Visions of the Future by The Stanley & Audrey Burton Gallery

Visions of the Future The Art of Science Fiction

By Paul Whittle and Liz Stainforth

Visions of the Future: The Art of Science Fiction First published in 2011 to coincide with the exhibition Visions of the Future: The Art of Science Fiction, 4 April 2011 – 11 June 2011 © The Stanley & Audrey Burton Gallery, except where otherwise stated All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electrical, mechanical or otherwise, without first seeking the permission of the copyright owners and of the publishers. The Stanley & Audrey Burton Gallery University of Leeds Parkinson Building Woodhouse Lane Leeds LS2 9JT

Front cover image: J.J. Grandville (1803-1847) „The Bridges Between the Worlds‟ Un Autre Monde [Another World] Paris: Fournier, 1844 University of Leeds Special Collections Printed by the University of Leeds

Visions of the Future The Art of Science Fiction The Science Fiction Collection at the University of Leeds .............................................................................. 5 Case 1: Precursors and utopias ..................................11 Case 2: Amazing Stories: Science Fiction Periodicals and Magazines .............................................................14 Case 3: Post-War Publishing Boom ............................19 Case 4: Penguin Science Fiction.................................21 Case 5: J.G. Ballard, Pop Art and the New Wave in Science Fiction .............................................................24 Case 6: Alternate realities and dystopias ...................28 List of exhibits ..............................................................31 Acknowledgements ......................................................43

The Science Fiction Collection at the University of Leeds The Science Fiction collection within Special Collections at the University of Leeds Brotherton Library comprises over one thousand works, published from the nineteenth century onwards. The collection, which illustrates the history and development of the genre, is particularly notable for its science fiction magazines and periodicals, both American and British. The collection originated in the gift of Professor Cyril Leslie Oakley, who began in 1971 to present his own extensive collection of science fiction literature to the Brotherton Library. Science fiction was but one of his many and varied interests. He gave a lecture on â&#x20AC;&#x17E;Bugeyed Monstersâ&#x20AC;&#x; to members of the Medical and other student societies, illustrated with slides of the covers of publications that later formed part of his gift. Appointed Brotherton Professor of Bacteriology at the University of Leeds in 1953, Professor Oakley was a founding fellow of the College of Pathologists and at various times edited the Journal of Pathology and the Journal of Medical Microbiology. He was awarded a D.Sc. by the University of London in 1953, elected a Fellow of the Royal Society in 1957 and made a CBE in 1970. He died in 1975. 5

The second major source of printed books in the collection is the gift of David I. Masson, a published science fiction author as well as curator of the Brotherton Collection. He first worked at the University of Leeds as an assistant librarian from 1938 to 1940, and then served in the Royal Army Medical Corps in the Second World War. He later took on the role of curator of Special Collections at Liverpool University, before returning to Leeds in 1956 to become curator of the Brotherton Collection. Masson wrote his bestknown short stories during his 23 years at Leeds, including „A Two-Timer‟, the tale of a seventeenthcentury man‟s revulsion at the twentieth-century world he finds himself in. This and six other stories were collected in The Caltraps of Time, published in 1968. Masson died in Leeds in 2007. PW

Professor C.L. Oakley (1907-1975)

David I. Masson (1915-2007)

The world‟s first science fiction convention – in Leeds! The first chapter of the Science Fiction League outside the USA was formed in Leeds in 1935, and the group later hosted what is widely regarded as the world‟s first science fiction convention. This took place on 3 January 1937 at the Theosophical Hall, Leeds – which is still situated at 12 Queen Square. Around twenty fans attended, including authors Eric Frank Russell and Arthur C. Clarke, as well as future editors E.J. Carnell and Walter Gillings. Alfred Orage was founder of the Leeds branch of the Theosophical Society as well as the influential Leeds Arts Club.

Above: Delegates outside the Theosophical Hall, Leeds, for the world‟s first science fiction convention, 3 January, 1937. Private Collection. Below: (left to right) Walter Gillings, Arthur C. Clarke, and E.J. Carnell, outside the Theosophical Hall, Leeds, at the world‟s first science fiction convention, 3 January, 1937. Private Collection.

Rosenblum fanzines John Michael Rosenblum was one of Britain's first generation of science fiction fans. Active in Leeds from the mid-1930s, he attended the 1937 convention, and in June 1938 he launched the first issue of his fanzine, The Futurian. In New York, a group of enthusiasts known as „the Michelists‟ were looking for a new name, and they liked Rosenblum‟s title to the extent of renaming themselves the Futurian Science Literary Society. Eventually abbreviated to „the Futurians‟, the members included many who would go on to become prominent figures in the development of science fiction, such as Asimov, Blish, Kornbluth, Pohl and Wollheim. However, it was 1945 before they acknowledged their debt to Rosenblum‟s fanzine. He continued to self-publish fanzines under various Futurian titles throughout the 1930s, „40s, and „50s, and he was a regular at British science fiction conventions until his death in 1978. Above: John Michael Rosenblum, Private Collection.

10 Based on material from the website 'Futurian War Digest' by Rob Hansen: http://efanzines.com/FWD/FWD.htm

Case 1: Precursors and utopias A tradition of utopian writing, in which an ideal state or „other worlds‟ are portrayed in order to cast a light on contemporary society, runs through English and European literature. The idea of utopia can be traced back to around 380 BC and Plato‟s Republic, in which he outlines what he sees as the ideal society and its political system, and discusses the concept of „real‟ and „imagined‟ worlds. The word recurs in a modern context in Sir Thomas More‟s 1516 work Utopia, where he too sets out a vision of an ideal society. The meaning of utopia - literally „no place‟ - indicates that the perfect state may be an unattainable goal, and it is often depicted via satire and accounts of imaginary voyages, such as those in Gulliver’s Travels. The utopian tradition is closely related to speculative or predictive fiction, sharing the device of using alien worlds as a contrast to the present state of things, and anticipating future developments. Lucian of Samosata, a Syrian-Greek writer, is credited with creating the first fictional account of extraterrestrial life as a satire on contemporary society. Written in the 2nd century, True History is the earliest known fiction about travelling to outer space, alien life-forms and interplanetary warfare; it has been referred to as „the first known text that could be called science fiction‟. 11

The term „science fiction‟ itself first appears in 1851, in a treatise on the poetry of science by the English writer William Wilson, in which he „marvels at the poetry lying behind the wonders of creation‟, but did not come into wider usage until the early twentieth century. Charles Darwin‟s theories of natural selection set out in On the Origin of Species, published in 1859, prompted a great variety of responses, not least in works of „scientific‟ fiction. The subsequent novels of H.G. Wells and Jules Verne, generally accepted as the founders of the genre as it is now understood, were designated as „scientific romances‟ at the time. Social concerns remained a central theme in this kind of literature as writers responded to the technological advances around them, some becoming convinced that the accelerating rate of scientific development would inevitably deliver utopian conditions in the distant future. Wells in particular explored notions of how society could be perfected in works such as A Modern Utopia and The Shape of Things to Come. He also recognised the possibility of a bleaker future: for example, in The Time Machine or The Sleeper Awakes. PW

Albert Robida (1848-1926) Voyages TrĂ¨s Extraordinaires de Saturnin Farandoul Paris: Librairie illustrĂŠe, [ca. 1879?] University of Leeds Special Collections

1879?] University of Leeds Special Collections

Case 2: Amazing Stories: Science Fiction Periodicals and Magazines In 1926, Hugo Gernsback launched the world‟s first science fiction magazine, Amazing Stories, in the United States. It was he who revived the term „science fiction‟ first coined by William Wilson in 1851, although he also toyed with „scientifiction‟ as the subtitle of his magazine. Gernsback had been printing scientific fiction stories for some time in his hobbyist magazines such as Modern Electrics and Electrical Experimenter, and Amazing Stories quickly became very successful. Gernsback lost control of his publication in 1929, but he immediately launched a new magazine, Science Wonder Stories. He later gave his name to the Hugo Awards for science fiction art and literature. The artist most closely associated with Gernsback‟s publications was Frank R. Paul, who was responsible for cover and interior illustrations. Paul had studied to be an architect and, working in bright colours to offset the poor paper quality of low-cost printing, became regarded as the most influential artist in the development of modern science fiction artwork. Other illustrators who were prominent in the early years of mass publication included Howard V. Brown, Leo 14

Morey, and Hans Waldemar Wessolowski (who signed himself „Wesso‟), who contributed many of the early covers of Astounding Stories of Super Science. Throughout the 1930s, science fiction became established as one of the major growth areas of popular art in the United States. The proliferation of new publications – Marvel Science Stories (which evolved into Marvel Comics), Dynamic Stories, Fantastic Adventures, Startling Stories – led to intense competition. This meant that in these early years both illustration and content tended to bow to commercial pressures and follow an established formula of spaceships and alien „monsters‟. Nonetheless, the best artists and writers began to hint at possibilities for the genre beyond its „pulp‟ origins. Frank R. Paul remained a prominent figure and the main inspiration for this and the following generation of artists during the „golden age‟ of science fiction publishing between 1938 and 1949. After this time, science fiction magazines were gradually supplanted, primarily by the paperback book, and later, television.

British science fiction This early phase of popularity enjoyed by science fiction magazines was a largely American phenomenon, though there was a small but devoted UK market. The first British publication devoted exclusively to science fiction appeared in 1934. It was called Scoops and aimed at a younger audience than its American equivalents. A more credible publication was Tales of Wonder, edited by Walter Gillings, which ran from 1937-1942 and was only discontinued because of paper shortages during the Second World War. The other pre-war magazine to appear in Britain was Fantasy, which existed for only three issues between 1938 and 39 before it vanished. The artists, who included H.E. Turner for Tales of Wonder, and S.R. Drigin for Fantasy, generally emulated the style and imagery of their American counterparts. The British identity only emerged through occasional local variations in content, such as an alien attack on London rather than New York. Nevertheless, these magazines continued to influence the burgeoning British science fiction scene, with many young authors later citing the early science fiction pulps as the inspiration for their own work. During my lunch hour I used to haunt Woolworthâ&#x20AC;&#x;s, where issues of Astounding, Amazing and Wonder could be

picked up for threepence. Much of the hard-earned money my widowed mother had saved for food went on these magazines; I regard it as one of the best investments I ever made.

Arthur C. Clarke, Introduction to The Best of Arthur C. Clarke

Others acknowledged the influence of those magazines in less favourable terms: Almost all the stories were set in spaceships or on alien planets in the very far future. These planet yarns, in which most of the characters wore military uniform, soon bored meâ&#x20AC;Ś Luckily, there were other magazines like Galaxy and Fantasy & Science Fiction, where the short stories were set in the present or very near future, extrapolating social and political trends already evident in the years after the war.

J.G. Ballard, from his autobiographical work Miracles of Life PW

Amazing Stories â&#x20AC;&#x201C; the magazine of scientifiction Volume 3, No.5, August 1928 Cover illustration by Frank R. Paul New York: Experimenter Publishing Co. University of Leeds Special Collections Used with the permission of the Frank R. Paul Estate

Case 3: Post-War Publishing Boom The growth of paperback publishing following the Second World War saw the mass production of cheap books and the establishment of a specialist paperback market. For science fiction publishing, this initially took the form of anthologies, but gradually full-length novels and original works came to displace the reprints, short stories and serializations that had previously dominated the magazine market. America continued to lead the way in post-war science fiction, with specialist publishers such as Ace and Ballantine tapping into an expanding paperback market whose profitability had been demonstrated by the magazines. The trend for issuing paperback science fiction was taken up slightly later in Britain than in the US, initially through publishers such as Pan and Corgi. Science fiction was also issued in hardback form, the traditional staple of the publishing industry, but almost always as a distinct entity from the paperback version, which was still regarded as a disposable product. When original works became available in paperback form, they started to gain mass-market appeal. The cover design was integral, designed to draw the potential buyer into the story, whereas hardback covers were, historically, largely typographical. Early 19

paperback science fiction illustration continued to rely on the tried-and-tested magazine formula, where often complex ideas would be rendered in a visual shorthand of robots and rocket-ships. Additionally, the conventions of pulp publishing, which required generic illustration, also regularly left the cover art uncredited. At the lower end of the market, judging a book by its cover would suggest an unsophisticated and formulaic genre. The artwork only began to develop in its own right with the evolution of science fiction from genre fiction toward mainstream acceptance, a move away from the pure escapism of â&#x20AC;&#x17E;imaginary worldsâ&#x20AC;&#x; into wider themes. PW

Case 4: Penguin Science Fiction Allen Lane had been publishing Penguin paperback books since 1935, but by 1947 he was concerned about falling standards in their appearance, and he decided on an overhaul. He hired Jan Tschichold, an eminent Swiss typographer, who brought the covers sharply into focus and gave them a unified new look. At the same time, Penguin was beginning to tap into the emerging science fiction market. Its rivals, however, were increasingly using cover illustration, which had previously been used only sparingly. During the 1950s, Penguin faced increasing competition from rival paperback publishers such as Pan Books, which had started publishing mass-market paperbacks with full-colour pictorial covers back in 1947. These colourful covers were popular with book buyers, and the large sales figures the books generated were in turn attracting authors. Despite Tschicholdâ&#x20AC;&#x;s design, and strong opinion that â&#x20AC;&#x17E;luridâ&#x20AC;&#x; artwork was best avoided, the plain typographic covers favoured by Penguin looked old-fashioned by comparison, and the necessity of renewing the familiar brand became increasingly pressing.

By the 1960s, Penguin employed Germano Facetti as director of cover art. Drawing on an encyclopaedic knowledge of art history, Facetti decided to pair each new book with an abstract or surrealist painting that reflected some aspect of the book‟s contents. Obvious choices were rejected in favour of more challenging artworks that offered subtle connections to the text. The science fiction series thus came to feature some of the major names in modern art, such as Ernst, Klee, Tanguy, Miró and Magritte. As Facetti later wrote in the Spring 1967 issue of the short-lived design journal Dot Zero, the use of paintings on the books‟ covers provided „an additional service to the reader who is without immediate access to art galleries or museums‟.

In-house artists In the mid-1960s, Penguin's chief editor, Tony Godwin, decided that popular fiction needed a separate art director and gave the job to Alan Aldridge, a young illustrator at The Sunday Times Magazine. Aldridge, who would later go on to work with Andy Warhol, The Beatles, The Rolling Stones and The Who, took charge of science fiction. The covers underwent a radical transformation, with artwork featuring a variety of photographic styles and coloured illustrations, a 22

medley of surrealism and psychedelia that pinched from Pop Art and flirted with Art Deco. By 1967 Allen Lane was harbouring deep misgivings about the direction Tony Godwin was taking Penguin, and felt that Aldridge‟s „vulgar covers‟ were becoming too commercial and increasingly tasteless. To Lane such covers were undignified and not in keeping with Penguin's reputation. Worse still, the use of images he regarded as titillating or even offensive was an insult to the books‟ authors, some of whom were now making their feelings known, with more than one threatening to move to another publisher. Lane's barbed comment that „a book is not a tin of beans‟ heralded Godwin's departure, soon to be followed by Aldridge. Penguin's new art director for fiction, David Pelham, commissioned the Italian graphic designer Franco Grignani to produce a set of sixteen covers for a science fiction mini-series that appeared in 1969-70. Grignani was a leading figure in the field of experimental photography, using a range of techniques in which standard photographic images were projected and distorted using lenses, shards of glass, pieces of broken mirror, or liquids such as oil and water. These techniques are all represented in his designs for the science fiction series. 23 Based on material from the website 'The Art of Penguin Science Fiction' by James Pardey: www.penguinsciencefiction.org

Case 5: J.G. Ballard, Pop Art and the New Wave in Science Fiction Although J.G. Ballard is not always associated with science fiction, he started his career writing short stories for the science fiction magazines Science Fantasy and New Worlds. He later remarked that it was only through these short stories that he discovered what sort of writer he wanted to be. Shortly after the publication of his first story in 1956, Ballard visited an exhibition at London‟s Whitechapel Gallery that left a lasting impression on him. Now recognised as a key moment in the emergence of Pop Art, „This is Tomorrow‟ featured works produced by the Independent Group, which included the artists Eduardo Paolozzi, Richard Hamilton, Victor Pasmore, Lawrence Alloway, Nigel Henderson and Alison and Peter Smithson. The artists formed groups, each producing an installation that represented their vision of the future. The Smithson-Henderson-Paolozzi partnership used found objects to depict the remnants of civilization after a nuclear disaster, while Richard Hamilton‟s collage, Just what is it that makes today’s homes so different, so appealing?, presented a world entirely constructed from popular advertising. Ballard 24

was particularly inspired by these pieces, and the way they interpreted the modern cultural landscape. The exhibition reinforced his belief that artists were ahead of writers in acknowledging the significance of the media and accelerated developments in technology. Ballard explored similar themes in his own writing, which he explained as a desire to decode the myths of everyday experience. This experience was intimately bound up with a fascination for material culture, an aspect of Pop Art that Ballard admired. He observed that „Pop artists deal with the lowly trivia of possessions and equipment that the present generation is lugging along with it on its safari into the future‟. Because they shared many interests and influences, Ballard and Paolozzi later became collaborators and friends. The art and literature journal Ambit, edited by Martin Bax, was a testing ground for their experimental ideas. Paolozzi‟s imagery appeared in Ballard‟s notorious fake advertising campaign and his use of assemblage and collage techniques was mirrored by Ballard in the form of short stories such as „You: Coma: Marilyn Monroe‟, which would later appear in the novel The Atrocity Exhibition. Perhaps because of these influences, in the 1960s Ballard was linked to the „New Wave‟ avant-garde 25

science fiction movement. Taking its name from the New Wave in French cinema, the movement‟s writers were distinguished by their preoccupation with popular culture, often experimenting with unconventional literary styles. However, because he was very much immersed in the culture he was writing about, Ballard was generally dismissive of attempts to locate his work within a particular literary tradition, at the risk of neglecting its populist origins. Ballard was never a conventional science fiction writer. In many ways he saw himself as an observer of the present day, finding more inspiration in contemporary society than in the dream of a distant future. Stating his influences as the surrealists, advertising, the mass media and developments in science and technology, Ballard pushed the boundaries of science fiction with his concept of „inner space‟. Unlike the intergalactic fantasies of outer space, Ballard described inner space as „the internal landscape of tomorrow that is a transmuted image of the past‟, a form of speculative fiction that reflected the obsessions and imagined landscapes of his characters. This imaginative frame for reality is central to Ballard‟s fiction. He once commented: 26

I am a great believer in the need of imagination to transform everything, otherwise weâ&#x20AC;&#x;ll have to take the world as we find it, and I donâ&#x20AC;&#x;t think we should. We should re-make the world.

Case 6: Alternate realities and dystopias dystopia n a society that is dominated by a totalitarian or technological state. Now common in science fiction, two of the best-known examples are Aldous Huxley‟s Brave New World (1932) and George Orwell‟s Nineteen Eighty-Four (1949).

Dystopian fiction, as a rule, seems to be a grey area, and less likely to be marketed as science fiction. Perhaps this is because the themes are regarded as being more serious than the stereotypical manytentacled monsters, ray guns and starships of „classic‟ science fiction, and closer to those of mainstream literature. Certainly the parallels with real-life repressive regimes give these works political resonance, and greater credibility as social commentaries. Additionally, authors such as Huxley and Orwell were already established literary figures before they created their dystopias, and able to resist labelling or pigeon-holing into a restricted genre. Their works were packaged as „Modern Classics‟ even when their themes were identifiably those of science fiction, with the artwork accordingly more restrained than the usual lurid scenes of outer space and extraterrestrials. The use of works of modern art on the covers reinforced their status as „serious‟ writers. 28

Dystopias usually extrapolate elements of contemporary society and function as a warning against some modern trend (the future interpreted in terms of the present), often the threat of oppressive regimes in one form or another. The violence and social, scientific and political developments of the twentieth century â&#x20AC;&#x201C; World Wars, mass unemployment, eugenics, and the rise of the totalitarian state â&#x20AC;&#x201C; are all reflected, and in some cases anticipated, by much dystopian science fiction. Widespread fears about progress, population growth and the expansion of the modern city, has tended to be expressed in terms of terror (the future as nightmare). The illustration of works of dystopian fiction often taps into these fears, evoking the claustrophobia of overpopulated cities and ever-present state surveillance, or the more pronounced social inequality of the near future. The social control exerted by repressive regimes is a common motif in this kind of artwork, capturing the unease and paranoia that underpin real-life twentieth-century authoritarian states. Many examples of cover art draw on influences from modern art or use it directly, such as The Control Room, Civil Defence Headquarters for Nineteen Eighty-Four.

Virtually from its inception, cinema has also proved to be a powerful medium for representations of dystopian visions. Metropolis (1927) is regarded as one of the most successful visions of the city of the future, as well as providing some striking poster art. Its pioneering cityscapes were based on the contemporary construction of the Manhattan skyline. From an early stage, science fiction works were adapted for film, in varying degrees of faithfulness to the original versions. One such adaptation was made by H. G. Wells of his own novel, The Shape of Things to Come. The 1936 film, Things to Come, featuring a futuristic Everytown, has been described by film historian Christopher Frayling as „a landmark in cinematic design.‟ Hungarian abstract artist László Moholy-Nagy was commissioned to produce some of the sets and effects sequences. Science fiction literature past and present continues to be a fertile source for film adaptations and artwork, as illustrated by Aziz Ibsule‟s 2010 take on the Blade Runner poster. PW

List of exhibits Case 1 Samuel Butler (1835-1902) Erewhon Wood engravings by Blair Hughes-Stanton. Montgomeryshire: Gregynog Press, 1932. Special Collections Illustrated Books Collection B-2 HUG Copy no. 59; Limited to 300 copies. J.J. Grandville (1803-1847) Un Autre Monde [Another World]: transformations, visions, incarnations, ascensions, locomotions, explorations, pérégrinations, excursions, stations: cosmogonies, fantasmagories, rêveries, folatreries, facéties, lubies: métamorphoses, zoomorphoses, lithomorphoses, métempsycoses, apothéoses et autres choses Paris: Fournier, 1844. Special Collections Illustrated Books Collection F-2 GRA Lucian (ca.120-180) True History Translated by Francis Hickes, illustrated by William Strang, J. B. Clark and Aubrey Beardsley. With an introduction by Charles Whibley. London: A.H. Bullen, 1902. Special Collections Greek L-8.5 LUC "Five hundred copies printed". Sir Thomas More (1478-1535) Utopia

Hammersmith: printed by William Morris at the Kelmscott Press, 1893. Brotherton Collection F Pr 2 KEL One of an edition limited to 300 copies. Albert Robida (1848-1926) Le Vingtième Siècle [The Twentieth Century]: texte et dessins Paris: G. Decaux, 1883. Brotherton Collection Countries/France q ROB Voyages très extraordinaires de Saturnin Farandoul: dans les 5 ou 6 parties du monde et dans tous les pays connus et même inconnus de M. Jules Verne Paris: Librairie illustrée, [ca. 1879?] Special Collections Illustrated Books Collection F-2 ROB Jonathan Swift (1667-1745) Voyages de Gulliver dans des contrées lointaines [Gulliver‟s Travels] Illustrated by J.J. Grandville Paris: Fournier, 1838. Special Collections English J-24.3 SWI

Case 2 Amazing Stories – the Magazine of Scientifiction New York: Experimenter Publishing Co. Volume 3, No.1, April 1928 Cover illustration by Frank R. Paul Volume 3, No.5, August 1928

Cover illustration by Frank R. Paul Astounding Stories of Super Science New York: Smith & Street Volume 13, No. 1, March 1934 Cover illustration by Howard V. Brown Astounding Science Fiction New York: Smith & Street Volume 21, No.6, August 1938 Cover illustration by H. Wesso [Hans Wessolowski] Fantastic Adventures Chicago, Ill.: Ziff-Davis Publishing Company Volume 1, No. 1, May 1938 Back cover illustration by Frank R. Paul Fantasy â&#x20AC;&#x201C; a Magazine of Thrilling Science Fiction London: George Newnes No. 2, 1939 Cover illustration by S.R. Drigin Tales of Wonder and Super-Science [Kingswood: The World's Work Ltd.] No. 11, Summer 1940 Cover illustration by [H.E.] Turner Wonder Stories New York: Stellar Publishing Corporation Vol. 4, No. 9, February 1933 Cover illustration by Frank R. Paul All periodicals Special Collections S/F A-0.01

Case 3 Poul Anderson (1926-2001) Guardians of Time London: Pan Books, 1964 Unknown artist Special Collections S/F AND James Blish (1921-1975) The Frozen Year New York: Ballantine Books, 1957. Unknown artist Special Collections S/F BLI John W. Campbell Jr. (1910-1971) The Incredible Planet Reading, Pennsylvania: Fantasy Press, 1949. Cover artist: A.J. Donnell Special Collections S/F CAM Karel Ä&#x152;apek (1890-1938) War with the Newts Translated by M. & R. Weatherall; with a note on the author by Egon Hostovsky. New York: Bantam Books, 1955. Unknown artist Special Collections S/F CAP Arthur C. Clarke (1917-2008) Expedition to Earth London: Sphere Books, 1968. Unknown artist Special Collections S/F CLA

W.H. Fear Operation Satellite London: John Spencer, 1958 A Badger Book Unknown artist Special Collections S/F FEA Robert A. Heinlein (1907-1988) Beyond this Horizon London: Panther, 1967 Cover photograph by Enzo Ragazzini Special Collections S/F HEI Damon Knight (1922-2002) Masters of Evolution New York: Ace Books, [c1959] Cover illustration by Emsh [Ed Emshwiller] Special Collections S/F KNI Ursula Le Guin (1929- ) The Dispossessed St Albans: Panther, 1975 Cover illustration by Anthony Roberts Special Collections S/F LEG Murray Leinster (1896-1975) Time Tunnel New York: Pyramid, 1964 Cover illustration by Jack Gaughan Special Collections S/F LEI John Lymington (1911-1983) The Grey Ones London: Hodder & Stoughton, 1960 Jacket design by Peter Rudland

Special Collections S/F LYM David I. Masson (1915-2007) The Caltraps of Time London: New English Library, 1976 Unknown artist Special Collections S/F MAS

Case 4 Penguin Science Fiction Edited by Brian Aldiss Harmondsworth: Penguin, 1961 Cover design by Brian Keogh Special Collections S/F ALD J.G. Ballard (1930-2009) The Drowned World Harmondsworth: Penguin, 1965 Cover illustration: Detail from The Palace of Windowed Rocks (Le Palais aux Rochers de Fenêtres, 1942) by Yves Tanguy, Musée d‟Art Moderne, Paris (Snark International) Special Collections S/F BAL Philip K. Dick (1928-1982) The Man in the High Castle Harmondsworth: Penguin, 1965 Cover illustration: Detail from The Petrified City (La Ville Pétrifiée) by Max Ernst, Manchester City Art Gallery (© S.P.A.D.E.M. Paris 1965) Special Collections S/F DIC Harry Harrison (1925- )

Make Room, Make Room Harmondsworth: Penguin, 1967 Cover illustration by Alan Aldridge Special Collections S/F HAR Nigel Kneale (1922-2006) Quatermass and the Pit: A play for television in six parts Harmondsworth: Penguin, 1960 Cover illustration by Bryan Kneale Special Collections S/F KNE Fritz Leiber (1910-1992) Conjure Wife Harmondsworth: Penguin, 1969 Cover illustration by Franco Grignani Special Collections S/F LEI Eric Frank Russell (1905-1978) With a Strange Device Harmondsworth: Penguin, 1965 Cover illustration: Landscape in Meudon (Paysage à Meudon, 1911) by Albert Gleizes, Musée d‟Art Moderne, Paris (Snark International) Special Collections S/F RUS Olaf Stapledon (1886-1950) Sirius: a Fantasy of Love and Discord Harmondsworth: Penguin, 1964 Cover illustration: In the Land Called Precious Stone (Im Lande Edelstein, 1929) by Paul Klee, Woldemar Klein Verlag Special Collections S/F STA John Wyndham (1903-1969) and Lucas Parkes The Outward Urge

Harmondsworth: Penguin, 1962 Cover illustration by John Griffiths Special Collections S/F WYN

Case 5 J.G. Ballard (1930-2009) The Atrocity Exhibition San Francisco: RE/Search, 1990 Illustrations by Phoebe Gloeckner Private Collection Independent Group, Institute of Contemporary Art â&#x20AC;&#x17E;This Is Tomorrowâ&#x20AC;&#x; Exhibition Catalogue Whitechapel Gallery, London, 1956 On loan from the Henry Moore Institute, Leeds Eduardo Paolozzi (1924-2005) Images for J. G. B. Ambit, No. 83, 1980 Leeds University Library English A-0.01 AMB New Worlds London: Pendulum Publications Volume 49, no. 161, April 1966 Unknown artist Volume 50, no. 166 [1966] Cover illustration by K. Roberts Number 194, September/October 1969 Cover by Mal Dean

Special Collections S/F A-0.01 NEW

Case 6 Anthony Burgess (1917-1993) A Clockwork Orange Harmondsworth: Penguin, 1972 Cover illustration by David Pelham Private Collection Philip K. Dick (1928-1982) Do Androids Dream of Electric Sheep? London: Panther, 1972 Unknown artist Special Collections S/F DIC St Albans: Granada, 1982 Unknown artist Private Collection William Gibson (1948- ) Neuromancer London: Grafton, 1986 Cover illustration by Steve Crisp Private Collection Aldous Huxley (1894-1963) Brave New World Harmondsworth: Penguin, 1974 Cover: Detail from Mechanical Elements by Fernand Léger at the Musée Nationale d‟Art Moderne, Paris (Snark International)

Private Collection George Orwell (1903-1950) Nineteen Eighty-Four Harmondsworth: Penguin, 1971 Cover: Detail from The Control Room, Civil Defence Headquarters by William Roberts, in the Salford Museum and Art Gallery Private Collection Evgenii Zamiatin (1884-1937) We [MŃ&#x2039;] New York: Inter-Language Literary Associates, 1967 Cover illustration by Evgenii Zhiglevich Leeds Russian Archive Harmondsworth: Penguin, 1993 Cover photograph: Caricature of Aleksandr Rodchenko (1933-34), by Georgii Petrusov, Galerie Alex Lachmann, Cologne Private Collection

Upright cases Lawrence Atkinson (1873-1931) Abstract Composition No. 1 c. 1914-18 Watercolour on paper On loan from Leeds City Art Gallery Aziz Ibsule, aka Godmachine (1976- ) Blade Runner 2010 Screenprint Edition 24/50 On loan from the artist Eduardo Paolozzi (1924-2005) Tafel 16, Colour Combination in Pairs 1964 Screenprint Edition 46/80 The Stanley & Audrey Burton Gallery, University of Leeds Purchased from the Queen Square Gallery Leeds, by Quentin Bell on behalf of the University, 1967. Heinz Schulz-Neudamm (1899-1969) Metropolis Re-printed poster/Lithograph 1927 (Original design for the film) Private Collection Futurian War Digest Published by J. Michael Rosenblum, Leeds Vol. 1 No. 9, June 1941

Cover by [H.E.] Turner The New Futurian Published by J. Michael Rosenblum, Leeds No. 7, Spring 1957 Cover by Arthur Thomson

Acknowledgements Layla Bloom, Laura Millward, James Pardey, Rob Hansen, Andy Sawyer, Tony Rae, Hilary Diaper, Zsuzsanna Reed Papp, Hollie Kritikos-Blades, Kasia Drozdziak, Tsendpurev Tsegmid, Lucy Jackson, Stephen Clatworthy and Neil Hardy.

“[I]n many ways science fiction was the true literature of the twentieth century, with a vast influence on film, television, advertising and consumer design. Science fiction is now the only place where the future survives…” J.G. Ballard Miracles of Life, 2008

The Stanley & Audrey Burton Gallery University of Leeds Parkinson Building Woodhouse Lane Leeds LS2 9JT