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• W4231511207 abstract "406 SCIENCE FICTION STUDIES, VOLUME 46 (2019) 3000, that capitalizes on the ways in which time, shifting tastes, and greater knowledge lend us comic distance and detachment from earlier texts. Still, an obvious fondness for these texts repeatedly comes through, especially as Bogue recalls his first experiences seeing many of the sf films cited here as an easily impressed—and frightened—child or later as a teenager. On those occasions the book effectively reminds us that its real audience is, after all, not academics but rather the fans or popular readers who might best appreciate the light tone and enjoy the sort of nostalgic pleasures to be gained by reading detailed plot summaries of The Beast from 20,000 Fathoms (1953), Tarantula (1955), or Teenage Cave Man (1958), or by recalling the appreciatively described early stop-motion accomplishments of Ray Harryhausen and the special-effects work of Japanese master Eiji Tsuburaya. Bogue frequently nods in the direction of this intended audience, as he admits that some of these films will appeal mainly to what he terms “completists,” that is, fans of cinematic sf who find satisfaction in seeing practically everything of a certain stripe, or to “any Monster Kid at Heart” (156). It is the sort of audience that also gravitates to Warren’s Keep Watching the Skies! or Stuart Galbraith’s similar survey of Japanese efforts, Japanese Science Fiction, Fantasy and Horror Films (1994), both also published by McFarland. That press has, over the years, effectively staked out this territory, publishing volumes that situate their material somewhere between an academic and a popular readership, and Apocalypse Then is another claimant for that territory. While aiming largely for the fan, the nostalgist, the “completist” reader, it also offers some of the comprehensive videographic information that might aid further research into sf cinema and into the cultural concerns of both American and Japanese audiences of the “atomic era.”—J.P. Telotte, Georgia Institute of Technology Nuclear Literature of the 1980s. Daniel Cordle. Late Cold War Literature and Culture: The Nuclear 1980s. London: Palgrave Macmillan, 2017. xi+229. $109.99 hc. Daniel Cordle, a reader in English and American Literature at Nottingham Trent University, is the author, previously, of States of Suspense: The Nuclear Age, Postmodernism, and United States Fiction and Prose (Manchester UP, 2008), which argued that several of the key philosophical and thematic concerns of postmodern literature—e.g., its evocation of “reality” as a textual construct, its resistance to narrative closure—deserve to be seen as expressions of (or responses to) the characteristic social anxieties of the atomic era. His new book, Late Cold War Literature and Culture, is at once more narrow and more expansive: its temporal scope is limited to the 1980s, viewed as its own “coherent Cold War moment” marked by “the reemergence in public discourse of nuclear anxieties largely suppressed since the 1962 Cuban Missile Crisis” (3), while the analytic schemas it deploys are quite diverse, with chapters focusing on gender, ecological, politico-economic, and textual issues. It is an important and valuable work that brings together a significant number 407 BOOKS IN REVIEW of novels and stories in a way that illuminates them both individually and as a group. At its core, Late Cold War Literature and Culture is a work of cultural studies that seeks to align literary (and, to a lesser extent, filmic and televisual) production—and especially tales of apocalypse and postapocalypse —with relevant sociopolitical events and contexts during the period. As a consequence, it tends to ignore other crucial frameworks that enabled and constrained this production, such as the aesthetic techniques and genre histories that informed how post-apocalypses were represented. Each chapter begins with a summary of important historical trends and events, then moves to a consideration of how these were reflected in or refracted through specific clusters of texts. The readings are generally cogent and compelling, though they suffer a bit from Cordle’s tendency to flatten out distinctions among different kinds of literary production under the blanket moniker “nuclear literature.” Works of science fiction are analyzed alongside novels by the likes of Martin Amis and Ian McEwen, with little attention paid to the literaryinstitutional protocols that differentiate..." @default.
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• W4231511207 doi "https://doi.org/10.5621/sciefictstud.46.2.0406" @default.
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