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• W2597471622 abstract "Picturing Science Fiction. Mike Ashley. Out of This World: Science Fiction But Not As You Know It. London, UK: British Library, 201 1. 144 pp. ISBN 9780712358354. $29.95 pbk.Reviewed by John J. PierceAs author of, among other things, History of the Science Fiction Magazines, and editor of the long-running Mammoth series of popular fiction anthologies, Mike Ashley was a perfect choice to write an account of sf tying in with the British Library exhibition of the same name last summer.The exhibition itself was guest-cur ate d by Andy Sawyer, Director of the Science Fiction Studies M.A. at the University of Liverpool, in collaboration with Katya Rogatchevskaia, Lead Curator of Russian Studies and European Studies at the Library. It covered a lot of ground, and there are obvious limits to what Ashley could cull in the space allotted - half of it devoted to illustrations. He does an impressive job of leading his readers through the high points of the genre's history. Most of what he covers will be familiar to sf scholars, but Out of This World is aimed at general readers who know sf from what's on TV, at the movies, and in the category racks at bookstores. Ashley touches familiar bases, ranging from Lucian to More, Verne to Wells, to contemporaries like China Mieville (although Cory Doctorow, mentioned in a press release for the exhibition, didn't make the cut).Like the exhibition, the book is arranged thematically, with sections on Alien Worlds, and Parallel Worlds, Virtual Worlds, Future Worlds, The End of the World, and The Perfect World? There's also a chronology at the end, which mentions some authors and works not covered in the text - James Tiptree Jr.'s Houston, Do You Read? is relegated there, although Joanna Russ, Charlotte Perkins Gilman, and other feminists and proto-feminists get their due in The Perfect World?Ashley does his best to tie things together. Sometimes it's a stretch - such as when he suggests that Voltaire's Micromegas's jumping from to globe could be a form of gravity slingshot (26). But he's dead on in seeing the connection between the artificial existence of humanity in E. M. Forster's The Machine Stops (1909) and the dream machines of Laurence Manning and Fletcher Pratt's City of the Living Dead (1930) as foreshadowing virtual reality - sometimes the forecasts of sf come true in ways other than we expect.But the real value of Ashley's book lies in its visual history. We are all familiar with the story of space travel in sf, for example, from the fanciful journeys of Lucian and Francis Godwin to the more realistic (for their time) works of Jules Verne and Konstantin Tsiolkovsky. But Ashley calls our attention to E. F. Burney's Q.Q. Esq.'s Journey to the Moon (1815), a series of sketches (not a story) that imagined not only a rocket launch but a space suit - and we get to see them for ourselves.We can appreciate the continuities between the classical and medieval travel tale in an illustration from a 1482 German edition of Travels of Sir John Mandeville, which depicts a man whose head doth grow beneath his shoulders. Shakespeare doubtless got the image from Pliny, who was surely also familiar to Mandeville. We see Domingo Gonsales with his geese from the original 1638 edition of Man in the Moone, the quaint frontispiece from the 1892 edition of William Morris's News from Nowhere, and strikingly different frontispieces from the first editions of Wells's Time Machine in 1895 and Island of Dr. Moreau a year later. (There is also the color cover of an 1887 collection by Enrique Gaspar that illustrates El Anacionopede, credited as the first story to imagine a time machine. …" @default.
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