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    1. SF& Fantasy Encyclopedia A Rose for Armageddon SCHENCK, HILBERT(Pocket Books/Timescape, 1982)As a new dark age looms, a handful of aging intellectuals race to finish a project in the computer simulation of social relationships in the history of a small island. A mystery emerges whose solution may offer an opportunity for redemption not only to the unhappy characters but also to their unhappy era. Poignant and beautifully written; highly original in its recompilation of the timeslip romance. Compare and contrast Jack Finney's Time and Again . See also TIME TRAVEL The Strange Case of Dr. Jekyll and Mr. Hyde STEVENSON, ROBERT LOUIS(Scribner, 1886)This classic 19th-century presentation of dual personality dramatizes the good and evil within each human. Aware from his youth of a certain wickedness within his nature, Dr. Jekyll experiments and develops a drug that brings his alter ego into ascendancy, thereby transforming himself physically into Mr. Hyde. One learns of the mystery through the eyes of the lawyer Utterson, but only a final manuscript, the full statement of Henry Jekyll, explains the relationship between him and Hyde. See also PSYCHOLOGY Solar Lottery DICK, PHILIP K(INDRED)( Ace, 1955)The initial version of this work appeared as an Ace Double paired with The Big Jump by Leigh Brackett, a work about as antithetical to Phil Dick's style and approach as it was possible to get. A reissue, sans Brackett, by Gregg in 1976 contained an appreciation by Thomas Disch. A world supposedly run at the top by the random chances of a great lottery is actually a congeries of rival industrial fiefs; would-be Quizmasters seek to rig the odds, and a former Quizmaster by the rules of the game has the right to assassinate his successor if the assassin can get past the incumbent's telepathic guards. The complex plot is driven by games theory, which at the time of writing was just coming into vogue; von Neumann and Morgenstern's Theory of Games had recently been published, as well as a popularization titled Strategy in Poker, Business, and War. Dick was concerned lest the mathematics of games theory dissolve all political claims of law, tradition, and morality, leaving only the rules of the game: "Minimax," he said in a statement included with the book, "is gaining on us all the time." Dick's first major work. Contrast A. E. van Vogt, The World of Null-A . See also GAMES AND SPORTS Rite of Passage PANSHIN, ALEXEI(Ace, 1968)The heroine belongs to a starfaring culture, and her rite de passage into adulthood involves her descent into a colony world whose culture is very different. A homage to Robert A. Heinlein's juveniles but more carefully and painstakingly constructed than most of his models; compare especially his Tunnel in the Sky . Nebula winner, 1968. See also GENERATION STARSHIPS Pavane ROBERTS, KEITH(Hart-Davis, 1968)Fix-up novel describing what appears to be an ALTERNATE WORLD where the Catholic church retained its hegemony in Europe because of the victory of the Spanish Armada. But this technologically retarded world also harbors fairies who know the real truth, and when progress rears its ugly head again, its value is brought 1
    2. sharply into question. A rich, many-faceted narrative, written with great care and delicacy; one of the finest SF novels of the period. U.S. editions add an extra episode. Compare Walter M. Miller's A Canticle for Leibowitz and Kingsley Amis's The Alteration . Mechasm SLADEK, JOHN T(HOMAS)(Ace, 1969) Brit. title: The Reproductive System(Gollancz, 1968) Metal-eating, self-replicating ROBOTS threaten to destroy the fabric of civilization if they cannot be controlled and contained, although if used responsibly they might pave the way to paradise. A satirical parable of man/machine relationships. Compare and contrast Rudy Rucker's SOFTWARE . Neuromancer GIBSON, WILLIAM(Ace, 1984)In a highly urbanized future dominated by cybernetics and bioengineering, anti-hero Case is rescued from wretchedness and given back the ability to send his persona into the cyberspace of the world's computer networks, where he must carry out a hazardous mission for an enigmatic employer. An adventure story much enlivened by elaborate technical jargon and sleazy, streetwise characters-the pioneering " CYBERPUNK" novel. Compare Vernor Vinge's TRUE NAMES, Bruce Sterling's ISLANDS IN THE NET, and the film Blade Runner. Hugo winner, 1985; Nebula winner, 1984 The Left Hand of Darkness LE GUIN, URSULA K(ROEBER)(Ace, 1969) Recommended ed.: Walker, 1994.Humans on the world of Winter are hermaphrodite, able to develop male or female sexual characteristics during periodic phases of fertility. An envoy from the galactic community becomes embroiled in local politics and is forced by his experiences to reconsider his attitudes toward human relationships. Serious, meticulous, and well written, the book has been much discussed and praised because of its timely analytic interest in sexual politics. The 1994 Walker reprint includes a new afterword and approximately 60 pages in four appendixes. Compare Theodore Sturgeon's Venus Plus X (1960). Hugo winner, 1970; Nebula winner, 1969. See also SEX The Big Time LEIBER, FRITZ (REUTER)(Gregg, 1978)Serialized in Galaxy in 1957, "The Big Time," a saga of soldiers from all times who have been recruited as "Spiders" or "Snakes" to battle each other and alter past events to the advantage of their own side, won the Hugo for that year. The primary action takes place in a Spider R&R center outside the cosmos and is staged theatrically, no doubt reflecting Leiber's own experience in his father's repertory Shakespeare company. That novel (The Big Time, Ace, 1961) and a collection of shorter stories on the Spiders-versus-Snakes theme, The Mind Spider (Ace, 1961), were combined with other related pieces in this collection from Gregg. Jack Williamson had anticipated the theme of time-soldiers battling to change events in The Legion of Time , but Williamson's version assumed a conventional Good-Evil dualism. Leiber's vision was breathtakingly relativist; one principal character in The Big Time, from a World War II that turned out differently, is the Nazi gauleiter of Chicago! A major and disturbing work. Contrast Poul Anderson, Time Patrol , and Leiber's own Destiny Times Three. Hugo winner, 1958. See also TIME TRAVEL The Einstein Intersection DELANY, SAMUEL R(AY)(Ace, 1967)In the far future the nonhuman inhabitants of Earth mine the mythologies of the ancient past in search of meanings 2
    3. appropriate to their own existence; the hero must undertake an Orphean quest into the underworld of the collective unconscious, confronting its archetypes. A fabulous tour de force of the imagination. Compare Roger Zelazny's THIS IMMORTALand Angela Carter's Infernal Desire Machines of Dr. Hoffman. NW, 1967. See also MYTHOLOGY Nine Hundred Grandmothers LAFFERTY, R(APHAEL) A(LOYSIUS)(Ace, 1970)The first and best of Lafferty's collections, followed by Strange Doings (1971), Does Anyone EIse Have Something Further to Add? (1974), Ringing Changes (1984), and various collections issued by small presses. Lafferty's shorter works tend to be highly distinctive and idiosyncratic, often mixing materials from Celtic or Amerindian folklore with SF motifs in order to produce tall stories with a philosophical bite. At his most stylized he is comparable to Italo Calvino's Cosmicomics , but he is rarely so abstracted and his stories have a characteristic warmth as well as a breezy imaginative recklessness and a good deal of wit. See also FABULATION White Light RUCKER, RUDY(Ace, 1980)A strange fantasy of life after death that has abundant SF interest by virtue of the author's use of "higher dimensions" as a milieu for displaying ideas drawn from number theory and other areas of higher mathematics. The author suggests that this exercise in "transrealism" can be regarded as the first element in a trilogy completed by The Sex Sphere (1983), in which a hypersphere trapped into an intersection with our 3-D space obligingly responds to the sexual fantasies of the male characters, and The Secret of Life (1985). Rucker's work invites comparison with some very early SF writers, including Camille Flammarion and C. H. Hinton, as well as avant-garde figures like John Shirley and Bruce Sterling. See also MATHEMATICS Software RUCKER, RUDY(Ace, 1982)Artificial intelligence has developed to the point where computers can begin the inevitable power struggle with mankind. Should we be prepared to put aside our frail flesh in favor of inorganic forms that will preserve our personalities in their software? The extravagant plot is well spiced with wit. The equally well done sequel is Wetware (1988), and a third volume is expected. Both Software and Wetware won the Philip K. Dick Award. Compare Marge Piercy's He, She, and It . See also CYBERPUNK The Wild Shore ROBINSON, KIM STANLEY(Ace, 1984)After the nuclear holocaust the United States is quarantined by the United Nations, and the survivors must remake their civilization in isolation. The protagonist, his role analogous to that of Huckleberry Finn, explores this new frontier world. The most sophisticated example of contemporary American romantic catastrophism. Compare Tim Powers's Dinner at Deviant's Palace and David Brin's The Postman. Robinson followed The Wild Shore with two more novels set in the same location in Southern California, thematic sequels considering alternate historical possibilities. The Gold Coast (1988) describes a near-future Orange County of superhighways and designer drugs that is only marginally different from our own. Pacific Edge (1990), which won the JWC Award, is set in a postdisaster, small-scale community where everything is done with an eye toward its effect on the ecology. See also PASTORAL Homunculus BLAYLOCK, JAMES P.( Ace, 1986)Intricately plotted action-adventure story 3
    4. set in Victorian England where the natural philosophers of the Trismegistus Club battle a sinister reanimator of corpses and a greedy entrepreneur while a tiny alien imprisoned in one of four identical boxes is passed unwittingly from hand to hand, causing havoc wherever he goes. A witty and very stylish combination of SF and Victorian melodrama. In the sequel, Lord Kelvin's Machine (1992), the Earth is nearly destroyed by a passing comet. Compare Tim Power's THE ANUBIS GATES (1983) and K. W. Jeter's Infernal Devices (1987). See also STEAMPUNK Synthajoy COMPTON, D(AVID) G(UY)(Hodder & Stoughton, 1968) A machine is developed that can record emotional experiences for later transmission into the minds of others. Abused by its inventor, it is subsequently used in the psychiatric treatment of his wife and murderer. Intricately constructed, with fine characterization and compelling cynicism. Compare Barry N. Malzberg's Cross of Fire. See also PSYCHOLOGY Soldiers of Paradise PARK, PAUL(Arbor, 1987)On a planet called Earth by its inhabitants, though it and its solar system differ dramatically from our own, the seasons last for lifetimes and, as in Brian W. Aldiss's Helliconia series, they change with such violence that entire civilizations are in danger of dying or being transformed. Two misfit members of the Starbridge family, the planet's ruling class, wander through the confusion and growing revolution of the oncoming springtime, pondering the ills of their society. Soldiers of Paradise is nearly plotless, but its beautifully wrought prose, carefully etched characters, and strong moral sense make it an unforgettable experience. Two fine sequels are Sugar Rain (1989) and The Cult of Loving Kindness (1991). Compare Aldiss's HELLICONIA series, Michael Swanwick's STATIONS OF THE TIDE , and Gene Wolfe's Book of the New Sun . See also PLANETARY ROMANCE Islands in the Net STERLING, BRUCE(Arbor, 1988)There's a perfectly fine plot here, involving data piracy, and some nicely developed characters, including Laura, who goes out and has adventures while her husband takes care of the baby. What stands out in Sterling's novel, however, is the extraordinarily detailed and highly believable world he has created. The almost universal presence of the data Net, the widespread use of creative ecological engineering, the economic and cultural interpenetration of formerly separate societies, the fads and styles, all come together in one of the most fascinating sociological and political SF novels in recent years. Compare Neal Stephenson's SNOW CRASH. See also POLITICS The Jaguar Hunter SHEPARD, LUCIUS(Arkham, 1987)One of the finest collections of fantasy and science fiction published in the 1980s. Probably the best story included is the Nebula- and Locus Award-winning "R&R," the tale of an American soldier on leave from a future war in Central America, which was later incorporated into Shepard's second novel, Life During Wartime. Other outstanding stories, many of them award nominees, include "The End of Life as We Know It," "A Traveler's Tale," "The Man Who Painted the Dragon Griaule," and "A Spanish Lesson." The Jaguar Hunter won the 1988 World Fantasy Award for best collection. Shepard's second volume of short stories, The Ends of the Earth (1991), also a World Fantasy Award nominee, includes such fine pieces as "Delta Sly Honey," the award-nominated 4
    5. "Shades," "The Ends of the Earth," and "Surrender." Compare James Tiptree's Tales of the Quintana Roo(1986). See also FANTASY The Luck of Brin's Five WILDER, CHERRY (pseud. of Cherry Barbara Grimm)(Atheneum, 1977) Young adultScott Gale, navigator of a terran bio-survey team on Torin, crash-lands and is found and befriended by Dorn, member of the family called Brin's Five. According to custom, the family considers Scott a Diver and their new "luck." Through the ensuing adventures-in particular, those involving flying machines and air races-and the dangerous intrigue of those opposed to change, Scott proves he is indeed a "luck" and precipitates a new openness to change among the people. Although the narrative pace flags occasionally, the novel creates an original world and culture vaguely Oriental. Sequels are The Nearest Fire (1980), which just as engagingly continues to detail Torin, and The Tapestry Warriors (1983). Compare Laurence Yep's Sweetwater. See also PLANETARY ROMANCE A Song for Lya and Other Stories MARTIN, GEORGE R(AYMOND) R(ICHARD)(Avon,1976)The title story of this collection (Hugo winner, 1975) is one of several notable studies of an alien species whose biology is such that their religious faith in life after death has material foundation. One of the protagonists goes native to take advantage of this opportunity, but her lover cannot. Martin is generally at his best in medium-length stories. Nightflyers (reprinted as a book, 1985) is another story of contact with mysterious aliens, while the title story of the collection Sandkings (1981; Hugo winner, 1980) is a memorable account of insectile "pets" learning to see their "owners" in a new light. His other collections are Songs of Stars and Shadows (1977), Songs the Dead Men Sing (1983), and, most recently, Portraits of His Children (1987), whose Nebula-winning title story concerns an author whose stories quite literally come alive. See also ALIENS Macroscope ANTHONY, PIERS (pseud. of Piers Anthony Jacob)( Avon, 1969)The macroscope is an instrument allowing human observers access to the wonders of the universe. When Homo sapiens is relocated in this cosmic perspective, the narrative shifts to a quasi-allegorical mode in which the symbolic significance of astrological lore is reworked. A more extended exercise in the same vein is the trilogy God of Tarot (1979), Vision of Tarot (1980), and Faith of Tarot (1980), which similarly attempts to display a modern philosophy of life by reinterpreting the apparatus of an occult system. A future series of this type, using even more baroque apparatus and taking its pretensions even more seriously, is The Incarnations of Immortality, a seven-volume saga begun with On a Pale Horse (1983). See also COMMUNICATIONS The Whole Man BRUNNER, JOHN(Ballantine, 1964) Brit. title: Telepathist(1965)Developed from two novellas. A crippled and deformed social outcast is nearly destroyed by his telepathic powers, but learns to use them to create therapeutic dreams for others and eventually to create a new art form. Good characterization and sensitive narration. Compare Robert Silverberg's Dying Inside and Roger Zelazny's THE DREAM MASTER . See also PSI POWERS Walk to the End of the World CHARNAS, SUZY MCKEE( Ballantine, 1974)In a grim, postholocaust world, the Holdfast is a nightmarish, intensely patriarchal society where women are treated as no more than subhuman breeders of the next generation of men. 5
    6. The symbolically named Alldera escapes from captivity to the wilderness and a new life. In Motherlines (1978) she discovers a number of all-female societies, none of them utopian. Although both novels have occasional weaknesses in style and plot, they serve as powerful indictment of patriarchal attitudes. The Furies (1994), set much later, chronicles Alldera's return to the Holdfast at the head of a conquering army. Compare Sally Miller Gearhart's The Wanderground (1978) and Sheri S. Tepper's THE GATE TO WOMEN'S COUNTRY. See also FEMINISM The Space Merchants POHL, FREDERIK, and C(YRIL) M. KORNBLUTH(Ballantine, 1953)Serialized in Galaxy, 1952, as "Gravy Planet." Between the 1930s and the 1950s the target of social criticism in America shifted from Wall Street to Madison Avenue. In this novel, reflecting that shift, the world of the future-an overcrowded, resources-starved future-is ruled by two rival advertising agencies. Thematically related to the mainstream novel (and film) The Hucksters, but carried out to a SATIRICreductio ad absurdem.Kornbluth later stated that he and Pohl packed into this story everything they hated about advertising, and it came out with Swiftian savagery. One of the first novels by writers with primary roots in the pulps to make an impact in mainstream circles, and, by mainstream measurements a bestseller. A sequel by Pohl (after Kornbluth's death), is The Merchants' War (St. Martin's, 1984); both are collected as Venus, Inc. (Nelson Doubleday, 1985). Untouched by Human Hands SHECKLEY, ROBERT(Ballantine, 1954)Sheckley's first story collection, and a brilliant debut, contains "Seventh Victim," in which an otherwise conventional near-future society sanctions the lethal but apparently stress-reducing game of Hunter and Victim; it was made into an effective movie, Tenth Victim. "The Monsters," a straight-faced exercise in cultural relativism, has one of the most startling opening lines in all science fiction (or, indeed, in all fiction). "Specialist" carries Adam Smith's stodgy Division of Labor to its ultimate logical conclusion; "Cost of Living" does the same with the problem, already severe in the 1950s, of mounting consumer debt. The U.K. edition published by M. Joseph, 1955, drops and replaces two stories. Sheckley's voice represented an early break with, and fresh contrast to, the styles and themes of Golden Age SF. Compare William Tenn, OF AII POSSIBLE WORLDS . Sheckley enthusiasts should investigate The Collected Short Stories of Robert Sheckley, a five-volume set issued in 1991. See also SATIRE Of All Possible Worlds TENN, WILLIAM (pseud. of Philip Klass)(Ballantine, 1955)Seven stories and an essay, "On the Fiction in Science Fiction," in this first collection by a writer with an even more savage wit than Robert Sheckley, if that be possible. Memorable items include "Down Among the Dead Men," in which recycled soldiers' corpses are fitted out to fight again because the world is running out of cannon fodder; "The Custodian," a last-person-on-earth story, sort of a jazz variant on Mary Shelley's The Last Man; and "The Liberation of Earth," a sarcastic parable on the hapless fate of small nations invaded and counterinvaded by ideologically well-intentioned superpowers. A U.K. edition (M. Joseph, 1956) drops two stories and adds three, including "Project Hush," a satire on the fetish of military security, and "Party of the Two Parts," which makes fun of prurience from an unusual angle. Those two stories may also be found in another U.S. 6
    7. collection of Tenn's work, The Human Angle (Ballantine, 1956). See also SATIRE Ringworld NIVEN, LARRY(Ballantine, 1970)An exploration team consisting of an exotic mix of humans and aliens investigates a huge artifact occupying a planetary orbit around a sun. A novel of imaginary tourism; its real hero is the artifact, whose nature is further explored and explained in Ringworld Engineers (1980). Compare Arthur C. Clarke's RENDEZVOUS WITH RAMA. Hugo winner, 1971; Nebula winner, 1970. See also BIG DUMB OBJECTS A Case of Conscience BLISH, JAMES(Ballantine, 1958)Except at the simplest level (the overthrow of the fundamentalist dictatorship in Robert A. Heinlein's "If This Goes On-") RELIGION in Golden Age SF was almost as taboo a subject as sex. (This is one more demonstration of difference between U.S. and U.K. sensibilities; compare the serious theological argument of C. S. Lewis and, in an entirely different way, of Olaf Stapledon.) James Blish tackled the subject head-on. Lithia is a newly discovered planet whose intelligent inhabitants have developed a culture that is completely ethical, rational, and without religion. The very absence of visible moral evil in them makes them, in the eyes of Jesuit priest/biologist Ramon Ruiz-Sanchez, creations of the devil. He brings one of them in embryo back to Earth; it grows up traumatized (by Earth's own moral evil?), creates social chaos, flees back to Lithia followed by the priest, who exorcises the planet, which is immediately (coincidentally?) destroyed. A rich, ambiguous, deep-cutting probe into the most ultimate of concerns. HW, 1959 The Lovers FARMER, PHILIP JOSe(Ballantine, 1961) Recommended ed.: Ballantine, 1979Expanded from a 1952 story in Fantasy & Science Fiction that provoked controversy at the time for its SEXual content. Hero and his wife, on a wretchedly overpopulated Earth ruled with fiendish ingenuity by an oppressive state church (the "Sturch") that considers all sex evil except for procreation, are-understandably!-unhappily married. Sent to help kill off an intelligent insect-like race on a planet slated for colonization, the man falls in love with a female of another alien species, which can mimic human appearance and behavior up to and including sex, but the consequences are tragic and horrible. Films like Alien and its sequels may have taken the edge off the raw shock this story would have given some readers a generation ago. Compare Gardner Dozois, Strangers; contrast Lester del Rey, The Eleventh Commandment. See also BIOLOGY Neutron Star NIVEN, LARRY(Ballantine, 1968)The first collection of Niven's hard SF stories, early works developing the Known Space future history. The title story (Hugo winner, 1967) is one of several in which Beowulf Shaeffer is blackmailed into taking on a dangerous mission in an exotic environment. The bibliography of Niven's collections is complex, stories being recombined into some later selections, but The Shape of Space (1969), All the Myriad Ways (1971), and A Hole in Space (1974) preserve most of the important early fiction. Tales of Known Space (1975) is useful for the notes about the future-historical background. The title story of Inconstant Moon (1973) (Hugo winner, 1972; also in All the Myriad Ways) is a marvelously vivid story in which people on the night side of the world realize that the sun has gone nova when the Moon becomes much brighter. A more recent, but relatively minor collection is Limits (1985), which 7
    8. includes a number of collaborative stories. N-Space (1990) and Playgrounds of the Mind (1991) are retrospective collections covering Niven's entire career. These volumes include essays, novel excerpts, appreciations by other writers, and bibliographies, but leave out some of Niven's better early stories. See also HISTORY IN SF Startide Rising BRIN, DAVID(Bantam,1983)The intelligent species of Earth (men, apes, and dolphins) seem to be highly exceptional in having advanced to technological sophistication without the alien Patrons that generally supervise the "uplift" of sentient species throughout the galactic culture. Now a dolphin-commanded starship has made a significant discovery in deep space, but must take refuge in an alien ocean from its rivals. While the dolphins struggle desperately to survive, the starships of a number of alien races do battle overhead for the prize. Superior SPACE OPERA of a very high order. Brin's "Uplift" universe was first introduced in Sundiver (1980). Compare Larry Niven's Known Space series. Hugo winner, 1984; Nebula winner,1983 The Female Man RUSS, JOANNA(Bantam, 1975)A contemporary woman encounters three "alternative selves," including a version from the feminist utopia Whileaway, a version from a world where patriarchy is more powerful and more brutally imposed, and a version from a world where the sex war has exploded into armed conflict. The juxtaposition of these alternatives, phantasmagoric and very witty, provides an extraordinarily rich and thought-provoking commentary on sexual politics. A key novel of feminist SF. Compare Marge Piercy's WOMAN ON THE EDGE OF TIME and Josephine Saxton's Queen of the States . See also FEMINISM Venus of Dreams SARGENT, PAMELA(Bantam, 1986)A long novel about the relationship between two people involved in a project to terraform VENUS. The book is carefully constructed and delicately handled, with some striking imagery to set off the love story. The political background is complex. ln the sequel, Venus of Shadows (1988), humans have descended to the partially terraformed surface, living in domed cities. Although the settlers are able to control the planet, they are unable to control themselves, and political and religious rivalries begin to tear the colony apart. Compare Kim Stanley Robinson's RED MARS . Strange Invasion KANDEL, MICHAEL(Bantam, 1989) Shapeshifting alien invaders turn Earth into a tourist site, bizarrely unsettling the global political balance. Wildly funny satire with a sting in its tail from the renowned English translator of Stanislaw Lem. Contrast Fredric Brown's Martians, Go Home! (1955). See also INVASION Growing up Weightless FORD, JOHN M. (Bantam, 1993)Thirteen-year-old Matt Ronay lives in a crowded, complex lunar society, which enjoys the benefits of highly advanced CYBERNETICS but is constrained by its limited water resources. Matt is inventive and exceptionally bright, but lives in horror of his father, a successful public figure who seems to Matt a kind of monster. With his equally brilliant friends, Matt conspires to take an unauthorized expedition to the far side of the MOON, a journey that tests his resources and forces him to confront his fears and prejudices. Ford's vision of the crowded, information-dense interstellar civilization is a dazzling one, 8
    9. and his novel-narrated in one long scene, without breaks of any kind-is demanding but exhilarating. Compare Robert A. Heinlein's THE MOON IS A HARSH MISTRESS for a very different view of life on the Moon. (GF) See also COMMUNICATIONS In the Mothers' Land VONARBURG, ELISABETH(Bantam, 1992)Vonarburg's second novel is set in the same background as her first, the award-winning The Silent City, a world devastated centuries earlier by ecological catastrophe, in which some centers of high technology remain in enclaves amid pastoral wilderness. The land of Bethaly is governed by a benign matriarchy, which deals with the problems facing it-a paucity of fertile males; the threats posed by a radiological Badlands nearby; an unexplained malady that kills most children before their seventh birthdays-in ways that strike the reader as both understandable and deeply strange. Lisbei grows to early adolescence in a communal yet stratified society, first as a young child in the "garderies" (where children are tended anonymously and left largely untaught, so the society need not expend emotional and other resources on charges who will soon die), then as an adolescent being groomed for high administrative office, and then after as an itinerant young adult. Her growth to adulthood affords the reader a comprehensive and complex tour of the novel's imagined world. The most striking feature of In the Mothers' Land is its dramatization of developing consciousness: long passages are told through the point of view of Lisbei as a young child, who sees both strange and mundane events as equally marvelous. Jane Brierley's excellent translation conveys this Proustian language in lyrical English, making Vonarburg's long novel a pleasure to read. Compare Kate Wilhelm's WHERE LATE THE SWEET BIRDS SANG and C. J. Cherryh's CYTEEN. (GF) See also CANADA Stranger in a Strange Land HEINLEIN, ROBERT A(NSON)(Putnam, 1961)Of all Heinlein's works this is the best known. It reached large audiences farther away from his science fiction roots than anything else he wrote, and inspired insurgencies both right and left. An uncut version was issued posthumously by Putnam in 1991. The contradictory libertarian and authoritarian elements in this writer are both present in the saga of Valentine Michael Smith, born human, raised Martian, who returns to Earth a religious, political, and sexual MESSIAH. The first third of the novel, set in one of Heinlein's typically believable sociopolitical milieus (a world government that has grown out of the present United Nations, with the secretary-general as its focus) is well and suspensefully told. Soon thereafter, however, Heinlein ascends into the pulpit where, sadly, this highly creative writer would remain for the next quarter-century, preaching, with unfortunately few lapses into good storytelling (that is, showing, not telling) such as The Moon ls a Harsh Mistress. Stranger's cultural impact on an entire generation is, nonetheless, undeniable. Hugo winner, 1961 The Ring of Ritornel HARNESS, CHARLES L(EONARD)(Gollancz, 1968)A fine SPACE OPERA in which a corrupt galactic empire faces apocalyptic destruction as the contending forces of chance and destiny (personalized in rival deities) resolve their conflict. Will the cosmos be reborn and renewed when the cycle ends? The themes echoed here from the earlier Flight Into Yesterday (1953) recur in Firebird (1981), and these three works are among the most stylish modern space operas. Compare lan Wallace's Croyd series and Barrington J. Bayley's The Pillars of Eternity (1982). 9
    10. Impossible Things WILLIS, CONNIE(Bantam, 1994)Willis became one of the most celebrated SF authors of the 1980s, winning numerous awards for her scrupulously crafted, emotionally intense fiction. Like her 1985 collection Fire Watch, the present volume favors novelettes and novellas, often dealing with "classic" SF themes- TIME TRAVEL or post-disaster stories-whose careful treatment and low-keyed style belie their deep feeling and emotional complexity. "The Last of the Winnebagoes" (Hugo winner, 1989; Nebula winner, 1988) tells a complex story of guilt and recrimination in a near future in which dogs have become extinct after a viral epidemic; the seemingly prosaic theme in fact reinforces its powerful impact. Several of the other stories approach farce; the best of them, "Even the Queen", makes screwball comedy out of the subject of menstruation. (GF) See also HOLOCAUST AND AFTER The Sound of His Horn SARBAN (pseud. of John W. Wall)(Davies, 1952) Recommended ed.: Ballantine, 1960A British POW "escapes" from a Nazi prison camp into an alternate future world in which the Nazis won World War II. Kingsley Amis aptly pointed out in his introduction to this story that although most U.S. SF dystopias of the 1950s (for example, those of Frederik Pohl and C. M. Kornbluth) were urban in setting and tone, rural life can know horrors of its own; in this case, a forested estate where feudal barons stage great hunts with human beings as prey (hence the story's title, quoted from the Scottish fox hunting ballad "John Peel"). An understated but quite harrowing tale. Compare the even more chilling "Weihnachtsabend" by Keith Roberts (in David Hartwell, World Treasury of Science Fiction ); contrast the Japanese-occupied San Francisco locale in Philip K. Dick, THE MAN IN THE HIGH CASTLE . See also HITLER WINS Gateway POHL, FREDERIK(St. Martin's, 1977)Mankind "inherits" the stars by finding and exploiting (with considerable difficulty) the starships and gadgets left behind by the alien Heechee. The flippant, guilt-ridden hero has greatness thrust upon him by degrees as he picks up his winnings in the game of Russian roulette that men must play in gaining control of the Heechee artifacts. His luck continues to hold in Beyond the Blue Event Horizon , which ends with his finding out why the Heechee ran away. This is fine contemporary space opera, with some neatly ironic characterization. Less successful are the later volumes in the series, Heechee Rendezvous(1984), in which the aliens finally arrive on stage, Annals of the Heechee (1987), and The Gateway Trip: Tales and Vignettes of the Heechee (1990). Hugo winner, 1978; Nebula winner, 1977. See also BIG DUMB OBJECTS The Sirens of Titan VONNEGUT, KURT(Dell, 1959)In this second novel Vonnegut took some of the standard gambits of SF (time travel, interplanetary exploration, an invasion from Mars) and put a reverse-English spin on them. This is not so much a work of science fiction as a takeoff from, or jazz variation on, the genre; this novel's closest kin in the modern period may be the works of Douglas Adams. But Vonnegut is after bigger game than is Adams: "I was a victim of a series of accidents," the story's stumbling hero proclaims. "As are we all." Monuments on Earth and on Saturn's satellite Titan exist only to convey a message from one galactic civilization to another; and the message is utterly banal. The high "Tralfamadorian" culture that spans 10
    11. all time simultaneously will reappear as the matrix for the adventures of Billy Pilgrim in Vonnegut's most bitterly autobiographical novel, SLAUGHTERHOUSE-FIVE. The journeyings in this earlier work, from Earth to Mars to Mercury to Titan, are not the jaunty adventures they would have been in the pulp; they are darkly disturbing, which may be a reason conventional science fictionists were slow to respond to this work. The Dell paperback preceded hardcover publication by Houghton Mifflin (1961). See also ABSURDIST SF The Ophiuchi Hotline VARLEY, JOHN(Dial, 1977) Contact with aliens at first brings new opportunities, but then come the Invaders, determined to take over the solar system and expel humankind. What future can there be for displaced persons in the galactic civilization? Compare David Brin's STARTIDE RISING. See also INVASION In the Ocean of Night BENFORD, GREGORY(Dial, 1977)A fix-up novel in which the hero looks for evidence of the existence of aliens, and ultimately meets one; contact may invigorate a world becoming gradually decadent. In a sequel, Across the Sea of Suns (1984), the difficulty of coming to terms with alien beings, and the necessity of so doing, lie at the heart of a complex plot involving the confrontation of alternative human philosophies of life. Thoughtful hard SF, its visionary element less wide-eyed than in Poul Anderson's The Avatar and other like-minded works. See also ALIENS Mission of Gravity CLEMENT, HAL (pseud. of Harry Clement Stubbs)(Doubleday, 1954)Serialized in Astounding (April, May, June, July 1953), this novel in its initial form was accompanied by an article, "Whirligig World"(June, 1953; reprinted in some later editions), in which Clement described how, in consultation with Isaac Asimov and others, he concocted the planet on which the story takes place. That is an accurate description of the way writers like Clement work: get the science right and it will drive the plot. But this is also a First Contact story of a very high order, between explorers from Earth and a most unhuman sentient native species, to the benefit of both; rejecting the cliche one still sees in movie and TV science fiction that alienness equals evil. Clement stated on more than one occasion that Mission of Gravitywas his personal philosophical bottom line, and the novel deserves a careful reading not only for its scientific ingenuity but for the working out of that philosophy. A major work. Sequel is Star Light (Ballantine, 1971). Compare Robert L. Forward, DRAGON'S EGG ;Poul Anderson, The Enemy Stars . See also GRAVITY Pilgrimage: The Book of the People HENDERSON, ZENNA(Doubleday, 1961)Short stories that originally appeared in Fantasy & Science Fiction, with connecting narrative. "The People" are humans who came to Earth after their sun became a nova and went into hiding. They have telepathy and telekinesis, which they use solely for benevolent purposes and conceal most of the time lest they rouse hysteria against them as "witches." The host culture they live among is southern Appalachian, which Henderson understood and portrayed accurately and sympathetically; reminiscent in that regard of the fantasy (not the SF) of Manly Wade Wellman. Confrontations with Earth folk that endanger their cover drive most of the story plots, which are saved from sentimentalism by the People's realization that in any revelation of what they are their existence may be at stake; compare Howard Fast, "The First Men," and 11
    12. Wilmar H. Shiras, "In Hiding." A sequel is The People: No Different Flesh(Gollancz, 1966). The saga of the People lent itself readily to a TV series format, which aired in the 1970s. See also PSI POWERS The Dragon in the Sea HERBERT, FRANK(Doubleday, 1956) Variant titles: 21st Century Sub, (Avon, 1956); Under Pressure, (Ballantine, 1974)Originating as an Astounding serial titled "Under Pressure," this was Herbert's maiden voyage, so to speak. Far transcending its routine plot-a "subtug" seeks to steal oil deposits from the unspecified enemy's continental shelf, with a crew, one of whom must be a spy (shades of The Hunt for Red October!)-the story conflates the deep, closed-in submarine environment with the crew members' psychic stress; they are both materially and mentally "under pressure." The seemingly half-mad captain has echoes of Captain Ahab, and there are allusions also to the Book of Job and Freud. The writer who one day would produce Dune was well on his way. See also PSYCHOLOGY and UNDER THE SEA The Martian Chronicles BRADBURY, RAY (Douglas)(Doubleday, 1950)U.K. title: The Silver Locusts (Hart-Davis, 1951)Even after forty years there is Golden Age magic in The Martian Chronicles. What Bradbury did in effect was transplant his boyhood "Green Town, Illinois" to Mars, and there work out the two planets' tragic but ultimately redemptive destiny. The stories worked together into this book had been previously published in the 1940s; some in mainstream magazines, most in SF pulps, notably Planet Stories. Several of the chapters have been reprinted in The Stories of Ray Bradbury, but not all; one notable omission, ". . . And the Moon Be Still as Bright," originally in Thrilling Wonder Stories (June, 1948), contains the key to Bradbury's entire argument. Conversely, expanded versions of The Martian Chronicles published in 1963 (Time, Inc.) and 1977 (Doubleday), added other Mars stories that had not been included in this initial edition, and such stories do appear in the Stories. ln 1980 The Martian Chronicles was made into an episodic, uneven, but at times highly effective TV miniseries, starring Rock Hudson as the spaceship captain. By any measure this work is a major landmark, both as SF and as literature. See also MARS Novelty CROWLEY, JOHN(Doubleday, 1989)This collection contains four stories, the novella "Great Work of Time," and three shorter pieces, "In Blue,""Novelty," and "The Nightingales Sing at Night.""Great Work of Time, " winner of the 1990 World Fantasy Award and the centerpiece of the book, is an ALTERNATE HISTORY story in which Cecil Rhodes, founder of Rhodesia, also set up the Otherhood, a secret society of time travelers whose purpose is to preserve the British Empire. Due to their meddling, England wins World War I without help and dominates the world to this day. Eventually, however, the Otherhood discovers that its present course will lead to disaster and that, to save the Earth, the Empire must fall. Crowley is one of science fiction's finest stylists and these stories are a delight. Compare Michael Flynn's In the Country of the Blind (1990) and Poul Anderson's Time Patrol (1991). Lord of Light ZELAZNY, ROGER (Doubleday, 1967)A colony world has used its powerful technology to recreate Hindu culture, its elite assuming the roles of the gods. The hero first rebels against these "gods" on their own terms, but then opposes them more successfully with a new faith. Pyrotechnically dramatic and imaginatively fascinating. The similar Creatures of Light and 12
    13. Darkness (1969), which draws heavily on Egyptian MYTHOLOGY, is less successful. Hugo winner, 1968 Nova DELANY, SAMUEL R(AY)(Doubleday, 1968) A grail epic as space opera, whose hero must trawl the core of an exploding star for the fabulous element that is the power source of the galactic civilization. The most romantic and action-packed of Delany's novels, but no less sophisticated for that. Beautifully written. See also GALACTIC EMPIRES What Mad Universe BROWN, FREDRIC(Dutton, 1949)After a succession of well-crafted murder mysteries this was Brown's first SF novel. The protagonist, a science fiction magazine editor, is thrown into an alternate universe where space travel was accidentally discovered in 1903 and General Eisenhower is now-1949-leading a space war against invading Arcturans. In this universe every cliche in pulp science fiction exists as a reality: bug-eyed monsters, young women in see-through space suits, a superhero who is also a scientific genius-and who turns out to be a particularly vapid and obnoxious science fiction fan in "our" universe who had been writing nasty letters to the editor-hero's magazine. Brown wrote this story before the pulps were quite extinct, so the SATIRE had a recognizable bite. Vis-a-vis science fiction in the visual media it still does. Compare Douglas Adams, THE HITCHHIKER'S GUIDE TO THE GALAXY ; contrast Harry Harrison, Bill, the Galactic Hero (1965). Inverted World PRIEST, CHRISTOPHER(Faber, 1974)A city is subject to space-time distortions that force its inhabitants to move it en masse, pursuing a point of stability across a hyperbolic surface, although observers from outside see it progressing across Europe. A fascinating juxtaposition of incompatible worldviews, with some fine imagery in the description of the hero's mission away from the city. Compare Philip K. Dick's Martian Time-Slip . See also POCKET UNIVERSE A Wrinkle in Time L'ENGLE, MADELEINE(Farrar, 1962); Young adultMeg and Charles Wallace Murray, along with Calvin, Meg's classmate, become involved in an attempt to find Dr. Murray, a brilliant scientist who has mysteriously disappeared. Under the direction of Mrs. Who, Mrs. Whatsit, and Mrs. Which, three "angels," they "tesseract" to Camazotz, a distant star, where the children must save Dr. Murray, held captive by "It" in Central Intelligence. Eventually, it is the self-effacing love of Meg, and not the brilliant intelligence of Charles, that saves their father. One of the contemporary fantasy-science fiction novels that enmesh young people in planetwide struggles between good and evil. Well written, firm characterization, provocative themes. Contrast Robert A. Heinlein's The Rolling Stones . Companion novels are A Wind in the Door (1973), in which Charles Wallace's bloodstream becomes an arena for a clash between good and evil; A Swiftly Tilting Planet (1978), in which an older Charles Wallace, aided by Meg and the unicorn Gaudior, goes back in time to resolve several moral crises and avert nuclear catastrophe; and An Acceptable Time (1989). 1963 Newbery Award; 1965 Lewis Carroll Shelf Award; 1965 Sequoyah Children's Book Award; 1980 American Book Award for A Swiftly Tilting Planet. See also CHILDREN IN SF Rogue Moon BUDRYS, ALGIS(Gold Medal, 1960)This probes a major metaphysical problem 13
    14. with the widely used SF concept of matter transmission ("beaming aboard," in Star Trek parlance): If a person is "scanned," sent in dissociated form to wherever, and then reassembled, does not the scannee (from his/her own point of view) cease to exist? In this instance a Moon-based receiver merely duplicates the traveler, leaving the original on Earth, resulting eventually in a situation in which the transportee must die, so that there will not be two of him. Budrys cuts deeply into some age-old questions about the nature of the self, or soul. But this is no abstract philosophic discourse; the situation is handled with unsparing realism, and the psychic aberrations of the major characters led James Blish to exclaim when the book first came out that they were all certifiably insane. A major work, well meriting its Hugo nomination and (in novella form) Nebula Award. See also MATTER TRANSMISSION I, Robot ASIMOV, ISAAC(Gnome, 1950)Nine stories from early-forties Astounding, which illustrate Asimov's (and, perhaps, John W. Campbell's) "three laws of robotics." With the memorable exception of Eando Binder's "I, Robot" (Amazing, 1939), this was the first major breakaway from the ROBOTS-as-menace cliche; contrast Mary Wollstonecraft Shelley, Frankenstein , Karel Capek, R.U.R. , and Miles J. Breuer, "Paradise and Iron" (1930). Asimov broke with another genre cliche in this series by introducing a high-powered scientific thinker who was not male, Dr. Susan Calvin. Harlan Ellison wrote a film script from these early robot stories of Asimov, structurally modeled on Citizen Kane, published serially in Isaac Asimov's Science Fiction Magazine, 1985; Ellison's adaptation of the story "Liar!" is especially powerful. Asimov continued to write robot stories throughout his life; many are collected in The Rest of the Robots (Doubleday, 1964). Rendezvous with Rama CLARKE, ARTHUR C(HARLES)(Gollancz, 1973) A vast alien spaceship passes through the solar system, using the Sun's gravity to boost its velocity. Human explorers witness the brief blossoming of its artificial life system, but do not meet its makers. Ten years later, in Rama II (1989) by Clarke and Gentry Lee, a second spaceship repeats the maneuver and a second group of human explorers is dispatched. When the Raman ship departs the solar system, however, three of the explorers go along for the ride. In Clarke and Lee's The Garden of Rama (1991), by far the most successful of the two writers' collaborations, the three humans aboard the Raman vessel spend 13 years on their journey. Not expecting to see Earth again, they settle in, have babies, and explore in much greater depth. They also meet other alien residents of the vessel, though not the Ramans themselves. Eventually reaching a gigantic space station, they Iearn much more about the Ramans, though enough mysteries remain for a promised fourth volume. Compare Larry Niven's RINGWORLD and Bob Shaw's Orbitsville for similarly charismatic artifacts. Hugo winner, 1974; Nebula winner 1973. See also BIG DUMB OBJECTS Golden Witchbreed GENTLE, MARY(Gollancz, 1983)Lynne Christie, envoy of Earth Dominion, has been sent to Orthe to determine whether its humanoid inhabitants are ready for diplomatic and economic relations. She discovers a complex world with factions both friendly to and hostile to her goal. Gentle's Orthe is a superb example of world building, comparable in many ways to Frank Herbert's DUNE or Ursula K. Le Guin's THE LEFT HAND OF DARKNESS . Compare 14
    15. also C. J. Cherryh's THE FADED SUN . The excellent sequel is Ancient Light (1987). See also PLANETARY ROMANCE The Embedding WATSON, IAN(Gollancz, 1973)An intricately constructed novel about the power of language to contain and delimit "reality." It features an experiment in which children are taught an artificial language to alter their perception of the world; an Amerindian tribe whose use of psychotropic drugs is associated with transformations of their native tongue; and alien visitors who seek to understand humans via their communicative artifacts. Original and mind stretching, something of an imaginative tour de force. Compare Samuel R. Delany's BABEL-17. See also LINGUISTICS The Difference Engine GIBSON, WILLIAM, and BRUCE STERLING(Gollancz, 1990)The Victorian scientist Charles Babbage designed a primitive but workable mechanical computer. He never built it, of course, but what if he had? The novel postulates an enormously accelerated Industrial Revolution fueled by construction of gigantic Babbage machines and, as a result, a social revolution as well. Lord Byron, leader of the Industrial Radical party, has become Prime Minister, and the country is largely run by a science-based meritocracy. Against this wonderfully complex backdrop, the authors work a fairly straightforward mystery plotline. It seems that a valuable deck of programming cards has been stolen and a variety of powerful people are willing to do virtually anything to recover them. One of the joys of this rather erudite novel lies in spotting the many historical personages and figuring out exactly how their lives have changed. Compare Michael Flynn's use of the Babbage machine in In the Country of the Blind (1990). See also STEAMPUNK On Wings of Song DISCH, THOMAS M(ICHAEL)(St. Martin's, 1979)The hero, growing up in the ideologically repressive Midwest, yearns to learn the art of "flying," by which talented individuals can sing their souls out of their bodies. He loses his freedom, his wife, and his dignity to this quest, but in a cruelly ambiguous climax might have achieved an absurd triumph. Clever and compelling; a disturbing satire subverting SF myths of transcendence. Contrast STARDANCE by Spider and Jeanne Robinson and Arthur C. Clarke's CHILDHOOD'S END. See also ARTS Roderick SLADEK, JOHN T(HOMAS)(Granada, 1980) Original U.S. edition (1982) was abridged, but 1987 reprint was completeFirst part of a two-decker novel completed in Roderick at Random (1983). A satirical bildungsroman in which the title character, a ROBOT, slowly develops through eccentric infancy to detached maturity while various enemies attempt to locate and destroy him. Very funny, picking up themes from The Reproductive System in presenting its satirical account of man/machine relationships but extrapolating them to new extremes. If Roderick is the epitome of the good robot, his opposite is found in Sladek's Tik-Tok (1983). Tik-Tok is a robot whose "asimov circuits" malfunction, allowing him to become as morally defective as the humans who made him and thus enabling him to build a spectacular career for himself. A fine black comedy. Compare David Gerrold's When HARLIE Was One . Star Man's Son: 2250 A.D. NORTON, ANDRE (pseud. of Alice Mary Norton)(Harcourt, 1952) Variant 15
    16. title: Daybreak 2250 A.D.; Young adultRejected by his father's clan, young Fors, a mutant, runs away to prove himself a Star Man, or explorer. Along with Arskane, a black youth who befriends him, Fors is successful in uniting the several clans against their common enemy, the Beast Things, and in instilling in the former the dream of starting over without repeating the mistakes of the Old Ones. The author's first SF novel, one of her best, both a fine study of coming of age and a convincing portrait of postholocaust world. Compare Robert A. Heinlein's Farmer in the Sky or Red Planet (1949). See also CHILDREN IN SF Graybeard ALDISS, BRIAN W(ILSON)(Faber, 1964)Unwise experimentation with nuclear devices has led to the sterilization of mankind, and there seems to be no hope for the future. The central characters, waiting for the END, consider the ironies and frustrations of their situation. A key work in the tradition of British disaster stories. Compare F. Wright Moxley's Red Snow (1930) for an earlier variation of the theme. Heroes and Villains CARTER, ANGELA(Heinemann, 1969)After the HOLOCAUST, the flame of culture and learning is kept alight by Professors guarded by Soldiers, while barbarians and mutants threaten to extinguish it. The heroine, a Professor's daughter, runs off with a barbarian and enjoys her just desserts. A strange combination of the Iyrical, the ironic, and the author's usual flirtation with horrors. The Time Machine WELLS, H(ERBERT) G(EORGE)(Heinemann, 1895) The Definitive Time Machine, ed. by Harry M. Geduld, Indiana Univ. Press, 1987Critics have emphasized the splitting of humanity into the Eloi and Morlocks so much as Wells's vision of the outcome of the Marxist class struggle that its implication, taken from Thomas Huxley, that humanity cannot control the cosmic EVOLUTIONary process, and is, therefore, its victim, has not been adequately emphasized. One should not overlook the fact that the book's climax is the vivid scene of the dying Earth. It must be read as being extremely pessimistic. The final speech of the traveler reveals the inner tensions within Wells that may explain why he turned increasingly to a heavy didacticism. See also TIME TRAVEL The Handmaid's Tale ATWOOD, MARGARET(McClelland & Stewart, 1985) DYSTOPIAn novel of a world ruled by militaristic fundamentalism in which sexual pleasure is forbidden. Conception and childbirth have become difficult and the handmaid of the title belongs to a specialist breeding stock. The story is annotated by a historian in a further future, whose shape is not revealed. The 1990 film was somewhat sterile. Compare John Wyndham's "Consider Her Ways" (1956) and Suzy McKee Charnas's WALK TO THE END OF THE WORLD. The Atrocity Exhibition BALLARD, J(AMES) G(RAHAM)(Cape, 1970)U.S. title: Love and Napalm: Export U.S.A. (1972)A series of "condensed novels"-collages of images presenting a kaleidoscopic pattern of 20th century myths and motifs, particularly those that dominated the 1960s. Political assassinations, customized cars, the space program, the arms race, the media as brokers of celebrity-all are juxtaposed here in a nightmarish panorama of a culture out of control, subject to a cancerous malaise. Compare William S. Burroughs's Nova Express. See also NEW WAVE and MEDIA LANDSCAPE 16
    17. Riddley Walker HOBAN, RUSSELL(Cape, 1980) A POSTHOLOCAUST story in which gunpowder is rediscovered but set aside by the naively wise hero, who believes that mankind must find a new path of progress this time. The first-person narrative is presented in the decayed and transfigured dialect of the day and represents a fascinating linguistic experiment. Compare Brian W. Aldiss's Barefoot in the Head. Out of the Silent Planet LEWIS, C(LIVE) S(TAPLES)(Bodley Head, 1938)This was the initial volume of Lewis's acclaimed Space Trilogy, which constitutes as a whole a highly sophisticated Christian rebuttal to the worldview-today called "secular humanism"-of H. G. Wells. The religious dimension is least evident in this first volume, set on a well-realized, ecologically distinctive Mars. It is more so in the second, Perelandra (Bodley Head, 1943; variant title Voyage to Venus, Pan, 1953), in which the Garden of Eden temptation is replayed on a marvelously described ocean-covered Venus (this time humankind does not fall), and centrally so in the third, That Hideous Strength (Bodley Head, 1945; abridged as The Tortured Planet, Avon, 1958), which angered some American science fictionists when it first appeared because they misread it as an attack on science. Lewis's actual target was scientism. The trilogy has been compared to J. R. R. Tolkien's Lord of the Rings, but that would be to throw it into a "heroic fantasy" mold, which really does not fit. It can, however, be contrasted with James Blish's religious fantasies such as Black Easter (Doubleday, 1968) and The Day After Judgment(Doubleday, 1971). See also RELIGION A Canticle for Leibowitz MILLER, WALTER M(ICHAEL), JR. (Lippincott, 1960)Novelized from three F & SF stories in the fifties; happily, the seams do not show. The Earth plunges into a new dark age after nuclear war. Scientists, scapegoats blamed for the war, flee to monasteries, which shelter them; as in the previous downfall, the one coherent surviving social institution is the Catholic church. A new Renaissance, in a context of warfare between city-states, sees the rediscovery of electricity and, as an inescapable consequence, weapons development. Still later, a new high-tech civilization falls once again into nuclear war, although missionaries on a starship that got away will plant a new, autonomous church on a far planet. Bare-bones criticism cannot do justice to this outstanding work; it must be read, or rather experienced. Compare Orson Scott Card, Folk of the Fringe (1989), for a different church as the chrysalis of a new civilization. Hugo winner, 1960. See also HOLOCAUST AND AFTER and RELIGION 334 DISCH, THOMAS M(ICHAEL)(MacGibbon & Kee, 1972)A dystopian vision of future New York, focusing on various residents of a huge apartment house and other parties interested in it. A brilliant work, utterly convincing in its portraits of people trying to get by in a world they are powerless to influence or control. The most eloquent display of the pessimism that became newly acceptable in New Wave SF. Compare John Brunner's STAND ON ZANZIBAR. See also ARTS A Princess of Mars BURROUGHS, EDGAR RICE(McClurg, 1917)Published under the pseudonym Norman Bean as "Under the Moons of MARS" in All-Story (1912), A Princess of Mars introduces Burroughs's most epic adventure and his finest imaginary world, Barsoom, a construct based loosely on Percival Lowell's theories. Against 17
    18. a dying planet torn by strife, John Carter fights his way across the deserts, gaining the friendship of such warriors as Tars Tarkas of Thark and the love of the incomparable Dejah Thoris, princess of Helium. They live happily for nine years until by accident Carter ends up on Earth at the cave where he escapes marauding Apaches by willing himself to Mars. The Gods of Mars (1918) and The Warlord of Mars (1919), both seeing magazine publication in 1914, complete the personal saga of Carter. Eight other novels follow the adventures of his family and friends. This first novel introduced the conventions Burroughs used throughout his various series, including some of the tales of Tarzan, but no other series proved so effective. Permutations of Barsoom survive in the worlds of "swords and sorcery" so popular in contemporary SF. A Voyage to Arcturus LINDSAY, DAVID(Methuen, 1920)A classic allegorical romance in which the landscapes and inhabitants of the planet Tormance provide an externalization of the moral and metaphysical questions that preoccupied the author. Its incarnate theological system influenced C. S. Lewis's Out of the Silent Planet, and it also bears some similarity to George Macdonald's Lilith (1895), although it is very much a work sui generis. Lindsay's other metaphysical fantasies belong to the same species as Charles Williams's theological fantasies, but generally find Christian theology inadequate to their purpose (an exception is the posthumously published novel The Violet Apple, 1978). Devil's Tor (1932) is a particularly fine novel in this vein. See also PLANETARY ROMANCE Last and First Men STAPLEDON, (WILLIAM) OLAF(Methuen, 1930)An "essay in myth creation" documenting the entire future history of the human race and its lineal descendants. The "eighteenth men," living nearly 2 billion years in the future, look forward with equanimity to the end of the story. The book has dated somewhat, not just because its early chapters have been superseded, but also because evolutionary biology has advanced since the 1920s; nevertheless, it remains something of a masterpiece. The immediate sequel, however-Last Men in London(1932)-is less impressive, involving an elaborate commentary on the contemporary world from the imaginary viewpoint of one of the eighteenth men. The 1988 J. P. Tarcher reprint of Last and First Men includes a foreword by Greg Benford and an afterword by Doris Lessing. See also GENETIC ENGINEERING A Woman of the Iron People ARNASON, ELEANOR(Morrow 1991)Co-winner of the first annual James Tiptree Award for science fiction, which examines problems of gender. An ANTHROPOLOGICAL team from Earth discovers an alien society where women create all culture and technology, while men live in primitive style on the fringes of civilization. Compare Sheri S. Tepper's THE GATE TO WOMEN'S COUNTRY and Pamela Sargent's VENUS OF DREAMS for other variations on this idea. The Essential Ellison: a 35-Year Retrospective ELLISON, HARLAN(Nemo Press, 1987) Ed. by Terry Dowling, Richard Delap, and Gil LamontMore than one thousand pages of Ellison's work as a science fiction and fantasy writer, essayist, screenwriter, television and film critic, and all-purpose social commentator. Most of the classics and award winners are here, including "Pretty Maggie Moneyeyes," "I Have No Mouth and I Must Scream," "'Repent Harlequin!' Said the Ticktockman," "A Boy and 18
    19. His Dog," and "Deathbird." Less well known are some of Ellison's earlier stories and his nonfiction. See also FABULATION Gather, Darkness! LEIBER, FRITZ (REUTER)(Pellegrini & Cudahy, 1950)This was first a serial in Astounding in 1943, and built on the religious dictatorship theme pioneered by Robert Heinlein in "If This Goes On-" (Revolt in 2100, in The Past Through Tomorrow). Unlike the fundamentalist Protestant regime envisioned by Heinlein the structure of this one is basically Catholic, although with the magazine taboos of the time Leiber was careful to fuzz the details. His real innovation, which drives the plot, is a revolutionary underground whose goal is the restoration of political and particularly scientific freedom, but which wraps itself in the trappings of Satanism, complete with witches who zap around on jet-propelled broomsticks. A brainwashing of the hero that temporarily recruits him into the power elite he opposes ("memory can link anything") raises darker issues of social control, although at the end of the story the forces of enlightenment do prevail. Compare Lester del Rey, The Eleventh Commandment . See also RELIGION The Road to Corlay COWPER, RICHARD (pseud. of John Middleton Murry, Jr.)(Gollancz, 1978)The first of three novel-length sequels to the fine novella, "Piper at the Gates of Dawn" , which deals with the revival of a heretical cult in a post HOLOCAUST Britain dominated by oppressive religious orthodoxy. The cult, organized around the symbol of the White Bird of Kinship, enjoys the advantage that its most talented members can invoke and use a paranormal empathy, often associated with music. In A Dream of Kinship (1981) the cult has been transformed by the passing of centuries into an alternative orthodoxy, but in A Tapestry of Time (1982) it undergoes a further renewal. The books are Iyrical fantasies affirming the author's conviction that it is spiritual rather than technological development that truly constitutes human progress. U.S. editions include"Piper at the Gates of Dawn" as a prelude. Compare Ursula K. Le Guin's ALWAYS COMING HOME . The Island of Doctor Death and Other Stories and Other Stories WOLFE, GENE(Pocket Books,1980)Collection, including the title story and a novella that inverts its themes, "The Death of Doctor Island" (Nebula winner, 1973). They deal with the subtle interaction of "private" fictional worlds and "public" real ones. Wolfe is playing, as in The Fifth Head of Cerberus, with relationships between appearance and reality more subtle and mystifying than those to be found in such Philip Dick novels as Martian Time-Slip and DO ANDROIDS DREAM OF ELECTRIC SHEEP?. This preoccupation recurs in many of his other stories. Later Wolfe collections, all of them excellent, include Gene Wolfe's Book of Days (1981), Storeys From the Old Hotel (1988),Endangered Species (1989), and Castle of Days (1992). See also FABULATION The Man in the High Castle DICK, PHILIP K(INDRED)(Putnam, 1962)An alternate history in which Germany and Japan won World War II and partitioned the United States, except for the Rocky Mountain States, which were left in a kind of political limbo. Faction-ridden Nazism oppressively rules the Eastern United States (and is exploring Mars); the West Coast, however, and its Japanese overlords are working out a modus vivendi, exchanging Oriental and American cultural values. In this cosmos an underground novel circulates, in which the Allies won the war; but, characteristic of Dick's layers-within-layers 19
    20. approach to "reality," it is not quite our history. Dick stated that at crucial turning points in the plot he, the author, used I Ching to decide what his character would do next, and it may be a testament to that kind of divination that at the end everything does come out in the wash, sort of. This is Dick's most important early book. Younger readers may need to have identified for them the various World War II Nazi leaders who on this alternate time track were still around in 1962. Compare Gregory Benford and Martin H. Greenberg, Hitler Victorious. Hugo winner, 1962. See also HITLER WINS and ALTERNATE WORLDS Who? BUDRYS, ALGIS(Pyramid, 1958)They did not call them " CYBORGS" when this story was written; Budrys blended that theme with the competitive dehumanization inherent in the Cold War. A scientist of humble immigrant origins-a status in itself sufficient to make him suspect in some paranoid, subversiveness-haunted minds-is injured in a laboratory accident and falls into Soviet hands. The Russians equip him with a metal face and other mechanical parts. He returns to the United States and is forbidden to continue his research on the ground that nobody can prove who he really is. A strong indictment of the idiocies dignified at that time (and to a great extent still today) as "security," but a parable also of estrangement and alienation more generally. Compare Bernard Wolfe's LIMBO. Limbo WOLFE, BERNARD(Random, 1952)U.K. title: Limbo 90 (Secker, 1953) Recommended ed.: Carroll & Graf, 1987Hailed as America's answer to the two greatest British dystopias,Nineteen Eighty-Fourand Brave New World, this remarkable novel blends satire, Freudian psychoanalysis, outrageous puns, literary allusions, and straight-line scientific and technical extrapolation. After World War III, allegedly pacifist regimes come to power in what is left of the United States and the U.S.S.R., based on voluntary quadruple amputation. The assumption is that people cannot march against each other if they have no legs; to disarm is necessary, literally, to dis-arm. Of course, as a doctor learns who returns to this mad culture after 18 years on a remote island, the actual state of affairs is not one of peace and joy. All that was dysfunctional in the world of 1950 as Wolfe saw it is carried forward forty years into an appalling future, including a truly dismal forecast of the future of sex. Although lapsing at times into didacticism, especially toward the conclusion, the narrative is hard-driving and dramatic. The "author's notes" in the 1987 reprint describing the intellectual influences upon him when he wrote the story include both Norbert Wiener and A. E. van Vogt! By any measure, including that of "mainstream" literature, this is a major achievement. See also DYSTOPIAS Man Plus POHL, FREDERIK(Random, 1976)The protagonist is technologically adapted for life on MARS. The process by which he is made into an alien is revealed, ironically, to be part of a plan to save humanity from the coming self-destruction of a nuclear war. A convincing and critical reexamination of the theme of Ray Bradbury's The Martian Chronicles. A less successful sequel, Mars Plus (1994), was outlined by Pohl and written by Thomas J. Thomas. Nebula winner, 1977 Player Piano VONNEGUT, KURT(Scribner, 1952) Variant title: Utopia 14, Bantam, 1954.It used to be called "technological unemployment"; then "automation"; now, 20
    21. euphemistically, "job displacement." Vonnegut in this first novel realistically traced the personal and political consequences of such transformation, with most working people forced into a future WPA while the upper class languishes in the vapid corporate culture of William C. Whyte's The Organization Man. In his opposition to replacing people with machines, the rebellious hero identifies with the Luddites of the Industrial Revolution and with the native Americans' last Ghost Dance uprising: quixotic, but necessary "for the record." The story has touches of the absurdism that would become manifest in Vonnegut's later work, but on the whole it can be read simply as science fictional extrapolation into a quite possible future. Compare Frederik Pohl and C. M. Kornbluth, THE SPACE MERCHANTS. See also SATIRE The Fifth Head of Cerberus WOLFE, GENE(Scribner, 1972)Three linked novellas forming a coherent whole (whose coherence has not been obvious to all readers). The key issue is the identity of the main characters. One is a boy who is the latest in a series of CLONES whose failure to achieve success in life has become the focal point of obsessive "self"-examination; the other is apparently an anthropologist who offers a strange "reconstruction" of the life of the alien aborigines that were supposedly wiped out by human colonists but actually used their shape-shifting powers to mimic and displace the humans (including the anthropologist). A supremely delicate exercise in narrative construction; not easy to follow, but one of the true classics of SF. Nineteen Eighty-Four ORWELL, GEORGE (pseud. of Eric Arthur Blair)(Secker, 1949)One of the greatest novels of the 20th century, which anti-SF critics still insist is not science fiction. Although British in flavor, this is a universal future projection of the totalitarian state: its nature, purposes, and prospects. Plotted like a suspenseful pulp thriller, but with characters with whom the reader empathizes, it carries one along to its last ironic line. And it should be read that way, freshly, even though a substantial cottage industry of criticism has grown up around it like suburbs at the base of a lofty mountain. The fact that the actual year 1984 came and found not a Big Brother watching in London but an indulgent and inattentive Old Uncle in Washington does not diminish the importance of the warning; eternal vigilance, well before the event, is still the price of liberty. This story was made into an effective motion picture in which Richard Burton played his last screen role as the inquisitor, O'Brien. Compare Aldous Huxley, BRAVE NEW WORLD, and Damon Knight, HELL'S PAVEMENT . See also POLITICS The Demolished Man BESTER, ALFRED(Shasta, 1953)A Freudian-tinged murder mystery given a science fictional spin: how does one premeditate a murder, knowing that police detectives are all telepaths, and expect to get away with it? A convincing portrait of how a society of mutual mind readers might actually function. Tricks of typography on the page, showing for example the interweaving of thought-conversations at a telepaths' cocktail party, further the impact of this first novel by Bester. Written in close consultation with Galaxy editor Horace Gold-as much a midwife of ideas, in a different way, as John Campbell-this story richly earned its Hugo for Best Novel, in the first year that prize was awarded. Compare Robert Silverberg, Dying Inside. Hugo winner, 1952. See also CRIME AND PUNISHMENT and PSI POWERS 21
    22. The Forever War HALDEMAN, JOE(St. Martin's, 1975)Fix-up novel of interstellar WAR against hive-organized aliens. Realistic descriptions of military training and action, with interesting use of relativistic time distortions. A reprise of and ideological counterweight to Robert A. Heinlein's STARSHIP TROOPERS . Compare also Orson Scott Card's ENDER'S GAME . Hugo winner, 1976 The Lost Face: Best Science Fiction From Czechoslovakia NESVADBA, JOSEF(Taplinger, 1971) Trans. by Iris Urwin)Most of these stories were published in a Czech magazine; this translation dates from 1964 and was issued in the United Kingdom as In the Steps of the Abominable Snowman (Gollancz, 1970). Science fiction with an East European accent, but drawing upon the Anglo-American SF tradition also. One story, "Dr. Moreau's Other Island," is a variant on one of H. G. Wells's grimmer tales, and another owes much to Tarzan-and-Jane. Two-"Expedition in the Opposite Direction," a time travel story, and "The Lost Face," about some startling consequences of plastic surgery-deal in fresh ways with the perennial question of determinism versus freedom of the will. In that discussion, Marxist considerations are minimal; the only figure in the book who quotes Engels (in the time travel story) is a rather unsympathetic character. The stories are told with verve, humanity, and wit. See also APES AND CAVEMEN Wild Seed BUTLER, OCTAVIA(Doubleday, 1980)The first story in Butler's Patternist series in terms of internal chronology, though not in terms of publication. In ancient Africa, Doro, an immortal telepath, begins the work of genetic manipulation that will help him create an empire. Doro's work comes to apparent fruition with the creation of his telepathic daughter, Mary, in Mind of My Mind (1977). In Patternmaster (1976) we see an entire telepathic society. Survivor (1978) is another book in this well-done series. Although Clay's Ark (1984) is not a Patternist novel, it explores similar themes. Compare Theodore Sturgeon's MORE THAN HUMAN. See also GENETIC ENGINEERING Human Error PREUSS, PAUL(Tor, 1985)A biologist and a computer scientist combine their artistry to produce a powerful biochip microcomputer. Inevitably, though, the potential of the new creation extends far beyond the purpose for which it was intended. Not as apocalyptic as Greg Bear's BLOOD MUSIC but very effective in its fashion. See also NANOTECHNOLOGY Take Back Plenty GREENLAND, COLIN(Unwin, 1990)This sophisticated and enormously funny postmodernist SPACE OPERA owes a debt not only to the pulp tradition, but also to Lewis Carroll. Tabitha Jute, a free-lance space trucker with a penchant for partying and choosing unsuitable lovers, is hired to transport a rather shady troupe of entertainers from the decaying space habitat Plenty to the surface of Titan. The entertainers, however, are not what they claim to be, and Tabitha soon finds herself up to her neck in intrigue. Compare lain M. Banks's The Player of Games. Worlds HALDEMAN, JOE(Viking, 1981)The first volume of a trilogy, followed by Worlds Apart (1983). Earth lurches toward World War III, after which devastation the future of humankind will become dependent on the society of the "Worlds"-orbital space colonies. Near-future realism combined with loosely knit action-adventure. The long-delayed and very well done 22
    23. concluding volume, Worlds Enough and Time (1992), describes the difficult journey of one of those colonies to another star system. Compare Ben Bova's Colony. See also SPACE HABITATS The Hitchhiker's Guide to the Galaxy ADAMS, DOUGLAS(Pan, 1979)Adaptation of a much-loved and very funny British radio series. Earth is demolished to make way for a new hyperspatial bypass, but the hero stows away on a starship with a reporter for the eponymous reference book. Their outrageous extraterrestrial adventures are part SATIRE, part slapstick. The Restaurant at the End of the Universe (1980) completed the adaptation of the original radio scripts, but Adams then added Life, the Universe and Everything (1982), So Long, and Thanks for All the Fish (1984), and Mostly Harmless (1992). Although all five books sold well, the later volumes seem less inspired and tend increasingly toward dark humor and irony. Readers who can't get enough of this series should investigate Neil Gaiman's Don't Panic: The Official Hitchhiker's Guide to the Galaxy Companion (1988). Compare Robert Sheckley's Options (1975). Helliconia Spring ALDISS, BRIAN W(ILSON)(Cape, 1982)The first volume in a trilogy continued in Helliconia Summer (1983) and Helliconia Winter (1985). Helliconia is a planet whose sun eccentrically orbits a much brighter star and thus has a "great year" extending over hundreds of generations. Its societies undergo vast changes, interrupted by periodic plagues, and the relationship between humans and the cold-loving phagors also alters dramatically. Observers from Earth watch with interest from an orbital station and relay the story of one great year back to an avid audience on Earth. The dedication states that the trilogy takes up themes from Aldiss's non-SF novel Life in the West (1980) in attempting to analyze the "malaise" from which our time is suffering. Superb world-building SF. Compare Paul Park's Starbridge Chronicles and Michael Swanwick's STATIONS OF THE TIDE. See also PLANETARY ROMANCE The Boat of a Million Years ANDERSON, POUL(Tor, 1989)Through the ages random genetic mutation has bestowed IMMORTALITY on a small number of human beings. Beginning in 310 B.C., Anderson chronicles the lives of a number of such immortals, some who partake in society, some who remain aloof from it. Eventually, tiring of an Earth that has grown too tame, the immortals build a starship and go off to explore the universe. Although the novel is a bit rambling, Anderson's historical detail is endlessly fascinating. Compare Roger Zelazny's THIS IMMORTAL. The Enemy Stars ANDERSON, POUL(Lippincott, 1959) Recommended ed.: Berkley, 1979Serialized in Astounding in 1958 as "We Have Fed Our Sea" (a title derived from a Kipling poem that is quoted effectively at the story's conclusion), this is Anderson at his tragic-heroic best, blending meticulous astrophysics with brooding romanticism. Four astronauts-Japanese, Russian, Australasian, North European (with the fascinating projected futures of their respective cultures deftly sketched in)-are, in the Star Trek sense, "beamed aboard" an ion-drive spacecraft in orbit around a dark star, whose unexpectedly powerful magnetic field cripples both the ship and their means of escape from it. Working against a dwindling stock of rations to make repairs, each crew member in the face of death must come to terms 23
    24. with the universe and with personal fate. The 1979 revision updated the science. Compare Algis Budrys, ROGUE MOON. See also MATTER TRANSMISSION The Complete Stories ASIMOV, ISAAC(Doubleday, 1990-1992)Volume one assembles 46 stories from three Asimov collections, Earth Is Room Enough (1957), Nine Tomorrows (1957), and Nightfall and Other Stories (1959). Although not everything here is memorable, there are a number of excellent pieces, including two of the author's own favorite short stories, "The Last Question" and "The Ugly Little Boy," plus the classic "Nightfall" and"Dreaming Is a Private Thing." Volume two collects an additional 40 stories. See also GOLDEN AGE OF SF The Gods Themselves ASIMOV, ISAAC(Doubleday, 1972)A novel reflecting Asimov's fascination with the sociology of science, reminiscent in parts of J. D. Watson's The Double Helix (1968). The energy crisis is "solved" by pumping energy from a parallel universe, whose alien inhabitants must try to communicate with humans in order to tell them that both races are in deadly peril. Written with a verve and economy that are missing from Asimov's later novels. Compare Bob Shaw's A Wreath of Stars (1976). Hugo winner, 1973; Nebula winner, 1972. See also ALTERNATE WORLDS Through Darkest America BARRETT, JR., NEAL(Congdon and Weed, 1986)When his isolated farm is destroyed and his family is murdered, young Howie Ryder sets off to seek revenge. As he travels across a continent still recovering from a nuclear war in the past, Howie discovers a horrifying world of government-sanctioned cannibalism, slavery, and child abuse. This is one of the bleakest and most powerful post- HOLOCAUST novels ever written. Dawn's Uncertain Light (1989) is a competent, but somewhat less harrowing sequel. Compare Walter M. Miller, Jr.'s A CANTICLE FOR LEIBOWITZ and Edgar Pangborn's DAVY. Timescape BENFORD, GREGORY(Simon & Schuster, 1980)As the world lurches toward disaster, scientists in 1998 try to transmit a warning message to 1962 by means of tachyons. Their story is told in parallel with that of the scientists trying to decode the transmission, and the two plots converge on the possibility of paradox. Unusual for the realism of its depiction of scientists at work; admirably serious in handling the implications of its theme. Compare Carter Scholz and Glen A. Harcourt's Palimpsests (1985). Nebula winner, 1980. See also TIME TRAVEL The Great Short Fiction of Alfred Bester BESTER, ALFRED(Berkley, 1976) 2 vols., titled The Light Fantastic and Star Light, Star BrightSixteen stories from 1941 to 1974 in this author's distinctive style. The earliest is his somber "Adam and No Eve." Significant headnotes to each story describe the circumstances and emotions surrounding its composition, although as a good Freudian Bester warns against drawing causal inferences; at the time of writing, your rational composing mind doesn't know what your unconscious is doing. Time travel especially engaged Bester, as in "Hobson's Choice,""Of Time and Third Avenue," and "The Men Who Murdered Mohammed." But here also are "Time ls the Traitor" (1953)-not time travel, despite the title, but a wildly neurotic love story; "Fondly Fahrenheit" (1954); and "They Don't Make Life Like They Used To" (1963), which in tone and temper came close to the verge of SF's modern period. Bester concluded the collection with a 24
    25. wry, lively, informative essay, "My Affair With Science Fiction." ================================================ The Stars My Destination BESTER, ALFRED(Signet, 1958) Brit. title:Tiger! Tiger! (Sidgwick, 1956)Although the magazine serial version (in Galaxy) and the U.S. edition were both titled The Stars My Destination, the U.K. title, with its allusion to Blake, is far more apt. The character "burning bright/ln the forest of the night" is Gully Foyle, the protagonist of an escape-from-prison story Bester said he modeled on The Count of Monte Cristo. But this story veers in a different direction; whereas the Count's dominant motive after his prison break is to wreak vengeance on the men who framed him, Foyle's is to undercut the entire rapacious class system that brutalized him, by bringing to all humankind the power to teleport-"jaunt," in the story's jargon-anywhere in the universe. The author, in the concluding essay to his short story collection called this character an "antihero," contrasting with the cleancut "Doc" Srmith type; however, Gully Foyle is perhaps more accurately seen as a proletarian hero in the tradition of Victor Hugo. Texts of the U.S. and U.K. editions differ. See also SUPERMAN The Best of James Blish BLISH, JAMES(Del Rey, 1979)This posthumous collection draws upon all of Blish's earlier story collections, assembling a dozen stories and an essay to show the full range of Blish's work. "Surface Tension," Blish's famous story of microscopic humans building a two-inch-long wooden "spaceship" in order to cross from one puddle of water to another, presents Blish at his most accessible, dramatizing an adventure story with intellectual rigor and mythopoeic power; "Common Time" and "Testament of Andros," which explore issues of PERCEPTION and reality, are as intriguing as they were when first published in 1953. Two late stories, "A Style in Treason" and "How Beautiful With Banners," show the mature Blish at his elliptical, dense, and saturnine best. (GF) See also CONCEPTUAL BREAKTHROUGH The Seedling Stars BLISH, JAMES(Gnome, 1957)Four magazine-derived stories, blended into an account of "pantropy": the genetic alteration of humans in order to colonize radically non-Earthlike planets. This method of planetary settlement is presented as more viable than creating an artificial Earth environment under domes or terraforming the planet to make it resemble Earth. The opening section, in which Earth's military tries to destroy the initial pantropic experiment as Frankensteinian, and the closing chapter, in which, much later, the environmental devastation of Earth by its own inhabitants has rendered the planet uninhabitable except by panatropically Adapted Men, make it clear that Blish was writing not only about biological adaptation in the far future but about racism and social adaptation in the here and now. Blish's characteristic care and craft in revising his own work can be traced from the pulp-era "Sunken Universe," first published in Super Science Stories in 1942, through the more mature "Surface Tension" from Galaxy in 1952 (SFHF), to Book Three of this work; an example of an author committing a kind of pantropy upon his own literary offspring. See also GENETIC ENGINEERING The Uplift War BRIN, DAVID(Phantasia Press, 1987)Whoever owns the secret discovered by the dolphins of Startide Risingcan gain control of the entire galactic civilization. The planet Garth lies on the other side of the galaxy from the site of that discovery, but the alien Gubru, in a bold move to force 25
    26. humanity to give up the secret, have taken that planet and its population of human beings and neo-chimps hostage. Only a small band of humans and chimps stands between the Gubru and success. The setting here is less exotic than those of the previous two books in the Uplift series, but Brin's character development is particularly good and the neo-chimps especially are a wonderful creation. Hugo winner, 1988. See also GALACTIC EMPIRES The Shockwave Rider BRUNNER, JOHN(Harper, 1975)The third of Brunner's massive alarmist fantasies, partly inspired by Alvin Toffler's Future Shock, warning against the loss of individual freedom that might result from widespread use of information technology and against the psychological effects of rapid technological change. Brunner complained bitterly about Harper's insensitive editing; the 1976 Ballantine reprint restored the author's text. See also COMMUNICATIONS The Vor Game BUJOLD, LOIS MCMASTER(Baen, 1990)The culture of the planet Barrayar values men only to the extent that they prove themselves in the military, and Miles Vorkosigan, the disabled son of Lord Aral and Lady Cordelia Vorkosigan, has determined to succeed in such a career despite his disability. Miles proves his worth, first at an isolated weather station and then in space, where he rescues his runaway cousin, the Emperor Gregor, from possible death. This is superior SPACE OPERA with a touch of humor. Earlier books in the series include The Warrior's Apprentice (1986), Brothers in Arms (1989), and Borders of Infinity (1989), one previously published section of which, "The Mountains of Mourning," won both the Hugo and Nebula Awards for best novella in 1990. All the Miles Vorkosigan books make for fine reading. Mirror Dance was published in 1994, and more volumes are promised. Compare C. S. Forester's Hornblower novels. Hugo winner, 1991 ================================================ Tarzan of the Apes BURROUGHS, EDGAR RICE(McClurg, 1914)Published in All-Story (October 1912) and serialized in the New York Evening World before book publication, the novel emphasizes the boyhood and youth of Tarzan, Lord Greystoke, Burroughs's most famous (and most macho) hero, the only one to attain mythic proportions and become a part of worldwide popular culture. Burroughs claimed that Tarzan combines the best of environments (unknown Africa) and the best of heredities (British aristocracy). Because D'Arnot is his teacher, taking him to Paris, one cannot fail to compare him to Rousseau's Emile (1762), especially in terms of education, to contrast the 18th and 20th centuries, both emphasizing the "natural man." Tarzan saves Jane Porter from an unwanted marriage, but does not wed her in this first novel. Because attention to Jane and Jack (Korak the Killer), the son of Tarzan, aged the apeman, his family was omitted from most of the later novels, while Tarzan roamed the jungles and veldt, always beloved by a conveniently available primitive beauty. One should compare the Africas and the love stories of Burroughs and H. Rider Haggard to see the contrasts. For other treatments of Tarzan, one should consult Philip Jose Farmer's Lord Tyger (1970) and Tarzan Alive (1972), as well as Gene Wolfe's "Tarzan of the Grapes" (1972). Among the innumerable films are Bo Derek's feminist Tarzan- which attempts the story from Jane's point of view-and the neo-behaviorist Greystoke: The Legend of Tarzan (1984), with its brilliant cinematography. See also APES AND CAVEMEN 26
    27. Kindred BUTLER, OCTAVIA(Doubleday, 1979)Dana, a well-educated contemporary African-American woman, suddenly finds herself pulled into the past to save the life of a distant ancestor, an early-19th-century southern white boy named Rufus Weylin. Although she returns to the present moments later, she soon finds herself saving Rufus again and again. Although only a short time passes for her between each bout of TIME TRAVEL, years pass for Rufus, who gradually grows into adulthood and becomes a slave owner. This sometimes painful novel features superb character development. By forcing Dana to confront her own white ancestry, Butler points out the necessity of coming to terms with the past without oversimplifying it. Compare Lisa Tuttle's Lost Futures (1992) and Jane Yolen's The Devil's Arithmetic (1988). Maps in a Mirror: The Short Fiction of Orson Scott Card CARD, ORSON SCOTT (Tor, 1990)This enormous volume, some 46 stories, represents most of Card's short fiction. Included are such well-known pieces as the award-winning "Lost Boys" and "An Eye for an Eye," "Dogwalker," "Unaccompanied Sonata," "Ender's Game," " The Originist,"and"Kingsmeat." Some of the early fiction and particularly the non-science fiction is minor but, generally speaking, this is an excellent collection from a controversial and important writer, who provides commentary on the stories. See also CHILDREN IN SF The Faded Sun: Kesrith CHERRYH, C. J. (pseud. of Carolyn Janice Cherry)(DAW, 1978)The first volume in a three-part novel, completed in The Faded Sun: Shon 'Jir (1979) and The Faded Sun: Kutath (1980). An alien society organized somewhat in the fashion of an anthill hires out its warriors as mercenaries. But when its clients get into a WAR with humankind, the warriors and their kin are virtually wiped out. The client species sues for peace, but the survivors go their own way. One human involves himself with their cause and their quest to save their race. Compare Jayge Carr's Leviathan's Deep. The Fountains of Paradise CLARKE, ARTHUR C(HARLES)(Gollancz, 1979)An engineer succeeds in building a space elevator connecting a tropical island (modeled on Sri Lanka, where Clarke lives, but moved for geographical convenience) to a space station in geosynchronous orbit. Imposing propaganda for high TECHNOLOGY as the means of human progress and salvation. Charles Sheffield's The Web Between the Worlds (1979) develops the same premise in a more conventional fashion. Hugo winner, 1980; Nebula winner, 1979 ================================================ The Steel Crocodile COMPTON, D(AVID) G(UY)(Ace, 1970) Brit. title:The Electric Crocodile(Hodder & Stoughton, 1970)Two workers at a secret research institute act as agents for a dissident group, but ultimately cannot oppose the claustrophobic conservatism that has sterilized both scientific and moral progress. Subtle and very convincing. Compare Kate Wilhehlm's "April Fool's Day Forever" (1970). See also OPTIMISM AND PESSIMISM Jurassic Park CRICHTON, MICHAEL(Knopf, 1990)A wealthy industrialist bankrolls an attempt to recreate dinosaurs using Cray computers, the latest in gene sequencing technology, and DNA recovered from prehistoric insects trapped in amber. Succeeding, he builds a glorified theme park to house them but, just as the park is about to open, things begin to go wrong and the dinosaurs break loose. Although somewhat predictable, the novel is 27
    28. tremendous fun. It's also much more intelligent than viewers of the Spielberg film might be led to believe. Compare Larry Niven's Dream Park (1981). See also GENETIC ENGINEERING The Man Who Melted DANN, JACK(Bluejay, 1984)A man searches for his lost wife in a world where social order has been torn apart by outbreaks of hysterical collective consciousness, which have spawned a new religiosity and an epidemic of schizophrenia. An ironic reconstruction of the voyage of the Titanic is featured in the plot. Aggressively decadent, with a hint of Jacobean tragedy. Compare Roger Zelazny's THE DREAM MASTER. See also PSI POWERS The Best of Avram Davidson DAVIDSON, AVRAM(Doubleday, 1979) Ed. by Michael KurlandEleven stories and a book chapter, from 1956 to 1971. Editor Kurland's short, sarcastic introduction rerninds us that academicians seek to "classify" a magnificently unorganized writer like Davidson at their peril. "Now Let Us Sleep" and, less convincingly, "Help! I am Dr. Morris Goldpepper," are conventional SF; as for the others, if they are as good as "King's Evil" and "The Golem," does it really matter whether they are SF or fantasy? Peter Beagle, a student of Davidson's during that writer's brief (and quite ungovernable) sojourn as a college professor, testifies in a foreword to Davidson's incredible, casual erudition; Davidson himself wrote a modest afterword. Some readers may prefer the story selection in Or All the Seas With Oysters (Berkley, 1962), whose Hugo-winning title story this collection unaccountably omitted. See also GOLEM Lest Darkness Fall DE CAMP, L(YON) SPRAGUE(Holt, 1941)Originally a novel in (December 1939), this was one of the earliest stories from the pulps to be taken up by a mainstream hardcover publisher. (A specialty house, Prime Press, published it again in 1949.) Aware of a problem with the"Connecticut Yankee" theme, namely that not even a supergenius from the modern era could have singlehandedly introduced the full panoply of modern industrial technology into antiquity, de Camp gave his hero, stranded in A.D. 535 in the post-Roman interregnum, the one indispensable survival skill: he can understand spoken Vulgar Latin! Martin Padway then proceeds to introduce what the primitive technology of the period could actually have absorbed. In his headnote to the version, regrettably omitted from the book, de Camp in scholarly fashion listed his sources: Cassiodorus (who figures as a character in the story), Procopius of Caesarea, Gibbon, Bury; the author's meticulous care in this regard breathes life into what is by all odds de Camp's finest book. See also ALTERNATE WORLDS Triton: An Ambiguous Heterotopia DELANY, SAMUEL R(AY)(Bantam, 1976)This complex novel considers the problems that might arise for an individual trying with difficulty to orient himself in a culture where people have almost unlimited choice of identity and social role. The uncertainty of the protagonist's life is reflected in the unstable politics of the solar system, which ultimately becomes embroiled in a brief but catastrophic war. A rich, dense dramatization of issues in existential philosophy and sexual politics. See also UTOPIAS A Scanner Darkly DICK, PHILIP K(INDRED)(Doubleday, 1977)The protagonist is, as usual in Dick's novels, gradually enmeshed by a web of circumstance in which he 28
    29. ceases to be able to distinguish between reality and hallucination. The fascination with which the author had previously contemplated such situations is here replaced by horrified revulsion. An affecting, powerful novel. See also PERCEPTION The Collected Stories of Philip K. Dick DICK, PHILIP K(INDRED)(Underwood-Miller, 1987) 5 vols.With introductions to its individual volumes by Roger Zelazny, Norman Spinrad, John Brunner, James Tiptree, Jr., and Thomas M. Disch, the appearance of this work was a major publishing event in SF. The 118 stories range from Dick's first published one, from the lurid pages of Planet Stories in 1952, to a few that appeared in this collection for the first time. Those in Vols. 1 through 4 were composed in SF's "early modern" period, ending in 1963; those in Vol. 5 in the "modern" period that began in 1964, but Philip Dick was so far ahead of most of his contemporaries in the 1950s that it is hardly appropriate thus to periodize him; and Damon Knight's premature judgment after the earliest of these stories had appeared [In Search of Wonder], that Dick "writes the trivial, short, bland sort of story that is instantly saleable and instantly forgettable" can now be set aside. The existence of this collection corrects the critical record; much as had happened earlier to Scott Fitzgerald, voluminous discussion of the novels had obscured the author's gifts as a craftsman of shorter tales. Endnotes to individual stories, written by Dick for earlier collections published in 1977 and 1980, are informative and, one must say, wise. To single out particular morsels from this rich banquet would be a disservice; however, the author did state in 1976 that the story "Human Is" (written 1953; in Vol. 2) "is my credo. May it be yours." A trade paper edition shifting two stories between volumes and retitling was published by Citadel Twilight, 1990-1992. See also PERCEPTION VALIS DICK, PHILIP K(INDRED)(Bantam, 1981)A convoluted novel in which the author figures as character, though his role is subservient to that of his alter ego, Horselover Fat, who achieves miraculous enlightenment courtesy of the godlike Vast Active Living Intelligence System, but has difficulty communicating his insights to others. Radio Free Albemuth (1985) uses similar materials, apparently being a different draft for the same purpose. See also RELIGION Galactic Pot-Healer DICK, PHILIP K(INDRED)(Berkley, 1969)A very curious novel in which the hero, a dissatisfied mender of pots, joins a group of misfits assembled by a godlike alien to raise a sunken cathedral, while other ALIENS read the runes that may indicate the destiny of the universe. A prefiguration of the metaphysical themes of Dick's last novels, developed in a mock-naive fashion slightly reminiscent of Kurt Vonnegut's THE SIRENS OF TITAN.A Maze of Death (1970) picked up the theological issues for more earnest development. Our Friends From Frolix 8 (1970) reassigned them to a throwaway role as an alien god is discovered dead in the void and his human messiah plays an essentially ambiguous role. The Three Stigmata of Palmer Eldritch DICK, PHILIP K. (Doubleday, 1965)In an early 21st century afflicted by ecological catastrophes and forced emigration into space, Barney Mayerson hopes to avoid being drafted to the Mars colony and keep his job as a designer of dollhouses for Walt and Perky Pat, theminiature dolls whose perfect lives offer vicarious escape for the miserable Martian colonists. 29
    30. With Can-D, a hallucinogen manufactured by Barney's employer, the colonists can enjoy brief hallucinations of suburban bliss as the poised Walt and Perky Pat. However, Can-D is threatened by a new and more powerful drug, Chew-Z, which is introduced onto the market by the mysterious Palmer Eldritch after he returns from ten years in another star system. While Can-D is short-lived in its effects and requires the use of commercial accessories, Chew-Z seems indistinguishable from reality, and appears to last forever. Only gradually do people realize the ontological nightmare created by the sinister Palmer Eldritch, whose control of reality makes him a kind of malign deity. Dick's explorations of altered perceptions, his satire of American life in the early 60s, and his zany, slapdash plot and settings are nowhere more vivid than in The Three Stigmata of Palmer Eldritch, which most Dick fans consider his finest novel. Although it is not as well-written or carefully constructed as THE MAN IN THE HIGH CASTLE, its intensity and emotional power are matched only by the much later A SCANNER DARKLY andVALIS. For different renditions of the borderland between reality and illusion, compare Salman Rushdie's Grimus and James Morrow's The Continent of Lies. (GF)See also DRUGS and PERCEPTION The Weathermonger DICKINSON, PETER(Gollancz, 1968) The first volume in the Changes trilogy. Geoffrey and Sally, brother and sister, having been abandoned to die as witches, escape to France. There they are urged to return to England and discover the cause of the changes that have thrown the British Isles back into the Middle Ages, where ignorance and superstition again rule, all things mechanical are feared, and even the weather is controlled by incantation. The children find out that Merlin's sleep has been disturbed, and, unhappy with what he sees, Merlin has sent England back to a time he knows. Geoffrey and Sally convince him to wait for a more suitable time to return and he relents, freeing England from its curse. A brilliantly imaginative combination of myth and science fiction. Heartsease (1969) recounts the successful rescue of a witch by a group of children. In The Devil's Children (1970), Nicky and a band of Sikhs, free of the madness caused by the changes, become allies, settle on a farm, and beat off various threats to their safety. Compare William Mayne's Earthfasts or John Christopher's The Prince in Waiting. See also HOLOCAUST AND AFTER The Start of the End of It All EMSHWILLER, CAROL(Women's Press, 1990)The most recent (and best) of the author's story collections, following Joy in Our Cause (1974) and Verging on the Pertinent (1989); gathers 18 stories from sixties, seventies, and eighties. Some are straight mimetic fiction, but most construct absurdist SF scenarios enabling brilliantly pointed observations of sexual politics, such as the cat-hating aliens of the title story, whose attitudes converge with those of human men toward women. The text of the 1990 U.K. and 1991 U.S. editions differs. Compare the stories of Joanna Russ. See also FABULATION To Your Scattered Bodies Go FARMER, PHILIP JOSe(Putnam, 1971)The entire human race is reincarnated along the banks of a huge river. Sir Richard Francis Burton sets off to find out who accomplished this remarkable feat, and why (HW, 1972). In The Fabulous Riverboat (1971), Sam Clemens undertakes a similar quest. Both characters, and others who become involved in further books of the series, The Dark Design (1977) and The Magic Labyrinth (1980), are continually 30
    31. sidetracked by violent conflicts in which characters from various phases of Earth's history are idiosyncratically matched against one another, causing the main issue to be constantly confused, sometimes to the detriment of the story. Associated stories outside the main sequence are "Riverworld" in Riverworld and Other Stories (1979) and Gods of Riverworld (1983). An early version of the story, written in the early 1950s for an ill-fated competition, was rediscovered and issued as River of Eternity (1983). Like a number of authors of successful, long-running series, Farmer has recently franchised out the River World, editing a shared-universe anthology, Tales of the Riverworld(1992), which features a new novella by Farmer, "Crossing the Dark River," plus solid fiction by Phillip C. Jennings, Harry Turtledove, Allen Steele, and others. Hugo winner, 1972. See also ESCHATOLOGY Sarah Canary FOWLER, KAREN JOY(Holt, 1991)In 1873 an apparent madwoman stumbles into a Chinese labor camp in Washington state and is led to a nearby insane asylum. The woman, named Sarah Canary at the asylum, escapes and wanders the Pacific coast, accompanied by a host of fascinating characters. But who is Sarah, a broken victim of male oppression, the simple madwoman she first appeared to be, or something more sinister, a vampire perhaps, or something not of this planet? We never find out for sure, which has frustrated critics bent on sticking the book into a generic pigeonhole. What is certain, however, is that Sarah Canary is a brilliantly conceived, beautifully written book. Compare Robert Charles Wilson's A Hidden Place (1986). See also ALIENS Rumors of Spring GRANT, RICHARD(Bantam, 1987)A strange blend of satire, fable, science fiction, and fantasy set on a far-future Earth where technology is in a state of collapse, entropy seems to be gaining, and a badly damaged ecology is actively fighting back. The First Biotic Crusade, a group of eccentrics worthy of a Mervyn Peake novel, sets out in a huge Rube Goldberg-like vehicle to uncover the truth behind the strange goings-on in the world's last woodland, the Carbon Bank Forest. At once a cutting attack on government bureaucracy, a sprightly and somewhat silly adventure story, and an ecological fable, Rumors of Spring is beautifully written and constantly surprising. Compare John Crowley's Little, Big (1981). See also PASTORAL The Hemingway Hoax HALDEMAN, JOE(Morrow, 1990)John Baird, a Hemingway specialist at Boston University with severe financial problems, falls in with some shady characters who persuade him to fake and then claim to have rediscovered a series of stories that Hemingway is known to have lost on a train trip. Unbeknown to Baird or his confederates, however, some very strange people-people not from our world-have a stake in Baird's not writing the stories. Haldeman's intimate knowledge and love of Hemingway and his work is highly apparent in this very short, very intense novel based on a Hugo and Nebula Award-winning novella of the same name. Compare MacDonald Harris's non-SF novel, Hemingway's Suitcase (1990). See also ALTERNATE WORLDS Make Room! Make Room! HARRISON, HARRY(Doubleday, 1966)A classic novel of OVERPOPULATION and pollution, reprinted in connection with the film version (which certainly 31
    32. fails to do the book justice) as Soylent Green. An archetypal example of 1960s alarmism. (Compare John Brunner's STAND ON ZANZIBAR.) A Storm of Wings HARRISON, M(ICHAEL) JOHN(Sphere, 1980)A sequel to the downbeat sword and sorcery novel The Pastel City (1971). It begins the transformation of the city Viriconium into a milieu for more sophisticated literary exercise, extended in In Viriconium (1982; U.S. title: The Floating Gods) and Viriconium Nights (1984). Images of decadence and exhaustion abound in this series, which contrasts with other images of FAR-FUTURE cities in Edward Bryant's Cinnabar and Terry Carr's Cirque and has strong affinities with certain aspects of Michael Moorcock's work. SF motifs are relatively sparse in what is essentially a fantasy series, but the use of entropic decay as a prevalent metaphor sustains the bridge between genres. Starship Troopers HEINLEIN, ROBERT A(NSON)(Putnam, 1959)Heinlein's Annapolis and Regular Navy background form the context for the training and baptism-of-fire of future space cadets. A well-told story, this novel won the Hugo in 1959, but, later got caught in the crossfire of powerful pro- and anti-Vietnam War feeling, which divided the SF community as it did the "mainstream." The paradox is that Heinlein, with this work, gave aid and comfort to the war supporters, a group to which he belonged in the sixties; while with another novel, Stranger in a Strange Land , he helped to energize the radical student generation that opposed the war. Compare E. E. Smith's LENSMAN series; contrast Edgar Pangborn, A MIRROR FOR OBSERVERS. Hugo winner, 1959. See also WAR The Moon Is a Harsh Mistress HEINLEIN, ROBERT A(NSON)(Putnam, 1966)Colonists of the Moon declare independence from Earth and contrive to win the ensuing battle with the aid of a sentient computer. Action-adventure with some exploration of new possibilities in social organization and fierce assertion of the motto "There Ain't No Such Thing as a Free Lunch." Though not a true sequel, The Cat Who Walks Through Walls (1985) is a much weaker novel set in the same universe and with some of the same characters. Compare John Varley's Steel Beach and Greg Bear's Moving Mars (1993). Hugo winner, 1967. See also POLITICS The Past Through Tomorrow HEINLEIN, ROBERT A(NSON) (Putnam, 1967)Most of this omnibus compilation had been previously published in four separate books: The Man Who Sold the Moon (Shasta, 1950); The Green Hills of Earth (Shasta, 1951); Revolt in 2100 (Shasta, 1953); and Methuselah's Children (Gnome, 1958). These in turn derived from magazine stories, starting in 1939 and continuing through the 1940s; mainly in Astounding, a few in the Saturday Evening Post. Collectively they constitute the bulk of Heinlein's future history: a detailed forecast for the next two centuries, from the "Crazy Years" (which, by Heinlein's calendar, have already happened!) to the beginning of the first "mature" civilization 200 years hence. Other science fiction writers (Poul Anderson, Isaac Asimov, James Blish, H. Beam Piper, Cordwainer Smith) have undertaken future-building of this kind, but rarely with Heinlein's degree of verisimilitude. The one major story omission from the future history is "Universe" (in Orphans of the Sky), and of that story only its brief prologue is really germane. But "Life-line,""Requiem, ""Blowups Happen,""Logic of Empire,""If This Goes On-,""Coventry,""The 32
    33. Green Hills of Earth,""The Man Who Sold the Moon," they're all here. See also PREDICTION The Rolling Stones HEINLEIN, ROBERT A(NSON)(Scribner, 1952) Young adult The Stone family, at the instigation of the twins, Castor and Pollux, reconditions a spaceship as a family yacht, The Rolling Stone, and embarks on various adventures, including selling used bikes on Mars and flat cats (which proliferate hugely) in the asteroids. Its humor and wit still fresh, its portrait of family life still winning although sexist, and its hard science plausible and detailed, the novel aptly illustrates the author's eminence as writer of science fiction for young readers. See also CHILDREN IN SF White Queen JONES, GWYNETH(Gollancz, 1991)This gender-bending story concerns a reporter who, blackballed from his profession and living a hand-to-mouth existence in a second-rate African city, is contacted by an apparently female alien who offers him an interview and later seduces/rapes him. Although the ALIENS look human, their thought patterns are radically different from ours, and Jones does a particularly good job of portraying them. Compare Gardner Dozois's STRANGERS. The Stand KING, STEPHEN(Doubleday, 1978) Recommended ed.: Doubleday, 1990This new edition not only restores cut material, but updates the book as well, setting it in the 1990s and improving the science content. The basic plot remains unchanged: a killer flu escapes from a bio-weapons facility and 99 percent of the human race dies. In the United States, most of the good people who are left gather in Boulder while most of the evil people end up in Las Vegas. Armageddon follows. The novel's greatest strength lies in King's ability to portray characters who are either highly believable or chillingly twisted. Contrast David Brin's The Postman. See also HOLOCAUST AND AFTER The Best of Damon Knight KNIGHT, DAMON (FRANCIS)(Nelson Doubleday, 1976)Twenty-two stories, ranging from 1949 to 1972-"most of the best work I did during that time," Knight attests. They include "To Serve Man," which became a memorable Twilight Zone episode; the sardonic "Not With a Bang"; "The Analogues," which became the first chapter of Hell's Pavement; "Babel II," in which a visiting alien that looks like Happy Hooligan scrambles all human speech and writing; "Special Delivery," in which a pregnant woman learns she is carrying a fetal supergenius; several TIME TRAVEL stories "that God sent me," Knight writes, "as a punishment for having said that the time-travel story was dead"; "The Handler," about a socially rejected dwarf who inside a "big man" humanoid shell is the life of the party; and, somewhat atypically for Knight, "Mary," a powerful love story with a quite unexpected happy ending. Barry Malzberg's introduction, "Dark of the Knight," is short and laudatory; Knight's own headnotes are disconcertingly frank about his personal life at the time the stories were written, but that has always been his way. The Best of C. M. Kornbluth KORNBLUTH, C(YRIL) M. (Nelson Doubleday, 1976) Ed. by Frederik PohlNineteen stories, from 1941 to 1958, attest to the high quality of what Kornbluth wrote in his tragically short career: "The Adventurer," with its devastating punchline, as well as "The Little Black Bag" , "The Luckiest Man in Denv,""Gomez" (perhaps the first SF story set in a New 33
    34. York City Hispanic milieu), "The Marching Morons" (SFHF), "With These Hands," and one he had barely completed at the time of his death, "Two Dooms." Most have been repeatedly anthologized. Pohl, Kornbluth's frequent collaborator, selected the stories and wrote the introduction. Only a rubric against annotating pure fantasy stories prevented listing also Thirteen O'Clock (Dell, 1970), which reproduced the sprightly tales Kornbluth (under the name "Cecil Corwin") wrote in the early forties as a teenager; no one should be denied the pleasure of reading them. The Best of Henry Kuttner KUTTNER, HENRY(Nelson Doubleday, 1975)Seventeen stories, mostly from 1940s Astounding. Science fiction with an acute psychological sensibility, straightforwardly told. Ray Bradbury contributes an appreciative introduction. Here are stories originally penned under Kuttner's mordant Lewis Padgett pseudonym, such as "The Twonky,""The Proud Robot," and the haunting "Mimsy Were the Borogoves" (SFHF)-the most plausible explanation yet of where Lewis Carroll really got that nonsense poem. Other stories had first been published under Kuttner's own name, including the powerful "Absalom." There are no stories under the "Lawrence O'Donnell" nom de plume (that is, co-written with C. L. Moore), although that is always a hard judgment call with that highly symbiotic husband-wife writing team. Mutant KUTTNER, HENRY, and C(ATHERINE) L. MOORE (published under the name Lewis Padgett)(Gnome, 1953)These are the "Baldy" stories, published in Astounding between 1945 and 1953; the first, which assumed a post-atomic-war "balance of terror" among independent city-states linked by commerce, interestingly appeared in the magazine just before the actual atomic bomb. Radiation-induced mutation has begotten a race of telepaths, with a secondary genetic trait of baldness, hence the name. To wear a wig or go proudly naked-headed signifies an ideological division, between living as harmoniously as may be with the nontelepath majority and aggressively asserting superiority on Nazi "superman" lines. The rational working out of this dilemma created a warm, socially and politically thoughtful story. Compare Alfred Bester, THE DEMOLISHED MAN; contrast Zenna Henderson, PILGRIMAGE. See also PSI POWERS The Dispossessed: An Ambiguous Utopia LE GUIN, URSULA K(ROEBER)(Harper, 1974)This story contrasts the poverty-stricken world of Anarres, whose political order is anarchist and egalitarian, with its rich neighbor Urras, from whose capitalist and competitive system the settlers of Anarres initially fled. A physicist who must travel from one world to the other serves as a self-conscious and anxious viewpoint character. A dense and very careful work, arguably the best example of how SF can be used for serious discussion of moral and political issues. The quality of the writing is also outstanding. Compare Doris Lessing's Canopus in Archives series and Hermann Hesse's Magister Ludi (1943). Hugo winner, 1973; Nebula winner, 1974. See also UTOPIAS The Wind's Twelve Quarters LE GUIN, URSULA K(ROEBER)(Harper, 1975)The first of Le Guin's short fiction collections. The stories are various in theme but uniformly well written, ranging from the philosophical "Vaster Than Empires and More Slow" and the moving story of clone siblings, "Nine Lives," to a brief prelude to The Dispossessed, "The Day Before the Revolution" (Nebula winner, 1974), and the dark fable, "The Ones Who Walk Away From Omelas" (Hugo winner, 1974). Within the SF field their elegance is matched by some 34
    35. of the work of Thomas Disch, but their earnest seriousness is without parallel. Le Guin's more recent collection, Buffalo Gals and Other Animal Presences (1987), includes a number of stories available in her earlier collections but is notable for her Hugo award-winning fantasy tale, "Buffalo Girls, Won't You Come Out Tonight?" See also CLONES The Word for World Is Forest LE GUIN, URSULA K(ROEBER)(Berkley, 1976)Short novel originally published in Again, Dangerous Visions . Human colonists on an alien world cause untold damage to the innocent natives and their environment. A harsh comment on the ethics and politics of colonialism, making good use of anthropological perspectives. Compare Michael Bishop's Transfigurations. Hugo winner, 1973. See also COLONIZATION OF OTHER WORLDS The Norton Book of Science Fiction LE GUIN, URSULA K., and Brian Attebery, eds(Norton, 1993)Unlike the usual Norton anthology, this enormous, 67-story, 864-page volume makes no pretense of establishing a canon of standard classics. The selection, although excellent, is somewhat idiosyncratic, excluding such expected names as Bradbury, Asimov, Heinlein, and Clarke (only North American authors are included), with coverage limited to the 1960-1990 period. Many of the genre's acknowledged masters are here, however, among them Sturgeon, Blish, Dick, Benford, Butler, Gibson, and Le Guin herself, but also included are stories by less well known writers such as Eleanor Arnason, Molly Gloss, Andrew Weiner, and Diane Glancy. The book places an unusually strong emphasis on women, minority and, oddly, Canadian writers. The 129-page paperback teacher's guide, by Attebery alone, provides one-page commentaries on each story and short chapters on teaching SF, SF history and marketing, critical approaches to SF, primary and secondary bibliographies, and a list of resources. Compare David Hartwell's The World Treasury of Science Fiction (52 stories, 1,083 pages); contrast the 1946 golden age Raymond J. Healy/J. Francis McComas classic, Adventures in Time and Space (33 stories, 997 pages). See also GOLDEN AGE OF SF The Best of Fritz Leiber LEIBER, FRITZ (REUTER)(Nelson Doubleday, 1974)Twenty-two stories from the mid-1940s through the 1960s. Poul Anderson contributes an appreciative introduction; Leiber wraps it up in an afterword. Stories range from fiendish Astounding puzzlers ("Sanity," "The Enchanted Forest") through early-fifties dystopias ("Coming Attraction," "Poor Superman") to atmospheric tales from the late fifties such as that ultimate tribute to Marilyn Monroe, "A Deskful of Girls," and the quietly creepy "Little Old Miss Macbeth." Only one story is in Leiber's supernatural horror vein, and there are none of his sword-and-sorcery tales. Readers may argue endlessly, however, as to whether "The Man Who Never Grew Young"-the only story retained from Leiber's first, long-out-of-print collection Night's Black Agents (Arkham, 1947)-is SF or fantasy. The Wanderer LEIBER, FRITZ(Ballantine, 1964)Worldwide disaster occurs when a mysterious, planet-sized spaceship appears out of nowhere, goes into Earth orbit, and begins to take the Moon apart, apparently for fuel. Leiber's characters and dialogue haven't held up all that well over the years, but his description of a large-scale catastrophe still impresses. Compare Philip Wylie and Edwin Balmer's When Worlds Collide and Greg Bear's The Forge of God. Hugo winner, 1965. See also INVASION 35
    36. Solaris LEM, STANISLAW(Walker, 1970) Trans. (from a French translation) by Joanna Kilmartin and Steve CoxWritten in Polish in 1961, this novel combines profound philosophic speculation with the structure of traditional action-adventure SF, embodied in a clear, vivid writing style that somehow survives two translations. A planet under study by Earth scientists for many decades is swathed in a world-girdling ocean, which, the scientists have realized after initial skepticism, is one immense sentient organism. For purposes of its own (never disclosed), this ocean "reads" the deepest memories of the four men housed at Station Solaris and sends each a double-"Phantom"-of a woman in his past; in the case of the viewpoint character his estranged and since deceased wife, Rheya. But the phantom Rheya thinks she is the real Rheya. And the mysterious world-ocean, constantly flinging up strange shapes that defy the savants' efforts at classification, may be the first, infantile phase of an emerging "imperfect God." A major work by any measure. In the Soviet Union Solaris was made into a well-received film. Compare Robert Silverberg, The Face of the Waters (1991). See also LIVING WORLDS Galaxies MALZBERG, BARRY N(ORMAN)(Pyramid, 1975)Expanded from the novelette "A Galaxy Called Rome." The plot, deliberately designed as a hard SF story, involves a spaceship endangered by a black hole, on whose fate much depends; this is blended with an elaborate commentary on the psychology and sociology of SF writing, using the story as paradigm. It thus becomes a brilliantly self-conscious work of art, more telling in many ways than Malzberg's Herovit's World (1973). See also RECURSIVE SF Memoirs of a Spacewoman MITCHISON, NAOMI(Gollancz, 1962) U.S. paperback edition, Berkley, 1973The viewpoint character's scientific specialty is COMMUNICATION with aliens. Women, in this intergalactic future, are by and large better at that kind of work than men; likelier to perceive the reality of sentience in bizarre lifeforms, and more adroit at devising ways of making contact. Extraterrestrials in this novel include a starfish-like, radially symmetrical species whose mathematics and philosophy differ profoundly from Earth's simple, on-off; yes-no bilateralism, and a caterpillars-and-butterflies race whose adult form abuses and lays guilt trips upon the sentient larval stage from which it metamorphosed. This story also explores, more boldly even than Philip Farmer, the possibilities of interspecies sex (and parenting). Considered a pioneering proto-feminist work; certainly the female protagonist's outlook differs markedly from that of the extroverted aggressive male heroes of most space opera. The Cornelius Chronicles MOORCOCK, MICHAEL(Avon, 1977)Omnibus containing The Final Programme(1969), A Cure for Cancer (1971), The English Assassin (1972), and The Condition of Muzak (1977), the first three in slightly revised form. Jerry Cornelius, the contemporary and near-future avatar of the multifaceted Moorcockian hero, features in the tetralogy in various roles: secret agent, messiah, corpse, dreary teenager and even a negative image of himself. The first novel begins as a parody of heroic fiction, its events running parallel to two of Moorcock's early Elric stories, but moves on to parody other themes in popular fiction. The middle volumes present a kaleidoscopic display of 20th-century motifs, and the fourth 36
    37. moves on again to subvert the fantasy elements in the first three and add its own theme of tragedy, symbolized with the aid of images drawn from harlequinade. The series is a sprawling masterpiece: a dream story loaded with all the threads of contemporary consciousness and modern mythology, bearing an appropriate burden of nightmare and irony. The ubiquitous Jerry can also be found in associated materials. See also NEW WAVE The Best of C. L. Moore MOORE, C(ATHERINE) L. (Nelson Doubleday, 1975)Ten stories from 1933 to 1946. Lester del Rey, a longtime admirer, selected them and wrote a biographical introduction; Moore added a personal afterword. Outstanding are three stories from Astounding: "The Bright Illusion" (1934), a human-alien love story that anticipates issues raised by Ursula Le Guin's THE LEFT HAND OF DARKNESS; "No Woman Born" (1944), about the triumphant return to the stage of a singer-dancer all but destroyed in a fire, whose brain has been transplanted into a robot body; and "Vintage Season" (1946; SFHF)-originally bylined as Lawrence O'Donnell, the pseudonym employed for collaborations between Moore and her spouse Henry Kuttner, here claimed as Moore's alone-about time traveling tourists and the present-day man who rents his house to them with tragic results. From Weird Tales the collection includes Moore's first story, "Shambleau" (1933), which introduced her popular interplanetary roamer, Northwest Smith, and two tales of her medieval female knight Jirel of Joiry. A highly satisfying collection. See also WOMEN SF WRITERS This Is the Way the World Ends MORROW, JAMES(Holt, 1986)Satirical apocalyptic fantasy in which the few survivors of the holocaust are put on trial by those who would have lived if only their ancestors had ordered their affairs more reasonably. Clever and elegant. Compare Kurt Vonnegut's Cat's Cradle . See also HOLOCAUST AND AFTER The Mote in God's Eye NIVEN, LARRY, and JERRY POURNELLE(Simon & Schuster, 1974)Superior space opera in which Earth's interstellar navy contacts and does battle with an enormously hostile alien race. The scenes of space warfare are well handled, and the alien Moties are fascinating. The sequel, The Gripping Hand (1993), is more mundane. Compare C. J. Cherryh's DOWNBELOW STATION or Vernor Vinge's A FIRE UPON THE DEEP. See also ALIENS A Mirror for Observers PANGBORN, EDGAR(Doubleday, 1954)Martians in underground cities for thousands of years have manipulated Earth's historical development. Martian Elmis foresees a great new ethical age for Earth under the leadership of a Gandhi/M. L. King saint-figure; Martian Namir looks toward a "final solution" for the Earth problem in mutually annihilative war. The conflict between Elmis and Namir has been compared with that of God and Satan in the Book of Job; and beyond that, wrote Peter S. Beagle in afterword to a later edition of the novel (Bluejay, 1983, p. 228), it reflects "the endless internal battle that everyone fights who cannot quite abandon hope of one day waking from the nightmare of our species' history." Contrast Kurt Vonnegut, THE SIRENS OF TITAN . See also OPTIMISM AND PESSIMISM Woman on the Edge of Time PIERCY, MARGE(Knopf; 1976)A Hispanic-American mother undergoes experimental psychosurgery. She makes psychic contact with the 22nd-century world that has resulted from a FEMINIST revolution whose 37
    38. success may depend on the subversion of the experiments in which she is involved. Outstanding for the elaborate description of the future utopia and the graphic representation of the inhumanity inherent in the way that contemporary people can and do treat one another. Compare Joanna Russ's THE FEMALE MAN. The Anubis Gates POWERS, TIM(Ace, 1983)An academic interested in a minor Victorian poet named William Ashbless is recruited as a kind of tour guide to a time traveling expedition whose members expect to hear Coleridge lecture. When he is marooned in 1810 he has to fight a multitude of enemies, including the man who marooned him. His struggle for survival, which necessitates his becoming Ashbless, makes a fabulous adventure story with some excellent gothic elements. More fantasy than SF, but the ingeniously constructed paradox-avoiding time-tripping draws heavily on the SF tradition. Compare James P. Blaylock's HOMUNCULUS. See also STEAMPUNK Strata PRATCHETT, TERRY(Colin Smythe, 1981)The heroine, a "worldbuilder," deserts her work in order to investigate the mysterious works of others (presumably aliens) in the same vein-in particular, a flat Earth enclosed within a crystal sphere, complete with monsters and demons. She sets out with two alien companions to explore it, attempting to find out who built it and why. An absurdist RINGWORLD, subverting SF cliches. See also HUMOUR An Infinite Summer PRIEST, CHRISTOPHER(Faber, 1979)Priest's second collection, superior to Real-Time World (1974). The mundane lives of the characters are usually interrupted by fantastic distortions of time and space, whose consequences are seductive but possibly subversive of sanity. Includes "Palely Loitering" and "The Watched." See also TIME TRAVEL The Glamour PRIEST, CHRISTOPHER(Cape, 1984)Outcasts of society, who pass unnoticed in "the hierarchy of visual interest," can make themselves invisible, a talent that is, ironically, the "glamour" of the title. The amnesiac hero gradually relearns the use of this talent and rediscovers his love for the heroine. A delicately ambivalent tale of welcome alienation. The U.S. edition (Doubleday, 1985) is substantially revised. Compare Fritz Leiber's The Sinful Ones(1953; revised 1980). See also PERCEPTION Gravity's Rainbow PYNCHON, THOMAS(Viking, 1973)A sprawling novel about a World War II psychological warfare unit full of weird characters, one of whom seems to be determining the pattern of V-2 rocket attacks by his sexual activities but refuses to submit to study and possible control. Extraordinarily elaborate black comedy. Compare the research establishment in Carter Scholz and Glen A. Harcourt's Palimpsests (1985). See also ENTROPY Red Mars ROBINSON, KIM STANLEY(HarperCollins, 1992)This novel, the first of a projected trilogy, is, without a doubt, the most detailed and impressive portrayal of the exploration and colonization of another planet ever published. Robinson is in complete control of his materials, whether he is describing the engineering difficulties involved in the building of a large-scale underground habitat or the political wheeling and dealing involved in placating a wide range of political, religious, ethnic, and commercial interests, all of which want a slice of the Martian pie. The novel features a large cast of well-developed characters, breathtaking 38
    39. descriptions of the Martian landscape, and a sophisticated understanding of the complex interplay between technology and politics. Red Mars may well be the finest hard-science fiction novel of the last decade. Sequels are Green Mars (1994) and Blue Mars. For a competent, smaller-scale approach to the exploration of the Red Planet, compare Ben Bova's Mars. See also MARS The Planet on the Table ROBINSON, KIM STANLEY(Tor, 1986)Collection of early fiction by one of the genre's finest literary writers, including Robinson's World Fantasy Award-winning story about the Spanish Armada, "Black Air," and the fine alternate history tale, "The Lucky Strike," which is set in a world where the bomb was not dropped on Hiroshima. Robinson's other major collections are Escape From Kathmandu (1989), which includes the Hugo- and Nebula Award-nominated title novella, and Remaking History (1991), which includes the Nebula-nominated "Before I Wake," as well as "Vinland the Dream," "Glacier," and 12 other fine stories. Compare John Kessel's Meeting in Infinity. See also ALTERNATE WORLDS Stardance ROBINSON, SPIDER, and JEANNE ROBINSON(Dial, 1979)Based on a novella (Hugo winner, 1978; Nebula winner, 1977). A story of exotic redemption in which a crippled dancer becomes involved in humanity's first contact with ALIENS, and helps set the stage for a mystical communion between the species. The sequel, Starseed (1991), is much less successful. Compare Orson Scott Card's Songmaster (1980). The Child Garden: A Low Comedy RYMAN, GEOFF(Unwin, 1989)This brilliant postmodernist extravaganza takes place in a tropical future London where genetic engineering has abolished cancer, mastered the art of passing on knowledge through viruses, allowed human beings to photosynthesize and, tragically, caused an irreversible change in human genetics, which leads most human beings to die in their mid-thirties. The complex plot centers on a pair of artist-lovers-Milena, a mediocre actress with a talent for directing, and Rolfa, a huge, genetically engineered Polar Woman who sings opera. For comparably audacious speculation about bioengineering, see Greg Bear's BLOOD MUSIC . For a comparable picture of a city transformed by the greenhouse effect, see Elizabeth Hand's WINTERLONG . Winner of the 1990 Arthur C. Clarke Award and the JWC Award and a nominee for the British SF Association Award. See also DYSTOPIAS Women of Wonder: Science Fiction Stories by Women About Women SARGENT, PAMELA, ed.(Vintage, 1974)Twelve reprinted short stories by women writers, all devoted to the examination of sex roles. Included are a number of classics, among them Judith Merril's "That Only a Mother," Anne McCaffrey's "The Ship Who Sang," Sonya Dorman's "When I Was Miss Dow," Kate Wilhelm's "Baby, You Were Great," Carol Emshwiller's "Sex and/or Mr. Morrison," Ursula K. Le Guin's "Vaster Than Empires and More Slow," and Vonda N. Mclntyre's "Of Mist, and Grass, and Sand." Sargent's long introductory essay is particularly valuable. A second reprint volume, More Women of Wonder (1976), featured another introduction by Sargent and seven novelettes, including C. L. Moore's "Jirel Meets Magic," Joanna Russ's "The Second Inquisition," and Le Guin's "The Day Before the Revolution." A collection of original fiction, The New Women of Wonder (1978), included Dorman's "Building Block," Eleanor Arnason's "Warlord of Saturn's Moons," and others. Two new Women of Wonder anthologies were nearing completion in 39
    40. late 1993 and will be published in 1995. Compare Cassandra Rising (1978) edited by Alice Laurance, Millennial Women (1978), edited by Virginia Kidd, and Aurora: Beyond Equality (1976), edited by Vonda N. Mclntyre and Susan J. Anderson. See also FEMINISM The Ragged Astronauts SHAW, BOB(Gollancz, 1986)In a planetary system where two worlds share a common atmosphere the inhabitants of one are forced by circumstance to migrate to the other in hot air BALLOONS. An unusual adventure story in which good characterization helps to make extraordinary events plausible. The somewhat less successful sequels are The Wooden Spaceships (1988) and The Fugitive Worlds (1989). The Illuminatus! Trilogy SHEA, ROBERT, and ROBERT ANTON WILSON(Dell, 1984)An omnibus edition of a three-decker novel whose separate parts-The Eye in the Pyramid, The Golden Apple, and Leviathan-first appeared in 1975. A wild extravaganza that hypothesizes that all the secret societies claiming access to a special enlightenment were and are part of a huge conspiracy that will take over Earth unless the heroes of the counterculture can stop them. A crazy compendium of contemporary concerns. Compare Thomas Pynchon's GRAVITY'S RAINBOW . See also PARANOIA Is That What People Do? SHECKLEY, ROBERT(Holt, 1984)This collection recombines stories from earlier collections, as did The Wonderful World of Robert Sheckley (1979). A five-volume set collected 132 stories, The Collected Short Stories of Robert Sheckley (Pulphouse, 1991). His stories are very funny, but the HUMOR is generally underlaid with a dark and serious suspicion of the follies of human vanity. His robot stories are exceptionally fine and should be compared and contrasted with the Isaac Asimov stories, whose themes they often subvert and mock. Compare also the short fiction of John Sladek. A Time of Changes SILVERBERG, ROBERT(Doubleday, 1971)A colony world preserves a strange culture based on self-hatred, but the protagonist learns individualism from a visiting Earthman and becomes a revolutionary advocate of a new kind of community. Unlike Ayn Rand's Anthem , with which it inevitably invites comparison, it is not a political allegory but an exploration of the value of human relationships. Nebula winner, 1971. See also PSYCHOLOGY Science Fiction Hall of Fame Vol. I (Doubleday, 1971); Vols. IIA and IIB (Doubleday, 1974)Volume 1 edited by ROBERT SILVERBERG consisted of 26 short stories and novelettes chosen by ballot of the Science Fiction Writers of America as the best shorter works in the field to have been published before 1965. The oldest story in the collection is Stanley Weinbaum's "A Martian Odyssey" (1934); the newest is Roger Zelazny's "A Rose for Ecclesiastes" (1963). An editorial decision to limit the collection to one story from each author may have slightly skewed the selection. Is "The Roads Must Roll" the story by which we wish to remember Robert Heinlein? On the whole, however, this anthology may be taken as definitive, and it works effectively in the classroom, except among the worldly-wise who "have read all those stories before." For Volume 2, Ben Bova edited 22 novellas chosen the same way, 11 in each sub-volume. They range from H. G. Wells's indispensable The Time Machine (1895), through Golden Age classics like Heinlein's "Universe" and John W. Campbell's "Who Goes There?" to strong works from the early 1960s 40
    41. such as Jack Vance's "The Moon Moth." In both Bova's and Silverberg's anthologies there is surprisingly little overlap with the Hugo winners; in fact, but one short story, "Flowers for Algernon," and one novella "The Big Front Yard," which may say something about the differences between fans' and writers' literary tastes. See also GOLDEN AGE OF SF Way Station SIMAK, CLIFFORD D(ONALD)(Doubleday, 1963)A Civil War veteran comes home to the family farm, which becomes a station or stop for interstellar travelers. Time passes more slowly inside the disguised farmhouse, so that the stationmaster's longevity in the outside world (which he enters to pick up his mail!) attracts the attention of hostile neighbors and of an implausibly understanding CIA agent. The story gets its effect from casual juxtaposition of bizarre alien visitors and artifacts with realistic southwestern Wisconsin locale. lt carries Simak's perennial message that all sentient beings can and must get along, or perish; the various galactic races face the same danger from themselves as do Earth's own warring peoples. A tragic counterpoint is a bittersweet, thwarted love between the hero and a composite "ghost" of two women from his wartime past. A sentimental story, but effective; it won the Hugo Award in 1963 for best novel. Hugo winner, 1963. See also PASTORAL Hyperion SIMMONS, DAN(Doubleday, 1989)Hyperion is the first half of one of the most complex space operas ever written. With a structure based on the Canterbury Tales, it tells the story of a pilgrimage of sorts to the planet Hyperion, where the Time Tombs, alien artifacts that run backward through time, are about to open. As in Chaucer, each pilgrim has his or her own story to tell; stories that are individually riveting and contribute thematically to the novel as a whole. The book ends just as the travelers reach their destination. The Fall of Hyperion (1990) takes its inspiration from Keats's poem of the same name. It continues the narration of events at the tombs, but also opens up into a portrait of a sophisticated interstellar culture where teleportation is so basic that people routinely build homes with rooms on more than one planet. Powerful players are interested in the events on Hyperion, and the individual crises faced by the pilgrims may have galaxy-spanning outcomes. The Hyperion books suffer from occasional problems of continuity, but they are beautifully written and have few equals for sheer, large-scale sense of wonder. A third volume is promised. On a somewhat smaller scale, compare Alexander Jablokov's Carve the Sky . Hugo winner, 1990. See also METAPHYSICS The Rediscovery of Man: The Complete Short Science Fiction of Cordwai SMITH, CORDWAINER (pseud. of Paul Myron Anthony Linebarger)(NESFA Press, 1993) Ed. by J. J. Pierce Gathers 33 stories, including two previously unpublished, thus replacing The Best of Cordwainer Smith (1975; U.K. title: The Rediscovery of Man) and The Instrumentality of Mankind (1979). Most tales belong to an elliptical, vaguely allegorical future history, relating colonization of space and achievement of virtual immortality, both purchased at the price of growing class division between Instrumentality and Underpeople, genetically engineered slaves. Most tales can stand alone, and many are classics: "Scanners Live in Vain," "The Dead Lady of Clown Town," "The Ballad of Lost C'Mell," and others. Norstrilia (1975), a novel relating the accession of Underpeople to full civil rights, continues the overarching story. The future history is evocative, 41
    42. baroquely brilliant (though at times politically dubious), moving between the early scientific romances of H. G. Wells and sixties New Wave. See also FAR FUTURE The Lensman Series SMITH, E(DWARD) E(LMER)(Fantasy Press, 1948-1954)The SPACE OPERA to end all space operas, with humans and aliens arrayed (some on each side) in a cosmic war of Good and Evil, which even George Lucas would be hard put to top. For all its implausibilities, this series represents a vast improvement in "Doc" Smith's novelistic skills of storytelling and character portrayal over his archetypal, but crude, Skylark of Space . Readers' response to the "Civilization" vs. "Boskonia" theme as an allegory of the "West" vs. "Fascism" during World War II was an important factor in the stories' initial reception. The novels are best read in the order in which they appeared in Astounding: Galactic Patrol (1937-1938), Gray Lensman (1939-1940), Second-Stage Lensmen (1942), and Children of the Lens (1947-1948). Triplanetary is a fix-up novel, which converts an earlier, previously unrelated serial in Amazing into a "prequel" to the series; it and First Lensman, written after the initial tetralogy but preceding its chronology, give away Smith's conceptual scheme, which his Lensman-hero had to puzzle out the hard way through four long novels. Vortex Blaster (1960) is peripheral to the main series, although occurring in the same future universe; it grew out of short stories in the more obscure pulps (Comet, Super Science) in 1941. Star Maker STAPLEDON, (WILLIAM) OLAF(Methuen, 1937)A companion piece to LAST AND FIRST MEN , taking the essay in myth creation still further to present an entire history of the cosmos and an account of its myriad life forms. The narrator's vision expands through a series of phases, each giving him a wider perspective until he finally glimpses the Star Maker at his work, experimenting in the cause of producing new and better creations. A magnificent work by any standards; the most important speculative work of the period. Of related interest is Nebula Maker, a preliminary and less mature version of Star Maker, written in the mid-1930s but not published until 1976. See also LIVING WORLDS Snow Crash Stephenson, Neal(Bantam, 1992)An outrageous combination of CYBERPUNK tropes, sophisticated linguistics theory, and postmodernist satire, Snow Crash is set in a near-future America where government has broken down and just about everything is done by franchise. The main character, Hiro Protagonist, a.k.a. the Deliverator, is a genius hacker and samurai warrior, but he makes his living delivering pizza for the Mafia. When a deadly disease, the snow crash virus, begins to take out hackers and threatens virtual reality itself, Hiro is the man to tame it. The novel is a complex stew of cyberspace high jinks, religion, off-the-wall humor, and action-adventure sequences. It's crammed with delightful throwaway ideas, such as Mafia-enforced, potentially deadly, 30-minute pizza delivery deadlines and semi-intelligent, nuclear-powered watchdogs. Although not calculated to bring pleasure to fans of old-fashioned, meat and potatoes hard SF, Snow Crash is a genuinely dazzling novel. Compare William Gibson's NEUROMANCER and Pat Cadigan's SYNNERS . The Diamond Age Stephenson, Neal(Bantam, 1995)The age of Stephenson's title is the era of NANOTECHNOLOGY, when molecular control of manufacturing processes permit 42
    43. light and superstrong materials fabricated from (usually) crystalline carbon. In the 22d century, fully developed nanotechnology has produced a world with little material want, but numerous bizarre systems of social control, including a revival of tribalism, innumerable tiny nation-states, and a transnational society called the neo-Victorians, who look for social stability in the hierarchies and intricate structures of 19th-century England. John Percival Hackworth, a rising neo-Victorian who works for the posh design company Bespoke, illicitly copies an advanced interactive device called A Young Lady's Illustrated Primer, only to lose it in a mugging. When one of the muggers presents the device to his sister, Nell, its enormous transformative potential is loosed upon the hypercomplex but unsuspecting molecularly-engineered civilization. Stephenson combines nanotechnology with STEAMPUNK in a flamboyantly inventive work of sustained virtuosity, an infusion of nanotech speculation (about which Stephenson has done more of his homework than most SF writers) into the model of William Gibson and Bruce Sterling's THE DIFFERENCE ENGINE. A pastiche more than a work of imaginative originality, The Diamond Age is an enormously entertaining, wide-screen science fiction entertainment. (GF) Schismatrix STERLING, BRUCE(Arbor House, 1985)The hero, in the course of a long and eventful life, witnesses the political and technological evolution of the solar system after Earth has been devastated. The long struggle between the biotechnologically inclined Shapers and the electronically expert Mechanists is complicated by the arrival of aliens and the eruption of new ideological movements. A marvelous compendium of ideas; an imaginative tour de force. Compare Jack Williamson's Lifeburst . See also GENETIC ENGINEERING Mirrorshades: The Cyberpunk Anthology STERLING, BRUCE, ed.(Arbor, 1986)Reprint anthology of the latest New Wave movement in American SF, edited by one of the major proponents and theorists for " CYBERPUNK," which features a streetwise and cynical assessment of future possibilities generated by new information and biotechnology. Other leading figures in the movement-William Gibson, Pat Cadigan, and John Shirley prominent among them-are of course represented. The Ugly Swans STRUGATSKII, ARKADII NATANOVICH, and BORIS NATANOVICH STRUGATSKII(Macmillan, 1979) Trans. of Gadkie lebedi , 1972, by Alexander Nakhimovsky and Alice Stone NakhimovskyIn a decadent future stange weather conditions bring fantastic changes to a region where children appear to be evolving into superhumanity. Contrast Arthur C. Clarke's CHILDHOOD'S END . See also CHILDREN IN SF More Than Human STURGEON, THEODORE(Farrar, 1953)Winner of the International Fantasy Award in 1954, and deservedly so. Growing out of the acclaimed novella, "Baby ls Three," this excellent work describes the rise, against all the meanness and bigotries of the surrounding world, of Homo Gestalt, an individual composed of the blended intelligences of numerous people, each of whom retains personal identity while contributing a particular special strength or talent to the whole. An emergence-of-the-superhuman story; made more of a struggle than it was for the superchildren in Arthur C. Clarke's CHILDHOOD'S END, but shorn also of the inevitable tragedy forecast for the 43
    44. superhumans in Olaf Stapledon's Odd John . Arguably Sturgeon's best book, and frequently on lists for school courses in SF. See also PSI POWERS Gravity's Angels SWANWICK, MICHAEL(Arkham, 1991)This collection of Swanwick's major short fiction includes such fine stories as "The Feast of St. Janis," "The Transmigration of Philip K," "Mummer's Kiss," "The Edge of the World," and "Trojan Horse." A number of these stories are award nominees and all are beautifully written. One of the best collections in recent memory. Compare Bruce Sterling's CRYSTAL EXPRESS and William Gibson's BURNING CHROME . Stations of the Tide SWANWICK, MICHAEL(Morrow, 1991)The jubilee tides are coming, and the heavily populated lowlands of the planet Miranda are about to be drowned. Entire cities must relocate to the highlands. Against this chaotic background a government agent known only as the bureaucrat searches for the outlaw Gregorian who, although locally rumored to be a magician, is actually the possessor of stolen and very dangerous nanotechnology. Swanwick presents a marvelously complex world in a very small space, filling it with finely drawn characters, superb stylistic flourishes, tantric sex, literary allusions galore, and fascinating bits of cybernetic technology, including an almost magical artificial intelligence briefcase and a government office complex located exclusively in virtual reality. For similar literary excellence, albeit on a much larger scale, compare Dan Simmons's HYPERION. Nebula winner, 1991. See also PLANETARY ROMANCE Of Men and Monsters TENN, WILLIAM (pseud. of Philip Klass)(Ballantine, 1968)After Earth is invaded and colonized by gigantic aliens, humanity is driven to live a ratlike existence within the walls of the invaders' dwellings. Years later, a few courageous human beings steal an alien spaceship and head for the stars. A fine novel by a talented writer who largely dropped out of the field in the late 1960s and whose work is little remembered today. Compare Thomas M. Disch's The Genocides (1965) and Gregory Benford's Great Sky River. See also INVASION The Gate to Women's Country TEPPER, SHERI S.(Doubleday, 1988)After the nuclear war women rebuilt society with themselves in control of all government, commerce, agriculture, and art. The men live in garrisons outside the city walls devoting themselves to games, parades, military training, and occasional, strictly controlled, small-scale wars. When they come of age, boys are given the choice of leaving the city to join the men or remaining as servants. One young woman takes exception to this system and runs away with her male lover. Although Tepper has occasionally been criticized for the stridency of her message,The Gate to Women's Country is in reality a subtle and sophisticated novel. Compare Joan Slonczewski'sA Door Into Ocean and Eleanor Arnason's A WOMAN OF THE IRON PEOPLE. Contrast David Brin's Glory Season (1993) and Orson Scott Card's The Memory of Earth (1992). See also FEMINISM Her Smoke Rose Up Forever: The Great Years of James Tiptree, Jr. TIPTREE, JAMES, JR. (pseud. of Alice Sheldon)(Arkham, 1990)More than 500 pages of the best fiction of one of the best short story writers in the genre, including such award winners as "The Women Men Don't See," "Love Is the Plan, the Plan Is Death," "The Screwfly Solution," and "Houston, Houston, Do You Read?" Among Tiptree's other fine collections are Ten Thousand Light Years From Home (1973), Warm Worlds and Otherwise (1975), 44
    45. Star Songs of an Old Primate (1978), Out of the Everywhere and Other Extraordinary Visions(1981), the World Fantasy Award-winning Tales of the Quintana Roo(1986), The Starry Rift (1986), and Crown of Stars (1988). Her most effective stories seem motivated by outrage, using SF motifs to set up situations in which the injustices and tragedies of our world are magnified. Scientism, cruelty, and sexism are all attacked. Among those writers currently publishing, the closest in spirit to Tiptree may well be Sheri Tepper. Compare her Grass and its sequels. Compare also Joanna Russ's EXTRA(ORDINARY) PEOPLE . See also OPTIMISM AND PESSIMISM The Weapon Shops of Isher VAN VOGT, A(LFRED) E(LTON)(Greenberg, 1951)The bibliographic history of this work is complex. Two short stories, "The Seesaw" and "The Weapon Shop" appeared in Astounding in 1941 and 1942. These were incorporated with a magazine version of "The Weapon Shops of Isher" (Thrilling Wonder, 1949), plus new material, to make up a book of the same title. However, a magazine version of "The Weapon Makers," originally a sequel to the two short stories, appeared in Astounding in 1943; then that story, even though published before "The Weapon Shops of Isher," was rewritten to make it a sequel to Shops; a publishing history that matches the intricacy of van Vogt's plots. Greenberg published The Weapon Makers as a sequel in 1952. The National Rifle Association should love this series about the Weapon Shops with their slogan "The right to buy weapons is the right to be free." A van Vogtian superhero named Hedrock defends the Shops against the machinations of the wily Empress Innelda . . . but it turns out that he, Hedrock, centuries ago founded the Empire in the first place, as well as the Shops. So schizoid a balance between LIBERTARIANISM and authoritarianism may unconsciously say more about our own culture than about that of van Vogt's far future. The Dragon Masters VANCE, JACK (pseud. of John Holbrook Vance)(Ace, 1963) Recommended ed.: Gregg, 1976Hugo for best novella, 1962. At the edge of the galaxy, what is possibly the last human-controlled world is periodically invaded by the lizardlike "Basics"; in the interim, the humans fight each other. The Basics use as their troops GENETICALLY ENGINEERed humans; the planet's human defenders deploy dragons, of several sizes and degrees of ferocity, which have been developed from "Basics" eggs. However, no summary can do justice to the richness of Vance's atmospherics. Critics have pigeonholed his style as "baroque"; anyhow, it is uniquely his. This book is a landmark in the transformation of SF away from both Golden Age and 1950s themes, yet in a different direction from the emerging "New Wave." The advent of the dragon as a popular theme, foreshadowing Anne McCaffrey's "Weyr Search" (Hugo winner, 1968) and its many sequels. The Gregg edition features an introduction by Norman Spinrad. The Last Castle VANCE, JACK(Ace, 1967)A novella in which FAR-FUTURE Earth is recolonized by humans who establish themselves as an aristocracy supported by alien underclasses, but become vulnerable to revolution. Elegant exoticism with an underlying political message. Compare Cordwainer Smith's Norstrilia. Hugo winner, 1967; Nebula winner, 1966 The Persistence of Vision VARLEY, JOHN(Dial, 1978) U.K. title: In the Hall of the Martian Kings, 1978The first of Varley's short story collections, followed by The Barbie Murders and Other Stories (1980) and Blue Champagne (1986). The title 45
    46. story (Nebula winner, 1978; Hugo winner, 1979) is a parable in which men are so alienated that the path of true enlightenment is reserved for the handicapped. "In the Hall of the Martian Kings" has castaways on Mars saved by the advent of miraculous life-forms. Varley almost always deals in extremes, and the fervent inventiveness of his early stories made them very striking. Compare the short fiction of James Tiptree, Jr. See also PLANETARY ROMANCE A Journey to the Center of the Earth (Voyage au centre de la terre) VERNE, JULES(1864) Recommended trans. by Robert Baldick, Penguin, 1965.More than half the book is given to the preliminaries before the actual descent begins, the first two chapters relying on a standard point of departure, the discovery of a manuscript giving the location of the caverns in Iceland. The narrative shows Verne's intense care in presenting the latest scientific thought of his age, while the sighting of the plesiosaurus and the giant humanoid shepherding mammoths indicates how well he incorporated lengthy imaginary episodes to flesh out the factual report. See also HOLLOW EARTH ================================================ From the Earth to the Moon (De la terre a la lune) VERNE, JULES(1865) Recommended trans. by Walter James Miller, Crowell, 1978The influence of Poe's "Hans Pfaall" on this novel by Verne remains uncertain, for most of the narrative is given to building a cannon and locating the site from which the shot is to be made. The actual shot (flight) provides the climactic action of the novel. Not until Round the Moon (Autour de la lune) (1870) did the readers learn that because of deflection by a second earthly moon (Verne's invention) the ship merely orbited the MOON and splashed down in the Pacific. Since the dark side of the Moon was invisible to them, the voyagers saw nothing of it. That fact raises a question about Verne's imagination: did he have to depend on factual sources for his works? In this case, like Edgar Allan Poe and Richard Adams Locke, he may have pulled his own hoax, for there existed a long tradition of lunar descriptions. See also FANTASTIC VOYAGES The Snow Queen VINGE, JOAN D(ENNISON)(Dial, 1980)A colorful amalgam of SF and heroic fantasy borrowing the structure of Hans Christian Andersen's famous story, set on a barbarian world exploited by technologically superior outworlders, against the background of a fallen galactic empire. The convoluted plot makes heavy use of ideas drawn from Robert Graves's classic The White Goddess. World's End (1984), a more modest sequel, relates the adventures of an important secondary character from the first book. The Summer Queen (1991) ties together plot threads from both of the previous novels. Lacking the fairytale-like qualities of The Snow Queen, it is a well-done but somewhat more conventional story of planetary intrigue and interstellar politics. Compare Frank Herbert's DUNE and Mary Gentle's GOLDEN WITCHBREED. Hugo winner, 1981. See also PLANETARY ROMANCE A Fire Upon the Deep VINGE, VERNOR(Tor, 1992)The Milky Way is divided into four concentric zones, the Unthinking Depths, the Slow Zone, the Beyond, and the Transcend. Inherent in the basic physics of these zones are limitations to intelligence; intellect increases as one moves outward. Humanity, originally from the Slow Zone, is merely one of uncounted races on the Known Net. It is a mark of our success, however, that we have planted thriving colonies well into the Beyond. A human research team exploring 46
    47. the edge of the Transcend accidentally releases a Power, a malevolent superbeing that begins laying waste to the galaxy, wiping out entire intelligent species in a matter of days. Two human children, survivors of the accidental release of the Power, hold the key to its defeat, but they have been shipwrecked on a distant planet on the edge of the Slow Zone and their rescue will be difficult. Vinge's plot is big and bold, almost in the manner of E. E. Smith, but his scientific content is quite sophisticated and his character development is solid. His doglike aliens, with their limited group minds, are endlessly fascinating. Compare David Brin's STARTIDE RISING . Hugo winner, 1993. See also GALACTIC EMPIRES True Names VINGE, VERNOR(Bluejay, 1984)Novella first published in 1981. Clever computer hackers have established their own fantasy world within the data matrix of the world's computers, where they can work mischief and enjoy themselves-until someone (or maybe something) tries to take over the world and the hero, blackmailed into cooperating with the FBI, has to stop the rot. A lively and fascinating extrapolation of the idea that advanced technology opens up the opportunities traditionally associated with wizardry. A precursor of William Gibson's NEUROMANCER . See also CYBERPUNK Slaughterhouse-Five; or, The Children's Crusade VONNEGUT, KURT(Delacorte, 1969)Billy Pilgrim survives the Dresden firestorm as a POW but subsequently becomes unstuck in time after being kidnapped by Tralfamadorians and caged with a blue movie starlet. Thus he learns that everything is fixed and unalterable, and that one simply has to make the best of the few good times one has. A masterpiece, in which Vonnegut penetrated to the heart of the issues developed in his earlier absurdist fabulations. A key work of modern SF. See also ABSURDIST SF Night of the Cooters: More Neat Stories WALDROP, HOWARD(Ursus, 1990)Most recent collection, following Howard Who? (1986) and All About Strange Monsters of the Recent Past (1987; U.S. paperback, Strange Monsters of the Recent Past , 1991, adds novella "A Dozen Tough Jobs"), gathering ten stories from the eighties. All are outrageously imagined and narrated with scathingly deadpan humor. The title story retells H. G. Wells's War of the Worlds in a Texas setting; "Thirty Minutes Over Broadway" recreates the atmosphere of early comic books; "French Scenes" hilariously applies sampling/mixing technologies to film. The three collections are filled with deceptively lightweight but ingeniously crafted gems, marking Waldrop as one of best new short story writers of the eighties. Compare stories of R. A. Lafferty. See also FABULATION The Flies of Memory WATSON, IAN(Gollancz, 1990)Aliens who look very much like human-sized flies visit the Earth and spend most of their time viewing our great works of art and architecture, as well as our natural wonders. They say their purpose is simply to record what they're seeing, but then some of the objects begin to disappear, including a significant part of the city of Munich. Compare Mark S. Geston's Mirror to the Sky (1992). See also PERCEPTION The Island of Dr. Moreau WELLS, H(ERBERT) G(EORGE)(Heinemann, 1896) Variorum ed. by Robert Philmus, Univ. of Georgia, 1993Reading Moreau as a version of the Frankenstein myth overlooks the fact that, unlike Faustus or Victor Frankenstein, Moreau has no sense of guilt or controlling humanity. He is 47
    48. the most terrible of the three and cannot be called a tragic hero. Both in the narrator Pendrick and the "Beast People," Wells shows the uneasy tension between "natural" and "civilized" humanity. "The Law" satirizes any attempt to codify religio-moral concepts intended to curb the natural man. Wells emphasizes through his satire after Moreau's death that only a fragile shell of civilization restrains humanity from its natural bestiality. This thrust undercuts the long-time romantic idealization of the natural man. Compare Brian W. Aldiss's Moreau's Other Island (U.K., 1980; U.S. title: An Island Called Moreau, 1981). See also DEVOLUTION The War of the Worlds WELLS, H(ERBERT) G(EORGE)(Heinemann, 1898) A Critical Edition of The War of the Worlds, ed. by David Y. Hughes and Harry M. Geduld, Indiana Univ. Press, 1993The dramatic effectiveness of the novel lies in the detailed realism with which Wells destroys Richmond, Kingston, and Wimbledon. He brings horror to very familiar doorsteps. Perhaps more than any of his other works, this dramatizes humanity's fragile place in the universe, a theme that obsessed him from the first and that he desperately tried to communicate to his contemporaries. Filmed in 1953, its most memorable dramatization was the 1938 Orson Welles broadcast. See also INVASION The Infinity Box WILHELM, KATE(Harper, 1975)Perhaps Wilhelm's best early short story collection, including the fine title novella and "April Fool's Day Forever," the latter presenting a characteristic Wilhelm theme: a new and promising discovery with tragic side effects. The earlier collections, The Downstairs Room (1968) and Abyss (1971), also have some strong material; the former includes "The Planners" (Nebula winner, 1968), one of many convincing stories of SCIENTISTS at work in the forefront of genetic and behavioral research. Other collections are Somerset Dreams and Other Fictions (1978); Listen, Listen (1981); Children of the Wind (1989), which includes the Nebula Award-winning "The Girl Who Fell Into the Sky" and the Nebula-nominated "The Gorgon Field"; and And the Angels Sing (1992), which features the Nebula-winning "Forever Yours, Anna." Wilhelm has no peer as a writer of realistic near-future SF stories examining the human implications of possible biological discoveries. Compare Karen Joy Fowler's ARTIFICIAL THINGS . Where Late the Sweet Birds Sang WILHELM, KATE(Harper, 1976)Ecocatastrophe destroys the United States, but a family of survivalists comes through the crisis, using CLONING techniques to combat a plague of sterility. But are their descendants really victors in the struggle for existence, or has their artificial selection simply delivered them into a different kind of existential sterility? Compare Frank Herbert's Hellstrom's Hive (1973) and Pamela Sargent's Cloned Lives (1976). Hugo winner, 1977 This Immortal ZELAZNY, ROGER(Ace, 1966)Expanded from a shorter version titled "And Call Me Conrad" (Hugo winner, 1966). The superhuman hero must defend an extraterrestrial visitor against the many dangers of a wrecked Earth where mutation has reformulated many mythical entities. A fascinating interweaving of motifs from SF and mythology-perhaps the most successful of Zelazny's several exercises in that vein. Compare Samuel R. Delany's THE EINSTEIN INTERSECTION. See also MYTHOLOGY The Doors of His Face, The Lamps of His Mouth... Full title: The Doors of His Face, The Lamps of His Mouth, and Other 48
    49. Stories ZELAZNY, ROGER(Doubleday, 1971)A fine collection; the title story (Nebula winner, 1965) concerns a man facing up to his fears in the shape of a Venerian sea monster, and "A Rose for Ecclesiastes" is a poignant story about a man who unwittingly brings faith to a Martian race on the brink of extinction. The earlier collection, Four for Tomorrow (1967), is equally good, but two subsequent short story volumes, My Name Is Legion (1976) and The Last Defender of Camelot (1980), are weaker, although the former does feature "Home Is the Hangman" (Hugo winner, 1976)-a suspenseful story about an enigmatic robot executioner. Zelazny's most recent collections are Unicorn Variations (1983), which features "Unicorn Variation" (Hugo winner; 1981), and Frost and Fire (1989), which contains "Permafrost" (Hugo winner, 1986) and "24 Views of Mt. Fuji by Hokusai" (Hugo winner, 1985). See also PLANETARY ROMANCE The Heat Death of the Universe and Other Stories ZOLINE, PAMELA(Women's Press, 1988) Brit. title: Busy About the Tree of Life, 1988Zoline doesn't write very much, but what she does produce is superb. Her first story, "The Heat Death of the Universe," was hailed as a masterpiece when it appeared in New Worlds in 1967. In the following decades, however, she published only three more stories. This first collection includes five stories, all of Zoline's previously published fiction plus the new title story, a cutting satire on evolution. Compare Langdon Jones's The Eye of the Lens and Pat Cadigan's Patterns . See also NEW WAVE No Enemy But Time BISHOP, MICHAEL(Timescape, 1982)A strange, alienated child has lurid dreams of the Pleistocene era, and discovers the truth of them when he becomes a TIME TRAVELer in adulthood. He joins forces with a band of habiline protohumans and fathers a child, which he brings back to the present. Brilliant and memorable, written with great conviction. Compare Vercors's You Shall Know Them. Nebula winner, 1982 JEM: The Making of Utopia POHL, FREDERIK(St. Martin's, 1979)A new planet is ripe for exploitation by Earth's three power blocs: food-exporting nations, oil-exporting nations, and people's republics. Three species of intelligent natives enter into appropriate associations with the three colonizing groups, and are thus drawn into the web of conflicts and compromises that reproduces all the evils of earthly politics. A cynical ideological counterweight to stories of human/alien cooperation along the lines of Poul Anderson's People of the Wind (1973). See also COLONIZATION OF OTHER WORLDS The Legion of Time WILLIAMSON, JACK(Fantasy, 1952)A classic of pulp SF in which a small army of soldiers of fortune is co-opted into a war between alternate futures to settle which of them will really exist. The gaudy costume drama is sustained by the power of the central idea, which was new in 1938 when the novel was serialized in Astounding. See also TIME TRAVEL Slan VAN VOGT, A(LFRED) E(LTON)(Arkham, 1946)The author's first novel-length work, serialized in Astounding in 1940, was also one of the first SF stories from the magazines to make it into hardcover publication. According to editor John Campbell, van Vogt used a "trick" to solve the problem of how a merely human writer convincingly describes a superhuman being who by definition is beyond human comprehension: compare Stanley G. Weinbaum, The New Adam ; Olaf Stapledon, Odd John . The trick was to cast 49
    50. the superbeing as a 9-year-old boy on the lam from the human dictator's cops, and tell the story as a don't-pause-for-breath chase sequence. Another explanation, offered by van Vogt himself at the 1946 Worldcon, was that he took the interstellar alien monster viewpoint character he had used in several previous stories, made it sympathetic, and installed it in a human body. Whatever the explanation, it worked, in 1940, 1946, and 1951; the reader will have to decide whether it still works today. Simon & Schuster published a revised edition, in 1951, but the first edition is preferred. (Note: SIan, The Voyage of the Space Beagle, and The World of Null-A were assembled as Triad: Three Complete Science Fiction Novels, Simon & Schuster, 1959.) See also SUPERMAN Stand on Zanzibar BRUNNER, JOHN(Doubleday, 1968)A complex novel borrowing techniques from John Dos Passos and ideas from Marshal McLuhan and other 1960s commentators to provide a multifaceted image of an overpopulated near future. Clever, highly detailed, and frequently very witty, the book is a successful experiment and one of the key works of the period. Compare A Torrent of Faces (also 1968) by James Blish and Norman L. Knight. Hugo winner, 1969. See also OVERPOPULATION Looking Backward: A.D. 2000-1887 BELLAMY, EDWARD(Ticknor, 1888)Without doubt the most famous of the American UTOPIAS, this was the progenitor of several hundred works, both in the United States and Europe, as individuals sided with Bellamy or attacked him. Science is incidental to the text, although technology has made the utopian state possible. The controversial issue centered on socialism. See Roemer's The Obsolete Necessity (1976) for the most detailed contemporary discussion of Bellamy and the United States in utopian literature at the end of the century. For very different treatments of socialism, see William Morris's News from Nowhere , Ignatius Donnelly's Caesar's Column , and Jack London's The Iron Heel . A Million Open Doors BARNES, JOHN(Tor, 1992)The Thousand Cultures, once separated by interstellar distances, are now being connected by instantaneous matter transmission, and each formerly isolated planet is going through intense culture shock. Giraut, who comes from a high-tech, pseudomedieval culture of duels, troubadours, and chivalry, finds himself employed on Caledony, a grim, no-frills world run according to the utilitarian dictates of Rational Christianity. The clash of cultures is fascinating, though too much of the novel's action occurs offstage. Compare Robert A. Heinlein's BEYOND THIS HORIZON . See also UTOPIAS Unconquered Countries RYMAN, GEOFF(St. Martin's Press, 1994)Four novellas, three set in troubled societies in the near future and a fourth in a far-future galactic milieu, each dealing in different ways with the subversive nature of sexuality, the ambivalent responses of the individual to well-intentioned oppressors, and the pain of exercising one's conscience. "The Unconquered Country," Ryman's best-known work, relates the horrific story of Third Child, whose agrarian society is devastated when a distant superpower arms its enemy as part of an uncomprehended geopolitical strategy. The story, an unmistakable allegory for the tragedy of Cambodia, retains its power despite an occasional mawkishness. "Fan," perhaps the best in the book, tells of an unskilled and disenfranchised young woman named Billie, whose bleak life as a single mother is ambiguously redeemed 50
    51. by her years-long infatuation with a piece of interactive software designed to mimic the responses of a revered pop singer. "A Fall of Angels," the longest and earliest story, is more promising than accomplished, but the other three stories are beautifully written and deeply felt, and stand among the finest long stories in recent science fiction. Compare Gwyneth Jones's DIVINE ENDURANCE and WHITE QUEEN. (GF) See also WAR and COMPUTERS Use of Weapons BANKS, IAIN M.(Macdonald, 1990)Already widely known for his intense and emotionally charged mainstream novels, Banks began in 1987 to write a series of violent but ironic and sophisticated SPACE OPERAS. The Culture, a wealthy and peaceful high-tech civilization, has reached the state of total freedom from political oppression or material needs, and its members spend most of their time exploring the universe in vast interstellar ships. Most of the novels in this series-which includes Consider Phlebas (1987), The Player of Games (1988), The State of the Art (1989), and Against A Dark Background (1993)-confront the Culture with less fortunate civilizations that still engage in savage behavior, which various Culture agents must deal with. Consider Phlebas, the first in the series, follows a deadly mercenary in his doomed campaign against the Culture, while Use of Weapons takes a Culture secret agent through a series of disastrous campaigns that leave him emotionally devastated, and call into question the Culture's morally privileged position. For a different look at the dynamics of interstellar civilizations, compare Vernor Vinge's A FIRE UPON THE DEEP and John Barnes's A MILLION OPEN DOORS. (GF) Synners CADIGAN, PAT(Bantam, 1991)In near-future United States, an obsessed video artist pioneers brain-socket implants that allow electronic "uploading" of consciousness, but the artist suffers a stroke while psychically online, releasing a destructive virus into the worldwide computer network. A loose fraternity of teen hackers, aging rock-and-rollers, and corporate moguls struggles to eradicate the virus and restore the "crashed" system. Tense and complex, brilliantly wedding CYBERPUNK with the disaster story; along with Mindplayers (1987) and Fools (1992), this establishes Cadigan as a visionary explorer of high technology, pop culture, and cyborg consciousness. Compare Norman Spinrad's Little Heroes and Marc Laidlaw's Kalifornia. The Shadow of the Torturer WOLFE, GENE(Simon & Schuster, 1980)The first volume of The Book of the New Sun, a superb four-volume novel completed in The Claw of the Conciliator (1981; Nebula winner, 1981), The Sword of the Lictor (1982), and The Citadel of the Autarch (1983). SF and fantasy motifs are combined here in a far-future scenario akin to Jack Vance's THE DYING EARTH , but much more ambitious; planetary resources are exhausted and civilization is in the final stages of decline. The hero, Severian, is a disgraced torturer who embarks on a long journey, becoming involved with a religious order that preserves a relic of a long-gone redeemer, and eventually with a plan to renew the Sun. A rich, many-layered story; the detail and integrity of the imagined world invite comparison with Frank Herbert's Dune and J. R. R. Tolkien's "Middle Earth," but it is a unique literary work that transcends issues of categorization. The Urth of the New Sun (1987), a separate novel detailing Severian's later, off-Urth quest for transcendence, is a lesser, but still worthwhile story. Nightside the Long 51
    52. Sun (1993), first volume of The Book of the Long Sun, is set on an extremely baroque generation starship and supposedly has connections to the earlier series, though they aren't yet apparent. See also FAR FUTURE The Last Starship From Earth BOYD, JOHN (pseud. of Boyd Upchurch)(Weybright & Talley, 1968)An alternate Earth is ruled by a dictatorship that employs religion and the insights of social science to secure its hegemony, exporting dissidents to the planet Hell. The hero plans to save the world by striking at the very heart of the despised order, preventing Christ's conquest of Rome. Clever development of an interesting premise. Compare Brian Earnshaw's Planet in the Eye of Time (1968). See also ALTERNATE WORLDS The First Men in the Moon WELLS, H(ERBERT) G(EORGE)(Bowen-Merrill, 1901)At first this seems the most traditional of Wells's romances because of its inclusion of so many conventions, including negative gravity. The Selenites have evolved a highly complex and insectlike social order. The confrontation between Cavor and The Grand Lunar owes much to Jonathan Swift in that humanity is found wanting in terms of the Lunar's concept of rational norms. Wells criticizes the Selenite specialization. Cavor is destroyed by his inquiring intellect; his companion, Bedford, is saved by his individuality. See also MOON War With the Newts CAPEK, KAREL (Allen & Unwin, 1937) Trans. by M. Weatherall and R. Weatherall of Valkas mloky, 1936This novel is basically an elaboration of the theme of R.U.R.The newts are an alien species liberated from their subterranean home by an accident. They begin to learn human ways, and learn them all too well. Eventually, they replace their models, providing in the meantime a particularly sharp caricature of human habits and politics. Slightly long winded, but remains the most effective of Capek's works. See also APES AND CAVEMEN The Quiet Pools KUBE-MCDOWELL, MICHAEL P.(Ace, 1990)The purpose of the Diaspora Project is to send humanity to the stars. One starship has already left and a second, the Memphis, is nearly completed. Many people are opposed to the project, however, in part because of the enormous cost and in part because of the ecological damage humanity might do to another planet. Anti-Project terrorism has become common. Chris McCutcheon, an archivist working on the Memphis's library, but not himself scheduled to take the journey, must make up his own mind as to the rightness of the Diaspora Project. He must also unravel the frightening biological secret that makes the project a necessity. Compare Vonda McIntyre's Starfarers (1989). See also SPACE FLIGHT An Alien Light KRESS, NANCY(Arbor, 1987)Humanity is at war with the alien Ged and apparently winning. Unable to understand the human propensity for violence, the Ged conduct an experiment on two isolated and primitive human societies that are hereditary enemies, hoping to uncover the key to defeating a more advanced human foe. They build a gigantic maze-like structure, lure humans from both cultures into it, and then study their interactions. Kress's characters are well developed and sympathetically portrayed. Her ideas on the nature of human violence are thoughtful, though she differs from many of the recent feminist SF writers who have 52
    53. examined the issue. Contrast Sheri S. Tepper's THE GATE TO WOMEN'S COUNTRY and her Raising the Stones. See also PSYCHOLOGY The Robots of Dawn ASIMOV, ISAAC(Phantasia, 1983)The heroes of Asimov's earlier robot detective stories, The Caves of Steel and The Naked Sun , undertake a new investigation on the utopian world of Aurora, where men live in harmony with their machines. The murder mystery becomes a peg on which to hang part of the argument connecting the robot series with the Foundation series. The argument is further extended in Robots and Empire (1985), in which robots renegotiate the famous laws of robotics and set humankind on the road to galactic empire. Prolix, but better connected with their antecedents than the new Foundation novels. See also ROBOTS and CRIME AND PUNISHMENT The Remaking of Sigmund Freud MALZBERG, BARRY N(ORMAN)(Ballantine, 1985)A fix-up novel featuring an alternate world where Freud psychoanalyzes Emily Dickinson from afar and is assassinated by a disappointed patient, and a future where he is reincarnated aboard a spaceship to save its crew members from the kind of extraterrestrial angst that was suffered by the protagonist of Beyond Apollo . Lacks the fluency of Malzberg's early novels but gains in complexity by way of compensation. Compare Jeremy Leven's Satan (1982). See also ABSURDIST SF Winterlong HAND, ELIZABETH(Bantam, 1990)Hand's first novel features gorgeous prose reminiscent of Gene Wolfe and an exotic and decadent setting, the City of the Trees in the Northeastern Federated Republic of America, in essence a far-future Washington, D.C., half destroyed by global warming, biological warfare, and time. Among the characters are Wendy Wanders, half-mad victim of a government-sponsored parapsychology program, and Margalis Tast'annin, the Mad Aviator, hero of the Archipelago Conflict. Tast'annin has been sent to close down the parapsychology program and execute all those involved in it. When Wendy escapes, he must pursue her through the nightmarish City. Two loose sequels to Winterlong are Aestival Tide (1992) and Icarus Descending (1993). Compare Geoff Ryman's THE CHILD GARDEN and Storm Constantine's The Enchantments of Flesh and Spirit. See also HOLOCAUST AND AFTER Hell's Pavement KNIGHT, DAMON (FRANCIS)(Lion, 1955) Variant title: Analogue Men, Berkley, 1962The coming of a bland totalitarianism that does not need to resort to the crude tortures of a Nineteen Eighty-Four was a favorite theme in 1950s SF. This novel also exemplifies a political theme we have heard in mainstream life more recently: the unintended consequences of successful action. Disturbed individuals are provided with "analogues" within their own psyches that prevent them from antisocial or dysfunctional behavior. The motive for such therapy is exemplary: to forestall the alcoholic from drinking, the kleptomaniac from stealing, the pedophile from molesting. Then it goes on to mass treatment against crimes of violence and immunization from corruption for all candidates for public office, and it is a short step from there to conditioning against any attempt to overthrow the government. The inevitable tyranny that results permeates the entire society except for an underground of "immunes" who cannot respond to such therapy. Compare Anthony Burgess, A CLOCKWORK ORANGE ; contrast B. F. Skinner, Walden Two . See also CRIME AND PUNISHMENT 53
    54. The New World: An Epic Poem TURNER, FREDERICK(Princeton Univ. Press, 1985)Narrative poem that begins in A.D. 2376, in a fragmented America riven by war and choked by energy shortages. New York City lies in rubble-but an intellectual aristocracy of Free Counties tenders future hope. Written in unrhymed, five-stressed lines, by an English professor, Shakespeare scholar, and science fiction novelist (A Double Shadow, 1978). Turner's several POETRY collections contain occasional SF entries; and his Genesis: An Epic Poem (1988) is another futuristic chronicle, featuring a trip to Mars, which one day may become habitable to humans. Compare Harry Martinson, Diane Ackerman. Transfigurations BISHOP, MICHAEL(Berkley, 1979)Expanded from the novella, "Death and Designation Among the Asadi." One of the more impressive SF novels using perspectives and themes drawn from ANTHROPOLOGY to aid depiction of an enigmatic alien culture. Compare Ursula K. Le Guin's THE WORD FOR WORLD IS FOREST. Strangers DOZOIS, GARDNER(Berkley, 1978)Expansion of a novella tracking the love affair between a man and an alien woman whose reproductive BIOLOGY is exotic. A virtual reprise of Philip Jose Farmer's THE LOVERS , with added depth of characterization. Orbit KNIGHT, DAMON F., ED. Putnam (nos. 1-12), Berkley (no. 13), Harper (nos. 14-21), 1966-1980The last of the pioneering original ANTHOLOGY series. Knight's relationship with the Clarion workshops ensured that he was often in a position to find talented new writers as their careers were just getting under way, and the series played a major role in establishing the careers of several major writers, including Kate Wilhelm and Gene Wolfe. R. A. Lafferty was also extensively featured. An early preference for material with particularly polished literary style gradually gave way to an interest in esoteric material, sometimes without much discernible speculative content, but the series was a worthy experiment whose early volumes feature some very fine material. The Ragged World: A Novel of the Hefn on Earth MOFFETT, JUDITH(St. Martin's, 1991)A starship commanded by the alien Gafr, but crewed by a different race, the Hefn, returns to Earth to retrieve Hefn mutineers left behind centuries ago and to stop humanity's destruction of the ecosystem. The aliens decree that no more human babies will be born until we cease polluting. Originally a series of short stories, including two award nominees, this fixup novel is a powerful indictment of humanity's ability to foul its own nest. In the more unified sequel, Time, Like an Ever-Rolling Stream (1992), two young people grow up in the more primitive world that has resulted from the Hefn's stay on Earth. Moffett continues her ecological theme, but also deals movingly with the topic of sexual abuse. Compare Joan Slonczewski's The Wall Around Eden. See also POLLUTION Good News From Outer Space KESSEL, JOHN(Tor, 1989)The millennium is at hand and America is in bad economic and spiritual shape. To make matters worse, the aliens have apparently landed, though they refuse to show themselves and their purposes remain highly ambiguous. At once chilling and very funny, this novel is notable for its portrayal of aliens whose motives are beyond our comprehension. For other portraits of millennial fervor, compare James 54
    55. Morrow's Only Begotten Daughter (1990) and Mark Geston's Mirror to the Sky (1992). See also ABSURDIST SF Halo MADDOX, TOM(Tor, 1991)Mikhail Gonzales, an auditor, is dispatched to the Halo space station to keep an eye on a daring but costly experiment, the attempt to download the personality of a dying man into the station's artificial intelligence, Aleph. The experiment is fraught with difficulties, but things get worse when the corporation that owns both the station and Aleph decides to pull the plug. Halo features a number of engaging characters, several of whom are artificial intelligences, and an engrossing examination of the nature of consciousness. Compare Lisa Mason's Arachne (1990), David Gerrold's When HARLIE Was One, and Greg Bear's Queen of Angels . See also CYBERPUNK 10 Story Fantasy 10 Story Fantasy, Spring 1951Published by Avon Periodicals (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Shown by permission of Avon Books. (c) 1951 Avon Periodicals) Galileo Galileo, Sept. 1976 Published by Victor Hugo Publishers Cover illustrations by Tom Barber (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of Avenue Victor Hugo Bookshop, Ltd. (c) 1976 Avenue Victor Hugo Publishers) Gamma Gamma, Feb. 1965 Published by Star Press, Inc. Cover illustration by John Healey (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Star Press, Inc. (c) 1965 Star Press, Inc.) Great Science Fiction Great Science Fiction, Fall 1967 Published by Ultimate Publishing Co. (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Ultimate Publishing Co. (c) 1967 Ultimate Publishing Co.) Hyphen Hyphen, March 1962 Published by Walt Willis (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Walt Willis, Publisher. (c) 1962 Walt Willis) If If, May-June 1970 Published by Quinn Publishing Co. Cover illustration by Ken Fagg (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of Galaxy (R). (c) 1970 Quinn Publishing Co. Inc.) Imagination Stories of Science and Fantasy Imagination Stories of Science and Fantasy, Oct. 1950 Published by Clark Publishing Co. Cover illustration by Hannes Bok (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Clark Publishing Co. (c) 1950 Clark Publishing Co.) Imaginative Tales Imaginative Tales, July 1957 Published by Greenleaf Publishing Co. Cover illustration by Malcolm Smith (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Greenleaf Publishing Co. (c) 1957 Greenleaf Publishing Co.) Infinity Science Fiction Infinity Science Fiction, July 1957 Published by Royal Publications Cover 55
    56. illustration by Ed Emshwiller (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Royal Publications. (c) 1957 Royal Publications) International Science Fiction International Science Fiction, June 1968 Published by Galaxy Publishing Corp. Cover illustration by Jack Gaughan (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of Galaxy (R). (c) 1968 Galaxy Publishing Corporation) Isaac Asimov's Science Fiction Magazine Isaac Asimov's Science Fiction Magazine, May 1985 Published by Dell Magazines (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Dell Magazines. (c) 1985 Dell Magazines) Magazine of Horror Magazine of Horror, Sept. 1968 Published by Health Knowledge, Inc. Cover illustration by Virgil Finlay (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Health Knowledge, Inc. (c) 1968 Health Knowledge, Inc.) Magazine of Fantasy and Science Fiction, The The Magazine of Fantasy and Science Fiction, Jan. 1953 Published by Mercury Press/Fantasy House Cover illustration by Alez Schomburg (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted from The Magazine of Fantasy and Science Fiction. (c) 1953 Mercury Press) Marvel Science Stories Marvel Science Stories, Aug. 1951 Published by Stadium Publishing Corp. Cover illustration by Hannes Bok (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1951 Stadium Publishing Corporation) Most Thrilling Science Fiction Ever Told, The The Most Thrilling Science Fiction Ever Told, Winter 1970 Published by Ultimate Publishing Co. (Casey Brown/The Eaton Collection, Univ. of Calif. , Riverside. (c) 1970 Ultimate Publishing Co.) New Worlds New Worlds, No. 191 Published by Michael Moorcock (M. M. Kavanagh. Cover illustration: Mal Dean. Courtesy of Michael Moorcock. (c) 1969 Michael Moorcock) Novae Terrae Novae Terrae, May 1938 Published by Science Fiction Association Cover illustration by H.E. Turner (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1938 Science Fiction Association) Omni Omni, June 1979 Published by General Media Cover illustration by Don Dixon (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Cover illustration: Don Dixon / Courtesy of OMNI Magazine. (c) 1979 Omni Publications International, Ltd.) Orbit Science Fiction Orbit Science Fiction, No. 4 Published by Morris S. Latzen (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 19 Morris S. Latzen) Original Science Fiction Stories Original Science Fiction Stories, May 1956 Published by Columbia Publications, Inc. Cover illustration by Ed Emshwiller (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Columbia Publications, Inc. (c) 1956 Columbia Publications, Inc.) Other Worlds Other Worlds, Sept. 1936 Published by Gryphon Publications Cover 56
    57. illustration by Paul Blaisdell (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1936 Gryphon Publications) Out of This World Adventures Out of This World Adventures, Dec. 1950 Published by Avon Periodicals (Casey Brown/Eaton Collection, University of Calif., Riverside. Shown by permission of Avon Books. (c) 1950 Avon Periodicals) Overland Monthly Overland Monthly, June 1890 Published by Overland Monthly Publishing (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1890 Overland Monthly Publishing) Planet Stories Planet Stories, Spring 1942 Published by Love Romances Publishing Co., Inc. Cover illustration by Leydon Frost (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1942 Love Romances Publishing Co., Inc.) Psychotic Psychotic, Nov. 1967 Published by Psychotic Press Cover illustration by Ron Cobb (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1967 Psychotic Press) Quandry Quandry, July 1952 Published by Lee Hoffman Cover illustration by Lee Hoffman (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1952 Lee Hoffman) Riverside Quarterly Riverside Quarterly, Vol. 4, No. 4 Published by Students' Union Press Cover illustration by Vincent Di Fate (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Student's Union Press. ) Rocket Stories Rocket Stories, July 1953 Published by Space Publications, Inc. Cover illustration by Alex Schomburg (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1953 Space Publications, Inc.) Satellite Science Fiction Satellite Science Fiction, Feb. 1958 Published by Renown Publications Cover illustration by Alex Schomburg (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1958 Renown Publications) Saturn Saturn, March 1957 Published by Candar Publishing Co., Inc. (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside.Candar Publishing Co., Inc. (c) 1957 Candar Publishing Co., Inc.) Science Fiction Digest Science Fiction Digest, Sept.-Oct. 1982 Published by Davis Publications (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1982 Davis Publications, Inc.) Science Fantasy Yearbook Science Fantasy Yearbook, 1970 Published by Ultimate Publishing Co. (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1970 Ultimate Publishing Co.) Science Fiction Adventures Science Fiction Adventures, July 1953 Published by Future Publications, Inc. Cover illustration by Alex Schomburg (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1953 Future Publications, Inc. ) 57
    58. Science Fiction Classics Science Fiction Classics, Summer 1968 Published by Ultimate Publishing Co. Cover illustration by Frank R. Paul (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1968 Ultimate Publishing Co.) Science Fiction Monthly Science Fiction Monthly, Aug. 1951 / No. 12 Published by Hamilton & Co. (Reprinted with permission of HarperCollins Publishers Limited. ) Science Fiction Plus Science Fiction Plus, Dec. 1953 Published by Gernsback Publications, Inc. Cover illustration by Frank R. Paul (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1953 Gernsback Publications, Inc.) Science Fiction Quarterly Science Fiction Quarterly, May 1954 Published by Columbia Publications, Inc. Cover illustration by Alex Schomburg (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Columbia Publications, Inc. (c) 1954 Columbia Publications, Inc.) Science Stories Science Stories. Oct. 1953 Published by Bell Publications, Inc. Cover illustration by Hannes Bok (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Bell Publications, Inc. (c) 1953 Bell Publications, Inc.) Science Wonder Stories Science Wonder Stories, June 1929 Published by Stellar Publishing Corp. Cover illustration by Frank R. Paul (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1929 Stellar Publising Corp.) Science-Fiction Studies Science-Fiction Studies, Nov. 1992 Published by SF-TH, Inc. (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. DePauw University. (c) 1992 SF-TH, Inc at DePauw University) Scorpion, The The Scorpian, Feb. 1975 Published by Seaboard Periodicals, Inc. (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1975 Seaboard Periodicals, Inc.) Slant Slant, Winter 1951-52 Published by Oblique House Cover illustration by James White (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1951 Oblique House) Space Science Fiction Space Science Fiction, July 1953 Published by Space Publications, Inc. Cover illustration by van Dongen (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1953 Space Publications, Inc.) Space Stories Space Stories, Feb. 1953 Published by Standard Magazines (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1953 Standard Magazines) Spaceway Spaceway, Feb. 1954 Published by Fantasy Publishing Co. Cover illustration by Mel Hunter (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Illustrator: Mel Hunter. Used by permission of the artist. (c) Mel Hunter) Stardate Stardate, Oct. 1985 / No. 8 Published by Associates International, Inc. 58
    59. Cover illustration by Vincent Di Fate (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1985 Associates International, Inc.) Startling Stories Startling Stories, Aug. 1952 Published by Better Publications Cover illustration by Earle K. Bergey (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1952 Better Publications, Inc.) Strange Adventures Strange Adventures, Aug.-Sept. 1950 Published by National Comics Publications, Inc. (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1950 National Comics Publications, Inc.) Strange Stories Strange Stories, Feb. 1939 Published by Better Publications (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside.Better Publications, Inc. (c) 1939 Better Publications, Inc.) Strange Tales Strange Tales, Oct. 1932 Published by The Clayton Magazines, Inc. Cover illustration by H.W. Wesso (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1932 The Clayton Magazines, Inc.) Super Science Stories Super Science Stories, May 1943 Published by Fictioneers, Inc. Cover illustration by Virgil Finlay (Reprinted by permission of Argosy Communications, Inc. Copyright 1943 Fictioneers, Inc.) Super-Science Fiction Super-Science Fiction, June 1957 Published by Headline Publications Cover illustration by Ed Emshwiller (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1957 Headline Publications) Suspense Suspense, Winter 1952 Published by The Farrell Publishing Corp. (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1952 The Farrell Publishing Corp.) Tales of Tomorrow Tales of Tomorrow, No. 5 Published by John Spencer & Co. (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. John Spencer & Co. ) Thrilling Wonder Stories Thrilling Wonder Stories, July 1940 Published by Better Publications Cover illustration by Howard V. Brown (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Better Publications. (c) 1940 Better Publications, Inc.) Thrust Thrust, Winter-Spring 1982 / No. 18 Published by D. Douglas Fratz Cover illustration by Brad W. Foster (Courtesy of D. Douglas Fratz. (c) 1982 D. Douglas Fratz) Tops in Science Fiction Tops in Science Fiction, Fall 1953 Published by Love Romances Publishing Co. Inc. (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1953 Love Romances Publishing Co., Inc.) Treasury of Great Science Fiction Stories Treasury of Great Science Fiction Stories, 1964 / No. 1 Published by Popular Library (Reprinted by permission of Warner Books, Inc. (c) 1964 Popular Library, Inc.) Uncanny Tales Uncanny Tales, May 1940 Published by Manvis Publications, Inc. (Casey 59
    60. Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1940 Manvis Publications, Inc.) Universe Science Fiction Universal Science Fiction, Dec. 1953 Published by Palmer Publications, Inc. Cover illustration by Mel Hunter (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Illustrator: Mel Hunter. Used by permission of the artist. (c) Mel Hunter) Unknown Unknown, Sept. 1939 Published by Street & Smith Cover illustration by H.W. Scott (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1939 Street & Smith) Vanguard Science Fiction Vanguard Science Fiction, June 1958 Published by Vanguard Publishing Co. Cover illustration by Ed Emshwiller (M. M. Kavanagh. (c) 1958 Vanguard Publishing Co., ) Vargo Statten Science Fiction Magazine Vargo Statten Science Fiction Magazine, Jan. 1954 Published by Scion, Ltd. (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1954 Scion, Ltd.) Venture Science Fiction Venture, Aug. 1970 Published by Mercury Press Cover illustration by Bert Tanner (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted from The Magazine of Fantasy and Science Fiction. (c) 1970 Mercury Press) Vision of Tomorrow Vision of Tomorrow, Aug. 1970 Published by Ronald E. Graham, Ltd. Cover illustration by Eddie Jones (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1970 Ronald E. Graham, Ltd.) Vortex Science Fiction Vortex Science Fiction, 1953 / Vol. 1, No. 2 Published by Specific Fiction Corp. (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1953 Specific Fiction Corp.) Vortex Science Fiction Vortex Science Fiction, 1953 / Vol. 1, No. 1 Published by Specific Fiction Corp. (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1953 Specific Fiction Corp.) Warhoon Warhoon, Nov. 1968 Published by Fantasy Amateur Press Association (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1968 Fantasy Amateur Press Assn.) Weird Tales Weird Tales, March 1933 Published by Weird Tales Ltd. Cover illustration by M. Brundage (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by permission of Weird Tales, Ltd. Copyright 1933 Popular Fiction Publishing Co.) Wonder Stories Wonder Stories, Dec. 1932 Published by Stellar Publishing Corp. Cover illustration by Frank R. Paul (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1932 Stellar Publising Corp.) Wonder Stories Wonder Stories, 1957 / Vol. 45, No. 1 Published by Better Publications Cover illustration by Richard Powers (Casey Brown/The Eaton Collection, 60
    61. Univ. of Calif., Riverside. Better Publications, Inc. (c) 1957 Better Publications, Inc.) Wonder Stories Quarterly Wonder Stories Quarterly, Summer 1930 Published by Stellar Publishing Corp. (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1930 Stellar Publising Corp.) Worlds Beyond Worlds Beyond, Dec. 1950 / Vol. 1, No. 1 Published by Hillman Periodicals, Inc. Cover illustration by Paul Colle (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1950 Hillman Periodicals, Inc. ) Worlds of Tomorrow Worlds of Tomorrow, Jan. 1966 Published by Institute for the Development of the Harmonious Human Cover illustration by McLane (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1966 Galaxy Publishing Corporation.) Yandro Yandro ed. by Robert & Juanita Coulson Cover: Robert & Juanita Coulson (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of Robert and Juanita Coulson. (c) 1995 Robert and Juanita Coulson) Monkey Wrench Gang, The The Monkey Wrench Gang by Edward Abbey Cover: Avon Books, 1975 (Casey Brown/Eaton Collection, University of Calif., Riverside. Shown by permission of Avon Books. (c) 1975 Avon Books) Man with the Broken Ear ,The The Man with the Broken Ear by Edmond About Cover: Holt & Williams, 1872 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) President John Smith President John Smith by Frederick Adams Cover: Charles H. Kerr & Co., 1898 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Sentience Sentience by Terry A. Adams Cover: DAW Books, 1986 illustration by James Gurney (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of DAW Books, Inc. (c) 1986 DAW Books, Inc.) Terror on Planet Ionus Terror on Planet Ionus by Allen A. Adler Cover: Paperback Library Inc., 1966 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Paperback Library (c) 1966 Paperback Library Inc.) Survivalist #1: Total War, The The Survivalist #1: Total War by Jerry Ahern Cover: Zebra Books, 1981 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside.Zebra Books. (c) 1981 Zebra Books (Kensigton Publishing Corp.) ) Seventh Carrier, The The Seventh Carrier by Peter Albano Cover: Zebra Books, 1983 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Zebra Books. (c) 1983 Zebra Books (Kensigton Publishing Corp.) ) Lunarian Professor, The The Lunarian Professor by James B. Alexander Cover: James B. Alexander, 1909 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Voyage of the Ark , The The Voyage of the Ark by F. M. Allen Cover: Ward and Downey, 1888 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) 61
    62. Genesis Five Genesis Five by Henry Wilson Allen Cover: Pyramid, 1970 illustration by John Schoenherr (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1970 Pyramid Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Rhubarb Tree, The The Rhubarb Tree by Kenneth Allot & Stephen Tait Cover: Cresset Press Ltd., 1937 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Cresset Press Ltd. (c) 1937 Cresset Press Ltd.) Notes from the Future Notes from the Future by Nicolai M. Amosoff Cover: Jonathan Cape, 1971 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of Random Century House UK Limited. (c) 1971 Johnathan Cape London) Magellan Magellan by Colin Anderson Cover: Sphere Books Ltd., 1971 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Sphere Books Ltd. (c) 1971 Sphere Books Ltd.) Strange Adventure of Roger Wilkins, The The Strange Adventure of Roger Wilkins by R. Andom Cover: Tylston & Edwards, 1895 illustration by A. Carruthers Gould (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) World's Beginning World's Beginning by Robert Ardrey Cover: Duell, Sloan and Pearce, 1944 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Duell, Sloan and Pearce (c) 1944 Duell, Sloan and Pearce) Man's Mortality Man's Mortality by Michael Arlen Cover: Doubleday, Doran & Co., 1933 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1933 Doubleday , Doran & Co.) When the Bells Rang A Tale of What Might Have Been When the Bells Rang: A Tale of What Might Have Been by Anthony Armstrong & Bruce Graeme Cover: George G. Harrap & Co., 1943 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. George G. Harrap & Co. (c) 1943 George G. Harrap & Co.) Grim Caretaker, The The Grim Caretaker by Eugene Ascher Cover: Strothers Bookshops Ltd., 1944 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Strothers Bookshops Ltd. (c) 1944 Strothers Bookshops Ltd. (UK)) War-God Walks Again, The The War-God Walks Again by F. Britten Austin Cover: Doubleday, Page & Co. , 1926 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1926 Doubleday, Page & Co.) Maze Maker, The The Maze Maker by Michael Ayrton Cover: Bantam, 1969 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1969 Bantam Books) 62
    63. New Atlantis, The The New Atlantis by Francis Bacon Cover: Cambridge: At the University Press, 1900 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Stars Are Too High, The The Stars Are Too High by Agnew H. Bahnson Cover: Bantam, 1960 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1960 Bantam Books) Symbiote's Crown Symbiote's Crown by Scott Baker Cover: Berkley, 1978 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1978 The Berkley Publishing Group. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Kings of Infinite Space Kings of Infinite Space by Nigel Balchin Cover: Modern Literary Editions, 1967 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Modern Literary Editions (c) 1967 Modern Literary Editions) Galactic Convoy Galactic Convoy by Bill Baldwin Cover: Popular Library, 1987 illustration by John Berkey (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by permission of Warner Books, Inc. (c) 1987 Popular Library) Sell England? Sell England? by Dacre Balsdon Cover: Eyre & Spottis-Woode, 1936 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Eyre & Spottis-Woode (c) 1936 Eyre & Spottis-Woode) Quest of the Absolute Quest of the Absolute by Honore de Balzac Cover: J.M. Dent & Sons, 1908 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) The Sea is Boiling Hot The Sea is Boiling Hot by George Bamber Cover: Ace Books, 1971 illustration by Jack Gaughan (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1971 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) House-Boat on the Styx, A A House-Boat on the Styx by John Kendrick Bangs Cover: HarperCollins/Harper & Bros., 1895 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Use of Weapons Use of Weapons by Iain M. Banks Cover: Bantam, 1990 illustration by Paul Youll (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1990 Bantam Books) Odysseus Solution, The The Odysseus Solution by Michael A. Banks & Dean R. Lambe Cover: Baen Books, 1986 illustration by Stephen Hickman (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of BAEN PUBLISHING ENTERPRISES. (c) 1986 Baen Books) 63
    64. Ashes, Ashes by Rene Barjavel Cover: Doubleday & Co., 1967 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1967 Doubleday) One Half of the World One Half of the World by James Barlow Cover: Cassel & Co., 1957 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside.Cassel l & Co. (c) 1957 Cassel & Co.) Immortals' Great Quest, The The Immortals' Great Quest by James William Barlow Cover: Smith, Elder & Co., 1909 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Interplanetary Hunter Interplanetary Hunter by Arthur Barnes Cover: Gnome Press, 1956 illustration by Ed Emshwiller & W.I. Van der Poel (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Gnome Press (c) 1956 Gnome) L.P.M.: The End of the Great War L.P.M.: The End of the Great War by J. Stewart Barney (John Stewart Barney) Cover: G.P. Putnam's Sons, 1915 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of The Putnam Publishing Group. ) Man With Only One Head, The The Man With Only One Head by Densil Neve Barr Cover: Rich & Cowan, 1955 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Rich & Cowan (c) 1955 Rich & Cowan (UK)) The Face & the Mask The Face & the Mask by Robert Barr Cover: Frederick A. Stokes, 1893 illustration by A. Hencke (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Trivana 1 Trivana 1 by Charles Barren & R. Cox Abel Cover: Panther Books, 1966 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of HarperCollins Publishers Limited. (c) 1966 Panther Books) When the Whites Went When the Whites Went by Robert Bateman Cover: Brown, Watson Ltd., 1963 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Brown Watson Limited (c) 1963 Brown Watson Ltd.) Tik-Tok of Oz Tik-Tok of Oz by L. Frank Baum Cover: The Reilly & Lee Co., 1914 illustration by John R. Neill (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Secret of the Earth, The The Secret of the Earth by Charles Willing Beale Cover: F. Tennyson Neely, 1899 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Peace Under Earth Peace Under Earth by Paul Beaujon Cover: Dodd, Mead & Co., 1939 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Dodd, Mead & Co. (c) 1939 Dodd, Mead & Co.) Howling Man, The The Howling Man by Charles Beaumont Cover: TOR/Tom Doherty & Associates, 1988 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by permission of Tor Books. (c) 1988 Tor Books) 64
    65. Torch , The The Torch by Jack Bechdolt Cover: Prime Press, 1948 illustration by L. Robert Tschirky (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Prime Press (c) 1948 Prime Press) Star Woman, The The Star Woman by H. Bedford-Jones Cover: Dodd, Mead & Co., 1924 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Dodd, Mead & Co. (c) 1924 Dodd, Mead & Co.) One Sane Man, The The One Sane Man by Francis Beeding Cover: Little, Brown & Co., 1934 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Published by Little, Brown and Company (Inc.) (c) 1934 Little, Brown and Company (Inc.)) Guardsman, The The Guardsman by P.J. Beese & Todd Hamil Cover: Pageant Books, 1988 illustration by Tom Kidd (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Pageant Books (c) 1988 Pageant Books) Seventh Bowl, The The Seventh Bowl by Neil Bell Cover: Collins, 1934 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of HarperCollins Publishers Limited. (c) 1934 Collins) Twenty-five Short Stories Twenty-five Short Stories by Stephen Vincent Benet Cover: Sun Dial Press, 1943 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Sun Dial Press (c) 1943 Sun Dial Press) Thyra Thyra by Robert Ames Bennet Cover: Henry Holt & Co., 1901 illustration by E.L. Blumenschein (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Long Way Back, The The Long Way Back by Margot Bennett Cover: Coward-McCann, 1955 (First American Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Coward-McCann (c) 1980 Coward, McCann ) Lord of the World Lord of the World by Robert Hugh Benson Cover: Dodd, Mead & Co., 1908 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Le Sud Le Sud by Yves Berger Cover: Bernard Grasset Editeur, 1962 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Bernard Grasset Editeur. (c) 1962 Bernard Grasset Editeur) Sun Grows Cold, The The Sun Grows Cold by Howard Berk Cover: Delacorte Press, 1971 (First Printing) illustration by Mike McIver (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Delecorte Press, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1971 Delecorte Press.) New Race of Devils, The The New Race of Devils by John Bernard Cover: Anglo-Eastern Publishing Co., 1921 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Anglo-Eastern Publishing Co. (c) 1921 Anglo-Eastern Publishing Co.) The Galactic Invaders The Galactic Invaders by James R. Berry Cover: Laser Books, 1976 65
    66. illustration by Kelly Freas (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Laser Books (c) 1976 Laser Books) The A. I. War The A. I. War by Stephen Ames Berry Cover: TOR/Tom Doherty Associates, 1987 (First Printing) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by permission of Tor Books. (c) 1987 Tor Books) Revolt of Man, The The Revolt of Man by Walter Besant Cover: Collins Clear-Type Press, 1897 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of HarperCollins Publishers Limited. ) Space Raiders, The The Space Raiders by Barrington Beverley Cover: Phillip Allan, 1936 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Philip Allan (c) 1936 Philip Allan) Space Stadium Space Stadium by H.U. Bevis Cover: Lenox Hill Press, 1970 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Lenox Hill Press (c) 1970 Lenox Hill Press) The Devil's Dictionary The Devil's Dictionary by Ambrose Bierce Cover: World Publishing Co., 1942 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. World Publishing Co. (c) 1942 World Publishing Co.) Poison War, The The Poison War by Ladbroke Black Cover: Stanley Paul & Co., Ltd., 1933 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Stanley Paul & Co., Ltd. (c) 1933 Stanley Paul & Co., Ltd.) 1957 1957 by Hamish Blair Cover: William Blackwood & Sons, Ltd., 1930 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. William Blackwood & Sons, Ltd. (c) 1930 William Blackwood & Sons, Ltd.) Purple Sapphire, The The Purple Sapphire by Christopher Blayre Cover: Phillip Allan & Co., 1921 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Philip Allan & Co. (c) 1921 Philip Allan & Co.) Man from Mars, The The Man from Mars by Thomas Blot Cover: Bacon & Co., 1891 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Simultaneous Man, The The Simultaneous Man by Ralph Blum Cover: Bantam, 1971 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1971 Bantam Books) Red Star, The The Red Star by Alexander Bogdanov Cover: Indiana University Press, 1984 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Indiana University Press. (c) 1984 Indiana University Press.) Sons of the Mammoth Sons of the Mammoth by Vladimir Bogoraz Cover: Cosmopolitan Book Corp., 1929 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Cosmopolitan Book Corporation (c) 1929 Cosmopolitan Book Corporation) White August White August by John Boland Cover: Michael Joseph, 1953 illustration by 66
    67. Wildsmith (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of Michael Joseph Ltd. (c) 1953 Michael Joseph Ltd.) Others, The The Others by Margaret Wander Bonnano Cover: St. Martin's Press, 1990 illustration by Adam Niklewicz (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Cover: Adam Niklewicz. Courtesy of St. Martin's Press. (c) 1990 St. Martin's Press) Jehovah's Day Jehovah's Day by Mary Borden Cover: Heinemann, 1928 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1928 William Heinemann, London) Spurious Sun Spurious Sun by George Borodin Cover: T. Werner Laurie, Ltd., 1948 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. T. Werner Laurie, Ltd. (c) 1948 T. Werner Laurie, Ltd. London) Nightmare Collector, The The Nightmare Collector by Bruce Boston Cover: 2 AM Publications, 1988 illustration by Gregorio Montejo (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of 2 A.M. Publications. (c) 1988 Bruce Boston & Gregorio Montejo. Published by 2 AM Publications.) World Wrecker, The The World Wrecker by Sydney J. Bounds Cover: W. Foulsham & Co. Ltd., 1956 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. W. Foulsham & Co. Ltd. (c) 1956 W. Foulsham & Co. Ltd. London) Kallocain Kallocain by Karin Boye Cover: University of Wisconsin Press, 1966 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. University of Wisconsin Press. (c) 1966 University of Wisconsin Press.) X People, The The X People by Vektis Brack Cover: Gannet Press, 1953 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Gannet Press (c) 1953 Gannet Press) Voyage from Utopia, A A Voyage from Utopia by John Francis Bray Cover: Lawrence and Wishart Ltd., 1957 (First Edition) illustration by Brooks (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Lawrence and Wishart Ltd. (c) 1957 Lawrence and Wishart Ltd.) The Girl from Mars The Girl from Mars by Miles Breuer Cover: Stellar Publishing Corp., 1929 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Stellar Publishing Corporation (c) 1929 Stellar Publising Corp. ) Purple-6 Purple-6 by Henry Brinton Cover: Avon Books, 1962 (Casey Brown/Eaton Collection, University of Calif., Riverside. Shown by permission of Avon Books. (c) 1962 Avon Books) Purple Plague, The The Purple Plague by Fenner Brockway Cover: Sampson Low Marston & Co., Ltd., 1935 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Sampson Low Marston & Co., Ltd. (c) 1935 Sampson Low Marston & Co., Ltd. London) 67
    68. Xorandor Xorandor by Christine Brooke-Rose Cover: Avon Books, 1988 (Casey Brown/Eaton Collection, University of Calif., Riverside. Shown by permission of Avon Books. (c) 1988 Avon Books) Sky Lords, The The Sky Lords by John Brosnan Cover: Victor Gollancz Ltd., 1988 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with the permission of Victor Gollancz Ltd. (c) 1988 Victor Gollancz Ltd.) Under the City of Angels Under the City of Angels by Jerry Earl Brown Cover: Bantam, 1981 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1981 Bantam Books) Swastika Night Swastika Night by Murray Constantine (Katharine Burdekin) Cover: Victor Gallancz Ltd., 1937 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with the permission of Victor Gollancz Ltd. (c) 1937 Victor Gollancz Ltd.) Time of the Hawklords, The The Time of the Hawklords by Michael Butterworth & Michael Moorcock Cover: Warner Books, 1976 (First US Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by permission of Warner Books, Inc. (c) 1976 Warner Books, Inc.) Jonah Watch, The The Jonah Watch by Jack Cady Cover: Avon Books, 1983 (Casey Brown/Eaton Collection, University of Calif., Riverside. Shown by permission of Avon Books. (c) 1983 Avon Books) White Prophet, The The White Prophet by Hall Caine Cover: Heinemann, 1921 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1921 William Heinemann, Ltd. ) Omega Sub #4: Blood Tide Omega Sub #4: Blood Tide by J.D. Cameron (Mike Jahn) Cover: Avon Books, 1991 (Casey Brown/Eaton Collection, University of Calif., Riverside. Shown by permission of Avon Books. (c) 1991 Avon Books) Red Planet, The The Red Planet by H.J. Campbell Cover: Panther Books, 1953 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of HarperCollins Publishers Limited. (c) 1953 Panther Books) Moonspin Moonspin by Elmer Carpenter Cover: Caravelle Books/Flagship Book, 1967 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Flagship Book (c) 1967 Flagship Book ) Ophidian Conspiracy, The The Ophidian Conspiracy by John F. Carr Cover: Major Books, 1976 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Major Books (c) 1976 Major Books) Room Beyond, The The Room Beyond by Robert Spencer Carr Cover: Appleton-Century-Crofts, Inc., 1948 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Appleton-Century-Croft, Inc. (c) 1948 Appleton-Century-Crofts, Inc.) 68
    69. 2010 2010 by Frederic Carrel Cover: T. Werner Laurie Ltd., 1914 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Siren Stars, The The Siren Stars by Richard and Nancy Carrigan Cover: Pyramid Books, 1971 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1971 Pyramid Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Perilous Descent into a Strange Lost World, The The Perilous Descent into a Strange Lost World by Bruce Carter Cover: Bodley Head, 1952 (First Edition) illustration by Tony Weare (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of Random Century House UK Limited (c) 1952 The Bodley Head ) Icosameron Icosameron by Giacomo Casanova Cover: Jenna Press, 1986 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Jenna Press (c) 1986 Jenna Press) Peacemakers, The The Peacemakers by Curtis Casewit Cover: Avalon Books, 1960 illustration by Ed Emshwiller (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of Thomas Bouregy & Co. - Avalon Books (c) 1960 Avalon Books) Star Country, The The Star Country by MIchael Cassutt Cover: Doubleday, 1986 illustration by Cathy Hull (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1986 Doubleday) Satellite E One Satellite E One by J. Lloyd Castle Cover: Dodd, Mead & Co., 1954 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Dodd, Mead & Co. (c) 1954 Dodd, Mead & Co.) 6,000 Tons of Gold 6,000 Tons of Gold by Henry Chamberlain Cover: Flood and Vincent Chautaugua Century Press, 1894 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Red January Red January by William Chamberlain Cover: Paperback Library, 1964 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Paperback Library (c) 1964 Paperback Library) King in Yellow, The The King in Yellow by Robert William Chambers Cover: F. Tennyson Neely, 1895 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Living Gems, The The Living Gems by Paul Charkin Cover: Brown, Watson Ltd., 1963 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Brown Watson Limited (c) 1963 Brown Watson Ltd.) Jingo, The The Jingo by George Randolf Chester Cover: Grosset & Dunlap, 1912 illustration by F. Vaux Wilson (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) 69
    70. The Man Who Was Thursday The Man Who Was Thursday by G.K. Chesterton Cover: Dodd, Mead & Co., 1908 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Marble City, The The Marble City by R.D. Chetwode Cover: Sampson Low, Marston & Co., 1895 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Riddle of the Sands, The The Riddle of the Sands by Erskine Childers Cover: T. Nelson & Sons, 1913 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Lost Children, The The Lost Children by H. Herman Chilton Cover: Hutchinson & Co. Ltd., 1931 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of Random Century House UK Limited. (c) 1931 Hutchinson & Co.) World Unknown, A A World Unknown by John Clagett Cover: Popular Library, 1975 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by permission of Warner Books, Inc. (c) 1975 Popular Library, Inc.) Queen Victoria's Bomb Queen Victoria's Bomb by Ronald Clark Cover: Panther Books, 1967 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of HarperCollins Publishers Limited. (c) 1967 Panther Books) Light in the Sky, The The Light in the Sky by Herbert Clock Cover: Coward-McCann, 1929 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Coward-McCann (c) 1929 Coward-McCann ) Master of His Fate Master of His Fate by J. MacLaren Cobban Cover: Greenhill, 1890 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Solo Kill Solo Kill by S.K. Boult Cover: Berkley Medallion, 1977 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1989 The Berkley Publishing Group. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Night of the Toy Dragons, The The Night of the Toy Dragons by Barney Cohen Cover: Berkley/Berkley Medallion, 1977 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1977 Berkley Medallion. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Philosophical Corps, The The Philosophical Corps by Everett B. Cole Cover: Gnome Press, 1961 illustration by W.I. Vander Poel, Jr. (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside.Gnome Press (c) 1961 Grome Press) Seeker from the Stars Seeker from the Stars by James Coleman Cover: Berkley/Berkley Medallion, 1967 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1967 Berkley Medallion. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) 70
    71. Valley of Eyes Unseen, The The Valley of Eyes Unseen by Gilbert Collins Cover: Duckworth & Co., 1923 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Duckworth & Co. (c) 1923 Duckworth & Co.) Tetrarch Tetrarch by Alex Comfort Cover: Shambhala, 1980 illustration by Fred Marcellino (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Shambhala (c) 1980 Shambhala) Star Spangled Crunch, The The Star Spangled Crunch by Richard Condon Cover: Bantam, 1974 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1974 Bantam Books) Nordenholt's Million Nordenholt's Million by J.J. Connington Cover: Constable & Co. Ltd., 1923 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of Constable & Co., London. (c) 1923 Constable & Co. Ltd.) Invasion from the Air Invasion from the Air by Roy Connolly Cover: Grayson and Grayson, 1934 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Grayson and Grayson (c) 1934 Grayson and Grayson) Reckoning, The The Reckoning by Joan Conquest Cover: Macauley Co., 1931 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Macauley Co. (c) 1931 Macauley Co.) Inheritors, The The Inheritors by Joseph Conrad & Ford M. Itueffer Cover: McClure, Philips & Co., 1901 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Rahne Rahne by Susan Coon Cover: Avon Books, 1980 (Casey Brown/Eaton Collection, University of Calif., Riverside. Shown by permission of Avon Books. (c) 1980 Avon Books) Jesus Factor, The The Jesus Factor by Edwin Corley Cover: Coronet Communications, 1971 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Paperback Library (c) 1971 Paperback Library Edition Coronet) Sword of Lankor, The The Sword of Lankor by Howard L. Cory Cover: Ace Books, 1966 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1966 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Revi-Lona Revi-Lona by Frank Cowan Title Page: Arno Press, 1978 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Out of the Silence Out of the Silence by Erle Cox Cover: Rae D. Henkle Co., Inc., 1928 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Rae D. Henkle Co., Inc. (c) 1928 Rae D. Henkle Co., Inc.) Ionia Ionia by Alexander Craig Cover: E.A. Weeks Co., 1898 (First Edition) 71
    72. illustration by J.C. Levendecker (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Salathiel the Wandering Jew Salathiel the Wandering Jew by George Croly Cover: Funk & Wagnalls Co., 1900 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Year of Consent Year of Consent by Kendell Foster Crossen Cover: Dell, 1954 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Dell Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1954 Dell Books) Strange Adventures of Mr. Middleton, The The Strange Adventures of Mr. Middleton by Wardon Curtis Cover: Herbert S. Stone & Co., 1903 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Yngling, The The Yngling by John Dalmas Cover: Pyramid Books, 1971 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1971 Pyramid Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Inferno Illustration from Dante Alighieri's Inferno (1861). Engraved by Gustav Dore. (M. M. Kavanagh. ) Man of Double Deed, A A Man of Double Deed by Leonard Daventry Cover: Doubleday, 1965 (First Edition) illustration by Al Nagy (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1965 Doubleday) Howling Mad Howling Mad by Peter David Cover: Ace Books, 1989 illustration by Hiro Kimura (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1989 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Karma Machine, The The Karma Machine by Michael Davidson Cover: Popular Library, 1975 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by permission of Warner Books, Inc. (c) 1975 Popular Library, Inc.) Strange Manuscript Found in a Copper Cylinder, A A Strange Manuscript Found in a Copper Cylinder by James De Mille Cover: HarperCollins/Harper & Bros., 1888 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) In the Face of My Enemy In the Face of My Enemy by Joseph Delaney Cover: Baen Books, 1985 illustration by Kevin Johnson (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of BAEN PUBLISHING ENTERPRISES. (c) 1985 Baen Books) Shapes Shapes by Richard Delap & Walt Lee Cover: Charter Books, 1987 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside.Charter Books (c) 1987 Charter Books) 72
    73. Lovely Monster, A A Lovely Monster by Rick DeMarinis Cover: Dell, 1977 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Dell Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1977 Dell Books) World in Eclipse World in Eclipse by William Dexter Cover: Paperback Library, 1966 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Paperback Library (c) 1966 Paperback Library) War World War World by William C. Dietz Cover: Ace Books, 1986 illustration by Miro (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1986 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Mind One Mind One by Mike Dolinsky Cover: Dell, 1972 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Dell Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1972 Dell Books) Radium Terrors, The The Radium Terrors by Albert Dorrington Cover: Doubleday, Page & Co., 1912 illustration by A.C. Michael (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1912 Doubleday, Page & Co.) Two Boys' Trip to an Unknown Planet Two Boys' Trip to an Unknown Planet by Francis Doughty Cover: Charles Bragin, 1901 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) They Went They Went by Norman Douglas Cover: Dodd, Mead & Co., 1926 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Dodd, Mead & Co. (c) 1926 Dodd, Mead & Co.) Pharaoh's Broker Pharaoh's Broker by Ellsworth Douglass Cover: C. Arthur Pearson Ltd., 1899 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Man from Mars, The The Man from Mars by Henry Wallace Dowding Cover: Cochrane Publishing Co. , 1990 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Cochrane Publishing Company (c) 1990 Cochrane Publishing Company ) Solution T-25 Solution T-25 by Theodora Du Bois Cover: Doubleday, 1951 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1951 Doubleday Science Fiction) Trilby Trilby by George Du Maurier Cover: Popular Library, 1963 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by permission of Warner Books, Inc. (c) 1963 Popular Library, Inc.) 73
    74. Gor Saga Gor Saga by Maureen Duffy Cover: Eyre Methuen, 1981 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1981 Eyre Methuen) Last Adam, The The Last Adam by Ronald Duncan Cover: Dennis Dobson Ltd., 1952 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Dennis Dobson Limited (c) 1952 Dennis Dobson Limited) Last Revolution, The The Last Revolution by Lord Dunsany Cover: Jarrolds Ltd., 1951 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside.Jarrolds Publishers Ltd. (c) 1951 Jarrolds Ltd. London) Swimmers Beneath the Night Swimmers Beneath the Night by M. Coleman Easton Cover: Popular Library, 1987 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by permission of Warner Books, Inc. (c) 1987 Popular Library) HAB Theory, The The HAB Theory by Allan W. Eckert Cover: Popular Library, 1977 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by permission of Warner Books, Inc. (c) 1977 Popular Library) SF Book of Lists, The The SF Book of Lists by Malcolm Edwards Cover: Berkley, 1983 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1983 The Berkley Publishing Group. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Terminus Terminus by Peter Edwards Cover: St. Martin's Press, 1976 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1976 St. Martin's Press) What Entropy Means to Me What Entropy Means to Me by George Alec Effinger Cover: Doubleday, 1972 (First Edition) illustration by Dickran Palulian (M. M. Kavanagh. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1972 Doubleday) Zalma Zalma by T. Mullett Ellis Cover: Ash Partners Ltd., 1897 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Smoky God, The The Smoky God by Willis George Emerson Cover: Forbes & Co., 1908 illustration by John A. Williams (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) World Aflame, The The World Aflame by Leonard Engel Cover: The Dial Press, 1947 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1947 The Dial Press) Woman Alive Woman Alive by Susan Ertz Cover: D. Appleton-Century, 1936 illustration by Bip Pares (Casey Brown/The Eaton Collection, Univ. of Calif., 74
    75. Riverside. D. Appleton-Century Company (c) 1936 D. Appleton-Century Company Inc.) Watchers of Space, The The Watchers of Space by Nancy Etchemendy Cover: Avon Books, 1980 (Casey Brown/Eaton Collection, University of Calif., Riverside. Shown by permission of Avon Books. (c) 1980 Avon Books) Ninya Ninya by H.A. Fagan Cover: Jonathan Cape, 1956 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of Random Century House UK Limited. (c) 1956 Johnathan Cape London) Groundties Groundties by Jane S. Fancher Cover: Warner Books, 1991 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by permission of Warner Books, Inc. (c) 1991 Warner Books, Inc.) Hartmann the Anarchist Hartmann the Anarchist by E. Douglas Fawcett Cover: Edward Arnold, 1893 illustration by Fred T. Jane (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) World Next Door, The The World Next Door by Brad Ferguson Cover: Tom Doherty Associates, 1990 illustration by David Mattingly (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by permission of Tor Books. (c) 1990 Tor Books) Through the Earth Through the Earth by Clement Fezandie Cover: Century Co., 1898 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of Random Century House UK Limited. ) Messengers Will Come No More, The The Messengers Will Come No More by Leslie Fiedler Cover: Stein and Day, 1974 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Stein and Day (c) 1974 Stein and Day) Molly Dear Molly Dear by Stephen Fine Cover: St. Martin's Press, 1988 illustration by Robert Bull Design (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Cover: Robert Bull Design. Courtesy of St. Martin's Press. (c) 1988 St. Martin's Press) Time Marches Sideways Time Marches Sideways by Ralph L. Finn Cover: Hutchinson & Co. Ltd., 1949 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of Random Century House UK Limited. (c) 1949 Hutchinson & Co.) Terror Strikes Terror Strikes by N. Wesley Firth Cover: Hamilton & Co. Ltd., 1948 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of HarperCollins Publishers Limited. (c) 1948 Hamilton & Co.) Let Out the Beast Let Out the Beast by Leonard Fischer Cover: New Stand Library, 1950 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. New Stand Library. (c) 1950 New Stand Library) Meda: A Tale of the Future Meda: A Tale of the Future by Kenneth Folingsby Cover: Stationers' Hall, 1891 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) 75
    76. Peacemaker, The The Peacemaker by C.S. Forester Cover: Little, Brown & Co., 1934 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Published by Little, Brown and Company (Inc.) (c) 1934 Little, Brown and Company (Inc.)) Shepherd, The The Shepherd by Frederick Forsyth Cover: Bantam, 1976 illustration by Lou Feck (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1976 Bantam Books) Lost Garden, The The Lost Garden by George C. Foster Cover: Chapman & Hall, 1930 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1930 Chapman & Hall) Revolt of Angels, The The Revolt of Angels by Anatole France Cover: Calmann-Levy, 1986 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1986 Calmann- Levy) Mind Net, The The Mind Net by Frank Herbert Cover: DAW Books, 1974 illustration by Kelly Freas (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of DAW Books, Inc. (c) 1974 DAW Books, Inc.) Return of the Time Machine, The The Return of the Time Machine by Egon Friedell Cover: DAW Books, 1972 illustration by Karel Thole (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of DAW Books, Inc. (c) 1972 DAW Books, Inc.) By Rocket to the Moon By Rocket to the Moon by Otto Gail Cover: Sears Publishing Co., 1931 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1931 Sears Publishing Co.) Last Rose of Summer, The The Last Rose of Summer by Stephen Gallagher Cover: CORGI Books/Transworld Publishers, 1978 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1966 Corgi Books, Transworld Publishers) Not in Solitude Not in Solitude by Kenneth Gantz Cover: Doubleday, 1959 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1959 Doubleday) Skylark of Space, The The Skylark of Space by E.E. Smith, Ph.D., & Mrs. Lee Hawkins Garby Cover: Hadley Publishing Co., 1947 illustration by O.G. Estes (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1947 Hadley Publishing Company) Lady into Fox and a Man in the Zoo Lady into Fox and a Man in the Zoo by David Garnett Cover: Garden City Publishing Co., 1924 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1924 Garden City Publishing Co., Inc.) Mirror in the Sky Mirror in the Sky by Dav Garnett (David S. Garnett) Cover: Berkley/Berkley Medallion, 1969 (Casey Brown/The Eaton Collection, Univ. 76
    77. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1969 Berkley Medallion. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Twilight of the Gods, The The Twilight of the Gods by Richard Garnett Cover: John Lane, 1911 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Warriors of Spider, The The Warriors of Spider by W. Michael Gear Cover: Donald A. Wollheim, 1988 (First Edition) illustration by San Julian (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1988 Donald A. Wollheim) Red Napoleon, The The Red Napoleon by Floyd Gibbons Cover: Jonathan Cape, 1929 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of Random Century House UK Limited. (c) 1929 Johnathan Cape Harrison Smith) Late Final Late Final by Lewis Gibbs Cover: Dent, 1951 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1951 Dent) Space Hawk Space Hawk by Anthony Gilmore Cover: Greenberg, 1952 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1952 Greenberg) Watch the Northwind Rise Watch the Northwind Rise by Robert Graves Cover: Avon Books, 1969 illustration by Bob Boster (Casey Brown/Eaton Collection, University of Calif., Riverside. Shown by permission of Avon Books. (c) 1969 Avon Books) Runts of 61 Cygni G Runts of 61 Cygni G by James Grazier Cover: Belmont, 1970 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Belmont Books (c) 1970 Belmont Books) God Game, The The God Game by Andrew Greeley Cover: Warner Books, 1986 (First Edition) illustration by Boris Vallejo (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by permission of Warner Books, Inc. (c) 1986 Warner Books, Inc.) Time Beyond Time Time Beyond Time by I.G. Green Cover: Belmont, 1971 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1971 Belmont Books) Wandor's Ride Wandor's Ride by Roland Green Cover: Avon Books, 1973 (First Edition) (Casey Brown/Eaton Collection, University of Calif., Riverside. Shown by permission of Avon Books. (c) 1973 Avon Books) Warrior Within, The The Warrior Within by Sharon Green Cover: Donald A. Wollheim, 1982 (First Edition) illustration by Ken Kelly (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1982 Donald A. Wollheim) Time and Timothy Grenville Time and Timothy Grenville by Terry Greenhough Cover: New English Library, 1975 (First Edition) (Casey Brown/The Eaton Collection, Univ. of 77
    78. Calif., Riverside. Reprinted with permission of Hodder Headline, POC. (c) 1975 New English Library) Green Isle of the Great Deep, The The Green Isle of the Great Deep by Neil Gunn Cover: Faber and Faber Ltd. (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of Faber and Faber Ltd. (c) 1944 Faber and Faber Ltd.) Starwolves, The The Starwolves by Thorarinn Gunnarsson Cover: Warner Books, 1988 (First Edition) illustration by John Harris (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by permission of Warner Books, Inc. (c) 1988 Warner Books, Inc.) King Solomon's Mines King Solomon's Mines by H. Rider Haggard Cover: Cassell & Co., 1885 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Man's World Man's World by Charlotte Haldrane Cover: Geo. H. Doran Co., 1927 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1927 Geo H. Doran Co.) Man with Two Memories, The The Man with Two Memories by J.B.S. Haldane Cover: Merlin, 1976 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1976 Merlin Press Inc.) Pretender Pretender by Piers Anthony & Frances Hall Cover: Borgo Press, 1979 illustration by Larry Ortiz (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1979 Borgo Press) Impromptu in Moribundia Impromptu in Moribundia by Patrick Hamilton Cover: Constable and Co. Ltd. , 1939 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of Constable & Co., London. (c) 1939 Constable and Co. Ltd.) What Farrar Saw What Farrar Saw by James Hanley Cover: Nicholson & Watson, 1946 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1946 Nicholson & Watson) Thuka of the Moon Thuka of the Moon by Charles Hannan Cover: Digby, Long & Co., 1906 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) War Games War Games by Karl Hensen Cover: Playboy Press Paperbacks, 1981 illustration by PEI Books, Inc. (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1981 Playboy Press. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Land of the Changing Sun, The The Land of the Changing Sun by Will N. Harben Cover: Merrian Co., 1894 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Outrider, The The Outrider by Richard Harding Cover: Pinnacle Books, 1984 illustration by Michael Meritet (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1984 Pinnacle Books) 78
    79. Imitation Man, The The Imitation Man by John Hargrave Cover: Big Ben Books, 1940 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1940 Big Ben Books) Symmetrians, The The Symmetrians by Kenneth Harker Cover: Compact Books, 1966 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of Lifetime Books. (c) 1966 Compact Books) Gypsy Earth Gypsy Earth by George Harper Cover: Doubleday, 1982 (First Edition) illustration by Bruce Schluter (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1982 Doubleday & Co.) Pantopia Pantopia by Frank Harris Cover: The Panurge Press, 1930 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1930 The Panurge Press) Romance in Radium, A A Romance in Radium by J. Henry Harris Cover: Greening & Co. Ltd., 1906 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Warhaven Warhaven by M. Elayn Harvey Cover: Franklin Watts, 1987 illustration by Carl Lundgren (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1987 Franklin Watts) Mind Brothers, The The Mind Brothers by Peter Heath Cover: Lancer Books, 1967 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1967 Lancer Books) Tenebrae Tenebrae by Ernest Henham Cover: Skeffington & Son, 1898 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Sidney's Comet Sidney's Comet by Brian Herbert Cover: Berkley, 1983 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1983 The Berkley Publishing Group. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Magister Ludi (The Glass Bead Game) Magister Ludi (The Glass Bead Game) by Hermann Hesse Cover: Bantam, 1970 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1970 Bantam Books) Galactic Warlord Galactic Warlord by Douglas Hill Cover: Laurel-Leaf Books, 1987 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1987 Laurel-Leaf Books) New Earth and a New Heaven, A A New Earth and a New Heaven by William Boyle Hill Cover: Watts & Co., 1936 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1936 Watts & Co.) Liege-Killer Liege-Killer by Christopher Hinz Cover: St. Martin's Press, 1987 (Casey 79
    80. Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of St. Martin's Press. (c) 1987 St. Martin's Press) Toddle Island Toddle Island by James Dennis Hird Cover: Richard Bentley & Son, 1894 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Termush Termush by Sven Holm Cover: Faber and Faber Ltd., 1969 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of Faber and Faber Ltd. (c) 1969 Faber and Faber Ltd.) Hunters, The The Hunters by Thomas Hoobler Cover: Playboy Press Paperbacks, 1978 illustration by V. Segrelles (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1978 Playboy Press. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) By Aeroplane to the Sun By Aeroplane to the Sun by Donald W. Horner Cover: Century Press, 1910 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of Random Century House UK Limited. ) This Was Ivor Trent This Was Ivor Trent by Claude Houghton Cover: Doubleday, Doran, & Co., Inc., 1935 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1935 Doubleday, Doran & Co., Inc.) Philip Dru, Administrator Philip Dru, Administrator by Edward Mandell House Cover: BW Huesch, 1912 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) John of Jingalo John of Jingalo by Laurence Housman Cover: Henry Holt & Co., 1912 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Intrigue on the Upper Level Intrigue on the Upper Level by Thomas Hoyne Cover: Reilly & Lee Co., 1934 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1934 Reilly & Lee Co.) Green Mansions Green Mansions by W.H. Hudson Cover: Airmont Publishing, 1965 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of Airmont Publishing Co., Inc. - Airmont Books (c) 1965 Airmont Publishing Company ) Valley of Terror Valley of Terror by Russell Rey (Dennis Hughes) Cover: Curtis Warren Ltd. , 1953 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1953 Curtis Warren Ltd.) Not in Our Stars Not in Our Stars by Edward Hyams Cover: Longmans, Green & Co., 1949 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1949 Longmans, Green & Co.) Lottery, The The Lottery by Shirley Jackson Cover: Popular Library, 1949 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by permission of Warner Books, Inc. (c) 1949 Popular Library, Inc.) 80
    81. Starship Orpheus I Starship Orpheus I by Symon Jade Cover: Pinnacle Books, 1982 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1982 Pinnacle Books) Tower to the Sky Tower to the Sky by Phillip Jennings Cover: Baen Books, 1988 illustration by Stephen Hickman (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of BAEN PUBLISHING ENTERPRISES. (c) 1988 Baen Books) Long Journey, The The Long Journey by Johannes Jensen Cover: Makinlay, Stone & Mackenzie, 1923 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1923 Makinlay, Stone & Mackenzie) Logan's Run Logan's Run by George Clayton Johnson & William F. Nolan Cover: Dell, 1969 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Dell Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1969 Dell Books) On the Last Day On the Last Day by Mervyn Jones Cover: Jonathan Cape, 1958 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of Random Century House UK Limited. (c) 1958 Johnathan Cape London) Ten from Infinity Ten from Infinity by Ivar Jorgenson Cover: Monarch Books, 1963 illustration by Ralph Brillhart (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1963 Monarch Books Inc.) On the Marble Cliffs On the Marble Cliffs by Ernst Juenger Cover: New Directions, 1947 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1947 New Directions) HEROD Men, The The HEROD Men by Nick Kamin Cover: Ace Books, 1971 illustration by John Schoenkerr (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1971 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) People of the Twilight People of the Twilight by H. Kaner Cover: Kaner Publishing Co. Unlimited, 1946 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1946 Kaner Publishing Company) If the South Had Won the Civil War If the South Had Won the Civil War by MacKinlay Kantor Cover: Bantam, 1961 illustration by Lisa Barnett (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1961 Bantam Books) Incredible Umbrella, The The Incredible Umbrella by Marvin Kaye Cover: Doubleday, 1979 illustration by Cathy Canzani (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1979 Doubleday) 81
    82. Tunnel, The The Tunnel by Bernhard Kellermann Cover: Macauley Company, 1915 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Passenger Passenger by Thomas Keneally Cover: HarperCollins/Collins, 1979 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of HarperCollins Publishers Limited. (c) 1979 Collins) Triuneverse, The The Triuneverse by R.A. Kennedy Cover: Chas. Knight & Co., Ltd., 1912, (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Out of the Silent Places Out of the Silent Places by Brad Kent (Maurice G. Hugi) Cover: Curtis Warren, 1952 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1952 Curtis Books) Summervale Summervale by James Kenward Cover: Constable and Company Ltd., 1933 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of Constable & Co. , London. (c) 1933 Constable and Company Ltd.) Kepler's Somnium Kepler's Somnium by Johannes Kepler Cover: U. Wisconsin Press, 1967 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1967 U. Wisconsin Press) Retread Shop Retread Shop by T. Jackson King Cover: Popular Library, 1988 illustration by Tom Kidd (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by permission of Warner Books, Inc. (c) 1988 Popular Library) New Dominion, The The New Dominion by Arthur Wellesley Kipling Cover: Francis Griffiths, 1908 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) With the Night Mail With the Night Mail by Rudyard Kipling Cover: Doubleday, Page & Co., 1909 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1909 Doubleday, Page & Co.) Unrest of their Time Unrest of their Time by Nellie Kirkham Cover: Cresset Press, 1935 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1935 Cresset Press Ltd.) Seventh Day, The The Seventh Day by Hans Hellmut Kirst Cover: Doubleday, 1959 illustration by Richard Powers (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1959 Doubleday) Starmaster's Gambit Starmaster's Gambit by Gerard Klein Cover: DAW Books, 1973 illustration by Kelly Freas (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of DAW Books, Inc. (c) 1973 DAW Books, Inc.) 82
    83. Jim McWhirter Jim McWhirter by W.P. Knowles Cover: C.W. Daniel Co., 1933 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1933 C.W. Daniel Company) Memories of the Future Memories of the Future by Ronald A. Knox Cover: George H. Doran Co., 1923 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1923 George H. Doran Company) Last Thing You'd Want to Know, The The Last Thing You'd Want to Know by Eric Koch Cover: Tundra Books, 1976 illustration by Molly Pulver (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1976 Tundra Books) Jehovah Contract, The The Jehovah Contract by Victor Koman Cover: Avon Books, 1984 illustration by Gary Ruddell (Casey Brown/Eaton Collection, University of Calif., Riverside. Shown by permission of Avon Books. (c) 1984 Avon Books) Supernova Supernova by Eric Kotani & Roger MacBride Allen Cover: Avon Books, 1991 (Casey Brown/Eaton Collection, University of Calif., Riverside. Shown by permission of Avon Books. (c) 1991 Avon Books) Space Mavericks, The The Space Mavericks by Michael K. Kring Cover: Leisure Books, 1980 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1980 Leisure Books) Pandora's Genes Pandora's Genes by Kathryn Lance Cover: Popular Library, 1985 illustration by David Mattingly (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by permission of Warner Books, Inc. (c) 1985 Popular Library) Sword for the Empire Sword for the Empire by Gene Lancour Cover: Doubleday, 1978 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1978 Doubleday & Co.) World Called Camelot, A A World Called Camelot by Arthur Landis Cover: DAW Books, 1976 illustration by Thomas Barber, Jr. (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of DAW Books, Inc. (c) 1976 DAW Books, Inc.) Two Planets Two Planets by Kird Lasswitz Cover: Southern Illinois University Press, 1971 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1971 Southern Illinois University Press.) Mudd's Angels Mudd's Angels by J.A. Lawrence Cover: Bantam, 1978 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1978 Bantam Books) Time & Space Time & Space by Rand Le Page Cover: Curtis Warren, 1952 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1952 Curtis Warren Ltd.) 83
    84. Iron Man and the Tin Woman, The The Iron Man and the Tin Woman by Stephen Leacock Cover: Tonbridge Printers, 1929 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1929 Tonbridge Printers) Mountains of the Sun, The The Mountains of the Sun by Christian Leourier Cover: Berkley, 1974 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1974 The Berkley Publishing Group. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Time Machine, Special Edition: World War II Codebreaker Time Machine, Special Edition: World War II Codebreaker by Peter Lerangis Cover: Bantam, 1989 illustration by Steve Fastner (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1989 Bantam Books) Insect Warriors, The The Insect Warriors by Rex Dean Levie Cover: Ace Books, 1965 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1965 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Gods of Foxcroft, The The Gods of Foxcroft by David Levy Cover: Arbor House, 1970 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Shown by permission of William Morrow & Co., Inc. (c) 1970 Arbor House) Unexpected Island, The The Unexpected Island by Lin Yutang Cover: The Windmill Press, 1955 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1955 The Windmill Press, Surrey England ) Nothing Ever Happens Nothing Ever Happens by Maurice Lincoln Cover: John Hamilton Ltd., 1927 illustration by Tom Cotnzell (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of HarperCollins Publishers Limited. (c) 1927 John Hamilton Ltd.) Golden Book of Springfield, The The Golden Book of Springfield by Vachel Lindsay Cover: Macmillan, 1920 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Identity Seven Identity Seven by Robert Lory Cover: DAW Books, 1974 illustration by Kelly Freas (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of DAW Books, Inc. (c) 1974 DAW Books, Inc.) Operation Orbit Operation Orbit by Kris Luna Cover: Curtis Warren, 1953 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1953 Curtis Books) Message from Mars, A A Message from Mars by Lester Lurgan Cover: Greening & Co., 1912 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Greening & Co. ) Mad Scientist, The The Mad Scientist by Raymond McDonald Cover: Cochrane Publishing, 1908 84
    85. illustration by Charles Beecher Bunnell (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Cochrane Publishing Co. ) Great God Pan and The Inmost Light, The The Great God Pan and The Inmost Light by Arthur Machen Cover: Robert Bros., 1894 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Vanishing Professor, The The Vanishing Professor by Fred MacIsaac Cover: Henry Waterson Co., 1927 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1927 Henry Waterson Co.) Yellow Wave, The The Yellow Wave by Kenneth MacKay Cover: Richard Bentley & Son, 1895 illustration by Frank P. Mahoney (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Panchronicon, The The Panchronicon by Harold Steele Mackaye Cover: Charles Scribner's Sons, 1904 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Lunatic Republic, The The Lunatic Republic by Compton Mackenzie Cover: Chatto & Windous, 1959 illustration by Clark Hutton (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of Random Century House UK Limited. (c) 1959 Chatto & Windous) Tragedy of Man, The The Tragedy of Man by Imre Madach Cover: Corvina Press, 1963 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1963 Corvina Press) God's Grace God's Grace by Bernard Malamud Cover: Farrar, Straus & Giroux, 1982 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Jacket design: Honi Werner. Reprinted by permission of Farrar, Straus & Giroux, Inc. (c) 1982 Farrar, Straus & Giroux, Inc. Design (c)1982 Honi Werner) Unknown Shore, The The Unknown Shore by Donald Malcolm Cover: Laser Books, 1976 illustration by Kelly Freas (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1976 Laser Books) They They by Marya Mannes Cover: Modern Library Editions, 1968 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Modern Library Editions (c) 1968 Modern Library Editions) When the Earth Died When the Earth Died by Karl Mannheim Cover: Sydney Remberton, 1950 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Sydney Pemberton (c) 1950 Sydney Pemberton) Marahuna Marahuna by H.B. Marriott-Watson Cover: Longmans, Green & Co., 1888 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Longmens, Green & Co. ) Upsidonia Upsidonia by Archibald Marshall Cover: Dodd, Mead & Co., 1917 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Dodd, Mead & Co. ) 85
    86. Ogden's Strange Story Ogden's Strange Story by Edison Marshall Cover: H.C. Kinsey & Co., 1934 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1934 H.C. Kinsey & Company) Summer in 3,000 Summer in 3,000 by Peter Martin Cover: Quality Press, 1946 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1946 Quality Press UK) Stones of Enchantment Stones of Enchantment by Windham Martyn Cover: Herbert Jenkins Ltd., 1948 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of Random House UK Limited. (c) 1948 Herbert Jenkins Ltd.) Kavin's World Kavin's World by David Mason Cover: Lancer Books, 1969 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1969 Lancer Books) Stolen Planet, The The Stolen Planet by John Mastin Cover: Philip Wellby, 1906 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Scars, and Other Distinguishing Marks Scars, and Other Distinguishing Marks by Richard Chrisitan Matheson Cover: Scream/Press, 1987 illustration by Mya Kramer & Jeff Conner (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1987 Scream/Press) Not in Our Stars Not in Our Stars by Michael Maurice (Conrad Arthur Skinner) Cover: J.B. Lippincott, 1923 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1923 J.B. Lippincott) Next Chapter, The The Next Chapter by Andre Maurois Cover: Kegan Paul, 1927 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1927 Kegan Paul London) Path of Exoterra, The The Path of Exoterra by Gordon McBain Cover: Avon Books, 1981 (Casey Brown/Eaton Collection, University of Calif., Riverside. Shown by permission of Avon Books. (c) 1981 Avon Books) Screaming Dead Balloons, The The Screaming Dead Balloons by Philip McCutchan Cover: Berkley, 1969 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1969 The Berkley Publishing Group. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Janus Syndrome, The The Janus Syndrome by Steven E. McDonald Cover: Bantam, 1981 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1981 Bantam Books) Scorpio Scorpio by Alex McDonough Cover: Ace Books, 1990 illustration by John Jude Palencar (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All 86
    87. rights reserved. (c) 1990 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Shattered Stars, The The Shattered Stars by Richard S. McEnroe Cover: Bantam, 1984 illustation by John Berkey (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1984 Bantam Books) Ghoster Ghoster by Lee McKeone Cover: Popular Library, 1988 illustrated by James Warhola (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by permission of Warner Books, Inc. (c) 1988 Popular Library) Helix and the Sword, The The Helix and the Sword by John McLoughlin Cover: TOR/Tom Doherty Associates, 1983 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by permission of Tor Books. (c) 1983 Tor Books) Pilgrimage Pilgrimage by Drew Mendelson Cover: DAW Books, 1981 illustration by John Pound (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of DAW Books, Inc. (c) 1981 DAW Books, Inc.) Great Awakening, The The Great Awakening by Albert Adams Merrill Cover: George Book, 1899 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) House of Many Worlds, The The House of Many Worlds by Sam J. Merwin Cover: Doubleday, 1951 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1951 Doubleday) Skirmish Skirmish by Melisa Michaels Cover: TOR/Tom Doherty Associates, 1985 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by permission of Tor Books. (c) 1985 Tor Books) Winter World Winter World by C.J. Mills Cover: Ace Books, 1992 illustration by Jean Targete (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1992 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Star Quest Star Quest by Robert E. Mills Cover: Belmont Tower Books, 1978 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1978 Belmont Tower Books) Into the Sun and Other Stories Into the Sun and Other Stories by Robert Duncan Milne Cover: Donald M. Grant, 1980 (First Edition) illustration by Ned Dameron (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used with permission of Donald M. Grant. (c) 1980 Donald M. Grant) Three Go Back Three Go Back by J. Leslie Mitchell Cover: Bobbs-Merrill Co., 1978 illustration by Bill Tinker (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Bobbs-Merrill Co. (c) 1932 Bobbs - Merrill Co.) 87
    88. Last American, The The Last American by John A. Mitchell Cover: Frederick A. Stokes & Brother, 1889 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Procurator Procurator by Kirk Mitchell Cover: Ace Books, 1984 illustration by James Gurney (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1984 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Sleeping Bomb, The The Sleeping Bomb by James Moffatt Cover: New English Library, 1970 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of Hodder Headline, POC. (c) 1970 New English Library) Time Before This, The The Time Before This by Nicholas Monsarrat Cover: William Sloane Associates, 1962 illustration by Walter Ferro (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. William Sloane Associate (c) 1962 William Sloane Associate) Wonderful Electric Elephant, The The Wonderful Electric Elephant by Frances Trego Montgomery Cover: The Saalfield Publishing Co., 1904 illustration by C.M. Coolidge (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Slater's Planet Slater's Planet by Harris Moore Cover: Pinnacle Books, 1971 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Pinnacle Books (c) 1971 Pinnacle Books) Heart Clock Heart Clock by Dick Morland Cover: New English Library, 1974 illustration by Keef (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of Hodder Headline, POC. (c) 1974 New English Library) Gumption Island Gumption Island by Felix Morley Cover; Caxton Printers Ltd., 1956 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. By permission of the publisher, The Caxton Printers, Ltd., Caldwell, Idaho. (c) 1956 Caxton Printers Ltd.) Sheriff of Purgatory, The The Sheriff of Purgatory by Jim Morris Cover: TOR, 1987 illustration by Royo (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by permission of Tor Books. (c) 1987 Tor Books) No Man on Earth No Man on Earth by Walter Moudy Cover: Berkley, 1964 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1964 The Berkley Publishing Group. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Tangled Webs Tangled Webs by Steve Mudd Cover: Popular Library, 1989 illustration by Blas Gallego (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by permission of Warner Books, Inc. (c) 1989 Popular Library) 88
    89. Kinsmen of the Dragon Kinsmen of the Dragon by Stanley Mullen Cover: Shasta, 1951 (First Edition) illustration by Hannes Bok (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of Erle Melvin Korshak. (c) 1951 Shasta) Vendetta Vendetta by M.S. Murdock Cover: Popular Library, 1987 illustration by Tim Hildebrandt (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Popular (c) 1987 Popular Library) Gobi or Shamo Gobi or Shamo by Gilbert Murray Cover: Longmans, Green & Co., 1889 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Portrait of Jennie Portrait of Jennie by Robert Nathan Cover: Popular Library, 1962 illustration by Zackerberg (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1962 Popular Library, Inc.) Sinister Researches of C.P. Ransom, The The Sinister Researches of C.P. Ransom by Homer Nearing Cover: Doubleday, 1954 (First Edition) illustration by Edward Gorey (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1954 Doubleday) Place Beyond Man, A A Place Beyond Man by Cary Neeper Cover: Dell, 1977 illustration by Boris (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Dell Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1977 Dell Books) His Wisdom, the Defender His Wisdom, the Defender by Simon Newcomb Cover: HarperCollins/Harper & Bros., 1900 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Night Mayor, The The Night Mayor by Kim Newman Cover: Carroll & Graf, 1990 (First US Edition) illustration by Ray Colmer (M. M. Kavanagh. Reprinted with permission of Tony Greco & Associates, Inc. (c) 1990 Carroll & Graf) Timelapse Timelapse by David F. Nighbert Cover: St. Martin's Press (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of St. Martin's Press. (c) 1990 St. Martin's Press) Great Secret, The The Great Secret by Hume Nisbet Cover: F.V. White & Co., 1895 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) I Killed Stalin I Killed Stalin by Sterling Noel Cover: Eton Books, 1952 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Eton Books (c) 1952 Eton Books) Ultimate Solution, The The Ultimate Solution by Eric Norden Cover: Warner Books, 1973 illustration by Seymour Chwast (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by permission of Warner Books, Inc. (c) 1973 Warner Books) 89
    90. Under-People, The The Under-People by Eric Norman Cover: Award Books, 1969 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Award Books (c) 1969 Award Books) Untamed, The The Untamed by Victor Norwood Cover: Scion, 1951 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1951 Scion, Ltd.) Last Man, The The Last Man by Alfred Noyes Cover: John Murray, 1940 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. John Murray (c) 1940 John Murray UK) Pallid Giant, The The Pallid Giant by Pierrepont Noyes Cover: Fleming H. Revell Co., 1927 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1927 Fleming H. Revell Company) Lovers: 2075 Lovers: 2075 by Charles English (Charles Nuetzel) Cover: N.A.C. Publications, 1964 illustration by Gus Albert (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. N.A.C. Publications (c) 1964 N.A.C. Publications) Third Policeman, The The Third Policeman by Flann O'Brien Cover: Lanser Books, 1967 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Lancer Books (c) 1967 Lancer Books) Plutonia Plutonia by Vladimir A. Obruchev Cover: Foreign Languages Publishing House, 1960 illustration by G. Nikolsky (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Foreign Languages Publishing House (c) 1960 Foreign Lnaguages Publishing House ) Last War, The The Last War by Samuel W. Odell Cover: Charles H. Kerr, 1898 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) On the Eighth Day On the Eighth Day by Lawrence Okun Cover: Playboy Press Paperbacks, 1980 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1980 Playboy Press. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) North Sea Bubble, The The North Sea Bubble by Ernest Oldmeadow Cover: E. Grant Richards, 1906 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Mystery of Evelin Delorme, The The Mystery of Evelin Delorme by Albert B. Paine Cover: Arena, 1894 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) This Time Tomorrow This T ime Tomorrow by Lauren Paine Cover: World Distributors, 1963 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. World Distributors (c) 1963 World Distributors) Watcher, The The Watcher by Jane Palmer Cover: Women's Press, 1986 illustration by 90
    91. Fiona Macvicar (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of The Women's Press, London. (c) 1986 The Women's Press) Scarlet Empire, The The Scarlet Empire by David Perry Cover: Bobbs-Merrill Co., 1906 (First Edition) illustration by Hermann C. Wall (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Titus Groan Titus Groan by Mervyn Peake Cover: Reynal & Hitchcock, 1946 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reynal & Hitchcock (c) 1946 Reynal & Hitchcock) Iron Pirate, The The Iron Pirate by Max Pemberton Cover: Rand, McNally, 1897 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Man Who Never Missed, The The Man Who Never Missed by Steve Perry Cover: Ace Books, 1985 illustration by James Gurney (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1985 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Revolt of the Horses Revolt of the Horses by Walter Copland Perry Cover: Grant Richards, 1898 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) King of Argent King of Argent by John T. Phillifent Cover: Donald A. Wollheim, 1973 (First Edition) illustration by Kelly Freas (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Donald A. Wollneim (c) 1973 Donald A. Wollheim) Tachyon Web, The The Tachyon Web by Christopher Pike Cover: Bantam, 1986 (First Edition) illustration by Kevin Johnson (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1986 Bantam Spectra) Lizard Music Lizard Music by Daniel Pinkwater Cover: Dodd, Mead, 1976 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside.Dodd, Mead (c) 1976 Dodd, Mead & Co.) Narrative of Arthur Gordon Pym, The The Narrative of Arthur Gordon Pym by Edgar Allan Poe Cover: Limited Editions, 1930 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1930 Limited Editions) Up and Out Up and Out by John Cowper Powys Cover: MacDonald, 1957 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside.MacDonald (c) 1957 MacDonald) Shiloh Project, The The Shiloh Project by David C. Poyer Cover: Avon Books, 1981 (First Edition) (Casey Brown/Eaton Collection, University of Calif., Riverside. Shown by permission of Avon Books. (c) 1981 Avon Books) 91
    92. Green Man of Kilsona, The The Green Man of Kilsona by Festus Pragnell Cover: Phillip Allan (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Philip Allan (c) 19 Philip Allan) Guts Guts by Byron Preiss & C.J. Henderson Cover: Tempo Books, 1979 (First Edition) illustration by Gray Morrow (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Tempo Books (c) 1979 Tempo Books) Strange Gateways Strange Gateways by E. Hoffman Price Cover: Arkham House, 1967 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of Arkham House Publishers. (c) 1967 by Arkham House Publishers, Inc.) Return of the Ceteosaurus, The The Return of the Ceteosaurus by Garnett Radcliffe Cover: Drane (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Drane. ) Remember the Alamo! Remember the Alamo! by Kevin D. Randle & Robert Cornett Cover: Charter, 1980 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Charter Books (c) 1980 Charter Books) Jaguar Jaguar by Bill Ransom Cover: Ace Books, 1990 (First Edition) illustration by Royo (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1990 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Maru Invasion, The The Maru Invasion by Luan Ranzetta Cover: Brown, Watson Ltd., 1962 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Brown Watson Limited (c) 1962 Brown Watson Ltd.) The Camp of the Saints, The The Camp of the Saints by Jean Raspail Cover: Ace Books, 1975 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1975 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Strange World of Planet X, The The Strange World of Planet X by Rene Ray Cover: Herbert Jenkins Ltd., 1957 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of Random House UK Limited. (c) 1957 Herbert Jenkins Ltd.) Seedy, The The Seedy by Robert Ray Cover: Panther Books, 1969 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of HarperCollins Publishers Limited. (c) 1969 Panther Books) Whispering Gorilla, The The Whispering Gorilla by David V. Reed Cover: Sydney Pemberton, 1950 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Sydney Pemberton (c) 1950 Sydney Pemberton) Yellow-Back Radio Broke-Down Yellow-Back Radio Broke-Down by Ishmael Reed Cover: Avon Books, 1969 92
    93. (Casey Brown/Eaton Collection, University of Calif., Riverside. Shown by permission of Avon Books. (c) 1969 Avon Books) Savage Stars, The The Savage Stars by Richard Reinsmith Cover: Tower, 1981 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Tower Books (c) 1981 Tower Books) Monodyne Catastrophe, The The Monodyne Catastrophe by Joseph Renard Cover: Major Books, 1977 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Major Books (c) 1977 Major Books) Voyage to Purilia, A A Voyage to Purilia by Elmer Rice Cover: J.J. Little & Ives, 1930 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. J. J. Little & Ives (c) 1930 J.J. Little & Ives) Pindharee Pindharee by Joel Richards Cover: TOR/Tom Doherty Associates, 1986 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by permission of Tor Books. (c) 1986 Tor Books) Strayed Sheep of Charun, The The Strayed Sheep of Charun by John Maddox Roberts Cover: Doubleday, 1977 (First Edition) illustration by Michael Flanagan (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1977 Doubleday) Report on the Status Quo Report on the Status Quo by Terence Roberts Cover: Merlin Press Inc., 1955 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Merlin Press Inc. (c) 1955 Merlin Press Inc.) Longhead Longhead by Charles Henry Robinson Cover: L.C. Page & Co., 1913 (First Edition) illustration by Charles Livingston Bull (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Mindfogger Mindfogger by Michael Rogers Cover: Dell, 1976 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Dell Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1976 Dell Books) Run to the Stars Run to the Stars by Michael Scott Rohan Cover: Ace Books, 1986 illustration by John Berkey (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1986 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Mystery of Dr Fu-Manchu, The The Mystery of Dr Fu-Manchu by Sax Rohmer Cover: J.M. Dent & Sons, 1985 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. J. M. Dent & Sons (c) 1985 J.M. Dent & Sons) Maniac's Dream, The The Maniac's Dream by R. Horace Rose Cover: Duckworth, 1946 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Duckworth & Co. (c) 1946 Duckworth & Co.) 93
    94. Man Who Lived Backwards, The The Man Who Lived Backwards by Malcolm Ross Cover: Farrar, Straus & Giroux/Farrar, Straus & Co., 1950 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Jacket design: Malcolm Ross. Reprinted by permission of Farrar, Straus & Giroux, Inc. (c) 1950 Farrar, Straus and Company. Design (c) 1950 Malcolm Ross.) Staroamer's Fate Staroamer's Fate by Chuck Rothman Cover: Popular Library, 1986 illustration by Enric (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by permission of Warner Books, Inc. (c) 1986 Popular Library, Inc.) Gods of Cerus Major, The The Gods of Cerus Major by Gary Alan Ruse Cover: Doubleday, 1982 illustration by Soren Arutyunyan (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1982 Doubleday) Satan in the Suburbs Satan in the Suburbs by Bertrand Russell Cover: Bodley Head, 1953 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of Random Century House UK Limited (c) 1953 Bodley Head Richard Clay & Co.) Inner Eclipse Inner Eclipse by Richard Paul Russo Cover: TOR, 1988 illustration by David Mattingly (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by permission of Tor Books. (c) 1988 Tor Books) La Passion Selon Satan La Passion Selon Satan by Jacques Sadoul Cover: Editions J'ai Lu, 1960 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Editions J'ai Lu (c) 1960 Editions J'ai Lu) Leaves of October, The The Leaves of October by Don Sakers Cover: Baen Books, 1988 illustration by Judith Mitchell (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of BAEN PUBLISHING ENTERPRISES. (c) 1988 Baen Books) Throwbacks, The The Throwbacks by Roger Sarac Cover: Belmont, 1965 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Belmont Books (c) 1965 Belmont Books) Way-Farer Way-Farer by Dennis Schmidt Cover: Ace Books, 1978 illustration by Ben Venuti (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1978 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Travels in the Interior Travels in the Interior by Luke Courteney (Alfred Taylor Schofield) Cover: Ward & Downey, 1887 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Palimpests Palimpests by Carter Scholz & Glenn Harcourt Cover: Ace Books, 1984 illustration by Attila Hejja (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1984 Ace 94
    95. Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) We Are All Legends We Are All Legends by Darrell Schweitzer Cover: Donning Co., 1981 illustration by Fabian (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Donning Company Starblaze Editions (c) 1981 Donning Company Starblaze Editions) Project Dracula Project Dracula by Alan Scott Cover: Sphere Books Ltd., 1971 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Sphere Books Ltd. (c) 1971 Sphere Books Ltd.) Master of the Microbe, The The Master of the Microbe by Robert W. Service Cover: Barse & Hopkins, 1926 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Barse & Hopkins. (c) 1926 Barse & Hopkins) TekWar TekWar by William Shatner Cover: Ace Books, 1989 illustration by Boris Vallejo (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1989 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Quest for Simbilis, A A Quest for Simbilis by Michael Shea Cover: DAW Books, 1974 illustration by George Barr (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of DAW Books, Inc. (c) 1974 DAW Books, Inc.) Girl Who Knew Tomorrow, The The Girl Who Knew Tomorrow by Zoa Sherburne Cover: William Morrow & Co., 1971 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Shown by permission of William Morrow & Co., Inc. (c) 1971 William Morrow & Co., Inc.) Maxwell's Demon Maxwell's Demon by Martin Sherwood Cover: New English Library, 1976 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of Hodder Headline, POC. (c) 1976 New English Library) Man Who Lost Himself, The The Man Who Lost Himself by Osbert Sitwell Cover: Duckworth, 1929 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Duckworth & Co. (c) 1929 Duckworth & Co.) Ship of Destiny Ship of Destiny by Henry J. Slater Cover: Thomas Y. Crowell, 1951 illustration by Nettie Weber (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Thomas V.Crowell Co. (c) 1951 Thomas Y. Crowell ) Indians Won, The The Indians Won by Martin Cruz Smith Cover: Leisure Books, 1970 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Leisure Books (c) 1970 Leisure Books) Very Large Array, A A Very Large Array by Melinda M. Snodgrass Cover: U. of New Mexico Press, 1987 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. University of New Mexico Press. (c) 1987 University of New Mexico Press.) 95
    96. Hawks of Arcturus, The The Hawks of Arcturus by Cecil Snyder III Cover: DAW Books, 1974 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of DAW Books, Inc. (c) 1974 DAW Books, Inc.) Testament XXI Testament XXI by Guy Snyder Cover: DAW Books, 1973 illustration by Kelly Freas (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of DAW Books, Inc. (c) 1973 DAW Books, Inc.) Tomorrow's Comet Tomorrow's Comet by Lewis Sowden Cover: Robert Hale Ltd., 1951 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1951 Robert Hale Ltd.) Sever the Earth Sever the Earth by Jacques Spitz Cover: Bodley Head/John Lane, 1936 (First Edition) illustration by Denis Tegetmeier (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of Random Century House UK Limited (c) 1936 John Lane London) Village of Stars Village of Stars by Paul Stanton Cover: William Morrow & Co./M.S. Mill Co., 1960 illustration by Charles Gear (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Shown by permission of William Morrow & Co., Inc. (c) 1960 William Morrow & Co., Inc.) Smith's Dream Smith's Dream by C.K. Stead Cover: Longman Paul Ltd., 1986 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Longman Paul Ltd. (c) 1986 Longman Paul Ltd.) Strange Case of Dr. Jekyll and Mr. Hyde Strange Case of Dr. Jekyll and Mr. Hyde by Robert Louis Stevenson Cover: Longmans, Green & Co., 1886 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Tracker Tracker by Ron Stillman Cover: Diamond Books, 1991 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Diamond Books (c) 1991 Diamond Books) Polaris and the Immortals Polaris and the Immortals by Charles B. Stilson Cover: Avalon Books, 1968 illustration by Gray Morrow (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of Thomas Bouregy & Co. - Avalon Books (c) 1968 Avalon Books) Last Fall Last Fall by Bruce Stolbov Cover: Doubleday, 1987 (First Edition) illustration by Margo Herr (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1987 Doubleday) King of the Air King of the Air by Herbert Strang Cover: Humphrey Milford (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside Humphrey Milford (UK). ) Promising Planet, A A Promising Planet by Jeremy Strike Cover: Ace Books, 1970 illustration by Jack Gaughan (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All 96
    97. rights reserved. (c) 1970 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Woman Who Couldn't Die, The The Woman Who Couldn't Die by Arthur Stringer Cover: Bobbs-Merrill Co., 1929 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1929 Bobbs - Meerrill Co.) Hard to Be a God Hard to Be a God by Arkady & Boris Strugatski Cover: Seabury Press, 1973 (First Edition) illustration by Alan Peckolick (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Seabury Press (c) 1973 Seabury Press) Star Raiders, The The Star Raiders by Donald Suddaby Cover: Geoffrey Cumberlege, 1950 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Geoffrey Cumberlege (c) 1950 Geoffrey Cumberlege) Riallaro Riallaro by Godfrey Sweven Cover: G.P. Putnam's Sons (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of The Putnam Publishing Group. ) Portal Portal by Rob Swigart Cover: St. Martin's Press, 1988 (First Edition) illustration by Jean-Francois Podevin (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Cover: Jean Francois Podevin. Courtesy of St. Martin's Press. (c) 1988 St. Martin's Press) Mirror Friend, Mirror Foe Mirror Friend, Mirror Foe by George Takei & Robert Asprin Cover: Playboy Press, 1979 illustration by Ken Barr (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1979 Playboy Press. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Greek, The The Greek by Tiffany Thayer Cover: Albert & Charles Boni, 1931 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Albert & Charles Boni (c) 1931 Albert & Charles Boni) Teg's 1994 Teg's 1994 by Robert Theobald & J.M. Scott Cover: Swallow Press Inc., 1972 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Swallow Press Inc. (c) 1972 Swallow Press Inc.) Green Ray, The The Green Ray by Vance Thompson Cover: Bobbs-Merrill Co., 1924 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1924 Bobbs - Meerrill Co.) Power of the Serpent, The The Power of the Serpent by Peter Timlett Cover: Bantam, 1976 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1976 Bantam Books) Giphantia Giphantia by C.F. Tiphaigne de la Roche Cover: Robert Horsfield, 1761 97
    98. (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Robert Horsfield ) Mind out of Time Mind out of Time by Angela Tonks Cover: Victor Gollancz Ltd., 1958 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with the permission of Victor Gollancz Ltd. (c) 1958 Victor Gollancz Ltd.) Immortal Error, The The Immortal Error by Elleston Trevor Cover: Gerald Swan Ltd., 1946 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Gerald Swan Ltd. (c) 1946 Gerald Swan Ltd.) Submarine Girl, The The Submarine Girl by Edgar Turner Cover: Stanley Paul & Co., 1909 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Man Whose Name Wouldn't Fit, The The Man Whose Name Wouldn't Fit by Theodore Tyler Cover: Doubleday & Co., 1968 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1968 Doubleday & Co.) Red Court, The The Red Court by Rena Vale Cover: Nelson Publishing Co. (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Nelson Publishing (c) 1952 Nelson Publishing Co.) Sideslip Sideslip by Dave Van Arnam & Ted White Cover: Pyramid Books, 1968 (First Edition) illustration by Jack Gaughan (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1968 Pyramid Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Where Were You Last Pluterday? Where Were You Last Pluterday? by Paul Van Herck Cover: DAW Books, 1973 illustration by Karel Thole (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of DAW Books, Inc. (c) 1973 DAW Books, Inc.) Planet of the Gawfs Planet of the Gawfs by Steve Vance Cover: Leisure Books, 1978 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Leisure Books (c) 1978 Leisure Books) Pleasure Planet Pleasure Planet by Edward E. George (Robert Vardeman) Cover: Carlyle Communications, 1974 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Carlyle Communications (c) 1974 Carlyle Communications) Hellwalker Hellwalker by Carolyn Vesser Cover: TOR, 1988 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by permission of Tor Books. (c) 1988 Tor Books) My First Two Thousand Years My First Two Thousand Years by George S. Viereck & Paul Eldridge Cover: Macauley Co., 1928 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Macauley Co. (c) 1928 Macauley Co.) Tomorrow's Eve Tomorrow's Eve by Adam Villiers de L'Isle Cover: University of Illinois 98
    99. Press, 1982 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. University of Illinois Press. (c) 1982 University of Illinois Press.) Solarkill Solarkill by Charles Ingrid (Rhondi Vilott) Cover: DAW Books, 1987 (First Edition) illustration by Frank Morris (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of DAW Books, Inc. (c) 1987 DAW Books, Inc.) StarSpawn StarSpawn by Kenneth Von Gunden Cover: Ace Books, 1990 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1990 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Metropolis Metropolis by Thea Von Harbou Cover: Uzeanische Bibiothek, 1984 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Uzeanische Bibiothek (c) 1984 Uzeanische Bibiothek) Pre-Empt Pre-Empt by John R. Vorhies Cover: Avon Books, 1969 illustration by Milton Charles (Casey Brown/Eaton Collection, University of Calif., Riverside. Shown by permission of Avon Books. (c) 1969 Avon Books) Lord's Pink Ocean, The The Lord's Pink Ocean by David Walker Cover: DAW Books, 1972 (First Edition) illustration by Josh Kirby (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of DAW Books, Inc. (c) 1972 DAW Books, Inc.) War-Gamers' World War-Gamers' World by Hugh Walker Cover: DAW Books, 1978 illustration by Michael Mariano (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of DAW Books, Inc. (c) 1978 DAW Books, Inc.) Light of Lilith, The The Light of Lilith by F. McDonald Wallis Cover: Ace Books, 1961 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1961 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Vandals of the Void Vandals of the Void by J.M. Walsh Cover: John Hamilton Ltd., 1931 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of HarperCollins Publishers Limited. (c) 1931 John Hamilton Ltd.) Requiem pour Demain Requiem pour Demain by Daniel Walther Cover: Nouvelle Edition Oswald, 1982 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. N.E.O. Nouvelle Edition Oswald (c) 1982 N.E.O. Nouvelle Edition Oswald) Sons of the Ocean Deeps Sons of the Ocean Deeps by Bryce Walton Cover: John C. Winston Co., 1952 illustration by Paul Orban (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. John c. Winston Company (c) 1952 John C. Winston Company) 99
    100. Wild Goose Chase, The The Wild Goose Chase by Rex Warner Cover: Lowe and Brydonne Ltd., 1944 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Lowe and Brydone Ltd. (c) 1944 Lowe and Brydone Ltd. UK) Palafox Palafox by Sandys Wason Cover: Cope and Femrick, 1927 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Cope and Femrick (c) 1927 Cope and Femrick) Probability Pad, The The Probability Pad by Thomas Waters. Cover: Pyramid Books, 1970 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1970 Pyramid Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Tactical Exercise Tactical Exercise by Evelyn Waugh Cover: Little, Brown & Co., 1954 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Published by Little, Brown and Company (Inc.) (c) 1954 Little, Brown and Company (Inc.)) Mercedes Nights Mercedes Nights by Michael D. Weaver Cover: St. Martin's Press, 1987 (First Edition) illustration by Bill Sienkewicz (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Cover: Bill Sienkewicz. Courtesy of St. Martin's Press. (c) 1987 St. Martin's Press) Insurrection Insurrection by David Weber Cover: Baen Books, 1990 illustration by Paul Alexander (Casey Brown/The Eaton Collection. Reprinted with permission of BAEN PUBLISHING ENTERPRISES. (c) 1990 Baen Books) Hijack Hijack by Edward Wellen Cover: Beagle, 1971 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Beagle (c) 1971 Beagle) Wrath of Ashar Wrath of Ashar by Angus Wells Cover: Bantam, 1990 illustration by Larry Elmore (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1990 Bantam Books) Planets of Adventure Planets of Adventure by Basil Wells Cover: Fantasy Publishing Co., 1949 illustration by Jack Gaughan (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Fantasy Publishing Co. (c) 1949 Fantasy Publishing Co.) Star of the Unborn Star of the Unborn by Franz Werfel Cover: Bantam, 1976 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1976 Bantam Books) Phantom City, The The Phantom City by William Westall Cover: Cassell & Co. (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Sweepers of the Sea Sweepers of the Sea by Claude Wetmore Cover: The Bowen-Merrill Co., 1900 100
    101. (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Matters of Form Matters of Form by Scott Wheeler Cover: DAW Books, 1987 illustration by Vincent Di Fate (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of DAW Books, Inc. (c) 1987 DAW Books, Inc.) Spaceflight - Venus Spaceflight - Venus by Philip Wilding Cover: Hennel Licke Ltd., 1954 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Hennel Licke Ltd. (c) 1954 Hennel Licke Ltd.) Valley Beyond Time Valley Beyond Time by Vaughn Wilkins Cover: Jonathan Cape, 1955 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of Random Century House UK Limited. (c) 1955 Johnathan Cape London) Many Dimensions Many Dimensions by Charles Williams Cover: Victor Gollancz Ltd., 1931 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with the permission of Victor Gollancz Ltd. (c) 1931 Victor Gollancz Ltd.) Richardson Story, The The Richardson Story by Frank Williams Cover: Heinemann, 1951 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1951 William Heinemann, Ltd. ) Micronauts, The The Micronauts by Gordon Williams Cover: Bantam, 1977 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1977 Bantam Books) Sex Pill, The The Sex Pill by J.X. Williams Cover: Phoenix Press, 1968 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Phoenix Press (c) 1968 Phoenix Press) Martian Spring Martian Spring by Michael Lindsay Williams Cover: Avon Books, 1986 (Casey Brown/Eaton Collection, University of Calif., Riverside. Shown by permission of Avon Books. (c) 1986 Avon Books) Station X Station X by G. McLeod Winsor Cover: Herbert Jenkins Ltd. (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of Random House UK Limited. (c) Herbert Jenkins Ltd.) Space Egg, The The Space Egg by Russ Winterbotham Cover: Monarch Books, 1962 illustration by Jack Schoenherr (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside.Monarch Books, Inc. (c) 1962 Monarch Books, Inc.) Starluck Starluck by Don Wismer Cover: Dell, 1986 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Dell Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1986 Dell Books) 101
    102. Guerilleres, Les Les Gueilleres by Monique Wittig Cover: Avon Books, 1973 (Casey Brown/Eaton Collection, University of Calif., Riverside. Shown by permission of Avon Books. (c) 1973 Avon Books) Star God Star God by Allen L. Wold Cover: Bart, 1988 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Bart. (c) 1988 Bart) Journey of the Oceanauts Journey of the Oceanauts by Louis Wolfe Cover: Pyramid Books, 1970 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1970 Pyramid Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) London's Burning London's Burning by Barbara Wootton Cover: Allen & Unwin, 1936 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of HarperCollins Publishers Limited. (c) 1936 Allen & Unwin) Thief of Bagdad Thief of Bagdad by Richard Wormser Cover: Dell, 1961 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Dell Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1961 Dell Books) Matter of Oaths, A A Matter of Oaths by Helen S. Wright Cover: Popular Library, 1990 illustration by Martin Andrews (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by permission of Warner Books, Inc. (c) 1990 Popular Library) Swiss Family Robinson, The The Swiss Family Robinson by Johan Rudolf Wyss Cover: Ernest Nister, 1899 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Lost Prince, The The Lost Prince by Paul Edwin Zimmer Cover: Berkley, 1983 illustration by PBJ Books, Inc. (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1983 The Berkley Publishing Group. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Outpost Mars Outpost Mars by C.M. Kornbluth & Judith Merril Cover: Dell, 1954 illustration by Richard Powers (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Dell Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1954 Dell) Puttering About in a Small Land Puttering About in a Small Land by Philip K. Dick Cover: Academy Chicago Publishers (First Edition) illustration by Armen Kohoyian (M. M. Kavanagh. (c) 1985 Academy Chicago) Street Lethal Street Lethal by Steven Barnes Cover: Ace Books, 1983 illustration by Barclay Shaw (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All 102
    103. rights reserved. (c) 1983 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Soul of the Robot, The The Soul of the Robot by Barrington Bayley Cover: Allison & Busby, 1974 illustration by Richard Glyn Jones (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Allison & Busby (UK) (c) 1974 Allison & Busby) Wizard of Lemuria, The The Wizard of Lemuria by Lin Carter Cover: Ace Books, 1965 illustration by Sray Morrow (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1965 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Midnight Dancers, The The Midnight Dancers by Gerard Conway Cover: Ace Books, 1972 illustration by Dani Maltzer (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1972 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) StarBridge StarBridge by A.C. Crispin Cover: Ace Books, 1989 illustration by Boris Vallejo (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1989 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Second Game Second Game by Charles De Vet Cover: DAW Books, 1981 illustration by Michael Mariano (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of DAW Books, Inc. (c) 1981 DAW Books, Inc.) Jewels of Aptor, The The Jewels of Aptor by Samuel R. Delany Cover: Ace Books, 1978 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1978 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Solar Lottery Solar Lottery by Philip K. Dick Cover: Arrow Books (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Arrow Books. ) Sparrowhawk Sparrowhawk by Thomas Easton Cover: Ace Books, 1990 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1990 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Prodigal Sun, The The Prodigal Sun by Philip E. High Cover: Ace Books, 1964 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 103
    104. 1964 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) On Wheels On Wheels by John Jakes Cover: Warner Books, 1973 illustration by Donchatz (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by permission of Warner Books, Inc. (c) 1973 Warner Books) Planet of the Double Sun, The The Planet of the Double Sun by Neil R. Jones Cover: Ace Books, 1967 illustration by Gray Morrow (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1967 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Quiet Pools, The The Quiet Pools by Michael Kube-McDowell Cover: Ace Books, 1990 (First Edition) illustration by Chris Moore (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1990 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Worlds of the Imperium Worlds of the Imperium by Keith Laumer Cover: Ace Books, 1962 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1962 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Ring, The The Ring by Robert E. Margroff & Piers Anthony Cover: Ace Books, 1969 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1969 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Rite of Passage Rite of Passage by Alexei Panshin Cover: Ace Books, 1968 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1968 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Probability Corner, The The Probability Corner by Walt & Leigh Richmond Cover: Ace Books, 1977 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1977 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Pavane Pavane by Keith Roberts Cover: Ace Books, 1969 illustration by Leo & Diane Dillon (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1969 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Men and The Mirror, The The Men and The Mirror by Ross Rocklynne Cover: Ace Books, 1973 (Casey 104
    105. Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1973 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Sight of Proteus Sight of Proteus by Charles Sheffield Cover: Ace Books, 1978 illustration by Clyde Caldwell (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1978 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Wild Card Run Wild Card Run by Sara Stamey Cover: Ace Books, 1987 illustration by Stephen Hall (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1987 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Warlock in Spite of Himself, The The Warlock in Spite of Himself by Christopher Stasheff Cover: Ace Books, 1969 illustration by Jack Gaughan (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1969 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) King's Blood Four King's Blood Four by Sheri S. Tepper Cover: Ace Books, 1989 illustration by James Christensen (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1989 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Second Ending Second Ending by James White Cover: Ace Books, 1962 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1962 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Rebellious Stars (The Stars, Like Dust), The The Rebellious Stars (The Stars, Like Dust) by Isaac Asimov Cover: Ace Books, 1951 (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1951 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) World Jones Made, The The World Jones Made by Philip K. Dick Cover: Ace Books, 1956 illustration by Kelly Freas (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1956 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Ganymede Takeover, The The Ganymede Takeover by Philip K. Dick & Ray Nelson Cover: Ace Books, 105
    106. 1967 illustration by Jack Gaughan (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1967 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Space Chantey Space Chantey by R.A. Lafferty Cover: Ace Books, 1968 illustration by Vaughn Bode (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1968 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Mechasm Mechasm by John T. Sladek Cover: Ace Books, 1969 (First US Edition) illustration by Leo & Diane Dillon (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1969 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Phoenix and the Mirror, The The Phoenix and the Mirror by Avram Davidson Cover: Ace Books, 1970 illustration by Leo & Diane Dillon (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1970 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Soft Targets Soft Targets by Dean Ing Cover: Ace Books, 1979 illustration by Deal Ellis (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1979 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Interfaces Interfaces by Virginia Kidd Cover: Ace Books, 1980 illustration by Alex Abel (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1980 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Them Bones Them Bones by Howard Waldrop Cover: Ace Books, 1984 (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1984 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Peace Company Peace Company by Roland Green Cover: Ace Books, 1985 illustration by Luis Royo (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1985 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws. ) On Stranger Tides On Stranger Tides by Tim Powers Cover: Ace Books, 1988 illustration by James Gurney (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1988 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) 106
    107. Tides of God, The The Tides of God by Ted Reynolds Cover: Ace Books, 1989 (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1989 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Wall at the Edge of the World, The The Wall at the Edge of the World by Jim Aikin Cover: Ace Books (First Edition) illustration by John Jude Palencar (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 19 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) We Claim These Stars We Claim These Stars by Poul Anderson Cover: Ace Books (First Edition) illustration by Kelly Freas (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 19 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) The Ship That Sailed the Time Stream The Ship That Sailed the Time Stream by G.C. Edmondson Cover: Ace Books (First Edition) illustration by Kelly Freas (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1965Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Oxygen Barons, The The Oxygen Barons by Gregory Feeley Cover: Ace Books (First Edition) illustration by Dave Archer (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1990 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Neuromancer Neuromancer by William Gibson Cover: Ace Books, 1984 (First Edition) (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1984 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Growing up in Tier 3000 Growing up in Tier 3000 by Felix C. Gotschalk Cover: Ace Books (First Edition) (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1975 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Left Hand of Darkness, The The Left Hand of Darkness by Ursula K. Le Guin Cover: Ace Books, 1969 (First Edition) illustration by Leo & Diane Dillon (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1969 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) World Swappers, The The World Swappers by John Brunner Cover: Ace Books illustration by Kelly Freas (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) Ace Books. Reproduction, 107
    108. duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Man with Nine Lives, The The Man with Nine Lives by Harlan Ellison Cover: Ace Books, 1960 (First Edition) (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1960 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Million Year Hunt, The The Million Year Hunt by Kenneth Bulmer Cover: Ace Books (First Edition) illustration by Jack Gaughan (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1964 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) New Worlds of Fantasy New Worlds of Fantasy by Terry Carr Cover: Ace Books (First Edition) illustration by Kelly Freas (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1967 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Lords of the Starship Lords of the Starship by Mark Geston Cover: Ace Books (First Edition) illustration by John Schoenherr (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1967 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Past Master Past Master by R.A. Lafferty Cover: Ace Books (First Edition) illustration by Leo & Diane Dillon (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1968 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Star Well Star Well by Alexei Panshin Cover: Ace Books (First Edition) illustration by Kelly Freas (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1968 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Island Under the Earth, The The Island Under the Earth by Avram Davidson Cover: Ace Books, 1969 (First Edition) illustration by Leo & Diane Dillon (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1969 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Preserving Machine, The The Preserving Machine by Philip K. Dick Cover: Ace Books (First Edition) illustration by Leo & Diane Dillon (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1969 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws. ) Nine Hundred Grandmothers Nine Hundred Grandmothers by R.A. Lafferty Cover: Ace Books, 1970 (First 108
    109. Edition) illustration by Leo & Diane Dillon (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1970 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Mister Justice Mister Justice by Doris Piserchia Cover: Ace Books (First Edition) illustration by Kelly Freas (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1973 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Ten Thousand Light-Years from Home Ten Thousand Light-Years From Home by James Tiptree, Jr. Cover: Ace Books, 1973 (First Edition) (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1973 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) White Light White Light by Rudy Rucker Cover: Ace Books, 1980 (First Edition) (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1980 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Spacetime Donuts Spacetime Donuts by Rudy Rucker Cover: Ace Books, 1981 (First Edition) (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1981 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Software Software by Rudy Rucker Cover: Ace Books, 1982 (First Edition) (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1982 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) 57th Franz Kafka, The The 57th Franz Kafka by Rudy Rucker Cover: Ace Books, (First Edition) (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1983 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Wild Shore, The The Wild Shore by Kim Stanley Robinson Cover: Ace Books, 1984 (First Edition) illustration by Andrea Baruffi (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1984 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Icehenge Icehenge by Kim Stanley Robinson Cover: Ace Books, 1984 (First Edition) illustration by Mark Weber (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1984 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) 109
    110. Green Eyes Green Eyes by Lucius Shepard Cover: Ace Books, 1984 (First Edition) illustration by Kathryn Holt (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1984 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Homunculus Homunculus by James P. Blaylock Cover: Ace Books, 1986 (First Edition) illustration by James Warhola (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1986 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Net, The The Net by Loren MacGregor Cover: Ace Books (First Edition) illustration by Earl Keleny (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1987 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Metrophage Metrophage by Richard Kadrey Cover: Ace Books (First Edition) (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1988 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Win, Lose, Draw Win, Lose, Draw by Sara Stamey Cover: Ace Books (First Edition) illustration by Stephen Hall (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1988 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Svaha Svaha by Charles De Lint Cover: Ace Books (First Edition) (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1989 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Stress of Her Regard, The The Stress of Her Regard by Tim Powers Cover: Ace Books, 1989 (First Edition) illustration by James Gurney (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1989 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Orbital Decay Orbital Decay by Allen Steele Cover: Ace Books (First Edition) illustration by Romas (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1989 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Redshift Rendezvous Redshift Rendezvous by John E. Stith Cover: Ace Books (First Edition) illustration by Alan M. Clark (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1990 Ace 110
    111. Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Songs of Chaos Songs of Chaos by S.N. Lewitt Cover: Ace Books (First Edition) illustration by Peter Bollinger (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1993 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Synthajoy Synthajoy by D.G. Compton Cover: Ace Books, 1968 illustration by Leo & Diane Dillon (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1968 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) The Best from Fantasy and Science Fiction, Eighth series The Best from Fantasy and Science Fiction, Eighth Series ed. by Anthony Boucher Cover: Ace Books, c. 1960 illustration by Ed Emshwiller (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1960 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) When Smut Goes When Smut Goes by Arthur Keppel-Jones Cover: African Bookman, 1947 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. African Bookman (c) 1947 African Bookman) Horror on the Asteroid, The The Horror on the Asteroid by Edmond Hamilton Cover: Philip Allan, 1936 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Philip Allan (c) 1936 Philip Allan) Kairos Kairos by Gwyneth Jones Cover: Allen & Unwin (First Edition) illustration by John Millar (M. M. Kavanagh. Reprinted with permission of HarperCollins Publishers Limited. (c) 1988 Allen & Unwin) Journey in Other Worlds: A Romance of the Future Journey in Other Worlds: A Romance of the Future by John Jacob Astor Cover: Appleton, 1894 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Twistor Twistor by John G. Cramer Cover: Arbor House, 1989 (First Edition) illustration by Bob Eggleton (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Shown by permission of William Morrow & Co., Inc. (c) 1989 Arbor House) Moon of Ice Moon of Ice by Brad Linaweaver Cover: Arbor House, 1988 illustration by Peter Thorpe (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Shown by permission of William Morrow & Co., Inc. (c) 1988 Arbor House) Soldiers of Paradise Soldiers of Paradise by Paul Park Cover: Avon Books, 1990 illustration by Gary Ruddell (Casey Brown/Eaton Collection, University of Calif., Riverside. Shown by permission of Avon Books. (c) 1990 Avon Books) 111
    112. Talking Man Talking Man by Terry Bisson Cover: Arbor House (First Edition) illustration by Stephen Gervais (M. M. Kavanagh. Shown by permission of William Morrow & Co., Inc. (c) 1988 Arbor House) Islands in the Net Islands in the Net by Bruce Sterling Cover: Arbor House, 1988 (First Edition) illustration by Don Bolognese (M. M. Kavanagh. Shown by permission of William Morrow & Co., Inc. (c) 1988 Arbor House) Someone in the Dark Someone in the Dark by August Derleth Cover: Arkham House, 1941 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of Arkham House Publishers. (c) 1941 by Arkham House Publishers, Inc.) Web of Easter Island, The The Web of Easter Island by Donald Wandrei Cover: Arkham House, 1948 (First Edition) illustration by Audrey Johnson (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of Arkham House Publishers. (c) 1948 by Arkham House Publishers, Inc.) Jaguar Hunter, The The Jaguar Hunter by Lucius Shepard Cover: Arkham House, 1987 (First Edition) illustration by Jeffrey K. Potter (M. M. Kavanagh. Courtesy of Arkham House Publishers. (c) 1987 by Arkham House Publishers, Inc.) Who Made Stevie Crye? Who Made Stevie Crye? by Michael Bishop Cover: Arkham House (First Edition) illustration by Glennray Tutor (M. M. Kavanagh. Courtesy of Arkham House Publishers. (c) Arkham House Publishers, Inc.) Moon-Flash Moon-Flash by Patricia McKillip Cover: Berkley, 1985 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1985 The Berkley Publishing Group. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Rim of Space, The The Rim of Space by A. Bertram Chandler Cover: Avalon Books, 1963 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of Thomas Bouregy & Co. - Avalon Books (c) 1963 Avalon Books) Green Planet, The The Green Planet by Joan Hunter Holly Cover: Avalon Books, 1961 illustration by Jack Schoenherr (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of Thomas Bouregy & Co. - Avalon Books (c) 1961 Avalon Books) Perfect Planet, The The Perfect Planet by Evelyn E. Smith Cover: Lancer Books, 1963 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Lancer Books (c) 1963 Lancer) Quarreling, They Met the Dragon Quarreling, They Met the Dragon by Sharon Baker Cover: Avon Books, 1984 (Casey Brown/Eaton Collection, University of Calif., Riverside. Shown by permission of Avon Books. (c) 1984 Avon Books) Living Way Out Living Way Out by Wyman Guin Cover: Avon Books, 1967 (First Edition) illustration by Ronald Walosky (Casey Brown/Eaton Collection, University 112
    113. of Calif., Riverside. Shown by permission of Avon Books. (c) 1967 Avon Books) Song for Lya and Other Stories, A A Song for Lya and Other Stories by George R.R. Martin Cover: Avon Books, 1976 (First Edition) (Casey Brown/Eaton Collection, University of Calif., Riverside. Shown by permission of Avon Books. (c) 1976 Avon Books) Saltflower Saltflower by Sydney J. Van Scyoc Cover: Avon Books, 1977 (Casey Brown/Eaton Collection, University of Calif., Riverside. Shown by permission of Avon Books. (c) 1977 Avon Books) Macroscope Macroscope by Piers Anthony Cover: Avon Books, 1969 (First Edition) (M. M. Kavanagh. Shown by permission of Avon Books. (c) 1969 Avon Books) Moderan Moderan by David R. Bunch Cover: Avon Books (First Edition) (M. M. Kavanagh. Shown by permission of Avon Books. (c) Avon Books) No Time Like the Future No Time Like the Future by Nelson Bond Cover: Avon Books (First Edition) (M. M. Kavanagh. Shown by permission of Avon Books. (c) 1954 Avon Books) Little Fuzzy Little Fuzzy by H. Beam Piper Cover: Avon Books (First Edition) (M. M. Kavanagh. Shown by permission of Avon Books. (c) 1962 Avon Books) Pure Cold Light, The The Pure Cold Light by Gregory Frost Cover: Avon Books/AvoNova (First Edition) illustration by Gregory Frost (M. M. Kavanagh. Shown by permission of Avon Books. (c) 1993 AvoNova) In the Country of the Blind In the Country of the Blind by Michael Flynn Cover: Baen Books, 1990 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of BAEN PUBLISHING ENTERPRISES. (c) 1990 Baen Books) Petrogypsies Petrogypsies by Rory Harper Cover: Baen Books, 1989 illustration by Tom Kidd (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of BAEN PUBLISHING ENTERPRISES. (c) 1989 Baen Books) Khyren Khyren by Aline Boucher Kaplan Cover: Baen Books, 1988 illustration by Larry Schwinger (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of BAEN PUBLISHING ENTERPRISES. (c) 1988 Baen Books) Marching Through Georgia Marching Through Georgia by S.M. Stirling Cover: Baen Books, 1988 illustration by Kevin Davies (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of BAEN PUBLISHING ENTERPRISES. (c) 1988 Baen Books) Torch of Honor, The The Torch of Honor by Roger MacBride Allen Cover: Baen Books, 1986 (M. M. Kavanagh. Reprinted with permission of BAEN PUBLISHING ENTERPRISES. (c) 1986 Baen Books) Shards of Honor Shards of Honor by Lois McMaster Bujold Cover: Baen Books, 1986 (M. M. 113
    114. Kavanagh. Reprinted with permission of BAEN PUBLISHING ENTERPRISES. (c) 1986 Baen Books) Master of the Fist Master of the Fist by Edward P. Hughes Cover: Baen Books, 1989 illustration by Ken Kelly (M. M. Kavanagh. Reprinted with permission of BAEN PUBLISHING ENTERPRISES. (c) 1989 Baen Books) Man-Kzin Wars, The The Man-Kzin Wars created by Larry Niven with Poul Anderson & Dean Ing Cover: Baen Books, 1989 illustration by Steve Hickman (M. M. Kavanagh. Reprinted with permission of BAEN PUBLISHING ENTERPRISES. (c) 1989 Baen Books) ME: A Novel of Self-Discovery ME: A Novel of Self-Discovery by Thomas T. Thomas Cover: Baen Books, 1991 (First Edition) illustration by Gary Ruddel (M. M. Kavanagh. Reprinted with permission of BAEN PUBLISHING ENTERPRISES. (c) 1991 Baen Books) Hunting Party Hunting Party by Elizabeth Moon Cover: Baen Books (First Edition) illustration by Stephen Hickman (M. M. Kavanagh. Reprinted with permission of BAEN PUBLISHING ENTERPRISES. (c) 1993 Baen Books) Whole Man, The The Whole Man by John Brunner Cover: Walker & Co., 1970 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of Walker and Company. (c) 1970 Walker & Company) Tarnsman of Gor Tarnsman of Gor by John Norman Cover: Tandem (British Reprint) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Tandem. (c) 19 Tandem) Night Walk Night Walk by Bob Shaw Cover: Banner, 1967 (First Edition) illustration by Frank Frazetta (M. M. Kavanagh. Banner. (c) 1967 Banner) Lani People, The The Lani People by J.F. Bone Cover: Bantam, 1962 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1962 Bantam Books) Startide Rising Startide Rising by David Brin Cover: Bantam, 1983 (First Edition) illustration by Jim Burns (M. M. Kavanagh. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1983 Bantam Books) Reach Reach by Edward Gibson Cover: Doubleday, 1989 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1989 Doubleday) Mutant Prime, The The Mutant Prime by Karen Haber Cover: Doubleday, 1990 (First Edition) illustration by Jim Burns (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1990 Doubleday) High Couch of Silistra High Couch of Silistra by Janet E. Morris Cover: Bantam, 1977 (Casey 114
    115. Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1977 Bantam Books) Paradise Plot, The The Paradise Plot by Ed Naha Cover: Bantam, 1980 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1980 Bantam Books) Labyrinth Gate, The The Labyrinth Gate by Alis A. Rasmussen Cover: Bantam, 1988 (First Edition) illustration by Larry Schwinger (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1988 Bantam Books) Neverness Neverness by David Zindell Cover: Bantam, 1989 illustration by Don Dixon (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1989 Bantam Books) Third from the Sun Third from the Sun by Richard Matheson Cover: Bantam, 1955 (M. M. Kavanagh. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1955 Bantam Books) Rama Revealed Rama Revealed by Arthur C. Clarke & Gentry Lee Cover: Bantam, 1995 (First Edition) illustration by Stephen Youll (M. M. Kavanagh. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) Bantam Books) Synners Synners by Pat Cadigan Cover: Bantam (First Edition) illustration by Francisco Maruca (M. M. Kavanagh. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) Bantam Books) Slow Fall to Dawn Slow Fall to Dawn by Stephen Leigh Cover: Bantam (First Edition) (M. M. Kavanagh. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) Bantam Books) Missing Matter, The The Missing Matter by Thomas R. McDonough Cover: Bantam (First Edition) (M. M. Kavanagh. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) Bantam Books) Memories Memories by Mike McQuay Cover: Bantam (First Edition) illustration by Frank Riley (M. M. Kavanagh. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) Bantam Books) Red Genesis Red Genesis by S.C. Sykes Cover: Bantam (First Edition) (M. M. Kavanagh. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) Bantam Books) Line to Tomorrow Line to Tomorrow by Lewis Padgett Cover: Bantam (First Edition) illustration by M. Hooks (M. M. Kavanagh. Used by Permission of Bantam 115
    116. Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1954 Bantam Books) Star Trek 1 Star Trek 1 by James Blish Cover: Bantam, 1967 (First Edition) (M. M. Kavanagh. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1967 Bantam Books) Venus of Dreams Venus of Dreams by Pamela Sargent Cover: Bantam, 1986 (First Edition) illustration by Pamela Lee (M. M. Kavanagh. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1986 Bantam Books) Lincoln's Dreams Lincoln's Dreams by Connie Willis Cover: Bantam, 1987 (First Edition) illustration by Keith Batcheller (M. M. Kavanagh. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1987 Bantam Books) Memory Wire Memory Wire by Robert Charles Wilson Cover: Bantam (First Edition) (M. M. Kavanagh. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1987 Bantam Books) Wild Cards: A Mosaic Novel Wild Cards: A Mosaic Novel ed. by George R.R. Martin Cover: Bantam (First Edition) illustration by Stan Watts (M. M. Kavanagh. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1987 Bantam Books) Strange Invasion Strange Invasion by Michael Kandel Cover: Bantam, 1989 (First Edition) illustration by Edwin B. Hirth III (M. M. Kavanagh. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1989 Bantam Books) On My Way to Paradise On My Way to Paradise by Dave Wolverton Cover: Bantam, 1989 (First Edition) illustration by Steve and Paul Youll (M. M. Kavanagh. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1989 Bantam Books) Spirit Crossings Spirit Crossings by Claudia Peck Cover: Bantam (First Edition) illustration by Mike McGinty (M. M. Kavanagh. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1991 Bantam Books) Silicon Man, The The Silicon Man by Charles Platt Cover: Bantam (First Edition) illustration by Jean Francois Poderin (M. M. Kavanagh. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1991 Bantam Books) Sheltered Lives Sheltered Lives by Charles Oberndorf Cover: Bantam (First Edition) illustration by Oscar Chichoni (M. M. Kavanagh. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1992 Bantam Books) Growing up Weightless Growing up Weightless by John M. Ford Cover: Bantam, 1993 (First Edition) 116
    117. illustration by Pamela Lee (M. M. Kavanagh. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1993 Bantam Books) Love & Sleep Love & Sleep by John Crowley Cover: Bantam, 1994 (First Edition) illustration by Jamie S. Warren Youll (M. M. Kavanagh. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1994 Bantam Books) In the Mothers' Land In the Mothers' Land by Elisabeth Vonarburg Cover: Bantam, 1992 (First US Edition) illustration by Oscar Chichoni (M. M. Kavanagh. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1992 Bantam Books) Mind Parasites, The The Mind Parasites by Colin Wilson Cover: Barker, 1967 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Barker. (c) 1967 Barker) Pagan Passions Pagan Passions by Randall Garrett & Larry M. Harris (Laurence M. Janifer) Cover: Beacon (First Edition) illustration by Robert Stanley (M. M. Kavanagh. Beacon Press. (c) 1959 Beacon Press) Odyssey to Earthdeath Odyssey to Earthdeath by Leo P. Kelley Cover: Belmont, 1968 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Belmont Books (c) 1968 Belmont ) Unearth People, The The Unearth People by Kris Neville Cover: Belmont, 1964 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Belmont Books (c) 1964 Belmont ) Of Godlike Power Of Godlike Power by Mack Reynolds Cover: Belmont (First Edition) (M. M. Kavanagh. Belmont Books. (c) 1966 Belmont ) Shadow of Alpha, The The Shadow of Alpha by Charles L. Grant Cover: Berkley, 1970 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1970 The Berkley Publishing Group. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Stranger in a Strange Land Stranger in a Strange Land by Robert A. Heinlein Cover: Berkley, 1970 (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1970 The Berkley Publishing Group. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Transfinite Man, The The Transfinite Man by Colin Kapp Cover: Berkley, 1964 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1964 The Berkley Publishing Group. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) 117
    118. Manifest Destiny Manifest Destiny by Barry B. Longyear Cover: Berkley, 1980 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1980 The Berkley Publishing Group. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Garbage World Garbage World by Charles Platt Cover: Berkley, 1967 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1967 The Berkley Publishing Group. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Stardust Voyages, The The Stardust Voyages by Stephen Tall Cover: Berkley, 1975 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1975 The Berkley Publishing Group. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) ParasaurIans, The The ParasaurIans by Robert Wells Cover: Berkley, 1969 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1969 The Berkley Publishing Group. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Mile-Long Spaceship, The The Mile-Long Spaceship by Kate Wilhelm Cover: Berkley, 1963 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1963 The Berkley Publishing Group. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Quy Effect, The The Quy Effect by Arthur Sellings Cover: Berkley, 1967 (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1967 The Berkley Publishing Group. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Reefs of Earth, The The Reefs of Earth by R.A. Lafferty Cover: Berkley, 1968 (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1968 The Berkley Publishing Group. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Sardonyx Net, The The Sardonyx Net by Elizabeth Lynn Cover: Berkley, 1981 (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1981 The Berkley Publishing Group. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) 118
    119. Spectrum 5 Spectrum 5 ed. by Kingsley Amis & Robert Conquest Cover: Berkley, 1968 (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1968 The Berkley Publishing Group. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Terminal Beach, The The Terminal Beach by J.G. Ballard Cover: Berkley (First Edition) (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) The Berkley Publishing Group. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Passport to Eternity Passport to Eternity by J.G. Ballard Cover: Berkley (First Edition) illustration by Richard Powers (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1963 The Berkley Publishing Group. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Ring of Ritornel, The The Ring of Ritornel by Charles L. Harness Cover: Berkley, 1968 (First Edition) illustration by Paul Lehr (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1968 The Berkley Publishing Group. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Titan's Daughter Titan's Daughter by James Blish Cover: Berkley, 1961 (First Edition) (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1961 The Berkley Publishing Group. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Grimm's World Grimm's World by Vernor Vinge Cover: Berkley, 1969 (First Edition) Cover: Don Lehr (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1969 The Berkley Publishing Group. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Tintagel Tintagel by Paul Cook Cover: Berkley (First Edition) illustration by Richard Lon Cohen & John Townley (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1981 The Berkley Publishing Group. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Vector Analysis Vector Analysis by Jack Haldeman Cover: Berkley, 1978 illustration by Norman Adams & Sol Novins (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1978 The Berkley Publishing Group. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Missing Man, The The Missing Man by Katherine MacLean Cover: Berkley (First Edition) 119
    120. illustration by Richard Powers (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1975 The Berkley Publishing Group. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Rapture Effect, The The Rapture Effect by Jeffrey A. Carver Cover: Tom Doherty Associates/TOR/Bluejay, 1987 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Book jackets reprinted by permission of Bluejay Books Inc. All rights reserved. (c) 1987 Bluejay Books Inc. ) Planet of Whispers Planet of Whispers by James Patrick Kelly Cover: Tom Doherty Associates/TOR/Bluejay, 1985 illustration by Victoria Poyser (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Book jackets reprinted by permission of Bluejay Books Inc. All rights reserved. (c) 1985 Bluejay Books Inc.) Song of Kali Song of Kali by Dan Simmons Cover: TOR, 1986 illustration by Jill Bauman (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by permission of Tor Books. (c) 1986 Tor Books) Impossible Things Impossible Things by Connie Willis Cover: Bantam, 1993 (First Edition) illustration by John Jude Palencar (M. M. Kavanagh. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1993 Bantam Books) Widow's Son, the The Widow's Son by Robert Anton Wilson Cover: Tom Doherty Associates/TOR/Bluejay (First Edition) illustration by Bryn Barnard (M. M. Kavanagh. Book jackets reprinted by permission of Bluejay Books Inc. All rights reserved. (c) 1985 Bluejay Books Inc.) Two Hours to Doom Two Hours to Doom by Peter Bryant Cover: Boardman, 1958 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Boardman (c) 1958 Boardman) Murder Madness Murder Madness by Will Jenkins (Murray Leinster) Cover: Brewer and Warren, 1931 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1931 Brewer and Warren) Gulliver of Mars Gulliver of Mars by Edwin Lester Arnold Cover: Ace Books illustration by Frank Frazetta (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1964 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Misplaced Persons Misplaced Persons by Lee Harding Cover: Bantam, 1983 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1983 Bantam Books) Time Trap Time Trap by Rog Phillips Cover: Century, 1949 (First Edition) illustration by Malcolm Smith (Casey Brown/The Eaton Collection, Univ. of 120
    121. Calif., Riverside. Courtesy of Random Century House UK Limited (c) 1949 Century) Unquenchable Fire Unquenchable Fire by Rachel Pollack Cover: Century (First Edition) illustration by Philippa Bramson (M. M. Kavanagh. Courtesy of Random Century House UK Limited (c) 1988 Century) Hadrian the Seventh Hadrian the Seventh by Frederick Rolfe Cover: Chatto and Windus (First Edition) (M. M. Kavanagh. Courtesy of Random Century House UK Limited. ) Hiero's Journey Hiero's Journey by Sterling E. Lanier Cover: Bantam, 1974 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1974 Bantam Books) Starcrossed, The The Starcrossed by Ben Bova Cover: Chilton, 1975 (First Edition) illustration by Craven & Evans (M. M. Kavanagh. Courtesy of Vincent Di Fate. (c) 1975 Chilton Book Company) Verging on the Pertinent Verging on the Pertinent by Carol Emshwiller Cover: Coffee House, 1989 (First Edition) illustration by Janice Perry (M. M. Kavanagh. (c) 1989 Coffee House Press) Great War Syndicate, The The Great War Syndicate by Frank R. Stockton Cover: Collier, 1889 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Tin Men, The The Tin Men by Michael Frayn Cover: Ace Books, 1965 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1965 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Machine That Thought, The The Machine That Thought by William Callahan (Raymond Z. Gallun) Cover: Columbia, 1942 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Columbia Publications, Inc. (c) 1942 Columbia) Sundered Worlds, The The Sundered Worlds by Michael Moorcock Cover: Compact, 1965 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of Lifetime Books. (c) 1965 Compact Books) Pennterra Pennterra by Judith Moffett Cover: Congdon & Weed, 1987 illustration by Bryn Barnard (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Congdon & Weed (c) 1987 Congdon and Weed) Man Who Pulled Down the Sky, The The Man Who Pulled Down the Sky by John Barnes Cover: Congdon & Weed (First Edition) illustration by Bob Eggleton (M. M. Kavanagh. Congdon & Weed (c) 1986 Congdon and Weed) Station Gehenna Station Gehenna by Andrew Weiner Cover: Congdon & Weed (First Edition) illustration by Bob Eggleton (M. M. Kavanagh. Congdon & Weed (c) 1987 Congdon and Weed) 121
    122. Night of the Big Heat, The The Night of the Big Heat by John Lymington Cover: Hodder & Stoughton Ltd., 1959 illustration by Peter Rudland (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of Hodder Headline, POC. (c) 1959 Hodder and Stoughton Ltd.) Revolt on Alpha C. Revolt on Alpha C. by Robert Silverberg Cover: Tab Books, 1959 illustration by William Meyerriecks (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Tab Books, Inc. (c) 1959 Tab Books, Inc.) Sound of His Horn, The The Sound of His Horn by Sarban Cover: Davies, 1952 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Davies (c) 1952 Davies) Gate of Ivrel Gate of Ivrel by C.J. Cherryh Cover: DAW Books, 1976 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of DAW Books, Inc. (c) 1976 DAW Books, Inc.) Mirror Image Mirror Image by Michael G. Coney Cover: DAW Books, 1972 illustration by Kelly Freas (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of DAW Books, Inc. (c) 1972 DAW Books, Inc.) Warriors of Dawn, The The Warriors of Dawn by M.A. Foster Cover: DAW Books, 1975 illustration by Kelly Freas (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of DAW Books, Inc. (c) 1975 DAW Books, Inc.) Walkers on the Sky Walkers on the Sky by David J. Lake Cover: DAW Books, 1976 illustration by Richard Hescox (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of DAW Books, Inc. (c) 1976 DAW Books, Inc.) 2018 A.D. 2018 A.D. by Sam J. Lundwell Cover: DAW Books, 1975 illustration by Josh Kirby (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of DAW Books, Inc. (c) 1975 DAW Books, Inc.) Passing for Human Passing for Human by Jody Scott Cover: DAW Books, 1977 illustration by Bob Pepper (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of DAW Books, Inc. (c) 1977 DAW Books, Inc.) Space Opera Space Opera by Jack Vance Cover: DAW Books, 1965 illustration by Don Maitz (M. M. Kavanagh. Reprinted with permission of DAW Books, Inc. (c) 1965 DAW Books, Inc.) Merovingen Nights Festival Moon Merovingen Nights Festival Moon by C.J. Cherryh Cover: DAW Books, 1987 illustration by Tim Hildbrandt (M. M. Kavanagh. Reprinted with permission of DAW Books, Inc. (c) 1987 DAW Books, Inc.) Spaceship for the King, A A Spaceship for the King by Jerry Pournelle Cover: DAW Books (First Edition) illustration by Kelly Freas (M. M. Kavanagh. Reprinted with permission of DAW Books, Inc. (c) 1973 DAW Books, Inc.) We Can Build You We Can Build You by Philip K. Dick Cover: DAW Books, 1972 (First Edition) 122
    123. illustration by John Schoenherr (M. M. Kavanagh. Reprinted with permission of DAW Books, Inc. (c) 1972 DAW Books, Inc.) Whenabouts of Burr, The The Whenabouts of Burr by Michael Kurland Cover: DAW Books (First Edition) illustration by Kelly Freas (M. M. Kavanagh. Reprinted with permission of DAW Books, Inc. (c) 1975 DAW Books, Inc.) Hellflower Hellflower by Eluki bes Shahar Cover: DAW Books (First Edition) illustration by Nicholas Jainschigg (M. M. Kavanagh. Reprinted with permission of DAW Books, Inc. (c) 1991 DAW Books, Inc.) Joshua, Son of None Joshua, Son of None by Nancy Freedman Cover: Delacorte Press, 1973 (First Edition) illustration by Paul Bacon (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Delecorte Press, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1973 Delecorte Press.) Sirens of Titan, The The Sirens of Titan by Kurt Vonnegut, Jr. Cover: Dell, 1959 (First Edition) illustration by Richard Powers (M. M. Kavanagh. Used by Permission of Dell Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1959 Dell Books) Penultimate Truth, The The Penultimate Truth by Philip K. Dick Cover: Dell, 1980 (First Edition) illustration by Richard Corben (M. M. Kavanagh. Used by Permission of Dell Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1980 Dell Books) Golden Apple, The The Golden Apple by Robert Shea & Robert Anton Wilson Cover: Dell, 1975 illustration by Carlos Victor (M. M. Kavanagh. Used by Permission of Dell Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1975 Dell Books) Logan's Run Logan's Run by William Nolan Cover: Dial Books, 1967 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1967 Dial Books) Ophiuchi Hotline, The The Ophiuchi Hotline by John Varley Cover: Dial Books, 1977 (First Edition) illustration by Boris Vallejo (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1977 Dial Books) In the Ocean of Night In the Ocean of Night by Gregory Benford Cover: Dial Press, 1977 (First Edition) illustration by Larry Kresek (M. M. Kavanagh. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1977 Dial Press) Thunder and Lightning Man, The The Thunder and Lightning Man by Colin Cooper Cover: Faber and Faber Ltd. , 1968 (First Edition) illustration by Charles Mozley (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Cover: Charles Mozley. Courtesy of Faber and Faber Ltd. (c) 1968 Faber & Faber) 123
    124. Marooned Marooned by Martin Caidin Cover: Bantam, 1969 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1969 Bantam Books) What Happened to Emily Goode After the Great Exhibition? What Happened to Emily Goode After the Great Exhibition? by Raylyn Moore Cover: Donning, 1978 (First Edition) illustration by Kelly Freas (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Donning Company Starblaze Editions (c) 1978 Donning Company Starblaze Editions) Tin Woodman Tin Woodman by David F. Bischoff & Dennis R. Bailey Cover: Doubleday, 1979 illustration by Gary Mouteferante (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1979 Doubleday) Goddess of Atvatabar, The The Goddess of Atvatabar by William R. Bradshaw Cover: J.F. Donthitt, 1892 (First Edition) illustration by C. Durand Chapman (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1892 J. F. Donthitt ) Sibyl Sue Blue Sibyl Sue Blue by Rosel George Brown Cover: Doubleday, 1966 illustration by John Alcorn (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1966 Doubleday) Sunrise West Sunrise West by William K. Carlson Cover: Doubleday, 1981 illustration by Marge Herr (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1981 Doubleday) Navigator's Sindrome Navigator's Sindrome by Jayge Carr Cover: Doubleday, 1983 illustration by Jan Esteves (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1983 Doubleday) No Place on Earth No Place on Earth by Louis Charbonneau Cover: Doubleday, 1958 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1958 Doubleday) Mission of Gravity Mission of Gravity by Hal Clement Cover: Doubleday, 1954 (First Edition) illustration by Joe Magnaini (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1954 Doubleday) Masters of Solitude Masters of Solitude by Parke Godwin & Marvin Kaye Cover: Doubleday, 1978 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1978 Doubleday) 124
    125. Sword-Swallower, The The Sword-Swallower by Ron Goulart Cover: Doubleday, 1970 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1970 Doubleday) Pilgrimage: The Book of the People Pilgrimage: The Book of the People by Zenna Henderson Cover: Avon Books, 1961 (Casey Brown/Eaton Collection, University of Calif., Riverside. Shown by permission of Avon Books. (c) 1961 Avon Books) It Can't Happen Here It Can't Happen Here by Sinclair Lewis Cover: Doubleday, 1961 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1961 Doubleday) House of Zeor House of Zeor by Jacqueline Lichtenberg Cover: Doubleday, 1977 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1977 Doubleday) How the Gods Wove in Kyrannon How the Gods Wove in Kyrannon by Ardath Mayhar Cover: Doubleday, 1982 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1982 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) World out of Mind World out of Mind by J.T. McIntosh Cover: Doubleday, 1953 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1953 Doubleday) West of the Sun West of the Sun by Edgar Pangborn Cover: Doubleday, 1980 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1980 Doubleday) Pig World Pig World by Charles Runyon Cover: Lancer Books, 1971 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside.Lancer Books (c) 1971 Lancer) No One Goes There Now No One Goes There Now by William Walling Cover: Doubleday, 1971 (First Edition) illustration by Marvin Mattelson (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1971 Doubleday) Healer Healer by F. Paul Wilson Cover: Dell, 1977 illustration by Kresek (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Dell Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1977 Dell Books) Killerbowl Killerbowl by Gary K. Wolf Cover: Doubleday, 1975 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission 125
    126. of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1975 Doubleday) Mike Mars, Astronaut Mike Mars, Astronaut by Don Wollheim Cover: Doubleday, 1961 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1961 Doubleday) His Monkey Wife His Monkey Wife by John Collier Cover: Doubleday, 1957 illustration by Margot Tomes (M. M. Kavanagh. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1957 Doubleday) Kai Lung Unrolls His Mat Kai Lung Unrolls His Mat by Ernest Bramah Cover: Doubleday Doran, 1928 (First US Edition) illustration by J. Nadejen (M. M. Kavanagh. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1928 Doubleday Doran) Long Tomorrow, The The Long Tomorrow by Leigh Brackett Cover: Doubleday (First Edition) illustration by Docktor (M. M. Kavanagh. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) Doubleday) Martian Chronicles, The The Martian Chronicles by Ray Bradbury Cover: Doubleday (First Edition) illustration by Lidov (M. M. Kavanagh. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) Doubleday) Novelty Novelty by John Crowley Cover: Doubleday, 1989 (First Edition) illustration by Mike Fisher (M. M. Kavanagh. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1989 Doubleday) Revolving Boy, The The Revolving Boy by Gertrude Friedberg Cover: Doubleday (First Edition) illustration by Tom Chibbaro (M. M. Kavanagh. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) Doubleday) Keepers of the Gate Keepers of the Gate by Steven Spruill Cover: Doubleday (First Edition) (M. M. Kavanagh (c) Doubleday) Shadow on the Hearth Shadow on the Hearth by Judith Merril Cover: Doubleday (First Edition) illustration by Edward Kasper (M. M. Kavanagh. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1950 Doubleday) Lucky Starr and the Moons of Jupiter Lucky Starr and the Moons of Jupiter by Paul French (Isaac Asimov) Cover: Doubleday, 1957 (First Edition) (M. M. Kavanagh. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1957 Doubleday) Torrent of Faces, A A Torrent of Faces by Norman L. Knight Cover: Doubleday (First Edition) illustration by James Barkley (M. M. Kavanagh. (c) 1967Doubleday) Lord of Light Lord of Light by Roger Zelazny Cover: Doubleday, 1967 (First Edition) 126
    127. illustration by Howard Bernstein (M. M. Kavanagh. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1967 Doubleday) Nova Nova by Samuel R. Delany Cover: Doubleday, 1968 (First Edition) illustration by Russell Fitzgerald (M. M. Kavanagh. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1968 Doubleday) Hieros Gamos and Sam and An Smith, The The Hieros Gamos and Sam and An Smith by Josephine Saxton Cover: Doubleday (First Edition) illustration by Peter Rauch (M. M. Kavanagh. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1969 Doubleday) Gardens One to Five Gardens One to Five by Peter Tate Cover: Doubleday (First Edition) illustration by Catherine Hopkins (M. M. Kavanagh. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1971 Doubleday) Tarzan Alive Tarzan Alive by Philip Jose Farmer Cover: Doubleday, 1972 (First Edition) illustration by Milton Glaser (M. M. Kavanagh. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1972 Doubleday) Shining, The The Shining by Stephen King Cover: Doubleday (First Edition) illustration by Dave Christensen (M. M. Kavanagh. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1977 Doubleday) Vergil in Averno Vergil in Averno by Avram Davidson Cover: Doubleday, 1987 (First Edition) illustration by Candy Jernigan (M. M. Kavanagh. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1987 Doubleday) Nothing Sacred Nothing Sacred by Elizabeth Ann Scarborough Cover: Doubleday (First Edition) illustration by Jamie S. Warren Youll (M. M. Kavanagh. (c) 1991 Doubleday) Golden City, The The Golden City by A. Hyatt Verrill Cover: Duffield, 1916 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) San Diego Lightfoot Sue San Diego Lightfoot Sue by Tom Reamy Cover: Ace Books, 1983 (First Edition) illustration by David Heffernan (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1983 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Unborn Tomorrow Unborn Tomorrow by Gilbert Frankau Cover: Macdonald, 1953 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. MacDonald (c) 1953 MacDonald ) 127
    128. Season of the Witch Season of the Witch by Hank Stine Cover: Essex House, 1968 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Essex House (c) 1968 Essex House) Lord of the Flies Lord of the Flies by William Golding Cover: Faber and Faber Ltd., 1954 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of Faber and Faber Ltd. (c) 1954 Faber and Faber Ltd.) Mister da V. and other Stories Mister da V. and other Stories by Kit Reed Cover: Faber and Faber Ltd., 1967 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of Faber and Faber Ltd. (c) 1967 Faber and Faber Ltd.) Tunc Tunc by Lawrence Durrell Cover: Faber and Faber Ltd., 1969 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of Faber and Faber Ltd. (c) 1969 Faber and Faber Ltd.) Inverted World Inverted World by Christopher Priest Cover: Faber and Faber Ltd., 1974 (First Edition) (M. M. Kavanagh. Courtesy of Faber and Faber Ltd. (c) 1974 Faber and Faber Ltd.) Non-Stop Non-Stop by Brian W. Aldiss Cover: Faber and Faber Ltd., 1958 illustration by Peter Curl (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Cover: Peter Curl. Courtesy of Faber and Faber Ltd. (c) 1958 Faber and Faber Ltd.) Sunken World, The The Sunken World by Stanton Coblentz Cover: Fantasy Publishing Co., 1948 (First Edition) illustration by Charles E. McCurdy (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Fantasy Publishing Co. (c) 1948 Fantasy Publishing Co.) Genus Homo Genus Homo by L. Sprague De Camp & P. Schayler Miller Cover: Fantasy Press, 1950 (First Edition) illustration by Edd Cartier (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Fantasy Press (c) 1950 Fantasy Press) Titan, The The Titan by P. Schuyler Miller Cover: Fantasy Press, 1952 (First Edition) illustration by Hannes Bok (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside.Fantasy Press (c) 1952 Fantasy Press) Legion of Space, The The Legion of Space by Jack Williamson Cover: Fantasy Press, 1947 (First Edition) illustration by A.J. Donnell (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Fantasy Press (c) 1947 Fantasy Press) Wrinkle in Time, A A Wrinkle in Time by Madeleine L'Engle Cover: Farrar Straus & Giroux, 1970 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Jacket design: Ellen Raskin. Reprinted by permission of Farrar, Straus & Giroux, Inc. (c) 1970 Farrar, Straus & Giroux, Inc. Design (c)1962, renewed 1990 Crosswicks Ltd.) Love in the Ruins Love in the Ruins by Percy Walker Cover: Farrar Straus & Giroux, 1981 128
    129. (Casey Brown/Eaton Collection, University of Calif., Riverside. Shown by permission of Avon Books. (c) 1981 Farrar, Straus & Giroux, Inc.) Unspeakable Practices, Unnatural Acts Unspeakable Practices, Unnatural Acts by Donald Barthelme Cover: Farrar Straus & Giroux (First Edition) illustration by Janet Halverson (M. M. Kavanagh. Jacket design: Janet Halverson after a lithograph by Daumier. Reprinted by permission of Farrar, Straus & Giroux, Inc. (c) 1968 Donald Barthelme) Science Fiction Omnibus Science Fiction Omnibus ed. by T.E. Dikty & Everett F. Bleiler Cover: Garden City Books, 1952 (Casey Brown/The Eaton Collection, Univ. of Calif. , Riverside. Courtesy of Lifetime Books, Inc. (c) 1952 Garden City Books) Planets for Sale Planets for Sale by E. Mayne Hull Cover: Fell, 1954 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of Lifetime Books, Inc. (c) 1954 Fell) John Carstairs: Space Detective John Carstairs: Space Detective by Frank Belknap Long Cover: Fell, 1949 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of Lifetime Books, Inc. (c) 1949 Fell) Saraband of Lost Time Saraband of Lost Time by Richard Grant Cover: Avon Books (First Edition) (M. M. Kavanagh. Shown by permission of Avon Books. (c) Avon Books) Winterlong Winterlong by Elizabeth Hand Cover: Bantam (First Edition) (M. M. Kavanagh. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) Bantam Books) Pity About Earth Pity About Earth by Ernest Hill Cover: Ace Books (First Edition) (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1968 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Gemini God Gemini God by Garry Kilworth Cover: Faber and Faber Ltd., 1981 (First Edition) (M. M. Kavanagh. (c) 1981 Faber and Faber Ltd.) Hercules Text, The The Hercules Text by Jack McDevitt Cover: Ace Books, 1986 (First Edition) illustration by Earl Keleny (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1986 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Planet Buyer, The The Planet Buyer by Cordwainer Smith Cover: Pyramid Books (First Edition) (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1964 Pyramid Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Marathon Marathon by D. Alexander Smith Cover: Ace Books (First Edition) (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1982 Ace Books. Reproduction, duplication or 129
    130. transmission without appropriate permission is a violation of Federal copyright laws.) Wild Sheep Chase, A A Wild Sheep Chase by Haruki Murakami Cover: Kodansha, 1989 (First US Edition) illustration by Shigeo Okamoto (M. M. Kavanagh. Kodansha (c) 1989 Kodansha) Nightwatch Nightwatch by Andrew M. Stephenson Cover: Dell, 1979 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Dell Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1979 Dell Books) Prelude to Space Prelude to Space by Arthur C. Clarke Cover: Galaxy, No. 3/World Editions, Inc., 1951 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Galaxy (c) 1951 Galaxy, No. 3 World Editions, Inc. ) Warrior Who Carried Life, The The Warrior Who Carried Life by Geoff Ryman Cover: Allen & Unwin, 1985 (First Edition) (M. M. Kavanagh. Reprinted with permission of HarperCollins Publishers Limited. (c) 1985 Allen & Unwin) White Book White Book by Pavel Kohut Cover: George Braziller, 1977 (First US Edition) illustration by Ross Studio (M. M. Kavanagh. George Braziller (c) 1977 George Braziller) Tomorrow and Tomorrow Tomorrow and Tomorrow by M. Barnard Eldershaw Cover: Georgian House, 1948 illustration by Bruce Roberts (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Georgian House (c) 1948 Georgian House) Minions of the Moon Minions of the Moon by W.G. Beyer Cover: Gnome Press, 1950 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside.Gnome Press (c) 1950 Gnome) They'd Rather Be Right They'd Rather Be Right by Mark Clifton Cover: Gnome Press, 1957 illustration by W.I. Van de Poel (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside.Gnome Press (c) 1957 Gnome) This Fortress World This Fortress World by James Gunn Cover: Gnome Press, 1955 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Gnome Press (c) 1955 Gnome) Judgment Night Judgment Night by C.L. Moore Cover: Gnome Press, 1952 (First Edition) illustration by Kelly Freas (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside.Gnome Press (c) 1952 Gnome) Shrouded Planet, The The Shrouded Planet by Randall Garrett & Robert Silverberg Cover: Ace Books, 1982 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1982 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Survivors, The The Survivors by Tom Godwin Cover: Gnome Press, 1958 (First Edition) 130
    131. (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Gnome Press (c) 1958 Gnome Press) Golden Witchbreed Golden Witchbreed by Mary Gentle Cover: Victor Gollancz Ltd., 1983 (First Edition) illustration by Chris Brown (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with the permission of Victor Gollancz Ltd. (c) 1983 Victor Gollancz Ltd.) Hole in the Zero Hole in the Zero by M.K. Joseph Cover: Avon Books, 1967 illustration by Ed Soyka (Casey Brown/Eaton Collection, University of Calif., Riverside. Shown by permission of Avon Books. (c) 1967 Avon Books) On Wings of Song On Wings of Song by Thomas M. Disch Cover: Victor Gollancz Ltd., 1979 (First Edition) illustration by Malcolm Ashman (M. M. Kavanagh. Reprinted with the permission of Victor Gollancz Ltd. (c) 1979 Victor Gollancz Ltd.) Roderick Roderick by John T. Sladek Cover: Granada, 1980 (First Edition) illustration by Ray Winder (M. M. Kavanagh. Reprinted with permission of HarperCollins Publishers Limited. (c) 1980 Granada) Wine of the Dreamers Wine of the Dreamers by John MacDonald Cover: Greenberg, 1951 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Greenberg. ) Jack of Eagles Jack of Eagles by James Blish Cover: Greenberg, 1952 (First Edition) (M. M. Kavanagh. Greenberg (c) 1952 Greenberg) If All Else Fails If All Else Fails by Craig Strete Cover: Greenwillow, 1980 illustration by Margo Herr (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Greenwillow (c) 1980 Greenwillow) Winterking Winterking by Paul Hazel Cover: Atlantic Monthly Press, 1984 (First Edition) illustration by David Palladini (M. M. Kavanagh. (c) 1984 Atlantic Monthly Press) Nightshade Nightshade by Jack Butler Cover: Atlantic Monthly Press, 1989 (First Edition) illustration by Byron Taylor (M. M. Kavanagh. (c) 1989 Atlantic Monthly Press) Heart of a Dog Heart of a Dog by Mikhail Bulgakov Cover: Grove Press, 1968 (First US Edition) illustration by Arnold Levin (M. M. Kavanagh. (c) 1968 Grove Press) Paris au XXe Siecle Paris au XXe Siecle by Jules Verne Cover: Hachette, 1994 (M. M. Kavanagh. Hachette Livre (c) 1994 Hachette Livre) Mightiest Machine, The The Mightiest Machine by John W. Campbell Cover: Hadley Publishing Co., 1935 illustration by Robert Pailthorpa (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Hadley Publishing (c) 1935 Hadley Publishing Company) Space Hostages Space Hostages by Nicholas Fisk Cover: Hamish Hamilton, 1967 illustration 131
    132. by Dexter Brown (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1967 Hamish Hamilton ) Winds of Gath, The The Winds of Gath by E.C. Tubb Cover: Ace Books, 1982 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1982 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Traveler from Altruria, A A Traveler from Altruria by William Dean Howells Cover: HarperCollins/Harper & Bros., 1908 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Texts of Festival, The The Texts of Festival by Mick Farren Cover: Avon Books, 1975 (First US Edition) (Casey Brown/Eaton Collection, University of Calif., Riverside. Shown by permission of Avon Books. (c) 1975 Avon Books) Star Man's Son: Daybreak-2250 A.D. Star Man's Son: Daybreak-2250 A.D. by Andre Norton Cover: Ace Books (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1952 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Other Side of the Sun, The The Other Side of the Sun by Paul Capon Cover: Heinemann, 1950 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1950 William Heinemann, Ltd. ) Time Machine, The The Time Machine by H.G. Wells Cover: Heinemann, 1895 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Mandrake Mandrake by Susan Cooper Cover: Hodder and Stoughton, 1964 (First Edition) illustration by John Woodcock (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of Hodder Headline, POC. (c) 1964 Hodder and Stoughton) Mind of Mr. Soames, The The Mind of Mr. Soames by Charles Eric Maine Cover: Panther Books, 1969 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of HarperCollins Publishers Limited. (c) 1969 Panther Books) Wine of Violence, The The Wine of Violence by James Morrow Cover: Ace Books, 1982 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1982 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) War with the Newts, The The War with the Newts by Karel Capek Cover: Bantam, 1959 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of The Oxford University Press. (c) 1959 Bantam) Uncertain Midnight, The The Uncertain Midnight by Edmund Cooper Cover: Hutchinson, 1958 illustration by Pat Marriott (Casey Brown/The Eaton Collection, Univ. of 132
    133. Calif., Riverside. Courtesy of Random Century House UK Limited. (c) 1958 Hutchinson & Co.) Strange Evil Strange Evil by Jane Gaskell Cover: Hutchinson, 1957 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of Random Century House UK Limited. (c) 1957 Hutchinson & Co.) Journey into Space Journey into Space by Charles Chilton Cover: Herbert Jenkins Ltd., 1954 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Jenkins. (c) 1954 Jenkins ) Paper Dolls, The The Paper Dolls by L.P. Davies Cover: Doubleday, 1966 illustration by Larry Ratzkin (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1966 Doubleday & Co.) Man Who Pulled Down the Sky, The The Man Who Pulled Down the Sky by John Barnes Cover: Worldwide, 1986 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Worldwide (c) 1986 Worlwide) Journal of Nicholas the American Journal of Nicholas the American by Leigh Kennedy Cover: Jonathan Cape, 1988 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of St. Martin's Press. (c) 1988 St. Martin's Press ) Maggot, A A Maggot by John Fowles Cover: Jonathan Cape (First Edition) (M. M. Kavanagh. Courtesy of Random Century House UK Limited. (c) 1985 Johnathan Cape) Spy with the Blue Kazoo, The The Spy with the Blue Kazoo by Dagmar (Lou Cameron) Cover: Lancer Books (First Edition) (M. M. Kavanagh. Lancer Books (c) 1967 Lancer Books) Kelwin Kelwin by Neal Barrett, Jr. Cover: Lancer Books, 1970 (First Edition) (M. M. Kavanagh. Lancer Books (c) 1970 Lancer) Woman Who Did, The The Woman Who Did by Grant Allen Cover: Robert Bros., 1895 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Out of the Silent Planet Out of the Silent Planet by C.S. Lewis Cover: Bodley-Head, 1943 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of Random Century House UK Limited. (c) 1943 Bodley - Head) Herds Herds by Stephen Goldin Cover: Laser Books, 1975 (First Edition) illustration by Kelly Freas (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside.Laser Books (c) 1975 Laser Books) Mindwipe! Mindwipe! by Stephen Robinett Cover: Laser Books, 1976 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Laser Books (c) 1976 Laser Books) Seeds of Change Seeds of Change by Thomas F. Monteleone Cover: Laser Books (First Edition) illustration by Kelly Freas (M. M. Kavanagh.Laser Books (c) 19 Laser Books) 133
    134. Skies Discrowned, The The Skies Discrowned by Tim Powers Cover: Laser Books, 1976 (First Edition) illustration by Kelly Freas (M. M. Kavanagh.Laser Books (c) 1976 Laser Books) Mr. Adam Mr. Adam by Pat Frank Cover: J.B. Lippincott, 1946 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Lippincott (c) 1946 Lippincott) Journal from Ellipsia Journal from Ellipsia by Hortense Calisher Cover: Little, Brown & Co., 1965 illustration by Saul Lambert (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Published by Little, Brown and Company (Inc.) (c) 1965 Little, Brown and Company (Inc.)) Wonderful Flight to the Mushroom Planet, The The Wonderful Flight to the Mushroom Planet by Eleanor Cameron Cover: Little, Brown & Co., 1954 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Published by Little, Brown and Company (Inc.) (c) 1954 Little, Brown and Company (Inc.)) Mouse That Roared, The The Mouse That Roared by Leonard Wibberley Cover: Little, Brown & Co., 1955 illustration by John Morris (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Published by Little, Brown and Company (Inc.) (c) 1955 Little, Brown and Company (Inc.)) 334 334 by Thomas M. Disch Cover: MacGibbon & Kee, 1972 (First Edition) illustration by Michael Hasted (M. M. Kavanagh. MacGibbon & Kee (c) 1972 MacGibbon & Kee) Space Scavengers, The The Space Scavengers by Cleve Cartmill Cover: Major Books, 1975 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Major Books (c) 1975 Major Books) Princess of Mars, A A Princess of Mars by Edgar Rice Burroughs Cover: McClurg, 1917 (First Edition) illustration by Frank E. Schoonover (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Planet of Peril, The The Planet of Peril by Otis Adelbert Kline Cover: McClurg, 1929 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. McClurg (c) 1929 McClurg) Heat Death of the Universe, The The Heat Death of the Universe by Pamela Zoline Cover: McPherson & Co., 1988 (First US Edition) (M. M. Kavanagh. Courtesy of McPherson & Company. (c) 1988 McPherson & Co.) Those Who Can Those Who Can by Robin Scott Wilson Cover: Mentor (First Edition) (M. M. Kavanagh. Mentor (c) 1973 Mentor) Voyage to Arcturus, A A Voyage to Arcturus by David Lindsay Cover: Victor Gollancz Ltd., 1946 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with the permission of Victor Gollancz Ltd. (c) 1946 Victor Gollancz Ltd.) Last and First Men Last and First Men by Olaf Stapledon Cover: Dover, 1968 (Casey Brown/The 134
    135. Eaton Collection, Univ. of Calif., Riverside. Courtesy of Dover Publications, Inc. (c) 1968 Dover Publications, Inc.) Pandora's Planet Pandora's Planet by Christopher Anvil Cover: DAW Books, 1972 illustration by Kelly Freas (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of DAW Books, Inc. (c) 1972 DAW Books, Inc.) Woman of the Iron People, A A Woman of the Iron People by Eleanor Arnason Cover: William Morrow & Co. , 1991 (First Edition) illustration by Bob Silverman & Gary Buddell (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Shown by permission of William Morrow & Co., Inc. (c) 1991 William Morrow & Co., Inc.) Radix Radix by A.A. Attanasio Cover: Bantam, 1985 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1985 Bantam Books) Third Eagle, The The Third Eagle by R.A. MacAvoy Cover: Doubleday, 1989 illustration by Jim Burns (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1989 Doubleday) Monkeys Have No Tails in Zamboanga, The The Monkeys Have No Tails in Zamboanga by Colonel S.P. Meek Cover: William Morrow & Co., 1935 illustration by Richard Floethe (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Shown by permission of William Morrow & Co., Inc. (c) 1935 William Morrow & Co., Inc.) Sugar Rain Sugar Rain by Paul Park Cover: William Morrow & Co. (First Edition) illustration by Don Maitz (M. M. Kavanagh. Shown by permission of William Morrow & Co., Inc. (c) 1989 William Morrow & Co., Inc.) Master of the Moon Master of the Moon by Patrick Moore Cover: Museum Press, 1952 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Museum Press (c) 1952 Museum Press) Night Land, The The Night Land by William Hope Hodgson Cover: Nash, 1912 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Jupiter Project Jupiter Project by Gregory Benford Cover: Nelson, 1975 (First Edition) illustration by Don Davis (M. M. Kavanagh. Nelson Publishing (c) 1975 Nelson Publishing Co.) 1925: The Story of a Fatal Peace 1925: The Story of a Fatal Peace by Edgar Wallace Cover: Newnes, 1915 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Time Jumper Time Jumper by William Greeleaf Cover: Nordon, 1980 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Nordon. (c) 1980 Nordon) 135
    136. Landscape with Landscape Landscape with Landscape by Gerald Murnane Cover: Norstilia Press, 1985 (First Edition) illustration by David Wong (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Norstrilia Press (c) 1985 Norstrilia Press) Omni Best Science Fiction One Omni Best Science Fiction One ed. by Ellen Datlow Cover: Omni Books (First Edition) illustration by Michael Parkes (M. M. Kavanagh. Cover illustration: Michael Parkes / Courtesy of OMNI Magazine. (c) 1992 Omni Publications International, Ltd.) Wraeththu Wraeththu by Storm Constantine Cover: Orb, 1993 illustration by Sam Rakeland (M. M. Kavanagh. (c) 1993 Orb) Ice Ice by Anna Kavan Cover: Doubleday, 1970 (First US Edition) illustration by Alan Peckolick (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1970 Doubleday & Co.) Q: Seeking the Mythical Future Q: Seeking the Mythical Future by Trevor Hoyle Cover: Panther Books, 1977 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of HarperCollins Publishers Limited. (c) 1977 Panther Books) Uninhibited, The The Uninhibited by Dan Morgan Cover: Brown Watson Ltd., 1963 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Brown Watson Limited (c) 1963 Brown Watson Limited) Omha Abides Omha Abides by C.C. MacApp Cover: Paperback Library, 1968 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Paperback Library (c) 1968 Paperback Library) Gather, Darkness! Gather, Darkness! by Fritz Leiber Cover: Pellegrini and Cudahy, 1950 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Pellegrini and Cudahy (c) 1950 Pellegrini and Cudahy) Wings Across Time Wings Across Time by Frank Edward Arnold Cover: Pendulum, 1946 (First Edition) illustration by Bob Wilkin (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Pendulum (c) 1946 Pendulum) Warchild Warchild by Richard Bowes Cover: Popular Library, 1986 illustration by Richard Corben (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by permission of Warner Books, Inc. (c) 1986 Popular Library) Shadow Hunter, The The Shadow Hunter by Pat Murphy Cover: Popular Library (First Edition) (M. M. Kavanagh. Reprinted by permission of Warner Books, Inc. (c) 1982 Popular Library, Inc.) Venus Equilateral Venus Equilateral by George O. Smith Cover: Prime Press, 1947 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Prime Press (c) 1947 Prime Press) 136
    137. Myths, Legends, and True History: Author's Choice Monthly Myths, Legends, and True History: Author's Choice Monthly by Geoffrey A. Landis Cover: Pulphouse Publishing (First Edition) illustration by George Barr (M. M. Kavanagh. Courtesy of Pulphouse Publishing. (c) Pulphouse Publishing Inc.) Telempath Telempath by Spider Robinson Cover: Ber/Day, 1976 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Ber/Day (c) 1976 Ber/Day) Transfigurations Transfigurations by Michael Bishop Cover: Berkley, 1979 (First Edition) illustration by Mike Hinge (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1979 The Berkley Publishing Group. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Strangers Strangers by Gardner Dozois Cover: Berkley (First Edition) (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1978 The Berkley Publishing Group. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Orbit 9 Orbit 9 ed. by Damon Knight Cover: Putnam (First Edition) illustration by Paul Lehr (M. M. Kavanagh. Used with the permission of Damon Knight. (c) 1971 The Putnam Publishing Group. ) Light at the End of the Universe, The The Light at the End of the Universe by Terry Carr Cover: Pyramid Books, 1976 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1976 Pyramid Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Islands Islands by Marta Randall Cover: Pyramid Books, 1976 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1976 Pyramid Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Wall Around the World, The The Wall Around the World by Theodore R. Cogswell Cover: Pyramid Books (First Edition) illustration by John Schoenherr (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1962 Pyramid Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Sturgeon in Orbit Sturgeon in Orbit by Theodore Sturgeon Cover: Pyramid Books, 1964 (First Edition) illustration by Ed Emshwiller (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1964 Pyramid Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) I Have No Mouth. . . I Have No Mouth. . . by Harlan Ellison Cover: Pyramid Books, 1967 (First 137
    138. Edition) illustration by Leo & Diane Dillon (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1967 Pyramid Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Who? Who? by Algis Budrys Cover: Pyramid Books, 1968 illustration by Kelly Freas (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1968 Pyramid Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Laying the Music to Rest Laying the Music to Rest by Dean Wesley Smith Cover: Popular Library, 1989 illustration by Barclay Shaw (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by permission of Warner Books, Inc. (c) 1989 Popular Library) Johnny Zed Johnny Zed by John Gregory Betancourt Cover: Popular Library, 1988 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by permission of Warner Books, Inc. (c) 1988 Popular Library) Limbo Limbo by Bernard Wolfe Cover: Ace Books illustration by Jack Gaughan (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1961 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Savoy Dreams Savoy Dreams by David Britton Cover: Savoy Books, 1984 illustration by BBC Hulton Picture Library (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Savoy Books (c) 1984 Savoy Books) Murder in Millennium VI Murder in Millennium VI by Curme Gray Cover: Shasta,1951 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of Erle Melvin Korshak. (c) 1951 Shasta) Interface Interface by Mark Adlard Cover: Ace Books (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1977 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Hampdenshire Wonder, The The Hampdenshire Wonder by J.D. Beresford Cover: Eyre & Spottiswoode, 1948 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Eyre & Spottis-Woode (c) 1948 Eyre & Spottis-Woode) Greener than You Think Greener than You Think by Ward Moore Cover: Sloane, 1947 (First Edition) illustration by Wolfgang Roth (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Sloane (c) 1947 Sloane) Tomorrow Revealed Tomorrow Revealed by John Atkins Cover: Spearman, 1955 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Spearman (c) 1955 Spearman) Menace from Mercury Menace from Mercury by Victor La Salle (R.L. Fanthorpe) Cover: John 138
    139. Spencer & Co., 1954 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Spencer (c) 1954 Spencer [UK]) Vaneglory Vaneglory by George Turner Cover: Sphere, 1983 (M. M. Kavanagh. Sphere (c) 1983 Sphere) New Worlds 5 New Worlds 5 by Michael Moorcock Cover: Sphere Books Ltd., 1973 (First Edition) (M. M. Kavanagh. Sphere (c) 1973 Sphere) Movement of Mountains, The The Movement of Mountains by Michael Blumlein Cover: St. Martin's Press (First Edition) (M. M. Kavanagh. Courtesy of St. Martin's Press. (c) 1987 St. Martin's Press) Ragged World, The The Ragged World by Judith Moffett Cover: St. Martin's Press (First Edition) illustration by Ron Walotsky (M. M. Kavanagh. Cover: Ron Walotsky. Courtesy of St. Martin's Press. (c) 1991 St. Martin's Press) Out of Space and Time Out of Space and Time by Clark Ashton Smith Cover: Panther Books, 1974 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of HarperCollins Publishers Limited. (c) 1974 Panther Books) Twice in Time Twice in Time by Manly Wade Wellman Cover: Galaxy Publishing Corp., 1958 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Galaxy (c) 1958 Galaxy, No. 3 World Editions, Inc. ) Ralph 124C 41+ Ralph 124C 41+ by Hugo Gernsback Cover: Stratford, 1925 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Stratford (c) 1925 Stratford) Rosemary's Brain Rosemary's Brain by Martha Soukup Cover: Wildside Press (First Edition) (M. M. Kavanagh. Wildside Press (c) 1992 Wildside Press) Taking of Satcon Station, The The Taking of Satcon Station by Jim Baen & Barney Cohen Cover: TOR, 1982 illustration by Howard Chaykin (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by permission of Tor Books. (c) 1982 Tor Books) Probe Probe by Carole Nelson Douglas Cover: TOR, 1985 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by permission of Tor Books. (c) 1985 Tor Books) Mirabile Mirabile by Janet Kagan Cover: TOR, 1991 (First Edition) illustration by Rich Sternbach (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by permission of Tor Books. (c) 1981 Tor Books) Good News from Outer Space Good News from Outer Space by John Kessel Cover: TOR, 1989 (First Edition) illustration by Cityline Communications (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by permission of Tor Books. (c) 1989 Tor Books) Heritage of Flight Heritage of Flight by Susan Shwartz Cover: TOR, 1989 illustration by 139
    140. Wayne Barlowe (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by permission of Tor Books. (c) 1989 Tor Books) Rainbow Man Rainbow Man by M.J. Engh Cover: TOR, 1993 illustration by Paul Lehr (M. M. Kavanagh. Reprinted by permission of Tor Books. (c) 1993 Tor Books) Human Error Human Error by Paul Preuss Cover: TOR, 1985 (First Edition) illustration by Paul Stinson (M. M. Kavanagh. Reprinted by permission of Tor Books. (c) 1985 Tor Books) Terrarium Terrarium by Scott Russell Sanders Cover: TOR (First Edition) illustration by Angus McKie (M. M. Kavanagh. Reprinted by permission of Tor Books. (c) 1985 Tor Books) Santiago: A Myth of the Far Future Santiago: A Myth of the Far Future by Michael Resnick Cover: TOR (First Edition) illustration by Michael Whelan (M. M. Kavanagh. Reprinted by permission of Tor Books. (c) 1986 Tor Books) Iceborn Iceborn by Paul Carter Cover: TOR (First Edition) illustration by Mark Maxwell (M. M. Kavanagh. Reprinted by permission of Tor Books. (c) 1989 Tor Books) Phylum Monsters Phylum Monsters by Hayford Peirce Cover: TOR (First Edition) illustration by Bruce Jensen (M. M. Kavanagh. Reprinted by permission of Tor Books. (c) 1989 Tor Books) Halo Halo by Tom Maddox Cover: TOR (First Edition) illustration by David Mattingly (M. M. Kavanagh. Reprinted by permission of Tor Books. (c) 1991 Tor Books) Price of the Stars, The The Price of the Stars by Debra Doyle & James D. Macdonald Cover: TOR (First Edition) illustration by Romas (M. M. Kavanagh. Reprinted by permission of Tor Books. (c) 1992 Tor Books) Jumper Jumper by Steven Gould Cover: TOR (First Edition) illustration by Romas (M. M. Kavanagh. Reprinted by permission of Tor Books. (c) 1992 Tor Books) Phoenix in Flight Phoenix in Flight by Sherwood Smith & Dave Trowbridge Cover: TOR, 1993 (First Edition) illustration by Jim Burns (M. M. Kavanagh. Reprinted by permission of Tor Books. (c) 1993 Tor Books) Mother of Storms Mother of Storms by John Barnes Cover: TOR, 1994 (First Edition) illustration by Bob Eggleton (M. M. Kavanagh. Reprinted by permission of Tor Books. (c) 1994 Tor Books) Walkaway Clause, The The Walkaway Clause by John Dalmas Cover: Tom Doherty Associates/TOR (First Edition) illustration by Tom Kidd (M. M. Kavanagh. Reprinted by permission of Tor Books. (c) 1986 Tor Books) Invasion of 1910, The The Invasion of 1910 by William Le Queux Cover: Eveleigh Nash, 1906 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) 140
    141. Short History of the Future, A A Short History of the Future by W. Warren Wager Cover: University of Chicago Press, 1989 illustration by Ted Lacey (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Univ. Chicago (c) 1989 Univ. Chicago) Secret Life of Houses, The The Secret Life of Houses by Scott Bradfield Cover: Unwin Hyman (First Edition) illustration by Ian Miller (M. M. Kavanagh. Reprinted with permission of HarperCollins Publishers Limited. (c) 1988 Unwin Hyman) Take Back Plenty Take Back Plenty by Colin Greeland Cover: Unwin Hyman, 1990 (First Edition) illustration by Steve Crisp (M. M. Kavanagh. Reprinted with permission of HarperCollins Publishers Limited. (c) 1990 Unwin Hyman) Slow Dancing Through Time Slow Dancing Through Time by Gardner Dozois & Susan Casper Cover: Ursus (First Edition) illustration by Vern Dufford (M. M. Kavanagh.Ursus Imprints (c) 1990 Ursus Imprints) Star Web Star Web by Joan Cox Cover: Avon Books, 1980 (Casey Brown/Eaton Collection, University of Calif., Riverside. Shown by permission of Avon Books. (c) 1980 Avon Books) Travails of Jane Saint, The The Travails of Jane Saint by Josephine Saxton Cover: Virgin Books (First Edition) illustration by Conny Jude (M. M. Kavanagh. Virgin Books (c) 1980 Virgin Books) Transvection Machine, The The Transvection Machine by Edward Hoch Cover: Walker & Co. (Casey Brown/The Eaton Collection. Reprinted with permission of Walker and Company. (c) 1973 Walker & Company) Starbrat Starbrat by John Morressy Cover: Walker & Co., 1972 (First Edition) illustration by James E. Barry (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of Walker and Company. (c) 1972 Walker & Company) Hong on the Range Hong on the Range by William Wu Cover: Walker & Co., 1989 illustration by Phil Hale & Richard Berry (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of Walker and Company. (c) 1989 Walker & Company) Plunge into Space, A A Plunge into Space by Robert Cromie Cover: Frederick Warne, 1890 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Glove of Maiden's Hair, The The Glove of Maiden's Hair by Michael Jan Friedman Cover: Warner Books, 1987 illustration by James Warhola (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by permission of Warner Books, Inc. (c) 1987 Warner Books, Inc.) Story of Ab, The The Story of Ab by Stanley Waterloo Cover: Way and Williams, 1897 illustration by Wil Bradley (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) 141
    142. Last Starship from Earth, The The Last Starship from Earth by John Boyd Cover: Weybright and Talley, 1968 illustration by Paul Lehr (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Weybright and Talley (c) 1968 Weybright and Talley) Short Account of a Remarkable Aerial Voyage. . ., A A Short Account of a Remarkable Aerial Voyage. . . by Willem Bilderdijk Cover: Wilfion Books/UNESCO, 1989 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Wilfion Books/UNESCO (c) 1989 Wilfion Books/UNESCO) Secret of the Black Planet Secret of the Black Planet by Milton Lesser Cover: Belmont, 1969 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Belmont Productions (c) 1969 Belmont Productions) Trouble on Titan Trouble on Titan by Alan Nourse Cover: Winston, 1954 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Winston (c) 1954 Winston) Sinister Barrier Sinister Barrier by Eric Frank Russell Cover: Dennis Dobson, 1967 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Dennis Dobson Limited (c) 1967 Dennis Dobson Limited) Intelligence Gigantic, The The Intelligence Gigantic by John Russell Fearn Cover: World's Work, 1943 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. World's Work (c) 1943 World's Work) People Maker, The The People Maker by Damon Knight Cover: Zenith, 1959 (M. M. Kavanagh. Zenith (c) 1959 Zenith) Man Whose Teeth Were All Exactly Alike, The The Man Whose Teeth Were All Exactly Alike by Philip K. Dick Cover: Ziesing, 1984 (First Edition) illustration by Dell Harris (M. M. Kavanagh. Ziesing (c) 1984 Ziesing) Magazine of Fantasy and Science Fiction, The The Magazine of Fantasy and Science Fiction, June 1984 Published by Mercury Press Cover illustration by R.J. Krupowiczfor (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted from The Magazine of Fantasy and Science Fiction. (c) 1984 Mercury Press) Planet Stories Planet Stories, July 1952 Published by Love Romance Publishing Co., Inc. (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1952 Love Romances Publishing Co., Inc.) Science Fiction Adventures Science Fiction Adventures, Sept. 1957 Published by Future Publications, Inc. Cover illustration by Ed Emshwiller (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1957 Future Publications, Inc. ) Startling Stories Startling Stories, June 1943 Published by Better Publications (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1943 Better Publications, Inc.) Strange Adventures Strange Adventures, Oct.-Nov. 1950 Published by National Comics 142
    143. Publications, Inc. (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1950 National Comics Publications, Inc.) Thrilling Wonder Stories Thrilling Wonder Stories, Dec. 1949 Published by Better Publications (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Better Publications, Inc. (c) 1949 Better Publications, Inc.) Unknown Unknown, Feb. 1940 Published by Street & Smith Publications (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1940 Street & Smith) Sword of Rhiannon, The The Sword of Rhiannon by Leigh Brackett Cover: T.V. Boardman & Co., 1955 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. T.V. Boardman & Company (c) 1955 T.V. Boardman & Company) Venture Science Fiction Venture Science Fiction, July 1958 Published by Edward L. Ferman Cover illustration by Ed Emshwiller (Reprinted from The Magazine of Fantasy and Science Fiction. (c) 1958 Edward L. Ferman) Weird Tales Weird Tales, June 1934 Published by Weird Tales Ltd. Cover illustration by Margaret Brundage (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by permission of Weird Tales, Ltd. Copyright 1934 Popular Fiction Publishing Co.) Twenty-four Hours Twenty-four Hours by Neil Charles Cover: Curtis Warren Ltd., 1952 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Curtis Warren Ltd. (c) 1952 Curtis Warren Ltd.) Lunar Activity Lunar Activity by Elizabeth Moon Cover: Baen Books, 1990 illustration by Vincent Di Fate (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of BAEN PUBLISHING ENTERPRISES. (c) 1990 Baen Books) Through Darkest America Through Darkest America by Neal Barrett, Jr. Cover: Congdon & Weed, 1986 (First Edition) illustration by Joe Burleson (M. M. Kavanagh. (c) 1986 Congdon & Weed) Moving Mars Moving Mars by Greg Bear Cover: TOR, 1993 (First Edition) illustration by Wayne Barlowe (M. M. Kavanagh. Reprinted by permission of Tor Books. (c) 1993 Tor Books) Star Light: The Great Short Fiction of Alfred Bester Star Light: The Great Short Fiction of Alfred Bester by Alfred Bester Cover: Berkley, 1977 illustration by Richard Powers (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1977 The Berkley Publishing Group. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Stars My Destination, The The Stars My Destination by Alfred Bester Cover: Bantam, 1970 illustration by Paul Lehr (M. M. Kavanagh. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1970 Bantam Books) 143
    144. Uplift War, The The Uplift War by David Brin Cover: Bantam, 1987 illustration by Michael Whelan (M. M. Kavanagh. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1987 Bantam Books) Vor Game, The The Vor Game by Lois McMaster Bujold Cover: Baen Books, 1990 illustration by Tom Kidd (M. M. Kavanagh. Reprinted with permission of BAEN PUBLISHING ENTERPRISES. (c) 1990 Baen Books) Kindred Kindred by Octavia Estelle Butler Cover: Beacon Press, 1988 illustration by Joanna Steinkeller & Laurence Shwinger (M. M. Kavanagh. (c) 1988 Beacon Press) Steel Crocodile, The The Steel Crocodile by D.G. Compton Cover: Ace Books, 1970 (First Edition) illustration by Leo & Diane Dillon (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1970 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Man Who Melted, The The Man Who Melted by Jack Dann Cover: Bluejay Books, 1984 (First Edition) illustration by Al de Angelo (M. M. Kavanagh. Book jackets reprinted by permission of Bluejay Books Inc. All rights reserved. (c) 1984 Bluejay Books Inc.) Triton Triton by Samuel R. Delany Cover: Bantam, 1976 (First Edition) (M. M. Kavanagh. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1976 Bantam Books) Galactic Pot-Healer Galactic Pot-Healer by Philip K. Dick Cover: Berkley, 1974 illustration by Paul Lehr (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1974 The Berkley Publishing Group. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Three Stigmata of Palmer Eldrich, The The Three Stigmata of Palmer Eldrich by Philip K. Dick Cover: Bantam, 1977 (M. M. Kavanagh. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1977 Bantam Books) Weathermonger, The The Weathermonger by Peter Dickinson Cover: Delacorte Press, 1986 (First US Edition) illustration by Leo & Diane Dillon (M. M. Kavanagh. Used by Permission of Delecorte Press, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1986 Delecorte Press) Start of the End of It All, The The Start of the End of It All by Carol Emshwiller Cover: Mercury House, 1991 illustration by Renee Flower (M. M. Kavanagh. Published by Mercury House, San Francisco, CA. (c) 1991 Mercury House) To Your Scattered Bodies Go To Your Scattered Bodies Go by Philip Jose Farmer Cover: Berkley, 1971 (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1971 The Berkley Publishing Group. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) 144
    145. Rumors of Spring Rumors of Spring by Richard Grant Cover: Bantam, 1987 (First Edition) illustration by Gervasio Gallardo (M. M. Kavanagh. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1987 Bantam Books) Hemingway Hoax, The The Hemingway Hoax by Joe Haldeman Cover: Avon Books, 1991 illustration by Gary Ruddell (M. M. Kavanagh. Shown by permission of Avon Books. (c) 1991 Avon Books) Make Room! Make Room! Make Room! Make Room! by Harry Harrison Cover: Bantam, 1994 illustration by Mick McGinty (M. M. Kavanagh. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1994Bantam Books) Starship Troopers Starship Troopers by Robert A. Heinlein Cover: Ace Books, 1987 illustration by James Warhola (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1987 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Moon Is a Harsh Mistress, The The Moon Is a Harsh Mistress by Robert A. Heinlein Cover: Berkley, 1968 illustration by Paul Lehr (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1968 The Berkley Publishing Group. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Past Through Tomorrow, The The Past Through Tomorrow by Robert A. Heinlein Cover: Berkley, 1983 (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1983 The Berkley Publishing Group. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Star Beast, The The Star Beast by Robert A. Heinlein Cover: Ace Books, 1972 illustration by Steele Savage (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1972 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) White Queen White Queen by Gwyneth Jones Cover: Orb, 1994 (M. M. Kavanagh. Reprinted by permission of Tor Books. (c) 1994 Orb) Wind's Twelve Quarters, The The Wind's Twelve Quarters by Ursula K. Le Guin Cover: Bantam, 1976 (M. M. Kavanagh. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1976 Bantam Books) Word for World Is Forest, The The Word for World Is Forest by Ursula K. Le Guin Cover: Berkley, 1976 illustration by Richard Powers (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1976 The Berkley Publishing Group. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) 145
    146. Solaris Solaris by Stanislaw Lem Cover: Berkley, 1971 illustration by Paul Lehr (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1971 The Berkley Publishing Group. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Galaxies Galaxies by Barry Malzberg Cover: Pyramid Books, 1975 (First Edition) (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1975 Pyramid Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Memoirs of a Spacewoman Memoirs of a Spacewoman by Naomi Mitchison Cover: Berkley, 1973 illustration by Vincent Di Fate (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1973 The Berkley Publishing Group. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Mirror for Observers, A A Mirror for Observers by Edgar Pangborn Cover: Dell, 1980 (M. M. Kavanagh. Used by Permission of Dell Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1980 Dell Books) Glamour, The The Glamour by Christopher Priest Cover: Doubleday, 1985 (First US Edition) illustration by Linda Fennimore (M. M. Kavanagh. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1985 Doubleday) Red Mars Red Mars by Kim Stanley Robinson Cover: Bantam, 1993 (First US Edition) illustration by Don Dixon (M. M. Kavanagh. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1993 Bantam Books) Planet on the Table, The The Planet on the Table by Kim Stanley Robinson Cover: TOR, 1986 (First Edition) (M. M. Kavanagh. Reprinted by permission of Tor Books. (c) 1986 Tor Books) Stardance Stardance by Spider Robinson & Jeanne Robinson Cover: TOR, 1983 illustration by Victoria Poyser (M. M. Kavanagh. Reprinted by permission of Tor Books. (c) 1983 Tor Books) Ragged Astronauts, The The Ragged Astronauts by Bob Shaw Cover: Baen Books, 1988 illustration by Alan Gutierrez (M. M. Kavanagh. Reprinted with permission of BAEN PUBLISHING ENTERPRISES. (c) 1988 Baen Books) Wreath of Stars, A A Wreath of Stars by Bob Shaw Cover: Dell, 1978 (M. M. Kavanagh. Used by Permission of Dell Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1978 Dell Books) Illuminatus! Trilogy, The The Illuminatus! Trilogy by Robert Shea & Robert Anton Wilson Cover: Dell, 1984 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. 146
    147. Courtesy of Dell Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1984 Dell Books) Science Fiction Hall of Fame, Vol. I, The The Science Fiction Hall of Fame, Vol. I by Robert Silverberg Cover: Avon Books, 1971 (M. M. Kavanagh. Shown by permission of Avon Books. (c) 1971 Avon Books) Hyperion Hyperion by Dan Simmons Cover: Bantam, 1990 illustration by Gary Ruddell (M. M. Kavanagh. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1990 Bantam Books) Rediscovery of Man, The The Rediscovery of Man by Cordwainer Smith Cover: NESFA Press, 1993 (First Edition) illustration by Jack Gaughan (M. M. Kavanagh. Cover Illustration: Jack Gaughan. (c) 1993 NESFA Press) Star Maker Star Maker by Olaf Stapledon Cover: Jeremy P. Tarcher, 1987 illustration by Tanya Maiboroda (M. M. Kavanagh. Courtesy of the Estate of William Olaf Stapledon. (c) 1987 Jeremy Tarcher / The Putnam Publishing Group.) Snow Crash Snow Crash by Neal Stephenson Cover: Bantam, 1993 illustration by Bruce Jensen (M. M. Kavanagh. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1993 Bantam Books) Schismatrix Schismatrix by Bruce Sterling Cover: Arbor House, 1995 (First Edition) illustration by Ron Walotsky (M. M. Kavanagh. Shown by permission of William Morrow & Co., Inc. (c) Arbor House) Mirrorshades: The Cyberpunk Anthology Mirrorshades: The Cyberpunk Anthology ed. by Bruce Sterling Cover: Arbor House, 1986 (First Edition) illustration by Dorothy Wachtenheim & Abbe Lubell (M. M. Kavanagh. Shown by permission of William Morrow & Co., Inc. (c) 1986 Arbor House) Gravity's Angels Gravity's Angels by Michael Swanwick Cover: Arkham House, 1991 (First Edition) illustration by Pablo Picasso (M. M. Kavanagh. Courtesy of Arkham House Publishers. (c) 1991 by Arkham House Publishers, Inc.) Stations of the Tide Stations of the Tide by Michael Swanwick Cover: William Morrow & Co., 1991 (First Edition) illustration by Daniel Horn (M. M. Kavanagh. Shown by permission of William Morrow & Co., Inc. (c) 1991 William Morrow & Co., Inc.) Of Men and Monsters Of Men and Monsters by William Tenn Cover: Walker & Co., 1970 illustration by Jack Gaughan (M. M. Kavanagh. Reprinted with permission of Walker and Company. (c) 1970 Walker & Company) Gate to Women's Country, The The Gate to Women's Country by Sheri S. Tepper Cover: Bantam, 1989 illustration by Wilson McLean (M. M. Kavanagh. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1989 Bantam Books) Her Smoke Rose up Forever Her Smoke Rose up Forever by James Tiptree Cover: Arkham House, 1990 147
    148. (First Edition) (M. M. Kavanagh. Courtesy of Arkham House Publishers. (c) 1990 by Arkham House Publishers, Inc.) Weapon Shops of Isher, The The Weapon Shops of Isher by A.E. Van Vogt Cover: Ace Books, 1970 illustration by John Schoenherr (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1970 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Last Castle, The The Last Castle by Jack Vance Cover: TOR, 1989 illustration by Brian Waugh (M. M. Kavanagh. Reprinted by permission of Tor Books. (c) 1989 Tor Books) Persistence of Vision, The The Persistence of Vision by John Varley Cover: Dell, 1979 (M. M. Kavanagh. Used by Permission of Dell Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1979 Dell Books) True Names True Names by Vernor Vinge Cover: Dell, 1981 illustration by Tsui (M. M. Kavanagh. Used by Permission of Dell Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1981 Dell Books) Slaughterhouse-Five Slaughterhouse-Five by Kurt Vonnegut Cover: Dell, 1991 illustration by Carin Goldberg & Gene Greif (M. M. Kavanagh. Used by Permission of Dell Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1991 Dell Books) Night of the Cooters Night of the Cooters by Howard Waldrop Cover: Ursus, 1990 (First Edition) illustration by Don Ivan Punchatz (M. M. Kavanagh.Ursus Imprints (c) 1990 Ursus Imprints) Island of Dr. Moreau, The The Island of Dr. Moreau by H.G. Wells Cover: Bantam, 1994 illustration by Rousseau Le Douanier (M. M. Kavanagh. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1994 Bantam Books) This Immortal This Immortal by Roger Zelazny Cover: Ace Books, 1966 (First Edition) illustration by Gray Morrow (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1966 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Gods Themselves, The The Gods Themselves by Isaac Asimov Cover: Bantam, 1990 illustration by Don Dixon (M. M. Kavanagh. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1990 Bantam Books) JEM JEM by Frederik Pohl Cover: Bantam, 1980 (M. M. Kavanagh. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1980 Bantam Books) Legion of Time, The The Legion of Time by Jack Williamson Cover: Pyramid Books, 1967 illustration by Jack Gaughan (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1967 Pyramid 148
    149. Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Galaxy Galaxy, Aug. 1958 Published by Galaxy Publishing Corp. (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of Galaxy (R). (c) 1958 Galaxy Publishing Corporation ) Galaxy Galaxy, Jan. 1956 Published by Galaxy Publishing Corp. (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of Galaxy (R). (c) 1956 Galaxy Publishing Corporation ) Galaxy Galaxy, Jan. 1953 Published by Galaxy Publishing Corp. (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of Galaxy (R). (c) 1953 Galaxy Publishing Corporation ) Galaxy Galaxy, May 1957 Published by Galaxy Publishing Corp. (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of Galaxy (R). (c) 1957 Galaxy Publishing Corporation ) Galaxy Galaxy, April 1954 Published by Galaxy Publishing Corp. (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of Galaxy (R). (c) 1954 Galaxy Publishing Corporation) Galaxy Galaxy, April 1960 Published by Galaxy Publishing Corp. (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of Galaxy (R). (c) 1960 Galaxy Publishing Corporation ) Galaxy Galaxy, Feb. 1960 Published by Galaxy Publishing Corp. (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of Galaxy (R). (c) 1960 Galaxy Publishing Corporation ) Galaxy Galaxy, Jan. 1952 Published by Galaxy Publishing Corp. (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of Galaxy (R). (c) 1952 Galaxy Publishing Corporation ) Galaxy Galaxy, Feb. 1951 Published by Galaxy Publishing Corp. (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of Galaxy (R). (c) 1951 Galaxy Publishing Corporation ) Galaxy Galaxy, Oct. 1950 Published by Galaxy Publishing Corp. (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of Galaxy (R). (c) 1950 Galaxy Publishing Corporation ) If If, March 1967 Published by Quinn Publishing Co. Inc. Cover illustration by Ken Fagg (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of Galaxy (R). (c) 1967 Quinn Publishing Co. Inc.) If If, Sept. 1953 Published by Quinn Publishing Co. Inc. Cover illustration by Ken Fagg (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of Galaxy (R). (c) 1953 Quinn Publishing Co. Inc.) 149
    150. Slan Slan by A.E. Van Vogt Cover: Berkley, 1975 illustration by Paul Lehr (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1975 The Berkley Publishing Group. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Heritage of Hastur, The The Heritage of Hastur by Marion Zimmer Bradley Cover: DAW Books, 1975 illustration by George Barr & Richard Hescox (M. M. Kavanagh. Reprinted with permission of DAW Books, Inc. (c) 1975 DAW Books, Inc.) Million Open Doors, A A Million Open Doors by John Barnes Cover: TOR, 1992 (First Edition) illustration by Vincent Di Fate (M. M. Kavanagh. Reprinted by permission of Tor Books. (c) 1992 Tor Books) Unconquered Countries Unconquered Countries by Geoff Ryman Cover: St. Martin's Press, 1994 (First Edition) (M. M. Kavanagh. Courtesy of St. Martin's Press. (c) 1994 St. Martin's Press) Time Machine, The The Time Machine by H.G. Wells Cover: Ace Books, 1988 (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1968 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Sandman: Season of Mists, The The Sandman: Season of Mists by Neil Gaiman Cover: DC Comics, 1992 illustration by Dave McKeon (M. M. Kavanagh. Used by permission of DC Comics. (TM) & (c) 1992 DC Comics. All Rights Reserved.) Glass Houses Glass Houses by Laura J. Mixon Cover: TOR, 1992 (First Edition) illustration by Tom Canty (M. M. Kavanagh. Reprinted by permission of Tor Books. (c) 1992 Tor Books) Journal Wired Journal Wired, Winter 1989 Published by Andy Watson & Mark Uziesieng (M. M. Kavanagh. (c) Andy Watson and Mark Ziesing) Nexus Nexus, April 1991 / No. 1 Published by SF Nexus (M. M. Kavanagh. (c) 1991 SF Nexus) Science Fiction Chronicle Science Fiction Chronicle, Feb. 1992 Published by Andrew I. Porter Cover illustration by David Cherry (M. M. Kavanagh. Cover: David Cherry. Courtesy of Andrew I. Porter. Copyright 1992 by Science Fiction Chronicle) War with the Newts War with the Newts by Karel Capek Cover: Berkley (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) The Berkley Publishing Group. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Worlds of Fantasy Worlds of Fantasy / No. 2 Published by John Spencer & Co. (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) John Spencer & Co.) 150
    151. Wonder Stories Wonder Stories, 1957 Published by Better Publications (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Better Publications, Inc. (c) 1957 Better Publications, Inc.) Isaac Asimov's Science Fiction Magazine Isaac Asimov's Science Fiction Magazine, Feb. 1986 Published by Dell Magazines (Casey Brown/Eaton Collection, University of Calif., Riverside. (c) 1986 Dell Magazines) Hambly, Barbara Barbara Hambly (1951- ) (M. C. Valada. (c) 1995 M. C. Valada) Harrison, Harry Harry Harrison (1925- ) (M. C. Valada. (c) 1995 M. C. Valada) Kelly, James Patrick James Patrick Kelly (1951- ) (M. C. Valada. (c) 1995 M. C. Valada) Haldeman, Joe Joe Haldeman (1943- ) (M. C. Valada. (c) 1995 M. C. Valada) Jablokov, Alexander Alexander Jablokov (1956- ) (M. C. Valada. (c) 1995 M. C. Valada) Kagan, Janet Janet Kagan (1945- ) (M. C. Valada. (c) 1995 M. C. Valada) Kandel, Michael Michael Kandel (1941- ) (M. C. Valada. (c) 1995 M. C. Valada) Kessel, John J. John J. Kessel (1950- ) (M. C. Valada. (c) 1995 M. C. Valada) Kingsbury, Donald Donald Kingsbury (1929- ) (M. C. Valada. (c) 1995 M. C. Valada) Gentle, Mary Mary Gentle (1956- ) (M. C. Valada. (c) 1995 M. C. Valada) Gerrold, David David Gerrold (1944- ) (M. C. Valada. (c) 1995 M. C. Valada) Shepard, Lucius Lucius Shepard (1947- ) (M. C. Valada. (c) 1995 M. C. Valada) Shiner, Lewis Lewis Shiner (1950- ) (M. C. Valada. (c) 1995 M. C. Valada) Silverberg, Robert Robert Silverberg (1935- ) (M. C. Valada. (c) 1995 M. C. Valada) Shwartz, Dr. Susan Susan M. Shwartz (1949- ) (M. C. Valada. (c) 1995 M. C. Valada) Scott, Melissa Melissa Scott ( ? - ) (M. C. Valada. (c) 1995 M. C. Valada) Schmidt, Stanley Stanley Schmidt (1944- ) (M. C. Valada. (c) 1995 M. C. Valada) Sheffield, Charles Charles Sheffield (1935- ) (M. C. Valada. (c) 1995 M. C. Valada) Saberhagen, Fred Fred Saberhagen (1930- ) (M. C. Valada. (c) 1995 M. C. Valada) Rusch, Kristine Kathryn Kristine Kathryn Rusch (1960- ) (M. C. Valada. (c) 1995 M. C. Valada) Robinson, Spider Spider Robinson (Paul Robinson, 1948- ) (M. C. Valada. (c) 1995 M. C. Valada) 151
    152. Rasmussen, Alis (Kate Elliot) Alis A. Rasmussen (1958- ) (M. C. Valada. (c) 1995 M. C. Valada) Reed, Robert Robert Reed (1956- ) (M. C. Valada. (c) 1995 M. C. Valada) Resnick, Michael Michael D. Resnick (1942- ) (M. C. Valada. (c) 1995 M. C. Valada) Pratchett, Terry Terry Pratchett (1948- ) (M. C. Valada. (c) 1995 M. C. Valada) Pournelle, Jerry E. Jerry E. Pournelle (1933- ) (M. C. Valada. (c) 1995 M. C. Valada) Powers, Tim Tim Powers (1952- ) (M. C. Valada. (c) 1995 M. C. Valada) Murphy, Pat Pat Murphy (1955- ) (M. C. Valada. (c) 1995 M. C. Valada) Newman, Kim J. Kim J. Newman (1959- ) (M. C. Valada. (c) 1995 M. C. Valada) Norton, Andre Andre Norton (1912- ) (M. C. Valada. (c) 1995 M. C. Valada) Turtledove, Harry Harry Turtledove (1949- ) (M. C. Valada. (c) 1995 M. C. Valada) Vance, Jack Jack Vance (1916- ) (M. C. Valada. (c) 1995 M. C. Valada) Vinge, Vernor Vernor Vinge (1944- ) (M. C. Valada. (c) 1995 M. C. Valada) White, James James White (1928- ) (M. C. Valada. (c) 1995 M. C. Valada) Wilhelm, Kate Kate Wilhelm (1928- ) (M. C. Valada. (c) 1995 M. C. Valada) Williams, Walter Jon Walter Jon Williams (1953- ) (M. C. Valada. (c) 1995 M. C. Valada) Williamson, Jack Jack Williamson (1908- ) (M. C. Valada. (c) 1995 M. C. Valada) Niven, Larry Larry Niven (1938- ) (M. C. Valada. (c) 1995 M. C. Valada) Willis, Connie Connie Willis (1945- ) (M. C. Valada. (c) 1995 M. C. Valada) Wu, William F. William F. Wu (1951- ) (M. C. Valada. (c) 1995 M. C. Valada) Yarbro, Chelsea Quinn Chelsea Quinn Yarbro (1942- ) (M. C. Valada. (c) 1995 M. C. Valada) Yolen, Jane Jane Yolen (1939- ) (M. C. Valada. (c) 1995 M. C. Valada) Zahn, Timothy Timothy Zahn (1951- ) (M. C. Valada. (c) 1995 M. C. Valada) Zelazny, Roger Roger Zelazny (1937-1995) (M. C. Valada. (c) 1995 M. C. Valada) Knight, Damon Damon Knight (1922- ) (M. C. Valada. (c) 1995 M. C. Valada) Kress, Nancy Nancy Kress (1948- ) (M. C. Valada. (c) 1995 M. C. Valada) 152
    153. Lafferty, R.A. R.A. Lafferty (1914- ) (M. C. Valada. (c) 1995 M. C. Valada) Leiber, Fritz Fritz Leiber (1910-1992) (M. C. Valada. (c) 1995 M. C. Valada) Longyear, Barry Barry B. Longyear (1942- ) (M. C. Valada. (c) 1995 M. C. Valada) Matheson, Richard Richard Matheson (1926- ) (M. C. Valada. (c) 1995 M. C. Valada) McIntyre, Vonda Vonda N. McIntyre (1948- ) (M. C. Valada. (c) 1995 M. C. Valada) Moorcock, Michael Michael Moorcock (1939- ) (M. C. Valada. (c) 1995 M. C. Valada) Morrow, James James Morrow (1947- ) (M. C. Valada. (c) 1995 M. C. Valada) Stirling, S.M. S.M. Stirling (1954- ) (M. C. Valada. (c) 1995 M. C. Valada) Haldeman II, Jack C. Jack C. Haldeman II (1941- ) (M. C. Valada. (c) 1995 M. C. Valada) Landis, Dr. Geoffrey Dr. Geoffrey Landis (1955- ) (M. C. Valada. (c) 1995 M. C. Valada) Rosenberg, Joel Joel Rosenberg (1954- ) (M. C. Valada. (c) 1995 M. C. Valada) Wolfe, Gene Gene Wolfe (1931- ) (M. C. Valada. (c) 1995 M. C. Valada) Watt-Evans, Lawrence Lawrence Watt-Evans (1954- ) (M. C. Valada. (c) 1995 M. C. Valada) Varley, John John Varley (1947- ) (M. C. Valada. (c) 1995 M. C. Valada) Swanwick, Michael Michael Swanwick (1950- ) (M. C. Valada. (c) 1995 M. C. Valada) Moon, Elizabeth Elizabeth Moon (1945- ) (M. C. Valada. (c) 1995 M. C. Valada) Ing, Dean Dean Ing (1931- ) (M. C. Valada. (c) 1995 M. C. Valada) Hartwell, David G. David G. Hartwell (1941- ) (M. C. Valada. (c) 1995 M. C. Valada) Gaiman, Neil Neil Gaiman (1960- ) (M. C. Valada. (c) 1995 M. C. Valada) Gibson, William William Gibson (1948- ) (Miriam Berkley. (c) 1995 Miriam Berkley) Greenland, Colin Colin Greenland (1954- ) (Miriam Berkley. (c) 1995 Miriam Berkley) Gunn, James E. James E. Gunn (1923- ) (Beth Gwinn. (c) 1995 Beth Gwinn) Harrison, John M. Harrison, M. John (1945- ) (Miriam Berkley. (c) 1995 Miriam Berkley) Hawthorne, Nathaniel Nathaniel Hawthorne (1804-1864) ( Bettmann. ) Hesse, Hermann Hermann Hesse (1877-1962) ( Bettmann. ) 153
    154. Hogan, James P. James P. Hogan (1941- ) (Beth Gwinn. (c) 1995 Beth Gwinn) Holland, Cecelia Cecelia Holland (1943- ) (Beth Gwinn. (c) 1995 Beth Gwinn) Hubbard, L. Ron L. Ron Hubbard (1911-1986) ( Bettmann. ) Huxley, Aldous Aldous Huxley (1894-1963) ( Bettmann. ) Kerr, Katharine Katherine Kerr (1944- ) (Beth Gwinn. (c) 1995 Beth Gwinn) Kipling, Rudyard Rudyard Kipling (1865-1936) ( Bettmann. ) Koontz, Dean R. Dean R. Koontz (1945- ) ( Bettmann. ) Kube-McDowell, Michael P. Michael P. Kube-McDowell (1954- ) (Beth Gwinn. (c) 1995 Beth Gwinn) Le Guin, Ursula K. Ursula K. Le Guin (1929- ) (Miriam Berkley. (c) 1995 Miriam Berkley) Lee, Tanith Tanith Lee (1947- ) (Beth Gwinn. (c) 1995 Beth Gwinn) Lewis, C.S. C.S. Lewis (1898-1963) ( Bettmann. ) Linaweaver, Brad Brad Linaweaver (1952- ) (Beth Gwinn. (c) 1995 Beth Gwinn) London, Jack Jack London (1876-1916) ( Bettmann. ) Mason, Lisa Lisa Mason (1953- ) (Beth Gwinn. (c) 1995 Beth Gwinn) May, Julian Julian May (1931- ) (Beth Gwinn. (c) 1995 Beth Gwinn) Merril, Judith Judith Merril (1923- ) (Beth Gwinn. (c) 1995 Beth Gwinn) Orwell, George George Orwell (1903-1950) ( Bettmann. ) Piercy, Marge Marge Piercy (1936- ) (Miriam Berkley. (c) 1995 Miriam Berkley) Poe, Edgar Allan Edgar Allan Poe (1809-1849) ( Bettmann. ) Pohl, Frederik Frederik Pohl (1919- ) (Miriam Berkley. (c) 1995 Miriam Berkley) Robinson, Frank M. Frank M. Robinson (1926- ) (Beth Gwinn. (c) 1995 Beth Gwinn) Rushdie, Salman Salman Rushdie (1947- ) (Miriam Berkley. (c) 1995 Miriam Berkley) Ryman, Geoff Geoff Ryman (1951- ) (Miriam Berkley. (c) 1995 Miriam Berkley) Shaw, Bob Bob Shaw (1931- ) (Beth Gwinn. (c) 1995 Beth Gwinn) Steele, Allen Allen Steele (1958- ) (Beth Gwinn. (c) 1995 Beth Gwinn) 154
    155. Sturgeon, Theodore Theodore Sturgeon (1918-1985) (Beth Gwinn. (c) 1995 Beth Gwinn) Swift, Jonathan Jonathan Swift (1667-1745) ( Bettmann. ) Tepper, Sheri S. Sheri S. Tepper (1929- ) (Miriam Berkley. (c) 1995 Miriam Berkley) Tolkien, J.R.R. J.R.R. Tolkien (1902-1980) ( Bettmann. ) Tuttle, Lisa Lisa Tuttle (1952- ) (Miriam Berkley. (c) 1995 Miriam Berkley) Vidal, Gore Gore Vidal (1925- ) ( Bettmann. ) Vinge, Joan D. Joan D. Vinge (1948- ) (Beth Gwinn. (c) 1995 Beth Gwinn) Vonnegut, Jr., Kurt Kurt Vonnegut, Jr. (1922- ) ( Bettmann. ) Wells, H.G. H.G. Wells (1866-1946) ( Bettmann. ) Goonan, Kathleen Ann Kathleen Ann Goonan (1952- ) (Beth Gwinn. (c) 1995 Beth Gwinn) Lethem, Jonathan Allen Jonathan Allen Lethem (1964- ) (Beth Gwinn. (c) 1995 Beth Gwinn) King, Stephen Stephen King (1947- ) ( Bettmann. ) Twenty Thousand Leagues Under the Sea Illustration from Jules Verne's Twenty Thousand Leagues Under the Sea. ( Phototheque-Hachette.) Journey to the Center of the Earth Illustration from Jules Verne's Journey to the Center of the Earth. Artwork by Riou, engraved by Pannemaker. ( Phototheque-Hachette.) Journey to the Center of the Earth Illustration from Jules Verne's Journey to the Center of the Earth. Artwork by Riou, engraved by Pannemaker. ( Phototheque-Hachette.) Journey to the Center of the Earth Illustration from Jules Verne's Journey to the Center of the Earth. Artwork by Riou, engraved by Pannemaker. ( Phototheque-Hachette.) Journey to the Center of the Earth Illustration from Jules Verne's Journey to the Center of the Earth. Artwork by Riou, engraved by Pannemaker. ( Phototheque-Hachette.) Twenty Thousand Leagues Under the Sea Illustration from Jules Verne's Twenty Thousand Leagues Under the Sea. Artwork by De Neuville, engraved by Hildebrand. ( Photothque-Hachette.) Heinlein, Robert A. Robert A. Heinlein (1907-1988) (Jay Kay Klein. (c) 1995 Jay Kay Klein) Reynolds, Mack Mack Reynolds (1917-1983) (Jay Kay Klein. (c) 1995 Jay Kay Klein) Herbert, Frank Frank Herbert (1920-1986) (Jay Kay Klein. (c) 1995 Jay Kay Klein) van Vogt, A.E. A.E. van Vogt (1912- ) (Jay Kay Klein. (c) 1995 Jay Kay Klein) 155
    156. Verne, Jules Jules Verne (1828-1905) (Nadar / Photothque-Hachette (c) 1995 Nadar / Photothque-Hachette) Gallun, Raymond Z. Raymond Z. Gallun (1911- ) (Jay Kay Klein. (c) 1995 Jay Kay Klein) Laumer, Keith Keith Laumer (1925-1993) (Jay Kay Klein. (c) 1995 Jay Kay Klein) Leinster, Murray Murray Leinster (1896-1975) (Jay Kay Klein. (c) 1995 Jay Kay Klein) MacLean, Katherine Katherine MacLean (1925- ) (Jay Kay Klein. (c) 1995 Jay Kay Klein) Malzberg, Barry N. Barry N. Malzberg (1939- ) (Jay Kay Klein. (c) 1995 Jay Kay Klein) Moore, C.L. C.L. Moore (1911-1987) (Jay Kay Klein. (c) 1995 Jay Kay Klein) Piper, H. Beam H. Beam Piper (1904-1964) (Jay Kay Klein. (c) 1995 Jay Kay Klein) Sargent, Pamela Pamela Sargent (1948- ) (Jay Kay Klein. (c) 1995 Jay Kay Klein) Simak, Clifford D. Clifford D. Simak (1904-1988) (Jay Kay Klein. (c) 1995 Jay Kay Klein) Smith, E.E. E.E. Smith (1890-1965) (Jay Kay Klein. (c) 1995 Jay Kay Klein) Wilson, Richard Richard Wilson (1920-1987) (Jay Kay Klein. (c) 1995 Jay Kay Klein) Wollheim, Donald A. Donald A. Wollheim (1914-1990) (Jay Kay Klein. (c) 1995 Jay Kay Klein) Zebrowski, George George Zebrowski (1945- ) (Jay Kay Klein. (c) 1995 Jay Kay Klein) Thomson, Amy Amy Thomson (1958- ) (Steven Smith. (c) 1995 Steven Smith) McHugh, Maureen F. Maureen F. McHugh (1959- ) (M. C. Valada. (c) 1995 M. C. Valada) Miller, P. Schuyler P. Schuyler Miller (1912-1974) (Jay Kay Klein. (c) 1995 Jay Kay Klein) Shaara, Michael Michael Shaara (1929-1988) (Jay Kay Klein. (c) 1995 Jay Kay Klein) Ley, Willy Willy Ley (1906-1969) (Jay Kay Klein. (c) 1995 Jay Kay Klein) Galouye, Daniel F. Daniel F. Galouye (1920-1976) (Jay Kay Klein. (c) 1995 Jay Kay Klein) Kuttner, Henry Henry Kuttner (1914-1958) (From the Archives of the J. Wayne & Elise M. Gunn Center For The Study of Science Fiction at The University of Kansas. ) Lovecraft, H.P. H.P. Lovecraft (1890-1937) (From the Archives of the J. Wayne & Elise M. Gunn Center For The Study of Science Fiction at The University of Kansas. ) Stapledon, Olaf Olaf Stapledon (1886-1950) (From the Archives of the J. Wayne & Elise M. 156
    157. Gunn Center For The Study of Science Fiction at The University of Kansas. ) Weinbaum, Stanley G. Stanley G. Weinbaum (1902-1935) (From the Archives of the J. Wayne & Elise M. Gunn Center For The Study of Science Fiction at The University of Kansas. ) Gernsback, Hugo Hugo Gernsback (1884-1967) (From the Archives of the J. Wayne & Elise M. Gunn Center For The Study of Science Fiction at The University of Kansas. ) Merritt, A. A. Merritt (1884-1943) (From the Archives of the J. Wayne & Elise M. Gunn Center For The Study of Science Fiction at The University of Kansas. ) Gold, Horace L. Horace L. Gold (1914- ) (Jay Kay Klein. (c) 1995 Jay Kay Klein) Griffin, Russell M. Russell M. Griffin (1943-1986) (Courtesy of: Publicity Dept. - University of Bridgeport. ) Hamilton, Edmond Edmond Hamilton (1904-1977) (Jay Kay Klein. (c) 1995 Jay Kay Klein) Harris, MacDonald MacDonald Harris (1921- ) (Barbara Hall. (c) 1995 Barbara Hall) Keyes, Daniel Daniel Keyes (1927- ) (Jay Kay Klein. (c) 1995 Jay Kay Klein) Lupoff, Richard A. Richard A. Lupoff (1935- ) (Jay Kay Klein. (c) 1995 Jay Kay Klein) Palmer, David David Palmer (1941- ) (Jay Kay Klein. (c) 1995 Jay Kay Klein) Pangborn, Edgar Edgar Pangborn (1909-1976) (Eliot Rowe. (c) 1995 Eliot Rowe) Panshin, Alexei Alexei Panshin (1940- ) (Jay Kay Klein. (c) 1995 Jay Kay Klein) Preuss, Paul Paul Preuss (1942- ) (Jay Kay Klein. (c) 1995 Jay Kay Klein) Reamy, Tom Tom Reamy (1935-1977) (Jay Kay Klein. (c) 1995 Jay Kay Klein) Sladek, John T. John T. Sladek (1937- ) (Tom Jackson. (c) 1995 Tom Jackson) Tenn, William William Tenn (1920- ) (Jay Kay Klein. (c) 1995 Jay Kay Klein) Twain, Mark Mark Twain (1835-1910) ( Bettmann. ) Vonarburg, Elisabeth Elisabeth Vonarburg (1947- ) (Robert Laliberte. (c) 1995 Robert Laliberte) Wilder, Cherry Cherry Wilder (1930- ) (Jay Kay Klein. (c) 1995 Jay Kay Klein) Womack, Jack Jack Womack (1956- ) (Meghan Boody. (c) 1995 Meghan Boody) King, T. Jackson T. Jackson King (1948- ) (Teresa Edgerton. (c) 1995 Teresa Edgerton) 157
    158. Soukup, Martha Martha Soukup (1959- ) (Fred A. Levy Haskell. (c) 1995 Fred A. Levy Haskell) Noon, Jeff Jeff Noon (1957- ) (Sigrid Estrada. (c) 1995 Sigrid Estrada) Nicholls, Peter Peter Nicholls (1939- ) (Ponch Hawkes. (c) 1995 Ponch Hawkes) Magazine of Fantasy and Science Fiction, The The Magazine of Fantasy and Science Fiction, Nov. 1963 / Vol. 25, No. 5 Published by Mercury Press Cover illustration by Hannes Bok (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted from The Magazine of Fantasy and Science Fiction. (c) 1963 Mercury Press) Magazine of Fantasy and Science Fiction, The The Magazine of Fantasy and Science Fiction, Sept. 1962 / Vol. 23, No. 3 Published Mercury Press Cover illustration by Ed Emshwiller (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted from The Magazine of Fantasy and Science Fiction. (c) 1962 Mercury Press) Magazine of Fantasy and Science Fiction, The The Magazine of Fantasy and Science Fiction, Winter-Spring 1950 / Vol. 1, No. 2 Published by Mercury Press (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted from The Magazine of Fantasy and Science Fiction. (c) 1950 Fantasy House Inc.) Magazine of Fantasy and Science Fiction, The The Magazine of Fantasy and Science Fiction, April 1971 / Vol. 40, No. 4 Published by Mercury Press Cover illustration by Kelly Freas (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted from The Magazine of Fantasy and Science Fiction. (c) 1971 Mercury Press) Magazine of Fantasy and Science Fiction, The The Magazine of Fantasy and Science Fiction, Jan. 1931 / Vol. 40, No. 1 Published by Mercury Press Cover illustration by Vaughn Bode (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted from The Magazine of Fantasy and Science Fiction. (c) 1971 Mercury Press) Magazine of Fantasy and Science Fiction, The The Magazine of Fantasy and Science Fiction, April 1973 / Vol. 44, No. 4 Published by Mercury Press Cover illustration by Don Davis (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted from The Magazine of Fantasy and Science Fiction. (c) 1973 Mercury Press) Magazine of Fantasy and Science Fiction, The The Magazine of Fantasy and Science Fiction, Dec. 1967 / Vol. 33, No. 6 Published by Mercury Press Cover illustration by Jack Gaughan (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted from The Magazine of Fantasy and Science Fiction. (c) 1967 Mercury Press) Magazine of Fantasy and Science Fiction, The The Magazine of Fantasy and Science Fiction, Oct-Nov 1991 / Vol. 81, No. 4-5 Published by Mercury Press Cover illustration by Bryn Barnard (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted from The Magazine of Fantasy and Science Fiction. (c) 1991 Mercury Press) Sawyer, Robert J. Robert J. Sawyer (1960- ) (Carolyn Clink. (c) 1995 Carolyn Clink) Sterling, Bruce Bruce Sterling (1954- ) (Photo provided by author. ) 158
    159. Stith, John E. John E. Stith (1947- ) (Kavin Tris King. (c) 1995 Kavin Tris King) Griffith, Nicola Nicola Griffith (1960- ) (Kelley Eskridge. (c) 1995 Kelley Eskridge) Gaiman, Neil (SF & History) Neil Gaiman admits that he researches history on a lazy but continual basis. ( (c) Grolier Electronic Publishing, Inc.) Gaiman, Neil (SF & History) Neil Gaiman admits that he researches history on a lazy but continual basis. ( (c) Grolier Electronic Publishing, Inc.) Gibson, William (Neuromancer) William Gibson on Neuromancer. ( (c) Grolier Electronic Publishing, Inc.) Gibson, William (Neuromancer) William Gibson on Neuromancer. ( (c) Grolier Electronic Publishing, Inc.) Haldeman, Joe (The Hemingway Hoax) Joe Haldeman had to study how Hemingway misused metaphors and botched punctuation in The Hemingway Hoax. ( (c) Grolier Electronic Publishing, Inc.) Haldeman, Joe (The Hemingway Hoax) Joe Haldeman had to study how Hemingway misused metaphors and botched punctuation in The Hemingway Hoax. ( (c) Grolier Electronic Publishing, Inc.) Jones, Gwyneth (Divine Endurance) Gwyneth Jones talks about the Key to the Universe. ( (c) Grolier Electronic Publishing, Inc.) Jones, Gwyneth (Divine Endurance) Gwyneth Jones talks about the Key to the Universe. ( (c) Grolier Electronic Publishing, Inc.) Kress, Nancy (On Using Language to Invoke the Future) Nancy Kress says that the future will feel so strange that writers will not need to invent jargon to describe it. ( (c) Grolier Electronic Publishing, Inc.) Kress, Nancy (On Using Language to Invoke the Future) Nancy Kress says that the future will feel so strange that writers will not need to invent jargon to describe it. ( (c) Grolier Electronic Publishing, Inc.) Le Guin, Ursula K. (On Computers) Ursula K. Le Guin has no deep thoughts about computer technology. ( (c) Grolier Electronic Publishing, Inc.) Le Guin, Ursula K. (On Computers) Ursula K. Le Guin has no deep thoughts about computer technology. ( (c) Grolier Electronic Publishing, Inc.) McHugh, Maureen (China Mountain Zhang) Maureen McHugh discusses China Mountain Zhang and her perception of what it may be like to like in a third world country of the future. ( (c) Grolier Electronic Publishing, Inc.) McHugh, Maureen (China Mountain Zhang) Maureen McHugh discusses China Mountain Zhang and her perception of what it may be like to like in a third world country of the future. ( (c) Grolier Electronic Publishing, Inc.) 159
    160. Martin, George R. R. (On the Promise of SF) George R. R. Martin would like to see the fictions of SF become real in his lifetime. ( (c) Grolier Electronic Publishing, Inc.) Martin, George R. R. (On the Promise of SF) George R. R. Martin would like to see the fictions of SF become real in his lifetime. ( (c) Grolier Electronic Publishing, Inc.) Moorcock, Michael (On Alienation) Michael Moorcock thinks that it's easy for SF writers to describe outsiders, since most authors are alienated themselves. ( (c) Grolier Electronic Publishing, Inc.) Moorcock, Michael (On Alienation) Michael Moorcock thinks that it's easy for SF writers to describe outsiders, since most authors are alienated themselves. ( (c) Grolier Electronic Publishing, Inc.) Morrow, James (This is the Way the World Ends) James Morrow cites children as an inspiration in working for disarmament. ( (c) Grolier Electronic Publishing, Inc.) Morrow, James (This is the Way the World Ends) James Morrow cites children as an inspiration in working for disarmament. ( (c) Grolier Electronic Publishing, Inc.) Niven, Larry (On Telepathy) Larry Niven thinks that it's a good thing that we can't read minds. ( (c) Grolier Electronic Publishing, Inc.) Niven, Larry (On Telepathy) Larry Niven thinks that it's a good thing that we can't read minds. ( (c) Grolier Electronic Publishing, Inc.) Pohl, Frederik (Aliens in JEM) Frederik Pohl makes admits to making up his descriptions of aliens as he goes along. ( (c) Grolier Electronic Publishing, Inc.) Pohl, Frederik (Aliens in JEM) Frederik Pohl makes admits to making up his descriptions of aliens as he goes along. ( (c) Grolier Electronic Publishing, Inc.) Robinson, Kim Stanley (On Dreams) Kim Stanley Robinson believes that dreams have power in our lives even if we can't remember them. ( (c) Grolier Electronic Publishing, Inc.) Robinson, Kim Stanley (On Dreams) Kim Stanley Robinson believes that dreams have power in our lives even if we can't remember them. ( (c) Grolier Electronic Publishing, Inc.) Ryman, Geoffrey (The Child Garden) Geoffrey Ryman discusses his book, The Child Garden, the lack of the spiritual element in our lives. ( (c) Grolier Electronic Publishing, Inc.) Ryman, Geoffrey (The Child Garden) Geoffrey Ryman discusses his book, The Child Garden, the lack of the spiritual element in our lives. ( (c) Grolier Electronic Publishing, Inc.) Silverberg, Robert (The Immensity of the Universe) Robert Silverberg on the smallness of Us and the immensity of It. ( (c) Grolier Electronic Publishing, Inc.) Silverberg, Robert (The Immensity of the Universe) Robert Silverberg on the smallness of Us and the immensity of It. ( (c) Grolier Electronic Publishing, Inc.) 160
    161. Simmons, Dan (Hyperion) Dan Simmons on his book, Hyperion, and on John Keats. ( (c) Grolier Electronic Publishing, Inc.) Simmons, Dan (Hyperion) Dan Simmons on his book, Hyperion, and on John Keats. ( (c) Grolier Electronic Publishing, Inc.) Sterling, Bruce (On Television) Bruce Sterling is definitely plugged in ( (c) Grolier Electronic Publishing, Inc.) Sterling, Bruce (On Television) Bruce Sterling is definitely plugged in ( (c) Grolier Electronic Publishing, Inc.) Stephenson, Neal (Future Virus) Neal Stephenson on viruses; when you just can't get that tune out of your head. ( (c) Grolier Electronic Publishing, Inc.) Stephenson, Neal (Future Virus) Neal Stephenson on viruses; when you just can't get that tune out of your head. ( (c) Grolier Electronic Publishing, Inc.) Swanwick, Michael (Transcendence) Michael Swanwick on reaching an audience through the power of mystery. ( (c) Grolier Electronic Publishing, Inc.) Swanwick, Michael (Transcendence) Michael Swanwick on reaching an audience through the power of mystery. ( (c) Grolier Electronic Publishing, Inc.) Vonarburg, Elisabeth (Writing for SF Fans) Elisabeth Vonarburg talks about her audience and herself. ( (c) Grolier Electronic Publishing, Inc.) Vonarburg, Elisabeth (Writing for SF Fans) Elisabeth Vonarburg talks about her audience and herself. ( (c) Grolier Electronic Publishing, Inc.) On Being a Science Fiction Writer There are better ways of becoming a millionaire than by writing science fiction, according to those who know. ( (c) Grolier Electronic Publishing, Inc.) What Science Fiction Does or Should Do Other than providing a good read, SF writers hopefully see their novels helping people deal with future change and exposing them to new horizons. ( (c) Grolier Electronic Publishing, Inc.) Women in Science Fiction Various views: Women of SF and Women in SF. ( (c) Grolier Electronic Publishing, Inc.) Powers of the Mind James Morrow and Geoff Ryman make a case for the power of skepticism and reject the simplicity of New Age answers. ( (c) Grolier Electronic Publishing, Inc.) The Outlaw in Cyberpunk The romance of the life of the outlaw has long been a theme in books and movies. These SF writers agree that we can learn something about how our society functions by those who don't follow the rules. ( (c) Grolier Electronic Publishing, Inc.) Virtual Reality For some people, virtual reality is a term that has little to do with how 161
    162. we live. For others, the future is already here - or just a phone call away. ( (c) Grolier Electronic Publishing, Inc.) Space Technology What interests SF writers is not the spaceship but what the spaceship adds to the story and to the reader's flights of imagination. ( (c) Grolier Electronic Publishing, Inc.) Post Apocalypse It's been a theme since antiquity - the End of the World, Post-Holocaust, Planetary Disaster. Whether the result of bombs, plagues, or cosmic explosions, SF writers have long imagined whether our world will end with a bang or a whimper. ( (c) Grolier Electronic Publishing, Inc.) The Time Machine Robert Silverberg discusses the man who inspired and touched many generations of SF fans: H.G. Wells. ( (c) Grolier Electronic Publishing, Inc.) Time Travel SF writers discuss the challenges of Time Travel and agree that it's not the mechanics but the metaphors that have meaning. ( (c) Grolier Electronic Publishing, Inc.) Jones, Gwyneth Gwyneth Jones (1952- ) (Andrew I. Porter. (c) 1995 Andrew I. Porter) Kornbluth , Cyril M. Cyril M. Kornbluth (1923-1958) (Andrew I. Porter. (c) 1995 Andrew I. Porter) Langford, David David Langford (1953- ) (Andrew I. Porter. (c) 1995 Andrew I. Porter) Lem, Stanislaw Stanislaw Lem (1921- ) (Franz Rottensteiner. (c) 1995 Franz Rottensteiner) L'Engle, Madeleine Madeleine L'Engle (1918- ) (Andrew I. Porter. (c) 1995 Andrew I. Porter) MacDonald, James D. James D. MacDonald (1916-1986) (M. M. Kavanagh. (c) 1995 M. M. Kavanagh) Popkes, Steven Steven Popkes (1952- ) (Andrew I. Porter. (c) 1995 Andrew I. Porter) Rodgers, Alan Alan Rodgers ( ? - ) (Andrew I. Porter. (c) 1995 Andrew I. Porter) Sanders, Scott Russell Scott Russell Sanders (1945- ) (Andrew I. Porter. (c) 1995 Andrew I. Porter) Spruill, Steven Steven G. Spruill (1946- ) (Andrew I. Porter. (c) 1995 Andrew I. Porter) Stableford, Brian M. Brian M. Stableford (1948- ) (Andrew I. Porter. (c) 1995 Andrew I. Porter) Watson, Ian Ian Watson (1943- ) (Andrew I. Porter. (c) 1995 Andrew I. Porter) Webb, Sharon Sharon Webb (1936- ) (Andrew I. Porter. (c) 1995 Andrew I. Porter) Ransom, Bill Bill Ransom (1945- ) (M. C. Valada. (c) 1995 M. C. Valada) 162
    163. ab Hugh, Dafydd Dafydd ab Hugh (1960- ) (Andrew I. Porter. (c) 1995 Andrew I. Porter) MacIntyre, F. Gwynplaine F. Gwynplaine MacIntyre (?1948- ) (M. M. Kavanagh. (c) 1995 M. M. Kavanagh) Roessner, Michaela Michaela Roessner (1950- ) (M. C. Valada. (c) 1995 M. C. Valada) Scarborough, Elizabeth Ann Elizabeth Ann Scarborough (1947- ) (M. C. Valada. (c) 1995 M. C. Valada) Robinson, Kim Stanley Kim Stanley Robinson (1952- ) (Andrew I. Porter. (c) 1995 Andrew I. Porter) Nourse, Alan E. Alan E. Nourse (1928-1992) (Andrew I. Porter. (c) 1995 Andrew I. Porter) Simmons, Dan Dan Simmons (1948- ) (Andrew I. Porter. (c) 1995 Andrew I. Porter) Long, Frank Belknap Frank Belknap Long (1903- ) (Andrew I. Porter. (c) 1995 Andrew I. Porter) Pike, Christopher Christopher Pike ( ? - ) (Andrew I. Porter. (c) 1995 Andrew I. Porter) Turner, George George Turner (1916- ) (Andrew I. Porter. (c) 1995 Andrew I. Porter) Rotsler, William William Rotsler (1926- ) (Andrew I. Porter. (c) 1995 Andrew I. Porter) Wolverton, Dave Dave Wolverton (1957- ) (Andrew I. Porter. (c) 1995 Andrew I. Porter) Wellman, Manly Wade Manly Wade Wellman (1903-1986) (Andrew I. Porter. (c) 1995 Andrew I. Porter) Goulart, Ronald Ronald Goulart (1933- ) (Andrew I. Porter. (c) 1995 Andrew I. Porter) Wilson, F. Paul F. Paul Wilson (1946- ) (Andrew I. Porter. (c) 1995 Andrew I. Porter) Nelson, Ray Ray Nelson (1931- ) (Andrew I. Porter. (c) 1995 Andrew I. Porter) Zindell, David David Zindell (1952- ) (Andrew I. Porter. (c) 1995 Andrew I. Porter) Hoffman, Lee Lee Hoffman (1932- ) (Andrew I. Porter. (c) 1995 Andrew I. Porter) Martin, George R.R. George R.R. Martin (1948- ) (M. C. Valada. (c) 1995 M. C. Valada) The Blob One of the relatively few 1950s monster movies to feature a villain that is something other than a giant vermin or an awakened prehistoric creature, The Blob (Tonylyn/Paramount) offers an amorphous protoplasmic mass. Its success suggests that formless threats can be as frightening as gigantic pests. (Courtesy of Jack H. Harris. (c) Jack H. Harris) Grant, Richard Richard Grant (1952- ) (Rick Hawes. (c) 1995 Rick Hawes) Hoban, Russell Russell Hoban (1925- ) (Jerry Bauer. (c) 1995 Jerry Bauer) 163
    164. Holdstock, Robert P. Robert P. Holdstock (1948- ) (Dick Jude. (c) 1995 Dick Jude) Kennedy, Leigh Leigh Kennedy (1951- ) (Dave Holmes. (c) 1995 Dave Holmes) McAuley, Paul J. Paul J. McAuley (1955- ) (Freda Warrington. (c) 1995 Freda Warrington) O'Donnell, Kevin Jr. Kevin O'Donnell, Jr. (1950- ) (T. Jackson King. (c) 1995 T. Jackson King) Priest, Christopher Christopher Priest (1943- ) (Dick Jude. (c) 1995 Dick Jude) Rucker, Rudy Rudy Rucker (1946- ) (Rick Hawes. (c) 1995 Rick Hawes) Russell, Eric Frank Eric Frank Russell (1905-1978) (Harold Gottliffe. (c) 1995 Harold Gottliffe) Russ, Joanna Joanna Russ (1937- ) (Rick Hawes. (c) 1995 Rick Hawes) Saxton, Josephine Josephine Saxton (1935- ) (Dick Jude. (c) 1995 Dick Jude) Sheckley, Robert Robert Sheckley (1928- ) (Rick Hawes. (c) 1995 Rick Hawes) Shirley, John John Shirley (1954- ) (Rick Hawes. (c) 1995 Rick Hawes) Tiptree, Jr., James James Tiptree, Jr. (1915-1987) (James Reber. (c) 1995 James Reber) Waldrop, Howard Howard Waldrop (1946- ) (Rick Hawes. (c) 1995 Rick Hawes) Wilson, Robert Anton Robert Anton Wilson (1932- ) (Gamma. (c) 1995 Gamma) Wingrove, David David Wingrove (1954- ) (Colin Ramsey. (c) 1995 Colin Ramsay) 2001: A Space Odyssey This Polish poster of 2001: A Space Odyssey(MGM, 1968) reflects the nature of Poland's celebrated poster art, which emphasizes design qualities rather than merely illustrating a movie. As in other Eastern European SF art, this poster suggests the themes of consciousness and "inner space" rather than space flight. (Ronald V. Borst/Hollywood Movie Posters. ) The Amazing Colossal Man One of many 1950s films that dramatized gigantic mutations as a result of atomic testing, Bert I. Gordon's The Amazing Colossal Man (Malibu/AIP, 1957) combined the story of an innocent, if massive, young man with special effects that were noted for their tackiness. His lack of success did not prevent Allied Artists from making Attack of the 50-Foot Woman the following year. (Ronald V. Borst/Hollywood Movie Posters. ) The Conquest of Space One of a small number of 1950s films to seek respectability through claims of scientific authenticity, Byron Haskin's The Conquest of Space (Paramount, 1955) strove, like George Pal's early and more successful Destination Moon, to seem as much anticipatory documentary as fiction. (Ronald V. Borst/Hollywood Movie Posters. ) 164
    165. The Creature From the Black Lagoon Most 1950s monster movies were at the same stage of sophistication as the 1930s pulp magazines: the monsters were primarily interested in our women. Other than that cliche,The Creature From the Black Lagoon (Universal, 1954) is a vivid and enjoyable film, with an archetypal and graceful amphibious Creature. (Ronald V. Borst/Hollywood Movie Posters. ) The Day the Earth Stood Still While most 1950s science fiction movies saw aliens and monsters as threats to be destroyed, The Day the Earth Stood Still (20th Century Fox, 1951) made a plea for an end to mankind's violent ways. This theme would become popular in SF cinema some twenty years later. (Ronald V. Borst/Hollywood Movie Posters. ) I Married A Monster From Outer Space While most 1950s invasion movies showed monsters on the rampage, several explored the theme of the covert invasion, which had obvious affinities with the Red Scare. Gene Fowler's I Married A Monster From Outer Space (Paramount, 1958) enjoyably exploits the chills implicit in the theme of the Enemy Among Us, with a sexual subtext to heighten the effect. (Ronald V. Borst/Hollywood Movie Posters. ) The Incredible Shrinking Man Jack Arnold's film of The Incredible Shrinking Man (Universal, 1957) was based on Richard Matheson's script of his novel, The Shrinking Man, and it boasts both an intelligent script and excellent special effects. Save for its enabling device - the substance which starts the protagonist's uncontrollable shrinking is a radioactive cloud - the film eschews most of the political touchstones that characterize 1950s SF movies and focuses instead on the theme of Man against Nature. (Ronald V. Borst/Hollywood Movie Posters. ) Invaders From Mars William Cameron Menzies's Invaders From Mars (National Pictures/20 Century-Fox, 1953) makes strong use of the popular 1950s theme of a takeover by alien invaders. As in the later Invasion of the Body Snatchers, there is an ending with a twist. (Ronald V. Borst/Hollywood Movie Posters. ) The Invisible Man Although the H.G. Wells novel had neither black comedy or gothic chills, James Whale's film version of The Invisible Man (Universal, 1933) managed to combine both elements while still being true to Wells's story. The special effects - especially of the dying invisible man returning to visibility organ by organ - remain extremely effective. (Ronald V. Borst/Hollywood Movie Posters. ) Island of Lost Souls With Wells's idealistic Dr. Moreau converted into a sadistic Hollywood villain, Island of Lost Soulsis not particularly faithful to Wells's novel, The Island of Dr. Moreau, but it does work well as a generally perverse and horrific film. The movie was banned in England, which reportedly delighted Wells. (Ronald V. Borst/Hollywood Movie Posters. ) It Came From Outer Space Ray Bradbury's screen treatment forIt Came From Outer Space (Universal, 1953) cleverly inverts the themes of many alien invasion films. The shape-shifting aliens that crash in the Mojave Desert and begin assuming the form of local inhabitants pose no threat and merely want to get home. (Ronald V. Borst/Hollywood Movie Posters. ) 165
    166. King Kong The appeal of M.C. Cooper's King Kong (RKO, 1933) was immediate and universal. This French movie poster ("avec Fay Wray") offers the same Beauty-and-the-Beast thrills that captivated English-speaking audiences. (Ronald V. Borst/Hollywood Movie Posters. ) Lost Horizon One of the relatively few Hollywood films to deal with the theme of a lost civilization,Lost Horizon (Columbia, 1937) is a sentimental tale of happiness found, lost, then regained. The story is essentially a fantasy; no attempt is made to rationalize the lost city or its secret of immortality. (Ronald V. Borst/Hollywood Movie Posters. ) The Lost World Best remembered for its novel and largely successful use of model animation combined with live action, The Lost World (First National, 1925) was not a memorable film. What remains striking is Willis O'Brien's pioneering work in stop-motion photography. (Ronald V. Borst/Hollywood Movie Posters. ) Metropolis Fritz Lang's most famous film and the masterpiece of early SF cinema, Metropolis (UFA, 1926) combines both SF and gothic elements in its vision of gleaming towers and futuristic spectacle above, and a downtrodden proletarian underworld below. It remains an impressive film even today. (Ronald V. Borst/Hollywood Movie Posters. ) The Mysterious Island Numerous film versions of Jules Verne's The Mysterious Islandhave been made, with the 1961 spectacle being merely the best known. This poster is from a 1929 MGM production, ninety percent of which was filmed in color. (Ronald V. Borst/Hollywood Movie Posters. ) The Night of the Living Dead Night of the Living Dead (Image 10 Productions/Walter Reade-Continental, 1968) is George Romero's electrifying low-budget film of the dead who returned to life to prey upon the living. It partakes more of horror than of SF proper (its SF rationale is mentioned only in passing and is risible), but it has had a great effect and influence upon SF and horror films. (Ronald V. Borst/Hollywood Movie Posters. ) Them! The first of the giant insect movies, Them! (Warner Brothers, 1954) borrowed the desert locale of It Came from Outer Space and the device of atomic test radiation from The Beast from 20,000 Fathoms. The resulting film became the template for a decade's worth of giant crabs, tarantulas, and other vermin. (Ronald V. Borst/Hollywood Movie Posters. ) The Thing The first of two film adaptations of John W. Campbell's "Who Goes There?", Howard Hawks's The Thing (Winchester Pictures/RKO, 1951) does not exploit the paranoid potential of Campbell's conceit - a shapeshifting alien that kills and replaces the bodies of his vfictims, prompting survivors' suspicions that one of them is the monster - but does create an unusually suspenseful and gripping movie. The 1982 version by John Carpenter does adopt Campbell's shapeshifting theme. (Ronald V. Borst/Hollywood Movie Posters. ) Things To Come Menzies's relentlessly high-minded adaptation of H.G. Wells's Things to 166
    167. Come (London films, 1936) may have lacked drama and complex characterization, but its special effects and visual tableaux give a real indication of what SF cinema could do. (Ronald V. Borst/Hollywood Movie Posters. ) The Time Machine George Pal's production of The Time Machine (Galaxy Films/MGM, 1960) remained faithful to the Victorian milieu of Wells's novel, as his earlier production of The War of the Worlds had not. Ironically, the earlier film remains true to the spirit of Wells's story while the visually appealing tale of Wells's time traveller becomes a typical Hollywood adventure story. (Ronald V. Borst/Hollywood Movie Posters. ) The Wasp Woman Although this undistinguished Roger Corman film featured a beautiful woman who grows the head of a wasp, the poster for The Wasp Woman (Filmgroup/Allied Artists, 1959) portrays a wasp with the head of a woman. The film may tempt viewers to freely interpret the deep and dark reasons for this particular creation, but it was probably merely an attempt to cash in on the success of The Fly. (Ronald V. Borst/Hollywood Movie Posters. ) When Worlds Collide Paramount spent less than a million dollars on When Worlds Collide (1951), no great sum for an end-of-the-world spectacular. Money for the project reportedly ran out before the matte painting of the new planet could be produced. Chesley Bonestell's preliminary artwork was used instead, and it shows. (Ronald V. Borst/Hollywood Movie Posters. ) The Golem Although the Golem is not a technological creation, its story is interwoven with some of the same themes as the tale of Frankenstein. The 1920 film The Golem (PAGU-UFA, 1920) seems strongly to foreshadow a scene from The Bride of Frankenstein. (Ronald V. Borst/Hollywood Movie Posters. ) The War of the Worlds The 1953 film version of H.G. Wells's novel,The War of the Worldsshifted the invasion site from Victorian England to contemporary Los Angeles, and it changed the war machines from H.G. Wells's walking tripods to chrome flying saucers with Fifties-style fins (Paramount, 1953). But this George Pal film retains the essential excitement of the original novel. As the poster suggests, the concept of an alien invasion was still novel to movie audiences. (Ronald V. Borst/Hollywood Movie Posters. ) The Lost World This poster advertising the original release of The Lost World (First National, 1925) offered the same audience appeal that the 1950s monster movies did thirty years later, save for the presence of a streetcar instead of an automobile. (Ronald V. Borst/Hollywood Movie Posters. ) King Kong This page from the original pressbook describes the various posters that theatre owners showing King Kong (RKO, 1933) could purchase for their lobbies. RKO anticipated the film's enormous success from the outset. (Ronald V. Borst/Hollywood Movie Posters. ) The Invisible Man Returns Neither Director James Whale nor star Claude Rains returned to work on The Invisible Man Returns (Universal, 1940), the first of many sequels to 167
    168. the original 1939 classic. Merely "suggested" by H.G. Wells's novel, this movie bears no direct relation to either the novel or the film version of The Invisible Man. (Ronald V. Borst/Hollywood Movie Posters. ) The Invisible Woman The Invisible Woman (Universal, 1940) uses the device of invisibility - no other element remains from H.G. Well's original novel. This light comedy involves a beautiful model turned invisible by an eccentric professor, to the intense interest of both her playboy sponsor and an enterprising gangster. (Ronald V. Borst/Hollywood Movie Posters. ) The Batman: The Electrical Brain Although Batman boasted no superpowers, his adversaries occasionally wielded science-fiction devices. In The Batman: The Electrical Brain (Columbia, 1943) the caped crusader matches wits with a prototypical computer. (Ronald V. Borst/Hollywood Movie Posters. ) The Adventures of Captain Marvel Captain Marvel was a comic book superhero, who bore more than a passing resemblance to Superman.The Adventures of Captain Marvel (Republic, 1941) dates from the heyday of Republic movie serials. Although the original Captain Marvel disappeared with the settlement of a lawsuit in 1953, numerous subsequent versions, using either the character's name or attributes, have appeared since. (Ronald V. Borst/Hollywood Movie Posters. ) The War of the Worlds This half-sheet poster for The War of the Worlds (Paramount, 1953) is more painterly than most movie poster art of that time or since: posters today generally use stills from the film or highly realistic paintings made from stills. This is especially the case with SF cinema, where the prospective audience must be assured that the special effects are realistic. (Ronald V. Borst/Hollywood Movie Posters. ) Godzilla AlthoughGodzilla (Toho/Embassy, 1954) is in most respects a conventional monster movie - its resemblance to The Beast from 20,000 Fathoms is evident. Godzilla's campiness and kick-down-Tokyo vigor has made him a familiar, even beloved figure in the movie monster pantheon. (Ronald V. Borst/Hollywood Movie Posters. ) 2001: A Space Odyssey When it first appeared, Stanley Kubrick's 2001: A Space Odyssey (MGM, 1968) was the most audacious and visually spectacular SF film ever made. Many people believe that this is a distinction the film still possesses. (Ronald V. Borst/Hollywood Movie Posters. ) The Manchurian Candidate Released the year before the assassination of President Kennedy, The Manchurian Candidate (MC/Essex/United Artists, 1962) explores a hothouse of fevered conspiracy themes that would excite the popular imagination in the years to come. It is perhaps more popular today than it was upon its original release. (Ronald V. Borst/Hollywood Movie Posters. ) Les Oiseaux Alfred Hitchcock's film,The Birds (Universal, 1963) lacks many of the attributes of science fiction, but its vision of members of an unthreatening animal species suddenly attacking mankind offers a link between 1950s monster movies and the revenge-of-Nature movies of the 1970s and 80s. (Ronald V. Borst/Hollywood Movie Posters. ) 168
    169. On The Beach Most 1950s SF films, however cautionary, end in triumph for the protagonists; On the Beach (United Artists, 1959) was a striking exception. Its anti-war message was unequivocal. (Ronald V. Borst/Hollywood Movie Posters. ) A Trip To The Moon The Man in the Moon gets it right in the eye in Georges Melies's sportive A Trip to the Moon(Star, 1902), the first feature-length science fiction film. Melies appropriated his tale from Jules Verne and H.G. Wells, who were quite earnest about space travel. But Melies seemed unable to take the idea of travelling to the Moon seriously. (Photofest. ) A Trip To The Moon Director George's Melies drew his own rendition of the "Les Selenites" in A Trip to the Moon(Star, 1902). While H.G. Wells's aliens were fearsome examples of the hive mentality, Melies's were strictly for fun. (Photofest. ) Star Trek (TV) Created by Gene Roddenberry, Star Trek was a true phenomenon. Many reputable SF writers wrote teleplays for the series and many wrote novelizations. The stars of the series, of course, are the ubiquitous Captain Kirk (William Shatner) and Mr. Spock (Leonard Nimoy), here in a scene from the original television series. (Photofest. STAR TREK courtesy of Paramount Pictures. (c) Paramount Pictures) Star Trek (TV) In a scene from the original Star Trekseries, Captain Kirk (William Shatner) strikes a characteristic pose as Mr. Spock (Leonard Nimoy) and a friend look on. (Photofest. STAR TREK courtesy of Paramount Pictures. (c) Paramount Pictures) Star Trek (TV) Captain Kirk (William Shatner) confronts a vermin problem as his crew looks on in "The Trouble with Tribbles", one of the most popular episodes of the original Star Trek television series. (Photofest. STAR TREK courtesy of Paramount Pictures. (c) Paramount Pictures) Invisible Man, The The Invisible Man by H.G. Wells Cover: Bantam, 1993 illustration by Roger Kastel (M. M. Kavangh. Used by permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1993 Bantam Books) Invasion of the Body Snatchers Kevin McCarthy, Dana Wynter, and King Donovan examine a "pod person" in the first version of Invasion of the Body Snatchers (Allied Artists, 1956). Although the film has been interpreted as both right-wing paranoia about a communist takeover and as left-wing paranoia about McCarthyism, the theme is loss of individual identity and feeling. It remains one of the most popular B movies of the 1950s. (The Everett Collection, Inc. Courtesy of Republic Entertainment Inc. (c) Republic Entertainment, Inc.) Solaris Andrei Tarkovsky's adaptation of Stanislaw Lem's Solaris (Mosfilm, 1971) has, like Lem's novels, received less attention in the English-speaking SF world than in Europe. Its brooding tone and metaphysical themes set it apart from most Hollywood SF films. (The Everett Collection, Inc. Courtesy of Corinth Films Inc. (c) Corinth Films Inc. ) 169
    170. Robocop Paul Verhoeven's stylish and violent Robocop (Orion, 1987) seemed at once exploitative and satirical of its high-impact Grand Guignol. Like The Terminator before it and films like Predator 2 afterward, Robocop explores what proved a popular theme of high-tech urban mayhem. ( Artwork (c) Orion Pictures Corporation.) Mad Max Mad Max (Mad Max Pty., 1979), George Miller's film debut, made a star of Mel Gibson. More importantly, it helped create a vogue for films about resolute individualists who prevail as civilization collapses around them, a theme that finds an echo in the widespread appeal of survivalist sentiment today. (The Everett Collection, Inc. Artwork (c) Orion Pictures Corporation.) Total Recall In Total Recall(Carolco, 1990), Director Paul Verhoeven's taste for intense onscreen violence mixes uneasily with Philip K. Dick's pacifist whimsy. The film supposedly cost more than sixty million dollars, much of the money obviously spent on special effects. (The Everett Collection, Inc. Courtesy of Carolco Pictures Inc. (c) 1990 Carolco Pictures Inc. / Carolco International Inc. All Rights Reserved.) The Empire Strikes Back More so even than its predecessor, Star Wars,The Empire Strikes Back (Lucasfilm/20th Century-Fox, 1980) offers the lush cinematic equivalent of the space opera of the 1930s pulp magazines. This storyboard image of the enemy walkers shows another influence: the walking tripods of H.G. Wells's The War of the Worlds. (COURTESY OF LUCASFILM LTD. Empire Strikes Back (TM) & (c) Lucasfilm Ltd. (LFL) 1980. All Rights Reserved.) Star Wars George Lucas's blockbuster, Star Wars (20th Century-Fox, 1977) is perhaps the most influential of all SF films. Its tremendous financial success convinced film studios and SF publishers that space opera was the way to go. (COURTESY OF LUCASFILM LTD. Star Wars (TM) & (c) Lucasfilm Ltd. (LFL) 1977. All Rights Reserved.) Terminator 2: Judgment Day The Terminator and Terminator 2: Judgment Dayboth vividly dramatize the problems of that famous cyborg, Arnold Schwarzenegger. Both films are action thrillers, the latter probably the most expensive film ever made. (Courtesy of Carolco Pictures Inc. Terminator (TM) 2 : Judgement Day (c) 1992 Carolco Pictures Inc. / Carolco International Inc. All Rights Reserved.) The Day of the Triffids The Day of the Triffids (Security Pictures/Allied Artists, 1963) is typical of the British disaster story: a tale of ordinary folk coping with an unearthly calamity by behaving sensibly. The scenes of the monstrous triffids on the attack, however, recall the more florid monster movies of Hollywood. (Courtesy of Impact Entertainment Inc. (c) Impact Entertainment Inc.) The War of the Worlds Updated Martian war machines attack Los Angeles in The War of the Worlds (Paramount, 1953), which boasted expensive and superior special effects quite different from those described in the H.G. Wells novel. Few SF films of the time were in color, so The War of the Worlds was especially 170
    171. memorable. (WAR OF THE WORLDS courtesy of Paramount Pictures. (c) Paramount Pictures) The Little Shop of Horrors Roger Corman's ineffably silly The Little Shop of Horrors (1960) is one of the few monster movies of its day to successfully combine horror and humor, and it has become a cult classic. ( ) Roddenberry, Gene Gene Roddenberry (1921-1991) ( Bettmann. ) 10,000 Years in a Block of Ice 10,000 Years in a Block of Ice by Louis Boussenard Cover: F. Tennyson Nealy, 1898 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif. Riverside. ) Infinity's Web Infinity's Web by Sheila Finch Cover: Bantam, 1985 (Used by permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1985 Bantam Books) Long Mynd, The The Long Mynd by Edward P. Hughes Cover: Baen Books, 1985 (Reprinted with permission of BAEN PUBLISHING ENTERPRISES. (c) 1985 Baen Publishing Enterprises) Keepers of the People, The The Keepers of the People by Edgar Jepson Cover: C. Arthur Pearson Ltd., 1898 ( ) Sunset Warrior, The The Sunset Warrior by Eric Van Lustbader Cover: Doubleday, 1977 (First Edition) illustration by John Cayea (Used by permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1977 Doubleday Books) Wonderful Wizard of Oz, The The Wonderful Wizard of Oz by L. Frank Baum Cover: University of California Press, 1986 illustration by Barry Moser (Illustrator: Barry Moser. Used by permission of the artist. (c) 1986 University of California Press.) Moore, C.L. and Kuttner, Henry Left: C.L. Moore (1911-1987) Right: Henry Kuttner (1914-1958) (University Archives of the University of Southern California. ) Introduction to this Disc The Multimedia Encyclopedia of Science Fiction brings the visual, interactive, and navigational powers of CD-ROM technology to what Frank Herbert called "the most valuable science fiction source book ever written." The first edition of The Science Fiction Encyclopedia (Doubleday/Dolphin Books, 1979), edited by Peter Nicholls, was immediately recognized as the standard single-volume reference in its field and won the Hugo Award as the best SF nonfiction book of the year. The second edition, The Encyclopedia of Science Fiction (Little, Brown, 1993), edited by John Clute and Peter Nicholls, represented a major update and vast expansion of the original work, virtually doubling the amount of information. The Clute/Nicholls opus was awarded another Hugo Award for nonfiction.The second edition of ESF provides the foundation and framework of this CD-ROM. An organic metaphor may be more appropriate than an architectural one, however, as the original text has taken on qualities of a growing, breathing life-form. To begin with, the editors have 171
    172. contributed another major revision of their text. Their work for this project has included the updating of existing articles for important dates and developments through 1994 and into 1995, the addition of scores of new articles on contemporary SF subjects, and the correction of errors brought to their attention by colleagues and the reading public. The nature and extent of their revisions are detailed in the "Authors’ Introduction to the CD-ROM Edition."The animate quality of the text lies also in the extensive network of cross-references, "see also" citations, and other editorial conventions that interconnect the entire body of information. The application of database and hyperlinking technologies enables the user to circulate among the articles with the click of a mouse. The ease and speed of accessing related information makes it possible to research a subject, follow one’s curiosity, or just plain browse as never before possible. Combining a thorough and elegantly constructed body of knowledge with the power of computer technology brings science fiction to life, we think, in a kind of Frankensteinian marvel.Adding sound, pictures, and video was like endowing the creature with human senses. The subject matter itself presented an endlessly tantalizing range of possibilities-far greater than time, disc space, or some rights holders would allow. As a kind of guiding principle, it was decided that the multimedia content of the disc should do justice to the richness, variety, and true-fan spirit of the original Clute/ Nicholls work. The result, we think, is an encyclopedic collection of book, magazine, and fanzine covers (over 1,500); author portraits (over 350); movie stills and posters; vintage Hollywood "trailers"; and videotaped interviews with top SF writers. Every piece of photography, sound, and video is linked to related encyclopedia articles for direct access, and they are all collected for leisurely browsing in the Gallery feature.Yet another vital organ of this multimedia creature comes in the form of book synopses-critical summaries of more than 300 science fiction classics, from The War of the Worlds to The Martian Chronicles and Red Mars-as they appear in Anatomy of Wonder (R.R. Bowker, 5th ed., 1995), another work once nominated for a Hugo Award. The synopses are made available by special arrangement with the publisher.For the creators of this disc, database technologies presented a further opportunity: to organize all the text and multimedia material in some sensible, navigable, compelling way. The question, really, was how to "organize" science fiction-a notion anathema to SF and its fans, perhaps, but an exercise vital to the creation of a quality CD-ROM. The answer, of course, was multifaceted. Science fiction and its media artifacts can be catalogued any number of ways, several of which are made operational in this disc: alphabetical, thematic, chronological, and by media type. From the opening screen graphic, the user has access to several navigational modes and content constructions:Archives-The Archives mode enables the user to access the core content of the encyclopedia-more than 6,000 articles and cross-references (with associated media)-quickly and easily. By selecting"All Articles" from the Info Region, the user is presented with a complete list of articles in alphabetical order. Scrolling to the desired article, highlighting it, and clicking the mouse button will call up the article and present it on the screen.Other categories in the Archives enable the user to narrow their search or browse in five major article groupings. (These represent a clustering of the 12 categories identified by Clute and Nicholls in "Notes on Content,"). The five, broadly defined categories contain articles on the following 172
    173. subjects:Authors-writers, editors, bibliographers, poets, critics, screenwriters, and the pseudonyms;Themes & Terms-the common themes, genres and subgenres, and lexicon ofSF, from "Absurdist SF" to "Zombies";Films & TV-movies, television shows, radio programs, film-makers, directors,producers, and special-effects creators;Publications & Art-magazines, books and book series, anthologies, fanzines, comics, games, fictional characters, illustrators, animators,and theater and set designers;SF Community-book and magazine publishers (companies and individuals),scientists and scholars, awards and contests, game companies, writers’ groups, SF in other countries, book and paraphernaliacollections, clubs and associations, and other random subjects.Themes-The Themes mode provides direct access to, and a sub-classification of, the more than 200 theme articles (and related media) described above. All theme articles are classified in at least one of the five following "superthemes": Time, Space, Life Forms, Science & Technology, and About SF. For example, the articles on "Aliens" and "Cyborgs" can be accessed by clicking on Life Forms; "Worm Holes" and "Neutron Stars" by clicking on Space; and "Women SF Writers" and "Comics" by clicking on About SF. In addition, each of the five major categories is introduced by a special "Theme Video" and includes video presentations of conversations with top SF writers about related subjects.Time Machine-The Time Machine is a graphic timeline of science fiction, highlighting landmark events in the history of the genre. Literary, cinematic, and other classic works are shown in chronological context, with contemporaneous events in world politics and technology. Also embedded in the Time Machine are short audio-anecdotes about science fiction through the decades-the personalities, behind-the-scenes tales, and social influences that have helped create the unique folklore of SF.Book Browser-The Book Browser brings together more than 300 summaries of SF literary classics. Included with each summary are basic information about the work-such as the author, publisher, and copyright date-and a synopsis of the story and its major themes. Directly accessible from many of the summaries are a photo of the book cover and, in some cases, a taped interview with the author or an author photo portrait.Gallery-The Gallery is a fully indexed, easily searched collection of all the pictures, sounds, and video available on the disc. Selecting "All Media" from the control panel will present an alphabetical list of the complete offerings. To narrow the search (or browsing session), the user can select "Author Sound Bites," "Author Videos," "Books/Magazines,"" Movie Clips & Stills," "Portraits," or "Theme Videos."The various methods of classifying articles and media are admittedly arbitrary in design and execution. Defining "superthemes" and pigeon-holing theme articles both require subjective judgments with which thoughtful readers inevitably will disagree. The true science fiction fan may also disagree, just as frequently and just as strongly, with the inclusion of some media materials and the omission of others. Even the written and verbal content of this "encyclopedia" should not be mistaken as objective in character or intent. The articles, book synopses, and taped interviews may incur the wrath of SF readers for their critical judgments and interpretive assumptions no less than any other materials.The mad Frankensteins of this disc not only recognize the controversial character of their work, they embrace it. They loose their creation upon the SF community, fanatics and neophytes alike, with every expectation-indeed every hope-that it may spark a powerful response, whether love or rage. It may lurch and heave, but we think... it’s alive! 173
    174. Let us know what you think. Intro to the CD-ROM Edition This CD-ROM edition of The Encyclopedia of Science Fiction differs from the 1993 book text in two ways. 1) We have corrected all the 1993 errors which we have ourselves discovered, or which have been brought to our attention through the ongoing conversation we have been privileged to conduct with scores - more like hundreds - of correspondents and colleagues. We have also added information such as dates where we had missed them, or where they had not previously been brought to light. 2) We have updated the body of the work from mid-1992 to approximately the end of 1994 (a few important 1995 dates and items have been admitted as well). There are approximately 25,000 words of new entries, ranging over the entire range of the book; and (we can only make a guess at this point, as these new words have been woven into the texture of the existing book) perhaps as many words again added to update previous entries. The areas of the book in which the updates are concentrated are Authors, Awards, Films, Magazines, Television and some Themes. As the 1993 book edition was probably closer to 1,350,000 words than the 1,300,000 we calculated hurriedly at the time, this brings the total length of the book to around 1,400,000 words.A book like this can only be truly and happily successful if it is understood to be part of this ongoing conversation about the field. Our debts to all those who have taken part in this conversation are as before; only larger. We would like, too, to thank all those who voted for us in the many awards, including the Hugo, which the 1993 book edition won.We intend to continue revising and updating our sf data with future editions. As before, so now, we deeply appreciate all the help we can get. Letters can, of course, be sent via our publishers; or suggestions and corrections about author entries can be sent directly to John Clute, 221 Camden High Street, London NW1 7BU, England, and about all other entries to Peter Nicholls, 26A Wandsworth Road, Surrey Hills, Victoria 3127, Australia.John Clute and Peter Nicholls, May 1995 Notes on Content From The Encyclopedia of Science Fiction, John Clute and Peter Nicholls, eds.In the book editions of this encyclopedia we laid out frankly what was included and what we had chosen to leave out. Let us do so again, by examining one at a time the various subcategories (authors, themes, magazines, films, etc.) into which, for administrative purposes, we have normally divided the work when discussing its structure.1. Authors In the beginning it seemed very simple. In late 1976, as the first edition of this encyclopedia began to take shape, we decided that we would give an individual entry to any writer who published a book of sf in English before the beginning of 1978, as well as entries to some authors who had never published a book of their own. We had no idea how huge a task we had taken on, though it did not take us more than a couple of months to discover that our goals were unattainable.Very soon we decided that, even with English-language book authors, we would have to exercise some discretion. We would have to exclude some authors of genre sf who seemed to have made no impact on the field in general; generally speaking these authors had published only one book and were not expected to publish any more (we did not treat authors who had only recently published a first book as one-book authors in this sense). And we would exercise a similar (though less easily defined) control over non-genre sf authors as well, especially those who wrote prior to the 20th century.Genre sf, by 174
    175. definition, had reasonably distinct boundaries, and we were able to be pretty sure (errors aside) that we had covered the territory. Non-genre sf was, however, another matter. Because many of the research aids we now take for granted had not yet been published in the mid-1970s, we only slowly discovered the hugeness of the world of non-genre sf, and how remarkably difficult it was going to be to know when to stop looking for authors who merited inclusion. In fact we never did stop finding previously unsuspected sf books of interest by non-genre writers, and we probably never will. By the time we ceased adding entries to the first edition, we found that we had given as many entries to non-genre writers as to genre ones, although our central focus on genre sf meant of course that we paid far more attention to writers like Isaac Asimov and Robert A. Heinlein than to literary figures (some major, like Vladimir Nabokov) who made occasional use of sf devices. In the end, taking Authors, Editors and Critics together, we had a total of 1817 entries on individual writers in the 1979 edition.For the second 1993 edition we eliminated about 50 of these writers, on several grounds, all of which apply also to more recent candidates for inclusion:1. Because of the increasingly book-oriented nature of written sf, we with reluctance decided not to give entries to writers who have not yet published a book of their own; individual stories by these writers will of course be referred to in the relevant Theme entries.2. Some fantasy writers, we have come to feel, did not in fact have enough impact on the sf world to warrant an entry.3. We no longer knowingly include writers whose books have been solely published by vanity presses.4. We no longer give individual entries to authors none of whose books in other languages have been translated into English (these authors are of course treated in Country entries.5. We eliminated a few routine one-book authors.Having by these means reduced the total to below 1800, we then added more than 1100 new entries to the 1993 book edition. The new total of Author entries was 2900+.Some of the new entries are devoted to authors we missed the first time around: some were culpably omitted, and some were authors neither we (nor anybody else then in print) had known were responsible for sf books, but most were authors of works in subgenres associated with sf, which we now cover more thoroughly (see below). However, more than half of the new entries are devoted to authors who published their first book after the beginning of 1978. Some writers whose impact has been negligible have been excluded deliberately, just as in 1979; and almost certainly there will be others who have been excluded in error. And we have had some new things to think about, too. There has been a huge growth, for instance, in ties of all sorts, including a large number of shared-world productions. We have excluded very few sf authors who have solely written books tied to shared-world endeavours (like STAR WARS or STAR TREK), but we have excluded some authors solely of books tied (for instance) to films (novelizations), to fantasy role-playing games and also choose-your-own-plot format game books. Although we do not feel it desirable (or possible) to give an entry to every writer of sf for children, we are now much more inclusive in our coverage, leaving out mainly (it is an area extremely difficult to define) authors of sf written specifically for younger children. Finally, although the number of entries for non-genre sf writers has grown very considerably, we remain very conscious of the impossibility of definitively covering an area whose boundaries cannot be defined (but see below for genres and subgenres which, although affiliated to sf, are not sf as we understand the term). 175
    176. These caveats and exclusions are, we recognize, numerous enough to give us considerable latitude in our selection of authors to include or leave out. Within these terms, however, we have attempted to give an individual entry to every writer who has published an (inarguably) sf book in English - or had one translated into English - before the beginning of 1992.In selecting fantasy and supernatural-horror authors for inclusion, we have attempted to restrict our coverage to those authors whose works have had some significant influence on the complex webs that bind the three genres together, or whose work contains many elements of rationalized fantasy or horror. In the first category, it is obvious that, the earlier a writer is, the more likely it will be that his or her work has had time to affect the world (and the genres) around him; and we have therefore given entries to writers like Algernon BLACKWOOD, James Branch CABELL, Lord DUNSANY, E.R. EDDISON, Robert E. HOWARD, H.P. LOVECRAFT, George MacDONALD and J.R.R. TOLKIEN.The second category is infinitely debatable, and it is here that subjective judgements have had to come into play. Much fantasy and horror makes use of idea-clusters (or tropes or motifs) that are also fundamental to sf. The four most important are perhaps ALTERNATE WORLDS, MONSTERS, PSI POWERS, and TIME TRAVEL. These tropes are commonly used as magical facilitating devices or threats, but sometimes they are given sufficient logical cohesion and grounding as to be readable in sf terms; indeed, MAGIC itself - as often in John W. Campbell's magazine UNKNOWN - can be treated like this. But we have entered the borderlands, where nothing can be finally and entirely clear. A particularly common feature of fantasy (for instance) is time travel accomplished by fantastic means, as in several tales by the significant children's author E. Nesbit; we do not regard such books as sf. At the same time we do regard Mark Twain's A Connecticut Yankee in King Arthur's Court (1889), in which time travel is also accomplished by fantastic means, as an important sf text. We do not (for instance) give entries to such exemplary writers of horror fiction as Clive Barker, Ramsey Campbell, James Herbert, Thomas Ligotti or Peter Straub, even though we are aware that an occasional sf trope makes its way into their pages; we do give entries to Charles L. GRANT and Whitley STRIEBER, though primarily for their post-HOLOCAUST novels. Many popular fantasy writers, like Craig Shaw Gardner and Robert Jordan, have been left out; while others, like David GEMMELL and Barbara HAMBLY, have entries because we judge their work to be sufficiently akin to sf. When we have erred in making these decisions, we hope that we have done so on the side of inclusiveness.In our treatment of authors (most of them dating from the late 19th and early 20th centuries) who specialized in subgenres associated with the development of genre sf (but not usefully defined as being themselves early sf), we do not pretend to be comprehensive. We do not attempt to provide entries for all authors of lost-world novels, fantastic voyages, prehistoric romances, future-war tales, occultist stories set on this or other worlds, stories of possession and split personality, tales of reincarnation and immortality, contes philosophiques and utopias, especially utopias set in the present day. But the last decades have seen an enormous increase in the field's understanding of the intersecting genres that helped shape modern sf, and we now have a much better idea of the amount and variety of early sf and its siblings. We have therefore very considerably increased our author coverage in these areas.In our treatment of authors (most of them writing after WWII) who make occasional use of sf devices to propel plots set in an undated near 176
    177. future, we have been highly selective, for most of these books are neither written nor read as sf, and do not reward any attempt to incorporate them as sf or sf-ish, though we have given entries to a few (e.g., Ian Fleming). With political thrillers or satires set in an undated near future, we have erred on the side of inclusiveness (Alan Drury, for instance, is given an entry), and do so out of a genuine insecurity as to the sf nature of some political thought.We regret that several factors have persuaded us to drop a feature from the first book edition that we know some found useful: there, we listed all separate, uncollected short stories (when we could locate them) that belonged to a series, as well as all the books in the series. We still list all series books, but we no longer, normally, append uncollected short stories. The main factor is utility: it is now very uncommon for readers to have ready access to the sort of magazine collections that would allow them to find these stories; the shift away from magazine publication towards book publication of recent work - as well as the extensive republication of worthwhile early work in book form - also argues against the inclusion of this feature.So far we have been speaking only about fiction writers. We have been moderately generous, but not comprehensive, in giving entries to editors of sf magazines and sf anthologies (and few editors of only one or two anthologies have been included). More often than not, of course, the issue of inclusion or exclusion does not arise on this score, because many - perhaps most - sf editors have also been sf writers.For critics and scholars and other authors of relevant nonfiction, we have been highly selective. We divide nonfiction authors into two categories:1. Authors about sf. The number of books, pamphlets, chapbooks and so on published about the field is now very large, and authors of only one book about sf may not receive an entry. Nonetheless, the number of "academic" and "bibliography" entries is considerable.2. Authors whose ideas have fed so strongly into sf (for good or ill) that we thought a summary of their work would be useful to readers. They run all the way from Plato to Erich Von Daniken, taking in Immanuel Velikovsky and others en route. We are not at all inclusive about this category. Many writers have been left out, with no imputation intended as to their stature. If the scientist Stephen W. Hawking does not appear while the scientist Freeman J. Dyson does, it is because the latter has given his surname to a concept used widely in modern sf.Author entries were written mostly by John Clute, some in collaboration; Peter Nicholls wrote more than a tenth of them, and Brian Stableford also contributed many major entries. Neither Malcolm Edwards nor David Pringle had time to rework their numerous 1979 entries (although the latter was able to revise his J.G. Ballard entry), and these have been updated by Clute and Stableford. John Eggeling was able to do some revision work on his entries. E.F. Bleiler and Neil Tringham each supplied several new entries. Other contributors of one or more author entries to this work are listed under Checklist of Contributors.2. Themes The theme entries are the connective tissue of this encyclopedia and constitute a quarter of its length. Through them it is possible to derive a coherent sense of the history of sf (itself a theme entry) and of what sf is all about. We are aware, too, of the usefulness of theme entries to teachers and academics, who may wish to use sf stories to throw light on contemporary issues but be at a loss to know which stories or novels would best be chosen for the task. Together, the theme entries form a very detailed lexicon of sf's main concerns, its subgenres, the genres to which 177
    178. it is most closely related, and the terms we use in talking about it. Entries range from ANTIMATTER and ATLANTIS through CONCEPTUAL BREAKTHROUGH, DYSTOPIAS and FUTUROLOGY, via NEAR FUTURE and ORIGIN OF MAN to VENUS, UNDER THE SEA and WEAPONS.The theme entries were a major feature in the first book edition, and loom even larger in the second book edition and here. There is no clear distinction between a theme entry and a terminology entry (see below), but the theme entry is likely to be substantially longer (most over 1000 words, and some over 3000) and to give more examples from actual sf texts. However, many common items of sf terminology (ANDROIDS, ROBOTS, CRYONICS, MATTER TRANSMITTERS, TERRAFORMING and so on) are so important that they warrant a full theme entry.Since the first edition we have upgraded some terminology entries to full theme entries, and reclassified some shorter theme entries as terminology entries. The upshot is that there is a total of 212 theme entries in all. Some new entries relate to recent developments in sf: BIG DUMB OBJECTS, CYBERPUNK, GAMES AND TOYS, GAME WORLDS, GRAPHIC NOVELS, NANOTECHNOLOGY, SHARED WORLDS, SURVIVALIST FICTION, VIRTUAL REALITY and so on; others could well have appeared in the first edition had we thought of them: APES AND CAVEMEN, AWARDS, BALLOONS, CLUB STORIES, GOLEM, HITLER WINS, HOLLOW EARTH, LIBERTARIAN SF, MONSTER MOVIES, POETRY, RURITANIA, SENSE OF WONDER, SLEEPER AWAKES, SMALL PRESSES AND LIMITED EDITIONS, SPACE HABITATS and SUPERHEROES are some of these. Some relate to genre criticism: EDISONADE, HORROR IN SF, PLANETARY ROMANCE, POCKET UNIVERSE, POSTMODERNISM AND SF, RECURSIVE SF and TECHNOTHRILLER are the main ones.Brian Stableford has written 78 theme entries, this being where he has left his profoundest mark on the work, and revised others; Peter Nicholls has written 71; John Clute has written 14. Other theme entry authors include Brian W. Aldiss, Everett Bleiler, Damien Broderick, Professor I.F. Clarke, Robert Frazier, Neil Gaiman, David Pringle, Tom Shippey, and John Sladek.3. Terminology A terminology entry is effectively a short theme entry. This edition contains 65 terminology entries. Most are terms often used in sf, but sometimes found obscure by new readers, like AI, BEM, CORPSICLE, GAS GIANT, ION DRIVE, LAGRANGE POINT, PARSEC, RIMWORLD and TELEKINESIS. Some areterms used in describing sf and associated genres, like BRAID, HEROIC FANTASY, MAGIC REALISM, OULIPO, ROBINSONADE, SCIENTIFICTION, SCI FI, SEMIPROZINE, SHARECROP, SLIPSTREAM, SPECULATIVE FICTION, SPLATTER MOVIES and TIE. There are also entries on certain movements allegedly connected to sf, such as GENERAL SEMANTICS and SCIENTOLOGY. For a full list of terminology entries see TERMINOLOGY. Most terminology entries are by Peter Nicholls, some are by John Clute.4. Science Fiction in Various Countries It would be redundant to give separate entries for the USA and the UK, since sf from these areas dominates the encyclopedia. We do, however, give entries to three other English-speaking countries, Australia, Canada and New Zealand. The entry for Canada is divided into two sections: one for English-speaking Canada and one for French-speaking Canada.This area of the encyclopedia is, relatively, the most expanded from the first edition, and was perhaps the most difficult to put together. Communications difficulties with parts of the world in considerable turmoil have left some entries with an occasional date or translation of title missing. We retain entries for Benelux and Scandinavia (with Denmark and Finland now separate entries), but two other portmanteau entries from the first edition have been broken up, to a degree, into their component nations. There are no longer entries for "Eastern Europe" and "Spain, Portugal and 178
    179. South America" but, as the list below shows, some new portmanteau entries are now included. It should be noted that the Yugoslavia entry was sent to us in December 1990 before that nation began to split into a group of smaller states with a Serbian rump still calling itself Yugoslavia. We decided for ease of reference not even to attempt to divide the Yugoslavia entry into its component nation-states of Croatia, Slovenia, etc.The full list of 27 entries is as follows (new entries asterisked): ALBANIA*, ARABIC SF*, AUSTRALIA, AUSTRIA*, BENELUX (Belgium, Luxembourg, Netherlands), BLACK AFRICAN SF*, BULGARIA*, CANADA, CHINESE SF*, CZECH AND SLOVAK SF*, DENMARK*, FINLAND*, FRANCE, GERMANY, HUNGARY*, ISRAEL*, ITALY, JAPAN, LATIN AMERICAN SF* (primarily Argentina, Brazil, Cuba, Mexico), NEW ZEALAND*, POLAND*, ROMANIA*, RUSSIA, SCANDINAVIA (Sweden and Norway), SOVIET UNION* (more a note than an entry), SPAIN* and YUGOSLAVIA*. All but a handful of these have been written by experts from the areas or nations concerned. We have not attempted to contact scholars from every country. We apologize to Greece, India and all the many other countries where we know some sf exists, but where we did not have the necessary contacts to enable us to codify it. What was approximately 14,000 words in 1979 has been expanded to around 40,000, close to three times the length. The Anglo-American readership must be our first concern; they make up the vast majority of our audience. But we feel that, while we might not have done full justice to sf in non-English-speaking countries, then at least we have outlined, on a scale not previously attempted in an English-language sf reference work, the extraordinary scope of what has now become a truly international literature.All authors - about 300 of them - who receive substantive treatment in the Country entries are cross-referred to there from the rest of the encyclopedia. On the other hand, when a Country entry mentions authors who are well known in English translation and therefore have their own entries, their names are given in CAPITALS, referring readers to those entries, with generally only a brief coverage in the Country entry. Under France, therefore, there is not much about Jules Verne, and in Russia not much about the Strugatski brothers.5. Films Our coverage of films is thorough but not fully comprehensive. Depending on where you draw the boundaries, there may have been 2000 sf films made. There are now around 580 film entries. Sf/fantasy/horror film-making, as readers will know, has become almost the dominant genre in the industry since at least the time of STAR WARS.Dates of films are difficult to establish with certainty. Most written sources give the copyright date, some the date of first release (often a year later), and some appear simply to guess. An examination of the film itself will give only the copyright date, and we have where possible given date of first release, but there are a number of cases, especially with older films, where we cannot be certain of the category into which the date falls.We have included representative films from the fringes of sf, such as near-future thrillers about, for example, a presidential assassination or a technological breakthrough. By far the most important of the fringe subgenres is the rationalize horror film or monster movie (there are many in this CD-ROM) where the monster is provided with a scientific explanation, and, more importantly (as in the case of George A. Romero's zombie films), where the apparently supernatural threat is regarded with a sciencefictional eye. (Can you train zombies? Do they have a society? What will their presence do to existing society?)We count made-for-tv films as film entries rather than tv entries, in part because many US films made 179
    180. for tv have been given theatrical release abroad. Also (like ordinary theatrical movies) many are available on videotape, and not distinguished in the video shop from ordinary movies. There may be some apparent inconsistencies here, because we count tv miniseries as tv series rather than films, even though versions of miniseries - THE STAND,for example - sometimes turn up on videotape or on tv as if they were single films. Made-for-tv films are identified as such throughout. Because their standard is on average lower than that of theatrical films, we do not attempt in this area the same level of comprehensiveness.A word about omissions: most (but not all) sf films exclusively for children are out, hence few Disney films; most foreign-language films with little or no circulation outside their country of origin are out (though many foreign-language films remain in); most superhero films are out (e.g., Spiderman, Batman) unless there is a strong sf rationale (e.g., Darkman); horror movies and monster movies that effectively rely on the supernatural are out (e.g., Wolfen, Nightwing, Gremlins); time-travel accomplished by fantastic means is usually out (e.g., Biggles, The Navigator: A Medieval Odyssey, Peggy Sue Got Married, Somewhere in Time, Time Bandits); apart from the great originals, films about monsters made from body parts are out, especially if jokey (e.g., most post-war films in the Frankenstein series, The Incredible Two-Headed Transplant); most Bigfoot films are out (e.g., Legend of Boggy Creek); most ESP thrillers are out (e.g., Eyes of Laura Mars, The Medusa Touch); many future-gladiator, post Mad Max films are out (e.g., The New Barbarians, Steel Dawn, Turkey Shoot, The Salute of the Jugger [vt The Blood of Heroes]); many limp parodies are out (e.g., Attack of the Killer Tomatoes, Class of Nuke 'Em High); many mediocre sequels and remakes are out, or more probably, mentioned in passing (e.g., Critters 2, The Stepford Children). We hope we have given separate entries to all the better sequels and remakes.Readers of sf in the written form, for whom this work is primarily designed, may justifiably feel that films are given undue prominence. After all, we do not discuss individual novels in anything like the same detail given to individual films. On the other hand, the audience for sf cinema is massively greater than that for sf books, and in the light of the huge popular interest in sf films it seemed a thorough coverage was necessary, especially since we enjoy them ourselves. All the same, sf-cinema entries, including those on film-makers, constitute less than 10% of the entire text, though at 110,000 words this makes the film section of this work one of the most comprehensive studies available.All the original 1979 entries (John Brosnan was then the primary contributor in this area) have been thoroughly revised and in many cases wholly rewritten. New film entries are mostly by Peter Nicholls, quite a few by Kim Newman, some by other hands.Theme entries about films are CINEMA, HORROR IN SF (in part), MONSTER MOVIES, SPLATTER MOVIES and SUPERHEROES (in part), all by Peter Nicholls. Relevant magazine entries are CINEFANTASTIQUE, STARBURST and STARLOG. 6. Film-makers There were 19 film-maker entries in the first book edition, or more if one counts such entries as those on Charles BEAUMONT, Michael CRICHTON and Richard MATHESON (and in this edition Alan BRENNERT and Glen A. LARSON) who would have received entries in any case on the basis of their sf work in written form. There are now 34 film-maker entries in all, many written by Kim Newman. The film-maker entries (including some whose work was primarily in television) are Irwin ALLEN, Gerry and Sylvia ANDERSON, Jack ARNOLD, John BADHAM, Charles BAND, James 180
    181. CAMERON, John CARPENTER, Larry COHEN, Roger CORMAN, David CRONENBERG, Joe DANTE, John FRANKENHEIMER, Ray HARRYHAUSEN, Byron HASKIN, Gale Anne HURD, Nigel KNEALE, Fritz LANG, Stanley KUBRICK, George LUCAS, Georges MELIES, George MILLER, Terry NATION, Willis O'BRIEN, George PAL, Gene RODDENBERRY, George A. ROMERO, John SAYLES, Ridley SCOTT, Rod SERLING, Curt SIODMAK, Steven SPIELBERG, Andrei TARKOVSKY, Peter WATKINS and Robert WISE.7. Television As with films, we are thorough without being fully comprehensive. There are about 110 tv entries in all. Most of these entries are for tv series, some for tv miniseries and serials. (Made-for-tv movies we classify as films, as noted above.) We do not include animated tv series for children, such as The Jetsons, with the exception (by popular demand) of the various animated puppet series, like Stingray, made by Gerry and Sylvia Anderson. A fringe area, where we have made decisions which will certainly be seen by some as arbitrary, concerns tv series centering on a Superhero whose powers (generally) stem from some sort of scientific disaster. Thus we do have an entry for The Incredible Hulk, but no entry for The Flash, which we see as a crime show rather than sf. We have been rather niggardly about including serials and miniseries, concentrating primarily on those, like the four Quatermass stories and (much more recently) The Cloning of Joanna May, that have aroused much general interest or are of obviously high quality. We do tend to give entries in cases where there was a film spin-off, or a film of the same title, so as to clear up possible confusion, as with The Trollenberg Terror and Day of the Triffids. We believe there are no omissions at all of live-action tv series for adults in the English language up to 1991 that lasted any length of time and are inarguably sf in content. We also give entries for famous fantasy series with occasional sf content, such as The Twilight Zoneand Amazing Stories. Tv entries for this CD-ROM edition have mostly been written by Peter Nicholls, some by Kim Newman; many surviving from the first book edition are by John Brosnan.8. Magazines We give entries to the most important pulp and other general-fiction magazines that printed sf before the advent of genre-sf magazines in 1926, such as The Argosy and The Strand Magazine; these are listed under ARGOSY and The STRAND MAGAZINE; these are listed under MAGAZINES or PULP MAGAZINES. We include a number of the SUPERHERO and supervillain pulps of the 1930s, like CAPTAIN HAZZARD and DR. YEN SIN; these, too, will be found listed under PULP MAGAZINES. We count in the catch-all magazine category (as opposed to the specialized FANZINE category) maybe 10 critical journals about sf, some wholly academic, like SCIENCE-FICTION STUDIES, and some less so, like SCIENCE FICTION & FANTASY BOOK REVIEW. We also include the most important sf-movie magazines: CINEFANTASTIQUE, STARBURST and STARLOG.But the centrepiece of our magazine entries comprises the fiction magazines, whether fully professional or SEMIPROZINES. We attempt to give entries to all professional sf magazines and semiprozines in the English language, past and current, but will not tempt fate by claiming 100% success in this surprisingly difficult exercise; in the first book edition we claimed (slightly incorrectly) to give entries also to "all fantasy magazines that regularly printed stories by sf authors", but we do not repeat that claim here: the borderland between fantasy magazine and sf magazine is grey; and while we hope to have given entries to all fantasy magazines that extend clearly if occasionally into the sf area, and to some like Unknown that rarely did but nevertheless featured largely in the ethos of the sf community, we have eliminated some entries, like Coven 13, 181
    182. Mind Magic and Fantasy Tales, where the distance from sf magazines proper seems too large. On the other hand, we have resuscitated some candidates not given entries first time around, like magazines of horror, which have a genuine sf relevance, and generally we still include a great many magazines, like Bizarre Mystery Magazine, that were or are fantasy magazines primarily. The line has to be arbitrary, and we do not claim omniscience at generic diagnosis.All magazines can be regarded as anthologies, and the distinction between the two is not nearly as clear as might be thought. In cases where original-anthology series announce themselves as periodicals by being numbered and dated (especially on the cover), and especially when they contain magazine features like letter columns, editorials and so on, they can be regarded as magazines, even if they physically resemble paperback or even hardcover books. Some announce themselves as such, Pulphouse: The Hardback Magazine being one. Further borderline examples are Avon Fantasy Reader (regarded by the fans of the time as a magazine, and so indexed in the standard magazine references by Donald Day and Erwin Strauss), Destinies, Far Frontiers and New Destinies - there are others. The main practical result of this policy is that we do not necessarily separately list every title in such series as we would have done if we regarded them as original-anthology series proper.There is a total of about 240 fiction-magazine and critical-journal entries. Some of these single entries cover two magazines with identical titles, so about 250 magazines are given entries. We do not generally give entries to foreign-language magazines, though a good many of these are cross-referred to the relevant Country entry. Most magazine entries were written by Brian Stableford, Peter Nicholls, Frank Parnell, Greg Feeley and Malcolm Edwards. It is no longer the case that our encyclopedia gives the most comprehensive magazine coverage (see the reference book by Marshall Tymn and Mike Ashley), but it is certainly the most comprehensive in a work not exclusively devoted to the topic.9. Fanzines There are 36 entries devoted to individual fanzines, this branch of amateur publishing being of central importance to the history of the sf community. (Data on an additional dozen or so titles are available by following up cross-references, title changes being common in fanzine publishing.) However, we have been highly selective, concentrating on fanzines that have generally been quite long-running and which have as part of their content some serious comment on sf, as opposed to general news or gossip. There is a very thin line between fanzines and critical journals on the one hand, and fanzines and semiprozines on the other, so our count of 36 might be higher or lower than another's. Most of these entries were written by Peter Roberts (first edition), Rob Hansen and Peter Nicholls.10. Comics Comic books and comic strips are taken more seriously by many more people now than was the case a decade ago, partly as a result of artistic developments in the field. We have reflected this widespread interest by expanding the size and number of entries dealing with both historical and contemporary sf comics. The two main theme entries dealing with comics are COMICS and GRAPHIC NOVELS; a third entry, SUPERHEROES, deals primarily with comics, films and tv. We have entries on three comic-book publishers, DC COMICS, EC COMICS and MARVEL COMICS. The entries on comics titles and comics characters are ALLEY OOP, AMERICAN FLAGG!, BARBARELLA, BRICK BRADFORD,BUCK ROGERS IN THE 25TH CENTURY, CAPTAIN MARVEL, CONNIE, DAN DARE - PILOT OF THE FUTURE, FLASH GORDON, GARTH, HEAVY METAL, JEFF HAWKE, JUDGE DREDD, LEGION OF SUPER-HEROES, LOVE AND ROCKETS, METAL HURLANT,MISTER X, NEXUS, SUPERMAN, 182
    183. SWAMP THING, TEENAGE MUTANT NINJA TURTLES, 2,000 A.D., WATCHMEN and X-MEN. Entries on writers and illustrators primarily associated with comics are Neal ADAMS, Enki BILAL, Vaughn BODE, Brian BOLLAND, Chester BROWN, Charles BURNS, Dick CALKINS, Howard CHAYKIN, Chris CLAREMONT, Richard CORBEN, Philippe DRUILLET, Dave GIBBONS, Jean GIRAUD (also known as Moebius), Frank HAMPSON, Jack KIRBY, Stan LEE, Winsor McCAY, Dave McKEAN, Lorenzo MATOTTI, Frank MILLER, Gray MORROW, Alan MOORE, Katsuhiro OTOMO, Alex RAYMOND, Bill SIENKEWICZ, Dave SIM, James STERANKO, Osamu TEZUKA and Wally WOOD. That makes 59 strongly comics-oriented entries. There are of course many further entries on artists we think of primarily as sf book and magazine illustrators, but who also worked in comics, such as Frank FRAZETTA. Many entries on writers and editors include discussion of their work in comics. These would include Alfred BESTER, Eando BINDER, James CAWTHORN, Gerard F. CONWAY, Gardner F. FOX, Neil GAIMAN, H.L. GOLD, Ron GOULART, Edmond HAMILTON, Harry HARRISON, Michael MOORCOCK, Philip Francis NOWLAN, Julius SCHWARTZ, Mort WEISINGER, Manly Wade WELLMAN.The majority of comics entries were written by Ron Tiner and Steve Whitaker; but nine other contributors have also written some.11. Illustrators We include no entries for "gallery" artists like John Martin (1789-1854) whose work occasionally (with hindsight) included sf themes: the END OF THE WORLD in Martin's case. We restrict ourselves to GENRE-SF artists whose sf illustrative work is most closely associated with magazines and books, though some have also worked in films, record covers or calendars. There is some cross-over between the SF-Illustrators category and the Comics category; several artists listed above under Comics, like Gray Morrow and Wally Wood, worked also for the sf magazines. There are 65 entries in this category, aside from artists listed under Comics and occasional artists (e.g., Fred T. JANE, Keith ROBERTS) who would have appeared in this volume anyway for their fiction.Most illustrator entries were written by Jon Gustafson, the majority in collaboration with Peter Nicholls.The 64 SF-Illustrators entries are George BARR, Wayne BARLOWE, Earle K. BERGEY, Hannes BOK, Chesley BONESTELL, Howard V. BROWN, Margaret BRUNDAGE, Jim BURNS, Thomas CANTY, Edd CARTIER, David A. CHERRY, Mal DEAN, Roger DEAN, Vincent DI FATE, Leo and Diane DILLON, Elliott DOLD, Bob EGGLETON, Edmund EMSHWILLER, Stephen E. FABIAN, Virgil FINLAY, Christopher FOSS, Frank FRAZETTA, Frank Kelly FREAS, Robert FUQUA, Jack GAUGHAN, H.R. GIGER, Richard GLYN JONES, James GURNEY, David HARDY, Eddie JONES, Josh KIRBY, Roy G. KRENKEL, Paul LEHR, Brian LEWIS, A. LEYDENFROST, Angus McKIE, Don MAITZ, Rodney MATTHEWS, Ian MILLER, Leo MOREY, Paul ORBAN, Frank R. PAUL, Bruce PENNINGTON, Richard M. POWERS, Gerard A. QUINN, Anthony ROBERTS, Albert ROBIDA, Hubert ROGERS, ROWENA, Rod RUTH, J. Allen ST JOHN, Charles SCHNEEMAN Jr, John SCHOENHERR, Alex SCHOMBURG, Barclay SHAW, Rick STERNBACH, Lawrence Sterne STEVENS, Darrell SWEET, Karel THOLE, Ed VALIGURSKY, Boris VALLEJO, VAN DONGEN, H.W. WESSO,Michael WHELAN, Tim WHITE.12. Book Publishers We have expanded our coverage of mass-market and general publishers with strong sf lines, while continuing our coverage of specialist sf publishers. The result, if these are read together with the publishing and small presses and limited editions theme entries, is a history (not comprehensive) of post-war publishing of sf books and also books about sf. Publisher entries are ACE BOOKS, ADVENT PUBLISHERS, ARKHAM HOUSE, ARNO PRESS, BADGER BOOKS, BALLANTINE BOOKS, BANTAM BOOKS, BLUEJAY, BORGO PRESS, CURTIS WARREN, DAW BOOKS, DEL REY BOOKS, DOUBLEDAY, ESSEX HOUSE,FANTASY PRESS, FANTASY PUBLISHING COMPANY INC., FAX COLLECTORS 183
    184. EDITIONS, GARLAND, GNOME PRESS, GOLLANCZ, GREENWOOD, GREGG PRESS, HADLEY PUBLISHING COMPANY, HYPERION PRESS,LASER BOOKS, MIRAGE PRESS, PRIME PRESS, ROBERT HALE LIMITED, SCIENCE FICTION BOOK CLUB, SHASTA PUBLISHERS, STARMONT HOUSE, TIMESCAPE,TOR BOOKS, UNDERWOOD-MILLER and MARK V.ZIESING. There are 35 entries in this selective list.13. Original Anthologies The most important location, after the magazines, of sf short fiction - sf being one of the few forms of fiction where the short story and the novella are still very much alive - is in original anthologies (anthologies of stories not previously published). There are some hundreds of these, far too many to list individually. We do, however, give entries to English-language original-anthology series devoted to genre-sf stories, provided that the series contains three or more books. One or two such series may have slipped our net, but we believe we have caught most of them. We do not, however, give entries to shared-world original-anthology series, though we make an exception for wild cards and some more are listed under games workshop. When an original-anthology series like Destinies or Pulphouse: The Hardback Magazine describes itself as a magazine, even though it is in book form, then we list it under Magazines. The Original-Anthology entries were mostly written by Malcolm Edwards (first edition) and Peter Nicholls (subsequent editions).14. Awards There will always be argument as to the true significance (if any) of sf awards, but it is obviously necessary to give the most important, and to list all their winners. The general question of awards is discussed under AWARDS, which also lists the 11 major awards, notably the HUGO and the NEBULA, that receive their own entries.15. Miscellaneous There remains a residue of bits and pieces, mostly about sf organizations (Clarion SCIENCE FICTION WRITER'S WORKSHOP, SCIENCE FICTION FOUNDATION, SCIENCE FICTION RESEARCH ASSOCIATION, WORLD SF and others), sf fandom (APA, CONVENTIONS, FANDOM, FAN LANGUAGE, FANZINE, FUTURIANS and others) sf COLLECTIONS (four of these), different publishing formats (BEDSHEET, DIGEST, etc.), and even a couple on characters like CAPTAIN JUSTICE. There are 30 miscellaneous entries, some of the fannish ones originally by Peter Roberts and revised by Rob Hansen, most of the rest by Nicholls. Intro to the 2nd Book Edition From The Encyclopedia of Science Fiction, John Clute and Peter Nicholls, eds.The first edition of The Encyclopedia of Science Fiction won a Hugo Award as best nonfiction sf book of its year, and immediately became the standard one-volume reference in the field. However, as the years passed, its usefulness diminished as it fell slowly out of date. That first edition was completed in June 1978, and published in 1979. This is its second edition, from new publishers. It has been not only updated, but also wholly revised and almost wholly rewritten. In effect it is a new book, and we believe it is a better one. It is certainly very much bigger. Excluding straightforward cross-reference entries, the first edition contained approximately 2800 entries; measured on the same basis, this new edition contains over 4360. The first edition was approximately 730,000 words long; this new edition is approximately 1,300,000 words long. In addition to the 4360+ entries, it contains around 2100 cross-reference entries.The first edition was written faster than any of us were comfortable with (about 20 months); this edition took two years to write, a tight timetable, but manageable in part because of the technology of computer wordprocessing. The book has been typeset from computer text generated by the editors. The three senior editors - John Clute, Peter 184
    185. Nicholls and Brian Stableford - were the same three who were primarily responsible for the first edition, and feel that our mutual familiarity made the task much easier this time round. Moreover, in the late 1970s the number of secondary sources available for cross-checking were comparatively few; now they are many. We continued to use primary sources whenever we could locate them, which we usually could, but it was a burden removed from our shoulders to have these secondary sources as a back-up. Our Acknowledgments section lists some of those we found most useful.On the other hand, the world of science fiction is much more complex than it was in 1978; genre sf continues to grow and flourish, and its description remains our central task; but genre sf more and more occupies a world which, because of new category and marketing distinctions, is difficult to comprehend at a glance. Game worlds, film and tv spin-offs, shared worlds, graphic novels, franchises, young-adult fiction, choose-your-own-plot tales, technothrillers, survivalist fiction, sf horror novels, fantasy novels with sf centres, and so on - all contribute to a structure that hardly existed in the 1970s. The world of sf is also harder to describe now - not just because it has become more difficult, but because we have begun to discover that it always was. We entered on the first edition with joyful naivete; we are older and wiser now, and we know that the secret history of sf, like the house in John Crowley's Little, Big (1981), is bigger on the inside than the outside, and that the further in you go the bigger it gets. This is by way of apology: for every problem we have put right, two more have raised their heads; every discovery we (and others) make opens vistas which need to be explored. We know our book is neither perfect nor complete.We have tried to cope with the expanding world of sf, and with our expanding perceptions of that world, by including many more theme and terminology entries with - we hope - a clarifying effect. There are, indeed, more entries in every category in the book, not just entries dealing with updatings over the past 14 years, but entries covering the whole body of the genre as we have found out more about it.There is another difference between this edition and the last. The first time Peter Nicholls was where the buck stopped. This time John Clute, Nicholl's Associate Editor in the first edition, is a full and equal partner. There is no seniority on either side, and editorial differences of opinion have been remarkably few. The only problems have been the communications difficulties brought about by Clute working in London, UK, while Nicholls worked in Melbourne, Australia. To simplify matters when we began work (in August 1990) we agreed, like the ancient Romans, to split the Empire. Clute, who for several years has been updating a bibliographic data bank, took charge of author entries; Nicholls took charge of the rest. This system (which to a degree reflects what happened in practice on the first book, too) works out at about half the book each. Each of us, however, has written entries for the other's half, and each of us has checked the other's text. Brian Stableford has been our safety net, and a major contributor in his own right. We have commissioned many new writers (and received a gratifying number of volunteers), some for single and some for multiple entries, but none of these, this time around, has written as many entries as did, for the first edition, Malcolm Edwards - who was with Stableford then a Contributing Editor - John Brosnan and David Pringle; many of their entries survive in this edition, in (almost always) modified form.In this second edition, to a greater degree than in the first, most of the writing - perhaps 85% - is by Clute, Nicholls and Stableford, who 185
    186. despite small disagreements have displayed a critical consensus over a stikingly large range of issues. This means, for good or ill, that the book has a more unified tone of voice than most reference works (whose editors often write only a small proportion of the book themselves). We should point out, remembering charges of Anglophilia made of the first edition by a vocal minority, that only Stableford is English. Paul Barnett, the Technical Editor, is Scottish. Clute is Canadian and Nicholls Australian, and both have spent some years in the USA, whose culture they regard as adoptively an important part of what they are, and central to what sf is.All entries are signed by initials. We do this to give credit where credit is due, and also to apportion responsibility for those cases where the reader may feel that the content of an entry has gone beyond the strictly factual into the judgmental. In the interest of liveliness and readability, we continue to allow, as we did in the first edition, a modicum of explicit critical comment. There is, anyway, no such thing as a purely objective reference work, since the very choice of what is discussed (and at what length) will suggest (to some readers) a value judgment. But here a cautionary note: the length of an entry depends on many factors; we cannot stress too strongly that conclusions drawn by readers about editorial preferences, on the basis of an entry's length, may well be wrong. To restate: opinion has been kept minimal, and in every case it is possible to identify, through the initials used, whose opinion it may be, though this second edition does contain many more examples of entries signed by two, three or even four initials than did the first. Some of this results from editorial modification of existing entries whose authors in many cases were not able to revise their own entries; some entries were collaborative from the first. The first initial given is generally that of the primary contributor. However, even though every entry is signed, there is a real sense in which this volume is a team effort, not least in that each entry has been scanned by at least four readers apart from its author, resulting often in the incorporation of uncredited suggestions and corrections.The final manuscript (on computer disk, not paper) of this encyclopedia was completed in mid-August, 1992, though some subsequent modifications (and small factual additions relating to awards, deaths and so on) continued to be made up to the last possible moment.This is intended as a book to be dipped into or read for pleasure, not merely as a reference source for data. Serendipity may bring curious and pleasing conjunctions of entries together; an elaborate system of cross-references is designed to allow the reader to weave zigzag trails from entry to entry, constructing interrelations - sometimes surprising - as they go. We see this book as more than merely an encyclopedia of sf; it is a comprehensive history and analysis of the genre.John Clute and Peter Nicholls, November 1992 -C- 11475 sfg0040.t 7859 CAY 4557 More's Utopia Thomas MORE's (perhaps ironic) description of an ideal society was the beginning of the literature of UTOPIAS, a word More coined. Utopian societies flourished in early SF. Godwin's The Man in the Moone Francis GODWIN's account of a voyage to the Moon and the utopian society 186
    187. that exists there is one of the first accounts of space travel in fiction. See Also: SPACE FLIGHT Swift's Gulliver's Travels Jonathan SWIFT's account of Captain Gulliver's four voyages to bizarre alien societies was SATIRIcal in intent, but had a great influence over several traditions of subsequent SF. Voltaire's Micromegas VOLTAIRE's account of two aliens' trip to Earth (and their commentary on what they see) is one of the first stories to present humanity as unimportant in the cosmic scheme of things. Shelley 's Frankenstein Despite its GOTHIC elements and overt philosophizing, Mary Wollstonecraft SHELLEY's novel contains the major elements of science fiction. It contributed enormously to SF's development.See Also: FRANKENSTEIN Seaborn's Symzonia Adam SEABORN's tale, Symzonia: A Voyage of Discovery, is both the first American utopian novel and the first novel to dramatize the HOLLOW EARTH theories popular in the early nineteenth century. The Moon Hoax The New York Sun publishes accounts of life on the MOON, as seen through a powerful new telescope. This famous hoax remained popular for decades, and inspired other fantastic tales. Poe's Arthur Gordon Pym Ostensibly a FANTASTIC VOYAGE to the Antarctic (then almost wholly unknown), Edgar Allan POE's The Narrative of Arthur Gordon Pym also plays with the HOLLOW EARTH theme. Both remained popular subjects in nineteenth century SF. Hawthorne's Rappaccini's Daughter Much of Nathaniel HAWTHORNE's fiction contains GOTHIC or PROTO SCIENCE FICTION elements. "Rappaccini's Daughter", which is SF, is one of the finest nineteenth century American short stories. Journey to the Center of the Earth The most famous of the nineteenth century HOLLOW EARTH stories, Jules VERNE's novel invests its expedition with a sense of exploration and wonder.See Also: JOURNEY TO THE CENTER OF THE EARTH Verne 's From the Earth to the Moon The first attempt to propose a realistic space voyage, Jules VERNE's novel helped move SF from the realm of fantasy into rational speculation.See Also: SPACE FLIGHT; FROM THE EARTH TO THE MOON. Verne 's Twenty Thousand Leagues Although primitive submarines had existed since the eighteenth century, Jules VERNE's Twenty Thousand Leagues Under the Sea was the first book to exploit the dramatic potential of undersea exploration.See Also: UNDER THE SEA. German Invasion genre George T. CHESNEY's The Battle of Dorking inaugurates the" German INVASION" genre of British SF, which remains popular right up to the outbreak of World War I. Greg's Across the Zodiac Percy GREG's Across the Zodiac: the Story of a Wrecked Record combines numerous nineteenth century conventions - ANTIGRAVITY, the communist 187
    188. UTOPIA, and the manuscript of a travel diary - with unusual care and conviction. Stevenson's Jekyll and Hyde Robert Louis STEVENSON combined gothic and SF elements into the archetypal tale of multiple personalities in The Strange Case of Dr. Jekyll and Mr. Hyde, so famous that it has become part of the English language.See Also: PSYCHOLOGY. The first time travel paradox story F. ANSTEY's The Time Bargain, though it contains no time machine or theory of time travel, is the first story to utilize the time travel paradox.See Also: TIME PARADOXES. Wells 's The Time Machine H.G. WELLS 's THE TIME MACHINE, which originated the idea of the time machine, provided a rationale for TIME TRAVEL, until then a fantasy device. Wells 's The War of the Worlds The first novel of an alien INVASION, H.G. WELLS's WAR OF THE WORLDS is closer to its modern successors than to the essential gothic SF of most of the nineteenth century. Wells 's First Men in the Moon Science fiction had not yet discovered space travel as its quintessential theme when THE FIRST MEN IN THE MOON, H.G. WELLS's novel of a modern FANTASTIC VOYAGE, appeared. German invasion spoof England had worried about the military threat posed by Germany for a generation, inspiring dozens of alarmist novels. P.G. WODEHOUSE's spoof, The Swoop! Or How Clarence Saved England: A Tale of the Great Invasion, came only five years before World War I really did break out. The conquest of space coined H.G. WELLS coined the term" the conquest of outer space "in The World Set Free in 1914. At least three books have used it as a title, the most famous being Willy LEY's 1949 work, The Conquest of Space. Lindsay's Arcturus David LINDSAY's 1920 fantasy, A VOYAGE TO ARCTURUS, although forgotten for decades, enjoyed a newfound popularity in the 1970s. Today it is regarded as a classic of science FANTASY. Metropolis opens Like all SF films of its day (and most since) METROPOLIS is unsophisticated in its story, but its exceptional visual power demonstrated SF CINEMA's potential. Stapledon's Last and First Men Perhaps the finest of Olaf STAPLEDON's meditations upon the FAR FUTURE and humanity's destiny, LAST AND FIRST MEN was for a time famous outside the science fiction genre. Taine's The Time Stream Serialized in Wonder Stories, John TAINE's best novel is a sophisticated treatment of TIME TRAVEL innovations and paradoxes; it had an enormous influence on subsequent SF. Huxley's Brave New World Aldous HUXLEY's mordant SATIREon twentieth century scientism, BRAVE NEW WORLD, does not belong to American genre SF, but it had an enormous influence over it. 188
    189. Moore's Shambleau Written when she was twenty-two, C.L. MOORE's first story made her famous in the world of SF PULP MAGAZINES, where she became a major figure for the next quarter century. Weinbaum's A Martian Odyssey Although Stanley G. WEINBAUM died within a few years of publishing this story, its vivid evocation of ALIEN life was deeply influential. Things to Come opens THINGS TO COME, a grandly conceived and big-budget film, was one of the few 1930s films to capture SF's SENSE OF WONDER, as well as its prophetic clunkiness. Stapledon's Star Maker Perhaps Olaf STAPLEDON's finest novel, STAR MAKER offers a breathtakingly panoramic vision of the future which exerted a great influence upon genre SF writers.See Also: FAR FUTURE. Williamson's Legion serialized Jack WILLIAMSON's THE LEGION OF TIME , a tale of alternate futures battling for control, combined melodrama with metaphysics and contributed significantly to the TIME TRAVELtheme. Lewis's Out of the Silent Planet Although it partakes of religious allegory, C.S. LEWIS's novel is true SF, of the British tradition that owed nothing to American pulp magazines. See Also: PLANETARY ROMANCE. Golden Age of SF Although good SF had been appearing in England for some time, the period 1939-46, called "the GOLDEN AGE OF SF", saw the first mature and sophisticated SF from the American pulp magazines. 1st World SF Convention East Coast fans, following up the success of a New York convention in 1938, met the next year, grandly naming the CONVENTION after the World's Fair in progress. Heinlein's first story Robert A. HEINLEIN's first story, written in response to a story contest, but submitted instead to Astounding Science Fiction, won him immediate popularity and launched his career. van Vogt's Black Destroyer A. E. VAN VOGT's first story - a taut melodrama of an alien besieging an unsuspecting spaceship crew - won him immediate and lasting acclaim. Lest Darkness Fall serialized The first sophisticated alternate history in American pulp magazines, L. Sprague DE CAMP's early novel, LEST DARKNESS FALL, contributed enormously to this subgenre.See Also: ALTERNATE WORLDS; HISTORY IN SF. Slan serialized The most famous story of persecuted SUPERMEN in science fiction, SLAN, by A. E. VAN VOGT, invests its ingenuous tale with the dramatic power of wish fulfillment fantasy. The Incompleat Enchanter serialized Humorous fantasy was virtually unknown when L. Sprague DE CAMP and Fletcher PRATTcreated Harold Shea and his series of adventures in alternate mythologies.See Also: ALTERNATE WORLDS. Hubbard's Fear Now famous as the creator of DIANETICS and founder of the Church of 189
    190. SCIENTOLOGY, L. Ron HUBBARDwas first a successful pulp SF writer. Fear and "Typewriter in the Sky" are among Hubbard's best work. Sturgeon's Microcosmic God Theodore STURGEON's tale of a power-mad SCIENTISTand his warring creations has few similarities to his later work, but remains one of the best-remembered stories from SF's GOLDEN AGE. Stars Wars and Close Encounters No one would have predicted at the beginning of 1977 that the sci-fi film would become a blockbuster genre. The runaway successes of STAR WARS and CLOSE ENCOUNTERS OF THE THIRD KIND prompted a boom in SF.See Also: CINEMA. Padgett's Mimsy The SF stories that Henry KUTTNER and C.L. MOORE published under the byline Lewis Padgett were among the finest of the 1940s. "Mimsy Were the Borogroves" is perhaps their finest tale. Wylie predicts atom bomb When Philip WYLIE submitted his story, "The Paradise Crater", to American Magazine, his prediction of an atom bomb got him placed under house arrest. Moore's Vintage Season C.L. MOORE's novella of tourists from the future arriving to watch an imminent catastrophe presages the tone and style of much 1950s SF. Heinlein for young readers Upon returning to writing at the end of World War II, Robert A. HEINLEIN began his enormously successful series of SF novels for young readers, starting with Rocket Ship Galileo.See Also: CHILDREN'S SF. Shasta and Gnome publish American SF was almost entirely published in magazines until after World War II, when several small presses, SHASTAPublishers and GNOME Press, began to publish major writers in hardcover. Orwell's Nineteen Eighty-Four George ORWELL was known as a radical journalist and minor comic novelist when he published his last novel, NINETEEN EIGHTY-FOUR. He did not live to see it become a classic of political SF.See Also: DYSTOPIAS. Vance's The Dying Earth Although Jack VANCE's cycle of stories in THE DYING EARTH are set in a decadent future and are more fantasy than SF, they have had an immense influence upon both SF and fantasy writers. Kornbluth's The Little Black Bag C.M. KORNBLUTH's story of a bag of medical marvels timeslipped from the future is by far his most famous story, and has been adapted to television.See Also: MEDICINE. Leiber's Bad Day for Sales Fritz LEIBERoffers a withering view of American consumerism in "A Bad Day for Sales". Kornbluth's The Marching Morons C.M. KORNBLUTH's story of how eugenics backfires when only intelligent people practice birth control is famous enough to be cited in political arguments.See Also: INTELLIGENCE. The Demolished Man serialized Alfred BESTER's first novel made his name in science fiction, and inaugurated a decade of writing masterful SF. THE DEMOLISHED MAN remains a compelling read after forty years. 190
    191. Vonnegut's Player Piano Kurt VONNEGUT's PLAYER PIANO is a SATIRE on automation and Madison Avenue. It was published as a contemporary novel, but it was reprinted in paperback as SF as Utopia Fourteen. Norton's Star Man's Son Andre NORTON's first SF novel, and in many ways her best, was STAR MAN'S SON, 2250 A.D. . This book served as an introduction to SF for a generation of readers. Sturgeon 's More Than Human Expanded from his 1952 novella "Baby Is Three", Theodore STURGEON's MORE THAN HUMAN is a novel about a group mind and probably the first SF novel to make use of gestalt theory. SF Book Club starts The SCIENCE FICTION BOOK CLUB began in the United States around 1953, published by Nelson Doubleday, Inc. The company was sold to the German company, Bertelsmann, in 1986. Since its beginnings, the Book Club has made many hardcovers available to SF readers. The Space Merchants The first and best of Frederik POHLand C.M. KORNBLUTH's social SATIREs, THE SPACE MERCHANTS is a savage satire of Madison Avenue chicanery, and remains readable today. Tolkien's The Lord of the Rings J. R. R. TOLKIEN had labored for decades on his epic tale of Middle-Earth, which attracted only a modest - if enthusiastic - readership for the first decade of publication.See Also: FANTASY. The Twilight Zone on television Although most of its episodes were fantasy and many were predicated on surprise endings, TWILIGHT ZONE did much to popularize SF in TELEVISION. Keyes's Flowers for Algernon Daniel KEYES's 1959 novelette won the Hugo Award; its 1966 novel version won a Nebula, and the 1968 film CHARLY won Cliff Robertson an Academy Award for Best Actor. Miller's A Canticle for Leibowitz A CANTICLE FOR LEIBOWITZ, Walter M. MILLERJr.'s classic novel of humanity rising from the ashes of nuclear HOLOCAUST, has moved readers from far outside the SF genre. Leiber writes Buck Rogers Fritz LEIBER, unable to make a living by his fiction, spends a year writing continuity for the BUCK ROGERS comic strip. He also writes a Tarzan novel. Stranger in a Strange Land Although Robert A. HEINLEIN's novel won him his third Hugo Award, its real fame came only later in the sixties, when STRANGER IN A STRANGE LAND gained a counterculture following that Heinlein did not especially welcome. The Man in the High Castle Although it was not the first novel in which the Allies lost World War II, Philip K. DICK's THE MAN IN THE HIGH CASTLE was one of the best, and it remains his best-known work.See Also: HITLER WINS. Vance's The Dragon Masters THE DRAGON MASTERS, Jack VANCE's elegant novella of a war fought between 191
    192. factions using biologically engineered "dragons" , remains one of his finest works. New generation of writers Ursula K. LE GUIN, Samuel R. DELANY, Roger ZELAZNY, Thomas M. DISCH, and Keith LAUMER all publish their first stories. All but Delany make their first sales to Amazing Stories. Zelazny's Ecclesiastes Only a year after selling his first story, Roger ZELAZNYpublished" A Rose for Ecclesiastes", one of the finest evocations of SF romanticism. Moorcock editor of New Worlds Michael MOORCOCK took over the editorship of NEW WORLDS in 1964, but it was not until he became publisher in 1967 that the magazine came into its own. Pangborn's Davy "DAVY", Edgar PANGBORN's novel of a POST-HOLOCAUST PASTORAL America, commanded a small but enthusiastic readership for many years and is probably due for revival. Herbert's Dune Published in a small edition by a little-known publisher, Frank HERBERT'sDUNE became a paperback best-seller and one of the most famous novels in the history of SF.See Also: ECOLOGY; SF02925 MESSIAHS. The Lord of the Rings in paperback Although first published in 1954-55, it was only a decade later that J.R. TOLKIEN'sLord of the Rings, issued in paperback, began to reach its enormous audience.See Also: FANTASY. Star Trek on American television Although comfortingly familiar to viewers today, STAR TREK's multiracial crew, with women and an alien on the bridge, seemed dauntingly futuristic in the show's first season.See Also: TELEVISION. Knight's Orbit series One of the first original anthology series in the U.S., ORBIT published much of the best short SF to appear in the late sixties and early seventies.See Also: Damon KNIGHT. Niven's Neutron Star Larry NIVEN's early story set the tone of his Tales of Known Space series, which remains popular thirty years later. Zelazny's Lord of Light Roger ZELAZNY's third novel and almost certainly his best, LORD OF LIGHT is a mixture of SF and mythology that has never been surpassed. Zoline's Heat Death Pamela ZOLINE's famous first story, "The Heat Death of the Universe", has lost none of its freshness since its first appearance in New Worlds in 1967.See Also: ENTROPY. 2001: A Space Odyssey 200L: A SPACE ODYSSEY, Stanley KUBRICK's big-budget, 2 1/2 hour SF epic, struck many as obscure or pretentious upon its first theatrical release, but others recognized it as a strikingly original and ambitious accomplishment. Sladek's Reproductive System The Reproductive System, John T. SLADEK's hilarious novel of self-replicating systems run amok, was first published in the US 192
    193. as"MECHASM"It seems even more timely today than when it was published in 1968. Wilhelm's The Planners Although Kate WILHELM had earlier published mysteries and traditional outer-space SF, her stories dramatizing present-day technological forebodings are widely considered her best. Knight's Masks This dense, allusive story, first published in Playboy, is perhaps Damon KNIGHT's finest short work. Le Guin 's The Left Hand of Darkness THE LEFT HAND OF DARKNESS, Ursula K. LE GUIN's novel of a world whose inhabitants are all of the same sex, won acclaim upon its first appearance and is regarded today as an SF classic. Spinrad's Bug Jack Barron Widely condemned in its time, Norman SPINRAD's BUG JACK BARRON dealt with issues of sexual politics and power fantasies that struck many readers as obscene and depraved. Vonnegut's Slaughterhouse-Five Kurt VONNEGUTlived through the firebombing of Dresden. AndSLAUGHTERHOUSE- FIVE combines autobiography with absurdist fantasy, vividly evoking the subjective experience of war. Star Trek series ends STAR TREK goes off the air, but lives on as a cause for a growing number of Trekkies. Over the next decade the show achieves a greater popularity than it had enjoyed during its original broadcasts.See Also: TELEVISION. Niven's Ringworld RINGWORLD, Larry NIVEN's third novel set in his Tales of Known Space series, is a great success, and helps inspire the enduring vogue for BIG DUMB OBJECTS. Zelazny's Nine Princes in Amber Roger ZELAZNY's 1970-78 series about warring princes in the one true realm is FANTASY rather than SF, but the novels have been popular and influential in both genres. Lem's Solaris in English Stanislaw LEM was virtually unknown in English until the publication of Solaris, still his best-known novel. Within ten years he was the best-known Central European SF writer.See Also: POLAND. THX 1138 THX 1138, George LUCAS's first feature film, began life as a film school project. It was a commercial failure but presaged the visual intensity of SF films. Russ's When It Changed Joanna RUSS published many of her best stories in the early seventies. "When It Changed" and "Nobody's Home" are among her finest. Le Guin wins book award Ursula K. LE GUIN wins the 1972 National Book Award for Best Children's Book for The Farthest Shore. In her acceptance speech, she defends SF and Fantasy. Pynchon refuses book award Thomas PYNCHON's Gravity's Rainbow fails to win the NEBULA, is vetoed for the Pulitzer, and wins the National Book Award, which Pynchon refuses. 193
    194. Le Guin's The Dispossessed THE DISPOSSESSED: AN AMBIGUOUS UTOPIA, is Ursula K. LE GUIN's novel of a society of utopian anarchists and their dialectical struggle for survival against a more powerful industrial culture. It was one of the most widely read political SF novels of the 70s.See Also: MATHEMATICS; ANSIBLE. Haldeman's The Forever War Joe HALDEMAN's gritty account of the unglamorous combat soldier of the future in THE FOREVER WAR can be read as both a reply to Robert A. HEINLEIN's Starship Troopers and a reflection of Haldeman's own Vietnam experience. Varley's Eight Worlds series John VARLEY's Eight Worlds stories, collected in The Persistence of Vision and Picnic on Nearside, were among the most popular of the 70s. Russ's The Female Man THE FEMALE MAN, Joanna RUSS's third novel, was derisively received by most SF reviewers, but it went on to develop a reputation as one of the finest works of FEMINISTSF. Stars Wars and Close Encounters No one would have predicted at the beginning of 1977 that the sci-fi film would become a blockbuster genre. The runaway successes of STAR WARS and CLOSE ENCOUNTERS OF THE THIRD KIND prompted a boom in SF.See Also: CINEMA. Pohl's Gateway Frederik POHL enjoyed a creative renaissance in the mid-70s, writing better than he ever had before. Gateway is widely considered his best novel. Tiptree is Alice Sheldon James TIPTREE, Jr., whose personal reticence was a matter of widespread curiosity, was revealed to be Alice Sheldon, a retired psychologist. The real Enterprise The prototype Space Shuttle is named the Enterprise, after the vessel in STAR TREK. 1st Omni issue First issue of OMNI, the first successful SF slick magazine. Although most of the magazine is devoted to popular science, it becomes a prestigious market for short SF. Star Trek The Motion Picture The long-awaited return of STAR TREK comes as a big-budget motion picture, STAR TREK THE MOTION PICTURE, which devotes enormous energies to dramatizing a surprisingly standard Star Trek story. Space elevator proposed Arthur C. CLARKE and Charles SHEFFIELD both publish novels proposing a space elevator running from Earth to geosynchronous orbit.See Also: DISCOVERY AND INVENTION. The Book of the New Sun After seven years of writing, Gene WOLFE publishes The Shadow of the Torturer. The next three volumes of his tetralogy follow at yearly intervals. Hoban's Riddley Walker RIDDLEY WALKER, Russell HOBAN's first SF novel, is a moving and stylistically inventive post- HOLOCAUST novel and one of the finest in science fiction.See Also: LINGUISTICS. 194
    195. Tor Books publishes first titles Published by the just-founded Tom Doherty Associates, TOR Books became (along with Bantam Spectra) one of the two leading American SF publishers in the 1980s. Timescape Books launched Although it lasted only three years, TIMESCAPE BOOKSpublished a large and distinguished line of important SF books. Thomas's The White Hotel D.M. THOMAS, a British poet who has published SF-tinged poetry in NEW WORLDS and elsewhere, becomes famous with the publication of "The White Hotel". Sterling's Shaper/Mechanist series Bruce STERLING publishes "Swarm" and "Spider Rose", the first stories in his Shaper/Mechanist sequence, which will culminate in his 1985 novel, SCHISMATRIX.See Also: CYBERPUNK. Powers' The Anubis Gates Tim POWERS's The Anubis Gates, a grotesque and colorful fantasy set in Dickens's London, helps inaugurate the STEAMPUNKmovement. Jones's Divine Endurance Gwenyth JONES's DIVINE ENDURANCE, called by some the greatest British SF novel, appears in England. The Terminator opens Based on numerous SF inspirations - including Harlan ELLISON's Outer Limits script, "Soldier" - " THE TERMINATOR" was a remarkably energetic film and a great critical and popular success; it spawned a sequel and numerous imitators.See CINEMA. Heyday of cyberpunk William GIBSON's Neuromancer wins the NEBULA, the HUGO, and the PHILIP K. DICK AWARD. CYBERPUNK enters the mass media. Willis's All My Darling Daughters Connie WILLIS's short fiction won praise and numerous awards in the 1980s. This story, perhaps her most controversial, did not appear in any SF magazine prior to publication in her collection, Fire Watch. Star Trek: The Next Generation Eighteen years after the original STAR TREK went off the air, STAR TREK: THE NEXT GENERATION premieres after a near-frenzy of anticipation. More sophisticated than the first series, it is an enormous success.See: TELEVISION. Simmons's Hyperion Dan SIMMONS published three novels in 1989. HYPERION, the best-known, won the HUGO Award. The Difference Engine The widely anticipated A DIFFERENCE ENGINE brought together SF's two central writers of CYBERPUNK - Bruce STERLING and William GIBSON -in a novel that seemed an epitome of the STEAMPUNK subgenre. Total Recall opens Paul Verhoeven's TOTAL RECALL, a big-budget attempt to combine the popularity of Arnold Schwarzenegger, Piers ANTHONY, and Philip K. DICK, opened in the summer of 1990.See Also: CINEMA. Pynchon's Vineland Thomas PYNCHON publishes Vineland, his first new work in seventeen years. It contains elements of both fantasy and cyberpunk.See Also: FABULATIONS. 195
    196. Swanwick's Stations of the Tide Michael SWANWICK's third novel, STATIONS OF THE TIDE, combines a number of classic SF themes in a dense, fast-moving, and complex story; it won the NEBULA Award. Robinson's Red Mars The first novel of Kim Stanley ROBINSON's expansive and audacious trilogy, RED MARS won the NEBULA Award. Its successor, Green Mars, won the HUGO later that year. Vinge's A Fire Upon the Deep Vernor VINGE's expansive novel, A FIRE UPON THE DEEP, combines SPACE OPERA, CYBERPUNK, and intrigue in a rousing galactic adventure. Willis's Doomsday Book TIME TRAVEL has long been a favorite theme of Connie WILLIS.DOOMSDAY BOOK, her longest work, sends a time traveller to the era of the Black Death. It won the NEBULA and HUGO Awards. Jurassic Park opens JURASSIC PARK, Steven SPIELBERG's film of Michael CRICHTON's novel about resurrected dinosaurs was an enormous popular success, the highest-grossing film of all time. Arslan ENGH, M. J. (Warner, 1976)U.K. title: A Wind From Bukhara 1979Having already defeated the Soviet Union and the United States in battle, Arslan, a charismatic young Asian conqueror, personally oversees mopping-up operations in the American Midwest. Deciding to make a small town in Illinois his temporary headquarters, Arslan at first rapes and terrorizes the citizens, but then seduces them by the force of his personality. This frightening and disconcerting novel features superb character development and fascinating POLITICAL insights. Compare Sinclair Lewis's It Can't Happen Here . Engh's recent novel,Rainbow Man (1993), deals with the theme of personal responsibility in a radically different but equally fascinating manner. And Chaos Died RUSS, JOANNA(Ace, 1970)A castaway on a colony world, whose inhabitants have been taught telepathy by mysterious aliens, picks up the gift himself, but then finds himself alienated from ordinary humans, able to remain sane only among members of what is now his own kind. A determined attempt to examine psi power from a new angle. Compare Arthur Sellings's The Uncensored Man (1964). See also ESP Artificial Things FOWLER, KAREN JOY(Bantam, 1986)It's rare for a new SF author's first published book to be a short story collection, but Fowler's polished tales have had a powerful and immediate impact within the genre. Included are the hysterically funny "The Faithful Companion at Forty," which gives us the truth about the Lone Ranger's relationship with Tonto, as well as such fine pieces as "The Gate of Ghosts,""The View From Venus,""Praxis," and "The Lake Is Full of Artificial Things." Compare Kate Wilhelm's THE INFINITY BOX and other collections. Aegypt CROWLEY, JOHN(Bantam, 1987)Crowley's lyrical and multileveled meditation on time, history, and the nature of narrative may seem a combination of fantasy and contemporary novel, but its inquiry into the meaning of history and the secret significance of the Renaissance places it within a tradition of science that also includes Robert Anton Wilson's work and 196
    197. Thomas Pynchon's The Crying of Lot 49. Pierce Moffett, a thirty-four-year-old academic who has "lost his vocation" and also his university job, moves from Manhattan to the bucolic Blackbury Jambs in the Faraway Hills, where he attempts to write a book about the traces of Hermetic thought, once believed to come from the priest-kings of Egypt ("not Egypt but Aegypt"), that persist in modern life. While Moffett muses about the pyramid on the back of the dollar bill, or why Gypsies are believed to be able to tell fortunes, he becomes involved both with local village life and with the life of Fellowes Kraft, a minor historical novelist of the 40s and 50s whose last, unfinished manuscript Pierce discovers. The novel strongly hints that Pierce, unknown to himself, is a voyager from outside this universe, his original mission forgotten when he took on the torpid garb of physical matter in this gnostic universe. Crowley's very original and beautifully written novel-the first of a planned quartet-continues its tale in Love & Sleep(1994). Both Mary Gentle's Rats and Gargoyles and Michael Shea and Robert Anton Wilson's THE ILLUMINATUS! TRILOGY deal (in very different ways) with some of Crowley's themes. (GF) See also HISTORY IN SF and CONCEPTUAL BREAKTHROUGH Always Coming Home LE GUIN, URSULA K(ROEBER)(Harper, 1985)An elaborate account of the culture of the Kesh-people living in "the Valley" in northern California in a postindustrial future. The main narrative sequence concerns the experience of a girl fathered on a woman of the Valley by an outsider, but there is a great wealth of supplementary detail to set this story in context; the environment, mythology, and arts of the imaginary society are scrupulously described. A fabulously rich work, the most elaborate exercise in imaginary ANTHROPOLOGY ever undertaken, even including a cassette recording. Compare Austin Tappan Wright's Islandia and John Brunner's STAND ON ZANZIBAR . Aristoi WILLIAMS, WALTER JON(Tor, 1992)In the far future, a galaxy-spanning human empire is ruled by the Aristoi, supercompetent geniuses with vast psychic powers and sophisticated technological support. Although the rule of the Aristoi is far from democratic, humanity has achieved unprecedented comfort and harmony under them. When the Aristo Gabriel uncovers a plot to overthrow the system from within, he takes it upon himself to defeat the traitors. This is a beautifully written, morally complex novel, that explores the nature of personal power and its ability to corrupt. Compare Michael Moorcock's The Dancers at the End of Times . See also NANOTECHNOLOGY Ambient WOMACK, JACK(Weidenfeld, 1987)In a future milieu as gritty and dark as that of the cyberpunks, but minus their ubiquitous computer technology, the Dryco Corporation dominates the world through its control of the recreational drug market. The various members of the Dryden family, owners of Dryco, seem to be involved in endless, borderline-psychotic plots to increase their power over the world around them. Later books in the series, not all of which are tightly connected to Ambient, include Terraplane (1988), Heathern (1990), and Elvissey (1993). Womack's books are difficult because he writes in a futuristic slang, much as Anthony Burgess did in A CLOCKWORK ORANGE. See also DYSTOPIAS After Things Fell Apart GOULART, RON(Ace, 1970)A detective pursues a gang of feminist assassins 197
    198. through the eccentric subcultures of a balkanized future United States. The best of the author's many HUMORous SF novels, with a genuine satirical element to add to the usual slapstick. Compare Robert Sheckley's Journey Beyond Tomorrow (1962). Alyx RUSS, JOANNA(Gregg Press, 1976) Variant title: The Adventures of AlyxIncorporates the novel Picnic on Paradise (1968) with four short stories featuring the same heroine. Alyx's native land is the cradle of civilization, where she is an outlaw because her ideas are so far ahead of her time, but in the novel she is snatched out of context to become a time traveling agent charged with rescuing a group of tourists trapped on a resort planet where local politics have turned sour. Clever and lively. Another similar novel is The Two of Them (1978), in which a female agent is dispatched to a quasi-lslamic world where she rescues a girl from a harem. See also FEMINISM Air Wonder Stories Air Wonder Stories, July 1929 / Vol. 1, No. 1 Published by Stellar Publishing Corp. Cover illustration by Frank R. Paul (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of the Estate of Frank R. Paul. (c) 1929 Stellar Publising Corp.) Algol Algol, Summer-Fall 1977 Published by Andrew I. Porter Cover illustration by Richard Powers (M. M. Kavanagh. Courtesy of Andrew I. Porter. (c) 1977 by ALGOL MAGAZINE) Alien Critic Alien Critic, Nov. 1973 / Vol. 2, No. 4 Published by Richard E. Geis Cover illustration by Stephen Fabian (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1973 Richard E. Geis) Amazing Stories Amazing Stories, June 1947 Published by TSR Inc. Cover illustration by Robert Gibson Jones (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of TSR, Inc. (c) 1947 TSR, Inc.) Ansible Ansible, Oct. 1984 Published by David Langford (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1984 David Langford) Ariel: The Book of Fantasy Ariel: The Book of Fantasy, 1977 / No. 2 Published by The Morning Star Press Cover illustration by Frank Frazetta (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. The Morning Star Press. (c) 1977 The Morning Star Press) Arkham Sampler Arkham Sampler, Winter 1949, #5 / Vol. 2, No. 1 Published by Arkham House (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1949 by Arkham House Publishers, Inc.) Astonishing Stories Astonishing Stories, March 1942 Published by Fictioneers, Inc. Cover illustration by H.W. Wesso (Reprinted by permission of Argosy Communications, Inc. (c) 1942 Fictioneers, Inc.) Authentic Science Fiction Authentic Science Fiction, March 1953 Published by Hamilton & Co. (Stafford) Ltd. Cover illustration by Richards (Casey Brown/The Eaton 198
    199. Collection, Univ. of Calif., Riverside. Reprinted with permission of HarperCollins Publishers Limited. (c) 1953 Hamilton & Co.) Avon Fantasy Reader Avon Fantasy Reader, No. 9 Published by Avon Books (Casey Brown/Eaton Collection, University of Calif., Riverside. Shown by permission of Avon Books. (c) Avon Books) All Our Tomorrows All Our Tomorrows by Ted Allbeury Cover: Warner Books/Mysterious Press, 1989 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by permission of Warner Books, Inc. (c) 1989 Mysterious Press. ) Accommodation Offered Accommodation Offered by Anna Livia Cover: Women's Press, 1985 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of The Women's Press, London. (c) 1985 The Women's Press) Atta Atta by Francis Bellamy Cover: A.A. Wyn, Inc., 1953 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. A.A. Wyn, Inc. (c) 1953 A.A. Wyn, Inc.) Atlantida Atlantida by Pierre Benoit Cover: Duffield & Co., 1920 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) And Having Writ. . . And Having Writ. . . by D.R. Benson Cover: Bobbs-Merrill Co., 1978 (First Printing) illustration by Bill Tinker (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Bobbs-Merril Co. (c) 1978 Bobbs - Merrill Co.) American Book of the Dead, The The American Book of the Dead by Stephen Billias Cover: Popular Library, 1987 (First Printing) illustration by Gary Ruddell (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by permission of Warner Books, Inc. (c) 1987 Popular Library, Inc.) Adam Link , Robot Adam Link, Robot by Eando Binder (Otto Oscar Binder) Cover: Paperback Library, Inc., 1965 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside.Paperback Library (c) 1965 Paperback Library, Inc.) After the Cataclysm After the Cataclysm by H. Percy Blanchard Cover: Cochrane Publishing Co., 1909 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Airship Nine Airship Nine by Thomas H. Block Cover: Berkley Books, 1984 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1984 The Berkley Publishing Group Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Aerial Burglars, The The Aerial Burglars by James Blyth Cover: Ward, Lock & Co. Ltd., 1906 illustration by Harold Piffard (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Aleph, The The Aleph by Jorge Luis Borges Cover: Bantam, 1971 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Bantam 199
    200. Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1971 Bantam Books) After the Good War After the Good War by Peter Breggin Cover: Stein and Day, 1972 (First Edition) illustration by Tim Gaydos (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Stein and Day. (c) 1972 Stein and Day) Auroraphone, The The Auroraphone by Cyrus Cole Cover: Chas. H. Kerr & Co., 1890 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Ape of London, The The Ape of London by Frank R. Crisp Cover: Hodder and Stoughton, 1959 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of Hodder Headline, POC. (c) 1959 Hodder and Stoughton) Around a Distant Star Around a Distant Star by Jean Delaire Cover: Jonn Long, 1904 illustration by Alfred Touchemolin (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Asylum Earth Asylum Earth by Bruce Elliott Cover: Belmont Books, 1968 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Belmont Books . (c) 1968 Belmont Books) Arslan Arslan by M.J. Engh Cover: Warner Books, 1976 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by permission of Warner Books, Inc. (c) 1976 Warner Books, Inc.) Avenger #1: Justice, Inc., The The Avenger #1: Justice, Inc. by Paul Ernst Cover: Paperback Library, 1972 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside.Paperback Library (c) 1972 Paperback Library) A.D. 2000 A.D. 2000 by Alvarado Fuller Cover: Laird & Lee Publishers, 1890 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Angels & Visitations Angels & Visitations Neil Gaiman Cover: Dream Haven Press, 1993 (First Edition) illustration by David McKean (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1993 Dream Haven Press) Abyss of Light, An An Abyss of Light by Kathleen O'Neal Gear Cover: Donald A. Wollheim, 1990 (First Edition) illustration by San Julian (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1990 Donald A. Wollheim) Angel Island Angel Island by Inez Haynes Gillmore Cover: Henry Holt, 1914 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Amphibion's Voyage, The The Amphibion's Voyage by Parker Gillmore Cover: W.H. Allen, 1885 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Armageddon 190 Armageddon 190 by Ferdinand H. Grautoff Cover: Kegan Paul, Trench Trubner, 1907 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) 200
    201. Angel of the Revolution, The The Angel of the Revolution by George Griffin Cover: Tower, 1894 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Angilin Angilin by A.L. Hallen Cover: Digby Long, 1907 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Away from the Here and Now Away from the Here and Now by Clare Winger Harris Cover: Dorrance & Co., 1947 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1947 Dorrance & Co.) Autopsy for a Cosmonaut Autopsy for a Cosmonaut by Jacob Hay Cover: Popular Library, 1969 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by permission of Warner Books, Inc. (c) 1969 Popular Library, Inc.) Anvil of the Heart Anvil of the Heart by Bruce T. Holmes Cover: The Haven Corp., 1983 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1983 The Haven Corporation) Alien Perspective Alien Perspective by David Houston Cover: Leisure Books, 1978 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1978 Leisure Books) Almuric Almuric by Robert E. Howard Cover: Ace Books, 1964 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1964 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) After London After London by Richard Jefferies Cover: Cassell & Co., 1885 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) After the Flood After the Flood by P.C. Jersild Cover: William Morrow & Co., 1982 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Shown by permission of William Morrow & Co., Inc. (c) 1982 William Morrow & Co., Inc.) Archer's Goon Archer's Goon by Diana Wynne Jones Cover: Berkley, 1987 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1987 The Berkley Publishing Group. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Aleriel or a Voyage to Other Worlds Aleriel or a Voyage to Other Worlds by W.S. Lach-Szyrma Cover: Wyman & Sons, 1883 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Amazing Mister Lutterworth, The The Amazing Mister Lutterworth by Desmond Leslie Cover: Brown, Watson Ltd., 1958 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1958 Brown Watson Ltd.) Anti-Grav Unlimited Anti-Grav Unlimited by Duncan Long Cover: Avon Books, 1968 illustration 201
    202. by Ron Walotsky (Casey Brown/Eaton Collection, University of Calif., Riverside. Shown by permission of Avon Books. (c) 1988 Avon Books) Ambrov Keon Ambrov Keon by Jean Lorrah Cover: DAW Books, 1986 illustration by Walter Valez (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of DAW Books, Inc. (c) 1986 DAW Books, Inc.) Adrift in the Stratosphere Adrift in the Stratosphere by A.M. Low Cover: Blackie & Son Ltd., 1937 illustration by George W. Blow (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1937 Blackie & Son Ltd.) Arachne Arachne by Lisa Mason Cover: William Morrow & Co., 1990 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Shown by permission of William Morrow & Co., Inc. (c) 1990 William Morrow & Co., Inc.) Arsenal out of Time, The The Arsenal out of Time by David McDaniel Cover: Ace Books, 1967 illustration by Kelly Freas (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1967 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Architects of Hyperspace, The The Architects of Hyperspace by Thomas McDonough Cover: Avon Books, 1987 illustration by Ron Walotsky (Casey Brown/Eaton Collection, University of Calif., Riverside. Shown by permission of Avon Books. (c) 1987 Avon Books) Ant-Men, The The Ant-Men by Eric North Cover: John C. Winston (First Edition) illustration by Paul Blaisdell (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. John C. Winston Company. ) Alien Skies Alien Skies by Peter Dagmar (Frank J. Pinchin) Cover: Brown, Watson Ltd., 1962 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Brown Watson Limited. (c) 1962 Brown Watson Ltd.) Argus Gambit, The The Argus Gambit by David D. Ross Cover: St. Martin's Press, 1989 (First Edition) illustration by Rats Patterson and the Flying Salvucci's (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Cover: Rats Patterson and the Flying Salvucci's. Courtesy of St. Martin's Press. (c) 1989 St. Martin's Press) Alongside Night Alongside Night by J. Neil Schulman Cover: Ace Books, 1982 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1982 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Agent of Entropy Agent of Entropy by Martin Siegel Cover: Lancer Books, 1969 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Lancer Books. (c) 1969 Lancer Books.) Adam Experiment, The The Adam Experiment by Geoffrey Simmons Cover: Berkley, 1979 (Casey 202
    203. Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1979 The Berkley Publishing Group. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Adrift in a Boneyard Adrift in a Boneyard by Robert Lewis Taylor Cover: Avon Books, 1947 (Casey Brown/Eaton Collection, University of Calif., Riverside. Shown by permission of Avon Books. (c) 1947 Avon Books) Absolute Zero Absolute Zero by Ernest Tidyman Cover: Dial, 1971 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1971 Dial Press) Agent of Byzantium Agent of Byzantium by Harry Turtledove Cover: Congdon & Weed, 1988 (M. M. Kavanagh. Congdon & Weed. (c) 1988 Congdon and Weed.) Amber City, The The Amber City by Thomas Vetch Cover: Biggs & Debenham (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Biggs & Debenham. ) Ark, The The Ark by Jarl Szydlow (Mary Vigliante) Cover: Manor Books, 1978 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside.Manor Books (c) 1978 Manor Books.) Anno Domini 2000 Anno Domini 2000 by Julius Vogel Cover: Hutchinson & Co. (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of Random Century House UK Limited. ) Address: Centauri Address: Centauri by F.L. Wallace Cover: Gnome, 1955 illustration by Ed Emshwiller (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside.Gnome Press (c) 1955 Gnome) Angry Espers, The The Angry Espers by Lloyd Biggle, Jr. Cover: Ace Books, 1961 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1961 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Architect of Sleep, The The Architect of Sleep by Steven R. Boyett Cover: Ace Books, 1986 illustration by James Gurney (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1986 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Alien from Arcturus Alien from Arcturus by Gordon R. Dickson Cover: Ace Books, 1959 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1959 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) 203
    204. At the Seventh Level At the Seventh Level by Suzette Haden Elgin Cover: DAW Books, 1972 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of DAW Books, Inc. (c) 1972 DAW Books, Inc.) Arsenal of Miracles, The The Arsenal of Miracles by Gardner Fox Cover: Ace Books, 1964 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1964 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Alien Planet Alien Planet by Fletcher Pratt Cover: Ace Books, 1962 (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1962 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Aquarian Attack, The The Aquarian Attack by Kevin Randle & Robert Cornett Cover: Ace Books, 1989 illustration by Miro (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1989 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) And Chaos Died And Chaos Died by Joanna Russ Cover: Ace Books, 1970 (First Edition) illustration by Leo & Diane Dillon (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1970 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Anita Anita by Keith Roberts Cover: Ace Books (First Edition) illustration by George Ziel (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1970 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Alien Light, An An Alien Light by Nancy Kress Cover: Arbor House (First Edition) illustration by Ron Walotsky (M. M. Kavanagh. Shown by permission of William Morrow & Co., Inc. (c) 1988 Arbor House) Armageddon 2419 Armageddon 2419 by Philip Francis Nowlan Cover: Ace Books, 1963 illustration by Ed Emshwiller (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1963 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Arthur War Lord Arthur War Lord by Dafydd ab Hugh Cover: Avon Books, 1994 (First Edition) (M. M. Kavanagh. Shown by permission of Avon Books. (c) 1994 Avon Books) Armageddon Blues, The The Armageddon Blues by Daniel Keys Moran Cover: Bantam, 1988 illustration by Jim Burns (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1988 Bantam Books) 204
    205. Adventures of Terra Tarkington, The The Adventures of Terra Tarkington by Sharon Webb Cover: Bantam, 1985 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1985 Bantam Books) Alien Tongue Alien Tongue by Stephen Leigh Cover: Bantam (First Edition) (M. M. Kavanagh. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) Bantam Books) Alien Earth Alien Earth by Megan Lindholm Cover: Bantam (First Edition) illustration by Chichoni (M. M. Kavanagh. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) Bantam Books) Artificial Things Artificial Things by Karen Joy Fowler Cover: Bantam, 1986 (First Edition) illustration by Tito Salomoni (M. M. Kavanagh. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1986 Bantam Books) Aegypt Aegypt by John Crowley Cove: Bantam, 1987 (First Edition) illustration by Ed Lindlof (M. M. Kavanagh. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1987 Bantam Books) Assemblers of Infinity Assemblers of Infinity by Kevin J. Anderson & Doug Beason Cover: Bantam, 1993 (First Edition) (M. M. Kavanagh. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1993 Bantam Books) Agent of Byzantium Agent of Byzantium by Harry Turtledove Cover: Congdon & Weed, 1987 illustration by Gerry Hawkins (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside.Congdon & Weed. (c) 1987 Congdon and Weed.) Authentic Touch, The The Authentic Touch by Jack Wodhams Cover: Curtis/Modern Library Editions, 1971 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Curtis Modern Library Editions. (c) 1971 Curtis Modern Library Editions) As the Curtain Falls As the Curtain Falls by Rob Chilson Cover: DAW Books, 1974 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of DAW Books, Inc. (c) 1974 DAW Books, Inc.) Angel with the Sword Angel with the Sword by C.J. Cherryh Cover: DAW Books, 1985 (First Edition) illustration by Kenneth May (M. M. Kavanagh. Reprinted with permission of DAW Books, Inc. (c) 1985 DAW Books, Inc.) Algorithm Algorithm by Jean Mark Gawron Cover: Doubleday, 1978 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1978 Doubleday) Agency, The The Agency by David Meltzer Cover: Essex House, 1968 (Casey Brown/The 205
    206. Eaton Collection, Univ. of Calif., Riverside. Essex House. (c) 1968 Essex House) Alice's Adventures in Wonderland Alice's Adventures in Wonderland by Lewis Carroll Cover: Macmillan, 1865 (First Edition) illustration by John Tenniel (M. M. Kavanagh. ) Alien Accounts Alien Accounts by John T. Sladek Cover: Granada (First Edition) illustration by Tim White (M. M. Kavanagh. Reprinted with permission of HarperCollins Publishers Limited. (c) 1982 Granada) Altered States Altered States by Paddy Chayefski Cover: Bantam, 1979 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1979 Bantam Books) Atrocity Exhibition, The The Atrocity Exhibition J.G. Ballard Cover: Panther Books, 1969 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of HarperCollins Publishers Limited. (c) 1969 Panther Books) Angry Planet, The The Angry Planet by John Keir Cross Cover: Lunn/Coward-McCann Inc., 1946 (First Edition) illustration by Robin Jacques (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Lunn [UK] (c) 1946 Lunn (UK).) Adventures of Doctor Eszterhazy, The The Adventures of Doctor Eszterhazy by Avram Davidson Cover: Owlswick, 1990 (First Edition) illustration by George Barr (M. M. Kavanagh. Owlswick Press (c) 1990 Owlswick Press.) Adventures in Unhistory Adventures in Unhistory by Avram Davidson Cover: Owlswick, 1993 (First Edition) illustration by George Barr (M. M. Kavanagh. Owlswick Press. (c) 1993 Owlswick Press.) Air Trust, The The Air Trust by George Allan England Cover: Phil Wagner, 1915 illustration by John Sloan (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) After the Zap After the Zap by Michael Armstrong Cover: Popular Library, 1987 illustration by Les Edwards (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by permission of Warner Books, Inc. (c) 1987 Popular Library) Alicia II Alicia II by Robert Thurston Cover: Berkley, 1978 (First Edition) illustration by Norm Walker (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1978 The Berkley Publishing Group. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Autumn Angels Autumn Angels by Arthur Byron Cover Cover: Pyramid Books (First Edition) illustration by Ron Cobb (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1975 Pyramid Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) 206
    207. Alternate Presidents Alternate Presidents ed. by Mike Resnick Cover: TOR (First Edition) illustration by Barclay Shaw (M. M. Kavanagh. Reprinted by permission of Tor Books. (c) 1992 Tor Books.) Alternate Kennedys Alternate Kennedys ed. by Mike Resnick Cover: TOR (First Edition) illustration by Barclay Shaw (M. M. Kavanagh. Reprinted by permission of Tor Books. (c) 1992 Tor Books.) Aristoi Aristoi by Walter Jon Williams Cover: TOR, 1992 (First Edition) illustration by Jim Burns (M. M. Kavanagh. Reprinted by permission of Tor Books. (c) 1992 Tor Books.) Agyar Agyar by Steven Brust Cover: TOR (First Edition) illustration by Jim Burns (M. M. Kavanagh. Reprinted by permission of Tor Books. (c) 1993 Tor Books.) Alternate Warriors Alternate Warriors ed. by Mike Resnick Cover: TOR (First Edition) illustration by Barclay Shaw (M. M. Kavanagh. Reprinted by permission of Tor Books. (c) 1993 Tor Books.) Alternate Outlaws Alternate Outlaws ed. by Mike Resnick Cover: TOR (First Edition) illustration by Barclay Shaw (M. M. Kavanagh. Reprinted by permission of Tor Books. (c) 1994 Tor Books.) Archivist, The The Archivist by Gil Alderman Cover: Unwin Hyman (First Edition) illustration by Lee Gibbons (M. M. Kavanagh. Reprinted with permission of HarperCollins Publishers Limited. (c) 1989 Unwin Hyman) All About Strange Monsters of the Recent Past All About Strange Monsters of the Recent Past by Howard Waldrop Cover: Ursus, 1987 (First Edition) illustration by Don Ivan Punchatz (M. M. Kavanagh. Ursus Imprints. (c) 1987 Ursus Imprints) Ambient Ambient by Jack Womack Cover: Weidenfeld & Nicolson, 1987 (First Edition) illustration by David Shannon (M. M. Kavanagh. Courtesy of Grove / Atlantic, Inc. (c) 1987 Weidenfeld & Nicolson.) A. Merritt's Fantasy Magazine A. Merritt's Fantasy Magazine, Feb. 1950 / Vol. 1, No. 2 Published by Recreational Reading, Inc. Cover illustration by Lawrence Sterne Stevens (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by permission of Argosy Communications, Inc. Copyright 1950 Recreational Reading, Inc.) A. Merritt's Fantasy Magazine A. Merritt's Fantasy Magazine, April 1950 / Vol. 1, No. 3 Published by Recreational Reading, Inc. Cover illustration by Norman Saunders (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by permission of Argosy Communications, Inc. and Mrs. Norman Saunders. Copyright 1950 Recreational Reading, Inc.) A. Merritt's Fantasy Magazine A. Merritt's Fantasy Magazine, July 1950 / Vol. 1, No. 4 Published by Recreational Reading, Inc. Cover illustration by Norman Saunders (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by 207
    208. permission of Argosy Communications, Inc. and Mrs. Norman Saunders. Copyright 1950 Recreational Reading, Inc.) A. Merritt's Fantasy Magazine A. Merritt's Fantasy Magazine, Oct. 1950 / Vol. 2, No. 1 Published by Recreational Reading, Inc. Cover illustration by Norman Saunders (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by permission of Argosy Communications, Inc. and Mrs. Norman Saunders. Copyright 1950 Recreational Reading, Inc.) Air Wonder Stories Air Wonder Stories, Oct. 1929 Published by Stellar Publishing Corp. (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1929 Stellar Publising Corp.) Air Wonder Stories Air Wonder Stories, Jan. 1930 Published by Stellar Publishing Corp. (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of the Estate of Frank R. Paul. (c) 1930 Stellar Publising Corp.) After Things Fell Apart After Things Fell Apart by Ron Goulart Cover: Ace Books, 1970 (First Edition) illustration by Leo & Diane Dillon (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1970 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Anubis Gates, The The Anubis Gates by Tim Powers Cover: Ace Books, 1983 (First Edition) illustration by Don Brautigan (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1983 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Air Wonder Stories Air Wonder Stories, Feb. 1930 Published by Stellar Publishing Corp. Cover illustration by Frank R. Paul (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of the Estate of Frank R. Paul. (c) 1930 Stellar Publising Corp.) Air Wonder Stories Air Wonder Stories, Aug. 1929 Published by Stellar Publishing Corp. Cover illustration by Frank R. Paul (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of the Estate of Frank R. Paul. (c) 1929 Stellar Publising Corp.) Air Wonder Stories Air Wonder Stories, March 1930 Published by Stellar Publishing Corp. Cover illustration by Frank R. Paul (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of the Estate of Frank R. Paul. (c) 1930 Stellar Publising Corp.) Air Wonder Stories Air Wonder Stories, Nov. 1929 Published by Stellar Publishing Corp. Cover illustration by Frank R. Paul (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of the Estate of Frank R. Paul. (c) 1929 Stellar Publising Corp.) Air Wonder Stories Air Wonder Stories, Sept. 1929 Published by Stellar Publishing Corp. Cover illustration by Frank R. Paul (Casey Brown/The Eaton Collection, 208
    209. Univ. of Calif., Riverside. Courtesy of the Estate of Frank R. Paul. (c) 1929 Stellar Publising Corp.) Amazing Stories Amazing Stories, April 1926 Published by TSR, Inc. (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of TSR, Inc. (c) 1926 TSR, Inc.) Amazing Stories Amazing Stories, Sept. 1929 Published by TSR, Inc. (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of TSR, Inc. (c) 1929 TSR, Inc.) Amazing Stories Amazing Stories, May 1929 Published by TSR, Inc. (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of TSR, Inc. (c) 1929 TSR, Inc.) Amazing Stories Amazing Stories, Jan. 1929 Published by TSR, Inc. (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of TSR, Inc. (c) 1929 TSR, Inc.) Astounding Science Fiction Astounding Science Fiction, Jan. 1930 Published by Street & Smith Publications (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1930 by Street & Smith Publications, Inc., (c) renewed 1957 by Conde Nast Publications, Inc., reprinted by permission of Dell Magazines, Inc. All rights reserved.) Astounding Science Fiction Astounding Science Fiction, April 1930 Published by Street & Smith Publications (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1930 by Street & Smith Publications, Inc., (c) renewed 1957 by Conde Nast Publications, Inc., reprinted by permission of Dell Magazines, Inc. All rights reserved.) Astounding Science Fiction Astounding Science Fiction, Sept. 1934 Published by Street & Smith Publications (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1934 by Street & Smith Publications, Inc., (c) renewed 1961 by Conde Nast Publications, Inc., reprinted by permission of Dell Magazines, Inc. All rights reserved.) Astounding Science Fiction Astounding Science Fiction, June 1936 Published by Street & Smith Publications (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1936 by Street & Smith Publications, Inc., (c) renewed 1963 by Conde Nast Publications, Inc., reprinted by permission of Dell Magazines, Inc. All rights reserved.) Astounding Science Fiction Astounding Science Fiction, Sept. 1941 Published by Street & Smith Publications (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1941 by Street & Smith Publications, Inc., (c) renewed 1968 by Conde Nast Publications, Inc., reprinted by permission of Dell Magazines, Inc. All rights reserved) Astounding Science Fiction Astounding Science Fiction, Aug. 1942 Published by Street & Smith Publications (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1942 by Street & Smith Publications, Inc., (c) renewed 1969 209
    210. by Conde Nast Publications, Inc., reprinted by permission of Dell Magazines, Inc. All rights reserved) Astounding Science Fiction Astounding Science Fiction, Feb. 1940 Published by Street & Smith Publications (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1940 by Street & Smith Publications, Inc., (c) renewed 1967 by Conde Nast Publications, Inc., reprinted by permission of Dell Magazines, Inc. All rights reserved) Astounding Science Fiction Astounding Science Fiction, Jan. 1944 Published by Street & Smith Publications (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1944 by Street & Smith Publications, Inc., (c) renewed 1971 by Conde Nast Publications, Inc., reprinted by permission of Dell Magazines, Inc. All rights reserved) Amazing Stories Amazing Stories, Nov. 1928 Published by TSR, Inc. (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of TSR, Inc. (c) 1928 TSR, Inc.) Amazing Stories Amazing Stories, Aug. 1927 Published by TSR, Inc. (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of TSR, Inc. (c) 1927 TSR, Inc.) Amazing Stories Amazing Stories, Aug. 1928 Published by TSR, Inc. Cover illustration by Robert Gibson Jones (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of TSR, Inc. (c) 1928 TSR, Inc.) Amazing Stories Amazing Stories, Sept., 1928 Published by TSR, Inc. Cover illustration by Robert Gibson Jones (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of TSR, Inc. (c) 1928 TSR, Inc.) Astounding Science Fiction Astounding Science Fiction, April 1942 Published by Street & Smith Publications (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1942 by Street & Smith Publications, Inc., (c) renewed 1969 by Conde Nast Publications, Inc., reprinted by permission of Dell Magazines, Inc. All rights reserved) Absolute Magnitude Absolute Magnitude, Spring 1995 / No.2 Published by DNA Publications (M.M. Kavanagh. Cover: Bob Eggleton. Reprinted with permission of DNA Publications. (c) DNA Publications) Analog Science Fiction Science Fact Analog Science Fiction Science Fact, April 1972 Published by Conde Nast Publications (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by permission of Dell Magazines, Inc. All rights reserved (c) 1972 by Conde Nast Publications, Inc., reprinted by permission of Dell Magazines, Inc. All rights reserved.) Amazing Stories Amazing Stories, Sept. 1972 Published by TSR, Inc. Cover illustration by Robert Gibson Jones (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of TSR, Inc. (c) 1972 TSR, Inc.) Amazing Stories Amazing Stories, Nov. 1927 Published by TSR, Inc. (Casey Brown/The Eaton 210
    211. Collection, Univ. of Calif., Riverside. Reprinted with permission of TSR, Inc. (c) 1927 TSR, Inc.) Amazing Stories Amazing Stories, Oct. 1927 Published by TSR, Inc. (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of TSR, Inc. (c) 1927 TSR, Inc.) Amazing Stories Amazing Stories, June 1927 Published by TSR, Inc. Cover illustration by Robert Gibson Jones (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of TSR, Inc. (c) 1927 TSR, Inc.) Air Wonder Stories Air Wonder Stories, April 1930 Published by Stellar Publishing Corp. Cover illustration by Frank R. Paul (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of the Estate of Frank R. Paul. (c) 1930 Stellar Publising Corp.) Air Wonder Stories Air Wonder Stories, May 1930 Published by Stellar Publishing Corp. Cover illustration by Frank R. Paul (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of the Estate of Frank R. Paul. (c) 1930 Stellar Publising Corp.) Amazing Stories Amazing Stories, June 1926 Published by TSR, Inc. Cover illustration by Robert Gibson Jones (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of TSR, Inc. (c) 1926 TSR, Inc.) Allen, Roger MacBride Roger MacBride Allen (1957- ) (M. C. Valada. (c) 1995 M. C. Valada) Anderson, Poul Poul Anderson (1926- ) (M. C. Valada. (c) 1995 M. C. Valada) Anthony, Piers Piers Anthony (1934- ) (M. C. Valada. (c) 1995 M. C. Valada) Adams, Douglas Douglas Adams (1952- ) (Miriam Berkley. (c) 1995 Miriam Berkley) Asimov, Isaac Isaac Asimov (1920-1992) (Jay Kay Klein. (c) 1995 Jay Kay Klein) Aldiss, Brian W. Brian W. Aldiss (1925- ) (Marisa D'Alessandro. (c) 1995 Marisa D'Alessandro) Astounding Science Fiction Astounding Science Fiction, Aug. 1947 Published by Street & Smith Publications (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1947 by Street & Smith Publications, Inc., (c) renewed 1974 by Conde Nast Publications, Inc., reprinted by permission of Dell Magazines, Inc. All rights reserved) Astounding Science Fiction Astounding Science Fiction, Jan. 1950 Published by Street & Smith Publications (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1950 by Street & Smith Publications, Inc., (c) renewed 1977 by Conde Nast Publications, Inc., reprinted by permission of Dell Magazines, Inc. All rights reserved) Aldiss, Brian (Helliconia Spring) Brian Aldiss creates the seasons for Helliconia Spring. ( (c) Grolier Electronic Publishing, Inc.) 211
    212. Aldiss, Brian (Helliconia Spring) Brian Aldiss creates the seasons for Helliconia Spring. ( (c) Grolier Electronic Publishing, Inc.) Asimov, Isaac (Preparing for the Future) Isaac Asimov discusses how we have to gamble on the ability of technology to solve problems - we have no other choice. ( (c) Grolier Electronic Publishing, Inc.) Asimov, Isaac (Preparing for the Future) Isaac Asimov discusses how we have to gamble on the ability of technology to solve problems - we have no other choice. ( (c) Grolier Electronic Publishing, Inc.) Aliens The recipe for creating an Alien: bells, whistles, and Hubert Humphrey. ( (c) Grolier Electronic Publishing, Inc.) Artificial Intelligence What will happen when machines are smarter than we are? SF writers discuss the pitfalls of creating machines with superior intelligence. ( (c) Grolier Electronic Publishing, Inc.) Astounding Science Fiction Astounding Science Fiction, Oct. 1940 Published by Street & Smith Publications (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1940 by Street & Smith Publications, Inc., (c) renewed 1967 by Conde Nast Publications, Inc., reprinted by permission of Dell Magazines, Inc. All rights reserved) Auel, Jean M. Jean M. Auel (1936- ) (John Emmerling. (c) 1985 John Emmerling) Attack of the Crab Monsters Despite being made cheaply by Roger Corman, Attack of the Crab Monsters (Los Altos/Allied Artists, 1957) is one of the best of the many 1950s movies to deal with the giant vermin created by atomic bomb tests. (Ronald V. Borst/Hollywood Movie Posters. ) Alphaville Despite its talk of intergalactic secret agents and supercomputers, Jean-Luc Godard's film,Alphaville (Pathe-contemporary/Chaumiane-Film, 1965), is only nominally science fiction. Its New Wave combination of film genres- film noir and crime elements are as prominent as the SF ones- operate in service of an allegory about modern life. As such, it has more in common with Godard's later film,Weekend, than with any other movie about interstellar intrigue. (Ronald V. Borst/Hollywood Movie Posters. ) Attack of the 50-ft. Woman The poster for the original version ofAttack of the 50-ft. Woman (Allied Artists, 1958) may be the best thing about the film, although some have seen positive value in its potential as a metaphor for female empowerment. (Ronald V. Borst/Hollywood Movie Posters. ) Aelita The Queen of Mars, caught in a sportive mood, looks rather like a flapper in Aelita (Mezhrabpom, 1924). The Expressionist set style is here clearly apparent and is said to have influenced the design of the Flash Gordon series. (The Everett Collection, Inc. ) Astounding Science Fiction Astounding Science Fiction, June 1932 Published by Street & Smith Publications (Casey Brown/The Eaton Collection, Univ. of Calif., 212
    213. Riverside. (c) 1932 by Street & Smith Publications, Inc., (c) renewed 1959 by Conde Nast Publications, Inc., reprinted by permission of Dell Magazines, Inc. All rights reserved) Acknowledgments From The Encyclopedia of Science Fiction, John Clute and Peter Nicholls, eds.We must first thank all the contributors, to both the first edition and the current edition. We thank especially our Contributing Editor, Brian Stableford, whose influence extended far beyond the 200,000 words signed with his initials, for his tasks included a severe examination of the entire text for errors of fact and critical blunders. We thank our Technical Editor, Paul Barnett, whose logistic and computer skills brought this book into publishable shape, and whose editing skills importantly influenced its language and form. We thank our proof-reader, Lydia Darbyshire, a model of meticulousness whose examination of data for consistency was itself tantamount to a critical reading of the text. We thank also all those sf authors and critics who took the time to fill out a questionnaire or otherwise provided us with vital information. We also thank John Jarrold, the original commissioner of this volume.It is not possible individually to thank all those who helped in other ways, for the list would contain some hundreds of names. It goes without saying that we remain grateful to all those we thanked in the preface to the first edition, and we do not repeat their names here. Of the large number who helped us with the current edition, there are some in particular whose extensive help we must comment on. Neil Barron, whose reference books were among those we most often consulted, provided us with much other information and with constant encouragement. Everett F. Bleiler, who read critically many parts of the encyclopedia that pertained to his areas of particular expertise, generously contributed to it - out of his deep love for the subject - several substantial entries on early sf and sf writers. His son, Richard Bleiler, also altruistically contributed advice and entries, as did Professor I.F. Clarke. Judith Clute kept John Clute alive, while painting in the next room. Clare Coney (Nicholls) provided not only support well beyond the call of wifely duty but also considerable editorial assistance. J. Fisher provided much biographical data on authors, along with other suggestions. Hal W. Hall generously provided research materials. Steve Holland helped us make sense of the bibliography of 1950s sf in the UK. Roz Kaveney commented on hundreds of author entries as they were drafted, and then read the manuscript. David Langford gave essential computer advice and help, made many suggestions throughout, and read the manuscript. Helen Nicholls understood her brother and her friend. Robert Reginald, author of the basic and essential checklist of sf literature from 1700 to 1974 (see below), made available successive drafts of his 1975-1991 supplement (now just published), and we supplied him in turn with final drafts of this encyclopedia. John Clute read and criticized the checklist; Reginald did the same for the encyclopedia. We are all hoping that both books show the benefits of this sharing of resources.Others whose help was substantial (often in locating hard-to-find data, and in setting us right on first-edition errors) include Paul Alkon, Brian Ameringen, Mike Ashley, Nick Austin, John Betancourt, Jenny Blackford, Damien Broderick, John F. Carr, T.G. Cockcroft, Michael Rice Colpitts, Ian Covell, Richard Dalby, John Dallman, John Davey, Joyce Day, Jane Donawerth, Nann du Sautoy, John Eggeling, Alex Eisenstein, Alan C. Elms, Brian Forte, Andrew Fraknoi, D. Douglas Fratz, 213
    214. Neil Gaiman, Martin Gardner, C.N. Gilmore, Mark Goldberg, Paul Gravett, Scott Green, the Reverend Ron Grossman, Rob Hansen, David Hartwell, Patrick Nielsen Hayden, Richard J. Hooton, Maxim Jakubowski, Laurence M. Janifer, Don Keller, David Ketterer, Michael Klossner, Justin Knowles, Eleanor Lang, Anthony R. Lewis, Duncan Lunan, Kerzin Alexey Lvovich, Patrick McGuire, Murray MacLachlan, Sean McMullen, Barry N. Malzberg, Lee Mendham, Walter E. Meyers, Chris Morgan, Caroline Mullan, Alan Myers, Kim Newman, John C. Nine, Jaroslav Olsa jr, Jan O'Nale, Bernie Peek, Dominique Petitfaux, Andrew Porter, David Pringle, Jenny Randles, Kim Stanley Robinson, Roger Robinson, Cornel Robu, Yvonne Rousseau, Darrell Schweitzer, the Science Fiction Foundation, A. Langley Searles, Efim Shur, Cyril Simsa, John Sladek, John B. Spencer, Phil Stephensen-Payne, Darko Suvin, Braulio Tavares, Sheldon Teitelbaum, Ron Tiner, Igor Tolokonnikov, Ian Watson, Bob Wayne, Janeen Webb, Andrew Wille, Madawc Williams, G. Peter Winnington, and Zoran Zivkovic.In the first edition it was still possible to acknowledge individually the reference books that formed the basis of our research library. There are now too many, though perhaps we can select a few which were of special and continuous use: Neil Barron's Anatomy of Wonder, Fantasy Literature and Horror Literature; Everett F. Bleiler's Science Fiction: The Early Years; the annual sf/fantasy bibliographies edited by Charles N. Brown and William G. Contento for Locus Press; Thomas D. Clareson's Science Fiction in America, 1870s-1930s; the sf and fantasy book-review annuals compiled by Robert A. Collins and Robert Latham; William G. Contento's indexes to sf anthologies and collections; L.W. Currey's Science Fiction and Fantasy Authors: A Bibliography of First Printings of their Fiction; Donald B. Day's Index to the Science Fiction Magazines 1926-50; Hal W. Hall's various guides to sf book reviews and research papers; Phil Hardy's The Aurum Film Encyclopedia: Science Fiction; George Locke's A Spectrum of Fantasy; the NESFA sf-magazine indexes covering publications subsequent to 1965; Robert Reginald's Science Fiction and Fantasy Literature: A Checklist, 1700-1974 and Science Fiction and Fantasy Literature, 1975-1991; Erwin S. Strauss's Index to the S-F Magazines, 1951-65; Darko Suvin's Victorian Science Fiction in the UK; Donald H. Tuck's Encyclopedia of Science Fiction and Fantasy through 1968; Marshall B. Tymn's and Mike Ashley's Science Fiction, Fantasy and Weird Fiction Magazines; the two volumes of Bill Warren's Keep Watching the Skies; Robert Weinberg's A Biographical Dictionary of Science Fiction and Fantasy Artists.We end by issuing a conventional but heartfelt apology and thanks to all those others who have helped and have not appeared on the above lists.John Clute and Peter Nicholls Atterley's Voyage to the Moon In A Voyage to the Moon, a scientifically detailed and rationalized account of a trip to the Moon, Joseph ATTERLEY invents the idea of antigravity propulsion. Abbott's Flatland Edwin Abbott's novel, FLATLAND: A ROMANCE OF MANY DIMENSIONS, is short on plot but playfully dramatizes mathematical concepts in a manner that remains readable today. Aerial bombardments foreseen H.G. WELLS 's The War in the Air foresaw a ruinous world WAR, involving aerial bombardments and guerilla warfare. 214
    215. Amazing Stories founded Hugo GERNSBACK, always more interested in science than in fiction, had earlier edited Modern Electrics before launching his brainchild, Amazing Stories. Gernsback coined the term "scientifiction" to describe the tale of future science he wanted to publish.See Also: DEFINITIONS OF SF. Ace Specials series Terry CARR convinced ACE Books to allow him to edit a line of ambitious, attractively packaged SF novels; the Ace Specials included some of the best American SF of the late Sixties. Asimov's first robot story Isaac ASIMOVpublishes" Reason", his first ROBOTstory, at the age of twenty. Its title suggests Asimov's rationalistic approach to a lurid genre theme. Asimov 's Nightfall Isaac ASIMOV was only twenty-one when he published this story in Astounding Science Fiction. It has become one of the most famous stories in modern science fiction.See Also: Nightfall by Robert SILVERBERG. Asimov 's Foundation Published as a series of novelettes and short novels throughout the 1940s, Isaac ASIMOV's FOUNDATION series became a trilogy upon book publication a decade later.See Also: GALACTIC EMPIRES; HISTORY. Ace Books founded Famous for its Doubles, ACE BOOKS never possessed the prestige of Ballantine or Bantam, but published a large number of important books in the fifties and sixties. Anderson's Brain Wave Poul ANDERSON's early novel about a change that increases the intelligence of every creature on Earth is a sensitive and persuasively understated novel. Anderson's Call Me Joe Poul ANDERSON's early novella shows his characteristic strengths in developing character, setting, and narrative, and it anticipates his later long stories. Aldiss's Greybeard A melancholy, meditative post-holocaust novel, GREYBEARD has never been greatly popular in the US, but may be Brian ALDISS's finest novel. Ace Specials series Terry CARR convinced ACE Books to allow him to edit a line of ambitious, attractively packaged SF novels; the Ace Specials included some of the best American SF of the late Sixties. Asimov's The Gods Themselves "THE GODS THEMSELVES", Isaac ASIMOV's first novel in sixteen years was a major event in 1972. Its imaginative virtuosity surprised many readers, and it won the NEBULA and the HUGO Awards. Asimov's The Bicentennial Man This is certainly the finest piece of short fiction Isaac ASIMOV wrote after the 1950s. It won numerous awards and has been widely reprinted. Asimov's SF Magazine As GALAXY SCIENCE FICTION was dying, ISAAC ASIMOV'SSCIENCE FICTION MAGAZINE rose to replace it, becoming the most consistent and reliable SF magazine of the 1980s. 215
    216. Alien ALIEN opens, creating an audience for a darker, high-tech SF film than those of George LUCAS and Steven SPIELBERG.See Also: CINEMA. Aldiss's Helliconia Spring Brian ALDISS's most substantial effort in world-building, the HELLICONIA trilogy was a British best-seller and an imaginative triumph.See Also: PLANETARY ROMANCE. Atwood's The Handmaid's Tale Known primarily as a contemporary novelist and poet, Margaret ATWOOD produced THE HANDMAID'S TALE, a genuine SF DYSTOPIA of religious fanaticism. The book became the basis of the 1990 film of the same name. A. Merrit's Fantasy Magazine A. Merrit's Fantasy Magazine, Dec. 1949 / Vol. 1, No. 1 Published by Recreational Reading, Inc. (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by permission of Argosy Communications, Inc. (c) 1949 Recreational Reading, Inc.) Archer's Goon Archer's Goon by Diana Wynne Jones Cover: Berkley, 1987 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1987 The Berkley Publishing Group. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Babel-17 DELANY, SAMUEL R(AY)( Ace, 1966)An unorthodox heroine must come to terms with an artificial language whose constraints on thought and behavior make it an effective weapon of war. Clever, colorful, and highly original; it updates and sophisticates the theme of Jack Vance's The Language of Pao. Compare also Ian Watson's THE EMBEDDING. NW, 1966. See also LINGUISTICS Bone Dance: A Fantasy for Technophiles BULL, EMMA( Ace, 1991)Sparrow, a sexless, artificial person who makes a living tracking down and selling videos and other aging technological artifacts in punked-out, postnuclear war Minneapolis, accidentally becomes involved with the Horsemen, U.S. government-developed secret agents capable of entering the minds of others. In the past the Horsemen were secretly used to destabilize foreign governments until their actions triggered the nuclear war; now they serve other masters, and Sparrow, simply having discovered their existence, is at risk. To complicate matters, there is evidence that at least some of what's going on is supernatural, rather than merely weird science. Bull's world is gritty, well realized, and a lot of fun. For a variant on the possession motif, see Pat Cadigan's Fools. See also HOLOCAUST AND AFTER Bug Jack Barron SPINRAD, NORMAN(Walker, 1969)A TV personality makes a powerful enemy when he attacks a plutocrat who is trying to develop an immortality treatment. Taboo-breaking in its day because of its sexual frankness and extravagant cynicism; remains significant as an early examination of the growing media and their manipulators. Compare Bruce Sterling's The Artificial Kid (1980). See also MEDIA LANDSCAPE Bring the Jubilee MOORE, WARD(Farrar, 1953)With the possible exception of Sir Winston Churchill's brilliant essay in If, or History Rewritten, this is far and away the best story ever written on the theme of the South having won the 216
    217. Civil War. Moore's fine historical sense led him to describe some perhaps unexpected consequences; in a less affluent North the presidency is won three times by William Jennings Bryan, and in a backlash against the prewar antislavery movement the Grand Army of the Republic, the Union veterans' organization, becomes a terrorist outfit like the Klan. Imaginative rethinking of real history; highly recommended. (This annotator, born and raised in Yankeeland, trembles at the thought of "Johnston's terrible march to Boston"; serves us right, a staunch Southron might reply.) See also ALTERNATE WORLDS Behold the Man MOORCOCK, MICHAEL(Allison & Busby, 1969)Expanded from a novella (Nebula winner, 1967). The alienated hero travels back to the time of Christ in the hope of enlightenment, but he finds Jesus grotesquely ill-fitted to the role of messiah and must take his place. Darkly ironic; a fascinating exercise in the PSYCHOLOGY of martyrdom. Compare Barry N. Malzberg's The Cross of Fire. Beggars and Choosers KRESS, NANCY(Tor, 1994)The sequel to Kress's 1993 novel Beggars in Spain continues the tale of the Sleepless, a strain of genetically altered humans who need never sleep, and who consequently grow to adulthood learning faster and better than normal humans. Their cognitive powers make them virtual SUPERMEN, and the Sleepless outstrip their merely human siblings in power and achievement, but at the price of provoking a dangerous resentment. In Beggars and Choosers, set some years later, humanity has become divided into various genetically-enhanced elites, some of them scarcely human, and the "Livers"-the great mass of humanity, who are unable to compete intellectually with these elites and exist in an enormous restive welfare state. Kress's conscientious, sometimes earnest prose explores the difficult issues honestly and without melodrama. Compare Bruce Sterling's SCHISMATRIX and C. J. Cherryh's CYTEEN. (GF) See also GENETIC ENGINEERING and INTELLIGENCE Blood Music BEAR, GREG(Arbor House, 1985)A genetic engineer conducts unauthorized experiments that result in the creation of intelligent microorganisms. Having infected himself, he becomes a "universe" of sentient cells, and when his "disease" becomes epidemic the whole living world undergoes an astonishing transformation. A brilliant novel, expanded from a novelette (Hugo winner, 1984) that extends the SF imagination to new horizons. Compare Arthur C. Clarke's CHILDHOOD'S END and A. A. Attanasio's Radix. See also NANOTECHNOLOGY Barrayar BUJOLD, LOIS MCMASTER(Baen, 1991)Cordelia Naismith and Aral Vorkosigan were once enemies in an interstellar war. Now a fragile peace has been established and they're a married couple expecting their first child. Cordelia, a liberated woman, is ill at ease among the more conservative, less civilized people of Barrayar and, when her husband is named regent, she realizes that she, Aral, and their unborn baby are in great danger. Traditional SPACE OPERA at its very best. Bujold's highly competent first novel, Shards of Honor (1986), details Cordelia and Aral's first meeting in the midst of war. Compare C. J. Cherryh's Rimrunners and other novels. Hugo winner, 1992 Burning Chrome GIBSON, WILLIAM(Arbor, 1986)Ten short stories by the most innovative new 217
    218. voice to enter the science fiction field in decades. Included here are such superb short fictions as "Burning Chrome,""The Winter Market,""Dogfight" (co-authored with Michael Swanwick), and "Hinterlands," as well as collaborations with Bruce Sterling and John Shirley. Several are award nominees. Many of these stories are set in the sleazy, CYBERPUNK future made famous in Gibson's novels. Compare Bruce Sterling's CRYSTAL EXPRESS and Global Head (1992). Beyond This Horizon HEINLEIN, ROBERT A(NSON)(Fantasy, 1948)Originally in Astounding, 1942. After society achieves an economy of abundance for all, what do people do with their time? Especially, how fares the omnicompetent Heinlein hero, who no longer has anything to challenge him? Themes that would occupy Heinlein later on, such as the political pitfalls of human genetic engineering, got a preliminary airing in this novel: also the existential implications of mortality versus immortality (his tentative solution, worked out in science fictional rather than occultish terms: reincarnation). An important early work, toward which a later generation of criticism has been unfairly condescending. See also UTOPIAS Brightness Falls From the Air TIPTREE, JAMES, JR. (pseud. of Alice Sheldon)(Tor, 1985)A thriller in which a lonely outpost of galactic civilization is taken over by gangsters while the debris of a nova comes ever closer. The violent oppression recalls old sins committed and old hurts sustained by the human and alien characters. Seemingly modeled on the 1948 film Key Largo. Compare C. J. Cherryh's DOWNBELOW STATION . The Starry Rift (1986), although billed as a sequel, is actually a collection of three novellas with the same background, including "The Only Neat Thing to Do. See also SPACE HABITATS" Brave New World HUXLEY, ALDOUS (LEONARD)(Doubleday, 1932)A devastating criticism of the kind of technological utopia outlined in J. B. S. Haldane's essay "Daedalus; or, Science and the Future." Its principal images are well established in the modern mythology of the future, and it remains the definitive critique of the technologically supported "rational" society, exposing the darker side of scientific humanism. It is a brilliant and perceptive polemic, and the opposing side of the argument has found no advocate of comparable eloquence. It stands alongside We and NINETEEN EIGHTY-FOUR as one of the classic dystopian novels. Many of the concerns of the novel were treated in a later nonfiction work, Brave New World Revisited (1958). See also DYSTOPIAS Best Science Fiction Stories of Brian W. Aldiss ALDISS, BRIAN W(ILSON)(Faber, 1962)U.S. title: Who Can Replace a Man? (Harcourt, 1966)Assembling these 16 stories (14 in the earlier editions, 22 in the latest), Aldiss confessed, made him "realise how rapidly change moves," in SF as in everything else. The stories are arranged in a rough chronological order which, the author comments, "seems to represent also an order of complexity." From the straightforwardly told "Who Can Replace a Man?" (included also in The Canopy of Time ) to the subtlety of "A Kind of Artistry," or from the hero's anguish at his time-trapped predicament in "Not For an Age," 1957, to the startlingly nonchalant outlook of a chap in a somewhat comparable situation in "Man in His Time," 1966, the reader will perceive the evolutionary process to which Aldiss referred; and yet, a reader of a generation still further down the road from this book's 218
    219. publication will find almost all of these stories fresh and contemporary-sounding, regardless of when they were written. Buddy Holly Is Alive and Well on Ganymede DENTON, BRADLEY(Morrow, 1991)Oliver Vale, in his late twenties and not terribly successful, has spent his entire life acutely aware that his mother conceived him at the very moment in 1959 when rock star Buddy Holly's plane crashed in lowa. Now, in 1989, the deceased Holly has inexplicably begun to appear "live" on every TV set in the world. Apparently broadcasting from one of Jupiter's moons, he informs the Earth that Oliver is responsible for Holly's usurpation of the airwaves. Needless to say, Vale soon ends up on the run, pursued by the police, angry neighbors, secret agents, his therapist, a cyborg doberman named Ringo, and some very strange aliens. This is gonzo, ABSURDIST fiction at its best. For similar delights compare John Kessel's GOOD NEWS FROM OUTER SPACE . Beyond Fantasy Fiction Beyond Fantasy Fiction, July 1953 Published by Galaxy Publishing Corp. (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Galaxy Publishing Corporation. (c) 1953 Galaxy Publishing Corporation) Beyond Infinity Beyond Infinity, Dec. 1967 Published by I.D. Publications, Inc. (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. I.D. Publications, Inc. (c) 1967 I.D. Publications, Inc.) Battle of London, The The Battle of London by Hugh Addison Cover: Herbert Jenkins Ltd., 1924 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of Random House UK Limited. (c) 1924 Herbert Jenkins Ltd.) Black Oxen Black Oxen by Gertrude Atherton Cover: Al Burt Co., 1923 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Al Burt Co. (c) 1923 Al Burt Co.) Bison of Clay Bison of Clay by Max Begouen Cover: Longmans, Green & Co., 1926 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Longman's, Green, & Co. (c) 1926 Longmans, Green & Co.) But Soft - We Are Observed! But Soft - We Are Observed! by Hilaire Belloc Cover: Arrowsmith, 1928 illustration by G.K. Chesterton (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Arrowsmith. (c) 1928 Arrowsmith) Beyond These Suns Beyond These Suns by Rand LePage (William Henry Bird) Cover: Curtis Warren Ltd., 1952 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Curtis Warren Ltd. (c) 1952 Curtis Warren Ltd.) Battle of Dorking, The The Battle of Dorking by George T. Chesney Cover: Wm. Blackwood and Sons, 1871 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Benedict's Planet Benedict's Planet by James Corley Cover: The Elmfield Press, 1976 illustration by Josh Kirby (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. The Elmfield Press (c) 1976 The Elmfield Press) 219
    220. Babel-17 Babel-17 by Samuel R. Delany Cover: Ace Books, 1966 (First Edition) (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1966 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Book of the Damned, The The Book of the Damned by Charles Fort Cover: Ace Books, 1964 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1964 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Barking Dogs Barking Dogs by Terence Green Cover: St. Martin's Press, 1988 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of St. Martin's Press. (c) 1988 St. Martin's Press) Broken Worlds, The The Broken Worlds by Raymond Harris Cover: Ace Books, 1986 illustration by Ron Miller (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1986 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Binary Divine Binary Divine by John Hartridge Cover: Doubleday, 1970 illustration by Margo Herr (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1970 Doubleday & Co.) Borrowed Time Borrowed Time by Alan Hruska Cover: Dial Press, 1984 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside.Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1984 Dial Press) Blake of the Rattlesnake Blake of the Rattlesnake by Fred T. Jane Cover: Tower Publishing Co., Ltd., 1895 illustration by Fred T. Jane (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Blood Sport Blood Sport by Robert F. Jones Cover: Dell, 1974 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Dell Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1974 Dell Books) Brave Old World Brave Old World by Hugh Kingsmill Cover: Eyre & Spottiswoode, 1936 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1936 Eyre & Spottis-Woode) Blue Fairy Book, The The Blue Fairy Book by Andrew Lang Cover: Airmont Publishing, 1969 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of Airmont Publishing Co., Inc. - Airmont Books (c) 1969 Airmont Publishing Company ) 220
    221. Brains of Helle, The The Brains of Helle by Benfo Mistral (Norman A. Lazenby) Cover: Gannet Press (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Gannet Press, London.) By and By By and By by Edward Maitland Cover: Richard Bentley & Son, 1873 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Richard Bently and Son, London ) Bridge, The The Bridge by D. Keith Mano Cover: Doubleday, 1973 (First Edition) illustration by Paul Bacon (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Doubleday, a divisionof Bantam Doubleday Dell Publishing Group, Inc. (c) 1973 Doubleday) Bedsitting Room, The The Bedsitting Room by Spike Mulligan Cover: Tandem, 1970 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1970 Tandem) Bettyann Bettyann by Kris Neville Cover: Tower, 1970 (M. M. Kavanagh. Tower Books (c) 1970 Tower Books) By the Gods Beloved By the Gods Beloved by Baroness Orczy Cover: Greening & Co., 1910 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Becoming Alien Becoming Alien by Rebecca Ore Cover: TOR/Tom Doherty Associates (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by permission of Tor Books. (c) 1988 Tor Books) Brain Twister Brain Twister by Mark Phillips Cover: Pyramid, 1962 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1962 Pyramid Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Bugs Bugs by Theodore Roszak Cover: Doubleday, 1983 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1983 Doubleday) Bandersnatch Bandersnatch by T.E. Ryves Cover: Grey Walls Press, 1950 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Grey Walls Press (c) 1950 Grey Walls Press) Book of Stier, The The Book of Stier by Robin Sanborn Cover: Berkley, 1971 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1971 Berkley Medallion. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Beyond the Great South Wall Beyond the Great South Wall by Frank Savile Cover: Grosset & Dunlap, 1901 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Black No More Black No More by George S. Schuyler Cover: Macauley Co., 1931 (Casey 221
    222. Brown/The Eaton Collection, Univ. of Calif., Riverside. Macauley Co. (c) 1931 Macauley Co.) Blue Germ, The The Blue Germ by Martin Swayne Cover: George H. Doran, 1918 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Beyond the Spectrum Beyond the Spectrum by Martin Thomas Cover: Brown, Watson Ltd., 1964 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Brown Watson Limited (c) 1964 Brown Watson Ltd.) Bird of Time, The The Bird of Time by Wallace West Cover: Ace Books (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1959 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Breathing Space Only Breathing Space Only by Wynne N. Whiteford Cover: Ace Books, 1986 illustration by Don Dickson (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1986 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Building of Venus Four, The The Building of Venus Four by Calder Willingham Cover: Manor Books, 1977 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside.Manor Books (c) 1977 Manor Books) Beneath the Planet of the Apes Beneath the Planet of the Apes by Michael Avallone Cover: Bantam, 1970 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1970 Bantam Books) Big Time, The The Big Time by Fritz Leiber Cover: Ace Books, 1961 (First Edition) (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1961 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Bloody Sun, The The Bloody Sun by Marion Zimmer Bradley Cover: Ace Books (First Edition) illustration by Jack Gaughan (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1964 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Black Snow Days Black Snow Days by Claudia O'Keefe Cover: Ace Books (First Edition) illustration by Kevin Jankauski (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1990 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Bone Dance Bone Dance by Emma Bull Cover: Ace Books, 1991 (First Edition) illustration by Jean Targete (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1991 Ace 222
    223. Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Believers' World Believers' World by Robert A.W. Lowndes Cover: Avalon Books, 1961 illustration by Ed Emshwiller (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of Thomas Bouregy & Co. - Avalon Books (c) 1961 Avalon Books) Bug Jack Barron Bug Jack Barron by Norman Spinrad Cover: Avon Books, 1969 (First Edition) illustration by Alex Gnideziejko (Casey Brown/Eaton Collection, University of Calif., Riverside. Shown by permission of Avon Books. (c) 1969 Avon Books) Bring the Jubilee Bring the Jubilee by Ward Moore Cover: Avon Books, 1972 (M. M. Kavanagh. Shown by permission of Avon Books. (c) 1972 Avon Books) Behold the Man Behold the Man by Michael Moorcock Cover: Avon Books, 1969 (First US Edition) (M. M. Kavanagh. Shown by permission of Avon Books. (c) 1969 Avon Books) Beast That Shouted Love at the Heart of the World, The The Beast That Shouted Love at the Heart of the World by Harlan Ellison Cover: Avon Books, 1969 (First Edition) illustration by Leo & Diane Dillon (M. M. Kavanagh. Shown by permission of Avon Books. (c) 1969 Avon Books) Book of Rack the Healer, The The Book of Rack the Healer by Zach Hughes Cover: Award, 1972 illustration by Jack Gaughan (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Award Books (c) 1972 Award) Burster Burster by Michael Capobianco Cover: Bantam, 1990 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1990 Bantam Books) Bander Snatch Bander Snatch by Kevin O'Donnell Cover: Bantam, 1979 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1979 Bantam Books) Best SF: 1969 Best SF: 1969 ed. by Harry Harrison Cover: Berkley, 1971 illustration by Paul Lehr (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1971 The Berkley Publishing Group. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Born of Man and Woman Born of Man and Woman by Richard Matheson Cover: Chamberlein Press, 1954 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Chamberlain Press (c) 1954 Chamberlain Press) Birthgrave, The The Birthgrave by Tanith Lee Cover: DAW Books, 1975 (First Edition) illustration by George Barr (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of DAW Books, Inc. (c) 1975 DAW Books, Inc.) 223
    224. Baphomet's Meteor Baphomet's Meteor by Pierre Barbet Cover: DAW Books, 1972 (First US Edition) illustration by Karel Thole (M. M. Kavanagh. Reprinted with permission of DAW Books, Inc. (c) 1972 DAW Books, Inc.) Body Snatchers, The The Body Snatchers by Jack Finney Cover: Dell, 1955 illustration by John McDermott (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Dell Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1955 Dell Books) Birth of the People's Republic of Antarctica, The The Birth of the People's Republic of Antarctica by John Calvin Batchelor Cover: Dial Press (First Edition) illustration by Jack Ribik (M. M. Kavanagh. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1983 Dial Press) Big Eye, The The Big Eye by Max Ehrlich Cover: Doubleday, 1949 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1949 Doubleday) Black Alice Black Alice by Thom Demijohn Cover: Doubleday (First Edition) illustration by Virginia Fritz (M. M. Kavanagh. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1968 Doubleday) Best from Fantasy and Science Fiction Best from Fantasy and Science Fiction by Edward L. Ferman Cover: Doubleday (First Edition) illustration by Peggy & Ronald Barnett (M. M. Kavanagh. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1971 Doubleday) Brave Little Toaster, The The Brave Little Toaster by Thomas M. Disch Cover: Doubleday, 1986 (First Edition) illustration by Karen Lee Schmidt (M. M. Kavanagh. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1986 Doubleday) Beloved Son Beloved Son by George Turner Cover: Faber and Faber Ltd., 1978 illustration by Dave Griffiths (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Cover: Dave Griffiths. Courtesy of Faber and Faber Ltd. (c) 1978 Faber and Faber Ltd.) Big X, The The Big X by Hank Searls Cover: Dell, 1959 illustration by Western Printing and Lithographing Co. (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Dell Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1959 Dell Books) Black Cloud, The The Black Cloud by Fred Hoyle Cover: Heinemann, 1957 illustration by Desmond Skirrow (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1957 William Heinemann, Ltd. ) Black Roads, The The Black Roads by Joe Hensley Cover: Laser Books, 1976 illustration by Kelly Freas (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Laser Books (c) 1976 Laser Books) 224
    225. Blake's Progress Blake's Progress by Ray Nelson Cover: Laser Books, 1975 illustration by Kelly Freas (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Laser Books (c) 1975 Laser Books) Birthright Birthright by Kathleen Sky Cover: Laser Books, 1975 illustration by Kelly Freas (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Laser Books (c) 1975 Laser Books) Before Adam Before Adam by Jack London Cover: Bantam, 1970 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1970 Bantam Books) Blind Spot, The The Blind Spot by Austin Hall & Homer Eon Flint Cover: Prime Press, 1951 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Prime Press (c) 1951 Prime Press) Butterfly Kid, The The Butterfly Kid by Chester Anderson Cover: Pyramid Books, 1967 illustration by Gray Morrow (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1967 Pyramid Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Black Flame, The The Black Flame by Stanley Weinbaum Cover: Fantasy Press, 1948 (First Edition) illustration by A.J. Donnell (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Fantasy Press (c) 1948 Fantasy Press) Bedbug, The The Bedbug by Vladimir Mayakovsky Cover: World Publishing Co. (First Edition) illustration by Elaine Lustig (M. M. Kavanagh. World Publishing Co. (c) 1960 World Publishing Co.) Beggars and Choosers Beggars and Choosers by Nancy Kress Cover: TOR, 1994 (First Edition) illustration by David Richeid (M. M. Kavanagh. Reprinted by permission of Tor Books. (c) 1994 Tor Books) Buddy Holly Is Alive and Well on Ganymede Buddy Holly Is Alive and Well on Ganymede by Bradley Denton Cover: William Morrow & Co. (First Edition) (M. M. Kavanagh. Shown by permission of William Morrow & Co., Inc. (c) 1991 William Morrow & Co., Inc.) Boat of a Million Years, The The Boat of a Million Years by Poul Anderson Cover: TOR, 1989 (First Edition) illustration by Vincent Di Fate (M. M. Kavanagh. Reprinted by permission of Tor Books. (c) 1989 Tor Books) Blood Music Blood Music by Greg Bear Cover: Ace Books, 1986 illustration by Don Brautigam (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1986 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Barrayar Barrayar by Lois McMaster Bujold Cover: Baen Books, 1991 (First Edition) 225
    226. illustration by Stephen Hickman (M. M. Kavanagh. Reprinted with permission of BAEN PUBLISHING ENTERPRISES. (c) 1991 Baen Books) Best of Avram Davidson, The The Best of Avram Davidson by Avram Davidson Cover: Doubleday, 1979 (First Edition) illustration by Roger Zimmerman (M. M. Kavanagh. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1979 Doubleday) Burning Chrome Burning Chrome by William Gibson Cover: Arbor House, 1986 (First US Edition) illustration by Rich O'Donnell (M. M. Kavanagh. Shown by permission of William Morrow & Co., Inc. (c) 1986 Arbor House) Best of C.M. Kornbluth, The The Best of C.M. Kornbluth by Cyril M. Kornbluth Cover: Science Fiction Book Club, 1978 illustration by Gary Viskupic (M. M. Kavanagh. Jacket: Gary Viskupic. Reprinted with permission of Doubleday Book and Music Clubs, Inc. (c) 1978 Doubleday Book & Music Clubs, Inc.) Brightness Falls from the Air Brightness Falls from the Air by James Tiptree Cover: Orb, 1993 illustration by Joe Bergeron (M. M. Kavanagh. (c) 1993 Orb) Best SF Stories of Brian Aldiss Best SF Stories of Brian Aldiss by Brian W. Aldiss Cover: Faber and Faber Ltd., 1972 illustration by Bridget Riley (M. M. Kavanagh. Cover: Bridget Riley. Courtesy of Faber and Faber Ltd. (c) 1972 Faber and Faber Ltd.) Butler, Octavia Estelle Octavia Estelle Butler (1947- ) (M. C. Valada. (c) 1995 M. C. Valada) Brin, David David Brin (1950- ) (M. C. Valada. (c) 1995 M. C. Valada) Bujold, Lois McMaster Lois McMaster Bujold (1949- ) (M. C. Valada. (c) 1995 M. C. Valada) Bonanno, Margaret Wander Margaret Wander Bonanno (1950- ) (M. C. Valada. (c) 1995 M. C. Valada) Bova, Ben Ben Bova (1932- ) (M. C. Valada. (c) 1995 M. C. Valada) Bradley, Marion Zimmer Marion Zimmer Bradley (1930- ) (M. C. Valada. (c) 1995 M. C. Valada) Brust, Steven Steven Brust (1955- ) (M. C. Valada. (c) 1995 M. C. Valada) Bryant, Edward Edward Bryant (1945- ) (M. C. Valada. (c) 1995 M. C. Valada) Budrys, Algis Algis Budrys (1931- ) (M. C. Valada. (c) 1995 M. C. Valada) Benford, Gregory Gregory Benford (1941- ) (M. C. Valada. (c) 1995 M. C. Valada) Bear, Greg Greg Bear (1951- ) (M. C. Valada. (c) 1995 M. C. Valada) Barnes, John John Barnes (1957- ) (Beth Gwinn. (c) 1995 Beth Gwinn) Bishop, Michael Michael Bishop (1945- ) (Beth Gwinn. (c) 1995 Beth Gwinn) Bisson, Terry Terry Bisson (1942- ) (Beth Gwinn. (c) 1995 Beth Gwinn) 226
    227. Borges, Jorge Luis Jorge Luis Borges (1899-1986) ( Bettmann. ) Bradfield, Scott Scott Bradfield (1955- ) (Miriam Berkley. (c) 1995 Miriam Berkley) Ballard, J.G. J.G. Ballard (1930- ) (Miriam Berkley. (c) 1995 Miriam Berkley) Banks, Iain M. Iain M. Banks (1954- ) (Miriam Berkley. (c) 1995 Miriam Berkley) Burroughs, Edgar Rice Edgar Rice Burroughs (1875-1950) ( Bettmann. ) Blish, James James Blish (1921-1975) (Jay Kay Klein. (c) 1995 Jay Kay Klein) Bester, Alfred Alfred Bester (1913-1987) (Jay Kay Klein. (c) 1995 Jay Kay Klein) Brackett, Leigh Leigh Brackett (1915-1978) (Jay Kay Klein. (c) 1995 Jay Kay Klein) Butler, Jack Jack Butler (1944- ) (Bill Parsons (c) 1995 Bill Parsons) Bradbury, Ray Ray Bradbury (1920- ) (Tony Hauser. (c) 1995 Tony Hauser) Barnes, Steven (On Virtual Reality) Steven Barnes discusses Virtual Reality: the Pros and Cons. ( (c) Grolier Electronic Publishing, Inc.) Barnes, Steven (On Virtual Reality) Steven Barnes discusses Virtual Reality: the Pros and Cons. ( (c) Grolier Electronic Publishing, Inc.) Bear, Greg (About Viruses) Greg Bear discusses the mysteries and complexities of the virus - and the challenges viruses will supply for technology of the future. ( (c) Grolier Electronic Publishing, Inc.) Bear, Greg (About Viruses) Greg Bear discusses the mysteries and complexities of the virus - and the challenges viruses will supply for technology of the future. ( (c) Grolier Electronic Publishing, Inc.) Benford, Gregory (The Feel of the Future) Gregory Benford on creating the "feel of the future" with words. ( (c) Grolier Electronic Publishing, Inc.) Benford, Gregory (The Feel of the Future) Gregory Benford on creating the "feel of the future" with words. ( (c) Grolier Electronic Publishing, Inc.) Bishop, Michael (No Enemy But Time) Michael Bishop and his attempt to dramatize the Origin of Species. ( (c) Grolier Electronic Publishing, Inc.) Bishop, Michael (No Enemy But Time) Michael Bishop and his attempt to dramatize the Origin of Species. ( (c) Grolier Electronic Publishing, Inc.) Brin, David (On Survivalists) David Brin warns those who yearn for the Fall: it's not a Macho thing. ( (c) Grolier Electronic Publishing, Inc.) 227
    228. Brin, David (On Survivalists) David Brin warns those who yearn for the Fall: it's not a Macho thing. ( (c) Grolier Electronic Publishing, Inc.) Brunner (Why SF?) John Brunner discusses the influence of War on his imagination. ( (c) Grolier Electronic Publishing, Inc.) Brunner (Why SF?) John Brunner discusses the influence of War on his imagination. ( (c) Grolier Electronic Publishing, Inc.) Bujold, Lois McMaster (Falling Free) Lois McMaster Bujold discusses her novel, Falling Free. ( (c) Grolier Electronic Publishing, Inc.) Bujold, Lois McMaster (Falling Free) Lois McMaster Bujold discusses her novel, Falling Free. ( (c) Grolier Electronic Publishing, Inc.) Baxter, Stephen Stephen Baxter (1957- ) (Sandra Shepard. (c) 1995 Sandra Shepherd) Beaumont, Charles Charles Beaumont (1929-1967) (Andrew I. Porter. (c) 1995 Andrew I. Porter) Busby, F.M. F.M. Busby (1921- ) (Andrew I. Porter. (c) 1995 Andrew I. Porter) Ballantine, Ian Ian Ballantine (1916-1995) (Andrew I. Porter. (c) 1995 Andrew I. Porter) Barnes, Steven Steven Barnes (1952- ) (Andrew I. Porter. (c) 1995 Andrew I. Porter) Bretnor, Reginald Reginald Bretnor (1911-1992) (Andrew I. Porter. (c) 1995 Andrew I. Porter) Brunner, John John Brunner (1934- ) (Rick Hawes. (c) 1995 Rick Hawes) Bischoff, David F. David F. Bischoff (1951- ) (Andrew I. Porter. (c) 1995 Andrew I. Porter) Barbarella Roger Vadim's film version of the French comic strip Barbarella (De Laurentiis-Marianne/Paramount, 1968) was, by modern standards, definitely not politically correct, but its visual splendor and its self-conscious 1960s sexual daring gives it a sense of freshness and charm. (Ronald V. Borst/Hollywood Movie Posters. ) The Beast from 20,000 Fathoms Yet another film about enormous monsters created or roused by atomic testing, Eugene Lourie's The Beast from 20,000 Fathoms (Mutual Pictures/Warner Brothers, 1953) turned Ray Bradbury's story "The Foghorn" into a fairly standard monster movie, involving a dinosaur that attacks New York. (Ronald V. Borst/Hollywood Movie Posters. ) The Bride of Frankenstein James Whale's sequel to his 1931 Frankenstein is one of the finest of all science fiction movies. Many believe that The Bride of Frankenstein (Universal, 1935) surpasses its predecessor - to say nothing of its innumerable sequels - in pathos, thrills, and terror. (Ronald V. Borst/Hollywood Movie Posters. ) 228
    229. Buck Rogers The movie serial of Buck Rogers (Universal, 1939) duplicated the success of Universal's two Flash Gordon serials, which also starred Larry ("Buster") Crabbe. The design of both series owes something to the cover paintings of SF pulp magazines. (Ronald V. Borst/Hollywood Movie Posters. ) Buck Rogers The movie serials of the Thirties and Forties appeared in installments that were only ten to fifteen minutes long, and each episode required at least one action scene. Movies like Buck Rogers (Universal, 1939) had quite a frenetic pace. (Courtesy of Crystal Pictures, Inc. (c) Crystal Pictures, Inc.) Bilderdijk's A Short Account Willem BILDERDIJK's A Short Account of a Remarkable Aerial Voyage and Discovery of a New Planet is the story of a balloonist's inadvertent voyage to a small satellite. It is perhaps the key transitional work between earlier FANTASTIC VOYAGES and later SF. Bellamy's Looking Backward Edward BELLAMY's Looking Backward, 2000-1887, is a tour of the UTOPIAN society of the future. Although it is almost devoid of drama, it was one of the most famous novels of the future during the nineteenth century. Burroughs's Tarzan Serialized in 1912, then published in book form in 1914, Edgar Rice BURROUGHS'sTARZAN OF THE APES has been enormously influential in both SF and fantasy literature, although it is not strictly Science Fiction. Burroughs's A Princess of Mars Second in popularity only to Tarzan, Edgar Rice BURROUGHS's 1912 serial, A PRINCESS OF MARS (published in book form five years later), singlehandedly created the fictional romance of MARS. Buck Rogers comic born Based on the magazine serial, Armageddon 2419 AD," BUCK ROGERS in the Twenty-Fifth Century" first appeared as an American comic strip in 1929, where it continued for nearly forty years. A movie serial, a TV series, and a feature film eventually followed. Bantam Books founded Ian BALLANTINE, who had earlier imported Penguin Books into the US during World War II, believed in paperbacks. He founded BANTAM Books as a source of inexpensive reprints. Brown's What Mad Universe Fredric BROWN's novel, WHAT MAD UNIVERSE, is one of the very first comic SF novels, and still one of the best. He is best known for his mystery novels and very short SF stories.See Also: ALTERNATE WORLDS. Bradbury 's Martian Chronicles Ray BRADBURY's cycle of stories in THE MARTIAN CHRONICLESdeal more with the MARS of the early pulp magazines than the Mars known to astronomers by 1950. The stories still generate a powerful sense of romantic nostalgia. Blish's Okie James BLISH's stories of the flying cities - called the Okie stories in magazines, and CITIES IN FLIGHT upon book publication - combined pulp style with rigor and intelligence. Ballantine Books founded Ian Ballantine had earlier founded Bantam Books, but wanted to create a 229
    230. paperback company that emphasized originals rather than reprints. BALLANTINE Books was the result. Blish's Surface Tension James BLISH's sequel to his early and little-known "Sunken Universe" remains a classic of science fiction. In it, microscopic humans pilot an inch-long spaceship between two puddles. Bradbury's A Sound of Thunder Ray BRADBURY's slick and expert TIME TRAVEL story was published in both Collier's and Playboy before being reprinted by an SF magazine, and so it reached a very wide audience. Beginning of Scientology L. Ron HUBBARD breaks with DIANETIC Foundation, and founds the Church of SCIENTOLOGY. Incorporated in 1955, the Church of Scientology soon had adherents all over the world. Blish's attack on McCarthy James BLISH's 1954 story, "At Death's End", contained a portrait of a demagogic politician clearly based on Senator Joseph McCarthy; the 1956 novel version, They Shall Have Stars, intensified Blish's attack.See Also: HISTORY. Blish 's A Case of Conscience Based on his 1953 novella, James BLISH's theological SF novel, A CASE OF CONSCIENCE, was one of the most sophisticated and moving SF novels of the fifties, and won the HUGO Award. Budrys's Rogue Moon The culminating novel of Algis BUDRYS's first period, an allusive and sophisticated novel that many readers regard as a classic. Ballard's The Voices of Time The first of J.G. BALLARD's stories to dramatize the themes of ENTROPY, natural DISASTER, and surrender to strangeness that will preoccupy him for the rest of the decade. Burgess's A Clockwork Orange Anthony BURGESS's dark SF novel, A CLOCKWORK ORANGE, was best-known for the radical argot of its narrator; it was the 1971 Stanley Kubrick film that gained notoriety for its violence.See Also: A CLOCKWORK ORANGE. Ballard's condensed novels The first of J.G. Ballard's condensed novels, You and Me and the Continuum, baffled and irritated conservative readers. It eventually appeared as part of The Atrocity Exhibition. Brunner's Stand on Zanzibar John BRUNNER's ambitious novel of the overpopulated 21st century adopted a range of stylistic techniques from John Dos Passos, but STAND ON ZANZIBAR achieved its own vision and voice.See Also: DYSTOPIAS. Benford's Timescape TIMESCAPE, Gregory BENFORD's novel of tachyon research, near-future ecological catastrophe, and alternate time streams is perhaps the most credible time travel novel ever published.See Also: SCIENTISTS. Blade Runner opens The Ridley SCOTT film," BLADE RUNNER", opens and William GIBSON publishes "Burning Chrome", two important works in the developing CYBERPUNK sensibility.See Also: CINEMA. Bear's Blood Music An early story of nanometer-scale engineering, Greg BEAR's BLOOD MUSIC 230
    231. presages science fiction's great interest in NANOTECHNOLOGY.See Also: GENETIC ENGINEERING. Brin's Startide Rising David BRIN's second novel, STARTIDE RISING, wins both the NEBULA and HUGO Awards, and his Uplift series becomes enormously popular. Bantam launches Spectra BANTAM's science fiction line, revived in 1983, is christened Bantam Spectra and launched with hoopla. It will be one of the most influential SF book publishers of the decade. Bisson's Bears Discover Fire Hailed as one of the finest SF short stories in many years, "Bears Discover Fire" won the NEBULA and HUGO Awards, and became the title story to Terry BISSON's first collection. Birth of the Paperback Although American science fiction had been almost entirely a magazine genre in its first twenty years, the development of the paperback after World War II provided an enormous new market for the field. BALLANTINE BOOKS, founded in 1952, specialized in science fiction; and ACE BOOKS, founded a year later, published SF almost exclusively. The creation of small presses to reprint science fiction serials in the late forties, and the formation of the SCIENCE FICTION BOOK CLUB in the early fifties, confirmed SF’s trend away from the magazines and into book form. Childhood's End CLARKE, ARTHUR C(HARLES)(Ballantine, 1953)Earth, on the verge of nuclear Mutual Assured Destruction, is saved by the intervention of benevolent aliens who have the form of traditional devils. A calm interregnum prepares the way for the last generation of children, who are telepaths. The adults left behind watch helplessly as the children, outgrowing them as no young generation ever has before, rise up and merge with the spiritual powers of the cosmos. The influence of Olaf Stapledon, who was as formative for Clarke's generation of SF writers, at least in the United Kingdom, as H. G. Wells, is patent. The pedestrian, at times downright static, pace of the novel has apparently not interfered with its immense popularity. Perhaps it has been received not as a story but rather as a scripture: Fallible humanity can't make it without transcendent help. If so, that says a lot about the audience for early nuclear age SF, which would have upset that era's for the most part quite hard-headed writers. See also CHILDREN IN SF and ESCHATOLOGY City SIMAK, CLIFFORD D(ONALD)(Gnome, 1952)Eight quietly told stories from Astounding, 1944 to 1951, which describe the decline and disappearance of humanity once it abandons its most characteristic habitat, the city. Some of the more venturesome leave civilization to imprint their psyches on wild, non-tool-using animals native to Jupiter ("Desertion"); others retreat to automated estates, as in "Huddling Place," a locale that recurs in later stories, run by an ageless robot butler named Jenkins and inhabited by sentient, peaceable dogs who are taking over humans' erstwhile role of planetary custodians. (Meanwhile the ants, also evolved into sentience, pursue bizarre and incomprehensible goals of their own.) In book form, the stories are framed as "legends," told around campfires by the dogs, who politely debate whether humans in fact ever existed. A haunting, elegiac tale, diametrically opposed to the "can do" spirit of most Golden Age SF. An additional story, "Epilog," was added for a later 231
    232. edition (Ace, 1981). A major work, which in 1953 won the International Fantasy Award. See also PASTORAL Camp Concentration DISCH, THOMAS M(ICHAEL)(Hart-Davis, 1968) A political prisoner is a guinea pig in an experiment that uses a syphilis-related spirochete to boost IQ to unparalleled levels. The author boldly presents the story as first-person narrative and carries it off brilliantly. A key work of avant-garde SF, written with its serialization in New Worlds in mind. Compare Daniel Keyes's FLOWERS FOR ALGERNON. See also INTELLIGENCE Cosmicomics CALVINO, ITALO(Harcourt, 1968)Trans. by William Weaver of Le Cosmicomiche (1965).The childlike Qfwfq has the entire cosmos and all eternity as his playground, and naively confronts the great mysteries of time and space in 12 bizarre tales. t zero (1969) offers more of the same. Zestful modern fabliaux with a unique charm. Weaver won the National Book Award for translation for Cosmicomics. See also FABULATION Cold Allies Anthony, Patricia (Harcourt, 1993)Fine first novel. The world is in sorry shape because of the climatic changes of the greenhouse effect. Famine is widespread, and just about every nation is at war with another, struggling over the planet's dwindling resources. Then enigmatic ALIENS appear; they are seen only as cold blue lights, floating over the battlefields, occasionally kidnapping people. Anthony is a fine prose stylist with a knack tor creating believable characters in a small space, evident also in her second novel Brother Termite (Harcourt, 1993). Compare John Kessel's Good News from Outer Space and Joan Slonczewski's The Wall Around Eden. A Clockwork Orange BURGESS, ANTHONY (pseud. of John Anthony Burgess Wilson)(Heinemann, 1962)In highly inventive future slang based on Russian loan-words, the story's hero tells how casual recreational gang violence, including murder, got him into prison and then into super-Pavlovian therapy; after treatment, even the thought of violence makes him sick. But so, as side effects, do sex and his former love for classical music; the point apparently being that it is better to do bad things as a free person than not to do them as the result of conditioning. Recognized by"mainstream"critics who probably wouldn't call it SF, and filmed effectively by Stanley Kubrick, this is a world as bleak and vicious as Nineteen Eighty-Four-and disturbingly closer, now, than Orwell's to our own. However, Kubrick's version was based on the first U.S. edition of the book, which omitted the crucial last chapter, in which (as Burgess pointed out in a new introduction, 1987)" my young thuggish protagonist grows up . . . and recognises that human energy is better expended on creation than destruction," which radically changes the meaning of A Clockwork Orange from the way it had been received in America. Compare Damon Knight, Hell's Pavement ; contrast B. F. Skinner, Walden Two . See also DYSTOPIAS Courtship Rite KINGSBURY, DONALD(Timescape, 1982) U.K. title: Geta, 1984A colony on an arid world is in cultural extremis because of its lack of resources, and the central characters become involved with a challenge to its established order. An unusually detailed and complex novel, interesting because of its carefully worked political and ANTHROPOLOGICAL themes. Compare Frank Herbert's DUNE. 232
    233. China Mountain Zhang MCHUGH, MAUREEN F.(Tor, 1992)The title character of McHugh's first novel is a Chinese American living in a United States that has fallen to third-world status just as China has risen, through apparently peaceful means, to dominate the world. In this hierarchical culture, Zhang's ancestry automatically places him above most Caucasians in status (though below native-born Chinese). Zhang, however, has a couple of dirty secrets. First, he's only half-Chinese, though his parents had him genetically adjusted to hide his Hispanic ancestry. Second, he's gay, and both China and Chinese-dominated America are puritanical societies. As the story progresses, we follow Zhang's rise from construction worker to successful architect. The novel's two greatest strengths lie in its depiction of a believable and sympathetic gay character and in its equally believable portrayal of a Chinese-dominated 21st century. Besides receiving nominations for the Hugo and Nebula, China Mountain Zhang won both the Tiptree Award and the Locus Award for best first novel. Compare David Wingrove's Chung Kuo. See also SEX Chronopolis and Other Stories BALLARD, J(AMES) G(RAHAM)(Putnam, 1971)Ballard's short fiction is distributed over more than a dozen collections, in various combinations, but this selection-which overlaps considerably withThe Best Short Stories of J. G. Ballard (1978)-preserves the best of his early work. Alienated protagonists bear witness to the world's descent into a perverse decadence; if they attempt to resist (many do not), they are likely to be maddened by the consciousness of their hopeless entrapment. "The Terminal Beach" (1964) marked a turning point in the concerns of British SF, and signaled the start of the era of avant-garde methods. See also OPTIMISM AND PESSIMISM The Crystal World BALLARD, J(AMES) G(RAHAM)(Cape, 1966)Completes a quartet of apocalyptic novels begun with The Wind From Nowhere (1962) and continued with The Drowned World and The Drought. Time begins to "crystallize out," causing vast tracts of African rain forest to undergo a metamorphosis that echoes and contrasts with the metamorphosis of human flesh that is leprosy. The hero's symbolic odyssey, like that of the protagonist in Joseph Conrad's Heart of Darkness, brings him to a more fundamental existential level. Superb imagery. See also END OF THE WORLD Cities in Flight BLISH, JAMES (Avon, 1970)U.K. title: A Clash of CymbalsThis is a tetralogy, of which the stories comprising Earthman, Come Home (Putnam, 1955) were written first. John Amalfi is mayor of a future New York, which flies through interstellar space trading work for supplies; it, and other such itinerant cities, are" Okies." Two "prequels,"They Shall Have Stars (Faber, 1956) and A Life For The Stars(Putnam, 1962) describe respectively the development of the cities' means of propulsion (under cover of a boondoggle construction job on a vividly but archaically described Jupiter) and the subsequent flight of the cities from Earth's dreary totalitarian government. Finally in The Triumph of Time (Avon, 1958; U.K. title A Clash of Cymbals), Amalfi's can-do New Yorkers are faced with the ultimate challenge of the collapse of the universe, and contrive to solve even that. An essay at the end of the four volumes by Richard Mullen, originally published in Riverside Quarterly, parallels the youth-maturity-senescence cycle Oswald Spengler charted for the 233
    234. comparative history of civilizations in The Decline of the West with a similar cycle for Blish's "Earthmanist" civilization. A major, if ponderous, work. See also SPACE OPERA Cyteen CHERRYH, C. J. (pseud. of Carolyn Janice Cherry)(Warner, 1988)The rulers of the planet Cyteen have a monopoly on the creation of Azi, the artificial human beings who have featured so prominently in such earlier Cherryh novels as Downbelow Station and the underrated Forty Thousand in Gehena (1983), and they also have the rarely used ability to CLONE human beings. When the aging Ariane Emory, ruthless director of the planet's genetic labs and a major political figure, decides to have herself cloned, the resulting child becomes a pawn in a complex series of political manipulations. This powerful psychological study is Cherryh's longest novel and her most difficult, but there's plenty of meat here to reward the diligent reader. For a very different novel that nonetheless asks similar questions about genetic determinism, compare Ira Levin's The Boys From Brazil. Hugo winner, 1989 Citizen of the Galaxy HEINLEIN, ROBERT A(NSON)(Scribner, 1957) Although marketed as a juvenile novel, this work was serialized for adults in Astounding. The Horatio Alger hero is in an interstellar setting, except that this lad starts out closer to the edge than Horatio's bootblacks and newsboys: he is a slave on a far planet of a despotic empire. He escapes into space with a nomadic trading company and eventually gets back to Earth, where he assumes (by inheritance!) the headship of a giant financial corporation. This is a bildungsroman, except that the young hero never really grows up; but Heinlein's knack for creating sociologically plausible cultures is well displayed. Alex Panshin in Heinlein in Dimension, argued that Citizen of the Galaxy, with a plot revealed at the end to be essentially circular, is normative for all of Heinlein's longer work. See also CHILDREN'S SF Crystal Express STERLING, BRUCE(Arkham, 1989)Early short fiction by one of the cofounders of the CYBERPUNK movement. Included is Sterling's entire Shaper/Mechanist series, most importantly "Swarm," as well as such excellent stories as "The Flowers of Edo," "Dinner in Audoghast," "Green Days in Brunei," and "Twenty Evocations." A number of these are award nominees and all are worth reading. A more recent, equally good collection of Sterling's short fiction is Globalhead (1992). Compare William Gibson's BURNING CHROMEand Pat Cadigan's Patterns. Cinefantastique Cinefantastique, Feb. 1994 Published by Frederick S. Clarke Cover illustration by John Hanley (M.M. Kavanagh. Frederick S. Clarke. (c) 1994 Frederick S. Clarke.) Comet Comet, July 1941 Published by H-K Publications, Inc. Cover illustration by Leo Morey (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. H-K Publications, Inc. (c) 1941 H-K Publications, Inc.) Cosmos Science Fiction and Fantasy Magazine Cosmos Science Fiction and Fantasy Magazine, July 1977 Published by Baronet Publishing Co. Cover illustration by Vincent Di Fate (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Baronet Publishing Co. (c) 1977 Baronet Publishing Co.) 234
    235. Crank! Crank!, Winter 1993 Published by Broken Mirrors Press Cover illustration by Ian Miller (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Broken Mirrors Press. (c) 1993 Broken Mirrors Press.) Critical Wave Critical Wave, July 1988 Published by Martin Tudor and Steve Green (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Martin Tudor and Steve Green. (c) 1988 Martin Tudor and Steve Green.) Conditioned for Space Conditioned for Space by Alan Ash Cover: Ward, Lock & Co., 1955 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Ward, Lock & Co. Limited (c) 1955 Ward, Lock & Co., Ltd.) Conquest of Earth Conquest of Earth by Manly Banister Cover: Airmont Publishing, 1957 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of Airmont Publishing Co., Inc. - Airmont Books (c) 1957 Airmont Publishing Company ) Chains (Vol. 1) Chains (Vol. 1) by Henri Barbusse Cover: International Publishers, 1925 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. International Publishers (c) 1925 International Publishers) ================================================ Ashes, Ashes Child of the Dawn, The The Child of the Dawn by A.C. Benson Cover: G.P. Putnam's Sons, 1912 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Children of the Night Children of the Night by John Blackburn Cover: G.P. Putnam's Sons, 1970 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of Random Century House UK Limited. (c) 1970 Johnathan Cape) Centaur, The The Centaur by Algernon Blackwood Cover: Macmillan and Co., Ltd., 1911 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Macmillan and Co., Ltd. London (c) 1911 Macmillan and Co. Ltd.) Children of Anthi Children of Anthi by Jay D. Blakeney Cover: Ace Books, 1985 illustration by Griesbach & Martucci (Casey Brown/The Eaton Collection, Univ. of Calif. , Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1985 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Crime of Under Seas, A A Crime of Under Seas by Guy Boothby Cover: Ward, Lock & Co. Ltd., 1905 illustration by Stanley L. Wood (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Centuries Apart Centuries Apart by Edward Bouve Cover: Little, Brown & Co., 1894 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Published by Little, Brown and Company (Inc.) (c) 1894 Little, Brown and Company (Inc.)) City of Masques City of Masques by Alan Brennert Cover: Playboy Press Paperbacks, 1978 illustration by Dennis Luzak (Casey Brown/The Eaton Collection, Univ. of 235
    236. Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1978 Playboy Press. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Cassiopeia Affair, The The Cassiopeia Affair by Harrison Brown & Chloe Zerwick Cover: Doubleday, 1968 illustration by Lawrence Ratzkin (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1968 Doubleday) Chivalry Chivalry by James Branch Cabell Cover: HarperCollins/Harber & Bros., 1909 (First Edition) illustration by Howard Pyle (M. M. Kavanagh. ) Colonists of Space Colonists of Space by Charles Carr Cover: Ward, Lock & Co., 1954 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Wand, Lock & Co., Ltd. (c) 1954 Ward, Lock & Co., Ltd.) Coma Coma by Robin Cook Cover: Little, Brown & Co., 1977 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Published by Little, Brown and Company (Inc.) (c) 1977 Little, Brown and Company (Inc.)) Cette Cher Humanite Cette Cher Humanite by Philippe Curval Cover: Editions Robert Laffont, 1976 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Editions Robert Laffont (c) 1976 Editions Robert Laffont) Christmas Carol, A A Christmas Carol by Charles Dickens Cover: Yale University Press (The Pierpont Morgan Library), 1993 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Yale University Press (c) 1993 Yale Univ. Press (The Pierpont Morgan Library) ) Caesar's Column Caesar's Column by Edmund Boisgilbert, M.D. (Ignatius Donnelly) Cover: Arena Publishing Co., 1894 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Complex Man Complex Man by Marie Farca Cover: Doubleday, 1973 illustration by Anita Siegal & Jonathan Field (Casey Brown/The Eaton Collection, Univ. of Calif. , Riverside. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1973 Doubleday) Cold Cash Warrior Cold Cash Warrior by Bill Fawcett & Robert Asprin Cover: Ace Books, 1989 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1989 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Circus of Dr. Lao, The The Circus of Dr. Lao by Charles Finney Cover: Bantam, 1964 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1964 Bantam Books) City of Endless Night City of Endless Night by Milo Hastings Cover: Dodd, Mead & Co., 1920 236
    237. (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1920 Dodd, Mead) Crisis! - 1992 Crisis! - 1992 by Benson Herbert Cover: Richards, 1936 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1936 Richards) Contagion to This World Contagion to This World by Fedor Kaul Cover: Geoffrey Bles, 1933 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1933 Geoffrey Bles) Copper Crown, The The Copper Crown by Patricia Kennealy Cover: Bluejay, 1984 illustration by Michael Embden (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Book jackets reprinted by permission of Bluejay Books Inc. All rights reserved. (c) 1984 Bluejay Books Inc.) Creator Creator by Jeremy Leven Cover: Coward, McCann & Geoghegan Inc., 1980 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1980 Coward, McCann & Geoghegan Inc.) Carder's Paradise Carder's Paradise by Malcolm Levene Cover: Walker & Co., 1969 illustration by Lena Fong Luen (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of Walker and Company. (c) 1969 Walker & Company) Childermass, The The Childermass by Wyndham Lewis Cover: Chatto & Windus, 1928 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of Random House UK Limited. (c) 1928 Chatto & Windous) Coming Race, The The Coming Race by First Baron Lytton Cover: Donohue-Hennberry & Co., 1890 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Donohue-Henneberry & Co. ) City of Gold, The The City of Gold by Edward Markwick Cover: W. Thacker & Co., 1898 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. W. Thacker & Co. UK ) Chance Chance by Ann Maxwell Cover: Popular Library, 1975 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by permission of Warner Books, Inc. (c) 1975 Popular Library, Inc.) Crisis in 2140 Crisis in 2140 by John J. McGuire & H. Beam Piper Cover: Ace Books, 1957 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1957 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Caleb Catlum's America Caleb Catlum's America by Vincent McHugh Cover: Stackpole Sons, 1936 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1936 Stackpole Sons) Club Tycoon Sends Man to Moon Club Tycoon Sends Man to Moon by Felix Mendelsohn Cover: Book Co. of 237
    238. America, 1965 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1965 Book Co. of America) Created, the Destroyer Created, the Destroyer by Warren Murphy & Richard Sapir Cover: Pinnacle Books, 1976 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Pinnacle Books (c) 1976 Pinnacle Books) Cloud Chamber Cloud Chamber by Howard L. Myers Cover: Popular Library, 1977 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by permission of Warner Books, Inc. (c) 1977 Popular Library, Inc.) Cityless and Countryless World, A A Cityless and Countryless World by Henry Olerich Cover: Gilmore & Olerich, 1893 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Creation's Doom Creation's Doom by Desiderius Papp Cover: D. Appleton-Century Co. Inc., 1934 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. D. Appleton-Century Company (c) 1934 D. Appleton-Century Company Inc.) Centenarians, The The Centenarians by Gilbert Phelps Cover: Heineman, 1958 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1958 William Heinemann, Ltd. ) Central Passage Central Passage by Lawrence Schoonover Cover: Dell, 1962 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Dell Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1962 Dell Books) Crossroads to Nowhere Crossroads to Nowhere by Raymond Stark Cover: Ward, Lock & Co. Ltd., 1956 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Ward, Lock & Co. Limited (c) 1956 Ward, Lock & Co., Ltd.) Concrete Concrete by Aelfrida Tillyard Cover: Hutchinson & Co., 1930 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of Random Century House UK Limited. (c) 1930 Hutchinson & Co.) Crash Landing on Iduna Crash Landing on Iduna by Arthur R. Tofte Cover: Laser Books, 1975 illustration by Kelly Freas (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside.Laser Books (c) 1975 Laser Books) Connecticut Yankee in King Arthur's Court, A A Connecticut Yankee in King Arthur's Court by Mark Twain Cover: HarperCollins/Harper & Bros., 1899 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Cure for Death Cure for Death by Victor Valentine Cover: Foursquare Books, 1960 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Foursquare Books (c) 1960 Foursquare Books) Crew of the Mekong, The The Crew of the Mekong by Evgeny Voiskunsky & Isa Borisovich Lukodianov Cover: Mir Publishers, 1974 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Mir Publishers (c) 1974 Mir Publishers) 238
    239. Chariots of the Gods? Chariots of the Gods? by Erich Von Daniken Cover: Bantam, 1970 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1970 Bantam Books) Chariot into Time Chariot into Time by Karl Zeigfreid (Tom W. Wade) Cover: John Spencer & Co., 1953 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. John Spencer & Co. (c) 1953 John Spencer & Co. UK) Children of the Sphinx Children of the Sphinx by George C. Wallis Cover: Cosmopolitan Printing (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside.Cosmopolitan Printing (c) 1925 Cosmopolitan Printing) Children of the Light Children of the Light by Susan Weston Cover: St. Martin's Press, 1987 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of St. Martin's Press. (c) 1987 St. Martin's Press) Chung Kuo: The Middle Kingdom Chung Kuo: The Middle Kingdom by David Wingrove Cover: Delacorte Press, 1990 (First Edition) illustration by Jean Tuttle (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Delecorte Press, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1990 Delecorte Press.) Chaos in Arcturus Chaos in Arcturus by Karl Zeigfreid Cover: John Spencer & Co., 1953 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. John Spencer & Co. (c) 1953 John Spencer & Co.) Cold Cash War, The The Cold Cash War by Robert Lynn Asprin Cover: Dell, 1977 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Dell Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1977 Dell Books) Cowboy Feng's Space Bar and Grille Cowboy Feng's Space Bar and Grille by Steven Brust Cover: Ace Books, 1990 illustration by James Gurney (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1990 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Crisis on Cheiron Crisis on Cheiron by Juanita Coulson Cover: Ace Books, 1967 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1967 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Cradle of the Sun Cradle of the Sun by Brian Stableford Cover: Ace Books, 1969 illustration by Jack Gaughan (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1969 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) 239
    240. Crack in Space, The The Crack in Space by Philip K. Dick Cover: Ace Books (First Edition) illustration by Jack Gaughan (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1966 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Castle Perilous Castle Perilous by John DeChancie Cover: Ace Books (First Edition) illustration by James Gurney (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1988 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Cry Republic Cry Republic by Kirk Mitchell Cover: Ace Books (First Edition) illustration by James Gurney (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1989 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Cybernetic Shogun, The The Cybernetic Shogun by Victor Milan Cover: William Morrow & Co., 1990 (First Edition) illustration by Don Bolognes (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Shown by permission of William Morrow & Co., Inc. (c) 1990 William Morrow & Co., Inc.) Crystal Empire, The The Crystal Empire by L. Neil Smith Cover: TOR, 1986 illustration by Michael Whelan (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by permission of Tor Books. (c) 1986 Tor Books) Clone, The The Clone by Theodore L. Thomas Cover: Berkley (First Edition) (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1965 The Berkley Publishing Group. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) City of Glass City of Glass by Noel Loomis Cover: Columbia, 1942 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Columbia Publications, Inc. (c) 1942 Columbia Publications, Inc.) Caliban Landing Caliban Landing by Steven Popkes Cover: Congdon & Weed (First Edition) illustration by Bob Walters (M. M. Kavanagh. Congdon & Weed (c) 1987 Congdon and Weed) Cage a Man Cage a Man by F.M. Busby Cover: Science Fiction Book Club, 1973 illustration by Gary Viskupic (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Jacket: Gary Viskupic. Reprinted with permission of Doubleday Book and Music Clubs, Inc. (c) 1973 Doubleday Book & Music Clubs, Inc. ) Charles Fort Never Mentioned Wombats Charles Fort Never Mentioned Wombats by Gene DeWeese & Robert Coulson Cover: Doubleday, 1977 (First Edition) illustration by Peter Rauch (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission 240
    241. of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1977 Doubleday) Conscience Place Conscience Place by Joyce Thompson Cover: Doubleday (First Edition) illustration by Fred Marcellino (M. M. Kavanagh. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1984 Doubleday) Copy Shop, The The Copy Shop by Evelyn E. Smith Cover: Doubleday, 1985 (First Edition) (M. M. Kavanagh. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1985 Doubleday) Capella's Golden Eyes Capella's Golden Eyes by Christopher Evans Cover: Faber and Faber Ltd., 1980 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1980 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Children of the Atom Children of the Atom by Wilmar Shiras Cover: Gnome Press, 1933 illustration by Kelly Freas (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Gnome Press (c) 1933 Gnome) City City by Clifford Simak Cover: Ace Books, 1973 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1973 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Code Three Code Three by Rick Raphael Cover: Victor Gollancz Ltd., 1967 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with the permission of Victor Gollancz Ltd. (c) 1967 Victor Gollancz Ltd.) Course of the Heart, The The Course of the Heart by M. John Harrison Cover: Victor Gollancz Ltd., 1992 (First Edition) illustration by Dave McKean (M. M. Kavanagh. Reprinted with the permission of Victor Gollancz Ltd. (c) 1992 Victor Gollancz Ltd.) Creed for the Third Millennium, A A Creed for the Third Millennium by Colleen McCullough Cover: Avon Books, 1985 (Casey Brown/Eaton Collection, University of Calif., Riverside. Shown by permission of Avon Books. (c) 1985 Avon Books) Colossus Colossus by D.F. Jones Cover: Berkley, 1966 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1966 The Berkley Publishing Group . Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Camp Concentration Camp Concentration by Thomas M. Disch Cover: Hart Davis, 1968 (First Edition) illustration by Ken Reilly (M. M. Kavanagh. Reprinted with permission of HarperCollins Publishers Limited. (c) 1968 Hart Davis) 241
    242. Chain Reaction Chain Reaction by Chris Hodder-Williams Cover: Doubleday, 1959 (First US Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1959 Doubleday & Co.) Crying of Lot 49, The The Crying of Lot 49 by Thomas Pynchon Cover: J.B. Lippincott, 1966 (First Edition) illustration by Milton Charles (M. M. Kavanagh. JB Lippincott Co. (c) 1966 JB Lippincott Co.) Cold War in a Country Garden Cold War in a Country Garden by Lindsay Gutteridge Cover: Jonathan Cape, 1971 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of Random Century House UK Limited. (c) 1971 Johnathan Cape) Child Buyer, The The Child Buyer by John Hersey Cover: Bantam, 1961 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1961 Bantam Books) Colour out of Space, The The Colour out of Space by H.P. Lovecraft Cover: Lancer Books, 1969 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Lancer Books (c) 1969 Lancer) Carmen Dog Carmen Dog by Carol Emshwiller Cover: Mercury House, 1988 (First Edition) illustration by Renee Flower (M. M. Kavanagh. Published by Mercury House, San Francisco, CA. (c) 1988 Mercury House) Case of the Little Green Men, The The Case of the Little Green Men by Mack Reynolds Cover: Phoenix Press, 1951 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Phoenix Press (c) 1951 Phoenix Press) Collected Feghoot, The The Collected Feghoot by Briarton Grendel Cover: Pulphouse Publishing (First Edition) illustration by Tim Kirk (M. M. Kavanagh. Courtesy of Pulphouse Publishing. (c) 1992 Pulphouse Publishing, Inc.) Coming Self-Destruction of the United States, The The Coming Self-Destruction of the United States by Alan Seymour Cover: Panther Books, 1971 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of HarperCollins Publishers Limited. (c) 1971 Panther Books) Cortez on Jupiter Cortez on Jupiter by Ernest Hogan Cover: TOR, 1990 illustration by Ron Walotsky (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by permission of Tor Books. (c) 1990 Tor Books) China Mountain Zhang China Mountain Zhang by Maureen F. McHugh Cover: TOR, 1992 (First Edition) illustration by Wayne Barlowe (M. M. Kavanagh. Reprinted by permission of Tor Books. (c) 1992 Tor Books) Complete Stories (Vol. I), The The Complete Stories (Vol. I) by Isaac Asimov Cover: Doubleday, 1990 (First Edition) illustration by Barclay Shaw (M. M. Kavanagh. Used by 242
    243. Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1990 Doubleday) Chronopolis Chronopolis by J.G. Ballard Cover: Berkley, 1972 illustration by Richard Powers (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1972 The Berkley Publishing Group. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Crystal World, The The Crystal World by J.G. Ballard Cover: Berkley, 1967 illustration by Richard Powers (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1967 The Berkley Publishing Group. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Cities in Flight Cities in Flight by James Blish Cover: Avon Books, 1970 (M. M. Kavanagh. Shown by permission of Avon Books. (c) 1970 Avon Books) Cyteen Cyteen by C.J. Cherryh Cover: Warner Books, 1988 (First Edition) illustration by Don Maitz (M. M. Kavanagh. Reprinted by permission of Warner Books, Inc. (c) 1988 Warner Books, Inc.) Collected Stories of Philip K. Dick, The The Collected Stories of Philip K. Dick by Philip K. Dick Cover: Citadel Twilight, 1991 illustration by Kevn Kelly (M. M. Kavanagh. Courtesy of Carol Publishing Group. (c) 1991 Carol Publishing) Cornelius Chronicles, The The Cornelius Chronicles by Michael Moorcock Cover: Avon Books, 1977 (First Edition) illustration by Fernandes (M. M. Kavanagh. Shown by permission of Avon Books. (c) 1977 Avon Books) Child Garden, The The Child Garden by Geoff Ryman Cover: Unwin Hyman, 1989 (First Edition) (M. M. Kavanagh. Reprinted with permission of HarperCollins Publishers Limited. (c) 1989 Unwin Hyman) Crystal Express Crystal Express by Bruce Sterling Cover: Arkham House, 1989 (First Edition) illustration by Rick Lieder (M. M. Kavanagh. Courtesy of Arkham House Publishers. (c) 1989 by Arkham House Publishers, Inc.) Claremont ,Chris Chris Claremont (1950- ) (M. C. Valada. (c) 1995 M. C. Valada) Clayton, Patricia Jo Patricia Jo Clayton (1939- ) (M. C. Valada. (c) 1995 M. C. Valada) Chalker, Jack Jack L. Chalker (1944- ) (M. C. Valada. (c) 1995 M. C. Valada) Charnas, Suzy McKee Suzy McKee Charnas (1939- ) (M. C. Valada. (c) 1995 M. C. Valada) Crispin, A.C. A.C. Crispin (1950- ) (M. C. Valada. (c) 1995 M. C. Valada) Clement, Hal Hal Clement (1922- ) (M. C. Valada. (c) 1995 M. C. Valada) Cherryh, C.J. C.J. Cherryh (1942- ) (M. C. Valada. (c) 1995 M. C. Valada) 243
    244. Cadigan, Pat Pat Cadigan (1953- ) (M. C. Valada. (c) 1995 M. C. Valada) Cabell, James Branch James Branch Cabell (1879-1958) ( Bettmann. ) Carroll, Lewis Lewis Carroll (Charles Dodgson, 1832-1898) ( Bettmann. ) Carter, Angela Angela Carter (1940-1992) (Miriam Berkley. (c) 1995 Miriam Berkley) Clute, John F. John F. Clute (1940- ) (Miriam Berkley. (c) 1995 Miriam Berkley) Crowley, John John Crowley (1942- ) (Beth Gwinn. (c) 1995 Beth Gwinn) Clarke, Arthur C. Arthur C. Clarke (1917- ) (Jay Kay Klein. (c) 1995 Jay Kay Klein) Campbell, John W. Jr. John W. Campbell, Jr. (1910-1971) (Jay Kay Klein. (c) 1995 Jay Kay Klein) Carr, Terry Terry Carr (1937-1987) (Jay Kay Klein. (c) 1995 Jay Kay Klein) Crichton, Michael Michael Crichton (1942- ) (Joyce Ravid (c) 1995 Joyce Ravid) Coville, Bruce Bruce Coville (1950- ) (Jules. (c) 1995 Jules) Charnas, Suzie McKee (No Truce) In Suzie McKee Charnas's work, Space belongs to everyone. ( (c) Grolier Electronic Publishing, Inc.) Charnas, Suzie McKee (No Truce) In Suzie McKee Charnas's work, Space belongs to everyone. ( (c) Grolier Electronic Publishing, Inc.) Clute, John (Adolescent Sensibility) John Clute on the adolescent sensibility of SF readers. ( (c) Grolier Electronic Publishing, Inc.) Clute, John (Adolescent Sensibility) John Clute on the adolescent sensibility of SF readers. ( (c) Grolier Electronic Publishing, Inc.) Clarke, Arthur C. (On Following *2001) Arthur C. Clarke describes the difficulties of creating a being with superhuman intelligence. ( (c) Grolier Electronic Publishing, Inc.) Clarke, Arthur C. (On Following *2001) Arthur C. Clarke describes the difficulties of creating a being with superhuman intelligence. ( (c) Grolier Electronic Publishing, Inc.) Cities & Space SF writers use the concept of Space in a variety of ways, from a good place to hang out in the future to a metaphor for the unexplored in the human psyche. ( (c) Grolier Electronic Publishing, Inc.) Calvino, Italo Italo Calvino (1923-1985) (Denis Gibier. (c) 1995 Denis Gibier) Carver, Jeffrey Jeffrey Carver (1949- ) (Andrew I. Porter. (c) 1995 Andrew I. Porter) Chandler, A. Bertram A. Bertram Chandler (1912-1984) (Andrew I. Porter. (c) 1995 Andrew I. Porter) 244
    245. Cogswell, Theodore R. Theodore R. Cogswell (1918-1987) (Andrew I. Porter. (c) 1995 Andrew I. Porter) Coney, Michael G. Michael G. Coney (1932- ) (Rick Hawes. (c) 1995 Rick Hawes) Copyrights & Credits The Multimedia Encyclopedia of Science FictionAll rights reserved. For complete license terms, see the license agreement in your package. No part of this product may be reproduced or utilized in any form or by any means, electronic or mechanical, including printing, recording, or by any information storage or retrieval systems, without permission in writing from the publisher. For information contact:Grolier Electronic Publishing, Inc.Sherman TurnpikeDanbury, CT 06816The Multimedia Encyclopedia of Science FictionCopyright 1995 by Grolier Electronic Publishing, Inc.All rights reserved.The Encyclopedia of Science Fiction and updated text copyright 1993, 1995 by John Clute and Peter Nicholls.Book Browser synopses provided under special arrangement with R.R. Bowker, a Reed Reference Publishing Company.Copyright 1995 by Neil Barron.All rights reserved.International Standard Book Numbers (ISBN):Macintosh version: 0-7172-3998-5Windows/MPC version: 0-7172-3999-3Special thanks to Gregory Feeley for his commitment, enthusiasm, and help in exploring the world of SF.GROLIER ELECTRONIC PUBLISHING PRODUCTION AND SUPPORT STAFFArturo ArayaCary ArchiereMichael AsmarKevin AuwarterDeborah BassetteSusan BeaumontLawrence BoothPat BraccioAndre CayoMark ChaseKacy CheronKeith CiociolaTrish DardineRichard DassauFelicia DixonSterling DurgyDoug FarrellDave FioreJoshua FlanaganGerry GigonJeff HackerRobbie HellingSheila HilpertshauserBeth JenkinsCicely JetteBarbara JoyceArt KaplanRay KerneyMarybeth M. KavanaghDan KinoyThelxi KickhamLori LeeHugh McNallyGreg MandasSteven MarkusGreg MartinelliRoberta MazzoliFrancisco MiddletonDino MorelliDan MurrayPaul MyottJon NathansonBettieann NihoffJoe PoulosTom ReardonJohn RichardsBarbara RoederScott SantulliEileen SassBecky SchmidtAndy SloanTrudy SohleAnnie StanleyRon SteigerRick SuttonIrene TulloLance VikarosSteve VirkusKen VolcjakJennifer WalshPaul WegmannBarbara WinardScott WinterCONSULTANTSComputer Animation & DesignRandy A. CatesGabriel Naranjo CedenoKaren S. HackerWarren W. JamesPeter LevySandy ZweigWe wish to thank the following persons, organizations and companies for the use of pictorial and film/video images in this product.Grolier has made every reasonable effort to include appropriate credits for materials appearing in this work. The publisher will be pleased to rectify any errors or omissions with regard to credits or permissions.ARCHIVES & COLLECTIONSThe Academy of Motion Picture Archives LibraryAmerican Museum of the Moving ImageArchives of the J. Wayne & Elise M. Gunn Center For The Study of Science Fiction at The University of KansasThe Bettmann ArchiveRonald V. Borst/Hollywood Movie PostersBooks cited, "Eaton Collection, Univ. of Calif., at Riverside" are from the J. Lloyd Eaton Collection of Science Fiction, Fantasy, Horror, and Utopia, University of California, Riverside.The Everett Collection, Inc.Stock video footage provided by The Image Bank/NYPhotofestPhototheque-HachetteUniversity of Bridgeport - Publicity DepartmentUniversity Archives of the University of Southern CaliforniaSTUDIOS/FILM SOURCESCarolco Pictures Inc.Corinth Films, Inc.Crystal Pictures, Inc.Impact Entertainment Inc.Jack H. HarrisLUCASFILM LTD.The NBC News ArchivesOrion Pictures CorporationSTAR TREK courtesy of Paramount PicturesWAR OF THE WORLDS courtesy of Paramount PicturesINVASION 245
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    248. Software, Inc. Copyright 1995 by DataPak Software, Inc. All rights reserved.C++ Template Callback Library is used in the MPC/Windows version. Copyright 1994 by Rich Hickey. Contributors From The Encyclopedia of Science Fiction, John Clute and Peter Nicholls, eds.Each contributor to this encyclopedia may be identified by his or her initials, as tabulated against his or her full name below. Rather more than half the contributors themselves receive entries in this book, and are listed below with their surnames capitalized. Data on other contributors appear below the list. Names asterisked once (*) are responsible only for material retained from the first edition; names asterisked twice (**) appear newly in this second edition. The remainder have worked on both editions.** Ivan Adamovic IA* Mark Adlard MA** Tim Adye TA* Brian W. Aldiss BWA** Hans Joachim Alpers HJA** Mike Ashley MA** Miquel Barcelo MB** Zoran Bekric ZB** Matt Bishop MB** Russell Blackford RuB** Everett F. Bleiler EFB** Richard Bleiler RB** Scott Bradfield SB** Damien Broderick DB* John Brosnan JB** Stanislav Cermak SC** Jacques Chambon JCh** I.F. Clarke IFCJohn Clute JC** John Robert Colombo JRC** Adrian Cox AC** Niels Dalgaard ND** J.A. Dautzenberg JAD** Hugh Davies HD* Thomas M. Disch TMD** Jane Donawerth JD* Malcolm J. Edwards MJEJohn Eggeling JE** Gregory Feeley GF** Brian Forte BF* H. Bruce Franklin HBF** Robert Frazier RF** Neil Gaiman NG** Vladimir Gakov VG** Bruce Gillispie BG** John Grandidge JoG** John Grant (Paul Barnett ) JGr** Colin Greenland CGJon Gustafson JG** Rob Hansen RH* Jim Harmon JH** Penny Heal PH** Stephen Holland SH** John-Henri Holmberg J-HH** Jyrki Ijas JI* Maxim Jakubowski MJ** Colin A. Johnson CJ** Jorg Kastner JK** Roz Kaveney RK David Ketterer DK** Robert K.J. Killheffer RKJK** Michael Klossner MK** David Langford DRL** Peter Kuczka PK** Sam J. Lundwall SJL* Robert Louit RL** Murray MacLachlan MM* David I. Masson DIM** Charles Shaar Murray CSM* Alan Myers AM** Kim Newman KNPeter Nicholls PN** Phil Nichols PhN** Patrick Nielsen Hayden PNH** Jaroslav Olsa jr JO** Carlo Pagetti CP* Frank H. Parnell FHP** Ellen Pedersen EP* A.B. Perkins ABP** Luc Pomerleau LP** Alexander Popov APDavid Pringle DP** Phil Raines PhR** Jenny Randles JR** Robert Reginald RoR* Peter Roberts PR** Roger Robinson RR** Cornel Robu CRFranz Rottensteiner FR ** Marcus Rowland MR* John Scarborough JSc** Mauricio-Jose Schwarz M-JSTakumi Shibano TSh* Tom Shippey TS* John Sladek JS ** Krzysztof Sokolowski KSBrian Stableford BS* Tony Sudbery TSuDarko Suvin DS** Braulio Tavares BT** Sheldon Teitelbaum ST** Ron Tiner RT** Igor Tolokonnikov IT** Neal Tringham NT** Lisa Tuttle LT** Hermann Urbanek HU** Janeen Webb JW** Steve Whitaker SW** Chris Williamson CW** Ralph Willingham RW** Wu Dingbo WD ** Zoran Zivkovic ZZ Tim Adye is a member of the M.H. Zool group, members of which were collaboratively responsible for the Bloomsbury Good Reading Guide to Science Fiction and Fantasy (1989); several Zool group members made individual contributions here, and are identified below. Zoran Bekric and Brian Forte are freelance writers, based in South Australia, who have expertise in comics. Matt Bishop is with the Zool group. Stanislav Cermak is a Czech film critic and sf fan. Jacques Chambon is a French sf critic and publisher. Adrian Cox is with the Zool group. J.A. Dautzenberg is a Dutch college teacher and literary critic for a national newspaper, De Volksrant. Hugh Davies is a UK composer and musicologist. Jane Donawerth is a Professor of English at the University of Maryland at College Park, with a specilized interest in women's literature. John Eggeling is a UK antiquarian bookseller and 248
    249. expert in early sf publishing. John Grandidge is with the Zool group. Jon Gustafson is a US art and artbook appraiser, expert in sf art, who has had a column on the subject in Pulphouse: The Hardback Magazine. Rob Hansen is a UK fan, expert on the history of (in particular) UK fandom, as shown in his fanzine Then. Patrick Nielsen Hayden is a senior editor at Tor Books. Penny Heal and Colin A. Johnson are with the Zool group. John-Henri Holmberg is a Swedish editor and critic, author of several books on sf. Jorg Kastner is a German sf author and critic, whose criticism has appeared in Science Fiction Times. Robert K.J. Killheffer is Books Editor of Omni Magazine. Michael Klossner is a US critic with special interest in sf in film and tv, and a frequent contributor to SFRA Review. Robert Louit is a French critic, journalist and translator who has also been an sf book editor. Murray MacLachlan is a New Zealand freelance writer with a special interest in sf. Charles Shaar Murray is a UK rock-music critic and historian, author of Shots from the Hip (coll 1991) and other books. Alan Myers is a UK teacher of Russian, and translator from the Russian. Phil Nichols is a video engineer and producer, for some time Information Officer of the BSFA. Frank H. Parnell is an authority on sf and fantasy magazines, compiler of Monthly Terrors: An Index to the Weird Fantasy Magazines Published in the United States and Great Britain (1985). Ellen Pedersen is a Danish critic and translator. A.B. Perkins, a UK researcher, has a special interest in UK boys' sf of the 1950s. Phil Raines is with the Zool group. Jenny Randles is an international researcher in ufology. Peter Roberts was for many years a fanzine editor in the UK. Marcus Rowland specializes in computers and games for a local education authority. John Scarborough is a US professor of medical history. Tony Sudbery is a lecturer in mathematics, and was for some time a regular sf critic in Speculation and elsewhere. Ron Tiner is a UK book and comics artist, and is author of Figure Drawing without a Model (1992). Igor Tolokonnikov is one half of the Russian literary agency Baziat. Neil Tringham, now with the Institut fur Astonomie & Astrophysik in Munich, was also with Zool group. Hermanm Urbanek is a German fan and sf critic, author of "SF in Germany", an occasional column in Locus. Janeen Webb is an Australian lecturer in literature, with a specialized interest in sf and fantasy, both for children and adults. Steve Whitaker is a comics historian, teacher, critic, strip cartoonist and colourist. Chris Williamson is with the Zool group. Ralph Willingham is the US author of a PhD dissertation, "Science Fiction and the Theatre.". Cole's The Struggle for Empire The first major novel to adopt an interstellar venue, Robert W. COLE'sThe Struggle for Empire: A Story of the Year 2236 anticipated the pulp SPACE OPERA genre, with its fast-paced space battles and grand scale. Campbell's Twilight First published under a pseudonym, John W. CAMPBELL's moody and evocative tale was unlike either his previous fiction or the fiction he later published as editor of Astounding. Campbell editor of Astounding An influential and rising young SF writer when he took the position as editor of Astounding, John W. CAMPBELL abandoned his writing career but became the most influential editor in SF history. Campbell's Who Goes There? The basis for the SF horror movie, THE THING, John W. CAMPBELL's tale of 249
    250. a shape-changing alien attacking an Antarctic research station epitomizes the strengths of American pulp fiction. Cordwainer Smith's first story Cordwainer SMITH publishes "Scanners Live in Vain"in an obscure SF magazine after everyone else rejects it. Clement's Mission of Gravity One of the classics of hard science fiction, Hal CLEMENT's MISSION OF GRAVITY is a tale of humans and aliens on an ultra high- GRAVITY world. It was serialized in Astounding Science Fiction before being published by Doubleday. Clarke's Childhood's End For many years Arthur C. CLARKE's most famous novel, and still one of his best (and most popular), CHILDHOOD'S END is a tale of humanity growing into transcendent adulthood - with the help of alien tutors. Carter's Heroes and Villains Angela CARTER's fourth novel, HEROES AND VILLAINS, is a post-holocaust tale of considerable wit and subversive invention. Carter, a British fabulist, is better known outside the SF world than within it.See Also: FABULATION; POSTMODERNISM AND SF. Clarke's Rendezvous with Rama Arthur C. CLARKE's novel about a derelict spaceship won all the major awards but not the critic's hearts. Still, RENDEZVOUS WITH RAMA communicated a sense of wonder that made it a hit with audiences and one of the most popular SF novels of the 70s.See Also: BIG DUMB OBJECTS. Crowley's Engine Summer John CROWLEY's third novel, ENGINE SUMMER, is a dense and beautiful meditation on memory, mortality, and consciousness; many readers consider it one of the finest SF novels ever written. Cherryh's Downbelow Station A central work in C.J. CHERRYH's future history, DOWNBELOW STATION is her finest early novel. It won the HUGO Award. Card's Ender's Game Based on his 1977 story, Orson Scott CARD's 1985 novel, ENDER'S GAME, won both the NEBULA and HUGO Awards and remains his best-known work. Divine Endurance JONES, GWYNETH(Allen & Unwin, 1984)On a FAR-FUTURE Earth, in an isolated citadel in central Asia, live the IMMORTAL cat Divine Endurance and the last of the manufactured humans, Chosen Among the Beautiful. When the machines that imprison them finally cease functioning, they venture forth into the wasteland to see the world. In Southeast Asia they find what might well be the last human civilization on Earth. Cho was created with the need to fulfill human desires, but the people she meets find her presence to be at best a mixed blessing. A densely written and difficult novel, with a touch of Jack Vance, though lacking his wittiness and of radically different political sensibility. Compare Joan Slonczewski's A Door into Ocean. Dhalgren DELANY, SAMUEL R(AY)(Bantam, 1975)To the depopulated city of Bellona, which is subjected to occasional distortions of time and space, comes a youthful hero hungry for experience and keen to develop his powers as a creative artist. A dense and multilayered novel that alienated some readers who had previously applauded Delany's colorful fantastic romances, 250
    251. but that reached a much wider audience. Convoluted and fascinating, it remains one of the key works of avant-garde SF, by an author determined to extend the limits of the genre. See also FABULATION Dune HERBERT, FRANK(Chilton, 1965)The first of a seven-volume bestselling series is the story of a selectively bred messiah who acquires paranormal powers by use of the spice that is the main product of the desert planet Arrakis, and uses these powers to prepare for the ecological renewal of the world. Politics and metaphysics are tightly bound into a remarkably detailed and coherent pattern; an imaginative tour de force. The series as a whole is overinflated, the later revisitations of the theme being prompted more by market success than the discovery of new things to do with it. The series demonstrates how a good SF writer's ability to build a coherent and convincing hypothetical world can serve the purpose of making philosophical and sociological questions concrete; the series thus becomes a massive thought experiment in social philosophy, and is more considerable as such than Isaac Asimov's FOUNDATION series or Marion Zimmer Bradley's Darkover series. Hugo winner, 1966; Nebula winner, 1965. See also ECOLOGY The Dying Earth VANCE, JACK (pseud. of John Holbrook Vance)(Hillman, 1950)A hauntingly beautiful story of a FAR FUTURE Earth "steeped," as Norman Spinrad has put it, "in magic born of rotting history." Scientific experiment has given place to charms and enchantments that really work. Six loosely connected episodes derive not from technophile Golden Age SF but from a quite antithetical tradition: the world-ends-in-magic milieu explored in the 1930s by Clark Ashton Smith, and picaresque sword-and-sorcery such as Fritz Leiber's early-forties Fafhrd and Gray Mouser tales, with a dash (Chapter 5) of Lord Dunsany. A slender thread of scientific hope is held out in the concluding episode, whose hero, given since childhood to how and why questions and driven by doubts about an approach to reality in which magic spells are learned by rote, makes his way through strange landscapes and degenerate towns to the Museum of Man. But that hope of a scientific renaissance was not to be realized in this novel's several sequels, good as some of them were as stories. Little noticed at initial publication, this work launched a whole subgenre of fictional futures in which magic replaces science, a development not altogether healthy for science fiction or implicitly for the place of science in modern civilization. Interestingly, a countertrend has appeared in the fantasy field, of formerly effective magic that became displaced by the emergent scientific world view of the 17th century, as in Tim Powers's On Stranger Tides (Ace, 1988). Dragon's Egg FORWARD, ROBERT L(ULL)(Ballantine, 1980)A race that evolves on the surface of a neutron star lives on a vastly compressed time scale, but nevertheless manages to make contact with human observers. A fascinating and ingenious example of hard SF. Its representation of SCIENTISTS at work compares with Gregory Benford's Timescape. In the sequel, Starquake (1985), the aliens achieve technological sophistication, are returned to primitivism by a "starquake," and rebuild their civilization-a process that takes several of their generations but only 24 hours of our time. Compare John Brunner's The Crucible of Time (1984). 251
    252. Dangerous Visions ELLISON, HARLAN, ed.(Doubleday, 1967)The first big hardcover anthology of original SF stories-a classic that launched a publishing vogue as well as providing a manifesto for the American NEW WAVE. Ellison's combative introductions set off the stories superbly, though some of the efforts at "taboo-breaking" now seem a little sophomoric. A very influential book, followed by the even bigger and equally fine Again, Dangerous Visions (1972). An endlessly promised volume, The Last Dangerous Visions, was the subject of a scathing pamphlet by Christopher Priest, The Last Deadloss Visions (1987), reprinted with revisions as The Book on the Edge of Forever (Fantagraphics Books, 1994). Dreamsnake MCLNTYRE, VONDA N(EEL)(Houghton Mifflin, 1978)Novel based on the short story "Of Mist and Grass and Sand" (Nebula winner, 1973). A healer whose instruments are metabolically engineered snakes must journey to a city that has contacts with the star worlds in the hope of replacing the dreamsnake that eases the pain of her clients. A convincing mixture of stoicism and sentimentality, rather highly strung. Compare James Tiptree's Up the Walls of the World . Nebula winner, 1978; Hugo winner, 1979. See also HOLOCAUST AND AFTER Davy PANGBORN, EDGAR(St. Martin's, 1964)Nuclear war is now 300 years in the past, but the world is still a primitive place. The title character begins life as a bondsman and grows to become a great leader. Though his intent is serious, Pangborn's tone is satirical and a bit bawdy throughout. Numerous critics have noticed similarities between Davy and Henry Fielding's Tom Jones. Set in the same postholocaust world are The Judgment of Eve (1966), The Company of Glory (1975), and stories found in the collection Still I Persist in Wondering (1978). Compare Walter M. Miller's A CANTICLE FOR LEIBOWITZ and John Crowley's ENGINE SUMMER . See also HOLOCAUST AND AFTER Downbelow Station CHERRYH, C. J. (pseud. of Carolyn Janice Cherry)(DAW, 1981)Political space opera set on the star station Pell, caught in the middle of the conflict for control of humankind's fragile interstellar " EMPIRE." Complex and multifaceted: the many-sided conflict provides action and intrigue while the central characters try to construct viable personal relationships and work out careers in a fluid situation. The novel is a key work in an elaborate future history used as a background for several other novels, including Merchanter's Luck and Voyager in Night (1984). Hugo winner, 1982 Do Androids Dream of Electric Sheep? DICK, PHILIP K(INDRED)(Doubleday, 1968)In a future where technological sophistication has made the ersatz virtually indistinguishable from the real, the hero is a bounty hunter who must track down and eliminate ANDROIDS passing for human. But android animals are routinely passed off as real by people trying to purge human guilt for having exterminated so many living species, and the new messiah is an artificial construct; so what is the difference between the human and the android? A key novel in Dick's canon. The film, Blade Runner, is a very pale echo. We Can Build You (1972) further explores the ambiguity of such distinctions as human/android and sane/schizophrenic in a haunting story of people who create machines more human than themselves. 252
    253. Dorsai! DICKSON, GORDON R(UPERT)(DAW, 1976)Revised version of The Genetic General (1960), the first volume in one of the more popular science fiction series. Some of the later books in the series are, in whole or in part, revised versions of earlier books. The Dorsai are the greatest soldiers in the galaxy, having developed a mercenary culture in order to gain the capital necessary to survive on a resource-poor planet. In Dickson's universe humanity has fragmented into three basic genetically determined types-men of faith, of WAR, and of philosophy-with the Dorsai exemplifying men of war. The three types, however, are destined to come together again to form a new, higher type of human being called the Ethical-Responsible Man. Donal Graeme, Dorsai, military genius, and psychic SUPERMAN, is the first of this new kind of human being. Dickson has outlined an ambitious plan to write a dozen novels describing the evolution of the Ethical-Responsible Man from our past, through the present, and into the future, called the Childe Cycle. So far none of the novels set in the past or present have appeared, and it seems unlikely that they will. The early Dorsai novels were primarily action-adventure of a superior sort. The later novels have become increasingly philosophical and perhaps a bit long-winded. Compare David Drake's Hammer's Slammers (1979) and its sequels and Jerry Pournelle's The Mercenaryand sequels. Dragonflight MCCAFFREY, ANNE(Ballantine, 1968)First of the Pern series, combining the novellas "Weyr Search" (Hugo winner, 1968) and "Dragonrider" (Nebula winner, 1968). Immediate sequels are Dragonquest (1971) and the best-selling The White Dragon (1978); these novels appear in an omnibus asThe Dragonriders of Pern (1978). An associated trilogy aimed at younger readers is Dragonsong (1976), Dragonsinger (1977), and Dragondrums (1979). Later novels set on Pern include Moreta, Dragonlady of Pern (1983), Nerika's Story (1986), Dragonsdawn (1988), The Renegades of Pern (1989), and All the Weyrs of Pern (1991). Pern is a lost colony where dragons telepathically bonded to male riders breathe fire to burn up the spores of deadly vegetable invaders that appear at long intervals. The dragons can also travel through time whenever the plots require a deus ex machina. Despite the commercial success of later volumes, the quality and originality of the books decline somewhat as the series proceeds, although the most recent addition, All the Weyrs of Pern, represents something of an improvement. The author appears to have achieved in these novels a mode and intensity of feeling that broke new ground in fitting SF to the imaginative needs of alienated teenage girls, thus helping to break the masculine mold of most previous SF. Compare Jacqueline Lichtenberg's Sime/Gen series, beginning with House of Zeor (1974) and C. J. Cherryh 's Morgaine series, beginning with Gates of Ivrel (1976), both of which show McCaffrey's influence. See also COLONIZATION OF OTHER WORLDS Death Qualified: A Mystery of Chaos WILHELM, KATE(St. Martin's, 1991)Barbara Holloway, a former lawyer who quit in disgust with the legal system, is persuaded to take her first case in five years. A woman is accused of murdering her husband, whom she had not seen for seven years prior to the day of his death. There's no real motive, however, and Holloway quickly discovers that someone doesn't want her on the case. Further, there is evidence that the deceased husband may have been involved in some very peculiar scientific experiments in PERCEPTION. For another novel that puts chaos theory to good use, compare 253
    254. Arthur C. Clarke's The Ghost From the Grand Banks (1990). See also SUPERMAN Darker Than You Think WILLIAMSON, JACK(Fantasy, 1948)Originally published in Unknown in 1940, this may be Williamson's finest work-a pioneering effort to give " SUPERNATURAL" phenomena, in this case Iycanthropy, a scientific rationale. The science is a bit shaky from today's perspective, but the felt response of the viewpoint character as a werewolf and in his other shape-changes, is vivid and convincing. The experience also converts his purpose from a stock pulp-heroic defense of humanity against the encroaching lycanthropes to a Nitzschean "beyond good and evil" embrace of his antihuman role, reminiscent of the change in the way the young giants are perceived in the course of H. G. Wells's The Food of the Gods. In a sense this is a variation on the Superman theme, except that it does not depict the superbeings as benevolent toward humanity; their coming regime truly will be "darker than you think." A Dell edition in 1979 reproduced the original magazine illustrations by Edd Cartier. Compare Richard Matheson, I Am Legend; contrast Olaf Stapledon, Odd John . Doomsday Book WILLIS, CONNIE(Bantam, 1992)Kivrin, a TIME TRAVELing history student from 21st-century Oxford, is sent back to the 14th century for her Practicum. It's supposed to be a routine trip, but everything seems to go wrong at once. Kivrin is accidently set down in the heart of the Black Plague and soon falls ill. Worse still, 21st-century Oxford is also hit by some sort of plague, making her immediate retrieval impossible. This is a grim, but beautifully written novel, full of carefully drawn characters and fascinating historical detail. It's one of the best tirne travel stories ever written. The title piece from Willis's collection Fire Watch is set in the same universe as Doomsday Book. Compare Mike McQuay's Memories and Michael Bishop's NO ENEMY BUT TIME. Hugo winner, 1993; Nebula winner, 1992 The Dream Master ZELAZNY, ROGER(Ace, 1966)Expanded from the novella "He Who Shapes" (Nebula winner, 1965). A psychiatrist links minds with disturbed patients to construct therapeutic dream experiences. He tries to train a blind woman in the relevant techniques, despite opposition from her intellectually augmented guide dog, and finds his own balance of mind threatened. Compare Ursula K. Le Guin's THE LATHE OF HEAVEN and Greg Bear's Queen of Angels. See also PSYCHOLOGY Driftglass DELANY, SAMUEL R(AY)(Doubleday, 1971)A collection of shorter works, including the brilliant "Time Considered as a Helix of Semi-Precious Stones" (Nebula winner, 1969) and "The Star Pit." A later, slightly overlapping collection is Distant Stars (1981), which includes the short novel, Empire Star (1966), a highly sophisticated space opera. See also NEW WAVE Dynamic Science Fiction Dynamic Science Fiction, Jan. 1954 Published by Columbia Publications, Inc. Cover illustration by Milton Luros (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Columbia Publications, Inc. (c) 1954 Columbia Publications, Inc.) Destinies Destinies by James Baen Cover: Ace Books (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 254
    255. Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Day Lasts More than a Hundred Years, The The Day Lasts More than a Hundred Years by Chingiz Aitmatov Cover: Indiana University Press, 1988 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Indiana University Press. (c) 1988 Indiana University Press.) Dark Messiah Dark Messiah by David Alexander Cover: Dorchester Publishing Co., Inc., 1987 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Dorchester Publishing Co., Inc. (c) 1987 Dorchester Publishing Co., Inc.) Deathstones, The The Deathstones by E.L. Arch Cover: Avalon Books, 1964 illustration by Ed Emshwiller (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of Thomas Bouregy & Co. - Avalon Books (c) 1964 Avalon Books) Daze, the Magician Daze, the Magician by Anthony Baerlein Cover: Arthur Barker Ltd., 1936 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Arthur Barker Ltd. (c) 1936 Arthur Barker Ltd. ) Deliver Me From Eva Deliver Me From Eva by Paul Bailey Cover: Murray & Gee, 1946 illustration by Jack Lynch (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Murray & Gee (c) 1946 Murray & Gee) Demonists, The The Demonists by David Gurney (Patrick Bair) Cover: Manor Books, 1971 Photo: Casey Brown/The Eaton Collection (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Manor Books (c) 1971 Manor Books) Drums of the Dark Gods Drums of the Dark Gods by W.A. Ballinger (W. Howard Baker) Cover: Dell/Mayflower Dell, 1966 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Dell Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1966 Mayflower Dell) Dakota Project, The The Dakota Project by Jack Beeching Cover: Dell, 1971 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Dell Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1971 Dell Books) Demigods, The The Demigods by Alfred Bennett Cover: Jarrolds Publishers, 1939 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Jarrolds Publishers Ltd. (c) 1939 Jarrolds Publishers) Doomsday Clock Doomsday Clock by Elizabeth Benoist Cover: The Naylor Co., 1975 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. The Naylor Co. (c) 1975 The Naylor Co.) Dread Visitor Dread Visitor by Bryan Berry Cover: Panther Books/ Hamilton & Co., 1952 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of HarperCollins Publishers Limited. (c) 1952 Panther Books/Hamilton & Co.) Dream of the Heroes, The The Dream of the Heroes (El Sueno de los Heroes)by Adolfo Bioy Casares 255
    256. Cover: Editorial Losada, SA, 1954 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Editorial Losada, SA (c) 1954 Editorial Losada, SA) Doubting Thomas Doubting Thomas by Winston Brebner Cover: Rupert Hart-Davis, 1958 (First Edition) illustration by Graham Oakley (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Rupert Hart-Davis (c) 1958 Rupert Hart-Davis London) Death Star, The The Death Star by T.C. Bridges Cover: HarperCollins/Collins, 1940 illustration by J. MacGillivray (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of HarperCollins Publishers Limited. (c) 1940 Collins) Deus ex Machina Deus ex Machina by J.V. Brummels Cover: Bantam/Bantam Spectra, 1989 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1989 Bantam Spectra) Doctor Jones' Picnic Doctor Jones' Picnic by Samuel Chapman Cover: Whitaker & Ray Co., 1898 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Double Planet Double Planet by Marcus Chown Cover: Avon Books, 1988 (Casey Brown/Eaton Collection, University of Calif., Riverside. Shown by permission of Avon Books. (c) 1988 Avon Books) Day the Fish Came Out, The The Day the Fish Came Out by Kay Cicellis Cover: Bantam, 1967 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1967 Bantam Books) Dream Lords, The The Dream Lords by Adrian Cole Cover: Zebra Books, 1975 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Zebra Books. (c) 1975 Zebra Books ) Domesday Village Domesday Village by Ian Colvin Cover: Falcon Press, 1948 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Falcon Press (c) 1948 Falcon Press) Da Vinci Machine, The The Da Vinci Machine by Earl Conrad Cover: Modern Library Editions, 1968 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Modern Library Editions (c) 1968 Modern Library Editions) Devil Man from Mars, The The Devil Man from Mars by James Corbett Cover: Herbert Jenkins Ltd., 1935 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of Random House UK Limited. (c) 1935 Herbert Jenkins Ltd.) Daybreak Daybreak by James Cowan Cover: George H. Richmond & Co., 1898 (First Edition) illustration by Walter C. Greenough (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Drop in Infinity, A A Drop in Infinity by Gerald Grogan Cover: John Lane, 1915, (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) 256
    257. Day the Earth Froze, The The Day the Earth Froze by Gerald Hatch Cover: Monarch Books, Inc., 1963 illustration by Ralph Brillhart (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1963 Monarch Books, Inc.) Death Wind Death Wind by William C. Heine Cover: Pyramid Books, 1974 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1974 Pyramid Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Devil's Elixir, The The Devil's Elixir by E.T.A. Hoffman Cover: William Blackwood, Edinburgh, 1824 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Derelict Derelict by Robert L. Hovorka Cover: Ace Books, 1988 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1988 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Different Drummer, A A Different Drummer by William Melvin Kelly Cover: Bantam, 1964 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1964 Bantam Books) Dragon Lensman, The The Dragon Lensman by David A. Kyle Cover: Bantam, 1980 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1980 Bantam Books) Drome Drome by John Martin Leahy Cover: Fantasy Publishing, Inc., 1952 illustration by John Martin Leahy (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1952 Fantasy Publishing Co.) Devil's Rain, The The Devil's Rain by Maud Willis (Eileen Lottman) Cover: Dell, 1975 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Dell Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1975 Dell Books) Demon-4 Demon-4 by David Mace Cover: Ace Books, 1984 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1984 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Day of Misjudgment Day of Misjudgment by Bernard MacLaren Cover: Victor Gollancz Ltd., 1956 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with the permission of Victor Gollancz Ltd. (c) 1956 Victor Gollancz Ltd.) Doomsday, 1999 Doomsday, 1999 by Paul MacTyre Cover: Ace Books, 1962 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1962 Ace 257
    258. Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Dreamers, The The Dreamers by Roger Manvell Cover: Bantam, 1963 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1963 Bantam Books) Devil in Crystal, The The Devil in Crystal by Louis Marlow Cover: Faber and Faber Ltd., 1944 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of Faber and Faber Ltd. (c) 1944 Faber and Faber Ltd.) Dream Wall, The The Dream Wall by Graham Dunstan Martin Cover: Unwin Hyman, 1987 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of HarperCollins Publishers Limited. (c) 1987 Unwin Hyman) Doom Star Doom Star by Richard S. Meyers Cover: Carlyle Books, 1978 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1978 Carlyle Books) Dreamrider Dreamrider by Sandra Miesel Cover: Ace Books, 1982 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1982 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Desert Eden Desert Eden by J.M. Morgan Cover: Pinnacle Books, 1991 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside.Pinnacle Books (c) 1991 Pinnacle Books) Duchess of Kneedeep, The The Duchess of Kneedeep by Atanielle Annyn Noel Cover: Avon Books, 1986 (Casey Brown/Eaton Collection, University of Calif., Riverside. Shown by permission of Avon Books. (c) 1986 Avon Books) Dry Deluge, The The Dry Deluge by Kathleen Nott Cover: Hogarth Press, 1947 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Hogarth Press (c) 1947 Hogarth Press) Deluge, The The Deluge by Robert Payne Cover: Lion Books, Inc., 1955 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Lion Books, Inc. (c) 1955 Lion Books, Inc.) Dreams of an Unseen Planet Dreams of an Unseen Planet by Teresa Plowright Cover: Arbor House, 1986 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Shown by permission of William Morrow & Co., Inc. (c) 1986 Arbor House) Downriver Downriver by Iain Sinclair Cover: HarperCollins/Paladin Grafton Books, 1991 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Paladin Grafton Books (c) 1991 Paladin Grafton Books) 258
    259. David's Sling David's Sling by Marc Stiegler Cover: Baen Books, 1988 illustration by David Mattingly (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of BAEN PUBLISHING ENTERPRISES. (c) 1988 Baen Books) Destiny's End Destiny's End by Tim Sullivan Cover: Avon Books, 1988 illustration by Ron Walotsky (Casey Brown/Eaton Collection, University of Calif., Riverside. Shown by permission of Avon Books. (c) 1988 Avon Books) Day of the Brown Horde, The The Day of the Brown Horde by Richard Tooker Cover: Payson and Clarke Ltd., 1926 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Payson and Clarke Ltd. (c) 1926 Payson and Clarke Ltd.) Discovery of the Dead, The The Discovery of the Dead by Allen Upward Cover: A.C. Fifield, 1910 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Published by A.C. Fifield ) Dark Tower, The The Dark Tower by Peter Vansittart Cover: Thomas Crowell Co., 1969 illustration by Richard Cuffari (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Thomas V.Crowell Co. (c) 1969 Thomas Crowell Co.) Death over London Death over London by Malcolm Wheeler-Nicholson Cover: Gateway, 1940 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Gateway (c) 1940 Gateway) Devolutionist and the Emancipatrix, The The Devolutionist and the Emancipatrix by Homer Flint Cover: Ace Books, 1921 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1921 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Doomsday Eve Doomsday Eve by Robert Moore Williams Cover: Ace Books, 1957 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1957 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Dr. Blood Money Dr. Blood Money by Philip K. Dick Cover: Ace Books, 1965 (First Edition) (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1965 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Day of the Minotaur Day of the Minotaur by Thomas Burnett Swann Cover: Ace Books (First Edition) illustration by Gray Morrow (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1966 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Deeper than the Darkness Deeper than the Darkness by Gregory Benford Cover: Ace Books, 1970 (First Edition) illustration by Kelly Freas (M. M. Kavanagh. Reprinted by 259
    260. arrangement with The Berkley Publishing Group. All rights reserved. (c) 1970 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Digging Leviathan, The The Digging Leviathan by James P. Blaylock Cover: Ace Books, 1984 (First Edition) illustration by James Gurney (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1984 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Divine Endurance Divine Endurance by Gwyneth Jones Cover: Allen & Unwin, 1984 (First Edition) illustration by Miller, Craig & Cocking (M. M. Kavanagh. Reprinted with permission of HarperCollins Publishers Limited. (c) 1984 Allen & Unwin) Demon Kind Demon Kind ed. by Roger Elwood Cover: Avon Books (First Edition) (M. M. Kavanagh. Shown by permission of Avon Books. (c) 1973 Avon Books) A Deeper Sea A Deeper Sea by Alexander Jablokov Cover: Avon Books/AvoNova (First Edition) illustration by Eric Peterson (M. M. Kavanagh. Shown by permission of Avon Books. (c) 1992 AvoNova) Daughter of Elysium Daughter of Elysium by Joan Slonczewski Cover: Avon Books/AvoNova (First Edition) illustration by Tim Jacobus (M. M. Kavanagh. Shown by permission of Avon Books. (c) 1993 AvoNova) Dover Beach Dover Beach by Richard Bowker Cover: Bantam, 1987 illustration by Franco Accornero (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1987 Bantam Books) Death World Death World by Harry Harrison Cover: Bantam, 1960 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1960 Bantam Books) Down the Stream of Stars Down the Stream of Stars by Jeffrey A. Carver Cover: Bantam, 1990 illustration by Shusei (M. M. Kavanagh. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1990 Bantam Books) Dark Sky Legion Dark Sky Legion by William Barton Cover: Bantam (First Edition) illustration by Stephen Youll (M. M. Kavanagh. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) Bantam Books) Dark Universe Dark Universe by Daniel F. Galouye Cover: Bantam (First Edition) illustration by M. Hooks (M. M. Kavanagh. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) Bantam Books) Dhalgren Dhalgren by Samuel R. Delany Cover: Bantam, 1975 (First Edition) (M. M. 260
    261. Kavanagh. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1975 Bantam Books) Dream Years, The The Dream Years by Lisa Goldstein Cover: Bantam (First Edition) illustration by Larry Winborg& Jeffrey Mangiat (M. M. Kavanagh. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1985 Bantam Books) Doomsday Planet, The The Doomsday Planet by Harl Vincent Cover: Tower, 1966 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside.Tower Books (c) 1966 Tower Books) Different Light, A A Different Light by Elizabeth Lynn Cover: Berkley, 1978 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1978 The Berkley Publishing Group. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Dr. Adder Dr. Adder by K.W. Jeter Cover: Tom Doherty Associates/TOR/Bluejay (First Edition) illustration by Rhea Braustein (M. M. Kavanagh. Book jackets reprinted by permission of Bluejay Books Inc. All rights reserved. (c) 1984 Bluejay Books Inc.) Doings of Raffles, The The Doings of Raffles by Arthur Conan Doyle Cover: George H. Doran Co., 1919 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Dune Dune by Frank Herbert Cover: Chilton, 1965 (First Edition) illustration by John Schoenherr (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1965 The Berkley Publishing Group. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Diadem from the Stars Diadem from the Stars by Jo Clayton Cover: DAW Books, 1977 illustration by Michael Whelan (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of DAW Books, Inc. (c) 1977 DAW Books, Inc.) Douglas Convolution, The The Douglas Convolution by Edward Llewellyn Cover: DAW Books, 1979 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of DAW Books, Inc. (c) 1979 DAW Books, Inc.) Dragon's Egg Dragon's Egg by Robert L.Forward Cover: New English Library, 1980 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of Hodder Headline, POC. (c) 1980 New English Library) Door into Fire, The The Door into Fire by Diane Duane Cover: Dell, 1979 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Dell Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1979 Dell Books) Dragon in the Sea, The The Dragon in the Sea by Frank Herbert Cover: Avon Books, 1967 261
    262. illustration by John Schoenherr (Casey Brown/Eaton Collection, University of Calif., Riverside. Shown by permission of Avon Books. (c) 1967 Avon Books) Dangerous Visions Dangerous Visions by Harlan Ellison Cover: Doubleday, 1967 (First Edition) illustration by Leo & Diane Dillon (M. M. Kavanagh. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1967 Doubleday) Decouverte Australe, La La Decouverte Australe by Restif de la Bretonne Cover: 1781 (First Edition) (M. M. Kavanagh. ) Desolation Road Desolation Road by Ian McDonald Cover: Bantam (First Edition) (M. M. Kavanagh. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1988 Bantam Books) Difference Engine, The The Difference Engine by William Gibson & Bruce Sterling Cover: Victor Gollancz Ltd., 1990 (First Edition) illustration by Ian Miller (M. M. Kavanagh. Reprinted with the permission of Victor Gollancz Ltd. (c) 1990 Victor Gollancz Ltd.) Devil Rides Out, The The Devil Rides Out by Dennis Wheatley Cover: Bantam, 1967 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1967 Bantam Books) Devil Tree of El Dorado, The The Devil Tree of El Dorado by Frank Aubrey Cover: New Amersterdam, 1987 illustration by Leigh Ellis & Fred Hyland (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. New Amsterdam. (c) 1987 New Amsterdam) Death of Grass, The The Death of Grass by John Christopher Cover: Joseph, 1956 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Joseph (c) 1956 Michael Joseph Ltd. London) Double Feature Double Feature by Emma Bull & Will Shetterly Cover: NESFA Press (First Edition) illustration by Nicholas Jainschigg (M. M. Kavanagh. Cover Illustration: Nicholas Jainschigg. (c) 1994 NESFA Press) Days Between Stations Days Between Stations by Steve Erickson Cover: Posideon Press (First Edition) illustration by George Corsillo (M. M. Kavanagh. Posideon Press (c) 1985 Posideon Press) Day of the Drones, The The Day of the Drones by A.M. Lightner Cover: Bantam, 1970 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1970 Bantam Books) Dome World Dome World by Dean McLaughlin Cover: Pyramid Books, 1962 illustration by Ed Emshwiller (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1962 Pyramid Books. Reproduction, duplication or 262
    263. transmission without appropriate permission is a violation of Federal copyright laws.) Dr. Grimshaw's Secret Dr. Grimshaw's Secret by Nathaniel Hawthorne Title Page: Riverside Press, 1882 (First Edition) (M. M. Kavanagh. ) Denner's Wreck Denner's Wreck by Lawrence Watt-Evans Cover: Science Fiction Book Club, 1988 illustration by Ron Walotsky (M. M. Kavanagh. Jacket: Ron Walotsky. Reprinted with permission of Doubleday Book and Music Clubs, Inc. (c) 1988 Doubleday Book & Music Clubs, Inc.) Demolished Man, The The Demolished Man by Alfred Bester Cover: Shasta, 1953 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of Erle Melvin Korshak. (c) 1953 Shasta) Davy Davy by Edgar Pangborn Cover: St. Martin's Press, 1964 (First Edition) illustration by Robert Finegold (M. M. Kavanagh. Cover: Robert Finegold. Courtesy of St. Martin's Press. (c) 1964 St. Martin's Press) Dragon Lord, The The Dragon Lord by David Drake Cover: TOR (First Edition) illustration by Steve Hickman (M. M. Kavanagh. Reprinted by permission of Tor Books. (c) 1982 Tor Books) Dr. Grimshaw's Secret Dr. Grimshaw's Secret by Nathaniel Hawthorne Frontispiece illustration: Riverside Press, 1882 (First Edition) (M. M. Kavanagh. Riverside Press. ) Downbelow Station Downbelow Station by C.J. Cherryh Cover: DAW Books, 1981 illustration by Rego (M. M. Kavanagh. Reprinted with permission of DAW Books, Inc. (c) 1981 DAW Books, Inc.) Dorsai! Dorsai! by Gordon R. Dickson Cover: TOR, 1993 illustration by Royo (M. M. Kavanagh. Reprinted by permission of Tor Books. (c) 1993 Tor Books) Diamond Age, The The Diamond Age by Neal Stephenson Cover: Bantam, 1995 illustration by Bruce Jensen (M. M. Kavanagh. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) Bantam Books) Dragon Masters, The The Dragon Masters by Jack Vance Cover: Ace Books, 1971 (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1971 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Death Qualified Death Qualified by Kate Wilhelm Cover: St. Martin's Press, 1991 (First Edition) illustration by Doris Borowsky (M.M. Kavanagh. Cover: Doris Borowsky. Courtesy of St. Martin's Press. (c) 1991 St. Martin's Press) Darker than You Think Darker than You Think by Jack Williamson Cover: Lancer Books, 1963 (M. M. Kavanagh.Lancer Books (c) 1963 Lancer) Doomsday Book Doomsday Book by Connie Willis Cover: Bantam, 1992 (First Edition) illustration by Jacobus (M. M. Kavanagh. Used by Permission of Bantam 263
    264. Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1992 Bantam Books) Dream Master, The The Dream Master by Roger Zelazny Cover: Ace Books, 1966 (First Edition) illustration by Kelly Freas (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1966 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Doors of His Face, the Lamps of His Mouth, and Other Stories, The The Doors of His Face, the Lamps of His Mouth, and Other Stories by Roger Zelazny Cover: Avon Books, 1974 illustration by Jeff Jones (M. M. Kavanagh. Shown by permission of Avon Books. (c) 1974 Avon Books) Dann, Jack Jack Dann (1945- ) (M. C. Valada. (c) 1995 M. C. Valada) De Camp, L. Sprague L. Sprague De Camp (1907- ) (M. C. Valada. (c) 1995 M. C. Valada) De Lint, Charles Charles De Lint (1951- ) (M. C. Valada. (c) 1995 M. C. Valada) Delany, Samuel R. Samuel R. Delany (1942- ) (M. C. Valada. (c) 1995 M. C. Valada) Denton, Bradley Bradley Denton (1958- ) (M. C. Valada. (c) 1995 M. C. Valada) Dickson, Gordon Gordon R. Dickson (1923- ) (M. C. Valada. (c) 1995 M. C. Valada) Donaldson, Stephen R. Stephen R. Donaldson (1947- ) (M. C. Valada. (c) 1995 M. C. Valada) Dozois, Gardner Gardner Dozois (1947- ) (M. C. Valada. (c) 1995 M. C. Valada) Drake, David A. David A. Drake (1945- ) (M. C. Valada. (c) 1995 M. C. Valada) Duane, Diane E. Diane E. Duane (1952- ) (M. C. Valada. (c) 1995 M. C. Valada) Doyle, Sir Arthur Conan Doyle, [Sir] Arthur Conan (1859-1930) ( Bettmann. ) Dickens, Charles Charles Dickens (1812-1870) ( Bettmann. ) Douglas, Carole Nelson Carole Nelson Douglas (1944- ) (Beth Gwinn. (c) 1995 Beth Gwinn) Durrell, Lawrence Lawrence Durrell (1912-1990) ( Bettmann. ) del Rey, Lester Lester del Rey (1915- ) (Jay Kay Klein. (c) 1995 Jay Kay Klein) Disch, Thomas M. Thomas M. Disch (1940- ) (Jay Kay Klein. (c) 1995 Jay Kay Klein) Davidson, Avram Avram Davidson (1923- ) (Jay Kay Klein. (c) 1995 Jay Kay Klein) Dick, Philip K. Philip K. Dick (1928-1982) (Jay Kay Klein. (c) 1995 Jay Kay Klein) Downing, Paula E. Paula E. Downing (1951- ) (T. Jackson King. (c) 1995 T. Jackson King) 264
    265. Delany, Samuel (Technology & Magic) Samuel Delany on the relationship between technology and magic. ( (c) Grolier Electronic Publishing, Inc.) Delany, Samuel (Technology & Magic) Samuel Delany on the relationship between technology and magic. ( (c) Grolier Electronic Publishing, Inc.) Dunn, J.R. J.R. Dunn ( ? - ) (M. M. Kavanagh. (c) 1995 M. M. Kavanagh) Dowling, Terry Terry Dowling (1947- ) (Catriona Sparks. (c) 1995 Catriona Sparks) Destination Moon The success of Destination Moon (George Pal/Eagle-Lion, 1950) initiated the 1950s boom in science fiction movies, few of which possessed the high-minded aspirations of this low-keyed, semi-documentary film. Based (very loosely) on Robert Heinlein's Rocket Ship Galileo, it eschewed the sensationalism associated with most 1950s SF films to attempt a realistic dramatization of the first trip to the Moon. (Ronald V. Borst/Hollywood Movie Posters. ) Doctor X An early Technicolor film, Doctor X (First National/Warner Brothers, 1932) combines elements of SF, horror, and mystery. Its SF element - an emotionally unstable scientist wreaking havoc with the aid of short-lived artificial flesh - is put to more sophisticated use in the 1990 film Darkman. (Ronald V. Borst/Hollywood Movie Posters. ) Donovan's Brain From Felix Feist's adaptation of Curt Siodmak's novel, Donovan's Brain (Dowling Productions/United Artists, 1953) is memorable more for its performance by Lew Ayres - who comes under the telepathic power of the evil brain he has kept alive in a tank - than for its anticipation of some elements of cybernetics. (Ronald V. Borst/Hollywood Movie Posters. ) Dr. No The first of the James Bond movies, Dr. No (Eon/United Artists, 1962) set the stage for three decades worth of semi-sciencefictional thrillers involving supervillains, attempts to take over the world, and implements of doom. (Ronald V. Borst/Hollywood Movie Posters. ) del Rey's Nerves Lester DEL REY's story of disaster, panic, and coverup at a NUCLEAR POWERplant was prophetic in many respects. Dianetics article in Astounding Upon publishing his essay on his home-grown science of DIANETICS, L. Ron HUBBARD abandoned his career as a pulp SF writer and devoted himself to Dianetics and (later) SCIENTOLOGY. Davidson's The Golem Combining elements of SF, historical fantasy, and contemporary humor, Avram DAVIDSON's novel of a GOLEM in Southern California is a classic of American humor. Dickson's Dorsai! Gordon DICKSON's sequence of genetic supermen and the destiny of humanity began in 1959. Dick's Palmer Eldritch One of the first SF novels to deal with the existential horrors of 265
    266. hallucinogenic drug abuse, THE THREE STIGMATA OF PALMER ELDRITCH is one of Philip K. DICK's best and most famous novels. Dangerous Visions Announced as "a revolutionary book", Harlan ELLISON's DANGEROUS VISIONS, an anthology of 32 ambitious stories, overturned conventions and broke new ground for science fiction. Disch's Camp Concentration Thomas M. DISCH's novel of mind-altering experiments carried out on anti-war dissidents seemed aggressively NEW WAVE, but CAMP CONCENTRATION develops several classic SF themes. Delany's Nova Samuel R. DELANY had won the Nebula Award for his previous two novels, but achieved true SF fame for NOVA, a pyrotechnic SF retelling of the Prometheus legend. Davidson's The Phoenix and the Mirror Avram DAVIDSON's magisterial account of Vergil the Sorceror is one of the finest accounts of the science in Renaissance magic, and has influenced numerous SF and fantasy writers. Delany's Dhalgren Samuel R. DELANY's first SF novel in seven years, the 879-page DHALGREN seemed an unreadable self-indulgence to many readers. It nevertheless found a large and enthusiastic audience. Del Rey Books launched Judy-Lynn DEL REY made DEL REY BOOKS a major commercial powerhouse, especially in genre fantasy. Many Del Rey books became best-sellers. Dick's Valis Philip K. Dick's first novel in four years, VALIS was an anguished work that suggested a religious solution to Dick's 1970s spiritual crises. His final two novels would continue this theme. Dune opens David Lynch's film, DUNE, based on the novel by Frank HERBERT, was deeply idiosyncratic and proved a major box-office failure. E Pluribus Unicorn STURGEON, THEODORE(Abelard, 1953)Thirteen fine, emotionally intense stories, ranging from "The World Well Lost," probably the first serious and sympathetic treatment in magazine SF of homosexuality, to "The Professor's Teddy Bear," in the most horrific Weird Tales tradition; from the touching love story "A Saucer of Loneliness" to a celebration of jazz musicianship (by one who understood what he was writing about), "Die, Maestro, Die!" Sturgeon's forte was telling stories about people at the edge, and treating them with compassion and nonjudgmentally even when they acted as shockingly as at the climax of "A Way of Thinking." A showcase for a very talented writer, which can be interestingly compared with the earlier collection of Sturgeon's Golden Age work, Without Sorcery. Earth Abides STEWART, GEORGE R(IPPEY)(Random, 1949)In a near future, a plague devastates humankind, leaving isolated pockets of survivors. The story follows the fortunes of one group in the San Francisco Bay area, who subsist for quite some time on the bounties of civilization that have remained intact. But the subtler social fabric, formerly held together by the cooperation of large numbers of people, is too much for this handful to sustain. With a mournful backward look at the millions of now-doomed 266
    267. volumes in the University of California library, the protagonist teaches the new children how to make bows and arrows. He lives long enough to see society forming itself anew at the tribal level. He himself is fated to be misremembered as a legendary culture-hero. The quotation from which the title derives (Ecclesiastes 1:4) is apt. Compare Jack London, "The Scarlet Plague" (in The Science Fiction of Jack London); Stephen King's THE STAND ; Mary Shelley, The Last Man. First winner of the International Fantasy Award, 1951; a major work. See also HOLOCAUST AND AFTER Eon BEAR, GREG(Bluejay, 1985)World War III looms as an asteroid starship mysteriously orbiting Earth is taken over by Americans, who discover that it is an artifact from the future that offers a gateway to infinite opportunity. Hard SF unfolding into vast realms of possibilities. In the sequel, Eternity (1988), humans explore the seemingly endless corridor of the Way and the alternate universes and time periods that lead off it. Compare Robert Reed's Down the Bright Way. See also BIG DUMB OBJECTS Extra(ordinary) People RUSS, JOANNA(St. Martin's, 1984)A collection of linked stories, deliberately didactic in form, in which liberated women in different societies challenge the forces of oppression. Includes "Souls" (Hugo winner, 1983). As with The Female Man , the result is multifaceted and the call for a revolution in sexual politics is eloquent even though the stories retain a full appreciation of the difficulty of compiling a manifesto for a nonsexist society. Other, more varied, collections are The Zanzibar Cat (1984), which features the Nebula Award-winning "When It Changed," the seed story for The Female Man, and The Hidden Side of the Moon (1988), which includes such stories as "The Dirty Little Girl" and "Reasonable People. See also FEMINISM" Ender's Game CARD, ORSON SCOTT(Tor, 1985)The CHILD hero is subjected to horrific manipulation by the military in order to make him the perfect commander able to annihilate the insectile aliens who have twice attacked the solar system. Based on a novelette, the expanded version includes much discussion of moral propriety and undergoes a dramatic ideological shift at the end, but remains in many ways a sophisticated power fantasy. Grimly fascinating. The sequel, Speaker for the Dead (1986; Hugo winner, 1987; Nebula winner, 1986), takes off from the climactic shift in perspective to construct a very different story in which Ender becomes a more Christ-like savior. The third book in the series, Xenocide (1991; HN, 1992), is most notable for a new subplot, the story of a world whose future leaders are genetically engineered for brilliance, but also for a crippling Obsessive-Compulsive Disorder designed to limit their power. The ending of the novel is weak, shifting into wish fulfillment fantasy. Compare Robert A. Heinlein's STARSHIP TROOPERS , Joe Haldeman's THE FOREVER WAR, and Dave Wolverton's On My Way to Paradise (1989). Hugo winner, 1986; Nebula winner, 1985 Emphyrio VANCE, JACK(Doubleday, 1969) The protagonist must travel to Earth to recover the knowledge necessary to free his world from the cultural rigidity imposed on it by alien rulers. Picks up themes from earlier Vance novels, including The Languages of Pao , to further illustrate the author's fascination with colorful, exotic cultures and messianic rebels against their stagnation. See also SOCIOLOGY 267
    268. Engine Summer CROWLEY, JOHN(Doubleday, 1979)In a far-future America returned to agrarian primitivism by disaster, the hero has recorded for future generations the story of his youthful quest for enlightenment. Beautifully written and eloquently argued; it can be appreciated even by those who lack sympathy with the ideology behind its Arcadian romanticism. Compare Ursula K. Le Guin's ALWAYS COMING HOME. See also HOLOCAUST AND AFTER Extrapolation Extrapolation, Winter 1992 Published by Kent State University Press (Casy Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of The Kent State University Press. (c) 1992 Kent State University Press.) Empire of the Senseless Empire of the Senseless by Kathy Acker Cover: Grove Press, 1988 (First Edition) illustration by George Corsillo (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of Grove/Atlantic, Inc. (c) 1988 Grove Press) Eternal Enemy, The The Eternal Enemy by Michael Berlyn Cover: William Morrow & Co., 1990 (First Printing) illustration by Vincent Di Fate (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Shown by permission of William Morrow & Co., Inc. (c) 1990 William Morrow & Co., Inc.) Even a Worm Even a Worm by J.S. Bradford Cover: Arthur Barker Ltd., 1936 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Arthur Barker Ltd. (c) 1936 Arthur Barker Ltd. ) Enchantments of Flesh and Spirit, The The Enchantments of Flesh and Spirit by Storm Constantine Cover: MacDonald & Co., 1987 illustration by Kenny McHendry (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Macdonald & Co. (c) 1987 MacDonald & Co.) Encounter Program Encounter Program by Robert Enstrom Cover: Doubleday, 1977 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1977 Doubleday & Co.) Eternal Moment, The The Eternal Moment by E.M. Forster Cover: Sidgwick & Jackson Ltd., 1928 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Sidgwick & Jackson Ltd. (c) 1928 Sidgwick & Jackson Ltd.) Elixir, The The Elixir by James N. Frey Cover: Zebra Books, 1986 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1986 Zebra Books (Kensigton Publishing Corp.) ) Exit Sherlock Holmes Exit Sherlock Holmes by Robert Lee Hall Cover: Playboy Press Paperbacks, 1977 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1977 Playboy Press. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) 268
    269. Earthquake, The The Earthquake by W. Holt-White Cover: E. Grant Richards, 1906 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Earth Lies Sleeping Earth Lies Sleeping by Laurence James Cover: Zebra Books, 1974 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1974 Zebra Books) Erone Erone by Chalmers Kearney Cover: The Commodore Press Ltd., 1945 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1945 The Commodore Press Ltd.) English Revolution of the Twentieth Century, The The English Revolution of the Twentieth Century by Henry Lazarus Cover: F.L. Ballin, 1897 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Etidorhpa Etidorhpa by John Uri Lloyd Cover: John Uri Lloyd, 1895 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. John Uri Lloyd ) Extrapolasis Extrapolasis by Alexander Malec Cover: Modern Library Editions, 1967 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1967 Modern Library Editions) Elephant, The The Elephant by Slawomir Mrozek Cover: Macdonald & Co., 1962 illustration by Daniel Uroz (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Macdonald & Co. (c) 1962 MacDonald & Co.) Exercise for Madmen, An An Exercise for Madmen by Barbara Paul Cover: Berkley, 1978 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1978 The Berkley Publishing Group. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Egghead Republic, The The Egghead Republic by Arno Schmidt Cover: Marion Books, 1982 illustration by Imre Reiner (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside.Marion Books (c) 1982 Marion Books) Eclipse Eclipse by John Shirley Cover: Bluejay International, 1985 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Book jackets reprinted by permission of Bluejay Books Inc. All rights reserved. (c) 1985 Bluejay Books Inc.) Empty World, The The Empty World by D.E. Stevenson Cover: Herbert Jenkins Ltd., 1936 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of Random House UK Limited. (c) 1936 Herbert Jenkins Ltd.) Eagles Restrained Eagles Restrained by Brian Tunstall Cover: Edinburgh Press, 1936 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Edinburgh Press (c) 1936 Edinburgh Press) Ether Ore Ether Ore by H.C. Turk Cover: TOR, 1987 (Casey Brown/The Eaton 269
    270. Collection, Univ. of Calif., Riverside. Reprinted by permission of Tor Books. (c) 1987 Tor Books) Elleander Morning Elleander Morning by Jerry Yulsman Cover: TOR, 1984 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by permission of Tor Books. (c) 1984 Tor Books) Eye in the Sky Eye in the Sky by Philip K. Dick Cover: Ace Books, 1957 illustration by Kelly Freas (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1957 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Einstein Intersection, The The Einstein Intersection by Samuel R. Delany Cover: Ace Books, 1967 (First Edition) illustration by Jack Gaughan (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1967 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Eclipse of Dawn, The The Eclipse of Dawn by Gordon Eklund Cover: Ace Books (First Edition) illustration by Leo & Diane Dillon (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1971 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Escape Plans Escape Plans by Gwyneth Jones Cover: Allen & Unwin (First Edition) illustration by Lionel Jeans (M. M. Kavanagh. Reprinted with permission of HarperCollins Publishers Limited. (c) 1986 Allen & Unwin) Edge of Tomorrow, The The Edge of Tomorrow by Howard Fast Cover: Bantam, 1961 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1961 Bantam Books) Emergence Emergence by David Palmer Cover: Bantam, 1984 illustration by Mark Harrison (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1984 Bantam Books) Ecotopia Ecotopia by Ernest Callenbach Cover: Banyan Tree, 1975 illustration by Patricia Tobacco Forrester (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1975 Banyan Tree) Emprise Emprise by Michael P. Kube-McDowell Cover: Berkley, 1985 illustration by Ron Miller (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1985 The Berkley Publishing Group. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Eater of Darkness, The The Eater of Darkness by Robert Coates Cover: Contact Editions, 1929 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Contact Editions (c) 1929 Contact Editions) 270
    271. Exiles of Time Exiles of Time by Nelson Bond Cover: Prime Press, 1949 illustration by James Gibson (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Prime Press (c) 1949 Prime Press Philadelphia ) Engine Summer Engine Summer by John Crowley Cover: Doubleday, 1979 (First Edition) illustration by Gary Friedman (M. M. Kavanagh. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1979 Doubleday) Eye of the Queen, The The Eye of the Queen by Phillip Mann Cover: Arbor House, 1983 illustration by Loretta Trezzo (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Shown by permission of William Morrow & Co., Inc. (c) 1983 Arbor House) Embedding, The The Embedding by Ian Watson Cover: Victor Gollancz Ltd., 1973 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with the permission of Victor Gollancz Ltd. (c) 1973 Victor Gollancz Ltd.) Essential Ellison, The The Essential Ellison by Harlan Ellison Cover: Nemo Press, 1987 (First Edition) illustration by Leo & Diane Dillon (M. M. Kavanagh. Nemo Press (c) 1987 Nemo Press) Evil Is Live Spelled Backwards Evil Is Live Spelled Backwards by Andew J. Offutt Cover: Paperback Library, 1970 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Paperback Library (c) 1970 Paperback Library) Eye, The The Eye by Vladimir Nabokov Cover: Phaedra (First Edition) (M. M. Kavanagh. Phaedra (c) 1965 Phaedra) Eyes in the Fire Eyes in the Fire by Deborah Grabien Cover: St. Martin's Press, 1988 (First US Edition) illustration by Steven Rydberg (M. M. Kavanagh. Cover: Steven Rydberg. Courtesy of St. Martin's Press. (c) 1988 St. Martin's Press) Eon Eon by Greg Bear Cover: TOR, 1985 illustration by Ron Miller (M. M. Kavanagh. Reprinted by permission of Tor Books. (c) 1985 Tor Books) Elvissey Elvissey by Jack Womack Cover: TOR, 1993 (First Edition) illustration by John Berkey (M. M. Kavanagh. Reprinted by permission of Tor Books. (c) 1993 Tor Books) Erewhon Erewhon by Samuel Butler Cover: Turbner, 1872 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Extra(ordinary) People Extra(ordinary) People by Joanna Russ Cover: The Women's Press, 1985 illustration by Judith Clute (M. M. Kavanagh. Courtesy of The Women's Press, London. (c) 1985 The Women's Press) Enemy Stars, The The Enemy Stars by Poul Anderson Cover: Berkley, 1965 (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights 271
    272. reserved. (c) 1965 The Berkley Publishing Group. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Ender's Game Ender's Game by Orson Scott Card Cover: TOR, 1994 illustration by John Harris (M. M. Kavanagh. Reprinted by permission of Tor Books. (c) 1994 Tor Books) Emphyrio Emphyrio by Jack Vance Cover: Dell, 1970 (M. M. Kavanagh. Used by Permission of Dell Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1970 Dell Books) Effinger, George Alec George Alec Effinger (1947- ) (M. C. Valada. (c) 1995 M. C. Valada) Etchemendy, Nancy Nancy Etchemendy (1952- ) (M. C. Valada. (c) 1995 M. C. Valada) Ellison, Harlan Harlan Ellison (1934- ) (M. C. Valada. (c) 1995 M. C. Valada) Eco, Umberto Umberto Eco (1932- ) (Miriam Berkley. (c) 1995 Miriam Berkley) Emshwiller, Carol Carol Emshwiller (1921- ) (Miriam Berkley. (c) 1995 Miriam Berkley) Ecology SF writers are among the small group of people who ponder the future of a planet with limited resources and who imagine, in fictional terms, what might happen if humans don't adapt to a rapidly changing world. ( (c) Grolier Electronic Publishing, Inc.) Eshbach, Lloyd Arthur Lloyd Arthur Eshbach (1910- ) (Andrew I. Porter. (c) 1995 Andrew I. Porter) Edmondson, G.C. G.C. Edmondson (1922- ) (Rick Hawes. (c) 1995 Rick Hawes) Edwards, Malcolm Malcolm Edwards (1949- ) (Jo Fletcher. (c) 1995 Jo Fletcher) Editorial Practices From The Encyclopedia of Science Fiction, John Clute and Peter Nicholls, eds.In Contents of this Encyclopedia we briefly describe the principles governing its construction, and the kinds of information which may be found here. We have tried throughout to present this material as clearly as possible, but some pointers may be helpful.CROSS-REFERENCES1. Approximately 2100 out of the 6460+ entries in the encyclopedia are cross-reference entries. Many simply cross-refer a term to the entry where it is covered, for example: PERU LATIN AMERICA.When one name is simply cross-referenced to a second, then the first name is a pseudonym of the second that has been used on a book, for example: O'DONNELL, K.M. Barry N. MALZBERG.When one name is cross-referenced to a second but with the addition of an [s], then the first name is a pseudonym of the second but has been used only for stories, for example: SMITH, WOODROW WILSON Henry KUTTNER.When one name is cross-referenced to another entry but with the addition of an [r], then the first name is not a pseudonym of the second, for example: SMITH, LAURA Seth McEVOYSPITTEL, OLAF R. GERMANY.2. Within the text of entries, and in the See also sections attached to many of them, any word given in CAPITALS constitutes a cross-reference.AUTHOR, 272
    273. CRITIC AND EDITOR ENTRIES Names Each entry begins with the author's full real name, working name or pseudonym, whichever is best known. We step outside normal practice only with the concept of the working name, which we have defined as one which encompasses in easily recognizeable form a significant portion of a full name - as in the case of Connie Willis, which we treat as Constance Elaine Trimmer Willis's working name.Titles For all authors writing in English we attempt to treat or to list every adult book with any significant sf content, to treat or (more commonly) simply to list all fantasy and horror books, and to at least list most children's books of genre interest; for foreign-language authors we do not claim to list all sf/horror/fantasy work not translated into English. We list most nonfiction works written by sf authors about the field or about other authors; we also list, sometimes selectively, nonfiction works of science or popular science by sf authors who also work in those fields. In author entries, each book is given a full ascription (see below for details); other kinds of entry (theme entries in particular) often identify titles in a briefer format. In our selection of titles we have tended to be extremely catholic; one may occasionally find - especially in the Other works list of titles at the foot of some entries - novels whose generic status is doubtful, and collections containing only a few relevant stories. This is deliberate: when we err, we prefer to do so through inclusion rather than exclusion.We do not list all short stories by authors.Story titles are given in normal face, within double quotes (""), with dates in normal face. Book titles are given in italics with dates in bold face. Subtitles are sometimes omitted, though we do include them when appropriate. We do so for clarity's sake - there are, for instance, three Stanley G. Weinbaum collections which can be distinguished only through subtitles: A Martian Odyssey, and Others (coll 1949), A Maritan Odyssey, and Other Classics of Science Fiction (coll 1962), and A Martian Odyssey, and Other Science Fiction Tales (coll 1975). And we list subtitles when they seem to be of inherent interest; for instance, Keith Laumer's Bolo: The Annals of the Dinochrome Brigade (coll of linked stories 1976). Series titles are given in bold face.We generally give the title of singletons - books which are not part of series - according to normal bibliographical practice by which the title as it appears on the title page (rather than on the cover or elsewhere) is deemed the true title. With books which are part of series, we have decided that normal bibliographical practice is of little use in helping sf readers through the often confusing tangle of conventions used to identify (and advertise) this category of title. Where there is no series identification, we list the title only as we would with a singleton, though in a context which makes clear its connection to its series-mates. Where series are accorded some form of ongoing title, wherever placed, we try to ascribe the first volume in full, but subsequently (as soon as individual volume titles can be clearly distinguished) we reduce that overall title to a number: as in David Meltzer's Brain Plant sequence, which we render as Brain Plant #1: Lovely (1969), #2: Healer (1969), #3: Out (1969) and #4: Glue Factory (1969).Ghost titles and projected titles Books whose existence we doubt and books whose release we had not confirmed by press time we give in normal face between chevrons (), giving their publication date in normal face.Ties We define a Tie as any text whose contents take their substance from some prior inspiration, which may be a shared-world bible, a film, a tv series, a role-playing or other form of game. All such novels, 273
    274. collections, anthologies and omnibuses are identified by an asterisk (*) placed immediately after the title, as with Donald F. Glut's The Empire Strikes Back* (1980), which novelizes the film The Empire Strikes Back.Ascription data about titles is contained within brackets, and has been kept as simple as is consistent with our desire to provide as much information as we can, within the constraints of our encyclopedia format. We do not, for instance, normally provide full bibliographic data (i.e., city of publication, publisher, pagination, etc.), where we discuss and recommend various sf and fantasy checklists. Most novels - i.e., Isaac Asimov's The Gods Themselves (1972) - therefore need no more than a simple date of publication; collections can be identified by the term "coll" placed directly before the date.However, we use several further terms to describe books. Abbreviations placed before the date include: collcoll of linked storiesfixupanthomni A fixup - briefly - is a book composed of previously written stories which have been cemented together. An anth is an anthology, while an omni is an omnibus - a book that assembles previously published volumes.Abbreviations placed after the date include: chap ( chapbook)DOS"Chap" designates a book fewer than 100pp in length; "dos" designates two titles usually (but not always) bound back-to-back and upside down with respect to one another. We also indicate country of publication when a book was first published in a country other than its author's normal country of residence, as with Thomas M. Disch's 334 (coll of linked stories 1972 UK).When titles are published in two countries within a few weeks of one another we "follow the flag" and treat first publication as being in the author's country of residence.We give variant titles, where they exist, for all books and films. A variant title may be identified by the abbreviation vt placed initially, as in Daniel F. Galouye's Counterfeit World (1964 UK; vt Simulacron-3 1964 US). We treat vts as variants of a main title, and therefore do not print their dates in boldface.We designate revised editions of all books listed. However, we are not always able to specify the nature of the revision, in which case the revised edition will be identified by the abbreviation rev placed initially, as in Marta Randall's Islands (1976; rev 1980); if we have further knowledge, we use such terms as cut, exp, much exp, text restored, all of which are intended to be self-evident.In the case of novels, we attempt to give magazine publication where it precedes book publication by three or more years, as with George Allen England's The Golden Blight (1912 Cavalier; 1916). We usually give the magazine title of a story when this differs from the book title, though we do so less consistently in cases where the story was published two years or less before the book version.Translations Whenever possible we notate translated books according to the following example by Vladimir Nabokov, Priglashenie na kasn' (1938 France; trans Dmitri Nabokov and VN as Invitation to a Beheading 1959 US). As we treat translations as separate entities, we date them in bold face. We do not, however, necessarily list all variant translations, sometimes giving only the first. When untranslated books are mentioned, a rough English translation of the title appears in square brackets immediately after the original, as with Arno Schmidt's Schwarze Spiegel "Black Mirrors" (1963).CHECKLIST OF ABBREVIATIONS Abbreviations listed below in bold face are explained in Editorial Practices You May Need to Know About. Abbreviations in CAPITALS also have their own entries, where they are more fully explained. projected or ghost title refer to (the entry thus indicated)* a tied title ( TIE)# numberAMZ AMAZING 274
    275. STORIESanth anthologyASF ASTOUNDING SCIENCE FICTION/ANALOGb/w - black and whitechap - under 100pp coll - collectiondir - directed/directorDOS - bound back-to-backed - edited/editoredn - editionexp - expandedFIXUP - novel made up from storiesFSF - The MAGAZINE OF FANTASY AND SCIENCE FICTIONGal - GALAXY SCIENCE FICTIONIASFM - ISAAC ASIMOV'S SCIENCE FICTION MAGAZINENW - NEW WORLDSomni - omnibusprod - produced/producer[r] - not a pseudonym of the name to which it is cross-referredrev - revised[s] - pseudonym used only for short fictionsf - science fictiontrans - translatedtv - televisionTWS - THRILLING WONDER STORIESvar mags - published in various magazinesvol - volumevt - variant titleWW - World War Ellis's The Steam Man of the Prairies Mechanical men were common figures in nineteenth century fiction; Edward S. ELLIS's creation was based on an actual device, and inspired imitations in its turn.See Also: ROBOTS. Ellison's 'Repent, Harlequin! Harlan ELLISON spent a decade-long apprenticeship before he discovered his own voice. "Repent, Harlequin! Said the Ticktockman+" is one of the most frequently reprinted stories in SF. Ellison's best stories Harlan ELLISON produced his finest fiction in the late sixties and early seventies, including "I Have No Mouth, and I Must Scream" and "Pretty Maggie Moneyeyes". These intense and memorable stories have remained popular for the past three decades. E.T.: The Extraterrestrial For many years the top money grosser, E.T.: THE EXTRATERRESTRIALis the story of a friendly alien who encounters suburban America.See Also: CINEMA; STEVEN SPIELBERG. First issue of Interzone The first British SF magazine since NEW WORLDS, INTERZONE began as a slim quarterly but grew to be a substantial monthly. Fourth Mansions LAFFERTY, R(APHAEL) A(LOYSIUS)(Ace, 1969)An innocent tries to understand the enigmatic events and secret organizations that are symbolic incarnations of the forces embodied in the (highly problematic) moral progress and spiritual evolution of humankind. A bizarre tour de force; one of the finest examples of American avant-garde SF. Compare Roger Zelazny's THIS IMMORTAI and Samuel R. Delany's THE EINSTEIN INTERSECTION. See also HISTORY IN SF Fire on the Mountain BISSON, TERRY( Arbor, 1988)The Civil War as we know it never occurred in this alternate universe because John Brown, with Harriet Tubman acting as his lieutenant, sparked a successful slave rebellion. The outcome was a divided United States with an African-American-dominated South emerging as a socialist utopia. This somehow led to a Europe that avoided world war and to an Africa that developed free from the worst results of colonial rule. The viewpoint alternates between Yasmin, a successful anthropologist and citizen of the utopian South; her great grandfather Abraham, who, born a slave, took part in the rebellion; and Dr. Hunter, a white abolitionist who served as Abraham's mentor. The novel's basic premise seems a bit farfetched, but Bisson's alternate 20th century is endlessly fascinating and well worth a visit. Compare Harry Turtledove's The Guns of the South (1992). See also ALTERNATE WORLDS 275
    276. Friday HEINLEIN, ROBERT A(NSON)(Holt, 1982)An artificially created superwoman, courier for a secret organization, has to fend for herself when the decline of the West reaches its climax; she ultimately finds a new raison d'etre on the extraterrestrial frontier. Welcomed by Heinlein fans as action-adventure respite from his more introspective works, but actually related very closely to some sections of Time Enough for Love and refers to much earlier material ("Gulf," 1949). See also SUPERMAN Four Hundred Billion Stars MCAULEY, PAUL J. (Ballantine, 1988)Explorers from Earth discover a planet that doesn't seem old enough geologically to have developed its complex native ecology. Adding to the mystery, abandoned, hive-like cities are discovered, even though the dominate life-form, the nomadic herders, seem to be only semi-sentient. Humanity is currently engaged in an interplanetary war elsewhere in the galaxy, and the naval officers in charge of the expedition fear there may be some connection between the primitive herders and humanity's enemy. This seems unlikely until someone notices that the abandoned hive-cities are coming to life and the herders are beginning to change their age-old behavior patterns. McAuley's exploration of the complex herder species is fascinating and his protagonist, the astronomer Dorthy Yoshida, an unwilling psychic, is well developed. Eternal Light (1991) is a direct sequel to Four Hundred Billion Stars and is every bit as good. Of the Fall (1989), titled Secret Harmonies (1991) in its British edition, is a solid, but relatively minor tale set in the same universe as the other two novels. All three books, along with McAuley's first short story collection, The King of the Hill (1991), demonstrate the author's genius for creating fascinating aliens. Compare Gregory Benford's Great Sky River and its sequels. See also ALIENS Flowers for Algernon KEYES, DANIEL(Harcourt, 1966)Developed from a Hugo-winning short story with the same title. A mentally retarded man's intelligence enhanced, to that of a normal adult and then to supergenius. "Progress reports" in his diary, with successive changes in diction and spelling as well as intellectual content, chronicle his triumphant progress; and then, as the treatment fails, the reports record his collapse back into subnormality. A sensitively told, low-key masterpiece that was made into a surprisingly good film, given Hollywood's usual heavy-handed ways with "sci-fi." Compare Poul Anderson's Brain Wave and Theodore Sturgeon's "Maturity" (in Without Sorcery), contrast Howard Fast's "The First Men" (in The Edge of Tomorrow), and Wilmar H. Shiras's Children of the Atom . See also INTELLIGENCE Fahrenheit 451 BRADBURY, RAY (DOUGLAS)(Ballantine, 1953)Expanded from a novella "The Fireman" (Galaxy, February 1951; SFHF). Firemen no longer put out fires; they start them, for the purpose of burning books. The title refers to the temperature at which paper will catch fire. The hero, a fireman but a closet reader, eventually joins an underground of itinerants who have committed the literary classics to memory and recite them orally. The much admired film made from the novel, by making the firemen into brutal, black-uniformed Nazi types, missed a point made by Bradbury early on: that hostility to books and ideas was generated by ordinary people, not simply imposed upon them by government. Frequently reprinted since its original publication and often used in the classroom, although I consider the 276
    277. original novella from the magazine tighter, more vivid, less diffuse-in short a better literary work than the full-length book. See also DYSTOPIAS Foundation's Edge ASIMOV, ISAAC(Doubleday, 1982)Fourth volume of the Foundation series, uncomfortably extending its themes and beginning the work of binding it into a common future history with Asimov's robot stories. In the 1940s the series seemed sophisticated in introducing political themes into space opera, but SF has evolved so far in the meantime that the new book seems rather quaint despite its popularity. It is a feast of nostalgia for longtime readers. The story continues in Foundation and Earth (1986), with the hero pursuing his quest to track down the origins of mankind and gradually learning the truth about Earth. Prelude to Foundation (1988) and Forward the Foundation (1993), which Asimov left unfinished at his death, predate the other novels in the series in terms of internal chronology, describing the early life of Hari Seldon. Hugo winner, 1983. See also GALACTIC EMPIRES The Foundation Trilogy ASIMOV, LSAAC(Doubleday,1963)Asimov described the gradual fall of a GALACTIC EMPIRE, and the eftort of psychohistorian Hari Seldon to shorten the ensuing Dark Ages by setting up a hidden Foundation in a remote corner of the galaxy, in stories published in Astounding in the early 1940s and collected as Foundation (Gnome,1951). Other, longer Astounding stories, describing an attempt at reconquest of the Foundation by the last competent imperial general Bel Riose (like Belisarius, who similarly attempted to reconquer the Roman West for East Roman Emperor Justinian), and an initially more successful capture of the Foundation by "the Mule," a mutant not subject as an individual to the statistical "laws of psychohistory," were collected as Foundation and Empire (Gnome,1952). Finally, two Astounding serials in the late forties described the Mule's search for a Second Foundation, established by Seldon as a backup in case something went wrong for the First; these became Second Foundation (Gnome, 1953). Asimov then laid this theme aside for thirty years, until popular demand and his publisher's prodding led him to compose Foundation's Edge, Foundation and Earth, and a "prequel," Prelude to Foundation , describing how Hari Seldon discovered the laws of psychohistory in the first place. At the time of his death in 1992 Asimov had completed four further adventures of Hari Seldon, which were collected as Forward the Foundation. Special Hugo Award for all time best series, l966. Falling Free BUJOLD, LOIS MCMASTER(Baen, 1988)Leo Graf, a welding engineer hired to train workers on a space station, is astonished to discover that his new pupils are "quaddies," genetically engineered living tools with extra arms where normal people have legs. Designed by the GalacTech corporation to be perfect zero-gravity employees, the quaddies unfortunately have failed to turn a profit for their owner/employers. Soon after Graf's arrival, the corporation decides to cut its losses and return the quaddies to Earth, where they will presumably be dumped in nursing homes on a small pension. The quaddies, however, have other ideas, and convince Graf to join them in revolt. Originally published as a serial in Analog in 1987-1988, this is an example of old-fashioned, Campbell-style hard SF at its best, but with a fascinating FEMINIST twist. Compare Allan Steele's Orbital Decay. Nebula winner, 1988 277
    278. Fundamental Disch DISCH, THOMAS M.(Bantam, 1980)Disch's longest and most comprehensive collection, which includes both SF, fantasy, and contemporary stories. In addition to "The Asian Shore," Disch's celebrated tale of an American architect who succumbs to the sense of the arbitrary that the landscape and architecture of Istanbul come to represent, the volume also contains "Bodies" and "Angouleme," two especially strong stories from the sequence of tales that make up the novel 334. Some stories, such as the elegant and disconcerting "Slaves," are not science fiction at all, while others, including "The Squirrel Cage" and "The Master of the Milford Altarpiece," are metafictions from the heyday of the NEW WAVE. "Et in Arcadia Ego," one of Disch's few works of off-planet pure SF, treats its theme in a manner that most aficionados of hard SF would find startling, even incomprehensible. Also included are an opera libretto (of "Frankenstein"), an essay on "The Uses of Fiction," and an introductory essay by Samuel R. Delany. See also CITIES Fool's Run MCKILLIP, PATRICIA A(NNE)(Warner, 1987) CYBERPUNK SF by a writer better known for her high fantasy. Several years ago Terra Viridian murdered some 1,500 innocent people in response to an overwhelming but unexplained vision. Now, apparently psychotic, she bides her time in the Underground, a grim orbital penal colony. When a high-tech band is brought up to the Underground to give a performance, the stage is set for some very strange goings-on. Although the plot of Fool's Run is occasionally a bit confusing, this is a beautifully written novel with lots of lush visual imagery. Compare Pat Cadigan's SYNNERS and Norman Spinrad's Little Heroes. Flatland: A Romance of Many Dimensions ABBOTT, EDWIN A. (as A Square)(Seeley, 1884)The narrator, citizen of a two-dimensional world, uses the land for some satire, especially of education and women. He briefly envisions a one-dimensional world (Lineland) where motion is impossible. A three-dimensional man (Sphere) intrudes into the plane of Flatland, thereby giving knowledge of Spaceland. The two speculate about a world of four dimensions. The book becomes a mathematician's delight, an exercise in the limits of perception. Compare the ingenious speculations in A. K. Dewdney's The Planiverse (1984). See also MATHEMATICS Frankenstein; or, The Modern Prometheus SHELLEY, MARY WOLLSTONECRAFT(1818; rev. ed. 1831) Ed. by James Rieger (Bobbs-Merrill, 1974); Ed. by Leonard Wolf (Clarkson Potter, 1977)Whatever her literary indebtedness-classical myth, Faustus, or Milton-Mary Shelley gave form to one of the enduring myths of SF: the creation of life by science. Guilty of the sin of intellectual pride, Victor Frankenstein epitomizes a shift in the scientists of the 19th century in that he turns from alchemy to electrical forces, a phenomenon that fascinated writers throughout the century. Mary Shelley acknowledged an indebtedness to the physiologists of Germany and Dr. Erasmus Darwin. Brian W. Aldiss has argued that Frankenstein is the first SF novel, although H. G. Wells called it more magic than science. See Aldiss's Frankenstein Unboundfor a late treatment of the theme. The 1831 edition is commonly reprinted. Rieger and Wolf reprint the 1818 edition. Rieger includes variations and notes, Wolf many illustrations along with notes. See also MONSTERS Famous Fantastic Mysteries Famous Fantastic Mysteries, April 1942 Published by The Frank A. Munsey 278
    279. Co. (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. The Frank A. Munsey Company. (c) 1942 The Frank A. Munsey Company.) Famous Science Fiction Famous Science Fiction, 1967 / No. 3 Published by Health Knowledge, Inc. Cover illustration by Virgil Finlay (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Health Knowledge, Inc. (c) 1967 Health Knowledge, Inc.) Fantastic Adventures Fantastic Adventures, Feb. 1950 Published by Ziff-Davis Co. Cover illustration by Robert Gibson Jones (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of TSR, Inc. (c) 1950 TSR, Inc.) Fantastic Science Fiction Fantastic Science Fiction, 1952 / No. 2 Published by Capitol Stories, Inc. (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Capitol Stories, Inc. (c) 1952 Capitol Stories, Inc.) Fantastic Story Quarterly Fantastic Story Quarterly, Spring 1950 Published by Best Books, Inc. (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Best Books, Inc. (c) 1950 Best Books, Inc.) Fantastic Universe Fantastic Universe, June 1956 Published by King Size Publications, Inc. (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside.King Size Publications, Inc. (c) 1956 King Size Publications, Inc.) Fantasy Fantasy, 1939 Published by George Newnes, Ltd. Cover illustration by S.R. Drigin (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. George Newnes, Ltd. (c) 1969 George Newnes, Ltd.) Fantasy Book Fantasy Book, Jan. 1950 Published by Fantasy Publishing Co. Cover illustration by Jack Gaughan (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Fantasy Publishing Co. (c) 1950 Fantasy Publishing Co.) Fantasy Book Fantasy Book, June 1986 Published by Fantasy Book Enterprises Cover illustration by Corey Wolfe (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Fantasy Book Enterprises. (c) 1986 Fantasy Book Enterprises) Fantasy Commentator Fantasy Commentator, Winter 1989-90 Published by A. Langley Searles Cover illustration by Frank R. Paul (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of the Estate of Frank R. Paul, and A. Langley Searles, FANTASY COMMENTATOR. (c) 1989 A. Langley Searles) Fantasy Fiction/Fantasy Stories Fantasy Fiction/Fantasy Stories, May 1950 Published by Megabook, Inc. (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside.Megabook, Inc. (c) 1950 Megabook, Inc.) Fantasy Magazine/Fantasy Fiction Fantasy Magazine/Fantasy Fiction, Aug. 1953 Published by Future Publications, Inc. Cover illustration by Hannes Bok (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Future Publications, Inc. (c) 1953 Future Publications, Inc.) 279
    280. Fantasy Review Fantasy Review, May 1984 Published by Florida Atlantic University Cover illustration by Ken McGregor (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Florida Atlantic University. (c) 1984 Florida Atlantic University) Fantasy Review Fantasy Review, 1946-47 Published by Vampire (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Vampire. (c) 1946 Vampire) Far Frontiers Far Frontiers, Spring 1986 / Vol. V Published by Baen Publishing Enterprises (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of Baen Publishing Enterprises. (c) 1986 Baen Publishing Enterprises) File 770 File 770, March 1987 Published by Mike Glyer Cover illustration by Brad Foster (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Mike Glyer. (c) 1987 Mike Glyer) Forgotten Fantasy Forgotten Fantasy, Dec. 1970 Published by Nectar Press, Inc. Cover illustration by George Barr (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Nectar Press, Inc. (c) 1970 Nectar Press, Inc.) Foundation Foundation, 1957 Published by Gregg Press (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Gregg Press. (c) 1957 Gregg Press) Frank Reade Library Frank Reade Library, Sept. 1892 Published by Frank Tousey, Publisher (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Frank Tousey, Publisher. (c) 1982 Garland Publishing, Inc.) Future Fiction Future Fiction, Aug. 1941 Published by Columbia Publications, Inc. Cover illustration by Forte (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Columbia Publications, Inc. (c) 1941 Columbia Publications, Inc.) Future Science Fiction Future Science Fiction, Nov. 1953 Published by Columbia Publications, Inc. Cover illustration by Alex Schomburg (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Columbia Publications, Inc. (c) 1953 Columbia Publications, Inc.) Futuristic Science Stories Futuristic Science Stories, No. 9 Published by John Spencer & Co. (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. John Spencer & Co. ) Flatland: A Romance of Many Dimensions Flatland: A Romance of Many Dimensions by Edwin A. Abbott Cover: Little, Brown & Co., 1915 illustration by Edwin A. Abbott (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Published by Little, Brown and Company (Inc.) (c) 1915 Little, Brown and Company (Inc.)) First Light First Light by Peter Ackroyd Cover: Grove Weidenfeld, 1989 (First American Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of Grove / Atlantic, Inc. (c) 1989 Grove Weidenfeld) 280
    281. Freedom's Rangers Freedom's Rangers by Keith W. Andrews Cover: Berkley, 1989 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1989 The Berkley Publishing Group Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Fourth Connection, The The Fourth Connection by R.D. Bagnall Cover: Dennis Dobson, 1975 illustration by Richard Weaver (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside.Dennis Dobson (c) 1975 Dennis Dobson Limited) First Team, The The First Team by John Ball Cover: Bantam, 1971 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1971 Bantam Books) Fall of Chronopolis, The The Fall of Chronopolis by Barrington Bayley Cover: DAW Books, 1974 illustration by Kelly Freas (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of DAW Books, Inc. (c) 1974 DAW Books, Inc.) From Monkey to Man From Monkey to Man by Austin Bierbower Cover: Ingersoll Beacon Co., 1906 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Fail-Safe Fail-Safe by Eugene Burdick Cover: Dell, 1962 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Dell Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1962 Dell Books) Fire, Burn! Fire, Burn! by John Dickson Carr Cover: Hamish Hamilton, 1957 illustration by Philip Gough (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of Hamish Hamilton, London. (c) 1957 Hamish Hamilton ) Future Imperfect Future Imperfect by Bridget Chetwynd Cover: Hutchinson & Co., 1946 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of Random Century House UK Limited. (c) 1946 Hutchinson & Co.) Funco File, The The Funco File by Burt Cole Cover: Avon Books, 1970 (Casey Brown/Eaton Collection, University of Calif., Riverside. Shown by permission of Avon Books. (c) 1970 Avon Books) Flood, The The Flood by John Creasey Cover: Hodder and Stoughton, 1958 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of Hodder Headline, POC. (c) 1958 Hodder and Stoughton) Fifteen Hundred Miles an Hour Fifteen Hundred Miles an Hour by Charles Dixon Cover: Bliss, Sands and Foster, 1895 illustration by Arthur Layard (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Flying Draper, The The Flying Draper by Ronald Fraser Cover: Jonathan Cape, 1942 (Casey 281
    282. Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of Random Century House UK Limited. (c) 1942 Johnathan Cape London) Foolish Immortal, The The Foolish Immortal Paul Gallico Cover: Lancer Books, 1953 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1953 Lancer Books) Father to the Man Father to the Man by John Gribbin Cover: TOR Books/Tom Doherty Associates, 1989 (First Edition) illustration by David Mattingly (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by permission of Tor Books. (c) 1989 Tor Books) Fourth Seal, The The Fourth Seal by Pelham Groom Cover: Jarrold's (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Jarrolds Publishers Limited. ) First American King, The The First American King by George Hastings Cover: Smart Set Publishing Co., 1904 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Fantazius Mallare Fantazius Mallare by Ben Hecht Cover: Covici-McGee, 1922 illustration by Wallace Smith (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1922 Covici-McGee) First to Awaken, The The First to Awaken by Granville Hicks & Richard M. Bennett Cover: Modern Age Books, 1940 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. (c) 1940 Modern Age Books) FreeMaster FreeMaster by Kris Jensen Cover: DAW Books, 1990 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of DAW Books, Inc. (c) 1990 DAW Books, Inc.) Flyer Flyer by Gail Kimberly Cover: Popular Library, 1975 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by permission of Warner Books, Inc. (c) 1975 Popular Library, Inc.) Fire Sanctuary Fire Sanctuary by Katharine Eliska Kimbriel Cover: Popular Library, 1986 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by permission of Warner Books, Inc. (c) 1986 Popular Library) Fearsome Island, The The Fearsome Island by Albert Kinross Cover: Herbert S. Stone & Co., 1896 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Falsivir's Travels Falsivir's Travels by Thomas Lee Cover: Proprietor, 1886 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Forbidden Planet Forbidden Planet by W.J. Stuart (Philip MacDonald) Cover: Bantam, 1956 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1956 Bantam Books) Find the Kirillian! Find the Kirillian! by Seth McEvoy Cover: Bantam, 1985 illustration by 282
    283. Stephen Fastner (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1985 Bantam Books) Fall of Worlds, The The Fall of Worlds by Francine Mezo Cover: Avon Books, 1980 (Casey Brown/Eaton Collection, University of Calif., Riverside. Shown by permission of Avon Books. (c) 1980 Avon Books) Further East than Asia Further East than Asia by Ward Muir Cover: Simpkin, Marshall, Hamilton, Kent & Co., 1919 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of HarperCollins Publishers Limited. ) Final War & Other Fantasies Final War & Other Fantasies by K.M. O'Donnell Cover: Ace Books, 1969 (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1969 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Flame Winds Flame Winds by Norvell W. Page Cover: Berkley, 1969 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1969 The Berkley Publishing Group. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Final Solution Final Solution by Richard E. Peck Cover: Doubleday, 1973 (First Edition) illustration by Anita Seigel (Casey Brown/The Eaton Collection., Univ. of Calif., Riverside. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1973 Doubleday) Fault Lines Fault Lines by Alvah Reida Cover: Berkley, 1972 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1972 The Berkley Publishing Group. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Flight from Time One Flight from Time One by Deane Romano Covre: Walker & Co., 1972 (First Edition) illustration by Enrico Scull (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of Walker and Company. (c) 1972 Walker & Company) Frozen Pirate, The The Frozen Pirate by W. Clark Russell Cover: Donohue, Henneberry & Co. (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Donohue, Henneberry & Co. ) Frankenstein Frankenstein by Mary Shelley Cover: Colburn & Bentley, 1831 (M. M. Kavanagh. ) Firebird Firebird by Kathy Tyers Cover: Bantam, 1987 illustration by Kevin Johnson (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by 283
    284. Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1987 Bantam Books) Five Weeks in a Balloon Five Weeks in a Balloon by Jules Verne Cover: Worthington Co., 1885 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. ) Forty Years On Forty Years On by Doreen Wallace Cover: HarperCollins/Collins, 1958 illustration by Kenneth Farnhill (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of HarperCollins Publishers Limited. (c) 1958 Collins) Futuretrack 5 Futuretrack 5 by Robert Westall Cover: Green Willow Books, 1983 illustration by Dav Holmes (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Green Willow Books (c) 1983 Green Willow Books) First Flight First Flight by Chris Claremont Cover: Ace Books, 1987 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1987 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) First on the Moon First on the Moon by Jeff Sutton Cover: Ace Books, 1958 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1958 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Freehold Freehold by William C. Dietz Cover: Ace Books, 1987 illustration by Sandra Filipucci (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1987 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Far-Seer Far-Seer by Rob Sawyer Cover: Ace Books (First Edition) illustration by Tom Kidd (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1995 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Fourth Mansions Fourth Mansions by R.A. Lafferty Cover: Ace Books, 1969 (First Edition) illustration by Leo & Diane Dillon (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1969 Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Forever Drug, The The Forever Drug by Steve Perry Cover: Ace Books (First Edition) illustration by Barclay Shaw (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) Ace Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) Fire on the Mountain Fire on the Mountain by Terry Bisson Cover: Arbor House, 1988 (First 284
    285. Edition) illustration by Peter Thorpe (M. M. Kavanagh. Shown by permission of William Morrow & Co., Inc. (c) 1988 Arbor House) Five-Twelfths of Heaven Five-Twelfths of Heaven by Melissa Scott Cover: Baen Books (First Edition) illustration by Kevin Johnson (M. M. Kavanagh. Reprinted with permission of BAEN PUBLISHING ENTERPRISES. (c) Baen Books) Frontera Frontera by Lewis Shiner Cover: Baen Books (First Edition) illustration by Vincent Di Fate (M. M. Kavanagh. Reprinted with permission of BAEN PUBLISHING ENTERPRISES. (c) 1984 Baen Books) Fire Fire by Alan Rodgers Cover: Bantam, 1990 illustration by Alan Ayers (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1990 Bantam Books) Female Man, The The Female Man by Joanna Russ Cover: Bantam, 1975 (First Edition) (M. M. Kavanagh. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1975 Bantam Books) Full Spectrum 4 Full Spectrum 4 by Lou Aronica, Amy Stout & Betsy Mitchell Cover: Bantam (First Edition) (M. M. Kavanagh. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1993 Bantam Books) Fossil Fossil by Hal Clement Cover: DAW Books, 1993 (First Edition) illustration by Romas (M. M. Kavanagh. Reprinted with permission of DAW Books, Inc. (c) 1993 DAW Books, Inc.) Forests of the Night Forests of the Night by S. Andrew Swann Cover: DAW Books (First Edition) illustration by Jim Burns (M. M. Kavanagh. Reprinted with permission of DAW Books, Inc. (c) 1993 DAW Books, Inc.) Fugue for a Darkening Island Fugue for a Darkening Island by Christopher Priest Cover: Faber and Faber Ltd., 1972 (First Edition) illustration by Judith Ann Lawrence (M. M. Kavanagh. Cover: Judith Ann Lawrence. Courtesy of Faber and Faber Ltd. (c) 1972 Faber and Faber Ltd.) Famous Fantastic Classics Famous Fantastic Classics by Ralph Milne Farley Cover: Fax Collector's Edition, 1975 illustration by Michael William Kaluta (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Fax Collector's Edition (c) 1975 Fax Collector's Edition) Foundation Foundation by Isaac Asimov Cover: Gnome Press, 1951 (First Edition) illustration by David Kyle (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside.Gnome Press (c) 1951 Gnome Press) Final Blackout Final Blackout by L. Ron Hubbard Cover: Hadley Publishing Co., 1940 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside.Hadley Publishing (c) 1940 Hadley Publishing Company) Facial Justice Facial Justice by L.P. Hartley Cover: Doubleday, 1960 illustration by 285
    286. Vera Bock (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1960 Doubleday & Co.) Flowers for Algernon Flowers for Algernon by Daniel Keyes Cover: Bantam, 1967 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1967 Bantam Books) Fade-Out Fade-Out by Patrick Tilley Cover: Dell, 1975 illustration by Ken Kelley (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Dell Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1975 Dell Books) Four-Gated City, The The Four-Gated City by Doris Lessing Cover: Bantam, 1969 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1969 Bantam Books) Forever War, The The Forever War by Joe Haldeman Cover: St. Martin's Press, 1974 (First Edition) (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Courtesy of St. Martin's Press. (c) 1974 St. Martin's Press) Finder Finder by Emma Bull Cover: TOR (First Edition) illustration by Richard Bober (M. M. Kavanagh. Reprinted by permission of Tor Books. (c) 1994 Tor Books) Fourth Guardian, The The Fourth Guardian by Ronald Anthony Cross Cover: TOR (First Edition) illustration by Ron Walotsky (M. M. Kavanagh. Reprinted by permission of Tor Books. (c) 1994 Tor Books) Flame Is Green, The The Flame Is Green by R.A. Lafferty Cover: Walker & Co. (First Edition) illustration by Richard Roth (M. M. Kavanagh. Reprinted with permission of Walker and Company. (c) 1971 Walker & Company) Find the Feathered Serpent Find the Feathered Serpent by Evan Hunter Cover: Winston, 1952 (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Winston (c) 1952 Winston) Falling Free Falling Free by Lois McMaster Bujold Cover: Baen Books, 1988 (First Edition) illustration by Alan Gutierrez (M. M. Kavanagh. Reprinted with permission of BAEN PUBLISHING ENTERPRISES. (c) 1988 Baen Books) Flux Flux by Orson Scott Card Cover: TOR, 1992 illustration by Peter Scanlon (M. M. Kavanagh. Reprinted by permission of Tor Books. (c) 1992 Tor Books) Faded Sun: Kesrith, The The Faded Sun: Kesrith by C.J. Cherryh Cover: DAW Books, 1978 (First Edition) illustration by Gino D'Achille (M. M. Kavanagh. Reprinted with permission of DAW Books, Inc. (c) 1978 DAW Books, Inc.) Fundamental Disch Fundamental Disch by Thomas M. Disch Cover: Bantam, 1980 (M. M. Kavanagh. 286
    287. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1980 Bantam Books) Fool's Run Fool's Run by Patricia A. McKillip Cover: Popular Library, 1988 illustration by Michael Whelan (M. M. Kavanagh. Reprinted by permission of Warner Books, Inc. (c) 1988 Popular Library) First Lensman First Lensman by E.E. Smith Cover: Pyramid Books, 1971 illustration by Jack Gaughan (M. M. Kavanagh. Reprinted by arrangement with The Berkley Publishing Group. All rights reserved. (c) 1971 Pyramid Books. Reproduction, duplication or transmission without appropriate permission is a violation of Federal copyright laws.) From the Earth to the Moon From the Earth to the Moon by Jules Verne Cover: Bantam, 1993 illustration by Richard Oelze (M. M. Kavanagh. Used by Permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) 1993 Bantam Books) Fire upon the Deep, A A Fire upon the Deep by Vernor Vinge Cover: TOR, 1993 illustration by Boris Vallejo (M. M. Kavanagh. Reprinted by permission of Tor Books. (c) 1993 Tor Books) Flies of Memory, The The Flies of Memory by Ian Watson Cover: Carroll & Graf, 1991 (First US Edition) illustration by Tony Greco & Kersti O'Leary (M. M. Kavanagh. Reprinted with permission of Tony Greco & Associates, Inc. (c) 1991Carroll & Graf) Fantastic Fantastic, July-Aug. 1953 Published by TSR, Inc. (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of TSR, Inc. (c) 1953 TSR, Inc.) Fantastic Fantastic, Jan.-Feb. 1953 Published by TSR, Inc. (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of TSR, Inc. (c) 1953 TSR, Inc.) Fantastic Fantastic, Dec. 1977 Published by TSR, Inc. (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of TSR, Inc. (c) 1977 TSR, Inc.) Fantastic Fantastic, Nov. 1959 Published by TSR, Inc. (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of TSR, Inc. (c) 1959 TSR, Inc.) Flatland: A Romance of Many Dimensions Flatland: A Romance of Many Dimensions by Edwin A. Abbott Cover: Dover Books, 1952 illustration by Menten, Inc. (M. M. Kavanagh. Courtesy of Dover Publications, Inc. (c) 1968 Dover Books) First Men in the Moon, The The First Men in the Moon by H.G. Wells Cover: Oxford University Press, 1995 (M. M. Kavanagh. Reprinted with permission of The Oxford University Press. (c) Oxford University Press. Cover illustration reproduced by permission of the Mary Evans Picture Library.) 287
    288. Fantastic Fantastic, Sept. 1973 Published by TSR, Inc. (Casey Brown/The Eaton Collection, Univ. of Calif., Riverside. Reprinted with permission of TSR, Inc. (c) 1973 TSR, Inc.) Foster, Alan Dean Alan Dean Foster (1946- ) (M. C. Valada. (c) 1995 M. C. Valada) Farmer, Philip Jose Philip Jose Farmer (1918- ) (M. C. Valada. (c) 1995 M. C. Valada) Finch, Sheila Sheila Finch (1935- ) (M. C. Valada. (c) 1995 M. C. Valada) Ford, John M. John M. Ford (1957- ) (M. C. Valada. (c) 1995 M. C. Valada) Fast, Howard Howard Fast (1914- ) ( Bettmann. ) Fiedler, Leslie Leslie Fiedler (1917- ) (Miriam Berkley. (c) 1995 Miriam Berkley) Forstchen, William William R. Forstchen (1950- ) (Beth Gwinn. (c) 1995 Beth Gwinn) Fowler, Karen Joy Karen Joy Fowler (1950- ) (Beth Gwinn. (c) 1995 Beth Gwinn) Frankowski, Leo A. Leo A. Frankowski (1943- ) (Beth Gwinn. (c) 1995 Beth Gwinn) Feeley, Gregory Gregory Feeley (1955- ) (M. M. Kavanagh (c) 1995 M. M. Kavanagh) Frankenstein What hath Mary Shelley wrought? Metaphors, symbols, and a huge influence on SF. ( (c) Grolier Electronic Publishing, Inc.) Fearn, John Russell John Russell Fearn (1908-1960) (The Andrew I. Porter Collection. ) Felice, Cynthia Cynthia Felice (1942- ) (Andrew I. Porter. (c) 1995 Andrew I. Porter) Fanthorpe, R. L. R.L. Fanthorpe (1935- ) (Andrew I. Porter. (c) 1995 Andrew I. Porter) Forward, Robert L. Robert L. Forward (1932- ) (Rick Hawes. (c) 1995 Rick Hawes ) Flash Gordon's Trip to Mars A sequel to the original 1936 serial, Flash Gordon's Trip to Mars (Universal, 1938) brought back Ming the Merciless (Charles Middleton) for a second assault upon Earth. This time Ming's center of operations is Mars, a locale made popular by the success of Orson Welles's 1938 radio broadcast of The War of the Worlds. (The Everett Collection, Inc. ) Fahrenheit 451 Francois Truffaut's film version of Fahrenheit 451 (Anglo Enterprise and Vineyard/Universal, 1966) reflects the French New Wave more than it does Hollywood. The moral piety of Ray Bradbury's famous novel has been replaced with seeming ambivalence; the good guys seem scarcely more animated than the villains. (Ronald V. Borst/Hollywood Movie Posters. ) Forbidden Planet Most of the SF films of the 1950s that aspired to respectability presumed scientific authenticity; the pretentions of Forbidden Planet (MGM, 1956) were more literary. This loose adaptation of The Tempest is silly in many 288
    289. respects, but the film possesses a visual splendor unsurpassed in its time. Robby the Robot became one the most famous figures of 1950s SF cinema. (Ronald V. Borst/Hollywood Movie Posters. ) Frankenstein James Whale's adaptation of Frankenstein (Universal, 1931) was not the first film version of Mary Shelley's novel, and it may not be the best. It has certainly been the most influential. Virtually every subsequent film about Frankenstein and his creation use the image created by Boris Karloff (and makeup artist Jack Pierce) for the monster. (Ronald V. Borst/Hollywood Movie Posters. ) Flash Gordon's Trip to Mars This three-sheet poster from the original release of Flash Gordon's Trip to Mars (Universal, 1938) is high camp at its most exhilarating. (Ronald V. Borst/Hollywood Movie Posters. ) Flash Gordon Although its sets were supposed to be Mars and not Mongo, Flash Gordon's Trip to Mars (Universal, 1938) retains basically the same cast of characters as the original and remains fun to watch after more than half a century. ( ) First Americans: Beyond the Sea of Ice, The The First Americans: Beyond the Sea of Ice by William Sarabande Cover: Bantam, 1987 (Used by permission of Bantam Books, a division of Bantam Doubleday Dell Publishing Group, Inc. (c) Bantam Books) Flash Gordon comic born " FLASH GORDON" first appeared as an American comic strip in 1934 and continues to this day. The character also inspired a 1936 movie serial, as well as paperbacks and comic books.See Also: SPACE OPERA. First SF convention By the mid-thirties, SF fans were holding meetings and formal CONVENTIONS. The first US convention was in 1938. First of Padgett's Gallagher stories Lewis Padgett's comic series of the drunken inventor Gallagher and his vain robot is replete with pre-Word War II slang and conventions, yet it remains funny even today.See Also: C. L. MOORE; Henry KUTTNER. First issue of F&SF Called The Magazine of Fantasy in its first issue, the MAGAZINE OF FANTASY AND SCIENCE FICTION eschewed interior illustrations and pulp melodrama to become the most literate of American SF magazines. First issue of Galaxy Aggressively marketed to compete with John W. Campbell's ASTOUNDING SCIENCE FICTION, GALAXY SCIENCE FICTION was a fresh new market with an open mind, and quickly dominated the SF field. First Hugo Awards Officially called the Science Fiction Achievement Awards, the HUGOS are given out each year at the WORLD SCIENCE FICTION CONVENTION. Forbidden Planet opens FORBIDDEN PLANETwas born from a determined effort to produce a quality SF film - it was based on Shakespeare'sThe Tempest, and it had high production values. It ended up being enjoyable camp.See Also: CINEMA. First Milford Conference Founded by Damon KNIGHT, Judith MERRIL, and James BLISH, the MILFORD 289
    290. Writer's Conference became an important institution in modern SF, and inspired other workshop programs that continue today. First woman wins a Hugo Anne MCCAFFREY became the first woman to win a BETTAUER, HUGO Award for fiction with "Weyr Search" in 1968. The following year both she and Kate WILHELM won the NEBULA Award. SF&F encyclopedia (A-A) ABBEY, EDWARD (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 The Monkey-Wrench Gang (1975; rev 1985) and its sequel, Hayduke Lives! (1990), 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 STERLING's Heavy Weather (1994), seems to derive from EA's premise Good Times (fixup 1980) is set in a balkanized USA after nuclear fallout has helped destroy civilization; an Indian shaman, along with other characters similar to those in The Monkey-Wrench Gang, fights back against tyranny. ABBOTT, EDWIN A(BBOTT) (1839-1926) UK clergyman, academic and writer whose most noted work, published originally as by A Square, is FLATLAND: A ROMANCE OF MANY DIMENSIONS (1884). 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. Flatland is a study in MATHEMATICS and PERCEPTION, and has stayed popular since its first publication. See also: DIMENSIONS; HISTORY OF SF. ABBOTT AND COSTELLO MEET THE INVISIBLE MAN The INVISIBLE MAN. ABE, KOBO (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 Suna no Onna (1962; trans E.Dale Saunders as Woman in the Dunes 1964 US), and has been deeply influenced by Western models from Franz KAFKA to Samuel Beckett (1906-1989); the intensely extreme conditions to which he subjects his alienated protagonists allow a dubious sf interpretation of novels like Moetsukita Chizu (1967; trans E.Dale Saunders as The Ruined Map 1969 US), or Tanin no Kao (1964; trans E.Dale Saunders as The Face of Another 1966 US). However, Dai-Yon Kampyoki (1959; trans E.Dale Saunders as Inter Ice Age 4 1970 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 290
    291. 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, Hako-Otoko (1973; trans E.Dale Saunders as The Box Man 1973 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. Hakobune Sakura Maru1984; (trans Juliet Winter Carpenter as The Ark Sakura 1988 US) expands that basic metaphor in a tale about a man obsessively engaged with his bomb shelter. Beyond the Curve (coll trans Juliet Winters Carpenter 1991 US) collects sf short stories - some sf - published in Japan 1949-66. See also: DISASTER; GENETIC ENGINEERING; JAPAN; PSYCHOLOGY; UNDER THE SEA. ABEL, R(ICHARD) COX Charles BARREN. aB HUGH, DAFYDD (1960- ) US writer, whose Welsh-sounding name has been legalized. He is perhaps best known for his novella, "The Coon Rolled Down and Ruptured his Larinks, a Squeezed Novel by Mr. Skunk" (1990 AISFM). Most of his work is fantasy, or-in the case of the Arthur War Lord sequence, comprising Arthur War Lord (1994) and Far Beyond the Wave (1994)-is sf with a fantasy coloration. The sequence features the adventures of a man who, via TIME TRAVEL convention, chases a female CIA agent into Arthurian times, where she is attempting to assassinate the king, and thus to change history. Star Trek: Deep Space Nine: Fallen Heroes (1994) is unexceptionable. ABLEMAN, PAUL (1927- ) UK novelist known mainly for work outside the sf field whose first story of genre interest is The Prophet Mackenbee for Lucifer in 1952, about an sf writer and inventor who surrounds himself with disciples in an absurd world. His first book, I Hear Voices (1958 France). The Twilight of the Vilp (1969) is not so much sf proper as an informed and sophisticated playing with the conventions of the genre in a FABULATION about the author of a work and his relation to its components. The eponymous Galaxy-spanning Vilp cannot, therefore, be taken literally. ABORIGINAL SCIENCE FICTION US magazine published from Massachusetts by Absolute Entertainment Inc. and more recently by the Second Renaissance Foundation Inc., ed Charles C. RYAN, 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 smallBEDSHEET 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. 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 NIVEN. The 291
    292. regular book-review columns are by Darrell SCHWEITZER and Janice M.Eisen. Editor Ryan previously brought out the magazine GALILEO (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 Aboriginal Science Fiction, Tales of the Human Kind: 1988 Annual Anthology (anth chap 1988) ed Ryan. ABOUT, EDMOND (FRANCOIS VALENTIN) (1828-1885) French writer of much fiction, some of it sf, notably L'homme a l'oreille cassee (1862; trans Henry Holt as The Man with the Broken Ear 1867 US; vt Colonel Fougas' Mistake 1878 UK; vt A New Lease of Life 1880 UK), which is included in A New Lease of Life, and Saving a Daughter's Dowry (coll trans 1880 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 The Nose of a Notary (trans 1863 US; vt The Notary's Nose 1864; vt The Lawyer's Nose 1878 UK), which is included in The Notary's Nose and Other Stories (coll trans 1882 UK). See also: MONEY. ABRAMOV, ALEXANDER (1900-1985) and SERGEI (1944- ) Russian authors of the sf adventure novel Horsemen from Nowhere (trans George Yankovsky 1969 Moscow). One of their short stories appears in Vortex (anth 1970) ed C.G.Bearne. A later novel is Journey across Three Worlds (trans Gladys Evans with other stories as coll 1973 Moscow). ABSENT MINDED PROFESSOR, THE Film (1961). Walt Disney. Dir Robert Stevenson, starring Fred MacMurray, Nancy Olson, Keenan Wynn. Screenplay Bill Walsh. 97 mins. B/w. 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 (The Shaggy Dog, 1959). Subsequent movies in a similar vein include The Computer Wore Tennis Shoes (1969), The Love Bug (1969) and The Cat from Outer Space (1978); because these are largely assembly-belt products aimed at children, they do not receive entries in this volume. TAMP, perhaps the best, features MacMurray as a high-school science teacher who accidentally invents flubber (flying rubber), an ANTIGRAVITY 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. The sequel was Son of Flubber (1963). ABSOLUTE ENTERTAINMENT LTD ABORIGINAL SCIENCE FICTION. ABSOLUTE MAGNITUDE US SEMIPROZINE, from 1993, current, four issues to spring 1995, small-BEDSHEET format, ed and pub Warren Lapine from Greenfield, Massachusetts. Subtitled "The Magazine of Science Fiction Adventures", AM began life as Harsh Mistress, but that title-intended to echo Robert 292
    293. A.HEINLEIN's novel The Moon is a Harsh Mistress (1966) - sounded like a bondage 'zine to magazine distributors, and the magazine was retitled (its numbering resuming with #1) with its third issue, Fall/Winter 1994. Its production values improved after the first two issues, and AM is now a professional-looking magazine, whichpublishes a broader selection of sf than its title implies. Contributors have included Terry BISSON, C.J.CHERRYH, and Hal CLEMENT. Aimed at a wider readership than most of the US semiprozines that began to appear in the mid-nineties, AM may realize its ambition to develop into a fully professional publication. ABSURDIST SF 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.BALLARD means when he uses the term INNER SPACE - 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 KAFKA. In this encyclopedia we cross-refer works of Absurdist sf to the blanket entry on FABULATION, 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.ALDISS, Ballard, David R.BUNCH, Jerzy KOSINSKI, Michael MOORCOCK, Robert SHECKLEY, John T.SLADEK, Kurt VONNEGUT Jr and many other writers tended to create metaphorical worlds shaped externally by a governing PARANOIA, and internally tortured by the psychic white noise of ENTROPY. 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 VILLIERS DE L'ISLE-ADAM, and to its 20th-century successors, from the 'pataphysics of Alfred JARRY 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. ABYSS, THE Film (1989). 20th Century-Fox. Dir James CAMERON, starring Ed Harris, Mary Elizabeth Mastrantonio, Todd Graff, Michael Biehn. Prod Gale Anne HURD. Screenplay Cameron. 139 mins. Colour. Despite the largest budget of the period's undersea fantasies (DEEPSTAR SIX; LEVIATHAN) 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 ALIENS dwelling in the Trench (looking a little like angels, and therefore good) 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 293
    294. 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 NEAR FUTURE. The novelization, whose author not unfairly calls it a real novel, is The Abyss (1989) by Orson Scott CARD. In 1992 the director's cut THE ABYSS: SPECIAL EDITION 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. See also: CINEMA; MONSTER MOVIES; UNDER THE SEA. ACE BOOKS US paperback-publishing company founded by pulp-magazine publisher A.A.Wyn in 1953. Under editor Donald A.WOLLHEIM, Ace published a high proportion of sf, much of it in the Ace Double format of two titles bound together DOS-A-DOS. The series included the first or early novels of many writers who became famous, such as John BRUNNER, Samuel R.DELANY, Philip K.DICK, Gordon R.DICKSON, Thomas M.DISCH, R.A.LAFFERTY, Ursula K.LE GUIN, Robert SILVERBERG and Roger ZELAZNY. Terry CARR became an editor in 1964 and later began the Ace Science Fiction Specials series, which received considerable praise. Carr left the company in 1971, followed by Wollheim, who began his own imprint, DAW BOOKS, in 1972. Carr rejoined as freelance editor of a second series of Ace Specials in 1984, this time restricted to first novels; it included NEUROMANCER (1984) by William GIBSON, THE WILD SHORE (1984) by Kim Stanley ROBINSON, Green Eyes (1984) by Lucius SHEPARD, In the Drift (fixup 1985) by Michael SWANWICK and Them Bones (1984) by Howard WALDROP. In-house editors Beth MEACHAM and Terri WINDLING 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. Further reading: There are several checklists of Ace sf publications, but none are complete. Double your Pleasure: The Ace SF Double (1989 chap) by James A.Corrick is useful for doubles, while Dick Spelman's Science Fiction and Fantasy Published by Ace Books (1953-1968) (1976 chap) covers the important years. See also: HUGO. ACE DOUBLES Ace Doubles were well-known for two reasons: their format - two short novels bound back-to-back - and their titles - to say they were dramatic was an understatement. Terry Carr, who worked for Ace during the sixties, used to say that if the Bible had been reprinted as an Ace Double, the Old Testament would be called "Master of Chaos" and the New Testament would be called "The Man with Three Souls." ACKER, KATHY (1948- ) US-born writer and playwright, in the UK for many years before 294
    295. returning to the USA in 1989. KA expresses an apocalyptic sense of the latterday world in works whose tortured absurdity (FABULATION) 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. The Birth of the Poet (staged 1984 Rotterdam; in Wordplays 5, anth 1986) runs a gamut from the nuclear HOLOCAUST of the first act to the picaresque jigs and jags of the second and third. Two novels - Don Quixote (1986), a surrealistic afterlife fantasy, and Empire of the Senseless (1988), which features the not-quite terminal coupling of fleshly beings and ROBOTS - are of some interest. Her use of sf icons and decor in this book resembles that of William S.BURROUGHS, especially in the homage to CYBERPUNK it contains, conveyed by cut-ups of text by William GIBSON. ACKERMAN, FORREST J(AMES) (1916- ) US editor, agent and collector. A reader of the sf magazines from their inception, he was an active member of sf FANDOM from his early teens, and as early as 1932 served as associate editor of The Time Traveller, the first FANZINE. 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 HUGO in 1953 for Number One Fan Personality. His first story was A Trip to Mars in 1929 for the San Francisco Chronicle, which won a prize for the best tale by a teenager; some of his more interesting work was assembled in Science Fiction Worlds of Forrest J.Ackerman and Friends (anth 1969). He collected sf books and memorabilia from the very first, publishing in I Bequeath (to the Fantasy Foundation) (1946 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 Souvenir Book of Mr Science Fiction's Fantasy Museum (1978 chap Japan). Disposals of collectable books have been made at times; and part of the library was auctioned in 1987, grossing over $550.000. FJA was active as an editor for many years, though not deeply influential; he edited both the magazine Famous Monsters of Filmland (1958-82) and the US PERRY RHODAN series (1969-77), as well as several sf anthologies, including The Frankenscience Monster (anth 1969), Best Science Fiction for 1973 (anth 1973), Gosh! Wow! (Sense of Wonder) (anth 1982), Mr Monster's Movie Gold (anth 1982) and The Gernsback Awards, Vol 1: 1926 (anth 1982). Notorious for his punning and use of simplified words, he is credited with introducing the term SCI FI in 1954. He was agent for a number of writers, notably A.E.VAN VOGT. His wife, Wendayne Ackerman (1912-1990), was also a fan, and translated the STRUGATSKI brothers' Trudno byt' bogom (1964) as Hard to be a God (1973 US). Other works: In Memoriam H.G.Wells 1866-1946 (1946 chap) with Arthur Louis Jocquel II; James Warren Presents the Best from Famous Monsters of Filmland (anth 1964); James Warren Presents Famous Monsters of Filmland Strike Back! (anth 1965); James Warren Presents Son of Famous Monsters of Filmland (anth 1965); Close Encounters of the Third Kind (1977 chap), nonfiction; J.R.R.Tolkien's The Lord of the Rings: A Fantasy Film (1979 chap), nonfiction; A Reference Guide to American Science Fiction Films, Volume 1 (1981) with A.W.Strickland, only 1 vol published; Lon of 1000 295
    296. Faces (1983), nonfiction; Fantastic Movie Memories (1985), nonfiction; Reel Futures (anth 1994) with Jean Stine. See also: COLLECTIONS. ACKERMAN, WENDAYNE Forrest J.ACKERMAN. ACKROYD, PETER (1949- ) UK author who began writing as a poet before turning to literary biographies of figures like T.S.Eliot and Charles DICKENS. His third novel, Hawksmoor (1985), 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 FABULATION, the book verges on sf. First Light (1989) 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. Other Works: The House of Doctor Dee (1993). ACTION MAGAZINES FUTURE FICTION. ACTON, Sir HAROLD (MARIO MITCHELL) (1904-1994) UK writer, long resident in Italy, best known for highly civilized reflections, in books like Memoirs of an Aesthete (1948), on his own style of life. His sf novel, Cornelian (1928), tells of a popular singer in a world which privileges old age. ACULA, Dr Forrest J.ACKERMAN. ACWORTH, ANDREW (?-?) UK writer - possibly, according to Darko SUVIN, a barrister named Andrew Oswald Acworth (?1857-?) - whose sf novel, A New Eden (1896), set 100 years in the future, features the escape of two depressed protagonists from the decaying republican UK to an egalitarian island UTOPIA which fails to cheer them up - despite electric factories, birth control and euthanasia. ADAM AND EVE Brian W.ALDISS 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.VAN VOGT's Ship of Darkness (1947) was reprinted in Fantastic in 1961 as a fantasy classic; another example is The Unknown Assassin (1956) by Hank JANSON. Straightforward variants include Another World Begins (1942; vt The Cunning of the Beast) by Nelson BOND (the most prolific writer of pulp Shaggy God stories), in which God is an ALIEN 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.HARNESS'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 Yezad (1922) and Julian Jay SAVARIN's Lemmus trilogy (1972-7); a more subtle and sophisticated exercise along 296
    297. these lines can be found in Shikasta (1977) by Doris LESSING. Adam and Eve are, of course, frequently featured in allegorical fantasies, notably George MACDONALD's Lilith (1895), Mark TWAIN's Extracts from Adam's Diary (1904) and Eve's Diary (1906), George Bernard SHAW's Back to Methuselah (1921), John Erskine's Adam and Eve (1927), John CROWLEY's The Nightingale Sings at Night (1989) and Piero Scanziani's The White Book (1969; trans Linda Lappin 1991 UK). 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 ROBOT or ANDROID, and thus we find Eando BINDER writing a biography of Adam Link, Robot (1939-42; fixup 1965), and William C.ANDERSON chronicling the career of Adam M-1 (1964). Adam Link was provided with an Eve Link, but what they did together remains a matter for speculation. VILLIERS DE L'ISLE-ADAM had earlier described Thomas Alva Edison's creation of the perfect woman in L'Eve future (1886; trans Robert M.Adams as Tomorrow's Eve 1982). The metaphor is found also in some SUPERMAN stories, including two novels entitled The New Adam, one by Noelle ROGER (1924; trans L.P.O.Crowhurst 1926 UK), the other by Stanley G.WEINBAUM (1939), and in prehistoric romances, most notably in Intimations of Eve (1946) and Adam and the Serpent (1947) by Vardis FISHER and in the final volume of George S.VIERECK and Paul ELDRIDGE's Wandering Jew trilogy, The Invincible Adam (1932), where much is made of the matter of the lost rib. Alfred BESTER's last-man-alive story Adam and No Eve (1941) uses the names in an ironic vein. 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 (COSMOLOGY). One example is van Vogt's The Seesaw (1941; integrated into THE WEAPON SHOPS OF ISHER fixup 1951); others are James BLISH's The Triumph of Time (1958; vt A Clash of Cymbals) and Charles Harness's THE RING OF RITORNEL (1968). Shaggy God stories briefly became popular alternatives to orthodox history in the works of Immanuel VELIKOVSKY and Erich VON DANIKEN, and it is likely that they will continue to exert a magnetic attraction upon the naive imagination. See also: ANTHROPOLOGY; EVOLUTION; ORIGIN OF MAN; RELIGION. ADAMOVIC, IVAN (1967- ) Czech translator and writer, an associate editor of the sf magazine Ikarie and a contributor to Encyklopedie science fiction Encyclopedia of Science Fiction (1992). His Czech SF in the Last Forty Years appeared in SCIENCE-FICTION STUDIES, Mar 1990. ADAMS, DOUGLAS (NOEL) (1952- ) UK scriptwriter and novelist who worked 1978-80 as an editor on the DR WHO tv series; his two Doctor Who 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 HITCH HIKER'S GUIDE TO THE GALAXY sequence, whose first incarnation was as two BBC RADIO 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 The Hitch Hiker's Guide to the Galaxy: The Original Radio Scripts (coll 1985) 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, 297
    298. 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 The Hitch Hiker's Guide to the Galaxy (1979; vt The Illustrated Hitch Hiker's Guide to the Galaxy 1994) The Restaurant at the End of the Universe (1980), Life, the Universe and Everything (1982), So Long, and Thanks for All the Fish (1984); and Mostly Harmless (1992). The first three volumes were assembled as The Hitchhiker's Trilogy (omni 1984 US), and the first four were assembled as The Hitch Hiker's Guide to the Galaxy: A Trilogy in Four Parts (omni 1986; vt The Hitchhiker's Quartet 1986 US; rev with Young Zaphod Plays it Safe added vt The More than Complete Hitchhiker's Guide: Five Stories 1987 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 ALIEN, 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 COMPUTER 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 Mostly Harmless (1992), 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. A second sequence - Dirk Gently's Holistic Detective Agency (1987) and The Long Dark Tea-Time of the Soul (1988) - 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 Hitch Hiker's Guide has become folklore. Other works: The Meaning of Liff (1983; rev vt The Deeper Meaning of Liff 1990) with John Lloyd, humour; The Utterly Utterly Merry Comic Relief Christmas Book (anth 1986), ed (anon), charity fundraising book for Comic Relief; Last Chance to See (1991) with Mark Carwardine, nonfiction book promoting wildlife conservation, with text by DA to photographs by Carwardine; Doctor Who: The Scripts: Pirate Planet (1994), reprinting an old DR WHO script. About the author: Don't Panic: The Official Hitch Hiker's Guide to the Galaxy Companion (1988; rev 1993 with David K.Dickson) by Neil GAIMAN. See also: ANTI-INTELLECTUALISM IN SF; FANTASTIC VOYAGES; GAMES AND TOYS; GODS AND DEMONS; HUMOUR; MUSIC; MYTHOLOGY; ROBOTS; SATIRE; SPACE OPERA. ADAMS, FREDERICK UPHAM (1859-1921) US writer whose two sf UTOPIAS - President John Smith: The Story of a Peaceful Revolution (Written in 1920) (1897) and The Kidnapped Millionaires: A Tale of Wall Street and the Tropics (1901) - put into stiffly earnest narrative form the arguments that direct election of the 298
    299. US President would lead to a benevolent socialism and that the tycoons of Wall Street were a doomed race. ADAMS, HARRIET S(TRATEMEYER) (1892-1982) US writer and, after the death of her father Edward STRATEMEYER 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 Bobbsey Twins, the Hardy Boys, Nancy Drew and others; for further titles, she supplied plots and outlines. Under the house name Victor APPLETON she wrote the last in the first series of Tom Swift books, Tom Swift and his Planet Stone (1935), and successfully revived Tom Swift, or, to be more accurate, his son Tom Swift, Jr., in a new series which began publication in 1954 (TOM SWIFT for details). About the author: Stratemeyer Pseudonyms and Series Books: An Annotated Checklist of Stratemeyer and Stratemeyer Syndicate Publications (1982) ed Deirdre Johnson. ADAMS, HUNTER Jim LAWRENCE. ADAMS, JACK Collaborative pseudonym of US writers Alcanoan O. Grigsby (?-?) and Mary P.Lowe (?-?) whose Nequa, or The Problem of the Ages (1900) 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 HOWELLS, though there is no explicit connection between his utopias and this one). The Altrurians take them to their country, which lies inside a HOLLOW EARTH, demonstrate their flying machines and other marvels, and explain their sexually egalitarian, non-Christian culture (FEMINISM). Nequa, as Jack Adams now calls herself, will marry her fiance only if he attains some wisdom. Nequa is a surprisingly enjoyable salutary tale. ADAMS, JOHN John S.GLASBY. ADAMS, LOUIS J.A. Joe L.HENSLEY; Alexei PANSHIN. ADAMS, NEAL (1941- ) Influential and remarkably prolific US COMIC-strip artist specializing in the SUPERHERO genre, with a strong, gutsy yet sophisticated line style. His continued claim to fame probably rests largely on his ground-breaking personal reinterpretation of DC COMICS's Batman. 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 Ben Casey, which he drew for dailies and Sundays 1962-6. He assisted on other newspaper strips including Bat Masterson (1961), Peter Scratch (1966), Secret Agent Corrigan (1967) and Rip Kirby (1968). He began working for National Periodical Publications (DC Comics) in 1967 drawing Deadman (Strange Adventures 206-216). Other characters to benefit from his innovative touch included Spectre, SUPERMAN, Batman (in Detective Comics, 9 issues between 369, Nov 1967, and 439, Mar 1974, and 9 issues in Batman between 219, Feb 1970, and 255, Apr 1974, as well as in other associated titles), Flash, Green Lantern and the X-MEN. He drew the team-up title Green Lantern-Green Arrow 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 299
    300. 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, MARVEL COMICS 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, Warp (1973; THEATRE). In 1987 he formed his own publishing company, Continuity Comics. NA has also had a high profile as a campaigner for comics creators' rights, notably in connection with the financial recognition by DC of SUPERMAN's creators, Jerry SIEGEL and Joe Shuster. NA was involved in the setting-up of the Academy of Comic-Book Art (ACBA) in 1970. ADAMS, PAMELA CRIPPEN Robert ADAMS. ADAMS, (FRANKLIN) ROBERT (1932-1990) US soldier and writer who was best known for the post-HOLOCAUST Horseclans 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 MUTANTS, 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 - ECOLOGY, for instance - that were betes-noires of the author, who was not averse to polemical intrusions. The sequence comprises The Coming of the Horseclans (1975; exp 1982), Swords of the Horseclans (1977) and Revenge of the Horseclans (1977) - all three being assembled as Tales of the Horseclans (omni 1985) - A Cat of Silvery Hue (1979), The Savage Mountains (1980), The Patrimony (1980), Horseclans Odyssey (1981), The Death of a Legend (1981), The Witch Goddess (1982), Bili the Axe (1982) - which contained a background summary - Champion of the Last Battle (1983), A Woman of the Horseclans (1983), Horses of the North (1985), A Man Called Milo Morai (1986), The Memories of Milo Morai (1986), Trumpets of War (1987), Madman's Army (1987) and The Clan of the Cats (1988). Two SHARED-WORLD anthologies - Friends of the Horseclans (anth 1987) and Friends of the Horseclans II (anth 1989) - also appeared, both edited with his wife, Pamela Crippen Adams (1961- ). A second series, the Castaways in Time alternate-history TIME-TRAVEL sequence, comprises Castaways in Time (1980), The Seven Magical Jewels of Ireland (1985), Of Kings and Quests (1986), Of Chiefs and Champions (1987), Of Myths and Monsters (1988) and Of Beginnings and Endings (1989). Most of his remaining work, including another, unfinished series, was fantasy; some of his anthologies, however - including Robert Adams' Book of Alternate Worlds (anth 1987) with Pamela Crippen Adams and Martin H.GREENBERG, Robert Adams' Book of Soldiers (anth 1988) with P.C.Adams and Greenberg, and Alternatives (anth 1989) with P.C. Adams - were of sf interest. Other works: The Stairway to Forever sequence, comprising The Stairway to Forever (1988) and Monsters and Magicians (1988). As Editor: Barbarians (anth 1985) with Martin H.Greenberg and Charles G.WAUGH and Barbarians II (anth 1988) with P.C.Adams and Greenberg; the Magic in Ithkar sequence, with Andre NORTON, comprising Magic in Ithkar (anth 1985), 2 (anth 1985), 3 (anth 1986) and 4 (anth 1987); Hunger for Horror (anth 1988) with P.C.Adams and Greenberg; Phantom Regiments (anth 1990) with P.C.Adams and Greenberg. See also: ALTERNATE WORLDS; SWORD AND SORCERY. ADAMS, SAMUEL HOPKINS (1871-1958) US writer, prolific and popular author of novels and 300
    301. screenplays, including that for the film It Happened One Night (1934). He wrote an sf novel with Stewart Edward WHITE (whom see for details), The Mystery (1907), 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, The Sign at Six (1912), also sf, is by White alone. SHA's solo sf books are The Flying Death (1908), an impossible crime tale in which Long Island, New York, is invaded by a pteranodon; and The World Goes Smash (1938), a NEAR-FUTURE story of a US civil war in which New York is devastated. ADAMS, TERRY A. (? - ) US writer whose Sentience sequence - Sentience: A Novel of First Contact (1986) and The Master of Chaos (1989) - begins in the conflict between true humans and D'Neerans, who are human telepaths (ESP), and builds into a SPACE-OPERA 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. ADAMSKI, GEORGE UFOS. AD ASTRA UK magazine, small-BEDSHEET 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 BRUNNER, Garry KILWORTH, David LANGFORD and Ian WATSON - 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 PSEUDO-SCIENCE articles. ADDEO, EDMOND G. Richard M.GARVIN. ADDISON, HUGH Pseudonym used by UK author and journalist Harry Collinson Owen (1882-1956) for his future-WAR novel The Battle of London (1923), 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. ADELER, MAX 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 DYSTOPIA. 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 (LOST WORLDS) which first appeared in Beeton's Christmas Annual (anth 1880 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 An Old Fogey and Other Stories (coll 1881 UK; rev vt The Fortunate Island and 301
    302. Other Stories 1882 US). It is MA's story that almost certainly supplied Mark TWAIN with the basic premise and some of the actual plot of A Connecticut Yankee in King Arthur's Court (1889). When accused of plagiarism, Twain responded evasively. Other works: Random Shots (coll 1878 UK); Transformations (coll 1883 UK); A Desperate Adventure (coll 1886 UK); By the Bend of the River (coll 1914). About the author: 'Professor Baffin's Adventures' by Max Adeler: the Inspiration for A Connecticut Yankee in King Arthur's Court? by David KETTERER in Mark Twain Journal 24 (Spr 1986); 'John Quill': The Women's Millennium, introduced by Ketterer in Science Fiction Studies 15 (1988); Mark Twain's A Connecticut Yankee: Reconsiderations and Revisions, by Horst H.Kruse in American Literature 62, 3 (Sept 1990). See also: SHARED WORLDS. ADERCA, FELIX ROMANIA. ADLARD, MARK 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 Tcity trilogy: Interface (1971), Volteface (1972) and Multiface (1975). The series is set in a city of the NEAR FUTURE. By calling it Tcity, MA plainly intended to confer on it a kind of regimented anonymity in the manner of Yevgeny ZAMIATIN; 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 AUTOMATION, hierarchical systems, the MEDIA LANDSCAPE, revolution, the difficulties of coping with LEISURE, class distinction according to INTELLIGENCE, fantasies of SEX and the stultifying pressures of conformity. The Greenlander (1978) 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. About the author: The Many Faces of Adlard by Andy Darlington in Arena 7, March 1978. ADLER, ALLEN A. (1916-1964) US writer, mostly for films, co-author of the story used as the basis for the film FORBIDDEN PLANET (1956), although he had nothing to do with the novelization by W.J.Stuart (Philip MACDONALD). AAA's only sf novel was an unremarkable adventure, also set on a planet threatened by a monster: Mach 1: A Story of the Planet Ionus (1957; vt Terror on Planet Ionus 1966). ADOLPH, JOSE B. LATIN AMERICA. ADVENT: PUBLISHERS Chicago-based specialist publishing house, owned by sf fans, which publishes critical and bibliographical material. The first book was Damon KNIGHT's In Search of Wonder (1956); other notable volumes include James BLISH's two collections of critical essays (as William Atheling Jr) and, later, his posthumous The Tale that Wags the God (coll 1987), as by Blish. A: P's most important scholarly publication has been Donald H.TUCK's The Encyclopedia of Science Fiction and Fantasy through 1968 (vol 1 1974; vol 2 1978; vol 3 1982). See also: SMALL PRESSES AND LIMITED EDITIONS. 302
    303. ADVENTURES OF BRISCO COUNTY, JR., THE Us tv series (1993-1994). Boam/Cuse Productions for Warner Bros. Series creators/exec prods Jeffrey Boam, Carlton Cuse. Co-prods David Simkins, Paul Marks. Writers included Boam, Cuse, Simkins, Brad Kern, John McNamara, John Wirth. Directors included Kim Manners, Andy Tennant. Starred Bruce Campbell as Brisco, Julius Carry as Lord Bowler, Christian Clemenson as Socrates Poole. Recurring players included Billy Drago as John Bly, Kelly Rutherford as Dixie Cousins, John Pyper-Ferguson as Pete Hutter, John Astin as Professor Wickwire. Two-hour pilot Sep 1993, followed by 26 one-hour episodes. Part WILD, WILD WEST, part Indiana Jones, and part just plain strange, this Fox Newtork Western series followed a familiar pattern: despite being a solid hit with critics and sf fans, its rating were spectacularly low, and not even a landslide finish in TV Guide's 1994 "Save Our Shows" viewer poll persuaded network executives to renew it for a second season. The convoluted premise featured popular horror-film star Campbell as Brisco County, Jr., the Harvard-educated son of a noted bounty hunter. Drawn to 1890s San Francisco following the murder of his father, Brisco Jr. learns that notorious outlaw John Bly has larger schemes in mind. Turning bounty hunter himself to track down Bly, he comes across a glowing orb with mysterious powers, in which Bly is also interested. Much of the show's run was spent pursuing Bly and his associates, while other episodes paid homage to Alfred Hitchcock's Psycho (1960) and television's THE AVENGERS (1961-69). Quirky, sly humour was the show's hallmark: a train is stopped by the Wile E.Coyote gimmick of painting a lifelike mural onto a boulder blocking the track; Brisco's horse Comet races prototype motorcycles and cracks a safe ("He's not so smart; took him two tries!"); and one episode featured a Blackbeard-like pirate who is relocated to the Nevada desert. Recurring plots and characters were a major part of the show's appeal, with Drago's silkily dangerous Bly ultimately revealed as a time traveller, and eccentric outlaws the order of the day. The clever writing, energetic performances and excellent production values may not have made TAOBC, J a ratings success, but reruns and taped episodes are worth seeking out. ADVENTURES OF BUCKAROO BANZAI ACROSS THE 8TH DIMENSION, THE 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. 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 INVASION 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. REPO MAN, from the same year, is a wittier and better organized example of what might be called designer cult movies. See also: ANDROIDS; WAR OF THE WORLDS. ADVENTURES OF SUPERMAN, THE SUPERMAN. ADVENTURES OF THE ROCKETEER TheROCKETEER. 303
    304. ADYE, TIM M.H.ZOOL. A.E. or AE 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 The Mask of Apollo, and Other Stories (coll 1904), but with very much more force in The Interpreters (1922), a philosophical fiction set in an idealized venue. More elegiacally and more concretely, in The Avatars: A Futurist Fantasy (1932), 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 The Living Torch (coll 1937), a posthumous volume of nonfiction. AELITA Film (1924). Mezhrabpom. Dir Yakov A.Protazanov, starring Nikolai M.Tseretelli, Igor Ilinski, Yulia Solntseva. Screenplay Fyodor Otzep, Alexei Faiko, based on Aelita (1922) by Alexei TOLSTOY. 78 mins cut from 120 mins. B/w. 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. A is a very stylized silent film; its futuristic, Expressionistic sets, by Isaac Rabinovitch of the Kamerny Theatre, were to influence the design in FLASH GORDON. 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. See also: CINEMA. AELITA AWARD RUSSIA. A FOR ANDROMEDA UK tv serial (1961). A BBC TV production. Prod Michael Hayes, Norman Jones, written John ELLIOT from a storyline by Fred HOYLE. 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. 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 COMPUTER 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 A for Andromeda (1962). The tv sequel was The ANDROMEDA BREAKTHROUGH (1962). AFRICA ARABIC SF; BLACK AFRICAN SF. AGHILL, GORDON Pseudonym used collaboratively by Robert SILVERBERG and Randall GARRETT on two stories in 1956. 304
    305. AGUILERA, JUAN MIGUEL SPAIN. AHERN, JERRY Working name of US author Jerome Morrell Ahern (1946- ), most of whose output consists of violent post-HOLOCAUST novels, most notably in his Survivalist 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 SURVIVALIST FICTION, it comprises Survivalist 1: Total War (1981), 2: The Nightmare Begins (1981), 3: The Quest (1981), 4: The Doomsayer (1981), 5: The Web (1983), 6: The Savage Horde (1983), 7: The Prophet (1984), 8: The End is Coming (1984), 9: Earth Fire (1984), 10: The Awakening (1984), 11: The Reprisal (1985), 12: The Rebellion (1985), 13: Pursuit (1986), 14: The Terror (1987), 15: Overlord (1987), 16: The Arsenal (1988), 17: The Ordeal (1988), unnumbered: The Survivalist: Mid-Wake (1988), 18: The Struggle (1989), 19: Final Rain (1989), 20: Firestorm (1990) and 21: To End All War (1990). The continuation - beginning with the unnumbered The Survivalist: The Legend (1991), 22: Brutal Conquest (1991); 23: Call to Battle (199224: Blood Assassins (1993), 25: War Mountain (1993), 26: Countdown (1993) and 27: Death Watch (1993) - 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 (sic) and fanatical communists. A second but similar sequence, the Defender series, comprises The Defender 1: The Battle Begins (1988), 2: The Killing Wedge (1988), 3: Out of Control (1988), 4: Decision Time (1989), 5: Entrapment (1989), 6: Escape (1989), 7: Vengeance (1989), 8: Justice Denied (1989), 9: Death Grip (1990), 10: The Good Fight (1990), 11: The Challenge (1990) and 12: No Survivors (1990). With his wife, Sharan A(nn) Ahern (1948- ), whose contributions were sometimes anonymous, he wrote the short Takers sequence, comprising The Takers (1984) and River of Gold (1985), as well as some singletons. He also contributed Deathlight (1982) to the long-running Nick Carter sequence, writing as Nick CARTER. Other works: The Freeman (1986), Miamigrad (1987), WerewolveSS (1990) and The Kamikaze Legacy (1990), all with Sharon A.Ahern. See also: SOCIAL DARWINISM. AHERN, SHARON A. Jerry AHERN. AH! NANA METAL HURLANT. AHONEN, ERKKI FINLAND. AI 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 COMPUTER or other MACHINE of some sort to qualify as an AI it must be self-aware. There are as yet none such in the real world. See also: CYBERNETICS; CYBERSPACE. AIKEN, JOAN (DELANO) John AIKEN; ALTERNATE WORLDS. 305
    306. AIKEN, JOHN (KEMPTON) (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 ASF in 1943, in the Probability Zero sequence of short-shorts; though his first sizeable effort wasDragon's Teeth, with NW in 1946; but did not remain active in the field. His only novel, World Well Lost (fixup 1970 as John Paget; as JA 1971 US), based on his 1940s NW stories, was published by ROBERT HALE LIMITED. It describes with some energy a conflict between a totalitarian Earth and free-minded colonists in the system of Alpha Centauri. Conrad Aiken, Our Father (1989) with Joan Aiken and Jane Aiken Hodge, is a revealing memoir. AIKIN, JIM Working name of US writer James Douglas Aikin (1948- ), whose sf novel, Walk the Moons Road (1985), gave operatic colour to a moderately intricate PLANETARY ROMANCE featuring aliens, humans, seas, politics and sex on a planet which is not Earth. His second novel, The Wall at the Edge of the World (1993), more ambitiously sets its protagonist - a non-TELEPATH in a post-HOLOCAUST society - the task of reconciling his home culture with that of the wild women who live in hinterlands. AINSBURY, RAY A.Hyatt VERRILL. AINSWORTHY, RAY Lauran Bosworth PAINE. AIRSHIPS TRANSPORTATION. AIR WONDER STORIES US BEDSHEET-size PULP MAGAZINE, 11 issues, July 1929-May 1930, published by Stellar Publishing Corp., ed Hugo GERNSBACK, managing editor David Lasser. This was a prompt comeback by Gernsback after the filing of bankruptcy proceedings against his Experimenter Publishing Co., with which he had founded AMAZING STORIES. AWS 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 HAMILTON, David KELLER, Victor MACCLURE, Ed Earl REPP, Harl VINCENT and Jack WILLIAMSON; Raymond Z.GALLUN published his first story here. The cover designs for all issues were by Frank R.PAUL, who had previously worked on AMZ. A sister magazine, SCIENCE WONDER STORIES, began one month earlier, in June 1929. In 1930 Gernsback merged them into WONDER STORIES. AITMATOV, CHINGIZ (TOREKULOVICH) (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 Dol'she Veka Dlitsia Den' (1980; trans John French as The Day Lasts Longer than a Hundred Years 1983 UK): part of this novel realistically depicts life in a small Kirghiz town near a secret Soviet cosmodrome, and part comprises a NEAR-FUTURE thriller set on board the Soviet-US carrier Parity, which encounters ALIENS. Written before perestroika, the novel raised controversy due to its obvious pacifist mood. 306
    307. AKERS, ALAN BURT Kenneth BULMER. AKERS, FLOYD L.Frank BAUM. AKI, TANUKI [s] Charles DE LINT. AKIRA Animated film (1987). Akira Committee. Dir Katsuhiro OTOMO, from a screenplay by Otomo and Izo Hashimoto, based on the graphic epic Akira (begun 1982) by Otomo. Animation studio: Asahi. Chief animator: Takashi Nakamura. 124 mins. Colour. A 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 PSI POWERS, 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 angst and psychic power seems to come straight from Theodore STURGEON's MORE THAN HUMAN (1953), and the opportunistic plotting draws also on Philip K.DICK, Ridley SCOTT's BLADE RUNNER and many other sources. Though A 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, CYBERPUNK ambience are unparalleled in cartoon films. See also: CINEMA; COMICS; JAPAN. AKSYONOV, VASSILY (PAVLOVICH) (1932- ) Russian MAINSTREAM WRITER, 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, Ostrov Krym (1981 US; trans anon as The Island of Crimea 1984 US) is a powerful ALTERNATE WORLD story set in a Crimea which is an ISLAND (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. ALBANIA 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 Roboti i pabindur Disobedient Robot (coll 1981), Nje jave ne vitin 2044 One Week in the Year 2044 (1982) and Misteri i tempullit te lashte Mystery of the Old Church (1987). 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. ALBANO, PETER (?1940- ) US writer known mainly for the Seventh Carrier sequence of military-sf adventures about a WWII Japanese aircraft carrier which has been unthawed decades later from polar ice to do good: The Seventh Carrier (1983), The Second Voyage of the Seventh Carrier (1986), Return of the 307
    308. Seventh Carrier (1987), Attack of the Seventh Carrier (1989), Trial of the Seventh Carrier (1990) and Revenge of the Seventh Carrier (1992), Ordeal of the Seventh Carrier (1992), Challenge of the Seventh Carrier (1993) and Super Carrier (1994). His other novels, Waves of Glory (1989) and Tides of Valor (1990), are unremarkable. ALBING PUBLICATIONS COSMIC STORIES; STIRRING SCIENCE STORIES. ALBRECHT, JOHANN FRIEDRICH ERNST GERMANY. ALDANI, LINO ITALY. ALDERMAN, GILL 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 Guna sequence - The Archivist: A Black Romance (1989) and The Land Beyond: A Fable (1990) - which established her very rapidly as a figure of interest in the field. As usual in the PLANETARY ROMANCE, 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 FEMINIST points about male hierarchical thinking, she abstains from creating characters whose consciousnesses reflect these issues. The homosexual male protagonists of The Archivist, 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 The Archivist, 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. The Land Beyond, a chill book set in a cold part of the planet, is less engaging; but GA is clearly a writer to welcome. ALDISS, BRIAN W(ILSON) (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 The Bookseller; these were later assembled as his first book, The Brightfount Diaries (1955). BWA began publishing sf with Criminal Record for Science Fantasy in 1954. There followed such notable tales as Outside (1955), Not for an Age (1955), which was a prizewinner in an Observer sf competition), There is a Tide (1956) and Psyclops (1956), all of which appeared in BWA's first sf volume, Space, Time and Nathaniel (Presciences) (coll 1957). No Time Like Tomorrow (coll 1959 US) reprints 6 stories from the 14 in Space, Time and Nathaniel 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 308
    309. 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 The Canopy of Time (coll of linked stories 1959); 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 HISTORY, in the substantially different Galaxies like Grains of Sand (coll of linked stories 1960 US; with 1 story added rev 1979 UK). The Airs of Earth (coll 1963; with 2 stories omitted and 2 stories added, rev vt Starswarm 1964 US) and BEST SCIENCE FICTION STORIES OF BRIAN W.ALDISS (coll 1965; rev 1971; vt Who Can Replace a Man? 1966 US) also assemble early work. BWA received a 1959 award at the World SF CONVENTION 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. His first novel, Non-Stop (1958; cut vt Starship 1959 US), is a brilliant treatment of the GENERATION STARSHIP and also the theme of CONCEPTUAL BREAKTHROUGH; it has become accepted as a classic of the field. Vanguard from Alpha (1959 dos US; with Segregation added, rev as coll vt Equator: A Human Time Bomb from the Moon! 1961 UK) - which became part of The Year Before Yesterday (1958-65; fixup 1987 US; rev vt Cracken at Critical: A Novel in Three Acts 1987 UK) - and Bow Down to Nul (1960 US dos; text restored vt The Interpreter 1961 UK) are much less successful, but The Primal Urge (1961 US) is an amusing treatment of SEX 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. The Long Afternoon of Earth (fixup 1962 US; exp vt Hothouse 1962 UK) won him a 1962 HUGO award for its original appearance as a series of novelettes. It is one of his finest works. Set in the FAR FUTURE, 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 (DEVOLUTION). Criticized for scientific implausibility by James BLISH and others, Hothouse (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 ENTROPY, between the rich variety of life and the silence of death. The Dark Light Years (1964) is a lesser work, though notable for the irony of its central dilemma - how one comes to terms with intelligent ALIENS who are physically disgusting. Greybeard (cut 1964 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. Earthworks (1965; rev 1966 US) is a minor novel about OVERPOPULATION. An Age (1967; vt Cryptozoic! 1968 US) is an odd and original treatment of TIME TRAVEL, which sees time as running backwards with a consequent reversal of cause and effect, comparable but superior to Philip K.DICK's Counter-Clock World (1967), published in the same year. During the latter half of the 1960s BWA was closely identified with NEW-WAVE sf, and in particular with the innovative magazine NEW WORLDS, for which he helped obtain an Arts Council grant in 1967. Here BWA published increasingly unconventional fiction, notably his novel Report on Probability A (1968; 309
    310. 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 Acid-Head War stories, collected as Barefoot in the Head: A European Fantasia (fixup 1969). 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 Finnegans Wake (1939); it is an extraordinary tour de force. The novella The Saliva Tree (1965 FSF; 1988 chap dos US) won a NEBULA and featured in The Saliva Tree and Other Strange Growths (coll 1966). It is an entertaining tribute to H.G.WELLS, though the plot is reminiscent of The Colour out of Space (1927) by H.P.LOVECRAFT. Further volumes of short stories include Intangibles Inc. (coll 1969; with 2 stories omitted and 1 added, rev vt Neanderthal Planet 1970 US), The Moment of Eclipse (coll 1970), which won the BRITISH SCIENCE FICTION AWARD in 1972, and The Book of Brian Aldiss (coll 1972 US; vt Comic Inferno 1973 UK). Novels of this period include Frankenstein Unbound (1973), a time-travel fantasia which has Mary SHELLEY as a major character and presents in fictional form the myth-of-origin for sf he advocated in his history of the genre, Billion Year Spree (1973; rev and exp with David WINGROVE as Trillion Year Spree 1986, which won a Hugo); and The Eighty-Minute Hour: A Space Opera (1974 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 The Malacia Tapestry (1976) 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 Greybeard. Brothers of the Head (1977), 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 Brothers of the Head, and Where the Lines Converge (coll 1979). Enemies of the System: A Tale of Homo Uniformis (1978) was a somewhat disgruntled DYSTOPIAN novella. Moreau's Other Island (1980; vt An Island Called Moreau 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 Last Orders and Other Stories (coll 1977; vt Last Orders 1989 US), New Arrivals, Old Encounters (coll 1979) and Seasons in Flight (coll 1984) were unwearied, though sometimes hasty. The 1970s also saw BWA beginning to publish non-sf fictions more substantial than his previous two, The Brightfount Diaries and The Male Response (1961 US). He gained his first bestseller and some notoriety with The Hand-Reared Boy (1970). This, with its two sequels, A Soldier Erect (1971) and A Rude Awakening (1978), 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 The Horatio Stubbs Saga (omni 1985). 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 Life in the West (1980), listed by Anthony BURGESS in his Ninety-Nine Novels: The Best in English since 1939 (1984); Forgotten Life (1988); Remembrance Day (1993) and Somewhere East of Life: Another European Fantasia (1994). The four flirt brusquely with autobiography, but are of greatest interest for their tough-minded grasp of late 20th century European cultures. A 310
    311. novella, Ruins (1987 chap), also explores contemporary material. 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 - HELLICONIA SPRING (1982), which won the 1983 JOHN W.CAMPBELL MEMORIAL AWARD, Helliconia Summer (1983) and Helliconia Winter (1985) - 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 PLANETARY ROMANCE 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. Dracula Unbound (1991) continues through a similar time-travel plot the explorations of Frankenstein Unbound, although this time in a lighter vein. Two summatory collections - Best SF Stories of Brian W.Aldiss (coll 1988; vt Man in his Time: Best SF Stories 1989), not to be confused with the similarly titled 1965 collection, and A Romance of the Equator: Best Fantasy Stories (coll 1989), not to be confused with A Romance of the Equator (1980 chap), which publishes the title story only - closed off the 1980s, along with Science Fiction Blues (coll 1988). 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 A Tupolev Too Far (coll 1993). Kindred Blood in Kensington Gore (1992 chap), a short play, gave BWA the opportunity to conduct on stage an imaginary conversation in similar terms with the posthumous Philip K.DICK. BWA has been an indefatigable anthologist and critic of sf. His anthologies (most of which contain stimulating introductions and other matter) include Penguin Science Fiction (anth 1961), Best Fantasy Stories (anth 1962), More Penguin Science Fiction (anth 1963), Introducing SF (anth 1964), Yet More Penguin Science Fiction (anth 1964) - assembled with his earlier two Penguin anths as The Penguin Science Fiction Omnibus (omni 1973 - and The Penguin World Omnibus of Science Fiction (anth 1986) with Sam J.LUNDWALL. The Book of Mini-Sagas I (anth 1985) and The Book of Mini-Sagas II (anth 1988) are associational collections of 50-word stories. The Space Opera series of anthologies comprises Space Opera (anth 1974), Space Odysseys (anth 1975), Evil Earths (anth 1975), Galactic Empires (anth in 2 vols 1976) and Perilous Planets (anth 1978). Anthologies ed in collaboration with Harry HARRISON are: Nebula Award Stories II (1967); the Year's Best SF series comprising Best SF: 1967 (1968 US; vt The Year's Best Science Fiction No 1 1968 UK), The Year's Best Science Fiction No 2 (anth 1969; exp vt Best SF: 1968 1969 US), The Year's Best Science Fiction No 3 (anth 1970; vt Best SF: 1969 1970 US), The Year's Best Science Fiction No 4 311
    312. (anth 1971; vt Best SF: 1970 1971 US), The Year's Best Science Fiction No 5 (anth 1972; vt Best SF: 1971 1972 US), Best SF: 1972 (anth 1973 US; vt The Year's Best Science Fiction No 6 1973 UK), Best SF: 1973 (anth 1974 US; cut vt The Year's Best Science Fiction No 7 1974 UK), Best SF 1974 (anth 1975 US; cut vt The Year's Best Science Fiction No 8 1975 UK) and The Year's Best Science Fiction No 9 (anth 1976; vt Best SF: 1975 1976 US); All About Venus (anth 1968 US; exp vt Farewell, Fantastic Venus! A History of the Planet Venus in Fact and Fiction 1968 UK); The Astounding-Analog Reader (anth in 2 vols 1968 UK paperback of 1973 divided Vol 1 into 2 vols, and Vol 2 did not appear at all from this publisher); and the Decade series comprising Decade: The 1940s (1975), The 1950s (1976) and The 1960s (1977). 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 SF Horizons (1964-5), a short-lived but excellent critical journal, and Hell's Cartographers (anth 1975), a collection of six autobiographical essays by sf writers, including the two editors. Most of BWA's nonfiction has a critical relation to the genre, though Cities and Stones: A Traveller's Jugoslavia (1966) is a travel book. The Shape of Further Things (1970) is autobiography-cum-criticism. Billion Year Spree (1973), a large and enthusiastic survey of sf, is BWA's most important nonfiction work (HISTORY OF SF); 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 Trillion Year Spree (1986) with David WINGROVE. Science Fiction Art (1975) is an attractively produced selection of sf ILLUSTRATION with commentary, mostly from the years of the PULP MAGAZINES, and Science Fiction Art (1976) - note identical title - presents a portfolio of Chris FOSS's art. Science Fiction as Science Fiction (1978 chap), This World and Nearer Ones (coll 1979), The Pale Shadow of Science (coll 1985 US) and... And the Lurid Glare of the Comet (coll 1986 US) assemble some of his reviews and speculative essays. As literary editor of the Oxford Mail for many years, BWA reviewed hundreds of sf books; his later reviews have appeared in the Times Literary Supplement, the Guardian, the Washington Post 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 ELLISON 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 (AWARDS) and in 1978 a PILGRIM AWARD, both for excellence in SF criticism. He was a founding Trustee of WORLD SF in 1982, and its president from 1983. Bury My Heart at W.H.Smith's: A Writing Life (1990; trade edition cut by 6 chapters 1990), a memoir, reflects on the public life of a man of letters in the modern world. Other works: A Brian Aldiss Omnibus (omni 1969); Brian Aldiss Omnibus 2 (omni 1971); Pile: Petals from St Klaed's Computer (graph 1979) with Mike Wilks, an illustrated narrative poem; Foreign Bodies (coll 1981 Singapore); Farewell to a Child (1982 chap), poem; Science Fiction Quiz (1983); Best of Aldiss (coll 1983 chap); My Country 'Tis Not Only of Thee (1986 chap); The Magic of the Past (coll 1987 chap); Sex and the Black Machine (1990 chap), a 312
    313. collaged jeu d'esprit; 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 (coll 1991); Journey to the Goat Star (1982 The Quarto as The Captain's Analysis; 1991 chap US); Home Life with Cats (coll 1992 chap), poetry. About the author: Aldiss Unbound: The Science Fiction of Brian W.Aldiss (1977) by Richard Matthews; The Entropy Exhibition: Michael Moorcock and the British New Wave in Science Fiction (1983) by Colin GREENLAND; Apertures: A Study of the Writings of Brian Aldiss (1984) by Brian GRIFFIN and David Wingrove; Brian W.Aldiss (1986) by M.R.COLLINGS; Brian Wilson Aldiss: A Working Bibliography (1988 chap) by Phil STEPHENSEN-PAYNE; A is for Brian (anth 1990) edited by Frank Hatherley, a 65th-birthday tribute; The Work of Brian W.Aldiss: An Annotated Bibliography and Guide (1992) by Margaret Aldiss (1933- ). See also: ABSURDIST SF; ADAM AND EVE; ANTHOLOGIES; ANTI-INTELLECTUALISM IN SF; ASTOUNDING SCIENCE-FICTION; BLACK HOLES; BOYS' PAPERS; BRITISH SCIENCE FICTION ASSOCIATION; CLICHES; COSY CATASTROPHE; CRITICAL AND HISTORICAL WORKS ABOUT SF; DEFINITIONS OF SF; DISASTER; ECOLOGY; ESP; EVOLUTION; FANTASTIC VOYAGES; GENETIC ENGINEERING; GODS AND DEMONS; GOLDEN AGE OF SF; GOTHIC SF; HIVE-MINDS; HOLOCAUST AND AFTER; HORROR IN SF; IMMORTALITY; ISLANDS; The MAGAZINE OF FANTASY AND SCIENCE FICTION; METAPHYSICS; MUSIC; NEW WRITINGS IN SF; OPTIMISM AND PESSIMISM; PARALLEL WORLDS; PASTORAL; PERCEPTION; POCKET UNIVERSE; POETRY; PROTO SCIENCE FICTION; PSYCHOLOGY; RADIO; RECURSIVE SF; ROBOTS; SOCIOLOGY; SPACE HABITATS. ALDRICH, THOMAS BAILEY (1836-1907) US writer responsible for Pansy's Wish: A Christmas Fantasy (1869). Out of his Head, a Romance (coll of linked stories 1862) and The Queen of Sheba (1877) are early examples of the marginal subgenre of sf in which contemporary explorations in PSYCHOLOGY suggest storylines ranging from amnesia to metempsychosis (and ultimately, it might be added, channelling). ALDRIDGE, ALAN Stephen R.BOYETT. ALEXANDER, DAVID (? - ) US author of the Soldiers of War Western sequence as by William Reed; of the Phoenix sequence of post-HOLOCAUST military-sf adventures, comprising Dark Messiah (1987), Ground Zero (1987), Metalstorm (1988) and Whirlwind (1988); and of vols 9-12 of the C.A.D.S. post-holocaust military sequence under the house name Jan Sievert (Ryder SYVERTSEN). DA is not to be confused with David M.ALEXANDER. ALEXANDER, DAVID M(ICHAEL) (1945- ) US lawyer and writer whose first sf novel, The Chocolate Spy (1978), concerns the creation of an organic COMPUTER using cloned braincells ( CONES), and whose second, Fane (1981), set on a planet whose electromagnetic configurations permit the controlled use of MAGIC, describes an inimical attempt to augment these powers. DMA is not to be confused with David ALEXANDER. ALEXANDER, JAMES B(RADUN) (1831- ?) US writer whose sf fantasmagoria, 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 (1909), 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.WELLS, is 313
    314. too vivid to be ignored. The altruistic three-sexed Lunarians, the future HISTORY of Earth (derived from mathematical models, which the professor passes on to the narrator), the TERRAFORMING of Mars, the journeys made possible through ANTIGRAVITY devices - all are of strong sf interest. ALEXANDER, ROBERT W(ILLIAMS) (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.WODEHOUSE. Cloudy Weather (1940) and Deep Freeze (1951) centre on the resurrection of Egyptian mummies by scientific means. Space to Let (1955) features the building of a Venus rocket. Home Run (1958) is about the invention of pocket-size atom bombs. ESP plays a prominent part in The Old Firm (1956), while Bed and Breakfast (1933), Low Spirits (1945), Full House (1947) and Sheet Lightning (1950) focus on the supernatural. 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 Mariner's Rest (1943) a group of children shipwrecked on a South Sea island during WWII are discovered some 10 years later running their own community. Back To Nature (1945) describes how young people abandon the comforts of a 21st-century city for the rigours of a more natural lifestyle. Other works: Ground Bait (1941); Sun Spots (1942). ALF 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. ALF, an alien life form - in the line of extraterrestrial descent from MY FAVORITE MARTIAN and Mork in MORK AND MINDY, though also influenced heavily by E.T.: THE EXTRA-TERRESTRIAL (1982), EXPLORERS (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 Soap or Sophia (Estelle Getty) in The Golden Girls - 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 Love Lucy and Bewitched. See also: SATIRE. ALFVEN, HANNES Olof JOHANNESSON. ALGOL US SEMIPROZINE (1963-84) ed from New York by Andrew PORTER, subtitled The Magazine about Science Fiction. A began as a duplicated FANZINE but in the 1970s became an attractive printed magazine in small-BEDSHEET format, published four times a year. With 34, Spring 1979, it changed its name to Starship; it ceased publication with 44, Winter/Spring 1984, its 20th-anniversary issue. A ran articles on sf and sf publishing, interviews with authors, and reviews and texts of speeches. Regular columnists 314
    315. included Vincent DI FATE (on sf artwork), Richard A.LUPOFF (on books), Frederik POHL, and Susan WOOD (on fanzines and books). Occasional contributors included Brian W.ALDISS, Alfred BESTER, Ursula K.LE GUIN, Robert SILVERBERG, Ted WHITE and Jack WILLIAMSON. A, which shared the HUGO for Best Fanzine in 1974, was much more interesting than its sister publication, the monthly news magazine SF CHRONICLE, 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. ALGOZIN, BRUCE Nick CARTER. al-HAKIM, TAWFIQ Tawfiq al-HAKIM. ALIEN Film (1979). 20th Century-Fox. Dir Ridley SCOTT, starring Sigourney Weaver, Tom Skerritt, Harry Dean Stanton, John Hurt, Ian Holm, Yaphet Kotto, Veronica Cartwright. Alien design H.R.GIGER. 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. One of the most influential sf films ever made, A is actually much closer to HORROR in its adherence to genre conventions. The merchant spaceship Nostromo, on a routine voyage, visits a planet where one of the crew is attacked by a crablike creature in an abandoned ALIEN spacecraft. Back aboard the Nostromo 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 ROBOT 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. 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 FEMINISM was causing some men and many women to think again about the claustrophobia of traditional female roles. A, which was made in the UK, was a huge success. It had precursors. Many viewers noticed plot similarities with IT! THE TERROR FROM BEYOND SPACE (1958) and with A.E.VAN VOGT's Discord in Scarlet (1939); a legal case about the latter resemblance was settled out of court for $50,000. The sequels were ALIENS (1986) and ALIEN(3) (1992). The novelization is Alien (1979) by Alan Dean FOSTER. See also: CINEMA; HUGO; MONSTER MOVIES; TERRORE NELLO SPAZIO. ALIEN CONTAMINATION CONTAMINATION: ALIEN ARRIVA SULLA TERRA. ALIEN CRITIC, THE US FANZINE ed from Portland, Oregon, by Richard E.GEIS. For its first 3 issues, AC was an informal magazine written entirely by the editor and titled Richard E.Geis. With the title-change in 1973, the magazine's 315
    316. contents began to diversify, featuring regular columns by John BRUNNER and Ted WHITE 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 Science Fiction Review, a title used also by Geis for his previous fanzine PSYCHOTIC. TAC/Science Fiction Review won HUGOS for Best Fanzine in 1974 (shared), 1975, 1977 and 1979. TAC's circulation became quite wide, and it effectively became a SEMIPROZINE. In pain from arthritis, Geis cancelled the magazine after 61, Nov 1986, though he continued to publish shorter, more personal fanzines under other titles. Science Fiction Review was revived as a semiprozine in 1989, with some fiction added to the old SFR 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 SMALL-PRESS magazine fully professional foundered five issues later. ALIEN NATION 1. Film (1988). 20th Century-Fox. Dir Graham Baker, starring James Caan, Mandy Patinkin, Terence Stamp. Prod Gale Anne HURD, Richard Kobritz. Screenplay Rockne S.O'Bannon. 90 mins. Colour. Los Angeles, 1991. The Newcomers, or Slags, are 300,000 humanoid ALIENS, 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 Alien Nation (1988) by Alan Dean FOSTER. 2. 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. The short-lived tv series that followed the film combined routine crime stories with mild SATIRE of NEAR-FUTURE 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 STAR TREK. A few episodes involve the pregnancy of the male Newcomer hero. Johnson also produced the much harder-edged V. The cliffhanger ending of the series was not resolved until Oct 1994, when a well-made two-hour tv movie, Alien Nation: Dark Horizon was broadcast on Fox TV, scripted by Diane Frolov and Andrew Schneider. ALIENS 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: UTOPIAN improvement or satirical (SATIRE) 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 EVOLUTION and of the process of 316
    317. adaptation to available environments promulgated by Lamarck and later by Darwin. The idea of alien beings was first popularized by Camille FLAMMARION in his nonfictional Real and Imaginary Worlds (1864; trans 1865 US) and in Lumen (1887; trans with some new material 1897 UK). These accounts of LIFE ON OTHER WORLDS 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 REINCARNATION in an infinite variety of physical forms is featured in Flammarion's Urania (1889; trans 1891 US). Aliens also appear in the work of another major French writer, J.H.ROSNY 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: Les navigateurs de l'infini The Navigators of Infinity (1925) 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. 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.WELLS in THE WAR OF THE WORLDS (1898) cast the alien as a genocidal invader - a would-be conqueror and colonist of Earth (INVASION). This role rapidly became a CLICHE. The same novel set the pattern by which alien beings are frequently imagined as loathsome MONSTERS. Wells went on to produce an elaborate description of an alien society in THE FIRST MEN IN THE MOON (1901), based on the model of the ant-nest (HIVE-MINDS), thus instituting another significant cliche. Early US PULP-MAGAZINE sf in the vein of Edgar Rice BURROUGHS 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 HAMILTON was a prolific author of stories in this vein. In the early SPACE OPERAS 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 SMITH's Arisians and Eddorians of the Lensman series are secular equivalents of angels and demons. 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 MILLER'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.MERRITT, who had described a fascinating mineral life-system in The Metal Monster (1920; 1946) and had transcended conventional biological chauvinism in his portrayal of The Snake-Mother (1930; incorporated in The Face in the Abyss 1931). Jack WILLIAMSON clearly showed Merritt's influence in The Alien Intelligence (1929) and The Moon Era (1932). A significant advance in the representation of aliens was achieved by Stanley G.WEINBAUM, whose A Martian Odyssey (1934) made a deep impression on readers. Weinbaum 317
    318. followed it up with other accounts of relatively complex alien biospheres (ECOLOGY). Another popular story which directly challenged vulgarized Darwinian assumptions was Raymond Z.GALLUN'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 FARLEY, 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 TABOOS: The Creator (1935; 1946 chap) by Clifford D.SIMAK, 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 - GODS AND DEMONS; RELIGION), was considered dangerously close to blasphemy and ended up in the semiprofessional MARVEL TALES, 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 The Titan (coll 1952). 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. Despite the Wellsian precedents, aliens were much less widely featured in the UK SCIENTIFIC ROMANCES. Eden PHILLPOTTS used aliens as objective observers to examine and criticize the human world in Saurus (1938) and Address Unknown (1949), but the latter novel explicitly challenges the validity of any such criticism. Olaf STAPLEDON's STAR MAKER (1937) 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 The Flames (1947). 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 CINEMA lagged behind written sf in this respect, producing a host of cheap MONSTER MOVIES during the 1950s and 1960s, although there was a belated boom in innocent and altruistic aliens in films of the 1970s. While pulp sf writers continued to invent nastier and more horrific alien monsters during the late 1930s and 1940s - notable examples include John W.CAMPBELL Jr's Who Goes There? (1938), as Don A.Stuart, and A.E.VAN VOGT's Black Destroyer (1939) and Discord in Scarlet (1939) - the emphasis shifted towards the problems of establishing fruitful COMMUNICATION 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 LEINSTER 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 BROWN bleakly assumes 318
    319. 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 STAR TREK changed the ending of the story to bring it into line with later attitudes.) Attempts to present more credibly unhuman aliens became gradually more sophisticated in the late 1940s and 1950s, particularly in the work of Hal CLEMENT, 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.FORWARD. 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.CLARKE's Rescue Party (1946) and L.Ron HUBBARD's Return to Tomorrow (1954) - 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 RUSSELL's The Waitabits (1955). Sexual prejudices are questioned in Theodore STURGEON's The World Well Lost (1953). Racialism is attacked in Dumb Martian by John WYNDHAM (1952) and Leigh BRACKETT's All the Colours of the Rainbow (1957). The politics of colonialism (COLONIZATION OF OTHER WORLDS) are examined in The Helping Hand (1950) by Poul ANDERSON, Invaders From Earth (1958 dos) by Robert SILVERBERG and Little Fuzzy (1962) by H.Beam PIPER. 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 A MIRROR FOR OBSERVERS (1954) by Edgar PANGBORN, Rule Golden (1954) by Damon KNIGHT, What Rough Beast? (1980) by William Jon WATKINS and The Alien Upstairs (1983) by Pamela SARGENT. Sharp SATIRES on human vanity and prejudice include Brian W.ALDISS's The Dark Light Years (1964) and Thomas M.DISCH's The Genocides (1965) and Mankind Under the Leash (1966 dos). The most remarkable redeployment of alien beings in sf of the 1950s and 1960s was in connection with pseudo-theological themes (RELIGION). 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.LEWIS in his Christian allegories OUT OF THE SILENT PLANET (1938) and Perelandra (1943; vt Voyage to Venus). Within sf itself, however, the religious imagination had previously been echoed only in a few Shaggy God stories (ADAM AND EVE). 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.MCAULEY's Eternal Light (1991) are less coy. Raymond F.JONES's The Alien (1951) is ambitious to be a god, and the alien in Philip Jose FARMER's Father (1955) really is one. In Clifford D.Simak's Time and Again (1951: vt First He Died) every living creature, ANDROIDS included, has an immortal alien commensal, an sf substitute for the soul. In James BLISH's classic A CASE OF CONSCIENCE (1953; exp 1958) 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 319
    320. in The Fire Balloons (1951; vt In this Sign) by Ray BRADBURY, Unhuman Sacrifice (1958) by Katherine MACLEAN, and Prometheus (1961) by Philip Jose Farmer. In Lester DEL REY'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 Downward to the Earth (1970) and George R.R.MARTIN's A Song for Lya (1974). 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 YEFREMOV 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. UK-US sf has never become that confident - although similar ideological replies to earlier work are not unknown in US sf. Ted WHITE's By Furies Possessed (1970), in which mankind finds a useful symbiotic relationship with rather ugly aliens, is a reply to The Puppet Masters (1951) by Robert A.HEINLEIN, which was one of the most extreme post-WWII alien-menace stories, while Joe HALDEMAN's THE FOREVER WAR (1974) similarly responds to the xenophobic tendencies of Heinlein's STARSHIP TROOPERS (1959), and Barry B.LONGYEAR'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 CARD 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 ENDER'S GAME (1977; exp 1985) with the expiatory Speaker for the Dead (1986). This is not to say that alien-invasion stories are not still being produced - Larry NIVEN's and Jerry POURNELLE's Footfall (1985) is a notable example - and stories of war between humans and aliens have understandably retained their melodramatic appeal. The recent fashionability of militaristic sf (WAR) has helped to keep the tradition very much alive; examples include the Demu trilogy (1973-5; coll 1980) by F.M.BUSBY, THE UPLIFT WAR (1987) by David BRIN and the shared-world anthology series The Man-Kzin Wars (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 BENFORD's Across the Sea of Suns (1984), Jack Williamson's Lifeburst (1984) and David Brin's Lungfish (1986). 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 VANCE, Poul Anderson, David LAKE, Michael BISHOP and C.J.CHERRYH. Cherryh's novels - including her Faded Sun trilogy (1978-9), Serpent's Reach (1980), the Chanur series (1982-6) and Cuckoo's Egg (1985) - 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 (PSYCHOLOGY). This work was begun by 320
    321. Philip Jose Farmer, in such stories as THE LOVERS (1952; exp 1961), 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: STRANGERS (1974; exp 1978) by Gardner R.DOZOIS is a more sophisticated reprise of THE LOVERS, and other accounts of human/alien love affairs can be found in Jayge CARR's Leviathan's Deep (1979), Linda STEELE's Ibis (1985) and Robert THURSTON's Q Colony (1985). And I Awoke and Found Me Here on the Cold Hill's Side (1971) by James TIPTREE Jr displays human fear and loathing of the alien curiously alloyed with self-destructive erotic fascination, and the Xenogenesis trilogy (1987-9) by Octavia BUTLER takes human/alien intimacy to its uncomfortable limit. 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 SCHMIDT's The Sins of the Fathers (1976), John BRUNNER's The Crucible of Time (1984) and Brian HERBERT's Sudanna, Sudanna (1985). Impressive attempts to present the alien not merely as unfamiliar but also as unknowable include Damon KNIGHT's Stranger Station (1956), several novels by Philip K.DICK - including The Game-Players of Titan (1963), GALACTIC POT-HEALER (1969) and Our Friends From Frolix-8 (1970) - Stanislaw LEM's SOLARIS (1961; trans 1970) and Phillip MANN's The Eye of the Queen (1982). Such contacts as these threaten the sanity of the contactees, as does the initial meeting of minds between human and alien intelligence in Fred HOYLE's The Black Cloud (1957), but here - as in most such stories - the assumption is made that common intellectual ground of some sort must and can 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 ASIMOV's THE GODS THEMSELVES (1972). 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 HOYLE's and John ELLIOT's A for Andromeda (1962) and Stanislaw Lem's HisMaster's Voice (1968; trans 1983) - have been superseded by stories like James E.GUNN's The Listeners (fixup 1972), Robert Silverberg's Tower of Glass (1970), Ben BOVA's Voyagers (1981), Jeffrey CARVER's The Infinity Link (1984), Carl SAGAN's Contact (1985), and Frederick FICHMAN's SETI (1990), 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. Anthologies of stories dealing with particular alien themes include: From off this World (anth 1949) ed Leo MARGULIES and Oscar J.FRIEND; Invaders of Earth (anth 1952) ed Groff CONKLIN; Contact (anth 1963) ed Noel Keyes; The Alien Condition (anth 1973) ed Stephen GOLDIN; and the Starhunters series created by David A.DRAKE (3 anths 1988-90). ALIENS Film (1986). Brandywine/20th Century-Fox. Prod Gale Anne HURD, dir James CAMERON, starring Sigourney Weaver, Paul Reiser, Carrie Henn, William 321
    322. Hope, Michael Biehn, Lance Henriksen, Jenette Goldstein. Screenplay Cameron, based on a story by Cameron, David Giler, Walter Hill. 137 mins. Colour. This formidable sequel to ALIEN is more an action than a HORROR 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 Alien, 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. A is conventional in its disapproval of corporate greed; less conventional is its demonstration of the inadequacy of the machismo 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 Aliens (1986) by Alan Dean FOSTER. See also: HUGO. ALIEN(3) 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. 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 GIBSON and Eric Red, and previous directors Renny Harlin and Vincent Ward (director of The Navigator: A Medieval Odyssey 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. Ripley (Weaver, who also has a credit as producer), having twice survived alien apocalypse (ALIEN; ALIENS) 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 sole 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 the whole 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; 322
    323. she cradles it like a blood-covered baby as she falls away and away into the fires of purgatory. ALIENS: FIRST CONTACT No one knows for sure who first used the term "alien" to describe extraterrestrials. But the concept of creatures from other planets has been around for a long time. The idea of an alien and a human meeting and communicating was a familiar theme by the time H.G.Wells's published The War of the Worlds in 1898. Wells book was the first to dramatize an alien invasion of the earth. And these Martians were definitely NOT our friends. Rather, they were "intellects vast and cool and unsympathetic."After War of the Worlds appeared, American pulp magazines took the theme of The Aliens and ran with it. And Aliens have been IN in America ever since... in novels, stories, films, and television. ALIEN WORLDS UK DIGEST-size magazine. 1 undated issue, cJuly 1966, published and ed Charles Partington and Harry Nadler, some colour illustrations, stories by Kenneth BULMER, J.R.(Ramsey) Campbell and Harry HARRISON; articles on film were also included. AW grew from the FANZINE Alien (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. ALKON, PAUL K(ENT) (1935- ) Professor of English Literature at the University of Southern California and author of Origins of Futuristic Fiction (1987), 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. Science Fiction Before 1900: Imagination Discovers Technology (1994) is a competent introductory survey. al-KUWAYRI, YUSUF ARABIC SF. ALLABY, (JOHN) MICHAEL (1933- ) UK writer. Most of his books are nonfiction studies in fields like ECOLOGY, but his The Greening of Mars (1984) with James (Ephraim) Lovelock (1919-), though basically a nonfiction study of how that planet might be settled, is told as a fictionalized narrative whose tone is upliftingly UTOPIAN. ALLBEURY, TED Working name of UK spy-fiction writer Theodore Edward le Bouthillier Allbeury (1917- ), some of whose NEAR-FUTURE thrillers, like Palomino Blonde (1975; vt OMEGA-MINUS 1976 US), The Alpha List (1979) and The Consequences of Fear (1979), edge sf-wards. All our Tomorrows (1982) depicts a Russian-occupied UK and the resistance movement that soon takes shape. ALLEN, F.M. Pseudonym of Irish-born UK writer and publisher Edmund Downey (1856-1937), whose short DISASTER sequence, set in Ireland - The Voyage of the Ark, as Related by Dan Banim (1888) and The Round Tower of Babel (1891) - conflates hyperbolic comedy and sf instruments, ending in a visionary plan to build a great tower for profit. A House of Tears (1888 US), as by Edmund Downey, is fantasy, as are Brayhard: The Strange Adventures of One Ass and Seven Champions (1890) and The Little Green Man 323
    324. (1895). The Peril of London (1891 chap as by FMA; vt London's Peril 1900 chap as Downey), set in the NEAR FUTURE, warns against a Channel Tunnel being constructed by the nefarious French. ALLEN, (CHARLES) GRANT (BLAIRFINDIE) (1848-1899) UK writer, born in Canada, known primarily for his work outside the sf field, including the notorious The Woman who Did (1895), 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 EVOLUTION theory before turning for commercial reasons to fiction. After the success of The Woman who Did he published a self-indulgent novel of social criticism, The British Barbarians (1895), in which a time-travelling social scientist of the future is scathing about tribalism and taboo in Victorian society. GA's interest in ANTHROPOLOGY is manifest also in the novel The Great Taboo (1890) and in many of the short stories assembled in Strange Stories (coll 1884); this collection includes two sf stories originally published under the pseudonym J.Arbuthnot Wilson: Pausodyne (1881), an early story about SUSPENDED ANIMATION, and A Child of the Phalanstery (1884), about a future society's eugenic practices. (The former is also to be found in The Desire of the Eyes and Other Stories coll 1895 the latter in Twelve Tales, with a Headpiece, a Tailpiece and an Intermezzo coll 1899.) 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. The Devil's Die (1897) is a mundane melodrama which includes an account of a bacteriological research project. GA's early shilling shocker Kalee's Shrine (1886), written with May Cotes (not credited in some US reprint editions), is a fantasy of mesmerism with some sf elements. See also: CANADA; SATIRE; SOCIOLOGY; TABOOS; TIME TRAVEL. ALLEN, HENRY WILSON (1912-1991) US author, as Will Henry, of many Westerns, including MacKenna's Gold (1963), later filmed. His sf novel, Genesis Five (1968), narrated by a resident Mongol, depicts the Soviet creation of a dubious SUPERMAN in Siberia. ALLEN, IRWIN (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 The Sea Around Us, a pseudo-documentary which he wrote and directed. He then made a similar film for Warner Brothers, The Animal World (1956), which contained dinosaur sequences animated by Willis H.O'BRIEN and Ray HARRYHAUSEN. In 1957 he made The Story of Mankind, a bizarre potted history with a fantasy framework, and then turned to sf subjects: a bland remake of TheLOST WORLD (1960), VOYAGE TO THE BOTTOM OF THE SEA (1961) and Five Weeks in a Balloon (1962). In 1964 he returned to tv and produced a series, VOYAGE TO THE BOTTOM OF THE SEA (1964-8), based on the movie. Other sf tv series followed: LOST IN SPACE (1965-8), TheTIME TUNNEL (1966-7) and LAND OF THE GIANTS (1968-70). A further tv project, CITY BENEATH THE SEA, failed to generate the necessary interest and was abandoned, the pilot episode being released as a feature film (vt One Hour to Doomsday) in 1970. Ever resilient, IA switched back to films. In 1972 he made the highly successful The Poseidon Adventure, which began the disaster film cycle of the 1970s, followed by the even more successful The Towering Inferno (1974). Theatrically, IA's 324
    325. fortunes with disaster films began to founder with The Swarm (1978), based on the 1974 novel by Arthur HERZOG about killer bees attacking Houston. Beyond the Poseidon Adventure (1979) and When Time Ran Out... (1980; vt Earth's Final Fury) were similar to The Swarm 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 Flood! (1976), followed by the diminishing returns of Fire! (1977) and Cave-In (1979, transmitted 1983). Another made-for-tv movie by IA (pilot for an unsold tv series planned as a return to the themes of The Time Tunnel) was Time Travelers (1976), based on an unpublished story by Rod SERLING; its use of stock footage as the story's centrepiece - here the fire from In Old Chicago (1938) - is an IA trademark. Subsequently his sf/fantasy work for tv has included The Return of Captain Nemo (1978), a three-part miniseries (based on Jules VERNE's characters and themes recycled from Voyage to the Bottom of the Sea) which was edited into a feature film for release outside the USA, and a two-part Alice in Wonderland (1985) with second-string stars. Throughout his career IA has reworked a limited repertoire of basic formulae - the Verne/DOYLE 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 The Story of Mankind, in which Harpo Marx played Isaac Newton. JB/KN/PNSee also: DISASTER; TELEVISION. ALLEN, JOHANNES (1916-1973) Danish journalist and author of popular fiction and film scripts. Among his few sf titles the best known is Data for din dod (1970; trans Marianne Helweg as Data for Death 1971 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. ALLEN, ROBERT Working name of UK writer Allen Robert Dodd (1887- ?), whose only sf novel, Captain Gardiner of the International Police: A Secret Service Novel of the Future (1916 US), is set 60 years after WW1, when an International Federation governs all the world but for the sinister East, whose plots are foiled by the eponymous secret agent. ALLEN, ROGER MacBRIDE (1957- ) US writer who began writing with a SPACE-OPERA series, The Torch of Honor (1985) and Rogue Powers (1986), whose considerable impact may seem excessive to anyone familiar only with the books in synopsis, as neither might have appeared to offer anything new. The Torch of Honor begins with a scene all too evocative of Robert A.HEINLEIN'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 325
    326. 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 ALIEN culture, builds on the strengths of the first while disengaging to some degree from the debilitating simplicities of military sf. Orphan of Creation (1988), 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 ANTHROPOLOGY as a science, and mounts a welcome attack on the strange 1980s vogue for Creationism. Farside Cannon (1988), in which the NEAR-FUTURE Solar System witnesses political upheaval on time-tested grounds, and The War Machine (1989) with David A.DRAKE, part of the latter's Crisis of Empire sequence, were sufficiently competent to keep interest in RMA alive. Supernova (1991), with Eric KOTANI, 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. The Modular Man (1992) deals complexly with the implications of a ROBOT technology sufficiently advanced for humans to transfer their consciousnesses into machines. But potentially more interesting than any of these titles is the Hunted Earth sequence, comprising The Ring of Charon (1991) and The Shattered Sphere (1994). 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 DYSON SPHERE. 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 Hunted Earth will become one of the touchstone galactic epics of the 1990s. Other Works: Isaac Asimov's Caliban (1993) and its sequel, Isaac Asimov's Inferno (1994), both tied to ASIMOV's Robot universe. See also: ASTEROIDS; BLACK HOLES; MOON; OUTER PLANETS; WEAPONS. ALLEY OOP US COMIC 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 TIME-TRAVEL device. There were several pre-War comic-book versions, including Alley Oop and Dinny (graph 1934), a Big Little Book; Alley Oop in the Invasion of Moo (graph 1935), an original story in a format similar to the Big Little Books; as a one-short comic, issue 35 of The Funnies in 1938; and Alley Oop and the Missing King of Moo (1938 chap). Some extended tales appear in 326
    327. Hamlin's Alley Oop: The Adventures of a Time-Traveling Caveman: Daily Strips from July 20, 1946 to June 20, 1947 (graph coll 1990). ALLHOFF, FRED (1904-1988) US journalist and writer known in the sf field for Lightning in the Night (1940 Liberty; 1979), a future-WAR 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 (HITLER WINS). ALLIGATOR Film (1980). Alligator Associates/Group 1. Dir Lewis Teague, starring Robert Forster, Robin Riker, Michael Gazzo, Dean Jagger. Screenplay John SAYLES, based on a story by Sayles and Frank Ray Perilli. 91 mins cut to 89 mins. Colour. 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. A 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 MONSTER MOVIES, including this one, have been deliberately subversive of comfortable social norms. ALLIGHAM, GARRY (1898- ?) South African writer whose imaginary history, written as from the year 1987, Verwoerd - The End: A Lookback from the Future (1961), argues for a benevolently administered apartheid. See also: POLITICS. ALLOTT, KENNETH (1912-1973) UK writer best known for his distinguished and melancholy poetry, which was assembled in Collected Poems (coll 1975). The Rhubarb Tree (1937), with Stephen Tait, is one of several 1930s novels predicting a fascist government in the UK. Jules Verne (1940) is a fluent study, free of the usual literary condescensions. ALLPORT, ARTHUR Raymond Z.GALLUN. ALL-STORY, THE US PULP MAGAZINE published by the Frank A.MUNSEY Corp.; ed Robert Hobard Davis. AS appeared monthly Jan 1905-Mar 1914, weekly from 7 Mar 1914 (as All-Story Weekly), incorporated Cavalier Weekly (The CAVALIER) to form All-Story Cavalier Weekly from 16 May 1914, and reverted to All-Story Weekly 15 May 1915-17 July 1920, when it merged with Argosy Weekly to form Argosy All-Story Weekly (The ARGOSY). TAS 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 BURROUGHS, who was represented with 16 serials and novelettes 1912-20, Ray CUMMINGS, notably with The Girl in the Golden Atom (1919-20; fixup 1921), and A.MERRITT. Other authors who contributed sf to TAS included Douglas DOLD, George Allan ENGLAND, Homer Eon FLINT, J. U.GIESY, Victor ROUSSEAU, Garrett P.SERVISS, Francis STEVENS and Charles B.STILSON. Many of TAS's stories were reprinted in FAMOUS FANTASTIC MYSTERIES and FANTASTIC NOVELS. Further reading: Under the Moons of Mars: 327
    328. A History and Anthology of the Scientific Romances in the Munsey Magazines 1912-1920 (anth 1970) ed Sam MOSKOWITZ. ALL-STORY CAVALIER WEEKLY The ALL-STORY. ALL-STORY WEEKLY The ALL-STORY. ALMEDINGEN, E.M. 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 Stand Fast, Beloved City (1954), about a DYSTOPIAN tyranny. ALPERS, HANS JOACHIM (1943- ) German sf editor, critic, SMALL-PRESS publisher, literary agent and author, sometimes as Jurgen Andreas; editor 1978-80 of Knaur SF and 1980-86 of the Moewig SF list. With Ronald M.Hahn (1948- ) he edited the first anthology of native German sf (GERMANY), Science Fiction aus Deutschland Science Fiction from Germany (anth 1974), and he was a co-editor of Lexicon der Science Fiction Literatur (2 vols 1980; 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 Reclams Science Fiction Fuhrer (1982), an annotated survey of sf novels with listings by author. With Fuchs HJA edited for Hohenheim six anthologies of sf stories (1981-4) covering sf history by the decades 1940s, 1950s and 1960s, with 2 vols for each, and has edited the Kopernikus sf anthologies for Moewig (15 vols 1980-88). Also for Moewig he edited a German paperback edition of Analog (ASTOUNDING SCIENCE-FICTION) (8 vols 1981-4) and a series of sf almanacs and year books - Science Fiction Jahrbuch (1981-7) and Science Fiction Almanach (1982-7) - containing sf data, stories and essays, the Almanac concentrating on the German scene. He wrote the GERMANY entry in this encyclopedia. ALPHAVILLE (vt Une Etrange Aventure de Lemmy Caution) Pathe-contemporary/Chaumiane-Film Studio. Dir Jean-Luc Godard, starring Eddie Constantine, Anna Karina, Howard Vernon, Akim Tamiroff. Screenplay Godard. 100 mins. B/w. 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. A 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 328
    329. components of A, is used by Godard as a means of playfully imaging philosophical debate. See also: CINEMA. ALRAUNE (vt Unholy Love; vt Daughter of Destiny) Film (1928). Ama Film. Dir Henrik Galeen, starring Brigitte Helm, Paul Wegener, Ivan Petrovich. Screenplay Galeen, from Alraune (1911; trans 1929) by Hanns Heinz EWERS. 125 mins. B/w. 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, A becomes, like Frankenstein (1818) by Mary SHELLEY, a fantastic GOTHIC melodrama of retribution for a crime against Nature; nevertheless, in its distrust of the scientist, A 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, A 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 Casablanca, 1942), 1930 (Germany, again starring Helm) and 1952 (Germany, starring Hildegard Knef and Erich von Stroheim). See also: CINEMA; SEX. ALTERED STATES Film (1980). Warner Bros. Dir Ken Russell, starring William Hurt, Blair Brown, Bob Balaban, Charles Haid. Screenplay Sidney Aaron (Paddy CHAYEFSKY), based on Altered States (1978) by Chayefsky. 102 mins. Colour. 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 (DEVOLUTION and METAPHYSICS for why this is lunatic); he devolves into an apeman (APES AND CAVEMEN), 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. ALTERNATE HISTORIES ALTERNATE WORLDS; HISTORY IN SF. ALTERNATE WORLDS 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 PARALLEL WORLDS as a frame in which many 329
    330. alternate worlds can be simultaneously held, sometimes interacting with one another. Hypothetical exercises of this kind have long been popular with historians (HISTORY IN SF) and their virtue was proclaimed by Isaac d'Israeli in The Curiosities of Literature (coll 1791-1823). A classic collection of such essays, ed J.C.Squire, If It had Happened Otherwise (anth 1931; vt If, or History Rewritten; 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.CHESTERTON, Andre MAUROIS, Hilaire BELLOC, A.J.P.Taylor and Winston Churchill. The most common preoccupations of modern speculative historians were exhibited in two essays written for Look: If the South had Won the Civil War (1960; 1961) by MacKinlay KANTOR and If Hitler had Won World War II (1961), by William L.Shirer. The tradition has been continued in the MAINSTREAM by the film IT HAPPENED HERE (1963), Frederic MULLALLY's Hitler Has Won (1975) and Len DEIGHTON's SS-GB (1978). Another event seen today as historically pivotal, the invention of the atom bomb, is the basis of two novels by Ronald W.CLARK: Queen Victoria's Bomb (1967), in which the atom bomb is developed much earlier in history, and The Bomb that Failed (1969; vt The Last Year of the Old World 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 It Might Have Happened (1934) and Marghanita LASKI's Tory Heaven (1948), and the notion is given a more philosophical twist in Guy DENT's Emperor of the If (1926). The continuing popularity of alternative histories with mainstream writers is further illustrated by John HERSEY's White Lotus (1965), Vladimir NABOKOV's Ada (1969), Martin Cruz SMITH's The Indians Won (1970), Guido Morselli's Past Conditional (1975; trans 1981) and Douglas Jones's The Court Martial of George Armstrong Custer (1976). Murray LEINSTER introduced the idea of alternate worlds to GENRE SF in Sidewise in Time (1934), and Stanley G.WEINBAUM 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 DE CAMP's LEST DARKNESS FALL (1939; 1941), 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 LEST DARKNESS FALL is Harry TURTLEDOVE's Agent of Byzantium (coll of linked stories 1986). The extraordinary melodramatic potential inherent in the idea of alternate worlds was further revealed by Jack WILLIAMSON's THE LEGION OF TIME (1938; 1952), 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 LEIBER in Destiny Times Three (1945; 1957) and in the Change War series, which includes THE BIG TIME (1958; 1961). Such stories gained rapidly in extravagance: The Fall of Chronopolis (1974) by Barrington J.BAYLEY 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 330
    331. presented by C.L.MOORE in Greater than Gods (1939) and by Ross ROCKLYNNE in The Diversifal (1951). The notion of competing alternative histories is further recomplicated in TIME-TRAVEL 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; see also TIME PARADOXES). The policing of time-tracks - either singly, as in Isaac ASIMOV's The End of Eternity (1955), 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 MERWIN's House of Many Worlds (1951) and Three Faces of Time (1955); the exploits of others are depicted in H.Beam PIPER's Paratime series, begun with Police Operation (1948), in Poul ANDERSON's Time Patrol series, whose early stories are in Guardians of Time (coll 1960), in John BRUNNER's Times without Number (fixup 1962 dos), and - less earnestly - in Simon Hawke's Time Wars series (Nicholas Yermakov), begun with The Ivanhoe Gambit (1984). Keith LAUMER's Worlds of the Imperium (1962 dos) and sequels, Avram DAVIDSON's Masters of the Maze (1965), Jack L.CHALKER's Downtiming the Night Side (1985), Frederik POHL's The Coming of the Quantum Cats (1986), Mike MCQUAY's Memories (1987) and Michael P.KUBE-MCDOWELL's Alternities (1988) are convoluted adventure stories of an essentially similar kind. John CROWLEY'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. 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 MOORE's classic BRING THE JUBILEE (1953) 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 (HITLER WINS) tend to be nightmarish - notable examples include Two Dooms (1958) by C.M.KORNBLUTH, THE SOUND OF HIS HORN (1952) by SARBAN, THE MAN IN THE HIGH CASTLE (1962) by Philip K.DICK, The Proteus Operation (1985) by James P.HOGAN, and Moon of Ice (1988) by Brad LINAWEAVER. An interesting exception is Budspy (1987) by David DVORKIN, 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 ROBERTS's excellent PAVANE (fixup 1968), Kingsley AMIS's The Alteration (1976), Martin GREEN's The Earth Again Redeemed (1978), Phyllis EISENSTEIN's Shadow of Earth (1979) and John Whitbourn's A Dangerous Energy (1992) - and the Black Death, which aborts the rise of the West in Robert SILVERBERG's The Gate of Worlds (1967) and L.Neil SMITH's The Crystal Empire (1986). The idea that our world might have turned out far better than it has is more often displayed by ironic satires, including: Harry HARRISON's Tunnel Through the Deeps (1972; vt A Transatlantic Tunnel, Hurrah! UK), in which the American colonies never rebelled and the British Empire remains supreme; D.R.BENSEN's And Having Writ... (1978), 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.SOMTOW's The Aquiliad (fixup 1983), in which the Roman Empire conquered the Americas; and William GIBSON's and Bruce STERLING's THE DIFFERENCE ENGINE (1990), in which Babbage's calculating machine precipitates an information-technology 331
    332. revolution in Victorian England. More earnest examples are fewer in number, but they include The Lucky Strike (1984) by Kim Stanley ROBINSON, in which a US pilot refuses to drop the atom bomb on Hiroshima, and Elleander Morning (1984) by Jerry YULSMAN, which imagines a world where Hitler was assassinated before starting WWII. 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 Eye in the Sky (1957), Now Wait for Last Year (1967) and Flow My Tears, the Policeman Said (1974). Intriguing homage is paid to Dick's distinctive use of the theme by Michael BISHOP's The Secret Ascension (1987; vt Philip K.Dick is Dead, Alas). Other novels which use alternate worlds to explore personal problems and questions of identity include Bob SHAW's The Two-Timers (1968), Gordon EKLUND's All Times Possible (1974), Sheila FINCH's Infinity's Web (1985), Josephine SAXTON's Queen of the States (1986), Ken Grimwood's Replay (1986) and Thomas BERGER's Changing the Past (1989). 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 West of Eden (1984); Harry Turtledove's A Different Flesh (fixup 1988), in which Homo erectus survives in the Americas until 1492; and Brian M.STABLEFORD's The Empire of Fear (1988), in which 17th-century Europe and Africa are ruled by vampires. More radical still are novels which portray universes where the laws of ph