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A sumptuous history of science fiction told through its iconic covers.

Our book tells the story of science fiction through its most iconic, beautiful, interesting and (sometimes) crass cover art: from the earliest days of publishing in the 19th-century, through the glory days of Pulp magazine covers and the Golden Age, into the endless visual experimentation of the New Wave and so to the post-Star Wars era, when a 'visual logic' comes to dominate not just science fiction but culture as a whole.

With over 350 full-colour images and more than 50,000 words of text this is more than simply an anthology of famous science fiction covers--it is an ambitious attempt to tell the whole history of the genre in a new way, and to make the case that science fiction art, from the sober future-visions of Chesley Bonestell, to the garish splendours of Hannes Bok, from the Magritte-like surrealism of Richard Powers, Frank Freas, Judith Clute, and Ed Emshwiller to the amazingly talented designers and artists of the 21st-century, exists as a vital and neglected mode of modern art as such.

Through much of the twentieth-century it flowed like a subterranean river, influencing artistic Modernism, surrealism, abstraction, op-art and postmodernism, creating a heritage that directly informs the global visual texts of today in cinema, TV, graphic novels and video games. There has never been a book quite like this one.

Printed on 120 gsm art paper, hardbound and hand-sewn, we want this book to be a visually beautiful artifact, although as far as that is concerned we have a head start since so much of the art we want to reproduce is so gorgeous. The intense, inky detail of Virgil Finlay’s illustrations to the extraordinary visions of Paul Lehr, from the cool wondrousness of Moebius to the gorgeous grotesqueness of H R Giger and the amazing cityscapes of Kirsten Zirngibl.

There will be three main types of entry. Firstly, there will be several hundred key covers: one or sometimes two images + plus 150-200 words of text, of the ten (or more) most iconic and recognisable covers from each decade of our history: from Wells and Verne to H Rider Haggard's Barsoom and E E 'Doc' Smith's Lensman, from Arthur C Clarke's Childhood's End and Asimov's Foundation to Leigh Brackett and Joanna Russ's Female Man, from Cyberpunk masterpieces by William Gibson and Pat Cadigan to dystopias by Octavia Butler and Cormac McCarthy, to twenty-first century SF.

Second there will be more extended visual comparative studies, one or two page spreads that compare multiple covers for the same book, to see the way different artists and publishers have approached the task of visualising some of the most famous novels in the history of the genre: The Day of the Triffids; Dune; Left Hand of Darkness and more, as well as surveys of the work of famous illustrators, or publishing houses.

Third there will be milestone entries: examples of groundbreaking or unusual covers, usually the first example of (among other things) a fine late 19th-century illustrated binding for a SF title; a garishly coloured SF magazine cover; a Golden Age fix-up paperback, a psychedelic 1960s New Wave title, a movie-tie-in; a graphic novel adaptation of a classic: Shelley's Frankenstein as first SF novel; Auf Zwei Planeten as first Martian invasion; Time Machine as first time travel; Orphans of the Sky as the first Generation Starship novel; Leo and Diane Dillon's illustrations for Ellison's Dangerous Visions; early computer-generated SF art; and Metal Hurlant revolutionising the potential of SF comics.

Every visual entry will be accompanied by text, and the whole will threaded together to tell a new story about this important and beautiful mode of art.

Adam Roberts is a writer and academic with a passion for science fiction. He is the author of sixteen SF novels, most recently The Thing Itself (Gollancz 2015). He is also the author of The Palgrave History of Science Fiction (2nd edition: Palgrave 2016), He lives a little west of London, UK, with his wife and two children.

Graham Sleight is managing editor of the third edition of The Encyclopedia of Science Fiction, for which along with the other editors – John Clute, David Langford and Peter Nicholls – he received BSFA and Hugo Awards in 2012. He has written about sf for the Washington Post, Locus, the Los Angeles Review of Books, Strange Horizons, among many other venues. He edited Foundation from 2007-13 and is now chair of the SF Foundation. He lives a little north of London, UK.

H G Wells's first published novel, The Time Machine (1895), effectively invented the time-travel genre, and remains one of the most famous of all science fiction titles. Of course, when William Heinemann took the project on they had no idea it was going to prove as enduring, and their original cover, with a low-key line drawing (by Ben Hardy) of the ‘sphinx’ Wells's time traveller encounters in the year 802,701 could hardly be more low-key. Since then it has been reprinted in hundreds of different formats, and a wide range of designers and artists have faced the task of covering the story.

Here's a Brazilian edition from c. 1930; artist unknown:

This illustrates the very beginning of the first chapter, where the time traveller is explaining his invention to his friends. Given the exotic wonders the later sections of the tale contain, it's puzzling that the publishers would go for something so mundane.

The success of the 1960 movie adaptation, directed by George Pal, meant that, for many readers, visual imagery form the film tended to overwrite the pictures generated by their own imaginations. It's a perennial problem with film adaptation, and cover artists have the choice of either collaborating with this visual hegemony or challenging it.

It doesn't surprise us that this 1980 sequel, written as it was by director George Pal himself (in collaboration with screenwriter Joe Morhaim), reproduces the machine as visualised in the movie. Indeed, the novel is a treatment of a story-idea Pal and Morhaim had tried, and failed, to get made into a movie: Christopher Jones, an orphan, is born in the Blitz with no knowledge of his parents and raised in the US. You will be no more surprised than I was to discover that his Dad (of course) is Wells's Time Traveller, and his mother Weena; and that they both died under the 1940 bombs. Christopher builds his own upgraded Time Machine and hurries millions of years into the future where father is helping humanity in a war against giant insects. "He knew then he must follow his father into the frightening worlds of the future," the back-cover blurb tells us: "He must warn them not to return. They must not die...though it meant, perhaps, that he might never live!" The resulting novel is best described by the two words very bad. That said, it does not have the worst cover of any unauthorised sequel to Wells's Time Machine ever published. That honour surely belongs to the following Pablo Gomez opus:

That hurts my eyes. Think what it would do to the Morlocks! That said, Burt Libe's 2005 sequel runs it close, cover-design-wise.

Self-publication, and the deprofessionalisation it enables where book design is concern, has certainly lowered the bar. Commercial presses would never greenlight something so clumsily made.

Well ... not many presses, at any rate. (And to be fair to that Scholastic Press 1969 edition of the novel, there was a higher tolerance for psychedelia in the sixties. Although what's stopping the traveller falling through the hole in the base of his machine, why there's a giant multicoloured spoon behind him, and to whom he is (it seems) surrendering, are questions that could puzzle the best minds. This Bengali translation of the title has a pretty good cover, although the publisher's book-reading yellow smiley logo looks rather out of place in among that angry Morlock mob.

Finally the poster to Robert Lloyd Parry's dramatic adaptation.

A nice design, that; but it also brings out a detail about which the novella is explicit (the diminutive size of the Eloi: they are only four-feet tall) that in turn casts a rather queasy light upon what is implied in Wells' text, and made manifest in many of the sequels: that the Time Traveler has sex with the literally child-sized Weena. Urgh.

Kira Rich
Kira Rich asked:

Hi! Can you let us know when this book would be shipping?

Adam Roberts
Adam Roberts replied:

We can't give you a hard date: it'll depend on when (indeed, if) it gets enough pledges. But assuming the funding comes through sooner, Graham and I would be planning to complete the finished volume by mid-2018.

Andy Leeds
Andy Leeds asked:

Will there be any covers from the work of Cordwainer Smith?

Adam Roberts
Adam Roberts replied:

I love Smith as a writer, and Graham and I are both open to suggestions. Do you have particular covers in mind?

Gareth Bellamy
Gareth Bellamy asked:

Hi, have you got any information on the quality of the images and how you're sourcing the images of, for example, the book covers. Are these new scans or photos of the books themselves?

Adam Roberts
Adam Roberts replied:

We'll be scanning as many of the covers as we can get originals for (the actual scanning will be done by professionals rather than Graham and myself!). For modern covers we will try to get digital files from publishers. If there are occasions where we're using artwork rather than reproducing covers we'd try to get digital files for those as well.

Jonathan Langevin
Jonathan Langevin asked:

I quite enjoyed the intro video describing the book and showing some interaction between the two critics over a couple of books.

As a backer, I'd quite like to see a video with both Adam and Graham, reviewing some notable books that they feel have some interesting story attached (such as how it came to be, or ripple effects of the book being published), or perhaps books that profoundly affected Adam/Graham (whether positively or negatively).

Plus, simply highlighting some exquisite or quite horrid art designs would be another great addition :)

I'd be happy to pay for an upgrade to my backer level if it could help fund such a video.
Alternatively, if the guys happen to have a Youtube series or similar, that they regularly produce videos from, that would be quite excellent to know as well.


Adam Roberts
Adam Roberts replied:

I'll have a word with Graham. We don't have a YouTube Channel, or anything like that, I'm afraid; and every time I've suggested to Graham he and I dress up as spangly aliens and put ourselves forward as the UK's next Eurovision act he just rolls his eyes. But we'll see what Unbound say!

Andy Leeds
Andy Leeds asked:

I can't seem to respond to your question, however, concerning Cordwainer Smith covers, I am partial to:

The cover for "The Ballad of Lost C'Mell"

And a cover for "Scanners live in Vain"

Adam Roberts
Adam Roberts replied:

Thanks, Andy! Two excellent images (and "Scanners Live" is a very important SF text ...)

Tobias Lee
Tobias Lee asked:

Are you planning anything specific on typography, alongside the artwork and general graphic design? I'd imagine some of the more archetypically 'futuristic' typefaces have their early applications in scifi, gaining popularity as a result.

Adam Roberts
Adam Roberts replied:

I agree it's an important part of the 'look' of SF: and we won't be neglecting it.

Michael Walsh
Michael Walsh asked:

H. rider Haggard's Barsoom?

Adam Roberts
Adam Roberts replied:

There's some gorgeous artwork associated with those books!

Jonathan Reahl
Jonathan Reahl asked:

When will the book be available to ship after having pledged? Also, if the crowdfunding goal isnt met, will the book still be sent out to those who have pledged?

Adam Roberts
Adam Roberts replied:

Jonathan: if the crowdfunding goal isn't met your money is refunded and the book doesn't happen, I'm afraid.

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