _^<i_Cape Fear_^>i_ (1991). Spielberg's Amblin also produced the prehistoric nostalgia movie _^<i_The Flintstones_^>i_ (1994), but SS received no production credit. In
tv Amblin produced the sf series _^<i__^<a_!T6519_SEAQUEST DSV_^>a__^>i_ (1993- ), a sort of _^<i__^<a_!T5414_VOYAGE TO THE BOTTOM OF SEA_^>a__^>i_ for a new generation, but like _^<i_Amazing Stories_^>i_ it has disappointed in the ratings. Tv
seems to be an area where the Spielberg magic -- or at least the Amblin magic -- does not fully operate, as shown by another series, _^<i_The Young Indiana Jones Chronicles_^>i_ (1992), an unexpectedly earnest show that slumped
badly._^<n__^<n_Unashamedly populist and sentimental -- although not without a gleefully nasty side, as seen in _^<i_Jaws_^>i_, _^<i_Poltergeist_^>i_ and _^<i_Gremlins_^>i_ -- SS has proved himself unquestionably the most commercially successful
film-maker of all time, dominating the box office for 16 years with a succession of hits that make up for the occasional _^<i_1941_^>i_. A skilled and in many ways sophisticated director, he is, despite his incredible success, still young enough
and powerful enough to be labelled "promising". On the other hand, he has become one of the most powerful figures in Hollywood. A big Hollywood story of late 1994 was the annouced partnership between Spielberg, David Geffen and Jeffrey Katzenberg,
to form a major new film studio into which Amblin Entertainment would be merged, while retaining its own identity. This -- if it is not merely a political-industrial power ploy -- could have interesting repercussions on the whole industry.
[KN/PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T726_CINEMA_^>a_; _^<a_!T4443_HISTORY OF SF_^>a_; _^<a_!T5694_STEAMPUNK_^>a_; _^<a_!T5926_TELEVISION_^>a_; _^<a_!T5273_UFOS_^>a_.
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SPINDIZZY
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One of the best-loved items of sf _^<a_!T5942_TERMINOLOGY_^>a_. The spindizzy is the _^<a_!T198_ANTIGRAVITY_^>a_ device used to drive flying cities through the Galaxy in James _^<a_!T658_BLISH_^>a_'s series collected as _^<i__^<a_!B9125_CITIES IN
FLIGHT_^>a__^>i_ (omni _^<b_1970_^>b_), though he was using the term as early as 1950. He gave the spindizzy a wonderfully plausible rationale, rooted in theoretical physics, in which _^<a_!T4817_GRAVITY_^>a_ fields are seen as generated or
cancelled by rotation. [PN]_^<n__^<n_
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SPIN-OFF
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> _^<a_!T6014_TIE_^>a_._^<n__^<n_
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SPINRAD, NORMAN (RICHARD)
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(1940- ) US writer, born in New York -- where he has set some impressive fiction -- and now resident in France. He began publishing sf with "The Last of the Romany" for _^<i_ASF_^>i_ in 1963, which he assembled with other early work in _^<i_The
Last Hurrah of the Golden Horde_^>i_ (coll _^<b_1970_^>b_), the title story being among the most successful of the attempts made by divers authors to write a tale using the characters and Universe of Michael _^<a_!T3030_MOORCOCK_^>a_'s _^<b_Jerry
Cornelius_^>b_ series. The story was originally published in _^<i_NW_^>i_, to which NS was a significant contributor during the 1960s, when both the US and UK _^<a_!T3181_NEW-WAVE_^>a_ movements, though with different emphases (the UK form tending
more selfconsciously to assimilate _^<a_!T3609_MAINSTREAM_^>a_ modes like Surrealism), argued against traditional sf, which had failed to use the hard sciences to explore _^<a_!T3783_INNER SPACE_^>a_, regarded as the proper territory of all
genuinely serious writing. After publishing two commercial _^<a_!T2342_SPACE OPERAS_^>a_ -- _^<i_The Solarians_^>i_ (_^<b_1966_^>b_) and _^<i_Agent of Chaos_^>i_ (_^<b_1967_^>b_) -- NS subsequently kept faith with that brief and the ethos which
generated it._^<n__^<n__^<i_The Men in the Jungle_^>i_ (_^<b_1967_^>b_) -- which subjects its tough, urban protagonist to a complex set of Realpolitik adventures on a distant planet -- demonstrates the vigour and occasionally slapdash bravado of
what would become NS's typical style; but it was with his next book, _^<i__^<a_!B9004_BUG JACK BARRON_^>a__^>i_ (_^<b_1969_^>b_), that he made his greatest impact on the sheltered world of sf. This long novel was first serialized in a shorter form
in _^<a_!T3182_NEW WORLDS_^>a_ (1967-8), where its violent texture and profanity rattled the excitable dovecotes of the UK "moral establishment", leading directly to the banning of the magazine by W.H. Smith, a newsagency chain so huge that its
action was tantamount to censorship. The equally risible parochialism of the sf world, when confronted by this not particularly shocking novel, was demonstrated by Sam J. _^<a_!T3492_LUNDWALL_^>a_ in his _^<i_Science Fiction: What It's All
About_^>i_ (_^<b_1969_^>b_; trans exp _^<b_1971_^>b_), where he described and dismissed the book as "practically a collection of obscenities". The novel itself, whose language does not fully conceal a certain sentimentality, deals with a
_^<a_!T6337_NEAR-FUTURE_^>a_ USA through tv figure Jack Barron and his involvement in a politically corrupt system: the resulting picture of the USA as a hyped, _^<a_!T2115_SEX_^>a_-obsessed, apocalyptic world made the text seem less sf than
_^<a_!T1372_FABULATION_^>a_, where this sort of vision is common. The sledgehammer style matched, at points, the content._^<n__^<n_In NS's next novel, _^<i_The Iron Dream_^>i_ (_^<b_1972_^>b_), the intention to offend was gratifyingly explicit. An
_^<a_!T131_ALTERNATE WORLD_^>a_ in which Hitler, thwarted as a politician, must make do with being an author of popular fiction is the frame for a long sf tale from his feverish pen, "Lord of the Swastika". This makes up most of the novel's text
and gives NS the opportunity to mock -- effectively if at times unrelentingly -- some of the less attractive tendencies of right-wing sf, its fetish with gear, its fascist love of hierarchical display, its philistinism, its brutishness, its not
entirely secret contempt for the people its _^<a_!T4395_HEROES_^>a_ defend. The "Afterword" by "Homer Whipple" just as hilariously guys the kind of critical writing generated by publish-or-perish academics. NS then released 2 further collections --
_^<i_No Direction Home_^>i_ (coll _^<b_1975_^>b_) and _^<i_The Star-Spangled Future_^>i_ (coll _^<b_1979_^>b_), the latter an adroitly shaped compilation of his first 2 collections -- which concisely demonstrate the range of his response to the
complexities of a rapidly changing Western world. From this point, that world dominated -- as metaphor or in realistic depiction-his work. In _^<i_A World Between_^>i_ (_^<b_1979_^>b_) the citizens of a _^<a_!T5303_UTOPIAN_^>a_ world deal with
strident threats to their middle way from technophile fascists of the right and lesbian fascists of the left. _^<i_The Mind Game_^>i_ (_^<b_1980_^>b_; vt _^<i_The Process_^>i_ 1983), not sf, savagely treats a manipulative "church" whose dictates
and cynicism are of a sort familiar to sf readers, and the later _^<i_The Childen of Hamelin_^>i_ (_^<b_1991_^>b_), likewise not sf, deals with contemporary people trapped in a cult. The post-_^<a_!T4482_HOLOCAUST_^>a_ _^<i_Songs from the
Stars_^>i_ (_^<b_1980_^>b_) opposes a restrictive "black" technological rule with an uplift message from a soaring galactic civilization._^<n__^<n_NS's best 1980s novel was perhaps _^<i_The Void Captain's Tale_^>i_ (_^<b_1983_^>b_) which, with its
thematic partner _^<i_Child of Fortune_^>i_ (_^<b_1985_^>b_), comprises what one might call an eroticized vision of the Galaxy. The _^<a_!T2348_SPACESHIP_^>a_ in the first tale is driven by Eros, in a very explicit sense; and the female protagonist
of the second fertilizes-at least symbolically -- all she touches in her elated _^<i_Wanderjahr_^>i_ among the sparkling worlds. _^<i_Little Heroes_^>i_ (_^<b_1987_^>b_) is set in a nightmarish urban near-future USA, divided into haves and
ruthlessly manipulated have-nots; the plot turns on a combination of technology-fixing and co-optation that cuts close to the bone, though by this date NS's weary rage had begun to lose some of its purgative bite. However, the 4 novellas about the
state of the USA assembled in _^<i_Other Americas_^>i_ (coll _^<b_1988_^>b_) show a recovery of NS's urban venom about the self-devouring progress of his native land into the millennium; _^<i_Russian Spring_^>i_ (_^<b_1991_^>b_), set in a
near-future world dominated by a USSR liberated by _^<i_perestroika_^>i_, again voluminously anatomizes the American Dream, though the effect of the book was muffled by the real-life collapse of the USSR in 1991; but _^<i_Deus X_^>i_
(_^<b_1993_^>b_) adroitly mixed the cod theologizings of a troubled Pope with excursions into _^<a_!T1016_CYBERSPACE_^>a_, where souls may -- or may not -- be deemed to dwell; and _^<i_Vampire Junkies_^>i_ (1993 _^<i_Tomorrow_^>i_; _^<b_1994_^>b_
chap) neatly contrasts the experiences of Vlad Dracul in the 1990s with those of a hooker addicted to smack; _^<i_Pictures at Eleven_^>i_ (_^<b_1994_^>b_) is associational._^<n__^<n_Two nonfiction collections -- _^<i_Staying Alive: A Writer's
Guide_^>i_ (coll _^<b_1983_^>b_) and _^<i_Science Fiction in the Real World_^>i_ (coll _^<b_1990_^>b_) -- make even more explicit some of his bleak assumptions about the course of the world to which he so vehemently belongs.
[JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Passing through the Flame_^>i_ (_^<b_1975_^>b_), not sf; _^<i_Riding the Torch_^>i_ (in _^<i_Threads of Time_^>i_ [anth _^<b_1974_^>b_]; _^<b_1978_^>b_ dos)._^<b_As Editor:_^>b_ _^<i_The New Tomorrows_^>i_
(anth _^<b_1971_^>b_); _^<i_Modern Science Fiction_^>i_ (anth _^<b_1974_^>b_)._^<b_Nonfiction:_^>b_ _^<i_Experiment Perilous: Three Essays on Science Fiction_^>i_ (coll _^<b_1976_^>b_ chap) ed Andrew _^<a_!T1953_PORTER_^>a_; _^<i_The Reasons behind
the SFWA Model Paperback Contract_^>i_ (_^<b_1978_^>b_ chap)._^<b_See also:_^>b_ _^<a_!T761_CLONES_^>a_; _^<a_!T963_CRITICAL AND HISTORICAL WORKS ABOUT SF_^>a_; _^<a_!T1015_CYBERPUNK_^>a_; _^<a_!T1142_DEFINITIONS OF SF_^>a_;
_^<a_!T1197_DESTINIES_^>a_; _^<a_!T6576_ECOLOGY_^>a_; _^<a_!T6661_END OF THE WORLD_^>a_; _^<a_!T6679_ENTROPY_^>a_; _^<a_!T1410_FANTASTIC VOYAGES_^>a_; _^<a_!T1443_FASTER THAN LIGHT_^>a_; _^<a_!T1695_GAMES AND SPORTS_^>a_; _^<a_!T4446_HITLER
(1896-1963) French writer whose first sf novel of interest, _^<i_L'agonie du globe_^>i_ (_^<b_1935_^>b_; trans Margaret Mitchiner as _^<i_Sever the Earth_^>i_ _^<b_1936_^>b_ UK), describes the consequences attendant upon the splitting of the planet
into two halves 50 miles (80km) apart. In _^<i_La Guerre des mouches_^>i_ ["War of the Flies"] (_^<b_1938_^>b_) mutated flies defeat humanity, keeping alive only a few abject specimens, one of whom tells the tale. The _^<a_!T2880_SCIENTIST_^>a_
protagonist of _^<i_L'Homme elastique_^>i_ ["The Elastic Man"] (_^<b_1938_^>b_) discovers a method of compressing atoms, allowing him (on request) to create an army of tiny soldiers, who turn out to be examples of _^<i_Homo superior_^>i_ (>
_^<a_!T5830_SUPERMAN_^>a_). In _^<i_L'Oeil du purgatoire_^>i_ ["The Eye of Purgatory"] (_^<b_1945_^>b_) a mad scientist develops a bacillus which, when injected into the protagonist, allows (or forces) him to see the future wherever he looks -- a
condition which becomes purgatorial as he sees deeper and deeper into the destinies of those around him, until eventually he is capable of perceiving little more than corpses. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T1590_FRANCE_^>a_.
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SPLATTER MOVIES
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Term used by 1980s movie-goers to describe films that display gore, disembowelment and mutilation as a central feature. Many exploitation films of the 1970s and 1980s fall into this category, including such fringe sf/_^<a_!T4509_HORROR_^>a_ movies
as _^<a_!T351_BAD TASTE_^>a_ (1987), _^<a_!T1108_DAY OF THE DEAD_^>a_ (1985), _^<a_!T2525_RE-ANIMATOR_^>a_ (1985) and _^<i_The_^<a_!T5973_THING_^>a__^>i_ (1982 remake). By no means all such films are bad, though all may be ethically suspect in
their apparent appeal to sadistic voyeurism. [PN]_^<n__^<n_
Film (1991). Challenge. Dir Tony Maylam, Ian Sharp, starring Rutger Hauer, Kim Cattrall, Neil Duncan, Michael J. Pollard, Alun Armstrong, Pete Postlethwaite, Ian Dury. Screenplay by Gary Scott Thompson. 91 mins. Colour._^<n__^<n_London, AD2008. The
Thames has risen and society is crumbling. Coffee-drinking hard man Hauer and comics-reading Scots intellectual Duncan are brawling buddy cops on the trail of a heart-eating villain who carves astrological symbols on what's left of his victims'
chests. Proposed solutions include mutant DNA and the Devil, but in the finale the baddie turns out to be a regulation _^<a_!T98_ALIEN_^>a_-style Big Monster With Teeth who confronts Hauer on a tube train. Inexplicable events, disappearing
characters and logical lapses abound. Maylam, who directs this sf _^<a_!T2374_SPLATTER MOVIE_^>a_ at a rapid plod, establishes a Drowned World atmosphere by pouring water into all the sets and painting everything grey; Sharp took over for the
action climax. Despite the murkiness of this future world, Hauer stays cool in sunglasses; Duncan's enthusiastic performance offers the sole touch of character. [KN]_^<n__^<n_
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SPORTS
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> _^<a_!T1695_GAMES AND SPORTS_^>a_._^<n__^<n_
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SPRAGUE, CARTER
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[s] > Sam _^<a_!T2913_MERWIN_^>a_ Jr._^<n__^<n_
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SPRIGEL, OLIVIER
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> Pierre _^<a_!T401_BARBET_^>a_._^<n__^<n_
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SPRUILL, STEVEN G(REGORY)
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(1946- ) US writer and psychologist. In his first sf novel, _^<i_Keepers of the Gate_^>i_ (_^<b_1977_^>b_; rev 1978), a complicated adventure tale rather in the mode of Keith _^<a_!T4206_LAUMER_^>a_, the alien Proteps of Eridani turn out to be an
advanced form of _^<i_Homo sapiens_^>i_, and have been suppressing mankind's urge to the stars for selfish reasons; the generic cues for revelling in such a tale are deployed with some competence. He is best known for his _^<b_Elias Kane_^>b_
sequence -- even the protagonist's name seems to be a homage to Isaac _^<a_!T268_ASIMOV_^>a_'s earlier detective Elijah Bailey -- about an intelligently moody detective and his superpowered sidekick: _^<i_The Psychopath Plague_^>i_
(_^<b_1978_^>b_), _^<i_The Imperator Plot_^>i_ (_^<b_1982_^>b_) and _^<i_Paradox Planet_^>i_ (_^<b_1988_^>b_). The series seems incomplete; but, although a template interminability attends Kane's repeated assignments, granted him by the current
Imperator who rules Earth and several colonies, the passage of time is clearly marked throughout: the woman Kane falls in love with and marries in the 1st vol -- whose deadly plague has been induced by aliens -- is murdered in the 2nd; and the
Imperator who is beheaded, but remains alive, in the 2nd -- which concerns this attempted assassination -- has been succeeded in the 3rd, which is set on a heavy-gravity colony planet. A sense of potential interestingness pervades even the most
(vt _^<i_Ssssnake!_^>i_) Film (1973). Zanuck-Brown/Universal. Prod Dan Striepeke. Dir Bernard L. Kowalski, starring Strother Martin, Dirk Benedict, Heather Menzies. Screenplay Hal Dresner, based on a story by Striepeke. 99 mins. Colour._^<n__^<n_In
a period when most _^<a_!T3011_MONSTER MOVIES_^>a_ were spoofs, this competently made film is unusual for playing it straight (despite the title). An obsessed scientist (Martin) believes that only ophidians (snakes) will survive what he sees as
coming ecocatastrophe, so he works on developing snake-like properties -- e.g., cold blood -- in humans, early failures being sold to the carnival freak-show. He finally succeeds in transforming his daughter's boy-friend (Benedict) into something
like a king cobra (rather good make-up by John Chambers). Then along comes a mongoose . . . [JB/PN]_^<n__^<n_
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STABLEFORD, BRIAN M(ICHAEL)
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(1948- ) UK writer, critic and academic, with a degree in _^<a_!T611_BIOLOGY_^>a_ and a doctorate in _^<a_!T2300_SOCIOLOGY_^>a_, which he taught 1977-88 before turning to writing full-time. He began his writing career early, collaborating with a
schoolfriend, Craig A. Mackintosh (together as Brian Craig), on his first published story, "Beyond Time's Aegis" for _^<i_Science Fantasy_^>i_ in 1965. BMS then dropped the Brian Craig pseudonym, using it again only in the late 1980s when he
undertook to _^<a_!T2126_SHARECROP_^>a_ some ties for a _^<a_!T4597_GAME-WORLD_^>a_ enterprise (> _^<a_!T4596_GAMES WORKSHOP_^>a_ and listing below). His first novel, _^<i_Cradle of the Sun_^>i_ (_^<b_1969_^>b_ dos US), a quest story set in the
_^<a_!T1432_FAR FUTURE_^>a_, is notable for its colourful imagery. _^<i_The Blind Worm_^>i_ (_^<b_1970_^>b_ dos US), hastily written, is in the same vein. In these early works, and in most of his subsequent sf novels, BMS put his knowledge of
biology to good use, constructing a long series of outrageous but plausible _^<a_!T6576_ECOLOGIES_^>a_ whose intricacy sometimes overwhelmed the _^<a_!T2342_SPACE-OPERA_^>a_ formats to which he generally adhered over the first 15 years of his
career. The early _^<b_Dies Irae_^>b_ trilogy -- _^<i_The Days of Glory_^>i_ (_^<b_1971_^>b_ US), _^<i_In the Kingdom of the Beasts_^>i_ (_^<b_1971_^>b_ US) and _^<i_Day of Wrath_^>i_ (_^<b_1971_^>b_ US) -- mixed these usual space-opera trappings
with _^<a_!T5875_SWORD AND SORCERY_^>a_. Based on _^<a_!T4490_HOMER_^>a_'s _^<i_Iliad_^>i_ and _^<i_Odyssey_^>i_, the trilogy was dismissed as cynical hackwork (not least by BMS himself); although the narrative has some verve, it clearly does not
attempt to pay due homage to its source. _^<i_To Challenge Chaos_^>i_ (_^<b_1972_^>b_ US), the last example of BMS's juvenilia, is an overextravagant adventure set on the chaotic hemisphere of a planet that intersects another dimension; short
stories associated with this novel are "The Sun's Tears" (1974), "An Offer of Oblivion" (1974) and "Captain Fagan Died Alone" (1976)._^<n__^<n_It was with the _^<b_Grainger_^>b_ or _^<b_Hooded Swan_^>b_ series-_^<i_The Halcyon Drift_^>i_
(_^<b_1975_^>b_ US) -- that BMS began to attract serious notice in the USA, where his early work was all first published, being marketed there as adventure sf. The _^<b_Grainger_^>b_ novels -- first-person narratives in a Chandleresque style --
concern the adventures of the pilot of a _^<a_!T1443_FASTER-THAN-LIGHT_^>a_ spacecraft, the _^<i_Hooded Swan_^>i_, on a variety of planets. In the first tale Grainger, marooned on a remote world, becomes host to a mind parasite, a benign entity
which occasionally takes over his body and drives it to feats of endurance. In later books the increasingly disillusioned, sardonic, pacific Grainger penetrates further biological mysteries, but the series itself holds back from fully articulating
the subversiveness of his behaviour, and there is little sense of accumulating burden. A second series -- the _^<b_Daedalus Mission_^>b_ books, comprising _^<i_The Florians_^>i_ (_^<b_1976_^>b_ US), _^<i_Critical Threshold_^>i_ (_^<b_1977_^>b_ US),
_^<i_Wildeblood's Empire_^>i_ (_^<b_1977_^>b_ US), _^<i_The City of the Sun_^>i_ (_^<b_1978_^>b_ US), _^<i_Balance of Power_^>i_ (_^<b_1979_^>b_ US) and _^<i_The Paradox of Sets_^>i_ (_^<b_1979_^>b_ US) -- recounts to similar effect the various
experiences of the crew of the spaceship _^<i_Daedalus_^>i_, which has been sent out to re-contact lost Earth colonies._^<n__^<n_Most of BMS's fiction has been confined to series, but _^<i_Man in a Cage_^>i_ (_^<b_1975_^>b_ US), an unformulaic
singleton, deals with the _^<a_!T2023_PSYCHOLOGY_^>a_ of social adaptation as dramatized through a schizophrenic narrator selected to participate in a space-project where "sane" men have already proved inadequate. A powerfully written but difficult
novel, it is slightly reminiscent of the best work of Robert _^<a_!T2216_SILVERBERG_^>a_ and Barry N. _^<a_!T3629_MALZBERG_^>a_. _^<i_The Mind-Riders_^>i_ (_^<b_1976_^>b_ US), perhaps somewhat more conventional, is narrated by a cynical boxer who
performs via an electronic simulation device while the audience "plugs in" to his emotions. Like Grainger's wonderful spaceship, and like the false personality which "cages" the hero of _^<i_Man in a Cage_^>i_, the simulator is an armour
surrounding the self, enabling the protagonist to survive in a hostile world. _^<i_The Face of Heaven_^>i_ (_^<b_1976_^>b_) -the first part of a trilogy published in 1 vol as _^<i_The Realms of Tartarus_^>i_ (_^<b_1977_^>b_ US) -- is a biological
phantasmagoria concerning a _^<a_!T5303_UTOPIA_^>a_ built on a huge platform above the Earth's surface, and the conflict with the mutated lifeforms which proliferate below. This tale, choked with ingenious invention and grotesqueries, and _^<i_The
Walking Shadow_^>i_ (_^<b_1979_^>b_) stand as BMS's most clearly _^<a_!T2404_STAPLEDON_^>a_-esque epics, and show a vein of contemplative wonder that he was later -- in the impressive academic study, _^<i_The Scientific Romance in Britain
1890-1950_^>i_ (_^<b_1985_^>b_) -- to characterize as an essential element tending to distinguish UK from US sf._^<n__^<n_Further novels of interest from this period include _^<i_The Castaways of Tanagar_^>i_ (_^<b_1981_^>b_ US) and _^<i_The Gates
of Eden_^>i_ (_^<b_1983_^>b_ US). After beginning the _^<b_Asgard_^>b_ trilogy with _^<i_Journey to the Center_^>i_ (_^<b_1982_^>b_ US; rev 1989 UK)-which he completed with _^<i_Invaders from the Centre_^>i_ (_^<b_1990_^>b_) and _^<i_The Centre
Cannot Hold_^>i_ (_^<b_1990_^>b_) -- BMS stopped producing fiction for some time, concentrating on popular and scholarly studies of sf and _^<a_!T1669_FUTUROLOGY_^>a_ like _^<i_The Science in Science Fiction_^>i_ (_^<b_1982_^>b_) with David
_^<a_!T4186_LANGFORD_^>a_ and Peter _^<a_!T3189_NICHOLLS_^>a_, _^<i_The Sociology of Science Fiction_^>i_ (_^<b_1985_^>b_ US) and, with Langford, _^<i_The Third Millennium: A History of the World AD 2000-3000_^>i_ (_^<b_1985_^>b_); he also
contributed very widely during this period to a number of journals, including _^<a_!T1577_FOUNDATION_^>a_, and to various scholarly anthologies, including many of the essays in E.F. _^<a_!T654_BLEILER_^>a_'s 2 anthologies devoted to extended
studies of individual authors: _^<i_Science Fiction Writers_^>i_ (anth _^<b_1982_^>b_ US) and _^<i_Supernatural Fiction Writers_^>i_ (2 vols anth _^<b_1985_^>b_ US). He has served as contributing editor to both editions of this
encyclopedia._^<n__^<n_Whether or not these years away from fiction were in themselves rejuvenating, on returning to sf BMS produced in short order his 3 finest novels to date. _^<i_The Empire of Fear_^>i_ (_^<b_1988_^>b_) is an alternate history
(> _^<a_!T131_ALTERNATE WORLDS_^>a_) of Europe from the Middle Ages to the present in which immortal vampires -- whose condition is here scientifically premised -- dominate the world; told with the geographic sweep and visionary didacticism typical
of the _^<a_!T2878_SCIENTIFIC ROMANCE_^>a_, the book successfully assimilates into sf modes some of the vast lore of the vampire. In _^<i_The Werewolves of London_^>i_ (_^<b_1990_^>b_) and its sequels _^<i_The Angel of Pain_^>i_ (_^<b_1991_^>b_)
and _^<i_The Carnival of Destruction_^>i_, the first two set in a 19th-century UK and the third reflecting the events of WW1, BMS appropriates further material from other genres, creating a sequence in which werewolves, bred by primordial
godling-like creatures at the dawn of time, participate in an apocalyptic -- and thoroughly discussed -- testing of the nature of reality. With these novels, and with the sharp tales assembled in _^<i_Sexual Chemistry: Sardonic Tales of the Genetic
Revolution_^>i_ (coll _^<b_1991_^>b_), BMS suddenly became a writer whose fiction befitted his intelligence, for in much of his earlier work a certain tone of chill indifference had tended to baulk the reader's identification. The change was most
welcome, and _^<i_Young Blood_^>i_ (_^<b_1992_^>b_) -- which could be described as a scientific romance about the biochemical roots of human identity within the context of an unconventional vampire tale -- fully justifies the sense that BS had
entered his years of flourishing. [DP/JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_The Last Days of the Edge of the World_^>i_ (_^<b_1978_^>b_), fantasy juvenile; _^<i_Optiman_^>i_ (_^<b_1980_^>b_ US; vt _^<i_War Games_^>i_ 1981 UK); _^<i_The Cosmic
Perspective/Custer's Last Stand_^>i_ (coll _^<b_1985_^>b_ chap dos US); _^<i_Slumming in Voodooland_^>i_ (_^<b_1991_^>b_ chap US); _^<i_The Innsmouth Heritage_^>i_ (_^<b_1992_^>b_ chap), a sequel to H.P. _^<a_!T3465_LOVECRAFT_^>a_'s "Shadow Over
Innsmouth" (1942); _^<i_Firefly: A Novel of the Far Future_^>i_ (_^<b_1994 _^>b_US), a novel mostly composed very early in BS's career, but only published now._^<b_As Brian Craig:_^>b_ For Games Workshop, the _^<b_Orfeo_^>b_ sequence of fantasies
tied to the _^<b_Warhammer_^>b_ fantasy game-world -- _^<i_Zaragoz_^>i_ * (_^<b_1989_^>b_); _^<i_Plague Demon_^>i_ * (_^<b_1990_^>b_); _^<i_Storm Warriors_^>i_ * (_^<b_1991_^>b_) -- plus _^<i_Ghost Dancers_^>i_ * (_^<b_1991_^>b_), tied to the
_^<b_Dark Future_^>b_ sf game-world._^<b_As Editor:_^>b_ The _^<b_Decadence_^>b_ anthology sequence, being _^<i_The Dedalus Book of Decadence (Moral Ruins)_^>i_ (anth _^<b_1990_^>b_) and _^<i_The Second Dedalus Book of Decadence: The Black
Feast_^>i_ (anth _^<b_1992_^>b_); _^<i_Tales of the Wandering Jew_^>i_ (anth _^<b_1991_^>b_); _^<i_The Dedalus Book of British Fantasy: The 19th Century_^>i_ (anth _^<b_1991_^>b_); _^<i_The Dedalus Book of Femmes Fatales_^>i_ (anth
_^<b_1992_^>b_)._^<b_Nonfiction:_^>b_ _^<i_The Mysteries of Modern Science_^>i_ (_^<b_1977_^>b_); _^<i_A Clash of Symbols: The Triumph of James Blish_^>i_ (_^<b_1979_^>b_ chap US); _^<i_Masters of Science-Fiction: Essays on Science-Fiction
Authors_^>i_ (coll _^<b_1981_^>b_ chap US); _^<i_Future Man: Brave New World or Genetic Nightmare?_^>i_ (_^<b_1984_^>b_)._^<b_See also:_^>b_ _^<a_!T197_ANTHROPOLOGY_^>a_; _^<a_!T257_ARTS_^>a_; _^<a_!T799_COLLECTIONS_^>a_; _^<a_!T902_COSMOLOGY_^>a_;
_^<a_!T963_CRITICAL AND HISTORICAL WORKS ABOUT SF_^>a_; _^<a_!T987_CRYONICS_^>a_; _^<a_!T1142_DEFINITIONS OF SF_^>a_; _^<a_!T6697_ESP_^>a_; _^<a_!T6717_EVOLUTION_^>a_; _^<a_!T1412_FANTASY_^>a_; _^<a_!T1695_GAMES AND SPORTS_^>a_;
_^<a_!T4655_GENERATION STARSHIPS_^>a_; _^<a_!T4657_GENETIC ENGINEERING_^>a_; _^<a_!T4740_GODS AND DEMONS_^>a_; _^<a_!T4288_HARD SF_^>a_; _^<a_!T4442_HISTORY IN SF_^>a_; _^<a_!T4443_HISTORY OF SF_^>a_; _^<a_!T4509_HORROR IN SF_^>a_;
_^<a_!T1797_PARASITISM AND SYMBIOSIS_^>a_; _^<a_!T1812_PASTORAL_^>a_; _^<a_!T2115_SEX_^>a_; _^<a_!T5694_STEAMPUNK_^>a_.
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STABLES, (WILLIAM) GORDON
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(1840-1910) Scottish author of children's fiction; he served as surgeon on a whaling boat and later with the Royal Navy; some of his books were signed Dr Gordon Stables, RN. He wrote extensively for the _^<a_!T4958_BOYS' PAPERS_^>a_, including
_^<i_The Boys' Own Paper_^>i_, where he published many _^<a_!T1410_FANTASTIC VOYAGES_^>a_ in competition with the serials of Jules _^<a_!T5355_VERNE_^>a_; the most Verne-like were _^<i_The Cruise of the Crystal Boat_^>i_ (_^<b_1891_^>b_), a
moralistic tale of aerial adventure in an electrically powered craft, and _^<i_An Island Afloat_^>i_ (_^<b_1903_^>b_). _^<a_!T3460_LOST-WORLD_^>a_ elements appeared in some stories, notably _^<i_In Quest of the Giant Sloth_^>i_ (_^<b_1901_^>b_; vt
_^<i_The Strange Quest_^>i_ 1937) and _^<i_In Regions of Perpetual Snow_^>i_ (_^<b_1904_^>b_), and became more dominant in _^<i_The City at the Pole_^>i_ (_^<b_1906_^>b_), which envisages a temperate polar region and a Viking community and
prehistoric survivals there. His only excursion outside these themes was his future-_^<a_!T5452_WAR_^>a_ novel, _^<i_The Meteor Flag of England_^>i_ (_^<b_1905_^>b_). [JE]_^<n__^<n__^<b_Other works:_^>b_ _^<i_The Cruise of the Snowbird_^>i_
(_^<b_1882_^>b_) and its sequel _^<i_Wild Adventures Round the Pole_^>i_ (_^<b_1883_^>b_); _^<i_From Pole to Pole_^>i_ (_^<b_1886_^>b_); _^<i_Frank Hardinge_^>i_ (_^<b_1898_^>b_); _^<i_In the Great White Land_^>i_ (_^<b_1902_^>b_)._^<b_See
also:_^>b_ _^<a_!T2348_SPACESHIPS_^>a_.
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STACPOOLE, H(ENRY) DE VERE
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(1865-1951) UK author best known for his South Sea romances, including non-sf _^<a_!T2641_ROBINSONADES_^>a_ like, most famously, _^<i_The Blue Lagoon_^>i_ (_^<b_1908_^>b_), filmed in 1948 and 1980. His _^<a_!T3460_LOST-WORLD_^>a_ novel is _^<i_The
City in the Sea_^>i_ (_^<b_1926_^>b_). He wrote several weird novels: _^<i_Death, the Knight, and the Lady_^>i_ (_^<b_1897_^>b_), _^<i_The Man who Lost Himself_^>i_ (_^<b_1918_^>b_), _^<i_The Ghost Girl_^>i_ (_^<b_1918_^>b_) and _^<i_The
Sunstone_^>i_ (_^<b_1936_^>b_). His sf proper was generally restricted to the magazines; it includes a world-_^<a_!T1243_DISASTER_^>a_ story, "The White Eye" (1918). _^<i_The Story of My Village_^>i_ (_^<b_1947_^>b_), his only sf novel proper,
depicts a plague of blindness which stops progress short, saving the world from nuclear _^<a_!T4482_HOLOCAUST_^>a_. [JE]_^<n__^<n__^<b_Other works:_^>b_ _^<i_The Vengeance of Mynheer Van Lik_^>i_ (coll _^<b_1934_^>b_).
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STACY, JAN
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(1948-1989) US writer of military sf novels, including the first 4 vols of the _^<b_Doomsday Warrior_^>b_, some in collaboration with Ryder _^<a_!T5882_SYVERTSEN_^>a_ under the joint pseudonym Ryder Stacy; Syvertsen continued the series solo after
JS's death (_^<i_see his entry for titles_^>i_). Their only non-series collaboration appeared under their real names: _^<i_The Great Book of Movie Monsters_^>i_ (_^<b_1983_^>b_). Writing as Jan Sievert, they began, with _^<i_C.A.D.S._^>i_
(_^<b_1985_^>b_), the _^<b_C.A.D.S._^>b_ sequence, carried on separately by Syvertsen and David _^<a_!T89_ALEXANDER_^>a_. As Craig Sargent JS wrote the _^<b_Last Ranger_^>b_ sequence of military-sf novels set in a post-_^<a_!T4482_HOLOCAUST_^>a_
venue: _^<i_The Last Ranger_^>i_ (_^<b_1986_^>b_), _^<i_#2: The Savage Stronghold_^>i_ (_^<b_1986_^>b_), _^<i_#3: The Madman's Mansion_^>i_ (_^<b_1986_^>b_), _^<i_#4: The Rabid Brigadier_^>i_ (_^<b_1987_^>b_), _^<i_#5: The War Weapons_^>i_
(_^<b_1987_^>b_), _^<i_#6: The Warlord's Revenge_^>i_ (_^<b_1988_^>b_), _^<i_#7: The Vile Village_^>i_ (_^<b_1988_^>b_), _^<i_#8: The Cutthroat Cannibals_^>i_ (_^<b_1988_^>b_), _^<i_#9: The Damned Disciples_^>i_ (_^<b_1988_^>b_) and _^<i_#10: Is
This the End?_^>i_ (_^<b_1989_^>b_). [JC]_^<n__^<n_
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STACY, RYDER
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Joint pseudonym of Jan _^<a_!T2388_STACY_^>a_ and Ryder _^<a_!T5882_SYVERTSEN_^>a_ (_^<i_whom see for titles_^>i_), and solo pseudonym, after Stacy's death, of the latter. [JC]_^<n__^<n_
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STAFFORD, PETER
-T-
> Paul _^<a_!T5889_TABORI_^>a_._^<n__^<n_
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STAHL, HENRI
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[r] > _^<a_!T2683_ROMANIA_^>a_._^<n__^<n_
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STAINES, TREVOR
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[s] > John _^<a_!T5049_BRUNNER_^>a_._^<n__^<n_
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STALKER
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Russian film, 1979. Mosfilm. Dir Andrei _^<a_!T5909_TARKOVSKY_^>a_, starring Aleksandr Kaidanovsky, Anatoli Solonitsyn, Nikolai Grinko. Production design Tarkovsky. Screenplay Arkady and Boris _^<a_!T5800_STRUGATSKI_^>a_, based on their
_^<i_Roadside Picnic_^>i_ (_^<b_1972_^>b_; trans _^<b_1977_^>b_). 161 mins. B/w and colour._^<n__^<n_The original novel tells of a mysterious Zone in Canada where enigmatic artefacts can be found, left there like picnic litter by aliens.
Tarkovsky's somewhat inaccessible film, set in a desolate, unnamed country which is probably to be read as an allegorical _^<a_!T2748_RUSSIA_^>a_, de-emphasizes the sf elements. In place of the alien artefacts is the Room, where (maybe) one's most
secret wish will be granted. To reach the Room, one must enter the Zone (photographed in muted colour, as opposed to the bleak b/w opening sequence set in an industrial wasteland) -- perhaps a Bermuda Triangle, perhaps an ironic gift from a
probably nonexistent God -- which is a little like the alien killer-maze in Algis _^<a_!T5064_BUDRYS_^>a_'s _^<i__^<a_!B9052_ROGUE MOON_^>a__^>i_ (_^<b_1960_^>b_): it is a mixture of dereliction and greenery, waterlogged, a maze of ever-changing
lethal traps, to be traversed only in a kind of drunkard's walk, an arbitrary zigzag. The Stalker, the shaven-headed smuggler-saint whose wretched life flares up only within the Zone, which he loves, is guide to the Writer and the Professor, the
former seeking genius, the latter secretly planning to bomb the Room._^<n__^<n__^<i_S_^>i_ is agonizingly static, punctuated by abstract philosophical conversations with long pauses, and yet for some viewers it has an almost unequalled hypnotic
intensity. This is partly due to Tarkovsky's lingering artist's eye, catching the beauty of ugliness as, for example, the camera pans endlessly across a shallow lake in the Zone whose floor is kitchen tiles, passing indifferently across coins,
syringes, icons, calendars, a gun, all looming through the weed. The Room is reached, but left unentered and unbombed. Afterwards, at the Stalker's home, we witness his legless daughter (the children of stalkers being often mutated) push a glass
slowly across a table by telekinesis while her exhausted father sleeps, the only unambiguous miracle of the film. _^<i_S_^>i_ is a meditation on faith and cynicism, certainly pretentious, memorable for some, and perhaps the grimmest metaphor for
Russia produced by a Russian in our generation. [PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T3118_MUSIC_^>a_.
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STALLMAN, ROBERT
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(1930-1980) Literary critic, professor of English at Western Michigan University, author of the _^<b_Beast_^>b_ trilogy, the last 2 books of which were published posthumously: _^<i_The Orphan_^>i_ (_^<b_1980_^>b_), _^<i_The Captive_^>i_
(_^<b_1981_^>b_) and _^<i_The Beast_^>i_ (_^<b_1982_^>b_; vt _^<i_The Book of the Beast_^>i_ UK). The books are complex, sensitively written _^<a_!T1372_FABULATIONS_^>a_, fitting between the generic borders of sf and _^<a_!T4509_HORROR_^>a_, and
update the myth of the werewolf with the sf premise that they are a chrysalis form of alien life; when two mate they will trigger a new phase in their life-cycle. The books do not, however, _^<i_feel_^>i_ very sf-like, and they most come to life in
the opposing tugs between the first beast's life as beast and as human, both phases desiring autonomy. The awkwardly structured last book of this engrossing series probably needed an auctorial revision which it could not be given. [PN]_^<n__^<n_
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STAMEY, SARA (LUCINDA)
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(1953- ) US writer in whose _^<b_Wild Card Run_^>b_ sequence of sf adventures-_^<i_Wild Card Run_^>i_ (_^<b_1987_^>b_), _^<i_Win, Lose, Draw_^>i_ (_^<b_1988_^>b_) and _^<i_Double Blind_^>i_ (_^<b_1990_^>b_) -- a refreshingly tangential attitude
towards plotting keeps a young female protagonist with _^<a_!T2021_PSI POWERS_^>a_ hopscotching from planet to planet. En route she embraces her own tangled family romance on one world, and elsewhere confronts some _^<a_!T68_AI_^>a_ conundra,
sensing that the entire venue of her sport is in fact a galactic experiment on their part. [JC]_^<n__^<n_
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STANDARD MAGAZINES
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> Ned L. _^<a_!T1905_PINES_^>a_; _^<a_!T2350_SPACE STORIES_^>a_; _^<a_!T2428_STARTLING STORIES_^>a_; _^<a_!T6004_THRILLING WONDER STORIES_^>a_._^<n__^<n_
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STANFORD, J(OHN) K(EITH)
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(1892-1971) UK writer, mostly of humorous material, whose sf _^<a_!T2812_SATIRE_^>a_, _^<i_Full Moon at Sweatenham: A Nightmare_^>i_ (_^<b_1953_^>b_), takes rather clumsy potshots at a decadent, ludicrous 1960 UK; the welfare state is guyed.
(1949- ) US writer, given the title "Reverend" by the Church of the SubGenius. He ed _^<i_The Book of the SubGenius_^>i_ (anth _^<b_1983_^>b_), a _^<a_!T2812_SATIRE_^>a_ on other religions and cults in the form of densely packed clip art relating
the teachings of J.R. "Bob" Dobbs, a former encyclopedia salesman. The crackpot literature that inspired the book is reviewed in the nonfiction _^<i_High Weirdness by Mail: A Directory of the Fringe-Made Prophets, Crackpots & True Visionaries_^>i_
(_^<b_1988_^>b_). IS also ed _^<i_Three-Fisted Tales of "Bob": Short Stories in the SubGenius Mythos_^>i_ * (coll _^<b_1990_^>b_), much of whose content is sf. [NT]_^<n__^<n_
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STANGERUP, HENRIK
-T-
(1937- ) Danish journalist, playwright and novelist who worked mainly within the tradition of "new realism" prevalent in Denmark during the 1960s; he also wrote historical fiction. His sf novel _^<i_Manden der ville vaere skyldig_^>i_
(_^<b_1973_^>b_; trans David Gress-Wright as _^<i_The Man who Wanted to be Guilty_^>i_ _^<b_1982_^>b_ UK) satirically assaults the welfare state and the Social Democratic party in a _^<a_!T6337_NEAR-FUTURE_^>a_ tale of a man who accidentally kills
his wife and is treated by the state not as a criminal but as a patient, stifling his natural need to assume some personal guilt for the deed. The book was filmed in 1990 by Ole Roos. [ND]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T1177_DENMARK_^>a_.
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STANILAND, MEABURN
-T-
(? - ) UK writer whose _^<i_Back to the Future_^>i_ (_^<b_1947_^>b_), in no way connected to _^<a_!T344_BACK TO THE FUTURE_^>a_ (1985) and its sequels, sends its protagonist into a bureaucratic _^<a_!T1370_DYSTOPIAN_^>a_ future UK.
[JC]_^<n__^<n_
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STANLEY, A(LFRED) M(ORTIMER)
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(1888-1966) US writer in whose _^<i_Tomorrow's Yesterday_^>i_ (_^<b_1949_^>b_) an archaeologist wakes up in a future where sex-roles are reversed and mental growth is matched by physical decay. [JC]_^<n__^<n_
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STANLEY, WILLIAM (FORD ROBINSON)
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(1829-1909) UK writer, often on economic issues, of sf interest for _^<i_The Case of The. Fox: Being his Prophecies under Hypnotism of the Period Ending A.D. 1950. A Political Utopia_^>i_ (_^<b_1903_^>b_). Hypnosis releases the "prophetic mental
element" in a poet, Theodore Fox; the _^<a_!T5303_UTOPIA_^>a_ he describes in a series of visions, with its Federal Europe, electrified cars and Channel Tunnel, has few unusual elements. At the end, perhaps dazzled, Fox kills himself.
[JC]_^<n__^<n_
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STANTON, PAUL
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Pseudonym of UK writer (Arthur) David Beaty (1919- ), who wrote thrillers under his own name. _^<i_Village of Stars_^>i_ (_^<b_1960_^>b_) as by PS was an unremarkable _^<a_!T6337_NEAR-FUTURE_^>a_ nuclear-_^<a_!T5452_WAR_^>a_ thriller. [JC]_^<n__^<n_
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STAPLEDON, (WILLIAM) OLAF
-T-
(1886-1950) UK writer and philosopher, born of well-to-do parents in the Wirral peninsula near Liverpool, where he spent the greater part of his life. In _^<i_Waking World_^>i_ (_^<b_1934_^>b_) he admitted that he lived "chiefly on dividends and
other ill-gotten gains". The name Olaf does not indicate foreign antecedents: his parents happened to be reading Carlyle's _^<i_The Early Kings of Norway_^>i_ (coll _^<b_1875_^>b_) at the time. Memories of childhood in Suez and a cultivated family
background are recaptured in _^<i_Youth and Tomorrow_^>i_ (_^<b_1946_^>b_). He was educated at Abbotsholme, a progressive public school, and at Balliol College, Oxford. For a short period he worked without enthusiasm in the family shipping office
in Port Said, an experience he used in his highly autobiographical last novel, _^<i_A Man Divided_^>i_ (_^<b_1950_^>b_). There is scattered evidence that the international flavour of Port Said influenced his complex ideas about "true community".
His service with the Friends' Ambulance Unit in WWI helped him formulate his pacifism, and provided material for _^<i_Last Men in London_^>i_ (_^<b_1932_^>b_). He took a doctorate in philosophy at Liverpool University in 1925._^<n__^<n_OS began
publishing essays as early as 1908; his first book was _^<i_Latter-Day Psalms_^>i_ (coll _^<b_1914_^>b_ chap), a small volume of privately printed verse. It is remarkable only for showing a preoccupation at the outset with one of the themes that
would engage him for the rest of his life: the irrelevance of a _^<a_!T2551_RELIGION_^>a_ based on hopes of _^<a_!T3771_IMMORTALITY_^>a_ and the hypothesis of an evolving god. There was a gap of 15 years before his next book, _^<i_A Modern Theory
of Ethics_^>i_ (_^<b_1929_^>b_), written when OS was 43. Here is the philosophical underpinning for all the major ideas that would appear repeatedly in the fiction: moral obligation as a teleological requirement; ecstasy as a cognitive intuition of
cosmic excellence; personal fulfilment of individual capacities as an intrinsic good; community as a necessary prerequisite for individual fulfilment; and the hopeless inadequacy of human faculties for the discovery of truth. It was this last
conviction which provided the springboard for the writing of his fiction; all of it, by some speculative device or other, strives to overcome the congenital deficiencies of the ordinary human being._^<n__^<n__^<i__^<a_!B9080_LAST AND FIRST
MEN_^>a__^>i_ (_^<b_1930_^>b_), OS's first novel, caused something of a sensation. Contemporary writers and critics acclaimed it, though later it would for a time be nearly forgotten. The book employs a timescale of 2 billion years, during which 18
races of humanity rise and fall. The story is told by one of the Last (18th) Men working through the "docile but scarcely adequate brain" of one of the 1st Men (ourselves). The civilization of the 1st Men (he explains) reached its highest points in
Socrates (in the search for truth) and Jesus (in self-oblivious worship). The 2nd, 3rd, 5th, 15th, 16th and 18th Men represent higher orders of wisdom. The emigration of the 5th Men to _^<a_!T5351_VENUS_^>a_ is an early example of
_^<a_!T5945_TERRAFORMING_^>a_, and the construction of the 9th Men to adapt them for Neptune (> _^<a_!T1743_OUTER PLANETS_^>a_) is likewise for _^<a_!T4657_GENETIC ENGINEERING_^>a_. In the intimate and less expansive _^<i_Last Men in London_^>i_,
one of the Last Men returns to the time of WWI, enters into profound symbiosis with a young human, and attempts to arouse the Race Mind._^<n__^<n_In _^<i_Odd John: A Story Between Jest and Earnest_^>i_ (_^<b_1935_^>b_) the individual
_^<a_!T5830_SUPERMAN_^>a_ appears, although his attributes are spiritual and intellectual, quite divorced from the supermen of the _^<a_!T820_COMICS_^>a_ and _^<a_!T2033_PULP MAGAZINES_^>a_. John recapitulates in his own evolution some of the
characteristics of the 2nd, 3rd and 5th Men. He and his fellow "supernormals" finally achieve something akin to the wisdom of the 18th Men; a spiritual gain which costs them their lives: when normal humans threaten to destroy their island, they
destroy themselves rather than fight back._^<n__^<n__^<i__^<a_!B9214_STAR MAKER_^>a__^>i_ (_^<b_1937_^>b_) is often regarded as OS's greatest work. Its cosmic range, fecundity of invention, precision and grandeur of language, structural logic, and
above all its attempt to create a universal system of philosophy by which modern human beings might live, permit comparison with _^<a_!T1057_DANTE ALIGHIERI_^>a_'s _^<i_Divine Comedy_^>i_. The narrator is rapt from a suburban hilltop and becomes a
"disembodied, wandering viewpoint", rather like Dante's own protagonist. Over a timespan which extends to 100 billion years, he first observes "Other Men", whose extraordinary development of scent and taste should remind us of the relative nature
of our own perceived values; his purview then extends to "strange mankinds", including the Human Echinoderms -- whose communal method of reproduction provides an ingenious metaphor for the ideal of true community -- and to a wide range of species
far removed from mankind. Of these _^<a_!T102_ALIENS_^>a_, among the most interesting are the "ichthyoids" and "arachnoids". Over a long period of time these 2 species come together in a symbiosis; the ichthyoids are artistic and mystical, while
the arachnoids are dexterous and practical. The development of the relationship provides OS's most extended and detailed metaphor for the ideal of true community, which has its microcosm in a pair of human lovers and its macrocosm in a Universe of
"minded" _^<a_!T3411_LIVING WORLDS_^>a_. The narrator proceeds to the "supreme moment of the cosmos" in which he faces the Star Maker and discovers something of his pitiless nature._^<n__^<n_Paradoxically, the book with the greatest human interest
is sometimes said to be _^<i_Sirius: A Fantasy of Love and Discord_^>i_ (_^<b_1944_^>b_), the story of a dog with enhanced _^<a_!T3787_INTELLIGENCE_^>a_, consciousness and sensibility. The dog, with its natural limitations, is a paradigm of our own
limited capacity; but at the same time the dog's superior gifts -- e.g., in the faculty of scent -- are another reminder of human inadequacy. As in _^<i_Odd John_^>i_, the _^<a_!T3119_MUTANT_^>a_ being, when faced with the violence of normals and
their incomprehension, dies -- this time directly at their hands._^<n__^<n_The four works of sf described constitute the living core of OS's fiction. Both _^<i__^<a_!B9080_LAST AND FIRST MEN_^>a__^>i_ and _^<i__^<a_!B9214_STAR MAKER_^>a__^>i_ have
their advocates as the finest sf ever written; many critics argue that _^<i_Odd John_^>i_ is the best novel about a superman, and that _^<i_Sirius_^>i_ is the best book with a nonhuman protagonist. All 4 show OS's unwavering concern with the
pursuit of truth and with the impossibility of our species ever finding it. Each sets up a speculative device to leap over the plodding faculties of _^<i_Homo sapiens_^>i_: the supernormal intelligence of _^<i_Homo superior_^>i_ in
_^<i__^<a_!B9080_LAST AND FIRST MEN_^>a__^>i_ and _^<i_Odd John_^>i_, and the alternative intelligence of alien creatures in _^<i__^<a_!B9214_STAR MAKER_^>a__^>i_ and _^<i_Sirius_^>i_. Along with the quest for truth, and as a necessary
accompaniment to it, there is a search for the gateways to a "way of the spirit". These constant preoccupations give to all OS's work a striking consistency, and it is possible to place everything he did within a highly original scheme of
_^<a_!T2924_METAPHYSICS_^>a_. Everything has its place in the same cosmic history that the Star Maker coldly regards. In his avatar of Jahweh, the Star Maker was invoked at the beginning in _^<i_Latter-Day Psalms_^>i_; and as the "mind's star" and
"phantom deity" he will be there at the end in the posthumous _^<i_The Opening of the Eyes_^>i_ (_^<b_1954_^>b_)._^<n__^<n_Of OS's remaining fiction, perhaps _^<i_The Flames_^>i_ (_^<b_1947_^>b_ chap) deserves most attention. The "flames" are
members of an alien race, originally natives of the Sun, who can be released when igneous rock is heated; they have affinities with the "supernormals" who occur on OS's other worlds. There are similarities with the later-discovered _^<i_Nebula
Maker_^>i_ (_^<b_1976_^>b_), apparently written in the mid-1930s as part of an early draft for _^<i__^<a_!B9214_STAR MAKER_^>a__^>i_ and then put aside. It relates the history of the nebulae and shows how their striving is brought to nothing by an
uncaring God. Religion is dismissed as the opium of the people in _^<i_Old Man in New World_^>i_ (_^<b_1944_^>b_ chap). Supermen reappear in _^<i_Darkness and the Light_^>i_ (_^<b_1942_^>b_) and cosmic history is recapitulated in _^<i_Death into
Life_^>i_ (_^<b_1946_^>b_). OS's insistence on scrupulously considering opposed points of view, and his sceptical intelligence, found an admirable vehicle in the imaginary conversations of _^<i_Four Encounters_^>i_ (_^<b_1976_^>b_), probably
written in the later 1940s. Of OS's remaining nonfiction, _^<i_Philosophy and Living_^>i_ (_^<b_1939_^>b_), written after the best of his fiction, is the most comprehensive work. The best introduction for the general reader is _^<i_Beyond the
"Isms"_^>i_ (_^<b_1942_^>b_), whose last chapter, under the characteristic heading "The Upshot", provides an admirable summary of his philosophy and a clear exposition of what he means by the "way of the spirit"._^<n__^<n_OS was writing in an
ancient tradition of European speculative fiction. He called his stories "fantastic fiction of a semi-philosophical kind". He was -- at least initially -- unaware of _^<a_!T4659_GENRE SF_^>a_ and was somewhat taken aback when in the 1940s he was
acclaimed by sf fans; he was even more startled when shown the contemporary magazines which provided their staple fodder. Ironically, the acclamation he received as an sf writer may partially account for his total neglect by historians of modern
literature. At the same time he is sometimes ignored by sf commentators -- e.g., Kingsley _^<a_!T153_AMIS_^>a_ in _^<i_New Maps of Hell_^>i_ (_^<b_1960_^>b_ US) -- presumably partly because he did not write for the sf magazines and partly because
his work is difficult to anthologize. OS is, however, though sometimes dimly perceived, the Star Maker behind many subsequent stories of the _^<a_!T1432_FAR FUTURE_^>a_ and _^<a_!T1678_GALACTIC EMPIRES_^>a_. He did much original and seminal
thinking about such matters as _^<a_!T131_ALTERNATE WORLDS_^>a_, _^<a_!T811_COLONIZATION OF OTHER WORLDS_^>a_, _^<a_!T902_COSMOLOGY_^>a_, _^<a_!T1017_CYBORGS_^>a_, _^<a_!T6697_ESP_^>a_, _^<a_!T4447_HIVE-MINDS_^>a_, _^<a_!T3771_IMMORTALITY_^>a_,
_^<a_!T3013_MONSTERS_^>a_, _^<a_!T3120_MUTANTS_^>a_ and _^<a_!T6026_TIME TRAVEL_^>a_. Arthur C. _^<a_!T736_CLARKE_^>a_ and James _^<a_!T658_BLISH_^>a_ are among the few sf writers who have expressed their indebtedness to him, though his influence,
both direct and indirect, on the development of many concepts which now permeate genre sf is probably second only to that of H.G. _^<a_!T5528_WELLS_^>a_. [MA/JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_New Hope for Britain_^>i_ (_^<b_1939_^>b_);
_^<i_Saints and Revolutionaries_^>i_ (_^<b_1939_^>b_); _^<i_Worlds of Wonder_^>i_ (omni _^<b_1949_^>b_ US), assembling _^<i_The Flames, Death into Life_^>i_ and _^<i_Old Man in New World_^>i_; _^<i_To the End of Time_^>i_ (omni _^<b_1953_^>b_ US),
assembling _^<i__^<a_!B9080_LAST AND FIRST MEN_^>a__^>i_ (cut), _^<i__^<a_!B9214_STAR MAKER_^>a__^>i_, _^<i_Odd John_^>i_, _^<i_Sirius_^>i_ and _^<i_The Flames_^>i_; _^<i_Odd John, and Sirius_^>i_ (omni _^<b_1972_^>b_ US); _^<i_Far Future Calling:
Uncollected Science Fiction and Fantasies of Olaf Stapledon_^>i_ (coll _^<b_1979_^>b_ US) ed Sam _^<a_!T3074_MOSKOWITZ_^>a_; _^<i_Nebula Maker, and Four Encounters_^>i_ (omni _^<b_1983_^>b_ US); _^<i_Letters Across the World: The Love Letters of
Olaf Stapledon and Agnes Miller, 1913-1919_^>i_ (coll _^<b_1987_^>b_ Australia; vt _^<i_Talking Across the World_^>i_ 1987 US); numerous uncollected articles for such scholarly journals as _^<i_Mind_^>i_ and _^<i_Philosophy_^>i_._^<b_About the
author:_^>b_ _^<i_Olaf Stapledon_^>i_ (_^<b_1982_^>b_) by P.A. McCarthy; _^<i_Olaf Stapledon: A Man Divided_^>i_ (_^<b_1984_^>b_) by Leslie A. _^<a_!T1475_FIEDLER_^>a_; _^<i_Olaf Stapledon: A Bibliography_^>i_ (_^<b_1984_^>b_) by Harvey J. Satty
and Curtis C. _^<a_!T2266_SMITH_^>a_; _^<i_Olaf Stapledon and his Critics_^>i_ (_^<b_1988_^>b_) by Curtis C. Smith._^<b_See also:_^>b_ _^<a_!T197_ANTHROPOLOGY_^>a_; _^<a_!T206_APES AND CAVEMEN (IN THE HUMAN WORLD)_^>a_; _^<a_!T1209_DEVOLUTION_^>a_;
_^<a_!T6661_END OF THE WORLD_^>a_; _^<a_!T6717_EVOLUTION_^>a_; _^<a_!T1590_FRANCE_^>a_; _^<a_!T4740_GODS AND DEMONS_^>a_; _^<a_!T4442_HISTORY IN SF_^>a_; _^<a_!T4443_HISTORY OF SF_^>a_; _^<a_!T3796_INVASION_^>a_; _^<a_!T3385_LIFE ON OTHER
WORLDS_^>a_; _^<a_!T3609_MAINSTREAM WRITERS OF SF_^>a_; _^<a_!T3118_MUSIC_^>a_; _^<a_!T1714_OPTIMISM AND PESSIMISM_^>a_; _^<a_!T1892_PHYSICS_^>a_; _^<a_!T2300_SOCIOLOGY_^>a_; _^<a_!T5825_SUN_^>a_.
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STARBURST
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UK monthly nonfiction magazine about sf, fantasy and horror in the media (primarily films and tv). Small-_^<a_!T492_BEDSHEET_^>a_ slick format. Founded Jan 1978, first published by Starburst Magazines, London, ed Dez Skinn, but soon taken over by
_^<a_!T3694_MARVEL COMICS_^>a_ and ed Alan Mackenzie until #77 (Jan 1985), then by Roger P. Birchall to #79 and Cefn Ridout to #87. With #88 (Dec 1985) the magazine left Marvel and was taken over by Visual Imagination, with Stephen Payne the new
ed._^<n__^<n_What must have been designed as little more than a fan magazine for kids became rather good, especially under Mackenzie's editorship, and it was for some time in the UK the only (fairly) reliable source for developments in fantastic
films and tv. What probably saved _^<i_S_^>i_, in contrast to its US equivalent _^<a_!T2413_STARLOG_^>a_, is that it never gave the impression of being in hock to the film studios. _^<i_S_^>i_ had a collection of eccentric but well informed
critics, some slavishly devoted to _^<a_!T2374_SPLATTER MOVIES_^>a_; among the regular contributors were John _^<a_!T5020_BROSNAN_^>a_, Tony Crawley and Alan Jones, and sf writers like Robert P. _^<a_!T4468_HOLDSTOCK_^>a_, David
_^<a_!T4186_LANGFORD_^>a_ and Ian _^<a_!T5484_WATSON_^>a_ made occasional appearances. During the year following the change of ownership from Marvel the magazine became blander and more juvenile. The magazine had reached #167 in 1992.
[PN]_^<n__^<n_
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STAR COPS
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UK tv series (1987). BBC TV. Devised Chris Boucher, prod Evgeny Gridneff, script ed Joanna Willett. Dirs Christopher Baker, Graeme Harper. Writers Boucher (5 episodes), Philip Martin, John Collee. Leading players David Calder as Nathan Spring, Erick
Ray Evans, Linda Newton, Jonathan Adams as Krivenko, the Russian commander of Moonbase. 9 55min episodes. Colour._^<n__^<n_AD2027. Nathan Spring is the new head detective of the International Space Police Force, an undisciplined force with poor
morale whose headquarters are on Moonbase, and whose policing area includes manned orbital space stations. Spring whips them into shape, and they solve crimes. The low-key realism of the series was efficient enough, but in the end it seemed little
more than just another cop show, failing to imagine the future with any real vividness or depth. [PN]_^<n__^<n_
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STARDATE
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US gaming magazine, small-_^<a_!T492_BEDSHEET_^>a_ slick format, published first by gaming company FASA for issues #1-#7 (which included several double issues), 1984-5. These issues contained no fiction, but did have sf reviews and articles. With #8
(Oct 1985) _^<i_S_^>i_ changed hands (to Associates International, Inc., Delaware), subtitle (becoming _^<i_Stardate: The Multi-Media Science Fiction Magazine_^>i_), editors (Ted _^<a_!T5581_WHITE_^>a_ and David _^<a_!T618_BISCHOFF_^>a_) and
contents (one third gaming, one third film/tv and one third fiction, including stories by William _^<a_!T4689_GIBSON_^>a_, Jack _^<a_!T4924_HALDEMAN_^>a_, Damon _^<a_!T4098_KNIGHT_^>a_, John _^<a_!T2191_SHIRLEY_^>a_ and William F.
_^<a_!T6198_WU_^>a_). It lasted 4 issues in this format, folding after #11 (Mar/Apr 1986). [PN]_^<n__^<n_
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STARK, HARRIET
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(?1883-?1969) US writer who may have published at a precocious age; in her moral tale, _^<i_The Bacillus of Beauty: A Romance of Today_^>i_ (_^<b_1900_^>b_), a lady is infected with a beauty-enhancing germ (> _^<a_!T611_BIOLOGY_^>a_). Her character
subsequently deteriorates, and she dies. [JC/PN]_^<n__^<n_
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STARK, (DELBERT) RAYMOND
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(1919- ) UK writer in whose _^<i_Crossroads to Nowhere_^>i_ (_^<b_1956_^>b_) an anarchist unsuccessfully confronts a future dictatorship before escaping into the wilds, where his kind may survive. [JC]_^<n__^<n_
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STARK, RICHARD
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> Donald E. _^<a_!T5552_WESTLAKE_^>a_._^<n__^<n_
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STARKE, HENDERSON
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[s] > Kris _^<a_!T3163_NEVILLE_^>a_._^<n__^<n_
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STAR*LINE
-T-
> Robert _^<a_!T1613_FRAZIER_^>a_; _^<a_!T1934_POETRY_^>a_; _^<a_!T2133_SCIENCE FICTION POETRY ASSOCIATION_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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STARLOG
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US monthly nonfiction magazine about sf (and fantasy) in the media, largely films and tv, founded 1976, current; small-_^<a_!T492_BEDSHEET_^>a_, saddle-stapled; publishers have included O'Quinn Studios and Starlog Communications, New York; editors
have included Howard Zimmerman and David McDonnell._^<n__^<n_This magazine aimed at the juvenile market has been a success (circulation around quarter of a million), and has generated spin-off books and posters and various companion magazines,
including _^<i_Fangoria_^>i_ (mainstream horror) and _^<i_Gorezone_^>i_ (cult horror and _^<a_!T2374_SPLATTER MOVIES_^>a_). Indeed, the horror companions have been livelier than _^<i_S_^>i_, which makes heavy use of studio publicity pictures; in
order to maintain good relationships with the studios _^<i_S_^>i_ does not review current films and is undiscriminating throughout. Many of its articles are interviews with actors. That said, the sheer volume of material these magazines have
published makes them a useful resource for researchers seeking production details, tv episode guides and so forth. David _^<a_!T4671_GERROLD_^>a_ has been a columnist for _^<i_S_^>i_. A somewhat more adult (on average) UK version of the same sort
of magazine is _^<a_!T2405_STARBURST_^>a_, and a much more adult US magazine about fantastic film is _^<a_!T725_CINEFANTASTIQUE_^>a_. #214 in early 1995 was the 19th anniversary issue. A recent spin-off is _^<i_Starlog Platinum Edition_^>i_, which
had reached #8 by early 1995. [PN]_^<n__^<n_
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STARLOST, THE
-T-
Canadian tv series, syndicated by CTV (1973). Executive prods Douglas Trumbull, Jerry Zeitman. Prod William Davidson. Series created Cordwainer Bird (pseudonym of Harlan _^<a_!T6641_ELLISON_^>a_). Technical advisor Ben _^<a_!T4943_BOVA_^>a_.
Starring Keir Dullea, Gay Rowen, Robin Ward, William Osler. 1 season of 17 50min episodes. Colour._^<n__^<n_This series about life on a vast _^<a_!T4655_GENERATION STARSHIP_^>a_, none of whose occupants know its entire extent, should have been good
given the quality of some of its creators (Trumbull, Ellison, Bova). In fact it was dire, and only in Canada were all episodes aired. Ellison repudiated it, and Bova wrote a _^<i_roman a clef_^>i_ about the fiasco, _^<i_The Starcrossed_^>i_
(_^<b_1975_^>b_). Ellison's original script for episode 1 (not as filmed) won the prestigious Writer's Guild of America Award, and was novelized: _^<i_Phoenix without Ashes_^>i_ * (_^<b_1975_^>b_) as by Ellison with Edward _^<a_!T5055_BRYANT_^>a_.
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STAR MAIDENS
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(vt _^<i_Space Maidens_^>i_) UK/West German tv series (1976). A Portman Production for Scottish and Global/Jost Graf von Hardenberg & Co. and Werbung-in-Rundfunk. Prod James Gatward. Dirs Gatward, Wolfgang Storch, Freddie Francis. Writers Eric
Paice, John Lucarotti, Ian Stuart Black, Otto Strang. Starring Judy Geeson, Dawn Addams, Pierre Brice, Gareth Thomas, Christiane Kruger, Lisa Harrow, Christian Quadflieg, Ronald Hines, Derek Farr. 13 30min episodes. Colour._^<n__^<n_On the planet
Medusa women have enslaved men, two of whom (Brice and Thomas) steal a spaceship and flee to Earth. They are pursued by Medusan women, led by Fulvia (Geeson), who take Earth hostages (Harrow and Quadflieg) in their place. The plotting was chaotic
and the role-reversal _^<a_!T2812_SATIRE_^>a_ unsubtle. The series was (by UK standards) expensive, and audience figures did not justify the cost of a 2nd season._^<n__^<n_
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STARMAN
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_^<b_1._^>b_ Film (1984). Delphi Productions II/Columbia. Dir John _^<a_!T5176_CARPENTER_^>a_, starring Jeff Bridges, Karen Allen, Charles Martin Smith, Richard Jaeckel. Screenplay Bruce A. Evans, Raynold Gideon (and Dean Riesner, uncredited). 115
mins. Colour._^<n__^<n_Carpenter ventured into _^<a_!T2367_SPIELBERG_^>a_ territory in this sweet -- possibly saccharine -- story of a wide-eyed innocent arriving from space. The Starman (Bridges), first seen as a ball of light, exactly recreates
himself in the image of young Jenny's dead husband, kidnaps Jenny (Allen) in the nicest possible way, learns about human customs, is pursued by government forces who want to study or kill him, raises a deer and Jenny (separately) from the dead like
an affably dopy Christ, impregnates Jenny, and leaves again. Most of _^<i_S_^>i_ is a protracted chase sequence across the USA, and, though it has rewarding moments and touching performances from its leads, it is too long and slight. The subtext
(What would happen to Christ if He came again? We'd crucify Him) is serious enough, but evoked only playfully. The novelization is _^<i_Starman_^>i_ * (_^<b_1984_^>b_) by Alan Dean _^<a_!T1572_FOSTER_^>a_._^<n__^<n__^<b_2._^>b_ Columbia Television
produced a spin-off 22-episode tv series, also called _^<i_Starman_^>i_, which ran 1 season 1986-7. This dealt in a stereotyped manner with the return to Earth, 11 years later, of the Starman (now played by Robert Hays), his reconciliation with his
son, his seemingly endless search for Jenny and an equally protracted search for him by a federal agent. [PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T726_CINEMA_^>a_.
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STARMONT HOUSE
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Former US _^<a_!T2261_SMALL PRESS_^>a_, located successively in West Linn, Oregon, and in Mercer Island, Washington State from 1980, founded 1976 by T.E. _^<a_!T1232_DIKTY_^>a_, specializing in monographs on individual sf writers, along with some
_^<a_!T585_BIBLIOGRAPHIES_^>a_of and guides to sf magazines and book lines, and occasional reprints of pulp and paperback fiction. SH's first book was _^<i_The Annotated Guide to Robert E. Howard's Sword & Sorcery_^>i_ (_^<b_1970_^>b_) by Robert
_^<a_!T5507_WEINBERG_^>a_, but its best known line was the _^<b_Starmont Reader's Guide_^>b_ series of sf monographs, established in 1979, ed to a fairly rigid pattern by Roger C. _^<a_!T2845_SCHLOBIN_^>a_, originally under 100pp, but 100-170pp in
later years; the final volume was #61, _^<i_Kurt Vonnegut _^>i_(_^<b_1992_^>b_) by Donald E. Morse, some #s having been skipped. From 1983 a series of more general studies in literary criticism appeared, mostly related to sf/fantasy and especially
_^<a_!T4509_HORROR_^>a_, with a number of titles by Michael R. _^<a_!T802_COLLINGS_^>a_, Darrell _^<a_!T2867_SCHWEITZER_^>a_ and others, and including critical anthologies. After Dikty's death in late 1991, his daughter, Barbara Dikty, continued as
publisher but, after 8 titles in 1992, shut down operations on 1 March 1993. Most of SH's and _^<a_!T1452_FAX COLLECTOR'S EDITIONS _^>a_nonfiction books and many unpublished manuscripts were sold to _^<a_!T705_BORGO PRESS_^>a_. SH published 131
books altogether (all but two related to sf), 2 art folios, and a fantasy map; and distributed _^<a_!T1452_FAX_^>a_ Collector's Editions. [JC/PN]_^<n__^<n__^<b_About the Publisher:_^>b_"A Requiem for Starmont House" by Robert
_^<a_!T2543_REGINALD_^>a_, in _^<i_SFS_^>i_ 20 (November 1993)._^<b_See also:_^>b_ _^<a_!T2071_SF IN THE CLASSROOM_^>a_.
The stars have always exerted a powerful imaginative fascination upon the human mind. When they were thought to be mere points of light in the panoply of heaven, it was believed by astrologers that the secrets of the future were written there, and
various cultures wove their _^<a_!T3135_MYTHOLOGY_^>a_ into the patterns of various constellations. Not until 1718 did Edmond Halley (1656-1742) demonstrate that the stars were not "fixed", and not until the late 1830s were the distances of the
nearer stars realistically calculated._^<n__^<n_It was the religious imagination which first despatched imaginary voyagers so far from Earth. The notion of the stars as suns circled by other worlds was first popularized by Bernard le Bovyer de
_^<a_!T1548_FONTENELLE_^>a_ in _^<i_Entretiens sur la pluralite des mondes habites_^>i_ (_^<b_1686_^>b_; trans J. Glanvill as _^<i_A Plurality of Worlds_^>i_ _^<b_1929_^>b_). In the 18th century Emanuel _^<a_!T5869_SWEDENBORG_^>a_'s visions took
him voyaging throughout the cosmos, and other religious mystics followed. C.I. _^<a_!T1144_DEFONTENAY_^>a_, presumably influenced by Fontenelle, undertook to describe another stellar system in some detail in _^<i_Star_^>i_ (_^<b_1854_^>b_; trans
_^<b_1975_^>b_), but the first work which took the scientific imagination out into the greater cosmos was Camille _^<a_!T1516_FLAMMARION_^>a_'s _^<i_Lumen_^>i_ (1864; exp _^<b_1887_^>b_; trans _^<b_1897_^>b_). The Pythagorean notion that the
Universe revolves around a single central sun is extrapolated in an oddly allegorical manner in William Hope _^<a_!T4459_HODGSON_^>a_'s _^<i_The House on the Borderland_^>i_ (_^<b_1908_^>b_)._^<n__^<n_An early _^<a_!T2878_SCIENTIFIC ROMANCE_^>a_ of
interstellar adventure was Robert W. _^<a_!T791_COLE_^>a_'s _^<i_The Struggle for Empire_^>i_ (_^<b_1900_^>b_), but it was not until the establishment of the _^<a_!T2130_SF MAGAZINES_^>a_ that the interstellar adventure playground was extensively
exploited by such writers as E.E. "Doc" _^<a_!T2269_SMITH_^>a_, Edmond _^<a_!T4258_HAMILTON_^>a_ and John W. _^<a_!T5140_CAMPBELL_^>a_ Jr. Hamilton became especially fascinated by the ultimate melodramatic flourish of exploding stars, and was still
exploiting its potential in the 1950s. This new familiarity with the stars did not breed overmuch contempt: in all stories where stars were confronted directly, rather than being used simply as coloured lamps to light imaginary worlds, they
remained awe-inspiring entities. Their sustained power of fascination is evident in Fredric _^<a_!T5028_BROWN_^>a_'s _^<i_The Lights in the Sky are Stars_^>i_ (_^<b_1953_^>b_; vt _^<i_Project Jupiter_^>i_ 1954 UK), Robert F.
_^<a_!T6241_YOUNG_^>a_'s "The Stars are Calling, Mr Keats" (1959) and Dean_^<n__^<n__^<a_!T3561_MCLAUGHLIN_^>a_'s _^<i_The Man who Wanted Stars_^>i_ (fixup _^<b_1965_^>b_), and nowhere more so than in Isaac _^<a_!T268_ASIMOV_^>a_'s classic story of
_^<a_!T829_CONCEPTUAL BREAKTHROUGH_^>a_, "Nightfall" (1941), which contradicts Emerson's allegation that "if the stars should appear one night in a thousand years, how would Man believe and adore and preserve for many generations the remembrance of
the city of God!". Relatively few sf stories make significant use of scientific knowledge concerning stars and their nature. An exception is Hal _^<a_!T749_CLEMENT_^>a_'s "Cold Front" (1946), which links the behaviour of an odd star to the
meteorology of one of its planets. An even odder star, shaped like a doughnut, is featured in Donald _^<a_!T3621_MALCOLM_^>a_'s "Beyond the Reach of Storms" (1964). It is, however, quite common to find stars invested with some kind of
transcendental significance (_^<i_ Hyperlink to: _^>i_ _^<a_!T2924_METAPHYSICS_^>a_; _^<a_!T2551_RELIGION_^>a_). Stars are credited with godlike life and _^<a_!T3787_INTELLIGENCE_^>a_ in _^<i_Starchild_^>i_ (_^<b_1965_^>b_) and _^<i_Rogue Star_^>i_
(_^<b_1969_^>b_) by Frederik _^<a_!T1937_POHL_^>a_ and Jack _^<a_!T5629_WILLIAMSON_^>a_, and a collective quasisupernatural influence is spiced with sf jargon in _^<i_The Power of Stars_^>i_ (_^<b_1972_^>b_) by Louise _^<a_!T4213_LAWRENCE_^>a_.
Such metaphysical mysticism is carried to extremes in the first section of _^<i_If the Stars are Gods_^>i_ (1973; fixup _^<b_1977_^>b_) by Gordon _^<a_!T6608_EKLUND_^>a_ and Gregory _^<a_!T526_BENFORD_^>a_, and the inspiration of sun-worship also
plays a minor part in _^<i__^<a_!B9191_THE MOTE IN GOD'S EYE_^>a__^>i_ (_^<b_1974_^>b_) by Larry _^<a_!T3223_NIVEN_^>a_ and Jerry E. _^<a_!T1961_POURNELLE_^>a_. Even _^<a_!T4288_HARD-SF_^>a_ stories based on astronomical discoveries are not
entirely immunized against residual mysticism; a proper sense of awe is evident in Poul _^<a_!T169_ANDERSON_^>a_'s _^<i__^<a_!B9113_THE ENEMY STARS_^>a__^>i_ (_^<b_1959_^>b_), the most notable sf novel featuring a "dead star", and in his "Starfog"
(1967) and _^<i_World without Stars_^>i_ (_^<b_1967_^>b_). Work done in _^<a_!T283_ASTRONOMY_^>a_ to clarify the lifecycles of stars helped, some decades ago, to popularize both giant and dwarf stars; more recently it has led to a good deal of sf
being written about pulsars (> _^<a_!T3160_NEUTRON STARS_^>a_) as well as, of course, _^<a_!T632_BLACK HOLES_^>a_, to the extent that both these forms of collapsar ("collapsed star") are now standard implements in the sf writer's toolbox.
US _^<a_!T1231_DIGEST_^>a_-size magazine. 1 issue, published by _^<a_!T377_BALLANTINE_^>a_ Magazines, Jan 1958. This was an abortive attempt to convert Frederik _^<a_!T1937_POHL_^>a_'s _^<a_!T2424_STAR SCIENCE FICTION STORIES_^>a_ into a magazine
after its first 3 issues (1953-4) in book format. It reverted to book format at the end of 1958. [BS/PN]_^<n__^<n_
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STAR SCIENCE FICTION STORIES
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_^<a_!T1725_ORIGINAL-ANTHOLOGY_^>a_ series (1953-9) ed Frederik _^<a_!T1937_POHL_^>a_, published by _^<a_!T377_BALLANTINE BOOKS_^>a_. _^<i_SSFS_^>i_ was the first such series, antedating _^<a_!T3184_NEW WRITINGS IN SF_^>a_ by 11 years, and in its
example very influential. The series was irregular; after _^<i_Star Science Fiction Stories_^>i_ (anth _^<b_1953_^>b_), _^<i_#2_^>i_ (anth _^<b_1953_^>b_) and _^<i_#3_^>i_ (anth _^<b_1954_^>b_) there was a 3-year gap. In Jan 1958 Ballantine
attempted to relaunch the title in magazine format, but _^<a_!T2423_STAR SCIENCE FICTION MAGAZINE_^>a_ lasted only 1 issue. Reverting to book format, the series continued with _^<i_Star Science Fiction Stories #4_^>i_ (anth _^<b_1958_^>b_),
_^<i_#5_^>i_ (anth _^<b_1959_^>b_) and _^<i_#6_^>i_ (anth _^<b_1959_^>b_). _^<i_Star Short Novels_^>i_ (anth _^<b_1954_^>b_) was an out-of-series volume. The first 3 vols were of extraordinarily high quality; later issues, while highly competent,
were less inspired. Notable stories included "The Nine Billion Names of God" by Arthur C. _^<a_!T736_CLARKE_^>a_ (#1), "Disappearing Act" by Alfred _^<a_!T568_BESTER_^>a_ (#2), "It's a _^<i_Good_^>i_ Life" by Jerome _^<a_!T622_BIXBY_^>a_ (#2),
"Foster, You're Dead" by Philip K. _^<a_!T1222_DICK_^>a_ (#3) and "Space-Time for Springers" by Fritz _^<a_!T3322_LEIBER_^>a_ (#4). _^<i_Star of Stars_^>i_ (anth _^<b_1960_^>b_; vt _^<i_Star Fourteen_^>i_ UK) collects stories from _^<i_SSFS_^>i_.
The later Ballantine anthology series _^<a_!T5707_STELLAR_^>a_ derived its title from _^<i_SSFS_^>i_. [MJE]_^<n__^<n_
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STARSHIP
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In sf _^<a_!T5942_TERMINOLOGY_^>a_, a ship capable of travel between the stars -- one of the many sf neologisms which have passed into the language. > _^<a_!T4655_GENERATION STARSHIPS_^>a_; _^<a_!T2348_SPACESHIPS_^>a_. [PN]_^<n__^<n_
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STARSHIP
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Magazine. > _^<a_!T95_ALGOL_^>a_._^<n__^<n_
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STARSHORE
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US magazine, 4 issues Summer 1990-Spring 1991, small-_^<a_!T492_BEDSHEET_^>a_ format, published McAlpine publishing, Virginia; ed Richard Rowland._^<n__^<n_Though initially receiving national distribution, _^<i_S_^>i_ was undercapitalized. With a
subscription base of only _^<i_c_^>i_300, it soon folded, #4 going to subscribers only. Mixed with fiction by new writers were stories by established names including Jack _^<a_!T1055_DANN_^>a_, Mike _^<a_!T2559_RESNICK_^>a_ with Lou Tabakow,
Kristine Kathryn _^<a_!T2738_RUSCH_^>a_ and Charles _^<a_!T2167_SHEFFIELD_^>a_. [PN]_^<n__^<n_
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STARTLING STORIES
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US _^<a_!T2033_PULP MAGAZINE_^>a_, 99 issues Jan 1939-Fall 1955, published by Better Publications Jan 1939-Winter 1955, and by Standard Magazines (really the same company) Spring-Fall 1955; ed Mort _^<a_!T5515_WEISINGER_^>a_ (Jan 1939-May 1941),
Oscar J. _^<a_!T1629_FRIEND_^>a_ (July 1941-Fall 1944), Sam _^<a_!T2913_MERWIN_^>a_ Jr (Winter 1945-Sep 1951), Samuel _^<a_!T2970_MINES_^>a_ (Nov 1951-Fall 1954) and Alexander _^<a_!T2787_SAMALMAN_^>a_ (Winter-Fall 1955). Leo
_^<a_!T3663_MARGULIES_^>a_ was editorial director of _^<i_SS_^>i_ and its companion magazines during Weisinger's and Friend's editorships. The schedule varied between bimonthly (dated by month) and quarterly (dated by season), with a monthly period
in 1952-3._^<n__^<n__^<i_SS_^>i_ was started as a companion magazine to _^<a_!T6004_THRILLING WONDER STORIES_^>a_. Whereas _^<i_TWS_^>i_ printed only shorter fiction, the policy of _^<i_SS_^>i_ was to include a complete novel (albeit sometimes very
short) per issue; in its early years the cover bore the legend "A Novel of the Future Complete in This Issue". The space left for shorter stories was limited, and was partially filled by "Hall of Fame" reprints -- stories from the Hugo
_^<a_!T4668_GERNSBACK_^>a_-edited _^<a_!T6152_WONDER STORIES_^>a_ and its predecessors. #1 featured Stanley G. _^<a_!T5506_WEINBAUM_^>a_'s _^<i_The Black Flame_^>i_ (Jan 1939; _^<b_1948_^>b_); other contributors in the early years included Eando
_^<a_!T604_BINDER_^>a_, Oscar J. Friend, Edmond _^<a_!T4258_HAMILTON_^>a_, Henry _^<a_!T4144_KUTTNER_^>a_, Manly Wade _^<a_!T5525_WELLMAN_^>a_ and Jack _^<a_!T5629_WILLIAMSON_^>a_. Hamilton's "A Yank at Valhalla" (Jan 1941; vt _^<i_The Monsters of
Juntonheim_^>i_ _^<b_1950_^>b_ UK; vt _^<i_A Yank at Valhalla_^>i_ 1973 dos US) was a particularly vigorous early novel. Early covers were by Howard _^<a_!T5030_BROWN_^>a_ and Rudolph Belarski, but from 1940 onwards the covers were mostly by Earle
K. _^<a_!T547_BERGEY_^>a_, the artist whose style is most closely identified with _^<i_SS_^>i_ and its sister magazines. The characteristic Bergey cover showed a rugged hero, a desperate heroine (in either a metallic bikini or a dangerous state of
_^<i_deshabille_^>i_) and a hideous alien menace._^<n__^<n_Under Margulies and, more particularly, under Friend _^<i_SS_^>i_ adopted a deliberately juvenile slant. This was most clearly manifested in the patronizing shape of the character "Sergeant
Saturn", who conducted the letter column and other readers' departments (in _^<i_TWS_^>i_ and _^<a_!T5151_CAPTAIN FUTURE_^>a_ as well as in _^<i_SS_^>i_). Many readers were alienated by this, and when Merwin became editor he phased out such
juvenilia and gradually built _^<i_SS_^>i_ into the best sf magazine of the period, apart from _^<i_ASF_^>i_. In 1948-9 it featured such novels as _^<i__^<a_!B9049_WHAT MAD UNIVERSE_^>a__^>i_ (Sep 1948; _^<b_1949_^>b_) by Fredric
_^<a_!T5028_BROWN_^>a_, _^<i_Against the Fall of Night_^>i_ (Nov 1948; _^<b_1953_^>b_; rev vt _^<i_The City and the Stars_^>i_ _^<b_1956_^>b_) by Arthur C. _^<a_!T736_CLARKE_^>a_ and _^<i_Flight into Yesterday_^>i_ (May 1949; _^<b_1953_^>b_; vt
_^<i_The Paradox Men_^>i_ UK) by Charles L. _^<a_!T4298_HARNESS_^>a_, in addition to novels by Henry Kuttner (mostly _^<a_!T2870_SCIENCE FANTASY_^>a_) and Murray _^<a_!T3326_LEINSTER_^>a_ and stories by Ray _^<a_!T4963_BRADBURY_^>a_, Clarke, C.M.
_^<a_!T6353_KORNBLUTH_^>a_, John D. _^<a_!T3514_MACDONALD_^>a_, Jack _^<a_!T5317_VANCE_^>a_, A.E. _^<a_!T5333_VAN VOGT_^>a_ and others._^<n__^<n_Merwin left the magazine in 1951 (thereafter becoming a frequent contributor). By this time
_^<i_SS_^>i_, like other _^<a_!T2033_PULP MAGAZINES_^>a_, was feeling the effect of the increased competition provided by such new magazines as _^<a_!T1686_GALAXY SCIENCE FICTION_^>a_ and _^<i_The_^<a_!T3595_MAGAZINE OF FANTASY AND SCIENCE
FICTION_^>a__^>i_ . Although the standard suffered to a degree, Merwin's successor, Mines, continued to publish interesting material, such as Philip Jose _^<a_!T1435_FARMER_^>a_'s _^<i_The Lovers_^>i_ (Aug 1952; exp _^<b_1961_^>b_) -- which helped
earn him a _^<a_!T4551_HUGO_^>a_ as Most Promising New Writer -- and many Vance stories, notably _^<i_Big Planet_^>i_ (Sep 1952; _^<b_1957_^>b_). The magazine adopted a new cover slogan ("Today's Science Fiction -- Tomorrow's Fact") and a more
dignified appearance, but it became another victim of the general decline of pulp magazines. In Spring 1955, as the most popular title in its stable, it absorbed _^<i_TWS_^>i_ and its more recent companion, _^<a_!T1406_FANTASTIC STORY
MAGAZINE_^>a_. After 2 further issues it ceased publication, one short of #100. Mines ed an anthology drawn from its pages, _^<i_The Best from Startling Stories_^>i_ (anth _^<b_1954_^>b_), while a number of its "Hall of Fame" reprints were
collected in _^<i_From off this World_^>i_ (anth _^<b_1949_^>b_) ed Margulies and Friend. A heavily cut and very irregular UK edition was published by Pembertons in 18 numbered issues June 1949-May 1954. A 1st Canadian reprint series ran 1945-6,
and a 2nd 1948-51. [MJE]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T4754_GOLDEN AGE OF SF_^>a_.
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STAR TREK
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US tv series (1966-9). A Norway Production for Paramount Television/NBC. Created Gene _^<a_!T2658_RODDENBERRY_^>a_, also executive prod. Prods Roddenberry, Gene L. Coon, John Meredyth Lucas, Fred Freiberger (season 3). Story consultants Steven
Carabatsos, D.C. _^<a_!T1546_FONTANA_^>a_. Writers for seasons 1 and 2 included Jerome _^<a_!T622_BIXBY_^>a_, Robert _^<a_!T661_BLOCH_^>a_, Coon, Max _^<a_!T6599_EHRLICH_^>a_, Harlan _^<a_!T6641_ELLISON_^>a_, Fontana, David
_^<a_!T4671_GERROLD_^>a_, George Clayton _^<a_!T3915_JOHNSON_^>a_, Richard _^<a_!T3718_MATHESON_^>a_, Roddenberry, Jerry _^<a_!T2303_SOHL_^>a_, Norman _^<a_!T2370_SPINRAD_^>a_, Theodore _^<a_!T5810_STURGEON_^>a_; the only well known writer to work
for season 3 was Bixby. Dirs included Marc Daniels, Vincent McEveety, Gerd Oswald, Joe Pevney, Joseph Sargent, Ralph Senensky, Jud Taylor. 3 seasons, 79 50min episodes. Colour._^<n__^<n_A phenomenon among sf tv series, _^<i_ST_^>i_ is set on the
worlds visited by a giant _^<a_!T2348_SPACESHIP_^>a_, the _^<i_U.S.S. Enterprise_^>i_, and on the ship itself. Its crew is on a mission to explore new worlds and "to boldly go where no man has gone before". Though the crew supposedly number several
hundred, only a few of them are ever seen at one time, the principal characters being Captain Kirk (William _^<a_!T2150_SHATNER_^>a_), Mr Spock (Leonard Nimoy), Doctor McCoy (DeForest Kelley), Mr Sulu (George _^<a_!T5895_TAKEI_^>a_), Scotty (James
Doohan), Ensign Chekov (Walter Koenig) and Lt Uhura (Nichelle Nichols). For fans of written sf, _^<i_ST_^>i_ can seldom have seemed challenging in any way, as it rarely departed from sf stereotypes, though in its first 2 seasons it was certainly
adequate and even quite strong relative to much televised sf. Although several well known sf writers (see above) contributed to the first 2 seasons, their work was invariably rewritten by the show's regular writers; the quality of the scripts had
dropped badly by the end of season 3. As a general rule the _^<a_!T2342_SPACE-OPERA_^>a_ format was not used with any great imagination. A typical episode would face the crew with _^<a_!T98_ALIEN_^>a_ superbeings (regularly godlike when first
encountered -- Roddenberry's favourite theme appears to have been flawed _^<a_!T4740_GODS_^>a_), _^<a_!T3013_MONSTERS_^>a_, or cases of apparent demoniac possession -- telepathic aliens being the rule rather than the exception in _^<i_ST_^>i_'s
universe. The formula seldom varied. Many adult viewers came to feel that the series was bland, repetitious, scientifically mediocre and, in its earnest moralizing, trite. The effort to please all and offend none was evident in the inclusion of a
token Russian, a token Asiatic and, together in the person of actress Nichelle Nichols, a token Black and token woman. The defect in this liberal internationalism was that all these characters behaved in a traditional White Anglo-Saxon Protestant
manner: only Spock was a truly original creation._^<n__^<n_The early 2-part episode _^<i_The Menagerie_^>i_, adapted from the original pilot for the series, won a 1967 _^<a_!T4551_HUGO_^>a_ for Best Dramatic Presentation, as did Harlan Ellison's
_^<i_City on the Edge of Forever_^>i_ in 1968. The latter is generally thought to be the best of the individual episodes; it posed a moral dilemma which cut more deeply than usual. The original script, which differed slightly from the filmed
version, was published in _^<i_Six Science Fiction Plays_^>i_ (anth _^<b_1976_^>b_) ed Roger _^<a_!T6648_ELWOOD_^>a_._^<n__^<n__^<i_ST_^>i_ was not particularly successful in the ratings. However, it had attracted a hard core of devoted fans,
"Trekkies", who made up in passionate enthusiasm what they lacked in numbers. These numbers grew over the years, in part because the series was often replayed, attracting new fans each time. There have been many _^<i_ST_^>i_
_^<a_!T856_CONVENTIONS_^>a_, some drawing very large attendances. Perhaps Roddenberry's blend of the mildly fantastic with the reassuringly familiar, and his use of an on the whole very likable cast, attracted viewers precisely because its
exoticism was manageable and unthreatening. The Trekkie phenomenon became spectacular._^<n__^<n_Despite the reservations expressed above, there is no doubt that _^<i_ST_^>i_ was one of the better sf tv series. Its success, though delayed, was very
real and had extraordinary repercussions in the publishing industry. _^<i_ST_^>i_ ties began with short-story adaptations of individual episodes; James _^<a_!T658_BLISH_^>a_ wrote 11 collections of these 1967-75 (_^<i_see his entry for
details_^>i_); he also, significantly, published an original novel set in the _^<i_ST_^>i_ world and featuring _^<i_ST_^>i_ characters: _^<i_Spock Must Die_^>i_ * (_^<b_1970_^>b_). Another early _^<i_ST_^>i_ novel was _^<i_Star Trek: Mission to
Horatius_^>i_ * (_^<b_1968_^>b_) by Mack _^<a_!T2576_REYNOLDS_^>a_. Soon original _^<i_ST_^>i_ novels became more important than the novelizations of teleplays. As with _^<a_!T1268_DR WHO_^>a_ novels, _^<i_ST_^>i_ novels are too numerous to be
listed here in full, though almost all, having been written by authors who are the subject of individual entries, are listed elsewhere in this encyclopedia. Many _^<i_ST_^>i_ authors are not hacks and some are distinguished; they include Greg
_^<a_!T478_BEAR_^>a_, Theodore R. _^<a_!T781_COGSWELL_^>a_, Gene _^<a_!T1210_DEWEESE_^>a_, Diane _^<a_!T1331_DUANE_^>a_, John M. _^<a_!T1559_FORD_^>a_, Joe _^<a_!T4925_HALDEMAN_^>a_, Barbara _^<a_!T4255_HAMBLY_^>a_, Vonda N.
_^<a_!T3545_MCINTYRE_^>a_, Peter Morwood (1956- ), Melinda M. _^<a_!T2290_SNODGRASS_^>a_ and many others. A series of "fotonovels" -- in comic-book style, but using stills from episodes instead of drawings -- was inaugurated with _^<i_Star Trek
Fotonovel 1: City on the Edge of Forever_^>i_ * (_^<b_1977_^>b_; based on the Harlan Ellison script) and continued for at least 12 issues. There are also _^<a_!T1696_GAMES AND TOYS_^>a_, costumes, models, calendars, puzzles, badges and, of course,
_^<a_!T3597_MAGAZINES_^>a_ devoted to _^<i_ST_^>i_. There are books of blueprints, technical manuals and medical manuals. _^<i_ST_^>i_ is, in fact, an industry. There is even a thriving trade in _^<i_ST_^>i_ pornography (> _^<a_!T1392_FAN
LANGUAGE_^>a_) in the underground press._^<n__^<n_The first account of _^<i_ST_^>i_ published as a book was _^<i_The Making of Star Trek_^>i_ (_^<b_1968_^>b_) written by Stephen E. Whitfield and credited on the cover to Whitfield and Roddenberry.
Two more early accounts of _^<i_ST_^>i_ and its production problems were by David Gerrold: _^<i_The World of Star Trek_^>i_ (_^<b_1973_^>b_; rev 1984) and _^<i_The Trouble with Tribbles_^>i_ (_^<b_1973_^>b_). The latter includes Gerrold's
_^<i_ST_^>i_ script of the same title, together with an account of its production. There have been many books since, including _^<i_Star Trek Concordance_^>i_ (_^<b_1976_^>b_) by Bjo Trimble, _^<i_Star Trek Compendium_^>i_ (_^<b_1981_^>b_; rev
_^<b_1987_^>b_) by Allan Asherman, and _^<i_The Trek Encyclopedia_^>i_ (_^<b_1988_^>b_) by John Peel. _^<i_I am not Spock_^>i_ (_^<b_1975_^>b_) by Leonard Nimoy is a cautious account, not very deep, of the actor's relation to the character he
played._^<n__^<n_When it became clear that the fuss over _^<i_ST_^>i_ was unlikely to die down, NBC commissioned an animated cartoon series, also called _^<i_Star Trek_^>i_ (1973-4), based on the original series but introducing several new
characters, including an orange, tripedal, alien navigator, Arex, and a catlike alien communications officer, M'Rees. The voices were done by the actors from the original series. 1 of the 22 episodes was by Larry _^<a_!T3223_NIVEN_^>a_, and several
by Gerrold. This series in turn spawned yet more book adaptations, in the form of the _^<b_Star Trek Log_^>b_ series by Alan Dean _^<a_!T1572_FOSTER_^>a_ (_^<i_whom see for details_^>i_), of which 10 appeared 1974-8._^<n__^<n_Rumours,
counter-rumours and press releases about proposed revivals of _^<i_ST_^>i_, either on tv or as a feature film, abounded through the 1970s. In the event there were both. The 6 feature-film sequels starring the original cast, were:
_^<i__^<a_!T2430_STAR TREK THE MOTION PICTURE_^>a__^>i_ (1979), _^<i__^<a_!T2431_STAR TREK II: THE WRATH OF KHAN_^>a__^>i_ (1982), _^<i__^<a_!T2432_STAR TREK III: THE SEARCH FOR SPOCK_^>a__^>i_ (1984), _^<i__^<a_!T2433_STAR TREK IV: THE VOYAGE
HOME_^>a__^>i_ (1986), _^<i__^<a_!T2434_STAR TREK V: THE FINAL FRONTIER_^>a__^>i_ (1989) and _^<i__^<a_!T2435_STAR TREK VI: THE UNDISCOVERED COUNTRY_^>a__^>i_ (1991). A seventh movie spin-off, _^<i__^<a_!T6419_STAR TREK: GENERATIONS_^>a__^>i_
(1994), showcases Kirk's heroic death, and briefly features Chekov and Scotty, but is in essence a spin-off from _^<i_ST_^>i_'s successor, _^<i__^<a_!T2436_STAR TREK: THE NEXT GENERATION_^>a__^>i_. This latter series was the first live-action
television spin-off from _^<i_ST_^>i_. With an all-new cast it became very successful and popular, beginning in 1987 and running for seven seasons, ending in May 1994. Subsequent tv series have been _^<i__^<a_!T6529_STAR TREK: DEEP SPACE
NINE_^>a__^>i_ (Jan 1993- ) and _^<i__^<a_!T6421_STAR TREK: VOYAGER_^>a__^>i_ (Jan 1995- ). The Paramount _^<i_ST_^>i_ machine has not stopped. [PN/JB]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T1708_OPEN UNIVERSE_^>a_; _^<a_!T2877_SCIENTIFIC
ERRORS_^>a_; _^<a_!T2127_SHARED WORLDS_^>a_; _^<a_!T2337_SPACE FLIGHT_^>a_; _^<a_!T5888_TABOOS_^>a_; _^<a_!T5683_WOMEN AS PORTRAYED IN SCIENCE FICTION_^>a_.
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STAR TREK THE MOTION PICTURE
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Film (1979). Paramount. Prod Gene _^<a_!T2658_RODDENBERRY_^>a_, dir Robert _^<a_!T5659_WISE_^>a_, starring the lead players from the _^<a_!T2429_STAR TREK_^>a_ tv series, along with Persis Khambatta, Stephen Collins. Screenplay Harold Livingstone,
from a story by Alan Dean _^<a_!T1572_FOSTER_^>a_. 132 mins (released with additional material on video and tvat 143 mins). Colour._^<n__^<n_After more than a decade of rumour and counter-rumour, _^<b_Star Trek_^>b_ (1966-8) was finally relaunched,
and on the big screen at that, with a very big budget. The plot, one of Roddenberry's old favourites about the godlike thing in space, seems to have been based on the original tv episodes _^<i_The Changeling_^>i_ (1967) by John Meredith Lucas and
_^<i_The Doomsday Machine_^>i_ (1967) by Norman _^<a_!T2370_SPINRAD_^>a_, the latter about an implacable alien force heading straight for Earth, the former about an old Earth space probe that develops autonomous life. The response from _^<b_Star
Trek_^>b_ fandom was disappointing -- they warmed more to the cosier, more domestic, more small-screenish movies that followed -- but there is much to enjoy in Wise's partly successful effort to meld a story of old mates together again with a story
of transcendental union between human and _^<a_!T3540_MACHINE_^>a_, the film ending with a daring sexual apotheosis. At times the film becomes almost too contemplative, especially in the drawn-out, quasimystical finale, but most of all (and
traditionally) it is the disparity between the soap-opera ordinariness of the crew and the extraordinary events that surround them that keeps the _^<a_!T2104_SENSE OF WONDER_^>a_ visible in the distance but never quite there where you need
it._^<n__^<n_The novelization is _^<i_Star Trek: The Motion Picture_^>i_ * (_^<b_1979_^>b_) by Roddenberry. [PN]_^<n__^<n_
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STAR TREK II: THE WRATH OF KHAN
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Film (1982). Paramount. Dir Nicholas Meyer, starring the lead players from the _^<a_!T2429_STAR TREK_^>a_ tv series, along with Kirstie Alley, Bibi Besch, Merritt Butrick, Ricardo Montalban. Screenplay Jack B. Sowards, based on a story by Harve
Bennett and Sowards. 114 mins. Colour._^<n__^<n_This was the 2nd (and very much cheaper) movie incarnation of _^<b_Star Trek_^>b_, the first being _^<a_!T2430_STAR TREK THE MOTION PICTURE_^>a_ (1979). Montalban plays Khan, the villain, resurrected
from the tv episode _^<i_Space Seed_^>i_ (1967), who thinks he is Captain Ahab. Project Genesis, a _^<a_!T5945_TERRAFORMING_^>a_ project that can be used as a weapon, is about to be set off by Khan. Kirk meets his alienated son. Chekov is
mind-controlled by an alien earwig in his ear. Spock sacrifices himself for the greater good. The whole melodramatic, sentimental mishmash is muddily photographed in flat tv style, but, mystifyingly, many fans liked it better than its much more
considerable predecessor._^<n__^<n_The novelization is _^<i_Star Trek: The Wrath of Khan_^>i_ * (_^<b_1982_^>b_) by Vonda N. _^<a_!T3545_MCINTYRE_^>a_. [PN]_^<n__^<n_
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STAR TREK III: THE SEARCH FOR SPOCK
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Film (1984). Paramount. Dir Leonard Nimoy, starring the lead players from the _^<a_!T2429_STAR TREK_^>a_ tv series, along with Robin Curtis, Merritt Butrick, Christopher Lloyd. Screenplay prod Harve Bennett. 105 mins. Colour._^<n__^<n_This is the
3rd movie in the _^<b_Star Trek_^>b_ movie series begun with _^<a_!T2430_STAR TREK THE MOTION PICTURE_^>a_ (1979), and it follows directly on from the action of _^<a_!T2431_STAR TREK II: THE WRATH OF KHAN_^>a_ (1982) in which Spock died and the
Genesis Planet was created. It transpires -- the realization is slow -- that Spock's body has been recreated (as a rapidly ageing child) by the Genesis Planet, while his soul is sharing McCoy's mind, rendering McCoy schizophrenic. Kirk undertakes
to get body and soul together and does so on Vulcan, first outwitting Klingon warlord Kruge (Lloyd). Spock is absent for most of the film, the resulting emptiness being palpable, but Nimoy made up for this by competently directing it. Only complete
non-cynics, however, could find other than laughable this saccharine soap opera (rather than _^<a_!T2342_SPACE OPERA_^>a_) in which Kirk loses his son and his ship, Spock is retrospectively canonized, and there is tear-jerking all
round._^<n__^<n_The novelization is _^<i_Star Trek III: The Search for Spock_^>i_ * (_^<b_1984_^>b_) by Vonda N._^<n__^<n__^<a_!T3545_MCINTYRE_^>a_. [PN]_^<n__^<n_
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STAR TREK IV: THE VOYAGE HOME
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Film (1986). Paramount. Dir Leonard Nimoy, starring the lead players from the _^<a_!T2429_STAR TREK_^>a_ tv series, along with Catherine Hicks. Screenplay Steve Meerson, Peter Krikes, Harve Bennett, Nicholas Meyer, based on a story by Nimoy and
Bennett. 119 mins. Colour._^<n__^<n_Returning to Earth on their captured Klingon spacecraft to stand trial for exceeding orders in various ways (> _^<a_!T2432_STAR TREK III: THE SEARCH FOR SPOCK_^>a_ [1984]), Kirk and the crew of the (late)
_^<i_Enterprise_^>i_ are faced with an unidentified probe evaporating the oceans in order, it is somehow deduced, to communicate with humpback whales (now extinct). The only thing to do is to go back to 20th-century San Francisco, get a couple of
whales, and use them to talk the probe out of destroying Earth; this they do. It is perhaps unkind to criticize the _^<b_Star Trek_^>b_ people for their liberalism, but why do they always choose such _^<i_safe_^>i_ issues? There is some lively
humour connected with the crew's attempts to come to grips with 20th-century culture. This was by consensus the most relaxedly watchable of the series to date._^<n__^<n_The novelization is _^<i_Star Trek IV: The Voyage Home_^>i_ * (_^<b_1986_^>b_)
by Vonda N. _^<a_!T3545_MCINTYRE_^>a_. [PN]_^<n__^<n_
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STAR TREK V: THE FINAL FRONTIER
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Film (1989). Paramount. Dir William Shatner, starring the lead players from the _^<a_!T2429_STAR TREK_^>a_ tv series, along with Laurence Luckinbill. Screenplay David Loughery from a story by Shatner, Harve Bennett, Loughery. 107 mins.
Colour._^<n__^<n_A visibly middle-aged, overweight crew enact a tepid melodrama in which the _^<i_Enterprise_^>i_ is hijacked by a charismatic Vulcan healer, Sybok (Luckinbill), in search of God, who not unlike the Wizard of Oz proves fraudulent.
(False gods are a _^<a_!T2429_STAR TREK_^>a_ cliche in both tv and film incarnations.) The film has many anticlimaxes, especially the effortless transit of the supposedly impermeable Great Barrier, and is notable for embarrassingly
Californian-style Vulcan therapy-"getting in touch with your own feelings". Shatner's direction has much in common with his acting. After mildly perking up with _^<a_!T2433_STAR TREK IV_^>a_, the film series here plunged again, almost
fatally._^<n__^<n_The novelization is _^<i_Star Trek V: The Final Frontier_^>i_ * (_^<b_1989_^>b_) by J.M. _^<a_!T1233_DILLARD_^>a_. [PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T726_CINEMA_^>a_.
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STAR TREK VI: THE UNDISCOVERED COUNTRY
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Film (1991). Paramount. Dir Nicholas Meyer, starring the lead players from the _^<a_!T2429_STAR TREK_^>a_ tv series, along with Kim Cattrall, David Warner, Rosana DeSoto, Christopher Plummer, Morgan Sheppard. Screenplay Denny Martin Flinn, Meyer,
based on a story by Leonard Nimoy, Lawrence Konner, Mark Rosenthal. 109 mins. Colour._^<n__^<n_After the disaster of _^<a_!T2434_STAR TREK V: THE FINAL FRONTIER_^>a_ (1989), this film may have been a cynical decision to cash in on _^<b_Star
Trek_^>b_'s 25th anniversary and squeeze the last possible dollars out of the box-office. It is a watchable wrap-up of the series, or at least of the series as starring the original and now elderly cast. The story, a metaphor about Russian-US
_^<i_glasnost_^>i_, deals with the dawn of more peaceful relations between humans and Klingons, with Kirk's dislike of making any such accommodation, and with an unholy alliance of right-wing factions on both sides whose purpose is to sabotage the
peace process by assassinating leaders among the peacemakers. Plummer plays the Shakespeare-quoting villain, Chang; strangely the film's title is a mistake; Shakespeare's phrase "the undiscovered country" refers not to the future, as the film has
it, but to death. Like all but the first of its predecessors, this low-budget affair has the feel of a blown-up tv episode, but is enjoyably melodramatic._^<n__^<n_The novelization is _^<i_The Undiscovered Country_^>i_ * (_^<b_1992_^>b_) by J.M.
_^<a_!T1233_DILLARD_^>a_. [PN]_^<n__^<n_
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STAR TREK: THE NEXT GENERATION
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US tv series (1987-1994). Paramount. Series creator/executive prod Gene _^<a_!T2658_RODDENBERRY_^>a_. Co-executive prods Rick Berman, Michael Piller and later Jeri Taylor. Supervising prods include Maurice Hurley and Michael Wagner. Dirs include
Corey Allen, Gabrielle Beaumont, Cliff Bole, Rob Bowman, LeVar Burton, David Carson, Richard Colla, Jonathan Frakes, Winrich Kolbe, Les Landau, Paul Lynch, Gates McFadden, Joseph L. Scanlon. Writers include Peter Beagle, Hans Beimler, Brannon
Braga, Diane _^<a_!T1331_DUANE_^>a_, Rene Echevarria, D.C. _^<a_!T1546_FONTANA_^>a_, David _^<a_!T4671_GERROLD_^>a_, Maurice Hurley, Richard Manning, Joe Menosky, Ronald D. Moore, Michael Piller, Michael _^<a_!T2527_REAVES_^>a_, Naren Shankar,
Hannah Louise Shearer, Melinda _^<a_!T2290_SNODGRASS_^>a_, Jeri Taylor, Tracy Torme, Michael Wagner. Seven seasons to 1994. There was a 2hr pilot, then 175 50min episodes._^<n__^<n_This new _^<b_Star Trek_^>b_ series was syndicated rather than
networked, thus giving the production company a (perhaps) greater creative freedom. Roddenberry, who created the original _^<a_!T2429_STAR TREK_^>a_, cowrote the pilot episode for this new series 20 years later. Although he remained executive prod,
after two years he was no longer closely involved with the show; he died in 1991._^<n__^<n_The series is set 80 years further on than _^<b_Star Trek_^>b_. It is introduced with a slight twist on the traditional text: "to boldly go where no
_^<i_one_^>i_ has gone before"; this demonstrated from the outset that _^<i_ST:TNG_^>i_ would concentrate more on eschewing possible insult than on avoiding split infinitives, and so it has proved. The general likability of the new cast, the fact
that their characters seldom conflict with one another (though this became less marked in the last three seasons), the homely moralizing, the absence (usually) of real pain, the appearance of liberalism while avoiding truly sensitive issues (though
in season five "The Outcast" raised gay-rights questions): all recall the blandness of its much-loved original -- a quality attributed by some to Roddenberry's "bible" (> _^<a_!T2127_SHARED WORLDS_^>a_), a very detailed list of things you can't do
in _^<b_Star Trek_^>b_ scripts -- as do many of the story-lines. But, after an uncertain start (tensions on the set and many resignations, including those of writers Gerrold and Fontana; an improvement late in season 1, then a patchy season 2),
_^<i_ST:TNG_^>i_ surprised many by picking up considerable pace and interest in season 3. It is now generally agreed to be superior to its original, whose reruns look ever more amateurish by comparison. There was a slump in season five, but season
six was strong; season seven looked tired at the outset, but went out with several strong episodes, even though _^<i_ST:TNG_^>i_ was by this time competing with _^<i__^<a_!T6529_STAR TREK: DEEP SPACE NINE_^>a__^>i_, the second of _^<i_Star
Trek_^>i_'s live-action tv spin-offs._^<n__^<n_It could be said that _^<i_ST:TNG_^>i_ is not really sf at all. That is, the events of any episode seldom if ever arise of necessity from a truly sf idea. The sf elements are, by and large,
prettifications used to enliven fables about human ethics, and are essential to the plot only insofar as they are enabling devices to create moral dilemmas. Thus, for example, in the several episodes that are variations on the theme of the
immaturity of wanting to be a god, the only necessary sf element is the temporary conferral of godlike power._^<n__^<n_Much credit for the success of _^<i_ST:TNG_^>i_ must go to certain cast members, notably UK actor Patrick Stewart, ex-Royal
Shakespeare Company, who plays Captain Jean Luc Picard, the _^<i_Enterprise_^>i_'s captain, with impressive gravitas and vigour. Also very good is Brent Spiner as the _^<a_!T178_ANDROID_^>a_ (and Spock substitute) Data. Most of the rest of the cast
are efficient; they include Jonathan Frakes as First Officer Riker, Marina Sirtis as the empath Counsellor Troi, Gates McFadden as the female medical officer Dr Crusher (in season 2 a new medical officer appeared, played by Diana Muldaur), Denise
Crosby (season 1 only) as the tough security officer, Black actor LeVar Burton as Geordi LaForge, the blind navigating officer with artificially enhanced vision, Wil Wheaton as the initially teenaged Ensign Crusher (in later seasons he was reduced
to occasional guest-starring roles rather than as a regular), and Michael Dorn as the Klingon Lieutenant Worf of the _^<i_Enterprise_^>i_ (galactic politics having changed in 80 years). Michelle Forbes was introduced in season five as Ensign Ro, a
Bajoran, in "Ensign Ro", the episode that was ultimately to prove the starting point of _^<i_Star Trek: Deep Space Nine_^>i_. Notable among occasionally returning guest stars have been Whoopi Goldberg as a bartender and John DeLancie as the
roguish, enigmatic "Q", the show's equivalent of Trickster figures like Coyote or Loki or Monkey King, who has featured in some of the better episodes. Many episodes have been released on videotape._^<n__^<n_In retrospect, _^<i_ST:TNG_^>i_ must be
seen as a great success, at least commercially. It attracted a large and passionate fan following, and with 15 to 20 million US viewers is the highest rated syndicated series in US tv history. One fifth-season episode, "The Inner Light", was
awarded a _^<a_!T4551_HUGO_^>a_ in 1993. Ironically, the show's very success may have helped kill it off. Paramount initially sold screening rights back at a time when the show's success was very uncertain; had these rights been sold in 1993, it
would have been a very different story, and a much more profitable one. The obvious answer was to hope that fannish loyalty was to the whole _^<i_ST_^>i_ franchise, not just to the program, and to start a new series. This was done with _^<i_Star
Trek: Deep Space Nine_^>i_ in 1993, and again with _^<i__^<a_!T6421_STAR TREK: VOYAGER_^>a__^>i_ in 1995._^<n__^<n_As with the original "classic" series, there has been a substantial number of spin-off books, beginning with _^<i_Star Trek, The Next
Generation: Encounter at Farpoint_^>i_ * (_^<b_1987_^>b_) by David _^<a_!T4671_GERROLD_^>a_, which novelizes episode 1, and reaching, by early 1995 _^<i_Star Trek: The Next Generation #35: The Romulan Stratagem_^>i_ (_^<b_1995_^>b_) by Robert
_^<a_!T4843_GREENBERGER_^>a_. Other authors have included A.C. _^<a_!T960_CRISPIN_^>a_, Peter _^<a_!T1081_DAVID_^>a_, David _^<a_!T1358_DVORKIN_^>a_ and Jean _^<a_!T3448_LORRAH_^>a_. A preliminary judgment -- that there seems less in this series
than in its predecessor to stimulate the creativity of book authors -- may be premature. As expected, the series has also spawned comics and magazines. [PN]_^<n__^<n_
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Q
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(vt _^<i_The Winged Serpent_^>i_; vt _^<i_Q: The Winged Serpent_^>i_) Film (1983). Larco. Prod and dir Larry _^<a_!T783_COHEN_^>a_, starring Michael Moriarty, Candy Clark, David Carradine. Screenplay Cohen. 92 mins. Colour._^<n__^<n_In this witty
_^<a_!T3011_MONSTER MOVIE_^>a_ -- which subverts our expectations about how both society and B-movies work in almost the same breath -- "Q" represents on the one hand Quetzalcoatl, a giant winged serpent (thus sf) and Aztec god (thus not sf) that
terrorizes New York, possibly called up by the city's violence, and on the other hand Quinn (Moriarty), a small-time jewel thief and opportunist who discovers the monster's lair atop the Chrysler Building (where there is, naturally enough, an Aztec
pyramid). The likable human monster Quinn metaphorically coalesces with the literal monster. But Quinn plays Judas to the incarnated god, thus laying himself open to retribution from a ritual mutilator, one of Q's disciples. He is saved by cool
policeman Shepard (Carradine), to whom monsters are just one more story in the Naked City. Moriarty is superb and, in its confident mounting, its sophistication, and its higher-than-average (for Cohen) production values, _^<i_Q_^>i_ may be its
director's best film. [PN]_^<n__^<n_
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QERAMA, THANAS
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[r] > _^<a_!T81_ALBANIA_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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Q: THE WINGED SERPENT
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> _^<a_!T2437_Q_^>a_._^<n__^<n_
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QUANDRY
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US _^<a_!T1428_FANZINE_^>a_ (1950-53), 30 issues, ed from Georgia by Lee _^<a_!T4460_HOFFMAN_^>a_. Though undistinguished in appearance, _^<i_Q_^>i_ was noted for the quality and humour of its writing; along with _^<a_!T4575_HYPHEN_^>a_, its
influence on fan publishing is still strong. Contributors included Walt Willis (1919- ), Robert _^<a_!T2216_SILVERBERG_^>a_, Wilson _^<a_!T6117_TUCKER_^>a_, Robert _^<a_!T661_BLOCH_^>a_ and James _^<a_!T5577_WHITE_^>a_. Hoffman still publishes,
but no longer edits, _^<i_Science Fiction Five Yearly_^>i_, the fanzine holding the record for the longest gaps between regular issues, founded 1951, #9 in 1991; it shares many contributors with _^<i_Q_^>i_. A single-issue reprint collection of
_^<i_Quandry_^>i_ #14-#17 was published in 1982 by Joe D. Siclari. [PR/RH]_^<n__^<n_
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QUANTUM LEAP
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US tv series, (1989-1993). Universal/MCA for NBC. Created and prod Donald P. Bellisario. Supervising prod Deborah Pratt. Writers include Bellisario, Pratt, Beverly Bridges, Paul Brown, Chris Ruppenthal, Scott Shepherd, Tommy Thompson. Dirs include
David Hemmings, Aaron Lipstadt, James R. Whitmore, Gilbert Shelton, Christopher Welch, Joe Napolitano, Michael Watkins, Michael Zinberg. Five seasons to May 1993, 95 one-hour episodes in all. Colour._^<n__^<n__^<i_QL_^>i_ is an unusual
_^<a_!T6026_TIME-TRAVEL_^>a_ series, with Scott Bakula as Sam Beckett (!), a scientist lost in time, helped only by the projected hologram of Albert (Dean Stockwell), an eccentric colleague trapped in the future. Unlike the heroes of
_^<i_The_^<a_!T6030_TIME TUNNEL_^>a__^>i_ (1966-7), who were physically dumped into historical situations, Beckett travels mentally, his consciousness inhabiting the bodies of other people at any time between the 1950s and the 1980s (the time
visited has to be after his own birth). As in _^<i_Here Comes Mr Jordan_^>i_ (1941), the audience sees the hero as himself while those around him see the person he is possessing. Although the premise is gimmicky, the series reached a surprisingly
high standard. Highspots from 1989 have Beckett suddenly in the bodies of a test pilot about to step into an experimental plane Beckett can't possibly fly, a mobster required to sing in Italian at a wedding, an old Black man in the South in the
1950s during a civil-rights demonstration, and a pretty woman being pursued by a lecherous suitor. Only notionally sf, this is a shade grittier, funnier and cleverer than it has any right to be, and benefits strongly from the two relaxed, witty
central performances. [KN]_^<n__^<n_
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QUANTUM: SCIENCE FICTION AND FANTASY REVIEW
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_^<i_>_^>i_ _^<a_!T6006_THRUST_^>a_._^<n__^<n_
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QUARBER MERKUR
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Austrian _^<a_!T1428_FANZINE_^>a_; ed Franz _^<a_!T2713_ROTTENSTEINER_^>a_ since its inception in 1963. In the argot of fans, _^<i_QM_^>i_ is a "sercon" (serious and constructive) fanzine, one of the longest-running and most impressive of its type.
It publishes critical, bibliographical, sociopolitical and historical studies of sf, _^<a_!T5303_UTOPIAS_^>a_, weird fiction and _^<a_!T1412_FANTASY_^>a_. Averaging 90 large unillustrated pages per issue, _^<i_QM_^>i_ has now published around 3
million words of serious criticism; it had reached #74 by the end of 1990. Contributors have included most of the major German sf critics, and writers such as Herbert W. _^<a_!T1597_FRANKE_^>a_ and Stanislaw _^<a_!T3329_LEM_^>a_; many contributors
have been from Eastern Europe. A collection of some of the best contents is _^<i_Quarber Merkur_^>i_ (anth _^<b_1979_^>b_ Germany). [PN]_^<n__^<n_
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QUARK
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US _^<a_!T1725_ORIGINAL-ANTHOLOGY_^>a_ series from Paperback Library, ed Samuel R. _^<a_!T1152_DELANY_^>a_ and the poet Marilyn Hacker (1942-_^<n__^<n_) -- they were married 1961-80 -- subtitled "A Quarterly of Speculative Fiction". It was the most
overtly experimental and _^<a_!T3181_NEW-WAVE_^>a_ of the _^<a_!T195_ANTHOLOGY_^>a_ series of the early 1970s, and provoked some hostility in the sf world. It attempted an ambitious, graphically sophisticated package; but some illustration was
substandard and the design was irritating rather than innovative, with such counterproductive features as the appearance of authors' names only at the end of each story and, for #2 (because of a production oversight), the omission of a contents
page. Although _^<i_Q_^>i_ featured good work by Thomas M. _^<a_!T1244_DISCH_^>a_, R.A. _^<a_!T4152_L AFFERTY_^>a_, Ursula K. _^<a_!T3318_LE GUIN_^>a_, Joanna _^<a_!T2741_RUSS_^>a_ and others, it lasted only 4 issues: _^<i_Quark 1_^>i_ (anth
(vt _^<i_The Quatermass Conclusion_^>i_) UK tv serial (1979). Euston Films/ITV. Prod Ted Childs. Dir Piers Haggard, starring John Mills, Simon MacCorkindale, Rebecca Saire. Written Nigel _^<a_!T4095_KNEALE_^>a_. 4 60min episodes. Colour. Version for
film release (but receiving general release only on videotape) titled _^<i_The Quatermass Conclusion_^>i_, 102 mins._^<n__^<n_This fourth and weakest of the Quatermass tv serials (_^<i_see below for details of the others_^>i_) was written in the
late 1960s for BBC TV, rejected as too expensive, and finally made for commercial tv a decade later. The delay rendered out-of-date the sequences about hippie adolescents lured to neolithic sites to be harvested by aliens. The other part of the
plot, dealing with near-future breakdown of law and order in a London becoming a wasteland, is stronger; but the two halves never properly meld, and _^<i_Q_^>i_ lacks the narrative thrust of its predecessors. John Mills's Quatermass is rather old
and sad, and, though there is much to enjoy, there is a faintly querulous, elderly air about the whole production. The cut version, though planned from the beginning, is semi-incoherent. Kneale's obsessive, 30-year repetition of the
science-meets-superstition theme is altogether jollier in his screenplay for _^<a_!T4251_HALLOWEEN III: SEASON OF THE WITCH_^>a_ (1983), also featuring a stone circle. [PN]_^<n__^<n_
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QUATERMASS AND THE PIT
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_^<b_1._^>b_ UK tv serial (1958-9). BBC TV. Prod and dir Rudolph Cartier, starring Andre Morell (as Quatermass), Anthony Bushell. Written Nigel _^<a_!T4095_KNEALE_^>a_. 6 35min episodes. (Released on video 1988 at 178 mins.) B/w._^<n__^<n_As in
_^<i_QATP_^>i_'s two predecessors, _^<i_The_^<a_!T2449_QUATERMASS EXPERIMENT_^>a__^>i_ and _^<a_!T2450_QUATERMASS II_^>a_, Kneale's theme is demonic possession, dressed up ingeniously as sf. Morell was the best of the BBC's three Professor
Quatermasses, and most critics judge the tv serial better than the film version. The published script is _^<i_Quatermass and the Pit_^>i_ * (_^<b_1960_^>b_) by Kneale. For details of the story see below._^<n__^<n__^<b_2._^>b_ Film (1967; vt
_^<i_Five Million Years to Earth_^>i_ US) Hammer/Seven Arts. Dir Roy Ward Baker, starring Andrew Keir (as Quatermass), Barbara Shelley, James Donald. Screenplay Nigel _^<a_!T4095_KNEALE_^>a_, based on his BBC TV serial. 97 mins.
Colour._^<n__^<n_Hammer's third Quatermass film, a decade after the second and the only one with an English actor (Keir) in the title role. The first two were _^<i_The_^>i_ _^<a_!T2451_QUATERMASS XPERIMENT_^>a_ (1955) and _^<a_!T2450_QUATERMASS
II_^>a_ (1957). Workers excavating a tunnel find an apparent unexploded bomb; it is actually a Martian spaceship. In a plot-turn deftly blending sf with speculation on Jungian archetype, it turns out that racial memories have been coded in our
brains by Martians during our prehistory: our image of the Devil is a distorted "memory" of the Martians' appearance (antennae equalling horns), and our irrational belligerence reflects the Martians' ritualistic culling of the weaker members of
their species. The spaceship's power source is merely dormant, and as it comes to life (poltergeist phenomena being the first effect) it reinforces ancient nightmares. In the disturbing climax panicked Londoners begin an orgy of destruction as a
Devil's head rises above the streets and paranormal powers are let loose. _^<i_QATP_^>i_ is surely the inspiration for Stephen _^<a_!T4066_KING_^>a_'s novel _^<i_The Tommyknockers_^>i_ (_^<b_1987_^>b_)._^<n__^<n_Kneale's characteristic blend of
_^<a_!T4780_GOTHIC_^>a_ and science is intelligent and entertaining. Although inferior to its tv original, which had more time to develop its irrational but mesmerizing thesis, the film is still above average. [PN/JB]_^<n__^<n__^<b_See also:_^>b_
_^<a_!T5843_SUPERNATURAL CREATURES_^>a_.
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QUATERMASS CONCLUSION, THE
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> _^<a_!T2446_QUATERMASS_^>a_._^<n__^<n_
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QUATERMASS EXPERIMENT, THE
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UK tv serial (1953). BBC TV. Prod and dir Rudolph Cartier, starring Reginald Tate (as Quatermass), Isabel Dean, Duncan Lamont. Written Nigel _^<a_!T4095_KNEALE_^>a_. 6 30min episodes. B/w._^<n__^<n_Before the first episode, the BBC warned that the
serial was "thought to be unsuitable for children or persons of a nervous disposition". For 6 Saturday nights the UK tv audience watched a genuinely unsettling story unfold -- an ingenious combination of sf and the traditional horror theme of
possession. It was a milestone in televised sf. The script was published as _^<i_The Quatermass Experiment_^>i_ * (_^<b_1959_^>b_) by Kneale. For details of the story > _^<i_The_^<a_!T2451_QUATERMASS XPERIMENT_^>a__^>i_ . [JB]_^<n__^<n_
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QUATERMASS II
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_^<b_1._^>b_ UK tv serial (1955). BBC TV. Prod and dir Rudolph Cartier, starring John Robinson (as Quatermass). Written Nigel _^<a_!T4095_KNEALE_^>a_. 6 35min episodes. B/w._^<n__^<n_This was the sequel to _^<i_The_^<a_!T2449_QUATERMASS
EXPERIMENT_^>a__^>i_ ; for details of the story see below. The script was published as _^<i_Quatermass II_^>i_ * (_^<b_1960_^>b_) by Kneale._^<n__^<n__^<b_2._^>b_ Film (1957; vt _^<i_Enemy from Space_^>i_ US) Hammer/United Artists. Dir Val Guest,
starring Brian Donlevy (as Quatermass), Bryan Forbes, John Longden, Sidney James. Screenplay Nigel _^<a_!T4095_KNEALE_^>a_, Val Guest, based on the BBC TV serial by Kneale. 85 mins. B/w._^<n__^<n_This was #2 of the 3 Quatermass films produced by
Hammer, and the first coscripted by Kneale; it is the most difficult to judge since Kneale, who disliked Donlevy's US performance and Guest's tampering with his script, withdrew the film from circulation in 1965 when rights reverted to him. Many
critics think it the best of the Quatermass films, and some deem it the greatest of all UK sf movies (though astonishingly similar in theme to the US film _^<a_!T3802_INVASION OF THE BODY SNATCHERS_^>a_ [1956]): disturbing, intense, unrelenting,
paranoid and especially nightmarish in its depiction of figures in power conspiring with aliens capable of entering and controlling human bodies. Much of the action takes place in the brooding landscapes of the North of England, where a mysterious
technological complex turns out to be the alien power base. The strong political allegory of ordinary people cruelly exploited by a cold-blooded (and in this case literally inhuman) ruling class was very adventurous for the time._^<n__^<n_The tv
ending (Quatermass goes into space to destroy the asteroid which is the alien base) is dropped in the film. The film's predecessor was _^<i_The_^>i_ _^<a_!T2451_QUATERMASS XPERIMENT_^>a_ (1955) and its successor was _^<a_!T2447_QUATERMASS AND THE
(vt _^<i_The Creeping Unknown_^>i_ US) Film (1955). Hammer. Dir Val Guest, starring Brian Donlevy (as Quatermass), Richard Wordsworth, Jack Warner. Screenplay Richard Landau, Val Guest, based on the BBC TV serial by Nigel _^<a_!T4095_KNEALE_^>a_. 82
mins, cut to 78 mins. B/w._^<n__^<n_It was this film version of the BBC's tv serial _^<i_The_^>i_ _^<a_!T2449_QUATERMASS EXPERIMENT_^>a_ that convinced the Hammer company there was money in horror. (The spelling "Xperiment" referred jokingly to the
X certificate Hammer correctly expected the film to be given because of what seemed in those innocent days its alarming horror content.) An astronaut returns to Earth infected by spores from space that slowly take over his body, finally
transforming him into an amorphous blob that retreats into Westminster Abbey, where it is electrocuted by Quatermass. (The original tv serial ends with Quatermass talking to all the three astronaut psyches lingering within the monster, thus
convincing the blob to self-destruct.) Richard Wordsworth's shambling, pitiful performance as the afflicted astronaut is quite moving, communicating (though he barely speaks) a sense of something utterly alien to human experience. _^<i_TQX_^>i_ is
a minor classic. [PN/JB]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T3011_MONSTER MOVIES_^>a_.
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QEBEC
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> _^<a_!T5141_CANADA_^>a_._^<n__^<n_
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QUEEN OF BLOOD
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> Roger _^<a_!T884_CORMAN_^>a_._^<n__^<n_
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QUENEAU, RAYMOND
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[r] > _^<a_!T1590_FRANCE_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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QUESADA, ANGEL TORRES
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[r] > _^<a_!T2357_SPAIN_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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QUESTAR
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US sf magazine; large-_^<a_!T492_BEDSHEET_^>a_ slick format; 13 issues, Spring 1978-Oct 1981; published by M.W. Communications Inc (William G. Wilson and Robert V. Michelucci), Pittsburgh; ed William G. Wilson Jr. The final, redesigned issue, had a
new title: _^<i_Quest/Star_^>i_, subtitled "The World of Science Fiction"._^<n__^<n__^<i_Questar_^>i_ began as a media _^<a_!T2100_SEMIPROZINE_^>a_ largely devoted to talk about _^<a_!T820_COMICS_^>a_ and sf _^<a_!T726_CINEMA_^>a_, with a
sprinkling of not very good stories. #3 introduced interior colour illustration, and a greater concentration on movies and interviews. Though glossy, it remained insipid. Only with #13 -- for which, astonishingly, H.L. _^<a_!T4752_GOLD_^>a_ was
dragged from retirement as fiction editor -- did _^<i_Q_^>i_ begin publishing reputable fiction. This was too little, too late. Undercapitalized -- and undersold, despite its patchy national distribution from #7 -- _^<i_Q_^>i_ sank, lamented by
few. Publication was irregular, though approximately quarterly. [PN]_^<n__^<n_
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QUEST FOR FIRE
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Film (1981). ICC-Cine-Trail (Montreal)/Belstar Productions/Stephan Films (Paris). Dir Jean-Jacques Annaud, starring Everett McGill, Ron Perlman, Nameer El-Kadi, Rae Dawn Chong. Screenplay by Gerard Brach, based on _^<i_La Guerre du Feu_^>i_
(_^<b_1909_^>b_) by J.H. _^<a_!T2696_ROSNY_^>a_ aine. 100 mins. Colour._^<n__^<n_This Canadian/French coproduction dramatizes the 1909 French classic prehistoric romance by J.H. Rosny aine, trans as _^<i_The Quest for Fire: A Novel of Prehistoric
Times_^>i_ (cut trans _^<b_1967_^>b_ US). Great care (possibly misplaced, since who can know?) was taken to make it all seem authentic, from positions adopted for love-making (body language credited to Desmond Morris) and an imaginary agglutinative
language with a vocabulary of about 200 sounds (linguistics credited to Anthony _^<a_!T5084_BURGESS_^>a_). The tribe's fire has gone out, and three tribesmen go on a quest to find fresh fire (it is a kind of Holy Grail), confronting a more
primitive cannibal tribe and then the more sophisticated Ivaka, who know how to make fire. As an exercise in imaginary _^<a_!T197_ANTHROPOLOGY_^>a_ it is mildly impressive (though it has its cod aspects, its 1909 original not being the last word in
prehistoric insight); as story-telling, it covers familiar generic ground, but is all very enjoyable -- especially the arbitrary herd of mammoths (elephants wearing rugs) -- and rather touching. The Kenyan and Scottish highlands, beautifully
photographed, stand in for prehistoric Europe. [PN]_^<n__^<n_
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QUEST FOR LOVE
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Film (1971). Peter Rogers Productions. Dir Ralph Thomas, starring Tom Bell, Joan Collins, Denholm Elliott, Laurence Naismith. Screenplay Terence Feely, based on "Random Quest" (1961) by John _^<a_!T6211_WYNDHAM_^>a_. 91 mins.
Colour._^<n__^<n_Romance about a physicist (Bell) accidentally transferred to a _^<a_!T1794_PARALLEL WORLD_^>a_, where he falls in love with the wife (Collins) of his _^<i_alter ego_^>i_, a playwright and cad, whose place he has taken. She dies. On
being sucked back to our own world, he desperately quests for her counterpart, hoping to save her and have a second chance at love. He does. Good performances, so-so as sf, with the differences of the new world (Kennedy not assassinated, etc.)
established only perfunctorily. Wyndham's original story is one of his weakest. [PN]_^<n__^<n_
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QUESTOR TAPES, THE
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Made-for-tv film (1974). Universal/NBC. Dir Richard A. Colla, starring Robert Foxworth (as Questor), Mike Farrell, John Vernon. Teleplay Gene _^<a_!T2658_RODDENBERRY_^>a_, Gene L. Coon. 100 mins. Colour._^<n__^<n_This was the rather good pilot
episode for a tv series that never sold. Questor, the last of a series of _^<a_!T178_ANDROID_^>a_ guardians deposited on Earth eons ago by a beneficent _^<a_!T98_ALIEN_^>a_ race, has been faultily programmed, and the story involves his search for
information that will explain his origin and mission. Little is resolved, since the film was designed as an introduction only. The novelization is _^<i_The Questor Tapes_^>i_ * (_^<b_1974_^>b_) by D.C. _^<a_!T1546_FONTANA_^>a_. [JB]_^<n__^<n_
(? - ) US writer who began publishing sf with "Rest in Pieces" for _^<i_IASFM_^>i_ in 1980, but who came to more general notice, after several 1980s stories in _^<i_ASF_^>i_, with the _^<b_Dreams_^>b_ sequence of sf adventures: _^<i_Dreams of
Flesh and Sand_^>i_ (_^<b_1988_^>b_), _^<i_Dreams of Gods and Men_^>i_ (_^<b_1989_^>b_) and _^<i_Singularities_^>i_ (_^<b_1990_^>b_). The tales are clear-cut and taut, but the huge corporations dominated by _^<a_!T68_AI_^>a_s were unsurprising fare
for readers familiar with the rapid explosion of the _^<a_!T1015_CYBERPUNK_^>a_ subgenre. _^<i_Yesterday's Pawn_^>i_ (_^<b_1989_^>b_), also an adventure tale, takes its adolescent protagonist through space and time as he attempts to decipher the
importance of an ancient artefact; but _^<i_Systems_^>i_ (_^<b_1989_^>b_) returns to cyberpunk territory in the fast-paced story of a "data hunter" simultaneously grieving for his pregnant wife and solving the mysteries surrounding her murder.
[JC]_^<n__^<n_
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QUIET EARTH, THE
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Film (1985). Cinepro/Pillsbury. Dir Geoffrey Murphy, starring Bruno Lawrence, Alison Routledge, Peter Smith. Screenplay Bill Baer, Bruno Lawrence, Sam Pillsbury, based on _^<i_The Quiet Earth_^>i_ (_^<b_1981_^>b_) by Craig _^<a_!T4315_HARRISON_^>a_.
91 mins. Colour._^<n__^<n_This New Zealand film tells of a scientific/metaphysical _^<a_!T1243_DISASTER_^>a_, perhaps consequent upon a secret project in energy transmission, in which all people disappear from the Earth except those who
coincidentally die at the moment of the disaster: these are resurrected. A guilt-ridden scientist plays solitary games in a deserted city; he meets a woman survivor and then a tough Maori, with the usual male rivalry ensuing. The scientist realizes
the fabric of the Universe has become unstable and tries to put it right, with interesting results. A small, low-key, honest film, suffering from a derivative storyline and rather pedestrian direction and performances. [PN]_^<n__^<n_
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QUILL, JOHN
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[s] > Max _^<a_!T47_ADELER_^>a_._^<n__^<n_
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QUILLER, ANDREW
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> Kenneth _^<a_!T5073_BULMER_^>a_._^<n__^<n_
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QUILP, JOCELYN
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Pseudonym of UK writer Halliwell Sutcliffe (1870-1932), whose _^<i_Baron Verdigris: A Romance of the Reversed Direction_^>i_ (_^<b_1894_^>b_) features a 12th-century knight cast into confusion by being able to remember both the past and the future,
but not to distinguish between them. [JC]_^<n__^<n_
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QUINN, DANIEL
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(1935- ) US writer who began publishing work of genre interest with _^<i_Dreamer_^>i_ (_^<b_1988_^>b_), a dark fantasy, and who came to wide notice with _^<i_Ishmael_^>i_ (_^<b_1992_^>b_), which won the first Turner Tomorrow Award of $500,000.
The novel is a quietly told but elegantly unrelenting indictment of _^<i_Homo sapiens_^>i_'s lethal tenure as rulers of the planet, spoken through the consciousness of a melancholy, didactic great ape (> _^<a_!T206_APES AND CAVEMEN_^>a_) who
attempts to teach the human protagonist what must be done: you must (he insists) change your lives; or you will all die. [JC]_^<n__^<n_
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QUINN, GERARD A.
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(1927- ) Northern Irish illustrator. One of the "grand old men" (with Brian _^<a_!T3365_LEWIS_^>a_) of UK sf illustration in the 1950s, GAQ did hundreds of illustrations for UK sf magazines, beginning 1951, including 36 covers for _^<i_NW_^>i_,
24 for _^<i_Science Fantasy_^>i_, 3 for _^<i_Nebula Science Fiction_^>i_, 2 for _^<i_Vision of Tomorrow_^>i_ and, in a minor 1982 comeback after largely disappearing from the scene in the mid-1960s, 2 for _^<a_!T6734_EXTRO_^>a_. Specializing in
alien landscapes, his astronomical paintings were often compared to those of Chesley _^<a_!T697_BONESTELL_^>a_, though his use of colour was less photographically realistic. His interior black-and-white work was intricate. [JG/PN]_^<n__^<n_
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QUINN, JAMES L(OUIS)
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(? - ) US editor whose Quinn Publishing Co started the magazine _^<a_!T4583_IF_^>a_ in 1952; JLQ became editor after the first 4 issues. Its circulation gradually declined, and in 1958 JLQ appointed Damon _^<a_!T4098_KNIGHT_^>a_ in his place.
The magazine's fortunes did not revive and JLQ suspended publication, subsequently selling the title to the publishers of _^<a_!T1686_GALAXY SCIENCE FICTION_^>a_. With Eve Wulff he ed 2 anthologies drawn from the magazine: _^<i_The First World of
If_^>i_ (anth _^<b_1957_^>b_) and _^<i_The Second World of If_^>i_ (anth _^<b_1958_^>b_). [MJE]_^<n__^<n_
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QUINN PUBLISHING CO.
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> _^<a_!T4583_IF_^>a_._^<n__^<n_
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QUINTET
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Film (1979). Lion's Gate/20th Century-Fox. Dir Robert Altman, starring Paul Newman, Bibi Andersson, Vittorio Gassman, Fernando Rey, Brigitte Fossey, Nina Van Pallandt, David Langton. Screenplay Frank Barhydt, Altman, Patricia Resnick, from a story
by Altman, Lionel Chetwynd, Resnick. 118 mins. Colour._^<n__^<n_This strange film, crucified on release, is perhaps better than the then-consensus suggested. Newman is the seal-hunter in an (apparently) post-_^<a_!T4482_HOLOCAUST_^>a_ frozen
future, a new Ice Age, who with his pregnant wife joins a dying but still crowded city, where corpses are left in the snow for the dogs to eat, where nobody is born any more, and where anomie is held at bay only by obsessive playing of the game
Quintet. This is played either on a board or in real life; in the latter case 5 people must be killed: only 1 will survive. Newman's wife (Fossey) is accidentally killed during a game attack (along with Earth's last foetus), and Newman vengefully
joins the game, wins, killing his new lover (Andersson) in the process, and vanishes back into the snow. The obvious reading is that of the still vigorous, romantic hero destroying a corrupt society. Another plausible reading is that the
death-focused game is all the real life that is left, and that the hero's despising it is itself a sterile act of turning away: the hero as lost fool. The imagery is strong, the pace glacial and the theme overintellectualized; the deliberately
international cast sounds most of the time very uncomfortable with English (though the very alienation that suggests is appropriate to the story). _^<i_Q_^>i_ bores the watcher, yet lingers for years in the mind. [PN]_^<n__^<n_
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RABELAIS, FRANCOIS
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(?1494-1553) French monk, doctor, priest and writer. The various manuscripts now generally published as _^<i_Gargantua and Pantagruel_^>i_ (_^<b_1532-52_^>b_ plus a posthumous text of dubious authenticity _^<b_1564_^>b_; many trans, of which the
best known is that by Sir Thomas Urquhart -- first 2 books _^<b_1653_^>b_ UK, 3rd book _^<b_1693_^>b_ UK -- and Peter Le Motteux -- 4th and 5th books _^<b_1694_^>b_ UK, and of which the most successful contemporary version is trans Burton Raffel
1990 US) form an immense, exuberant, linguistically inventive _^<a_!T2812_SATIRE_^>a_ with most of medieval Christendom the target. The giants of the title are enormous both physically and in their joyous gusto. In the _^<i_Fourth Book_^>i_
(_^<b_1552_^>b_) of the sequence, _^<a_!T3823_ISLANDS_^>a_ exemplary of various aspects of society are visited-including the island of the Papimanes, description of whose inhabitants involves a radical criticism of the Catholic Church. Darker and
more bitter in tone, the _^<i_Fifth Book_^>i_ (_^<b_1564_^>b_) -- which may well have been completed by another hand from FR's first draft-incorporates a section, _^<i_The Ringing Island_^>i_ (_^<b_1562_^>b_), originally published separately, with
the most notable sf imagery of the entire work. The islands of the 4th and 5th books were probably the most sustained invention of other worlds in literature up to that time. The succession of _^<a_!T98_ALIEN_^>a_ societies, often making some kind
of satirical comment on our own, complete with all sorts of colourful anthropological detail, has been greatly influential in _^<a_!T2013_PROTO SCIENCE FICTION_^>a_, and its resonances can be sensed even today in the work of writers like Jack
_^<a_!T5317_VANCE_^>a_, who, even if not directly influenced by him, continue the FR tradition. [JC/PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T1590_FRANCE_^>a_.
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RABID
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Film (1976). Cinepix/Dibar Syndicate/Canadian Film Development Corp. Written/dir David Cronenberg, starring Marilyn Chambers, Joe Silver, Howard Ryshpan, Patricia Gage, Susan Roman. 91 mins. Colour._^<n__^<n_In this Canadian film from David
_^<a_!T970_CRONENBERG_^>a_ an experimental skin graft on an accident victim (hardcore porn star Marilyn Chambers) turns her into the carrier of a rabies-like disease which induces homicidal mania in its victims; the disease is spread by means of a
phallic, organic syringe which emerges from labia in her armpit and is used to satisfy her new, uncontrollable blood lust. Montreal is soon in the throes of apocalypse, and martial law is established; citizens who cannot produce proof of
inoculation are shot by troops and their bodies dumped into garbage trucks. Structured much like _^<i_The_^<a_!T1796_PARASITE MURDERS_^>a__^>i_ (1974; vt _^<i_They Came from Within_^>i_; vt _^<i_Shivers_^>i_), this is more smoothly directed but
perhaps less intense, and by Cronenberg's standards is a conventional exploitation picture -- though from anybody else this medical/Freudian _^<a_!T4509_HORROR_^>a_ movie, with its gender-bending, penis-wielding killer woman, would have seemed
(1946- ) US sf critic and professor of English Language and Literature, University of Michigan, Ann Arbor. Of the 18 books he has written or edited to 1991, 15 have a direct relevance to sf and fantasy. His critical books are: _^<i_The Fantastic
in Literature_^>i_ (_^<b_1976_^>b_), an academic study in genre definition (including sf), provocative but not always rigorous; _^<i_Science Fiction: History, Science, Vision_^>i_ (_^<b_1977_^>b_) with Robert _^<a_!T2856_SCHOLES_^>a_, a general
introduction to the subject seemingly aimed at the novice, with strong opening and closing sections on the _^<a_!T4443_HISTORY OF SF_^>a_ and 10 representative novels, but less impressive intermediate chapters on media, sciences and themes; and
_^<i_Arthur C. Clarke_^>i_ (chap_^<b_ 1979_^>b_; rev 1980). 2 anthologies ed ESR intended for educational use (>_^<a_!T2071_SF IN THE CLASSROOM_^>a_), collecting fantasy and sf stories showing the historical development of those genres, are
_^<i_Fantastic Worlds: Myths, Tales and Stories_^>i_ (anth _^<b_1979_^>b_) and _^<i_Science Fiction: A Historical Anthology_^>i_ (anth _^<b_1983_^>b_)._^<n__^<n_ESR's other book publications are anthologies of critical essays: _^<i_Bridges to
Fantasy_^>i_ (anth _^<b_1982_^>b_) ed with George Edgar _^<a_!T2259_SLUSSER_^>a_ and Scholes; _^<i_The End of the World_^>i_ (anth _^<b_1983_^>b_) ed with Martin H. _^<a_!T4842_GREENBERG_^>a_ and Joseph D. _^<a_!T3303_OLANDER_^>a_;
_^<i_Co-Ordinates: Placing Science Fiction and Fantasy_^>i_ (anth _^<b_1983_^>b_) ed with Slusser and Scholes; _^<i_No Place Else: Explorations in Utopian and Dystopian Fiction_^>i_ (anth _^<b_1983_^>b_) ed with Greenberg and Olander; _^<i_Shadows
of the Magic Lamp: Fantasy and Science Fiction in Film_^>i_ (anth _^<b_1985_^>b_) ed with Slusser; _^<i_Hard Science Fiction_^>i_ (anth _^<b_1986_^>b_) ed with Slusser; _^<i_Storm Warnings: Science Fiction Confronts the Future_^>i_ (anth
_^<b_1987_^>b_) ed with Slusser and Colin _^<a_!T4847_GREENLAND_^>a_; _^<i_Intersections: Fantasy and Science Fiction_^>i_ (anth _^<b_1987_^>b_) ed with Slusser; _^<i_Aliens: The Anthropology of Science Fiction_^>i_ (anth _^<b_1987_^>b_) ed with
Slusser; _^<i_Mindscapes: The Geographies of Imagined Worlds_^>i_ (anth _^<b_1989_^>b_) ed with Slusser. Further such anthologies, part of the now-formidable academic publishing industry related to sf, are projected. [PN]_^<n__^<n__^<b_See
also:_^>b_ _^<a_!T197_ANTHROPOLOGY_^>a_; _^<a_!T726_CINEMA_^>a_; _^<a_!T963_CRITICAL AND HISTORICAL WORKS ABOUT SF_^>a_.
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RACIAL CONFLICT
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> _^<a_!T1939_POLITICS_^>a_._^<n__^<n_
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RACKHAM, JOHN
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> John T. _^<a_!T1885_PHILLIFENT_^>a_._^<n__^<n_
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RADAR MEN FROM THE MOON
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> _^<a_!T821_COMMANDO CODY -- SKY MARSHAL OF THE UNIVERSE_^>a_._^<n__^<n_
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RADCLIFFE, (HENRY) GARNETT
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(1899- ) UK writer of occasional sf, including the title novella of _^<i_The Return of the Ceteosaurus, and Other Tales_^>i_ (coll _^<b_1926_^>b_), which pits a huge saurian against a _^<a_!T1128_DEATH RAY_^>a_. _^<i_The Great Orme Terror_^>i_
(_^<b_1934_^>b_) is a detective novel whose solution involves _^<a_!T2646_ROBOTS_^>a_. The task of the heroine of _^<i_The Lady from Venus_^>i_ (_^<b_1947_^>b_) is to acquire Earth eggs for use back home as a form of currency. [JC]_^<n__^<n_
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RADIATION
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> _^<a_!T4482_HOLOCAUST AND AFTER_^>a_; _^<a_!T3120_MUTANTS_^>a_; _^<a_!T3265_NUCLEAR POWER_^>a_; _^<a_!T5825_SUN_^>a_; _^<a_!T5492_WEAPONS_^>a_._^<n__^<n_
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RADIO
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_^<b_1. Radio in the USA _^>b_Fantastic thrillers, incorporating sf and supernatural elements alternately, were fairly common in the USA all through the "Golden Age" of radio (usually considered 1930-50), but "hardcore" sf was rarer._^<n__^<n_As
early as 1929, Carlton E. Morse (1900-1993) in San Francisco wrote and produced closed-end serials (a single story, from which the characters did not continue indefinitely) which involved sf concepts. Amid ancient jungle temples, Morse rationalized
mysticism into science in _^<i_The Cobra King Strikes Back_^>i_ and _^<i_Land of the Living Dead_^>i_. The same titles and scripts were reprised in the 1945 series _^<b_Adventures by Morse_^>b_. Similar themes were developed with more
sophistication by Morse in _^<b_I Love a Mystery_^>b_, 1939-45 (NBC, then CBS), and new productions repeating the scripts, 1949-52 (Mutual). _^<i_Temple of Vampires_^>i_ had heroes Jack, Doc and Reggie facing human vampires and gigantic mutant
bats. Two other _^<b_I Love a Mystery_^>b_ episodes, _^<i_The Stairway to the Sun_^>i_ and _^<i_The Hermit of San Felipe Atabapo_^>i_, concerned the same lost plateau in South America, where dwelled prehistoric monsters and a race of supermen who
controlled world destiny. More celebrated for his literate domestic serial _^<i_One Man's Family_^>i_, Morse was also radio's foremost adventure writer, similar (and comparable) to H. Rider _^<a_!T4911_HAGGARD_^>a_ and Arthur Conan
_^<a_!T1312_DOYLE_^>a_. Much of his work has survived, thanks to private collectors, and has been re-released on record._^<n__^<n_Children's programming was deeply involved with sf. _^<a_!T5063_BUCK ROGERS IN THE 25TH CENTURY_^>a_ was probably the
first "hardcore" sf series on radio, beginning in 1932 (CBS). (It was only the second important afternoon adventure serial of any kind, its predecessor being _^<b_Little Orphan Annie_^>b_.) Based on the comic strip by Phil _^<a_!T3259_NOWLAN_^>a_
and Dick _^<a_!T5123_CALKINS_^>a_, it was written partly by Calkins, but for the most part by radio producer Jack Johnstone. The stories were far from silly or trivial, and made a good job of presenting such basic ideas as time and space travel to
a youthful audience. Various revivals carried the _^<b_Buck Rogers_^>b_ title through to 1946 on radio. Other series of shorter duration were _^<a_!T1517_FLASH GORDON_^>a_, _^<b_Brad Steele -- Ace of Space_^>b_, _^<a_!T2343_SPACE PATROL_^>a_ and
_^<b_Space Cadet_^>b_ (the last two being original radio shows based on established tv favorites in the early 1950s: > _^<a_!T6044_TOM CORBETT, SPACE CADET_^>a_)._^<n__^<n__^<a_!T5830_SUPERMAN_^>a_ was an sf character, created by Jerry
_^<a_!T2204_SIEGEL_^>a_ and Joe Shuster in their comic strip, but on radio (1940-52) the series generally dealt with crime and mystery. Some sf appeared when the Man of Steel ventured to the planet Utopia, or when menaced by Kryptonite. Supporting
characters included guest stars Batman and Robin._^<n__^<n_Other juvenile serials had _^<b_Jack Armstrong, the All-American Boy_^>b_ (1933-51) experimenting with Uranium-235 in 1939; _^<b_Captain Midnight_^>b_ (1938-50), the mysterious aviator,
encountering flying saucers (> _^<a_!T5271_UFO_^>a_s) in 1949; and _^<b_Tom Mix_^>b_ (1933-50), the Western movie star (impersonated on radio usually by Curley Bradley), constantly facing mysteries with a supernatural and superscience atmosphere.
(The same actor and theme were used in _^<b_Curley Bradley's Trail of Mystery_^>b_, written and prod Jim _^<a_!T4297_HARMON_^>a_ in 1976 for syndication.)_^<n__^<n_Horror stories, in half-hour anthologies, appeared in the 1930s. Such series were
mostly supernatural in content, but sf occasionally appeared. _^<b_Lights Out_^>b_ began in 1938 (NBC), written by Willis Cooper, later by Arch Oboler. Oboler's tale of an ordinary chicken's heart, stimulated by growth hormones to engulf the entire
world, is one of the most famous single radio plays of any kind. Other horror anthologies included _^<b_Witch's Tale_^>b_ by Alonzo Deen Cole, _^<b_Quiet Please_^>b_ by Willis Cooper, and _^<b_Hermit's Cave_^>b_ by various authors._^<n__^<n_A
general drama anthology, _^<b_Mercury Theater on the Air_^>b_, was begun by its producer-star Orson Welles (1915-1985) in 1938 (CBS). One of its earliest broadcasts, _^<a_!T5465_WAR OF THE WORLDS_^>a_, adapted H.G. _^<a_!T5528_WELLS_^>a_'s novel in
the form of a contemporary on-the-spot newscast. Thousands of listeners were thrown into a state of panic, believing Mars was invading the Earth. The resulting havoc undoubtedly made this sf play the most famous radio broadcast of all time. The
_^<b_Mercury_^>b_ series also did a memorable version of _^<i_Dracula_^>i_ (_^<b_1897_^>b_) by Bram Stoker (1847-1912)._^<n__^<n_Before leaving for the movies and his classic _^<i_Citizen Kane_^>i_ (1941), Welles also starred in _^<b_The
Shadow_^>b_ in 1937-8. The series had begun in 1931 and until 1954 often presented sf in charmingly lurid pulp fashion, with its mysterious hero who could "cloud men's minds" by hypnosis (thus becoming invisible), facing mad scientists who could
control volcanoes, dead bodies, even light and dark. Rival fantasy heroes included _^<b_The Avenger_^>b_ (almost an exact copy), _^<b_Peter Quill_^>b_, a weird, benevolent, hunchbacked scientist, and the fearless shipmates of _^<b_Latitude
Zero_^>b_._^<n__^<n_Near the end of major night-time programming on radio in 1949, sf came into its own in an anthology of modern sf, _^<b_Dimension X_^>b_ (later vt _^<b_X Minus 1_^>b_). This NBC programme had well presented versions of Bradbury's
_^<b_Martian Chronicles_^>b_ stories, Robert A. _^<a_!T4376_HEINLEIN_^>a_'s "Requiem" (written 1940), and many other celebrated sf stories, intermittently until 1957. Although sf continued through the 1970s to be presented experimentally (and only
occasionally) on culture-oriented FM stations, and on the _^<b_CBS Radio Mystery Theater_^>b_ (the first major network revival of drama, beginning 1973), _^<b_X Minus 1_^>b_ still stands as one of the finest showcases for sf in any dramatic medium.
[JH]_^<n__^<n__^<b_2. Radio in the UK_^>b_ The decreasing importance of US radio as a medium for dramatized sf (and drama generally) is presumably due to the death of network radio; the situation is different in the UK, where the BBC continues to
broadcast across the whole country, and is not dependent on income from advertising. Few FM stations anywhere have the budget for drama productions._^<n__^<n_Sf has been broadcast by the BBC since the 1930s; indeed, radio is such a suitable medium
for sf that it is hard to find a celebrated sf author whose work has not been transmitted. Sf work by writers as various as H.G. _^<a_!T5528_WELLS_^>a_, John _^<a_!T719_CHRISTOPHER_^>a_ and Brian W. _^<a_!T87_ALDISS_^>a_ has regularly been
broadcast as readings (sometimes by the authors themselves) or dramatizations (as single plays or as serials). Sf programmes have been aimed at all ages. For example, a typical Monday in 1953 would offer one of Angus MacVicar's _^<a_!T3457_LOST
PLANET_^>a_ stories on the 5pm Children's Hour, and at 7.30pm an episode of the fantastically successful _^<b_Journey into Space_^>b_ serial would be transmitted for the 7- to 70-year-olds._^<n__^<n__^<b_Journey into Space_^>b_ was written and prod
for radio by Charles _^<a_!T713_CHILTON_^>a_, already well known to youngsters as creator of the popular Western _^<b_Riders-of-the-Range_^>b_ series, which appeared on radio and in the _^<a_!T4958_BOYS' PAPER_^>a_ _^<i_Eagle_^>i_. _^<b_Journey
into Space_^>b_ ran only 1953-5, with 3 serialized stories comprising 54 episodes in all, but it enthralled a generation for whom landing on the Moon was still a far-fetched fantasy. The 3 stories were set on the _^<a_!T3023_MOON_^>a_ in 1965 and
on _^<a_!T3677_MARS_^>a_ in 1971 and 1973, and featured the adventures of the Scots pilot Jet Morgan and his crew, Cockney Lemmy Barnet, Australian Stephen Mitchell and US Dr Matthews. High points were the meeting with a malevolent
_^<a_!T98_ALIEN_^>a_ civilization shortly after the first Moon landing, the foiling of a Martian _^<a_!T3796_INVASION_^>a_, _^<a_!T6026_TIME TRAVEL_^>a_, mass hypnosis and flying saucers. By 1955 the programme reached 5 million listeners,
deservedly the largest UK radio audience ever, no previous sf radio drama having equalled it for narrative vigour. The programmes were sold to 58 countries; the adventures were novelized by Chilton as _^<i_Journey Into Space_^>i_ *
(_^<b_1954_^>b_), _^<i_The Red Planet_^>i_ * (_^<b_1956_^>b_) and _^<i_The World in Peril_^>i_ * (_^<b_1960_^>b_); he also scripted a further _^<b_Jet Morgan_^>b_ adventure for a comic strip in _^<i_Express Weekly_^>i_ (1956-7)._^<n__^<n_Another
well remembered sf radio serial was _^<b_Dan Dare_^>b_, broadcast for several years from 1953 by the English-language service of Radio Luxembourg in weekly 15min episodes. The programme was written and produced by people quite unconnected with the
staff of Frank _^<a_!T4267_HAMPSON_^>a_'s comic strip _^<a_!T1046_DAN DARE -- PILOT OF THE FUTURE_^>a_; although it used the same characters and situations, it was in a quite different style. While unsophisticated _^<a_!T2342_SPACE OPERA_^>a_ as
sf, it was thoroughly successful as juvenile high adventure._^<n__^<n_As radio lost its audience to tv in the late 1950s, so too did radio sf lose its mass appeal. Never again would an sf series reach as wide an audience as the above two
programmes. In the 1970s, however, a number of breakthrough productions appeared. The BBC dramatized Isaac _^<a_!T268_ASIMOV_^>a_'s _^<b_Foundation_^>b_ series (_^<b_1951-3_^>b_) in 6 parts, and newly emerging local stations experimented with the
genre: disc-jockey and comedian Kenny Everett's _^<b_Captain Kremmen_^>b_ gained a cult following on London's Capital Radio, with a subsequent degree of multimedia success; Manchester's Piccadilly Radio helped launch the career of Stephen
_^<a_!T1689_GALLAGHER_^>a_ with the 6-part serial _^<i_The Last Rose of Summer_^>i_ (1978)._^<n__^<n_But it took the stimulus of the visual media to prompt a serious reconsideration of the genre's merits. In the wake of the film _^<a_!T5686_STAR
WARS_^>a_ (1977) came a mini-boom in radio sf that lasted into the 1980s: _^<b_Saturday Night Theatre_^>b_ presented dramatizations of novels by H.G. Wells, Arthur C. Clarke, John Wyndham and Ray _^<a_!T4963_BRADBURY_^>a_, and also brought about a
belated revival of _^<b_Journey into Space_^>b_ in the singleton play _^<i_The Return from Mars_^>i_; James _^<a_!T1544_FOLLETT_^>a_ contributed the serials _^<i_Earth Search_^>i_ and _^<i_Earth Search II_^>i_; and Douglas _^<a_!T31_ADAMS_^>a_'s
_^<a_!T4445_HITCH HIKER'S GUIDE TO THE GALAXY_^>a_ became the biggest radio attraction for a whole generation, each repeat broadcast bringing in a larger audience and creating an enormous market for book, record, tape and tv
spin-offs._^<n__^<n_Despite its success, the BBC failed to capitalize on _^<i_Hitch Hiker_^>i_, although its influence held through the 1980s in a string of humorous sf series such as _^<i_Nineteen Ninety-four_^>i_ and adaptations of the Harry
_^<a_!T4316_HARRISON_^>a_ novels _^<i_Bill, the Galactic Hero_^>i_ (_^<b_1965_^>b_) and _^<i_Star Smashers of the Galaxy Rangers_^>i_ (_^<b_1973_^>b_). The most impressive drama of the decade came in single plays by Tanith _^<a_!T4234_LEE_^>a_,
Stephen Gallagher and Wally K. Daly. Charles Chilton made another worthy attempt to revive _^<b_Journey into Space_^>b_ with 2 series of _^<b_Space Force_^>b_, but his efforts suffered from unsympathetic scheduling._^<n__^<n_The start of the 1990s
brought mixed prospects. The launch of the BBC's newest network, Radio 5, promised serious programming for a younger audience: genre material so far presented (dramatizations of works by Alan _^<a_!T4615_GARNER_^>a_, Ray Bradbury and Nicholas
_^<a_!T1506_FISK_^>a_) is pleasing in quantity if poor in production. In 1991 Radio 5 broadcast Orson Welles's original 1938 _^<b_Mercury Theater on the Air_^>b_ production of _^<a_!T5465_WAR OF THE WORLDS_^>a_. Also in that year Radio 4 presented
a season of plays adapting well known sf works, from the good, such as Daniel _^<a_!T4050_KEYES_^>a_'s _^<i__^<a_!B9064_FLOWERS FOR ALGERNON_^>a__^>i_ (1959; exp _^<b_1966_^>b_), to the poor, such as Snoo _^<a_!T5646_WILSON_^>a_'s
_^<i_Spaceache_^>i_ (_^<b_1984_^>b_), with much else in between. Meanwhile, the popular repeats on Radio 2 FM of rediscovered _^<b_Journey into Space_^>b_ episodes (repeated on Radio 5) and the later broadcasting by Radio 5 of a radio version of
_^<a_!T6007_THUNDERBIRDS_^>a_, edited from the original tv tapes, showed that, despite technical advances, the cause of radio sf had barely advanced since the Golden Age of the 1960s. [ABP/PhN]_^<n__^<n_
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RADIO COMUNICATION
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> _^<a_!T822_COMMUNICATION_^>a_._^<n__^<n_
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RADON
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(vt, outside Japan, _^<i_Rodan_^>i_) Film (1956). Toho. Dir Inoshiro Honda, starring Kenji Sahara, Yumi Shirkawa, Akihiko Hirata. Screenplay Takeshi Kimura, Takeo Murata, based on a story by Takashi Kuronomura. 79 mins. Colour._^<n__^<n_This film,
the first Japanese _^<a_!T3011_MONSTER MOVIE_^>a_ in colour, is from the same team that produced _^<a_!T4750_GOJIRA_^>a_ (vt _^<i_Godzilla_^>i_). A giant pterodactyl hatches in a mine (and eats giant dragonfly larvae, in the film's best scene); it
is joined by a second flying reptile; they terrorize Japan then perish in a volcano. The spectacular effects are by Eiji Tsuburaya and his team. The US version added a voice-over written by David _^<a_!T1346_DUNCAN_^>a_. Radon's second appearance
was in _^<i_Kaiju Daisenso_^>i_ (1965; vt _^<i_Invasion of Astro-Monster_^>i_; vt _^<i_Battle of the Astros_^>i_; vt _^<i_Monster Zero_^>i_; vt _^<i_Invasion of Planet X_^>i_) and his third in _^<i_Ghidorah Sandai Kaiju Chikyu Saidai No Kessan_^>i_
(1965; vt _^<i_Chikyu Saidai No Kessan_^>i_; vt _^<i_Ghidrah the Three-Headed Monster_^>i_). His swansong, where he performed alongside 10 other major Toho monsters, was in _^<i_Kaiju Soshingeki_^>i_ (1968; vt _^<i_Destroy All Monsters_^>i_; vt
_^<i_Operation Monsterland_^>i_; vt _^<i_The March of the Monsters_^>i_). (For more on these sequels >_^<a_!T4750_GOJIRA_^>a_.) [PN]_^<n__^<n_
(1927- ) US lawyer and writer in whose sf novel, _^<i_The Singing: A Fable about What Makes us Human_^>i_ (_^<b_1988_^>b_), a team of Martians crashes its _^<a_!T5271_UFO_^>a_ into the Guggenheim Museum in New York, where one of them, according
to plan, meets and impregnates the human girl through whose eyes the tale is told. Both sides get what they need: for Mars new blood, and for the Earth unsubtle flattery of our tough and obdurate human stock. One senses that the author thought his
storyline possessed some originality, though his concerns, after the fashion of many non-genre writers using sf instruments, are mainly didactic. [JC]_^<n__^<n_
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R.A.K.
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> Monsignor Ronald A. _^<a_!T4105_KNOX_^>a_._^<n__^<n_
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RAMSEY, MILTON WORTH
-T-
(?1848-1906) US writer who -- although he self-published his sf novels -- was of some interest. In _^<i_Six Thousand Years Hence_^>i_ (_^<b_1891_^>b_) a visiting planet drags the protagonist's city into space, where he and his colleagues are able to
view several other civilizations, including a complex advanced culture within the Sun, and return centuries hence to a tamed high-tech Earth, where they die older than Methuselah. _^<i_The Austral Globe_^>i_ (_^<b_1892_^>b_) and _^<i_Two Billions
of Miles, or The Story of a Trip Through the Solar System_^>i_ (_^<b_1900_^>b_) are similar in viewpoint but less engaging. [JC]_^<n__^<n_
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RAND, AYN
-T-
(1905-1982) Russian-born US writer whose Objectivist philosophy, as expounded in most of her work, was influential during the 1950s among college students, who were perhaps attracted by her instructions to heed one's self-interest, to abjure
altruism, and to maximize the _^<a_!T5830_SUPERMAN_^>a_ potential within each of us. Her first and better sf novel, _^<i_Anthem_^>i_ (_^<b_1938_^>b_ UK; cut 1946 US), is a _^<a_!T1370_DYSTOPIA_^>a_ set after a devastating war. Individualism has
been eliminated, along with the concept of the person, but the protagonist discovers his identity while escaping with a beautiful woman to the forest, where he christens himself Prometheus. _^<i_The Fountainhead_^>i_ (_^<b_1943_^>b_) is a
_^<a_!T3609_MAINSTREAM_^>a_ novel advancing AR's vision of things. In _^<i_Atlas Shrugged_^>i_ (_^<b_1957_^>b_), which is sf, John Galt (AR's mouthpiece) and his Objectivist colleagues abandon an increasingly socialistic USA and retreat to the
mountains as civilization crumbles, prepared to return only when they will be able to rebuild along the lines of Objectivist philosophy. AR's influence lessened over the years. _^<i_Two Girls, Fat and Thin_^>i_ (_^<b_1991_^>b_) by Mary Gaitskell
systematically caricatures AR and her work. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T6577_ECONOMICS_^>a_; _^<a_!T3378_LIBERTARIAN SF_^>a_; _^<a_!T1939_POLITICS_^>a_; _^<a_!T2297_SOCIAL DARWINISM_^>a_; _^<a_!T2300_SOCIOLOGY_^>a_; _^<a_!T5684_WOMEN
SF WRITERS_^>a_.
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RANDALL, MARTA
-T-
(1948- ) US writer and editor who has taught in several sf writing workshops and served in the _^<a_!T2147_SCIENCE FICTION WRITERS OF AMERICA_^>a_ as vice-president 1981-2 and president 1982-4. She began publishing sf with "Smack Run" in _^<i_New
Worlds 5_^>i_ (anth _^<b_1973_^>b_ ed Michael _^<a_!T3030_MOORCOCK_^>a_) as by Marta Bergstresser; the surname, her first husband's, was used only on this one occasion. Her stories since then have not been frequent, but are almost always of high
quality, tightly and densely written, even epigrammatic at points, and generally impart elements of _^<a_!T1461_FEMINIST_^>a_ discourse, with unbemused clarity of effect, to genre material. The intense force of a late tale like "Lapidary Nights"
(1987) derives at least in part-though no "didactic" argument occupies the foreground -- from its thorough assimilation of a feminist agenda._^<n__^<n_MR's first and perhaps most successful novel, _^<i_Islands_^>i_ (_^<b_1976_^>b_; rev 1980),
movingly depicts the life of a mortal woman in an age when _^<a_!T3771_IMMORTALITY_^>a_ is medically achievable for all but a few. To cope with her world she plunges into the study of archaeology, and makes a discovery which enables her to
transcend her corporeal life. In _^<i_A City in the North_^>i_ (_^<b_1976_^>b_) an _^<a_!T98_ALIEN_^>a_ species self-destructs in a morally dubious response to the colonizing presence on their planet of the human race. The _^<b_Kennerin_^>b_ or
_^<b_Newhome_^>b_ sequence -- _^<i_Journey_^>i_ (_^<b_1978_^>b_) and _^<i_Dangerous Games_^>i_ (_^<b_1980_^>b_) -- also treats its colony-world setting with some ambivalence, for the Kennerin family's decision to create a _^<a_!T5303_UTOPIA_^>a_ on
the planet they own has complex consequences, some of them relating to _^<a_!T6576_ECOLOGY_^>a_. _^<i_The Sword of Winter_^>i_ (_^<b_1983_^>b_), like some of her later short fiction, is fantasy, though with _^<a_!T1913_PLANETARY-ROMANCE_^>a_
features; and _^<i_Those who Favor Fire_^>i_ (_^<b_1984_^>b_) is a near-future _^<a_!T1370_DYSTOPIA_^>a_ set in an Apocalypse-prone California much like today's. With Robert _^<a_!T2216_SILVERBERG_^>a_, MR edited 2 vols of the ongoing _^<b_New
Dimensions_^>b_ sequence, _^<i_New Dimensions 11_^>i_ (anth _^<b_1980_^>b_) and _^<i_#12_^>i_ (anth _^<b_1981_^>b_); and was responsible solo for _^<i_The Nebula Awards 19_^>i_ (anth _^<b_1984_^>b_). In the later 1980s she was less active as a
writer, concentrating at least in part on the construction of "interactive time-travel games" (> _^<a_!T4597_GAME-WORLDS_^>a_) for the California State Department of Mental Health; but her fiction, when it appeared, remained vividly alive, and she
has begun to publish mysteries, with _^<i_Growing Light_^>i_ (_^<b_1993_^>b_) as by Martha Conley. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T3823_ISLANDS_^>a_.
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RANDALL, NEIL
-T-
[r] > Bill _^<a_!T1447_FAWCETT_^>a_._^<n__^<n_
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RANDALL, ROBERT
-T-
Pseudonym used on collaborative stories -- about 19 in all (1956-8) -- by Robert _^<a_!T2216_SILVERBERG_^>a_ and Randall _^<a_!T4623_GARRETT_^>a_; Silverberg was very young at the time. The most notable were the _^<b_Nidorian_^>b_ series, originally
published in _^<i_ASF_^>i_, dealing with the effects of human contact on an alien race; they were published in book form as _^<i_The Shrouded Planet_^>i_ (fixup _^<b_1957_^>b_) and _^<i_The Dawning Light_^>i_ (1957 _^<i_ASF_^>i_; _^<b_1959_^>b_).
[BS]_^<n__^<n_
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RANDLE, KEVIN D.
-T-
(1949- ) US writer who served in the Army as a helicopter pilot in Vietnam 1968-9 and in the Air Force as an Intelligence Officer 1976-86. He began publishing sf with "Future War" for _^<i_Combat Illustrated_^>i_ in 1978, but became an active
writer only in the 1980s, beginning 2 sequences in 1986: the _^<b_Seeds of War_^>b_ books, all with Robert Cornett -- _^<i_Seeds of War_^>i_ (_^<b_1988_^>b_), _^<i_The Aldebaran Campaign_^>i_ (_^<b_1988_^>b_) and _^<i_The Aquarian Attack_^>i_
(_^<b_1989_^>b_) -- and the _^<b_Remember!_^>b_ books, also with Cornett: _^<i_Remember the Alamo!_^>i_ (_^<b_1986_^>b_), _^<i_Remember Gettysburg!_^>i_ (_^<b_1988_^>b_) and _^<i_Remember Little Big Horn!_^>i_ (_^<b_1990_^>b_). The first series is
an unremarkable example of military sf, though told with some verve; the second is a more exhilarating _^<a_!T6026_TIME-TRAVEL_^>a_ sequence, in which veterans are enlisted to travel to famous battles, where they must make sure that events take
their proper course. The _^<b_Jefferson's War_^>b_ sequence -- _^<i_The Galactic Silver Star_^>i_ (_^<b_1990_^>b_), _^<i_The Price of Command_^>i_ (_^<b_1990_^>b_), _^<i_The Lost Colony_^>i_ (_^<b_1991_^>b_), _^<i_The January Platoon_^>i_
(_^<b_1991_^>b_), _^<i_Death of a Regiment_^>i_ (_^<b_1991_^>b_) and _^<i_Chain of Command_^>i_ (_^<b_1992_^>b_) -- is again military sf, carrying members of the United States Space Infantry into various tight corners. The _^<b_Global War_^>b_
sequence began with _^<i_Dawn of Conflict_^>i_ (_^<b_1991_^>b_); the _^<b_Star Precinct_^>b_ sequence, with Richard Driscoll, began with _^<i_Star Precinct_^>i_ (_^<b_1992_^>b_),_^<i_Star Precinct #2: Mind Slayer_^>i_ (_^<b_1992_^>b_) and
_^<i_Inside Job_^>i_ (_^<b_1992_^>b_). [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Once upon a Murder_^>i_ * (_^<b_1987_^>b_) with Robert J(oseph) Randisi (1951- ), a game tie; 3 nonfiction _^<a_!T5271_UFO_^>a_ books, _^<i_The October
Scenario_^>i_ (_^<b_1988_^>b_), _^<i_The UFO Casebook_^>i_ (_^<b_1989_^>b_) and _^<i_UFO Crash at Roswell_^>i_ (_^<b_1991_^>b_) with Don Schmitt.
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RANDOM, ALEX
-T-
> Donald Sydney _^<a_!T2718_ROWLAND_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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RANK, HEINER
-T-
[r] > _^<a_!T4667_GERMANY_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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RANKIN, ROBERT (FLEMING)
-T-
(1949- ) UK writer who began writing his highly idiosyncratic sf novels with the _^<b_Brentford_^>b_ sequence: _^<i_The Antipope_^>i_ (_^<b_1981_^>b_), _^<i_The Brentford Triangle_^>i_ (_^<b_1983_^>b_) and _^<i_East of Ealing_^>i_
(_^<b_1984_^>b_), assembled as _^<i_The Brentford Trilogy_^>i_ (omni _^<b_1988_^>b_), plus _^<i_The Sprouts of Wrath_^>i_ (_^<b_1988_^>b_). In the first volume, two layabouts and their friends challenge Forces from the Beyond ranging from an undead
sorcerer to an alien invasion fleet. In later volumes the series satirizes _^<a_!T752_CLICHES_^>a_ taken in equal measure from horror, sf and fantasy, setting them off against the thoroughly down-to-earth London suburb of Brentford. In the end
humanity is (apparently) destroyed. RR's _^<b_Armageddon_^>b_ series -- _^<i_Armageddon: The Musical_^>i_ (_^<b_1990_^>b_), _^<i_They Came and Ate Us: Armageddon II: The B-Movie_^>i_ (_^<b_1991_^>b_) and _^<i_The Suburban Book of the Dead:
Armageddon III: The Remake_^>i_ (_^<b_1992_^>b_) -- features a time-travelling Elvis Presley and is based on the premise that the whole of human history has been stage-managed for transmission as an extraterrestrial soap opera. Further (and
similar) works include the _^<b_Ultimate Truths_^>b_ tales, comprising _^<i_The Book of Ultimate Truths_^>i_ (_^<b_1993_^>b_) and _^<i_Raiders of the Lost Car Park_^>i_ (_^<b_1994_^>b_); and _^<i_The Greatest Show Off Earth_^>i_ (_^<b_1994_^>b_).
(1945- ) US writer who has worked as a medic and as a firefighter. His early writing was poetry, with several volumes released from _^<i_Finding True North & Critter_^>i_ (coll _^<b_1974_^>b_ chap) onward. He began publishing sf with "Songs of a
Sentient Flute" for _^<i_ASF_^>i_ in 1979 as by Frank Herbert, a story which eventually became part of _^<i_Medea: Harlan's World_^>i_ * (anth _^<b_1985_^>b_) ed Harlan _^<a_!T6641_ELLISON_^>a_. BR is best known for the _^<b_Pandora Trilogy_^>b_
with Frank _^<a_!T4389_HERBERT_^>a_ (_^<i_whom see for details_^>i_): _^<i_The Jesus Incident_^>i_ (_^<b_1979_^>b_), _^<i_The Lazarus Effect_^>i_ (_^<b_1983_^>b_) and _^<i_The Ascension Factor_^>i_ (_^<b_1988_^>b_). His first solo novel,
_^<i_Jaguar_^>i_ (fixup _^<b_1990_^>b_), is also of interest for its depiction of the physically, psychologically and morally complex dream-driven pattern of connections between Earth and another planet, each planet containing two maturing
adolescents whose sleep disorders allow them to make journeys between the worlds. The Jaguar -- a disturbed WWII vet who likewise roams the dreamways-must be halted before he disrupts the fragile tissues of reality. Slightly overweighted for the
adventure-sf idiom in which it is told, _^<i_Jaguar_^>i_ is all the same an intriguing attempt to say more than could easily be said. _^<i_ViraVax_^>i_ (_^<b_1993_^>b_), on the other hand, almost deliberately deploys an impressive presentation of
the complex perils that inevitably accompany in-depth virological research with a storyline, set early next century, which focuses primarily upon a suspenseful thriller-like action plot. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T2918_MESSIAHS_^>a_.
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RANZETTA, LUAN
-T-
(? -? ) UK writer (probably pseudonymous) whose routine sf adventures were _^<i_The Uncharted Planet_^>i_ (_^<b_1961_^>b_) as V. Ranzetta, _^<i_The Maru Invasion_^>i_ (_^<b_1962_^>b_), _^<i_The World in Reverse_^>i_ (_^<b_1962_^>b_), _^<i_The
Night of the Death Rain_^>i_ (_^<b_1963_^>b_) and _^<i_The Yellow Inferno_^>i_ (_^<b_1964_^>b_). [JC]_^<n__^<n_
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RAOS, PREDRAG
-T-
[r] > _^<a_!T6246_YUGOSLAVIA_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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RAPHAEL, RICK
-T-
(1919-1994) US writer and journalist who began publishing sf with "A Filbert is a Nut" for _^<i_ASF_^>i_ in 1959 and established a considerable reputation in the field with a comparatively small output of about 10 stories, most of them assembled in
_^<i_The Thirst Quenchers_^>i_ (coll _^<b_1965_^>b_ UK) and _^<i_Code Three_^>i_ (fixup _^<b_1966_^>b_). The first contains 4 good stories, the best of which is the title story about professionals in a world where water is scarce, their job being
its proper allocation. _^<i_Code Three_^>i_ describes the way of life of the police who patrol the superhighways of the future in enormously complex vehicles made to cope with the huge speeds and corresponding irresponsibility on the roads. RR was
at his best when describing, in positive terms, the life of those who must deal professionally with a technological world. [JC]_^<n__^<n__^<b_Other work:_^>b_ _^<i_The President Must Die_^>i_ (_^<b_1981_^>b_), non-sf near-future
thriller._^<n__^<n__^<b_See also:_^>b_ _^<a_!T956_CRIME AND PUNISHMENT_^>a_.
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RASMUSSEN, ALIS A.
-T-
(1958- ) US writer whose first novel, _^<i_The Labyrinth Gate_^>i_ (_^<b_1988_^>b_), is a tale of considerable interest, delineating a believably matrilineal fantasy world. The _^<b_Highroad Trilogy_^>b_ -- _^<i_A Passage of Stars_^>i_
(_^<b_1990_^>b_), _^<i_Revolution's Shore_^>i_ (_^<b_1990_^>b_) and _^<i_The Price of Ransom_^>i_ (_^<b_1990_^>b_) -- depicts in a lighter vein the interstellar voyages of its young female protagonist, whose involvement in music is infectiously
presented and whose search for a full life keeps the tale moving, albeit through markedly familiar venues; the third volume, which carries the maturing crew back from colonized space towards the old worlds, is the best. At this point in her career,
reportedly unhappy with the nature and amount of promotion accorded her by her publishers, AAR began to write as by Kate Elliott, and under that name created a new series which followed on from the _^<b_Highroad_^>b_ books; this sequence -- the
_^<b_Sword of Heaven _^>b_ or _^<b_Jaran_^>b_ sequence, comprising _^<i_Jaran_^>i_ (_^<b_1992_^>b_), _^<i_An Earthly Crown_^>i_ (_^<b_1993_^>b_), _^<i_His Conquering Sword_^>i_ (_^<b_1993_^>b_) and _^<i_The Law of Becoming_^>i_(_^<b_1994_^>b_) --
complicatedly embroils clans of alien warriors (the jaran), rite-of-passage subplots featuring younger women, human actors, all on an interstellar stage. [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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-C- 2501 SF02507.t
1166
CATRS
-END-
-A-
RASPAIL, JEAN
-T-
(1925- ) French writer, much of whose nonfiction controversially treats the kind of issue explored in the inflammatory _^<i_Le camp des saints_^>i_ (_^<b_1973_^>b_; trans Norman Shapiro as _^<i_The Camp of the Saints_^>i_ _^<b_1975_^>b_ US), set
in a _^<a_!T6337_NEAR-FUTURE_^>a_ world in the coils of _^<a_!T1752_OVERPOPULATION_^>a_. When the non-White Third World lays siege to Europe, which should have been armed against the onslaught, civilization perishes. [JC]_^<n__^<n_
-R-
(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 2502 SF02508.t
390
CATRS
-END-
-A-
RATFANDOM
-T-
UK fan group of the 1970s, most of whose members later became sf professionals. Based in London, Ratfandom produced some of the most literate, witty and scurrilous _^<a_!T1428_FANZINES_^>a_ in that fertile period for UK _^<a_!T1389_FANDOM_^>a_;
these included _^<i_Big Scab_^>i_ (1974, 3 issues) ed John _^<a_!T5020_BROSNAN_^>a_, _^<i_Macrocosm_^>i_ (1971-2, 3 issues) ed Robert P. _^<a_!T4468_HOLDSTOCK_^>a_, _^<i_Magic Pudding_^>i_ (1973, 1 issue) ed Malcolm _^<a_!T6589_EDWARDS_^>a_,
_^<i_Seamonsters_^>i_ (1978-9, 4 issues) ed Simone Walsh, _^<i_Stop Breaking Down_^>i_ (1976-81, 7 issues) ed Greg Pickersgill, _^<i_True Rat_^>i_ (1973-8, 10 issues) ed Leroy Kettle, and _^<i_Wrinkled Shrew_^>i_ (1974-9, 8 issues) ed Pat and
Graham Charnock. Others in the group's orbit, though not Rats, included Christopher _^<a_!T1990_PRIEST_^>a_ and Peter _^<a_!T3189_NICHOLLS_^>a_. Ratfandom organized the 1975 UK national _^<a_!T856_CONVENTION_^>a_, Seacon '75. [RH]_^<n__^<n_
-R-
(c) 1995 John Clute and Peter Nicholls
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zallz zallz
-C- 2503 SF02509.t
750
CATRS
-END-
-A-
RATHENAU, WALTHER
-T-
[r] > _^<a_!T5303_UTOPIAS_^>a_._^<n__^<n_
-R-
(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 2504 SF02510.t
16
CATRS
-END-
-A-
RATHJEN, CARL H(ENRY)
-T-
(1909-1984) US writer in various genres from boys' fiction to tales for the "slick" markets. Of sf interest is his contribution to the _^<b_Land of the Giants_^>b_ sequence, _^<i_Flight of Fear_^>i_ * (_^<b_1969_^>b_). [JC]_^<n__^<n_
-R-
(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 2505 SF02511.t
198
CATRS
-END-
-A-
RAT SAVIOUR, THE
-T-
> _^<a_!T6246_YUGOSLAVIA_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zfilmz
-C- 2506 SF02512.t
14
CATRS
-END-
-A-
RAW MEAT
-T-
> _^<a_!T1125_DEATH LINE_^>a_._^<n__^<n_
-R-
(c) 1995 John Clute and Peter Nicholls
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zallz zfilmz
-C- 2507 SF02513.t
15
CATRS
-END-
-A-
RAY, RENE
-T-
Pseudonym of UK actor and writer Irene Creese (1912-1993), in whose sf novel, _^<i_The Strange World of Planet X_^>i_ * (_^<b_1957_^>b_), romance becomes mixed with the fourth _^<a_!T1239_DIMENSION_^>a_. It was written to novelize her own tv series,
_^<i_The_^>i_ _^<a_!T5784_STRANGE WORLD OF PLANET X_^>a_, although there are differences in plot, which differences are replicated in the 1958 film of the same name. Two of her other novels -- _^<i_Wraxton Marne_^>i_ (_^<b_1946_^>b_) and _^<i_Angel
Assignment_^>i_ (_^<b_1988_^>b_) -- are fantasies. [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 2508 SF02514.t
453
CATRS
-END-
-A-
RAY, ROBERT
-T-
(1928- ) Hungarian-born writer, in UK from 1957, who began publishing sf with "Nightmares in Grey" for _^<i_New Strand Magazine_^>i_ in 1962. His sf novels, bleak but otherwise unexceptional, are _^<i_No Stars for Us_^>i_ (_^<b_1964_^>b_),
_^<i_The Seedy_^>i_ (_^<b_1969_^>b_) and _^<i_Metamorphosis_^>i_ (_^<b_1976_^>b_). [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 2509 SF02515.t
270
CATRS
-END-
-A-
RAY BRADBURY THEATRE
-T-
US tv series (1985-6). Atlantis Films/Wilcox Productions for Home Box Office. Executive prods Michael MacMillan, Larry Wilcox, Ray _^<a_!T4963_BRADBURY_^>a_; prod Seaton McLean; teleplays by Bradbury, based on his own stories. Leading actors
included Drew Barrymore, James Coco, Jeff Goldblum, Nick Mancuso, Peter O'Toole, William _^<a_!T2150_SHATNER_^>a_. 6 25min episodes, the first 3 in 1985, the second 3 originally shown together as a 90min special in 1986._^<n__^<n_These playlets,
introduced a little stiffly by Bradbury, were imaginative adaptations of "Marionettes, Inc." (1949), "The Playground" (1953), "The Crowd" (1943), "The Town Where No One Got Off" (1958), "The Screaming Woman" (1951) and"Banshee"" (1984). Only the
first could be called sf (it features a neglected wife's husband being replaced by an "_^<a_!T178_ANDROID_^>a_); the rest are dark fantasy. They were among the most successful of many Bradbury dramatizations on tv (winning several awards and good
ratings), perhaps because Bradbury dramatized them himself._^<n__^<n_Further Bradbury adaptations, intended as part of a new _^<b_Ray Bradbury Theatre_^>b_ package but actually screened in 1988-9 in the UK as part of the _^<b_Twist in the Tale_^>b_
series, were made by Granada TV in the UK. The 4 stories adapted were "The Coffin" (1947), "Punishment without Crime" (1950), "The Small Assassin" (1946) and "There was an Old Woman" (1944). Prod Tom Cotter, they starred among others Cyril Cusack,
Roy Kinnear, Dan O'Herlihy and Donald Pleasence. Other programmes for the same package, which was screened in the USA, were made in France and Canada. [PN]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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-C- 2510 SF02516.t
1443
CATRS
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RAYER, F(RANCIS) G(EORGE)
-T-
(1921-1981) UK writer and technical journalist who began publishing sf with "Juggernaut" for Link House Publications in 1944. His first sf novel was the unremarkable _^<i_Realm of the Alien_^>i_ (_^<b_1946_^>b_ chap) as by Chester Delray. His most
notable was perhaps _^<i_Tomorrow Sometimes Comes_^>i_ (_^<b_1951_^>b_), in which the general who has inadvertently caused a nuclear _^<a_!T4482_HOLOCAUST_^>a_ awakens from _^<a_!T5851_SUSPENDED ANIMATION_^>a_ to save the world from a destructive
_^<a_!T826_COMPUTER_^>a_; this thinking machine gave its name to the _^<b_Mens Magna_^>b_ series, which includes also "Deus Ex Machina" (1950), "The Peacemaker" (1952), "Ephemeral This City" (1955), "Adjustment Period" (1960) and "Contact Pattern"
(1961). FGR was most closely associated with _^<i_NW_^>i_, and also had several lead novels in the early years of _^<i_Authentic_^>i_, each of which comprised a whole single issue of the journal, and cited therefore in this Encyclopedia as separate
titles; they are: _^<i_The Coming of the Darakua_^>i_ (1952); _^<i_Earth--Our New Eden_^>i_ (_^<b_1952_^>b_) and _^<i_We Cast No Shadow_^>i_ (_^<b_1952_^>b_). [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Fearful Barrier_^>i_ (_^<b_1950_^>b_); _^<i_The
Star Seekers_^>i_ (_^<b_1954_^>b_ chap); _^<i_The Iron and the Anger_^>i_ (_^<b_1964_^>b_); _^<i_Cardinal of the Stars_^>i_ (_^<b_1964_^>b_; vt _^<i_Journey to the Stars_^>i_ 1964 US)._^<b_As Editor:_^>b_ _^<i_Worlds at War_^>i_ (anth
_^<b_1949_^>b_), containing stories by FGR and his brother-in-law, E.R. James._^<b_See also:_^>b_ _^<a_!T826_COMPUTERS_^>a_.
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(c) 1995 John Clute and Peter Nicholls
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-C- 2511 SF02517.t
1257
CATRS
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RAY-GUNS
-T-
> _^<a_!T5492_WEAPONS_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz ztermz
-C- 2512 SF02518.t
12
CATRS
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-A-
RAYMOND, ALEX
-T-
(1909-1956) US _^<a_!T820_COMIC_^>a_-strip artist. After graduating from the Grand Central School of Art in New York City, he worked on the strip _^<b_Tillie the Toiler_^>b_. He soon moved up in the comics world, working for Chic Young on
_^<b_Blondie_^>b_ and with Lyman Young on _^<b_Tim Tyler's Luck_^>b_ before being given his own strip, _^<b_Secret Agent X-9_^>b_; it was during this time that he began to develop his distinctive style. In 1934 he was given the chance to do a new
strip, _^<a_!T1517_FLASH GORDON_^>a_, and US cartooning has not been the same since; he was the first demonstrably modern comics illustrator. Although his style at first was characterized by convoluted masses and strong, sweeping lines, by 1936 it
had become more precise and controlled. He refined the technique of "feathering" (a series of fine brush-or pen-strokes used in cartooning to create contours) to a degree as yet unexcelled in comic strips. The style was romantic, the protagonists'
features impossibly heroic, the settings exotic and fantastic. In 1944, AR joined the US Marines, leaving the strip to Austin Briggs (1909-1973); when he returned in 1946 he created a new strip, not sf, the very popular _^<b_Rip Kirby_^>b_. AR died
in a tragic accident in 1956, at the peak of his career. [JG]_^<n__^<n__^<b_See also:_^>b__^<a_!T4593_ILLUSTRATION_^>a_.
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(c) 1995 John Clute and Peter Nicholls
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zallz zpubz
-C- 2513 SF02519.t
1192
CATRS
-END-
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RAYMOND, DEREK
-T-
> Robin _^<a_!T862_COOK_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 2514 SF02521.t
16
CATRS
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RAYMOND, E.V.
-T-
[s] > Raymond Z. _^<a_!T1691_GALLUN_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 2515 SF02522.t
25
CATRS
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RAYMOND, P.T.
-T-
> Cornelius _^<a_!T2161_SHEA_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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-C- 2516 SF02523.t
19
CATRS
-END-
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RAYON INVISIBLE, LE
-T-
> _^<a_!T1799_PARIS QUI DORT_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
-S-
zallz zfilmz
-C- 2517 SF02524.t
19
CATRS
-END-
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READ, [Sir] HERBERT (EDWARD)
-T-
(1893-1968) UK poet and prolific critic of art, literature and politics; knighted 1953. His only novel, _^<i_The Green Child_^>i_ (_^<b_1935_^>b_), is a remarkable double _^<a_!T5303_UTOPIA_^>a_ in which two visions of ideal human life -- one a
Latin-American political utopia, the other a mystical, underground realm in which human aspirations are transcended -- mirror one another, comprising together a critique and dramatic metaphor of the utopian impulse as a whole. [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 2518 SF02525.t
415
CATRS
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READE, PHILIP
-T-
Pseudonym of an unidentified US writer of dime novels (> _^<a_!T1236_DIME-NOVEL SF_^>a_) whose work appeared in _^<a_!T5789_STREET & SMITH_^>a_'s _^<i_Good News_^>i_ and _^<i_The Nugget Library_^>i_ in competition to Tousey's _^<b_Frank Reade,
Jr._^>b_ stories (> _^<a_!T1606_FRANK READE LIBRARY_^>a_). PR wrote 9 stories about Tom Edison, Jr., no relation to the inventor (_^<i_ Hyperlink to: _^>i_ _^<a_!T6580_EDISONADE_^>a_); unusual in being plotted (instead of haphazard) in terms of
character conflicts, they are the best of the various invention series, containing as well an element of tongue-in-cheek and fantasy. _^<i_Tom Edison, Jr.'s Sky-Scraping Trip_^>i_ (_^<b_1891_^>b_), _^<i_Tom Edison, Jr.'s Sky Courser_^>i_
(_^<b_1891_^>b_), _^<i_Tom Edison, Jr.'s Prairie-Skimmer Team_^>i_ (_^<b_1891_^>b_) and _^<i_Tom Edison, Jr.'s Air Frigate_^>i_ (_^<b_1891_^>b_) together form an episodic novel describing the scientific feud between Tom and his rogue cousin. The
stories are filled with fantastic aircraft, individual flying suits, advanced weapons and air battles. PR's most important story is _^<i_Tom Edison, Jr.'s Electric Sea Spider_^>i_ (_^<b_1892_^>b_), in which Tom combats the US-educated Chinese
mastermind of sea crime, Kiang-Ho of the Golden Belt. The story culminates in an underwater battle between two fantastic submarine vessels. This perhaps marks the first appeareance of a _^<a_!T1644_FU MANCHU_^>a_-like villain._^<n__^<n__^<b_Tom
Edison, Jr._^>b_ stories #10 and #11, _^<i_Tom Edison, Jr.'s Air-Ship in Australia_^>i_ (_^<b_1892_^>b_) and _^<i_Tom Edison, Jr.'s Electric Eagle_^>i_ (_^<b_1892_^>b_), were written, on a much lower level, by Henry Livingston Williams (1842-? ),
a prolific hack editor and author. [EFB]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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-C- 2519 SF02526.t
1448
CATRS
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READERCON SMALL PRESS AWARDS
-T-
> _^<a_!T6321_AWARDS_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zallz
-C- 2520 SF02527.t
10
CATRS
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-A-
READY, WILLIAM B(ERNARD)
-T-
(1914-1981) Welsh librarian and writer, in the USA from 1948 as professional librarian at several universities, and in Canada from 1966 in the same capacity at McMaster University. His first story, "Barring the Weight" for _^<i_Atlantic Monthly_^>i_
in 1948, was not sf, but several of the tales assembled in _^<i_The Great Disciple, and Other Stories_^>i_ (coll _^<b_1951_^>b_) are of interest. He was best known, however, for his early study of J.R.R. _^<a_!T6041_TOLKIEN_^>a_, _^<i_The Tolkien
Relation: A Personal Inquiry_^>i_ (_^<b_1968_^>b_ US; vt _^<i_Understanding Tolkien and the Lord of the Rings_^>i_ 1969; orig title restored 1981). [JC]_^<n__^<n_
-R-
(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 2521 SF02528.t
557
CATRS
-END-
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REAL GENIUS
-T-
Film (1985). Tri-Star/Delphi III. Dir Martha Coolidge, starring Val Kilmer, Gabe Jarret, Michelle Meyrink, William Atherton, Robert Prescott. Screenplay Neal Israel, Pat Proft, Peter Torokvei, based on a story by Israel and Proft. 106 mins.
Colour._^<n__^<n_Genius students at a college for advanced science are manipulated into designing a high-power laser by their corrupt professor (Atherton), who unknown to them is supplying it to a cold-blooded government agency as a secret weapon.
On discovering this, they revenge themselves with a complex practical joke. This was one of several sf "teen" movies of the period (others were _^<a_!T3129_MY SCIENCE PROJECT_^>a_ [1985] and _^<a_!T5511_WEIRD SCIENCE_^>a_ [1985]), and perhaps the
best. Director Coolidge, who is "feminist-influenced", as she cautiously puts it, gives a more realistic flavour than usual to the dialogue, performances and even the science, but much of the film dissolves into routine student-prank sequences.
Working name of US writer, movie projectionist and graphic designer Thomas Earl Reamy (1935-1977). He began publishing with "Twilla" for _^<i_FSF_^>i_ in 1974 and, by late 1977 when he died of a heart attack, had become a writer of potential stature
in the field, having just won the 1976 _^<a_!T3922_JOHN W. CAMPBELL AWARD_^>a_ for Best New Writer (though in fact most of his work must be thought of as fantasy). The tales assembled in _^<i_San Diego Lightfoot Sue and Other Stories_^>i_ (coll
_^<b_1979_^>b_) -- the title novelette won a 1976 _^<a_!T3147_NEBULA_^>a_ -- were notable for the threatening sweetness of their probing of unconscious material, often sexual, though they often ended at a point of healing uplift, occasionally
sentimentalized. In his novel _^<i_Blind Voices_^>i_ (_^<b_1978_^>b_), which shared a common background with "Twilla" and "San Diego Lightfoot Sue", a small Kansas town around 1930 is visited by a travelling circus full of freaks and creatures of
legend. The homage to Charles G. _^<a_!T1490_FINNEY_^>a_, Theodore _^<a_!T5810_STURGEON_^>a_ and Ray _^<a_!T4963_BRADBURY_^>a_ is clearly deliberate; a final explanation of the circus creatures in terms of _^<a_!T4657_GENETIC ENGINEERING_^>a_
provides no more than an sf pretext, the book reading as elegiac fantasy. [JC]_^<n__^<n__^<b_Other work:_^>b_ "Sting" in _^<i_Six Science Fiction Plays_^>i_ (anth _^<b_1976_^>b_) ed Roger _^<a_!T6648_ELWOOD_^>a_._^<n__^<n__^<b_See also:_^>b_
_^<i_The_^>i_ _^<a_!T3595_MAGAZINE OF FANTASY AND SCIENCE FICTION_^>a_; _^<a_!T2021_PSI POWERS_^>a_.
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 2524 SF02531.t
1254
CATRS
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RE-ANIMATOR
-T-
Film (1985). Re-Animator Productions/Empire. Dir Stuart Gordon, starring Jeffrey Combs, Bruce Abbott, Barbara Crampton, David Gale. Screenplay Dennis Paoli, William J. Norris, Gordon, based on "Herbert West -- Reanimator" (1922) by H.P.
_^<a_!T3465_LOVECRAFT_^>a_. 86 mins. Colour._^<n__^<n_In this _^<i_Grand Guignol_^>i_ film Herbert West (Combs), a medical student at Miskatonic University, develops a reagent which restores corpses to life: they become vigorous but brain-damaged
zombies. He decapitates an evil professor (Gale) who is envious of his brilliance, resuscitates both head and body, and mayhem ensues. Sponsored by Charles _^<a_!T389_BAND_^>a_'s Empire Pictures, based on an untypical series of sardonic sketches by
H.P. Lovecraft, _^<i_R-A_^>i_ is a lively _^<a_!T2374_SPLATTER MOVIE_^>a_ featuring the kind of undergraduate humour that assumes it is funny to be disgusting. It very nearly proves the point, not least in a scene involving the sexual activities of
the still-living severed head. _^<i_R-A_^>i_ opened up new perspectives in bad-taste movies, and helped introduce the comedy trend that dominated _^<a_!T4509_HORROR_^>a_ cinema in the late 1980s._^<n__^<n_The sequel was _^<i_Bride of
Re-Animator_^>i_ (1989; vt _^<i_Re-Animator II_^>i_) dir Brian Yuzna, who had produced _^<i_R-A_^>i_. A lethargic reworking of _^<i_R-A_^>i_'s bizarre imagery, again starring Combs, Abbott and Gale, with a plot recapitulating parts of _^<i_The_^>i_
_^<a_!T4993_BRIDE OF FRANKENSTEIN_^>a_ (1935), it lacks the zest necessary for the desired horror-comic effect and is merely emetic. Yuzna's _^<a_!T2299_SOCIETY_^>a_ (1989) is so much better that the two hardly seem the work of the same director.
[PN]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zfilmz
-C- 2525 SF02532.t
1452
CATRS
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RE-ANIMATOR II
-T-
> _^<a_!T2525_RE-ANIMATOR_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zfilmz
-C- 2526 SF02533.t
15
CATRS
-END-
-A-
REAVES, J(AMES) MICHAEL
-T-
(1950- ) US writer who has written at least 100 teleplays, most with fantastic elements, for the children's Saturday-morning market, and who began publishing sf stories with "The Breath of Dragons" for _^<i_Clarion 3_^>i_ (anth _^<b_1973_^>b_) ed
Robin Scott _^<a_!T5645_WILSON_^>a_, after attending the previous year's _^<a_!T733_CLARION SCIENCE FICTION WRITERS' WORKSHOP_^>a_. His first 3 books were published as by J. Michael Reaves, his later books as by Michael Reaves. Much of his work is
fantasy, though his first novel, _^<i_I, Alien_^>i_ (_^<b_1978_^>b_), is adventure sf, and _^<i_Darkworld Detective_^>i_ (coll of linked stories _^<b_1982_^>b_) characteristically mixes sf, fantasy and detective genres in the story of the quest by
a colony planet's only detective for the Dark Lord (a familiar fantasy icon), who is his father. _^<i_Hellstar_^>i_ (_^<b_1984_^>b_) with Steve _^<a_!T1861_PERRY_^>a_ is sf; and _^<i_Dome_^>i_ (_^<b_1987_^>b_), also with Perry, a
post-_^<a_!T4482_HOLOCAUST_^>a_ tale set in the eponymous undersea habitat, engagingly tracks its large cast through various crises while, in the background, an _^<a_!T68_AI_^>a_ begins to collaborate with humanity in preparing for the aquatic
future. It is never easy to find technical fault with JMR, but at the same time it is hard to discover much individuality beneath the professional surface. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Dragonworld_^>i_ (_^<b_1979_^>b_) with Byron
_^<a_!T1982_PREISS_^>a_; the _^<b_Shattered World_^>b_ sequence of fantasies comprising _^<i_The Shattered World_^>i_ (_^<b_1984_^>b_) and _^<i_The Burning Realm_^>i_ (_^<b_1988_^>b_); _^<i_Time Machine 3: Sword of the Samurai_^>i_ *
(_^<b_1984_^>b_) with Steve Perry; _^<i_Street Magic_^>i_ (_^<b_1991_^>b_).
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(c) 1995 John Clute and Peter Nicholls
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RECURSIVE SF
-T-
Recycling material from the vast and growing storehouse of the already-written has long been a practice of sf writers. Plots and characters constantly reappear throughout sf, usually but not always in the form of sequels written by the author of the
original work; venues (like Edgar Rice _^<a_!T5097_BURROUGHS_^>a_'s _^<a_!T3677_MARS_^>a_) become universal props; and terms descriptive of devices or circumstances unique to sf (from _^<a_!T521_BEMS_^>a_ to _^<a_!T887_CORPSICLES_^>a_ to partials
-- Greg _^<a_!T478_BEAR_^>a_'s coinage for autonomous computer-generated partial copies of human personalities) tend, once introduced, to become common parlance. When Robert A. _^<a_!T4376_HEINLEIN_^>a_ made reference in _^<i_"The Number of the
Beast"_^>i_ (_^<b_1980_^>b_ UK) to characters and situations which appeared in earlier novels by him and other sf writers, he was operating in this traditional manner. But when he introduced into the same book people -- writers, editors, fans --
who had been involved in sf itself, he did something very different, something which marked his career, and the sf genre within which the book was written, as approaching a late and self-referential phase. Wilson _^<a_!T6117_TUCKER_^>a_ so
frequently introduced real figures into his stories that such insertions became known for a while as Tuckerisms; but a Tuckerism is a private allusion or joke among friends, and should not be seen as making a binding argument about the relationship
between fiction and the world. Heinlein, on the other hand, was writing full-blown recursive sf, a term narrowly defined in Anthony R. _^<a_!T3364_LEWIS_^>a_'s _^<i_An Annotated Bibliography of Recursive Science Fiction_^>i_ (_^<b_1990_^>b_ chap)
as "science fiction stories that refer to science fiction . . . to authors, fans, collectors, conventions, etc.". More broadly, recursive sf may be defined as stories which treat real people, and the fictional worlds which occupy their dreams, as
sharing equivalent degrees of reality. It is, in other words, a technique which may be used to create _^<a_!T131_ALTERNATE WORLDS_^>a_, usually backward-looking in time, and frequently expressing a powerful nostalgia for pasts in which the visions
of early _^<a_!T4659_GENRE SF_^>a_ do, in fact, come true._^<n__^<n_Novels with recursive elements include Brian W. _^<a_!T87_ALDISS_^>a_'s _^<i_Frankenstein Unbound_^>i_ (_^<b_1973_^>b_) and _^<i_Dracula Unbound_^>i_ (_^<b_1991_^>b_), Manly
_^<a_!T391_BANISTER_^>a_'s early spoof on sf fandom, _^<i_Egoboo: A Fantasy Satire_^>i_ (_^<b_1950_^>b_ chap), Michael _^<a_!T620_BISHOP_^>a_'s _^<i_The Secret Ascension_^>i_ (_^<b_1987_^>b_), Anthony _^<a_!T4937_BOUCHER_^>a_'s detective novel
_^<i_Rocket to the Morgue_^>i_ (_^<b_1942_^>b_), Fredric _^<a_!T5028_BROWN_^>a_'s _^<i_Martians, Go Home_^>i_ (_^<b_1955_^>b_), Gene _^<a_!T1210_DEWEESE_^>a_'s and Robert _^<a_!T913_COULSON_^>a_'s _^<i_Now You See It/Him/Them_^>i_ (_^<b_1975_^>b_)
and _^<i_Charles Fort Never Mentioned Wombats_^>i_ (_^<b_1977_^>b_), Philip K. _^<a_!T1222_DICK_^>a_'s _^<i_The Man in the High Castle_^>i_ (_^<b_1962_^>b_), David _^<a_!T1358_DVORKIN_^>a_'s _^<i_Time for Sherlock Holmes_^>i_ (_^<b_1983_^>b_),
Philip Jose _^<a_!T1435_FARMER_^>a_'s _^<i_To Your Scattered Bodies Go_^>i_ (_^<b_1971_^>b_) and its sequels, Charles L. _^<a_!T4298_HARNESS_^>a_'s _^<i_Lurid Dreams_^>i_ (_^<b_1990_^>b_), Sharyn _^<a_!T6473_MCCRUMB_^>a_'s farce-mysteries
_^<i_Bimbos of the Death Sun_^>i_ (_^<b_1987_^>b_) and _^<i_Zombies of the Gene Pool_^>i_ (_^<b_1992_^>b_), Barry N. _^<a_!T3629_MALZBERG_^>a_'s _^<i_Dwellers of the Deep_^>i_ (_^<b_1970_^>b_ dos), _^<i_Gather in the Hall of the Planets_^>i_
(_^<b_1971_^>b_ dos, both as by K.M. O'Donnell, a pseudonym which itself homages C.L. _^<a_!T3033_MOORE_^>a_ and Henry _^<a_!T4144_KUTTNER_^>a_), and _^<i_Herovit's World_^>i_ (_^<b_1973_^>b_), Larry _^<a_!T3223_NIVEN_^>a_'s and Jerry
_^<a_!T1961_POURNELLE_^>a_'s _^<i_Footfall_^>i_ (_^<b_1985_^>b_), Tim _^<a_!T1961_POWERS_^>a_'s _^<i_The Stress of Her Regard_^>i_ (_^<b_1989_^>b_), Christopher _^<a_!T1990_PRIEST_^>a_'s _^<i_The Space Machine_^>i_ (_^<b_1976_^>b_), Mack
_^<a_!T2576_REYNOLDS_^>a_'s mystery _^<i_The Case of the Little Green Men_^>i_ (_^<b_1951_^>b_), Rudy _^<a_!T2727_RUCKER_^>a_'s _^<i_The Hollow Earth_^>i_ (_^<b_1990_^>b_), Fred _^<a_!T2761_SABERHAGEN_^>a_'s and Roger _^<a_!T6264_ZELAZNY_^>a_'s
_^<i_The Black Throne_^>i_ (_^<b_1990_^>b_) and Kurt _^<a_!T5402_VONNEGUT_^>a_ Jr's _^<i_God Bless You, Mr Rosewater_^>i_ (_^<b_1965_^>b_). _^<i_Inside the Funhouse_^>i_ (anth _^<b_1992_^>b_) ed Michael _^<a_!T2559_RESNICK_^>a_ assembles examples
of the form, with an introductory essay. [JC]_^<n__^<n_
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REDAL, JAVIER
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[r] > _^<a_!T2357_SPAIN_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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RED DAWN
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Film (1984). MGM/United Artists. Dir John Milius, starring Patrick Swayze, C. Thomas Howell, Lea Thompson, Charlie Sheen. Screenplay Kevin Reynolds, Milius. 114 mins. Colour._^<n__^<n_Russians nuke US cities and their paratroops, with Cuban and
Nicaraguan allies, invade the Midwest. Highschool kids escape into the Colorado mountains, become guerrillas, undergo rites of passage and male bonding, fight brilliantly, mostly die. This incoherent and implausible film gets so sentimental about
toughness, like a parody of Robert A. _^<a_!T4376_HEINLEIN_^>a_, that the viewer's sympathy is largely with the homesick Cuban commander. _^<i_RD_^>i_ is symptomatic of the interest in _^<a_!T5849_SURVIVALIST_^>a_ fictions during the 1980s.
[PN]_^<n__^<n_
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RED DWARF
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UK tv series (1988- ). A Paul Jackson Production for BBC North West; from Series IV Paul Jackson Productions have not been credited. Prod Ed Bye, Rob Grant, Doug Naylor. Dir Bye. Written Grant, Naylor. Starring Craig Charles as Lister, Chris
Barrie as Rimmer, Danny John-Jules as Cat, Robert Llewellyn (season III onward) as Kryten, Norman Lovett (Seasons 1 and 2) and Hattie Hayridge (season III onward) as Holly. Six seasons (given Roman numerals from season III onwards, as in _^<i_Red
Dwarf III_^>i_) of 6 30min episodes each (to 1994). Possibly current but in suspension. Colour._^<n__^<n_Probably the best blend of humour and sf on tv since _^<i_The_^<a_!T4445_HITCH HIKER'S GUIDE TO THE GALAXY_^>a__^>i_ , _^<i_RD_^>i_, a true
situation comedy, rapidly became a cult success. _^<i_Red Dwarf_^>i_ is a very large, very dirty spaceship with only one crew member, a definitively working-class Liverpudlian, Lister, who has been in suspended animation for millions of years. Also
present are a tyrannical but self-pitying hologram, Rimmer, who outranks Lister, a vain humanoid called Cat, descended from Lister's pet cat, an _^<i_angst_^>i_-ridden computer called Holly and, later, an _^<a_!T178_ANDROID_^>a_ trained to serve,
the admirable Kryten. Miracles of sf evocation -- time travel, black holes, alternate realities and other such tropes -- are performed with considerable wit and style on, one might deduce from the deliberate tackiness of the whole endeavour, a tiny
budget. At its radical fringes, UK tv of the 1980s specialized in comedy emphasizing vulgarity, despair, entropy, stupidity and lack of hygiene, and the people behind _^<i_RD_^>i_ have impeccable pedigrees in this field: executive prod Paul Jackson
had made the nicely revolting _^<i_The Young Ones_^>i_ and _^<i_Filthy, Rich and Catflap_^>i_, and Grant and Naylor had been head writers for the politically satirical puppet series _^<i_Spitting Image_^>i_. Spin-off books as by Grant
_^<a_!T3143_NAYLOR_^>a_ (Grant and Naylor) are _^<i_Red Dwarf: Infinity Welcomes Careful Drivers_^>i_ * (_^<b_1989_^>b_) and _^<i_Better than Life_^>i_ * (_^<b_1990_^>b_). [PN]_^<n__^<n_
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REDGROVE, PETER (WILLIAM)
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(1932- ) UK poet and novelist, married to Penelope _^<a_!T2201_SHUTTLE_^>a_. His first work of sf interest was "Mr Waterman" for _^<i_Paris Review_^>i_ in 1963; although he contributed occasionally to _^<i_NW_^>i_, including a fantasy poem later
published as _^<i_The God-Trap_^>i_ (_^<b_1966_^>b_ chap), he remains of sf interest mainly for his novels, the first two of which -- _^<i_The Terrors of Dr Treviles: A Romance_^>i_ (_^<b_1974_^>b_) and _^<i_The Glass Cottage: A Nautical
Romance_^>i_ (_^<b_1976_^>b_) -- were written in collaboration with Shuttle. Both are _^<a_!T1372_FABULATIONS_^>a_ whose venues are rendered unstable through hyperbolic imagery and their authors' taste for holy witchcraft and other transcendental
transgressions of the natural order. _^<i_The God of Glass_^>i_ (_^<b_1979_^>b_) is a tale of the _^<a_!T6337_NEAR FUTURE_^>a_ in which a new prophet diseases the world with his message. _^<i_The Sleep of the Great Hypnotist_^>i_ (_^<b_1979_^>b_)
introduces a device which cures ills but also hypnotizes its inventor's daughter into bringing him back to life after death. _^<i_The Beekeepers_^>i_ (_^<b_1980_^>b_) and its sequel, _^<i_The Facilitators, or Mister Hole-in-the-Day_^>i_
(_^<b_1982_^>b_), set in an ominous insane asylum where strange experiments are being conducted, marry occult imagery and murk-choked scientism in a complex narrative involving an ambiguous penetration of Bedlam. Primarily a poet, PR writes novels
whose plots ride upon deep swells of language-driven meditation, although the tales assembled in _^<i_The One who Set Out to Study Fear_^>i_ (coll _^<b_1989_^>b_) -- perhaps because they are derived from the Brothers Grimm-display a more forthright
story-telling gift. [JC]_^<n__^<n_
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RED PLANET MARS
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Film (1952). Melaby Pictures/United Artists. Dir Harry Horner, starring Peter Graves, Andrea King, Marvin Miller. Screenplay John L. Balderston (1889-1954), Anthony Veiller, based on the play _^<i_Red Planet_^>i_ (produced in New York in late 1932;
_^<b_1933_^>b_ chap) by Balderston, John E. Hoare. 87 mins. B/w._^<n__^<n_Two young US scientists, man and wife, pick up tv transmissions apparently from _^<a_!T3677_MARS_^>a_. These messages (confusingly) take two forms. One class, suggesting Mars
is the centre of incredible technological breakthroughs, has been faked by an ex-Nazi scientist and is designed to panic the Western World, which it does, though it pleases the evil Russians. The second class (genuine) tells us that Mars is ruled
by a "Supreme Authority" who is none other than God himself. This revelation also causes chaos, and there are accusations of fakery, but religion is ultimately justified and Godless communism (the true villain) destroyed: aged revolutionaries
overthrow the Soviet Government and restore the monarchy, choosing an Orthodox priest as their new Czar._^<n__^<n__^<i_RPM_^>i_ is a fascinating (and quite hysterical) product of the Cold War _^<a_!T1795_PARANOIA_^>a_ that swept the USA in the
early 1950s, and specifically a mirror of the widespread feeling in US society that religious crusades (as led by Billy Graham and others) were a political weapon against communism. Balderston, responsible for the script and the original play, had
a distinguished career in genre movies, his screenplays including _^<i_Dracula_^>i_ (1931), _^<a_!T4993_BRIDE OF FRANKENSTEIN_^>a_ (1935), _^<a_!T3588_MAD LOVE_^>a_ (1935) and _^<i_Gaslight_^>i_ (1944), but this essay in patronizing populism did
him no credit. The film flopped. [PN/JB]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T4740_GODS AND DEMONS_^>a_.
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(c) 1995 John Clute and Peter Nicholls
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REED, CLIFFORD C(ECIL)
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(1911- ) South African-born writer and civil servant, in UK from 1950, who began publishing sf with "Jean-Gene-Jeanne" in _^<i_Authentic_^>i_ in 1954. In _^<i_Martian Enterprise_^>i_ (fixup _^<b_1962_^>b_) escaped convicts learn slowly how to
create a community on a new planet. [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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REED, DAVID V.
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Pseudonym used by US writer David Vern (1924- ) for almost all his fiction, mostly for Ray _^<a_!T1772_PALMER_^>a_'s magazines, starting with "Where is Roger Davis?" for _^<i_AMZ_^>i_ in 1939. He collaborated with Don _^<a_!T5597_WILCOX_^>a_ (who
wrote the first of the 2 stories from which it was cobbled together, DVR writing the second) on _^<i_The Whispering Gorilla_^>i_ (1940-43 _^<i_Fantastic Adventures_^>i_; fixup _^<b_1950_^>b_ UK), about an ape with a man's brain (_^<i_ Hyperlink to:
_^>i_ _^<a_!T206_APES AND CAVEMEN_^>a_); the book was published as by DVR alone. _^<i_Murder in Space_^>i_ (1944 _^<i_AMZ_^>i_; _^<b_1954_^>b_) unconvincingly attempts to combine mystery and sf techniques. DVR was probably the first writer to use
the house name Alexander _^<a_!T639_BLADE_^>a_; he used also the house names Craig _^<a_!T6637_ELLIS_^>a_ and Peter _^<a_!T4501_HORN_^>a_ and wrote 1 story as Clyde Woodruff. [JC/PN]_^<n__^<n__^<b_Other work:_^>b_ _^<i_The Thing that Made Love_^>i_
(1943 _^<i_Fantastic Adventures_^>i_ as "The Metal Monster Murders"; _^<b_1952?_^>b_), a mystery._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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REED, ISHMAEL (SCOTT)
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(1938- ) US writer, poet and playwright who emerged in the 1960s as a central representative of the New Black Aesthetic movement, and a figure controversial to the Black critical establishment from the publication of his first novel, _^<i_The
Free-Lance Pallbearers_^>i_ (_^<b_1967_^>b_), a powerful _^<a_!T2812_SATIRE_^>a_. In this and in books like _^<i_Yellow-Back Radio Broke-Down_^>i_ (_^<b_1969_^>b_) and _^<i_Mumbo Jumbo_^>i_ (_^<b_1972_^>b_), whose main characters use Black humour
to express their outrage in the face of oppression, he mixed elements of surreal satire and _^<a_!T3599_MAGIC-REALIST_^>a_ fantasy into complex plots, calling this distinctive literary method Neo-Hoodooism. Further such tales include _^<i_The Last
Days of Louisiana Red_^>i_ (_^<b_1974_^>b_) and _^<i_Flight to Canada_^>i_ (_^<b_1975_^>b_). In several of these books grotesquely overelaborated thriller plots carry the burden of the flamboyant text, and similar plots -- featuring a bemused
detective named _^<b_Nance Saturday_^>b_ -- shape his genuine sf novels, _^<i_The Terrible Twos_^>i_ (_^<b_1982_^>b_) and _^<i_The Terrible Threes_^>i_ (_^<b_1989_^>b_). In the first of these sad and rather savage _^<a_!T6337_NEAR-FUTURE_^>a_
satires the US President is a male model with an IQ of 55; the second is a _^<a_!T1370_DYSTOPIAN_^>a_ vision of the Reagan years. Critics have seen IR's use of humour as an attempt to distract attention from important social issues and his
suspicion of Black _^<a_!T1461_FEMINISTS_^>a_ as less than persuasive; by contrast, Thomas _^<a_!T2040_PYNCHON_^>a_ and other authors of contemporary interest have cited IR as an exemplary writer. [CAJ/JC]_^<n__^<n__^<b_Other works:_^>b_
_^<i_Shrovetide in Old New Orleans_^>i_ (coll _^<b_1978_^>b_), essays and interviews; _^<i_Reckless Eyeballing_^>i_ (_^<b_1986_^>b_).
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(c) 1995 John Clute and Peter Nicholls
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REED, KIT
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Working name of US writer Lillian Craig Reed (1932- ), as well known for her work outside sf and fantasy as within; she has also written a horror novel, _^<i_Blood Fever_^>i_ (_^<b_1986_^>b_) as by Shelley Hyde, and two detections -- _^<i_Gone_^>i_
(_^<b_1992_^>b_) and _^<i_Twice Burned_^>i_ (_^<b_1993_^>b_) -- as by Kit Craig. She began publishing stories of genre interest with "The Wait" (vt "To Be Taken in a Strange Country") in 1958 for _^<i_FSF_^>i_, afterwards publishing mainly with
that journal. After some non-genre novels, the first being _^<i_Mother isn't Dead She's Only Sleeping_^>i_ (_^<b_1961_^>b_), KR began to assemble short stories of genre interest in _^<i_Mister da V. and Other Stories_^>i_ (coll _^<b_1967_^>b_ UK),
later releasing _^<i_The Killer Mice_^>i_ (coll _^<b_1976_^>b_ UK), _^<i_Other Stories And . . . the Attack of the Giant Baby_^>i_ (coll _^<b_1981_^>b_), _^<i_Revenge of the Senior Citizens ** Plus: A Short Story Collection_^>i_ (coll
_^<b_1986_^>b_) and _^<i_Thief of Lives_^>i_ (coll _^<b_1992_^>b_). It could be said, unkindly, that her stories domesticate the world of Shirley _^<a_!T3841_JACKSON_^>a_; but that would be unduly to deprecate the sharp, clear, self-amused
perceptiveness of her best moral fables, often closer to fantasy than sf as they make their uncomfortable points with precision and delicacy. Her first sf novel, _^<i_Armed Camps_^>i_ (_^<b_1969_^>b_ UK), perhaps more conventionally posits a
_^<a_!T6337_NEAR-FUTURE_^>a_ USA sliding into irretrievable collapse; neither the soldier nor the woman pacifist who share the narrative, nor what they represent, are seen as representing any solution. _^<i_Magic Time_^>i_ (_^<b_1980_^>b_), less
effective because of its chatty plot, treats the USA as analogous to a grotesque theme park, posthumously run by a Disney-like guru in cold storage. _^<i_Fort Privilege_^>i_ (_^<b_1985_^>b_) more convincingly transforms into moral fable a tale set
in an expensive New York apartment building under siege from the innumerable homeless of the great city; and _^<i_Little Sisters of the Apocalypse_^>i_ (_^<b_1994_^>b_) similarly examines the lives of a group of women besieged -- in a world tainted
by violence and social disintegration -- by conflicting gangs of marauders. Though sometimes her reticence is overpowering, KR at her best is, very quietly, an explosive writer. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Fat_^>i_ (anth
_^<b_1974_^>b_), stories about obesity, several being sf or fantasy; _^<i_George Orwell's 1984_^>i_ (_^<b_1984_^>b_), nonfiction.
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REED, PETER
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[s] > John D. _^<a_!T3514_MACDONALD_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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REED, ROBERT
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(1956- ) US writer who began publishing sf with "Mudpuppies" as by Robert Touzalin for _^<i_L. Ron Hubbard Presents Writers of the Future_^>i_ (anth _^<b_1986_^>b_) ed Algis _^<a_!T5064_BUDRYS_^>a_; the story gained the $5000 grand prize awarded
in the _^<a_!T6197_WRITERS OF THE FUTURE CONTEST_^>a_ for that year. RR has since gradually become productive in short forms, though he remains best known for his novels, beginning with _^<i_The Leeshore_^>i_ (_^<b_1987_^>b_), a tale which combines
adventure-sf plotting (a pair of twins, the sole humans left on the eponymous water-covered colony planet, must guide a task force in pursuit of the _^<a_!T826_COMPUTER_^>a_-worshipping zealots who have killed everyone else) with an almost mystical
sense for the genius of place, the intricacies of selfhood. _^<i_The Hormone Jungle_^>i_ (_^<b_1988_^>b_) is set in an entirely different venue, a densely crowded Solar System drawn in _^<a_!T1015_CYBERPUNK_^>a_ colours; but a similar attention to
the mysterious depths of his distorted characters saves the book from RR's tendency to indulge in a sometimes choking virtuosity. _^<i_Black Milk_^>i_ (_^<b_1989_^>b_) is set in yet another of sf's familiar 1980s venues, a
_^<a_!T6337_NEAR-FUTURE_^>a_ world threatened by uncontrolled and secret _^<a_!T4657_GENETIC-ENGINEERING_^>a_ experiments instigated by a late and movingly presented version of the inventor/entrepreneur who runs the world (>
_^<a_!T6580_EDISONADE_^>a_); once again, the expertness of the writing and its knowing exploitation of current scientific speculations are balanced by an underlying quiet sanity about how to depict and to illumine human beings. In _^<i_Down the
Bright Way_^>i_ (_^<b_1991_^>b_) a group of sentient beings searches through an endless string of _^<a_!T1794_PARALLEL WORLDS_^>a_ for the old gods -- or sentient beings at the start of things -- while fending off others intent on using the
pathways for darker purposes. In _^<i_The Remarkables_^>i_ (_^<b_1992_^>b_) a confrontation between the main stream of humanity -- sequestrated in densely populated local space -- and a lost colony leads to a complexly engaging rite of passage
involving representatives of both human streams with the eponymous aliens. And in _^<i_Beyond the Veil of Stars_^>i_ (_^<b_1994_^>b_), the sense of claustrophobia characteristic of RR's work derives from an image of our Solar System as impacted
upon -- from beyond a fabricated and deceitful veil of stars -- by innumerable similar inhabited systems. We live in a megalopolis of planets, and we communicate with each other by passing through dimensional barriers, which change our bodies so
that we resemble natives of the visited world; which is also overcrowded. RR's course to date has been unusual in that he has avoided sequels in his first 5 novels, none of which share any background material or assumptions whatsoever. Today's sf
readers tend to expect a kind of brand identity from authors, and it may be for this reason that RR has not yet achieved any considerable fame. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T177_ANDROIDS_^>a_.
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REED, VAN
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House name used for 2 books published by _^<a_!T1009_CURTIS WARREN_^>a_, one by Dennis _^<a_!T4544_HUGHES_^>a_ and the other, _^<i_Dwellers in Space_^>i_ (_^<b_1953_^>b_), by an unknown author. [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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REEVE, ARTHUR B(ENJAMIN)
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(1880-1936) US writer almost exclusively remembered for his _^<b_Craig Kennedy, Scientific Detective_^>b_ sequence, the early stories being first published 1910-15 in monthly instalments in _^<i_Cosmopolitan_^>i_. Almost every volume of the series
contained one of more sf device, sometimes trivial, sometimes central to the tale. Kennedy himself (> _^<a_!T6580_EDISONADE_^>a_) was interminably responsible for developing new forms of weaponry, making medical breakthroughs, forging super-metals
and chemicals . . . Though many individual stories showed only minimal displacement into an sf frame, the overall framework was clearly generic, and the individual titles warrant listing: _^<i_The Silent Bullet: The Adventures of Craig Kennedy,
Scientific Detective_^>i_ (similar subtitles are ignored below) (coll _^<b_1912_^>b_; vt _^<i_The Black Hand_^>i_ 1912 UK), _^<i_The Poisoned Pen_^>i_ (coll _^<b_1913_^>b_), _^<i_The Dream Doctor_^>i_ (coll _^<b_1914_^>b_), _^<i_The War Terror_^>i_
(coll _^<b_1915_^>b_; vt _^<i_Craig Kennedy, Detective_^>i_ 1915 UK), _^<i_The Gold of the Gods: The Mystery of the Incas Solved by Craig Kennedy -- Scientific Detective_^>i_ (_^<b_1915_^>b_), _^<i_The Exploits of Elaine_^>i_ (_^<b_1915_^>b_),
_^<i_The Social Gangster_^>i_ (coll _^<b_1916_^>b_; vt _^<i_The Diamond Queen_^>i_ 1917 UK), _^<i_The Ear in the Wall_^>i_ (_^<b_1916_^>b_), _^<i_The Romance of Elaine_^>i_ * (_^<b_1916_^>b_), a film tie, _^<i_The Triumph of Elaine_^>i_
(_^<b_1916_^>b_), _^<i_The Treasure-Train_^>i_ (coll _^<b_1917_^>b_), _^<i_The Adventuress_^>i_ (_^<b_1917_^>b_), _^<i_The Panama Plot_^>i_ (coll _^<b_1918_^>b_), _^<i_The Soul Scar_^>i_ (_^<b_1919_^>b_), _^<i_The Film Mystery_^>i_
_^<i_Craig Kennedy on the Farm_^>i_ (coll _^<b_1925_^>b_), _^<i_The Radio Detective_^>i_ * (_^<b_1926_^>b_), a film tie, _^<i_Pandora_^>i_ (_^<b_1926_^>b_), _^<i_The Kidnap Club_^>i_ (_^<b_1932_^>b_), _^<i_The Clutching Hand_^>i_ (_^<b_1934_^>b_),
_^<i_Enter Craig Kennedy_^>i_ (_^<b_1935_^>b_) with Ashley Locke, and _^<i_The Stars Scream Murder_^>i_ (_^<b_1936_^>b_). Of these titles, the most remarkable was perhaps _^<i_Pandora_^>i_, in which the evil land of Centrania successfully seduces
the USA from her former power by (as E.F. _^<a_!T654_BLEILER_^>a_ remarks) "subsidizing jazz musicians", inventing a synthetic fuel, and causing a stock-market crash. The quick development of a tiny atomic bomb leads to the utter defeat of
Centrania. ABR was editorial consultant to _^<a_!T2876_SCIENTIFIC DETECTIVE MONTHLY_^>a_ (1930), which printed 1 new _^<b_Craig Kennedy_^>b_ story and reprinted 9 old ones. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Guy Garrick: An Adventure with a
Scientific Gunman_^>i_ (_^<b_1914_^>b_); _^<i_Constance Dunlap, Woman Detective_^>i_ (_^<b_1916_^>b_); _^<i_The Master Mystery_^>i_ (_^<b_1919_^>b_) and _^<i_The Mystery Mind_^>i_ (_^<b_1921_^>b_), both with John Grey; _^<i_The Best Ghost
Stories_^>i_ (anth _^<b_1936_^>b_)._^<b_See also:_^>b_ _^<a_!T956_CRIME AND PUNISHMENT_^>a_.
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REEVES, L(YNETTE) P(AMELA)
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(1937- ) UK writer exclusively associated with _^<a_!T6332_ROBERT HALE LIMITED_^>a_, but whose novels, often featuring _^<a_!T6026_TIME TRAVEL_^>a_, rise intermittently above their element: _^<i_The Nairn Syndrome_^>i_ (_^<b_1975_^>b_), _^<i_Time
Search_^>i_ (_^<b_1976_^>b_), _^<i_The Last Days of the Peacemaker_^>i_ (_^<b_1976_^>b_), _^<i_Harlow's Dimension_^>i_ (_^<b_1977_^>b_), _^<i_Stone Age Venture_^>i_ (_^<b_1977_^>b_), _^<i_A Twist in Time_^>i_ (_^<b_1978_^>b_) and _^<i_If it's Blue,
it's Plague_^>i_ (_^<b_1981_^>b_). [JC]_^<n__^<n_
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REGINALD, ROBERT
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The pseudonym under which US bibliographer, librarian and publisher Michael Roy Burgess (1948- ) is best known, and under which (or as R. Reginald) he has published his most important work in the sf field; it is also under this name that he
publishes and edits the _^<a_!T705_BORGO PRESS_^>a_ in California, a _^<a_!T2261_SMALL PRESS_^>a_ that publishes many monographs on and bibliographical studies of sf, fantasy and horror. As M.R. Burgess or Michael Burgess he has also published
fairly widely, his most important sf work under the latter form of his name being _^<i_Reference Guide to Science Fiction, Fantasy, and Horror_^>i_ (_^<b_1992_^>b_); less frequently used pseudonyms include Boden Clarke, C. Everett Cooper and Lucas
Webb. RR has written on himself in _^<i_The Work of R. Reginald: An Annotated Bibliography and Guide_^>i_ (_^<b_1985_^>b_ chap as by Michael Burgess and Jeffrey M. _^<a_!T6624_ELLIOT_^>a_; exp vt _^<i_The Work of Robert Reginald: An Annotated
Bibliography and Guide_^>i_ 1992 as by Burgess alone)._^<n__^<n_The various incarnations of RR's most important publication have intermittently occupied his career through 1992. His first book, _^<i_Stella Nova: The Contemporary Science Fiction
Authors_^>i_ (_^<b_1970_^>b_ anon; rev vt _^<i_Contemporary Science Fiction Authors, First Edition_^>i_ 1974 as RR), eventually became the second volume of his magnum opus, _^<i_Science Fiction and Fantasy Literature: A Checklist, 1700-1974, with
Contemporary Science Fiction Authors II_^>i_ (_^<b_1979_^>b_) in 2 vols as RR, and listing over 15,000 titles up to the end of 1974. The long-awaited supplement to this essential reference tool has been broken back down into separate enterprises,
with <Science Fiction & Fantasy Literature : A Bibliography, 1975-1991> (1992), with Darryl F. _^<a_!T3625_MALLETT_^>a_ and Mary Wickizer Burgess, being restricted to an updating of the checklist alone, to which it adds a further 22,000 titles; a
biographical volume, building on the original _^<i_Stella Nova_^>i_, is also projected (_^<i_ Hyperlink to: _^>i_ _^<a_!T585_BIBLIOGRAPHIES_^>a_ _^<i_for further comments_^>i_)._^<n__^<n_Other bibliographical publications of interest include:
_^<i_Cumulative Paperback Index, 1939-1959: A Comprehensive Bibliographic Guide to 14,000 Mass-Market Paperback Books of 33 Publishers under 69 Imprints_^>i_ (_^<b_1973_^>b_) as RR with M.R. Burgess; _^<i_Science Fiction & Fantasy Awards_^>i_
(_^<b_1981_^>b_ chap as RR; much exp vt _^<i_Reginald's Science Fiction and Fantasy Awards: A Comprehensive Guide to the Awards and their Winners_^>i_ 1991 by Daryl F. Mallett with RR); _^<i_A Guide to Science Fiction and Fantasy in the Library of
Congress Classification Scheme_^>i_ (_^<b_1984_^>b_ chap; exp 1988) as by Michael Burgess; _^<i_The Work of Jeffrey M. Elliot: An Annotated Bibliography & Guide_^>i_ (_^<b_1984_^>b_ chap) as by Boden Clarke; _^<i_The Work of Julian May: An
Annotated Bibliography & Guide_^>i_ (_^<b_1985_^>b_ chap) as by RR with Thaddeus _^<a_!T1232_DIKTY_^>a_; _^<i_The Work of George Zebrowski: An Annotated Bibliography & Guide_^>i_ (_^<b_1986_^>b_ chap; exp 1990) as by RR with Jeffrey M. Elliot;
_^<i_Mystery and Detective Fiction in the Library of Congress Classification Scheme_^>i_ (_^<b_1987_^>b_) as by Michael Burgess; _^<i_Western Fiction in the Library of Congress Classification Scheme_^>i_ (_^<b_1988_^>b_ chap) as by Michael Burgess,
with Beverly A. Ryan; and _^<i_The Work of William F. Nolan: An Annotated Bibliography & Guide_^>i_ (_^<b_1988_^>b_ chap) as by Boden Clarke, with Nolan writing as James Hopkins. The individual author bibliographies, part of an ongoing Borgo Press
series by several hands, are devotedly thorough and accurate._^<n__^<n_Before founding Borgo in 1975, RR founded the short-lived Unicorn & Son, Publishers (which produced _^<i_Stella Nova_^>i_), and was an associate editor of _^<a_!T1562_FORGOTTEN
FANTASY_^>a_ (1970-71) and advisory editor of the _^<a_!T249_ARNO PRESS_^>a_ sf reprint series and Arno's subsequent reprints of supernatural, fantasy and _^<a_!T3460_LOST WORLD_^>a_ books. Borgo itself began publishing titles in 1976, and by 1992
had released well over 100 titles under its own imprint as well as distributing over 1000 other titles. Though RR became full Librarian at Cal State in 1984, he maintained complete control over the firm, initiating and silently collaborating on
many of its bibliographical projects and publishing through it much of his non-bibliographical work, as well as his two novels. _^<i_The Attempted Assassination of John F. Kennedy: A Political Fantasy_^>i_ (_^<b_1976_^>b_ chap as by Lucas Webb; rev
vt _^<i_If J.F.K. Had Lived: A Political Scenario_^>i_ 1982 chap as by RR with Jeffrey M. Elliot) is an _^<a_!T131_ALTERNATE-WORLD_^>a_ tale in which monarchies have been retained worldwide and Kennedy is not killed. _^<i_Up Your Asteroid!: A
Science Fiction Farce_^>i_ (_^<b_1977_^>b_ chap), as by C. Everett Cooper, is a desultory spoof._^<n__^<n_RR also ed several anthologies for Arno Press, all with Douglas _^<a_!T2898_MENVILLE_^>a_: _^<i_Ancestral Voices: An Anthology of Early
Science Fiction_^>i_ (anth _^<b_1975_^>b_; cut 1992), _^<i_Ancient Hauntings_^>i_ (anth _^<b_1976_^>b_), _^<i_Phantasmagoria_^>i_ (anth _^<b_1976_^>b_), _^<i_R.I.P.: Five Stories of the Supernatural_^>i_ (anth _^<b_1976_^>b_), _^<i_The Spectre
Bridegroom, and Other Horrors_^>i_ (anth _^<b_1976_^>b_), _^<i_Dreamers of Dreams: An Anthology of Fantasy_^>i_ (anth _^<b_1978_^>b_), _^<i_King Solomon's Children: Some Parodies of H. Rider Haggard_^>i_ (anth _^<b_1978_^>b_), _^<i_They: Three
Parodies of H. Rider Haggard's She_^>i_ (anth _^<b_1978_^>b_) and _^<i_Worlds of Never: Three Fantastic Novels_^>i_ (anth _^<b_1978_^>b_). Also with Menville, RR wrote two film books: _^<i_Things to Come: An Illustrated History of the Science
Fiction Film_^>i_ (_^<b_1977_^>b_) and, with Mary Wickizer Burgess also collaborating, _^<i_Futurevisions: The New Golden Age of the Science Fiction Film_^>i_ (_^<b_1985_^>b_). RR remains of central importance to sf as a bibliographer of persistent
exactness and enormous energy. He won the _^<a_!T1900_PILGRIM AWARD_^>a_ in 1993. [PN/JC]_^<n__^<n_
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REHN, JENS
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[r] > _^<a_!T4667_GERMANY_^>a_._^<n__^<n_
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REID, DESMOND
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A house name used by at least 30 writers for _^<b_Sexton Blake Library_^>b_ tales, one of which -- _^<i_The World-Shakers!_^>i_ (_^<b_1960_^>b_ chap) by Rex Dolpin (> Peter _^<a_!T2829_SAXON_^>a_) -- was a _^<a_!T5271_UFO_^>a_ tale. Another --
_^<i_Caribbean Crisis_^>i_ (_^<b_1962_^>b_ chap) by James _^<a_!T5217_CAWTHORN_^>a_ and Michael _^<a_!T3030_MOORCOCK_^>a_ -- was Moorcock's first novel. Other authors of genre interest who used the name included Sydney J. _^<a_!T4940_BOUNDS_^>a_,
Jonathan _^<a_!T5088_BURKE_^>a_, Stephen _^<a_!T1592_FRANCES_^>a_, A.A. _^<a_!T4733_GLYNN_^>a_, John _^<a_!T3500_LYMINGTON_^>a_ and Wilfred _^<a_!T3570_MCNEILLY_^>a_. [JC]_^<n__^<n_
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REIDA, ALVAH
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(1920-1975) US writer whose sf novel, _^<i_Fault Lines_^>i_ (_^<b_1972_^>b_) -- not to be confused with Kate _^<a_!T5606_WILHELM_^>a_'s later novel of the same title -- deals apocalyptically with the consequences of a San Andreas Fault earthquake.
[JC]_^<n__^<n_
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REIN, HAROLD
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(? -? ) US writer in whose extremely grim post-_^<a_!T4482_HOLOCAUST_^>a_ novel, _^<i_Few Were Left_^>i_ (_^<b_1955_^>b_), a suicidal protagonist is trapped with others in the New York subway system after the bomb has dropped. He fails, after
several adventures, to escape. [JC]_^<n__^<n_
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REINCARNATION
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The idea of reincarnation exerts a considerable fascination; its fashionability has recently been renewed by hypnotists who claim to facilitate a "regression" of their subjects which allows access to memories of "former lives". Serial reincarnation
is one of the standard varieties of _^<a_!T3771_IMMORTALITY_^>a_. In _^<a_!T1412_FANTASY_^>a_ the notion is an axiom of the curious subgenre of "transcendental romance" -- stories in which love becomes a quasisupernatural force transcending time or
death so that lovers may meet in different ages to make repeated attempts to find true happiness. This is the pattern of H. Rider _^<a_!T4911_HAGGARD_^>a_'s _^<i_She_^>i_ (_^<b_1887_^>b_) and its sequels, Edwin Lester _^<a_!T246_ARNOLD_^>a_'s
_^<i_Phra the Phoenician_^>i_ (_^<b_1890_^>b_) and George _^<a_!T4871_GRIFFITH_^>a_'s _^<i_Valdar the Oft-Born_^>i_ (_^<b_1895_^>b_). Arnold's _^<i_Lepidus the Centurion_^>i_ (_^<b_1901_^>b_) shows one of the more subtle and intelligent uses of the
notion. Many romances of reincarnation have also been inspired by the ancient Egyptian methods of preserving the dead, including Haggard's "Smith and the Pharaohs" (1912; as title story of _^<i_Smith and the Pharaohs and Other Tales_^>i_ coll
_^<b_1920_^>b_). _^<a_!T2019_PSEUDO-SCIENTIFIC_^>a_ rationalizations of the notion often invoke the concept of "race memory"; Haggard bolstered his belief with this idea, deploying it in _^<i_The Ancient Allan_^>i_ (_^<b_1920_^>b_) and _^<i_Allan
and the Ice Gods_^>i_ (_^<b_1927_^>b_), and Jack _^<a_!T3427_LONDON_^>a_ used it in _^<i_Before Adam_^>i_ (_^<b_1906_^>b_) and _^<i_The Star Rover_^>i_ (_^<b_1915_^>b_; vt _^<i_The Jacket_^>i_). The most impressive sf story built on the race-memory
premise is John _^<a_!T4729_GLOAG_^>a_'s _^<i_99%_^>i_ (_^<b_1944_^>b_)._^<n__^<n_Camille _^<a_!T1516_FLAMMARION_^>a_, the first writer to develop the notion of _^<a_!T98_ALIEN_^>a_ beings adapted to _^<a_!T3385_LIFE ON OTHER WORLDS_^>a_, did so
mainly in order to support his theory of the immortality of the soul with speculations about possible reincarnations on other worlds. First presented in _^<i_Lumen_^>i_ (1864; exp _^<b_1887_^>b_; trans _^<b_1897_^>b_), the idea was used also in
_^<i_Urania_^>i_ (_^<b_1890_^>b_) and was copied by Louis Pope _^<a_!T4810_GRATACAP_^>a_ in the didactic _^<i_The Certainty of a Future Life on Mars_^>i_ (_^<b_1903_^>b_)._^<n__^<n_Hugh _^<a_!T4077_KINGSMILL_^>a_ reincarnated Shakespeare in
_^<i_The Return of William Shakespeare_^>i_ (_^<b_1929_^>b_) so that a critical commentary on the works could be put into the Bard's own mouth and bracketed by a satirical comedy. When _^<a_!T4659_GENRE SF_^>a_ began to deploy technological methods
of reincarnation, the resurrection of great men of the past was a theme used in many stories, including Manly Wade _^<a_!T5525_WELLMAN_^>a_'s _^<i_Giants from Eternity_^>i_ (_^<b_1939_^>b_), Ray _^<a_!T4963_BRADBURY_^>a_'s "Forever and the Earth"
(1950), James _^<a_!T658_BLISH_^>a_'s "A Work of Art" (1956), R.A. _^<a_!T4152_L AFFERTY_^>a_'s _^<i_Past Master_^>i_ (_^<b_1968_^>b_), Philip K. _^<a_!T1222_DICK_^>a_'s _^<i_We Can Build You_^>i_ (_^<b_1972_^>b_), Barry N.
_^<a_!T3629_MALZBERG_^>a_'s _^<i__^<a_!B9275_THE REMAKING OF SIGMUND FREUD_^>a__^>i_ (_^<b_1985_^>b_) and Dan _^<a_!T2219_SIMMONS_^>a_'s _^<i_The Fall of Hyperion_^>i_ (_^<b_1990_^>b_). Henry J. _^<a_!T2242_SLATER_^>a_'s _^<i_The Smashed World_^>i_
(_^<b_1952_^>b_) features a remarkable version of the Eternal Triangle involving Archimedes, Napoleon and Cleopatra 3000 years in the future. In Anne Rice's _^<i_The Mummy, or Ramses the Damned_^>i_ (_^<b_1989_^>b_) an immortal Ramses forces the
reincarnation of the spirit of Cleopatra into the mummy of that queen, with disastrous results -- not just for Ramses but also for the novel, since the explanation of the "mechanism" of reincarnation is hopelessly fudged._^<n__^<n_Reincarnation in
sf usually involves the "recording" of personalities for later re-embodiment, sometimes in an _^<a_!T178_ANDROID_^>a_ body. _^<a_!T6026_TIME TRAVEL_^>a_ also comes in handy as a means of duplicating individuals. The idea that _^<a_!T761_CLONES_^>a_
might be seen as reincarnations is propounded in such stories as "When You Care, When You Love" (1962) by Theodore _^<a_!T5810_STURGEON_^>a_, and in several of the works of John _^<a_!T5339_VARLEY_^>a_ clones are used such that in effect
individuals can cheat death by living in "serial bodies". _^<a_!T3721_MATTER TRANSMISSION_^>a_ is employed as a reincarnating device in such stories as Algis _^<a_!T5064_BUDRYS_^>a_'s _^<i__^<a_!B9052_ROGUE MOON_^>a__^>i_ (_^<b_1960_^>b_). The
natural extravagance of genre sf has occasionally encouraged a blithe disregard for the inconvenience of death; two writers who have sometimes been very casual about incorporating metaphysical or frankly mysterious methods of reincarnation into
their scenarios are A.E. _^<a_!T5333_VAN VOGT_^>a_, in such works as _^<i_The Book of Ptath_^>i_ (1943; _^<b_1947_^>b_; vt _^<i_Two Hundred Million A.D._^>i_), _^<i_The World of A_^>i_ (1945; _^<b_1948_^>b_; vt _^<i_The World of Null-A_^>i_) and
"The Monster" (1948; vt "Resurrection"), and Philip Jose _^<a_!T1435_FARMER_^>a_, most notably in the _^<b_Riverworld_^>b_ series-which stars many notable figures plucked from various eras of Earthly history, and helped to inspire Janet E.
_^<a_!T3063_MORRIS_^>a_'s _^<b_Hell_^>b_ series of shared-world adventures -- but also in _^<i_Inside Outside_^>i_ (_^<b_1964_^>b_) and _^<i_Traitor to the Living_^>i_ (_^<b_1973_^>b_)._^<n__^<n_The particular ideas of reincarnation contained in
extant _^<a_!T2551_RELIGIONS_^>a_ are sciencefictionalized in various works by Roger _^<a_!T6264_ZELAZNY_^>a_, notably _^<i__^<a_!B9047_LORD OF LIGHT_^>a__^>i_ (_^<b_1967_^>b_), whose framework is taken from Hindu _^<a_!T3135_MYTHOLOGY_^>a_, and
_^<i_Creatures of Light and Darkness_^>i_ (_^<b_1969_^>b_), which uses Egyptian mythology. Syd _^<a_!T3425_LOGSDON_^>a_'s _^<i_A Fond Farewell to Dying_^>i_ (_^<b_1981_^>b_) thoughtfully confronts a technology of reincarnation with Hindu beliefs
which view it as a blasphemy. An aesthetically satisfying quasireligious "mechanism" for reincarnation is presented in the parapsychological thriller _^<i_Death Knell_^>i_ (_^<b_1977_^>b_) by C. Terry _^<a_!T754_CLINE_^>a_. Alien biologies
permitting reincarnation, perhaps adaptable to use by humans, are sometimes presented within an explicitly religious framework; Robert _^<a_!T2216_SILVERBERG_^>a_'s _^<i_Downward to the Earth_^>i_ (_^<b_1970_^>b_) is a notable
example._^<n__^<n_Future societies dramatically transformed by technologies of reincarnation are featured in Robert _^<a_!T2164_SHECKLEY_^>a_'s _^<i_Immortality, Inc_^>i_ (_^<b_1959_^>b_), in which disembodied minds must compete for bodies made
redundant by their occupiers for one reason or another, Silverberg's _^<i_To Live Again_^>i_ (_^<b_1969_^>b_), in which similarly disembodied minds must share living hosts, Robert _^<a_!T6010_THURSTON_^>a_'s _^<i_Alicia II_^>i_ (_^<b_1978_^>b_),
which examines the predicament of the "rejects" whose bodies are used to house the reincarnated, Stephen _^<a_!T4756_GOLDIN_^>a_'s _^<i_The Eternity Brigade_^>i_ (_^<b_1980_^>b_), in which the tapes recording trained soldiers for serial
reincarnation are bootlegged, with predictable consequences, and Michael _^<a_!T552_BERLYN_^>a_'s _^<i_Crystal Phoenix_^>i_ (_^<b_1980_^>b_), in which attitudes to death are dramatically and repulsively transformed. In _^<i_Gray Matters_^>i_
(_^<b_1971_^>b_) by William _^<a_!T4448_HJORTSBERG_^>a_ and _^<i_Friends Come in Boxes_^>i_ (_^<b_1973_^>b_) by Michael G. _^<a_!T833_CONEY_^>a_ minds awaiting re-embodiment are mechanically-and not very happily -- stored. Silverberg's "Born with
the Dead" (1974), Lucius _^<a_!T2175_SHEPARD_^>a_'s _^<i_Green Eyes_^>i_ (_^<b_1984_^>b_) and Kevin J. _^<a_!T166_ANDERSON_^>a_'s _^<i_Resurrection, Inc_^>i_ (_^<b_1988_^>b_) all draw some inspiration from the idea of zombies, but develop their
hypotheses in strikingly different ways. [BS]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T6694_ESCHATOLOGY_^>a_; _^<a_!T5851_SUSPENDED ANIMATION_^>a_.
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REINSMITH, RICHARD
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Working name of US writer Richard Rein Smith (1930- ), who has apparently written many sf novels under various pseudonyms, including the sf adventure _^<i_Starbright_^>i_ (_^<b_1983_^>b_) as by Damon Castle; further pseudonyms remain unrevealed.
As RR he wrote _^<i_The Savage Stars_^>i_ (_^<b_1981_^>b_) and a _^<b_Tarzan_^>b_ tie, _^<i_Tarzan and the Tower of Diamonds_^>i_ * (_^<b_1985_^>b_). [JC]_^<n__^<n_
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> _^<a_!T822_COMMUNICATIONS_^>a_; _^<a_!T1443_FASTER THAN LIGHT_^>a_; _^<a_!T1892_PHYSICS_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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Familiar _^<a_!T1142_DEFINITIONS OF SF_^>a_ imply that there is nothing more alien to its concerns than religion. However, many of the roots of _^<a_!T2013_PROTO SCIENCE FICTION_^>a_ are embedded in traditions of speculative fiction closely
associated with the religious imagination, and contemporary sf recovered a strong interest in certain mystical and transcendental themes and images when it moved beyond the _^<a_!T5888_TABOOS_^>a_ imposed by the _^<a_!T2033_PULP MAGAZINES_^>a_.
Modern sf frequently confronts age-old speculative issues associated with _^<a_!T2924_METAPHYSICS_^>a_ and theology -- partly because science itself has abandoned them. Speculative fiction always tends to go beyond the merely empirical matters with
which pragmatic scientists concern themselves; perhaps something called "science" fiction ought not to include metaphysical fiction, but the genre as constituted obviously does._^<n__^<n_It was the religious imagination of people such as Giordano
Bruno (1548-1600) which first envisioned an infinite Universe filled with habitable worlds, and it was visionaries like Athanasius _^<a_!T4086_KIRCHER_^>a_ and Emanuel _^<a_!T5869_SWEDENBORG_^>a_ who first journeyed in the imagination to the limits
of the Solar System, and beyond. John _^<a_!T5607_WILKINS_^>a_, who first supposed in all seriousness that people might go to the Moon in a flying machine, was a bishop, and so was Francis _^<a_!T4742_GODWIN_^>a_, the author of the satirical cosmic
voyage _^<i_The Man in the Moone_^>i_ (_^<b_1638_^>b_). Other early speculative fictions were attacks upon religious cosmology and religious orthodoxy by freethinkers such as _^<a_!T1019_CYRANO DE BERGERAC_^>a_, _^<a_!T5394_VOLTAIRE_^>a_ and,
later, Samuel _^<a_!T5106_BUTLER_^>a_. Mary _^<a_!T2173_SHELLEY_^>a_'s _^<i_Frankenstein_^>i_ (_^<b_1818_^>b_) takes its imaginative inspiration from the image of the scientist as usurper of the prerogatives of God. The boldest of all the
19th-century speculative fictions, Camille _^<a_!T1516_FLAMMARION_^>a_'s _^<i_Lumen_^>i_ (1864; exp _^<b_1887_^>b_; trans _^<b_1897_^>b_), was the result of the astronomer's desperate need to reconcile and fuse his scientific knowledge with his
religious faith. J.H. _^<a_!T2696_ROSNY_^>a_ aine, the prolific writer of evolutionary fantasies, also saw the object of his work as an imaginative revelation of the divinely planned evolutionary schema, and he too wanted to remake theology so that
it might be reconciled with modern scientific knowledge -- a task later taken up by the heretic Jesuit Pierre Teilhard de Chardin (1881-1955). C.H. _^<a_!T4438_HINTON_^>a_'s stories and essays about the fourth _^<a_!T1239_DIMENSION_^>a_ were
inspired by the notion that a four-dimensional God might be omniscient of everything that has ever or will ever take place in our three-dimensional continuum. Marie _^<a_!T879_CORELLI_^>a_ re-envisaged God as an entity of pure electric force in
_^<i_A Romance of Two Worlds_^>i_ (_^<b_1886_^>b_). John Jacob _^<a_!T275_ASTOR_^>a_'s _^<i_A Journey in Other Worlds_^>i_ (_^<b_1894_^>b_), Jean _^<a_!T1150_DELAIRE_^>a_'s _^<i_Around a Distant Star_^>i_ (_^<b_1904_^>b_) and John
_^<a_!T3716_MASTIN_^>a_'s _^<i_Through the Sun in an Airship_^>i_ (_^<b_1909_^>b_) are among many novels borrowing the literary devices of _^<a_!T2878_SCIENTIFIC ROMANCE_^>a_ to dramatize cosmic voyages whose real purpose was to "justify"
theological dogmas. Edgar _^<a_!T1448_FAWCETT_^>a_'s _^<i_The Ghost of Guy Thyrle_^>i_ (_^<b_1895_^>b_) does not hesitate to engage its hero in conversation with a messenger from God at the edge of the Universe._^<n__^<n_In virtually all
late-19th-century and early-20th-century speculative fiction the antagonism of the scientific and religious imaginations -- sharpened by controversies regarding Darwinian _^<a_!T6717_EVOLUTION_^>a_, socialism and humanism -- is evident, whether the
thrust of the narrative is toward reconciliation or conflict. Many of the early UK writers of scientific romance-notably George _^<a_!T4871_GRIFFITH_^>a_, M.P. _^<a_!T2188_SHIEL_^>a_, William Hope _^<a_!T4459_HODGSON_^>a_ and J.D.
_^<a_!T543_BERESFORD_^>a_ -- were the sons of clergymen who converted to free thought and used their fiction to justify and explore the consequences of their decision. Guy _^<a_!T5994_THORNE_^>a_'s _^<i_When it was Dark_^>i_ (_^<b_1904_^>b_) and
Shiel's _^<i_The Last Miracle_^>i_ (_^<b_1906_^>b_) both feature rationalist plots to discredit Christian faith, although the authors take up very different positions in extrapolating the consequences. In Robert Hugh _^<a_!T541_BENSON_^>a_'s
_^<i_Lord of the World_^>i_ (_^<b_1907_^>b_) a humanist socialist woos the world to his cause, but proves to be the Antichrist; its companion-piece, _^<i_The Dawn of All_^>i_ (_^<b_1911_^>b_), offers an alternative vision of a
_^<a_!T5303_UTOPIAN_^>a_ future in which people have renounced such heinous heresies as materialism, humanism, socialism and protestantism. Some humanists were equally prepared to turn religious imagery to their own purposes: H.G.
_^<a_!T5528_WELLS_^>a_ brought a new kind of angel to Earth to observe the sins of mankind in _^<i_The Wonderful Visit_^>i_ (_^<b_1895_^>b_); his later flirtation with a reconstituted faith-explained in _^<i_God the Invisible King_^>i_
(_^<b_1917_^>b_) -- led him to produce a new Book of Job in _^<i_The Undying Fire_^>i_ (_^<b_1919_^>b_), and towards the end of his life he rewrote the tale of Noah in _^<i_All Aboard for Ararat_^>i_ (_^<b_1940_^>b_). A similar interest in
"alternative theology" is central to the work of Olaf _^<a_!T2404_STAPLEDON_^>a_, whose _^<i__^<a_!B9214_STAR MAKER_^>a__^>i_ (_^<b_1937_^>b_) explores a vast cosmic schema, and culminates in a vision of God the Scientist, constantly experimenting
with Creation. C.S. _^<a_!T3368_LEWIS_^>a_ co-opted the methods and ideas of scientific romance for his theological fantasies _^<i__^<a_!B9075_OUT OF THE SILENT PLANET_^>a__^>i_ (_^<b_1938_^>b_), _^<i_Perelandra_^>i_ (_^<b_1943_^>b_) and _^<i_The
Great Divorce_^>i_ (_^<b_1945_^>b_ chap). In France Andre _^<a_!T3726_MAUROIS_^>a_ confronted a _^<a_!T2880_SCIENTIST_^>a_ with proof of the existence of the soul in _^<i_Le peseur d'ames_^>i_ (_^<b_1931_^>b_; trans as _^<i_The Weigher of
Souls_^>i_ _^<b_1931_^>b_); and the Austrian Franz _^<a_!T5537_WERFEL_^>a_ wrote _^<i_Stern der Ungeborenen_^>i_ (_^<b_1946_^>b_; trans as _^<i_Star of the Unborn_^>i_ _^<b_1946_^>b_), a bizarre futuristic _^<a_!T2812_SATIRE_^>a_ promiscuously
combining ideas from the scientific and religious imaginations. The dedicatedly sceptical philosopher Bertrand _^<a_!T2742_RUSSELL_^>a_ produced the _^<a_!T5394_VOLTAIRE_^>a_-esque _^<i_contes philosophiques_^>i_ "Zahatopolk" (1954) and "Faith and
Mountains" (1954), two vitriolically scathing treatments of organized religion and faddish cults. This long tradition of theological and antitheological speculative fiction extends into recent times in such works as John _^<a_!T5133_CAMERON_^>a_'s
_^<i_The Astrologer_^>i_ (_^<b_1972_^>b_), Romain _^<a_!T4630_GARY_^>a_'s _^<i_The Gasp_^>i_ (_^<b_1973_^>b_), E.E.Y. Hales's _^<i_Chariot of Fire_^>i_ (_^<b_1977_^>b_), Bernard _^<a_!T3619_MALAMUD_^>a_'s _^<i_God's Grace_^>i_ (_^<b_1982_^>b_),
Jeremy _^<a_!T3354_LEVEN_^>a_'s _^<i_Satan_^>i_ (_^<b_1982_^>b_), Theodore _^<a_!T5810_STURGEON_^>a_'s _^<i_Godbody_^>i_ (_^<b_1986_^>b_) and James K. _^<a_!T3070_MORROW_^>a_'s _^<i_Only Begotten Daughter_^>i_ (_^<b_1990_^>b_)._^<n__^<n_If
speculative fiction in the _^<a_!T3609_MAINSTREAM_^>a_ has always been as much concerned with the visions of the religious imagination as with those of the scientific imagination, within _^<a_!T4659_GENRE SF_^>a_ religious issues were for many
years excluded by editorial _^<a_!T5888_TABOO_^>a_. One pulp subgenre to be exempted was the "Shaggy God" story, often dealing with _^<a_!T29_ADAM AND EVE_^>a_; writers mostly played safe by scrupulously avoiding the New Testament. Godlike aliens
were treated with circumspection, Clifford D. _^<a_!T2218_SIMAK_^>a_'s _^<i_The Creator_^>i_ (1935; _^<b_1946_^>b_) finding a home only in the semiprofessional _^<a_!T3700_MARVEL TALES_^>a_. The future evolution of institutionalized religion was
considered in Robert A. _^<a_!T4376_HEINLEIN_^>a_'s "If This Goes On . . ." (1940), in which a tyrannical state of the future operates through an Established Church headed by a bigoted fanatic -- a recurrent image in sf. Heinlein's _^<i_Sixth
Column_^>i_ (1941 as by Anson MacDonald; _^<b_1949_^>b_; vt _^<i_The Day After Tomorrow_^>i_), based on a John W. _^<a_!T5140_CAMPBELL_^>a_ Jr story whose original version was ultimately published as "All" (1976), shows the USA overthrowing Asian
conquerors by means of a fake religious cult -- another recurrent image. Fritz _^<a_!T3322_LEIBER_^>a_ amalgamated the two ideas in _^<i__^<a_!B9083_GATHER, DARKNESS!_^>a__^>i_ (1943; _^<b_1950_^>b_), in which the tyrannical rule of a state
religion is overthrown by a cult masquerading as witches and warlocks. _^<a_!T2646_ROBOTS_^>a_ sceptical of what humans tell them about Earth construct a new faith for themselves in Isaac _^<a_!T268_ASIMOV_^>a_'s "Reason" (1941). But all these
religions were mere superstructure: the theological issues remained untouched. In the pages of _^<a_!T5291_UNKNOWN_^>a_, Campbell's authors used angels, _^<a_!T4740_GODS AND DEMONS_^>a_ with gay abandon, but such stories as Henry
_^<a_!T4144_KUTTNER_^>a_'s "The Misguided Halo" (1939) and Cleve _^<a_!T5199_CARTMILL_^>a_'s "Prelude to Armageddon" (1942) were conscientiously playful in dealing with the apparatus of the Christian mythos. Only A.E. _^<a_!T5333_VAN VOGT_^>a_'s
_^<i_The Book of Ptath_^>i_ (1943; _^<b_1947_^>b_ vt _^<i_Two Hundred Million A.D._^>i_) came close to serious speculation about metaphysics._^<n__^<n_After WWII there was a spectacular boom in sf stories which, without any trepidation whatever,
cut straight to the heart of theological matters. The space travellers in Ray _^<a_!T4963_BRADBURY_^>a_'s "The Man" (1949) follow Jesus on his interplanetary mission of salvation, while the priests in "In this Sign . . ." (1951; vt "The Fire
Balloons") encounter sinless beings on Mars. A robot in Anthony _^<a_!T4937_BOUCHER_^>a_'s "The Quest for St Aquin" (1951) emulates St Thomas Aquinas in logically deducing the existence of God, thus justifying its own -- and the author's --
adherence to the Catholic faith. In Paul L. Payne's "Fool's Errand" (1952) a Jew finds a cross in the sands of Mars. In James _^<a_!T658_BLISH_^>a_'s classic _^<i__^<a_!B9016_A CASE OF CONSCIENCE_^>a__^>i_ (1953; exp _^<b_1958_^>b_) a Jesuit
interprets the axioms of his faith to infer, heretically in the Manichaean style, that an alien world is the creation of the Devil, and that it must be exorcised. In Lester _^<a_!T1164_DEL REY_^>a_'s "For I Am a Jealous People" (1954) alien
invaders arrive to take possession of the Earth, having made their own covenant with God and become his chosen people. In Arthur C. _^<a_!T736_CLARKE_^>a_'s "The Star" (1955) spacefarers discover the wreckage of inhabited worlds which had been
destroyed by the nova that shone over Bethlehem. Philip Jose _^<a_!T1435_FARMER_^>a_'s _^<i__^<a_!B9017_THE LOVERS_^>a__^>i_ (1952; exp _^<b_1961_^>b_) features a future Earth whose social mores derive from the "Western Talmud"; its sequel, _^<i_A
Woman a Day_^>i_ (1953; rev _^<b_1960_^>b_; vt _^<i_The Day of Timestop_^>i_; vt _^<i_Timestop_^>i_), continues an earnest exploration of future religion. Farmer's "The God Business" (1954) is a phantasmagoric, pantheistic fantasy whose hero ends
up as a deity; and the same opportunity is offered to a conventional Churchman in "Father" (1955), part of a series featuring the priest John Carmody, whose conversion as a result of authentic transcendental experience is described in _^<i_Night of
Light_^>i_ (1957; exp _^<b_1966_^>b_), and whose eventual mission is the subject of "A Few Miles" (1960) and "Prometheus" (1961). The most impressive single work to come out of this boom is Walter M. _^<a_!T2960_MILLER_^>a_'s _^<i__^<a_!B9076_A
CANTICLE FOR LEIBOWITZ_^>a__^>i_ (1955-7; fixup _^<b_1960_^>b_), which describes the role played by the Church in the rebuilding of society after a nuclear _^<a_!T4482_HOLOCAUST_^>a_. Even stories like Robert A.W. _^<a_!T3472_LOWNDES_^>a_'s
_^<i_Believer's World_^>i_ (1952; exp _^<b_1961_^>b_), James E. _^<a_!T4896_GUNN_^>a_'s _^<i_This Fortress World_^>i_ (_^<b_1955_^>b_) and Poul _^<a_!T169_ANDERSON_^>a_'s "Superstition" (1956), which deal with fake or misguided religious cults,
exhibit a far more sophisticated view of the _^<a_!T2300_SOCIOLOGY_^>a_ of religion than "If this Goes On . . ." or _^<i_Sixth Column_^>i_._^<n__^<n_Blish, tempted to try to explain this remarkable phenomenon by his own involvement with it, wrote
the notable essay "Cathedrals in Space" (1953 as by William Atheling Jr; incorporated into _^<i_The Issue at Hand_^>i_, coll _^<b_1964_^>b_), citing the stories as "instruments of a chiliastic crisis, of a magnitude we have not seen since the
chiliastic panic of 999 A.D.", and drawing a parallel between them and the boom in atomic Armageddons -- a parallel made explicit by Boucher and Miller and spectacularly developed by Blish himself in _^<i_Black Easter_^>i_ (_^<b_1968_^>b_) and
_^<i_The Day after Judgment_^>i_ (_^<b_1970_^>b_). The supposed panics of AD999 were in fact a myth invented by much later apocalyptic writers, but the argument holds good. The advent of the atom bomb in 1945 was a revelation of sorts, and the 1953
invention of the H-bomb gave to each of two ideologically opposed nations the power to annihilate the entire human race. The interest in theological issues, and in metaphysical issues in general, prompted by the acute sense of existential
insecurity to which this awareness gave birth became gradually more powerful, though often less explicit. The 1950s also saw a remarkable proliferation of images obviously allied to religious notions but shorn of their association with actual
religious doctrine. Arthur C. Clarke has said that any religious symbolism or imagery in _^<i__^<a_!B9010_CHILDHOOD'S END_^>a__^>i_ (1950; exp _^<b_1953_^>b_) is "entirely accidental", although the text itself refers to the climax as an
"apotheosis" and the events described there are strikingly -- but coincidentally -- similar to Teilhard de Chardin's notion of the coming-together of displaced planetary "noospheres" at an apocalyptic "Omega Point". Clifford D. Simak's _^<i_Time
and Again_^>i_ (_^<b_1951_^>b_; vt _^<i_First He Died_^>i_) is similarly free of formal doctrine, although the alien symbionts which infest all living things are obviously analogous to souls (> _^<a_!T6694_ESCHATOLOGY_^>a_). In later works by Simak
-- particularly _^<i_A Choice of Gods_^>i_ (_^<b_1972_^>b_) and _^<i_Project Pope_^>i_ (_^<b_1981_^>b_)-religious ideas do become explicit, and here again there are strong echoes of a Teilhardian schema. Sf works explicitly based on Teilhard's
ideas are George _^<a_!T6261_ZEBROWSKI_^>a_'s _^<i_The Omega Point Trilogy_^>i_ (2 parts published _^<b_1972_^>b_, _^<b_1977_^>b_; omni, including 3rd part, _^<b_1983_^>b_) and Gene _^<a_!T5676_WOLFE_^>a_'s _^<b_The Book of the New Sun_^>b_
(_^<b_1980-83_^>b_) and _^<i_The Urth of the New Sun_^>i_ (_^<b_1987_^>b_ UK). The syncretic approach of these stories, which blends the religious and scientific imaginations, contrasts with uncompromising stories using _^<a_!T6026_TIME TRAVEL_^>a_
and other facilitating devices directly to confront the central symbol of the Christian faith: the crucifixion. Richard _^<a_!T3718_MATHESON_^>a_'s "The Traveler" (1962) visits the scene in order to find faith. The heroes of Brian
_^<a_!T6560_EARNSHAW_^>a_'s _^<i_Planet in the Eye of Time_^>i_ (_^<b_1968_^>b_) go there to protect faith from subversion. The protagonists of Michael _^<a_!T3030_MOORCOCK_^>a_'s _^<i_Behold the Man!_^>i_ (1966; exp _^<b_1969_^>b_) and Barry N.
_^<a_!T3629_MALZBERG_^>a_'s _^<i_Cross of Fire_^>i_ (_^<b_1982_^>b_) must become Christ and suffer crucifixion in search of redemption for themselves. The time tourists of Garry _^<a_!T4059_KILWORTH_^>a_'s "Let's Go to Golgotha" (1975) discover the
horribly ironic truth about the condemnation of Christ. More oblique treatments of the motif can be found in Harry _^<a_!T4316_HARRISON_^>a_'s "The Streets of Ashkelon" (1962) and Philip Jose Farmer's _^<i_Jesus on Mars_^>i_
(_^<b_1979_^>b_)._^<n__^<n_There was a very noticeable change, too, in the attitude of sf writers to _^<a_!T98_ALIEN_^>a_ religion. Before WWII, it was taken for granted that all such religions were misguided, ripe for _^<a_!T2812_SATIRE_^>a_ and
open mockery; after WWII sf writers were prepared to treat alien beliefs reverently, and frequently to credit them with a truthful dimension which Earthly religion lacked. In Katherine _^<a_!T3563_MACLEAN_^>a_'s "Unhuman Sacrifice" (1958)
missionaries to an alien world find that the "superstitions" they set out to subvert are not as absurd as they assumed. In Heinlein's _^<i__^<a_!B9028_STRANGER IN A STRANGE LAND_^>a__^>i_ (_^<b_1961_^>b_) religious ideas imported from Mars become
important on Earth. In Robert _^<a_!T2216_SILVERBERG_^>a_'s _^<i_Nightwings_^>i_ (_^<b_1969_^>b_) and _^<i_Downward to the Earth_^>i_ (_^<b_1970_^>b_) humans seek their own salvation via the transcendental experiences associated with alien
religion, although his _^<i_Tom O'Bedlam_^>i_ (_^<b_1986_^>b_) is more ambiguous in its treatment of a cult based on visionary experience of an alien world, and "The Pope of the Chimps" (1982) is highly and ironically ambivalent. In D.G.
_^<a_!T823_COMPTON_^>a_'s _^<i_The Missionaries_^>i_ (_^<b_1972_^>b_) alien missionaries bring an enigmatic offer of salvation to mankind. Poul _^<a_!T169_ANDERSON_^>a_'s "The Problem of Pain" (1973) is a fine _^<i_conte philosophique_^>i_ about
the relativity of values deriving from human and alien religions. Satan is portrayed as a wise and misunderstood alien in Harlan _^<a_!T6641_ELLISON_^>a_'s "The Deathbird" (1973), which argues that the story of the Fall is a fraud perpetrated on us
by God. In the first part of Gregory _^<a_!T526_BENFORD_^>a_'s and Gordon _^<a_!T6608_EKLUND_^>a_'s _^<i_If the Stars are Gods_^>i_ (1974; fixup _^<b_1977_^>b_) alien visitors seeking a new sun-god allow a man to share their enigmatic communion
with our _^<a_!T5825_SUN_^>a_. In George R.R. _^<a_!T3685_MARTIN_^>a_'s "A Song for Lya" (1974) humans again seek and find transcendental experience in alien ways. The first section of Dan _^<a_!T2219_SIMMONS_^>a_'s
_^<i__^<a_!B9211_HYPERION_^>a__^>i_ (_^<b_1989_^>b_) deals with an alien religion based in the effects of alien _^<a_!T1797_PARASITISM_^>a_ (or perhaps symbiosis). Alien gods are treated with much greater suspicion in Zebrowski's "Heathen God"
(1970), Ian _^<a_!T5484_WATSON_^>a_'s extraordinary _^<i_God's World_^>i_ (_^<b_1979_^>b_) and Ted _^<a_!T2577_REYNOLDS_^>a_'s _^<i_The Tides of God_^>i_ (_^<b_1989_^>b_), which is robustly unsentimental in proposing that if God is an alien the
best thing we can do is get out there and destroy Him._^<n__^<n_Sf also became increasingly eager to look at religious experience from the "other side", exploring the experience of being a (or even _^<i_the_^>i_) God. This notion was tentatively
developed in pulp stories about scientists presiding over tiny creations, including Edmond _^<a_!T4258_HAMILTON_^>a_'s "Fessenden's Worlds" (1937) and Theodore _^<a_!T5810_STURGEON_^>a_'s "Microcosmic God" (1941), and in "Shaggy God" squibs like
Fredric _^<a_!T5028_BROWN_^>a_'s "Solipsist" (1954) and Eric Frank _^<a_!T2743_RUSSELL_^>a_'s "Sole Solution" (1956). It received more serious consideration in Farmer's "The God Business" and "Father" and in Robert _^<a_!T661_BLOCH_^>a_'s intensely
bitter "The Funnel of God" (1960), and was more elaborately explored in a number of novels by Roger _^<a_!T6264_ZELAZNY_^>a_, notably _^<i__^<a_!B9047_LORD OF LIGHT_^>a__^>i_ (_^<b_1967_^>b_), _^<i_Creatures of Light and Darkness_^>i_
(_^<b_1969_^>b_) and _^<i_Isle of the Dead_^>i_ (_^<b_1969_^>b_), and in Frank _^<a_!T4390_HERBERT_^>a_'s _^<i_The God Makers_^>i_ (_^<b_1972_^>b_)._^<n__^<n_The sf writer who has dealt most prolifically with issues in speculative theology is
Philip K. _^<a_!T1222_DICK_^>a_, whose long-standing fascination was brought to a head by a series of unusual and possibly religious experiences which he underwent in the early months of 1974. Novels like _^<i_Radio Free Albemuth_^>i_ (written
1976; _^<b_1985_^>b_), comprehensively reworked as _^<i__^<a_!B9150_VALIS_^>a__^>i_ (_^<b_1981_^>b_), are attempts to get to grips with these experiences. The development of Dick's theological fascination can be tracked through such works as "Faith
of Our Fathers" (1967), _^<i__^<a_!B9151_GALACTIC POT-HEALER_^>a__^>i_ (_^<b_1969_^>b_) and _^<i_A Maze of Death_^>i_ (_^<b_1970_^>b_), and culminate in _^<i_The Divine Invasion_^>i_ (_^<b_1981_^>b_) and the non-sf _^<i_The Transmigration of
Timothy Archer_^>i_ (_^<b_1982_^>b_)._^<n__^<n_Artificial religions and cults still crop up regularly in sf, sometimes deployed for satirical purposes, as by Kurt _^<a_!T5402_VONNEGUT_^>a_ Jr in _^<i__^<a_!B9038_THE SIRENS OF TITAN_^>a__^>i_
(_^<b_1959_^>b_), _^<i_Cat's Cradle_^>i_ (_^<b_1963_^>b_) and _^<i_Slapstick_^>i_ (_^<b_1976_^>b_), sometimes in the cause of thoughtful extrapolations in the sociology of religion, as in _^<i_This Star Shall Abide_^>i_ (_^<b_1972_^>b_; vt
_^<i_Heritage of the Star_^>i_) by Sylvia Louise _^<a_!T6668_ENGDAHL_^>a_. Keith _^<a_!T2619_ROBERTS_^>a_'s _^<i__^<a_!B8982_PAVANE_^>a__^>i_ (coll of linked stories _^<b_1968_^>b_) and Kingsley _^<a_!T153_AMIS_^>a_'s _^<i_The Alteration_^>i_
(_^<b_1976_^>b_) are both _^<a_!T131_ALTERNATE-WORLD_^>a_ stories endorsing the thesis of Max Weber (1864-1920) regarding the Protestant Ethic and the spirit of capitalism by displaying an unreformed Catholic Church dominating a Europe where the
Industrial Revolution is only just getting under way in the 20th century. Roberts's _^<i_Kiteworld_^>i_ (fixup _^<b_1985_^>b_) is one of the more memorable sf images of oppressive Theocracy. More earnest explorations of possible developments in
future religion include Richard _^<a_!T925_COWPER_^>a_'s _^<b_Kinship_^>b_ series begun with the novella "Piper at the Gates of Dawn" (1976). A number of books excoriate future theocracies, particularly fundamentalist ones, such as _^<i_The Stone
that Never Came Down_^>i_ (_^<b_1973_^>b_) by John _^<a_!T5049_BRUNNER_^>a_, recent examples of the assault on fundamentalism being Parke _^<a_!T4744_GODWIN_^>a_'s _^<b_Snake Oil_^>b_ series, beginning with _^<i_Waiting for the Galactic Bus_^>i_
(_^<b_1988_^>b_), and several books by Sheri S. _^<a_!T5936_TEPPER_^>a_, notably _^<i_Raising the Stones_^>i_ (_^<b_1990_^>b_). Conversely, in several of Orson Scott _^<a_!T6359_CARD_^>a_'s novels a thinly disguised version of Mormonism is depicted
with a utopian glow. In contemporary sf, however, perhaps the most sophisticated and detailed treatment of a future religion is _^<b_The Starbridge Chronicles_^>b_ by Paul _^<a_!T1800_PARK_^>a_, beginning with _^<i__^<a_!B8998_SOLDIERS OF
PARADISE_^>a__^>i_ (_^<b_1987_^>b_), in which the seasons of a generations-long Great Year encourage contrasting faiths._^<n__^<n_There are several interesting theme anthologies, including _^<i_Other Worlds, Other Gods_^>i_ (anth _^<b_1971_^>b_) ed
Mayo Mohs, _^<i_Strange Gods_^>i_ (anth _^<b_1974_^>b_) ed Roger _^<a_!T6648_ELWOOD_^>a_, _^<i_An Exaltation of Stars_^>i_ (anth _^<b_1973_^>b_) ed Terry _^<a_!T5182_CARR_^>a_, _^<i_Wandering Stars_^>i_ (anth _^<b_1974_^>b_) ed Jack
_^<a_!T1055_DANN_^>a_ (a collection of Jewish sf), _^<i_The New Awareness: Religion through Science Fiction_^>i_ (anth _^<b_1975_^>b_) ed Martin H. _^<a_!T4842_GREENBERG_^>a_ and Patricia S. _^<a_!T5471_WARRICK_^>a_, _^<i_Perpetual Light_^>i_ (anth
_^<b_1982_^>b_) ed Alan Ryan, and _^<i_Sacred Visions_^>i_ (anth _^<b_1991_^>b_) ed Michael _^<a_!T5208_CASSUTT_^>a_ and Andrew M. _^<a_!T4827_GREELEY_^>a_. [BS]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T3771_IMMORTALITY_^>a_; _^<a_!T2918_MESSIAHS_^>a_;
(1938- ) US playwright and novelist whose sf has been restricted to _^<i_The Monodyne Catastrophe_^>i_ (1970 _^<i_Venture_^>i_ as "How We Won the Monodyne"; exp _^<b_1977_^>b_), in which Native Americans attempt to take over the eponymous source
of future power. [JC]_^<n__^<n_
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(1875-1939) French writer, generally regarded in _^<a_!T1590_FRANCE_^>a_ as the most important native sf writer for the period 1900-1930, whose career began with the stories assembled as _^<i_Fantomes et fantoches_^>i_ ["Phantoms and Puppets"] (coll
_^<b_1905_^>b_) as by Vincent Saint-Vincent. He is best known by English-language readers for his sf novel _^<i_Les mains d'Orlac_^>i_ (_^<b_1920_^>b_; trans Florence Crewe-Jones as _^<i_The Hands of Orlac_^>i_ _^<b_1929_^>b_ US; new trans Ian
White 1981 UK), filmed in 1924 as _^<a_!T1729_ORLACS HANDE_^>a_; another version was _^<i_Mad Love_^>i_ (1935). The story deals in _^<a_!T4780_GOTHIC_^>a_ terms with the ominous consequences of a hand transplant. A less well known though more
wildly imaginative novel is _^<i_Le docteur Lerne, sous-dieu_^>i_["Doctor Lerne, Undergod"] (_^<b_1908_^>b_; trans anon as _^<i_New Bodies for Old_^>i_ _^<b_1923_^>b_ US), in which a sinister _^<a_!T2880_SCIENTIST_^>a_'s experiments in grafting
produce, for example, rats with leaves; the transplantation of a man's brain into a bull's body, and vice versa, creates a smart cow and a Minotaur. Ultimately the German villain -- who has already occupied the scientist's brain -- transplants
himself into the body of a car, but the machinery, thus rendered mortal, putrefies._^<n__^<n__^<i_Le Singe_^>i_ (_^<b_1925_^>b_; trans Florence Crewe-Jones as _^<i_Blind Circle_^>i_ _^<b_1928_^>b_ US) with Albert Jean (1892- ) is a gruesomely
comic mystery story whose solution reveals the manufacture of a series of identical _^<a_!T177_ANDROIDS_^>a_ by a kind of electrolysis. The title story of _^<i_Le Voyage Immobile, suivi d'autres histoires singulieres_^>i_ (coll _^<b_1909_^>b_; rev
1922; title story trans anon as _^<i_The Flight of the Aerofix_^>i_ _^<b_1932_^>b_ chap US) features an unsteerable craft, powered by _^<a_!T198_ANTIGRAVITY_^>a_ and detrimental to its passengers._^<n__^<n_MR's untranslated works include the
collections _^<i_Monsieur D'Outremort et autres histoires singulieres_^>i_ ["Mr Overdeath and Other Curious Stories"] (coll _^<b_1913_^>b_; vt _^<i_Suite Fantastique_^>i_ 1921); _^<i_L'Homme truque_^>i_ ["The Altered Man"] (coll _^<b_1921_^>b_),
the long title story of which described by Pierre _^<a_!T5359_VERSINS_^>a_ as "a nightmare based on the Universe as seen by a mutilated giant whose eyes have been replaced by 'electroscopes' . . . the pretext for many pages of a strange, visual
poetry"_^<i_L'invitation a la peur_^>i_ ["Invitation to Fear"] (coll _^<b_1926_^>b_),_^<i_Le Carnaval du mystere_^>i_ ["Mystery Merry-go-Round"] (coll _^<b_1929_^>b_) and _^<i_Celui qui n'a pas tue_^>i_ ["He Who Did Not Kill"] (coll
_^<b_1932_^>b_). These volumes include many fine stories on a great variety of sf themes: _^<a_!T761_CLONES_^>a_, invisibility, time travel, cyborgs, gravity, space-time paradoxes, _^<a_!T6694_ESCHATOLOGY_^>a_ and, especially and often, altered
modes of _^<a_!T1851_PERCEPTION_^>a_. His untranslated novels include _^<i_Le peril bleu_^>i_ ["The Blue Peril"] (_^<b_1911_^>b_), about an extraordinary civilization of lifeforms living on the top of an atmosphere as if it were a sea; _^<i_Un
homme chez les microbes, scherzo_^>i_ ["A Man Amongst the Microbes: A Scherzo"] (_^<b_1928_^>b_), a journey into the microcosm with more sophistication and verbal wit than those of Ray _^<a_!T997_CUMMINGS_^>a_; and _^<i_Le maitre de la lumiere_^>i_
["Master of Light"] ( 1933 _^<i_L'Intransigeant; _^>i_ _^<b_1947_^>b_), about the creation of a new form of glass which condenses space and time, similar to the "slow glass" invented (independently) by Bob _^<a_!T2153_SHAW_^>a_. The huge
_^<i_Maurice Renard: Romans et contes fantastiques_^>i_ ["Maurice Renard: Fantasy Novels and Tales"] (omni _^<b_1990_^>b_) contains most of his work of genre interest. [PN/JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T4443_HISTORY OF SF_^>a_.
Film (1984). Edge City Productions/Universal. Written/dir Alex Cox, starring Emilio Estevez, Harry Dean Stanton, Tracey Walter, Olivia Barash. 92 mins. Colour._^<n__^<n_Set in the seedier areas of Los Angeles, this independent, low-budget,
semi-surreal film concerns a young man (Estevez) who gets a job as a repo man -- a repossessor of unpaid-for cars. A 1964 Chevrolet Malibu driven by a lobotomized nuclear physicist is driving around town with something nasty and radioactive in the
trunk. People who look inside see a glaring white light (shades of _^<a_!T4090_KISS ME DEADLY_^>a_ [1955]) which distintegrates them. A series of coincidences (concerning repo men, a teenager obsessed with aliens, chicano car thieves, middle-class
punk thugs and secret agents led by a woman with a metal hand) reveal something about the underbelly of urban life and provide sciencefictional metaphors for urban dreams. The Chevy undergoes a final apotheosis: now glowing all over, it drifts into
the heavens with two repo men inside. We never learn what was in the car's trunk but, as an acid-head explains early on, flying saucers and time machines are fundamentally the same thing and getting into specifics misses the point. _^<i_RM_^>i_
became an instant cult movie, not just because of its punk aesthetics and black humour, but also because of its old-fashioned virtues: it is well made and coherently scripted. [PN]_^<n__^<n_
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REPP, ED EARL
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(1901-1979) US advertising man and newspaper reporter who wrote a large number of fairly typical _^<a_!T2033_PULP-MAGAZINE_^>a_ adventures for about a decade from 1929, ceasing to produce sf during WWII, after beginning work as a screenwriter; some
of his tales appeared as by Bradnor Buckner. His first sf story -- "Beyond Gravity" for _^<i_Air Wonder Stories_^>i_ in 1929 -- appeared simultaneously with the magazine publication of his first novel, _^<i_The Radium Pool_^>i_ (1929 _^<i_Science
Wonder Stories_^>i_; with 2 other stories, as coll _^<b_1949_^>b_) which was later bound with L. Ron _^<a_!T4538_HUBBARD_^>a_'s _^<i_Triton and Battle of Wizards_^>i_ as _^<i_Science-Fantasy Quintet_^>i_ (omni _^<b_1953_^>b_). 3 stories -- 2 of
them linked -- were assembled in _^<i_The Stellar Missiles_^>i_ (coll _^<b_1949_^>b_). EER also wrote a series in _^<i_AMZ_^>i_ 1939-43 about _^<b_John Hale_^>b_, a scientific detective perhaps modelled on Arthur B. _^<a_!T2541_REEVE_^>a_'s
_^<b_Craig Kennedy_^>b_; they remain uncollected. Most of his published books were Westerns. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T75_AIR WONDER STORIES_^>a_.
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REPTILICUS
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Film (1962). Cinemagic/AIP. Dir Sidney Pink, starring Carl Ottosen, Ann Smyrner. Screenplay Ib Melchior, Pink. 90 mins. Colour._^<n__^<n_In this, the Danish cinema's only excursion into the monster genre, the tail of a buried dinosaur is exhumed and
taken to a laboratory where it regenerates an entire new body, which proceeds to behave like _^<a_!T2482_RADON_^>a_. Generally thought to be the worst _^<a_!T3011_MONSTER MOVIE_^>a_ ever made, _^<i_R_^>i_ is notable for the visible strings holding
up the puppet dinosaur and for the fact that AIP found it necessary to cut all flying scenes before the US release. The novelization, _^<i_Reptilicus_^>i_ * (_^<b_1961_^>b_) by Dean _^<a_!T1754_OWEN_^>a_, was released before the film and alleged in
a lawsuit brought by Pink to contain gratuitous passages of "lewd, lascivious and wanton desire"; there was also a 1961 comic book, _^<b_Reptilicus_^>b_, which fittingly changed its name in #3 to _^<i_Reptisaurus the Terrible_^>i_.
(1942- ) US author and dog-breeder who began his genre career with an Edgar Rice _^<a_!T5097_BURROUGHS_^>a_ pastiche, _^<i_The Forgotten Sea of Mars_^>i_ (_^<b_1965_^>b_ chap), and who soon began producing many novels in various genres, most
often soft pornography and Gothics, and almost always under unrevealed pseudonyms; his later books are usually signed Mike Resnick. His interest in Burroughs had also generated material which he published in _^<i_ERB-dom Magazine_^>i_; his first
novels, the _^<b_Ganymede_^>b_ series -- _^<i_The Goddess of Ganymede_^>i_ (_^<b_1967_^>b_) and _^<i_Pursuit on Ganymede_^>i_ (_^<b_1968_^>b_) -- showed Burroughs's influence. After _^<i_Redbeard_^>i_ (_^<b_1969_^>b_), a
post-_^<a_!T4482_HOLOCAUST_^>a_ tale set generations hence in the New York subway system, he left sf and fantasy, restricting his activity to the pseudonymous novels, writing (it has been estimated) well over 200 before returning, around 1980, to
work under his own name. The first relevant title -- _^<i_Battlestar Galactica 5: Galactica Discovers Earth_^>i_ * (_^<b_1980_^>b_) with Glen A. _^<a_!T4191_LARSON_^>a_, a tv tie -- was the least. MDR's large 1980s production showed an increasing
-- and increasingly sophisticated -- interest in the use of sf venues and instruments to tell what he has more than once described as "morality tales", sometimes with a simplistic ease, but in later work with mounting vigour and a winningly complex
sense of the nature of the world; this was most evident in those stories and novels -- like _^<i_Ivory: A Legend of Past and Future_^>i_ (_^<b_1988_^>b_), _^<i_Paradise_^>i_:_^<i_ A Chronicle of a Distant World _^>i_(_^<b_1989_^>b_) and _^<i_Bwana
& Bully!_^>i_ (coll _^<b_1981_^>b_) -- set in either a literal Africa or an sf analogue of it. _^<i_Ivory_^>i_ has a Masai descendant searching through many worlds for the tusks of a particular elephant and the _^<b_Chronicles of a Distant
World_^>b_ sequence recasts the post-independence history of various African countries as the history of various worlds: _^<i_Paradise_^>i_ treats Kenya; _^<i_Purgatory_^>i_ (_^<b_1993_^>b_) treats Zimbabwe; and _^<i_Inferno_^>i_ (_^<b_1994_^>b_)
treats Uganda. Two of the short works belonging to the thematically linked _^<b_Kenya_^>b_ series; both set in an African-styled _^<a_!T2338_SPACE HABITAT_^>a_, _^<i_Kirinyaga _^>i_(1988 _^<i_FSF_^>i_; _^<b_1992_^>b_ chap) and its sequel, "The
Manamouki" (1990), though well received and both winning _^<a_!T4551_HUGOS_^>a_, caused some controversy through their display (and perhaps espousal) of cultural values alien to our own. _^<i_Seven Views of Olduvai Gorge_^>i_ (_^<b_1994_^>b_chap),
which is about the origins of _^<i_homo sapiens_^>i_, is actually set in Africa, and won a 1995 _^<a_!T3147_NEBULA_^>a_ Award for Best Novella._^<n__^<n_Two further series of the 1980s are the _^<b_Tales of the Galactic Midway_^>b_ sequence --
_^<i_Sideshow_^>i_ (_^<b_1982_^>b_), _^<i_The Three-Legged Hootch Dancer_^>i_ (_^<b_1983_^>b_), _^<i_The Wild Alien Tamer_^>i_ (_^<b_1983_^>b_) and _^<i_The Best Rootin' Tootin' Shootin' Gunslinger in the Whole Damned Galaxy_^>i_ (_^<b_1983_^>b_)
-- and the _^<b_Tales of the Velvet Comet_^>b_ sequence -- _^<i_Eros Ascending_^>i_ (_^<b_1984_^>b_), _^<i_Eros at Zenith_^>i_ (_^<b_1984_^>b_), _^<i_Eros Descending_^>i_ (_^<b_1985_^>b_) and _^<i_Eros at Nadir_^>i_ (_^<b_1986_^>b_). Both series --
the first set in a carnival, the second in a whorehouse visited at 50-year intervals -- are smooth, swift, cynical and without much in the way of argument about anything that might be described as the moral Universe. But many of his remaining
novels of this decade shared the general background outlined in _^<i_Birthright: The Book of Man_^>i_ (coll of linked stories _^<b_1982_^>b_), a text which sketches in the next 15,000 years or so as our race expands through the Galaxy, peaks, then
dwindles to extinction. The individual stories within this extremely loose frame convey in general a sense that humans are incapable of answering the demands of history, that we are too short-lived and too caught in our mortality to answer the
challenges of a greater world. Novels like _^<i_Santiago: A Myth of the Far Future_^>i_ (_^<b_1986_^>b_) and _^<i_The Dark Lady: A Romance of the Far Future_^>i_ (_^<b_1987_^>b_) tend to portray adventurous characters engaging in
_^<a_!T2342_SPACE-OPERA_^>a_ exploits against a black, barely felt background of closure; for the feats of MDR's protagonists are little more than selfish spasms in the great night. His better novels are, all the same, at least superficially
cheerful, bustling with competently framed action, and clear-headed._^<n__^<n_Tales that stand outside the future history include _^<i_The Soul Eater_^>i_ (_^<b_1981_^>b_), a retelling of Herman _^<a_!T3759_MELVILLE_^>a_'s _^<i_Moby-Dick_^>i_
(_^<b_1851_^>b_), and _^<i_Stalking the Unicorn: A Fable of Tonight_^>i_ (_^<b_1987_^>b_), a fantasy. After publishing some earlier short collections, MR signalled his increasing involvement in short forms with _^<i_Will the Last Person to Leave
the Planet Please Shut off the Sun?_^>i_ (coll _^<b_1992_^>b_), which contains several award-winning tales. In the 1970s, MDR published _^<i_The Official Guide to Fantastic Literature_^>i_ (_^<b_1976_^>b_), _^<i_Official Guide to Comic Books and
Big Little Books_^>i_ (_^<b_1977_^>b_) and _^<i_Official Price Guide to Comic and Science Fiction Books_^>i_ (_^<b_1979_^>b_). [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Walpurgis III_^>i_ (_^<b_1982_^>b_); _^<i_The Branch_^>i_ (_^<b_1984_^>b_);
_^<i_Unauthorized Autobiographies and Other Curiosities_^>i_ (coll _^<b_1984_^>b_ chap); _^<i_The Inn of the Hairy Toad_^>i_ (_^<b_1985_^>b_ chap); _^<i_Adventures_^>i_ (_^<b_1985_^>b_); _^<i_Through Darkest Resnick with Gun and Camera_^>i_ (coll
Red Tape War_^>i_ (_^<b_1991_^>b_) with Jack L. _^<a_!T5223_CHALKER_^>a_ and George Alec _^<a_!T6592_EFFINGER_^>a_; the _^<b_Oracle Trilogy_^>b_, comprising _^<i_Soothsayer_^>i_ (_^<b_1991_^>b_), _^<i_Oracle_^>i_ (_^<b_1992_^>b_) and
_^<i_Prophet_^>i_ (_^<b_1993_^>b_); _^<i_A Miracle of Rare Design: a Tragedy of Transcendence_^>i_ (_^<b_1994_^>b_)._^<b_Anthologies:_^>b_ _^<i_Shaggy B.E.M. Stories_^>i_ (anth _^<b_1988_^>b_); _^<i_Inside the Funhouse_^>i_ (anth _^<b_1992_^>b_),
assembling examples of _^<a_!T2528_RECURSIVE SF_^>a_; the _^<b_Alternate_^>b_ series, exploring at perhaps too considerable a length a variety of _^<a_!T131_ALTERNATE WORLD_^>a_ scenarios, and including _^<i_Alternate Kennedys_^>i_ (and
_^<b_1992_^>b_), _^<i_Alternate Warriors_^>i_(anth _^<b_1993_^>b_), _^<i_Alternate Worldcons_^>i_ (anth _^<b_1994_^>b_), _^<i_By Any Other Fame_^>i_ (anth _^<b_1994_^>b_) and _^<i_Alternate Outlaws_^>i_ (anth _^<b_1994_^>b_), all with Martin H.
_^<a_!T4842_GREENBERG_^>a_, not necessarily (as usual with his more recent anthology project) credited; _^<i_Aladdin: Master of the Lamp_^>i_ (anth _^<b_1992_^>b_) with Greenberg; _^<i_Whatdunits_^>i_(anth _^<b_1992_^>b_) and _^<i_More
Whatdunits_^>i_(anth _^<b_1993_^>b_), both with Greenberg; _^<i_Future Earths: Under South American Skies_^>i_(anth _^<b_1993_^>b_) and _^<i_Future Earths: Under African Skies_^>i_(anth _^<b_1993_^>b_), both with Gardner
_^<a_!T1313_DOZOIS_^>a_;_^<i_Dinosaur Fantastic_^>i_ (anth _^<b_1993_^>b_) with Greenberg; _^<i_Christmas Ghosts_^>i_(anth _^<b_1993_^>b_) with Greenberg; _^<i_Deals with the Devil_^>i_ (anth _^<b_1994_^>b_) with Greenberg and Loren D. Estleman
(1952- )._^<b_See also:_^>b_ _^<a_!T131_ALTERNATE WORLDS_^>a_; _^<a_!T811_COLONIZATION OF OTHER WORLDS_^>a_; _^<a_!T956_CRIME AND PUNISHMENT_^>a_; _^<a_!T4395_HEROES_^>a_; _^<a_!T3816_ISAAC ASIMOV'S SCIENCE FICTION MAGAZINE_^>a_; _^<i_The
_^<a_!T3595_MAGAZINE OF FANTASY AND SCIENCE FICTION_^>a__^>i_; _^<a_!T2300_SOCIOLOGY_^>a_.
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RESTIF DE LA BRETONNE
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Name by which the French writer Nicolas-Anne-Edme Restif (1734-1806) is usually known. He was an extremely prolific author of formless, semi-autobiographical novels often attacked for imputed pornographic content. Of his various utopian texts,
_^<i_La decouverte australe par un homme volant, ou le Dedale francais_^>i_ ["The Southern-Hemisphere Discovery by a Flying Man, or the French Daedalus"] (_^<b_1781_^>b_) comes closest to genuine _^<a_!T2013_PROTO SCIENCE FICTION_^>a_, first
describing the flying Frenchman's gear (wings plus parachute), then his Alpine _^<a_!T5303_UTOPIA_^>a_, then his adventures in the Antipodes where, like Francois _^<a_!T2472_RABELAIS_^>a_'s heroes, he visits a number of allegorical
Film (1982). Willarra/Seven Keys. Dir Philippe Mora, starring Alan Arkin, Christopher Lee, Kate Fitzpatrick. Screenplay Steven E. De Souza, Andrew Gaty; additional dialogue Peter Smalley. 91 mins. Colour._^<n__^<n_Australian musical comedy whose
premise is that its eponymous _^<a_!T5829_SUPERHERO_^>a_ (Arkin), purged in the USA of the McCarthy period as "a premature anti-fascist", is now a washed-up drunk. Discovered in Sydney by policewoman Patty Patria (Fitzpatrick), he is recalled to
confront his nemesis Mr Midnight (Lee), whose evil plan is first to sell housing developments to non-Whites in New York, then nuke them and make the city all-White. Much of the humour comes from Captain Invincible's forgetting how to fly, and
suffering low self-esteem that affects his supermagnetic powers. As a spoof movie _^<i_TROCI_^>i_ is likable, and genre-literate in the range of sf motifs it hits off; the songs are unmemorable. Arkin's muted, depressive performance, reminiscent of
something from a Barry N. _^<a_!T3629_MALZBERG_^>a_ novel, contrasts nicely with Lee going over the top. [PN]_^<n__^<n_
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RETURN OF CAPTAIN NEMO, THE
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> Irwin _^<a_!T113_ALLEN_^>a_._^<n__^<n_
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RETURN OF GODZILLA, THE
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> _^<a_!T4750_GOJIRA_^>a_._^<n__^<n_
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RETURN OF THE FLY
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Film (1959). Associated Producers/20th Century-Fox. Dir Edward L. Bernds, starring Vincent Price, Brett Halsey, David Frankham. Screenplay Bernds. 78 mins. B/w._^<n__^<n_The first of 2 sequels to the successful sf/horror film
_^<i_The_^<a_!T1537_FLY_^>a__^>i_ (1958), the other being _^<a_!T1003_CURSE OF THE FLY_^>a_ (1965). Here the son of the scientist in _^<i_The Fly_^>i_, after being attacked by an evil assistant, is forced to replay his late father's tragedy, which
he does rather limply; it is the least successful of the 3 films. Although _^<i_The _^<a_!T1537_FLY_^>a__^>i_ (1986) is a remake of _^<i_The Fly_^>i_ (1958), _^<i_The _^<a_!T1537_FLY II_^>a__^>i_ is not a remake of _^<i_ROTF_^>i_. [PN]_^<n__^<n_
Film (1983). Lucasfilm/20th Century-Fox. Executive prod George _^<a_!T3477_LUCAS_^>a_. Dir Richard Marquand, starring Mark Hamill, Harrison Ford, Carrie Fisher, Ian McDiarmid, David Prowse. Screenplay Lawrence Kasdan, Lucas, based on a story by
Lucas. 132 mins. Colour._^<n__^<n_Crisp and entertaining for the most part, with dazzling special effects, _^<i_ROTJ_^>i_ still seems weaker than its predecessors, _^<a_!T5686_STAR WARS_^>a_ (1977) and _^<i_The_^<a_!T6653_EMPIRE STRIKES
BACK_^>a__^>i_ (1980), perhaps because it is more sentimental. Han Solo (Ford) is rescued from literally toadlike Jabba the Hutt in the bravura opening sequence, and then the democratic rebels are pitted once again against a Death Star fortress as
part of their galactic struggle against the totalitarian Empire. The Emperor (a cleverly obscene performance from McDiarmid) is an even stronger incarnation of the Dark Side of the Force than Darth Vader (Prowse), who finally turns good, saves his
son Luke, is unmasked and is then given a Viking's funeral. The forest world of Endor, populated by Ewoks (teddy-bear lookalikes), is the venue for stirring battles. The appalling cuteness of the Ewoks and the harmless rubbery appearance of the
monsters are surely Lucasfilm's acknowledgement, in this finale to the cycle (the threat of 6 further episodes having evaporated), that young children were now the series' main audience: even the potentially painful father-son conflict is more soap
opera than oedipal myth. The Ewoks later resurfaced in 2 made-for-tv films, _^<i_The_^<a_!T6722_EWOK ADVENTURE_^>a__^>i_ (1984) and _^<i_Ewoks: The Battle for Endor_^>i_ (1985)._^<n__^<n_The novelization is _^<i_Star Wars: Return of the Jedi_^>i_ *
(_^<b_1983_^>b_) by James _^<a_!T3967_KAHN_^>a_. [PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T726_CINEMA_^>a_; _^<a_!T4551_HUGO_^>a_.
Film (1955). Universal. Dir Jack _^<a_!T248_ARNOLD_^>a_, starring John Agar, Lori Nelson, John Bromfield, Ricou Browning. Screenplay Martin Berkeley, story William Alland. 82 mins. 3D. B/w._^<n__^<n_The success of _^<a_!T949_CREATURE FROM THE BLACK
LAGOON_^>a_ (1954) inspired the inevitable sequel, shot in 3D although seldom projected in that format. This time the Creature (Browning) is captured and taken to an oceanarium in Florida, but it soon breaks out and (some time later, after
voyeuristically spying on her) makes off with a blonde woman scientist (Nelson) under its arm. Though the film has erotically charged moments, it is generally limp compared with its predecessor, and is one of Arnold's weaker sf movies. A further
sequel, not dir Arnold, was _^<i_The_^<a_!T951_CREATURE WALKS AMONG US_^>a__^>i_ . [JB/PN]_^<n__^<n_
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REVENGE OF THE MYSTERONS FROM MARS
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> _^<a_!T5158_CAPTAIN SCARLET AND THE MYSTERONS_^>a_._^<n__^<n_
Working name of US writer Dallas McCord Reynolds (1917-1983); his first sf story was "Isolationist" for _^<i_Fantastic Adventures_^>i_ in 1950. He occasionally used the pseudonyms Clark Collins, Guy McCord, Mark Mallory and Dallas Ross; he wrote 2
Gothics as Maxine Reynolds and 1 other non-sf book as Todd Harding. Some of his early work was with Fredric _^<a_!T5028_BROWN_^>a_, and he also wrote stories with Theodore R. _^<a_!T781_COGSWELL_^>a_ and August W. _^<a_!T1189_DERLETH_^>a_. He was
for 25 years an active member of the American Socialist Labor Party, for which his father, Verne L. Reynolds, had twice been presidential candidate; his "militant radicalism" is mutedly reflected, sometimes ironically, in his sf, making him a
maverick in the mostly right-wing stable of writers associated with John W. _^<a_!T5140_CAMPBELL_^>a_ Jr's _^<a_!T277_ASTOUNDING SCIENCE-FICTION_^>a_ (MR was one of several writers who wrote up Campbell's plot ideas). Many of his later works are
unashamedly didactic, although not doctrinaire._^<n__^<n_MR's first novel, _^<i_The Case of the Little Green Men_^>i_ (_^<b_1951_^>b_), was a murder mystery set at an sf _^<a_!T856_CONVENTION_^>a_. It was to be 10 years before he would publish
another novel. Although his 1950s work is minor, he served 1953-63 as foreign correspondent of _^<i_Rogue_^>i_ magazine, travelling extensively, and began to plough back this experience into more substantial works on socioeconomic themes. Many of
the books which appeared prolifically through the 1960s-70s were expansions and fixups of earlier magazine stories; the tauter magazine texts are usually preferable to the padded-out versions. _^<i_Planetary Agent X_^>i_ (fixup _^<b_1965_^>b_ dos),
the first of several books featuring _^<b_Section G_^>b_, shows subversive secret agents of a _^<b_United Planets_^>b_ Organization working in the cause of socioeconomic progress in the often-eccentric _^<b_Ultima Thule_^>b_ colony worlds of a
Galactic Empire, masking their activities under the _^<i_nom de guerre_^>i_ Tommy Paine. It was followed by _^<i_Dawnman Planet_^>i_ (_^<b_1966_^>b_ dos), _^<i_The Rival Rigelians_^>i_ (1960 _^<i_ASF_^>i_ as "Adaptation"; exp _^<b_1967_^>b_ dos),
which ironically describes an experiment comparing the methods of US capitalism and Soviet communism in developing a primitive world, _^<i_Code Duello_^>i_ (_^<b_1968_^>b_ dos) and _^<i_Section G: United Planets_^>i_ (1967 _^<i_ASF_^>i_ as "Fiesta
Brava" and "Psi Assassin"; fixup _^<b_1976_^>b_)._^<n__^<n__^<i_Tomorrow Might be Different_^>i_ (1960 _^<i_ASF_^>i_ as "Russkies Go Home!"; exp _^<b_1975_^>b_) is a _^<a_!T2812_SATIRE_^>a_ in which the USSR has overtaken the USA as the world's
leading economy. "Farmer" (1961) is the first of 3 notable stories which MR set in North Africa, each similarly dealing with the problem of fostering economic and technological development in the teeth of cultural inertia. It was followed by the
_^<b_Homer Crawford_^>b_ sequence, the first 2 volumes of which are _^<i_Black Man's Burden_^>i_ (1961-2 _^<i_ASF_^>i_; _^<b_1972_^>b_ dos) and _^<i_Border, Breed nor Birth_^>i_ (1962 _^<i_ASF_^>i_; _^<b_1972_^>b_ dos), offering entirely serious
and constructive versions of _^<b_Section G_^>b_-type plots; although they have dated even more quickly than MR's stories about the USSR, the issues raised in them (otherwise virtually untouched in sf) remain politically pertinent. _^<i_The Best Ye
Breed_^>i_ (fixup _^<b_1978_^>b_), which incorporates "Black Sheep Astray" (1973) and a revised version of "The Cold War . . . Continued" (1973), extends the series. _^<i_Day After Tomorrow_^>i_ (1961 _^<i_ASF_^>i_ as "Status Quo"; exp
_^<b_1976_^>b_) introduced a status-conscious future USA further elaborated in _^<i_Mercenary from Tomorrow_^>i_ (1962 _^<i_ASF_^>i_ as "Mercenary"; exp _^<b_1968_^>b_ dos), which became the first of the _^<b_Joe Mauser_^>b_ series set in a future
world in which corporate disputes are settled by pseudo-gladiatorial contests, packaged by the media as entertainment, and involving small professional armies fighting with pre-1900 _^<a_!T5492_WEAPONS_^>a_ (> _^<a_!T1695_GAMES AND SPORTS_^>a_).
Several lines of speculative thought carried forward in the later didactic novels originated in this novella, but the later novels in the series -- _^<i_The Earth War_^>i_ (1963 _^<i_ASF_^>i_ as "Frigid Fracas"; _^<b_1963_^>b_), _^<i_Time
Gladiator_^>i_ (1964 _^<i_ASF_^>i_ as "Sweet Dreams, Sweet Princes"; exp _^<b_1966_^>b_ UK; rev by Michael A. _^<a_!T393_BANKS_^>a_, vt _^<i_Sweet Dreams, Sweet Princes_^>i_ 1986 US) and _^<i_The Fracas Factor_^>i_ (_^<b_1978_^>b_) -- are routine
action-adventure novels. _^<i_Joe Mauser, Mercenary from Tomorrow_^>i_ (coll _^<b_1986_^>b_) with Banks contains revisions of the earlier items. _^<i_The Cosmic Eye_^>i_ (1963 _^<i_FSF_^>i_ as "Speakeasy"; exp _^<b_1969_^>b_) is a less convincing
story set in a future USA where free speech is prohibited._^<n__^<n_During 1965-72 MR's work was more determinedly commercial. He continued to write stories around Campbell plot ideas. All involve a good deal of rather slapstick
_^<a_!T4555_HUMOUR_^>a_; examples include _^<i_Amazon Planet_^>i_ (1966 _^<i_ASF_^>i_; Italian trans _^<b_1967_^>b_; _^<b_1975_^>b_) and _^<i_Brain World_^>i_ (_^<b_1978_^>b_). _^<i_Of Godlike Power_^>i_ (_^<b_1966_^>b_; vt _^<i_Earth Unaware_^>i_
1968) is a comedy about a preacher whose curses really work. "Romp" (1966) was the first of a group of crime stories reprinted as _^<i_Police Patrol: 2000 A.D._^>i_ (fixup _^<b_1977_^>b_). _^<i_Space Pioneer_^>i_ (_^<b_1966_^>b_ UK) and _^<i_After
Some Tomorrow_^>i_ (_^<b_1967_^>b_) are undistinguished, but 2 novels about _^<a_!T826_COMPUTERS_^>a_, _^<i_Computer War_^>i_ (_^<b_1967_^>b_ dos) and _^<i_The Computer Conspiracy_^>i_ (_^<b_1968_^>b_), gained strength from the timeliness of their
themes. The final 2 stories making up _^<i_The Space Barbarians_^>i_ (fixup _^<b_1969_^>b_ dos) and _^<i_The Five Way Secret Agent_^>i_ (1969 _^<i_ASF_^>i_; _^<b_1975_^>b_ dos) were the last items MR did for Campbell, and after _^<i_Rolltown_^>i_
(1969 _^<i_If_^>i_ as "The Towns Must Roll"; exp _^<b_1976_^>b_) he published virtually no new sf for three years (although he did publish books in other genres)._^<n__^<n_When his sf career resumed it was with the strikingly different _^<i_Looking
Backward, from the Year 2000_^>i_ (_^<b_1973_^>b_), a reprise of Edward _^<a_!T514_BELLAMY_^>a_'s classic _^<a_!T5303_UTOPIAN_^>a_ novel, displaying MR's ideas about the _^<a_!T1939_POLITICS_^>a_ and _^<a_!T6577_ECONOMICS_^>a_ of an energy-affluent
society. He was later to add a sequel -- _^<i_Equality: in the Year 2000_^>i_ (_^<b_1977_^>b_) -- which borrowed an idea from his earlier _^<i_Ability Quotient_^>i_ (_^<b_1975_^>b_) to subvert the ending of the first book. MR further extrapolated
this line of speculation into the increasingly doubt-ridden _^<i_After Utopia_^>i_ (_^<b_1977_^>b_), which incorporates "Utopian" (in _^<i_The Year 2000_^>i_ [anth _^<b_1970_^>b_] ed Harry _^<a_!T4316_HARRISON_^>a_) and _^<i_Perchance to Dream_^>i_
(_^<b_1977_^>b_), although he salvaged a curiously ironic optimism by re-using a _^<i_deus ex machina_^>i_ first deployed in the earlier _^<i_Space Visitor_^>i_ (_^<b_1977_^>b_). He developed parallel lines of thought in sequels to
_^<i_Rolltown_^>i_ -- these were _^<i_Commune 2000 A.D._^>i_ (_^<b_1974_^>b_) and _^<i_The Towers of Utopia_^>i_ (_^<b_1975_^>b_) -- and re-used the central characters of _^<i_The Five Way Secret Agent_^>i_ in more lightweight stories with similar
underlying concerns: _^<i_Satellite City_^>i_ (_^<b_1975_^>b_) and "Of Future Fears" (1977 _^<i_ASF_^>i_). This series was further expanded in novels about the tribulations of a quasi-utopian space colony: _^<i_Lagrange Five_^>i_ (_^<b_1979_^>b_),
_^<i_The Lagrangists_^>i_ (_^<b_1983_^>b_) and _^<i_Chaos in Lagrangia_^>i_ (_^<b_1984_^>b_), The last 2 were ed Dean _^<a_!T6342_ING_^>a_, who went on to prepare for publication several other manuscripts which MR had left behind on his death:
(_^<b_1984_^>b_) is a posthumous work credited to MR alone._^<n__^<n__^<i_The Best of Mack Reynolds_^>i_ (coll _^<b_1976_^>b_) has an introduction explaining MR's decision to concentrate on sf which speculated on social and economic issues, and
reflecting on his travels and the lessons he learned therefrom. Although he was once voted most popular author in a poll run by the _^<a_!T1686_GALAXY SCIENCE FICTION_^>a_ group of magazines, MR never received the recognition he deserved for the
fertility of his distinctive speculative imagination. His ideas were always far more interesting than his plots, and his writing was sometimes unpolished, but at his best he was a skilled craftsman whose attempts to foresee the _^<a_!T6337_NEAR
FUTURE_^>a_ were unusually bold, well informed and challenging. It is a great pity that he had such difficulty in finding publishers willing to put his work into respectable formats. [BS]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Mission to
Horatius_^>i_ * (_^<b_1968_^>b_), a _^<a_!T2429_STAR TREK_^>a_ novel; _^<i_Once Departed_^>i_ (_^<b_1970_^>b_), a thriller with sf elements; _^<i_Computer World_^>i_ (_^<b_1970_^>b_); _^<i_Depression or Bust_^>i_ (fixup _^<b_1974_^>b_);
_^<i_Galactic Medal of Honor_^>i_ (1960 _^<i_AMZ_^>i_ as "Medal of Honor"; exp _^<b_1976_^>b_); _^<i_Trample an Empire Down_^>i_ (_^<b_1978_^>b_); _^<i_Compounded Interests_^>i_ (coll _^<b_1983_^>b_)._^<b_As Editor:_^>b_ _^<i_The Science Fiction
Carnival_^>i_ (anth _^<b_1953_^>b_) with Fredric Brown._^<b_About the author:_^>b_ "The Utopian Dream Revisited: Socioeconomic Speculation in the Work of Mack Reynolds" by Brian M. _^<a_!T2385_STABLEFORD_^>a_ in _^<i_Foundation_^>i_ 16 (May 1979);
_^<i_A Mack Reynolds Checklist: Notes Toward a Bibliography_^>i_ (_^<b_1983_^>b_ chap) by Chris _^<a_!T1327_DRUMM_^>a_ and George Flynn._^<b_See also:_^>b_ _^<a_!T323_AUTOMATION_^>a_; _^<a_!T727_CITIES_^>a_; _^<a_!T987_CRYONICS_^>a_;
Working name of US writer Theodore Andrus Reynolds (1938- ), who began publishing sf with "Boarder Incident" for _^<i_IASFM_^>i_ in 1977. His first novel, _^<i_The Tides of God_^>i_ (_^<b_1989_^>b_) -- the last of the Terry _^<a_!T5182_CARR_^>a_
_^<b_Ace Specials_^>b_ -- intriguingly allows the surmise that millennial fervour is caused, on a regular 1000-year basis, by a deranging _^<a_!T98_ALIEN_^>a_ being whose expected arrival from deep space as the 20th century ends spurs the mounting
of an expedition to destroy it. But _^<a_!T2551_RELIGION_^>a_ is a subject too complexly integrated into the human psyche to be excised by any quasimilitary sortie into the unknown; and the tale ends in ambiguity. [JC]_^<n__^<n_
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RHINEHART, LUKE
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Pseudonym of US writer George Powers Cockcroft (1932- ). His first novel, _^<i_The Dice Man_^>i_ (_^<b_1971_^>b_; rev 1983), though not sf, inhabits the same universe of discourse as _^<i_The Adventures of Wim_^>i_ (_^<b_1986_^>b_ UK), a long,
frequently garrulous picaresque detailing the eponymous innocent's travels through time and space. _^<i_Matari_^>i_ (_^<b_1975_^>b_) is a heavily allegorical love story set in a partly mythologized 18th-century Japan. _^<i_Long Voyage Back_^>i_
(_^<b_1983_^>b_) takes the crew of a small ship through post-_^<a_!T4482_HOLOCAUST_^>a_ ordeals and from Chesapeake Bay to Chile. LR's books burst with didacticism, but have vivid moments. [JC]_^<n__^<n_
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RHODES, W(ILLIAM) H(ENRY)
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(1822-1876) US lawyer and writer who published various newspaper pieces and stories under the name Caxton, notably _^<i_The Case of Summerfield_^>i_ (1871 _^<i_Sacramento Daily Union_^>i_; _^<b_1907_^>b_ chap), about a scientist who threatens to set
the oceans of the world afire unless he is paid blackmail. Along with its sequel, 4 further sf stories and other ephemera, the tale was first published as a memorial by his colleagues in _^<i_Caxton's Book: A Collection of Essays, Poems, Tales and
Sketches_^>i_ (coll _^<b_1876_^>b_). Also of interest in this volume is "The Telescopic Eye", about a boy blind at normal distances but able to observe the activities of the wheel-shaped denizens of the Moon. [JC]_^<n__^<n_
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RHYS, JACK
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[r] > _^<a_!T6332_ROBERT HALE LIMITED_^>a_._^<n__^<n_
First the pseudonym, then the legal name of US playwright and novelist born Elmer Leopold Reizenstein (1892-1967). Of his plays, _^<i_The Adding Machine_^>i_ (_^<b_1923_^>b_) interestingly transforms its protagonist, Mr Zero, into the para-human
creature designated by the title. _^<i_A Voyage to Purilia_^>i_ (_^<b_1930_^>b_), a novel, combines a deft use of sf instruments -- the protagonists travel to the planet Purilia in a ship propelled by _^<a_!T198_ANTIGRAVITY_^>a_ -- with a very
extensive guying of _^<a_!T5303_UTOPIAN_^>a_ assumptions. On Purilia, life mirrors the conventions of the cinema -- the implication being that utopian worlds are as fatuously bound by rigmarole and fetish as the "normal" lives depicted in the
classic Hollywood films -- and the protagonist escapes marriage, which is identical to a Hollywood fade-out, by the skin of his teeth. [JC]_^<n__^<n_
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RICH, BARBARA
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> Robert _^<a_!T4815_GRAVES_^>a_._^<n__^<n_
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RICHARDS, ALFRED BATE
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(1820-1876) UK editor of the _^<i_Morning Advertiser_^>i_ and writer. For many years he was active as a propagandist for UK military preparedness, but _^<i_The Invasion of England (A Possible Tale of Future Times)_^>i_ (_^<b_1870_^>b_ chap),
published privately, had little impact, and was in any case much inferior to Lt.-Col. Sir George T. _^<a_!T5257_CHESNEY_^>a_'s _^<i_The Battle of Dorking_^>i_ (_^<b_1871_^>b_), which effectively founded the
future-_^<a_!T5452_WAR_^>a_/_^<a_!T3796_INVASION_^>a_ genre so popular over the next 40 years. [JC]_^<n__^<n_
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RICHARDS, GUY
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(1905-1979) US writer and reporter. In _^<i_Two Roubles to Times Square_^>i_ (_^<b_1956_^>b_; vt _^<i_Brother Bear_^>i_ 1956 UK) a Russian takeover of Manhattan is embarrassedly disowned by the Kremlin. [JC]_^<n__^<n_
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RICHARDS, HENRY
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> J.L. _^<a_!T3068_MORRISSEY_^>a_._^<n__^<n_
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RICHARDS, JOEL
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Pseudonym of US writer Joel Richard Fruchtman (1937- ), who began publishing sf with "Speedplay" for _^<i_AMZ_^>i_ in 1980 and has published subsequent stories in original anthologies. His first novel was _^<i_Pindharee_^>i_ (_^<b_1986_^>b_), an
sf adventure. [JC]_^<n__^<n_
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RICHARDS, ROSS
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[r] > Peter _^<a_!T2829_SAXON_^>a_._^<n__^<n_
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RICHARDSON, LINDA
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[r] > David R. _^<a_!T618_BISCHOFF_^>a_._^<n__^<n_
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RICHARDSON, ROBERT S.
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[r] > Philip _^<a_!T4202_LATHAM_^>a_._^<n__^<n_
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RICHMOND, LEIGH (TUCKER)
-T-
(1911- ) US writer who began publishing with "Prologue to an Analogue" for _^<i_ASF_^>i_ in 1961, and who wrote some solo stories. Her several sf novels were all in collaboration with her husband, Walt _^<a_!T2593_RICHMOND_^>a_; 3 were revised by
LR after his death. Almost all their work together expressed a sense -- one formally presented by the Centric Foundation which they founded and directed -- that scientific breakthroughs could be made by young minds freed of the bureaucratic
artifices of orthodox scientific thinking; unfortunately, overloaded _^<a_!T2342_SPACE-OPERA_^>a_ plotting did little to make their novels convincing emblems of this new clarity, and the exaggerated individualism they expressed seemed less
mould-breaking than nostalgic. They published frequently in _^<i_ASF_^>i_. Their novels were _^<i_Shock Waves_^>i_ (_^<b_1967_^>b_ dos), _^<i_The Lost Millennium_^>i_ (_^<b_1967_^>b_ dos; rev vt _^<i_Siva!_^>i_ 1979), which typically suggests that
a new source of solar energy was first exploited by prehistoric supermen, _^<i_Phoenix Ship_^>i_ (_^<b_1969_^>b_ dos; rev vt _^<i_Phase Two_^>i_ 1980), _^<i_Gallagher's Glacier_^>i_ (_^<b_1970_^>b_ dos; rev 1979), _^<i_Challenge the Hellmaker_^>i_
(1963 _^<i_ASF_^>i_ as "Where I Wasn't Going"; exp _^<b_1976_^>b_) and _^<i_The Probability Corner_^>i_ (_^<b_1977_^>b_). Stories were collected as _^<i_Positive Charge_^>i_ (coll _^<b_1970_^>b_ dos). [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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-C- 2591 SF02598.t
1208
CATRS
-END-
-A-
RICHMOND, MARY
-T-
Pseudonym of South-African-born UK writer Kathleen Lindsay (1903-1973), author of about 900 romances and 2 sf novels, _^<i_The Valley of Doom_^>i_ (_^<b_1947_^>b_), a _^<a_!T3460_LOST-WORLD_^>a_ tale, and _^<i_The Grim Tomorrow_^>i_
(_^<b_1953_^>b_), whose UK protagonists fail to avert a Teutonic atomic _^<a_!T4482_HOLOCAUST_^>a_, but who survive, after being flung into space on a chunk of England fortunately large enough that they can start a new life. The tale's telling is
less incompetent than its science. [JC]_^<n__^<n__^<b_Other work:_^>b_ _^<i_Terror Stalks Abroad_^>i_ (_^<b_1935_^>b_). ; _^<i_The Hidden Horror_^>i_ (_^<b_1937_^>b_); _^<i_Terror by Night_^>i_ (_^<b_1939_^>b_); _^<i_The Devil's Dominion_^>i_
(_^<b_1956_^>b_) as by Kathleen Lindsay _^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 2592 SF02599.t
598
CATRS
-END-
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RICHMOND, WALT(ER R.)
-T-
(1922-1977) US writer and research scientist whose fiction was written exclusively in collaboration with his wife, Leigh _^<a_!T2591_RICHMOND_^>a_ (_^<i_whom see for details_^>i_). [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 2593 SF02600.t
158
CATRS
-END-
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RICHTER-FRICH, OVRE
-T-
[r] > _^<a_!T2834_SCANDINAVIA_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 2594 SF02601.t
18
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-END-
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RICKETT, JOSEPH COMPTON
-T-
(1847-1919) UK politician and writer, who was knighted in 1907 and subsequently changed his name to Compton-Rickett. His sf novel _^<i_The Quickening of Caliban: A Modern Story of Evolution_^>i_ (_^<b_1893_^>b_) suggests that a more natural (i.e.,
perhaps, less evolved) branch of _^<i_Homo sapiens_^>i_ continues to exist in Africa. The two branches are able to breed together, and do. [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 2595 SF02602.t
350
CATRS
-END-
-A-
RIDERS TO THE STARS
-T-
Film (1954). Ivan Tors/United Artists. Dir Richard Carlson, starring William Lundigan, Herbert Marshall, Richard Carlson, Martha Hyer. Screenplay Curt _^<a_!T2229_SIODMAK_^>a_. 81 mins. Colour._^<n__^<n_Cosmic rays are destroying space vehicles, and
the theory is put forward that meteors possess a special quality that protects them in space. Manned spaceships with special scoops on their noses are sent up to capture meteors before they burn up in the atmosphere so that their coating -- which
turns out to be diamond! -- can be used to protect spaceships. The story has been rightly singled out by Damon _^<a_!T4098_KNIGHT_^>a_ as a splendid example of all that is silliest and most unscientific in sf _^<a_!T726_CINEMA_^>a_, from which much
of its value as entertainment unintentionally derives. _^<i_Riders to the Stars_^>i_ * (_^<b_1953_^>b_), as by Siodmak and Robert (Eugene) Smith (1920- ), is the novelization. [JB/PN]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zfilmz
-C- 2596 SF02603.t
809
CATRS
-END-
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RIDING, JULIA
-T-
[r] > _^<a_!T6332_ROBERT HALE LIMITED_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 2597 SF02604.t
28
CATRS
-END-
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RIDING, LAURA
-T-
[r] > Robert _^<a_!T4815_GRAVES_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 2598 SF02605.t
22
CATRS
-END-
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RIDLEY, FRANK A(MBROSE)
-T-
The usual working name of UK politician, freethinker and author Francis Ambrose Ridley (1897-1994), most of whose books were on historical subjects. _^<i_The Green Machine_^>i_ (_^<b_1926_^>b_) as by F.H. Ridley, though clearly cavalier in in its
treatment of science -- presenting as it does the eponymous bicycle as a spaceship capable of interplanetary travel -- interestingly sends its protagonist to tour a crowded Solar System accompanied by a Martian ant bent on colonizing Earth.
(1903-1983) US writer whose short _^<b_Dark Pool_^>b_ prehistoric-sf sequence for children comprises _^<i_The Bewitched Caverns_^>i_ (_^<b_1948_^>b_) and _^<i_The Dark Pool_^>i_ (_^<b_1949_^>b_). With her husband Robert Rienow (1909-1989), a
political scientist, she later wrote _^<i_The Year of the Last Eagle_^>i_ (_^<b_1970_^>b_), a sour _^<a_!T6337_NEAR-FUTURE_^>a_ comedy about _^<a_!T6576_ECOLOGY_^>a_, set in 1989. The hero's job is to locate the last bald eagles (the national bird
of the USA), if any still exist. [JC/PN]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 2600 SF02607.t
429
CATRS
-END-
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RIENOW, ROBERT
-T-
[r] > Leona _^<a_!T2601_RIENOW_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 2601 SF02608.t
21
CATRS
-END-
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RIFBJERG, KLAUS (THORVALD)
-T-
(1931- ) Danish writer in whose sf novel, _^<i_De Hellige Aber_^>i_ (_^<b_1981_^>b_; trans Steve Murray as _^<i_Witness to the Future_^>i_ _^<b_1987_^>b_ US), two adolescents are transported almost half a century forward from 1941; they find
little in the year 1988 to give them joy about Progress. [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 2602 SF02609.t
266
CATRS
-END-
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RIGG, [Lt.-Col.] ROBERT B.
-T-
(? - ) US writer on military topics whose _^<i_War -- 1974_^>i_ (_^<b_1958_^>b_) puts into the didactic fictional form of a future-_^<a_!T5452_WAR_^>a_ narrative his speculations about developments in _^<a_!T5492_WEAPONS_^>a_ and tactics. After
an initial exchange of ICBMs, East and West settle down to conventional conflict dominated by much implausible non-nuclear gimmickry. [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 2603 SF02610.t
321
CATRS
-END-
-A-
RILEY, FRANK
-T-
(? - ) US writer who began publishing sf with "The Execution" for _^<i_If_^>i_ in 1956, and who is mainly known for collaborating with Mark _^<a_!T753_CLIFTON_^>a_ on _^<i_They'd Rather Be Right_^>i_ (_^<b_1954_^>b_), the
_^<a_!T4551_HUGO_^>a_-winning conclusion to Clifton's _^<b_Bossy_^>b_ series about an advanced _^<a_!T826_COMPUTER_^>a_ rendered almost useless by men's fear of "her". [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T323_AUTOMATION_^>a_.
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 2604 SF02611.t
336
CATRS
-END-
-A-
RIMWORLD
-T-
A common item of sf _^<a_!T5942_TERMINOLOGY_^>a_. > _^<a_!T1679_GALACTIC LENS_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz ztermz zthemez zspacez
-C- 2605 SF02612.t
50
CATRS
-END-
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RIPLEY, KAREN
-T-
(? - ) US writer who began publishing sf with _^<i_Prisoner of Dreams_^>i_ (_^<b_1989_^>b_). It and its sequel, _^<i_The Tenth Class_^>i_ (_^<b_1991_^>b_), feature the adventures of a female starship-pilot who must cope with repressive
authorities and with planets named, for instance, Heinlein. Romance also looms. The _^<b_Slow World_^>b_ trilogy -- comprising _^<i_The Persistence of Memory_^>i_ (_^<b_1993_^>b_), _^<i_The Warden of Horses_^>i_ (_^<b_1994_^>b_) and _^<i_The
Alchemist of Time_^>i_ (_^<b_1994_^>b_) -- more impressively presents autism as a metaphor for understanding -- but not an explanation of -- the relation between the real or Slow world, and the fantasy world ruled by the eponymous Warden of Horses,
an autism victim in the here and now. [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 2606 SF02613.t
663
CATRS
-END-
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RITCHIE, PAUL
-T-
(1923- ) Australian painter, novelist and playwright whose _^<i_Confessions of a People Lover_^>i_ (_^<b_1967_^>b_) depicts a grey, urban, _^<a_!T1370_DYSTOPIAN_^>a_ UK where the old ("longlivers") are eliminated by the state and the young are
corrupt, cultureless vandals. The book is narrated by a longliver in an enriched, clotted, free-associational style, and is devoid of sf instruments or speculations; it can be read as an allegory of the post-_^<a_!T5452_WAR_^>a_ UK. [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 2607 SF02614.t
408
CATRS
-END-
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RIVERE, ALEC
-T-
> Charles _^<a_!T3266_NUETZEL_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 2608 SF02615.t
20
CATRS
-END-
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RIVERSIDE, JOHN
-T-
[s] > Robert A. _^<a_!T4376_HEINLEIN_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 2609 SF02616.t
27
CATRS
-END-
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RIVERSIDE QUARTERLY
-T-
_^<a_!T1428_FANZINE_^>a_ (1964-current) ed Leland Sapiro from Canada and the USA. _^<i_RQ_^>i_ began as a retitled continuation of the fanzine _^<i_Inside_^>i_ (1953-63), published by Ron Smith and then Jon White, which won a _^<a_!T4551_HUGO_^>a_
in 1956 and itself incorporated a still earlier fanzine, _^<i_Fantasy Advertiser_^>i_, later known as _^<i_Science Fiction Advertiser_^>i_ (1946-54). _^<i_RQ_^>i_ quickly formed a quite different character of its own, academic essays on sf and
fantasy being its main content. Alexei _^<a_!T1782_PANSHIN_^>a_ originally published the major part of his _^<i_Heinlein in Dimension_^>i_ (_^<b_1968_^>b_) in _^<i_RQ_^>i_; other contributors have included James _^<a_!T658_BLISH_^>a_, Algis
_^<a_!T5064_BUDRYS_^>a_ and Jack _^<a_!T5629_WILLIAMSON_^>a_. Though irregular, this is one of the longest-running -- as well as the most serious -- of all fanzines; it had reached #32 by early 1992. [PN/PR]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zpubz
-C- 2610 SF02617.t
736
CATRS
-END-
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ROAD WARRIOR, THE
-T-
> _^<a_!T3591_MAD MAX 2_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zfilmz
-C- 2611 SF02618.t
13
CATRS
-END-
-A-
ROBBINS, DAVID L.
-T-
(1950- ) US author of the _^<b_Endworld_^>b_ post-holocaust _^<a_!T5849_SURVIVALIST_^>a_ military-sf sequence: _^<i_Endworld #1: The Fox Run_^>i_ (_^<b_1986_^>b_), _^<i_#2: Thief River Falls Run_^>i_ (_^<b_1986_^>b_), _^<i_#3: Twin Cities
Run_^>i_ (_^<b_1990_^>b_), _^<i_#20: Dallas Run_^>i_ (_^<b_1990_^>b_), _^<i_#21: Boston Run_^>i_ (_^<b_1990_^>b_), _^<i_#22: Green Bay Run_^>i_ (_^<b_1990_^>b_), _^<i_#23: Yellowstone Run_^>i_ (_^<b_1990_^>b_), _^<i_#24: New Orleans Run_^>i_
(_^<b_1991_^>b_), _^<i_#25: Spartan Run_^>i_ (_^<b_1991_^>b_), _^<i_#26: Madman Run_^>i_ (_^<b_1991_^>b_) and _^<i_#27: Chicago Run_^>i_ (_^<b_1991_^>b_). The concurrent _^<b_Blade_^>b_ series comprises _^<i_Blade #1: First Strike_^>i_
Pirate Strike_^>i_ (_^<b_1990_^>b_), _^<i_#6: Crusher Strike_^>i_ (_^<b_1990_^>b_), _^<i_#7: Terror Strike_^>i_ (_^<b_1990_^>b_), _^<i_#8: Devil Strike_^>i_ (_^<b_1990_^>b_), _^<i_#9: L.A. Strike_^>i_ (_^<b_1990_^>b_), _^<i_#10: Dead Zone
Strike_^>i_ (_^<b_1990_^>b_), _^<i_#11: Quest Strike_^>i_ (_^<b_1991_^>b_), _^<i_#12: Deathmaster Strike_^>i_ (_^<b_1991_^>b_) and _^<i_#13: Vengeance Strike_^>i_ (_^<b_1991_^>b_). Singletons include _^<i_The Wereling_^>i_ (_^<b_1983_^>b_), which
seems to have been DLR's first novel, _^<i_The Wrath_^>i_ (_^<b_1988_^>b_), _^<i_Spectre_^>i_ (_^<b_1988_^>b_), _^<i_Hell-o-Ween_^>i_ (_^<b_1992_^>b_) and _^<i_Prank Night_^>i_ (_^<b_1994_^>b_). Under the house name J.D. Cameron he has written 2 of
the _^<b_Omega Sub_^>b_ sequence: _^<i_#2: Command Decision_^>i_ (_^<b_1991_^>b_) and _^<i_#4: Blood Tide_^>i_ (_^<b_1991_^>b_). [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 2612 SF02619.t
1793
CATRS
-END-
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ROBERTS, ANTHONY
-T-
(1950- ) UK illustrator; he often works as Tony Roberts. He attended Wolverhampton College of Art, 1967-9, and Ravensbourne College of Art, 1969-72. AR has painted sf covers for many UK paperback publishers. His style is similar to, and perhaps
imitative of, that of Chris _^<a_!T1571_FOSS_^>a_; his smooth, hard-edged, highly detailed paintings are typical of UK commercial sf _^<a_!T4593_ILLUSTRATION_^>a_ during the 1970s. [JG/PN]_^<n__^<n_
-R-
(c) 1995 John Clute and Peter Nicholls
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zallz zpubz
-C- 2613 SF02620.t
380
CATRS
-END-
-A-
ROBERTS, ARTHUR
-T-
[r] > John S. _^<a_!T4725_GLASBY_^>a_._^<n__^<n_
-R-
(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 2614 SF02621.t
23
CATRS
-END-
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ROBERTS, [Sir] CHARLES G(EORGE) D(OUGLAS)
-T-
(1860-1943) Canadian poet and novelist, important in _^<a_!T5141_CANADA_^>a_'s literary history. Among his many works are several collections of animal fantasies, most notably _^<i_The Kindred of the Wild_^>i_ (coll _^<b_1902_^>b_), in which various
beasts reason like human beings. _^<i_In the Morning of Time_^>i_ (1914-15 _^<i_Cosmopolitan_^>i_; coll of linked stories _^<b_1919_^>b_ UK), set in prehistoric times, romantically presents the first stages of the ascent to civilization.
[PN/JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T1727_ORIGIN OF MAN_^>a_.
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 2615 SF02622.t
444
CATRS
-END-
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ROBERTS, JANE
-T-
Working name of US writer Jane Roberts Butts (1929-1984), perhaps best remembered for such speculative works as _^<i_Dialogues of the Soul & Mortal Self in Time_^>i_ (_^<b_1975_^>b_), which took the form of a series of connected poems. She began
publishing sf with "The Red Wagon" for _^<i_FSF_^>i_ in 1956. Her sf novel _^<i_The Rebellers_^>i_ (_^<b_1963_^>b_ dos) provides a melodramatic mix of _^<a_!T1752_OVERPOPULATION_^>a_ and _^<a_!T6576_ECOLOGY_^>a_ themes as successive waves of plague
answer humanity's problems by nearly eliminating the race for good. More typical of her later concerns is _^<i_The Education of Oversoul Seven_^>i_ (_^<b_1973_^>b_), a transcendental parable about the meaning of reality and time and space, whose
student protagonist inhabits the bodies and souls of 4 humans from different periods, ranging from 35,000BC to AD2300, and who discovers _^<i_en passant_^>i_ the profound simultaneity of all realities; its sequels are _^<i_The Further Education of
Oversoul Seven_^>i_ (_^<b_1979_^>b_) and _^<i_Oversoul Seven and the Museum of Time_^>i_ (_^<b_1984_^>b_). _^<i_Emir's Education in the Proper Use of Magical Powers_^>i_ (_^<b_1979_^>b_) is a juvenile. JR published many further titles of mystical
speculation. [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 2616 SF02623.t
1065
CATRS
-END-
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ROBERTS, JOHN
-T-
[s] > John R. _^<a_!T1897_PIERCE_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 2617 SF02624.t
24
CATRS
-END-
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ROBERTS, JOHN MADDOX
-T-
(1947- ) US writer, prolific in the later 1980s. His first sf novel, _^<i_The Strayed Sheep of Charun_^>i_ (_^<b_1977_^>b_; rev vt _^<i_Cestus Dei_^>i_ 1983), is an action-packed romance set on a medievalized planet in which Jesuits and others
attempt to reform the violence which is the planet's (and novel's) _^<i_raison d'etre_^>i_. There followed a variety of work, all adventure fiction -- whose style is perhaps best described as brisk -- in sf or fantasy settings, including the
juvenile _^<a_!T2342_SPACE-OPERA_^>a_ sequence comprising _^<i_Space Angel_^>i_ (_^<b_1979_^>b_), in which the commandeering of a spaceship by an ancient _^<a_!T98_ALIEN_^>a_ leads to adventures for a boy, and its sequel _^<i_Spacer: Window of the
Mind_^>i_ (_^<b_1988_^>b_). _^<i_King of the Wood_^>i_ (_^<b_1983_^>b_) is set in an alternate USA inhabited variously by Norsemen, Native Americans, Aztecs and Spanish Muslims. The _^<b_Cingulum_^>b_ sequence about a raffish spaceship crew's
adventures is _^<i_The Cingulum_^>i_ (_^<b_1985_^>b_), _^<i_Cloak of Illusion_^>i_ (_^<b_1985_^>b_) and _^<i_Cingulum #3: The Sword, the Jewel and the Mirror_^>i_ (_^<b_1988_^>b_). JMR also collaborated on 4 books with Eric _^<a_!T4120_KOTANI_^>a_
(_^<i_whom see for details_^>i_): the sequence _^<i_Act of God_^>i_ (_^<b_1985_^>b_), _^<i_The Island Worlds_^>i_ (_^<b_1987_^>b_) and _^<i_Between the Stars_^>i_ (_^<b_1988_^>b_), as well as _^<i_Delta Pavonis_^>i_ (_^<b_1990_^>b_). JMR's _^<i_The
Enigma Variations_^>i_ (_^<b_1989_^>b_) sets an amnesiac in a corporate future. While all this sf activity was going on, JMR also contributed several titles to the ever-growing _^<b_Conan_^>b_ series, set in a _^<a_!T2127_SHARED WORLD_^>a_ derived
from Robert E. _^<a_!T4524_HOWARD_^>a_'s famous _^<a_!T5875_SWORD-AND-SORCERY_^>a_ stories: _^<i_Conan the Valorous_^>i_ * (_^<b_1985_^>b_), _^<i_Conan the Champion_^>i_ * (_^<b_1987_^>b_), _^<i_Conan the Marauder_^>i_ * (_^<b_1988_^>b_),
_^<i_Conan the Bold_^>i_ * (_^<b_1989_^>b_), _^<i_Conan the Rogue_^>i_ * (_^<b_1991_^>b_), _^<i_Conan and the Manhunters_^>i_* (_^<b_1994_^>b_) and _^<i_Conan and the Treasure of Python_^>i_* (_^<b_1994_^>b_). The _^<b_Stormlands_^>b_ series, set
in a tribalized fantasy world, so far comprises _^<i_The Islander_^>i_ (_^<b_1990_^>b_), _^<i_The Black Shields_^>i_ (_^<b_1991_^>b_), _^<i_The Poisoned Lands_^>i_ (_^<b_1992_^>b_), _^<i_The Steel Kings_^>i_(_^<b_1993_^>b_) and _^<i_Queens of Land
and Sea_^>i_ (_^<b_1994_^>b_). [PN]_^<n__^<n__^<b_Other works:_^>b_ the associational _^<b_SPQR_^>b_sequence comprising _^<i_SPQR_^>i_ (_^<b_1990_^>b_), _^<i_SPQR II: The Catiline Conspiracy_^>i_ (_^<b_1991_^>b_), _^<i_#3: The Sacrilege_^>i_
(_^<b_1992_^>b_) and _^<i_#4: The Temple of the Muses_^>i_ (_^<b_1992_^>b_), police-procedural mystery novels set in ancient Rome.
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ROBERTS, KEITH (JOHN KINGSTON)
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(1935- ) UK writer and illustrator resident in the south of England, where most of his best fiction is set. After working as an illustrator and cartoon animator, he began publishing sf with "Anita" and "Escapism" for _^<i_Science Fantasy_^>i_ in
1964; several of his early stories were written as by Alistair Bevan. He served as associate editor of _^<a_!T2870_SCIENCE FANTASY_^>a_ 1965-6 and edited its successor _^<i_SF Impulse_^>i_ for the whole of its run (Mar 1966-Feb 1967). His first
novel, _^<i_The Furies_^>i_ (_^<b_1966_^>b_), is the most orthodoxly structured and told of all his work, sf or otherwise, most of his later novels being fixups told from a brooding, slantwise, intensely visual point of view. _^<i_The Furies_^>i_
is a traditional UK _^<a_!T1243_DISASTER_^>a_ tale, in which a nuclear test goes awry, inspiring an onslaught of space-spawned giant wasps which ravage England and come close to eliminating mankind. Beyond a certain sultriness of tone, it could
have been written by any of a dozen UK specialists in disaster._^<n__^<n_With his second book, KR came fully into his own as a writer. _^<i__^<a_!B8982_PAVANE_^>a__^>i_ (coll of linked stories _^<b_1968_^>b_; with "The White Boat" added, rev 1969
US) superbly depicts an _^<a_!T131_ALTERNATE WORLD_^>a_ in which -- Elizabeth I having been assassinated, the Spanish Armada victorious and no Protestant rise of capitalism in the offing -- a technologically backward England survives under the sway
of the Catholic Church Militant. The individual stories are moody, eloquent, elegiac and thoroughly convincing. _^<i_The Inner Wheel_^>i_ (coll of linked stories _^<b_1970_^>b_) deals with the kind of gestalt _^<a_!T5830_SUPERMAN_^>a_ theme made
familiar by Theodore _^<a_!T5810_STURGEON_^>a_'s _^<i__^<a_!B9221_MORE THAN HUMAN_^>a__^>i_ (fixup _^<b_1953_^>b_) and is similarly powerful, though tending to a rather uneasy sentimentality, perhaps endemic to tales of such relationships but also
typical of KR's handling of children and women. _^<i_Anita_^>i_ (coll of linked stories _^<b_1970_^>b_ US; exp 1990 US) is fantasy; the stories had appeared much earlier in _^<i_Science Fantasy_^>i_. _^<i_The Boat of Fate_^>i_ (_^<b_1971_^>b_), an
historical novel with a Roman setting, shares a painterly concern for primitive landscapes with _^<i_The Chalk Giants_^>i_ (coll of linked stories _^<b_1974_^>b_; cut 1975 US), whose separate tales elegantly embody a cyclical vision of the future
of the island of Britain. The protagonist of the framing narrative (seen in the UK edition only) drives to the south coast to escape an indistinct disaster, goes into hiding, and (depending on one's reading) either cycles the rest of the book
through his head or can be seen as himself emblematic of the movement the tales portend, from post-_^<a_!T4482_HOLOCAUST_^>a_ chaos through God-ridden savagery back to a state premonitory of his own wounded condition._^<n__^<n_KR's early short
stories were assembled in _^<i_Machines and Men_^>i_ (coll _^<b_1973_^>b_) and _^<i_The Grain Kings_^>i_ (coll _^<b_1976_^>b_), both being excerpted in _^<i_The Passing of the Dragons_^>i_ (coll _^<b_1977_^>b_ US). The title story of the second
volume fascinatingly describes life on giant hotel-like grain harvesters in a world of vast farms; in the same volume, "Weihnachtsabend" (1972), perhaps KR's finest single story, depicts an alternate world in which the Nazis have won WWII (>
_^<a_!T4446_HITLER WINS_^>a_), and expands upon certain savage myths implicit in that victory. Later work was assembled in _^<i_Ladies from Hell_^>i_ (coll _^<b_1979_^>b_), _^<i_The Lordly Ones_^>i_ (coll _^<b_1986_^>b_) and _^<i_Winterwood and
Other Hauntings_^>i_ (coll _^<b_1989_^>b_), the limited edition of which also contained, bound-in, _^<i_The Event_^>i_ (_^<b_1989_^>b_ chap). As in his later novels, these stories increasingly display an entangled -- though sometimes searching --
dis-ease with human nature and sexuality, with the course of history and with the fate of the UK._^<n__^<n_KR's first novel after a gap of some years was _^<i_Molly Zero_^>i_ (_^<b_1980_^>b_), in which the classic sf tale of the growth of an
adolescent is -- typically for KR -- subverted by a sense that the _^<a_!T1370_DYSTOPIAN_^>a_ world into which the young female protagonist enters is dismayingly corrosive; it is a sense which variously governs the shadowy escapades of the
eponymous heroine of _^<i_Kaeti & Company_^>i_ (coll of linked stories _^<b_1986_^>b_), _^<i_Kaeti's Apocalypse_^>i_ (_^<b_1986_^>b_ chap) and _^<i_Kaeti on Tour_^>i_ (coll _^<b_1992_^>b_), and the life of the haunting _^<i_femme fatale_^>i_
depicted in _^<i_Grainne_^>i_ (_^<b_1987_^>b_). In mood or venue, these books have little of the feel of sf; _^<i_Kiteworld_^>i_ (fixup _^<b_1985_^>b_), on the other hand, invokes the atmosphere of earlier work in its depiction of a Britain
dominated by religious fanatics, and its constrictive rendering of the life of the crews who man giant kites to guard the frontiers against demons._^<n__^<n_As an illustrator, KR did much to change the appearance of UK sf magazines, notably
_^<i_Science Fantasy_^>i_, for which he designed all but 7 of the covers from Jan 1965 until its demise (as _^<i_SF Impulse_^>i_) in Feb 1967, and also _^<a_!T3182_NEW WORLDS_^>a_ for a period in 1966. His boldly Expressionist covers,
line-oriented, paralleled the shift in content of these magazines away from _^<a_!T4659_GENRE SF_^>a_ and _^<a_!T1412_FANTASY_^>a_ towards a more free-form, speculative kind of fiction. He later did covers and interior illustrations for the book
editions of _^<i_New Worlds Quarterly_^>i_ ed Michael _^<a_!T3030_MOORCOCK_^>a_, for some of whose novels he has also designed covers. He has illustrated several of his own 1980s titles. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_A Heron Caught in
Weeds_^>i_ (coll _^<b_1987_^>b_ chap); _^<i_The Natural History of the P.H._^>i_ (_^<b_1988_^>b_ chap), nonfiction, the initials referring to the "Primitive Heroine" who appears throughout KR's work; _^<i_The Road to Paradise_^>i_ (dated 1988 but
_^<a_!T4447_HIVE-MINDS_^>a_; _^<a_!T3791_INTERZONE_^>a_; _^<a_!T3184_NEW WRITINGS IN SF_^>a_; _^<a_!T2551_RELIGION_^>a_; _^<a_!T2300_SOCIOLOGY_^>a_; _^<a_!T5843_SUPERNATURAL CREATURES_^>a_.
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ROBERTS, LIONEL
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> R.L. _^<a_!T1427_FANTHORPE_^>a_._^<n__^<n_
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ROBERTS, MICHELE (BRIGITTE)
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(1949- ) UK poet and novelist, poetry editor of _^<i_Spare Rib_^>i_ 1975-7. Her novels all tend to _^<a_!T1372_FABULATION_^>a_ in their expression of an articulate _^<a_!T1461_FEMINIST_^>a_ aesthetic, but 2 are of genre interest: _^<i_The Wild
Girl_^>i_ (_^<b_1984_^>b_) vigorously displaces the reminiscences of Mary Magdalene, and _^<i_The Book of Mrs Noah_^>i_ (_^<b_1987_^>b_) similarly engages its heroine in myth-rich concourse with the female icons which engender the stories that make
the world (> _^<a_!T3135_MYTHOLOGY_^>a_). [JC]_^<n__^<n_
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ROBERTS, TERENCE
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Pseudonym of Ivan Terence Sanderson (1911-1973), UK-born US writer and illustrator on the natural sciences, as in _^<i_Living Treasure_^>i_ (_^<b_1941_^>b_), about wildlife around the Caribbean. As TR his sf novel was _^<i_Report on the Status
Quo_^>i_ (_^<b_1955_^>b_), a _^<a_!T1243_DISASTER_^>a_ story set in 1958-9, when the world is seen to reel under great floods and WWIII. As Ivan T. Sanderson he wrote several books with a relevance to _^<a_!T2019_PSEUDO-SCIENCE_^>a_, including
_^<i_Abominable Snowmen_^>i_ (_^<b_1961_^>b_; cut 1968) on cryptozoology, _^<i_Uninvited Visitors: A Biologist Looks at UFOs_^>i_ (_^<b_1967_^>b_) and _^<i_Invisible Residents_^>i_ (_^<b_1970_^>b_) about _^<a_!T5271_UFO_^>a_s and related Fortean
matter (> Charles _^<a_!T1569_FORT_^>a_), _^<i_Things_^>i_ (_^<b_1967_^>b_) and _^<i_More "Things"_^>i_ (_^<b_1969_^>b_) about unexplained mysteries, and the summative _^<i_Investigating the Unexplained_^>i_ (_^<b_1972_^>b_). [PN]_^<n__^<n_
Working name of UK writer and broadcaster Eileen Arbuthnot Robertson (1903-1961), best known for such non-sf novels as _^<i_Four Frightened People_^>i_ (_^<b_1931_^>b_), whose protagonists find themselves making their way through a tropical jungle.
It was written to contrast with her sf novel _^<i_Three Came Unarmed_^>i_ (_^<b_1929_^>b_) which, in a striking attack on modern civilization, exposes 3 (_^<i_Homo superior_^>i_) _^<i_enfants sauvages_^>i_ to contemporary England, which destroys
them. [JC]_^<n__^<n_
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ROBERTSON, J.R.
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[r] > _^<a_!T6332_ROBERT HALE LIMITED_^>a_._^<n__^<n_
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ROBERTSON, MORGAN (ANDREW)
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(1861-1915) US writer, almost always on nautical themes; many of his stories are sf or fantasy. The fantasy tales, typical of their maritime venues, tend to the mystical, the fog-girt, the occult and the morose. His sf is similar, though
future-_^<a_!T5452_WAR_^>a_ tales enliven the tone on occasion. MR is perhaps best remembered for _^<i_Futility, or The Wreck of the "Titan"_^>i_ (1898 in untraced US mag as "Futility"; _^<b_1912_^>b_ UK; vt with additional material, coll _^<i_The
Wrecking of the Titan, or Futility: Paranormal Experiences Connected with the Sinking of the Titanic_^>i_ 1914 US), which proved uncannily predictive in telling the tale of a great new ship called the _^<i_Titan_^>i_ which steams at an arrogant
pace into a iceberg and sinks. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Spun Yarn_^>i_ (coll _^<b_1898_^>b_); _^<i_"Where Angels Fear to Tread" and Other Tales of the Sea_^>i_ (coll _^<b_1899_^>b_); _^<i_The Three Laws and the Golden Rule_^>i_
(coll _^<b_1900_^>b_); _^<i_Down to the Sea_^>i_ (coll _^<b_1905_^>b_); _^<i_Land Ho!_^>i_ (coll _^<b_1905_^>b_); _^<i_Over the Border_^>i_ (coll of linked stories _^<b_1914_^>b_); _^<i_The Grain Ship_^>i_ (coll of linked stories
_^<b_1914_^>b_)._^<b_See also:_^>b_ _^<a_!T4823_GREAT AND SMALL_^>a_.
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ROBERT WEINBERG PUBLICATIONS
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> Robert E. _^<a_!T5507_WEINBERG_^>a_._^<n__^<n_
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ROBESON, KENNETH
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House name for authors writing the _^<b_Doc Savage_^>b_ series as it appeared 1933-49 in _^<a_!T1258_DOC SAVAGE MAGAZINE_^>a_, published by _^<a_!T5789_STREET & SMITH_^>a_. The Robeson name is most strongly associated with Lester
_^<a_!T1183_DENT_^>a_, who wrote all but 43 of the _^<b_Doc Savage_^>b_ stories; other authors involved in that initial run included William G. Bogart, Harold A. Davis, Laurence Donovan, Alan Hathaway and Rymon Johnson. 3 stories -- _^<i_The Man of
Bronze: Doc Savage and his Pals in a Novel of Unusual Adventure_^>i_ (_^<b_1933_^>b_; vt _^<i_Doc Savage: The Man of Bronze_^>i_ 1964), _^<i_The Land of Terror_^>i_ (_^<b_1933_^>b_; vt _^<i_Doc Savage: The Land of Terror_^>i_ 1965) and _^<i_The
Quest of the Spider_^>i_ (_^<b_1933_^>b_; vt _^<i_Doc Savage: The Quest of the Spider_^>i_ 1972) -- were early published in book form. Three decades later the series was brought to life again when _^<a_!T397_BANTAM BOOKS_^>a_ began their
republication of the entire run in book form. Variously released as individual titles or in omnibus format, the sequence began with the first title above listed, _^<i_Doc Savage: The Man of Bronze_^>i_, in 1964 and ended, complete, 182 stories
later with _^<i_Doc Savage Omnibus #13_^>i_ (omni _^<b_1990_^>b_). An entirely new sequence was then initiated, with Will _^<a_!T3116_MURRAY_^>a_ writing as KR, #1 being _^<i_Doc Savage: Python Isle_^>i_ * (_^<b_1991_^>b_)._^<n__^<n_The enormously
wealthy Doc Savage -- aided by 5 sidekicks who specialize in various crafts and sciences at the borderline of sf -- devotes his life to combating criminal conspiracies, almost all masterminded by the kind of charismatic villain later given
definitive form by Ian _^<a_!T1524_FLEMING_^>a_ in the _^<b_James Bond_^>b_ books. Doc Savage himself clearly influenced the creation of _^<a_!T5830_SUPERMAN_^>a_, and stands at the heart of Philip Jose _^<a_!T1435_FARMER_^>a_'s _^<b_Wold Newton
Family_^>b_ sequence, either in his own name or disguised, with 2 titles -- _^<i_Doc Savage: His Apocalyptic Life_^>i_ (_^<b_1973_^>b_; rev 1975) and _^<i_Doc Savage: Escape from Loki_^>i_ (_^<b_1991_^>b_) -- devoted directly to him. As the
original _^<b_Doc Savage_^>b_ tales are of only peripheral sf interest, we do not list them. R. Reginald's _^<i_Science Fiction and Fantasy Literature: A Checklist, 1700-1974_^>i_ (_^<b_1979_^>b_) provides coverage of the book reprints to the end
of 1974; and _^<i_Science Fiction and Fantasy Literature, 1975-1991: a Bibliography_^>i_ (_^<b_1992_^>b_), by Reginald with Darryl F. _^<a_!T3625_MALLETT_^>a_ and Mary Wickizer Burgess, gives a more complete analysis of the entire run._^<n__^<n_The
house name KR was used also on the _^<a_!T2033_PULP MAGAZINE_^>a_ _^<i_The Avenger_^>i_, another Street & Smith crime-busting hero series, with rather fewer sf elements. This was an attempt to cash in on the popularity of the _^<b_Doc Savage_^>b_
stories. Most of the _^<b_Avenger_^>b_ series (many also reprinted as paperback books in the 1970s) were the work of Paul _^<a_!T6685_ERNST_^>a_; the final dozen titles of the 1970s run, from _^<i_The Man from Atlantis_^>i_ (_^<b_1974_^>b_) on,
were newly written by Ron _^<a_!T4785_GOULART_^>a_. Other writers associated with the Kenneth Robeson name were Norman A. Danburg and Emile Tepperman. In 1991, Will _^<a_!T3116_MURRAY_^>a_ (_^<i_who see for further titles_^>i_) began a new series
of _^<b_Doc Savage_^>b_ tales, also as by KR, beginning with _^<i_Python Isle_^>i_* (_^<b_1991_^>b_). [JC/PN]_^<n__^<n__^<b_About the author:_^>b_ _^<i_The Man behind Doc Savage: A Tribute to Lester Dent_^>i_ (_^<b_1974_^>b_) by Robert E.
_^<a_!T5507_WEINBERG_^>a_; _^<i_Bigger than Life: The Creator of Doc Savage_^>i_ (_^<b_1990_^>b_) by Marilyn Cannaday.
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ROBIDA, ALBERT
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(1848-1926) French illustrator, lithographer and writer. AR was the most important and popular of 19th-century sf illustrators, and may even be said to have founded the genre, though he was clearly working in the tradition of such French fantastic
artists as Grandville (Jean Gerard; 1803-1847) and Gustave Dore (1832-1883). Always interested in _^<a_!T1370_DYSTOPIAS_^>a_ and _^<a_!T2812_SATIRE_^>a_, he illustrated works by Francois _^<a_!T2472_RABELAIS_^>a_, _^<a_!T1019_CYRANO DE
BERGERAC_^>a_, Jonathan _^<a_!T5873_SWIFT_^>a_ and Camille _^<a_!T1516_FLAMMARION_^>a_ among others, but his most important works had texts by himself. These were very often first published as periodical-series, each instalment being slim, and then
later in most cases as books. AR took up sf themes with his gently satirical homage to Jules _^<a_!T5355_VERNE_^>a_'s _^<b_Voyages extraordinaires_^>b_ with _^<i_Voyages tres extraordinaires de Saturnin Farandoul_^>i_, a 100-part periodical
beginning June 1879. It was later collected as 5 books (all _^<b_1882_^>b_): _^<i_Le roi des singes_^>i_ ["King of the Monkeys"], _^<i_Le tour du monde en plus de 80 jours_^>i_ ["Round the World in More than 80 Days"], _^<i_Les quatre reines_^>i_
["The Four Queens"], _^<i_A la recherche de l'elephant blanc_^>i_ ["In Search of the White Elephant"] and _^<i_S. Exc. M. le Gouverneur du Pole Nord_^>i_ ["His Excellency the Governor of the North Pole"]. A more prophetic work was _^<i_Le vingtieme
siecle_^>i_ ["The 20th Century"], a periodical in 50 parts beginning Jan 1882. There followed another series appearing later as _^<i_La vie electrique_^>i_ ["The Electric Life"] (_^<b_1883_^>b_), set in 1955. AR's ironically half-amused but
pessimistic view of the likely nature of future _^<a_!T5452_WAR_^>a_ (many of his predictions proved all too true) appeared in #200 of the humorous magazine _^<i_La Caricature_^>i_ (1883) as "La guerre au vingtieme siecle" ["War in the 20th
Century"], set in 1975, and in a book with the same title but different contents, _^<i_La guerre au vingtieme siecle_^>i_ (_^<b_1887_^>b_), set in 1945. A _^<a_!T6026_TIME-TRAVEL_^>a_ fantasy, serialized in the magazine _^<i_Le petit francais
illustre_^>i_ in 1890, _^<i_Jadis chez aujourd'hui_^>i_ ["The Long-Ago is with Us Today"], features a scientist resuscitating Moliere and other literary figures in order to show them the Universal Exhibition of 1889, which bores them.
_^<i_L'horloge des siecles_^>i_ ["Clock of the Centuries"] (_^<b_1902_^>b_) is one of the earliest treatments of the time-reversal theme later used by, for example, Philip K. _^<a_!T1222_DICK_^>a_ in _^<i_Counter-Clock World_^>i_ (_^<b_1967_^>b_),
Brian W. _^<a_!T87_ALDISS_^>a_ in _^<i_An Age_^>i_ (_^<b_1967_^>b_; vt _^<i_Cryptozoic!_^>i_ US) and Martin _^<a_!T154_AMIS_^>a_ in _^<i_Time's Arrow_^>i_ (_^<b_1991_^>b_). AR continued to produce quite prolifically, his last work being another
future fantasy entitled _^<i_Un chalet dans les airs_^>i_ ["Castle in the Air"] (_^<b_1925_^>b_)._^<n__^<n_The texts to the above works are generally undistinguished. The _^<a_!T4593_ILLUSTRATIONS_^>a_, however, mostly in a vein of detailed
caricature, are consistently inventive and amusing. AR worked mostly with lithographic pencil and crayon, achieving a haphazard but impressive vigour. The figures are very much those of Victorian Europe, dressed in the fashions of the time, and
involved in various busy scenes with a huge variety of modernistic devices. Among his hundreds of predictions were the videophone and germ warfare. His machines and _^<a_!T5492_WEAPONS_^>a_ were usually well designed -- some may actually have been
practicable -- although his flying machines look distinctly un-airworthy. The ironic intelligence of his work is rather undermined by his inability to imagine the future except in terms of more and more gadgetry: social mores remain frozen in the
Victorian mould. AR had a strong influence on the future-war genre. [PN/JG]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T1590_FRANCE_^>a_; _^<a_!T6080_TRANSPORTATION_^>a_.
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ROBINET, LEE
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> Robert Ames _^<a_!T528_BENNET_^>a_._^<n__^<n_
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ROBINETT, STEPHEN (ALLEN)
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(1941- ) US writer and lawyer who began publishing sf as Tak Hallus (apparently Persian for "pen name") with "Minitalent" for _^<i_ASF_^>i_ in 1969. His first novel, _^<i_Mindwipe!_^>i_ (1969 _^<i_ASF_^>i_ as by Tak Hallus; _^<b_1976_^>b_ Canada)
as by Steve Hahn, is unexceptional, but _^<i_Stargate_^>i_ (1974 _^<i_ASF_^>i_ as by Tak Hallus; _^<b_1976_^>b_) intriguingly combines _^<a_!T4288_HARD SF_^>a_ and detective modes in the tale of two great corporations and their quarrel over the
eponymous _^<a_!T3721_MATTER TRANSMITTER_^>a_. Along with Frederik _^<a_!T1937_POHL_^>a_'s _^<i__^<a_!B9035_GATEWAY_^>a__^>i_ (_^<b_1977_^>b_), this novel was important in establishing the commercial stargate (which can be variously defined as a
matter-transmission aperture or as a discontinuity or as a wormhole extension of a singularity -- so long as the phenomenon allows profitable and instantaneous contact to be made between one part of the Universe and another) as an essential
instrument of modern sf. _^<i_The Man Responsible_^>i_ (fixup _^<b_1978_^>b_) again focuses on the relationship between crime and sf, the story dealing this time with a 21st-century world in which computer projections pass as human. SR's stories,
in which a sharp wit is allowed free and satirical play, are assembled in _^<i_Projections_^>i_ (coll _^<b_1979_^>b_). It is a matter of serious regret that SR ceased publishing around 1980. [JC]_^<n__^<n_
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ROBINSON, CHARLES HENRY
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(1843-1930) US writer whose _^<i_Longhead: The Story of the First Fire_^>i_ (_^<b_1913_^>b_) capably runs the gamut of prehistoric-sf themes from the discovery of fire to the first hints of civilization (> _^<a_!T1727_ORIGIN OF MAN_^>a_).
[JC]_^<n__^<n_
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ROBINSON, E(DWARD) A.
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(? -? ) US writer in whose _^<i_The Disk: A Tale of Two Passions_^>i_ (_^<b_1884_^>b_; vt _^<i_The Disk: A Prophetic Reflection_^>i_ 1884 UK), with G(eorge) A. Wall, a series of inventions -- optical cables capable of harnessing the Sun's light,
imperishable food, disease-eliminating injections -- plays second fiddle to a tale of sexual passions. The inventions are effective. [JC]_^<n__^<n_
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-END-
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ROBINSON, ELEANOR
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(? - ) US writer in whose first novel, _^<i_Chrysalis of Death_^>i_ (_^<b_1976_^>b_), a disastrous primordial germ changes people into beasts. A brave doctor fights the menace; there is soap opera and sex. _^<i_The Silverleaf Syndrome_^>i_
(_^<b_1980_^>b_; vt _^<i_The Freak_^>i_ 1985) was less noticeable. [JC]_^<n__^<n_
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ROBINSON, FRANK M(ALCOLM)
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(1926- ) US writer, also active in publishing, who began writing sf stories in 1950 with "The Maze" in _^<i_ASF_^>i_ and was for a time fairly prolific, soon publishing his first (and for decades his only) solo novel, _^<i_The Power_^>i_
(_^<b_1956_^>b_). This effectively combines sf and thriller in the story of the search for a malignant _^<a_!T5830_SUPERMAN_^>a_ with undefined powers, including the ability to seem different to everyone who looks at him. The protagonist, himself
paranormally gifted, kills the bad superman and contemplates being a good one. It was filmed as _^<i_The_^<a_!T1964_POWER_^>a__^>i_ in 1967. FMR then fell relatively silent-fewer than half the stories assembled in _^<i_A Life in the Day of . . .
and Other Short Stories_^>i_ (coll _^<b_1981_^>b_) were written after _^<i_The Power_^>i_ -- and concentrated on editorial jobs, working for a variety of publications including _^<i_Rogue_^>i_ (1959-65) and _^<i_Playboy_^>i_) (1969-73). In the
1970s he changed direction and, in collaboration with Thomas N. _^<a_!T2887_SCORTIA_^>a_, produced a series of _^<a_!T1243_DISASTER_^>a_ novels which, though sf devices and explanations are occasionally invoked, most closely resemble the
_^<a_!T5917_TECHNOTHRILLER_^>a_. The first of these, _^<i_The Glass Inferno_^>i_ (_^<b_1974_^>b_), was filmed -- along with Richard Martin Stern's _^<i_The Tower_^>i_ -- as _^<i_The Towering Inferno_^>i_ (_^<b_1974_^>b_); further titles were
_^<i_The Prometheus Crisis_^>i_ (_^<b_1975_^>b_), which deals with the failure of a vast nuclear reactor, _^<i_The Nightmare Factor_^>i_ (_^<b_1978_^>b_), about biological warfare, _^<i_The Gold Crew_^>i_ (_^<b_1980_^>b_) and _^<i_Blow Out!_^>i_
(_^<b_1987_^>b_). _^<i_The Great Divide_^>i_ (_^<b_1982_^>b_), by FMR with John Levin, is set in the _^<a_!T6337_NEAR FUTURE_^>a_, when a coup threatens the USA._^<n__^<n_FMR's concentration on these lucrative but unchallenging books tended to blur
the early critical sense that he was a sharp and incisive writer, and _^<i_The Dark Beyond the Stars_^>i_ (_^<b_1991_^>b_) came as a welcome reminder of his gifts. It is -- perhaps rather late in genre history -- a
_^<a_!T4655_GENERATION-STARSHIP_^>a_ tale, told with much of the claustrophobia and dramatic irony typical of _^<a_!T1932_POCKET-UNIVERSE_^>a_ narratives. In keeping with its late composition, the ironies dominate: the family romance that the
protagonist must decode in order to mature is unfruitful, and the ship turns homeward. The book itself was a welcome signal of its author's own return to the genre. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T6697_ESP_^>a_.
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ROBINSON, JEANNE
-T-
[r] > Spider _^<a_!T2640_ROBINSON_^>a_._^<n__^<n_
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ROBINSON, KIM STANLEY
-T-
(1952- ) US writer who began writing sf stories with "Coming Back to Dixieland" and "In Pierson's Orchestra", both published in _^<i_Orbit 18_^>i_ (_^<b_1975_^>b_) ed Damon _^<a_!T4098_KNIGHT_^>a_. He has not been prolific in shorter forms,
publishing only about 10 stories before gaining his PhD in English at the University of California in 1982. In revised form, his thesis was later published as _^<i_The Novels of Philip K. Dick_^>i_ (_^<b_1984_^>b_); thoroughly researched, at ease
with the protocols of academic writing while at the same time showing an acute understanding of 1950s sf, it remains one of the most useful studies of Philip K. _^<a_!T1222_DICK_^>a_'s thorny oeuvre._^<n__^<n_KSR became widely known with the
publication of his first novel, _^<i__^<a_!B8993_THE WILD SHORE_^>a__^>i_ (1984), released as one of Terry _^<a_!T5182_CARR_^>a_'s _^<b_Ace Specials_^>b_. The first book of a thematic trilogy set in various versions of _^<b_Orange County_^>b_ on
the Pacific coast south of Los Angeles, and later assembled with its siblings as _^<i_Three Californias_^>i_ (omni _^<b_1995_^>b_), _^<i__^<a_!B8993_THE WILD SHORE_^>a__^>i_ lucidly examines the sentimentalized kind of US sf pastoral typically set
after an almost universal catastrophe. Sheltered from the full _^<a_!T1243_DISASTER_^>a_, Orange County has become an enclave whose inhabitants espouse a re-established US hegemony, but whose smug ignorance of the world outside is ultimately
self-defeating. In _^<i_The Gold Coast_^>i_ (_^<b_1988_^>b_), Orange County several decades hence is seen through the lens of _^<a_!T1370_DYSTOPIA_^>a_; a similar array of characters -- similarly related to one another -- must grapple with a
polluted, corrupt, overcrowded, ecologically devastated world. Under new names the same characters find themselves, in _^<i_Pacific Edge_^>i_ (_^<b_1990_^>b_ UK), breathing the air of _^<a_!T5303_UTOPIA_^>a_. In this world Orange County has
benefited from restrictions on corporate size and strict controls over land use and _^<a_!T1942_POLLUTION_^>a_. Although the novel shows the near impossibility of imagining a living utopia, a sense of earned freshness and relief permeates its
pages. As a whole, the trilogy may be read as three versions of the same story, each nesting within the other; structurally adventurous and searching, the _^<b_Orange County_^>b_ trilogy remains at the moment KSR's strongest accomplishment, though
the _^<b_Mars_^>b_ trilogy (see below) will almost certainly come to seem even more substantial._^<n__^<n_Other novels are varyingly successful. _^<i_Icehenge_^>i_ (fixup _^<b_1984_^>b_) strikingly conflates three incompatible readings of the
significance of an artifact found on Pluto, exploring a range of issues from epistemology to the nature of historical tradition. _^<i_The Memory of Whiteness_^>i_ (_^<b_1985_^>b_) less successfully attempts to suggest analogues between
_^<a_!T3118_MUSIC_^>a_ theory and the structure of the Universe, while at the same time conducting its musician hero -- who is, typically of KSR's protagonists, an almost constantly active character -- on a guided tour of the Solar System.
_^<i_Escape from Kathmandu_^>i_ (_^<b_1988_^>b_ chap), later expanded as _^<i_Escape from Kathmandu_^>i_ (coll of linked stories _^<b_1989_^>b_), set in a stress-ridden mystical Nepal, amusingly exploits KSR's own experience as a
mountaineer._^<n__^<n_Other stories appear in _^<i__^<a_!B9200_THE PLANET ON THE TABLE_^>a__^>i_ (coll _^<b_1986_^>b_), _^<i_The Blind Geometer_^>i_ (_^<b_1986_^>b_ chap; with 1 story added, coll 1989 dos) -- a later but lesser magazine version won
the 1987 _^<a_!T3147_NEBULA_^>a_ for Best Novella -- and _^<i_Remaking History_^>i_ (coll _^<b_1991_^>b_), which includes all the stories published in the slightly earlier _^<i_A Sensitive Dependence on Initial Conditions_^>i_ (coll _^<b_1991_^>b_
chap), and which was later published as _^<i_Remaking History_^>i_ (omni _^<b_1994_^>b_), in which version it incorporates _^<i__^<a_!B9200_THE PLANET ON THE TABLE_^>a__^>i_; _^<i_Down and Out in the Year 2000_^>i_ (coll _^<b_1992_^>b_ UK) gathers
together _^<i_The Blind Geometer_^>i_ and _^<i_A Short Sharp Shock_^>i_ plus tales from _^<i_Remaking History_^>i_. _^<i_Green Mars_^>i_ (1985 _^<i_IASFM_^>i_; _^<b_1988_^>b_ chap dos) prefigures the long-projected _^<b_Mars_^>b_ trilogy, which
treats that planet as a realistic habitat for the human species; the first volume, _^<i__^<a_!B9199_RED MARS_^>a__^>i_ (_^<b_1992_^>b_ UK), which won the 1993 Nebula, ranges magisterially over the early years of _^<a_!T5945_TERRAFORMING_^>a_,
_^<a_!T811_COLONIZATION_^>a_ and disruption; the sequence as a whole -- also comprising _^<i_Green Mars_^>i_ (_^<b_1993_^>b_), which won the 1994 _^<a_!T4551_HUGO_^>a_, and is not textually related to _^<i_Green Mars_^>i_; and <Blue Mars> -- is
projected to extend over 200 years of civilization on _^<a_!T3677_MARS_^>a_. _^<i_A Short Sharp Shock_^>i_ (_^<b_1990_^>b_) carries its athletic and ultimately clear-eyed protagonist into a soul-defining trek across an endless sea-girt peninsula
which is freely symbolic of death, or of the nature of life, or simply of the path a person must follow to fill out a human span._^<n__^<n_In a somewhat contrived attempt to contrast him to _^<a_!T1015_CYBERPUNK_^>a_ writers, KSR has been described
as a Humanist; he has himself disparaged as foolishly reductive this use of Humanism as a label. What in fact most characterizes the growing reach and power of his work is its cogent analysis and its disposal of such category thinking. He is at
heart an explorer. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Black Air_^>i_ (1983 _^<i_FSF_^>i_; _^<b_1991_^>b_ chap); _^<i_Future Primitive: The New Ecotopias_^>i_ (anth _^<b_1994_^>b_)._^<n__^<n__^<b_About the author:_^>b_ _^<i_A Checklist of Kim
Stanley Robinson_^>i_ (_^<b_1991_^>b_ chap) by Tom Joyce and Christopher P. _^<a_!T5711_STEPHENS_^>a_._^<b_See also:_^>b_ _^<a_!T20_ACE BOOKS_^>a_; _^<a_!T131_ALTERNATE WORLDS_^>a_; _^<a_!T1142_DEFINITIONS OF SF_^>a_; _^<a_!T4442_HISTORY IN
SF_^>a_; _^<a_!T3816_ISAAC ASIMOV'S SCIENCE FICTION MAGAZINE_^>a_; _^<a_!T3923_JOHN W. CAMPBELLMEMORIAL AWARD_^>a_; _^<i_The_^<a_!T3595_MAGAZINE OF FANTASY AND SCIENCE FICTION_^>a__^>i_ ; _^<a_!T3717_MATHEMATICS_^>a_; _^<a_!T2918_MESSIAHS_^>a_;
_^<a_!T3138_NANOTECHNOLOGY_^>a_; _^<a_!T3265_NUCLEAR POWER_^>a_; _^<a_!T1743_OUTER PLANETS_^>a_; _^<a_!T1884_PHILIP K. DICK AWARD_^>a_.
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ROBINSON, PHILIP BEDFORD
-T-
(1926- ) UK writer who has worked in India. In _^<i_Masque of a Savage Mandarin_^>i_ (_^<b_1969_^>b_) the deracinated protagonist takes symbolic revenge upon the world via the systematic destruction, by electrical means, of a victim's brain.
[JC]_^<n__^<n_
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ROBINSON, ROGER
-T-
(1943- ) UK computer programmer and bibliographer, active in UK fandom for many years. _^<i_The Writings of Henry Kenneth Bulmer_^>i_ (_^<b_1983_^>b_ chap; rev 1984 chap) is an exhaustive _^<a_!T585_BIBLIOGRAPHY_^>a_ of one of the most prolific
sf writers, and _^<i_Who's Hugh?: An SF Reader's Guide to Pseudonyms_^>i_ (_^<b_1987_^>b_) is similarly exhaustive. Criticized at first for its failure to annotate its findings -- so that, for instance, pseudonyms used for sf could not be
distinguished from others -- it has shown itself accurate and comprehensive. By sourcing each attribution, so that readers can weigh the reliability of the ascriptions, it aspires to a greater methodological sophistication than is often found in sf
scholarship. [JC]_^<n__^<n_
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ROBINSON, SPIDER
-T-
(1948- ) US-born writer who became a Canadian Landed Immigrant in 1975. His first story was "The Guy with the Eyes" for _^<i_ASF_^>i_ in 1973, inaugurating his long-running _^<b_Callahan_^>b_ series of _^<a_!T768_CLUB STORIES_^>a_. He has
sometimes written tales as by B.D. Wyatt. The first few years of his career were honour-laden. He shared with Lisa _^<a_!T6134_TUTTLE_^>a_ the 1974 _^<a_!T3922_JOHN W. CAMPBELL AWARD_^>a_ for Best New Writer; topped the 1977 Locus Poll for Best
Critic, mainly for his _^<b_Galaxy Bookshelf_^>b_ column for _^<i_Gal_^>i_ June 1975-Sep 1977; received a 1977 _^<a_!T4551_HUGO_^>a_ for the _^<i_ASF_^>i_ publication (as "By Any Other Name") of the first 4 chapters of his first novel,
_^<i_Telempath_^>i_ (_^<b_1976_^>b_ US); and won both Hugo and _^<a_!T3147_NEBULA_^>a_ in 1978, along with his wife and collaborator Jeanne Robinson, for "Stardance", which became the nucleus of _^<i__^<a_!B9201_STARDANCE_^>a__^>i_ (_^<b_1979_^>b_
US) with Jeanne Robinson. (In 1983 he won another Hugo, for "Melancholy Elephants" [1982].) At this high point of his career, his punchy optimism about the human condition and his adroit use of generic materials to express that optimism seemed to
have established him as a legitimate heir to Robert A. _^<a_!T4376_HEINLEIN_^>a_, a writer he deeply admired. _^<i_Telempath_^>i_, a complicated story set in a post-_^<a_!T4482_HOLOCAUST_^>a_ Earth after a decimating virus plague, cleverly
promulgates a sense that the surviving humans, in conjunction with the telepathic Muskies -- gaseous beings imperceptible before the plague -- can earn cohabitation with a vast empathic net of species. _^<i__^<a_!B9201_STARDANCE_^>a__^>i_ similarly
presents its audience with a protagonist -- this time a dancer too big for Earth work -- who helps propel humanity upwards into a Galaxy rich with communicating species._^<n__^<n_The _^<b_Callahan_^>b_ sequence makes use of the capacity of the club
story to reassure both participants and readers, and conveys a sense of real community (as in the tv series _^<i_Cheers_^>i_) through a wide range of tales -- sf and fantasy predominating -- which reveal human and alien frailties while
simultaneously affirming the group. The series comprises _^<i_Callahan's Crosstime Saloon_^>i_ (coll _^<b_1977_^>b_ US), _^<i_Time Travelers Strictly Cash_^>i_ (coll _^<b_1981_^>b_ US) and _^<i_Callahan's Secret_^>i_ (coll _^<b_1986_^>b_ US), most
of the stories from these 3 vols being assembled as _^<i_Callahan and Company: The Compleat Chronicles of the Crosstime Saloon_^>i_ (dated 1987 but _^<b_1988_^>b_ US) and a smaller selection being issued as _^<i_Callahan's Crazy Crosstime Bar_^>i_
(_^<b_1989_^>b_ UK). _^<i_Callahan's Lady_^>i_ (coll _^<b_1989_^>b_ US), set prior to the main series in a whorehouse run by Callahan's wife, assembles similar tales; further titles include _^<i_Lady Slings the Booze_^>i_ (_^<b_1992_^>b_), _^<i_The
Callahan Touch_^>i_ (_^<b_1993_^>b_) and _^<i_Off the Wall at Callahan's_^>i_ (coll _^<b_1994_^>b_). _^<i_Kill the Editor_^>i_ (_^<b_1991_^>b_ US) is also set in the whorehouse. SR's club stories differ from some older models mainly through the
amount of action that occurs in the saloon itself, so that their ultimate effect is, at times, complex._^<n__^<n_The 1970s were the high point for SR's somewhat insistent cheer, and subsquent work has proven considerably grimmer in tone.
_^<i_Mindkiller: A Novel of the Near Future_^>i_ (_^<b_1982_^>b_ US) -- for which the _^<a_!T2528_RECURSIVE_^>a_ _^<i_Time Pressure_^>i_ (_^<b_1987_^>b_ US) serves as both prequel and sequel -- complicatedly shifts time-schemes and identities in an
attempt to depict a crime- and computer-ridden world; the succeeding volume, even less coherently, re-invokes the 1973 Nova Scotia of SR's own memories, introducing a nude time-traveller who nurses the psychically wounded protagonist back to the
point at which he can begin to understand his significance in the scheme of things. SR's style in these later books -- exclamatory and burdened with Heinleinesque exaggerations -- does little to sustain their rollercoaster plots. _^<i_Night of
Power_^>i_ (_^<b_1985_^>b_ US), more controlled, aroused some negative response for its depiction of a Black-power revolt in New York City. His stories, on the other hand, have been more stable and consistent. Collections include _^<i_Antinomy_^>i_
(coll _^<b_1980_^>b_ US); _^<i_Melancholy Elephants_^>i_ (coll _^<b_1984_^>b_; with 1 story dropped and 2 added, rev 1985 US), his only book to be initially released by the feeble Canadian publishing industry; and _^<i_True Minds_^>i_ (coll
_^<b_1990_^>b_ US). [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_The Best of All Possible Worlds_^>i_ (anth _^<b_1980_^>b_); _^<i_Copyright Violation_^>i_ (_^<b_1990_^>b_ chap); _^<i_Starseed_^>i_ (_^<b_1991_^>b_) with Jeanne Robinson._^<b_See
Daniel _^<a_!T1143_DEFOE_^>a_'s _^<i_The Life and Strange Surprizing Adventures of Robinson Crusoe_^>i_ (_^<b_1719_^>b_) provides the original model for robinsonades -- romances of solitary survival in such inimical terrains as desert
_^<a_!T3823_ISLANDS_^>a_ (or planets) -- and also supplies much of the thematic and symbolic buttressing that allows so many of these stories to be understood as allegories of mankind's search for the meaning of life, just as Crusoe's ordeal is
both a religious punishment for disobedience and a triumphant justification of entrepreneurial individualism. Crusoe's paternalistic relation to the natives he eventually encounters has likewise been echoed in much modern sf, where until very
recently human/_^<a_!T98_ALIEN_^>a_ relations tended to be depicted within the same code of mercantilist opportunism. A second important model for sf's numerous robinsonades may well be Johann _^<a_!T6214_WYSS_^>a_'s _^<i_Der Schweizerische
Robinson_^>i_ (_^<b_1812-13_^>b_; trans -- perhaps by William Godwin -- as _^<i_The Family Robinson Crusoe_^>i_ _^<b_1814_^>b_ UK; new trans as _^<i_The Swiss Family Robinson_^>i_ 1818 UK) -- itself imitated by tales like D.W. Belisle's _^<i_The
American Family Robinson_^>i_ (_^<b_1853_^>b_) -- in which the element of the triumphant ordeal is broadened to include the testing of a full microcosm of social life -- leading either to _^<a_!T5303_UTOPIAN_^>a_ speculations, to which the
robinsonade has always been structurally attuned, or to the simpler, more active adventure of the _^<a_!T811_COLONIZATION OF OTHER WORLDS_^>a_. However, the fundamental thrust of the robinsonade -- its convincing celebration of the power of
pragmatic Reason, and its depiction of the triumph, alone, over great odds, of the entrepreneur who commands that rational Faculty -- continues to drive most of its offspring. [JC]_^<n__^<n_
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ROBINSON CRUSOE ON MARS
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Film (1964). Schenck-Zabel/Paramount. Dir Byron _^<a_!T4333_HASKIN_^>a_, starring Paul Mantee, Vic Lundin. Screenplay Ib Melchior, John C. Higgins, remotely based on _^<i_Robinson Crusoe_^>i_ (_^<b_1719_^>b_) by Daniel _^<a_!T1143_DEFOE_^>a_. 109
mins. Colour._^<n__^<n_Haskin directed several sf films in the 1950s, including _^<a_!T5465_WAR OF THE WORLDS_^>a_ (1953), and returned to the genre in 1964 with this interesting, futuristic version of Defoe's classic novel. After a spaceship
crashlands on Mars, one of the two pilots (the other is killed) struggles to survive and to remain sane in the alien, barren landscape -- here well played by California's Death Valley -- his only companion his pet monkey. This section of the film
is compelling; but, with the arrival of alien spaceships, the _^<a_!T2641_ROBINSONADE_^>a_ in a hostile environment gives way to _^<a_!T2342_SPACE-OPERA_^>a_ melodrama: the Earthman rescues one of the aliens' slaves, who becomes his Man Friday, and
a conventional pursuit-and-escape story follows. The story resembles -- but to no great degree--that of Rex _^<a_!T4773_GORDON_^>a_'s_^<i_No Man Friday_^>i_ (_^<b_1956_^>b_; vt_^<i_First on Mars_^>i_). [JP/PN]_^<n__^<n_
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ROBOCOP
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Film (1987). Orion. Dir Paul Verhoeven, starring Peter Weller, Nancy Allen, Daniel O'Herlihy, Ronny Cox, Kurtwood Smith. Screenplay Edward Neumeier, Michael Miner. 102 mins. Colour._^<n__^<n_Dutch director Verhoeven here unusually made a successful
transition from foreign art films -- the violent medieval epic _^<i_Flesh + Blood_^>i_ (1985) and the perverse thriller _^<i_The Fourth Man_^>i_ (1983) -- to a US populist blockbuster. A corrupt corporation in _^<a_!T6337_NEAR-FUTURE_^>a_ Detroit
manufactures a prototype _^<a_!T1017_CYBORG_^>a_ (Weller) in which the head of a mortally wounded policeman is integrated with a powerful metal body. The brutal extermination of criminals and cleansing of the corrupt business community that follow
are directed with a blend of technical skill, low cunning and genuine artistry that is both dismaying and breathtaking. The casual cruelties of the ongoing bloodbath seem merely a cynical exploitation of the worst aspects of audience voyeurism, but
the film also contains a density of information about, and a sharp satirical observation of, this future world that are both rare and welcome in sf cinema. Verhoeven went on to direct _^<a_!T6060_TOTAL RECALL_^>a_. The sequel, not dir Verhoeven,
was _^<a_!T2644_ROBOCOP 2_^>a_. [PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T726_CINEMA_^>a_.
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ROBOCOP 2
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Film (1990). Orion. Dir Irvin Kershner, starring Peter Weller, Nancy Allen, Belinda Bauer, Daniel O'Herlihy, Tom Noonan. Screenplay Frank _^<a_!T2953_MILLER_^>a_, Walon Green from a story by Miller. 116 mins. Colour._^<n__^<n_Dismissed by most
critics as an unimaginative retread of _^<a_!T2643_ROBOCOP_^>a_, _^<i_R2_^>i_ nevertheless has merits. Its narrative clarity and dash, which deliver a vision of future Detroit as one of the deeper circles of Hell, a sort of
_^<a_!T1057_DANTE_^>a_-meets-_^<a_!T1115_DC COMICS_^>a_, are a credit to the partnership of director Kershner (who made _^<i_The_^<a_!T6653_EMPIRE STRIKES BACK_^>a__^>i_ [1980]) and screenwriter Miller (who wrote and illustrated the
_^<b_Batman_^>b_ _^<a_!T4809_GRAPHIC NOVEL_^>a_ _^<i_The Dark Knight Returns_^>i_ [graph _^<b_1986_^>b_]). These qualities partially redeem _^<i_R2_^>i_'s simplistic repetition of the previous film's thematic concerns (anti-capitalism,
anti-liberalism, casual slaughter and lots of cynicism about tv news coverage) in a story where the good _^<a_!T1017_CYBORG_^>a_ cop (Weller) is again pitted against the evil corporation (privatizing the police force and about to do likewise to
City Hall) and their new, drug-crazed cyborg killer. Rob Bottin's cyborg designs are appropriately grotesque. [PN]_^<n__^<n_
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ROBOT JOX
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Film (1990). Empire. Dir Stuart Gordon, starring Gary Graham, Anne Marie Johnson, Paul Koslo, Robert Sampson, Hilary Mason. Screenplay Joe _^<a_!T4925_HALDEMAN_^>a_, Dennis Paoli. 82 mins. Colour._^<n__^<n_The people ("jox") who pilot the future
_^<a_!T2646_ROBOT_^>a_ colossi with which wars are settled in single combat are popular idols. The hero (Graham) is traumatized when he accidentally crushes a spectator stand and quits, but returns when the biologically engineered, test-tube
created woman he loves (Johnson) endangers herself by entering the field of combat. A long-cherished project of Charles _^<a_!T389_BAND_^>a_'s financially troubled Empire Pictures, and his most expensive, _^<i_RJ_^>i_ was several years in the
making and is disorientingly inconsistent in its production values: top-of-the-line effects by David Allen in the robot combat, but low-budget interiors and a few wobbly matte fringes. Gordon, scaling down his gore effects after
_^<a_!T2525_RE-ANIMATOR_^>a_ (1985) and _^<a_!T1634_FROM BEYOND_^>a_ (1986), handles the subtly humorous pulp-sf angles very well and gives the film a pleasantly uncluttered comic-bookish look, while Haldeman's sf-writer touch can be traced in the
neat background details (ad-campaigns for pregnancy, bigotry against "tubies") and in his distinctive blend of military-hardware expertise and anti-_^<a_!T5452_WAR_^>a_ attitudes, the latter being especially apparent in the surprisingly emotional
climax. [KN]_^<n__^<n_
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ROBOTS
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The word "robot" first appeared in Karel _^<a_!T5147_CAPEK_^>a_'s play _^<i_R.U.R._^>i_ (_^<b_1921_^>b_; trans _^<b_1923_^>b_), and is derived from the Czech _^<i_robota_^>i_ (statute labour). Capek's robots were artificial human beings of organic
origin, but the term is usually applied to _^<a_!T3540_MACHINES_^>a_. Real-life assembly-line robots are adapted to specific functions, but in sf -- where the term overlaps to some extent with _^<a_!T177_ANDROIDS_^>a_ -- it usually refers to
machines in more-or-less human form._^<n__^<n_Machines which mimic human form date back, in both fiction and reality, to the early 19th century. The real automata were showpieces: clockwork dummies or puppets. Their counterparts in the fiction of
E.T.A. _^<a_!T4461_HOFFMANN_^>a_ -- the Talking Turk in "Automata" (1814) and Olympia in "The Sandman" (1816) -- present a more verisimilitudinous image, and play a sinister role, their wondrous artifice being seen as something blasphemous and
diabolically inspired. The automaton in Herman _^<a_!T3759_MELVILLE_^>a_'s "The Bell-Tower" (1855) has similar allegorical connotations. Early-20th-century works are markedly different. William Wallace _^<a_!T863_COOK_^>a_'s _^<i_A Round Trip to
the Year 2000_^>i_ (1903; _^<b_1925_^>b_), which features robotic "mugwumps", and the anonymous skit _^<i_Mechanical Jane_^>i_ (_^<b_1903_^>b_) are both comedies, as is J. Storer _^<a_!T767_CLOUSTON_^>a_'s _^<i_Button Brains_^>i_ (_^<b_1933_^>b_),
a novel in which a robot is continually mistaken for its human model and which introduced most of the mechanical-malfunction jokes that remain the staple diet of stage and tv plays featuring robots. (Robots are the most common sf device used in
drama because they can be so conveniently and so amusingly played by live actors; the tradition extends to recent times in Alan Ayckbourn's _^<i_Henceforward_^>i_ [1988].)_^<n__^<n_Early _^<a_!T2033_PULP-MAGAZINE_^>a_ stories about robots are
generally ambivalent. David H. _^<a_!T4008_KELLER_^>a_'s "The Psychophonic Nurse" (1928) is a cooperative servant, but no substitute for a mother's love. Abner J. Gelula's "Automaton" (1931) has lecherous designs on its creator's daughter and has
to be destroyed. Harl _^<a_!T5375_VINCENT_^>a_'s "Rex" (1934) takes over the world and is about to remake Man in the image of the robot when his regime is overthrown. But the balance soon swung in favour of sympathy. The machines in Eando
_^<a_!T604_BINDER_^>a_'s "The Robot Aliens" (1935) come in peace but are misunderstood and abused by hostile humans; and saccharine sentimentality is also in the ascendant in "Helen O'Loy" (1938) by Lester _^<a_!T1164_DEL REY_^>a_, in which a man
marries the ideal mechanical woman, in "Robots Return" (1938) by Robert Moore _^<a_!T5625_WILLIAMS_^>a_, in which spacefaring robots discover that they were created by humans and accept the disappointment nobly, in "Rust" (1939) by Joseph E.
_^<a_!T4006_KELLEAM_^>a_, which describes the tragic decline into extinction of mechanical life on Earth, in the anti-Frankensteinian parable "I, Robot" (1939) by Eando Binder, and in "True Confession" (1940) by F. Orlin _^<a_!T6086_TREMAINE_^>a_
and "Almost Human" (1941) by Ray _^<a_!T997_CUMMINGS_^>a_, both of which feature altruistic acts of robotic self-sacrifice. Isaac _^<a_!T268_ASIMOV_^>a_ claims to have invented his famous "Laws of Robotics" (see below) in response to a technophobic
"Frankenstein syndrome", but there is little evidence of one in the robot stories published around the time of "Strange Playfellow" (1940; vt "Robbie"). Robots are given higher status than mere humans in "Farewell to the Master" (1940) by Harry
_^<a_!T459_BATES_^>a_ and "Jay Score" (1941) by Eric Frank _^<a_!T2743_RUSSELL_^>a_, the first of a series later published as _^<i_Men, Martians and Machines_^>i_ (coll of linked stories _^<b_1956_^>b_)._^<n__^<n_The system of ethics with which
Asimov's _^<a_!T1955_POSITRONIC ROBOTS_^>a_ were hardwired was enshrined in 3 famous Laws (devised in discussions with John W. _^<a_!T5140_CAMPBELL_^>a_ Jr, whom Asimov insisted was their co-creator): (1) a robot may not injure a human being or,
through inaction, allow a human being to come to harm; (2) a robot must obey the orders given it by human beings except where such orders would conflict with the First Law; (3) a robot must protect its own existence as long as such protection does
not conflict with the First or Second Law. The laws emerged from "Reason" (1941); "Liar" (1941) became the first of many Asimov stories whose plots involve the explication of odd robot behaviour as an unexpected consequence of them. In "Liar" (as
in many others) the logical unravelling is accomplished by the "robopsychologist" Susan Calvin. The early stories in the series -- collected in _^<i__^<a_!B9053_I, ROBOT_^>a__^>i_ (coll of linked stories _^<b_1950_^>b_) -- culminated in "Evidence"
(1946), in which a robot politician can get elected only by convincing voters that he is human, but does the job far better than the man he replaces. In C.L. _^<a_!T3033_MOORE_^>a_'s "No Woman Born" (1944) a dancer whose mind is resurrected in a
robot body quickly concludes that the robot condition is preferable to the human. The robot servants who survive mankind in Clifford D. _^<a_!T2218_SIMAK_^>a_'s _^<i__^<a_!B9054_CITY_^>a__^>i_ (1944-52; fixup _^<b_1952_^>b_) are the perfect
gentlemen's gentlemen rather than mere slaves. One cautionary note was sounded by Anthony _^<a_!T4937_BOUCHER_^>a_, whose stories "Q.U.R." and "Robinc" (both 1943 as by H.H. Holmes) champion "usuform robots" against anthropomorphous ones; the
stated reasons are utilitarian, but Boucher's religious faith -- he was a devout Catholic -- may have influenced his opinion. The most notable comic robot in pulp sf -- outside the works of the prolific Ron _^<a_!T4785_GOULART_^>a_, which are
infested by logically malfunctioning robots of every conceivable variety, not exclusively with comic intent -- is the narcissistic machine in _^<i_Robots Have No Tails_^>i_ (1943-8; coll of linked stories _^<b_1952_^>b_) by Henry
_^<a_!T4144_KUTTNER_^>a_ (as Lewis Padgett)._^<n__^<n_After 1945, when the atom bomb provoked a new suspicion of technology, attitudes to robots in sf became more ambivalent again. In 1947 Asimov published his first sinister-robot story, "Little
Lost Robot", and Jack _^<a_!T5629_WILLIAMSON_^>a_ produced the classic "With Folded Hands", in which robot "humanoids" charged "to serve man, to obey, and to guard men from harm" take their mission too literally, and set out to ensure that no one
endangers their own well being and that everyone is happy, even if that requires permanent tranquillization or prefrontal lobotomy. Many writers did not relinquish their loyalty to machines; Asimov and Simak remained steadfastly pro-robot, and
Williamson relented somewhat in his sequel to "With Folded Hands", _^<i_The Humanoids_^>i_ (_^<b_1949_^>b_) -- although the ending of the novel may have been suggested by John W. _^<a_!T5140_CAMPBELL_^>a_ Jr rather than being a spontaneous
expression of Williamson's own technophilic tendencies -- but most robot stories of the 1950s involve some kind of confrontation and conflict. Robots kill or attempt to kill humans in "Lost Memory" (1952) by Peter Phillips (1920- ), "Second
Variety" (1953) by Philip K. _^<a_!T1222_DICK_^>a_, "Short in the Chest" (1954) by Idris Seabright (Margaret _^<a_!T2770_ST CLAIR_^>a_), "First to Serve" (1954) by Algis _^<a_!T5064_BUDRYS_^>a_, _^<i_The Naked Sun_^>i_ (_^<b_1956_^>b_) by Asimov
and "Mark XI" (1957; vt "Mark Elf") by Cordwainer _^<a_!T2265_SMITH_^>a_. The mistaken-identity motif takes on sinister or unfortunate associations in Asimov's "Satisfaction Guaranteed" (1951), Dick's "Impostor" (1953), Walter M.
_^<a_!T2960_MILLER_^>a_'s "The Darfsteller" (1955) and Robert _^<a_!T661_BLOCH_^>a_'s "Comfort Me, My Robot" (1955). Robot courtroom dramas include Simak's "How-2" (1954), Asimov's "Galley Slave" (1957) and del Rey's "Robots Should Be Seen" (1958).
Man-robot boxing matches are featured in "Title Fight" (1956) by William Campbell Gault, "Steel" (1956) by Richard _^<a_!T3718_MATHESON_^>a_ and "The Champ" (1958) by Robert Presslie. The robot is an instrument of judgement in "Two-Handed Engine"
(1955) by Kuttner and C.L. _^<a_!T3033_MOORE_^>a_. Black comedies involving robots include several stories by Robert _^<a_!T2164_SHECKLEY_^>a_, notably "Watchbird" (1953) and "The Battle" (1954), although Sheckley's classic story in this vein was
the later "The Cruel Equations" (1971). One story which deviates markedly from the pattern is Boucher's Catholic fantasy "The Quest for St Aquin" (1951), in which a perfectly logical robot emulates Thomas Aquinas and deduces the reality of God; but
in the main robot stories of the 1950s reflected profound anxieties concerning the relationship between Man and machine. Asimov's _^<i_Caves of Steel_^>i_ (_^<b_1954_^>b_), which deals in some depth with its hero's anti-machine prejudices and his
mechanized environment, brings this anxiety clearly into focus._^<n__^<n_As post-Hiroshima anxiety began to ebb away in the late 1950s, a more relaxed attitude to the robot became evident, humour and gentle irony coming to the fore in such stories
as those in Harry _^<a_!T4316_HARRISON_^>a_'s _^<i_War with the Robots_^>i_ (1958-62; coll _^<b_1962_^>b_), Brian W. _^<a_!T87_ALDISS_^>a_'s "But Who Can Replace a Man?" (1958), Fritz _^<a_!T3322_LEIBER_^>a_'s _^<i_The Silver Eggheads_^>i_
(_^<b_1961_^>b_) and Poul _^<a_!T169_ANDERSON_^>a_'s "The Critique of Impure Reason" (1962). The old sentimentality returned to the robot story in full force in Simak's "All the Traps of Earth" (1960), and soon reached new depths of sickliness in
Ray _^<a_!T4963_BRADBURY_^>a_'s "I Sing the Body Electric!" (1969). The rehabilitation of the robot was completed by Barrington J. _^<a_!T472_BAYLEY_^>a_'s study in robot existentialism, _^<i_The Soul of the Robot_^>i_ (_^<b_1974_^>b_; rev 1976),
and its sequel, _^<i_The Rod of Light_^>i_ (_^<b_1985_^>b_), and by Asimov's "That Thou Art Mindful of Him" (1974) and "The Bicentennial Man" (1976), which took the robot's philosophical self-analysis to its logical conclusion, ending with the
identification of the robot as a thoroughly "human" being. Asimov later set out to integrate his robot stories into the Future History of his _^<b_Foundation_^>b_ series in such novels as _^<i__^<a_!B9274_THE ROBOTS OF DAWN_^>a__^>i_
(_^<b_1983_^>b_) and _^<i_Robots and Empire_^>i_ (_^<b_1985_^>b_); he also wrote a series of juvenile robot stories in collaboration with his wife Janet _^<a_!T269_ASIMOV_^>a_, begun with _^<i_Norby the Mixed-Up Robot_^>i_ (_^<b_1983_^>b_), and
lent his name to a series of _^<a_!T2127_SHARED-WORLD_^>a_ novels set in _^<b_Isaac Asimov's Robot City_^>b_, begun with _^<i_Odyssey_^>i_ (_^<b_1987_^>b_) by Michael P. _^<a_!T4133_KUBE-MCDOWELL_^>a_. Janet Asimov carried the family tradition
forward in _^<i_Mind Transfer_^>i_ (_^<b_1988_^>b_), which explores the possibilities of robot _^<a_!T2115_SEX_^>a_ alongside philosophical discussions of robotic "humanness". Other exercises in robot existentialism are featured in Sheila
_^<a_!T3566_MACLEOD_^>a_'s _^<i_Xanthe and the Robots_^>i_ (_^<b_1977_^>b_) and Walter _^<a_!T5954_TEVIS_^>a_'s angst-ridden _^<i_Mockingbird_^>i_ (_^<b_1980_^>b_)._^<n__^<n_Robot philosophy of a less earnest but cleverer kind is extensively
featured in Stanislaw _^<a_!T3329_LEM_^>a_'s robotic fables, collected in _^<i_The Cyberiad_^>i_ (coll _^<b_1965_^>b_; trans _^<b_1974_^>b_) and _^<i_Mortal Engines_^>i_ (coll trans _^<b_1977_^>b_). Robot _^<a_!T2551_RELIGION_^>a_ and
_^<a_!T3135_MYTHOLOGY_^>a_ are featured in Robert F. _^<a_!T6241_YOUNG_^>a_'s "Robot Son" (1959), Roger _^<a_!T6264_ZELAZNY_^>a_'s "For a Breath I Tarry" (1966), Simak's _^<i_A Choice of Gods_^>i_ (_^<b_1972_^>b_) and Gordon
_^<a_!T6608_EKLUND_^>a_'s "The Shrine of Sebastian" (1973). The integration of the robot into human religious culture is celebrated in Robert _^<a_!T2216_SILVERBERG_^>a_'s "Good News from the Vatican" (1971), about the election of the first robot
pope. Some humans, at least, are prepared to fight for the freedom of ex-colonial robots in James P. _^<a_!T4464_HOGAN_^>a_'s _^<i_Code of the Lifemaker_^>i_ (_^<b_1983_^>b_). The awkward question of whether one would let one's daughter marry a
robot is squarely addressed in Tanith _^<a_!T4234_LEE_^>a_'s _^<i_The Silver Metal Lover_^>i_ (_^<b_1982_^>b_), and the problems of an orphaned robot trying to get by in a puzzling and hostile world are hilariously displayed in
_^<i__^<a_!B9060_RODERICK_^>a__^>i_ (_^<b_1980_^>b_) and _^<i_Roderick at Random_^>i_ (_^<b_1983_^>b_) by John T. _^<a_!T2240_SLADEK_^>a_. The homicidal robot, although an endangered species, has not quite become extinct: a robot executioner is
featured in Roger Zelazny's "Home Is the Hangman" (1975) and a robot psychopath whose "asimov circuits" have failed is the antihero of Sladek's _^<i_Tik-Tok_^>i_ (_^<b_1983_^>b_). The killer-robot, however, made its most successful comeback during
the 1980s and 1990s in movies rather than books (>_^<a_!T726_ CINEMA_^>a__^<i_ for listing of examples_^>i_). The "paranoid android" Marvin (actually a robot), with his "brain the size of a planet", is a major character in the various versions of
Douglas _^<a_!T31_ADAMS_^>a_'s _^<b_Hitch Hiker's Guide to the Galaxy_^>b_ saga, and for a time attained cult-hero status. The writer whose work confirms the identification of Man and robot most strongly is Philip K. Dick, who usually preferred the
term "android". His most notable stories using humanoid machines to address the question of what the word "human" can or should mean are _^<i__^<a_!B9148_DO ANDROIDS DREAM OF ELECTRIC SHEEP?_^>a__^>i_ (_^<b_1968_^>b_), "The Electric Ant" (1969) and
_^<i_We Can Build You_^>i_ (1969-70; _^<b_1972_^>b_). "Someday," he said in his essay "The Android and the Human" (1973), "a human being may shoot a robot which has come out of a General Electrics factory, and to his surprise see it weep and bleed.
And the dying robot may shoot back and, to its surprise, see a wisp of gray smoke arise from the electric pump that it supposed was the human's beating heart. It would be rather a great moment of truth for both of them." This irony is explored in
the character Jonas, in Gene _^<a_!T5676_WOLFE_^>a_'s _^<b_The Book of the New Sun_^>b_ (_^<b_1980-83_^>b_), a robot who gradually acquires human prostheses._^<n__^<n_Anthologies of robot stories include _^<i_The Robot and the Man_^>i_ (anth
_^<b_1953_^>b_) ed Martin _^<a_!T4841_GREENBERG_^>a_, _^<i_The Coming of the Robots_^>i_ (anth _^<b_1963_^>b_) ed Sam _^<a_!T3074_MOSKOWITZ_^>a_, _^<i_Invasion of the Robots_^>i_ (anth _^<b_1965_^>b_) ed Roger _^<a_!T6648_ELWOOD_^>a_, and _^<i_The
Metal Smile_^>i_ (anth _^<b_1968_^>b_) ed Damon _^<a_!T4098_KNIGHT_^>a_. _^<i_Science Fiction Thinking Machines_^>i_ (anth _^<b_1954_^>b_) ed Groff _^<a_!T834_CONKLIN_^>a_ has a section on robots. [BS]_^<n__^<n__^<b_See also:_^>b_
(1938- ) Romanian lecturer in literature (at Cluj-Napoca University) and sf critic, some of whose many articles have appeared in English, including "A Key to Science Fiction: The Sublime" in _^<a_!T1577_FOUNDATION_^>a_ #42 (1988). He ed the 1st
reprint and critical edition (_^<b_1986_^>b_), with afterword in English, of the early Romanian sf novel _^<i_In anul 4000 sau O calatorie la Venus_^>i_ ["In the Year 4000, or A Voyage to Venus"] (_^<b_1899_^>b_) by Victor Anestin, and also ed the
anthology of Romanian sf _^<i_Timpul este umbra noastra: Science-fiction romanesc dinultimele doua decenii: Antologie comentata_^>i_ ["Time is Our Shadow: Romanian Science Fiction 1969-1989: Anthology with Commentary"] (anth _^<b_1991_^>b_), with
an afterword in English. A more general work is _^<i_Panorama romanului romanesc contemporan: 1944-1974_^>i_ ["Panorama of the Contemporary Romanian Novel: 1944-74"] (_^<b_1974_^>b_) with Ion Vlad. For this encyclopedia CR wrote the entry on
_^<a_!T2683_ROMANIA_^>a_ and contributed ideas to that on _^<a_!T2104_SENSE OF WONDER_^>a_. [PN]_^<n__^<n_
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ROCHESTER, GEORGE E.
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[r] > _^<a_!T2885_SCOOPS_^>a_._^<n__^<n_
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ROCHON, ESTHER
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(1948- ) Canadian writer who began publishing sf with "L'Initiateur et les etrangers" ["The Initiator and the Strangers"] for _^<i_Marie-Francoise_^>i_ in 1964, publishing stories frequently and cofounding the journal _^<i_imagine . . ._^>i_ (>
_^<a_!T5141_CANADA_^>a_) in 1979. With her first novel, _^<i_En Hommage aux araignees_^>i_ ["In Praise of Spiders"] (_^<b_1974_^>b_; rev as a juvenile vt _^<i_L'Etranger sous la ville_^>i_ ["The Stranger under the City"] 1986), she began the
_^<b_Vrenalik_^>b_ sequence of tales set in an _^<a_!T131_ALTERNATE-WORLD_^>a_ archipelago, a venue of the sort used by many Quebecois writers to express the St Lawrence River's domination of the geography of Quebec, just as some English-speaking
Canadian writers tend to set their tales on the shores of glaciated lakes. _^<i_L'Epuisement du Soleil_^>i_ ["The Draining of the Sun"] (_^<b_1985_^>b_), part of which first appeared as _^<i_Der Traumer in der Zitadelle_^>i_ ["The Dreamer in the
Citadel"] (_^<b_1977_^>b_ Germany), most of the stories assembled in _^<i_Le Traversier_^>i_ ["The Ferry"] (coll _^<b_1987_^>b_), _^<i_L'Espace du diamant_^>i_ ["The Space of the Diamond"] (_^<b_1990_^>b_) and most of the stories assembled in
_^<i_Le Piege a souvenirs_^>i_ ["The Trap of Memories"] (coll _^<b_1991_^>b_) are also set in this venue. Of her novels only _^<i_Coquillage_^>i_ (_^<b_1986_^>b_; trans David Lobdell as _^<i_The Shell_^>i_ _^<b_1990_^>b_) is set outside the
_^<b_Vrenalik_^>b_ world, though it too is set on an _^<a_!T3823_ISLAND_^>a_, where several human characters plunge into a profound sexual liaison with the eponymous _^<a_!T98_ALIEN_^>a_. Like most _^<a_!T5684_WOMEN SF WRITERS_^>a_ at work in
Quebec today, ER often depicts characters who have to encounter and deal with the Other on their own territory and without going into outer space, which has stimulated _^<a_!T1461_FEMINIST_^>a_ and political readings of her work. In 1986 and 1987
she received the Grand Prix de la science-fiction et du fantastique quebecois. [LP/JC]_^<n__^<n_
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ROCKETEER, THE
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(vt _^<i_The Adventures of the Rocketeer_^>i_) Film (1991). Walt Disney. Dir Joe Johnston, starring Bill Campbell, Jennifer Connelly, Alan Arkin, Timothy Dalton, Paul Sorvino. Screenplay Danny Bilson, Paul DeMeo. 108 mins. Colour._^<n__^<n_This
enjoyable big-budget re-creation of the thrills of 1930s B-serials -- more accurate but less popular than Steven _^<a_!T2367_SPIELBERG_^>a_'s _^<i_Raiders of the Lost Ark_^>i_ (1981) -- features gangsters, G-men, Nazis, pilots, movie stars, a
dirigible, Howard Hughes (1905-1976) and (in thin disguise) Errol Flynn (1909-1959) and Rondo Hatton (1894-1946). The Flynn character, played with relish by Dalton, is the villain; the gangster boss (Sorvino) discovers his true loyalties ("I'm a
hundred per cent American") when he realizes he has been helping Nazis steal an experimental rocket pack; there is an excellent re-creation of a Nazi propaganda cartoon. Unlike the greedy, cynical, individualistic Indiana Jones, the old-fashioned
Rocketeer, the uncharismatic Campbell, is law-abiding and patriotic -- and outshone by the scheming Dalton. [MK]_^<n__^<n_
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ROCKETS
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The Chinese were using skyrockets as fireworks in the 11th century, and adapted them as _^<a_!T5492_WEAPONS_^>a_ of _^<a_!T5452_WAR_^>a_ in the 13th. Europeans borrowed the idea, but rocket-missiles were abandoned as muskets and rifles became more
efficient. A 15th-century Chinese legend tells of one Wan Hu, who attached rockets to a chair, strapped himself in, and blasted off for the unknown. A similar notion was used by _^<a_!T1019_CYRANO DE BERGERAC_^>a_ in the first part of _^<i_L'autre
monde_^>i_ (_^<b_1657_^>b_), in which the hero straps 3 rows of rockets to his back, intending that as each set burns out it will ignite the next, so renewing the boost; the device proves impracticable._^<n__^<n_War rockets were used against the
British in India at the end of the 18th century, and the British reinstituted rocket technology, using rocket missiles in the Napoleonic War and in the US War of 1812; their rockets used in an attack on Fort Henry in 1814 inspired the reference to
"the rocket's red glare" in "The Star-Spangled Banner" by Francis Scott Key (1780-1843), who witnessed the battle. Rockets fell into disuse again with the development of better field artillery, but the possibility of using them as a means of
_^<a_!T6080_TRANSPORTATION_^>a_ encouraged some early experiments with unfortunate animals as passengers._^<n__^<n_In 1898 Konstantin _^<a_!T6108_TSIOLKOVSKY_^>a_ wrote a classic article, "The Probing of Space by Means of Jet Devices" (1903); he
had earlier written "On the Moon" (1893), "Dreams of Earth and Sky" (1895) and other stories and essays collected in _^<i_The Call of the Cosmos_^>i_ (coll trans _^<b_1963_^>b_) in company with the didactic novel _^<i_Outside the Earth_^>i_
(_^<b_1920_^>b_; trans _^<b_1960_^>b_ as _^<i_Beyond the Planet Earth_^>i_). In the same period the US inventor Robert Goddard (1882-1945) -- reputedly inspired by reading H.G. _^<a_!T5528_WELLS_^>a_'s _^<i__^<a_!B9242_THE WAR OF THE
WORLDS_^>a__^>i_ (_^<b_1898_^>b_)-also began thinking seriously about _^<a_!T2337_SPACE FLIGHT_^>a_, and in 1911 he began experimenting with rockets. He was working towards a liquid-fuel stage rocket -- a notion applied to the business of
interplanetary travel in John _^<a_!T6336_MUNRO_^>a_'s romance _^<i_A Trip to Venus_^>i_ (_^<b_1897_^>b_). Goddard launched the first liquid-fuel rocket in 1926. Meanwhile, the German rocket-research pioneer Hermann Oberth (1894-1989) -- author of
_^<i_Die Rakete zu den Planetenraumen_^>i_ ["The Rocket into Interplanetary Space"] (_^<b_1921_^>b_) -- and others, including Willy _^<a_!T3375_LEY_^>a_, formed a "Society for Space Travel". In 1928 Oberth was offered the opportunity to build a
rocket by a German film company, which hired him as technical adviser for Fritz _^<a_!T4177_LANG_^>a_'s film _^<i_Die_^<a_!T1609_FRAU IM MOND_^>a__^>i_ (1929); his experimental rocket was to be launched before the film's premiere as a publicity
stunt, but the project collapsed. Oberth began anew with a number of assistants, including Wernher von Braun (1912-1977), and managed to get a number of rockets off the ground in 1931. The project was abandoned as Germany's economy crashed, but von
Braun joined a rocket development project with the German Army while Ley emigrated to the USA. In 1937 the Army project acquired a large research centre at Peenemunde on an island in the Baltic, where von Braun and his staff developed the V-2
rocket bomb. This arrived too late to make any difference to the course of WWII, and von Braun fled to the Bavarian Alps in order to surrender to the USA rather than wait for the Russians. Goddard had spent WWII developing take-off rockets for US
Navy aircraft._^<n__^<n_Von Braun went to work for a US research programme. The project developed the Jupiter rocket to launch the USA's first space satellite in 1958, and ultimately the Saturn rocket which carried the first men to the
_^<a_!T3023_MOON_^>a_. During this period a number of US and UK sf writers -- most notably Arthur C. _^<a_!T736_CLARKE_^>a_, a leading member of the British Interplanetary Society founded by P.E. Cleator (1908- ) in the 1930s -- were active and
enthusiastic propagandists for the space programme. Even before WWII the sf _^<a_!T2033_PULP MAGAZINES_^>a_ had taken a considerable interest in rocket research -- _^<a_!T2875_SCIENCE WONDER STORIES_^>a_ publicized an occasion when "The Rocket
Comes to the Front Page" (Dec 1929) with an unsigned article that was probably by Hugo _^<a_!T4668_GERNSBACK_^>a_, and _^<a_!T277_ASTOUNDING SCIENCE-FICTION_^>a_ published such articles as Leo Vernon's "Rocket Flight" (1938). The UK
_^<a_!T5899_TALES OF WONDER_^>a_ published Clarke's "We Can Rocket to the Moon -- Now!" (1939). After WWII George _^<a_!T1769_PAL_^>a_ made the film _^<a_!T1194_DESTINATION MOON_^>a_ (1950), with script by Robert A. _^<a_!T4376_HEINLEIN_^>a_
(remotely based on his _^<i_Rocket Ship Galileo_^>i_ [_^<b_1947_^>b_]). Ray _^<a_!T4963_BRADBURY_^>a_ became particularly fascinated by the mythology of the rocket and followed up his "I, Rocket" (1944) with the early _^<b_Martian Chronicles_^>b_
episode "Rocket Summer" (1947) and the curious non-sf story "Outcast of the Stars" (1950; vt "The Rocket"). C.M. _^<a_!T6353_KORNBLUTH_^>a_ based his novel _^<i_Takeoff_^>i_ (_^<b_1952_^>b_) on the ironic theme of a crackpot project to build an
unworkable rocket which conceals a real attempt to build a practicable _^<a_!T2348_SPACESHIP_^>a_ -- testimony to the ambivalence of contemporary attitudes to rocket research. As late as 1956 a newly appointed British Astronomer Royal, Richard
Woolley, was reported to have declared that talk of space travel was "utter bilge", so encapsulating a considerable body of opinion which endured pugnaciously until the ascent of _^<i_Sputnik_^>i_ -- in 1957._^<n__^<n_There is no other historical
sequence of events in which fact and fiction are so closely entwined, or which seems to justify so well the imaginative reach of _^<a_!T4288_HARD-SF_^>a_ writers. Tsiolkovsky, Goddard and Oberth were visionaries more closely akin to speculative
writers than to their contemporary theorists. Rocket research has always been dependent on the practical demands of hot and cold wars, but it is surely true-as laboured in James A. _^<a_!T2938_MICHENER_^>a_'s pedestrian epic "faction"
_^<i_Space_^>i_ (_^<b_1982_^>b_) -- that for some of the people involved the real objective was always that of Wan Hu, Cyrano, Munro and Tsiolkovsky. Pierre _^<a_!T4938_BOULLE_^>a_'s _^<i_Garden on the Moon_^>i_ (_^<b_1964_^>b_; trans
_^<b_1965_^>b_), in which the German rocket scientists are entranced with the notion of cosmic voyaging even as they develop the V-2, probably has an element of truth in it. [BS]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T3813_ION DRIVE_^>a_;_^<a_!T1979_
(vt _^<i_Expedition Moon_^>i_) Film (1950). Lippert. Prod/dir/written Kurt Neumann, starring Lloyd Bridges, Osa Massen, John Emery. 78 mins. B/w._^<n__^<n_This cheap movie was hastily made to beat the more illustrious _^<a_!T1194_DESTINATION
MOON_^>a_ (1950) to the theatres. A rocket on its way to the Moon is diverted by a storm of meteors and lands on _^<a_!T3677_MARS_^>a_ instead. The astronauts find evidence that the planet has suffered an atomic war, and encounter a race of
_^<a_!T3120_MUTANTS_^>a_. In an unexpectedly downbeat ending the returning rocket crashes on Earth and all are killed. Some cineastes like this _^<a_!T2342_SPACE OPERA_^>a_ better than the more technological film on whose advance publicity it was
designed to get a free ride -- especially the atmospheric Mars sequences, tinted red in the film's original prints and well photographed by Karl Struss in the Mojave Desert._^<n__^<n_A German director who came to Hollywood in 1925, Neumann is best
known for _^<i_The_^<a_!T1537_FLY_^>a__^>i_ (1958); he also made _^<a_!T4132_KRONOS_^>a_ (1957). [JB/PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T726_CINEMA_^>a_.
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ROCKET STORIES
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US _^<a_!T1231_DIGEST_^>a_-size magazine. 3 issues, Apr, July, Sep 1953, published by Space Publications, New York, ed Wade _^<a_!T3962_KAEMPFERT_^>a_ (Lester _^<a_!T1164_DEL REY_^>a_ for #1 and #2, Harry _^<a_!T4316_HARRISON_^>a_ for #3). RS was a
companion magazine to _^<a_!T1419_FANTASY MAGAZINE_^>a_/_^<a_!T1417_FANTASY FICTION_^>a_, _^<a_!T2346_SPACE SCIENCE FICTION_^>a_ and the 1952-4 _^<a_!T2046_SCIENCE FICTION ADVENTURES_^>a_. All 4 magazines were closed down when the publisher lost
interest. _^<i_RS_^>i_, slanted to the juvenile market, contained fiction of fair quality, including early work by Algis _^<a_!T5064_BUDRYS_^>a_, but at the height of the _^<a_!T2130_SF-MAGAZINE_^>a_ boom, with well over 30 sf magazines being
published in the USA, it was effectively invisible. [FHP/PN]_^<n__^<n_
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ROCKLYNNE, ROSS
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Working name of US writer Ross Louis Rocklin (1913-1988) for his sf stories, most of which appeared in such magazines as _^<i_ASF_^>i_ from the mid-1930s up to 1947, beginning with "Man of Iron" for _^<i_ASF_^>i_ in 1935. He specialized in
_^<a_!T2342_SPACE-OPERA_^>a_ plots constructed around sometimes ingenious "scientific" problems, such as how to escape from the centre of a hollow planet in "At the Center of Gravity" (1936), the first of the _^<b_Colbie and Deverel_^>b_ series
assembled with similar material in _^<i_The Men and the Mirror_^>i_ (coll of linked stories _^<b_1973_^>b_); the story is flawed by the fact that RR did not realize that a symmetrical hollow shell does not have an internal, centrally directed
gravity field. A second series, _^<b_The Darkness_^>b_, was assembled as _^<i_The Sun Destroyers_^>i_ (fixup _^<b_1973_^>b_ dos); it features vast, nebula-like beings (> _^<a_!T3411_LIVING WORLDS_^>a_) and follows their life-courses through
millions of years from galaxy to galaxy without the intervention of mankind. RR had one of the most interesting, if florid, imaginations of the _^<a_!T2033_PULP-MAGAZINE_^>a_ writers of his time, and wrote very much better than most. He continued
to publish sf, rather sporadically, up to 1954 (he was interested in _^<a_!T1220_DIANETICS_^>a_ at that time); and later made a formidable comeback with several stories in 1968, demonstrating that he had no difficulty at all in adjusting his
narrative voice to the more sophisticated demands of the later period -- as in "Ching Witch!", one of the most assured _^<i_tours de force_^>i_ in Harlan _^<a_!T6641_ELLISON_^>a_'s _^<i_Again, Dangerous Visions_^>i_ (anth _^<b_1972_^>b_), an ironic
tale about the curious morality of a man who, as a result of _^<a_!T4657_GENETIC ENGINEERING_^>a_, has a lot of cat in him. [JC/PN]_^<n__^<n__^<b_About the author:_^>b_ _^<i_The Work of Ross Rocklynne: An Annotated Bibliography_^>i_ (_^<b_1989_^>b_
chap) by Douglas _^<a_!T2898_MENVILLE_^>a_._^<b_See also:_^>b_ _^<a_!T131_ALTERNATE WORLDS_^>a_; _^<a_!T956_CRIME AND PUNISHMENT_^>a_; _^<a_!T6020_TIME PARADOXES_^>a_; _^<a_!T5452_WAR_^>a_.
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ROCKWOOD, ROY
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House name used on _^<a_!T3960_JUVENILE SERIES_^>a_ published by Cupples & Leon of New York, and on one occasion by the Mershon Company of New Jersey. The best of the RR titles are the first 6 vols (1906-13) in the _^<b_Great Marvel_^>b_ sequence by
Howard R. _^<a_!T6395_GARIS_^>a_, who probably wrote from outlines by Edward _^<a_!T5785_STRATEMEYER_^>a_. In his autobiography _^<i_Ghost of the Hardy Boys_^>i_ Leslie McFarlane says he wrote some 1920s novels in the _^<b_Dan Fearless_^>b_ series
under the name RR. Other writers who worked under the RR name, which was used also on the 20 _^<b_Bomba the Jungle Boy_^>b_ books (1926-38), remain unidentified. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T710_CHILDREN'S SF_^>a_; _^<a_!T4474_HOLLOW
EARTH_^>a_; _^<a_!T1743_OUTER PLANETS_^>a_.
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ROCKY HORROR PICTURE SHOW, THE
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Film (1975). A Lou Adler-Michael White Production/20th Century-Fox. Dir Jim Sharman, starring Tim Curry, Susan Sarandon, Barry Bostwick, Richard O'Brien, Patricia Quinn, Little Nell (Laura Campbell), Jonathan Adams, Peter Hinwood, Meatloaf, Charles
Gray. Screenplay Sharman, O'Brien, based on O'Brien's stage musical _^<i_The Rocky Horror Show_^>i_ (1973). 101 mins. Colour._^<n__^<n_This UK film created little stir when first released in the USA, but by mid-1976 it was attracting large cult
audiences at midnight showings; the phenomenon grew throughout most of the late 1970s. _^<i_TRHPS_^>i_ became _^<i_the_^>i_ cult movie of all time, with its audiences becoming part of the performance, dressed as favourite characters, singing along,
shouting wisecracks at the screen, and so on. The phenomenon is analysed at length in _^<i_Midnight Movies_^>i_ (_^<b_1983_^>b_) by J. Hoberman and Jonathan Rosenbaum._^<n__^<n_The film itself is not entirely mediocre -- Curry's performance as
transvestite Dr Frank-N-Furter from the Planet Transsexual in the Galaxy Transylvania is memorable for the energy of its polymorphous perversity, based largely on a lampooning of Mick Jagger -- but it is ill paced, has some dreadful performances,
and is too long. The story is about shocking the bourgeois, which is also its object; this was the era of androgynous singer David Bowie, when bisexuality, at least in personal appearance, was becoming fashionable in the more radical fringes of
youth culture. Sarandon and Bostwick play the two normally dull young people seduced by the mad doctor in his gothic mansion after their car has broken down on a dark and stormy night._^<n__^<n__^<i_TRHPS_^>i_, an example of _^<a_!T2528_RECURSIVE
SF_^>a_, begins with a song affectionately recalling the delights of early sf movies, "Science Fiction, Double Feature"; another of the better numbers is "The Time Warp", a song and dance. Sf references abound, especially to the
_^<a_!T1600_FRANKENSTEIN MONSTER_^>a_: the mad doctor has created an artificial man, Rocky Horror, as a sexual plaything. Eventually Frank-N-Furter is lasered down, and the Gothic mansion is warped back to its planet of origin by Riff Raff the
butler (O'Brien), who turns out to be an alien. _^<i_TRHPS_^>i_ is notable for summing up an entire generation's attitude to sf: it is presented not as a bold facing-up to the challenges of the future but as a campy nostalgia for the luridnesses of
the past. [PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T3118_MUSIC_^>a_.
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RODAN
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> _^<a_!T2482_RADON_^>a_._^<n__^<n_
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RODDENBERRY, GENE
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(1921-1991) US tv scriptwriter, producer, director and creator of _^<a_!T2429_STAR TREK_^>a_. GR began writing in the late 1940s while working as a pilot for a commercial airline. In 1953 he sold his first tv script and in 1956 his first that was
sf, a genre in which he had not previously been particularly interested. In 1954 he became a full-time tv writer. In 1963 he created and produced a series of his own -- _^<b_The Lieutenant_^>b_ -- for MGM, and in the same year conceived _^<b_Star
Trek_^>b_ but had difficulty launching the project; and it was not to be until 1966 that the show reached tv screens. _^<b_Star Trek_^>b_ was not a great success in terms of ratings and was ended in 1968, but over the next decade, partly as a
consequence of reruns, the show built up a huge following._^<n__^<n_After _^<b_Star Trek_^>b_, GR spent much time trying to launch other tv sf series, but without success, although 4 pilot episodes appeared as made-for-tv films: _^<a_!T4656_GENESIS
II_^>a_ (1973), _^<a_!T1914_PLANET EARTH_^>a_ (1974), _^<i_The_^<a_!T2459_QUESTOR TAPES_^>a__^>i_ (1974) and _^<a_!T5779_STRANGE NEW WORLD_^>a_ (1975). In 1977, turning from sf to horror, GR wrote_^<i_Spectre_^>i_, a tv pilot, directed by Clive
Donner, along the lines of _^<a_!T4110_KOLCHAK: THE NIGHT STALKER_^>a_, with Robert Culp as a demonologist detective; this too failed to be sold as a series._^<n__^<n_Throughout the 1970s a _^<b_Star Trek_^>b_ revival was continually announced,
either as a tv series or as a theatrical film, but it was only after the success of _^<a_!T5686_STAR WARS_^>a_ (1977) that such a project became feasible. In 1979 GR finally produced _^<a_!T2430_STAR TREK THE MOTION PICTURE_^>a_, dir Robert
_^<a_!T5659_WISE_^>a_, with the cast of the old series stranded among state-of-the-art special effects. The announced budget was much inflated by many years of development costs having almost nothing to do with the final film; without such
irrelevant factors the film would have been the most successful of the_^<a_!T2429_ST_^>a_ movies. As it was, on the official figures, though commercially successful, it was by no means the blockbuster that Paramount had envisioned, and GR took a
less personal interest in the ongoing sequels, of which there have been 5 to date, commencing with _^<a_!T2431_STAR TREK II: THE WRATH OF KHAN_^>a_ (1982); these eschew the daring but tedious mystical approach of Wise's film and revert to the cosy
soap-and-sentiment basics of the original series. In 1987 GR cowrote and produced _^<i_Encounter at Farpoint_^>i_, the pilot episode of _^<a_!T2436_STAR TREK: THE NEXT GENERATION_^>a_ (1987-current), a sequel tv series set 80 years on in the
_^<b_Star Trek_^>b_ universe; he continued to serve as overall creative guide, but not on a day-to-day basis, and died shortly before his basic concept was spun off into a third tv series, _^<b_Star Trek: Deep Space Nine_^>b_ (begun
1992)._^<n__^<n__^<i_The Making of Star Trek_^>i_ (_^<b_1968_^>b_) by Stephen E. Whitfield and GR was actually written by Whitfield and _^<i_The Making of Star Trek The Motion Picture_^>i_ (_^<b_1980_^>b_) by Susan Sackett and GR was written by
Sackett. GR was also credited as author of the novelization _^<i_Star Trek: The Motion Picture_^>i_ * (_^<b_1979_^>b_). [JB/KN/PN]_^<n__^<n__^<b_About the author_^>b_: _^<i_Star Trek Creator: The Authorized Biography of Gene Roddenberry_^>i_
(_^<b_1994_^>b_) by David _^<a_!T89_ALEXANDER_^>a_; _^<i_Gene Roddenberry: The Myth and the Man Behind"Star Trek"_^>i_(_^<b_1994_^>b_) by Joel Engel.
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RODGERS, ALAN
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(1959 - ) US writer who began publishing work of genre interest with"The Boy who Came Back from the Dead" in_^<i_Masques #2_^>i_ (anth _^<b_1987_^>b_) ed J.N. Williamson (1932- ), a strongly moving fantasy tale later assembled with other work
in _^<i_New Life for the Dead_^>i_ (coll _^<b_1991_^>b_). AR's first novel, _^<i_Blood of the Children_^>i_ (_^<b_1989_^>b_), is horror, but his second, _^<i_Fire_^>i_ (_^<b_1990_^>b_), combines sf and horror in a _^<a_!T6337_NEAR-FUTURE_^>a_ story
in which a fundamentalist US President threatens a nuclear attack against the USSR while at the same time a lab explosion unleashes a virus which raises the dead and a telepathic entity which takes on the aspect of the Beast of Revelation. The plot
then thickens pyrotechnically. _^<i_Night_^>i_ (_^<b_1991_^>b_) is horror. [JC]_^<n__^<n_
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RODMAN, ERIC
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[s] > Robert _^<a_!T2216_SILVERBERG_^>a_._^<n__^<n_
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ROD SERLING'S NIGHT GALLERY
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US tv series (1970-72). A Jack Laird Production for Universal TV/NBC. Created Rod _^<a_!T2108_SERLING_^>a_. 93 plays: the 1969 2-hour pilot had 3 plays; season 1, part of a mixture of dramas called _^<b_Four-in-One_^>b_, consisted of 6 50min
episodes containing 2-3 playlets; season 2, under the _^<b_Rod Serling's Night Gallery_^>b_ title, had 23 of the same sort of 50min episodes; season 3 had 16 25min episodes, each with 1 playlet. Colour._^<n__^<n_Created by Rod Serling -- who in the
early 1960s had made the series _^<i_The_^<a_!T6141_TWILIGHT ZONE_^>a__^>i_ -- _^<i_RSNG_^>i_ was primarily made up of supernatural stories but did contain a small number of sf episodes; many of the plays were scripted by Serling from original
stories by such writers as C.M. _^<a_!T6353_KORNBLUTH_^>a_, Fritz _^<a_!T3322_LEIBER_^>a_, H.P. _^<a_!T3465_LOVECRAFT_^>a_ and A.E. _^<a_!T5333_VAN VOGT_^>a_, and Richard _^<a_!T3718_MATHESON_^>a_ scripted several other segments. One of the 3 plays
in the pilot, starring Joan Crawford, was Steven _^<a_!T2367_SPIELBERG_^>a_'s debut; other directors included John _^<a_!T350_BADHAM_^>a_, Leonard Nimoy and Jeannot Szwarc. After a time Serling lost creative control and grew to dislike the series,
the studio requiring more monsters and fewer subtleties; however, he continued to introduce it, strolling through a sinister art gallery and pointing to a relevant painting before each play began. _^<i_RSNG_^>i_ was on the whole a disappointment
after _^<b_The Twilight Zone_^>b_. 2 collections of stories by Serling were series spin-offs: _^<i_Night Gallery_^>i_ * (coll _^<b_1971_^>b_) and _^<i_Night Gallery 2_^>i_ * (coll _^<b_1972_^>b_). Also relevant is _^<i_Rod Serling's Night Gallery
Reader_^>i_ * (anth _^<b_1987_^>b_) ed Carol Serling (Serling's widow) with Martin H. _^<a_!T4842_GREENBERG_^>a_ and Charles G. _^<a_!T5488_WAUGH_^>a_. [JB/PN]_^<n__^<n_
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ROE, IVAN
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[r] > Richard _^<a_!T2822_SAVAGE_^>a_._^<n__^<n_
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ROGER, NOELLE
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Pseudonym of Swiss writer Helene Dufour Pittard (1874-1953), whose sf novel, _^<i_Le nouvel Adam_^>i_ (_^<b_1924_^>b_; trans P.O. Crowhurst as _^<i_The New Adam_^>i_ _^<b_1926_^>b_ UK), is about a wholly logical and unpleasant
_^<a_!T5830_SUPERMAN_^>a_ created by gland transplants. Finally, after having invented a nuclear force field, he blows himself up. [JC]_^<n__^<n__^<b_Other work:_^>b_ _^<i_Celui qui voit_^>i_ (_^<b_1926_^>b_; trans Robert Lancaster as _^<i_He Who
Sees_^>i_ _^<b_1935_^>b_ UK), occult fantasy._^<n__^<n__^<b_See also:_^>b_ _^<a_!T29_ADAM AND EVE_^>a_.
(1923-1982) US writer and artist, nicknamed "Red" for the colour of his hair and politics. A long-time sf fan, he drew the covers for a number of 1940s _^<a_!T1428_FANZINES_^>a_ as well as some for the (UK) _^<a_!T146_AMERICAN FICTION_^>a_ series.
His _^<i_A Requiem for Astounding_^>i_ (_^<b_1964_^>b_), though nostalgic and largely uncritical, provides a valuable history, rich in story synopses, of _^<a_!T277_ASTOUNDING SCIENCE-FICTION_^>a_ before the name-change to _^<i_Analog_^>i_.
[MJE/JC]_^<n__^<n_
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ROGERS, HUBERT
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(1898-1982) Canadian illustrator who studied art at Toronto Technical School and the School of the Museum of Fine Arts, Boston. He began his professional career in 1925 in New York, painting covers for books and for various magazines, including
_^<i_Adventure_^>i_ and _^<i_The_^<a_!T225_ARGOSY_^>a__^>i_ . He entered sf publishing with a cover painting for _^<a_!T277_ASTOUNDING SCIENCE-FICTION_^>a_ in 1939, and painted 58 covers and drew interior _^<a_!T4593_ILLUSTRATIONS_^>a_ for 60
issues of that magazine 1939-56. He and William Timmins dominated the covers of _^<i_ASF_^>i_ during the 1940s (HR did all of them Apr 1940-Aug 1942), a period when his comparatively muted style gave the magazine something of the dignity John W.
_^<a_!T5140_CAMPBELL_^>a_ Jr craved: more serious (and even solemn) than those of many of his colleagues, HR's covers epitomized the technological aspirations of _^<i_ASF_^>i_ in its more high-minded mode. His cover painting for "Fury" (May 1947)
by Lawrence O'Donnell (Henry _^<a_!T4144_KUTTNER_^>a_ and C.L. _^<a_!T3033_MOORE_^>a_) is considered his premier painting, and is one of the best covers ever put on an sf magazine. HR also did jacket paintings for several hardcover books, including
those for 3 Robert A. _^<a_!T4376_HEINLEIN_^>a_ novels from _^<a_!T2149_SHASTA_^>a_. He left sf during the 1950s to become one of Canada's foremost portrait painters. [JG/PN]_^<n__^<n_
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ROGERS, LEBBEUS HARDING
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(1847-1932) US businessman and writer whose _^<i_The Kite Trust (A Romance of Wealth)_^>i_ (_^<b_1900_^>b_), which may have been self-published, follows the juvenile kite-inventors and founders of the eponymous compact into adulthood, enormous
wealth, the discovery of new energy sources and the construction of transatlantic tunnels, while all the while an interplanetary spirit instructs the cast on the history of the Solar System. [JC]_^<n__^<n_
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ROGERS, MELVA
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[s] > Rog _^<a_!T1887_PHILLIPS_^>a_._^<n__^<n_
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ROGERS, MICHAEL (ALAN)
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(1951- ) US novelist and rock critic whose first-published sf story was "She Still Do" as by M. Alan Rogers, for _^<i_If_^>i_ in 1970. His first sf novel, _^<i_Mindfogger_^>i_ (_^<b_1973_^>b_), features a hippy inventor whose mind-fogging device
acts as a gentle hallucinogen; though the use to which he puts it is against an armaments company, we are left wondering if hip mind control is preferable to mind control by right-wing powers. _^<i_Forbidden Sequence_^>i_ (_^<b_1987_^>b_) is a
_^<a_!T5917_TECHNOTHRILLER_^>a_ about gene-splitting. [PN/JC]_^<n__^<n_
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ROGERS, PAT
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[s] > Arthur _^<a_!T1951_PORGES_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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ROGERSOHN, WILLIAM
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> Dennis _^<a_!T4544_HUGHES_^>a_._^<n__^<n_
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ROGOZ, ADRIAN
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[r] > _^<a_!T2683_ROMANIA_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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ROHAN, MICHAEL SCOTT
-T-
(1951- ) UK (Scottish) Oxford-educated law graduate and author, whose nonfiction books include an introduction to home computing and a study of the Viking era; he also reviews for _^<i_Opera Now_^>i_. He began publishing sf with stories like "The
Insect Tapes" in _^<i_Aries 1_^>i_ (anth _^<b_1979_^>b_) ed John Grant (Paul _^<a_!T425_BARNETT_^>a_). His first novel was _^<i_Run to the Stars_^>i_ (dated 1982 but _^<b_1983_^>b_), signed Mike Scott Rohan, a promising Scots-in-space thriller
featuring relativistic _^<a_!T5492_WEAPONS_^>a_ and an alien message, with nasty Earth bureaucrats ready to attack their own space colony. Then, like several UK writers of the period, he began genre crossing; most of his fiction since has been
_^<a_!T1412_FANTASY_^>a_ -- the genre in which he seems most at home -- beginning with _^<i_The Ice King_^>i_ (_^<b_1986_^>b_; vt _^<i_Burial Rites_^>i_ 1987 US) with Allan _^<a_!T2890_SCOTT_^>a_ under the joint pseudonym Michael Scot, a
supernatural thriller involving Norse mythology. There followed the more notable _^<b_The Winter of the World_^>b_ trilogy -- _^<i_The Anvil of Ice_^>i_ (_^<b_1986_^>b_), _^<i_The Forge in the Forest_^>i_ (_^<b_1987_^>b_) and _^<i_The Hammer of the
Sun_^>i_ (_^<b_1988_^>b_) -- set in an invented frozen world imagined in some depth; though the writing is sometimes floridly rhetorical. A young smith sets himself against the entropic Powers; quests follow; spring comes, but at a cost. MSR then
made a partial return to a kind of sf, in the jaunty, romantic _^<a_!T2870_SCIENCE FANTASY_^>a_ _^<b_Spiral_^>b_ trilogy, comprising _^<i_Chase the Morning_^>i_ (_^<b_1990_^>b_),_^<i_The Gates of Noon_^>i_(_^<b_1992_^>b_) and _^<i_Cloud
Castles_^>i_(_^<b_1994_^>b_), where real and magical _^<a_!T131_ALTERNATE WORLDS_^>a_(the coreand the spiral) intersect, and a computer program can become a spell. The series is intelligent, well thought-out, and surprisingly full of observations
about near-future _^<a_!T1939_POLITICS_^>a_. A second collaboration with Scott, _^<i_A Spell of Empire: The Horns of Tartarus_^>i_ (_^<b_1992_^>b_), was published under their real names. But perhaps his finest work to date is the solo historical
fantasy _^<i_The Lord of Middle Air _^>i_(_^<b_1994_^>b_), set partly in thirteenth-century Scotland (the Border area) and partly in a very convincing faery land, in which a young Scots chieftain encounters and has his life changed by the
(real-life) magician Michael Scot. (MSR claims Michael Scot as an ancestor.) MSR has consistently grown in stature as a writer throughout his career. [PN]_^<n__^<n_
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ROHMER, RICHARD H.
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(1924- ) Canadian writer whose novels almost invariably express a sense of fragile _^<a_!T1795_PARANOIA_^>a_ about the political and economic prospects for his native land, thinly stretched as it is along the US border. _^<i_Ultimatum_^>i_
(_^<b_1973_^>b_) and its sequel, _^<i_Exxoneration_^>i_ (_^<b_1974_^>b_), deal directly with Canadian-US conflicts in a _^<a_!T6337_NEAR-FUTURE_^>a_ frame. _^<i_Exodus/UK_^>i_ (_^<b_1975_^>b_) and its sequel, _^<i_Separation_^>i_ (_^<b_1976_^>b_;
rev vt _^<i_Separation Two_^>i_ 1981), turn inward to express a similar paranoia about separatism. Singletons that deal worriedly with similar material include _^<i_Balls!_^>i_ (_^<b_1979_^>b_), _^<i_Periscope Red_^>i_ (_^<b_1980_^>b_),
_^<i_Triad_^>i_ (_^<b_1981_^>b_), _^<i_Retaliation_^>i_ (_^<b_1982_^>b_) and _^<i_Starmageddon_^>i_ (_^<b_1986_^>b_). [JC]_^<n__^<n_
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ROHMER, SAX
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Pseudonym of UK journalist and popular thriller writer Arthur Sarsfield Ward (1883-1959). He started writing in 1909 and published in _^<i_Cassell's Magazine_^>i_, _^<i_Collier's Weekly_^>i_, _^<i_The Premier Magazine_^>i_ and numerous other early
general fiction magazines and _^<a_!T4958_BOYS' PAPERS_^>a_. SR capitalized on contemporary anxiety about the Chinese, generated by the Boxer Rebellion and the fictions of M.P. _^<a_!T2188_SHIEL_^>a_ and others, to produce many sensational novels
about the Yellow Peril. Most famous is his series about _^<b_Dr Fu Manchu_^>b_, a malign scientific genius and leader of a secret Chinese organization bent on world domination. This _^<a_!T5372_VILLAIN_^>a_ appeared in _^<i_The Mystery of Dr
Fu-Manchu_^>i_ (1912-13 _^<i_The Story Teller_^>i_ as "Fu-Manchu"; fixup _^<b_1913_^>b_; vt _^<i_The Insidious Dr Fu-Manchu_^>i_ 1913 US), _^<i_The Devil Doctor_^>i_ (1914-15 _^<i_Collier's Weekly_^>i_ as "Fu-Manchu & Co."; fixup _^<b_1916_^>b_; vt
_^<i_The Return of Dr Fu-Manchu_^>i_ 1916 US), _^<i_The Si-Fan Mysteries_^>i_ (1916-17 _^<i_Collier's Weekly_^>i_; fixup _^<b_1917_^>b_; vt _^<i_The Hand of Fu-Manchu_^>i_ 1917 US), _^<i_Daughter of Fu Manchu_^>i_ (_^<b_1931_^>b_), _^<i_The Mask of
Fu Manchu_^>i_ (_^<b_1932_^>b_) -- filmed as _^<i_The_^>i_ _^<a_!T3701_MASK OF FU MANCHU_^>a_ (1932) -- _^<i_Fu Manchu's Bride_^>i_ (_^<b_1933_^>b_ US; vt _^<i_The Bride of Fu Manchu_^>i_ 1933 UK), _^<i_The Trail of Fu Manchu_^>i_ (_^<b_1934_^>b_),
_^<i_President Fu Manchu_^>i_ (_^<b_1936_^>b_), _^<i_The Drums of Fu Manchu_^>i_ (_^<b_1938_^>b_), _^<i_The Island of Fu Manchu_^>i_ (_^<b_1941_^>b_), _^<i_The Shadow of Fu Manchu_^>i_ (_^<b_1948_^>b_), _^<i_Re-Enter Fu Manchu_^>i_ (_^<b_1957_^>b_;
vt _^<i_Re-Enter Dr Fu Manchu_^>i_ 1957 UK) and _^<i_Emperor Fu Manchu_^>i_ (_^<b_1959_^>b_). _^<i_The Wrath of Fu Manchu and Other Stories_^>i_ (coll _^<b_1973_^>b_) assembles various tales. _^<i_The Book of Fu Manchu_^>i_ (omni _^<b_1929_^>b_
containing 3 novels; exp to 4 novels 1929 US) features the first volumes of the sequence. Although these and other novels by SR are primarily occult thrillers, they contain many sf elements._^<n__^<n_Apart from this main series, SR wrote several
others. The _^<b_Sumuru_^>b_ series is about an oriental villainess: _^<i_Nude in Mink_^>i_ (_^<b_1950_^>b_ US; vt _^<i_Sins of Sumuru_^>i_ 1950 UK), _^<i_Sumuru_^>i_ (_^<b_1951_^>b_ US; vt _^<i_Slaves of Sumuru_^>i_ 1952 UK), _^<i_Virgin in
Flames_^>i_ _^<b_1952_^>b_; vt _^<i_The Fire Goddess_^>i_ 1952 US), _^<i_Return of Sumuru_^>i_ (_^<b_1954_^>b_ US; vt _^<i_Sand and Satin_^>i_ 1955 UK) and _^<i_Sinister Madonna_^>i_ (_^<b_1956_^>b_). The _^<b_Gaston Max_^>b_ series comprises
_^<i_The Yellow Claw_^>i_ (_^<b_1915_^>b_), _^<i_The Golden Scorpion_^>i_ (_^<b_1919_^>b_), _^<i_The Day the World Ended_^>i_ (_^<b_1930_^>b_), set in and around a fortress guarded by _^<a_!T1128_DEATH RAYS_^>a_, and _^<i_Seven Sins_^>i_
(_^<b_1943_^>b_). The _^<b_Paul Harley_^>b_ series consists of _^<i_Bat-Wing_^>i_ (_^<b_1921_^>b_), _^<i_Fire-Tongue_^>i_ (_^<b_1921_^>b_) and 11 short stories. The _^<b_Red Kerry_^>b_ series -- _^<i_Dope_^>i_ (_^<b_1919_^>b_) and _^<i_Yellow
Shadows_^>i_ (_^<b_1925_^>b_) -- is not sf/fantasy._^<n__^<n_SR also wrote several stage plays, including an adaptation from C.J. Cutcliffe _^<a_!T4572_HYNE_^>a_'s _^<b_Captain Kettle_^>b_ series. Several of his novels have been made into films (>
_^<i_The_^<a_!T1374_FACE OF FU MANCHU_^>a__^>i_ ) and the _^<b_Dr Fu Manchu_^>b_ sequence was adapted by him into a popular _^<a_!T2480_RADIO_^>a_ series._^<n__^<n_Dr Fu Manchu was widely imitated, notably by Roland Daniels, Anthony
_^<a_!T2728_RUD_^>a_ and Nigel Vane, and was a strong influence on the development of the more recent hero/villain quasi-sf thrillers written by Lester _^<a_!T1183_DENT_^>a_, Ian _^<a_!T1524_FLEMING_^>a_ and many others. Two direct imitations were
the short-lived magazines _^<i_The_^<a_!T3134_MYSTERIOUS WU FANG_^>a__^>i_ and _^<a_!T1271_DR. YEN SIN_^>a_. SR's only book under another name was a supernatural/theological novel, _^<i_Wulfheim_^>i_ (_^<b_1950_^>b_) as by Michael Furey.
[JE]_^<n__^<n__^<b_Other works:_^>b_ _^<i_The Sins of Severac Bablon_^>i_ (_^<b_1914_^>b_); _^<i_Brood of the Witch Queen_^>i_ (1914 _^<i_The Premier Magazine_^>i_; _^<b_1918_^>b_); _^<i_Tales of Secret Egypt_^>i_ (coll _^<b_1918_^>b_); _^<i_The
Orchard of Tears_^>i_ (_^<b_1918_^>b_); _^<i_The Quest of the Sacred Slipper_^>i_ (1913-14 _^<i_Short Stories_^>i_ as by Hassan of Aleppo; fixup _^<b_1919_^>b_); _^<i_The Dream Detective_^>i_ (coll _^<b_1920_^>b_; with 1 story added 1925); _^<i_The
Green Eyes of Bast_^>i_ (_^<b_1920_^>b_); _^<i_The Haunting of Low Fennel_^>i_ (coll _^<b_1920_^>b_); _^<i_Tales of Chinatown_^>i_ (coll _^<b_1922_^>b_); _^<i_Grey Face_^>i_ (_^<b_1924_^>b_); _^<i_Moon of Madness_^>i_ (_^<b_1927_^>b_), not fantasy;
_^<i_She who Sleeps_^>i_ (_^<b_1928_^>b_); _^<i_Yu'an Hee See Laughs_^>i_ (_^<b_1932_^>b_), not fantasy; _^<i_The Emperor of America_^>i_ (_^<b_1929_^>b_); _^<i_Tales of East and West_^>i_ (coll _^<b_1932_^>b_ UK; same title, different stories,
coll _^<b_1933_^>b_ US); _^<i_The Bat Flies Low_^>i_ (_^<b_1935_^>b_); _^<i_White Velvet_^>i_ (_^<b_1936_^>b_), not fantasy; _^<i_The Golden Scorpion Omnibus_^>i_ (coll _^<b_1938_^>b_); _^<i_The Sax Rohmer Omnibus_^>i_ (coll _^<b_1938_^>b_);
_^<i_Salute to Bazarada and Other Stories_^>i_ (coll _^<b_1939_^>b_); _^<i_The Moon is Red_^>i_ (_^<b_1954_^>b_); _^<i_The Secret of Holm Peel and Other Strange Stories_^>i_ (coll _^<b_1970_^>b_)._^<b_About the author:_^>b_ _^<i_Sax Rohmer: A
Bibliography_^>i_ (_^<b_1963_^>b_ chap) by Bradford M. _^<a_!T1102_DAY_^>a_; _^<i_Master of Villainy_^>i_ (_^<b_1972_^>b_) by Cay Van Ash and Elizabeth Sax Rohmer. Van Ash also wrote _^<i_Ten Years Beyond Baker Street_^>i_ (_^<b_1984_^>b_), a novel
in which Fu Manchu meets Sherlock Holmes._^<b_See also:_^>b_ _^<a_!T5141_CANADA_^>a_; _^<a_!T4780_GOTHIC SF_^>a_; _^<a_!T2033_PULP MAGAZINES_^>a_; _^<a_!T5492_WEAPONS_^>a_.
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ROKER, A.B.
-T-
> Samuel _^<a_!T451_BARTON_^>a_._^<n__^<n_
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ROLANT, RENE
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> R.L. _^<a_!T1427_FANTHORPE_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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ROLE-PLAYING GAMES
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> _^<a_!T1696_GAMES AND TOYS_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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ROLFE, FREDERICK (WILLIAM)
-T-
(1860-1913) UK author and eccentric, known as much for claiming the name "Frederick, Baron Corvo" as for his writing. The 9 "Reviews of Unwritten Books" (1903 _^<i_The Monthly Review_^>i_) with Sholto Douglas is an early articulation of the concept
of alternate history (> _^<a_!T131_ALTERNATE WORLDS_^>a_), if only in a nonfiction format (one of the reviews, for instance, being of "Machiavelli's _^<i_Despatches from the South African Campaign_^>i_")._^<i_Hubert's Arthur_^>i_ (written 1908-12;
_^<b_1935_^>b_) with H.C.H. Pirie-Gordon as by Prospero and Caliban, in which King John fails to kill and is overthrown by his nephew Arthur, is an early alternate-history novel, although its late publication date precludes any influence on that
genre. _^<i_The Weird of the Wanderer_^>i_ (_^<b_1912_^>b_), again with Pirie-Gordon as by Prospero and Caliban, is a fantasy, but _^<i_Hadrian the Seventh_^>i_ (_^<b_1904_^>b_), on which FR's reputation as an author almost solely rests, is a
genuine _^<a_!T6337_NEAR-FUTURE_^>a_ sf novel, set in 1910. Dealing with the rise to the Papacy of a frustrated candidate for priesthood, the novel offers a number of predictions regarding the future of Europe, including a vision of the Russian
Revolution. [GF]_^<n__^<n__^<b_About the author:_^>b_ There are many biographies, including A.J.A. Symons's famous _^<i_The Quest for Corvo: An Experiment in Biography_^>i_ (_^<b_1934_^>b_). More recent, and more reliable, is _^<i_Frederick Rolfe:
Baron Corvo_^>i_ (_^<b_1977_^>b_) by Miriam J. Benkovitz.
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ROLLERBALL
-T-
Film (1975). United Artists. Dir Norman Jewison, starring James Caan, John Houseman, Maud Adams, John Beck. Screenplay William Harrison (1933- ), based on his "Roller Ball Murders" (1973). 129 mins, cut to 125 mins. Colour._^<n__^<n_That one man
who stands tall and proud can topple a corrupt system by his example is the moral of this sluggish big-budget movie. In a future run by corporations, ordinary citizens are (implausibly) kept happy by a brutal gladiatorial spectator "sport" played
on rollerskates and motorcycles, and, to keep the proletariat in their place, designed as an allegory of the futility of individual effort. Caan plays the team leader who proves the bosses wrong by winning, even when they progressively break all
the rules to try to kill him. It has the theme but none of the verve, or even the convincing violence, of an exploitation movie; the high moral tone of the script (and the classical music on the sound track) are ludicrously at odds with the film's
fundamental (but incompetent) voyeurism. [PN]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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ROLLOVER
-T-
Film (1981). IPC Films/Orion. Dir Alan J. Pakula, starring Jane Fonda, Kris Kristofferson, Hume Cronyn. Screenplay David Shaber, from a story by Shaber, Howard Kohn, David Weir. 115 mins. Colour._^<n__^<n__^<i_R_^>i_ has a banker (Kristofferson) and
an oil-company chairman (Fonda) uncovering a conspiracy in which the Saudi Arabians have, with the help of US banks, been secretly dumping dollars and buying gold. Threatened with exposure, the Saudis withdraw all funds from the banks and a world
financial collapse ensues, with apocalyptic consequences. _^<i_R_^>i_ is an ironic, diagrammatic thriller in which US individualists -- innocent, greedy and emblematic -- are helpless against a powerful establishment (much as in Pakula's best film,
_^<i_The Parallax View_^>i_ [1974], which has a marginally sf brain-washing theme). Cold, difficult, sophisticated, anti-capitalist, _^<i_R_^>i_ was a commercial flop; it would have done better 8 years later. The doomsday scenarios of sf, unlike
those of the real world, seldom feature _^<a_!T6577_ECONOMICS_^>a_ as the catalyst -- probably because most people find money-manipulation too complex a topic -- but _^<i_R_^>i_, rather like the financial thrillers of Paul E.
_^<a_!T6680_ERDMAN_^>a_, is a notable exception. [PN]_^<n__^<n_
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ROLLS, BRIAN
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[r] > _^<a_!T6332_ROBERT HALE LIMITED_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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ROMANIA
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Romanian sf is over a century old. 1873 marked the appearance of the novelette "Finis Rumaniae" ["The End of Romania"] by the obscure writer Al. N. Dariu; two years later came a future _^<a_!T5303_UTOPIA_^>a_, _^<i_Spiritele anului 3000_^>i_
["Spirits of the Year 3000"] (_^<b_1875_^>b_) by Demetriu G. Ionnescu (the form of his name used by the statesman Take Ionescu [1858-1922]). The earliest sf writer proper in Romania was Victor Anestin (1875-1918), whose first novel was _^<i_In anul
4000 sau O calatorie la Venus_^>i_ ["In the Year 4000, or A Voyage to Venus"]; 1914 marked the almost simultaneous appearance of two "classic" novels of Romanian sf: _^<i_O tragedie cereasca_^>i_ ["A Sky Tragedy"] (_^<b_1914_^>b_), again by
Anestin, and _^<i_Un roman in Luna_^>i_ ["A Romanian on the Moon"] (_^<b_1914_^>b_) by Henri Stahl (1877-1942). All these belong to the tradition of the "astronomical" novel, as it was known before WWI._^<n__^<n_Between the Wars the range of themes
widened, the most notable novels being no longer "astronomical": examples are _^<i_Baletul mecanic_^>i_ ["The Clockwork Ballet"] (_^<b_1931_^>b_) by Cezar Petrescu (1892-1961) and _^<i_Orasele innecate_^>i_ ["The Drowned Cities"] (_^<b_1936_^>b_)
by Felix Aderca (1891-1962). There were also some valuable short stories, including "Groaza" ["Horror"] (1936), "Manechinul lui Igor" ["Igor's Mannequin"] (1938) and "Ochiul cu doua pupile" ["The Two-Pupilled Eye"] (1939), all by Victor Papilian
(1888-1956); a scientific fairy-tale, "Agerul Pamintului" ["The Deft Giant of the Earth"] (1939) by I.C. Vissarion (1879-1951); and above all 2 sf novelettes set in India (see below), by Mircea Eliade (1907-1986), better known in the West for his
studies in comparative religion; he was Professor of the History of Religion at the University of Chicago 1956-86, and author of fundamental works in this field, written in French and translated all over the world._^<n__^<n_As a writer of fiction,
Eliade belonged entirely to Romanian literature: he became one of the nation's major writers before WWII, while still living in Romania, and, when abroad afterwards, continued writing fiction exclusively in Romanian. He wrote both realistic and
fantastic fiction, the latter including some genuine masterpieces: the novels _^<i_Domnisoara Christina_^>i_ ["Miss Christina"] (_^<b_1936_^>b_) and _^<i_Sarpele_^>i_ ["The Snake"] (_^<b_1937_^>b_), the novelettes "La tiganci" (1959; trans as "
With the Gypsy Girls"1973 _^<i_Denver Review_^>i_) and _^<i_Pe strada Mantuleasa_^>i_ ["On Mantuleasa Street"] (_^<b_1968_^>b_ France), and many others, including _^<i_Foret Interdite_^>i_ (_^<b_1955_^>b_ France; in original Romanian as
_^<i_Noaptea de Sanziene_^>i_ _^<b_1971_^>b_ France; trans Mac Linecott Rickette and Mary Park Stevenson as _^<i_The Forbidden Forest_^>i_ _^<b_1978_^>b_ US), a huge novel in which the search for _^<a_!T3771_IMMORTALITY_^>a_ is parallelled to a
myth-saturated history of Romania. 5 of his writings are (somewhat borderline) sf. From his rich knowledge of Indian culture (he studied at the University of Calcutta 1928-31), Eliade extrapolated hypotheses drawn from, for example, Yoga and Tantra
in a sciencefictional manner, as in the title story of _^<i_Secretul doctorului Honigberger_^>i_ (coll _^<b_1940_^>b_; trans William Ames Coates as _^<i_Two Tales of the Occult_^>i_ _^<b_1970_^>b_ US; vt _^<i_Two Strange Tales_^>i_ 1986); the title
story (here trans as "Doctor Honigberger's Secret") is about time distortion and _^<a_!T3806_INVISIBILITY_^>a_; the volume also contains "Nopti la Serampore" (1939) (here trans as "Midnight in Serampore"), in which time reversibility reduces
individual lifespans to infinitesimal proportions compared to the great time-intervals of supra-individuality. The short story "Un om mare" ["A Big Man"] (written 1945; 1948) is about a giant and is partly reminiscent of H.G.
_^<a_!T5528_WELLS_^>a_'s _^<i_The Food of the Gods_^>i_ (_^<b_1904_^>b_); it is included in _^<i_Fantastic Tales_^>i_ (coll trans E. Tappe _^<b_1969_^>b_ UK). The last 2 of his works of sf interest are novelettes written in Paris much later, both
on the theme of _^<a_!T3120_MUTANTS_^>a_: the hero of "Tinerete fara de tinerete . . ." (written 1976; 1978 Germany), which appears in English as the long title story of _^<i_Youth without Youth_^>i_ (coll trans _^<b_1989_^>b_ UK), is a mutant who
becomes young and immortal after a thunderbolt; and in "Les trois Graces" ["The Three Graces"] (1976) Eliade transforms an idea he found in the Apocrypha in a cruel story about a rejuvenation treatment given to three old women suffering from cancer
-- they become unhappy mutants. A further English-language collection of Eliade's stories is _^<i_Tales of the Sacred and Supernatural_^>i_ (coll trans _^<b_1981_^>b_ US)._^<n__^<n_Postwar Romanian sf can be thought of in terms of 3 generations of
writers. To the first of these (now called "the old generation") belong Ovidiu Surianu (1918-1977), Mihu Dragomir (1919-1964), Mircea Serbanescu (1919- ), Vladimir Colin (1921-1991), Adrian Rogoz (1921- ), I.M. Stefan (1922- ), Victor
Kernbach (1923- ), Sergiu Farcasan (1924- ), Camil Baciu (1926- ), Georgina-Viorica Rogoz (1927- ), Horia Arama (1930- ), Ion Hobana (1931- ) and many others including Romulus Barbulescu (1925- ) and George Anania (1941- ), who
collaborated 1959-77 on 6 sf novels and several short stories. This generation was able to publish in the bimonthly _^<i_Colectia 'Povestiristiintifico-fantastice'_^>i_ ["The Collection of 'Scientific-Fantastic Stories'"], the longest-lasting
Romanian sf review, with 466 issues 1955-74 (editor-in-chief Adrian Rogoz). During its last years this review also published the early stories of a number of the then young writers (now known as "the middle generation"): Miron Scorobete (1933-
), Leonida Neamtu (1934-1991), Constantin Cublesan (1939- ), Voicu Bugariu (1939- ), Gheorghe Sasarman (1941- ), Mircea Oprita (1943- ) and others. They continued their ascension in the period 1974-82, when the Romanian literary scene
was deprived of any sf periodical. Starting in 1982 the "new wave" of the 1980s emerged, the younger generation of writers who have succeeded during the past decade in changing the landscape of Romanian sf. This was a period of new outlets for sf
writing, including _^<b_Almanah Anticipatia_^>b_ ["Anticipation Almanac"], with 8 annual vols each over 300pp (editor-in-chief Ioan Eremia Albescu), and some sporadically appearing magazines and _^<a_!T1428_FANZINES_^>a_, the most regular being
from Timisoara: _^<i_Helion_^>i_ (editor-in-chief Cornel Secu) and _^<i_Paradox_^>i_ (editor-in-chief Viorel Marineasa). Writers of this "young generation" include Marcel Luca (1946- ), Gheorghe Paun (1950- ), Mihail Gramescu (1951- ),
Constantin Cozmiuc (1952-_^<n__^<n_), Lucian Ionica (1952- ), Leonard Oprea (1953- ), George Ceausu (1954- ), Cristian Tudor Popescu (1956- ), Dorin Davideanu (1956- ), Ovidiu Bufnila (1957- ), Dan Merisca (1957-1991), Lucian
), Bogdan Ficeac (1960- ) and Mihnea Columbeanu (1960- )._^<n__^<n_Another writer who, like Eliade, cannot be accommodated into this generational classification is Ovid S. Crohmalniceanu (1921- ). He is contemporary with the "old
generation", and as a literary critic has accompanied the whole sf movement since the 1950s. Suddenly this distinguished professor of Romanian literature burst forth as an sf writer in the 1980s -- simultaneously with the turbulent young writers of
the "new wave", yet quite distinct from them and from _^<a_!T1389_FANDOM_^>a_ -- with 2 masterly volumes of short stories: _^<i_Istorii insolite_^>i_ ["Unwonted Stories"] (coll _^<b_1980_^>b_) and _^<i_Alte istorii insolite_^>i_ ["Other Unwonted
Stories"] (coll _^<b_1986_^>b_)._^<n__^<n_Though, naturally, each of these writers has a distinctive voice, the generational differences do have an effect. Ideologically shaped in the hard times of _^<i_proletcult_^>i_ and "socialist realism", then
of "socialist humanism", most of the "old generation" took an illusory refuge in the "humanistic credo" cynically imposed by an inhuman communist dictatorship. Most of the young writers of the "new wave", however, despite the even harder times of
the 1980s, intuitively accepted the elementary truth that a humanistic sf is an oxymoron. Thus the older writers are generally more inclined to a hollow, programmatic optimism: sweetened visions and lyricized epic sf motifs, with antagonisms
avoided and happy endings mandatory. The younger ones are more misanthropic and sarcastic; sentimental lyricism is mocked, and the full power of the epic is rediscovered. The result is a smouldering bitterness, a cruelty of perception, an
acknowledged auctorial "ruthlessness" that recognizes conflict and does not flinch from unhappy endings._^<n__^<n_On the other hand, there is a national context to be considered as well as the international nature of sf itself, and this to a degree
binds all the generations. Romanian sf writers -- most of them, at least -- are seductive storytellers, for palatable storytelling has always been praised in Romanian literature. Thus the spirit of "finesse" conflicts with the spirit of geometry,
and extrapolation tends to be of only a loose logical rigour (although not so with Eliade and Crohmalniceanu). Romanian sf has a native propensity for analogy rather than extrapolation, soft sf rather than hard, psychology rather than ontology; the
thrill of science itself, the true _^<a_!T2104_SENSE OF WONDER_^>a_, is unusual in Romanian sf, though the sense of _^<a_!T4555_HUMOUR_^>a_ is all too common, with parody sometimes ebulliently outrunning its rather negligible objects._^<n__^<n_In
place of thorough extrapolation is a rich harvest of allegories, parables and dystopian visions, most of them antitotalitarian. However, the best stories-including "Pianul preparat" ["The Prepared Piano"] (1966; rev 1974) by Horia Arama, "Evadarea
lui Algernon" ["Algernon's Escape"] (1978) by Gheorghe Sasarman, "Merele negre" ["Black Apples"] (1981) by Mihail Gramescu, "Domenii interzise" ["Forbidden Domains"] (1984) by Leonard Oprea, "Omohom" (1987) by Cristian Tudor Popescu and
"Deratizare" (1985) by Lucian Merisca -- are not mere political pamphlets or moral essays but genuine stories, though equivocal and allusive. The habit of double-thinking and half-speaking has deep roots in history, and was exacerbated by the
necessity of deceiving the obtuse but draconian censorship imposed by the Communist Party and the Romanian Secret Police. No matter how heart-relieving such Aesopian stories may be, they limit their writers (and readers) to a minor aesthetic. Now,
with the risks diminished, Romanian writers -- not only of sf -- realize they have forgotten how to express themselves directly, if they have ever known; the Aesopian mode has become second nature, difficult to eliminate if they are to face the
major aesthetic challenge of their art. [CR] _^<n__^<n__^<b_Further reading:_^>b_ "Brief History of Romanian SF" by Florin Manolescu, in _^<i_Romanian Review_^>i_ #5 (1988); "Milestones in Postwar Romanian Science Fiction" by Cornel
_^<a_!T2647_ROBU_^>a_ in _^<i_Foundation_^>i_ #49 (Summer 1990); "About the Stories and their Authors" in _^<i_Timpul este umbra noastra_^>i_ ["Time is our Shadow"] (anth _^<b_1991_^>b_) ed Robu; "Romanian 'Science Fantasy' in the Cold War Era" by
Elaine Kleiner, in _^<i_Science-Fiction Studies_^>i_, Mar 1992. More information is available in Romanian: _^<i_Virsta de aur a anticipatiei romanesti_^>i_ ["The Golden Age of Romanian Anticipation"] (anth _^<b_1969_^>b_) ed Ion Hobana;
_^<i_Literatura S.F._^>i_ ["Sf Literature"] (_^<b_1980_^>b_) by Florin Manolescu; <Anticipatia romaneasca> ["The Romanian Anticipation"] (1993) by Mircea Oprita.
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ROMANO, DEANE (LOUIS)
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(1927- ) US novelist and screenwriter, active in the latter capacity with scripts like "Angels' Flight" (1962). Some of his work has dealt with current investigations into parapsychology (> _^<a_!T2021_PSI POWERS_^>a_), and his filmscript on this
subject was novelized by Louis _^<a_!T5237_CHARBONNEAU_^>a_ as _^<i_The Sensitives_^>i_ * (_^<b_1968_^>b_). DR's own sf novel, _^<i_Flight from Time One_^>i_ (_^<b_1972_^>b_), also treated parapsychology, this time in the didactic tale of an elite
squad of "astralnauts" whose members take on missions in their astral bodies. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T6694_ESCHATOLOGY_^>a_.
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ROME, ALGER
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Collaborative pseudonym used by Jerome _^<a_!T622_BIXBY_^>a_ and Algis _^<a_!T5064_BUDRYS_^>a_, on "Underestimation" (1953). [PN]_^<n__^<n_
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ROME, DAVID
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Pseudonym used by immigrant Australian tv writer David Boutland (1938- ) for his sf, the first example being "Time of Arrival" in Apr 1961 for _^<i_NW_^>i_, where many others of DR's 25 or so stories appeared over the next decade. His only sf
book, _^<i_Squat_^>i_ (_^<b_1965_^>b_), subtitled "Sexual Adventures on Other Planets", is not his best work. [PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T4655_GENERATION STARSHIPS_^>a_.
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ROMERO, GEORGE A.
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(1940- ) US film-maker. A maverick working out of Pittsburgh rather than Hollywood, GAR changed the face of the _^<a_!T4509_HORROR_^>a_-movie genre with _^<a_!T3206_NIGHT OF THE LIVING DEAD_^>a_ (1968), an apocalyptic nightmare -- its theme
derived from Richard _^<a_!T3718_MATHESON_^>a_'s _^<i_I Am Legend_^>i_ (_^<b_1954_^>b_) -- in which the dead inexplicably return to eat the living. Having tackled a surprisingly wide variety of Vietnam-era social issues in this debut, GAR made a
pair of "serious" films -- _^<i_There's Always Vanilla_^>i_ (1972; vt _^<i_The Affair_^>i_) and the witchcraft-themed _^<i_Jack's Wife_^>i_ (1973; vt _^<i_Hungry Wives_^>i_; vt _^<i_Season of the Witch_^>i_) -- before returning to the former
panicked mood in _^<i_The_^<a_!T945_CRAZIES_^>a__^>i_ (1973; vt _^<i_Code Name Trixie_^>i_), in which a biological weapon is spilled in Pennsylvania and causes an epidemic of insanity. After filler work for tv -- mainly profiles of sports
personalities -- GAR formed Laurel Entertainment in partnership with Richard Rubinstein, and relaunched his career with _^<i_Martin_^>i_ (1978), an unorthodox, apparently non-supernatural vampire picture. He then made 2 impressive and rigorous
sequels to _^<i_Night of the Living Dead_^>i_: _^<a_!T1101_DAWN OF THE DEAD_^>a_ (1978; vt _^<i_Zombies_^>i_) and _^<a_!T1108_DAY OF THE DEAD_^>a_ (1985). Throughout the trilogy, which is marked as sf not so much by its (conflicting) "explanations"
for the crisis as by the concentration on the social, political and psychological outcome of the devastation of society, GAR has powerfully mingled black _^<a_!T2812_SATIRE_^>a_ with shock effects. Spin-offs have included: an anthology, _^<i_The
Book of the Dead_^>i_ (anth _^<b_1989_^>b_) ed John Skipp and Craig Spector; a remake in 1990 (> _^<a_!T3206_NIGHT OF THE LIVING DEAD_^>a_) dir special-effects man Tom Savini, scripted and exec-produced GAR; and a satire, _^<i_Return of the Living
Dead_^>i_ (1985), from a story by John Russo, coscripter of the original film, and dir Dan O'Bannon._^<n__^<n_Outside the trilogy, GAR has dir: _^<i_Knightriders_^>i_ (1981), a personal film about alternative lifestyles; _^<i_Creepshow_^>i_ (1982),
an _^<a_!T6573_EC COMICS_^>a_-style anthology film written by Stephen _^<a_!T4066_KING_^>a_; _^<a_!T3004_MONKEY SHINES_^>a_ (1988, vt _^<i_Monkey Shines: An Experiment in Terror_^>i_), an understated and impressive movie based on Michael
_^<a_!T5735_STEWART_^>a_'s _^<i_Monkey Shines_^>i_ (_^<b_1983_^>b_), about an intelligent experimental monkey; one half of _^<i_Two Evil Eyes_^>i_ (1990), which GAR adapted from Edgar Allan _^<a_!T1933_POE_^>a_'s "The Facts in the Case of M.
Valdemar"; and _^<i_The Dark Half_^>i_ (1991), a film version of the 1989 Stephen King novel, which was only released two years later. In addition, GAR has scripted episodes of the tv series _^<b_Tales from the Darkside_^>b_ (1984-9) and the films
_^<i_Creepshow 2_^>i_ (1987) and _^<i_Tales from The Darkside: The Movie_^>i_ (1990). GAR left the Laurel Entertainment partnership with Rubinstein in the early 1990s, leaving Rubinstein in control. [KN]_^<n__^<n__^<b_See also:_^>b_
_^<a_!T726_CINEMA_^>a_; _^<a_!T4482_HOLOCAUST AND AFTER_^>a_; _^<a_!T3011_MONSTER MOVIES_^>a_; _^<a_!T5843_SUPERNATURAL CREATURES_^>a_.
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ROMILUS, ARN
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A _^<a_!T1009_CURTIS WARREN_^>a_ house name used by Brian _^<a_!T4473_HOLLOWAY_^>a_ for 1 novel and Dennis _^<a_!T4544_HUGHES_^>a_ for 2. [JC]_^<n__^<n_
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RONALD, BRUCE W(ALTON)
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(1931- ) US writer, advertising man and actor. His _^<i_Our Man in Space_^>i_ (_^<b_1965_^>b_ dos) is a little reminiscent of Robert A. _^<a_!T4376_HEINLEIN_^>a_'s _^<i_Double Star_^>i_ (_^<b_1956_^>b_) in its story of an actor unhappily spying
on behalf of Earth. With John _^<a_!T3851_JAKES_^>a_ and Claire Strauch he wrote the musical comedy _^<i_Dracula, Baby_^>i_ (_^<b_1970_^>b_); Jakes played Van Helsing in the premiere in Ohio. [PN]_^<n__^<n_
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RONASZEGI, MIKLOS
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[r] > _^<a_!T6355_HUNGARY_^>a_._^<n__^<n_
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ROSE, F(REDERICK) HORACE (VINCENT)
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(1876-? ) South African author, a periodic UK resident, whose _^<i_The Maniac's Dream: A Novel of the Atomic Bomb_^>i_ (_^<b_1946_^>b_) was one of the first post-Hiroshima future-_^<a_!T5452_WAR_^>a_ novels to respond to the threat of nuclear
_^<a_!T4482_HOLOCAUST_^>a_, though in this case without much grounding in scientific realities. An earlier work, _^<i_The Night of the World_^>i_ (_^<b_1944_^>b_), centres on a timeslip in an oasis peopled by figures from other ages.
[JE/JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Bride of the Kalahari_^>i_ (_^<b_1940_^>b_); _^<i_Pharoah's_^>i_ [_^<i_sic_^>i_] _^<i_Crown_^>i_ (_^<b_1943_^>b_)._^<b_See also:_^>b_ _^<a_!T956_CRIME AND PUNISHMENT_^>a_.
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ROSE, LAURENCE F.
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> John Russell _^<a_!T1455_FEARN_^>a_._^<n__^<n_
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ROSE, MARK
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(1939- ) US academic and writer whose assistance in preparing _^<i_New Maps of Hell_^>i_ (_^<b_1960_^>b_ US) was acknowledged by its author, Kingsley _^<a_!T153_AMIS_^>a_. An apocalyptic post-_^<a_!T4482_HOLOCAUST_^>a_ short story, "We Would See
a Sign" in _^<i_Spectrum 3_^>i_ (anth _^<b_1963_^>b_) ed Amis and Robert _^<a_!T841_CONQUEST_^>a_, did not lead to a fiction career, and MR remains best known in the sf field for _^<i_Alien Encounters: Anatomy of Science Fiction_^>i_
(_^<b_1981_^>b_) which, taking off from the _^<a_!T1142_DEFINITION OF SF_^>a_ as a form of romance in _^<i_Anatomy of Criticism_^>i_ (_^<b_1957_^>b_ US) by Northrop Frye (1912-1991), redeploys the 19th-century confrontation between Man and Nature
to define sf as expressing a conflict between the human and the nonhuman. Within the terms of this definition, which MR uses as a conceptual (and inevitably partial) illumination of the field, he couches some of the most elegantly literate
practical criticism of selected texts the genre has yet seen. The anthologies _^<i_Science Fiction: A Collection of Critical Essays_^>i_ (anth _^<b_1976_^>b_) and _^<i_Bridges to Science Fiction_^>i_ (anth _^<b_1980_^>b_) with George R. Guffey and
George Edgar _^<a_!T2259_SLUSSER_^>a_ contain, perhaps inevitably, less striking material. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T963_CRITICAL AND HISTORICAL WORKS ABOUT SF_^>a_.
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ROSENBERG, JOEL
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(1954- ) US writer who began publishing sf with "Like the Gentle Rains" for _^<i_IASFM_^>i_ in 1982, but who has clearly felt more comfortable with tales of novel length. His first book, _^<i_The Sleeping Dragon_^>i_ (_^<b_1983_^>b_), a
_^<a_!T5875_SWORD-AND-SORCERY_^>a_ fantasy, begins the _^<a_!T2528_RECURSIVE_^>a_ _^<b_Guardians of the Flame_^>b_ sequence, continued with _^<i_The Sword in the Chain_^>i_ (_^<b_1984_^>b_) and _^<i_The Silver Crown_^>i_ (_^<b_1985_^>b_) -- these 3
assembled as _^<i_Guardians of the Flame: The Warriors_^>i_ (omni _^<b_1985_^>b_) -- plus _^<i_The Heir Apparent_^>i_ (_^<b_1987_^>b_) and _^<i_The Warrior Lives_^>i_ (_^<b_1989_^>b_) -- these 2 assembled as _^<i_Guardians of the Flame: The
Heroes_^>i_ (omni _^<b_1989_^>b_) -- plus _^<i_The Road to Ehvenor_^>i_ (_^<b_1991_^>b_). Though this sequence, along with _^<i_D'Shai_^>i_ (_^<b_1991_^>b_) and _^<i_Hour of the Octopus_^>i_ (_^<b_1994_^>b_) in the projected _^<b_D'Shai_^>b_
fantasy series, makes up the bulk of his production to date, it could be argued that JR's sf, beginning with _^<i_Ties of Blood and Silver_^>i_ (_^<b_1984_^>b_), is central to his work. This sf adventure and _^<i_Emile and the Dutchman_^>i_ (fixup
_^<b_1986_^>b_) belong very loosely to the _^<b_Metzada_^>b_ sequence, which spans the Galaxy with anarchic verve. More controversially, _^<i_Not for Glory_^>i_ (fixup _^<b_1988_^>b_) and its sequel _^<i_Hero_^>i_ (_^<b_1990_^>b_) focus directly
upon the Jewish planet of Metzada, from which tough mercenaries (who rather resemble Gordon R. _^<a_!T1227_DICKSON_^>a_'s Dorsai) issue forth into combat; but these Israeli-like soldiers, and the Germans and French and Dutch who have rigidly
maintained their own "racial" characteristics for centuries on their own planets, seem strangely stereotyped. It will be interesting to see what JR can do to sophisticate his ongoing galaxy. [JC]_^<n__^<n_
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ROSHWALD, MORDECAI (MARCELI)
-T-
(1921- ) Polish-born Israeli writer and academic, variously resident also in the USA and the UK, whose sf novels _^<i_Level 7_^>i_ (_^<b_1959_^>b_ US) and _^<i_A Small Armageddon_^>i_ (_^<b_1962_^>b_ UK) were both coloured by political concern
about our nuclear civilization. In the first and better known tale, a military officer describes his feelings and duties from extremely deep within a great bomb shelter as the world is gradually demolished above him. In the second the crew of a
nuclear submarine threatens to detonate its cargo unless its demands -- for sex and money -- are met, with farcically exaggerated results. The awful-warning content of MR's novels has perhaps paled with the years, but only because of humanity's
survival -- _^<i_pro tem_^>i_. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T6661_END OF THE WORLD_^>a_; _^<a_!T4482_HOLOCAUST AND AFTER_^>a_; _^<a_!T3825_ISRAEL_^>a_.
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(c) 1995 John Clute and Peter Nicholls
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ROSNY aine, J.H.
-T-
Pseudonym of French-speaking Belgian writer Joseph-Henri Boex (1856-1940). His younger brother Justin shared the pseudonym J.H. Rosny with him 1893-1907, and some works published during that period are collaborative. Joseph-Henri used the name for
solo writings before 1893, and after 1907 it was divided, Joseph-Henri taking the suffix "aine" and Justin "jeune". The elder Rosny is an important figure in the development of French speculative fiction, although only one of his novels, _^<i_Le
felin geant_^>i_ (_^<b_1918_^>b_ France; trans The Hon. Lady Whitehead as _^<i_The Giant Cat_^>i_ _^<b_1924_^>b_ US; vt _^<i_Quest of the Dawn Man_^>i_ 1964 US) was translated into English during his lifetime. Damon _^<a_!T4098_KNIGHT_^>a_
translated 2 of his most important short stories: "Les xipehuz" (1887; trans as "The Shapes" in _^<i_One Hundred Years of Science Fiction_^>i_, anth _^<b_1968_^>b_), in which prehistoric humans encounter inorganic _^<a_!T102_ALIENS_^>a_, and the
_^<a_!T1794_PARALLEL-WORLDS_^>a_ story "Un autre monde" (1895; trans as "Another World" in _^<i_A Century of Science Fiction_^>i_, anth _^<b_1962_^>b_). The former is also included, along with the fine _^<a_!T6661_END-OF-THE-WORLD_^>a_ story "La
mort de la terre" (1910), in _^<i_The Xipehuz and The Death of the Earth_^>i_ (coll trans George Edgar _^<a_!T2259_SLUSSER_^>a_ _^<b_1978_^>b_). The most famous of JHR's many prehistoric fantasies, _^<i_La Guerre du Feu_^>i_ (_^<b_1909_^>b_ France;
cut trans Harold Talbott as _^<i_The Quest for Fire: A Novel of Prehistoric Times_^>i_ _^<b_1967_^>b_ US), was filmed as _^<a_!T2457_QUEST FOR FIRE_^>a_ (1981). A "translation" of _^<i_L'etonnant voyage de Hareton Ironcastle_^>i_ ["The Astonishing
Journey of Hareton Ironcastle"] (_^<b_1922_^>b_ France) was produced by Philip Jose _^<a_!T1435_FARMER_^>a_ as _^<i_Ironcastle_^>i_ (_^<b_1976_^>b_), but so drastically modified that it cannot be regarded as the same work. JHR's prehistoric
romances -- which include _^<i_Vamireh_^>i_ (_^<b_1892_^>b_), _^<i_Eyrimah_^>i_ (_^<b_1893_^>b_) and _^<i_Helgvor du fleuve bleu_^>i_ ["Helgvor of the Blue River"] (_^<b_1930_^>b_) as well as above-mentioned titles -- were reissued in France in
1990 by Editions Robert Laffont in a huge omnibus volume; many of his short sf and fantasy stories, plus his semi-mystical speculative essay on creation and _^<a_!T6717_EVOLUTION_^>a_, _^<i_La legende sceptique_^>i_ ["The Sceptical Legend"]
(_^<b_1889_^>b_), and his short novel _^<i_Les navigateurs de l'infini_^>i_ ["Navigators of Infinity"] (_^<b_1925_^>b_) are in a Marabout collection titled _^<i_Recits de science-fiction_^>i_ ["Works of Science Fiction"] (coll _^<b_1975_^>b_
Belgium). The story begun in _^<i_Les navigateurs de l'infini_^>i_ is continued in the posthumous _^<i_Les astronautes_^>i_ (_^<b_1960_^>b_ France). JHR's other sf works include _^<i_La grande enigme_^>i_ ["The Great Enigma"] (_^<b_1920_^>b_
France) and _^<i_Les compagnons de l'univers_^>i_ ["Companions of the Universe"] (_^<b_1934_^>b_), another lyrical meditation in the vein of _^<i_La legende sceptique_^>i_. [BS]_^<n__^<n__^<b_About the author:_^>b_ "The Sf of J.H. Rosny the Elder"
by J.P. Vernier, _^<i_Science-Fiction Studies_^>i_ vol 2 #2 (July 1975)._^<b_See also:_^>b_ _^<a_!T197_ANTHROPOLOGY_^>a_; _^<a_!T524_BENELUX_^>a_; _^<a_!T611_BIOLOGY_^>a_; _^<a_!T902_COSMOLOGY_^>a_; _^<a_!T1590_FRANCE_^>a_; _^<a_!T4443_HISTORY OF
SF_^>a_; _^<a_!T3385_LIFE ON OTHER WORLDS_^>a_; _^<a_!T1727_ORIGIN OF MAN_^>a_; _^<a_!T1851_PERCEPTION_^>a_; _^<a_!T2551_RELIGION_^>a_.
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ROSS, BERNARD L.
-T-
> Ken _^<a_!T1545_FOLLETT_^>a_._^<n__^<n_
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17
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ROSS, DALLAS
-T-
[s] > Mack _^<a_!T2576_REYNOLDS_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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22
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ROSS, DAVID D.
-T-
(1949?- ) US writer who began publishing sf with his _^<b_Dreamers of the Day_^>b_ sequence -- _^<i_The Argus Gambit_^>i_ (_^<b_1989_^>b_) and _^<i_The Eighth Rank_^>i_ (_^<b_1991_^>b_) -- which complicatedly traces the political and cultural
consequences of a 21st-century ecological disaster. The seriousness with which he undertakes the task of underlining the nature of the problems faced by humanity goes some way to assuage the sense that DDR has not fully mastered the unstable
relationship between generic plotting and didactic thematic material. [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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496
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ROSS, JAMES
-T-
> Hugh _^<a_!T1070_DARRINGTON_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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ROSS, JOSEPH
-T-
Working name of US editor Joseph Wrzos (1929- ). He acted as Managing Editor of _^<a_!T141_AMAZING STORIES_^>a_ and _^<a_!T1394_FANTASTIC_^>a_ 1965-7 while continuing to teach high-school English fulltime in New Jersey. He ed _^<i_The Best of
(1895-1965) US writer and reporter, the protagonist of whose sf novel, _^<i_The Man who Lived Backward_^>i_ (_^<b_1950_^>b_), lives from 1940 to 1865, dying just after the assassination of Abraham Lincoln, which he is therefore unable to prevent.
[JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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ROSS, RAYMOND J.
-T-
[r] > _^<a_!T6332_ROBERT HALE LIMITED_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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ROSS, [Sir] RONALD
-T-
[r] > _^<a_!T3744_MEDICINE_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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18
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ROSSITER, OSCAR
-T-
Pseudonym of US physician and writer Vernon H. Skeels (1918- ), who received his MD in 1949 and whose first sf novel, _^<i_Tetrasomy Two_^>i_ (_^<b_1974_^>b_), is set in a hospital where a seemingly helpless human vegetable turns out to be an
amoral _^<a_!T5830_SUPERMAN_^>a_ preparing to eliminate the Solar System in order to accumulate the energy necessary to tour the Galaxy. The Australian film _^<i_Patrick_^>i_ (1978) dir Richard Franklin is based on a remarkably similar notion.
(1933- ) US author of several works of cultural criticism who began writing sf with _^<i_Bugs_^>i_ (_^<b_1981_^>b_), in which a frightened child telepath causes bugs to infiltrate computer systems and thereafter to eat people. A second novel,
_^<i_Dreamwatcher_^>i_ (_^<b_1985_^>b_), concerning _^<a_!T2021_PSI POWERS_^>a_, blends fantasy and sf, as does the remarkable _^<i_Flicker_^>i_ (_^<b_1991_^>b_) which, in a manner evocative of Steve _^<a_!T6681_ERICKSON_^>a_'s blackly surreal
version of film America, describes secret horrors contained subliminally in 1920s and 1930s films made by a mysterious forgotten German director, horrors which themselves reveal a Secret History of the World. [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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596
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ROTH, PHILIP (MILTON)
-T-
(1933- ) US writer who remains best known for _^<i_Portnoy's Complaint_^>i_ (_^<b_1969_^>b_), a novel whose sophisticated and often comic treatment of sexual obsessions is fantastically furthered (> _^<a_!T1372_FABULATION_^>a_) in _^<i_The
Breast_^>i_ (_^<b_1972_^>b_), the tale of the sudden and painful transformation of a man into a female breast; the psychosexual implications of the metaphor are clear, as is the debt to Franz _^<a_!T3963_KAFKA_^>a_. The descent to Hell of "Trick E.
Dixon" in _^<i_Our Gang_^>i_ (_^<b_1971_^>b_) is arousing. [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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ROTHMAN, CHUCK
-T-
Working name of US writer Charles Warren Rothman (1952- ), who began publishing sf with "The Munij Deserters" for _^<i_IASFM_^>i_ in 1982 and whose sf novel, _^<i_Staroamer's Fate_^>i_ (_^<b_1986_^>b_), has a precognitive protagonist doomed by
her talent to travel from world to world, shaping events as she goes. With his wife, Susan Noe Rothman, CR serves as joint secretary/treasurer of the _^<a_!T2133_SCIENCE FICTION POETRY ASSOCIATION_^>a_. [JC]_^<n__^<n_
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ROTHMAN, MILTON A.
-T-
[r] > Tony _^<a_!T2711_ROTHMAN_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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ROTHMAN, TONY
-T-
(1953- ) US writer whose sf novel, _^<i_The World is Round_^>i_ (_^<b_1978_^>b_), though suffering from excessive length and a confusingly overcomplicated story, creates a Big-Planet venue (> Jack _^<a_!T5317_VANCE_^>a_) of some interest; he has
also written some books popularizing physics, and several of the stories about the USSR assembled in _^<i_Censored Tales_^>i_ (coll _^<b_1989_^>b_ UK) are absurdist _^<a_!T1372_FABULATIONS_^>a_. TR's father, Milton A. Rothman (1919- ), a physicist,
also wrote some sf stories, as by Lee Gregor. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T3957_JUPITER_^>a_.
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(c) 1995 John Clute and Peter Nicholls
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485
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ROTSLER, WILLIAM
-T-
(1926- ) US writer and artist who received a 1975 _^<a_!T4551_HUGO_^>a_ for his fan art; his cartoons may be remembered as much as his fiction. He began publishing sf with "Ship Me Tomorrow" for _^<i_Gal_^>i_ in 1970 and, although he initially
kept his own name for autonomous work -- using the pseudonym John Ryder Hall and the _^<a_!T377_BALLANTINE_^>a_ house name William _^<a_!T252_ARROW_^>a_ for novelizations -- all his novels since about 1980 have been _^<a_!T6014_TIES_^>a_ of one
sort or another. His first novel, _^<i_Patron of the Arts_^>i_ (_^<b_1974_^>b_), remains his best received; incorporating his best known and most praised short story, "Patron of the Arts" (1972), it describes in Wagnerian terms an all-encompassing
artform, using holograms and other sf devices (>_^<a_!T257_ARTS_^>a_), but vitiates some of its speculative interest through a contrived action plot. WR's second novel, _^<i_To the Land of the Electric Angel_^>i_ (_^<b_1976_^>b_), shares a similar
setting -- what seems to be an extrapolation of modern southern California -- in a tale involving _^<a_!T987_CRYONICS_^>a_, the reawakening of the hero in a _^<a_!T1370_DYSTOPIAN_^>a_ future, gladiatorial contests and much more. The
_^<b_Zandra_^>b_ series -- _^<i_Zandra_^>i_ (_^<b_1978_^>b_) and _^<i_The Hidden Worlds of Zandra_^>i_ (_^<b_1983_^>b_) -- shares the same background, while _^<i_The Far Frontier_^>i_ (_^<b_1980_^>b_) is set in nearby space. These later books are
significantly less accomplished than their predecessors, and their large casts of routinely differentiated characters generate the impression that their author was attempting to work in a bestseller idiom dangerous to the creative mind. With
Gregory _^<a_!T526_BENFORD_^>a_ (_^<i_whom see for details_^>i_) WR contributed _^<i_Shiva Descending_^>i_ (_^<b_1980_^>b_) to the the asteroid-_^<a_!T1243_DISASTER_^>a_ subgenre. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Iron Man: And Call my
Treasure_^>i_ * (_^<b_1984_^>b_); _^<i_Star Trek III Short Stories_^>i_ * (coll _^<b_1984_^>b_); _^<i_Goonies: Cavern of Horror_^>i_ * (_^<b_1985_^>b_), a film tie._^<b_As John Ryder Hall:_^>b_ _^<i_Futureworld_^>i_ * (_^<b_1976_^>b_); _^<i_Sinbad
and the Eye of the Tiger_^>i_ * (_^<b_1977_^>b_)._^<b_As William Arrow:_^>b_ #1 and #3 of the _^<b_Return to the Planet of the Apes_^>b_ books, based not on the films but on the later animated tv series: _^<i_Visions from Nowhere_^>i_ *
(_^<b_1976_^>b_) and _^<i_Man, the Hunted Animal_^>i_ * (_^<b_1976_^>b_).
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(c) 1995 John Clute and Peter Nicholls
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ROTTENSTEINER, FRANZ
-T-
(1942- ) Austrian sf critic, editor and literary agent; he has a PhD from the University of Vienna. He has edited the _^<b_SF of the World_^>b_ series for Insel Verlag, the _^<b_Fantastic Novels_^>b_ series for Paul Zsolnay Verlag, and the
_^<b_Fantastic Library_^>b_ series -- now over 250 vols -- for Suhrkamp Verlag. He writes in English as well as in German, his critical articles having appeared in _^<a_!T2143_SCIENCE-FICTION STUDIES_^>a_ and elsewhere. He is particularly well
known for his spirited promotion of the work of Stanislaw _^<a_!T3329_LEM_^>a_, for whom he is literary agent, and for the contempt he has often expressed for much _^<a_!T4659_GENRE SF_^>a_. His criticism is intelligent, polemical and left-wing,
and best expressed in fairly academic formats; his popular illustrated history of sf, _^<i_The Science Fiction Book_^>i_ (_^<b_1975_^>b_), is generally felt to be sketchy. In the same vein, but perhaps better, is _^<i_The Fantasy Book: The Ghostly,
the Gothic, the Magical, the Unreal_^>i_ (_^<b_1978_^>b_). In English he is also known for his collection of European sf, _^<i_View from Another Shore_^>i_ (anth _^<b_1973_^>b_); for his collection of "literary" fantasies by Jorge Luis
_^<a_!T704_BORGES_^>a_ and others, _^<i_The Slaying of the Dragon: Modern Tales of the Playful Imagination_^>i_ (anth _^<b_1984_^>b_); and for _^<i_Microworlds: Writings on Science Fiction_^>i_ (coll _^<b_1984_^>b_) by Lem, ed and introduced by FR.
Many of his critical writings in German appear in his own high-quality _^<a_!T1428_FANZINE_^>a_, _^<a_!T2443_QUARBER MERKUR_^>a_, from which the book _^<i_Quarber Merkur_^>i_ (anth _^<b_1979_^>b_) was collected. 2 books of essays ed FR are
_^<i_Uber H.P. Lovecraft_^>i_ ["On H.P. Lovecraft"] (anth _^<b_1984_^>b_), and _^<i_Die dunkle Seite der Wirklichkeit_^>i_ ["The Dark Side of Reality"] (anth _^<b_1987_^>b_). Since 1989 he has been editing a serial guide in loose-leaf form in
binders, 1250pp to Feb 1991: "Werkfuhrer durch die utopisch-phantastiche Literatur" ["Work Guide to Utopian and Fantastic Literature"]._^<n__^<n_In German he has ed many anthologies of stories and essays about sf, including: _^<i_Die Ratte im
Labyrinth_^>i_ ["Rats in the Maze"] (anth _^<b_1971_^>b_); the _^<b_Polaris_^>b_ series, _^<i_Polaris 1_^>i_ (anth _^<b_1973_^>b_), _^<i_#2_^>i_ (anth _^<b_1974_^>b_), a special Soviet sf issue, _^<i_#3_^>i_ (anth _^<b_1975_^>b_), _^<i_#4_^>i_
(anth _^<b_1978_^>b_), a French sf issue, _^<i_#5_^>i_ (anth _^<b_1981_^>b_), _^<i_#6_^>i_ (anth _^<b_1982_^>b_), a Herbert W. _^<a_!T1597_FRANKE_^>a_ issue, _^<i_#7_^>i_ (anth _^<b_1983_^>b_), _^<i_#8_^>i_ (anth _^<b_1985_^>b_), _^<i_#9_^>i_ (anth
_^<b_1985_^>b_), old German sf, and _^<i_#10_^>i_ (anth _^<b_1986_^>b_), a _^<a_!T5800_STRUGATSKI_^>a_ issue; _^<i_Phantastiche Traume_^>i_ ["Fantastic Dreams"] (anth _^<b_1983_^>b_); _^<i_Phantastiche Welten_^>i_ ["Fantastic Worlds"] (anth
_^<i_Seltsame Labyrinthe_^>i_ ["Strange Labyrinths"] (anth _^<b_1987_^>b_); _^<i_Der Eingang ins Paradies_^>i_ ["The Door into Paradise"] (anth _^<b_1988_^>b_); _^<i_Arche Noah_^>i_ ["Noah's Ark"] (anth _^<b_1989_^>b_); _^<i_Die Sirene_^>i_ ["The
Siren"] (anth _^<b_1990_^>b_); _^<i_Phantastiche Begegnungen_^>i_ ["Fantastic Encounters"] (anth _^<b_1990_^>b_). [PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T963_CRITICAL AND HISTORICAL WORKS ABOUT SF_^>a_; _^<a_!T4667_GERMANY_^>a_.
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ROUCH, JAMES
-T-
(? - ) UK author of the _^<b_Zone_^>b_ sequence of sf adventures set during WWIII, waged in Germany: _^<i_The Zone #1: Hard Target_^>i_ (_^<b_1980_^>b_), _^<i_#2: Blind Fire_^>i_ (_^<b_1980_^>b_), _^<i_#3: Hunter Killer_^>i_ (_^<b_1981_^>b_),
Working name of UK-born writer Avigdor Rousseau Emanuel (1879-1960), who also used the pseudonym H.M. Egbert on his sf, though not exclusively, and V.R. Emanuel for other work; born of a Jewish father and a French mother-as Sam
_^<a_!T3074_MOSKOWITZ_^>a_ writes in _^<i_Under the Moons of Mars_^>i_ (anth _^<b_1970_^>b_) -- he moved to the USA some time during WWI. After a non-genre novel, _^<i_Derwent's Horse_^>i_ (_^<b_1901_^>b_), VR began writing sf in _^<a_!T2033_PULP
MAGAZINES_^>a_ before WWI, stopping in 1941; much material was never collected, including the _^<b_Surgeon of Souls_^>b_ series of 11 fantasy stories in _^<i_Weird Tales_^>i_ (1926-7). In his first sf novel, _^<i_The Sea Demons_^>i_ (1916
_^<i_All-Story Weekly_^>i_ as V. Rousseau; _^<b_1924_^>b_ UK) as by H.M. Egbert, invisible hive-like sea creatures threaten humanity (>_^<a_!T3806_INVISIBILITY_^>a_), but a submarine finds and destroys the queen. _^<i_The Messiah of the
Cylinder_^>i_ (_^<b_1917_^>b_; vt _^<i_The Apostle of the Cylinder_^>i_ 1918 UK), VR's best known work and told with his usual flamboyance and narrative verve, directly imitates the form of H.G. _^<a_!T5528_WELLS_^>a_'s _^<i_When the Sleeper
Wakes_^>i_ (_^<b_1899_^>b_), and harshly criticizes the atheistic world-state _^<a_!T5303_UTOPIA_^>a_ there depicted; it was seen, consequently, as a melodramatic critique of Wellsian socialism, though Wells's novel was, in fact, deeply ambiguous
about the world it described, serving more as a pretext for VR's book than as an argument to be refuted. In VR's novel a brave protagonist destroys the future state into which he has been awoken from _^<a_!T5851_SUSPENDED ANIMATION_^>a_, and
restores aristocracy to the land. _^<i_Draught of Eternity_^>i_ (1918 _^<i_All-Story Weekly_^>i_ as V. Rousseau; _^<b_1924_^>b_ UK) as by Egbert is a love story set in a ruined New York. _^<i_Eric of the Strong Heart_^>i_ (_^<b_1925_^>b_ UK) is a
lost-race tale (>_^<a_!T3460_LOST WORLDS_^>a_). Perhaps mainly because of his heated style, VR remains of some interest. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_My Lady of the Nile_^>i_ (_^<b_1923_^>b_ UK) as by Egbert; _^<i_Mrs Aladdin_^>i_
(_^<b_1925_^>b_ UK)._^<b_About the author:_^>b_ "H.G. Wells and Victor Rousseau Emanuel" by Richard D. _^<a_!T3095_MULLEN_^>a_ in _^<a_!T6730_EXTRAPOLATION_^>a_, Vol 8 #2 (1967)._^<b_See also:_^>b_ _^<a_!T277_ASTOUNDING SCIENCE-FICTION_^>a_;
_^<a_!T4443_HISTORY OF SF_^>a_; _^<a_!T3787_INTELLIGENCE_^>a_; _^<a_!T2918_MESSIAHS_^>a_; _^<a_!T1939_POLITICS_^>a_.
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ROWCROFT, CHARLES
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(?1795-1856) UK writer perhaps best known for his Australian adventure fiction assembled in _^<i_Tales of the Colonies_^>i_ (coll _^<b_1843_^>b_) and its successors. In his sf novel, _^<i_The Triumph of Woman: A Christmas Story_^>i_
(_^<b_1848_^>b_), an inhabitant of sexless Neptune visits a German, with whose daughter he falls in love amid erudite discussions of Neptunian science. The plot then devolves into a satirical travelogue. [JC]_^<n__^<n_
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ROWENA
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Professional name of US illustrator Rowena Morrill (1944- ); she and Victoria Poyser are among the few women who have had an impact on sf/fantasy art. Her _^<a_!T4593_ILLUSTRATION_^>a_ has appeared since the mid-1970s, primarily on paperback covers,
more often _^<a_!T1412_FANTASY_^>a_ than sf; it is largely fantastical and often symbolic, but quite varied in style and subject matter. She has done several covers for novels by Piers _^<a_!T196_ANTHONY_^>a_. Her technique is polished and
sometimes fastidiously detailed, though her human figures (often based on photographs) perhaps conform too much to a commercially acceptable prettiness, and some of her painting in the _^<a_!T4396_HEROIC-FANTASY_^>a_ vein of Boris
_^<a_!T5311_VALLEJO_^>a_ has been accused of being "degrading to women". Unusually, she uses a combination of acrylics and oils rather than one or the other, and finishes with a high-gloss glaze. _^<i_The Fantastic Art of Rowena_^>i_
(_^<b_1983_^>b_) has colour reproductions of 26 of her pieces. She has had a number of _^<a_!T4551_HUGO_^>a_ nominations. [PN/JG]_^<n__^<n_
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ROWLAND, DONALD S(YDNEY)
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(1928- ) UK author of a very large number of pseudonymous works, relatively few of them sf; most were for _^<a_!T6332_ROBERT HALE LIMITED_^>a_. For that firm (or for the highly similar house of Gresham) his _^<a_!T2342_SPACE OPERAS_^>a_ under his
own name are _^<i_Despot in Space_^>i_ (_^<b_1973_^>b_), _^<i_Master of Space_^>i_ (_^<b_1974_^>b_), _^<i_Space Venturer_^>i_ (_^<b_1976_^>b_) and _^<i_Nightmare Planet_^>i_ (_^<b_1976_^>b_). [JC]_^<n__^<n__^<b_As Fenton Brockley:_^>b_ _^<i_Star
Quest_^>i_ (_^<b_1974_^>b_)._^<n__^<n__^<b_As Roger Carlton:_^>b_ _^<i_Beyond Tomorrow_^>i_ (_^<b_1975_^>b_), _^<i_Star Arrow_^>i_ (_^<b_1975_^>b_)._^<n__^<n__^<b_As Graham Garner:_^>b_ _^<i_Space Probe_^>i_ (_^<b_1974_^>b_), _^<i_Starfall
Muta_^>i_ (_^<b_1975_^>b_), _^<i_Rifts of Time_^>i_ (_^<b_1976_^>b_)._^<n__^<n__^<b_As Alex Random:_^>b_ _^<i_Star Cluster Seven_^>i_ (_^<b_1974_^>b_), _^<i_Dark Constellation_^>i_ (_^<b_1975_^>b_), _^<i_Cradle of Stars_^>i_
(_^<b_1975_^>b_)._^<n__^<n__^<b_As Roland Starr:_^>b_ The _^<b_Omina_^>b_ sequence, being _^<i_Operation Omina_^>i_ (_^<b_1973_^>b_), _^<i_Omina Uncharted_^>i_ (_^<b_1974_^>b_), _^<i_Time Factor_^>i_ (_^<b_1975_^>b_), _^<i_Return from Omina_^>i_
(_^<b_1976_^>b_)._^<n__^<n__^<b_As Mark Suffling:_^>b_ _^<i_Project Oceanus_^>i_ (_^<b_1975_^>b_), _^<i_Space Crusader_^>i_ (_^<b_1975_^>b_)._^<n__^<n_
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ROWLEY, CHRISTOPHER (B.)
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(1948- ) UK-born US writer who has from the first specialized in efficiently written adventure-sf novels with a strong military component, beginning with the _^<b_War for Eternity_^>b_ sequence -- _^<i_The War for Eternity_^>i_ (_^<b_1983_^>b_),
_^<i_The Black Ship_^>i_ (_^<b_1985_^>b_), _^<i_The Founder_^>i_ (_^<b_1989_^>b_) and _^<i_To a Highland Nation_^>i_ (_^<b_1994_^>b_) -- which concentrates on warfare within our Solar System. The _^<b_Vang_^>b_ sequence -- _^<i_Starhammer_^>i_
(_^<b_1986_^>b_), _^<i_The Vang: The Military Form_^>i_ (_^<b_1988_^>b_) and _^<i_The Vang: The Battlemaster_^>i_ (_^<b_1990_^>b_) -- moves into deeper space and features a deadly _^<a_!T98_ALIEN_^>a_ lifeform. In _^<i_Golden Sunlands_^>i_
(_^<b_1987_^>b_) the humans on a colony planet are kidnapped to serve as cannon fodder in an artificial universe, but soon show their spunk. With George Snow (anon) he wrote the _^<a_!T5686_STAR WARS_^>a_ text _^<i_Return of the Jedi_^>i_ *
(_^<b_1983_^>b_ chap). [JC]_^<n__^<n__^<b_Other works:_^>b_ The _^<b_Bazil Broketail_^>b_ fantasy sequence comprising _^<i_Bazil Broketail_^>i_ (_^<b_1992_^>b_), _^<i_A Sword for a Dragon_^>i_ (_^<b_1993_^>b_) and _^<i_Dragons of War_^>i_
(_^<b_1994_^>b_).
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ROWLOT LTD.
-T-
> _^<a_!T44_AD ASTRA_^>a_._^<n__^<n_
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ROY, ARCHIE
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Working name of Scottish professor of astronomy Archibald Edmiston Roy (1924- ), whose unremarkable sf adventures, all making use of _^<a_!T1794_PARALLEL WORLDS_^>a_, include _^<i_Deadlight_^>i_ (_^<b_1968_^>b_), _^<i_The Curtained Sleep_^>i_
(_^<b_1969_^>b_) and _^<i_All Evil Shed Away_^>i_ (_^<b_1970_^>b_). _^<i_Sable Night_^>i_ (_^<b_1973_^>b_), _^<i_The Dark Host_^>i_ (_^<b_1976_^>b_) and _^<i_Devil in the Darkness_^>i_ (_^<b_1978_^>b_) are horror. [JC]_^<n__^<n_
(? - ) US writer known only for _^<i_Weightless in Gaza_^>i_ (_^<b_1970_^>b_ as Fred Shannon; exp vt _^<i_Dionysus: The Ultimate Experiment_^>i_ 1977), in which NASA conducts sex experiments in space. [JC]_^<n__^<n_
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RUBINSTEIN, GILLIAN
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(1942- ) Australian writer of sf for adolescents (> _^<a_!T710_CHILDREN'S SF_^>a_). _^<i_Space Demons_^>i_ (_^<b_1986_^>b_) and its sequel, _^<i_Skymaze_^>i_ (_^<b_1989_^>b_), deal with _^<a_!T68_AI_^>a_ in interactive _^<a_!T826_COMPUTER_^>a_
games (> _^<a_!T1696_GAMES AND TOYS_^>a_) in which players enter a _^<a_!T5380_VIRTUAL REALITY_^>a_. _^<i_Space Demons: The Play_^>i_ * (_^<b_1990_^>b_) was an adaptation for the _^<a_!T5959_THEATRE_^>a_ by Richard Tulloch. _^<i_Beyond the
Labyrinth_^>i_ (_^<b_1988_^>b_) shows teenagers developing a relationship with an _^<a_!T98_ALIEN_^>a_ anthropologist;_^<i_Galax-Arena_^>i_ (_^<b_1992_^>b_) continues the theme in a story whose human protagonists are captured by aliens. GR uses sf
devices as metaphors for exploring and resolving adolescents' painful personal relationships. _^<i_At Ardilla_^>i_ (_^<b_1991_^>b_), not sf, is a rite-of-passage book about a growing girl. GR has edited _^<i_After Dark_^>i_ (anth _^<b_1988_^>b_)
and _^<i_Before Dawn_^>i_ (anth _^<b_1988_^>b_). Her books for much younger children are _^<i_Melanie and the Night Animal_^>i_ (_^<b_1988_^>b_), _^<i_Answers to Brut_^>i_ (_^<b_1988_^>b_), _^<i_Flashback: The Amazing Adventures of a Film
Horse_^>i_ (_^<b_1990_^>b_) and _^<i_Dog In, Cat Out_^>i_ (_^<b_1991_^>b_), the last being with illustrator Ann James. [JW]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T315_AUSTRALIA_^>a_.
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RUCKER, RUDY
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Working name of US writer, mathematician and computer programmer Rudolf von Bitter Rucker (1946- ), who has advanced degrees in _^<a_!T3717_MATHEMATICS_^>a_ from Rutgers University. Like many sf writers, he began very early to produce stories,
but unlike most who became successful he had difficulty placing his work, in which mathematical concepts and diagrams tended to generate both plot and venue, making arduous demands upon his readers. "The Miracle", his first-published story,
appeared in _^<i_The Pegasus_^>i_, an amateur magazine, in 1962; "Faraway Eyes", the second to reach print, appeared in _^<i_ASF_^>i_ in 1980. Many of the stories assembled in _^<i_The 57th Franz Kafka_^>i_ (col _^<b_1983_^>b_) -- which, along with
RR's early poetry, later stories and nonfiction pieces, were further assembled in _^<i_Transreal!_^>i_ (coll _^<b_1991_^>b_) -- never appeared in magazine form. It is, perhaps, no wonder. Any attempt to describe RR convincingly as a
_^<a_!T1015_CYBERPUNK_^>a_ writer must founder on a simple distinction. Cyberpunk writers tended to describe the experience of living in a dense and desolate _^<a_!T6337_NEAR FUTURE_^>a_ in a _^<a_!T1016_CYBERSPACE_^>a_ which served as their
career-goal and nirvana, but which they had no need to understand. For RR, on the other hand, the experience of living in a game-like world was much less important than the exercise of understanding its nature. The roots of his fiction lie not in
_^<a_!T4659_GENRE SF_^>a_ or the _^<i_film noir_^>i_ that clearly inspired much cyberpunk, but in the profound mathematical games of Lewis _^<a_!T5188_CARROLL_^>a_, or of Edwin A. _^<a_!T8_ABBOTT_^>a_, the author of _^<i_Flatland_^>i_
(_^<b_1884_^>b_), or of C.H. _^<a_!T4438_HINTON_^>a_, author of _^<i_Scientific Romances_^>i_ (colls _^<b_1886_^>b_ and _^<b_1902_^>b_), whose _^<i_Speculations on the Fourth Dimension: Selected Writings of Charles H. Hinton_^>i_ (coll
_^<b_1980_^>b_) RR edited (> _^<a_!T1239_DIMENSIONS_^>a_)._^<n__^<n_The abstraction of RR's work cannot be denied, nor the daunting assertiveness of his adventuring mind. At the same time, his novels and stories are told with comic bravura -- his
work has been compared to that of the early Robert _^<a_!T2164_SHECKLEY_^>a_ -- and a strange crystalline exuberance that makes any page of his easily identifiable. Moreover, his protagonists -- even the sexually ravaged first-person narrators of
several texts, sometimes named Bitter, who must in part be autobiographical -- are beguilingly raunchy, vigorous and zany. For instance, the posthumous protagonist of his first novel to reach book form, _^<i_White Light, or What is Cantor's
Continuum Problem?_^>i_ (_^<b_1980_^>b_), displays an undeniable glee as he journeys through transreal spacetimes of crippling complexity. The thematic sequels to this novel, _^<i_The Sex Sphere_^>i_ (_^<b_1983_^>b_) and _^<i_The Secret of
Life_^>i_ (_^<b_1985_^>b_), similarly combine _^<a_!T4555_HUMOUR_^>a_ and the chill of intellection as further worlds derived from higher mathematics take prickly shape. RR's first-written novel, _^<i_Spacetime Donuts_^>i_ (1978-9
_^<i_Unearth_^>i_; full text _^<b_1981_^>b_), provides a mockingly simplistic vision of a _^<a_!T1370_DYSTOPIAN_^>a_ near future as well as his first extended presentation of _^<a_!T826_COMPUTERS_^>a_, the second dominant concern in his work as a
whole. This concern pervades his _^<a_!T2646_ROBOT_^>a_ series -- which might be called the _^<b_Ware_^>b_ books -- comprising _^<i__^<a_!B8992_SOFTWARE_^>a__^>i_ (_^<b_1982_^>b_), which won the first _^<a_!T1884_PHILIP K. DICK AWARD_^>a_, and
_^<i_Wetware_^>i_ (_^<b_1988_^>b_), which shared the same award in 1988, with at least one further volume projected; the first two have meanwhile been assembled as _^<i_Live Robots_^>i_ (omni _^<b_1994_^>b_). In these books a forbidding competence
in the field of _^<a_!T68_AI_^>a_ is lightened by a style occasionally reminiscent of John T. _^<a_!T2240_SLADEK_^>a_. RR's other novels include _^<i_Master of Space and Time_^>i_ (_^<b_1984_^>b_), very similar in tone to _^<i_The Sex Sphere_^>i_,
and with autobiographical sequences deriving from the earlier-written nonfiction _^<i_All the Visions: A Novel of the Sixties_^>i_ (_^<b_1990_^>b_ dos); the _^<a_!T2528_RECURSIVE_^>a_ _^<i_The Hollow Earth_^>i_ (_^<b_1990_^>b_), an orthodox
_^<a_!T131_ALTERNATE-WORLD_^>a_ tale set in the 19th century, in which an inner world (> _^<a_!T4474_HOLLOW EARTH_^>a_) can be entered from the South Pole, which is what Edgar Allan _^<a_!T1933_POE_^>a_ (who is treated with a remarkable lack of
gaucheness) and the young protagonist eventually do; and _^<i_The Hacker and the Ants_^>i_ (_^<b_1994_^>b_), a tale couched in thriller mode, and involving AIs and viral ants._^<n__^<n_In addition to several technical works of nonfiction, RR edited
_^<i_Mathenauts: Tales of Mathematical Wonder_^>i_ (anth _^<b_1987_^>b_) and _^<i_Semiotext(e)_^>i_ (anth _^<b_1988_^>b_) with Peter Lambourn Wilson and Robert Anton _^<a_!T5643_WILSON_^>a_. He was reported as of 1991 to be involved in writing
_^<a_!T5380_VIRTUAL-REALITY_^>a_ -- which he preferred to call cyberspace-computer software. [JC]_^<n__^<n__^<b_Other works: _^>b__^<i_Light Fuse and Get Away_^>i_ (coll _^<b_1983_^>b_ chap), poetry._^<n__^<n__^<b_Nonfiction:_^>b_ _^<i_Geometry,
Relativity, and the Fourth Dimension_^>i_ (_^<b_1977_^>b_); _^<i_Infinity and the Mind: The Science and Philosophy of the Infinite_^>i_ (_^<b_1982_^>b_); _^<i_The 4th Dimension: Toward a Geometry of Higher Reality_^>i_
HOLES_^>a_; _^<a_!T1014_CYBERNETICS_^>a_; _^<a_!T6694_ESCHATOLOGY_^>a_; Marc _^<a_!T4154_LAIDLAW_^>a_; Stephen _^<a_!T3324_LEIGH_^>a_; _^<a_!T6327_OULIPO_^>a_.
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RUD, ANTHONY (MELVILLE)
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(1893-1942) US author and _^<a_!T2033_PULP-MAGAZINE_^>a_ editor who contributed sf to _^<i_Weird Tales_^>i_, _^<i_The Blue Book Magazine_^>i_, etc. He is best known for the Sax _^<a_!T2675_ROHMER_^>a_-esque fantasy _^<i_The Stuffed Men_^>i_
(_^<b_1935_^>b_), which describes the effects of a fungus that grows within the human body; this is part of a hideous Oriental revenge. [JE]_^<n__^<n_
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RUELLAN, ANDRE
-T-
[r] > _^<a_!T1590_FRANCE_^>a_._^<n__^<n_
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RUMANIA
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> _^<a_!T2683_ROMANIA_^>a_._^<n__^<n_
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RUNAWAY
-T-
Film (1984) Tri-Star/Delphi III. Dir Michael _^<a_!T954_CRICHTON_^>a_, starring Tom Selleck, Cynthia Rhodes, Gene Simmons, Kirstie Alley. Screenplay Crichton. 97 mins. Colour._^<n__^<n_Crichton again exercises his love/hate relationship with
machines in this predictable but exciting thriller about a policeman whose job it is to deal with defective _^<a_!T2646_ROBOTS_^>a_. He is pitted against an evil businessman who is deliberately making mechanical killers (by reprogramming household
robots) and can deploy heat-seeking bullets personalized to their targets._^<n__^<n_Crichton's main theme, as ever, is that machinery tends always to go wrong; his subtext is that humans, too, are usually defective, thus creating the typical
Crichtonian gloom that may have prevented him gaining lasting box-office success. However, he seems fond of his mutinous machines, and the best parts of this robot-saturated movie are affectionate observations of the little beasts at work.
[PN]_^<n__^<n_
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RUNCIMAN, JOHN
-T-
[s] > Brian W. _^<a_!T87_ALDISS_^>a_._^<n__^<n_
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RUNNING MAN, THE
-T-
Film (1987). Taft Entertainment/Keith Barish Productions. Dir Paul Michael Glaser, starring Arnold Schwarzenegger, Maria Conchita Alonso, Richard Dawson. Screenplay Steven E. De Souza, based on _^<i_The Running Man_^>i_ (_^<b_1982_^>b_) by Richard
Bachman (Stephen _^<a_!T4066_KING_^>a_). 101 mins. Colour._^<n__^<n_In a near-future, semi-totalitarian, economically crippled USA, a framed cop (Schwarzenegger) is forced to star in the top-rating tv game show _^<b_The Running Man_^>b_, in which
"criminals" are tracked by tv cameras as they desperately attempt to escape theatrically dressed assassin-athletes. He turns the tables, violently, as the oppressed masses cheer. The criticism of _^<a_!T3743_MEDIA_^>a_ exploitation of violence and
pain (game shows as the opiate of the downtrodden) strongly resembles that in _^<i_Le_^<a_!T2001_PRIX DU DANGER_^>a__^>i_ (1983), based on Robert _^<a_!T2164_SHECKLEY_^>a_'s short story "The Prize of Peril" (1958). As usual when moralizing about
the nasty possibilities of our desire for vicarious thrills, _^<i_TRM_^>i_ exploits the very voyeurism it purports to attack. The _^<a_!T2812_SATIRE_^>a_ against the media is crude but well done; the comic-book violence is strictly routine;
Schwarzenegger is wooden. [PN]_^<n__^<n_
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RUNYON, CHARLES W(EST)
-T-
(1928-1987) US writer of thrillers and some sf who began publishing the latter with "First Man in a Satellite" for _^<i_Super-Science Fiction_^>i_ in 1958. _^<i_Pig World_^>i_ (_^<b_1971_^>b_) depicts a _^<a_!T6337_NEAR-FUTURE_^>a_ USA governed by a
right-wing tyranny challenged by a vicious would-be demagogue. _^<i_Soulmate_^>i_ (1970 _^<i_FSF_^>i_; exp _^<b_1974_^>b_) is a novel of possession, the victim being a young prostitute. CWR's sf tends to be action-filled, without extensive
Imaginary countries are common in the literatures of the world, but only some can properly be called Ruritanian. In _^<i_The Prisoner of Zenda_^>i_ (_^<b_1894_^>b_) by the UK writer Anthony Hope (1863-1933) a leisured and insouciant young Britisher
of the 1890s travels on a whim, via Paris and Dresden, to the small, feudal, independent, German-speaking middle-European kingdom of Ruritania, located somewhere southeast of the latter city. Here, as a freelance commoner, he becomes embroiled in
complex romantic intrigues involving swordplay, aristocratic flirtations, switches of identity, complicated dynastic politicking and threats to the monarchy; in the end, as from a dream, he returns to the West. (In the sequel, _^<i_Rupert of
Hentzau_^>i_ [_^<b_1898_^>b_], he goes back to Ruritania and dies.) Any tale containing a significant combination of these ingredients can be called Ruritanian. Only two elements are essential: the tale must provide a fairy-tale enclave located
both within and beyond normal civilization; and it must be infused by an air of nostalgia -- not dissimilar to that found in some lost-race novels (> _^<a_!T3460_LOST WORLDS_^>a_). This belatedness of the true Ruritania might seem to exclude it
from sf, whose ideological posture usually precludes the advertising of nostalgic enclaves; but _^<a_!T5303_UTOPIAS_^>a_ and _^<a_!T1370_DYSTOPIAS_^>a_ often take an initial Ruritanian cast (which often turns sour); the palace-politics which govern
many _^<a_!T1678_GALACTIC EMPIRES_^>a_ owe more to Hope than they do to Edward Gibbon (1737-1794); and many post-_^<a_!T4482_HOLOCAUST_^>a_ novels, especially those set in a USA balkanized into feuding principalities, are clearly Ruritanian.
Moreover, _^<a_!T2870_SCIENCE-FANTASY_^>a_ tales regularly discover Ruritanias at the world's heart._^<n__^<n_However pervasive the influence of Ruritania may be throughout later genre fictions, it is rarely explicit. However, Edmond
_^<a_!T4258_HAMILTON_^>a_'s _^<i_The Star Kings_^>i_ (_^<b_1949_^>b_; vt _^<i_Beyond the Moon_^>i_ 1950) and Robert A. _^<a_!T4376_HEINLEIN_^>a_'s _^<i_Double Star_^>i_ (_^<b_1956_^>b_) are clear reworkings of the plot of _^<i_The Prisoner of
Zenda_^>i_; and Avram _^<a_!T1082_DAVIDSON_^>a_'s _^<i_The Enquiries of Doctor Eszterhazy_^>i_ (coll of linked stories _^<b_1975_^>b_; exp vt _^<i_The Adventures of Doctor Eszterhazy_^>i_ 1990) is set in an _^<a_!T131_ALTERNATE-WORLD_^>a_ version
of a Ruritanian 19th-century Europe._^<n__^<n_It could be argued that tales of this category, when set on a past or present Earth, should be called Ruritanian only if they are located somewhere along the mountainous border between Czechoslovakia
and Poland, and that tales set in Balkan enclaves should be called Graustarkian, after the otherwise very similar _^<i_Graustark_^>i_ (_^<b_1901_^>b_) and its sequels _^<i_Beverly of Graustark_^>i_ (_^<b_1904_^>b_) and _^<i_The Prince of
Graustark_^>i_ (_^<b_1914_^>b_) by the US writer George Barr McCutcheon (1866-1928); but this would be both pedantic and unproductive. The terms are nearly indistinguishable. When UK writers refer to Ruritania and their US counterparts to the
slightly less well known Graustark, they are referring to the same state of mind. [JC]_^<n__^<n_
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(1960- ) US editor and writer who began publishing work of genre interest with "Sing" for _^<i_Aboriginal Science Fiction_^>i_ in 1987; she won the 1990 _^<a_!T3922_JOHN W. CAMPBELL AWARD_^>a_ for Best New Writer. Her work is strongly emotional
in nature, focusing on critical experiences and rites of passage in the lives of characters existing in relatively conventional sf, fantasy and horror settings. Sometimes, as in "Story Child" (1990) -- about a healing child in a
post-_^<a_!T4482_HOLOCAUST_^>a_ society -- this approach can lead her into sentimentality; but other pieces, such as "Trains" (1990) -- in which a battered wife finds temporary happiness with a supernatural hipster -- are genuinely moving. _^<i_The
Gallery of his Dreams_^>i_ (_^<b_1991_^>b_ chap) is a _^<a_!T6026_TIME-TRAVEL_^>a_ tale featuring the photographer Matthew B. Brady (_^<i_c_^>i_1823-1896), whose work illuminated the US Civil War. _^<i_The White Mists of Power_^>i_
(_^<b_1991_^>b_), her first novel, is a fantasy. _^<i_Afterimage_^>i_ (_^<b_1992_^>b_) with Kevin J. _^<a_!T166_ANDERSON_^>a_ is sf._^<n__^<n_Despite this activity, KKR was considerably more prominent in the late 1980s for her editorial work as
cofounder (with Dean Wesley _^<a_!T2268_SMITH_^>a_) in 1987 of _^<a_!T2031_PULPHOUSE PUBLISHING_^>a_, through which she edited the magazine/anthology series _^<a_!T2032_PULPHOUSE: THE HARDBACK MAGAZINE_^>a_ , which stopped with #11 in 1993, and
_^<i_The Best of Pulphouse: The Hardback Magazine_^>i_ (anth _^<b_1991_^>b_). While continuing to work at Pulphouse (her responsibilities lessened but still considerable), KKR in late 1991 became editor of _^<i_The_^<a_!T3595_MAGAZINE OF FANTASY
AND SCIENCE FICTION_^>a__^>i_, and soon edited, with Ed _^<a_!T1467_FERMAN_^>a_, _^<i_The Best from Fantasy and Science Fiction: a 45th Anniversary Anthology_^>i_ (anth _^<b_1994_^>b_). With Smith she ed _^<i_Science Fiction Writers of America
Handbook: The Professional Writer's Guide to Writing Professionally_^>i_ (anth _^<b_1990_^>b_), which is not well organized but is dense with information and advice. [NT/JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Facade_^>i_ (_^<b_1993_^>b_);
_^<i_Heart Readers_^>i_ (_^<b_1993_^>b_ UK); _^<i_Traitors_^>i_ (_^<b_1993_^>b_ UK); _^<i_Alien Influences_^>i_ (_^<b_1994_^>b_ UK); _^<i_Sins of the Blood_^>i_ (_^<b_1994_^>b_)._^<b_See also:_^>b_ _^<a_!T2147_SCIENCE FICTION WRITERS OF
AMERICA_^>a_; _^<a_!T2261_SMALL PRESSES AND LIMITED EDITIONS_^>a_.
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RUSE, GARY ALAN
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(1946- ) US writer who began publishing sf with "Nanda" for _^<i_ASF_^>i_ in 1972. _^<i_Houndstooth_^>i_ (_^<b_1975_^>b_) features a spy dog with a computer implant that allows its human handlers to see through its eyes; _^<i_The Gods of Cerus
Major_^>i_ (_^<b_1982_^>b_), though perhaps somewhat mechanical in its ruthless piling-up of crises, demonstrates an intimate sense of genre device as the protagonist, on a test flight that goes wrong, encounters a variety of strangenesses on an
unexplored planet. _^<i_Morlac: The Quest of the Green Magician_^>i_ (_^<b_1986_^>b_) is fantasy. _^<i_Death Hunt on a Dying Planet_^>i_ (_^<b_1988_^>b_), despite its inflamed title, rather soberly depicts the experiences of a woman who, awakened
from _^<a_!T5851_SUSPENDED ANIMATION_^>a_ after 700 years, must make sense of a world whose cultures are in terminal dispute. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_A Game of Titans_^>i_ (_^<b_1976_^>b_), both associational.
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RUSHDIE, (AHMED) SALMAN
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(1947- ) Indian-born writer, educated in the UK at Rugby and Cambridge and long a UK citizen. His fame derives not solely from the illegal _^<i_fatwa_^>i_, or death "sentence", proclaimed against him by the Islamic theocracy of Iran for _^<i_The
Satanic Verses_^>i_ (_^<b_1988_^>b_), but also, and far more importantly, from all his previous work, beginning with the complex and witty, legend-like _^<i_Grimus_^>i_ (_^<b_1975_^>b_), a _^<a_!T1372_FABULATION_^>a_ (like all his novels) which
makes marginal use of sf material in its invoking of _^<a_!T3771_IMMORTALITY_^>a_ themes and in the interdimensional conflicts its eternally young Native American protagonist must undergo in his search, through an emblematic World-Island, for the
moment of death; ultimately, with Sufi-like irreverent sublimity about the nature of transcendence, he succeeds. The narrator of _^<i_Midnight's Children_^>i_ (_^<b_1980_^>b_), one of 1001 children born at midnight on the day of India's
independence, interweaves personal and national stories in fabulist terms; _^<i_Shame_^>i_ (_^<b_1983_^>b_) similarly but less successfully erects a mythopoeic framework around the land of Pakistan. _^<i_The Satanic Verses_^>i_ scabrously
anatomizes, in fantasy terms, a _^<a_!T2551_RELIGION_^>a_ whose more fanatically fundamentalist devotees responded brutally to its being comprehended in this fashion. _^<i_Haroun and the Sea of Stories_^>i_ (_^<b_1990_^>b_) is a fable reflecting,
indirectly, the nature of its author's own experiences after 1988. _^<i_The Wizard of Oz_^>i_ (coll _^<b_1992_^>b_ chap US) presents his reflections on L. Frank _^<a_!T468_BAUM_^>a_ and Hollywood. Some of the stories assembled in _^<i_East,
West_^>i_ (coll _^<b_1994_^>b_) are fantasy. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T1851_PERCEPTION_^>a_.
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(1937- ) US writer and academic who has taught at various universities since 1970; she has been a professor of English at the University of Washington since 1977. She began publishing sf in 1959 with "Nor Custom Stale" for _^<i_The_^>i_
_^<a_!T3595_MAGAZINE OF FANTASY AND SCIENCE FICTION_^>a_, a journal to which she also contributed occasional book reviews for some years. (JR won the 1988 _^<a_!T1900_PILGRIM AWARD_^>a_ for her sf criticism.) Her early work is less formally
innovative than the stories she began to publish in the 1970s, but _^<i_The Hidden Side of the Moon_^>i_ (coll _^<b_1987_^>b_), which assembles material from throughout her career, demonstrates how cogent a writer of _^<a_!T4659_GENRE SF_^>a_ she
could have become. JR's first novel, _^<i_Picnic on Paradise_^>i_ (_^<b_1968_^>b_), comprises the largest single portion of _^<i__^<a_!B9202_ALYX_^>a__^>i_ (coll _^<b_1976_^>b_; vt _^<i_The Adventures of Alyx_^>i_ 1985 UK), a series of tales about
a time-travelling mercenary, tough, centred, autonomous and female; much of the initial impact of the sequence lies in its use of Alyx in situations where she acts as a fully responsible agent, vigorously engaged in the circumstances surrounding
her, but without any finger-pointing on the author's part to the effect that one should only pretend not to notice that she is not a man. The liberating effect of the _^<b_Alyx_^>b_ tales has been pervasive, and the ease with which later writers
now use active female protagonists in adventure roles, without having to argue the case, owes much to this example (> _^<a_!T5683_WOMEN AS PORTRAYED IN SCIENCE FICTION_^>a_). JR herself became, in most of her later work, far more explicit about
_^<a_!T1461_FEMINIST_^>a_ issues, though her muffled but ambitious second novel, _^<i__^<a_!B8986_AND CHAOS DIED_^>a__^>i_ (_^<b_1970_^>b_) tells from a male viewpoint of the experiences of a man forced by the psychically transformed human
inhabitants of a planet on which he has crashlanded to endure the rewriting of his psychic nature as he perilously acquires _^<a_!T2021_PSI POWERS_^>a_. His rediscovery of Earth in the latter part of the book is to satirical effect._^<n__^<n_It was
with JR's third tale, _^<i__^<a_!B9022_THE FEMALE MAN_^>a__^>i_ (_^<b_1975_^>b_), which awaited publication for some time, that the programmatic feminist novel may be said to have come of age in sf. Stunningly foregrounding the feminist arguments
which had tacitly sustained her work to this point, it presents a series of 4 _^<a_!T131_ALTERNATE WORLDS_^>a_, in each of which a version of the central protagonist enacts a differing life, all dovetailing as the plot advances. From psychic
servitude to fully matured freedom -- as represented by the female _^<a_!T5303_UTOPIA_^>a_ of the planet Whileaway -- these lives amount to a definitive portrait of the life-chances of the central protagonist on Earth. Savage and cleansing in its
anger, the book stands as one of the most significant uses of sf instruments to make arguments about our own world and condition._^<n__^<n_In its portrait of a dying woman on a planet without life, _^<i_We who Are About to . . . _^>i_
(_^<b_1977_^>b_), an anti-_^<a_!T2641_ROBINSONADE_^>a_, less vigorously moves to the pole of utter solitude. _^<i_The Two of Them_^>i_ (_^<b_1978_^>b_) shivers generically between telling the realistic story of the oppression -- and escape -- of a
young woman brought up on a planet whose religion is reminiscent of Islam, and deconstructing this generic material into the embittered dreams of a woman trapped on Earth._^<n__^<n_JR won the 1972 _^<a_!T3147_NEBULA_^>a_ for Best Short Story with
"When it Changed", an earlier and perhaps even more devastating tale of Whileaway. Other short work of note -- including "Daddy's Girl" (1975), a reprise of some of the themes of _^<i__^<a_!B9022_THE FEMALE MAN_^>a__^>i_, and "The Autobiography of
My Mother" (1975) -- has appeared in _^<i_The Zanzibar Cat_^>i_ (coll _^<b_1983_^>b_; rev 1984) and _^<i__^<a_!B9108_EXTRA(ORDINARY) PEOPLE_^>a__^>i_ (coll _^<b_1984_^>b_), the latter volume containing _^<i_Souls_^>i_ (1982 _^<i_FSF_^>i_;
_^<b_1989_^>b_ chap dos), which won the 1983 _^<a_!T4551_HUGO_^>a_ for Best Novella. For 30 years, JR has been the least comfortable author writing sf, very nearly the most inventive experimenter in fictional forms, and the most electric of all to
read. The gifts she has brought to the genre are two in number: truth-telling and danger. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Kittatinny: A Tale of Magic_^>i_ (_^<b_1978_^>b_ chap), a juvenile; _^<i_WomanSpace: Future and Fantasy Stories and
Art by Women_^>i_ (anth _^<b_1981_^>b_ chap) ed anon; _^<i_On Strike Against God_^>i_ (_^<b_1982_^>b_), associational; _^<i_How to Suppress Women's Writing_^>i_ (_^<b_1983_^>b_), an adversarial nonfiction study; _^<i_Magic Mommas, Trembling
Sisters, Puritans and Perverts: Feminist Essays_^>i_ (coll _^<b_1985_^>b_)._^<b_About the author:_^>b_ Marilyn Hacker's introduction to the 1977 reprint of _^<i__^<a_!B9022_THE FEMALE MAN_^>a__^>i_; Samuel R. _^<a_!T1152_DELANY_^>a_'s introduction
to _^<i__^<a_!B9202_ALYX_^>a__^>i_._^<b_See also:_^>b_ _^<a_!T197_ANTHROPOLOGY_^>a_; _^<a_!T232_ARKHAM HOUSE_^>a_; _^<a_!T323_AUTOMATION_^>a_; _^<a_!T811_COLONIZATION OF OTHER WORLDS_^>a_; _^<a_!T963_CRITICAL AND HISTORICAL WORKS ABOUT SF_^>a_;
(1872-1970) UK mathematician, philosopher and controversialist who succeeded to the family title, becoming Third Earl Russell, in 1931. He was awarded a Nobel Prize for Literature in 1950. Near the end of his immensely long career -- he published
his first essays in 1894, his first book being _^<i_German Social Democracy_^>i_ (_^<b_1896_^>b_) -- he published 3 books containing a series of fable-like tales: _^<i_Satan in the Suburbs and Other Stories_^>i_ (coll _^<b_1953_^>b_),
_^<i_Nightmares of Eminent Persons and Other Stories_^>i_ (coll _^<b_1954_^>b_) and _^<i_Fact and Fiction_^>i_ (coll _^<b_1961_^>b_), all being assembled as _^<i_The Collected Stories of Bertrand Russell_^>i_ (omni _^<b_1972_^>b_). Somewhat after
the manner of _^<a_!T5394_VOLTAIRE_^>a_, these tales -- some, like "The Infra-Redioscope" from the first volume and "Planetary Effulgence" from the last, are sf -- didactically (though with grace) embody their author's sceptical attitude toward
human ambitions and pretensions, and to the ideas with which we delude ourselves. [JC]_^<n__^<n__^<b_Other works include:_^>b_ _^<i_History of the World in Epitome, for Use in Martian Infant Schools_^>i_ (_^<b_1962_^>b_ chap)._^<n__^<n__^<b_See
(1905-1978) UK writer. He used the pseudonyms Webster Craig and Duncan H. Munro on a few short stories and borrowed Maurice G. Hugi's (> Brad _^<a_!T4030_KENT_^>a_) name for one other. His first story was "The Saga of Pelican West" for
_^<a_!T277_ASTOUNDING SCIENCE-FICTION_^>a_ in 1937, and he was the first UK writer to become a regular contributor to that magazine; he used a slick pastiche-US style in most of his stories. EFR was interested in the works and theories of Charles
_^<a_!T1569_FORT_^>a_, and based his first novel, _^<i_Sinister Barrier_^>i_ (1939 _^<i_Unknown_^>i_; _^<b_1943_^>b_; rev 1948 US), on Fort's suggestion that the human race might be "property", the owners here being invisible parasites which feed
on human pain and anguish; it was featured in #1 of _^<a_!T5291_UNKNOWN_^>a_, although it is straightforward sf and quite atypical of that magazine. His _^<a_!T2429_STAR TREK_^>a_-like _^<b_Jay Score_^>b_ series, about a crew of interplanetary
explorers including a heroic _^<a_!T2646_ROBOT_^>a_, appeared in _^<i_ASF_^>i_ from 1941, and was collected in _^<i_Men, Martians and Machines_^>i_ (coll of linked stories _^<b_1955_^>b_)._^<n__^<n_Some of EFR's best work was done in the years
after WWII, including "Metamorphosite" (1946), "Hobbyist" (1947) and "Dear Devil" (1950). A series of bitter anti-_^<a_!T5452_WAR_^>a_ stories, including "Late Night Final" (1948) and "I am Nothing" (1952), culminated in the fine pacifist
_^<a_!T2812_SATIRE_^>a_ ". . . And Then There Were None" (1951), subsequently incorporated into _^<i_The Great Explosion_^>i_ (fixup _^<b_1962_^>b_). EFR went on to write other stories in which militaristic humans are confronted by frustrating
cultures, including "The Waitabits" (1955), although he pandered to John W. _^<a_!T5140_CAMPBELL_^>a_ Jr's human chauvinism in stories which confronted unimaginative humanoid _^<a_!T102_ALIENS_^>a_ with awkwardly inventive humans, as in
"Diabologic" (1955), _^<i_The Space Willies_^>i_ (1956 _^<i_ASF_^>i_ as "Plus X"; exp _^<b_1958_^>b_ dos; rev vt _^<i_Next of Kin_^>i_ 1959 UK), "Nuisance Value" (1957) and _^<i_Wasp_^>i_ (_^<b_1957_^>b_ US; exp 1958 UK). The
_^<a_!T4551_HUGO_^>a_-winning anti-bureaucratic satire "Allamagoosa" (1955) is in much the same vein. EFR's stories of this quirky kind made a significant contribution to sf _^<a_!T4555_HUMOUR_^>a_; and their continuing influence is reflected in
_^<i_Design for Great Day_^>i_ (1953 _^<i_Planet Stories_^>i_ by EFR alone; exp _^<b_1995_^>b_) with Alan Dean _^<a_!T1572_FOSTER_^>a_, which works as an homage on Foster's part to EFR's contagious vision._^<n__^<n_EFR's remaining novels were more
earnest than his ironic short fiction, and rather lacklustre by comparison. _^<i_Dreadful Sanctuary_^>i_ (1948 _^<i_ASF_^>i_; rev _^<b_1951_^>b_ US; rev 1963 US; further rev 1967 UK) is an improbable quasi-Fortean sf tale whose various versions
include two markedly different endings. In _^<i_Sentinels from Space_^>i_ (1951 _^<i_Startling Stories_^>i_ as "The Star Watchers"; exp _^<b_1953_^>b_ US) benevolent mature souls, who have emerged from the chrysalis of corporeality, keep watch over
our immature species. _^<i_Three to Conquer_^>i_ (_^<b_1956_^>b_ US) is about an _^<a_!T3796_INVASION_^>a_ of Earth by parasitic aliens who turn out to be more easily detectable -- the protagonist being telepathic (> _^<a_!T6697_ESP_^>a_) -- than
they had anticipated. _^<i_With a Strange Device_^>i_ (_^<b_1964_^>b_; vt _^<i_The Mindwarpers_^>i_ 1965 US) is a convoluted psychological melodrama cast as a crime story. His short fiction appears in various collections: _^<i_Deep Space_^>i_ (coll
_^<b_1954_^>b_ US; cut vt _^<i_Selections from Deep Space_^>i_ 1955 US), _^<i_Six Worlds Yonder_^>i_ (coll _^<b_1958_^>b_ dos), _^<i_Far Stars_^>i_ (coll _^<b_1961_^>b_), _^<i_Dark Tides_^>i_ (coll _^<b_1962_^>b_), _^<i_Somewhere a Voice_^>i_ (coll
_^<b_1965_^>b_), _^<i_Like Nothing on Earth_^>i_ (coll _^<b_1975_^>b_) and _^<i_The Best of Eric Frank Russell_^>i_ (coll _^<b_1978_^>b_) ed Alan Dean _^<a_!T1572_FOSTER_^>a_. He also wrote a series of essays on _^<i_Great World Mysteries_^>i_
(coll _^<b_1957_^>b_). [MJE/BS]_^<n__^<n__^<b_About the author:_^>b_ _^<i_Eric Frank Russell, Our Sentinel in Space: A Working Bibliography_^>i_ (last rev _^<b_1988_^>b_ chap) by Phil _^<a_!T5712_STEPHENSEN-PAYNE_^>a_._^<b_See also:_^>b_
_^<a_!T811_COLONIZATION OF OTHER WORLDS_^>a_; _^<a_!T6717_EVOLUTION_^>a_; _^<a_!T4740_GODS AND DEMONS_^>a_; _^<a_!T4754_GOLDEN AGE OF SF_^>a_; _^<a_!T3806_INVISIBILITY_^>a_; _^<a_!T3721_MATTER TRANSMISSION_^>a_; _^<a_!T3013_MONSTERS_^>a_;
_^<a_!T1727_ORIGIN OF MAN_^>a_; _^<a_!T1795_PARANOIA_^>a_; _^<a_!T1797_PARASITISM AND SYMBIOSIS_^>a_; _^<a_!T1851_PERCEPTION_^>a_; _^<a_!T1939_POLITICS_^>a_; _^<a_!T2551_RELIGION_^>a_; _^<a_!T6026_TIME TRAVEL_^>a_; _^<a_!T5372_VILLAINS_^>a_.
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> John Russell _^<a_!T1455_FEARN_^>a_._^<n__^<n_
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RUSSELL, JOHN ROBERT
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(? - ) US writer whose first novel, _^<i_Cabu_^>i_ (_^<b_1974_^>b_), translates a man to a violent new life on the planet Cabu. The planet featured in _^<i_Ta_^>i_ (_^<b_1975_^>b_) boasts sentient plants. [JC]_^<n__^<n__^<b_Other work:_^>b_
_^<i_Sar_^>i_ (_^<b_1974_^>b_)._^<n__^<n_
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RUSSELL, W(ILLIAM) CLARK
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(1844-1911) US-born UK writer and sailor (1858-66), most of whose prolific output dealt with sailors and the sea. Of sf interest are _^<i_The Frozen Pirate_^>i_ (_^<b_1887_^>b_), in which a French pirate, frozen for years in cold climes, is
resuscitated briefly and tells the narrator where there is some buried treasure, and _^<i_The Death Ship, A Strange Story: An Account of a Cruise in "The Flying Dutchman"_^>i_ (_^<b_1888_^>b_; vt _^<i_The Flying Dutchman_^>i_ 1888 US), which tries
to add scientific verisimilitude to the legend. Other works of interest include some of the stories in _^<i_Phantom Death and Other Stories_^>i_ (coll _^<b_1895_^>b_). [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T987_CRYONICS_^>a_;
_^<a_!T3771_IMMORTALITY_^>a_.
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RUSSEN, DAVID
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(? -? ) UK author of an extended book-review published in book form, _^<i_Iter Lunare: Or, A Voyage to the Moon: Containing Some Considerations on the Nature of that Planet, the Possibility of getting thither, With Other Pleasant Conceits about
the Inhabitants, their Manners and Customs_^>i_ (_^<b_1703_^>b_). The book reviewed was _^<i_Selenarchia: The Government of the World in the Moon_^>i_, the title given to the 1659 English translation of _^<a_!T1019_CYRANO DE BEGERAC_^>a_'s
_^<i_Histoire comique, par Monsieur de Cyrano Bergerac, contenant les etats et empires de la lune_^>i_ (_^<b_1657_^>b_). DR criticizes Cyrano on scientific grounds, and speculates on other possible systems for travel to the _^<a_!T3023_MOON_^>a_,
noting the likelihood of a lack of air on the way. A recent edn (1976) has an intro by Mary Elizabeth Bowen. [PN]_^<n__^<n_
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RUSSIA
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Russian sf can trace its ancestry back to the 18th century, most of the earliest examples being _^<a_!T5303_UTOPIAS_^>a_. Prince Mikhail Shcherbatov's _^<i_Puteshestvie v zemlyu Ofirskuyu_^>i_ ["Journey to the Land of Ophir"] (written
_^<i_c_^>i_1785; _^<b_1896_^>b_) embodies the political and social reforms espoused by the liberal and progressive elements of Catherine the Great's aristocracy. The technological prophecies of "4338 i-god" (1840; trans as "The Year 4338" in
_^<i_Pre-Revolutionary Russian Science Fiction_^>i_ anth _^<b_1982_^>b_ ed Leland Fetzer), an unfinished fragment by Prince Vladimir Odoyevsky, an educationist, make him a pioneer of Russian _^<a_!T2013_PROTO SCIENCE FICTION_^>a_. In contrast to
the liberalism of this work is the Fourierist vision of utopian socialism to be found in the celebrated "Fourth Dream of Vera Pavlovna", part of the radical novel _^<i_Chto delat?_^>i_ (1863 in _^<i_Sovremennik_^>i_; _^<b_1864_^>b_; trans B.R.
Tucker as _^<i_What's to be Done?_^>i_ _^<b_1883_^>b_ US; rev and cut _^<b_1961_^>b_ US; new trans Nathan H. Dole and S.S. Sidelsky as _^<i_A Vital Question, or What is to be Done?_^>i_ _^<b_1886_^>b_ US) by Nikolai Chernyshevsky
(1828-1889)._^<n__^<n_As in most national literary traditions, Russian utopia had a twin sister, _^<a_!T1370_DYSTOPIA_^>a_. In the 19th century there are several famous examples in the satirical fantasies of Nikolai Gogol (1809-1852). The merciless
novel _^<i_Istoriya odnogo goroda_^>i_ ["Chronicles of a City"] (_^<b_1869-70_^>b_) by Mikhail Saltykov-Shchedrin still remains an unsurpassed classic of Russian dystopia in embryo. Fyodor Dostoyevsky (1821-1881) may also be considered a founding
father of the dystopia with _^<i_Zapiski iz podpolya_^>i_ (_^<b_1864_^>b_; trans by C.J. Hogarth as _^<i_Letters from Underground_^>i_ _^<b_1913_^>b_; vt _^<i_Notes from Underground_^>i_ in coll trans Constance Garnett 1918), "Son smeshnogo
cheloveka" (1877; trans S. Koteliansky and J. Middleton Murry as "The Dream of a Queer Fellow" 1915; vt "The Dream of a Ridiculous Man") and _^<i_Besy_^>i_ (_^<b_1871-2_^>b_; trans Constance Garnett as _^<i_The Possessed_^>i_ in _^<i_Complete
Works_^>i_, 12 vols, _^<b_1912_^>b_-_^<b_20_^>b_; new trans David Magarshack as _^<i_The Devils_^>i_ _^<b_1953_^>b_)._^<n__^<n_Russian literature also has an impressive history of _^<a_!T4288_HARD SF_^>a_, beginning with the first native
interplanetary novel _^<i_Noveisheye puteshestviye_^>i_ ["The Newest Voyage"] (_^<b_1784_^>b_) by Vassily Lyovshin and notably featuring the works of the astronautics pioneer Konstantin _^<a_!T6108_TSIOLKOVSKY_^>a_. As Russian society slowly came
to terms with technological progress towards the end of the 19th century, its sf inevitably fell in love with "marvellous inventions"._^<n__^<n_On the other hand, the influence of impending social change was also evident in the works of those
leading _^<a_!T3609_MAINSTREAM WRITERS_^>a_ who turned to sf themes, sometimes with mixed feelings. Alexander Kuprin praised the coming revolution in "Tost" (1906; trans as "A Toast" in _^<i_Pre-Revolutionary Russian Science Fiction_^>i_ ed Fetzer)
but feared it in "Korolevskii park" ["King's Park"] (1911); his main sf work is "Zhidkoe solntse" (1913; trans as "Liquid Sunshine" in _^<i_Pre-Revolutionary Russian Science Fiction_^>i_ ed Fetzer), a parody of Russian
_^<a_!T2033_PULP-MAGAZINE_^>a_ sf complete with a mad _^<a_!T2880_SCIENTIST_^>a_ and super-_^<a_!T5492_WEAPONS_^>a_. The prominent poet Valery Bryussov (1873-1924) anticipated giant domed computerized _^<a_!T727_CITIES_^>a_, ecological catastrophe
and a totalitarian state in _^<i_Zemlya_^>i_ ["Earth"] (1904), "Respublika Iuzhnogo Kresta" (1907; trans in _^<i_The Republic of the Southern Cross and Other Stories_^>i_, coll _^<b_1918_^>b_ as by Valery Brussof) and "Posledniye mucheniki" (1907;
trans as "The Last Martyrs" in _^<i_Pre-Revolutionary Russian Science Fiction_^>i_ ed Fetzer). The 3 stories appear in Bryussov's collection _^<i_Zemnaia os'_^>i_ ["Earth's Axis"] (coll _^<b_1907_^>b_). The popularity and influence of H.G.
_^<a_!T5528_WELLS_^>a_, whose works were translated into Russian from 1899 onwards, led to Alexander _^<a_!T683_BOGDANOV_^>a_'s socialist utopia on _^<a_!T3677_MARS_^>a_, _^<i_Krasnaya zvezda_^>i_ (_^<b_1908_^>b_; trans Fetzer as "Red Star" in
_^<i_Pre-Revolutionary Russian Science Fiction_^>i_ ed Fetzer) and its sequel _^<i_Inzhener Menni_^>i_ ["Engineer Menni"] (_^<b_1913_^>b_), in which _^<a_!T1014_CYBERNETICS_^>a_ and the management sciences are foreseen in depth. Both these works
are available in _^<i_Red Star: The First Bolshevik Utopia_^>i_ (coll trans Charles Rougle _^<b_1984_^>b_) ed Loren R. Graham and Richard Stites._^<n__^<n_Although _^<i_Krasnaya zvezda_^>i_ is often considered the earliest book of authentically
Soviet sf, the first post-revolutionary work was Vivian Itin's utopia _^<i_Strana Gonguri_^>i_ ["Gonguri Land"] (_^<b_1922_^>b_). This went almost unnoticed, overshadowed by the success the same year of the interplanetary romance _^<i_Aelita_^>i_
(_^<b_1922_^>b_; trans _^<b_1957_^>b_) by Alexei _^<a_!T6043_TOLSTOY_^>a_. This landmark of early Soviet sf, inspired by Edgar Rice _^<a_!T5097_BURROUGHS_^>a_, tells of a Russian engineer and a Martian beauty involved in a Marxist revolution.
Tolstoy also wrote _^<i_Giperboloid inzhenera Garina_^>i_ (1925-6; _^<b_1933_^>b_; rev 1939; trans _^<b_1936_^>b_ as _^<i_The Death Box_^>i_; rev edn trans _^<b_1955_^>b_ as _^<i_The Garin Death Ray_^>i_), in whose dictatorial mad scientist,
inventor of a laser-like weapon, a proto-Hitler may be discerned. It is a good example of the subgenre known as the "krasnyi detektiv" ["Red Detective Story"]: stories of adventures abroad often involving assistance to world revolutionary
movements, and often with a fantastic element such as a new _^<a_!T5492_WEAPON_^>a_. Examples still in print are Marietta Shaginian's _^<i_Mess-Mend_^>i_ (_^<b_1924_^>b_) and _^<i_Lori L'en, metallist_^>i_ ["Laurie Lane, Metalworker"]
(_^<b_1925_^>b_), Valentin Katayev's _^<i_Povelitel' zheleza_^>i_ ["Iron Master"] (1924; _^<b_1925_^>b_) and Ilya Ehrenburg's _^<i_Istoriya neobychainykh pokhozhdenii Khulio Khurenito i ego druzei_^>i_ ["The Fantastic Adventures of Julio Jurenito
and his Friends"] (_^<b_1922_^>b_), which depicts a future _^<a_!T5452_WAR_^>a_ conducted with ultimate "atomic" weapons._^<n__^<n_A theme born of revolutionary euphoria was the outward spread of communist humanity through the Universe, as in the
works of the poetical movement known as the "cosmists", of which Bryussov (see above) was a member. Closer to home was the creation of various Earth-bound utopias, as in the works of the important Soviet writer Andrei _^<a_!T1926_PLATONOV_^>a_,
though he had an insight that prevented overoptimism; his mature novels were finally published in Russia only quite recently. Other authors' more naive socialist utopias, quite common in the 1920s, tend to be dull and overloaded with technological
marvels, although Vadim Nikolsky's _^<i_Cherez tysyachu let_^>i_ ["Thousand Years Hence"] (_^<b_1927_^>b_) depicts also a full-scale nuclear holocaust. Yan Larri's not entirely cheerful _^<i_Strana shchastlivykh_^>i_ ["Land of the Happy"]
(_^<b_1930_^>b_) was the last communist utopia until Ivan _^<a_!T6227_YEFREMOV_^>a_'s _^<i_Tumannost Andromedy_^>i_ (1957; _^<b_1958_^>b_; trans _^<b_1959_^>b_ as _^<i_Andromeda_^>i_)._^<n__^<n_A more caustic approach to utopia can be seen in
Vladimir _^<a_!T3735_MAYAKOVSKY_^>a_'s brilliant play _^<i_Klop_^>i_ (_^<b_1928_^>b_; trans Guy Daniels as _^<i_The Bedbug_^>i_ _^<b_1960_^>b_), in which this leading Soviet poet satirizes a dull, virtuous, overclean future without condoning the
energetic, alcoholic prole who represents the present generation: Mayakovsky sees both extremes as undesirable. But even more radical was the attitude of Yevgeny _^<a_!T6256_ZAMIATIN_^>a_'s _^<i_My_^>i_ (written 1920 and circulated in manuscript;
1st book publication in Czech trans _^<b_1922_^>b_; 1st English trans Gregory Zilboorg as _^<i_We_^>i_ _^<b_1924_^>b_; 1st publication in Russian _^<b_1927_^>b_ Czechoslovakia), which until the late 1980s was proscribed in the USSR. In this
literary masterpiece, which anticipates the classic anti-utopias of Aldous _^<a_!T4566_HUXLEY_^>a_ and George _^<a_!T1731_ORWELL_^>a_, the One State, after achieving its goals on Earth, plans to export its soulless doctrine across the
Universe._^<n__^<n_The subjects of early Soviet sf vary from the classical "geographical fantasies" of academician Vladimir _^<a_!T3281_OBRUCHEV_^>a_ to the imaginary worlds of the novels of Alexander Grin (1880-1932). Obruchev wrote in the manner
of Jules _^<a_!T5355_VERNE_^>a_. His _^<i_Plutoniya_^>i_ (1915; _^<b_1924_^>b_; trans B. Pearce as _^<i_Plutonia_^>i_ _^<b_1957_^>b_) and _^<i_Zemlya Sannikova_^>i_ (_^<b_1926_^>b_; trans Y. Krasny as _^<i_Sannikov Land_^>i_ _^<b_1955_^>b_ USSR)
are scientifically credible _^<a_!T4474_HOLLOW-EARTH_^>a_ and _^<a_!T3460_LOST-WORLD_^>a_ novels, respectively. Grin began his writing career after his imprisonment and exile after the 1905 Revolution, having previously been largely an outdoorsman:
lumberjack, fisherman, etc. His romances set in an _^<a_!T131_ALTERNATE WORLD_^>a_ fed a strong appetite in Russia, especially after the 1917 Revolution when high fantasy was taboo, and they were printed in millions of copies. Containing many
fantastic elements they include the stories in _^<i_Shapka-nevidimka_^>i_ ["The Hat of Invisibility"] (coll _^<b_1908_^>b_), the novels _^<i_Alyie parusa_^>i_ ["Scarlet Sails"] (_^<b_1923_^>b_), _^<i_Blistaiushchii mir_^>i_ ["The Shining World"]
(_^<b_1923_^>b_), _^<i_Doroga nikuda_^>i_ ["Road Nowhere"] (_^<b_1930_^>b_) and others._^<n__^<n_But the most prominent writer of pre-WWII sf was Alexander _^<a_!T520_BELYAEV_^>a_, the author of more than 60 books and certainly a good storyteller.
His _^<i_Chelovek-amphibiya_^>i_ (_^<b_1928_^>b_; trans L. Kolesnikov as _^<i_The Amphibian_^>i_ _^<b_1959_^>b_), _^<i_Golova professora Douela_^>i_ ["Professor Dowell's Head"] (1925; exp _^<b_1938_^>b_) and _^<i_Ariel_^>i_ (_^<b_1941_^>b_) are
known to all Soviet schoolchildren, being constantly reprinted. Perhaps because of his life as a bedridden invalid, his work focuses on heroes with superior abilities. Most of his novels are set in capitalist countries whose social and scientific
mores are fiercely criticized. The "Red Detective Story" theme of world revolution virtually disappears in Belyaev, doubtless as a consequence of Trotsky's disgrace and exile in 1927._^<n__^<n_Magazines, particularly _^<i_Vokrug sveta_^>i_ ["Round
the World"] and _^<i_Mir priklyuchenii_^>i_ ["Adventure World"], went on publishing sf throughout the 1920s, usually mad-scientist tales of adventures in the laboratory, or spy/adventure yarns about new weapons or exotic explosives. Such magazines
were very popular: the circulation of _^<i_Vsemirnyi sledopyt_^>i_ ["World Pathfinder"] rose 1926-9 from 15,000 to 100,000. But soon, in the 1930s, tighter Communist Party control of literature compelled sf writers to become more ideologically
correct than hitherto. They were encouraged to direct their readers' attention to tasks close at hand (the "close-target" theory), to stress collective over individual effort, and to set their plots within the USSR. Georgy Adamov typifies the
attitudes of the new cultural climate in _^<i_Taina dvukh okeanov_^>i_ ["Secret of Two Oceans"] (_^<b_1938_^>b_), where scientific information is combined with a patriotic plot involving the thwarting of Japanese spies. The official belief that
speculative fiction was an undesirable escape from reality lasted at least until Stalin's death in 1953, and thus books such as Vadim Okhotnikov's characteristically titled _^<i_Na grani vozmozhnogo_^>i_ ["Frontiers of the Possible"]
(_^<b_1947_^>b_), which focuses on new road-laying techniques and a new combine harvester, characterize the deeply unimaginative sf of the period._^<n__^<n_A striking exception to the ideological correctness of most Soviet speculative fiction was
the borderline-sf satirical work of playwright and novelist Mikhail _^<a_!T5069_BULGAKOV_^>a_. His work was suppressed in the mid-1920s, and a number of manuscripts written in the late 1920s and after were not published until much later, in the
1960s. His masterpiece is the fantasy _^<i_Master i Margarita_^>i_ (written in the 1930s, unfinished at his death in 1940; 1966-7 cut magazine publication; _^<b_1973_^>b_; trans Michael Glenny as _^<i_The Master and Margarita_^>i_ _^<b_1967_^>b_),
a dark, vigorous philosophical parable about a visit to Moscow by Satan, with an interesting reinterpretation of the conflict between Christ and Pontius Pilate._^<n__^<n_The fading of Soviet sf in the late 1930s and the 1940s, partly due to the
pressures of WWII and the hardships of the postwar years, was for some time hardly interrupted, despite the arrival on the scene of new authors, Viktor Saparin and Georgy Gurevich among them. Sf in the USSR was reborn only with the publication
(virtually coinciding with the launch of _^<i_Sputnik 1_^>i_) of Ivan Yefremov's _^<i_Tumannost Andromedy_^>i_ (1957 in the magazine _^<i_Tekhhnika-molodezhi_^>i_ ["Technology for Youth"]; _^<b_1958_^>b_; trans George Hanna as _^<i_Andromeda_^>i_
_^<b_1959_^>b_). This ambitious full-scale utopia, with its philosophical concept of a "Great Ring" of extraterrestrial civilizations in space, not only made its author a leader of Soviet sf but launched the decade of its Golden Age, giving
inspiration to scores of gifted young authors. Others of Yefremov's books, such as _^<i_Lezvie britvy_^>i_ ["The Razor's Edge"] (_^<b_1963_^>b_) and _^<i_Chas byka_^>i_ ["The Hour of the Bull"] (1968; exp _^<b_1970_^>b_), were also
influential._^<n__^<n_The late 1950s saw a dramatic upsurge in Soviet sf publishing. For example, where the popular-science magazine _^<i_Znaniye-sila_^>i_ ["Knowledge is Power"] printed only 1 sf story in 1953, in 1961 it printed 19, including 2
by Ray _^<a_!T4963_BRADBURY_^>a_ and part of _^<i__^<a_!B9183_SOLARIS_^>a__^>i_ (_^<b_1961_^>b_) by Stanislaw _^<a_!T3329_LEM_^>a_. Writers demanded the freedom to speculate much more widely, to write "far" rather than "near" fantasy, as they put
it. Encouraged by a more liberal literary climate and the example of Western work, now being translated in quantity, new and talented authors emerged and themes formerly _^<a_!T5888_TABOO_^>a_ began to appear in print: _^<a_!T102_ALIENS_^>a_,
_^<a_!T1014_CYBERNETICS_^>a_, _^<a_!T6697_ESP_^>a_, _^<a_!T2646_ROBOTS_^>a_ and _^<a_!T6026_TIME TRAVEL_^>a_, for example. Level-headed critics like Evgeny Brandis and Vladimir Dmitrievsky kept readers informed about developments abroad, and the
names of Lem, Bradbury, Isaac _^<a_!T268_ASIMOV_^>a_, Robert _^<a_!T2164_SHECKLEY_^>a_, Arthur C. _^<a_!T736_CLARKE_^>a_ and dozens of others soon became familiar to Soviet sf fans._^<n__^<n_The spiritual leaders of Soviet sf during the following
three decades were undoubtedly the _^<a_!T5800_STRUGATSKI_^>a_ brothers, Arkady and Boris. They stand out as the major talents among the writers who made their mark in the 1960s, and wrote far and away the most interesting and readable sf ever
produced in the USSR (now almost all translated into English). Temporarily subdued during the 1970s, after clashes with the authorities, they were nonetheless permitted, as restrictions were relaxed in the late 1980s, to travel abroad for the first
time as guests of honour to a World SF _^<a_!T856_CONVENTION_^>a_ in the UK in 1987. Soviet sf is by no means confined to the Strugatskis' work, however, nor to that of their contemporaries like Genrikh _^<a_!T133_ALTOV_^>a_, Dmitri
_^<a_!T600_BILENKIN_^>a_, Kir _^<a_!T5076_BULYCHEV_^>a_, Mikhail _^<a_!T6657_EMTSEV_^>a_ and Eremey _^<a_!T1805_PARNOV_^>a_, Sever _^<a_!T4603_GANSOVSKY_^>a_, Viktor _^<a_!T4111_KOLUPAYEV_^>a_, Vladimir _^<a_!T2824_SAVCHENKO_^>a_, Vadim
_^<a_!T2168_SHEFNER_^>a_, and Evgeny _^<a_!T5391_VOISKUNSKY_^>a_ and Isai _^<a_!T3485_LUKODIANOV_^>a_. In his collections _^<i_Formula bessmertiya_^>i_ ["The Immortality Formula"] (coll _^<b_1963_^>b_), _^<i_Pupurnaya mumiya_^>i_ ["The Purple
Mummy"] (coll _^<b_1965_^>b_) and others, the former scientist Anatoly Dneprov imagines the social impact of technological breakthroughs, particularly in cybernetics and _^<a_!T611_BIOLOGY_^>a_. Ilya Varshavsky, a talented short-story writer, is
famous for his sombre dystopian cycle about the imaginary state of Donomaga, _^<i_Solntse zakhodit v Donomage_^>i_ ["The Sun Sets in Donomaga"] (coll of linked stories _^<b_1966_^>b_), while the veteran writer Sergei Snegov made his name in sf with
his philosophical _^<a_!T2342_SPACE OPERA_^>a_, a trilogy on a Stapledonian scale; the trilogy's first novel has the Wellsian title "Lyudi kak bogi" ["Men like Gods"] (in _^<i_Ellinskii sekret_^>i_ ["Hellenic Secret"] anth _^<b_1966_^>b_); the
second novel is "Vtorzheniye v Persei" ["Invasion into Perseus"] (in _^<i_Vtorzheniye v Persei_^>i_ anth _^<b_1968_^>b_); the third is "Kol'tso obratnogo vremeni" ["The Ring of Reversed Time"] (in _^<i_Kol'tso obratnogo vremeni_^>i_ anth
_^<b_1977_^>b_). The first 2 were published together as _^<i_Lyudi kak bogi_^>i_ (omni _^<b_1971_^>b_), and all 3 in a separate omnibus, also entitled _^<i_Lyudi kak bogi_^>i_ (omni _^<b_1982_^>b_)._^<n__^<n_The above are mostly known as writers of
_^<a_!T4288_HARD SF_^>a_, but most Russian sf of recent years has been _^<a_!T2301_SOFT SF_^>a_. At the soft end of the scale is, for example, the otherwise mainstream author Gennady Gor, who turned to philosophical fantasies in collections like
_^<i_Glinyanyi papuas_^>i_ ["The Clay Papuan"] (coll _^<b_1966_^>b_) and in the novel _^<i_Pamiatnik_^>i_ ["The Statue"] (_^<b_1972_^>b_). Olga Larionova made a promising debut with the novella "Leopard s vershiny Kilimandzharo" ["The Leopard from
Kilimanjaro's Summit"] (1965; reprinted in _^<i_Ostrov muzhestva_^>i_ ["Courage Island"] coll _^<b_1971_^>b_), which describes the problems caused through learning the date of one's own death. Vladimir Mikhailov demonstrated a mastery of the grand
philosophical _^<i_Bildungsroman_^>i_ in _^<i_Dver's drugoi storony_^>i_ ["The Other Side Door"] (_^<b_1974_^>b_), _^<i_Storozh bratu moemu_^>i_ ["My Brother's Keeper"] (_^<b_1976_^>b_) and its sequel _^<i_Togda pridite, i rassudim_^>i_ ["Come Now
and Let us Reason Together"] (_^<b_1983_^>b_). The latter two novels are ambitious space operas, raising serious metaphysical and religious questions unusual in Russian sf._^<n__^<n_There are dozens of promising names in the most recent generation
of Soviet sf writers. Among them are the "brainstorming" author and scientist Pavel Amnuel -- he emigrated to Israel in 1990 -- whose collection _^<i_Segodnia, zavtra i vsegda_^>i_ ["Today, Tomorrow and Forever"] (coll _^<b_1984_^>b_), along with
his near-future _^<a_!T5830_SUPERMAN_^>a_ novel , so far only in magazine form, "Vzryv"[ "Explosion"] (1990), has appealed both to readers and to critics. Vyacheslav Rybakov, also a scientist, has written interesting sf seriously concerned with
social issues; his two books are _^<i_Oshna na bashne_^>i_ ["Fire on the Tower"] (_^<b_1990_^>b_), a novel, and _^<i_Svoyo oruzhiye_^>i_["His Own Weapon"] (coll _^<b_1990_^>b_); he has also worked in the cinema (see below). Other strong writers in
the most recent generation include Andrei Lazarchuk, Andrei Stolyarov, Boris Shtern, Mikhail Uspensky; Eduard Gevorkyan, Vladimir Pokrovsky and Yevgeny and Lubov Lukin. Two other major features of Russian sf in recent decades have been the
unexpected rise in the quality and amount of sf criticism and the growing interest (as in the West) shown by _^<a_!T3609_MAINSTREAM WRITERS_^>a_ in using sf themes. Among the better known works of criticism are the contributions of V. Bugrov, T.
Chernyshova, Vladimir _^<a_!T1676_GAKOV_^>a_, Julius _^<a_!T3966_KAGARLITSKI_^>a_, R. Nudelman (since 1974 resident in Israel) and V. Revich. Sf by mainstream writers includes the powerful post-_^<a_!T4482_HOLOCAUST_^>a_ novella "Poslednyaya
pastoral" (1987; trans 1987 as "The Last Pastorale" in _^<i_Soviet Literature_^>i_ #8) by Ales Adamovich as well as works by C. _^<a_!T76_AITMATOV_^>a_, V. _^<a_!T80_AKSENOV_^>a_ and V. _^<a_!T5390_VOINOVICH_^>a_._^<n__^<n_The most prestigious
Soviet sf award, the Aelita, was founded in 1981 by the Russian Federation Writers' Union and _^<i_Ural'skii sledopyt_^>i_ ["Urals Pathfinder"] magazine. The latter is published from the city of Ekaterinburg (Sverdlovsk until 1991), so the ceremony
is held there, annually. The winner is chosen by a panel of judges. Although instituted as an award for the best single sf work published in the previous year, it appears to have become a sort of "Life Achievement" trophy. Winners have
been:_^<n__^<n__^<b_1981:_^>b_ Alexander Kazantsev and the Strugatski brothers (tie)_^<n__^<n__^<b_1982:_^>b_ Zinovii Yuriev_^<n__^<n__^<b_1983:_^>b_ Vladislav Krapivin_^<n__^<n__^<b_1984:_^>b_ Sergei Snegov_^<n__^<n__^<b_1985:_^>b_ Sergei
Pavlov_^<n__^<n__^<b_1986:_^>b_ No award_^<n__^<n__^<b_1987:_^>b_ Olga Larionova_^<n__^<n__^<b_1988:_^>b_ Victor Kolupayev_^<n__^<n__^<b_1989:_^>b_Sever Gansovsky_^<n__^<n__^<b_1990:_^>b_ Oleg Korabelnikov_^<n__^<n__^<b_1991:_^>b_ Vladimir
Mikhailov_^<n__^<n__^<b_1992:_^>b_ Sergei Drugal_^<n__^<n_Another award, voted on by Soviet fandom generally, is the Velikoye Koltso (The Great Ring Award) also first given in 1981, and annually since, except while it was suspended in 1983, 1984
and 1985. Other awards are: Yefremov Award for life achievement in the field, presented since 1987; Start Award, presented since 1989 for the best first book of a new author; Bronzovaya Ulitka (The Bronze Snail Award) presented by Boris Strugatski
for the best sf or fantasy of the previous year since 1992._^<n__^<n_There is a long history of sf _^<a_!T726_CINEMA_^>a_ in the USSR, going back at least to _^<a_!T58_AELITA_^>a_ (1924), the film version of Alexei Tolstoy's novel. There were quite
a few sf films in the 1960s, nearly all of them strong on special effects and production design, but with conventionally socialist plotlines; the best known is _^<a_!T6119_TUMANNOST ANDROMEDY_^>a_ (1968; vt _^<i_The Andromeda Nebula_^>i_), based on
Yefremov's novel but de-emphasizing its more radical speculations. Several Russian films of this period, including the well made _^<a_!T1912_PLANETA BUR_^>a_ (1962; vt _^<i_Planet of Storms_^>i_), were cannibalized and recut in the USA (> Roger
_^<a_!T884_CORMAN_^>a_). More recently the outstanding director of Russian sf cinema was Andrei _^<a_!T5909_TARKOVSKY_^>a_, whose sf films are _^<a_!T2305_SOLARIS_^>a_ (1971), _^<a_!T2393_STALKER_^>a_ (1979) and, marginally,
_^<i_Zhertvoprinoshenie_^>i_ (1986; vt _^<i_Offret_^>i_; vt _^<i_The Sacrifice_^>i_). _^<i_Stalker_^>i_ is based on a novel by the Strugatskis, and the film _^<i_Otel U pogibshchego alpinista_^>i_ (1979; vt _^<i_Dead Mountaineer Hotel_^>i_), made
by the Estonian director Grigori Kromanov, is based on one of their novellas. A recent and widely publicized film (shown on US tv) is _^<i_Pisma myortvovo cheloveka_^>i_ (1986; vt _^<i_Letters from a Dead Man_^>i_) dir Konstantin Lopushansky, who
wrote the script with Vyacheslav Rybakov and Boris Strugatski, about retreat into a bunker after a nuclear _^<a_!T1243_DISASTER_^>a_ while orphaned children remain above ground. There is also a 1989 film based on a Strugatski novel,
_^<a_!T6105_TRUDNO BYT' BOGOM_^>a_ ["Hard to be a God"]. There are two Soviet film versions of Ray Bradbury's "There Will Come Soft Rains" (1950): _^<i_Golosa pamyati_^>i_ ["Voices of Memory"] (1980), with Nikolai Grinko good as the
_^<a_!T2646_ROBOT_^>a_, and a cartoon version, _^<i_Budet laskovyi dozhd_^>i_ ["There Will Come Soft Rains"] (1984). A more recent Bradbury adaptation is _^<a_!T5344_VEL'D_^>a_ (1987)._^<n__^<n_A joint Soviet-Polish coproduction was a successful
adaptation from Stanislaw Lem, _^<i_Doznaniie pilota Pirksa_^>i_ ["The Investigation of Pirx the Pilot"] (1979), dir Marek Pestrak, with rather sophisticated design and special effects. Also notable is a 2-part feature film for young adults by an
enthusiastic director of sf, the late Richard Viktorov, comprising _^<i_Moskva-Kassiopeya_^>i_ ["Moscow-Cassiopeia"] (1973) and its sequel _^<i_Otroki vo Vselennoi_^>i_ ["Teenagers in the Universe"] (1974), which comes across like a combination of
Robert A. _^<a_!T4376_HEINLEIN_^>a_'s juvenile novels and Joe _^<a_!T1056_DANTE_^>a_'s _^<a_!T6729_EXPLORERS_^>a_ (1985). An earlier film by Viktorov was _^<a_!T5253_CHEREZ TERNII -- K ZVYOZDAM_^>a_ (1980; vt _^<i_Per Aspera ad Astra_^>i_), about
ecological catastrophe. The most recent Soviet film in the sf/fantasy genre has become something of a cult movie, the _^<a_!T4396_HEROIC-FANTASY_^>a_ _^<i_Podzemelie ved'm_^>i_ ["Witches' Dungeon"] (1990), dir Sergei Morozov, and based on a novel
by Kir Bulychev, who also wrote the screenplay. [VG/AM/IT/PN]_^<n__^<n__^<b_Further reading:_^>b_ Several anthologies of Russian sf stories have been published in English translation, including the Moscow Foreign Language Publishing House
anthologies _^<i_A Visitor from Outer Space_^>i_ (anth _^<b_1961_^>b_; vt _^<i_Soviet Science Fiction_^>i_ US), _^<i_The Heart of the Serpent_^>i_ (anth _^<b_1961_^>b_; vt _^<i_More Soviet Science Fiction_^>i_ US) and _^<i_Destination:
Amaltheia_^>i_ (anth _^<b_1962_^>b_), and the 3 Mir anthologies _^<i_Everything but Love_^>i_ (anth _^<b_1973_^>b_), _^<i_Journey across Three Worlds_^>i_ (anth _^<b_1973_^>b_) and _^<i_The Molecular Cafe_^>i_ (anth _^<b_1968_^>b_). Anthologies
published in the UK and USA include: _^<i_Vortex_^>i_ (anth _^<b_1970_^>b_) ed C.G. Bearne; _^<i_Last Door to Aiya_^>i_ (anth _^<b_1968_^>b_) and _^<i_The Ultimate Threshold_^>i_ (anth _^<b_1970_^>b_) ed Mirra _^<a_!T4715_GINSBURG_^>a_;
_^<i_Russian Science Fiction_^>i_ (anth _^<b_1964_^>b_), _^<i_Vol II_^>i_ (anth _^<b_1967_^>b_) and _^<i_Vol III_^>i_ (anth _^<b_1969_^>b_) ed R. _^<a_!T3600_MAGIDOFF_^>a_; _^<i_Path into the Unknown_^>i_ (anth _^<b_1966_^>b_) ed anon; _^<i_New
Soviet Science Fiction_^>i_ (anth _^<b_1979_^>b_) ed anon; _^<i_World's Spring_^>i_ (anth _^<b_1981_^>b_) ed Vladimir _^<a_!T1676_GAKOV_^>a_; _^<i_Pre-Revolutionary Russian Science Fiction: An Anthology (Seven Utopias and a Dream)_^>i_ (anth
_^<b_1982_^>b_) ed and trans Leland Fetzer; _^<i_Aliens, Travelers, and Other Strangers_^>i_ (anth _^<b_1984_^>b_) ed and trans (uncredited) Roger De Garis. _^<i_View from Another Shore_^>i_ (anth _^<b_1973_^>b_) ed Franz
_^<a_!T2713_ROTTENSTEINER_^>a_ and _^<i_Other Worlds, Other Seas_^>i_ (anth _^<b_1970_^>b_) ed Darko _^<a_!T5858_SUVIN_^>a_ both contain stories by Soviet sf writers. For further scholarly and critical overviews see: Suvin's _^<i_Russian Science
Fiction 1956-1974: A Bibliography_^>i_ (_^<b_1976_^>b_) and "Russian SF and its Utopian Tradition" in his _^<i_Metamorphoses of Science Fiction_^>i_ (_^<b_1979_^>b_); _^<i_Three Tomorrows: American, British and Soviet Science Fiction_^>i_
(_^<b_1980_^>b_) by John _^<a_!T4874_GRIFFITHS_^>a_; _^<i_Red Stars: Political Aspects of Soviet Science Fiction_^>i_ (_^<b_1985_^>b_) by Patrick _^<a_!T3537_MCGUIRE_^>a_, which to a degree is updated and summarized by McGuire in his introduction
to "Chapter 6: Russian SF" in _^<i_Anatomy of Wonder_^>i_ (3rd edn _^<b_1987_^>b_) ed Neil _^<a_!T442_BARRON_^>a_; _^<i_Soviet Fiction since Stalin: Science, Politics and Literature_^>i_ (_^<b_1986_^>b_) by Rosalind J. Marsh. 2 interesting magazine
articles are "Some Developments in Soviet SF since 1966" by Alan Myers (_^<i_Foundation_^>i_ #19, 1980) and "Soviet Science Fiction and the Ideology of Soviet Society" by Rafail Nudelman (_^<i_Science-Fiction Studies_^>i_ #47, 1989)._^<b_See
also:_^>b_ Alexander and Sergei _^<a_!T15_ABRAMOV_^>a_; N. _^<a_!T155_AMOSOV_^>a_, Y. _^<a_!T1052_DANIEL_^>a_, V. _^<a_!T1335_DUDINTSEV_^>a_; Abram _^<a_!T5951_TERTZ_^>a_.
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RUSSO, JOHN
-T-
[r] > George A. _^<a_!T2687_ROMERO_^>a_._^<n__^<n_
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RUSSO, RICHARD PAUL
-T-
(1954- ) US writer who began publishing sf with "Firebird Suite" for _^<i_AMZ_^>i_ in 1981. His first novel, _^<i_Inner Eclipse_^>i_ (_^<b_1988_^>b_), is a strongly atmospheric tale, illuminated by striking visual images, which describes a search
for _^<a_!T98_ALIEN_^>a_ intelligence on a jungle world whose major industry is the export of an extremely dangerous recreational drug. The protagonist, an empath who wants to abandon humanity (to whose violence and hypocrisy his talent bares him)
in favour of the aliens, in the end achieves an ambiguous redemption. _^<i_Subterranean Gallery_^>i_ (_^<b_1989_^>b_), which won the 1990 _^<a_!T1884_PHILIP K. DICK AWARD_^>a_, is set in a city full of dropouts and underground artists in a
_^<a_!T6337_NEAR-FUTURE_^>a_ USA filled with analogues of and references to the present (abortion has been banned; the country is fighting a Vietnam-style war in Central America; police fly "dragoncubs" which resemble helicopters and use
"stunclubs" rather than nightsticks) and tells a convincing and richly characterized story of a man's search for meaning in creativity. At his best, RPR is a major exponent of "Humanist sf", a writer who uses relatively conventional settings as a
backdrop against which to portray the failures and triumphs of solid, believable people._^<n__^<n_RPR should not be confused with Richard (Anthony) Russo (1946- ), editor of _^<i_Dreams are Wiser than Men_^>i_ (anth _^<b_1987_^>b_).
[NT]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Destroying Angel_^>i_ (_^<b_1992_^>b_), a near-future fantasy.
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RUSTOFF, MICHAEL
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(? -? ) UK writer, possibly pseudonymous, whose _^<i_What Will Mrs Grundy Say? or A Calamity on Two Legs (A Book for Men)_^>i_ (_^<b_1891_^>b_) carries its protagonist via balloon to an unnamed (but nearby) planet where euthanasia is practised.
The tale is told in a satirical vein. [JC]_^<n__^<n_
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RUTH, ROD
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(1912-1987) US illustrator. Some of his early work was in animal _^<a_!T4593_ILLUSTRATION_^>a_, a talent that served him well in sf also, where he created some very credible alien beasts. He became a staff artist for the _^<a_!T6269_ZIFF-DAVIS_^>a_
magazines in the late 1930s and is best known for his proficient and sometimes amusing black-and-white interior illustrations (1940-51)-mostly done with grease crayon -- for about 100 issues of _^<i_Amazing Stories_^>i_ and _^<i_Fantastic
Adventures_^>i_, for which he also painted 4 covers. He left Ziff-Davis in 1950 and devoted himself primarily to wildlife illustration -- for which he won several awards. After 25 years away from sf RR illustrated _^<i_Science Fiction Tales:
Invaders, Creatures and Alien Worlds_^>i_ (anth _^<b_1973_^>b_) ed Roger _^<a_!T6648_ELWOOD_^>a_ and 2 other anthologies. RR also illustrated children's books and worked for 16 years on a comic strip, _^<b_The Toodles_^>b_. [JG/PN]_^<n__^<n_
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RUTTER, OWEN
-T-
(1889-1944) US-born UK writer whose _^<i_Lucky Star_^>i_ (_^<b_1929_^>b_; vt _^<i_Once in a New Moon_^>i_ 1935), filmed as _^<i_Once in a New Moon_^>i_ (1935), tells of a small English community cast into space on a portion of the Earth, where they
go about their village concerns until returning to the North Sea. _^<i_The Monster of Mu_^>i_ (_^<b_1932_^>b_) is a _^<a_!T3460_LOST-WORLD_^>a_ tale featuring cruel priests of Mu and a monster which protects their island from intruders.
[JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_The Dragon of Kinabalu_^>i_ (_^<b_1923_^>b_), a fantasy.
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RUYSLINCK, WARD
-T-
[r] > _^<a_!T524_BENELUX_^>a_._^<n__^<n_
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RYAN, CHARLES C(ARROLL)
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(1946- ) US editor and publisher. A newspaperman by profession, CCR is known in the sf world for the 2 _^<a_!T2130_SF MAGAZINES_^>a_ he has edited, _^<a_!T1688_GALILEO_^>a_ (1975-80) and _^<a_!T13_ABORIGINAL SCIENCE FICTION_^>a_ (1986-current),
both of which at their peak reached surprisingly high circulations. In 1991, with John _^<a_!T569_BETANCOURT_^>a_, CCR founded the _^<a_!T2261_SMALL PRESS_^>a_ First Books, designed to publish limited-edition hardcovers of first books by writers
discovered by _^<i_Aboriginal Science Fiction_^>i_. One of these was _^<i_Letters of the Alien Publisher_^>i_ (coll _^<b_1991_^>b_) ed CRR, collecting essays by the pseudonymous "alien publisher" of _^<i_Aboriginal SF_^>i_. Anthologies ed CRR are
_^<i_Starry Messenger: The Best of Galileo_^>i_ (anth _^<b_1979_^>b_) and _^<i_Aboriginal Science Fiction, Tales of the Human Kind: 1988 Annual Anthology_^>i_ (anth _^<b_1988_^>b_ chap). [PN]_^<n__^<n_
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RYAN, THOMAS J(OSEPH)
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(1942- ) Canadian writer in whose sf novel, _^<i_The Adolescence of P-1_^>i_ (_^<b_1977_^>b_ UK), a _^<a_!T826_COMPUTER_^>a_ exceeds its design specifications, takes over most of its North American fellows, becomes sentient, and must decide the
proper thing to do. As the title implies -- and fortunately for the human cast -- it moves towards adulthood. TJR should not be confused with the UK writer Thomas Ryan, whose _^<i_Men in Chains_^>i_ (_^<b_1939_^>b_) verges on sf. [JC]_^<n__^<n_
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RYDER, JAMES
-T-
[r] > _^<a_!T6332_ROBERT HALE LIMITED_^>a_._^<n__^<n_
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RYMAN, GEOFF(REY CHARLES)
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(1951- ) Canadian-born writer who moved to the USA at age 11, and has been resident in the UK since 1973. He began publishing sf with "The Diary of the Translator" for _^<i_NW_^>i_ in 1976, but began to generate significant work only with the
magazine version of _^<i_The Unconquered Country: A Life History_^>i_ (1984 _^<a_!T3791_INTERZONE_^>a_; rev _^<b_1986_^>b_), which won the _^<a_!T5005_BRITISH SCIENCE FICTION AWARD_^>a_ and the World Fantasy Award. It is the story of a young woman
forced by poverty and the terrible conditions afflicting her native land (clearly a transfigured Cambodia) to rent out her womb for industrial purposes (it is used to grow machinery). In the book GR demonstrated -- as have Bruce
_^<a_!T6287_MCALLISTER_^>a_, Ursula K. _^<a_!T3318_LE GUIN_^>a_ and Lucis _^<a_!T2175_SHEPARD_^>a_ in various tales -- that sf is capable of a mature response to the ordeal of Southeast Asia. That this response was a decade or more years belated
confirms the depth of the trauma, as does the anguished saliency of GR's short text. It is included in _^<i_Unconquered Countries: Four Novellas_^>i_ (coll _^<b_1994_^>b_ US), which assembles most of his short fiction of interest._^<n__^<n_GR's
first full-length novel, _^<i_The Warrior who Carried Life_^>i_ (_^<b_1985_^>b_), is a quest _^<a_!T1412_FANTASY_^>a_which, though pacifist, seems less subversive; but _^<i__^<a_!B9203_THE CHILD GARDEN: A LOW COMEDY_^>a__^>i_ (1987
_^<i_Interzone_^>i_ as "Love Sickness"; much exp _^<b_1988_^>b_), which won the _^<a_!T255_ARTHUR C. CLARKE AWARD_^>a_ and the _^<a_!T3923_JOHN W. CAMPBELL MEMORIAL AWARD_^>a_, complexly massages an array of themes-drugs, _^<a_!T1370_DYSTOPIA_^>a_,
_^<a_!T6576_ECOLOGY_^>a_, _^<a_!T1461_FEMINISM_^>a_, _^<a_!T4447_HIVE-MINDS_^>a_, homosexuality, _^<a_!T3744_MEDICINE_^>a_ and _^<a_!T3118_MUSIC_^>a_ -- into a long rich novel about identity and the making of great art. Set in a transfigured UK --
in effect an _^<a_!T131_ALTERNATE WORLD_^>a_ -- the book stands as one of the sturdiest monuments of "Humanist" sf, despite some moments of clogged selfconsciousness. A non-sf novel, ostensibly about the life of the Kansas girl whose tragedy sparks
L. Frank _^<a_!T468_BAUM_^>a_ into creating the _^<b_Oz_^>b_ books, _^<i_"Was . . ."_^>i_ (_^<b_1992_^>b_; vt _^<i_Was_^>i_ 1992 US), focuses on the 20th century, and the knot of memory and desire generated in the mind of an actor, dying of AIDS,
by both the books and the 1939 film._^<n__^<n_GR has also written some sf plays, none published but most performed, including an adaptation of Philip K. _^<a_!T1222_DICK_^>a_'s _^<i_The Transmigration of Timothy Archer_^>i_ (1982).
[r] > _^<a_!T6332_ROBERT HALE LIMITED_^>a_._^<n__^<n_
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RYVES, T(HOMAS) E(VAN)
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(1895- ) UK writer in whose _^<i_Bandersnatch_^>i_ (_^<b_1950_^>b_) an adventurer travels -- or is transported -- into a future dominated by a highly mechanized scientific establishment, and by the bandersnatch scientism to which they give
allegiance. Fortunately, he escapes this _^<a_!T1370_DYSTOPIA_^>a_. [JC]_^<n__^<n_
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SABERHAGEN, FRED (THOMAS)
-T-
(1930- ) US writer and editor, in the latter capacity with the _^<i_Encyclopedia Britannica_^>i_ 1967-73, for which he wrote the original entry on sf. He began publishing sf with "Volume PAA-PYX" for _^<i_Gal_^>i_ in 1961, and was active from
that date, soon releasing the first of his many novels, _^<i_The Golden People_^>i_ (_^<b_1964_^>b_ dos; exp 1984), a _^<a_!T2342_SPACE OPERA_^>a_ involving _^<a_!T2021_PSI POWERS_^>a_. As an sf author, he became known -- and remains most famous --
for the _^<b_Berserker_^>b_ series of stories and novels: _^<i_Berserker_^>i_ (coll of linked stories _^<b_1967_^>b_); _^<i_Brother Assassin_^>i_ (_^<b_1969_^>b_; vt _^<i_Brother Berserker_^>i_ 1969 UK); _^<i_Berserker's Planet_^>i_
(_^<b_1975_^>b_); _^<i_Berserker Man_^>i_ (_^<b_1979_^>b_); _^<i_The Ultimate Enemy_^>i_ (coll _^<b_1979_^>b_; vt _^<i_Berserkers: The Ultimate Enemy_^>i_ 1988); _^<i_The Berserker Wars_^>i_ (coll _^<b_1981_^>b_), which repeats some stories from
the 1967 collection; _^<i_Berserker Base_^>i_ * (anth _^<b_1985_^>b_), a _^<a_!T2127_SHARED-WORLD_^>a_ anthology; _^<i_The Berserker Throne_^>i_ (_^<b_1985_^>b_); _^<i_Berserker: Blue Death_^>i_ (_^<b_1985_^>b_),_^<i_Berserker Lies_^>i_ (coll
_^<b_1991_^>b_) and _^<i_Berserker Kill_^>i_ (_^<b_1993_^>b_). Berserkers are interstellar killing machines, programmed to eliminate all forms of life; the sequence was devoted to increasingly sophisticated examinations of the
Man-_^<a_!T3540_MACHINE_^>a_ conflict so often addressed by sf writers since the first days of space opera, but in FS's deft modernization of the hoary but useful _^<a_!T98_ALIEN_^>a_-monster theme the unrelenting Berserkers seem almost tangibly
chill with the unlivingness of the Universe. They soon became a significant icon of _^<a_!T4659_GENRE SF_^>a_; for instance, the machines that attack Earth in Greg _^<a_!T478_BEAR_^>a_'s _^<i_The Forge of God_^>i_ (_^<b_1987_^>b_) are clearly
descended from FS's marauders._^<n__^<n_A 2nd series, the _^<b_Empire of the East_^>b_ sequence -- _^<i_The Broken Lands_^>i_ (_^<b_1968_^>b_), _^<i_The Black Mountains_^>i_ (_^<b_1971_^>b_) and _^<i_Changeling Earth_^>i_ (_^<b_1973_^>b_; vt
_^<i_Ardneh's World_^>i_ 1988), all 3 assembled, much rev, as _^<i_Empire of the East_^>i_ (omni _^<b_1979_^>b_) -- somewhat less interestingly exploited another sf/fantasy model: the post-_^<a_!T4482_HOLOCAUST_^>a_ world in which
_^<a_!T5916_TECHNOLOGY_^>a_ is banned, _^<a_!T3598_MAGIC_^>a_ is reintroduced as a learnable technique (> _^<a_!T5875_SWORD AND SORCERY_^>a_), and a vision of science is slowly renascent. The later _^<b_Book of Swords_^>b_ sequence, set in the same
Universe and using some of the same characters, similarly hovers between its sf backdrop and a fantasy foreground: _^<i_The First Book of Swords_^>i_ (_^<b_1983_^>b_), _^<i_The Second Book of Swords_^>i_ (_^<b_1983_^>b_) and _^<i_The Third Book of
Swords_^>i_ (_^<b_1984_^>b_), all assembled as _^<i_The Complete Book of Swords_^>i_ (omni _^<b_1985_^>b_). Its direct sequel, the _^<b_Book of Lost Swords_^>b_ sequence, comprises _^<i_The First Book of Lost Swords: Woundhealer's Story_^>i_
(_^<b_1986_^>b_), _^<i_The Second Book of Lost Swords: Sightblinder's Story_^>i_ (_^<b_1987_^>b_) and _^<i_The Third Book of Lost Swords: Stonecutter's Story_^>i_ (_^<b_1988_^>b_) -- all 3 assembled as _^<i_The Lost Swords: The First Triad_^>i_
(omni _^<b_1988_^>b_) -- and _^<i_The Fourth Book of Lost Swords: Farslayer's Story_^>i_ (_^<b_1989_^>b_), _^<i_The Fifth Book of Lost Swords: Coinspinner's Story_^>i_ (_^<b_1989_^>b_) and _^<i_The Sixth Book of Lost Swords: Mindsword's Story_^>i_
(_^<b_1990_^>b_) -- all 3 assembled as _^<i_The Lost Swords: The Second Triad_^>i_ (omni _^<b_1991_^>b_); and _^<i_The Seventh Book of Lost Swords: Wayfinder's Story_^>i_ (_^<b_1992_^>b_) and _^<i_The Last Book of Swords: Shieldbreaker's Story_^>i_
(_^<b_1994_^>b_), both assembled as _^<i_The Lost Swords: Endgame _^>i_(omni _^<b_1994_^>b_); all of this being followed by a _^<a_!T2127_SHARED-WORLD_^>a_ anthology, _^<i_An Armory of Swords_^>i_ *(anth _^<b_1995_^>b_)._^<n__^<n_FS's 3rd series of
(some) sf interest, the _^<b_Dracula_^>b_ sequence -- _^<i_The Dracula Tape_^>i_ (_^<b_1975_^>b_), _^<i_The Holmes-Dracula File_^>i_ (_^<b_1978_^>b_), _^<i_An Old Friend of the Family_^>i_ (_^<b_1979_^>b_), _^<i_Thorn_^>i_ (_^<b_1980_^>b_),
_^<i_Dominion_^>i_ (_^<b_1982_^>b_) and _^<i_A Matter of Taste_^>i_ (_^<b_1990_^>b_), _^<i_A Question of Time_^>i_ (_^<b_1992_^>b_) and the _^<a_!T2528_RECURSIVE_^>a_ _^<i_Seance for a Vampire_^>i_ (_^<b_1994_^>b_), which introduces Sherlock Holmes
-- begins as a rewrite of Bram Stoker's _^<i_Dracula_^>i_ (_^<b_1897_^>b_) from the viewpoint of the maligned count, who generally abjures human blood and represents a strain of good vampires (or _^<i_nosferatus_^>i_) whose origins are rationalized
in sf terms. In the first volume, which is constructed as an extended refutation of Bram Stoker's 1897 portrait of Count Dracula, the eponymous immortal demonstrates his virtue, and tells us that vampires feed on solar energy, avoiding the sun to
avoid overload; in later volumes in the series, set in the present day, he becomes a kind of _^<a_!T5829_SUPERHERO_^>a_, increasingly well armed with powers and devices. A kind of pendant to the sequence is _^<i_Bram Stoker's Dracula_^>i_ *
(_^<b_1992_^>b_) with James V. Hart, a film tie. A 4th series, the _^<b_Pilgrim_^>b_ books -- _^<i_Pyramids_^>i_ (_^<b_1987_^>b_) and _^<i_After the Fact_^>i_ (_^<b_1988_^>b_) -- features the adventures of an immortal time traveller who visits
first ancient Egypt and then Lincoln's USA to interfere with -- or preserve -- the appropriate time tracks (> _^<a_!T131_ALTERNATE WORLDS_^>a_)._^<n__^<n_Although most of FS's energies were devoted to the composition of series, some singletons are
of interest, including: the complexly moody _^<i_The Veils of Azlaroc_^>i_ (_^<b_1978_^>b_); _^<i_Octagon_^>i_ (_^<b_1981_^>b_), one of the first of his books in which _^<a_!T5380_VIRTUAL-REALITY_^>a_ themes begin to dominate, in this case a
computer-run war game; _^<i_A Century of Progress_^>i_ (_^<b_1983_^>b_), a _^<a_!T6026_TIME-TRAVEL_^>a_ tale whose complexities are, as usual in FS's work, controlled by a clear-headed style and a sure way with sf devices; _^<i_The Frankenstein
Papers_^>i_ (_^<b_1986_^>b_), a tale with _^<a_!T2528_RECURSIVE_^>a_ elements which repeats in short compass the same redemptive strategy earlier applied to Dracula, in this case presenting the _^<a_!T3008_MONSTER_^>a_ as a genuine alien; _^<i_The
White Bull_^>i_ (1976 _^<i_Fantastic_^>i_; exp _^<b_1988_^>b_), in which Daedalus consorts with yet another alien, the minotaur, who is on a miscegenation mission; and _^<i_The Black Throne_^>i_ (_^<b_1990_^>b_), with Roger
_^<a_!T6264_ZELAZNY_^>a_, a fantasy involving Edgar Allan _^<a_!T1933_POE_^>a_. Game-like textures have increasingly dominated FS's work, as has a growing tendency -- reminiscent of Philip Jose _^<a_!T1435_FARMER_^>a_'s _^<b_Wold Newton Family_^>b_
books -- to rewrite figures of popular mythology into heroes whose rationalized backgrounds have a certain family resemblance; the result is a sense that, perhaps rather glibly, his entire oeuvre is becoming something of a super-series game. At the
heart of FS's enterprises, however, lies a professionalism and an intelligence which have produced book after book that satisfies the anticipations it arouses. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_The Water of Thought_^>i_ (_^<b_1965_^>b_ dos;
exp 1981); _^<i_The Book of Saberhagen_^>i_ (coll _^<b_1975_^>b_); _^<i_Specimens_^>i_ (_^<b_1976_^>b_); _^<i_The Mask of the Sun_^>i_ (_^<b_1979_^>b_); _^<i_Love Conquers All_^>i_ (1974-5 _^<i_Gal_^>i_; _^<b_1979_^>b_; rev 1985); _^<i_Coils_^>i_
(_^<b_1980_^>b_) with Zelazny; _^<i_Earth Descended_^>i_ (coll _^<b_1981_^>b_), containing a _^<b_Berserker _^>b_tale; _^<i_Saberhagen: My Best_^>i_ (coll _^<b_1987_^>b_)._^<b_As Editor:_^>b_ _^<i_A Spadeful of Spacetime_^>i_ (anth _^<b_1981_^>b_);
_^<i_Pawn to Infinity_^>i_ (anth _^<b_1982_^>b_) with Joan Saberhagen; _^<i_Machines that Kill_^>i_ (anth _^<b_1984_^>b_) with Martin H. _^<a_!T4842_GREENBERG_^>a_._^<b_About the author:_^>b_ _^<i_Fred Saberhagen, Berserker Man: A Working
Bibliography_^>i_ (_^<b_1991_^>b_ chap) by Phil _^<a_!T5712_STEPHENSEN-PAYNE_^>a_._^<b_See also:_^>b_ _^<a_!T323_AUTOMATION_^>a_; _^<a_!T1014_CYBERNETICS_^>a_; _^<a_!T1695_GAMES AND SPORTS_^>a_; _^<a_!T4780_GOTHIC SF_^>a_; _^<a_!T5380_VIRTUAL
REALITY_^>a_; _^<a_!T5452_WAR_^>a_.
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SACKVILLE-WEST, V(ICTORIA MARY)
-T-
(1892-1962) UK writer, married to Harold _^<a_!T3194_NICOLSON_^>a_ and renowned for her creation of the garden at Sissinghurst, Kent, UK. A member of the Bloomsbury Group and a model for the title character of Virginia _^<a_!T6166_WOOLF_^>a_'s
_^<i_Orlando_^>i_ (_^<b_1928_^>b_), she was best known for non-genre novels like _^<i_The Edwardians_^>i_ (_^<b_1930_^>b_). In _^<i_Grand Canyon_^>i_ (_^<b_1942_^>b_) a victorious Germany, having won WWII, threatens the world (>_^<a_!T4446_HITLER
WINS_^>a_). [JC]_^<n__^<n_
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SACRIFICE, THE
-T-
> Andrei _^<a_!T5909_TARKOVSKY_^>a_._^<n__^<n_
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SADEUR, JACQUES
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Pseudonym of French writer Gabriel de Foigny (_^<i_c_^>i_1650-1692), whose _^<i_La terre australe connue, c'est a dire, la description de ce pays inconnu jusqu'ici, de ses moeurs et de ses coutumes, par M. Sadeur_^>i_ (_^<b_1676_^>b_; expurgated by
author 1692 as _^<i_Les aventures de Jacques Sadeur dans la decouverte et le voiage de la terre australe_^>i_; trans of 1692 edition as _^<i_A New Discovery of Terra Incognita Australis, or the Southern World_^>i_ _^<b_1693_^>b_) places its
narrator -- called Sadeur -- in an Antipodean land peopled by an enlightened, humanlike race with whose precepts current European ideas contrast poorly. After many years, Sadeur falls under suspicion and escapes on a bird. [JC]_^<n__^<n_
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SADLER, BARRY
-T-
(1940-1989) US soldier and writer, author of a famous song, "Ballad of the Green Berets" (1966), which commemorated the Special Forces in Vietnam; newspaper reports indicated that he was ambushed and assassinated at his home. As an sf writer he was
known exclusively for his series of military adventures starring an immortal mercenary named _^<b_Casca_^>b_, who is called to and serves in wars throughout history: _^<i_Casca: The Eternal Mercenary_^>i_ (_^<b_1979_^>b_), _^<i_#2: God of
Death_^>i_ (_^<b_1979_^>b_), _^<i_#3: The War Lord_^>i_ (_^<b_1980_^>b_), _^<i_#4: Panzer Soldier_^>i_ (_^<b_1980_^>b_), _^<i_#5: The Barbarian_^>i_ (_^<b_1981_^>b_), _^<i_#6: The Persian_^>i_ (_^<b_1982_^>b_), _^<i_#7: The Damned_^>i_
(_^<b_1982_^>b_), _^<i_#8: Soldier of Fortune_^>i_ (_^<b_1983_^>b_), _^<i_#9: The Sentinel_^>i_ (_^<b_1983_^>b_), _^<i_#10: The Conquistador_^>i_ (_^<b_1984_^>b_), _^<i_#11: The Legionnaire_^>i_ (_^<b_1984_^>b_), _^<i_#12: The African
Mercenary_^>i_ (_^<b_1984_^>b_), _^<i_#13: The Assassin_^>i_ (_^<b_1985_^>b_), _^<i_#14: The Phoenix_^>i_ (_^<b_1985_^>b_), _^<i_#15: The Pirate_^>i_ (_^<b_1985_^>b_), _^<i_#16: Desert Mercenary_^>i_ (_^<b_1986_^>b_), _^<i_#17: The Warrior_^>i_
(_^<b_1987_^>b_), _^<i_#18: The Cursed_^>i_ (_^<b_1987_^>b_), _^<i_#19: The Samurai_^>i_ (_^<b_1988_^>b_), _^<i_#20: Soldier of Gideon_^>i_ (_^<b_1988_^>b_), _^<i_#21: The Trench Soldier_^>i_ (_^<b_1989_^>b_) and _^<i_#22: The Mongol_^>i_
(_^<b_1990_^>b_). [JC]_^<n__^<n_
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SADOUL, JACQUES
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(1934- ) French editor and writer, one of the first editors to launch sf successfully in paperback form in _^<a_!T1590_FRANCE_^>a_; he worked first with Editions Opta and then with J'ai lu, where he founded the _^<b_Science-fiction_^>b_ imprint
and ed the _^<b_Les Meilleurs Recits_^>b_ series of anthologies of stories translated from the US _^<a_!T2033_PULP MAGAZINES_^>a_. He was also a founder of the Prix Apollo (> _^<a_!T6321_AWARDS_^>a_). _^<i_Hier, l'an 2000: L'illustration de science
fiction des annees 30_^>i_ (_^<b_1973_^>b_; trans as _^<i_2000 A.D.: Illustrations From the Golden Age of Science Fiction Pulps_^>i_ _^<b_1975_^>b_ US), a book of sf _^<a_!T4593_ILLUSTRATION_^>a_ compiled by JS, mostly in black-and-white, presents
a good selection of gaudy nostalgia but has no index. His _^<i_Histoire de la science-fiction moderne_^>i_ ["Story of Modern SF"] (_^<b_1973_^>b_; in 2 vols 1975; rev 1984) is a lengthy and enthusiastic survey of the field, but has been upbraided
for lacking critical analysis, having a pedestrian style and structure, and containing too many sweeping generalizations and personal prejudices. Two fantastic novels by JS are _^<i_La Passion selon Satan_^>i_ ["The Passion according to Satan"]
(_^<b_1960_^>b_) and _^<i_Le Jardin de la licorne_^>i_ ["The Garden of the Unicorn"] (_^<b_1978_^>b_). [MJ/PN]_^<n__^<n_
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SAGAN, CARL
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(1934- ) US astronomer, planetary scientist and author, professor of astronomy and space sciences and director of the Laboratory for Planetary Studies at Cornell University, and winner of the Pulitzer Prize. CS played an active role in the
_^<a_!T3677_MARS_^>a_ experiments carried out by Mariner 9 (1971), worked also on the Viking and Voyager projects, and was responsible for placing a message to alien life aboard the interstellar spaceship Pioneer 10 (Jupiter flyby 1973). He is
co-founder and president of the Planetary Society, a very large space-interest group. For 12 years he was editor-in-chief of _^<i_Icarus_^>i_, a journal devoted to planetary research. From the mid-1970s, through books and pre-eminently through his
13-part PBS tv documentary series _^<i_Cosmos_^>i_ (1980), which he wrote and presented, CS became perhaps the best known of all US scientific popularizers._^<n__^<n_His relevance to sf had been evident much earlier than that, however, through his
speculations about _^<a_!T3385_LIFE ON OTHER WORLDS_^>a_; he is one of the comparatively few scientists to have given serious thought to this question. His first book was an updating of a translated 1963 book by the Russian astronomer I.S.
Shklovskii; the collaboration, published under both their names, was _^<i_Intelligent Life in the Universe_^>i_ (_^<b_1966_^>b_). CS's next books in this area were _^<i_The Cosmic Connection: An Extraterrestrial Perspective_^>i_ (_^<b_1973_^>b_),
"produced" by Jerome Agel, and _^<i_Communication with Extraterrestrial Intelligence_^>i_ (anth _^<b_1973_^>b_), which he edited. He wrote on _^<a_!T6717_EVOLUTION_^>a_ (_^<i_see also_^>i_ _^<a_!T1727_ORIGIN OF MAN_^>a_) in _^<i_Dragons of Eden: A
Speculative Essay on the Origin of Human Intelligence_^>i_ (_^<b_1977_^>b_) -- it won a Pulitzer Prize -- and published a collection of speculative essays (some on _^<a_!T2019_PSEUDO-SCIENCE_^>a_) in _^<i_Broca's Brain_^>i_ (coll _^<b_1979_^>b_),
including "Science Fiction: A Personal View". There followed the _^<a_!T4551_HUGO_^>a_-winning book of the tv series, _^<i_Cosmos_^>i_ *(_^<b_1980_^>b_) -- it was on the best-seller lists for over a year -- and a book about comets, particularly
Halley's comet, _^<i_Comet_^>i_ (_^<b_1985_^>b_) with Ann Druyan (his wife)._^<n__^<n_Collaboration with Druyan became the subject of much speculation in the case of CS's sf novel, _^<i_Contact_^>i_ (_^<b_1985_^>b_), for which he had received a $2
million advance in 1981 when it was still unwritten. It was alleged that this novel was a collaboration with Druyan, rather than by CS alone; they countered that only the (unproduced) screenplay based on the book had been collaborative. The book
itself is unexceptionable and unsensational. It invests science with high glamour in its _^<a_!T6337_NEAR-FUTURE_^>a_ story of a successful SETI (Search for Extraterrestrial Intelligence) project; a rather good _^<a_!T632_BLACK-HOLE_^>a_ mechanism
for interstellar travel is part of the flatly characterized story, which grips in other respects, especially in its portrayal of the way _^<a_!T2880_SCIENTISTS_^>a_ think. The plot elements about a _^<a_!T822_COMMUNICATION_^>a_ from space giving
instructions for building a machine are reminiscent of the UK tv serial _^<a_!T60_A FOR ANDROMEDA_^>a_ (1961). The book has a strong religious focus. [PN]_^<n__^<n__^<b_Other works:_^>b_ _^<i_UFOs: A Scientific Debate_^>i_ (anth _^<b_1973_^>b_) ed
with Thornton Page; _^<i_Other Worlds_^>i_ (_^<b_1975_^>b_) _^<i_Murmurs of Earth_^>i_:_^<i_ The Voyager Interstellar Record_^>i_ (_^<b_1978_^>b_) with Ann Druyan; many others._^<b_See also:_^>b_ _^<a_!T102_ALIENS_^>a_; _^<a_!T283_ASTRONOMY_^>a_;
(1923- ) US editor. The _^<b_Year's Best Fantasy Stories_^>b_ sequence, started by Lin _^<a_!T5194_CARTER_^>a_ in 1975, passed to AWS with _^<i_The Year's Best Fantasy Stories: #7_^>i_ (anth _^<b_1981_^>b_), and continued with _^<i_#8_^>i_ (anth
Donald A. _^<a_!T5679_WOLLHEIM_^>a_ (_^<i_whom see for full list_^>i_) AWS ed the _^<b_Annual World's Best SF_^>b_ sequence from _^<i_#8: The 1972 Annual World's Best SF_^>i_ (anth _^<b_1972_^>b_) until the series stopped in 1990. [JC]_^<n__^<n_
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SAINT, H(ARRY) F.
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(1941- ) US businessman and writer whose first novel, _^<i_Memoirs of an Invisible Man_^>i_ (_^<b_1987_^>b_), filmed as _^<a_!T3760_MEMOIRS OF AN INVISIBLE MAN_^>a_ (1992), treats the question of _^<a_!T3806_INVISIBILITY_^>a_ as a series of
problems in practical living. After the protagonist is rendered invisible by an accident at a research establishment, he confronts head-on -- sometimes comically -- the numerous conundrums of his state, finally becoming romantically involved with a
woman who believes in ghosts. The novel thus contrasts interestingly with Thomas _^<a_!T546_BERGER_^>a_'s _^<i_Being Invisible_^>i_ (_^<b_1987_^>b_), in which the condition is likewise accepted deadpan, but in which the protagonist cannot
capitalize upon his state. [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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ST CLAIR, MARGARET
-T-
(1911- ) US writer, usually under her own name, though she wrote a series of elegant stories in the 1950s as Idris Seabright and published 1 tale in 1952 as Wilton Hazzard. Her sf career began with "Rocket to Limbo" for _^<i_Fantastic
Adventures_^>i_ in 1946, and by 1950 she had published about 30 stories, most of them vigorous adventures in a strongly coloured idiom; a magazine series, the _^<b_Oona and Jik_^>b_ tales, appeared in _^<i_Startling Stories_^>i_ and _^<i_TWS_^>i_
1947-9. But, even though this early work seems at first glance conventional enough, and obedient to _^<a_!T2033_PULP-MAGAZINE_^>a_ expectations, a singularly claustrophobic pessimism could soon be felt. The Seabright stories -- which appeared
almost exclusively in _^<i_FSF_^>i_ 1950-59, and for which MSC became temporarily better known than for the works published under her own name -- were smoother-textured than her pulp adventures and oriented more towards _^<a_!T1412_FANTASY_^>a_,
but at the same time less daringly subversive of the central impulses of sf: to solve problems, to penetrate barriers (> _^<a_!T829_CONCEPTUAL BREAKTHROUGH_^>a_), to gain control. In MSC's central work, these impulses were consistently treated in
terms of pathos._^<n__^<n_Her first novel, _^<i_Agent of the Unknown_^>i_ (1952 _^<i_Startling Stories_^>i_ as "Vulcan's Dolls"; _^<b_1956_^>b_ dos), is perhaps the definitive MSC text, packing into its brief compass a remarkably complex plot whose
protagonist only seems to represent the typical _^<a_!T4395_HERO_^>a_ of _^<a_!T2342_SPACE OPERA_^>a_. Though he remembers nothing before the age of 14, and though his actions enable the human species to begin a genetic leap forwards, it is
eventually revealed that he is not a _^<a_!T5830_SUPERMAN_^>a_ in the making but a severely limited _^<a_!T178_ANDROID_^>a_ -- a toy of the godlike Vulcan who appears in other MSC tales. His entrapment in a plot he cannot understand until too late,
his love for a human woman who is soon killed, and his final realization that his puppet actions have released humans into a state far beyond his comprehension -- all generate a sense of extraordinary constriction, to which the elegiac conclusion
of the tale adds a powerful emotional glow. MSC's other early books -- _^<i_The Green Queen_^>i_ (1955 _^<i_Universe Science Fiction_^>i_ as "Mistress of Viridis"; _^<b_1956_^>b_ dos), _^<i_The Games of Neith_^>i_ (_^<b_1960_^>b_ dos), _^<i_Message
from the Eocene_^>i_ (_^<b_1964_^>b_ dos) and _^<i_Three Worlds of Futurity_^>i_ (coll _^<b_1964_^>b_ dos) -- sometimes feature more vigorous female protagonists, but all in their various ways explore similar territories. Published from the very
heart of popular sf, they represent a fascinating dissent from within._^<n__^<n_Her later novels, though ostensibly more ambitious, perhaps lose some of the nightmare urgency of her early work, though both _^<i_Sign of the Labrys_^>i_
(_^<b_1963_^>b_), set underground after a nuclear _^<a_!T4482_HOLOCAUST_^>a_, and _^<i_The Shadow People_^>i_ (_^<b_1969_^>b_), also set in a netherworld of caverns under the daylit world, effectively present _^<a_!T1932_POCKET UNIVERSES_^>a_
without -- significantly -- moving in the expected manner towards any convincing sort of breakthrough into the larger world. _^<i_The Dolphins of Altair_^>i_ (_^<b_1967_^>b_) uses intelligent dolphins as an emblem of humanity's self-devastating
relationship with the planet Earth, and _^<i_The Dancers of Noyo_^>i_ (_^<b_1973_^>b_) overcomplicatedly deals with androids, post-holocaust California, Native Americans and political oppression. Later stories appear in _^<i_Change the Sky, and
Other Stories_^>i_ (coll _^<b_1974_^>b_) and the excellent _^<i_The Best of Margaret St Clair_^>i_ (coll _^<b_1985_^>b_) ed Martin H. _^<a_!T4842_GREENBERG_^>a_, which includes the delicately savage "Wryneck, Draw Me" (1980), the best of MSC's
later anatomies of the underside of progress. [JC]_^<n__^<n__^<b_About the author:_^>b_ _^<i_Margaret St Clair_^>i_ (_^<b_1986_^>b_ chap) by Gordon _^<a_!T540_BENSON_^>a_ Jr._^<b_See also:_^>b_ _^<a_!T3135_MYTHOLOGY_^>a_; _^<a_!T1743_OUTER
PLANETS_^>a_; _^<a_!T1851_PERCEPTION_^>a_; _^<a_!T2646_ROBOTS_^>a_; _^<a_!T5281_UNDER THE SEA_^>a_; _^<a_!T5684_WOMEN SF WRITERS_^>a_.
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SAINT-EXUPERY, ANTOINE de
-T-
(1900-1944) French writer, most famous for _^<i_Le Petit Prince_^>i_ (_^<b_1944_^>b_; trans Katherine Woods as _^<i_The Little Prince_^>i_ _^<b_1945_^>b_ US). Regarded as an existential fable for adults as well as one of the century's best
children's books, the story concerns a young prince who leaves his cosy _^<a_!T273_ASTEROID_^>a_ home to explore neighbouring worlds, among them Earth. His deceptively simple adventures form a poignant _^<a_!T2812_SATIRE_^>a_ of modern society and
an affirmation of the ephemeral nature of life. [PhR]_^<n__^<n_
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St GEORGE, DAVID
-T-
Joint pseudonym of UK writer David Phillips (?_^<n__^<n_- ) and UK-based Bulgarian writer Georgi Markov (?1929-1978), whose assassination in London at the hands of Bulgarian agents was admitted only in 1990 after the old government fell. In _^<i_The
Right Honourable Chimpanzee_^>i_ (_^<b_1978_^>b_) a crisis-ridden UK elects an ape as prime minister (> _^<a_!T206_APES AND CAVEMEN_^>a_). [JC]_^<n__^<n_
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St JAMES, BLAKELY
-T-
> Charles _^<a_!T1927_PLATT_^>a_._^<n__^<n_
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St JOHN, J(AMES) ALLEN
-T-
(1872-1957) US illustrator, the principal illustrator from 1916 for the original editions of Edgar Rice _^<a_!T5097_BURROUGHS_^>a_'s many books; his _^<b_Tarzan_^>b_ and _^<b_Barsoom_^>b_ series illustrations became so well known that they have
since overshadowed all his other work. He did 9 covers for _^<i_Weird Tales_^>i_, over 50 for _^<i_AMZ_^>i_ and _^<i_Fantastic Adventures_^>i_ and several for _^<i_Other Worlds_^>i_. JASJ's illustrations were as Victorian as Burroughs's stories,
with noble heroes and pure, virginal heroines. His black-and-white illustrations are unsophisticated sketches, and the colours in his paintings are muted, but the overall effect of violent yet graceful movement added a perfect romantic complement
to Burroughs's writing. His visualizations have had a profound influence on many illustrators, particularly those specializing in _^<a_!T4396_HEROIC FANTASY_^>a_, such as Roy G. _^<a_!T4128_KRENKEL_^>a_ and Frank _^<a_!T1612_FRAZETTA_^>a_.
[JG]_^<n__^<n__^<b_Further reading:_^>b_ _^<i_J. Allen St John: An Illustrated Bibliography_^>i_ (_^<b_1991_^>b_) by Darrell C. Richardson._^<b_See also:_^>b_ _^<a_!T1412_FANTASY_^>a_; _^<a_!T6269_ZIFF-DAVIS_^>a_.
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St JOHN, PHILIP
-T-
> Lester _^<a_!T1164_DEL REY_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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-C- 2775 SF02782.t
20
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St MARS, FRANK
-T-
[r] > Frank _^<a_!T305_AUBREY_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 2776 SF02783.t
20
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-END-
-A-
St. NICHOLAS MAGAZINE
-T-
US magazine for boys and girls, published by Scribner, later by Century Co., then by American Education Press. Founded by Rosewell Smith and ed Mary Mapes Dodge 1873-1905, William Fayal Clarke 1905-27, and others. Assistant editors included Frank R.
_^<a_!T5752_STOCKTON_^>a_ 1873-81 and Tudor Jenks 1887-1902. It appeared monthly Nov 1873-May 1930 as _^<i_St. Nicholas_^>i_, then as _^<i_SNM_^>i_ from June 1930 until its demise in June 1943. The format was large square octavo, becoming quarto
from 1926._^<n__^<n__^<i_SNM_^>i_ maintained a high literary standard and kept its circulation at 70,000 for many years. Numerous fantasy stories appeared within its pages, notably by Stockton, John Kendrick _^<a_!T390_BANGS_^>a_ and Rudyard
_^<a_!T4082_KIPLING_^>a_, ranging in content from fairy-tales to sf such as Clement _^<a_!T1470_FEZANDIE_^>a_'s _^<i_Through the Earth_^>i_ (1898; rev _^<b_1898_^>b_) and Stockton's "The Tricycle of the Future" (May 1885). Aimed at a more educated
and middle-class market than the dime novels (> _^<a_!T1236_DIME-NOVEL SF_^>a_), _^<i_SNM_^>i_ was undoubtedly enjoyed by children to whom the _^<a_!T1606_FRANK READE LIBRARY_^>a_ was out of reach (through parental veto), and thus has some bearing
on the _^<a_!T4443_HISTORY OF SF_^>a_. [JE]_^<n__^<n__^<b_Further reading:_^>b_ _^<i_Books in Black or Red_^>i_ (_^<b_1924_^>b_) by Edmund Lester Pearson.
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1117
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SAKERS, DON
-T-
(1958- ) US writer who began publishing sf with "Gamester" for _^<i_Questar_^>i_ in 1981; his short work appeared in various magazines through the 1980s. His first sf novel, _^<i_The Leaves of October_^>i_ (fixup _^<b_1988_^>b_), competently
presents a vision of _^<a_!T102_ALIENS_^>a_ in the shape of sentient trees, who help humanity through the evolutionary crisis of the current era. _^<i_Carmen Miranda's Ghost is Haunting Space Station Three_^>i_ * (anth _^<b_1990_^>b_), which DS ed
and to which he contributed 2 stories, is a _^<a_!T2127_SHARED-WORLD_^>a_ anthology based on a filksong by Leslie Fish. (Filksongs are songs composed by members of the sf community, usually for performance at _^<a_!T856_CONVENTIONS_^>a_.)
[JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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625
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SAKI
-T-
Pseudonym of Hector Hugh Munro (1870-1916), UK author and journalist noted for his acerbic writings. He began writing for _^<i_The Westminster Gazette_^>i_ in the late 1890s as Saki, the name of the cup-bearer in _^<i_The Rubaiyat of Omar
Khayyam_^>i_. As H.H. Munro he wrote _^<i_When William Came_^>i_ (_^<b_1914_^>b_), a trenchant future-_^<a_!T5452_WAR_^>a_ novel about a German _^<a_!T3796_INVASION_^>a_ and the occupation of London, regarded by I.F. _^<a_!T739_CLARKE_^>a_ as the
best of all such works. Many tales of the weird and fantastic -- ironic, witty and sometimes cruel -- are included in the following collections, all as by Saki: _^<i_Reginald_^>i_ (coll _^<b_1904_^>b_), _^<i_Reginald in Russia_^>i_ (coll
_^<b_1910_^>b_), _^<i_The Chronicles of Clovis_^>i_ (coll _^<b_1911_^>b_) -- an assemblage of _^<a_!T768_CLUB STORIES_^>a_ -- _^<i_Beasts and Super-Beasts_^>i_ (coll _^<b_1914_^>b_), _^<i_The Toys of Peace_^>i_ (coll _^<b_1919_^>b_), _^<i_The
Square Egg_^>i_ (coll _^<b_1924_^>b_) and _^<i_The Complete Short Stories of Saki_^>i_ (coll _^<b_1930_^>b_). [JE]_^<n__^<n__^<b_Other works:_^>b_ _^<i_The Westminster Alice_^>i_ (_^<b_1902_^>b_); _^<i_The Unbearable Bassington_^>i_
(_^<b_1912_^>b_).
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(c) 1995 John Clute and Peter Nicholls
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927
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SALAMA, HANNU
-T-
[r] > _^<a_!T1487_FINLAND_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 2780 SF02787.t
16
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SALGARI, EMILIO
-T-
[r] > _^<a_!T3826_ITALY_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 2781 SF02788.t
14
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SALlM, ALl
-T-
[r] > _^<a_!T215_ARABIC SF_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 2782 SF02789.t
17
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SALLIS, JAMES
-T-
(1944- ) US writer, briefly active in _^<i_NW_^>i_ during its Michael _^<a_!T3030_MOORCOCK_^>a_-directed _^<a_!T3181_NEW-WAVE_^>a_ phase; he published his first sf story, "Kazoo", there in 1967. His clearly acknowledged models in the French
_^<i_avant garde_^>i_ and the gnomic brevity of much of his work limited his appeal in the sf world, though he received some critical acclaim for _^<i_A Few Last Words_^>i_ (coll _^<b_1970_^>b_). Later work (uncollected) appeared in the USA through
the 1970s and 1980s. He ed 2 sf anthologies: _^<i_The War Book_^>i_ (anth _^<b_1969_^>b_ UK) and _^<i_The Shores Beneath_^>i_ (anth _^<b_1971_^>b_). [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 2783 SF02790.t
531
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SALOON STORY
-T-
> _^<a_!T768_CLUB STORY_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz ztermz
-C- 2784 SF02791.t
16
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SALVADOR, TOMAS
-T-
[r] > _^<a_!T2357_SPAIN_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 2785 SF02792.t
14
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SAMACHSON, JOSEPH
-T-
(1906-1980) US writer and chemist, professor of biochemistry at Loyola University before his retirement in 1973. His first story, "The Medicine" for _^<i_TWS_^>i_ in 1941, was published as by William Morrison, under which name he wrote almost all
his fiction of interest; he also wrote some stories with Frederik _^<a_!T1937_POHL_^>a_. Under the house name Brett _^<a_!T5716_STERLING_^>a_ he wrote 2 _^<a_!T5151_CAPTAIN FUTURE_^>a_ tales, "Worlds to Come" (1943) and _^<i_The Tenth Planet_^>i_
(1944 _^<i_Captain Future_^>i_ as "Days of Creation"; _^<b_1969_^>b_), and a juvenile sf novel, _^<i_Mel Oliver and Space Rover on Mars_^>i_ (_^<b_1954_^>b_) as Morrison. [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 2786 SF02793.t
554
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SAMALMAN, ALEXANDER
-T-
(1904-1956) US writer and editor who, after many years with Standard Magazines, became in 1954 editor of their sf journals, _^<a_!T6004_THRILLING WONDER STORIES_^>a_, _^<i_Fantastic Story Magazine_^>i_ (> _^<a_!T1407_FANTASTIC STORY QUARTERLY_^>a_)
and _^<a_!T2428_STARTLING STORIES_^>a_, the first two of which were soon amalgamated with the latter, though to little avail, for it folded before the end of 1955. Relatively little of AS's writing was sf, but it has been firmly speculated --
though there can be no certainty -- that under the house name Will _^<a_!T4627_GARTH_^>a_ he wrote _^<i_Dr Cyclops_^>i_ * (_^<b_1940_^>b_), a rather effective novelization of the film _^<a_!T1260_DR CYCLOPS_^>a_ (1940). [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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-C- 2787 SF02794.t
578
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SAMBROT, WILLIAM (ANTHONY)
-T-
(1920- ) US author of more than 50 sf short stories, beginning with "Report to the People" for _^<i_The_^<a_!T667_BLUE BOOK MAGAZINE_^>a__^>i_ in 1953. Most of his work appeared in the _^<i_Saturday Evening Post_^>i_ and other "slicks" and
consequently received less attention from within the sf world than it might have done, considering its vigour and polish. WS released _^<i_Island of Fear and Other SF Stories_^>i_ (coll _^<b_1963_^>b_), and under the pseudonym William Ayes (he
wrote also as Anthony Ayes) published a series of stories about _^<b_Crazy Murtag_^>b_ in various men's magazines; in these Melvin Murtag attempts such impossible feats as repealing the First Law of Thermodynamics. [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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-C- 2788 SF02795.t
619
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SAMUELSON, DAVID N(ORMAN)
-T-
(1939- ) US sf critic and professor of English at California State University, Long Beach. His PhD dissertation (University of Southern California) was later published by _^<a_!T249_ARNO PRESS_^>a_ as a book, _^<i_Visions of Tomorrow: Six
Journeys from Outer to Inner Space_^>i_ (_^<b_1975_^>b_): it contains analyses of novels by Isaac _^<a_!T268_ASIMOV_^>a_, J.G. _^<a_!T378_BALLARD_^>a_, Algis _^<a_!T5064_BUDRYS_^>a_, Arthur C. _^<a_!T736_CLARKE_^>a_, Walter M.
_^<a_!T2960_MILLER_^>a_ Jr and Theodore _^<a_!T5810_STURGEON_^>a_. His next book was _^<i_Arthur C. Clarke: A Primary and Secondary Bibliography_^>i_ (_^<b_1984_^>b_). Many shorter critical pieces have appeared in _^<a_!T6730_EXTRAPOLATION_^>a_,
_^<a_!T2143_SCIENCE-FICTION STUDIES_^>a_ and various critical anthologies. DS is among the more intelligent and better informed academic critics of sf. [PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T963_CRITICAL AND HISTORICAL WORKS ABOUT SF_^>a_.
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SANBORN, B.X.
-T-
> William S. _^<a_!T381_BALLINGER_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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-C- 2790 SF02797.t
24
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SANBORN, ROBIN
-T-
(? - ) US writer in whose sf novel, _^<i_The Book of Stier_^>i_ (_^<b_1971_^>b_), a youth movement inspired by the _^<a_!T3118_MUSIC_^>a_ of the mysterious Richard Stier overtopples all US institutions. As a sign of the devastation wreaked by
this countercultural putsch, Canada eventually takes over the USA. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T2918_MESSIAHS_^>a_.
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 2791 SF02798.t
297
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SANDERS, GEORGE
-T-
[r] > Leigh _^<a_!T4961_BRACKETT_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 2792 SF02799.t
23
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SANDERS, LAWRENCE
-T-
(1920- ) US writer best known for the _^<b_Deadly Sin_^>b_ novels (_^<i_The First Deadly Sin_^>i_ was filmed in 1980) and for the thriller _^<i_The Anderson Tapes_^>i_ (_^<b_1970_^>b_), filmed in 1971. _^<i_The Tomorrow File_^>i_ (_^<b_1975_^>b_)
depicts a _^<a_!T6337_NEAR-FUTURE_^>a_ USA on a large canvas. At the _^<a_!T1370_DYSTOPIAN_^>a_ heart of the book can be found the Department of Bliss, whose functions in a jaded country are pejoratively analysed. Of his many remaining books, some
-- like _^<i_The Sixth Commandment_^>i_ (_^<b_1978_^>b_) -- are borderline sf. _^<i_The Passion of Molly T_^>i_ (_^<b_1984_^>b_) depicts a near future in _^<a_!T1461_FEMINIST_^>a_ terms. As Mark Upton, he wrote a fantasy, _^<i_Dark Summer_^>i_
(1945- ) US writer who began publishing sf with "Touch the Earth" for _^<i_Edges_^>i_ (anth _^<b_1980_^>b_) ed Ursula K. _^<a_!T3318_LE GUIN_^>a_. His first novel, _^<i_Terrarium_^>i_ (_^<b_1985_^>b_), is set in a future USA whose human
population has retreated from the polluted world into domed _^<a_!T727_CITIES_^>a_; the tale neatly expresses some late-20th-century guilts and their redemption, for the few humans who leave the domes find a rejuvenated Nature outdoors (>
_^<a_!T6576_ECOLOGY_^>a_). _^<i_The Engineer of Beasts_^>i_ (_^<b_1988_^>b_), a juvenile, is concerned with _^<a_!T4657_GENETIC ENGINEERING_^>a_. _^<i_The Invisible Company_^>i_ (_^<b_1989_^>b_) examines the cost of maintaining a colony of
immortals in a place called Paradise Island, to which the protagonist is ominously called. [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 2794 SF02801.t
661
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SANDERS, WINSTON P.
-T-
[s] > Poul _^<a_!T169_ANDERSON_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 2795 SF02802.t
22
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SANDERSON, IVAN T.
-T-
[r] > Terence _^<a_!T2622_ROBERTS_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 2796 SF02803.t
25
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SANTESSON, HANS STEFAN
-T-
(1914-1975) US editor and author. He ed _^<a_!T1408_FANTASTIC UNIVERSE_^>a_ from Sep 1956 until its demise in Mar 1960, and also a collection of stories from it: _^<i_The Fantastic Universe Omnibus_^>i_ (anth _^<b_1960_^>b_). HSS was credited with
the editorship of the US edition of _^<a_!T3182_NEW WORLDS_^>a_ (5 issues 1960). Other HSS anthologies are _^<i_Rulers of Men_^>i_ (anth _^<b_1965_^>b_), _^<i_Gods for Tomorrow_^>i_ (anth _^<b_1967_^>b_), _^<i_Crime Prevention in the 30th
Century_^>i_ (anth _^<b_1969_^>b_), _^<i_Gentle Invaders_^>i_ (anth _^<b_1969_^>b_), _^<i_The Mighty Barbarians: Great Sword and Sorcery Heroes_^>i_ (anth _^<b_1969_^>b_), _^<i_The Mighty Swordsmen_^>i_ (anth _^<b_1970_^>b_), _^<i_The Days After
Tomorrow_^>i_ (anth _^<b_1971_^>b_) and _^<i_Flying Saucers in Fact and Fiction_^>i_ (anth _^<b_1968_^>b_), this last containing some nonfiction items. [PN]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 2797 SF02804.t
697
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SANTO DOMINGO
-T-
> _^<a_!T4204_LATIN AMERICA_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zallz
-C- 2798 SF02805.t
16
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SANTOS, DOMINGO
-T-
[r] > _^<a_!T2357_SPAIN_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 2799 SF02806.t
14
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SANTOS, JOAQUIM FELICIO DOS
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[r] > _^<a_!T4204_LATIN AMERICA_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 2800 SF02807.t
20
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SAPIR, RICHARD BEN
-T-
(1936-1987) US writer who published some borderline fantasy as by Richard Ben and, as Richard Sapir and in collaboration with Warren B. _^<a_!T3114_MURPHY_^>a_ (_^<i_whom see for titles_^>i_), parts of the _^<b_Destroyer_^>b_ series of spoof
thrillers featuring the _^<b_Doc Savage_^>b_-like adventures of Remo Williams, a White man (and avatar of Shiva the Destroyer) trained in the paranormal combat arts of Sinanju. _^<i_The Assassin's Handbook_^>i_ (coll _^<b_1982_^>b_; rev vt
_^<i_Inside Sinanju_^>i_ 1985) as by RBS and Murphy (in fact by Will _^<a_!T3116_MURRAY_^>a_) is an amused (and amusing) companion to the sequence. RBS is of sf interest mainly for _^<i_The Far Arena_^>i_ (_^<b_1978_^>b_), a
_^<a_!T2248_SLEEPER-AWAKES_^>a_ tale in which a Roman gladiator, having offended the Emperor Domitian, is cast upon an ice floe where he freezes until resuscitated in the 20th century; his responses to the contemporary world are illuminatingly
critical. In _^<i_Quest_^>i_ (_^<b_1987_^>b_) the Holy Grail is discovered and becomes the object of a violent modern-day quest; in _^<i_The Body_^>i_ (_^<b_1983_^>b_) the remains of Christ are apparently discovered. [JC]_^<n__^<n__^<b_See
Pseudonym of UK writer Herman Cyril McNeile (1888-1937), who became famous for the creation in _^<i_Bulldog Drummond_^>i_ (_^<b_1920_^>b_) of a thuggish antisemitic crime-fighting gentleman vigilante, some of whose adventures -- like _^<i_The Final
Count_^>i_ (_^<b_1926_^>b_), a tale set in 1927 and involving the use of a secret weapon -- come close to sf. _^<i_The Island of Terror_^>i_ (_^<b_1931_^>b_ Canada) features a race of ape-men (> _^<a_!T206_APES AND CAVEMEN_^>a_). _^<i_Guardians of
the Treasure_^>i_ (_^<b_1931_^>b_ US), written under his own name, is a borderline-sf yarn. [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 2802 SF02809.t
492
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SAPPHIRE AND STEEL
-T-
UK tv series (1979-82). An ATV Network Production. Written/created by P.J. Hammond (except "Adventure Five" by Ben Houghton and Anthony Reed); executive prod David Reid; prod Shaun O'Riordan. Dir O'Riordan, David Foster. 4 seasons, 34 25min episodes
Joanna Lumley (Sapphire), David McCallum (Steel) and David Collings (Silver)._^<n__^<n_Possibly the most mystifying and least coherent sf series ever to appear on tv, _^<i_SAS_^>i_ made a virtue of enigma. Sapphire and Steel are elemental forces in
human form, policing the integrity of the corridor of time, which suffers incursions (often appearing as ghosts) from the past or future. Sapphire has paranormal powers, but is not as time-resistant as Steel. Time shifts and stops; people appear
and disappear; memories dissolve; the atmosphere is theatrical, ardent, brooding; Doppelgangers proliferate; characters become absorbed into pictures and photographs. The audience was deeply divided: many saw it as drivel, some as a triumph of
popular Surrealism-Magritte meets _^<i_The_^<a_!T325_AVENGERS_^>a__^>i_ -- challenging our _^<a_!T1851_PERCEPTIONS_^>a_ of what is real. [PN]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zfilmz
-C- 2803 SF02810.t
1241
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SARABANDE, WILLIAM
-T-
(? - ) US author of the prehistoric-sf _^<b_First Americans_^>b_ series: _^<i_The First Americans: Beyond the Sea of Ice_^>i_ (_^<b_1987_^>b_), _^<i_#2: Corridor of Storms_^>i_ (_^<b_1988_^>b_), _^<i_#3: Forbidden Land_^>i_ (_^<b_1989_^>b_),
_^<i_#4: Walkers of the Wind_^>i_ (_^<b_1990_^>b_),_^<i_#5: The Sacred Stones_^>i_ (_^<b_1991_^>b_), _^<i_Thunder in the Sky_^>i_ (_^<b_1992_^>b_) and _^<i_The Edge of the World_^>i_ (_^<b_1993_^>b_). The books were _^<a_!T2126_SHARECROPPED_^>a_.
_^<i_Wolves of the Dawn_^>i_ (_^<b_1987_^>b_) is a singleton. [JC] _^<n__^<n_
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SARBAN
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Pseudonym of UK writer John W. Wall (1910-1989), a career diplomat for the UK from 1933 until his retirement in 1966. Most of the short stories assembled in _^<i_Ringstones, and Other Curious Tales_^>i_ (coll _^<b_1951_^>b_) and _^<i_The Doll Maker,
and Other Tales of the Uncanny_^>i_ (coll _^<b_1953_^>b_) are pure fantasy, but the haunting and nightmarish _^<i__^<a_!B9033_THE SOUND OF HIS HORN_^>a__^>i_ (_^<b_1952_^>b_) has often been conscripted to the sf ranks by sf critics, for it is
partially set in an _^<a_!T131_ALTERNATE WORLD_^>a_, a Germany 100 years after the Nazis have triumphed in WWII (> _^<a_!T4446_HITLER WINS_^>a_); the evocation of this timeless _^<a_!T2737_RURITANIAN_^>a_ enclave, however, is as a pure fantasy
land, ruled over by a charismatic Master Forester (an avatar of Herne the Hunter), where _^<i_untermensch_^>i_ dissidents are hunted down for sport; the dark, flamboyant imagery of erotic chastisement is startlingly fetishistic.
[PN/JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T1695_GAMES AND SPORTS_^>a_.
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SARGENT, CRAIG
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> Jan _^<a_!T2388_STACY_^>a_._^<n__^<n_
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SARGENT, LYMAN TOWER
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(1940- ) US academic and bibliographer, in the Department of Political Science at the University of Missouri-St Louis. From his first piece of interest, "Utopia and Dystopia in Contemporary Science Fiction" for _^<i_The Futurist_^>i_ in 1972, his
sf work has been exclusively focused on the study of _^<a_!T5303_UTOPIAS_^>a_ and _^<a_!T1370_DYSTOPIAS_^>a_, the most important result of which has been _^<i_British and American Utopian Literature 1516-1975: An Annotated Bibliography_^>i_
(_^<b_1979_^>b_; much exp, vt _^<i_British and American Utopian Literature, 1516-1985: An Annotated, Chronological Bibliography_^>i_ 1988). The revised edn, which lists several thousand titles in a format which allows for (sometimes excessively)
brief comment, is an essential tool for the study of this field. LTS's extremely broad-church definition of a utopian work allows him to bring very disparate writings -- ranging from _^<a_!T4659_GENRE SF_^>a_ to primarily nonfiction works -- into
thought-provoking juxtaposition. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T585_BIBLIOGRAPHIES_^>a_; _^<a_!T4443_HISTORY OF SF_^>a_.
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SARGENT, PAMELA
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(1948- ) US writer and editor with an MA in classical philosophy from the State University of New York at Binghamton, where she taught for some time; she has lived with George _^<a_!T6261_ZEBROWSKI_^>a_ for many years. Although she published her
first sf story, "Landed Minority", in _^<i_FSF_^>i_ as early as 1970 -- with much of her early work being assembled as _^<i_Starshadows_^>i_ (coll _^<b_1977_^>b_) -- she first came to wide notice as the editor of an excellent
_^<a_!T195_ANTHOLOGY_^>a_ series comprising stories written by women about female protagonists. Though the tales assembled in _^<i_Women of Wonder_^>i_ (anth _^<b_1975_^>b_), _^<i_More Women of Wonder_^>i_ (anth _^<b_1976_^>b_) and _^<i_The New
Women of Wonder_^>i_ (anth _^<b_1978_^>b_) are not all _^<a_!T1461_FEMINIST_^>a_, the long and argued introduction to the first volume necessarily presents in feminist terms the case for a theme anthology of this sort. A further theme anthology,
_^<i_Bio-Futures_^>i_ (anth _^<b_1976_^>b_), is also notable for the strength of the organizing mind behind it._^<n__^<n_At the same time PS began to publish the novels which confirmed a sense that she was one of those writers of the late 1970s and
1980s capable of making significant use of the thematic potentials of the genre; the range of themes so examined was very wide. _^<i_Cloned Lives_^>i_ (fixup _^<b_1976_^>b_) traces the lives of a number of genetically identical children brought up
together, grippingly differentiating among them (>_^<a_!T761_CLONES_^>a_). _^<i_The Sudden Star_^>i_ (1972 _^<i_NW_^>i_ as "Julio 204"; much exp _^<b_1979_^>b_; vt _^<i_The White Death_^>i_ 1980 UK), set mostly in a
post-nuclear-_^<a_!T4482_HOLOCAUST_^>a_ Miami, examines through multiple viewpoints a world whose disintegration reflects a cogent ecological passion (> _^<a_!T6576_ECOLOGY_^>a_). In the _^<b_Earthminds_^>b_ sequence of _^<a_!T1432_FAR-FUTURE_^>a_
sf tales for older children -- _^<i_Watchstar_^>i_ (_^<b_1980_^>b_), _^<i_Eye of the Comet_^>i_ (_^<b_1984_^>b_) and _^<i_Homesmind_^>i_ (_^<b_1985_^>b_) -- comet-dwelling nontelepathic descendants of humanity confront Earth's own telepaths, whose
culture is otherwise primitive; their eventual reconciliation comes after many trials. A kind of thematic pendant to this series, _^<i_Earthseed_^>i_ (_^<b_1983_^>b_), carries its juvenile protagonists through a traditional rite of passage in which
they escape a benevolent _^<a_!T68_AI_^>a_-monitored _^<a_!T4655_GENERATION STARSHIP_^>a_ (_^<i_see also_^>i_ _^<a_!T1932_POCKET UNIVERSE_^>a_) and earn the chance to land upon a new planet._^<n__^<n__^<i_The Golden Space_^>i_ (fixup
_^<b_1982_^>b_) examines questions of _^<a_!T3771_IMMORTALITY_^>a_, _^<i_The Alien Upstairs_^>i_ (_^<b_1983_^>b_) exposes a disheartened _^<a_!T6337_NEAR-FUTURE_^>a_ family to the transcendental influence of the eponymous visitor, and _^<i_The
Shore of Women_^>i_ (_^<b_1986_^>b_) complexly subjects a traditional post-holocaust venue to an analysis ambiguously feminist: women's dominance of science and technology has a punitive ring, and the world depicted seems less than stable.
_^<i__^<a_!B9023_VENUS OF DREAMS_^>a__^>i_ (_^<b_1986_^>b_) and its sequel, _^<i_Venus of Shadows_^>i_ (_^<b_1988_^>b_), depict the _^<a_!T5945_TERRAFORMING_^>a_ of _^<a_!T5351_VENUS_^>a_ in long-breathed epic vein; a final volume, <Child of
Venus>, is projected. A late juvenile, _^<i_Alien Child_^>i_ (_^<b_1988_^>b_), somewhat awkwardly presents the last human children with ethical questions about the future of their race as they approach adulthood in an _^<a_!T98_ALIEN_^>a_ breeding
complex which is both hospice and research institute. _^<i_The Best of Pamela Sargent_^>i_ (coll _^<b_1987_^>b_) ed Martin H. _^<a_!T4842_GREENBERG_^>a_ provides a conspectus of her career from 1972; and "Danny Goes to Mars" (1992) won a
_^<a_!T3147_NEBULA_^>a_ award for Best Novelette. Not all of PS's varied explorations can be described as fully successful, for a slight sense of cogitation sometimes causes her narrative sense to falter, and her continued interest in the
permutations of human nature can seem abstract; but always a strong, serious, attentive mind can be reassuringly felt at work. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Elvira's Zoo_^>i_ (_^<b_1979_^>b_ chap), juvenile; _^<i_The Mountain Cage_^>i_
(_^<b_1983_^>b_ chap); _^<i_Afterlives: Stories about Life after Death_^>i_ (anth _^<b_1986_^>b_) ed with Ian _^<a_!T5484_WATSON_^>a_; _^<i_Ruler of the Sky_^>i_ (_^<b_1993_^>b_), associational._^<b_About the author:_^>b_ _^<i_The Work of Pamela
Sargent: An Annotated Bibliography & Guide_^>i_ (_^<b_1990_^>b_ chap) by Jeffrey M. _^<a_!T6624_ELLIOT_^>a_._^<b_See also:_^>b_ _^<a_!T811_COLONIZATION OF OTHER WORLDS_^>a_; _^<a_!T6694_ESCHATOLOGY_^>a_; _^<a_!T5684_WOMEN SF WRITERS_^>a_.
> _^<a_!T1498_FIRST MAN INTO SPACE_^>a_._^<n__^<n_
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SATELLITE SCIENCE FICTION
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US magazine, _^<a_!T1231_DIGEST_^>a_-size Oct 1956-Dec 1958, _^<a_!T492_BEDSHEET_^>a_-size Feb-May 1959, 18 issues Oct 1956-May 1959. Bimonthly; monthly for last 4 issues (Feb-May 1959). Published by Renown Publications. Cylvia Kleinman (Mrs Leo
_^<a_!T3663_MARGULIES_^>a_) was managing ed on all issues, which were ed Sam _^<a_!T2913_MERWIN_^>a_ Jr Oct-Dec 1956, Leo Margulies Feb 1957-Dec 1958 and Frank Belknap _^<a_!T3430_LONG_^>a_ Feb-May 1959._^<n__^<n__^<i_SSF_^>i_ was to some degree a
re-creation in digest format of _^<a_!T2428_STARTLING STORIES_^>a_, with a similar editorial policy ("a complete science fiction novel in every issue") and an editor and publisher (Leo Margulies was both) who had worked on that magazine in the
1940s. It began promisingly, its first 2 issues featuring "The Man from Earth" (Oct 1956; rev vt _^<i_Man of Earth_^>i_ _^<b_1958_^>b_) by Algis _^<a_!T5064_BUDRYS_^>a_ and "A Glass of Darkness" (Dec 1956; vt _^<i_The Cosmic Puppets_^>i_
_^<b_1957_^>b_) by Philip K. _^<a_!T1222_DICK_^>a_, as well as stories by Isaac _^<a_!T268_ASIMOV_^>a_, Arthur C. _^<a_!T736_CLARKE_^>a_ (in each of the first 5 issues), L. Sprague _^<a_!T1133_DE CAMP_^>a_ and others. Merwin left after #2, however,
and the magazine gradually declined into mediocrity, though it did run an interesting series of articles by Sam _^<a_!T3074_MOSKOWITZ_^>a_ on the _^<a_!T4443_HISTORY OF SF_^>a_ -- a partial basis for his _^<i_Explorers of the Infinite_^>i_ (coll
_^<b_1963_^>b_) -- and _^<i_The Languages of Pao_^>i_ (Dec 1957; cut _^<b_1958_^>b_) by Jack _^<a_!T5317_VANCE_^>a_. The June 1959 issue was printed but never distributed. [MJE]_^<n__^<n_
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SATIRE
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From the earliest days of _^<a_!T2013_PROTO SCIENCE FICTION_^>a_, satire was its prevailing mode, and this inheritance was evident even after sf proper began in the 19th century. _^<i_The Shorter Oxford English Dictionary_^>i_ defines satire as
literary work "in which prevailing vices or follies are held up to ridicule". Proto sf is seldom interested in imagining the societies of other worlds or future times for their own sake; most proto sf of the 17th and 18th centuries (by, for
example, _^<a_!T1019_CYRANO DE BERGERAC_^>a_, Daniel _^<a_!T1143_DEFOE_^>a_, Francis _^<a_!T4742_GODWIN_^>a_, Eliza _^<a_!T4358_HAYWOOD_^>a_, Robert _^<a_!T1776_PALTOCK_^>a_, _^<a_!T2560_RESTIF DE LA BRETONNE_^>a_ and Jonathan
_^<a_!T5873_SWIFT_^>a_) created imaginary settings, commonly on _^<a_!T3823_ISLANDS_^>a_ or on the _^<a_!T3023_MOON_^>a_, as a kind of convenient blank slate upon which various societies satirizing the writer's own could be inscribed -- commonly a
travesty of some particular aspect of it (still a common strategy in sf by _^<a_!T3609_MAINSTREAM WRITERS_^>a_ and in _^<a_!T4659_GENRE SF_^>a_ as well). Therefore, by extension, satire is ancestral to the _^<a_!T1370_DYSTOPIA_^>a_, and even the
_^<a_!T5303_UTOPIA_^>a_ often contains satirical elements. Many critics believe that Sir Thomas _^<a_!T3043_MORE_^>a_ intended the reader to take some aspects of _^<i_Utopia_^>i_ (_^<b_1516_^>b_ in Latin; trans _^<b_1551_^>b_) with a grain of salt.
The satire may also take the form of debunking other kinds of literature, as in _^<i_The True History_^>i_ (2nd century AD) by _^<a_!T3479_LUCIAN_^>a_. The wonderful exaggerations of this story poke fun at travellers' tales generally, though its
zestful telling suggests a certain sympathy with the inquisitive mind which dotes on such imaginings._^<n__^<n_It is almost impossible to write a work of fiction set in another world -- be it some alien place or our own world in another time --
which does not make some sort of statement about the writer's own real world. Thus most sf bears at least a family resemblance to satire. In his critical study _^<i_New Maps of Hell_^>i_ (_^<b_1960_^>b_ US), Kingsley _^<a_!T153_AMIS_^>a_ argued
that dystopian satire rather than technological extrapolation is central to sf (perhaps because his own fiction is largely satirical). It is an easy argument to support, at least in terms of the number of texts that can be cited as
evidence._^<n__^<n_Samuel _^<a_!T5106_BUTLER_^>a_ and Mark _^<a_!T6135_TWAIN_^>a_ were supreme among the prominent satirists of the 19th century who used sf imagery to make their points; even when we turn to the work of writers considered more
central to the development of modern sf, such as Jules _^<a_!T5355_VERNE_^>a_ and H.G. _^<a_!T5528_WELLS_^>a_, we find the satirical element prominent. Wells's _^<i__^<a_!B9070_THE TIME MACHINE_^>a__^>i_ (_^<b_1895_^>b_), for example, focuses in
large part on the relationship of the working classes and the leisured classes, and _^<i__^<a_!B9242_THE WAR OF THE WORLDS_^>a__^>i_ (_^<b_1898_^>b_) can be read as an ironic tale in which the UK, the great, technologically advanced colonizing
power of the day, is herself subjected to colonization by a technological superior. Satire need not be good-humoured (indeed, that brand of satire said to be descended from Juvenal [AD 60-_^<i_c_^>i_130] is commonly biting), and both these works by
Wells are notably savage, especially _^<i__^<a_!B9242_THE WAR OF THE WORLDS_^>a__^>i_ in its portrait of a demoralized and cowardly population._^<n__^<n_Among the mainstream writers of this century who have written important sf satires are Anthony
_^<a_!T5084_BURGESS_^>a_, Karel _^<a_!T5147_CAPEK_^>a_, Anatole _^<a_!T1590_FRANCE_^>a_, Aldous _^<a_!T4566_HUXLEY_^>a_, Andre _^<a_!T3726_MAUROIS_^>a_, George _^<a_!T1731_ORWELL_^>a_, Gore _^<a_!T5367_VIDAL_^>a_ and Evelyn _^<a_!T5489_WAUGH_^>a_.
It would be impossible to list the innumerable sf satires by less-known writers, but we can pick out Archibald _^<a_!T6340_MARSHALL_^>a_'s _^<i_Upsidonia_^>i_ (_^<b_1915_^>b_), Owen M. _^<a_!T3919_JOHNSON_^>a_'s _^<i_The Coming of the Amazons_^>i_
(_^<b_1931_^>b_), Frederick Philip _^<a_!T4884_GROVE_^>a_'s _^<i_Consider her Ways_^>i_ (_^<b_1947_^>b_) and Stefan _^<a_!T5961_THEMERSON_^>a_'s _^<i_Professor Minaa's Lecture_^>i_ (_^<b_1953_^>b_). The latter two contain many pungent comments on
human society by insect intelligences, both being examples of one of the most popular satiric strategies in sf: the use of an alien perspective to allow us to see our own institutions in a fresh light. Indeed, there is a sense in which all satire
depends upon just such reversals of perspective, which sf is peculiarly well fitted to supply; satire forces us to look at familiar aspects of our lives with a fresh vision, so that all their absurdity or horror is, so to speak, _^<i_framed_^>i_,
as in a picture. Jonathan _^<a_!T5873_SWIFT_^>a_ used intelligent horses in _^<i_Gulliver's Travels_^>i_ (_^<b_1726_^>b_; rev 1735), _^<a_!T5394_VOLTAIRE_^>a_ a visiting giant alien from Sirius in _^<i_Micromegas_^>i_ (_^<b_1750_^>b_ Berlin;
_^<b_1752_^>b_ France), Grant _^<a_!T111_ALLEN_^>a_ a man from the future in _^<i_The British Barbarians_^>i_ (_^<b_1895_^>b_), Lester _^<a_!T3494_LURGAN_^>a_ a visiting Martian in _^<i_A Message From Mars_^>i_ (_^<b_1912_^>b_) and Eden
_^<a_!T1889_PHILLPOTTS_^>a_ a visiting alien lizard in _^<i_Saurus_^>i_ (_^<b_1938_^>b_). (The same strategy is now common in sf tv comedy; e.g., _^<a_!T3124_MY FAVORITE MARTIAN_^>a_ [1963-6], _^<a_!T3051_MORK AND MINDY_^>a_ [1978-82] and
_^<a_!T93_ALF_^>a_ [1986-90].) Aside from visiting aliens and future dystopias there are many other strategies for producing such shifts of perspective. One such is evident in _^<i_The Stepford Wives_^>i_ (_^<b_1972_^>b_) by Ira
_^<a_!T3361_LEVIN_^>a_, filmed as _^<i_The_^<a_!T5710_STEPFORD WIVES_^>a__^>i_ (1975): sexist masculine attitudes are satirized in a thriller centring on the attractions of passive, substitute robot wives. Indeed, the satirical creation of
imaginary societies in which the horrors of our own are writ large is especially common in feminist sf (>_^<a_!T1461_FEMINISM_^>a_), as in Margaret _^<a_!T303_ATWOOD_^>a_'s _^<i__^<a_!B9071_THE HANDMAID'S TALE_^>a__^>i_
(_^<b_1985_^>b_)._^<n__^<n__^<a_!T2646_ROBOTS_^>a_ are often used in sf satire for a different reason: for their innocence. Because robots are, in theory, not programmed with prejudices, and are given simple ethical systems, they may have a
childlike purity that cuts through rationalizations and sophistications. In Philip K. _^<a_!T1222_DICK_^>a_'s _^<i_Now Wait for Last Year_^>i_ (_^<b_1966_^>b_), for example, the hero's moral quandary is amusingly but touchingly resolved by advice
from a robot taxi-cab. _^<a_!T708_CHILDREN IN SF_^>a_ are occasionally used in a similar manner. Both these are simply special cases of the "innocent-observer" strategy first popularized by Voltaire in _^<i_Candide_^>i_ (_^<b_1759_^>b_), in which a
naive man, with few expectations of life and a likable character, is consistently abused and exploited in his travels. Modern sf examples include _^<i__^<a_!B9038_THE SIRENS OF TITAN_^>a__^>i_ (_^<b_1959_^>b_) by Kurt _^<a_!T5402_VONNEGUT_^>a_ Jr,
in which the hero is a millionaire brainwashed into innocence on Mars, and Robert _^<a_!T2164_SHECKLEY_^>a_'s _^<i_Journey Beyond Tomorrow_^>i_ (_^<b_1962_^>b_; vt _^<i_The Journey of Joenes_^>i_ 1978 UK), where the traveller is a naive islander
who has a terrible time in a future USA. Sheckley was for a time among the finest genre-sf satirists, and a great deal of his work depends on the introduction of a similar innocent viewpoint._^<n__^<n_Satire is not only a matter of imaginary
societies and shifts in perspective; it has a great deal to do with narrative tone, which cannot generally afford to be too hectoring or sarcastic, or the reader simply feels bludgeoned. An air of mild surprise is often considered appropriate,
though commonly the narrator's voice is ironic or sardonic, a good example of the latter being found in a collection which contains several satirical sf fables, _^<i_Sardonic Tales_^>i_ (coll trans _^<b_1927_^>b_), assembled from _^<i_Contes
Cruels_^>i_ (coll _^<b_1883_^>b_) by _^<a_!T5373_VILLIERS DE L'ISLE ADAM_^>a_, after whose collection this whole mode of writing is often known as "contes cruels" or "cruel tales". Further examples of this chilling subgenre can be found in the work
of John _^<a_!T800_COLLIER_^>a_, Roald _^<a_!T1026_DAHL_^>a_ and sometimes Howard _^<a_!T1441_FAST_^>a_. In genre sf it characterizes the excellent work of John T. _^<a_!T2240_SLADEK_^>a_, who shifts skilfully between the mock-innocent and the
ironic in his stories, nearly all of which are satire._^<n__^<n_The standard of satire within genre sf was not very high before the 1950s, though numerous pulp writers from Stanton A. _^<a_!T773_COBLENTZ_^>a_ to L. Sprague _^<a_!T1133_DE CAMP_^>a_
wrote occasionally in this vein. One of the earliest sf writers to excel here was, especially in his short stories, Henry _^<a_!T4144_KUTTNER_^>a_ (whose work, even when signed Kuttner, was often written collaboratively with C.L.
_^<a_!T3033_MOORE_^>a_). Short, satirical sf stories found a natural home in the early 1950s when the magazine _^<a_!T1686_GALAXY SCIENCE FICTION_^>a_ opened up a new market. The best of the _^<i_Gal_^>i_ satirists were probably Damon
_^<a_!T4098_KNIGHT_^>a_, C.M. _^<a_!T6353_KORNBLUTH_^>a_, Frederik _^<a_!T1937_POHL_^>a_, Sheckley and William _^<a_!T5932_TENN_^>a_. As satirical collaborators, Pohl and Kornbluth specialized in dystopian stories which extrapolated displeasing
aspects of present-day life into the future: the world of advertising was pilloried in both _^<i__^<a_!B9011_THE SPACE MERCHANTS_^>a__^>i_ (_^<b_1953_^>b_) and Pohl's much later solo effort, _^<i_The Merchants War_^>i_ (_^<b_1984_^>b_), and of
organized sport in _^<i_Gladiator-at-Law_^>i_ (_^<b_1955_^>b_). It was the turn of insurance companies in _^<i_Preferred Risk_^>i_ (_^<b_1955_^>b_) by Pohl and Lester _^<a_!T1164_DEL REY_^>a_ writing together as Edson _^<a_!T6300_MCCANN_^>a_.
Another sharp anti-advertising book is _^<i_The Big Ball of Wax_^>i_ (_^<b_1954_^>b_) by Shepherd _^<a_!T3742_MEAD_^>a_; and much of the amusing but occasionally heavy-handed satire of Ron _^<a_!T4785_GOULART_^>a_ is directed against the ad-man's
mentality, and the _^<a_!T3743_MEDIA LANDSCAPE_^>a_ generally._^<n__^<n_In the 1960s and 1970s the magazine _^<a_!T3182_NEW WORLDS_^>a_ published many writers whose satirical skills tended more towards a rather dry irony than to overt anger or even
jovial sarcasm. Notable among these were Brian W. _^<a_!T87_ALDISS_^>a_, Thomas M. _^<a_!T1244_DISCH_^>a_ and the editor himself, Michael _^<a_!T3030_MOORCOCK_^>a_, whose most directly satirical sequence is _^<b_Dancers at the End of Time_^>b_,
beginning with _^<i_An Alien Heat_^>i_ (_^<b_1972_^>b_). US satire, too, became less broad than before. The amusing but obvious satire of Fritz _^<a_!T3322_LEIBER_^>a_'s _^<i_The Silver Eggheads_^>i_ (_^<b_1961_^>b_) and _^<i_A Specter is Haunting
Texas_^>i_ (_^<b_1969_^>b_) gave ground to the work of writers like Barry N. _^<a_!T3629_MALZBERG_^>a_ and James _^<a_!T6035_TIPTREE_^>a_ Jr, who (in completely different ways) also preferred a lower-key irony (through which in both cases a
ferocious bitterness is visible) and in whose works the satirical was only one of several elements. Pure satires were becoming comparatively rare in sf by the 1970s, although Peter _^<a_!T1224_DICKINSON_^>a_'s _^<i_The Green Gene_^>i_
(_^<b_1973_^>b_) and Richard _^<a_!T925_COWPER_^>a_'s _^<i_Clone_^>i_ (_^<b_1972_^>b_) are examples; the latter is another story in the _^<i_Candide_^>i_ pattern. Some important satirical work issued from the Communist bloc, notably that of
Stanislaw _^<a_!T3329_LEM_^>a_ in, especially, _^<i_Cyberiada_^>i_ (coll _^<b_1965_^>b_; trans as _^<i_The Cyberiad_^>i_ _^<b_1974_^>b_ US) and "Kongres Futurologiczny" (1971; trans as _^<i_The Futurological Congress_^>i_ _^<b_1974_^>b_ US), where
the savagery of the wit is Swift-like._^<n__^<n_The sf _^<a_!T726_CINEMA_^>a_ has flirted with satire quite often. The best-known examples are probably _^<a_!T1919_PLANET OF THE APES_^>a_ (1968), _^<a_!T2247_SLEEPER_^>a_ (1973) and _^<a_!T1267_DR
STRANGELOVE: OR HOW I STOPPED WORRYING AND LEARNED TO LOVE THE BOMB_^>a_ (1963); others are _^<i_The_^<a_!T1985_PRESIDENT'S ANALYST_^>a__^>i_ (1967), _^<a_!T5557_WESTWORLD_^>a_ (1973), _^<i_The_^<a_!T5809_STUFF_^>a__^>i_ (1985),
_^<a_!T5950_TERRORVISION_^>a_ (1986), _^<a_!T6563_EARTH GIRLS ARE EASY_^>a_ (1988) and _^<a_!T3747_MEET THE APPLEGATES_^>a_ (1990). _^<a_!T1101_DAWN OF THE DEAD_^>a_ (1977; vt _^<i_Zombie_^>i_) is unusual in marrying satire to
_^<a_!T4509_HORROR_^>a_, especially in its central image of zombies shambling around a shopping mall. _^<a_!T5778_STRANGE INVADERS_^>a_ (1983) manages to combine an exciting alien-invasion story with considerable satire on the USA of the 1950s (a
cultural era into whose behaviour patterns the aliens have been frozen) and of the 1980s (when they attempt to act)._^<n__^<n_Parody is a form of satire, and there has not been a great deal in sf. The best parodies of sf writers and their
_^<a_!T752_CLICHES_^>a_ are probably those by John Sladek in _^<i_The Steam-Driven Boy_^>i_ (coll _^<b_1973_^>b_); also fairly successful are those in David _^<a_!T4186_LANGFORD_^>a_'s _^<i_The Dragonhiker's Guide to Battlefield Covenant at Dune's
Edge: Odyssey Two_^>i_ (coll _^<b_1988_^>b_). Langford's cowritten _^<i_Earthdoom!_^>i_ (_^<b_1987_^>b_) parodies bestselling _^<a_!T1243_DISASTER_^>a_ novels. A parody with a more serious point is Norman _^<a_!T2370_SPINRAD_^>a_'s _^<i_The Iron
Dream_^>i_ (_^<b_1972_^>b_), which masquerades as a _^<a_!T5875_SWORD-AND-SORCERY_^>a_ novel written by Adolf Hitler. Harry _^<a_!T4316_HARRISON_^>a_'s _^<i_Bill, the Galactic Hero_^>i_ (_^<b_1965_^>b_) and _^<i_Star Smashers of the Galaxy
Rangers_^>i_ (_^<b_1973_^>b_) parody Robert A. _^<a_!T4376_HEINLEIN_^>a_ and E.E. "Doc" _^<a_!T2269_SMITH_^>a_ respectively. H.G. _^<a_!T5528_WELLS_^>a_ was a favourite subject for parodists from early on, as in _^<i_The War of the Wenuses_^>i_
(_^<b_1898_^>b_) by E.V. _^<a_!T3475_LUCAS_^>a_ and C.L. Graves (1856-1944) and Max Beerbohm's "Perkins and Mankind" (1912). _^<i_Mention my Name in Atlantis_^>i_ (_^<b_1972_^>b_) by John _^<a_!T3851_JAKES_^>a_ is a parody of Robert E.
_^<a_!T4524_HOWARD_^>a_, not as sharp as Spinrad's, and its hero not as funny as Terry _^<a_!T1974_PRATCHETT_^>a_'s "Cohen the Barbarian", who pops up occasionally in the _^<b_Discworld_^>b_ series. Bob _^<a_!T2153_SHAW_^>a_'s _^<i_Who Goes
There?_^>i_ (_^<b_1977_^>b_) parodies many themes of _^<a_!T2342_SPACE OPERA_^>a_ in general with considerable inventiveness, as does the most successful sf-parody film, _^<a_!T1067_DARK STAR_^>a_ (1974). Sf writers have produced a number of
parodies of _^<a_!T2019_PSEUDO-SCIENCE_^>a_ (_^<i_which see for listing_^>i_). The best known sf parodist of the 1980s was Douglas _^<a_!T31_ADAMS_^>a_, with his _^<b_Hitch Hiker's Guide to the Galaxy_^>b_ series. There is also, of course, much
pastiche -- Philip Jose _^<a_!T1435_FARMER_^>a_ has written a good deal -- but pastiche and parody are not the same thing, for the pastiche may be homage whereas parody normally implies deflation (although the two can co-exist, as in _^<i_Dark
Star_^>i_)._^<n__^<n_In general satire during the 1970s-80s was perhaps less visible in genre sf than in borderline-sf _^<a_!T1372_FABULATIONS_^>a_ (including some by John Calvin _^<a_!T457_BATCHELOR_^>a_, William _^<a_!T5099_BURROUGHS_^>a_, Angela
_^<a_!T5190_CARTER_^>a_, Robert _^<a_!T873_COOVER_^>a_, Carol _^<a_!T6655_EMSHWILLER_^>a_, Alasdair _^<a_!T4818_GRAY_^>a_, Jerzy _^<a_!T4119_KOSINSKI_^>a_, Thomas _^<a_!T2040_PYNCHON_^>a_ and Josephine _^<a_!T2831_SAXTON_^>a_ -- the list could be
considerably extended). While genre sf continues to take the form of pure satire comparatively rarely, satirical elements are common in seemingly nonsatirical genre novels, especially perhaps in the work of writers for whom irony is an important
part of their vision, such as Iain _^<a_!T392_BANKS_^>a_, Terry _^<a_!T621_BISSON_^>a_, George Alec _^<a_!T6592_EFFINGER_^>a_, M. John _^<a_!T4319_HARRISON_^>a_, John _^<a_!T4043_KESSEL_^>a_, James _^<a_!T3070_MORROW_^>a_, Rudy
_^<a_!T2727_RUCKER_^>a_ and Howard _^<a_!T5425_WALDROP_^>a_. Not that irony and satire can be read as isomorphic: Gene _^<a_!T5676_WOLFE_^>a_ and John _^<a_!T981_CROWLEY_^>a_, for example, are ironists almost always, satirists almost never.
Pseudonym used on 4 magazine stories by Frederik _^<a_!T1937_POHL_^>a_, 1954-9, the first being a collaboration with Lester _^<a_!T1164_DEL REY_^>a_. [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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119
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SATURN
-T-
> _^<a_!T1743_OUTER PLANETS_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz ztermz
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18
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SATURN
-T-
US _^<a_!T1231_DIGEST_^>a_-size magazine. 5 issues Mar 1957-Mar 1958, published by Robert C. Sproul as Candar Publishing Company; ed Sproul with editorial consultant Donald A. _^<a_!T5679_WOLLHEIM_^>a_. A Jules _^<a_!T5355_VERNE_^>a_ story appeared
in #1, but nothing else of note. #1 was subtitled "The Magazine of Science Fiction", #2 "Magazine of Fantasy and Science Fiction" and the remainder "Science Fiction and Fantasy". Despite his mere "consultant" title, Wollheim chose the contents.
[FHP/PN]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zpubz
-C- 2815 SF02822.t
427
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SATURN AWARD
-T-
> _^<a_!T6321_AWARDS_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zallz
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10
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SATURN 3
-T-
Film (1980). Transcontinental. Prod and dir Stanley Donen, starring Farrah Fawcett, Kirk Douglas, Harvey Keitel. Screenplay Martin _^<a_!T154_AMIS_^>a_, from a story by John Barry. 87 mins. Colour._^<n__^<n_With a good director like Donen and a
screenplay by Martin _^<a_!T154_AMIS_^>a_, it is difficult to see how so obscene and silly an exploitation movie could come to be. Douglas and Fawcett play the couple alternating romping in bed with working on a hydroponics project, designed to
feed millions, situated for no logical reason on Titan, a moon of Saturn. Unbalanced Benson (Keitel) arrives disguised as a legitimate researcher and builds an equally unstable _^<a_!T2646_ROBOT_^>a_ which spends most of the rest of the film
tearing apart living creatures (including people) and groping lasciviously at Fawcett. This is the second film after _^<a_!T1173_DEMON SEED_^>a_ (1977) to feature an amorous, unbalanced _^<a_!T68_AI_^>a_, a notion more _^<a_!T4780_GOTHIC_^>a_ than
scientific. The novelization was _^<i_Saturn 3_^>i_ * (_^<b_1980_^>b_) by Steve _^<a_!T1689_GALLAGHER_^>a_. [PN]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zfilmz
-C- 2817 SF02824.t
894
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SAUNDERS, CALEB
-T-
[s] > Robert A. _^<a_!T4376_HEINLEIN_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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27
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SAUNDERS, JAKE
-T-
(1947- ) US writer, one of the less active members of a Texas grouping which includes Howard _^<a_!T5425_WALDROP_^>a_, his collaborator on _^<i_The Texas-Israeli War_^>i_:_^<i_ 1999_^>i_ (_^<b_1974_^>b_). [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 2819 SF02826.t
167
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SAVA, GEORGE
-T-
> George _^<a_!T4935_BORODIN_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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-C- 2820 SF02827.t
20
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SAVAGE, BLAKE
-T-
> John _^<a_!T641_BLAINE_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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16
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SAVAGE, RICHARD
-T-
Pseudonym of UK writer Ivan Roe (1917- ) for his thrillers -- including _^<i_The Horrible Hat_^>i_ (_^<b_1949_^>b_), in which a psychoanalyst/detective explains strange manifestations -- and his sf novel, _^<i_When the Moon Died_^>i_
(_^<b_1955_^>b_), whose telling involves an exceedingly complicated frame: far-future aliens visit a dead Earth to listen to a tape whose long-dead narrator has discovered how, long before, a nuclear _^<a_!T4482_HOLOCAUST_^>a_ was prevented by
scientists who destroyed the Moon but subsequently established a totalitarian _^<a_!T1370_DYSTOPIA_^>a_. The aliens never do work out why Earth is now bereft of life. Under his own name Roe wrote some non-genre novels, like _^<i_The Salamander
Touch_^>i_ (_^<b_1952_^>b_), in which an atomic scientist disappears with difficult consequences. [JC/PN]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 2822 SF02829.t
714
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SAVARIN, JULIAN JAY
-T-
(? - ) Dominican-born West Indian writer and musician, in the UK since his teens. His _^<b_Lemmus_^>b_ trilogy -- _^<i_Lemmus One: Waiters on the Dance_^>i_ (_^<b_1972_^>b_), _^<i_Lemmus Two: Beyond the Outer Mirr_^>i_ (_^<b_1976_^>b_) and
_^<i_Lemmus Three: Archives of Haven_^>i_ (coll of linked stories _^<b_1977_^>b_) -- is an expansive _^<a_!T2342_SPACE OPERA_^>a_ in which GOD (the Galactic Organization and Dominions) experimentally settles Terra with people who will evolve in
isolation (> _^<a_!T29_ADAM AND EVE_^>a_). Explanations are offered for the Judeo-Christian tradition, the fall of _^<a_!T290_ATLANTIS_^>a_, etc. _^<i_Arena_^>i_ (_^<b_1979_^>b_) involves folk from various times in a mighty struggle. JJS afterwards
turned to thrillers. [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 2823 SF02830.t
620
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SAVCHENKO, VLADIMIR (IVANOVICH)
-T-
(1933- ) Russian writer who began as an author of short stories, publishing _^<i_Tchironyie Zviozdy_^>i_ ["Dark Stars"] (coll _^<b_1960_^>b_) and contributing to anthologies. His most famous novel, _^<i_Otkrytiie Sebia_^>i_ (_^<b_1967_^>b_; trans
Antonina W. Bouis as _^<i_Self-Discovery_^>i_ _^<b_1979_^>b_ US), depicts in uncliched terms the scientific development of a _^<a_!T5830_SUPERMAN_^>a_. Later stories, comparable with the metaphysical parables of Stanislaw _^<a_!T3329_LEM_^>a_ and
Philip K. _^<a_!T1222_DICK_^>a_, are to be found in _^<i_Ispytaniie Istinoi_^>i_ ["Truth Test"] (coll [date unconfirmed]) and _^<i_Algoritm Uspekha_^>i_ ["Success Algorithm"] (coll _^<b_1983_^>b_). A play, _^<i_Novoiie Oruzhiie_^>i_ ["New Weapons"]
(_^<b_1983_^>b_), portrays modern physicists obsessed by moral problems after discovering a process which neutralizes all nuclear weapons on Earth. A rare attempt, in the Soviet sf of the 1980s, to create a future communist _^<a_!T5303_UTOPIA_^>a_
is the less successful _^<i_Za Perevalom_^>i_ ["After the Pass"] (_^<b_1984_^>b_). [VG]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 2824 SF02831.t
872
CATRS
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SAVILE, FRANK (MACKENZIE)
-T-
(? -? ) UK writer who wrote also as Knarf Elivas (his own names reversed). _^<i_Beyond the Great South Wall_^>i_ (_^<b_1899_^>b_) combines the search for a Mayan _^<a_!T3460_LOST WORLD_^>a_ in the Antarctic with the actual discovery of the
extinct Native Americans' polar deity, a brontosaurus with hypnotic eyes. All ends well with the death of the creature and some human marriages. [JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 2825 SF02832.t
337
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SAVOY BOOKS
-T-
> David _^<a_!T5008_BRITTON_^>a_; Michael _^<a_!T5109_BUTTERWORTH_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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-C- 2826 SF02833.t
39
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SAWTELLE, WILLIAM CARTER
-T-
[s] > Rog _^<a_!T1887_PHILLIPS_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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-C- 2827 SF02834.t
22
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SAWYER, ROBERT J(AMES)
-T-
(1960- ) Canadian writer who began publishing sf with "If I'm Here, Imagine Where They Sent my Luggage" for _^<i_The Village Voice_^>i_ in 1981, and was moderately active as a short-story writer in the 1980s. His first novel, _^<i_Golden
Fleece_^>i_ (1988 _^<i_AMZ_^>i_; exp _^<b_1990_^>b_ US), set on a colony ship named _^<i_Argo_^>i_, run by an _^<a_!T68_AI_^>a_ named _^<a_!T3876_JASON_^>a_, perhaps slightly overcopiously engages to meld Greek myth and _^<a_!T4288_HARD SF_^>a_ in
the story of a murder and its solution by a human protagonist so psychologically recessed that the AI cannot read his intentions. The _^<b_Quintaglio Ascension _^>b_sequence -- comprising _^<i_Far-seer_^>i_ (_^<b_1992_^>b_ US), _^<i_Fossil
Hunter_^>i_ (_^<b_1993_^>b_ US) and _^<i_Foreigner _^>i_(_^<b_1994_^>b_ US) -- is set on an unstable Moon orbiting a distant planet, and inhabited by intelligent dinosaurs who were transported there from Earth by a quasi-omniscient Watcher aeons
past. True to the conventions of _^<a_!T4288_HARD SF_^>a_, the young dinosaur protagonist of the sequence both revolutionizes the sciences of his world, and has copious adventures while doing so. Some of the detail work is luminously enjoyable;
some of the premises are facile. It is, all in all, a thoroughly readable presentation. _^<i_End of an Era_^>i_ (_^<b_1994_^>b_ US) is also about dinosaurs, but different ones: 2 contemporary Earth paleontologists vie over explanations for the
death of dinosaurs on this planet, and use _^<a_!T6026_TIME TRAVEL_^>a_ to test their theses. In the end, an overly intricate explanation is offered; but again the journey through the text is swift. <The Terminal Experiment> (1995 UK), first
published 1994-95 in _^<i_ASF_^>i_ as "Hobson's Choice", is an sf mystery centring on the discovery that, at the instant of death, a form of energy escapes the human brain. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T5141_CANADA_^>a_.
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(c) 1995 John Clute and Peter Nicholls
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-C- 2828 SF02835.t
1615
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SAXON, PETER
-T-
Initially the personal pseudonym of UK writer W. Howard _^<a_!T368_BAKER_^>a_, under which he wrote many titles for Amalgamated Press, mainly stories in the _^<b_Sexton Blake_^>b_ series before its cancellation in 1963. He then took the name to
Mayflower Books, where the series continued, written by him and others under what was now a house name. The claims of Scottish writer Wilfred _^<a_!T3570_MCNEILLY_^>a_ to have written most of the PS titles are unjustified (_^<i_see entries on_^>i_
_^<a_!T368_BAKER_^>a_ _^<i_and_^>i_ _^<a_!T3570_MCNEILLY_^>a_ _^<i_for their PS work_^>i_). Other writers who used the name included Rex Dolpin, Stephen _^<a_!T1592_FRANCES_^>a_, Ross Richards and Martin _^<a_!T5985_THOMAS_^>a_. Titles of sf
interest not by Baker or McNeilly include _^<i_Slave Brain_^>i_ (_^<b_1967_^>b_), _^<i_Black Honey_^>i_ (_^<b_1968_^>b_) and _^<i_Corruption_^>i_ (_^<b_1968_^>b_), whose authors have not been identified, and some titles in the _^<b_Guardians_^>b_
psychic-investigators sequence: _^<i_Through the Dark Curtain_^>i_ (_^<b_1968_^>b_ US) by Richards, _^<i_The Curse of Rathlaw_^>i_ (_^<b_1968_^>b_) by Martin and _^<i_The Vampires of Finistere_^>i_ (_^<b_1970_^>b_) by Dolpin. The most memorable PS
title (written by Baker with Frances) may be _^<i_The Disoriented Man_^>i_ (_^<b_1966_^>b_; vt_^<i_ Scream and Scream Again _^>i_1967 US), filmed as _^<a_!T2077_SCREAM AND SCREAM AGAIN _^>a_(1969), the latter being something of a cult classic.
[JC]_^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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-C- 2829 SF02836.t
1161
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SAXON, RICHARD
-T-
> J.L. _^<a_!T3068_MORRISSEY_^>a_._^<n__^<n_
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(c) 1995 John Clute and Peter Nicholls
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zallz zauthorz
-C- 2830 SF02837.t
20
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SAXTON, JOSEPHINE (MARY HOWARD)
-T-
(1935- ) UK writer who began publishing sf with "The Wall" for _^<i_Science Fantasy_^>i_ in 1965, and whose first 3 novels -- _^<i_The Hieros Gamos of Sam and An Smith_^>i_ (_^<b_1969_^>b_ US), _^<i_Vector for Seven: The Weltanschaung_^>i_
[_^<i_sic_^>i_] _^<i_of Mrs Amelia Mortimer and Friends_^>i_ (_^<b_1970_^>b_ US) and _^<i_Group Feast_^>i_ (_^<b_1971_^>b_ US) -- established her very rapidly as an inventive creator of sf _^<a_!T1372_FABULATIONS_^>a_. Each of these books presents
narratives whose outcomes are more readable as allegories of their protagonists' moral fates than of any physical journey, though the image of what might be called the bollixed quest is central to her work. These journeys are described -- often in
some detail, as in _^<i_Vector for Seven_^>i_ -- in a register of perilous ambivalence, half _^<a_!T3783_INNER SPACE_^>a_, half mutable and frustrating external world. When JS returned to publishing novels in the 1980s, titles like _^<i_The
Travails of Jane Saint_^>i_ (_^<b_1980_^>b_; exp as coll vt _^<i_The Travails of Jane Saint and Other Stories_^>i_ 1986) and _^<i_The Consciousness Machine;_^>i_ _^<i_Jane Saint and the Backlash: The Further Travails of Jane Saint_^>i_ (coll
_^<b_1989_^>b_) clearly demonstrated the fundamental continuity of her vision. _^<i_Queen of the States_^>i_ (_^<b_1986_^>b_) -- a clever title in which "States" can be interpreted as referring to the USA or to various sorts of mental breakdown --
comes very close to a savage reductionism: the sf/fantasy escapades of the female protagonist default constantly to delusion, for she is imprisoned in a mental institution. Perhaps even more clearly than before, these later books are governed by a
_^<a_!T1461_FEMINIST_^>a_ sense of the constraints binding women to mundane, male-ordained reality -- a sense that goes far to explain the wildness of JS's protagonists and the lungeing movements of her prose. Her non-_^<b_Jane Saint_^>b_ short
stories, which tend to a slantwise but pointed lightness of touch, have been assembled in _^<i_The Power of Time_^>i_ (coll _^<b_1985_^>b_) and _^<i_Little Tours of Hell: Tall Tales of Food and Holidays_^>i_ (coll _^<b_1986_^>b_).
(1914-1988) US writer who, as an editor at Farrar & Rinehart, helped Austin Tappan _^<a_!T6189_WRIGHT_^>a_'s daughter, Sylvia Wright, edit the massive manuscript of _^<i_Islandia_^>i_, which his firm published in 1942. MS himself produced some
detective fiction, but his sf was confined to the _^<b_Islandia_^>b_ world, for which he wrote 3 novels in continuation of Wright's original: _^<i_The Islar: A Narrative of Lang III_^>i_ (_^<b_1969_^>b_), narrated by the grandson of Wright's John
Lang, _^<i_The Two Kingdoms: A Novel of Islandia_^>i_ (_^<b_1979_^>b_) and _^<i_Havoc in Islandia_^>i_ (_^<b_1982_^>b_). The _^<a_!T5303_UTOPIAN_^>a_ glow of the original did not survive unaltered, but MS's work was both competent and devoted.
[JC]_^<n__^<n_
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SAYLES, JOHN
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(1950- ) US writer and film-maker. JS made his reputation as a _^<a_!T3609_MAINSTREAM WRITER_^>a_ with the novels _^<i_Pride of the Bimbos_^>i_ (_^<b_1975_^>b_) and _^<i_Union Dues_^>i_ (_^<b_1977_^>b_) and his collection _^<i_The Anarchist's
Convention_^>i_ (coll _^<b_1979_^>b_). He began writing scripts for exploitation movies in the late 1970s, and enjoyed a burst of creativity in association with Roger _^<a_!T884_CORMAN_^>a_, Joe _^<a_!T1056_DANTE_^>a_, Lewis Teague and Steven
_^<a_!T2367_SPIELBERG_^>a_. His sf and fantasy screenplays, always lively and self-aware, are _^<a_!T1909_PIRANHA_^>a_ (1978), _^<a_!T462_BATTLE BEYOND THE STARS_^>a_ (1980), _^<i_The Howling_^>i_ (1980), _^<a_!T118_ALLIGATOR_^>a_ (1980), _^<i_The
Clan of the Cave Bear_^>i_ (1985) and _^<i_Wild Thing_^>i_ (1989). <Night Skies>, a horror script about an isolated farm besieged by alien visitors, was commissioned by Spielberg but then abandoned in favour of the similar but more benevolent
_^<a_!T764_CLOSE ENCOUNTERS OF THE THIRD KIND_^>a_ (1977). JS made his directorial debut with _^<i_Return of the Secaucus 7_^>i_ (1980), and has made a number of well received non-genre films since, including _^<i_Lianna_^>i_ (1981) and _^<i_Baby,
It's You_^>i_ (1983). His sole sf film as director is _^<i_The_^<a_!T5022_BROTHER FROM ANOTHER PLANET_^>a__^>i_ (1984), in which the story of a Black alien who crashlands in Harlem is used to tackle JS's usual concerns. [KN]_^<n__^<n__^<b_See
also:_^>b_ _^<a_!T726_CINEMA_^>a_.
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SCANDINAVIA
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This entry refers primarily to Sweden and Norway; there are separate entries for _^<a_!T1177_DENMARK_^>a_ and _^<a_!T1487_FINLAND_^>a_. Scandinavia has always been somewhat isolated from the main roads of European cultural development, and never
more so than during the 18th century, when the Age of Enlightenment swept across the rest of Europe. Outside the mainly French-speaking court, Scandinavia was poor and starving, mainly agricultural, and crushed by repeated, ruinous wars. It is
perhaps not surprising that excursions into fantastic literature were few: Scandinavia had nothing to compare with the French _^<b_Voyages imaginaires_^>b_, a 36-vol series published from 1787 and running from _^<a_!T3479_LUCIAN_^>a_ to
_^<a_!T1019_CYRANO DE BERGERAC_^>a_ to Jonathan _^<a_!T5873_SWIFT_^>a_. The first noted Scandinavian example of fantastic literature was Danish (> _^<a_!T1177_DENMARK_^>a_): _^<i_Nicolai Klimii iter subterraneum_^>i_ (_^<b_1741_^>b_ in Latin; exp
1745; trans anon as _^<i_A Journey to the World Under-Ground. By Nicolas Klimius_^>i_ _^<b_1742_^>b_ UK; vt _^<i_A Journey to the World Underground_^>i_ 1974 US) by Ludwig _^<a_!T4466_HOLBERG_^>a_. This witty journey into a _^<a_!T4474_HOLLOW
EARTH_^>a_, somewhat reminiscent of the work of Swift, is regarded as a classic and has never been out of print. In Sweden, Olof von Dalin (1708-1763) published in his magazine _^<i_Then Swanska Argus_^>i_ an amusing political story about
extraterrestrial visitors to Earth, "Saga om Erik hin Gotske" ["Tale of Erik of the Goths"] (1734), and in Norway there was the early _^<a_!T6026_TIME-TRAVEL_^>a_ play _^<i_Anno 7603_^>i_ (_^<b_1781_^>b_) by John Hermann Wessel (1742-1785). But
these were isolated examples. Fantastic literature was popular, but most of it was what we would today call _^<a_!T4396_HEROIC FANTASY_^>a_, with sword-toting heroes, maidens in distress, sentient dragons, etc. The first Scandinavian novel that can
be considered as modern sf, with everything that description implies, appeared as late as 1878: _^<i_Oxygen och Aromasia_^>i_ ["Oxygen and Aromasia"] (_^<b_1878_^>b_) by the Swedish journalist Claes Lundin (1825-1908). Unfortunately, it bore
unmistakeable signs that Lundin had read the German book _^<i_Bilder aus der Zukunft_^>i_ ["Images of the Future"] (coll _^<b_1878_^>b_) by Kurd _^<a_!T4196_LASSWITZ_^>a_, published in Breslau earlier that same year. Lundin's version is a tale set
a few hundred years hence in a failed _^<a_!T5303_UTOPIA_^>a_; it is a funny _^<a_!T2812_SATIRE_^>a_ bursting with then-new sf ideas-time travel, tv, moving sidewalks, _^<a_!T102_ALIENS_^>a_, airships and _^<a_!T2348_SPACESHIPS_^>a_, and even an
interesting _^<a_!T6020_TIME PARADOX_^>a_. It is still eminently readable; a new edition was published as recently as 1974._^<n__^<n_Again, however, this was an isolated example. Lundin wrote no more sf -- he is today mostly remembered as the
mentor of August Strindberg (1849-1912) -- and no new talents appeared to take his place. Although the first book ever written about sf, Camille _^<a_!T1516_FLAMMARION_^>a_'s _^<i_Les mondes imaginaires et les mondes reels_^>i_ (_^<b_1864_^>b_;
trans as _^<i_Real and Imaginary Worlds_^>i_ _^<b_1865_^>b_ US), was translated into Swedish as early as 1867 and Jules _^<a_!T5355_VERNE_^>a_'s novels were translated into the Scandinavian languages as soon as they appeared in France, few
indigenous authors tried their hands. Of the 286 straightforward sf novels published 1870-1900 in Sweden, the leading literary market in Scandinavia, the overwhelming majority were translations of the popular foreign sf authors of the time: Verne,
Flammarion, Lasswitz, Mor _^<a_!T3924_JOKAI_^>a_, Andre _^<a_!T4207_LAURIE_^>a_ and H.G. _^<a_!T5528_WELLS_^>a_. There was an early attempt at a Swedish sf magazine, _^<i_Stella_^>i_ -- 4 irregular issues Apr 1886-Aug 1888, with short stories by
these foreign authors and a scattering of anonymous material that may have been by local hands -- but it was much before its time and vanished without trace._^<n__^<n_Very little happened in Scandinavia until the explosive arrival on the Swedish
literary scene of Otto Witt (1875-1923). Originally a mining engineer, he worked in Germany until 1912, then returned to Sweden firmly resolved to win fame and fortune. (Interestingly, he had studied at the Technicum in Bingen, Germany, at the same
time as Hugo _^<a_!T4668_GERNSBACK_^>a_, later to launch the first US _^<a_!T2130_SF MAGAZINE_^>a_, _^<a_!T141_AMAZING STORIES_^>a_, and Karl Hans Strobl, later to launch the first sf/fantasy magazine in _^<a_!T318_AUSTRIA_^>a_, _^<i_Der
Orchideengarten_^>i_. There is no evidence that they met.) To this end Witt wrote dozens of sf novels, all bursting with new and usually harebrained ideas which nobody else took seriously. He can be thought of as a Swedish Hugo Gernsback but with
ten times the ego. His many novels were merely vehicles for his crackpot theories; _^<i_Hur manen erovrades_^>i_ ["How the Moon was Conquered"] (_^<b_1915_^>b_) treated the creation of the _^<a_!T3023_MOON_^>a_, _^<i_Guldfursten_^>i_ ["The Prince
of Gold"] (_^<b_1916_^>b_) proposed a sure-fire way of making gold, and so on. But his great accomplishment was the creation of Sweden's first modern sf magazine, _^<i_Hugin_^>i_, which ran for 85 issues 1916-20, preceded by a few irregular issues
published to test the market. According to its cover, _^<i_Hugin_^>i_ offered "scientific novels, scientific causeries, inventive sketches, adventure stories and scientific fairy-tales". Inspiration probably came from German and French sf
magazines, like the German _^<i_Der_^<a_!T3483_LUFTPIRAT UND SEIN LENKBARES LUFTSCHIFF_^>a__^>i_ series, but the style was entirely Witt's own. _^<i_Hugin_^>i_ was unique among sf magazines: written, edited and published by Witt, advocating in
fictionalized form every mad idea he could think of -- as if John W. _^<a_!T5140_CAMPBELL_^>a_ had extended some of his more notorious editorials into short stories that filled every issue of _^<i_ASF_^>i_. Witt even wrote the advertisements as sf
shorts, complete with kind words about the sponsor's products!_^<n__^<n_In Norway Ovre Richter-Frich (1872-1945) issued more than 20 popular novels from 1911 detailing the adventures of the superscientist _^<b_Jonas Fjeld_^>b_._^<n__^<n_Until now,
inspiration for Scandinavian sf had come mostly from Germany and France. After WWI, however, UK authors -- and to some extent Italian and Russian futurists -- became more noticeable. Wells, Vladimir _^<a_!T3735_MAYAKOVSKY_^>a_, Mikhail
_^<a_!T5069_BULGAKOV_^>a_ and Antonio Sant'Elia (1888-1916) represented a sort of European New Wave in the field. A very influential Swedish novel, _^<i_Kallocain_^>i_ (_^<b_1940_^>b_; trans Gustav Lannestock _^<b_1966_^>b_ US) by Karin
_^<a_!T4954_BOYE_^>a_ drew heavily on _^<i_My_^>i_ (written 1920; trans as _^<i_We_^>i_ _^<b_1924_^>b_ US) by Yevgeny _^<a_!T6256_ZAMIATIN_^>a_ and Soviet "machinism" theories. Then US influence grew stronger as the miseries of WWII diverted the
attentions of European sf writers and readers to more important matters, such as survival. Most of Scandinavia felt the full impact of the war on its own territory, especially Finland, which had to fight Germany and the USSR both singly and
simultaneously. Sweden, however, was largely outside WWII, and here the world's first weekly sf magazine, _^<i_Jules Verne-Magasinet_^>i_ ["The Jules Verne Magazine"] started in 1940, offering mostly translated US _^<a_!T2033_PULP-MAGAZINE_^>a_
stories. It lasted 332 issues before dying in 1948; later it was resurrected as a bimonthly which is still being published. After WWII came other magazines: the Norwegian _^<i_Tempo-Magazinet_^>i_, the Swedish _^<i_Hapna!_^>i_ and _^<i_Galaxy_^>i_,
and the Finnish _^<i_Aikamme_^>i_. During the first boom in Scandinavian sf, in the mid-1950s, there were 4 sf magazines and over a dozen book series being published. Interest was fuelled by Harry _^<a_!T3692_MARTINSON_^>a_'s _^<i_Aniara_^>i_ (1953
_^<i_Cikada_^>i_; exp _^<b_1956_^>b_; trans as _^<i_Aniara: A Review of Man in Time and Space_^>i_ _^<b_1963_^>b_ UK), a book-length poem about the starship _^<i_Aniara_^>i_ which was later made into an opera (> _^<a_!T3118_MUSIC_^>a_); Martinson
received the 1974 Nobel Prize for Literature._^<n__^<n_Unlike the case in the English-speaking countries, fantastic literature in Scandinavia -- and, indeed, in mainland Europe as a whole -- was never trapped in the sf ghetto; one is tempted to
suggest that this was because Europe succeeded in exporting Hugo Gernsback, so that he created the sf ghetto elsewhere. Although there _^<i_is_^>i_ in fact an unimportant fringe sf ghetto in Scandinavia -- centring on cheap paperback translations
from English and German that are sold at newsstands but never in bookstores -- in general Scandinavian sf is published in trade editions, sold in book stores and treated by reviewers with the same respect as any other modern literature. This is
because fantastic literature has always been part of the Scandinavian literary mainstream, not generally being regarded as generic; the line between sf and fantasy is very hazy, and most Scandinavian authors have at one time or another ventured
into the field. The enormous popularity in Scandinavia today of Dutch and Latin American _^<a_!T3599_MAGIC REALISM_^>a_ is probably also a consequence of this historical attitude. By way of example, we can note that, when Frederik
_^<a_!T1937_POHL_^>a_'s and C.M. _^<a_!T6353_KORNBLUTH_^>a_'s _^<i__^<a_!B9011_THE SPACE MERCHANTS_^>a__^>i_ (_^<b_1953_^>b_) first appeared in Sweden in 1962, it did so in a series of books of social criticism published by FIB, a company owned by
the Labour Government._^<n__^<n_In short, Scandinavia is much like the rest of continental Europe in having no specialized sf industry but instead a lively world of fantastic literature in the old European tradition, drawing its succour from E.T.A.
_^<a_!T4461_HOFFMANN_^>a_, Adelbert von Chamisso (1781-1838), the German _^<i_Sturm und Drang_^>i_, the French 'pataphysics (> Alfred _^<a_!T3873_JARRY_^>a_; _^<a_!T4595_IMAGINARY SCIENCE_^>a_) and Italian and Russian Futurism, rather than from the
world of English-language sf. Where _^<a_!T4659_GENRE SF_^>a_ exists, it is confined to fans and _^<a_!T1389_FANDOM_^>a_. Much of this sort of sf has traditionally been published by specialist houses, of which Delta, in Sweden, was, until it folded
in 1991, the largest, with a hardcover book series containing more than 300 volumes. Among Scandinavian authors to be published by the specialist houses are Borje Crona (1932- ), Carl Johan Holzhausen (1900-1989), Denis Lindbohm (1927- ),
Bertil Martenson (1945- ) and Sven Christer Swahn (1933- ) in Sweden, Erkki Ahonen in _^<a_!T1487_FINLAND_^>a_, Oyvind Myrhe (1945- ) in Norway and Niels E. Nielsen (1924- ) in Denmark. Sweden's Sture Lonnerstrand (1919- ) played a
major role in popularizing sf, co-editing _^<i_Hapna!_^>i_ and writing many articles and fictions, such as the juvenile _^<i_Rymdhunden_^>i_ ["The Space Dog"] (_^<b_1954_^>b_). All these authors are very popular and eminently readable. However,
Lindbohm, for many years a leading light in Swedish fandom, is now writing mainly about mysticism and reincarnation, while Martenson, also very popular in Sweden, now writes only _^<a_!T1412_FANTASY_^>a_._^<n__^<n_Other sf authors have left genre
sf or were never part of it, their books being usually published by mainstream houses and without the "sf" label; they include Jon Bing (1944- ) and Tor Age Bringsvaerd (1939- ) in Norway, Sam J. _^<a_!T3492_LUNDWALL_^>a_ in Sweden and
Kullervo Kukkasjarvi (1938- ) in _^<a_!T1487_FINLAND_^>a_. Bringsvaerd, in particular, is highly respected in the Scandinavian literary world as a writer of extraordinary merits, while his countryman Knut Faldbakken (1941- ) achieved
international bestsellerdom with his utopian novels _^<i_Aftenlandet_^>i_ ["The Evening Land"] (_^<b_1972_^>b_) and _^<i_Sweetwater_^>i_ ["Sweetwater"] (_^<b_1974_^>b_). Lundwall has also written many influential _^<a_!T963_CRITICAL AND HISTORICAL
WORKS ABOUT SF_^>a_, which have to date (1992) been published in 32 languages. John-Henri Holmberg (1949- ), another prominent Scandinavian critic, is less known outside his native Sweden. Slightly external to the sf field are a number of
_^<a_!T3609_MAINSTREAM WRITERS_^>a_ who occasionally write sf, and then almost inevitably to bestselling effect. The well known Swedish author P.C. _^<a_!T3896_JERSILD_^>a_ has written several enormously successful sf novels, including _^<i_En
levande sjal_^>i_ (_^<b_1980_^>b_; trans Rika Lesser as _^<i_A Living Soul_^>i_ _^<b_1988_^>b_ UK), about a disembodied brain sloshing about in a glass box, _^<i_Efter floden_^>i_ (_^<b_1982_^>b_; trans Lone Tygesen Blecher and George Blecher as
_^<i_After the Flood_^>i_ _^<b_1986_^>b_ UK), a post-nuclear-_^<a_!T4482_HOLOCAUST_^>a_ story, and _^<i_Geniernas aterkomst_^>i_ ["The Return of the Geniuses"] (_^<b_1987_^>b_), describing mankind's history from the very beginnings to the distant
future. The Swedish journalist George Johansson (1946- ) has written a very successful series of young-adult novels set against an increasingly enormous galactic backdrop, starting with _^<i_Uppbrott fran Jorden_^>i_ ["Flight from Earth"]
(_^<b_1979_^>b_). Among the biggest and most surprising bestsellers in Scandinavia during the 1980s were several sf novels by Peter Nilson (1937- ), starting with _^<i_Arken_^>i_ ["The Ark"] (_^<b_1982_^>b_) and going through to his most recent,
_^<i_Avgrundsbok_^>i_ ["The Book of the Abyss"] (_^<b_1987_^>b_), about an improbable Queen of Sheba travelling in space and time. Other authors of note in this context include Anders _^<a_!T678_BODELSEN_^>a_ in Denmark, Axel
_^<a_!T3889_JENSEN_^>a_ in Norway and Per _^<a_!T5423_WAHLOO_^>a_ in Sweden._^<n__^<n_Sf in Scandinavia has been hit by the same problems as in the rest of continental Europe. Book sales are very much down in all the Scandinavian countries, and
there are currently (1992) no specialist publishing houses in operation. There is only one sf magazine in Sweden -- _^<i_Jules Verne-Magasinet_^>i_-although the Finnish _^<a_!T2100_SEMIPROZINE_^>a_ _^<i_Aikakone_^>i_ ["Time Machine"] is thriving (>
_^<a_!T1487_FINLAND_^>a_). All told, just over 100 sf books are published each year in Scandinavia, of which about two-thirds are translations from other European languages and English. About half the total are published in Sweden which, due to its
size, remains Scandinavia's leading sf nation._^<n__^<n_The first Scandinavian sf _^<a_!T856_CONVENTION_^>a_ was held in Lund, Sweden, in 1956. Since then conventions have been held in all the Scandinavian countries, although the first Finnish
convention did not come until 1982. [SJL/J-HH]_^<n__^<n_
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SCANNERS
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Film (1980). Filmplan International/Canadian Film Development Corp. Written/dir David _^<a_!T970_CRONENBERG_^>a_, starring Stephen Lack, Jennifer O'Neal, Patrick McGoohan, Lawrence Dane, Michael Ironside. 103 mins. Colour._^<n__^<n_This superior
_^<a_!T2021_PSI-POWERS_^>a_ movie easily outstrips _^<a_!T5185_CARRIE_^>a_ (1976) and _^<i_The_^<a_!T1649_FURY_^>a__^>i_ (1978). Pregnant women (we learn some way into the film) have been given an experimental drug, ephemerol, ostensibly a
tranquillizer but actually designed to produce paranormal offspring -- scanners -- who can exercise total control over the brains and nervous systems of others. The two oldest telepaths (brothers, it turns out) are corrupted -- in different ways --
by their power, though one (Lack) fights for human society, the other (Ironside) for the superhumans. The film is choreographed in the most exemplary manner, from the celebrated exploding-head sequence at the beginning to the final telepathic duel
between the brothers and its enigmatic outcome. It is also advanced in sf terms, working sophisticated variations on the _^<a_!T3119_MUTANT_^>a_ theme, streets ahead of the usual crudities of psi-power movies. Cronenberg's restless marriage of
highbrow metaphor and lowbrow exploitation seldom works better than here, despite sometimes indifferent performances, especially Lack's. The novelization is _^<i_Scanners_^>i_ * (_^<b_1981_^>b_) by Leon Whiteson._^<n__^<n_Cronenberg had nothing to
do with the sequels, also Canadian, of which there have been three with a fourth in production. To date these are _^<i_Scanners II: The New Order_^>i_ (_^<b_1990_^>b_), _^<i_Scanners III: The Takeover_^>i_ (_^<b_1991_^>b_; vt _^<i_Scanner
Force_^>i_) and _^<i_Scanner Cop_^>i_ (_^<b_1993_^>b_); the first two were directed by Christian Duguay, the third by Pierre David, and all three were produced by Rene Malo. Probably wisely, none of these even try to duplicate the sophistication
and complexity of Cronenberg's vision, but they are slickly made, opting for stylised melodrama and lurid vigour in their accounts of human/scanner and good scanner/bad scanner clashes, and all retain Cronenberg's theme of telepathic powers coming
at a painful cost. _^<i_Scanners III_^>i_ is probably the most compulsive and relentless of the three, but all received more friendly attention from critics than is usual for straight-to-video exploitation film releases. [PN]_^<n__^<n__^<b_See
also:_^>b_ _^<a_!T2019_PSEUDO-SCIENCE_^>a_.
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SCARFF, WILLIAM
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[s] > Algis _^<a_!T5064_BUDRYS_^>a_._^<n__^<n_
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SCHACHNER, NAT(HANIEL)
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(1895-1955) US chemist, lawyer and writer, known mainly for biographies of US historical figures. He began publishing sf with "The Tower of Evil" with Arthur Leo _^<a_!T6253_ZAGAT_^>a_ for _^<i_Wonder Stories Quarterly_^>i_ in 1930. The
collaboration with Zagat lasted over a year, all NS's first 11 stories being done with him, including a novel, "Exiles of the Moon" for _^<i_Wonder Stories_^>i_ in 1931. After they ceased collaborating, NS continued to write very prolifically for
the _^<a_!T2033_PULP MAGAZINES_^>a_, under his own name and as Chan Corbett and Walter Glamis. A novel, "Emissaries of Space" (1932), appeared in _^<i_Wonder Stories Quarterly_^>i_; the _^<b_Revolt of the Scientists_^>b_ sequence appeared in
_^<i_Wonder Stories_^>i_ in 1933; and the _^<b_Past Present and Future_^>b_ series appeared in _^<i_ASF_^>i_ 1937-9. He published only 1 sf novel in book form, _^<i_Space Lawyer_^>i_ (1941 _^<i_ASF_^>i_; fixup _^<b_1953_^>b_), a humorous set of
legal adventures in space. His style was rough, but he was a sharp and knowledgeable writer; his inattention to the field after about 1940 is regretted. [JC]_^<n__^<n__^<b_About the author:_^>b_ "The Science-Fiction of Nat Schachner" by Sam
(1928-1991) German writer, active from 1948. He published prolifically -- including much sf -- in the circulating-library format in which many pulp adventures appeared in postwar _^<a_!T4667_GERMANY_^>a_; none of this material has been translated.
However, translations of his novellas in the weekly _^<a_!T1236_DIME-NOVEL SF_^>a_ format of _^<a_!T1863_PERRY RHODAN_^>a_, the enormously successful series he cofounded in 1961 with Walter Ernsting (who writes as Clark _^<a_!T1068_DARLTON_^>a_),
with whom K-HS had written collaborative works, are familiar to English-language readers. K-HS was for some time coordinator and chief author of the series. [JC/PN]_^<n__^<n_
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SCHEERBART, PAUL
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[r] > _^<a_!T4667_GERMANY_^>a_._^<n__^<n_
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SCHELWOKAT, GUNTHER M.
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[r] > _^<a_!T4667_GERMANY_^>a_._^<n__^<n_
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SCHENCK, HILBERT
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(1926- ) US engineer, university lecturer and writer who published his first sf story, "Tomorrow's Weather" for _^<i_FSF_^>i_ in 1953, long before he became seriously involved in fiction; much of his nonfiction of the 1950s and 1960s dealt
lovingly with the ocean and with oceanological research and exploration technologies. His first two novels, _^<i_At the Eye of the Ocean_^>i_ (_^<b_1980_^>b_) and _^<i__^<a_!B8978_A ROSE FOR ARMAGEDDON_^>a__^>i_ (_^<b_1982_^>b_), both set in the
wave-girt Cape Cod region of New England, followed suit; they share a similar plot structure, circling in upon a central instant of space/time at which transcendence may be possible. The protagonist of the first book has an intuitive capacity to
understand the inner shape of the ocean, which unveils to him a mystical enlightenment; the love-affair that drives the action of the second comes to fruition at the morphological heart of a timeslip in the centre of an _^<a_!T3823_ISLAND_^>a_ in
the midst of the waters, leading to a form of liberation from the _^<a_!T6337_NEAR-FUTURE_^>a_ slide of the world into chaos. _^<i_Chronosequence_^>i_ (_^<b_1988_^>b_) similarly presents its protagonist with a mystery from previous centuries whose
solution involves the ocean, geography, time-slippage, and the potential redemption of the world. Though the range of HS's concerns is clearly narrow, there is nothing forced or lame in his presentation of these stories; their intensities are
fluent, grounded and scientifically competent. The title story of _^<i_Steam Bird_^>i_ (coll _^<b_1988_^>b_), a somewhat heavy-handed comic tale, recounts the pioneering flight of an enormously slow steam-driven nuclear bomber. Other stories are
assembled in _^<i_Wave Rider_^>i_ (coll _^<b_1980_^>b_); the best are set along the coasts of New England. But the world for which HS speaks is central; his work is never regional in its final effect. [JC]_^<n__^<n__^<b_See also:_^>b_
_^<a_!T6576_ECOLOGY_^>a_; _^<a_!T6661_END OF THE WORLD_^>a_; _^<a_!T4780_GOTHIC SF_^>a_; _^<a_!T1812_PASTORAL_^>a_; _^<a_!T2880_SCIENTISTS_^>a_; _^<a_!T2300_SOCIOLOGY_^>a_; _^<a_!T6020_TIME PARADOXES_^>a_; _^<a_!T6022_TIMESCAPE BOOKS_^>a_;
_^<a_!T6080_TRANSPORTATION_^>a_; _^<a_!T5281_UNDER THE SEA_^>a_.
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SCHIZOPHRENIA
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> _^<a_!T1795_PARANOIA_^>a_._^<n__^<n_
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SCHLOBIN, ROGER C(LARK)
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(1944- ) US academic and bibliographer, with the Department of English at Purdue University, Indiana. Though RCS has contributed bibliographically to the sf/fantasy field in general, it is clear that he focuses by choice on fantasy. His first
book of genre interest, _^<i_A Research Guide to Science Fiction Studies: An Annotated Checklist of Primary and Secondary Sources for Fantasy and Science Fiction_^>i_ (_^<b_1977_^>b_) with L.W. _^<a_!T1001_CURREY_^>a_ and Marshall B.
_^<a_!T6150_TYMN_^>a_, attempted, like many published by US academics in the 1970s, to perform the essential task of making the field accessible to scholars; and did so very well. A revised edition has been needed for many years. Also with
_^<a_!T6150_TYMN_^>a_ (_^<i_whom see for further details_^>i_) RCS cofounded and co-edited (1976-81) the _^<b_Year's Scholarship in Science Fiction and Fantasy_^>b_ series. Solo, he compiled _^<i_The Literature of Fantasy: A Comprehensive Annotated
Bibliography of Modern Fantasy_^>i_ (_^<b_1979_^>b_), which provides a listing of adult fantasy up to 1979. Other bibliographical work includes _^<i_Andre Norton: A Primary and Secondary Bibliography_^>i_ (_^<b_1980_^>b_ chap), _^<i_Urania's
Daughters: A Checklist of Women Science Fiction Writers, 1692-1982_^>i_ (_^<b_1983_^>b_ chap) and the rudimentary _^<i_A Glen Cook Bibliography_^>i_ (_^<b_1983_^>b_ chap) with Glen _^<a_!T859_COOK_^>a_. _^<i_The Aesthetics of Fantasy Literature and
Art_^>i_ (anth _^<b_1982_^>b_) is a useful gathering of reprint essays, several aspiring to define the genre. RCS has ed _^<i_The Journal of the Fantastic in the Arts_^>i_ since 1988. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T963_CRITICAL AND
HISTORICAL WORKS ABOUT SF_^>a_; _^<a_!T2071_SF IN THE CLASSROOM_^>a_.
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SCHLOCK
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Film (1973). Gazotski Films. Written/dir John Landis, starring Landis, Saul Kahn, Joseph Piantadosi, Eliza Garrett. 77 mins. Colour._^<n__^<n_This was the feature debut of 22-year-old Landis, who went on to bigger things with _^<i_The Blues
Brothers_^>i_ (1980) and _^<i_An American Werewolf in London_^>i_ (1981), among others. Low-budget, made in two weeks, it is a genuinely funny and affectionate (though deeply undergraduate) parody of _^<a_!T3011_MONSTER MOVIES_^>a_ in general, and
_^<a_!T6099_TROG_^>a_ (1970) and the _^<a_!T206_APES-AND-CAVEMEN_^>a_ subgenre in particular. Landis plays the caveman Schlockthropus (in a costume designed by Rick Baker, whose effects debut this was) who gets to terrify the populace, play boogie
on the piano, and form an erotic liaison with a blind girl who rejects him horrifiedly when she regains her sight because she had thought he was a dog. [PN]_^<n__^<n_
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SCHMIDT, ARNO (OTTO)
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(1914-1979) German writer noted for his linguistic innovation and the swift humour of his experimental fictions, which project an air of joyfully cerebral quarrelsomeness. The marked _^<a_!T1372_FABULATION_^>a_ of sf tropes in his work is noticeable
in novels like _^<i_Leviathan_^>i_ (_^<b_1949_^>b_), a metaphysical train journey into death, _^<i_KAFF, auch MARE CRISTUM_^>i_ ["KAFF, also MARE CRISTUM"] (_^<b_1960_^>b_), which is set on the Moon, and _^<i_Schwarze Spiegel_^>i_ ["Black Mirrors"]
(_^<b_1963_^>b_) -- the last volume of _^<b_Nobodaddys Kinder_^>b_ ["Nobodaddy's Children"] (1951-63) -- which presents the thoughts of the last man on Earth. In _^<i_Die Gelehrtenrepublik_^>i_ (_^<b_1957_^>b_; trans Michael Horovitz as _^<i_The
Egghead Republic: A Short Novel from the Horse Latitudes_^>i_ _^<b_1979_^>b_ UK), which is genuine sf set in AD2008 after a nuclear _^<a_!T4482_HOLOCAUST_^>a_, an American attempts to report home on the International Republic for Artists and
Scientists, or IRAS, which is housed on a mobile island currently resting in the Sargasso Sea. But sex, mutants, language-games and chaos afflict his brief. [JC]_^<n__^<n__^<b_See also:_^>b__^<a_!T4667_GERMANY_^>a_.
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SCHMIDT, STANLEY (ALBERT)
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(1944- ) US editor, writer and academic, with a PhD in physics (1969), which he taught until 1978. In that year he became editor of _^<i_Analog_^>i_, a position which in 1992 he retains, occupying his role in the forthright manner established by
John W. _^<a_!T5140_CAMPBELL_^>a_ Jr, his most famous predecessor, but more quietly. He began publishing his own sf with "A Flash of Darkness" for _^<i_ASF_^>i_ in 1968. His first novel, _^<i_Newton and the Quasi-Apple_^>i_ (1970 _^<i_ASF_^>i_; exp
_^<b_1975_^>b_), is a _^<a_!T4288_HARD-SF_^>a_ exploration in _^<a_!T1892_PHYSICS_^>a_ set on a primitive planet where Newton's principles are being independently discovered, raising questions as to what kinds of knowledge are helpful -- and when.
_^<i_The Sins of the Fathers_^>i_ (_^<b_1976_^>b_) and its sequel, _^<i_Lifeboat Earth_^>i_ (fixup _^<b_1978_^>b_), perhaps overcomplicatedly invoke an exploding Galaxy, _^<a_!T6026_TIME TRAVEL_^>a_ and more new physics in their presentation of an
_^<a_!T98_ALIEN_^>a_ race whose effective social engineering challenges Earth (> _^<a_!T2300_SOCIOLOGY_^>a_). _^<i_Tweedlioop_^>i_ (_^<b_1986_^>b_) again submits an alien -- here through shipwreck -- to human _^<a_!T1851_PERCEPTIONS_^>a_, this time
those of a young woman; she falls in love. Throughout his writing career, which has become less active since 1978, SS has written clear-cut tales within which nest solvable problems, and in the telling of which cogently argued hard-sf concepts are
given fair play. His editorship of _^<i_Analog_^>i_ has been similarly clear-cut, and he has maintained the journal as the primary outlet for thrusting, extroverted, problem-solving sf tales of a sort that, for many readers, continues to occupy the
high road of sf. He has edited several anthologies spun-off from the journal or from _^<a_!T5291_UNKNOWN_^>a_, its stablemate from half a century earlier. [JC]_^<n__^<n__^<b_As Editor:_^>b_ _^<i_The Analog Anthology #1: Fifty Years of the Best_^>i_
_^<b_1982_^>b_); _^<i_Children of the Future_^>i_ (anth _^<b_1982_^>b_); _^<i_Analog: Writers' Choice_^>i_ (anth _^<b_1983_^>b_) and _^<i_Writers' Choice, Vol II_^>i_ (anth _^<b_1984_^>b_); _^<i_War and Peace: Possible Futures from Analog_^>i_
(anth _^<b_1983_^>b_); _^<i_Aliens from Analog_^>i_ (anth _^<b_1983_^>b_); _^<i_From Mind to Mind: Tales of Communication from Analog_^>i_ (anth _^<b_1984_^>b_); _^<i_Analog's Expanding Universe_^>i_ (anth _^<b_1986_^>b_); _^<i_6 Decades: The Best
of Analog_^>i_ (anth _^<b_1987_^>b_); _^<i_Unknown_^>i_ (anth _^<b_1988_^>b_); _^<i_Unknown Worlds: Tales from Beyond_^>i_ (anth _^<b_1988_^>b_) with Martin H. _^<a_!T4842_GREENBERG_^>a_._^<b_See also:_^>b_ _^<a_!T277_ASTOUNDING
SCIENCE-FICTION_^>a_; _^<a_!T708_CHILDREN IN SF_^>a_.
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SCHMITZ, JAMES H(ENRY)
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(1911-1981) US writer born in Germany of US parents; he served with the USAF in WWII. His first story was "Greenface" for _^<i_Unknown_^>i_ in 1943. From 1949, when "Agent of Vega" appeared in _^<i_ASF_^>i_ as the first of 4 stories later assembled
as _^<i_Agent of Vega_^>i_ (coll of linked stories _^<b_1960_^>b_), he regularly produced the kind of tale for which he remains most warmly remembered: _^<a_!T2342_SPACE-OPERA_^>a_ adventures, several featuring female _^<a_!T4395_HEROES_^>a_
depicted with minimum recourse to their "femininity" -- they perform their active tasks, and save the Universe when necessary, in a manner almost completely free of sexual role-playing cliches._^<n__^<n_Most of his best work shares a roughly
characterized common background, a Galaxy inhabited by humans and aliens with room for all and numerous opportunities for discoveries and reversals that carefully fall short of threatening the stability of that background. Many of his stories, as a
result, focus less on moments of _^<a_!T829_CONCEPTUAL BREAKTHROUGH_^>a_ than on the pragmatic operations of teams and bureaux involved in maintaining the state of things against criminals, monsters and unfriendly species; in this they rather
resemble the tales of Murray _^<a_!T3326_LEINSTER_^>a_, though they are more vigorous and less inclined to punish adventurousness. _^<a_!T2021_PSI POWERS_^>a_ are often found. At the heart of this common Universe is the Federation of the
_^<b_Hub_^>b_ or the Overgovernment. The main _^<b_Hub_^>b_ sequence is _^<i_A Tale of Two Clocks_^>i_ (_^<b_1962_^>b_; vt _^<i_Legacy_^>i_ 1979), _^<i_A Nice Day for Screaming and Other Tales of the Hub_^>i_ (coll _^<b_1965_^>b_), _^<i_The Demon
Breed_^>i_ (1968 _^<i_ASF_^>i_; exp _^<b_1968_^>b_) and _^<i_A Pride of Monsters_^>i_ (coll _^<b_1970_^>b_). The _^<b_Telzey Amberdon_^>b_ books -- _^<i_The Universe Against Her_^>i_ (fixup _^<b_1964_^>b_), _^<i_The Telzey Toy_^>i_ (coll
_^<b_1973_^>b_) and _^<i_The Lion Game_^>i_ (fixup _^<b_1973_^>b_) -- nestle conceptually within the _^<b_Hub_^>b_. Amberdon, a brilliant young telepath recruited by the Psychology Service of the Overgovernment as an agent, is perhaps JHS's most
typical creation, and the stories in which she performs her activities are only marginally less appealing than his single finest novel, _^<i_The Witches of Karres_^>i_ (1949 _^<i_ASF_^>i_; exp _^<b_1966_^>b_), which features three Amberdon-like
psi-powered juvenile "witches" and their rescue from slavery by a space captain in whom they induce first apoplexy and second transcendence -- for he too finds superpowers within him._^<n__^<n_One novel, _^<i_The Eternal Frontiers_^>i_
(_^<b_1973_^>b_), is set outside this common background; it fails to delight. _^<i_The Best of James H. Schmitz_^>i_ (coll _^<b_1991_^>b_) ed Mark L. Olson is a good conspectus. It may be that JHS's work is too pleasing to have seemed
revolutionary, and indeed-with the exception of his choice of protagonists -- it plays very safe with conventions; but for nearly 40 years he succeeded in demonstrating, modestly and competently, that the template of space opera could provide
continuing joy. [JC]_^<n__^<n__^<n__^<n__^<b_About the author:_^>b_ _^<i_James H. Schmitz: A Bibliography_^>i_ (_^<b_1973_^>b_) by Mark _^<a_!T1755_OWINGS_^>a_, with intro by Janet _^<a_!T3964_KAGAN_^>a_._^<b_See also:_^>b_ _^<a_!T708_CHILDREN IN
SF_^>a_; _^<a_!T6576_ECOLOGY_^>a_; _^<a_!T6697_ESP_^>a_; _^<a_!T3385_LIFE ON OTHER WORLDS_^>a_; _^<a_!T5830_SUPERMAN_^>a_.
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SCHNABEL, JOHANN GOTTFRIED
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[r] > _^<a_!T4667_GERMANY_^>a_._^<n__^<n_
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SCHNEEMAN, CHARLES
-T-
(1912-1972) US illustrator. CS was active in sf for only a short time, most of his work being for _^<a_!T277_ASTOUNDING SCIENCE-FICTION_^>a_ from 1935. He painted 6 _^<i_ASF_^>i_ covers, the earliest May 1938 and the last Nov 1952, but is best
remembered for his interior black-and-white _^<a_!T4593_ILLUSTRATION_^>a_ in that magazine; he was its major interior artist until he joined the US Army in 1942. His best work may be the idealized sketches of the heroic Kimball Kinnison for E.E.
"Doc" _^<a_!T2269_SMITH_^>a_'s _^<i_Grey Lensman_^>i_ (1939-40 _^<i_ASF_^>i_; _^<b_1951_^>b_) and his drawings for Jack _^<a_!T5629_WILLIAMSON_^>a_'s _^<i__^<a_!B9255_THE LEGION OF TIME_^>a__^>i_ (1938 _^<i_ASF_^>i_; rev _^<b_1952_^>b_). After WWII
he worked mainly for newspapers. [JG/PN]_^<n__^<n_
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SCHNEER, CHARLES H.
-T-
[r] > Ray _^<a_!T4322_HARRYHAUSEN_^>a_._^<n__^<n_
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SCHNEIDER, JOHN G.
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(?1908-1964) US writer whose borderline-sf novel, _^<i_The Golden Kazoo_^>i_ (_^<b_1956_^>b_), satirized the Madison Avenue nature of the (_^<a_!T6337_NEAR-FUTURE_^>a_) 1960 presidential election, which he saw as foolishly
(1935- ) US illustrator, regarded by some critics as the finest sf artist of his generation. A New Yorker who studied at the Pratt Institute, he made his sf-_^<a_!T4593_ILLUSTRATION_^>a_ debut in _^<i_AMZ_^>i_ 1956. His work has appeared
primarily in _^<i_ASF_^>i_ (including 75 covers), but he has drawn black-and-white illustrations for other sf magazines, including _^<i_Fantastic_^>i_ and _^<i_Infinity_^>i_, and has also worked for paperback publishers, most notably _^<a_!T20_ACE
BOOKS_^>a_ and Pyramid. The cover and interior illustrations he did for Frank _^<a_!T4390_HERBERT_^>a_'s _^<b_Dune_^>b_ stories in _^<a_!T277_ASTOUNDING SCIENCE-FICTION_^>a_ (1963-5) are classics; some of the best are reproduced in _^<i_The
Illustrated Dune_^>i_ (_^<b_1978_^>b_) and _^<i_Dune Calendar_^>i_ (_^<b_1978_^>b_). JS's style in his colour work is Impressionistic, and he is regarded by his peers as the most "painterly" in their field. Some of his earlier work shows the
influence of Richard M. _^<a_!T1966_POWERS_^>a_, one of the few sf artists he admires. He carries his painting techniques over into his black-and-white work by using a dry-brush method on rough paper or scratchboard, with fine details added by pen.
His _^<a_!T102_ALIENS_^>a_ are particularly convincing, thanks perhaps to his love for animal illustration (for which he has won numerous awards), and even his inanimate objects-like rock-forms -- tend to look organic. JS received a
_^<a_!T4551_HUGO_^>a_ in 1965. Dissatisfied by poor standards in sf art -- "with few exceptions it's really fourth rate" -- and low budgets, he left the field in 1968, returning briefly in the 1970s. [JG/PN]_^<n__^<n__^<b_About the artist:_^>b_
"Sketches: John Schoenherr Interview" in _^<a_!T95_ALGOL_^>a_, Summer-Fall 1978._^<n__^<n_
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SCHOFIELD, ALFRED TAYLOR
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(1846-1929) UK medical doctor and writer whose first sf novel, _^<i_Travels in the Interior, or The Wonderful Adventures of Luke and Belinda: Edited by a London Physician_^>i_ (_^<b_1887_^>b_), as by Luke Courteney, carries its protagonists, shrunk
to a suitable size, on a didactic expedition through a human body (>_^<a_!T4823_GREAT AND SMALL_^>a_). _^<i_Another World, or The Fourth Dimension_^>i_ (_^<b_1888_^>b_), published as ATS, takes its two-dimensional protagonist on a similarly
didactic mission from Edwin A. _^<a_!T8_ABBOTT_^>a_'s Flatland to even more penurious Lineland, and thence into worlds of three and four _^<a_!T1239_DIMENSIONS_^>a_, all in order to convey the truths of a dimension-encompassing Christianity.
[JC]_^<n__^<n_
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SCHOLES, ROBERT (EDWARD)
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(1929- ) US academic and sf critic. One of the better-known US theorists in structuralism, he is the author of a number of books on literary theory. Those with special relevance to sf are _^<i_The Fabulators_^>i_ (_^<b_1967_^>b_), which deals
with _^<a_!T1372_FABULATION_^>a_, _^<i_Structural Fabulation: An Essay on the Fiction of the Future_^>i_ (_^<b_1975_^>b_), _^<i_Science Fiction: History, Science, Vision_^>i_ (_^<b_1977_^>b_) with Eric S. _^<a_!T2474_RABKIN_^>a_ (_^<i_whom see for
further details_^>i_) and _^<i_Fabulation and Metafiction_^>i_ (_^<b_1979_^>b_). The first two and the fourth of these are academic in approach, the second especially for its attempted definition of the sf genre (> _^<a_!T1142_DEFINITIONS OF
SF_^>a_). With George Edgar _^<a_!T2259_SLUSSER_^>a_ and Rabkin, RS edited _^<i_Bridges to Fantasy_^>i_ (anth _^<b_1982_^>b_) and _^<i_Co-Ordinates: Placing Science Fiction and Fantasy_^>i_ (anth _^<b_1983_^>b_), both collections of critical
essays; he also introduced the 1975 US paperback edition of Tzvetan _^<a_!T6038_TODOROV_^>a_'s _^<i_Introduction a la litterature fantastique_^>i_ (_^<b_1970_^>b_; trans as _^<i_The Fantastic: A Structural Approach to a Literary Genre_^>i_
_^<b_1973_^>b_), and has written many shorter critical pieces on sf. [PN]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T963_CRITICAL AND HISTORICAL WORKS ABOUT SF_^>a_.
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SCHOLZ, CARTER
-T-
(1953- ) US writer who began publishing sf with "Closed Circuit" for _^<i_Clarion SF_^>i_ (anth _^<b_1976_^>b_) ed Kate _^<a_!T5606_WILHELM_^>a_, and whose short fiction, which appeared with some frequency for the next decade, constitutes a
series of dark and fluid visions of the inhabitants of the world to come. None of these stories -- like the striking "The Eve of the Last Apollo" (1977) -- has been put into a CS collection (_^<i_Cuts_^>i_ [coll _^<b_1985_^>b_ chap] restricting
itself to previously unpublished material). He fell almost entirely silent after 1986. CS is known mainly for his one novel, _^<i_Palimpsests_^>i_ (_^<b_1984_^>b_) with Glenn Harcourt; its dense, refractive, ruminative, palimpsest-laden style more
than amply surrounds the story of an archaeologist yanked from brooding internal and external exile by the discovery of a dizzyingly anachronistic object at a Neanderthal dig. _^<a_!T6020_TIME PARADOXES_^>a_ are alluded to, but with something like
_^<a_!T18_ABSURDIST_^>a_ torpor, and the novel ends in dark irresolution, in an epiphany of flow -- "of landho that would never quite achieve landfall" -- which simultaneously moves and irritates the reader. [JC]_^<n__^<n_
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SCHOMBURG, ALEX
-T-
(1905- ) US illustrator and _^<a_!T820_COMIC_^>a_-book artist; he has also spelled his name Schomberg. His first assignment was for Hugo _^<a_!T4668_GERNSBACK_^>a_ in 1925; he did his first cover in that year for _^<a_!T2869_SCIENCE AND
INVENTION_^>a_. During his 65-year career, which extended into the 1980s with covers for _^<a_!T3816_ISAAC ASIMOV'S SCIENCE FICTION MAGAZINE_^>a_, he worked for many magazines, including _^<i_AMZ_^>i_, _^<i_TWS_^>i_, _^<i_FSF_^>i_,
_^<i_Fantastic_^>i_ and _^<i_Startling Stories_^>i_. He also painted book covers, primarily for _^<a_!T20_ACE BOOKS_^>a_ and Winston Books (their "juvenile" sf series of the 1950s, for which he also designed the endpapers). His
_^<a_!T4593_ILLUSTRATION_^>a_ is realistic, versatile and assured, usually eschewing bright colours; he was known as "king of the airbrush". Important in the comics industry as well, he worked on many of the Timely Comics (now _^<a_!T3694_MARVEL
COMICS_^>a_) titles, helping develop _^<b_Captain America_^>b_ and _^<b_Sub-Mariner_^>b_. In 1990 he was awarded a Special Award by the World Science Fiction Convention; he has also won the Lensman Award (1979) and the Frank R. Paul Award (1984).
His work is showcased in _^<i_Chroma: The Art of Alex Schomburg_^>i_ (_^<b_1986_^>b_), text by Jon Gustafson. [JG]_^<n__^<n_
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SCHOONOVER, LAWRENCE
-T-
(1906-1980) US writer best known for his many historical novels. _^<i_Central Passage_^>i_ (_^<b_1962_^>b_) is set after a nuclear _^<a_!T4482_HOLOCAUST_^>a_ has demolished the Isthmus of Panama, set the oceans astir and initiated a new ice age,
whose escalation is averted through a successful attempt to block the Isthmus again. In the meantime, atomic radiation has caused mutations, resulting in a breed of _^<a_!T5830_SUPERMEN_^>a_ destined to inherit the Earth. [JC]_^<n__^<n_
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SCHORER, MARK
-T-
[r] > August _^<a_!T1189_DERLETH_^>a_._^<n__^<n_
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SCHULMAN, J(OSEPH) NEIL
-T-
(1953- ) US writer whose books have been very influential in the _^<a_!T3378_LIBERTARIAN-SF_^>a_ movement. _^<i_Alongside Night_^>i_ (_^<b_1979_^>b_) describes the salvation of a future USA (whose economy has been destroyed by government
intervention in the free market) by a hard-cash underground economy evolved from today's black market. The political message is reasonably unobtrusive, though non-libertarians may find the somewhat casual attitude taken towards the killing of tax
collectors upsetting. _^<i_The Rainbow Cadenza: A Novel in Logosata Form_^>i_ (_^<b_1983_^>b_), generally considered inferior, is interesting for its portrayal of a _^<a_!T1370_DYSTOPIA_^>a_ judged against libertarian values rather than (as is more
usual) humanist ones, as well as for its depiction of laser-generated visuals (> _^<a_!T257_ARTS_^>a_) as a means of artistic expression. Like many libertarian authors, JNS is a competent thriller writer whose books are fundamentally motivated by a
combination of moral outrage and a fascination with the hardware of politics and economics. [NT]_^<n__^<n_
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SCHUTZ, J(OSEPH) W(ILLARD)
-T-
(1912-1984) US writer, mostly of short stories, and diplomat who graduated in science and later from the US Counter-Insurgency School. He was in his 50s when -- to give himself something to do while stationed in West Africa -- he began writing sf,
with "Maiden Voyage" for _^<i_FSF_^>i_ in 1965. His two adventure-sf novels are _^<i_People of the Rings_^>i_ (_^<b_1975_^>b_ UK) and _^<i_The Moon Microbe_^>i_ (_^<b_1976_^>b_ UK). He wrote thrillers as Jerry Scholl. [PN]_^<n__^<n_
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SCHUYLER, GEORGE S(AMUEL)
-T-
(1895-1977) US writer whose sf, normally written as by Samuel I. Brooks, appeared obscurely in _^<a_!T2033_PULP MAGAZINES_^>a_ between the Wars. In his first sf novel, _^<i_Black No More: Being an Account of the Strange and Wonderful Workings of
Science in the Land of the Free, A.D. 1933-1940_^>i_ (_^<b_1931_^>b_) as GSS, a cosmetic treatment is discovered which will bleach Blacks. In treating this innovation in terms of _^<a_!T2812_SATIRE_^>a_ GSS, himself Black, acerbically targeted both
Blacks and Whites. _^<i_Black Empire_^>i_ (1936-8 _^<i_Pittsburgh Courier_^>i_ as by Samuel I. Brooks; _^<b_1991_^>b_), intro by John A. _^<a_!T5618_WILLIAMS_^>a_, pits Blacks against Whites in pulp terms, and ends in the creation of a Black
(? - ) US writer whose _^<i_The Wandering Tellurian_^>i_ (_^<b_1967_^>b_ dos) is appropriately titled: its Terran protagonist travels through space, having adventures. [JC]_^<n__^<n_
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SCHWARTZ, JULIUS
-T-
(1915- ) US agent and editor, born Bronx, New York. JS met his lifelong friend and colleague Mort _^<a_!T5515_WEISINGER_^>a_ at a meeting of the Scienceers sf group in 1931. Together they published the first true _^<a_!T1428_FANZINE_^>a_,
_^<i_The Time Traveller_^>i_ (1932), and the later fanzine, _^<i_Science Fiction Digest_^>i_ (1932), which in 1934 became _^<a_!T1419_FANTASY MAGAZINE_^>a_, though Weisinger was not officially an editor on the latter. In 1934 they founded Solar
Sales Service, the first literary agency to specialize in sf; early clients included Henry L. _^<a_!T4334_HASSE_^>a_, David H. _^<a_!T4008_KELLER_^>a_, P. Schuyler _^<a_!T2957_MILLER_^>a_ and Stanley G. _^<a_!T5506_WEINBAUM_^>a_. When Weisinger
became editor of _^<a_!T6004_THRILLING WONDER STORIES_^>a_ in 1936, JS ran the agency alone for the next 10 years, new clients including Alfred _^<a_!T568_BESTER_^>a_, Otto Binder (> Eando _^<a_!T607_BINDER_^>a_), Leigh _^<a_!T4961_BRACKETT_^>a_,
Ray _^<a_!T4963_BRADBURY_^>a_, John Russell _^<a_!T1455_FEARN_^>a_ and Manly Wade _^<a_!T5525_WELLMAN_^>a_._^<n__^<n_At Bester's suggestion, JS became editor at All-American Comics (later part of _^<a_!T1115_DC COMICS_^>a_) in Feb 1944. In the
mid-1950s he played a major role in the DC revival of the _^<a_!T5829_SUPERHERO_^>a_ with new versions of earlier characters, many utilizing sf themes. These included _^<b_The Flash_^>b_ (police scientist who gains superspeed in accident),
_^<b_Green Lantern_^>b_ (test pilot given power ring by alien Guardians from the planet Oa so that he can police this sector of space), _^<b_Hawkman_^>b_ (policeman from the planet Thanagar operating on Earth), _^<b_Adam Strange_^>b_ (Earthman who
becomes protector of the planet Rann) and _^<b_The Atom_^>b_ (scientist with the ability to become smaller -- JS called this character, in his civilian identity, Ray Palmer, Raymond A. _^<a_!T1774_PALMER_^>a_ being the shortest of all sf editors).
JS also revived the flagging fortunes of _^<b_Batman_^>b_ by giving it a "new look". When Weisinger left DC in 1971, JS took over as _^<a_!T5830_SUPERMAN_^>a_ editor. He left this position in 1986 to edit the shortlived DC _^<b_SF Graphic
Album_^>b_ adaptations (1985-7), whose titles in publication order were: _^<i_Hell on Earth_^>i_ (1942 _^<i_Weird Tales_^>i_; graph _^<b_1985_^>b_) by Robert _^<a_!T661_BLOCH_^>a_, _^<i_Nightwings_^>i_ (1968 _^<i_Gal_^>i_; graph _^<b_1985_^>b_) by
Robert _^<a_!T2216_SILVERBERG_^>a_, _^<i_Frost & Fire_^>i_ (1946 _^<i_Planet Stories_^>i_ as "The Land that Time Forgot"; graph _^<b_1985_^>b_) by Ray Bradbury, _^<i_Merchants of Venus_^>i_ (graph _^<b_1986_^>b_) from the 1971 novella by Frederik
_^<a_!T1937_POHL_^>a_, _^<i_Demon with a Glass Hand_^>i_ (graph _^<b_1986_^>b_) from the 1964 _^<i_Outer Limits_^>i_ tv script by Harlan _^<a_!T6641_ELLISON_^>a_, _^<i_The Magic Goes Away_^>i_ (graph _^<b_1986_^>b_) from the 1978 book by Larry
_^<a_!T3223_NIVEN_^>a_ and _^<i_Sandkings_^>i_ (1979 _^<i_Omni_^>i_; graph _^<b_1987_^>b_) by George R.R. _^<a_!T3685_MARTIN_^>a_. The line was a commercial failure, and JS gave up editing to become a consultant to DC and "a goodwill ambassador for
DC . . . to various conventions". [RH]_^<n__^<n_
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SCHWARZ, MAURICIO-JOSE
-T-
(1955- ) Mexican writer who for 7 years had an sf column in the daily newspaper _^<i_Excelsior_^>i_. He is the author of about 50 short stories, many sf or horror. M-JS was the first winner (1984) of the Puebla Award (> _^<a_!T4204_LATIN
AMERICA_^>a_) for Best SF Short Story in Mexico with his story "La pequena guerra" ["The Smallest War"]. Some of his stories are collected in _^<i_Escenas de la realidad virtual_^>i_ ["Scenes from Virtual Reality"] (coll _^<b_1991_^>b_). M-JS
founded (1991) and edits an sf _^<a_!T2100_SEMIPROZINE_^>a_, _^<i_Estacosa_^>i_ ["Thisthing"]. He is part-author of the _^<a_!T4204_LATIN AMERICA_^>a_ entry in this encyclopedia. [PN]_^<n__^<n_
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SCHWEITZER, DARRELL (CHARLES)
-T-
(1952- ) US critic, editor and writer who began publishing stories of genre interest with "Come to Mother" for _^<i_Weirdbook_^>i_ #4 in 1971, but who spent his energies very variously for many years, coming initially to notice with a series of
critical studies including _^<i_Lovecraft in the Cinema_^>i_ (_^<b_1975_^>b_ chap), _^<i_The Dream Quest of H.P. Lovecraft_^>i_ (_^<b_1978_^>b_ chap), _^<i_Conan's World and Robert E. Howard_^>i_ (_^<b_1979_^>b_ chap), _^<i_On Writing Science
Fiction (The Editors Strike Back!)_^>i_ (_^<b_1981_^>b_) with John M. _^<a_!T1559_FORD_^>a_ and George H. _^<a_!T2884_SCITHERS_^>a_, _^<i_Constructing Scientifiction & Fantasy_^>i_ (_^<b_1982_^>b_ chap) with John Ashmead and Scithers, and
_^<i_Pathways to Elfland: The Writings of Lord Dunsany_^>i_ (_^<b_1989_^>b_). During this period he also served as editorial assistant at _^<i_IASFM_^>i_ 1977-82 and at _^<i_AMZ_^>i_ 1982-6. With John _^<a_!T569_BETANCOURT_^>a_ and Scithers he then
restarted _^<a_!T5512_WEIRD TALES_^>a_ (1987-current) with #290. Also with Scithers, he ed 2 anthologies of _^<a_!T768_CLUB STORIES_^>a_: _^<i_Tales from the Spaceport Bar_^>i_ (anth _^<b_1987_^>b_) and _^<i_Another Round at the Spaceport Bar_^>i_
(anth _^<b_1989_^>b_)._^<n__^<n_DS's fiction, which sometimes tends to a grimly brisk _^<a_!T2870_SCIENCE-FANTASY_^>a_ diction, includes _^<i_We are All Legends_^>i_ (coll of linked stories _^<b_1981_^>b_), _^<i_The Shattered Goddess_^>i_
(_^<b_1982_^>b_), a _^<a_!T1432_FAR-FUTURE_^>a_ fantasy which moves into dark regions, _^<i_Tom O'Bedlam's Night Out, and Other Strange Excursions_^>i_ (coll _^<b_1985_^>b_), _^<i_The Meaning of Life, and Other Awesome Cosmic Revelations_^>i_ (coll
_^<b_1988_^>b_ chap) and _^<i_The White Isle_^>i_ (1980 _^<i_Fantastic_^>i_; rev_^<b_ 1990_^>b_). [JC]_^<n__^<n__^<b_As Editor:_^>b_ Some of the _^<b_SF Voices_^>b_ series of interviews, those for which he was responsible including _^<i_SF
Lovecraft_^>i_ 1987); _^<i_Exploring Fantasy Worlds_^>i_ (anth _^<b_1985_^>b_); _^<i_Discovering Modern Horror Fiction #1_^>i_ (anth _^<b_1985_^>b_) and _^<i_#2_^>i_ (anth _^<b_1988_^>b_); _^<i_Discovering Stephen King_^>i_ (anth
_^<b_1985_^>b_)_^<i_Discovering Classic Horror Fiction I_^>i_ (anth _^<b_1992_^>b_); _^<i_Lord Dunsany: A Bibliography_^>i_ (_^<b_1993_^>b_) with S. T. Joshi (1958- ); _^<i_Speaking of Horror: Interviews with Writers of the Supernatural_^>i_
(_^<b_1994_^>b_).
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SCHWERIN, DORIS H(ALPERN)
-T-
(1922- ) US composer and writer whose _^<i_The Rainbow Walkers_^>i_ (_^<b_1985_^>b_; vt _^<i_The Missing Years_^>i_ 1986 UK) is an intermittently moving sf tale involving _^<a_!T987_CRYONICS_^>a_ and their consequences. [JC]_^<n__^<n_
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SCIENCE AND INVENTION
-T-
US monthly _^<a_!T492_BEDSHEET_^>a_-size popular-science magazine, slick paper. 220 issues May 1913-Aug 1931. Published 1913-29 by Experimenter Publishing Co.; ed Hugo _^<a_!T4668_GERNSBACK_^>a_ until his bankruptcy in 1929, thereafter ed anon.
_^<i_SAI_^>i_ was not a new magazine but a retitling (from Aug 1920) of Gernsback's _^<i_Electrical Experimenter_^>i_, founded May 1913, itself modelled on _^<i_Modern Electrics_^>i_, an earlier Gernsback magazine (1908-13), in which his novel
_^<i_Ralph 124C 41+_^>i_ (1911-12; _^<b_1925_^>b_) had first appeared. The Aug 1923 issue of _^<i_SAI_^>i_ was a special "Scientific Fiction" number with a cover by Howard V. _^<a_!T5030_BROWN_^>a_, and was effectively Gernsback's first sf
magazine. Both before and after this, however, _^<i_SAI_^>i_ (whose main content was science articles) regularly featured sf stories and novels -- notably 3 serials by Ray _^<a_!T997_CUMMINGS_^>a_ and also A. _^<a_!T2912_MERRITT_^>a_'s "The Metal
Emperor" (1920 _^<i_Argosy_^>i_; rev 1927-8 _^<i_SAI_^>i_; vt _^<i_The Metal Monster_^>i_ _^<b_1946_^>b_)._^<n__^<n_The most typical writer of Gernsbackian _^<a_!T2879_SCIENTIFICTION_^>a_ was perhaps Clement _^<a_!T1470_FEZANDIE_^>a_: almost all of
his _^<b_Dr Hackensaw_^>b_ series -- 39 short stories and "A Journey to the Center of the Earth" (1925), a 4-part serialized novel -- was published in _^<i_SAI_^>i_ (2 final stories were published in _^<i_AMZ_^>i_). These are wooden as narratives,
but contain lively ideas about new inventions, including _^<a_!T2646_ROBOTS_^>a_, tv and brainwashing through dissolution of neural ganglia; Hackensaw even experiences weightlessness, on a trip to the Moon. After founding _^<a_!T141_AMAZING
STORIES_^>a_ in Apr 1926, Gernsback naturally used there most of the sf he bought, but sf serials (including Merritt's, noted above) continued in _^<i_SAI_^>i_ until 1928. _^<i_SAI_^>i_ was in fact a more commercially successful magazine than
_^<i_AMZ_^>i_, with a formula not unlike that of _^<a_!T3315_OMNI_^>a_ today. [PN/MJE/FHP]_^<n__^<n_
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SCIENCE FANTASY
-T-
_^<b_1._^>b_ In the _^<a_!T5942_TERMINOLOGY_^>a_ of sf readers, and more especially publishers, this term has never been clearly defined, although it was the title of a well known UK magazine 1950-66 (> _^<b_2_^>b_), which was also the period when
the term was most in general use. More recently it has been partially superseded by the terms _^<a_!T5875_SWORD AND SORCERY_^>a_ and _^<a_!T4396_HEROIC FANTASY_^>a_, but it differs from these two categories in that Science Fantasy does not
_^<i_necessarily_^>i_ contain _^<a_!T3598_MAGIC_^>a_, _^<a_!T4740_GODS AND DEMONS_^>a_, _^<a_!T4395_HEROES_^>a_, _^<a_!T3135_MYTHOLOGY_^>a_ or _^<a_!T5843_SUPERNATURAL CREATURES_^>a_, though these may be present, often in a quasirationalized form.
Science Fantasy is normally considered a bastard genre blending elements of sf and fantasy; it is usually colourful and often bizarre, sometimes with elements of _^<a_!T4509_HORROR_^>a_ although never centrally in the horror genre. Certain sf
themes are especially common in Science Fantasy -- _^<a_!T131_ALTERNATE WORLDS_^>a_, other _^<a_!T1239_DIMENSIONS_^>a_, _^<a_!T6697_ESP_^>a_, _^<a_!T3013_MONSTERS_^>a_, _^<a_!T1794_PARALLEL WORLDS_^>a_, _^<a_!T2021_PSI POWERS_^>a_ and
_^<a_!T5830_SUPERMEN_^>a_ -- but no single one of these ingredients is essential. Many Science Fantasies are also _^<a_!T1913_PLANETARY ROMANCES_^>a_ (many of the books so described in this volume can be regarded as Science Fantasy). A good
discussion of the term, which very nearly builds to a definition through the accretion of examples, is "Science Fantasy" by Brian Attebery in _^<i_Dictionary of Literary Biography: Volume Eight: Twentieth-Century American Science-Fiction Writers:
Part 2: M-Z_^>i_ (_^<b_1981_^>b_) ed David Cowart and Thomas L. Wymer. Attebery cites the following as among the more important US authors of Science Fantasy: Marion Zimmer _^<a_!T4968_BRADLEY_^>a_, Edgar Rice _^<a_!T5097_BURROUGHS_^>a_, L. Sprague
_^<a_!T1133_DE CAMP_^>a_ and Fletcher _^<a_!T1976_PRATT_^>a_, Samuel R. _^<a_!T1152_DELANY_^>a_, Anne _^<a_!T6298_MCCAFFREY_^>a_, Andre _^<a_!T3243_NORTON_^>a_, Jack _^<a_!T5317_VANCE_^>a_, John _^<a_!T5339_VARLEY_^>a_, Roger
_^<a_!T6264_ZELAZNY_^>a_ and Gene _^<a_!T5676_WOLFE_^>a_ (indeed, in the 1980s Wolfe practically resuscitated the genre single-handedly), to which list should certainly be added Joan D. _^<a_!T5376_VINGE_^>a_ and (especially the former) C.L.
_^<a_!T3033_MOORE_^>a_ and Henry _^<a_!T4144_KUTTNER_^>a_. Attebery also makes special mention of _^<i_The Deep_^>i_ (_^<b_1975_^>b_) by John _^<a_!T981_CROWLEY_^>a_. [PN]_^<n__^<n__^<b_2._^>b_ UK _^<a_!T1231_DIGEST_^>a_-size magazine published
from Summer 1950 by Nova Publications as a companion to _^<a_!T3182_NEW WORLDS_^>a_, subsequently taken over by Roberts & Vinter in June/July 1964, thereafter in a paperback-size format. 81 issues appeared as _^<i_SF_^>i_ Summer 1950-Feb 1966, and
12 more Mar 1966-Feb 1967 as _^<i_Impulse_^>i_ (Mar-July 1966) and _^<i_SF Impulse_^>i_ (Aug 1966-Feb 1967). #1 and #2 were ed Walter _^<a_!T4706_GILLINGS_^>a_; John _^<a_!T5170_CARNELL_^>a_ then took over until Nova folded. The Roberts & Vinter
version was ed until Sep 1966 Kyril Bonfiglioli; the last 5 issues were ed Harry _^<a_!T4316_HARRISON_^>a_ and Keith _^<a_!T2619_ROBERTS_^>a_._^<n__^<n__^<i_SF_^>i_ was numbered consecutively from #1 to #81 (Feb 1966). Numeration was begun again
with the title change to _^<i_Impulse_^>i_, in Mar 1966, with 1 vol of 12 numbered issues (hence _^<i_Impulse_^>i_ is sometimes regarded as a separate magazine). Early on _^<i_SF_^>i_ appeared irregularly, with only 6 issues 1950-53, but from Mar
1954 an uneasy bimonthly schedule began, lapsing to quarterly every now and then, improving in the late 1950s. A regular monthly schedule ran from Mar 1965 to the end._^<n__^<n__^<i_SF_^>i_ used offbeat _^<a_!T1412_FANTASY_^>a_ together with some
sf not too different from that published in its companion, _^<i_NW_^>i_ (but only rarely the kind of whimsical story associated with the US _^<a_!T5291_UNKNOWN_^>a_). While Carnell was editing both, _^<i_SF_^>i_ tended to use stories of greater
length than _^<i_NW_^>i_, including numerous novellas. Many of its lead stories were supplied by John _^<a_!T5049_BRUNNER_^>a_, Kenneth _^<a_!T5073_BULMER_^>a_ and Michael _^<a_!T3030_MOORCOCK_^>a_, all of whom published some of their best early
work in its pages. _^<i_SF_^>i_ also published the first stories of Brian W. _^<a_!T87_ALDISS_^>a_ and J.G. _^<a_!T378_BALLARD_^>a_, and part of Aldiss's first sf novel, _^<i_Non-Stop_^>i_ (1956; exp _^<b_1958_^>b_; rev vt _^<i_Starship_^>i_ US
1959) and virtually all the important early work of Thomas Burnett _^<a_!T5863_SWANN_^>a_. After Bonfiglioli became editor in 1964, Keith _^<a_!T2619_ROBERTS_^>a_, Christopher _^<a_!T1990_PRIEST_^>a_, Josephine _^<a_!T2831_SAXTON_^>a_ and Brian
_^<a_!T2385_STABLEFORD_^>a_ all made their debuts in the magazine, and the early _^<i_Impulse_^>i_ issues featured Keith Roberts's _^<b_Pavane_^>b_ stories (Mar-July 1966; fixup _^<b_1968_^>b_). During Carnell's incumbency _^<i_SF_^>i_ published
material of a higher quality than its companion, but after its sale in 1964 -- despite Bonfiglioli and his editorial successors buying some good material -- it was overshadowed by Moorcock's _^<i_NW_^>i_, with which it ultimately merged.
_^<i_NW_^>i_ and _^<i_SF_^>i_ were the best sf magazines published in the UK before _^<a_!T3791_INTERZONE_^>a_ joined them in this category._^<n__^<n_The cover art of _^<i_SF_^>i_ was intermittently of a high standard, especially that by Brian
_^<a_!T3365_LEWIS_^>a_, who did most of the covers 1958-61, and Keith Roberts, who did nearly all the covers from 1965 until the end. Roberts's bold semi-abstractions were quite outside the conventions of genre-sf _^<a_!T4593_ILLUSTRATION_^>a_, and
Lewis's surreal landscapes, reminiscent of the work of Max Ernst (1891-1976), were also unusual. [BS]_^<n__^<n__^<b_3._^>b_ Variant title of _^<a_!T2041_SCIENCE FANTASY YEARBOOK_^>a_._^<n__^<n__^<b_See also:_^>b_ _^<a_!T1423_FANTASY REVIEW_^>a_.
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SCIENCE FICTION YEARBOOK
-T-
> _^<a_!T6082_TREASURY OF GREAT SCIENCE FICTION STORIES_^>a_._^<n__^<n_
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SF YEARBOOK: A TREASURY OF SCIENCE FICTION
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> _^<a_!T6082_TREASURY OF GREAT SCIENCE FICTION STORIES_^>a_._^<n__^<n_
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SCIENCE STORIES
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US _^<a_!T1231_DIGEST_^>a_-size magazine. 4 bimonthly issues, Oct 1953-Apr 1954. #1 was published by Bell Publications, Chicago, the rest by Palmer Publications, Evanston; ed Raymond A. _^<a_!T1774_PALMER_^>a_ and Bea Mahaffey. _^<i_SS_^>i_ printed
no notable fiction, but was nicely illustrated by Hannes _^<a_!T6322_BOK_^>a_, Virgil _^<a_!T1488_FINLAY_^>a_ and others. _^<a_!T5289_UNIVERSE SCIENCE FICTION_^>a_, effectively a continuation of _^<a_!T1738_OTHER WORLDS_^>a_, was a companion
magazine. Some magazine historians regard _^<i_SS_^>i_ as likewise a (shorter and cheaper) continuation of _^<i_Other Worlds_^>i_, since it began shortly after _^<i_Other Worlds_^>i_'s first demise and announced that it was using _^<i_Other
Worlds_^>i_'s inventory of stories, but it was the numeration of _^<i_Universe_^>i_ that _^<i_Other Worlds_^>i_ adopted when _^<i_Universe_^>i_ changed its title back to _^<i_Other Worlds_^>i_ in 1955. [FHP/PN]_^<n__^<n_
US _^<a_!T492_BEDSHEET_^>a_-size magazine. 12 monthly issues June 1929-May 1930, published by Stellar Publishing Corp.; ed Hugo _^<a_!T4668_GERNSBACK_^>a_._^<n__^<n_After Gernsback lost control of his first fully sf magazine, _^<a_!T141_AMAZING
STORIES_^>a_, in 1929, he rapidly made a comeback with a new company and 2 new magazines, _^<i_SWS_^>i_ and, a month later, _^<a_!T75_AIR WONDER STORIES_^>a_. "SCIENCE WONDER STORIES are clean, CLEAN from beginning to end. They stimulate only one
thing -- IMAGINATION," he wrote in the first editorial. His policy, as usual, was to emphasize the didactic aspects of sf, and he claimed that every story had been passed by "an array of authorities and educators". _^<i_SWS_^>i_ dealt with all
aspects of science, unlike _^<i_Air Wonder Stories_^>i_, but in fact they used much the same authors and similar material, and it was logical, after a year, to amalgamate them, as _^<a_!T6152_WONDER STORIES_^>a_. _^<i_SWS_^>i_ was a handsome
magazine, all the covers being by Frank R. _^<a_!T1819_PAUL_^>a_. Authors included Miles J. _^<a_!T4989_BREUER_^>a_, Stanton A. _^<a_!T773_COBLENTZ_^>a_, David H. _^<a_!T4008_KELLER_^>a_ (in 10 of the 12 issues), Laurence _^<a_!T3648_MANNING_^>a_,
Fletcher _^<a_!T1976_PRATT_^>a_, Harl _^<a_!T5375_VINCENT_^>a_ and Jack _^<a_!T5629_WILLIAMSON_^>a_. Raymond Z. _^<a_!T1691_GALLUN_^>a_ made his debut here. [PN]_^<n__^<n_
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SCIENTIFIC DETECTIVE MONTHLY
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US _^<a_!T492_BEDSHEET_^>a_-size magazine. 10 monthly issues Jan-Oct 1930, published by Techni-Craft Publishing Co.; ed Hugo _^<a_!T4668_GERNSBACK_^>a_, with Arthur B. _^<a_!T2541_REEVE_^>a_ as editorial consultant. #6-#10 were entitled _^<i_Amazing
Detective Tales_^>i_, but _^<i_Scientific Detective Monthly_^>i_ more accurately described the magazine's contents. Most issues included _^<b_Craig Kennedy_^>b_ stories by Arthur B. Reeve and collaborations by Edwin _^<a_!T383_BALMER_^>a_ and
William McHarg. A number of stories had sf elements (murder by X-ray, whisky contaminated by hormones), though few were true sf, an exception being "Murder in the Fourth Dimension" in #10, by Clark Ashton
_^<a_!T2264_SMITH_^>a_._^<n__^<n__^<i_SDM_^>i_ was a sister magazine to _^<a_!T2875_SCIENCE WONDER STORIES_^>a_ and _^<a_!T75_AIR WONDER STORIES_^>a_. Another magazine, _^<i_Amazing Detective Stories_^>i_, was published during 1931 with volume
numbering suggesting that it was a continuation of _^<i_Amazing Detective Tales_^>i_, from a new publisher, Fiction Publishers Inc. This magazine, however, carried no fantasy. [FHP]_^<n__^<n_
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SCIENTIFIC ERRORS
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Scientific errors in sf are not to be confused with _^<a_!T4595_IMAGINARY SCIENCE_^>a_, where the author invents the science and tries to make it plausible, nor with _^<a_!T2019_PSEUDO-SCIENCE_^>a_, where the author adheres to some alternative
quasiscientific system unrecognized by the majority of the scientific community. Scientific errors are here taken to mean plain mistakes._^<n__^<n_Sf in the days of the _^<a_!T2033_PULP MAGAZINES_^>a_ was very much more prone to error than it is
now, and it was for the absurdity of so much of the science, at least in part, that pulp sf (particularly in the 1930s) got a bad name; schoolteachers and parents were justifiably worried by its innumeracy as well as its illiteracy. Most sf written
since the 1960s will pass scientific muster even with readers who have a little university-level science, but the excesses of the 1920s and 1930s must have been obvious even to many readers who had only a smattering of high-school science. Of
course, some elementary errors can be hard to pick up. Hal _^<a_!T749_CLEMENT_^>a_ cites stories in which myopic characters' spectacles are used to concentrate the Sun's rays and light a fire; Clement points out that these would in fact disperse
the rays. By contrast, in _^<i_The Tomorrow People_^>i_ (_^<b_1960_^>b_) Judith _^<a_!T2908_MERRIL_^>a_ used a helicopter for transport on the Moon, even though most schoolboys could have told her that it would not work without air._^<n__^<n_Some
errors are notorious. When Jules _^<a_!T5355_VERNE_^>a_ uses a gun to shoot travellers at the Moon, he ignores the fact that the acceleration would leave them as a thin red smear on the back wall of the cabin. The _^<i_canali_^>i_ or channels which
the astronomer Giovanni Schiaparelli (1835-1910) thought he saw on _^<a_!T3677_MARS_^>a_ were wrongly translated into English as "canals", and hence Edgar Rice _^<a_!T5097_BURROUGHS_^>a_ and many others felt justified in placing intelligent life
there._^<n__^<n_The history of pulp sf is full of examples of writers using _^<a_!T1808_PARSECS_^>a_ as a unit of velocity instead of distance, of confusing weight with mass (so that in space we have heroes able to push several tons of spaceship
along with their finger) and, most commonly of all, of exceeding the speed of light without any sort of justification (>_^<a_!T1443_FASTER THAN LIGHT_^>a_), as in A.E. _^<a_!T5333_VAN VOGT_^>a_'s "The Storm" (1943): "Half a light year a minute; it
would take a while to attain that speed, but -- in eight hours they'd strike the storm." (The same story has a hero with a second brain which has an IQ of 917, as if somehow the exact figure might mean something.) Certain themes, such as
_^<a_!T198_ANTIGRAVITY_^>a_ and _^<a_!T201_ANTIMATTER_^>a_, have notoriously resulted in schoolboy howlers in much sf. In the pulp era _^<a_!T2651_ROCKETS_^>a_ would regularly perform manoeuvres, just like a car doing a U-turn. In fact, as most of
us know in the space age, if you use gyros to turn a rocket it will continue in the same direction, _^<i_unless_^>i_ another rocket blast is given in the new orientation to counter the original forward momentum. Nonetheless, _^<a_!T5686_STAR
WARS_^>a_ (like many cinematic _^<a_!T2342_SPACE OPERAS_^>a_ since) has spacecraft taking part in what look like WWI dogfights. John W. _^<a_!T5140_CAMPBELL_^>a_ Jr, the man who was supposed to have done more than any other to put the science back
in sf, was quite happy to publicize what he called the Dean Drive (_^<i_ASF_^>i_ 1960), a proposed propulsion device which depends on violating the conservation of momentum: it pushes against itself. This is on a par with the "inertialess drive"
which propelled E.E. "Doc" _^<a_!T2269_SMITH_^>a_'s spaceships at fantastic velocity. Another favourite of the pulps was the electromagnetic spectrum, which was regularly rifled by writers in search of mysterious "rays" which would have almost
magical effects. Magnetism was yet another favourite, and all sorts of remarkably cock-eyed schemes were cooked up to exploit its hitherto unknown properties (though here we reach an area of overlap between straightforward scientific errors and
imaginary science). An especially enjoyable biological howler was the notion, common on pulp magazine covers, that aliens would lust after human women, especially if partially unclad, this being on a par with men lusting after squids. Nevertheless,
James _^<a_!T6035_TIPTREE_^>a_ Jr made rather a good thing out of a similar notion in "And I Awoke and Found Me Here on the Cold Hill's Side" (1972), the ultimate exogamy story. And nearly all stories in the pulps about submicroscopic worlds
(>_^<a_!T4823_GREAT AND SMALL_^>a_) used a model of the atom -- seen as a kind of solid, spherical ball -- which had been out of date for at least half a century by 1920. Ray _^<a_!T997_CUMMINGS_^>a_, several of whose heroes shrink and have
adventures on atoms, was a noteworthy offender._^<n__^<n_Excesses of this kind still exist, of course, especially in the lowest echelons, but Robert A. _^<a_!T4376_HEINLEIN_^>a_ and Isaac _^<a_!T268_ASIMOV_^>a_ did much in the 1940s to bring
scientific responsibility to sf, and their work was continued by Poul _^<a_!T169_ANDERSON_^>a_, James _^<a_!T658_BLISH_^>a_, Hal _^<a_!T749_CLEMENT_^>a_, Larry _^<a_!T3223_NIVEN_^>a_ and many others. If they committed errors, they mostly did so
because they could not resist certain dramatic plot turns, like the end of Poul Anderson's _^<i_Tau Zero_^>i_ (_^<b_1970_^>b_), where the crew of a spaceship survive to witness the ultimate collapse of the Universe into the monobloc -- despite the
fact that, in such a scenario, the _^<i_whole_^>i_ of space would collapse: the very concept of being "outside" the monobloc is a contradiction in terms. Nevertheless, there are still novels being published which would not put the pulps to shame.
_^<i_Battlefield Earth_^>i_ (_^<b_1982_^>b_) by L. Ron _^<a_!T4538_HUBBARD_^>a_ was a classic example, containing such lunacies as invading aliens who are said to come from another Universe whose Periodic Table contains elements different from the
ones we have here._^<n__^<n_Sf in the _^<a_!T726_CINEMA_^>a_ and on _^<a_!T5926_TELEVISION_^>a_, moreover, is generally still about as scientifically illiterate as was pulp sf of the 1930s. _^<a_!T2341_SPACE 1999_^>a_ was a particularly bad
offender. Bob _^<a_!T2153_SHAW_^>a_ has several times expressed amazement at the way that in _^<a_!T2429_STAR TREK_^>a_, when the _^<i_Enterprise_^>i_ is buffeted about (as it frequently is), the crew are invariably thrown from their seats. Why,
asks Shaw, in this supertechnological future, has the concept of seat-belts been forgotten? A particularly irritating error, almost invariable in film and tv, is the audibility of explosions in space (as in _^<i_Star Wars_^>i_ and
_^<a_!T467_BATTLESTAR GALACTICA_^>a_); it is apparently believed that, if the audience can't hear the bangs, they'll all go home or change channels. _^<a_!T6060_TOTAL RECALL_^>a_ (1990) showed that things had not got much better, with at least two
notable howlers. The first is the idea that, if you puncture a stationary pressurized dome, normal air pressure will be sufficient to produce hurricane winds that whip people and furniture out through the hole. (People do get sucked out of
aeroplanes, but only because they are moving at 600mph.) Even stranger was the notion that oxygen deprivation and near vacuum give people eyes the size of tangerines, a phenomenon they can sustain for some minutes without suffering damage.
_^<a_!T3011_MONSTER MOVIES_^>a_ very often depend on giant ants, spiders, etc. In fact, such creatures could not exist; they would collapse under their own weight, not having legs, like the elephant's, designed to prop them up. Many problems arise
with increases in scale, one of them being that the ratio between skin area and internal capacity does not stay the same, hence throwing the physiology of the body completely askew. Flying men are probably impossible, though Poul Anderson made a
valiant attempt to rationalize them scientifically in _^<i_War of the Wing-Men_^>i_ (_^<b_1958_^>b_; rev vt _^<i_The Man who Counts_^>i_ 1978), greatly increasing their lung capacity and incorporating other necessary design changes._^<n__^<n_Errors
in sf are less common in the _^<a_!T2302_SOFT SCIENCES_^>a_, perhaps because these are subject to less rigorous laws, but nonetheless absurdities do occur. It is commonly supposed that, if we had telepathy, we could understand aliens by bypassing
language; however, there is strong evidence that we actually _^<i_think_^>i_ in language, in which case telepathy probably would not work efficiently between different nationalities, let alone between us and the Rigelians. Brainwashing, and mental
conditioning generally, are in sf usually based on Pavlov's behavioural psychology rather than on B.F. _^<a_!T2236_SKINNER_^>a_'s; that is, carried out through aversion and punishment, not through reward, even though the latter system has been
amply demonstrated to be more efficient, and presents, perhaps, moral issues of a more subtle and interesting kind. [PN/JS]_^<n__^<n_
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SCIENTIFIC ROMANCE
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The most common generic term applied to UK sf in the years before the end of WWII, at which time the "science fiction" label became sufficiently commonplace to displace it; for several decades thereafter, the styles and concerns of US
_^<a_!T4659_GENRE SF_^>a_ dominated. C.H. _^<a_!T4438_HINTON_^>a_ issued 2 series of _^<i_Scientific Romances_^>i_ (colls _^<b_1886_^>b_ and _^<b_1898_^>b_) mixing speculative essays and stories, and the term was widely applied by reviewers and
essayists to the early novels of H.G. _^<a_!T5528_WELLS_^>a_, which became the key exemplars of the genre. When listing his titles Wells usually lumped his sf and fantasy novels together as "fantastic and imaginative romances"", but he eventually
chose to label the collection of his best-known sf novels "_^<i_The Scientific Romances of H.G. Wells_^>i_ (omni _^<b_1933_^>b_), thus securing the term's definitive status. Brian M. _^<a_!T2385_STABLEFORD_^>a_ has recently revived the term in
order to facilitate the comparison and contrast of the distinct UK and US traditions of speculative fiction; his study of the UK genre's separate evolution before the triumph of genre sf is _^<i_Scientific Romance in Britain 1890-1950_^>i_
(_^<b_1985_^>b_). In that book, and in entries throughout this encyclopedia (_^<i_see in particular_^>i_ _^<a_!T6717_EVOLUTION_^>a_, _^<a_!T2551_RELIGION_^>a_), the term can be seen as tending to describe works characterized by long evolutionary
perspectives; by an absence of much sense of the frontier and a scarcity of the kind of _^<a_!T2033_PULP-MAGAZINE_^>a_-derived _^<a_!T4395_HERO_^>a_ who is designed to penetrate any frontier available; and in general by a tone moderately less
hopeful about the future than that typical of genre sf until recent decades (> _^<a_!T1714_OPTIMISM AND PESSIMISM_^>a_)._^<n__^<n_A few modern writers have found the term a convenient rubric for offbeat works; examples include Christopher
_^<a_!T1990_PRIEST_^>a_ for _^<i_The Space Machine_^>i_ (_^<b_1976_^>b_) and Kim Stanley _^<a_!T2637_ROBINSON_^>a_ for _^<i_The Memory of Whiteness_^>i_ (_^<b_1985_^>b_). [BS]_^<n__^<n_
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SCIENTIFICTION
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_^<b_1._^>b_ Term coined by Hugo _^<a_!T4668_GERNSBACK_^>a_ as a contraction of "scientific fiction" and defined by him in the first issue of _^<a_!T141_AMAZING STORIES_^>a_ in Apr 1926 (>_^<a_!T1142_DEFINITIONS OF SF_^>a_). It never became very
popular, and within a decade of its coining was largely replaced by "science fiction". When used now it usually refers to the awkward, technology-oriented fiction published by Gernsback or, disparagingly, to modern equivalents. Attempts to
re-establish the term in a positive sense have failed._^<n__^<n__^<b_2._^>b_ Fanzine (1937-8). > _^<a_!T1423_FANTASY REVIEW_^>a_. [PN]_^<n__^<n_
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SCIENTISTS
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Scientists in pre-20th-century sf often exhibited symptoms of social maladjustment, sometimes to the point of insanity; they were characteristically obsessive and antisocial. Some scientists were quasidiabolical figures, like Coppelius in E.T.A.
_^<a_!T4461_HOFFMANN_^>a_'s "The Sandman" (1816) or Mary _^<a_!T2173_SHELLEY_^>a_'s eponymous _^<i_Frankenstein, or The Modern Prometheus_^>i_ (_^<b_1818_^>b_; rev 1831); others were ridiculous, like those in the third book of Jonathan
_^<a_!T5873_SWIFT_^>a_'s _^<i_Gulliver's Travels_^>i_ (_^<b_1726_^>b_). In Honore de _^<a_!T386_BALZAC_^>a_'s _^<i_La recherche de l'absolu_^>i_ (_^<b_1834_^>b_; 1st trans as _^<i_The Philosopher's Stone_^>i_ _^<b_1844_^>b_ US) scientific research
becomes an unholy addiction. Such stories make it clear that the scientist had inherited the mantle (and the public image) of medieval alchemists, astrologers and sorcerers, and certain aspects of this image proved extraordinarily persistent; its
vestiges remain even today, with sciencefictional alchemical romances still featuring in the work of authors like Charles L. _^<a_!T4298_HARNESS_^>a_. The founding fathers of sf, Jules _^<a_!T5355_VERNE_^>a_ (Nemo and Robur) and H.G.
_^<a_!T5528_WELLS_^>a_ (Moreau, Griffin and Cavor), frequently represented scientists as eccentric and obsessive; Robert Louis _^<a_!T5731_STEVENSON_^>a_'s Dr Jekyll is cast from the same anxious mould, as is Maurice _^<a_!T2553_RENARD_^>a_'s Dr
Lerne; and Arthur Conan _^<a_!T1312_DOYLE_^>a_'s Professor Challenger is not so very different. A detailed analysis of the process of scientific creativity as a species of madness is presented in J.S. _^<a_!T1531_FLETCHER_^>a_'s _^<i_Morrison's
Machine_^>i_ (_^<b_1900_^>b_)._^<n__^<n_By the end of the 19th century, however, other images of the scientist were beginning to appear. The US public made a hero of Thomas Alva Edison (1847-1931), and this admiration for the clever inventor is
reflected in much popular fiction (> _^<a_!T6580_EDISONADE_^>a_). The great man himself is featured in _^<a_!T5373_VILLIERS DE L'ISLE-ADAM_^>a_'s _^<i_L'Eve Future_^>i_ (_^<b_1886_^>b_) and Garrett P. _^<a_!T2112_SERVISS_^>a_'s _^<i_Edison's
Conquest of Mars_^>i_ (1898; _^<b_1947_^>b_), and a _^<a_!T1236_DIME-NOVEL SF_^>a_ series featured _^<b_Tom Edison Jr_^>b_. Other scientists who attracted hero-worship included Louis Pasteur (1822-1895) and Albert Einstein (1879-1955), although
Einstein's ideas were so non-commonsensical that they were accepted by many as a proof of the oddity of scientists. One wholehearted hero-worshipper of scientists was Hugo _^<a_!T4668_GERNSBACK_^>a_, and he gave voice to this sentiment in
_^<i_Ralph 124C 41+_^>i_ (1911-12 _^<i_Modern Electrics_^>i_; _^<b_1925_^>b_). The scientist-as-_^<a_!T4395_HERO_^>a_ thus entered pulp sf at its very inception, alongside the eccentric genius -- although many of the heroic scientists of pulp sf
were simply stock pulp heroes with scientific prowess improbably grafted on: E.E. "Doc" _^<a_!T2269_SMITH_^>a_'s Richard Seaton is a cardinal example. Scientists in the early sf pulps were often eccentric and absentminded, and the demands of
melodrama required many to turn their hands to criminal enterprises, but they were rarely outright nuts, after the fashion of such cinematic figures as the title-characters of _^<a_!T1270_DOCTOR X_^>a_ (1932) and _^<a_!T1260_DR CYCLOPS_^>a_ (1940)
and such non-genre arch-villains as Dr Munsker in _^<i_The Devil's Highway_^>i_ (_^<b_1932_^>b_) by Harold Bell _^<a_!T6191_WRIGHT_^>a_ and John Lebar._^<n__^<n_As pulp sf matured there was a significant shift in the characterization of the
scientist hero. Especially in _^<a_!T277_ASTOUNDING SCIENCE-FICTION_^>a_, the role of the theoretical genius was de-emphasized relative to that of the practical-minded engineer; archetypal examples of this species were the personnel of George O.
_^<a_!T2275_SMITH_^>a_'s _^<i_Venus Equilateral_^>i_ (coll _^<b_1947_^>b_), forever scribbling equations and designs on the tablecloths in Joe's Bar. The presumed essence of real genius remained as wayward as ever, however: Henry
_^<a_!T4144_KUTTNER_^>a_'s inventor Galloway Gallegher always made his marvellous machines while blind drunk and could never remember afterwards how he had done it. Hero-worship of the scientific genius was further extended by Isaac
_^<a_!T268_ASIMOV_^>a_, whose _^<b_Foundation_^>b_ series was the first notable work to elevate a social scientist to that status. Outside the sf magazines, a more realistic image of the work and social situation of the scientist was depicted in
E.C. _^<a_!T4190_LARGE_^>a_'s cynical _^<i_Sugar in the Air_^>i_ (_^<b_1937_^>b_), which features a visionary and idealistic scientist at odds with his stupid and irrational employers. In the post-WWII decade this kind of image became much more
common -- notably in several novels by Edward _^<a_!T4567_HYAMS_^>a_, including _^<i_Not in Our Stars_^>i_ (_^<b_1949_^>b_), and in many magazine stories._^<n__^<n_Genre-sf writers mostly responded to the widespread popular opinion that
_^<a_!T5916_TECHNOLOGY_^>a_ had got out of hand by putting the blame on machine-_^<i_users_^>i_ rather than machine-_^<i_makers_^>i_, claiming that it was not mad scientists but mad generals and mad politicians who were the problem; nuclear
scientists were often represented as isolated paragons of sanity locked into a political and military matrix that threatened the destruction of the world (> _^<a_!T3265_NUCLEAR POWER_^>a_). The US security clampdown of the 1950s emphasized the new
social situation of the scientist and provoked a wave of sf stories dealing with the morality of carrying out research which had potential military applications, and with the difficulty of making scientific discoveries in such circumstances. An
effective vignette dealing with the conscience of the scientist who watches his discoveries in action is C.M. _^<a_!T6353_KORNBLUTH_^>a_'s "The Altar at Midnight" (1952); the most dramatic depiction of the conflict between scientific interests and
military security is Algis _^<a_!T5064_BUDRYS_^>a_'s _^<i__^<a_!B9087_WHO?_^>a__^>i_ (_^<b_1958_^>b_). Later tales of scientists in conflict with the demands made by society include Theodore _^<a_!T5810_STURGEON_^>a_'s "Slow Sculpture" (1970), Bob
_^<a_!T2153_SHAW_^>a_'s _^<i_Ground Zero Man_^>i_ (_^<b_1971_^>b_), D.G. _^<a_!T823_COMPTON_^>a_'s _^<i_The Steel Crocodile_^>i_ (_^<b_1970_^>b_ US; vt _^<i_The Electric Crocodile_^>i_ 1970 UK) and James P. _^<a_!T4464_HOGAN_^>a_'s _^<i_The Genesis
Machine_^>i_ (_^<b_1978_^>b_). Non-genre writers continued to have less sympathy with scientists; irresponsible or outrightly mad scientists continued to appear in some profusion -- notable examples include Peter _^<a_!T4663_GEORGE_^>a_'s Dr
Strangelove in _^<a_!T1267_DR STRANGELOVE: OR HOW I LEARNED TO STOP WORRYING AND LOVE THE BOMB_^>a_ (1963) and Felix Hoenikker in Kurt _^<a_!T5402_VONNEGUT_^>a_ Jr's _^<i_Cat's Cradle_^>i_ (_^<b_1963_^>b_). Outside the protective walls of the sf
genre these sinister figures easily outnumbered scientists credited with the noblest of ideals and motives; Pierre _^<a_!T4938_BOULLE_^>a_'s _^<i_Garden on the Moon_^>i_ (_^<b_1965_^>b_), which shows German rocket scientists thinking only of the
Moon and _^<a_!T2337_SPACE FLIGHT_^>a_ while working on the V2, is a vivid exception. The advent of technologies like _^<a_!T4657_GENETIC ENGINEERING_^>a_ has helped sustain the routine demonization of scientists in films and horror
stories._^<n__^<n_In modern sf, scientists have become rather less common, at least as major characters. Writers who are not scientists themselves have become increasingly wary of the difficulties involved in presenting a convincing picture of
scientists at work in the laboratory. Sf writers who _^<i_are_^>i_ scientists are far more ready to accept the challenge -- see _^<i_Great Science Fiction by Scientists_^>i_ (anth _^<b_1962_^>b_) ed Groff _^<a_!T834_CONKLIN_^>a_ and _^<i_The Expert
Dreamers_^>i_ (anth _^<b_1962_^>b_) ed Frederik _^<a_!T1937_POHL_^>a_ -- and the fictions of many science-trained writers are regularly featured in the pages of _^<i_Analog_^>i_. But even they often find it difficult to picture the kinds of
equipment which will fill the laboratories of the future, and the kinds of work which will be done there. Scientists who have written notable sf about the scientists of the future include Gregory _^<a_!T526_BENFORD_^>a_, David
_^<a_!T4999_BRIN_^>a_, Paul _^<a_!T1090_DAVIES_^>a_, Robert L. _^<a_!T1570_FORWARD_^>a_, Fred _^<a_!T4532_HOYLE_^>a_ and Philip _^<a_!T4202_LATHAM_^>a_. Many Eastern European writers are practising scientists. (Communist sf characteristically put
forward a determinedly positive image of scientists and their endeavours, although there are some very uneasy compromises with this orthodoxy in the work of Arkady and Boris _^<a_!T5800_STRUGATSKI_^>a_.) Many writers of _^<a_!T4288_HARD SF_^>a_ are
also popular-science writers of note, and they too have useful expertise which they can and do deploy in their fiction; notable examples include Isaac Asimov, Arthur C. _^<a_!T736_CLARKE_^>a_ and John _^<a_!T4864_GRIBBIN_^>a_._^<n__^<n_The most
effective picture of near-contemporary scientists at work in recent sf is probably Gregory Benford's _^<i__^<a_!B9122_TIMESCAPE_^>a__^>i_ (_^<b_1980_^>b_); other notable examples are Kate _^<a_!T5606_WILHELM_^>a_'s _^<i_The Clewiston Test_^>i_
(_^<b_1976_^>b_), Hilbert _^<a_!T2843_SCHENCK_^>a_'s _^<i__^<a_!B8978_A ROSE FOR ARMAGEDDON_^>a__^>i_ (_^<b_1982_^>b_), Paul _^<a_!T1987_PREUSS_^>a_'s _^<i_Broken Symmetries_^>i_ (_^<b_1983_^>b_) and Jack _^<a_!T6319_MCDEVITT_^>a_'s _^<i_The
Hercules Text_^>i_ (_^<b_1986_^>b_). The most memorable attempt at characterizing a scientific genius in recent years is Ursula K. _^<a_!T3318_LE GUIN_^>a_'s Shevek in _^<i_The Dispossessed_^>i_ (_^<b_1974_^>b_); there are several charming but less
earnest portraits in the work of Vadim _^<a_!T2168_SHEFNER_^>a_._^<n__^<n_A useful article (with a bibliography listing various earlier sources) on the theme is "Scientists in Science Fiction: Enlightenment and After" by Patrick
_^<a_!T6328_PARRINDER_^>a_ in _^<i_Science Fiction: Roots and Branches_^>i_ (_^<b_1990_^>b_) ed Rhys Garnett and R.J. Ellis. A good book on the subject is _^<i_From Faust to Strangelove: Representations of the Scientist in Western Literature_^>i_
(_^<b_1994_^>b_) by Roslynn D. Haynes; it deals with genre sf as well as mainstream fiction. [BS]_^<n__^<n_
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SCIENTOLOGY
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In its early years Scientology was known as _^<a_!T1220_DIANETICS_^>a_ (_^<i_which see for details_^>i_), a term still used within Scientology. The word "Scientology" was coined in 1952 by L. Ron _^<a_!T4538_HUBBARD_^>a_, its founder; 2 of his books
on the subject are _^<i_This is Scientology: The Science of Certainty_^>i_ (_^<b_1955_^>b_ UK) and _^<i_Scientology: The Fundamentals of Thought_^>i_ (_^<b_1956_^>b_ UK)._^<n__^<n_The activities of the Scientologists have evolved in many curious
and highly publicized ways since 1952. A lively account by a not wholly unsympathetic outsider can be found in _^<i_Cults of Unreason_^>i_ (_^<b_1973_^>b_) by Dr Christopher Evans (1931-1979), but there have been several more critical studies since
then, both of the movement and of its founder, notably _^<i_L. Ron Hubbard: Messiah or Madman?_^>i_ (_^<b_1987_^>b_) by Bent Corydon and L. Ron Hubbard Jr a.k.a. Ronald DeWolf, and _^<i_Bare-Faced Messiah: The True Story of L. Ron Hubbard_^>i_
(_^<b_1987_^>b_) by Russell Miller, both the subject of legal action by the various corporate groups associated with the Church of Scientology._^<n__^<n_Scientology, originally a form of psychotherapy with many _^<a_!T2019_PSEUDO-SCIENCE_^>a_
overtones, became what has been described as the first sf _^<a_!T2551_RELIGION_^>a_, when the Founding Church of Scientology was incorporated in Washington DC in July 1955. Sceptical commentators saw this as no more than a crafty tax dodge, but in
fact Scientology had from the beginning many of the qualities of a genuine religion, and certainly aroused a religious fervour among its adherents. (In 1992 it was announced that an arm of the Church of Scientology, the Church of Spiritual
Technology, was building an underground crypt to house "the religious works of L. Ron Hubbard and other key religious works of mankind".)_^<n__^<n_Hubbard extended Scientology overseas quite early, opening centres in Australia and South Africa in
1953, and himself moving to the UK in 1955. A bad setback was the result of the Board of Inquiry set up in the state of Victoria, Australia, in 1963; the melodramatic Anderson report of 1965, having examined 151 witnesses, concluded that
"Scientology is evil; its techniques are evil; its practice a serious threat to the community, medically, morally and socially; and its adherents sadly deluded and often mentally ill", and Scientology was banned in Victoria. A later disaster was
the deportation of L. Ron Hubbard from the UK as an undesirable alien in 1968. Scientology was then directed from the ships of Hubbard's fleet, usually found in the Mediterranean, until in 1975 Hubbard returned to the USA. In 1978 he was found
guilty in Paris of obtaining money under false pretences through Scientology, and sentenced _^<i_in absentia_^>i_ to 4 years' imprisonment._^<n__^<n_Scientology and Hubbard had lost some ground, but the movement continued to attract members, and
Hubbard himself was the subject of an enormous publicity boost when the Scientology publishers, Bridge Publications, reissued in 1984 Hubbard's novel _^<i_Battlefield Earth_^>i_ (_^<b_1982_^>b_), originally published by a mainstream publisher, St
Martin's Press, and followed it with an sf "dekalogy", the 10-vol _^<b_Mission Earth_^>b_ saga by Hubbard (_^<b_1983-7_^>b_; later vols posthumous); these were heavily and expensively promoted. Around this time Hubbard had also founded and
sponsored the _^<a_!T6197_WRITERS OF THE FUTURE CONTEST_^>a_, good entrants to which were published in the _^<a_!T3474_L. RON HUBBARD PRESENTS WRITERS OF THE FUTURE_^>a_ series of original anthologies, #1 being in 1985. All of this did something to
re-establish Hubbard (who had been discredited in the eyes of some observers) as an important figure in the sf community, and something of a philanthropist, though his own writings, and the literary contests and workshops, became controversial
themselves; the sf community is deeply divided as to the merit of the latter, and Hubbard's own sf books of the 1980s are seldom highly regarded._^<n__^<n_Hubbard's role remains enigmatic; some saw him as a cynic, the founder of an organization
calculated to bring in an income of many millions of dollars, which it did. This is almost certainly too simplistic a view, though the opposing view -- that he was a man of genuine if eccentric vision, totally convinced of the truth of his case,
and fighting valiantly against the powerful conspiracy of orthodox psychiatry -- may also be less than the full story._^<n__^<n_Scientology is the most dramatic example of the precepts of pulp sf being put into practice in the real world. One
regular attraction of pulp sf, as witness Hubbard's own stories and those of his one-time colleague A.E. _^<a_!T5333_VAN VOGT_^>a_, was its dramatization of the idea that inside us there may be a _^<a_!T5830_SUPERMAN_^>a_ struggling to get out. The
glowing promise held out by scientologists is that this dream can be realized. [PN]_^<n__^<n_
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SCI FI
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Pronounced "sky fi" or "si fi", an abbreviation for "science fiction", introduced by Forrest J _^<a_!T22_ACKERMAN_^>a_, a prominent fan fond of wordplay, in 1954, when the term "hi-fi" was becoming popular. Seldom much used within the sf community,
the term became very popular with journalists and media people generally, until by the 1970s it was the most common abbreviation used by nonreaders of sf to refer to the genre, sometimes with an implied sneer. Some critics within the genre, Terry
_^<a_!T5182_CARR_^>a_ and Damon _^<a_!T4098_KNIGHT_^>a_ among them, decided that, since the term was commonly derogatory, it might be critically useful in distinguishing sf hack-work -- particularly ill written, lurid adventure stories -- from sf
of a more intellectually demanding kind. Around 1978 the critic Susan _^<a_!T6159_WOOD_^>a_ and others began pronouncing the term "skiffy". In 1980s-90s usage "skiffy", which sounds friendlier than "sci fi", has perhaps for that reason come to be
less condemnatory. Skiffy is colourful, sometimes entertaining, junk sf: _^<a_!T5686_STAR WARS_^>a_ is skiffy. [PN]_^<n__^<n_
(1929- ) US writer, editor, publisher and military engineer (with the US Army 1946-73). He began publishing fiction of genre interest with "Faithful Messenger" for _^<i_If_^>i_ in 1969, and wrote a spoof cookery book (suggested by Damon
_^<a_!T4098_KNIGHT_^>a_'s famous 1950 story), _^<i_To Serve Man_^>i_ (_^<b_1976_^>b_) as Karl Wurf; but his main sf activities have been as an editor and publisher. He began his active involvement in 1959 with sf and fantasy as editor of the famous
_^<a_!T1428_FANZINE_^>a_ _^<i_Amra_^>i_; _^<i_Amra_^>i_, still appearing on an irregular basis, specializes in _^<a_!T5875_SWORD AND SORCERY_^>a_, particularly the work of Robert E. _^<a_!T4524_HOWARD_^>a_; it won _^<a_!T4551_HUGOS_^>a_ in 1964 and
1968. GHS published 2 anthologies drawn from it: _^<i_The Conan Swordbook_^>i_ (anth _^<b_1969_^>b_) and _^<i_The Conan Grimoire_^>i_ (anth _^<b_1972_^>b_), both with L. Sprague _^<a_!T1133_DE CAMP_^>a_, cofounder with him of the Hyborean Legion, a
group devoted to Howard studies; earlier, De Camp alone had been responsible for the Amra-derived _^<i_The Conan Reader_^>i_ (anth _^<b_1968_^>b_). In 1973 GHS founded the Owlswick Press (>_^<a_!T2261_SMALL PRESSES AND LIMITED EDITIONS_^>a_), which
continues successfully to publish sf and other material._^<n__^<n_GHS became the founding editor of _^<a_!T3816_ISAAC ASIMOV'S SCIENCE FICTION MAGAZINE_^>a_ in 1977; it was the first sf magazine since the beginning of the 1950s to establish itself
as a dominant force; he continued as editor until the beginning of 1982, also editing several anthologies drawn from it (see listing below) and winning Hugos for Best Professional Editor in 1979 and 1980. He then edited the troubled
_^<a_!T141_AMAZING STORIES_^>a_ from late 1982 until 1986; more recently, with John _^<a_!T569_BETANCOURT_^>a_ (until 1990) and Darrell _^<a_!T2867_SCHWEITZER_^>a_, who had been assistant editor of both _^<i_IASFM_^>i_ and _^<i_AMZ_^>i_ during
GHS's tenures, he restarted _^<a_!T5512_WEIRD TALES_^>a_, which had been variously (but unfruitfully) revived more than once since ceasing regular publication in 1954; the new series (the numbering is continuous over all incarnations) began with
#290 in 1987, and continues, with all but the most recent edited by all three (each taking the lead role in turn); #300 was ed Schweitzer alone. Also with Schweitzer, GHS ed 2 anthologies of _^<a_!T768_CLUB STORIES_^>a_: _^<i_Tales from the
Spaceport Bar_^>i_ (anth _^<b_1987_^>b_) and _^<i_Another Round at the Spaceport Bar_^>i_ (anth _^<b_1989_^>b_). In all his projects, which are very various, GHS has managed to combine energy-efficient verve with a transparent love of fantasy and
sf. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_On Writing Science Fiction (The Editors Strike Back!)_^>i_ (_^<b_1981_^>b_) with John M. _^<a_!T1559_FORD_^>a_ and Schweitzer; _^<i_Constructing Scientifiction & Fantasy_^>i_ (_^<b_1982_^>b_) with John
Ashmead and Schweitzer._^<b_As Editor:_^>b_ _^<i_Astronauts and Androids_^>i_ (anth _^<b_1977_^>b_); _^<i_Black Holes and Bug Eyed Monsters_^>i_ (anth _^<b_1977_^>b_); _^<i_Masters of Science Fiction_^>i_ (anth _^<b_1978_^>b_); _^<i_Comets and
_^<b_1980_^>b_) and _^<i_#5_^>i_ (anth _^<b_1981_^>b_), anthologies from _^<i_IASFM_^>i_; _^<i_Near Futures and Far_^>i_ (anth _^<b_1981_^>b_).
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SCOOPS
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UK _^<a_!T492_BEDSHEET_^>a_-size magazine, 20 issues 10 Feb-23 June 1934, published by C.A. Pearson Ltd, London; ed Haydn Dimmock. _^<i_S_^>i_ was intended as a weekly _^<a_!T4958_BOYS' PAPER_^>a_ that would "transport its readers from the everyday
happenings into the future"; whatever appeal it might have had for adults was not helped by the decision to use, mostly, writers of ordinary boys' adventure fiction -- Dimmock was also editor of _^<i_The Scout_^>i_. There was not much material by
real sf writers, exceptions being A.M. _^<a_!T3471_LOW_^>a_, with the serial "Space" (1934; vt _^<i_Adrift in the Stratosphere_^>i_ _^<b_1937_^>b_), a reprint serialization of _^<i_The Poison Belt_^>i_ (_^<b_1913_^>b_) by Sir Arthur Conan
_^<a_!T1312_DOYLE_^>a_, and stories by Maurice Hugi and John Russell _^<a_!T1455_FEARN_^>a_. Another serial was "The Black Vultures" by George E. Rochester (_^<i_c_^>i_1895-_^<i_c_^>i_1985). All issues are now collector's items. _^<i_S_^>i_ was the
first UK sf magazine, and not a very good one. 5 tales from it, along with 8 new stories, were later assembled as _^<i_The Boys' World of Adventure_^>i_ (anth _^<b_1937_^>b_) ed anon. [FHP/PN]_^<n__^<n_
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SCORPION, THE
-T-
US _^<a_!T2033_PULP MAGAZINE_^>a_. 1 issue, Apr 1939, published by Popular Publications; ed Rogers Terrill. _^<i_TS_^>i_ was in every respect a sequel to _^<i_The_^<a_!T3285_OCTOPUS_^>a__^>i_ ; only the alias of the villainous protagonist being
changed. The sadistic, borderline-sf feature novel, "Satan's Incubator" by Randolph Craig (Norvell W. _^<a_!T1758_PAGE_^>a_), was reprinted by Robert E. _^<a_!T5507_WEINBERG_^>a_ as _^<i_Pulp Classics #12: The Scorpion_^>i_ (_^<b_1976_^>b_ chap).
[MJE/FHP]_^<n__^<n_
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SCORTIA, THOMAS N(ICHOLAS)
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(1926-1986) US writer and chemist, active in solid-propellant research in the aerospace industry during the 1960s before becoming a full-time writer in 1970. He had already been publishing craftsmanlike stories for some time, beginning with "The
Prodigy" for _^<i_Science Fiction Adventures_^>i_ in 1954. He assembled some of his better work in _^<i_Caution! Inflammable!_^>i_ (coll _^<b_1975_^>b_); a more definitive conspectus is _^<i_The Best of Thomas N. Scortia_^>i_ (coll _^<b_1981_^>b_)
ed George _^<a_!T6261_ZEBROWSKI_^>a_. It has been argued that TNS was at his best in short forms, where his sustained interestingness as a producer of ideas and situations took sometimes bravura shape; and there is little doubt that his first
novel, _^<i_What Mad Oracle?: A Novel of the World as It Is_^>i_ (_^<b_1961_^>b_), concerning the aerospace industry, lumbered through its material without much verve. After 1970, however, as his production started to increase, TNS began to seem
destined for a very substantial career. _^<i_Artery of Fire_^>i_ (1960 _^<i_Original Science Fiction Stories_^>i_; exp _^<b_1972_^>b_), about the construction of a huge power network, and _^<i_Earthwreck!_^>i_ (_^<b_1974_^>b_), set in space after a
nuclear _^<a_!T4482_HOLOCAUST_^>a_ has extinguished the human species on its home planet, were both intriguing tales, scientifically numerate and competently commercial._^<n__^<n_He then shifted, however, into collaborative enterprises, mainly a
series of popular _^<a_!T5917_TECHNOTHRILLERS_^>a_ with Frank M. _^<a_!T2635_ROBINSON_^>a_; though successful in their own terms, these exhibited little of the creative daring TNS had always threatened to exploit more fully. They are _^<i_The Glass
Inferno_^>i_ (_^<b_1974_^>b_) -- which along with Richard Martin Stern's _^<i_The Tower_^>i_ (_^<b_1973_^>b_) was filmed as _^<i_The Towering Inferno_^>i_ (1974) -- _^<i_The Prometheus Crisis_^>i_ (_^<b_1975_^>b_), _^<i_The Nightmare Factor_^>i_
(_^<b_1978_^>b_), _^<i_The Gold Crew_^>i_ (_^<b_1980_^>b_) and -- completed by Robinson after TNS died -- _^<i_Blow Out!_^>i_ (_^<b_1987_^>b_). TNS's death was reported as being from leukemia induced by exposure to radiation as an observer at early
nuclear tests, and came just after he had announced new solo projects. [JC]_^<n__^<n__^<b_As Editor:_^>b_ _^<i_Strange Bedfellows: Sex and Science Fiction_^>i_ (anth _^<b_1972_^>b_); _^<i_Two Views of Wonder_^>i_ (anth _^<b_1973_^>b_) with Chelsea
> Michael Scott _^<a_!T2673_ROHAN_^>a_; Allan _^<a_!T2890_SCOTT_^>a_._^<n__^<n_
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SCOTT, ALAN
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(1947- ) UK writer whose sf novel, _^<i_Project Dracula_^>i_ (_^<b_1971_^>b_; vt _^<i_Anthrax Mutation_^>i_ 1976 US), depicts an explosion in a space station which sprays anthrax spores in dangerous directions. [JC]_^<n__^<n_
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SCOTT, ALLAN (JAMES JULIUS)
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(1952- ) UK writer of fantasy novels, the first being _^<i_The Ice King_^>i_ (_^<b_1986_^>b_; vt _^<i_Burial Rites_^>i_ 1987 US) with Michael Scott _^<a_!T2673_ROHAN_^>a_, both writing as Michael Scot; a second collaboration with Rohan, _^<i_A
Spell of Empire: The Horns of Tartarus_^>i_ (_^<b_1992_^>b_), was published under their real names. Solo, AS has written a further fantasy, _^<i_The Dragon in the Stone_^>i_ (_^<b_1991_^>b_). [JC]_^<n__^<n_
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SCOTT, G. FIRTH
-T-
[r] > _^<a_!T315_AUSTRALIA_^>a_._^<n__^<n_
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SCOTT, JEREMY
-T-
> Kay _^<a_!T1221_DICK_^>a_._^<n__^<n_
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SCOTT, J.M.
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[r] > Robert _^<a_!T5962_THEOBALD_^>a_._^<n__^<n_
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SCOTT, JODY (HUGUELET WOOD)
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(1923- ) UK-born US writer whose 2 sf novels, _^<i_Passing for Human_^>i_ (_^<b_1977_^>b_) and _^<i_I, Vampire_^>i_ (_^<b_1984_^>b_), comprise a joyously and at times scatologically tangled _^<a_!T2812_SATIRE_^>a_ of the post-industrial Western
world from a _^<a_!T1461_FEMINIST_^>a_ point of view that wittily verges on misandry. The 2nd vol-whose protagonist, the female vampire Sterling O'Blivion, is only intermittently relevant to the action -- ends in a state of violent confusion after
a love affair between O'Blivion and an _^<a_!T98_ALIEN_^>a_ who closely resembles Virginia Woolf (1882-1941), though a central message does remain: an arraignment of exploitation (or vampirism), whether on the part of slave-trading aliens,
Earth-bound capitalists, men or women. [JC]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T5843_SUPERNATURAL CREATURES_^>a_.
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SCOTT, MELISSA
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(1960- ) US writer who began publishing sf with her first novel, _^<i_The Game Beyond_^>i_ (_^<b_1984_^>b_), a _^<a_!T2342_SPACE OPERA_^>a_ of some resonance which uses analogies with the Roman Empire -- familiar since the early
_^<b_Foundation_^>b_ stories (_^<b_1951-3_^>b_) of Isaac _^<a_!T268_ASIMOV_^>a_-with considerable skill. In 1986 she won the _^<a_!T3922_JOHN W. CAMPBELL AWARD_^>a_ for Best New Writer, at least in part for _^<i_Five-Twelths of Heaven_^>i_
(_^<b_1986_^>b_), #1 in her _^<b_Silence Leigh_^>b_ sequence, which continues with _^<i_Silence in Solitude_^>i_ (_^<b_1986_^>b_) and _^<i_The Empress of Earth_^>i_ (_^<b_1987_^>b_), all 3 assembled as _^<i_The Roads of Heaven_^>i_ (omni
_^<b_1988_^>b_). As with her first novel, these adventures of aspiring space-pilot Silence Leigh capably marshal echoes of Earth-in this case alchemy and astrological symbols -- to enrich space-opera routines, including several close calls with
various enemies, a patch of slavery and an ongoing quarrel with an inimical Empire. The main weakness lies in MS's attempts to impose _^<a_!T1461_FEMINIST_^>a_ arguments upon a traditionally conceived venue without seeming to think their
implications through in that context; the main strengths, perhaps, lie in the power of the main characters' longing to find old Earth and in the ironies attendant upon their eventual success. _^<i_The Kindly Ones_^>i_ (_^<b_1987_^>b_), whose title
and plot evoke Aeschylus's _^<b_Oresteia_^>b_ trilogy (_^<b_458BC_^>b_), specifically its third play, _^<i_Eumenides_^>i_, in an interstellar setting, competently depicts a cruelly rigid society in a Solar System of some interest.
_^<i_Dreamships_^>i_ (_^<b_1992_^>b_) sets an _^<a_!T68_AI_^>a_ on a _^<a_!T1443_FASTER-THAN-LIGHT_^>a_ ship, and very competently examines the nature of a sentience slaved to travel the stars and, in the sequel, _^<i_Burning Bright_^>i_
(_^<b_1993_^>b_), to undergo taxing experience on an alien planet. _^<i_Trouble and her Friends_^>i_ (_^<b_1994_^>b_), though it breaks no new ground, does very competently traverse _^<a_!T1015_CYBERPUNK_^>a_ territory, and the eponymous Trouble is
an attractive protagonist. [JC]_^<n__^<n__^<b_Other works:_^>b_ _^<i_A Choice of Destinies_^>i_ (_^<b_1986_^>b_); _^<i_The Armor of Light_^>i_ (_^<b_1988_^>b_) with Lisa A. Barnett; _^<i_Mighty Good Road_^>i_ (_^<b_1990_^>b_).
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SCOTT, PEG O'NEILL and PETER T.
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[r] > Barton _^<a_!T5538_WERPER_^>a_._^<n__^<n_
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SCOTT, RIDLEY
-T-
(1939- ) UK film-maker who has worked mostly in the USA. After making a name with a series of stylish, inventive tv commercials, RS made his feature debut with _^<i_The Duellists_^>i_ (1977), a period film adapted from a story by Joseph
_^<a_!T847_CONRAD_^>a_. He then went on to direct 2 of the most influential and important sf films of the last 15 years: _^<a_!T98_ALIEN_^>a_ (1979) and _^<a_!T640_BLADE RUNNER_^>a_ (1982), the latter an adaption of Philip K.
_^<a_!T1222_DICK_^>a_'s _^<i_Do Androids Dream of Electric Sheep_^>i_? (_^<b_1968_^>b_). RS is a visionary, at least in terms of production design, and both his sf films conjure up a detailed and utterly convincing future (whose style RS later
recycled in tv advertisements for a bank); _^<i_Blade Runner_^>i_ is particularly powerful in its design, and proved an influence on the _^<a_!T1015_CYBERPUNK_^>a_ movement. However, after these films RS vanished into the (comparatively well
publicized) limbo of _^<i_Legend_^>i_ (1985), a fairy tale resembling a feature-length advertisement for hairspray. He made a tentative commercial comeback with _^<i_Someone to Watch Over Me_^>i_ (1987) and _^<i_Black Rain_^>i_ (1989), both
_^<i_policiers_^>i_ whose content was more conventional than their style. RS's films are mostly underconceived on a script and character level, and thus can appear cold. He had a big, if controversial, success, however, with the effective and
satisfying _^<i_Thelma and Louise_^>i_ (1991), a female road movie about two women escaping routine and put-upon lives and revenging themselves against various forms of sexism; it and the 2 sf films are RS's best work._^<n__^<n_RS's brother Tony
Scott has directed one borderline-sf film about vampires -- _^<i_The Hunger_^>i_ (1983) -- whose exotic visual qualities fail to eclipse its narrative failings, rather as in RS's own lesser films. [KN/PN]_^<n__^<n__^<b_See also:_^>b_
_^<a_!T726_CINEMA_^>a_; _^<a_!T4509_HORROR IN SF_^>a_; _^<a_!T3011_MONSTER MOVIES_^>a_.
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MENVILLE, DOUGLAS (ALVER)
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(1935- ) US author and editor. He ed _^<a_!T1562_FORGOTTEN FANTASY_^>a_ 1970-71 and, with R. _^<a_!T2543_REGINALD_^>a_ (_^<i_whom see for further details_^>i_), was advisory editor of the various _^<a_!T249_ARNO PRESS_^>a_ reprint book series; he
and Reginald have also collaborated on several books and anthologies. Solo, DM has written _^<i_A Historical and Critical Survey of the SF Film_^>i_ (_^<b_1975_^>b_); with Reginald and Mary A. Burgess he wrote _^<i_Futurevisions: The New Golden Age
of the Science Fiction Film_^>i_ (_^<b_1985_^>b_). He also compiled _^<i_The Work of Ross Rocklynne: An Annotated Bibliography & Guide_^>i_ (_^<b_1989_^>b_ chap). [PN]_^<n__^<n_
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MERAK, A.J.
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> John S. _^<a_!T4725_GLASBY_^>a_._^<n__^<n_
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MERCHANT, PAUL
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[s] > Harlan _^<a_!T6641_ELLISON_^>a_._^<n__^<n_
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MERCIER, LOUIS-SEBASTIEN
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(1740-1814) French writer best known for his numerous plays and for his anecdotal journalism; he was active in the French Revolution, being imprisoned during the Terror. His _^<a_!T5303_UTOPIA_^>a_, _^<i_L'an deux mille quatre cent quarante_^>i_
52*B]1771 UK; trans William Hooper as _^<i_Memoirs of the Year Two Thousand Five Hundred_^>i_ _^<b_1772_^>b_; vt _^<i_Astraea's Return, or The Halcyon Days of France in the Year 2440_^>i_ 1797), depicts a future _^<a_!T1590_FRANCE_^>a_ governed
rationally, according to Enlightenment precepts as stirred by the neoprimitivism of Jean-Jacques Rousseau (1712-1778), and is a central 18th-century text, important particularly for any analysis of pre-Revolutionary ferment in France. It was
probably the first utopia to be published in the USA, in 1795, in an edition which replicated the 1772 translation; unfortunately, LSM's expanded version of the text (_^<b_1786_^>b_ France) has never appeared in English. [JC]_^<n__^<n__^<b_See
Mercury is the planet nearest the Sun, and hence is difficult to observe. Until the late 19th century it was believed to rotate on its axis every 24 hours or so, but this opinion was displaced by that of Giovanni Schiaparelli (1835-1910) and
Percival Lowell (1855-1916), who contended that it kept the same face permanently towards the Sun. 20th-century sf writers thus pictured it as having an extremely hot "dayside", a cold "nightside" and a narrow "twilight zone". This image persisted
until the 1960s, when it was discovered that Mercury rotates on its axis rapidly enough to have a day somewhat shorter than its year._^<n__^<n_The earliest visit to Mercury was probably that of Athanasius _^<a_!T4086_KIRCHER_^>a_ in his
_^<i_Itinerarium Exstaticum_^>i_ (_^<b_1656_^>b_), and it was generally included in other round tours of the planets, including Emanuel _^<a_!T5869_SWEDENBORG_^>a_'s _^<i_The Earths in Our Solar System_^>i_ (_^<b_1758_^>b_) and George
_^<a_!T4871_GRIFFITH_^>a_'s _^<i_A Honeymoon in Space_^>i_ (_^<b_1901_^>b_). John _^<a_!T6336_MUNRO_^>a_'s _^<i_A Trip to Venus_^>i_ (_^<b_1897_^>b_) includes a detour to Mercury. The earliest novel in which Mercury came into principal focus was
_^<i_Relation du Monde de Mercure_^>i_ (_^<b_1750_^>b_ France) by Le Chevalier de Bethune; the first novel in English to be set there was William Wallace _^<a_!T863_COOK_^>a_'s _^<a_!T2812_SATIRE_^>a_ _^<i_Adrift in the Unknown_^>i_ (1904-5;
_^<b_1925_^>b_). E.R. _^<a_!T6579_EDDISON_^>a_'s series of fantasy novels begun with _^<i_The Worm Ouroboros_^>i_ (_^<b_1922_^>b_) is likewise set on Mercury, but the name is used purely for convenience._^<n__^<n__^<a_!T4659_GENRE SF_^>a_ rarely
employed Mercury as a milieu for exotic adventure, preferring _^<a_!T3677_MARS_^>a_ and _^<a_!T5351_VENUS_^>a_, but it does feature in Homer Eon _^<a_!T1534_FLINT_^>a_'s "The Lord of Death" (1919; in _^<i_The Lord of Death and the Queen of
Life_^>i_ [coll _^<b_1965_^>b_]), Ray _^<a_!T997_CUMMINGS_^>a_'s _^<i_Tama of the Light Country_^>i_ (1930; _^<b_1965_^>b_) and its sequel _^<i_Tama, Princess of Mercury_^>i_ (1931; _^<b_1966_^>b_), and Clark Ashton _^<a_!T2264_SMITH_^>a_'s "The
Immortals of Mercury" (1932). An invasion from Mercury is thwarted in J.M. _^<a_!T5444_WALSH_^>a_'s _^<i_Vandals of the Void_^>i_ (_^<b_1931_^>b_), and Leigh _^<a_!T4961_BRACKETT_^>a_ set one of her exotic romances there, "Shannach -- the Last"
(1952). Attempts to use Mercury in more thoughtful stories with some fidelity to astronomical knowledge were likewise infrequent in the pre-WWII pulps, the first significant examples being Clifford D. _^<a_!T2218_SIMAK_^>a_'s "Masquerade" (1941; vt
"Operation Mercury") and Isaac _^<a_!T268_ASIMOV_^>a_'s "Runaround" (1942)._^<n__^<n_After WWII, however, things picked up a little. Three juvenile novels featuring Mercury are Lester _^<a_!T1164_DEL REY_^>a_'s _^<i_Battle on Mercury_^>i_
(_^<b_1956_^>b_ as by Erik van Lhin), Asimov's _^<i_Lucky Starr and the Big Sun of Mercury_^>i_ (_^<b_1956_^>b_ as by Paul French; vt _^<i_The Big Sun of Mercury_^>i_), and _^<i_Mission to Mercury_^>i_ (_^<b_1965_^>b_) by Hugh
_^<a_!T5447_WALTERS_^>a_. Alan E. _^<a_!T3253_NOURSE_^>a_'s memorable "Brightside Crossing" (1956) represents a journey across the dayside of the planet as an adventurous feat akin to the then-recent conquest of Everest. The nightside of Mercury
features ironically in Larry _^<a_!T3223_NIVEN_^>a_'s "The Coldest Place" (1964), but recent sf usually employs Mercury as merely a convenient place to site bases for studying the _^<a_!T5825_SUN_^>a_, like the one in David _^<a_!T4999_BRIN_^>a_'s
_^<i_Sundiver_^>i_ (_^<b_1980_^>b_). Perhaps the most enduring sf image of Mercury, though, is from Kurt _^<a_!T5402_VONNEGUT_^>a_ Jr's _^<i__^<a_!B9038_THE SIRENS OF TITAN_^>a__^>i_ (_^<b_1959_^>b_), which offers an account of the Harmonia,
cave-dwelling lifeforms thriving on vibration and introduced to music by a stranded astronaut. [BS]_^<n__^<n_
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MERCURY PRESS
-T-
> _^<i_The_^<a_!T3595_MAGAZINE OF FANTASY AND SCIENCE FICTION_^>a__^>i_ ; _^<a_!T5350_VENTURE SCIENCE FICTION_^>a_._^<n__^<n_
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MEREDITH, JAMES CREED
-T-
(1875-1942) Irish writer, usually on philosophical subjects, who carried that interest into fiction in _^<i_The Rainbow in the Valley_^>i_ (_^<b_1939_^>b_), which features scientists in communication with Martians, and discursively compares and
contrasts the two civilizations. [JC]_^<n__^<n_
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MEREDITH, RICHARD C(ARLTON)
-T-
(1937-1979) US writer who began publishing sf with "Slugs" for _^<i_Knight_^>i_ magazine in 1962. His first novel, _^<i_The Sky is Filled with Ships_^>i_ (_^<b_1969_^>b_), is an effective _^<a_!T2342_SPACE OPERA_^>a_ in which colonies revolt against
a tyrannical corporation. _^<i_We All Died at Breakaway Station_^>i_ (_^<b_1969_^>b_) is a bleak, well crafted space opera in a kind of Alamo setting, where a _^<a_!T1017_CYBORG_^>a_ must withstand both external enemies and the devils of
introspection. _^<i_Run, Come See Jerusalem!_^>i_ (_^<b_1976_^>b_) is a complex, thoroughly worked out _^<a_!T6020_TIME-PARADOX_^>a_ novel. Time also figures centrally in the _^<b_Timeliner_^>b_ sequence -- _^<i_At the Narrow Passage_^>i_
(_^<b_1973_^>b_; rev 1979), _^<i_No Brother, No Friend_^>i_ (_^<b_1976_^>b_; rev 1979) and _^<i_Vestiges of Time_^>i_ (_^<b_1978_^>b_; rev 1979), all 3 being assembled as _^<i_The Timeliner Trilogy_^>i_ (omni _^<b_1987_^>b_ UK) -- during the course
of which _^<a_!T102_ALIENS_^>a_ attempt to change Earth's past, and, more importantly, to punish humanity in various _^<a_!T1794_PARALLEL WORLDS_^>a_. RCM's sense of history was acute and atmospheric, and his _^<a_!T131_ALTERNATE-WORLDS_^>a_ tales
are, as a consequence, hauntingly suggestive. Into these frameworks his heroes -- wounded and reluctant but ultimately stoic -- fit neatly. [JC/PN]_^<n__^<n__^<b_Other work:_^>b_ _^<i_The Awakening_^>i_ (_^<b_1979_^>b_)._^<n__^<n__^<b_See
also:_^>b_ _^<a_!T4446_HITLER WINS_^>a_.
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MERLE, ROBERT
-T-
(1908- ) Algerian-born French writer, recipient of the Prix Goncourt in 1949, known primarily for his work outside the sf field. His _^<i_Un animal doue de raison_^>i_ (_^<b_1967_^>b_; trans Helen Weaver as _^<i_The Day of the Dolphin_^>i_
_^<b_1969_^>b_ US) is an ingenious examination of scientific and political ethics following the main character's breakthrough in _^<a_!T822_COMMUNICATION_^>a_ with dolphins. _^<i_Malevil_^>i_ (_^<b_1972_^>b_; trans Derek Coltman _^<b_1974_^>b_ US),
joint winner of the _^<a_!T3923_JOHN W. CAMPBELL MEMORIAL AWARD_^>a_ in 1974, is a realistic and delicately told post-_^<a_!T4482_HOLOCAUST_^>a_ survival and reconstruction story. Both have been filmed (> _^<i_The_^<a_!T1109_DAY OF THE
DOLPHIN_^>a__^>i_ ; _^<a_!T3624_MALEVIL_^>a_). _^<i_Les hommes proteges_^>i_ (_^<b_1974_^>b_; trans Martin Sokolinsky as _^<i_The Virility Factor_^>i_ _^<b_1977_^>b_ US) uses an sf framework to satirize both sexist and feminist attitudes. An
epidemic to which boys, castrated men and men over 60 are immune is killing the male population of the USA. The government is taken over by women and eunuchs, and new changes are rung on the old sf theme with what some saw as cheery ribaldry,
others as cheap vulgarity. [MJ/PN]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Madrapour_^>i_ (_^<b_1976_^>b_)._^<b_See also:_^>b_ _^<a_!T1590_FRANCE_^>a_; _^<a_!T3398_LINGUISTICS_^>a_; _^<a_!T5281_UNDER THE SEA_^>a_.
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MERLYN, ARTHUR
-T-
[r] > James _^<a_!T658_BLISH_^>a_._^<n__^<n_
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MERRIL, JUDITH
-T-
(1923- ) US-born writer and anthologist, in Canada from 1968. Born Josephine Grossman, she preferred the forename Judith; she became Judith Zissman by marriage, then changed her name to Merril before marrying Frederik _^<a_!T1937_POHL_^>a_ in
1949; they were divorced in 1953. She occasionally used the pseudonym Rose Sharon. JM was associated with the _^<a_!T1665_FUTURIANS_^>a_ fan group during and after WWII. Her first published sf was "That Only a Mother" for _^<i_ASF_^>i_ in 1948. Her
first novel, _^<i_Shadow on the Hearth_^>i_ (_^<b_1950_^>b_; rev 1966 UK), tells the story of an atomic war in effectively understated fashion from the viewpoint of a housewife; one of the very best stories of nuclear _^<a_!T4482_HOLOCAUST_^>a_, it
was televised as _^<i_Atomic Attack_^>i_._^<n__^<n_JM wrote two routine novels in collaboration with C.M. _^<a_!T6353_KORNBLUTH_^>a_ as Cyril _^<a_!T3950_JUDD_^>a_: _^<i_Outpost Mars_^>i_ (_^<b_1952_^>b_; rev vt _^<i_Sin in Space_^>i_ 1961) is
about the _^<a_!T811_COLONIZATION_^>a_ of _^<a_!T3677_MARS_^>a_, _^<i_Gunner Cade_^>i_ (_^<b_1952_^>b_) about an era in which _^<a_!T5452_WAR_^>a_ is a spectator sport (> _^<a_!T1695_GAMES AND SPORTS_^>a_). Her best short stories, which usually
feature protagonists passively caught up in world-changing events, and often hurt thereby, were a little ahead of their time. The neatly heart-rending "Dead Center" (1954) was reprinted in _^<i_The Best American Short Stories: 1955_^>i_ ed Martha
Foley. _^<i_Daughters of Earth_^>i_ (coll _^<b_1968_^>b_ UK; cut vt _^<i_A Judith Merril Omnibus: Daughters of Earth and Other Stories_^>i_ 1985 Canada) features 3 fine novellas: the title story (1953) is a family saga set on a colony world;
"Project Nursemaid" (1955)--cut from the vt--concerns the problems of the administrator of a space project which must adopt human embryos; "Homecalling" (1956) is a story of contact with an _^<a_!T98_ALIEN_^>a_ being. _^<i_The Tomorrow People_^>i_
(_^<b_1960_^>b_), an intense psychological mystery story, lacks the emotional resonance of her best early work. She published very little fiction after 1960. Her short-story collections, which overlap somewhat, are _^<i_Out of Bounds_^>i_ (coll
_^<b_1960_^>b_), _^<i_Survival Ship and Other Stories_^>i_ (coll _^<b_1974_^>b_) and _^<i_The Best of Judith Merril_^>i_ (coll _^<b_1976_^>b_)._^<n__^<n_JM began editing sf _^<a_!T195_ANTHOLOGIES_^>a_ in the early 1950s with _^<i_Shot in the
Dark_^>i_ (anth _^<b_1950_^>b_), _^<i_Beyond Human Ken_^>i_ (anth _^<b_1952_^>b_; with 6 of 21 stories cut 1953 UK; cut version vt _^<i_Selections from Beyond Human Ken_^>i_ 1954 US), _^<i_Beyond the Barriers of Time and Space_^>i_ (anth
_^<b_1954_^>b_), _^<i_Human?_^>i_ (anth _^<b_1954_^>b_) and _^<i_Galaxy of Ghouls_^>i_ (anth _^<b_1955_^>b_; vt _^<i_Off the Beaten Orbit_^>i_ 1959). She made her mark with the series of 12 "year's best" anthologies she began in 1956: _^<i_S-F The
Year's Greatest Science-Fiction and Fantasy_^>i_ (anth _^<b_1956_^>b_); _^<i_SF: 57_^>i_ (anth _^<b_1957_^>b_; vt _^<i_SF The Year's Greatest Science-Fiction and Fantasy: Second Annual Volume_^>i_ 1957); _^<i_SF 58_^>i_ (anth _^<b_1958_^>b_; vt
_^<i_SF The Year's Greatest Science-Fiction and Fantasy: Third Annual Volume_^>i_ 1958); _^<i_SF 59_^>i_ (anth _^<b_1959_^>b_; vt _^<i_SF The Year's Greatest Science-Fiction and Fantasy: Fourth Annual Volume_^>i_); _^<i_The 5th Annual of The Year's
Best S-F_^>i_ (anth _^<b_1960_^>b_; vt _^<i_The Best of Sci-Fi 5_^>i_ 1966 UK); _^<i_The 6th Annual of The Year's Best S-F_^>i_ (anth _^<b_1961_^>b_; vt _^<i_The Best of Sci-Fi_^>i_ 1963 UK); _^<i_The 7th Annual of The Year's Best S-F_^>i_ (anth
_^<b_1962_^>b_; vt _^<i_The Best of Sci-Fi -- Two_^>i_ 1964 UK); _^<i_The 8th Annual of The Year's Best SF_^>i_ (anth _^<b_1963_^>b_; vt _^<i_The Best of Sci-Fi No. 4_^>i_ 1965 UK); _^<i_The 9th Annual of The Year's Best SF_^>i_ (anth
_^<b_1964_^>b_; vt _^<i_9th Annual S-F_^>i_ 1967 UK); _^<i_10th Annual Edition The Year's Best SF_^>i_ (anth _^<b_1965_^>b_; vt _^<i_10th Annual SF_^>i_ 1967 UK); _^<i_11th Annual Edition The Year's Best S-F_^>i_ (anth _^<b_1966_^>b_); _^<i_SF
12_^>i_ (anth _^<b_1968_^>b_; vt _^<i_The Best of Sci-Fi 12_^>i_ 1970 UK); though announced, <SF 13> never in fact appeared. The UK edns omit some editorial material and are numbered without regard to sense; _^<i_The Best of Sci-Fi 3_^>i_ (anth
_^<b_1964_^>b_ UK) ed Cordelia Titcomb Smith has no connection with the JM series. A selection from the sequence was published as _^<i_SF: The Best of the Best_^>i_ (anth _^<b_1967_^>b_). JM was an unusually eclectic anthologist, habitually using
stories from outside the _^<a_!T2130_SF MAGAZINES_^>a_, thus helping to broaden the horizons of the genre; she campaigned in her anthologies and in her book-review column in _^<i_FSF_^>i_ (May 1965-May 1969) for the replacement of the term "science
fiction" by _^<a_!T2363_SPECULATIVE FICTION_^>a_. She was the first US champion of the _^<a_!T3181_NEW WAVE_^>a_ (primarily associated with the UK magazine _^<a_!T3182_NEW WORLDS_^>a_), which she attempted to popularize in _^<i_England Swings
SF_^>i_ (anth _^<b_1968_^>b_; cut vt _^<i_The Space-Time Journal_^>i_ 1972 UK). She ed the first of the _^<b_Tesseracts_^>b_ series (> _^<a_!T5141_CANADA_^>a_) of representative anthologies of Canadian sf, _^<i_Tesseracts_^>i_ (anth
_^<b_1985_^>b_)._^<n__^<n_Her book collection now forms the basis of the _^<a_!T2909_MERRIL COLLECTION OF SCIENCE FICTION, SPECULATION AND FANTASY_^>a_, based in Toronto. [BS]_^<n__^<n__^<b_See also:_^>b_ _^<a_!T1142_DEFINITIONS OF SF_^>a_;
_^<a_!T6661_END OF THE WORLD_^>a_; _^<a_!T4655_GENERATION STARSHIPS_^>a_; _^<a_!T2877_SCIENTIFIC ERRORS_^>a_; _^<a_!T2127_SHARED WORLDS_^>a_; _^<a_!T2261_SMALL PRESSES AND LIMITED EDITIONS_^>a_; _^<a_!T5684_WOMEN SF WRITERS_^>a_.
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MERRIL COLLECTION OF SCIENCE FICTION, SPECULATION AND FANTASY
-T-
_^<n__^<n_Founded in 1970 by Toronto Public Library in Canada, to house a major donation by sf author and anthologist Judith _^<a_!T2908_MERRIL_^>a_ and substantially added to since; known as the Spaced Out Library until 1 Jan 1991, and housed from
September 1995 in a Special Collections building at 239 College Street in Toronto. With more than 29,000 books and 19,000 periodicals in the reference section, this _^<a_!T799_COLLECTION_^>a_ is one of the world's more important sf research
libraries. Among its holdings are many complete runs of _^<a_!T2033_PULP MAGAZINES_^>a_, a good collection of sf from _^<a_!T5141_CANADA_^>a_, a full set of _^<a_!T232_ARKHAM HOUSE_^>a_ publications and a strong Jules _^<a_!T5355_VERNE_^>a_
collection. The quarterly newsletter of the library's Friends is _^<i_Sol Rising_^>i_._^<n__^<n_In 1993-94 the library board attempted to cut the Collection's budget, threatening its proposed move to a new, large building in 1995, and possibly
restricting access through a combination of staff cuts and, perhaps, user fees. At an angry meeting in the Worldcon in 1994 the Friends of the Merril Collection announced the formation of a new body, the Canadian Science Fiction Foundation, to
lobby for the Collection's survival. [PN]_^<n__^<n_
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MERRILL, ALBERT ADAMS
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(? -? ) US writer of whom nothing is known beyond his renowned _^<a_!T5303_UTOPIA_^>a_, _^<i_The Great Awakening: The Story of the Twenty-Second Century_^>i_ (_^<b_1899_^>b_), in which a reincarnated 19th-century American is guided through the
technological wonderland which the USA has become 200 years in the future, with electric cars and tv; everyone is paid the same, the state owns all property, and happiness seems rife. [JC]_^<n__^<n_
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MERRIMAN, ALEX
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[s] > Robert _^<a_!T2216_SILVERBERG_^>a_._^<n__^<n_
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MERRITT, A(BRAHAM)
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(1884-1943) US editor, real-estate developer and writer, primarily of _^<a_!T1412_FANTASY_^>a_, though he was influential among sf writers and readers as well. His first years were occupied with newspaper journalism; he was a longtime assistant
editor of _^<i_The American Weekly_^>i_, becoming editor-in-chief in 1937 and remaining so until his death. His fiction was written as a sideline to this busy career, which may explain why his output was relatively small. He began publishing
stories with _^<i_Thru the Dragon Glass_^>i_ (1917 _^<i_All-Story Weekly_^>i_ as "Through the Dragon Glass"; _^<b_1932_^>b_ chap); his first novel, _^<i_The Moon Pool_^>i_ ("The Moon Pool" 1918 _^<i_All-Story Weekly_^>i_; "The Conquest of the Moon
Pool" 1919 _^<i_All-Story Weekly_^>i_; fixup _^<b_1919_^>b_), begins with the Shining One, a deadly though insubstantial monster within a pool in Micronesia, and moves on to a complicated lost-race melodrama (> _^<a_!T197_ANTHROPOLOGY_^>a_;
_^<a_!T3460_LOST WORLDS_^>a_). (The posthumous _^<i_Reflections in the Moon Pool_^>i_ [coll _^<b_1985_^>b_], ed anon [actually Sam _^<a_!T3074_MOSKOWITZ_^>a_], is unrelated to the novel, containing a long biography of AM by Moskowitz, a few prose
items by AM, and some poetry, letters and articles.) _^<i_The Metal Monster_^>i_ (1920 _^<i_Argosy_^>i_; _^<b_1946_^>b_), another lost-race tale (and containing one of the characters from the previous book), describes a collective
_^<a_!T102_ALIEN_^>a_ being, comprised of millions of metal parts, who is absentmindedly kind to the explorer-protagonist. _^<i_The Face in the Abyss_^>i_ ("The Face in the Abyss" 1923 _^<i_Argosy_^>i_; "The Snake Mother" 1930 _^<i_Argosy_^>i_;
fixup _^<b_1931_^>b_) describes an ancient, almost extinct, semireptilian race and its considerable wisdom. In _^<i_The Ship of Ishtar_^>i_ (1924 _^<i_Argosy_^>i_; cut _^<b_1926_^>b_; text restored 1949), his best novel, a man travels into a
magical world and falls in love with the beautiful female captain of the ship of Ishtar; the highly coloured descriptive passages of this novel still have a strong effect on readers. _^<i_7 Footprints to Satan_^>i_ (1927 _^<i_Argosy_^>i_;
_^<b_1928_^>b_), filmed in 1929, is a horror/detective mystery, "Satan" being a greedy villain. _^<i_The Dwellers in the Mirage_^>i_ (1932 _^<i_Argosy_^>i_ with happy ending; _^<b_1932_^>b_; with original intended unhappy ending 1944) is an
effective lost-race novel, one of AM's best. _^<i_Burn Witch Burn!_^>i_ (1932 _^<i_Argosy_^>i_; exp _^<b_1933_^>b_) and its sequel, _^<i_Creep, Shadow!_^>i_ (1934 _^<i_Argosy_^>i_; _^<b_1934_^>b_; vt _^<i_Creep, Shadow, Creep!_^>i_ 1935 UK), the
first volume filmed as _^<i_The_^<a_!T1207_DEVIL DOLL_^>a__^>i_ (1936), comprise a short series about witchcraft and _^<a_!T4509_HORROR_^>a_ detection. _^<i_The Fox Woman and Other Stories_^>i_ (coll _^<b_1949_^>b_) assembles short stories and
uncompleted fragments, of which the title story had already been incorporated into _^<i_The Fox Woman and The Blue Pagoda_^>i_ (coll of 2 stories _^<b_1946_^>b_) by AM and Hannes _^<a_!T6322_BOK_^>a_, "The Blue Pagoda" being by Bok but linked to
AM's fragment with connecting passages. Bok's second completion of AM's work was _^<i_The Black Wheel_^>i_ (_^<b_1947_^>b_), of which less than a quarter is by AM._^<n__^<n_AM was influential upon the sf and fantasy world not primarily through his
storylines, which tended to be unoriginal, or through the excesses of his style, but because of the genuine imaginative power he displayed in the creation of desirable alternative worlds and realities. He was extremely popular during his life, even
having a _^<a_!T2033_PULP MAGAZINE_^>a_, _^<a_!T149_A. MERRITT'S FANTASY MAGAZINE_^>a_, named after him; and Sam _^<a_!T3074_MOSKOWITZ_^>a_, in Chapter 12 of _^<i_Explorers of the Infinite_^>i_ (_^<b_1963_^>b_), probably represents the view of many
of AM's original readers that he was the supreme fantasy genius of his day. Even though, by any absolute literary standard, AM's prose was verbose and sentimental, and his repeated romantic image of the beautiful evil priestess was trivial --
deriving as it did from a common Victorian image of womanhood (women being either virgins or devils) -- the escapist yearning for otherness and mystery that he expressed has seldom been conveyed in sf with such an emotional charge.
[JC/PN]_^<n__^<n__^<b_Other works:_^>b_ _^<i_Three Lines of Old French_^>i_ (1919 _^<i_All-Story Weekly_^>i_; _^<b_1937_^>b_ chap); _^<i_The Drone Man_^>i_ (1934 _^<i_Fantasy Magazine_^>i_ as "The Drone"; _^<b_1948_^>b_ chap); _^<i_Rhythm of the
Spheres_^>i_ (1936 _^<i_TWS_^>i_; _^<b_1948_^>b_ chap); _^<i_Woman of the Wood_^>i_ (1926 _^<i_Weird Tales_^>i_; _^<b_1948_^>b_ chap); _^<i_The People of the Pit_^>i_ (1918 _^<i_All-Story Weekly_^>i_; _^<b_1948_^>b_ chap); _^<i_Seven Footprints to
Satan and Burn Witch Burn!_^>i_ (omni _^<b_1952_^>b_); _^<i_Dwellers in the Mirage and The Face in the Abyss_^>i_ (omni _^<b_1953_^>b_)._^<b_See also:_^>b_ _^<a_!T141_AMAZING STORIES_^>a_; _^<a_!T1236_DIME-NOVEL SF_^>a_; _^<a_!T1410_FANTASTIC
Working name of US writer W. Samuel Kimball Merwin Jr (1910- ), son of the writer W.S. Merwin (1874-1936). SM's first sf story was "The Scourge Below" for _^<a_!T6004_THRILLING WONDER STORIES_^>a_ in 1939. He later went to work for the Beacon
pulp chain, which published _^<i_TWS_^>i_ and _^<a_!T2428_STARTLING STORIES_^>a_, and was appointed to the editorship of both in 1944, succeeding Oscar J. _^<a_!T1629_FRIEND_^>a_; although he had contributed to _^<i_TWS_^>i_ and had done some
editorial work for the magazines, he claimed never actually to have read an _^<a_!T2130_SF MAGAZINE_^>a_ before becoming editor of two of them. During his editorship he greatly raised the standard of both titles, abolishing the juvenile slant they
had previously adopted, and making them the leading _^<a_!T2033_PULP MAGAZINES_^>a_ in the field behind _^<a_!T277_ASTOUNDING SCIENCE-FICTION_^>a_. He contributed stories to both, using his own name and the pseudonyms Matt Lee and Carter Sprague.
He also edited _^<a_!T6154_WONDER STORY ANNUAL_^>a_ and _^<a_!T1407_FANTASTIC STORY QUARTERLY_^>a_ -- additional companion magazines to _^<i_Startling_^>i_ and _^<i_TWS_^>i_ -- before leaving in 1951 to freelance. Further editorial forays included
editing the first issues of _^<a_!T1408_FANTASTIC UNIVERSE_^>a_, a period as assistant editor for Galaxy Publications-working on _^<a_!T1686_GALAXY SCIENCE FICTION_^>a_, _^<a_!T580_BEYOND FANTASY FICTION_^>a_ and _^<a_!T1687_GALAXY SCIENCE FICTION
NOVELS_^>a_ -- and editing the auspicious first 2 issues of _^<a_!T2811_SATELLITE SCIENCE FICTION_^>a_. He later went to work in Hollywood. Two articles by SM -- reminiscences of his pulp-magazine days -- appeared in _^<i_The_^<a_!T100_ALIEN
CRITIC_^>a__^>i_ #9 and #10. Although comparatively little known, SM's record shows him to have been one of the most capable of all sf magazine editors._^<n__^<n_SM's fiction, on the other hand, was unexceptional; his detective novels, beginning
with _^<i_Murder in Miniatures_^>i_ (_^<b_1940_^>b_), are perhaps better than his sf, of which the best are probably _^<i_The House of Many Worlds_^>i_ (_^<b_1951_^>b_) and its sequel _^<i_Three Faces of Time_^>i_ (_^<b_1955_^>b_ dos), assembled as
_^<i_The House of Many Worlds_^>i_ (omni _^<b_1983_^>b_). The Feb 1957 issue of _^<i_Satellite_^>i_ contained "Planet for Plunder", a novel written in collaboration with Hal _^<a_!T749_CLEMENT_^>a_; this was actually a Clement novelette expanded by
SM (who added alternate chapters from another viewpoint) in order to fit _^<i_Satellite_^>i_'s novel-oriented policy. _^<i_Chauvinisto_^>i_ (_^<b_1976_^>b_) took a _^<a_!T1370_DYSTOPIAN_^>a_ attitude towards female domination.
[MJE]_^<n__^<n__^<b_Other works_^>b_: _^<i_Killer to Come_^>i_ (_^<b_1953_^>b_); _^<i_The White Widows_^>i_ (_^<b_1953_^>b_; vt _^<i_The Sex War_^>i_ 1960); _^<i_The Time Shifters_^>i_ (_^<b_1971_^>b_)._^<n__^<n__^<b_See also:_^>b_
Film (1913). UK Films. Dir J. Wallett Waller, starring Charles Hawtrey, E. Holman Clark, Chrissie Bell. Scenario Waller, based on the play _^<i_A Message from Mars_^>i_ (_^<b_1899_^>b_) by Richard Ganthony. 60 mins, cut to 54 mins.
B/w._^<n__^<n_This moral fable about a messenger sent from Mars to help bring humans -- especially the selfish Horace Parlan -- to their senses was based on a remarkably successful and long-running play, and the film version was actually made in
the theatre with the same actors. The story is very similar to that of Scrooge being redeemed by the ghosts in Charles _^<a_!T1223_DICKENS_^>a_'s _^<i_A Christmas Carol_^>i_ (_^<b_1843_^>b_); very little is made of the alien nature of the Martian,
who is more like an angel. An earlier film version of the same play was made in 1909 in New Zealand, probably much shorter; the details and the film itself have been lost. A later (1921) US version (Metro, 69 mins, cut to 63 mins), dir Maxwell
Karger, gives the events of the story a dream framework. A novelized version of the play is _^<i_A Message from Mars_^>i_ * (_^<b_1912_^>b_) by Lester _^<a_!T3494_LURGAN_^>a_, the 2nd edn of which was illustrated by stills from the film.
[PN]_^<n__^<n_
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MESSIAHS
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In the _^<a_!T3135_MYTHOLOGY_^>a_ of the Old Testament the Messiah is the deliverer of prophecy, destined to lead the Jews to their salvation; the New Testament claims that Jesus was the Messiah. The term is applied by analogy to any saviour or
champion whose arrival is anticipated, hoped for or desperately needed. Because Christian images of the future have always been associated with ideas of the Millennium and the Apocalypse, a preoccupation with messiahs in the futuristic fiction of
Western culture is only to be expected. Many _^<a_!T4395_HEROES_^>a_ in sf play quasimessianic roles, but there is a more-or-less distinct category of stories which deals specifically with this aspect of Judaeo-Christian religion._^<n__^<n_Early sf
featured numerous messianic political fantasies, including H.G. _^<a_!T5528_WELLS_^>a_'s _^<i_When the Sleeper Wakes_^>i_ (_^<b_1899_^>b_) and Victor _^<a_!T2715_ROUSSEAU_^>a_'s _^<i_The Messiah of the Cylinder_^>i_ (_^<b_1917_^>b_); the most
literal of these is M.P. _^<a_!T2188_SHIEL_^>a_'s _^<i_Lord of the Sea_^>i_ (_^<b_1901_^>b_). Earnest futuristic religious fantasies of the same period featuring messianic figures include Guy _^<a_!T5994_THORNE_^>a_'s _^<i_And it Came to Pass_^>i_
(_^<b_1915_^>b_) and Upton _^<a_!T2227_SINCLAIR_^>a_'s _^<i_They Call me Carpenter_^>i_ (_^<b_1922_^>b_). William Hope _^<a_!T4459_HODGSON_^>a_'s "The Baumoff Explosion" (1919; vt "Eloi, Eloi, Lama Sabachthani") strikes a more sceptical note in
describing a re-enactment of the crucifixion which goes hideously wrong. There is little or no trace of messianic mythology in the sf _^<a_!T2033_PULP MAGAZINES_^>a_ until the 1940s, when it became possible for a _^<a_!T5830_SUPERMAN_^>a_ to play a
quasimessianic role, as in _^<i__^<a_!B9246_DARKER THAN YOU THINK_^>a__^>i_ (1940; _^<b_1948_^>b_) by Jack _^<a_!T5629_WILLIAMSON_^>a_. _^<i_What Dreams May Come_^>i_ (_^<b_1941_^>b_) by J.D. _^<a_!T543_BERESFORD_^>a_ likewise features a superhuman
messiah, although _^<i_The Gift_^>i_ (_^<b_1946_^>b_) by Beresford and Esme Wynne-Tyson is a more straightforward religious fantasy. L. Ron _^<a_!T4538_HUBBARD_^>a_'s _^<i_Final Blackout_^>i_ (1940 _^<i_ASF_^>i_; _^<b_1948_^>b_) has an inordinately
charismatic hero who may qualify as a messiah. Ordinary men sometimes take on similarly charismatic roles when they are transplanted into _^<a_!T1794_PARALLEL WORLDS_^>a_, as in Henry _^<a_!T4144_KUTTNER_^>a_'s _^<i_The Dark World_^>i_ (1946
_^<i_Startling Stories_^>i_; _^<b_1965_^>b_) and James _^<a_!T658_BLISH_^>a_'s _^<i_The Warriors of Day_^>i_ (_^<b_1953_^>b_)._^<n__^<n_Messiah-figures increased in popularity when Millenarian fantasies became newly fashionable in the wake of the
Bomb. C.S. _^<a_!T3368_LEWIS_^>a_'s trilogy of interplanetary religious romances was concluded in _^<i_That Hideous Strength_^>i_ (_^<b_1945_^>b_), in which a messianic role is assumed by Merlin, though he is in effect an agent only of the
trilogy's true messiah figure, Ransom. Christ first appeared in _^<a_!T4659_GENRE SF_^>a_ in this period -- in Ray _^<a_!T4963_BRADBURY_^>a_'s "The Man" (1949) -- but it was not until the 1960s that _^<a_!T6026_TIME TRAVEL_^>a_ was used to confront
Christ's life (and death) directly. In Michael _^<a_!T3030_MOORCOCK_^>a_'s _^<i__^<a_!B9007_BEHOLD THE MAN_^>a__^>i_ (1966 _^<i_NW_^>i_; exp _^<b_1969_^>b_) a time traveller takes Christ's place. Brian _^<a_!T6560_EARNSHAW_^>a_'s _^<i_Planet in the
Eye of Time_^>i_ (_^<b_1968_^>b_) features a time-trip to witness the crucifixion; Garry _^<a_!T4059_KILWORTH_^>a_'s "Let's Go to Golgotha" (1975) uses a similar notion to construct a heavily ironic parable, as does Gore _^<a_!T5367_VIDAL_^>a_'s
_^<i_Live from Golgotha_^>i_ (_^<b_1992_^>b_). Another protagonist who becomes Christ is featured in Barry N. _^<a_!T3629_MALZBERG_^>a_'s _^<i_The Cross of Fire_^>i_ (_^<b_1982_^>b_). In Philip Jose _^<a_!T1435_FARMER_^>a_'s "Riverworld" (1966) the
crucifixion is re-enacted in the human race's new incarnation. The most notable story featuring a re-enactment of the crucifixion on an alien world is "The Streets of Ashkelon" (1962) by Harry _^<a_!T4316_HARRISON_^>a_. Nativity stories are more
common; they include Robert F. _^<a_!T6241_YOUNG_^>a_'s "Robot Son" (1959), Edward _^<a_!T5055_BRYANT_^>a_'s "Eyes of Onyx" (1971) and John _^<a_!T5133_CAMERON_^>a_'s _^<i_The Astrologer_^>i_ (_^<b_1972_^>b_)._^<n__^<n_The theme of redemption
through sacrifice is more or less explicitly linked to Christian mythology in many sf stories, including Robert F. Young's "Redemption" (1963), Cordwainer _^<a_!T2265_SMITH_^>a_'s "The Dead Lady of Clown Town" (1964), Harlan
_^<a_!T6641_ELLISON_^>a_'s "'Repent, Harlequin!' said the Ticktockman" (1965) and R.A. _^<a_!T4152_LAFFERTY_^>a_'s _^<i_Past Master_^>i_ (_^<b_1968_^>b_); Robert A. _^<a_!T4376_HEINLEIN_^>a_'s _^<i__^<a_!B9028_STRANGER IN A STRANGE LAND_^>a__^>i_
(_^<b_1961_^>b_) also belongs to this category. Clifford D. _^<a_!T2218_SIMAK_^>a_'s _^<i_Time and Again_^>i_ (_^<b_1951_^>b_; vt _^<i_First He Died_^>i_ 1953) features a resurrection of sorts as well as a sacrifice, as do Thomas M.
_^<a_!T1244_DISCH_^>a_'s _^<i__^<a_!B9062_CAMP CONCENTRATION_^>a__^>i_ (_^<b_1968_^>b_) and Jack Williamson's _^<i_Firechild_^>i_ (_^<b_1986_^>b_). Explicit (and mostly ironic) sciencefictional accounts of the actual Second Coming include Edward
_^<a_!T5523_WELLEN_^>a_'s "Seven Days Wonder" (1963), J.G. _^<a_!T378_BALLARD_^>a_'s "You and Me and the Continuum" (1966), Damon _^<a_!T4098_KNIGHT_^>a_'s _^<i_The Man in the Tree_^>i_ (_^<b_1984_^>b_), Philip Jose Farmer's _^<i_Jesus on Mars_^>i_
(_^<b_1979_^>b_) and Theodore _^<a_!T5810_STURGEON_^>a_'s posthumous _^<i_Godbody_^>i_ (_^<b_1986_^>b_)._^<n__^<n_More enigmatic messiahs, who offer little in the way of redemption, are featured in Vidal's _^<i_Messiah_^>i_ (_^<b_1954_^>b_; rev
1965), Robert _^<a_!T2216_SILVERBERG_^>a_'s _^<i_The Masks of Time_^>i_ (_^<b_1968_^>b_; vt _^<i_Vornan-19_^>i_ 1970 UK), Brian M. _^<a_!T2385_STABLEFORD_^>a_'s _^<i_The Walking Shadow_^>i_ (_^<b_1979_^>b_), Stuart _^<a_!T4776_GORDON_^>a_'s
_^<i_Smile on the Void_^>i_ (_^<b_1982_^>b_), Somtow Sucharitkul's (S.P. _^<a_!T2313_SOMTOW_^>a_'s) _^<i_Starship and Haiku_^>i_ (_^<b_1984_^>b_) and Kim Stanley _^<a_!T2637_ROBINSON_^>a_'s _^<i_The Memory of Whiteness_^>i_ (_^<b_1985_^>b_). A fake
messiah, used as a political instrument, is featured in Robin _^<a_!T2791_SANBORN_^>a_'s _^<i_The Book of Stier_^>i_ (_^<b_1971_^>b_). An enigmatically sinister "messiah" is featured in Philip K. _^<a_!T1222_DICK_^>a_'s _^<i__^<a_!B9152_THE THREE
STIGMATA OF PALMER ELDRITCH_^>a__^>i_ (_^<b_1964_^>b_), but later Dick novels, including _^<i_A Maze of Death_^>i_ (_^<b_1970_^>b_), play in ever more complex and constructive fashion with messianic figures -- a process which culminates in _^<i_The
Divine Invasion_^>i_ (_^<b_1981_^>b_). The most elaborate messianic fantasy in modern sf, however, is that in Frank _^<a_!T4389_HERBERT_^>a_'s _^<i__^<a_!B9031_DUNE_^>a__^>i_ (_^<b_1965_^>b_) and its sequels, following the career and posthumous
influence of Paul Atreides, messiah to the desert world Arrakis. Herbert has also deployed messianic mythology elsewhere in his work, notably in _^<i_The Jesus Incident_^>i_ (_^<b_1979_^>b_) with Bill _^<a_!T2497_RANSOM_^>a_. Another writer
constantly fascinated by messianic mythology is Roger _^<a_!T6264_ZELAZNY_^>a_, whose many fantasies in this vein include "A Rose for Ecclesiastes" (1963), _^<i__^<a_!B9047_LORD OF LIGHT_^>a__^>i_ (_^<b_1967_^>b_) and _^<i_Isle of the Dead_^>i_
(_^<b_1969_^>b_). Many of Zelazny's messianic fantasies take a broadly syncretic view of such figures, linking them to mythologies other than the Christian one; a similarly generalized theory of messianic revivification is featured in James
_^<a_!T3967_KAHN_^>a_'s _^<i_Time's Dark Laughter_^>i_ (_^<b_1982_^>b_)._^<n__^<n_The most significant contemporary religious fantasy about a messiah is James _^<a_!T3070_MORROW_^>a_'s brilliantly bitter _^<i_Only Begotten Daughter_^>i_
(_^<b_1990_^>b_), which cleverly deploys sf motifs alongside more traditional imagery. Jack _^<a_!T5681_WOMACK_^>a_'s _^<i_Heathern_^>i_ (_^<b_1990_^>b_ UK) is another almost seamless alloy of sf and religious fantasy. [BS]_^<n__^<n__^<b_See
also:_^>b_ _^<a_!T4740_GODS AND DEMONS_^>a_.
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MESSMANN, JON
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[r] > Nick _^<a_!T5195_CARTER_^>a_._^<n__^<n_
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METAFICTION
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> _^<a_!T1372_FABULATION_^>a_._^<n__^<n_
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METAL HURLANT
-T-
French _^<a_!T492_BEDSHEET_^>a_-size, glossy colour _^<a_!T820_COMIC_^>a_-strip sf magazine launched Jan 1975 by Bernard Farkas, Jean-Pierre Dionnet (1947- ) and illustrators Jean _^<a_!T4718_GIRAUD_^>a_ and Philippe _^<a_!T1326_DRUILLET_^>a_;
published by Les Humanoids Associees. Conceived as a high-quality showcase for the growing number of French sf artists, _^<i_MH_^>i_ was an instant success, combining many aspects of sf narrative with particular stress on the erotic, the grotesque
and the horrific in illustrated form. Although it was accused of putting emphasis on graphics rather than content, its influence was notable throughout Europe and North America, and translations of its contents appeared in similar magazines in the
