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1bacchus.
EDIT: 1st draft
1948
Dr Jekyll and Mr Hyde by Robert Louis Stevenson. 12 illustrations by Mervyn Peake. Introduced by John Hampden. Black and yellow print. Bound in black and cream cloth divided down the covers, and blocked with an image. White dust-jacket printed in yellow and black. 148pp. 22.1x14.2cm.
Voyages of Lemuel Gulliver to Lilliput and Brobdingnag, The by Jonathan Swift. 12 colour lithographs by Edward Bawden. Quarter-bound in red cloth with marbled paper covers. White colour printed dust-jacket. 154pp. 21.4x14.1cm. *
1965
Gulliver’s Travels by Jonathan Swift. 16 leaves of colour lithographs by Edward Bawden. Quarter bound in green cloth, grey and red patterened paper boards by Bawden. Dark red endleaves. Grey slipcase. 22.7x15.3cm. 264pp. Link
1971
Brave New World by Aldous Huxley, with nine full-page drawings by Leonard Rosoman. Full laminated aluminium foil, lettered and decorated with design in grey by Rosoman. red endleaves. Black slipcase. 23.5 x 16 cm. 176 pp.
1974
Dr Jekyll and Mr Hyde, a photolithographic reprint of the 1948 edition. Full black cloth with the figure of Hyde in gold, yellow endleaves. Transparent plastic dust-jacket. Folio Press and J.M. Dent
1977
Lost World, The, by Arthur Conan Doyle, illustrated by Elisa Trimby and Tim Stephens. Eleven leaves of drawings by Trimby and photographs by Stephens. Full orange cloth, white cover-label with a design by Trimby, pale grey endleaves. Slipcase. 22.2 x 14.3 cm. 200 pp.
1980
After Many a Summer by Aldous Huxley. Introduction by David Holloway. Illustrations by Michael Foreman. Bound in light green cloth blocked with a dark green design. Light grey slipcase. 239pp. 22.8x16cm.
1982
Around the World in Eighty Days by Jules Verne, translated by G.M. Towle and N. Danvers, seven drawings by Peter Brookes. Full green cloth with a design in red and gold by Brookes, brown endleaves. Brown slipcase. 22.8 x 14.7 cm. 224 pp.
1990
Short Stories by H.G. Wells. Selected and introduced by Tim Heald. Illustrated in cream and black by Jonathan Hitchen. Boind in pale brown cloth with a design in silver and dark brown by Hitchen. Dark brown endleaves. Pale brown slipcase. 22.8x14.6 cm. 266pp.
1991
Voyages to the Moon and Sun by Cyrano de Bergerac, translation and notes by Richard Aldington, introduction by John Wells, 115 drawings by Quentin Blake. Quarter dark brown cloth, pale brown paper boards, cover-label printed in brown, cream endleaves with a pattern in brown by Blake. Dark brown slipcase. 27.9 x 18.4 cm. 212 pp.
1994
Dr Jekyll and Mr Hyde by Robert Louis Stevenson, 2nd. edition, reset. Black slipcase. 22.2 x 14.4 cm.
2001
Journey to the Centre of the Earth by Jules Verne. Translated by William Butcher. Introduced by Michael Cricton. 9 colour illustrations by Grahame Baker. Bound in cambric grained material blocked with a design. 231pp. 23.8x16.5cm. LT Catalogue
2002
Nineteen Eighty-Four (1984) by George Orwell. Introduced by Alan Rusbridger. Frontispiece and nine colour illustrations by Jonathan Burton. Bound in cloth, printed with a design by Jonathan Burton. 304pp. 9½x6¼in.
2004
Classics of Science Fiction by H. G. Wells. (3v.). The Time Machine and the Island of Dr. Moreau, Introduced by Michael Moorcock, 262pp.; The War of the Worlds, Introduced by Iain Sinclair, 212pp.; The Invisible Man, Introduced by Bryan Appleyard, Colour illustrations by Grahame Baker, 175pp. Bound in design blocked buckram, each volume a different colour. Title on slipcase. 25x18.7x11.5cm. Brochure
Frankenstein or Modern Prometheus by Mary Shelley. Introduced by Miranda Seymour. 10 B&W illustrations by Harry Brockway. Bound in dark grey cloth blocked with a black and silver design. 221pp. 22.8x15cm. LT Catalogue
2006
Slaughterhouse-Five or The Children's Crusade, A Duty-Dance with Death by Kurt Vonnegut Jr. Introduced by John Sutherland. 7 colour illustrations by John Holder. Bound in design printed grey buckram. 170pp. 24.6x16.6cm. LT Catalogue
Strange Case of Dr Jekyll & Mr Hyde, The; and Weir of Hermiston by Robert Louis Stevenson. Illustrated with 11 colour plates by Grahame Baker Smith. Bound in gilt image blocked maroon cloth. 221pp. 7¼x9¼in.
2008
His Dark Materials by Philip Pullman. (3v.). Northern Lights (The Golden Compass in USA). The Subtle Knife. The Amber Spyglass. Preface by Philip Pullman. Frontispiece and 10 full-page colour illustrations in each volume by Peter Bailey. by Peter Bailey. Bound in cloth with illustrated boards. Pictorial slipcase. 1168pp in total. 9.5x6.25in. Not available as individual books.
2010
Hitchhikers Guide to the Galaxy, The by Douglas Adams. Introduced by Terry Jones. 8 colour illustrations by Jonathan Burton. Bound in cloth blocked with a design by Jonathan Burton. 192pp. 9×5¾in.
Lost World, The by Sir Arthur Conan Doyle. New edition. Colour frontispiece plus twelve plates; 2 maps in text. Introduction by Andrew Lycett.
2011
Fahrenheit 451 by Ray Bradbury. Illustrated by Sam Weber. Bound in grey Cloth Hardback. 152pp. 24x15cm.
LE * Gulliver’s Travels or Travels into Several Remote Nations of the World by Jonathan Swift. 17 tipped in colour plates by Peter Suart. Printed on Cordier Weave paper. Quarter bound in vellum with paper sides. Gilded top edge. Ribbon marker. 292pp. In solander box. 36x27.5cm. Link
2012
A Traveller in Time by Alison Uttley. 8 colour illustrations by Omar Rayyan. Bound in cloth blocked with a design by Omar Rayyan. 232pp. 9×6½in. LT Catalogue
Foundation Trilogy, The by Isaac Asimov. (3v.) Foundation 253pp. : Foundation and Empire 254pp. : Second Foundation 248pp. Colour illustrations by Alex Wells. Bound in 3/4 buckram with pictorial paper front. Pictorial slipcase 23.5x15.8x9.3cm. Brochure
Handmaid’s Tale, The by Margaret Atwood. Introduced by the author. Frontispiece and 6 colour illustrations by Anna & Elena Balbusso.Bound in cloth, blocked with a design by Anna and Elena Balbusso. 336pp. 9x6¼in.
Never Let Me Go by Kazuo Ishiguro. Introduced by Claire Messud. Frontispiece and 8 colour illustrations by Kate Miller. Bound in cloth blocked with a design by Kate Miller. 288pp. 9×6¼in.
Last Man, The by Mary Shelley. Introduced by Sarah Hall. 13 colour paintings by Caspar David Friedrich. Bound in cloth blocked with a design by Neil Gower. 440pp. 9½×6¼in. Last Man
2013
Brave New World by Aldous Huxley. Introduced by Ursula K.le Guin. 8 colour illustrations by Finn Dean. Bound in cambric grained material blocked with a design. 197pp. 25x17cm. LT Catalogue
Drowned World, The by J G Ballard. Introduced by Will Self. Frontispiece and 6 colour illustrations by James Boswell. Bound in buckram blocked with a design by James Boswell. 192pp. 9x5¾in. LT Catalogue
2014
A Clockwork Orange by Anthony Burgess. Introduced by Irvine Welsh. Frontispiece and 6 colour illustrations by Ben Jones. Bound in textured paper, blocked with a design by Ben Jones. 240. 9½x6½in. LT Catalogue
Nineteen Eighty-Four (1984) by George Orwell. 2nd. edition. Introduced by Alan Rusbridger. 10 colour illustrations by Jonathan Burton. Bound in blue cloth blocked with a design. 287pp. 25x17cm. LT Catalogue
Twenty Thousand Leagues under the Seas by Jules Verne. Introduced by Margaret Drabble. Frontispiece and 8 colour illustrations by Jillian Tamaki. Translation by William Butcher. Printed endpapers. Bound in cloth blocked with an illustration. 384pp. 9½x6¼in. LT Catalogue
2015
A Wrinkle in Time by Madeleine L'Engle. Introduced by Meg Rosoff. Frontispiece and 6 colour illustrations by Sam Richwood. Bound in cloth, blocked with a design by Sam Richwood. 192pp. 9×5¾in.
A Wizard of Earthsea by Ursula K. Le Guin. Illustrated by David Lupton. Introduced by David Mitchell. Bound in design blocked buckram. 232pp. 9x5.75in.
Dune by Frank Herbert. Introduced by Michael Dirda. Frontispiece, 11 colour illustrations and a number of black & white tailpieces by Sam Weber. Afterword by Brian Herbert. Loose print enclosed in early copies. Bound in buckram, printed and blocked with a design by Sam Weber. Endpaper map by Martin Sanders. Pictorial slipcase with a design by Sam Weber. 576pp. 10x6¾in.
Man in the High Castle, The by Philip K. Dick. Introduced by Ursula K. Le Guin. Frontispiece, 7 colour and slipcase illustrations by Shotopop. Three-quarter-bound in cloth with a Modigliani paper side, printed and blocked with a design by Shotopop. 272pp. 9×6¼in. LT Catalogue
Martian Chronicles, The by Ray Bradbury. Introduced by Chris Hadfield. Frontispiece and 8 colour illustrations by Mick Brownfield. Bound in buckram, blocked with a design by Mick Brownfield. 256pp. 9½x5¾in.
2016
2001: A Space Odyssey by Arthur C. Clarke. Introduced by Michael Moorcock. Frontispiece and 6 colour illustrations by Joe Wilson. Bound in printed art paper and blocked in holographic foil with a design by the artist. Metallic slipcase. 240pp. 9½x6¼in.
Dr Jekyll and Mr Hyde by Robert Louis Stevenson. New edition. Introduced by John Hampden. 12 duotone illustrations by Mervyn Peake. Quarter bound in 2 cloths, blocked in gold with an illustration by Mervyn Peake. 152pp. 8¾x5½"in.
Folio Science Fiction Anthology, The. Introduced and edited by Brian W. Aldiss. Frontispiece and 6 colour illustrations by Florian Schommer. Bound in buckram blocked with a design by the artist. 272pp. 9½x6¼in.
Frankenstein by Mary Shelley. Frontispiece and 9 mono illustrations by Harry Brockway. Coloured page tops. Ribbon Marker. Bound in blocked cloth. 272pp. 9x5¾in. Collectable
I, Robot - Isaac Asimov. Preface by Daniel H. Wilson. 7 colour illustrations by Alex Wells. Bound in red blocked cloth. 235pp. 23.7x15.6cm. LT Catalogue
2017
Do Androids Dream of Electric Sheep? and A Scanner Darkly by Philip K. Dick. Illustrated by Chris Skinner and Andrew Archer. Bound tete-beche. 12 full-page and one double page colour illustrations. Quarter-bound in blocked cloth with screen printed paper sides, 488pp. 10x6¾in. LT Catalogue
Handmaid’s Tale, The by Margaret Atwood. Reprint. Introduced by the author. Illustrated by Anna & Elena Balbusso. Bound in cloth, blocked with a design by Anna and Elena Balbusso. Frontispiece and 6 colour illustrations. 9x 6¼ in. 336 pages.
Illustrated Man, The by Ray Badbury. Introduced by Margaret Atwood. Frontispiece and 5 colour illustrations by Marc Burckhardt. Bound in metallic buckram printed with a design by Marc Burckhardt. Blocked slipcase. 216pp. 9½x6¼in. LT Catalogue
War of the Worlds, The by H. G. Wells. New edition. Introduced by Iain Sinclair. Frontispiece and 6 colour illustrations by Grahame Baker-Smith. Bound in buckram blocked with a design by the artist. 240pp. 9½x6¾in.
LE * Riddley Walker by Russell Hoban, Illustrated by Quentin Blake, Postscript by Dr Rowan Williams. 288pp. 14″ × 10″. 1000 copies (£295) Brochure - LT Catalogue
2018
Atlas Shrugged by Ayn Rand (3v.). Frontispiece and 4 colour illustrations per volume by Anna and Elena Balbusso. Introduced by Michael Dirda. Bound and blocked in red and black on grey metallic textured paper. Title blocked grey slipcase. 1,576 pages in total. 9½x6¼in.
His Dark Materials by Philip Pullman. (3v.). Reprint. Northern Lights (The Golden Compass in USA). The Subtle Knife. The Amber Spyglass. Preface by Philip Pullman. Frontispiece and 10 full-page colour illustrations in each volume by Peter Bailey. by Peter Bailey. Bound in cloth with illustrated boards. Pictorial slipcase. 1168pp in total. 9.5x6.25in. Identical to 2008 edition except for change in FS logo on spine.
Left Hand of Darkness, The by Ursula K. Le Guin. Integrated title double-page spread and 14 black & white integrated illustrations by David Lupton. Introduced by Becky Chambers. Bound in printed and black & white picture blocked cloth. Printed endpapers. Printed grey slipcase with spot UV varnish. 288pp. 9½x6¼in.
American Gods: The Author's Preferred Text by Neil Gaiman. Introduced by the Author and Dave McKean. Illustrated by Dave McKean. Bound in cloth blocked with a design by the artist. Set in Maxime with Wicked Grit display. Frontispiece and 11 colour illustrations, including 3 double-page spreads. Printed slipcase. 10˝ x 6¾In. 560 pages. LT Catalogue
We by Yevgeny Zamyatin. Introduced by Ursula K. Le Guin. Translated by Clarence Brown. Frontispiece and 5 black & white illustrations by Kit Russel. Bound in Surbalin Perleffert paper printed with a design by the artist. Lenticular design slipcase. 240pp. 9½x6¼in. LT Catalogue
Starship Troopers by Robert A. Heinlein. Illustrated by Stephen Hickman. Introduced by Joe Haldeman. Quarter-bound in black blocked cloth with image blocked green metallic paper sides. Frontispiece and 6 colour illustrations, including 2 double-page spreads. Metallic coloured page edges. Dark green slipcase with a printed inset colour label. 272pp.10x6¾in.
Voyages to the Moon and the Sun by Cyrano de Bergerac. New edition. Introduced by John Wells. Translated by Richard Aldington. Over 125 integrated duotone illustrations by Quentin Blake. Gilded page tops. Bound in orange image blocked cloth. Text blocked black slipcase. 232pp. 12x8½in. LT Catalogue
I Am Legend by Richard Matheson. Introduced by Joe Hill. Illustrated by Dave McKean. Bound in printed and blocked cloth with a design by the artist. Frontispiece and 6 colour illustrations. 4 integrated black & white illustrations for the part-titles and illustrated headings throughout. Die-cut slipcase. 208pp. 10x5½in.
LE * I Am Legend by Richard Matheson. Introduced by Joe Hill. Illustrated by Dave McKean. Bound in blocked leather with a design by the artist. Signed print, frontispiece and 6 colour illustrations. Four integrated black and white illustrations for the part-titles and illustrated headings throughout. Metallic foil blocked endpapers. Red coloured page edges. Printed cloth slipcase. 208pp. 10x5½in. 295 copies. (£275) (Sold out in 13 days).
2019
Anansi Boys by Neil Gaiman. Illustrated by Francis Vallejo. Introduced by Nalo Hopkinson. Frontispiece and 5 colour illustrations with 2 double-page spreads. 25 black & white integrated illustrations and chapter opening spreads. Bound in printed and multicolour image blocked black art silk. Green ribbon marker. Green image printed page edges. Multicoloured pictorial and slipcase with textured UV spot varnishing. 376pp. 10x6¾in. Brochure
Kindred by Octavia E. Butler. Introduced by Tananarive Due. Frontispiece and 6 colour illustrations, including 1 double-page spread by James E. Ransome. Bound in image blocked dark-blue paper. Mid-blue image printed slipcase. 296 pages. 9½x6¼in.
Oryx and Crake by Margaret Atwood. Introduced by Lawrence Donegan. Foreword by the author. Frontispiece and 6 colour illustrations by Harriet Lee-Merrion. Printed marbled pattern endpapers. Bound in symbol blocked textured green paper with glow-in-the-dark varnish. Die-cut slipcase mid-blue lined in blue paper. 360 pages. 9½x6¼in.
Time Machine & The Island of Doctor Moreau, The by H. G. Wells. Illustrated by Grahame Baker-Smith. Introduced by Michael Moorcock. Frontispiece and 7 colour illustrations. Bound in maroon gilt blocked buckram. 288pp. 9½x6¾in.
Catch-22 by Joseph Heller. Reprint. Frontispiece and 8 colour illustrations by Neil Packer. Introduced by Malcolm Bradbury. Preface by Joseph Heller. Printed endpapers. Bound in image blocked light brown cloth. 472pp. 10x6¼in. LT Catalogue
Marvel: The Golden Age 1939-1949. (2v. + print). Selected, edited and Introduced by Roy Thomas. Main volume bound in blue screen-printed and metallic foil blocked cloth with lettering by Ian Jepson. 272 pages printed in 4-colour throughout. Endpapers printed in metallic ink with a design by Marco D’Alfonso. Ribbon marker. Coloured page edges. 13¼x 9¼in. Facsimile Comic 64 pages with 4-page cover 10x7in. Loosely inserted print by Marco D’Alfonso in 4-colour on 280gsm paper. 10x7in. Housed in a solander box bound and lined in printed and gold laminated paper with a colour design on all sides by Marco D’Alfonso.
Ubik by Philip K. Dick. Frontispiece and 6 colour illustrations by La Boca. Introduced by Kim Stanley Robinson. Brightly multicolour pattern printed endpapers. Bound in pattern blocked bright green vinyl-coated paper. Bright pink die-cut slipcase with printed insides. 224pp. 9x6¼in. LT Catalogue
Something Wicked This Way Comes by Ray Bradbury. Illustrated by Tim McDonagh. Introduced by Frank Skinner. Frontispiece and 6 colour illustrations, including a double-page spread. Bound in yellow cloth blocked in black and red. Yellow image blocked slipcase. 272pp. 9½x6¼in. Leaflet
LE * Book of the New Sun, The by Gene Wolfe (4v.). Signed by Gene Wolfe. Illustrated and signed by Sam Weber. Introduced and signed by Neil Gaiman. Decorative initial chapter letters designed by the illustrator. Printed in two colours throughout. Colour frontispiece and double-page illustration and 3 black and white full-page plates in each volume printed on Natural Evolution Ivory paper.Black page edges. Each volume 3/4 bound in black buckram blocked in red foil with cloth front boards printed with designs by the illustrator. Handmade cloth-bound slipcase blocked on two sides in pale gold foil with designs by the illustrator and lined with silver mirrored paper. 1,196 pages in total. Each volume 10×6¾in. 750 copies (£395) Brochure
1948
Dr Jekyll and Mr Hyde by Robert Louis Stevenson. 12 illustrations by Mervyn Peake. Introduced by John Hampden. Black and yellow print. Bound in black and cream cloth divided down the covers, and blocked with an image. White dust-jacket printed in yellow and black. 148pp. 22.1x14.2cm.
Voyages of Lemuel Gulliver to Lilliput and Brobdingnag, The by Jonathan Swift. 12 colour lithographs by Edward Bawden. Quarter-bound in red cloth with marbled paper covers. White colour printed dust-jacket. 154pp. 21.4x14.1cm. *
1965
Gulliver’s Travels by Jonathan Swift. 16 leaves of colour lithographs by Edward Bawden. Quarter bound in green cloth, grey and red patterened paper boards by Bawden. Dark red endleaves. Grey slipcase. 22.7x15.3cm. 264pp. Link
1971
Brave New World by Aldous Huxley, with nine full-page drawings by Leonard Rosoman. Full laminated aluminium foil, lettered and decorated with design in grey by Rosoman. red endleaves. Black slipcase. 23.5 x 16 cm. 176 pp.
1974
Dr Jekyll and Mr Hyde, a photolithographic reprint of the 1948 edition. Full black cloth with the figure of Hyde in gold, yellow endleaves. Transparent plastic dust-jacket. Folio Press and J.M. Dent
1977
Lost World, The, by Arthur Conan Doyle, illustrated by Elisa Trimby and Tim Stephens. Eleven leaves of drawings by Trimby and photographs by Stephens. Full orange cloth, white cover-label with a design by Trimby, pale grey endleaves. Slipcase. 22.2 x 14.3 cm. 200 pp.
1980
After Many a Summer by Aldous Huxley. Introduction by David Holloway. Illustrations by Michael Foreman. Bound in light green cloth blocked with a dark green design. Light grey slipcase. 239pp. 22.8x16cm.
1982
Around the World in Eighty Days by Jules Verne, translated by G.M. Towle and N. Danvers, seven drawings by Peter Brookes. Full green cloth with a design in red and gold by Brookes, brown endleaves. Brown slipcase. 22.8 x 14.7 cm. 224 pp.
1990
Short Stories by H.G. Wells. Selected and introduced by Tim Heald. Illustrated in cream and black by Jonathan Hitchen. Boind in pale brown cloth with a design in silver and dark brown by Hitchen. Dark brown endleaves. Pale brown slipcase. 22.8x14.6 cm. 266pp.
1991
Voyages to the Moon and Sun by Cyrano de Bergerac, translation and notes by Richard Aldington, introduction by John Wells, 115 drawings by Quentin Blake. Quarter dark brown cloth, pale brown paper boards, cover-label printed in brown, cream endleaves with a pattern in brown by Blake. Dark brown slipcase. 27.9 x 18.4 cm. 212 pp.
1994
Dr Jekyll and Mr Hyde by Robert Louis Stevenson, 2nd. edition, reset. Black slipcase. 22.2 x 14.4 cm.
2001
Journey to the Centre of the Earth by Jules Verne. Translated by William Butcher. Introduced by Michael Cricton. 9 colour illustrations by Grahame Baker. Bound in cambric grained material blocked with a design. 231pp. 23.8x16.5cm. LT Catalogue
2002
Nineteen Eighty-Four (1984) by George Orwell. Introduced by Alan Rusbridger. Frontispiece and nine colour illustrations by Jonathan Burton. Bound in cloth, printed with a design by Jonathan Burton. 304pp. 9½x6¼in.
2004
Classics of Science Fiction by H. G. Wells. (3v.). The Time Machine and the Island of Dr. Moreau, Introduced by Michael Moorcock, 262pp.; The War of the Worlds, Introduced by Iain Sinclair, 212pp.; The Invisible Man, Introduced by Bryan Appleyard, Colour illustrations by Grahame Baker, 175pp. Bound in design blocked buckram, each volume a different colour. Title on slipcase. 25x18.7x11.5cm. Brochure
Frankenstein or Modern Prometheus by Mary Shelley. Introduced by Miranda Seymour. 10 B&W illustrations by Harry Brockway. Bound in dark grey cloth blocked with a black and silver design. 221pp. 22.8x15cm. LT Catalogue
2006
Slaughterhouse-Five or The Children's Crusade, A Duty-Dance with Death by Kurt Vonnegut Jr. Introduced by John Sutherland. 7 colour illustrations by John Holder. Bound in design printed grey buckram. 170pp. 24.6x16.6cm. LT Catalogue
Strange Case of Dr Jekyll & Mr Hyde, The; and Weir of Hermiston by Robert Louis Stevenson. Illustrated with 11 colour plates by Grahame Baker Smith. Bound in gilt image blocked maroon cloth. 221pp. 7¼x9¼in.
2008
His Dark Materials by Philip Pullman. (3v.). Northern Lights (The Golden Compass in USA). The Subtle Knife. The Amber Spyglass. Preface by Philip Pullman. Frontispiece and 10 full-page colour illustrations in each volume by Peter Bailey. by Peter Bailey. Bound in cloth with illustrated boards. Pictorial slipcase. 1168pp in total. 9.5x6.25in. Not available as individual books.
2010
Hitchhikers Guide to the Galaxy, The by Douglas Adams. Introduced by Terry Jones. 8 colour illustrations by Jonathan Burton. Bound in cloth blocked with a design by Jonathan Burton. 192pp. 9×5¾in.
Lost World, The by Sir Arthur Conan Doyle. New edition. Colour frontispiece plus twelve plates; 2 maps in text. Introduction by Andrew Lycett.
2011
Fahrenheit 451 by Ray Bradbury. Illustrated by Sam Weber. Bound in grey Cloth Hardback. 152pp. 24x15cm.
LE * Gulliver’s Travels or Travels into Several Remote Nations of the World by Jonathan Swift. 17 tipped in colour plates by Peter Suart. Printed on Cordier Weave paper. Quarter bound in vellum with paper sides. Gilded top edge. Ribbon marker. 292pp. In solander box. 36x27.5cm. Link
2012
A Traveller in Time by Alison Uttley. 8 colour illustrations by Omar Rayyan. Bound in cloth blocked with a design by Omar Rayyan. 232pp. 9×6½in. LT Catalogue
Foundation Trilogy, The by Isaac Asimov. (3v.) Foundation 253pp. : Foundation and Empire 254pp. : Second Foundation 248pp. Colour illustrations by Alex Wells. Bound in 3/4 buckram with pictorial paper front. Pictorial slipcase 23.5x15.8x9.3cm. Brochure
Handmaid’s Tale, The by Margaret Atwood. Introduced by the author. Frontispiece and 6 colour illustrations by Anna & Elena Balbusso.Bound in cloth, blocked with a design by Anna and Elena Balbusso. 336pp. 9x6¼in.
Never Let Me Go by Kazuo Ishiguro. Introduced by Claire Messud. Frontispiece and 8 colour illustrations by Kate Miller. Bound in cloth blocked with a design by Kate Miller. 288pp. 9×6¼in.
Last Man, The by Mary Shelley. Introduced by Sarah Hall. 13 colour paintings by Caspar David Friedrich. Bound in cloth blocked with a design by Neil Gower. 440pp. 9½×6¼in. Last Man
2013
Brave New World by Aldous Huxley. Introduced by Ursula K.le Guin. 8 colour illustrations by Finn Dean. Bound in cambric grained material blocked with a design. 197pp. 25x17cm. LT Catalogue
Drowned World, The by J G Ballard. Introduced by Will Self. Frontispiece and 6 colour illustrations by James Boswell. Bound in buckram blocked with a design by James Boswell. 192pp. 9x5¾in. LT Catalogue
2014
A Clockwork Orange by Anthony Burgess. Introduced by Irvine Welsh. Frontispiece and 6 colour illustrations by Ben Jones. Bound in textured paper, blocked with a design by Ben Jones. 240. 9½x6½in. LT Catalogue
Nineteen Eighty-Four (1984) by George Orwell. 2nd. edition. Introduced by Alan Rusbridger. 10 colour illustrations by Jonathan Burton. Bound in blue cloth blocked with a design. 287pp. 25x17cm. LT Catalogue
Twenty Thousand Leagues under the Seas by Jules Verne. Introduced by Margaret Drabble. Frontispiece and 8 colour illustrations by Jillian Tamaki. Translation by William Butcher. Printed endpapers. Bound in cloth blocked with an illustration. 384pp. 9½x6¼in. LT Catalogue
2015
A Wrinkle in Time by Madeleine L'Engle. Introduced by Meg Rosoff. Frontispiece and 6 colour illustrations by Sam Richwood. Bound in cloth, blocked with a design by Sam Richwood. 192pp. 9×5¾in.
A Wizard of Earthsea by Ursula K. Le Guin. Illustrated by David Lupton. Introduced by David Mitchell. Bound in design blocked buckram. 232pp. 9x5.75in.
Dune by Frank Herbert. Introduced by Michael Dirda. Frontispiece, 11 colour illustrations and a number of black & white tailpieces by Sam Weber. Afterword by Brian Herbert. Loose print enclosed in early copies. Bound in buckram, printed and blocked with a design by Sam Weber. Endpaper map by Martin Sanders. Pictorial slipcase with a design by Sam Weber. 576pp. 10x6¾in.
Man in the High Castle, The by Philip K. Dick. Introduced by Ursula K. Le Guin. Frontispiece, 7 colour and slipcase illustrations by Shotopop. Three-quarter-bound in cloth with a Modigliani paper side, printed and blocked with a design by Shotopop. 272pp. 9×6¼in. LT Catalogue
Martian Chronicles, The by Ray Bradbury. Introduced by Chris Hadfield. Frontispiece and 8 colour illustrations by Mick Brownfield. Bound in buckram, blocked with a design by Mick Brownfield. 256pp. 9½x5¾in.
2016
2001: A Space Odyssey by Arthur C. Clarke. Introduced by Michael Moorcock. Frontispiece and 6 colour illustrations by Joe Wilson. Bound in printed art paper and blocked in holographic foil with a design by the artist. Metallic slipcase. 240pp. 9½x6¼in.
Dr Jekyll and Mr Hyde by Robert Louis Stevenson. New edition. Introduced by John Hampden. 12 duotone illustrations by Mervyn Peake. Quarter bound in 2 cloths, blocked in gold with an illustration by Mervyn Peake. 152pp. 8¾x5½"in.
Folio Science Fiction Anthology, The. Introduced and edited by Brian W. Aldiss. Frontispiece and 6 colour illustrations by Florian Schommer. Bound in buckram blocked with a design by the artist. 272pp. 9½x6¼in.
Frankenstein by Mary Shelley. Frontispiece and 9 mono illustrations by Harry Brockway. Coloured page tops. Ribbon Marker. Bound in blocked cloth. 272pp. 9x5¾in. Collectable
I, Robot - Isaac Asimov. Preface by Daniel H. Wilson. 7 colour illustrations by Alex Wells. Bound in red blocked cloth. 235pp. 23.7x15.6cm. LT Catalogue
2017
Do Androids Dream of Electric Sheep? and A Scanner Darkly by Philip K. Dick. Illustrated by Chris Skinner and Andrew Archer. Bound tete-beche. 12 full-page and one double page colour illustrations. Quarter-bound in blocked cloth with screen printed paper sides, 488pp. 10x6¾in. LT Catalogue
Handmaid’s Tale, The by Margaret Atwood. Reprint. Introduced by the author. Illustrated by Anna & Elena Balbusso. Bound in cloth, blocked with a design by Anna and Elena Balbusso. Frontispiece and 6 colour illustrations. 9x 6¼ in. 336 pages.
Illustrated Man, The by Ray Badbury. Introduced by Margaret Atwood. Frontispiece and 5 colour illustrations by Marc Burckhardt. Bound in metallic buckram printed with a design by Marc Burckhardt. Blocked slipcase. 216pp. 9½x6¼in. LT Catalogue
War of the Worlds, The by H. G. Wells. New edition. Introduced by Iain Sinclair. Frontispiece and 6 colour illustrations by Grahame Baker-Smith. Bound in buckram blocked with a design by the artist. 240pp. 9½x6¾in.
LE * Riddley Walker by Russell Hoban, Illustrated by Quentin Blake, Postscript by Dr Rowan Williams. 288pp. 14″ × 10″. 1000 copies (£295) Brochure - LT Catalogue
2018
Atlas Shrugged by Ayn Rand (3v.). Frontispiece and 4 colour illustrations per volume by Anna and Elena Balbusso. Introduced by Michael Dirda. Bound and blocked in red and black on grey metallic textured paper. Title blocked grey slipcase. 1,576 pages in total. 9½x6¼in.
His Dark Materials by Philip Pullman. (3v.). Reprint. Northern Lights (The Golden Compass in USA). The Subtle Knife. The Amber Spyglass. Preface by Philip Pullman. Frontispiece and 10 full-page colour illustrations in each volume by Peter Bailey. by Peter Bailey. Bound in cloth with illustrated boards. Pictorial slipcase. 1168pp in total. 9.5x6.25in. Identical to 2008 edition except for change in FS logo on spine.
Left Hand of Darkness, The by Ursula K. Le Guin. Integrated title double-page spread and 14 black & white integrated illustrations by David Lupton. Introduced by Becky Chambers. Bound in printed and black & white picture blocked cloth. Printed endpapers. Printed grey slipcase with spot UV varnish. 288pp. 9½x6¼in.
American Gods: The Author's Preferred Text by Neil Gaiman. Introduced by the Author and Dave McKean. Illustrated by Dave McKean. Bound in cloth blocked with a design by the artist. Set in Maxime with Wicked Grit display. Frontispiece and 11 colour illustrations, including 3 double-page spreads. Printed slipcase. 10˝ x 6¾In. 560 pages. LT Catalogue
We by Yevgeny Zamyatin. Introduced by Ursula K. Le Guin. Translated by Clarence Brown. Frontispiece and 5 black & white illustrations by Kit Russel. Bound in Surbalin Perleffert paper printed with a design by the artist. Lenticular design slipcase. 240pp. 9½x6¼in. LT Catalogue
Starship Troopers by Robert A. Heinlein. Illustrated by Stephen Hickman. Introduced by Joe Haldeman. Quarter-bound in black blocked cloth with image blocked green metallic paper sides. Frontispiece and 6 colour illustrations, including 2 double-page spreads. Metallic coloured page edges. Dark green slipcase with a printed inset colour label. 272pp.10x6¾in.
Voyages to the Moon and the Sun by Cyrano de Bergerac. New edition. Introduced by John Wells. Translated by Richard Aldington. Over 125 integrated duotone illustrations by Quentin Blake. Gilded page tops. Bound in orange image blocked cloth. Text blocked black slipcase. 232pp. 12x8½in. LT Catalogue
I Am Legend by Richard Matheson. Introduced by Joe Hill. Illustrated by Dave McKean. Bound in printed and blocked cloth with a design by the artist. Frontispiece and 6 colour illustrations. 4 integrated black & white illustrations for the part-titles and illustrated headings throughout. Die-cut slipcase. 208pp. 10x5½in.
LE * I Am Legend by Richard Matheson. Introduced by Joe Hill. Illustrated by Dave McKean. Bound in blocked leather with a design by the artist. Signed print, frontispiece and 6 colour illustrations. Four integrated black and white illustrations for the part-titles and illustrated headings throughout. Metallic foil blocked endpapers. Red coloured page edges. Printed cloth slipcase. 208pp. 10x5½in. 295 copies. (£275) (Sold out in 13 days).
2019
Anansi Boys by Neil Gaiman. Illustrated by Francis Vallejo. Introduced by Nalo Hopkinson. Frontispiece and 5 colour illustrations with 2 double-page spreads. 25 black & white integrated illustrations and chapter opening spreads. Bound in printed and multicolour image blocked black art silk. Green ribbon marker. Green image printed page edges. Multicoloured pictorial and slipcase with textured UV spot varnishing. 376pp. 10x6¾in. Brochure
Kindred by Octavia E. Butler. Introduced by Tananarive Due. Frontispiece and 6 colour illustrations, including 1 double-page spread by James E. Ransome. Bound in image blocked dark-blue paper. Mid-blue image printed slipcase. 296 pages. 9½x6¼in.
Oryx and Crake by Margaret Atwood. Introduced by Lawrence Donegan. Foreword by the author. Frontispiece and 6 colour illustrations by Harriet Lee-Merrion. Printed marbled pattern endpapers. Bound in symbol blocked textured green paper with glow-in-the-dark varnish. Die-cut slipcase mid-blue lined in blue paper. 360 pages. 9½x6¼in.
Time Machine & The Island of Doctor Moreau, The by H. G. Wells. Illustrated by Grahame Baker-Smith. Introduced by Michael Moorcock. Frontispiece and 7 colour illustrations. Bound in maroon gilt blocked buckram. 288pp. 9½x6¾in.
Catch-22 by Joseph Heller. Reprint. Frontispiece and 8 colour illustrations by Neil Packer. Introduced by Malcolm Bradbury. Preface by Joseph Heller. Printed endpapers. Bound in image blocked light brown cloth. 472pp. 10x6¼in. LT Catalogue
Marvel: The Golden Age 1939-1949. (2v. + print). Selected, edited and Introduced by Roy Thomas. Main volume bound in blue screen-printed and metallic foil blocked cloth with lettering by Ian Jepson. 272 pages printed in 4-colour throughout. Endpapers printed in metallic ink with a design by Marco D’Alfonso. Ribbon marker. Coloured page edges. 13¼x 9¼in. Facsimile Comic 64 pages with 4-page cover 10x7in. Loosely inserted print by Marco D’Alfonso in 4-colour on 280gsm paper. 10x7in. Housed in a solander box bound and lined in printed and gold laminated paper with a colour design on all sides by Marco D’Alfonso.
Ubik by Philip K. Dick. Frontispiece and 6 colour illustrations by La Boca. Introduced by Kim Stanley Robinson. Brightly multicolour pattern printed endpapers. Bound in pattern blocked bright green vinyl-coated paper. Bright pink die-cut slipcase with printed insides. 224pp. 9x6¼in. LT Catalogue
Something Wicked This Way Comes by Ray Bradbury. Illustrated by Tim McDonagh. Introduced by Frank Skinner. Frontispiece and 6 colour illustrations, including a double-page spread. Bound in yellow cloth blocked in black and red. Yellow image blocked slipcase. 272pp. 9½x6¼in. Leaflet
LE * Book of the New Sun, The by Gene Wolfe (4v.). Signed by Gene Wolfe. Illustrated and signed by Sam Weber. Introduced and signed by Neil Gaiman. Decorative initial chapter letters designed by the illustrator. Printed in two colours throughout. Colour frontispiece and double-page illustration and 3 black and white full-page plates in each volume printed on Natural Evolution Ivory paper.Black page edges. Each volume 3/4 bound in black buckram blocked in red foil with cloth front boards printed with designs by the illustrator. Handmade cloth-bound slipcase blocked on two sides in pale gold foil with designs by the illustrator and lined with silver mirrored paper. 1,196 pages in total. Each volume 10×6¾in. 750 copies (£395) Brochure
2wcarter
>1 bacchus.:
There is no such list, but it could be carefully extracted from the Complete List of FS Books.
There is no such list, but it could be carefully extracted from the Complete List of FS Books.
3SimB
>1 bacchus.:
Perhaps the first was "Dr Jekyll and Mr Hyde" in 1948
Perhaps the first was "Dr Jekyll and Mr Hyde" in 1948
4bacchus.
I skimmed and plucked through the wiki and made a first draft. I probably missed some and added few that are not primarily science fiction but figured there's enough elements to justify.
>3 SimB: You're right ;)
>3 SimB: You're right ;)
5wcarter
>4 bacchus.:
When you have finished your list, put it in a new thread, and I will create a link to it from the wiki. New titles can then be added to the list as they are published.
When you have finished your list, put it in a new thread, and I will create a link to it from the wiki. New titles can then be added to the list as they are published.
6xrayman
>1 bacchus.: An interesting exercise, I'm sure many devotees will have different ideas of what constitutes science fiction. Might I suggest 'Lord of the Flies' and 'News from Nowhere' for inclusion? The L.E. of 'The Door in the Wall' is a candidate. What would be the reasoning for 'Catch 22' to be included?
7Czernobog
>1 bacchus.:
I would classify His Dark Materials, American Gods and Anansi Boys as Fantasy. I'm not sure whether Atwood considers The Handmaid’s Tale as SF either. Maybe it's an idea to compile lists for SF, Fantasy, Horror and Alternate History, so all sub genres of Speculative Fiction are covered.
Edit: Or just make one list covering all Speculative Fiction which might avoid discussions like this.
I would classify His Dark Materials, American Gods and Anansi Boys as Fantasy. I'm not sure whether Atwood considers The Handmaid’s Tale as SF either. Maybe it's an idea to compile lists for SF, Fantasy, Horror and Alternate History, so all sub genres of Speculative Fiction are covered.
Edit: Or just make one list covering all Speculative Fiction which might avoid discussions like this.
8Fierylunar
>7 Czernobog: I agree on HDM especially and would also remove A Wizard of Earthsea as I consider that fantasy as well.
9HarpsichordKnight
Firstly, many thanks for doing this, really fascinating list.
I agree with the others that many of the selections aren't really true sci-fi. Some which definitely aren't:
Atlas Shrugged
Frankenstein
Around the World in 80 Days
Gulliver's Travels
I agree with the others that many of the selections aren't really true sci-fi. Some which definitely aren't:
Atlas Shrugged
Frankenstein
Around the World in 80 Days
Gulliver's Travels
10bacchus.
Thank you all for the suggestions. I'll adjust the list in new thread and organise a bit better.
I'd like to hold back for more opinions on Handmaid's Tale and Frankenstein. The others I'll adjust.
>6 xrayman: Might I suggest 'Lord of the Flies' and 'News from Nowhere' for inclusion?
I can't remember any science fiction element in Lord of the Flies to be honest. Thanks for suggesting "News from Nowhere"; I'll include in the list.
>9 HarpsichordKnight: I've never read Atlas Shrugged, but I included it cause it's under Science Fiction in FS website. If you read it I'm happy to take your word for it :)
I'd like to hold back for more opinions on Handmaid's Tale and Frankenstein. The others I'll adjust.
>6 xrayman: Might I suggest 'Lord of the Flies' and 'News from Nowhere' for inclusion?
I can't remember any science fiction element in Lord of the Flies to be honest. Thanks for suggesting "News from Nowhere"; I'll include in the list.
>9 HarpsichordKnight: I've never read Atlas Shrugged, but I included it cause it's under Science Fiction in FS website. If you read it I'm happy to take your word for it :)
11folio_books
>10 bacchus.: I'd like to hold back for more opinions on Handmaid's Tale and Frankenstein.
Atwood has resisted the suggestion that The Handmaid's Tale and Oryx and Crake are science fiction, suggesting to The Guardian in 2003 that they are speculative fiction instead: "Science fiction has monsters and spaceships; speculative fiction could really happen."
Just lifted that quote off the web. It seems to me that speculative fiction is a better catch-all for the task you've set yourself. Good luck!
Atwood has resisted the suggestion that The Handmaid's Tale and Oryx and Crake are science fiction, suggesting to The Guardian in 2003 that they are speculative fiction instead: "Science fiction has monsters and spaceships; speculative fiction could really happen."
Just lifted that quote off the web. It seems to me that speculative fiction is a better catch-all for the task you've set yourself. Good luck!
12xrayman
>10 bacchus.: 'Lord of the Flies' begins with the children having been jettisoned in a 'passenger tube' from an aircraft which has been attacked after fleeing from an area which has been atom bombed. I always read the children's social breakdown as a microcosm of the implied world war. Whether being set in a future dystopia makes this science fiction is a matter of debate, I tend to think so. I would also class Frankenstein as SF, it set the pattern for a whole canon of books and films which are generally accepted as SF, for example Michael Crichton has produced several variations on the Frankenstein theme.
13xrayman
>11 folio_books: I found this interesting, probably because it coincides with my view :-) https://www.mildlyscientific.com/2018/10/what-is-science-fiction-a-case-study-of...
14folio_books
>12 xrayman:
Interesting, though I cannot agree with his conclusion. I edge towards Atwood's point of view, though not entirely. I like boxes to put things in and, for me, The Handmaid's Tale doesn't fit in my SF box. I suspect SF is what people want it to be.
Interesting, though I cannot agree with his conclusion. I edge towards Atwood's point of view, though not entirely. I like boxes to put things in and, for me, The Handmaid's Tale doesn't fit in my SF box. I suspect SF is what people want it to be.
15Jayked
If Gulliver's Travels is SF, what is Candide? The main difference between the two is that Voltaire uses real rather than fictional locations.
Trollope's The Fixed Period is often considered SF, certainly dystopian.
Trollope's The Fixed Period is often considered SF, certainly dystopian.
17jroger1
Trying to compile a list of sci-fi that everyone agrees with is an impossible task. Utopian novels, maybe and maybe not. Frankenstein crosses boundaries and is both sci-fi and horror. Gulliver is more like fantasy, in my judgement, but maybe that is just a subset of sci-fi. Tolkien is fantasy, too, but without the satire.
18Czernobog
The Man in the High Castle is also difficult to assign to one category or another. It is primarily alternative history but it contains some -very minor- SF elements. Then again it did win the 1963 Hugo (best novel).
On a similar note The Handmaid's Tale won the first Arthur C. Clarke Award in 1987.
On a similar note The Handmaid's Tale won the first Arthur C. Clarke Award in 1987.
19treereader
It'll be difficult to classify books into particular genres, especially as many can fall into several. Case in point:
>9 HarpsichordKnight:
I've read the first two of your list but not the second two.
Atlas Shrugged - it has some science fiction components but they aren't the primary focus of the overarching narrative. I wouldn't be offended if it wasn't included in a list of science fiction books but it could still belong in one.
Frankenstein - this should definitely belong in a science fiction book list. It is one of the first science fiction books ever, pre-dating the genre, and is a prototype for many future science fiction stories. It can also belong to other genres: horror, adventure, and moral lesson/warning, to name a few.
>9 HarpsichordKnight:
I've read the first two of your list but not the second two.
Atlas Shrugged - it has some science fiction components but they aren't the primary focus of the overarching narrative. I wouldn't be offended if it wasn't included in a list of science fiction books but it could still belong in one.
Frankenstein - this should definitely belong in a science fiction book list. It is one of the first science fiction books ever, pre-dating the genre, and is a prototype for many future science fiction stories. It can also belong to other genres: horror, adventure, and moral lesson/warning, to name a few.
20elladan0891
>9 HarpsichordKnight: >15 Jayked:
My first reaction to inclusion of Gulliver's Travels was similar, but on the second thought the part about Laputa & Balnibarbi could easily pass as early SciFi.
My first reaction to inclusion of Gulliver's Travels was similar, but on the second thought the part about Laputa & Balnibarbi could easily pass as early SciFi.
21Glacierman
Game of Thrones??? Or do you consider that fantasy???
There was a time when Michael Moorcock and others were publishing works which were published as science fiction, but which had very little science in them resulting is a rather loud dust up within the SF community which led to the use of the term "speculative fiction" to include both "hard" science fiction as well as the newer New Wave/Moorcockian works.
Some lump SF & Fantasy together. I guess it boils down to whatever hits your switch.
Making up such a list, as was mentioned above, is going to be difficult because of the wide difference of opinion as to what constitues "science fiction" as a genre. SF in the strictest sense or in a broader sense?
I do not envy you the task you have set yourself. Good luck!
There was a time when Michael Moorcock and others were publishing works which were published as science fiction, but which had very little science in them resulting is a rather loud dust up within the SF community which led to the use of the term "speculative fiction" to include both "hard" science fiction as well as the newer New Wave/Moorcockian works.
Some lump SF & Fantasy together. I guess it boils down to whatever hits your switch.
Making up such a list, as was mentioned above, is going to be difficult because of the wide difference of opinion as to what constitues "science fiction" as a genre. SF in the strictest sense or in a broader sense?
I do not envy you the task you have set yourself. Good luck!
22HarpsichordKnight
Science fiction has a very "you'll know it when you see it" quality; even accounting for distinctions like soft and hard sci-fi. Still, doing some research, I see that Frankenstein is indeed argued by some to even be the first work of science fiction.
I accept that means you should probably include it for completeness.
That said, I still don't think it actually is - science fiction isn't just fiction that includes science. Frankenstein is clearly horror, perhaps with some romantic era themes. I've never seen it in a bookstore in the science fiction section, and don't think there's any real overlap between it and (say), Dune or the Foundation series. Yes, there's the idea of whether a manmade creation can have free will, but that's not quite enough.
I think this is part of the same problem when people lump Fantasy with Sci-fi. Of course there are some shared elements, but your average book in either genre is nothing like its counterpart.
Similarly, for Gulliver's travels, Atlas Shrugged, and Lord of the Flies, the science-elements just aren't enough to put them into that category. Lord of the Flies has only that 1 page of ostensibly sci-fi beginnings, but the entire book is about human nature in a situation which could easily happen in our current world. The tech is just for narrative convenience in setting things up. If you start to include books like this in science fiction, it becomes so broad as to be meaningless.
For Atwood's definition, I like the distinction between speculative and science, but worth nothing that a lot of hard sci-fi could definitely happen - it's just a bit further off.
I accept that means you should probably include it for completeness.
That said, I still don't think it actually is - science fiction isn't just fiction that includes science. Frankenstein is clearly horror, perhaps with some romantic era themes. I've never seen it in a bookstore in the science fiction section, and don't think there's any real overlap between it and (say), Dune or the Foundation series. Yes, there's the idea of whether a manmade creation can have free will, but that's not quite enough.
I think this is part of the same problem when people lump Fantasy with Sci-fi. Of course there are some shared elements, but your average book in either genre is nothing like its counterpart.
Similarly, for Gulliver's travels, Atlas Shrugged, and Lord of the Flies, the science-elements just aren't enough to put them into that category. Lord of the Flies has only that 1 page of ostensibly sci-fi beginnings, but the entire book is about human nature in a situation which could easily happen in our current world. The tech is just for narrative convenience in setting things up. If you start to include books like this in science fiction, it becomes so broad as to be meaningless.
For Atwood's definition, I like the distinction between speculative and science, but worth nothing that a lot of hard sci-fi could definitely happen - it's just a bit further off.
23Fierylunar
>11 folio_books:, >13 xrayman: Those quotes by Atwood don't do her image much good in my books at least. Basically, in her opinion, it boils down to: "If the book reads like a Star Trek fanfic, it's SciFi. All others are not." A far too shallow (and derogative) view, and Mildly Scientific rightfully calls her out on it.
>21 Glacierman: Being quite honest here: In what world would Game of Thrones be considered SciFi? There is no Sci to speak of in the books; there are sorcerers, ice demons, reviving dead and dragons. I also do not see a link to 'speculative fiction' in the series. I understand that some find both SciFi and fantasy inferior genres and therefore throw them all on the same heap, but there are clear cut differences between the two (barring the niche genre of science fantasy).
>21 Glacierman: Being quite honest here: In what world would Game of Thrones be considered SciFi? There is no Sci to speak of in the books; there are sorcerers, ice demons, reviving dead and dragons. I also do not see a link to 'speculative fiction' in the series. I understand that some find both SciFi and fantasy inferior genres and therefore throw them all on the same heap, but there are clear cut differences between the two (barring the niche genre of science fantasy).
24elladan0891
>22 HarpsichordKnight: Similarly, for Gulliver's travels...
Well, let's see. A flying island, moving about by the means of magnetic levitation, controlled by a race of scientists. It rules over the lands below, putting them into submission by hovering over their crops and blocking sunlight and rain; in exceptional scenarios the island is lowered to crush a defiant city. The only city to resist Laputa successfully did so by building very tall towers and placing powerful magnets in them, thus attracting and fixing the flying island in place. The island is inhabited by a race of scientists, who perfected magnetic levitation and are expert astronomers (interestingly, Swift credited them with discovery of Mars's two moons - unknown at the time and really discovered only well over a century after Swift's writing). They created an Academy which started with projects designed to improve life (e.g. developing crops that could be harvested every season), but as they were unable to perfect them to acceptable levels, they degenerated into pursuit of useless projects just for the sake of scientific process, resulting in neglect and ruin to the country. The Academy housed The Engine, a sort of computer that was used to write books on various subjects. Etc., etc. If that is not SciFi, I don't know what is.
Well, let's see. A flying island, moving about by the means of magnetic levitation, controlled by a race of scientists. It rules over the lands below, putting them into submission by hovering over their crops and blocking sunlight and rain; in exceptional scenarios the island is lowered to crush a defiant city. The only city to resist Laputa successfully did so by building very tall towers and placing powerful magnets in them, thus attracting and fixing the flying island in place. The island is inhabited by a race of scientists, who perfected magnetic levitation and are expert astronomers (interestingly, Swift credited them with discovery of Mars's two moons - unknown at the time and really discovered only well over a century after Swift's writing). They created an Academy which started with projects designed to improve life (e.g. developing crops that could be harvested every season), but as they were unable to perfect them to acceptable levels, they degenerated into pursuit of useless projects just for the sake of scientific process, resulting in neglect and ruin to the country. The Academy housed The Engine, a sort of computer that was used to write books on various subjects. Etc., etc. If that is not SciFi, I don't know what is.
25Glacierman
>23 Fierylunar: Being quite honest here: In what world would Game of Thrones be considered SciFi?
Well, being perfectly honest here as well, you are quite right. I simply threw that out there followed immediately by the caveat: "or would you consider that fantasy?" as I have not read the books and have not seen the TV series, but was aware that FS is doing the sereis. However, after some reflection, I would certainly NOT call them SF, but they are not precisely what I would call fantasy, either. They seem to me to be more in the line of political intrique/military fiction in a medieval setting with dragons and undead.
That, however, is another fish to fry at some other time.
Well, being perfectly honest here as well, you are quite right. I simply threw that out there followed immediately by the caveat: "or would you consider that fantasy?" as I have not read the books and have not seen the TV series, but was aware that FS is doing the sereis. However, after some reflection, I would certainly NOT call them SF, but they are not precisely what I would call fantasy, either. They seem to me to be more in the line of political intrique/military fiction in a medieval setting with dragons and undead.
That, however, is another fish to fry at some other time.
26treereader
>25 Glacierman:, >23 Fierylunar:
Game of Thrones wouldn't be considered science fiction. It doesn't contain any real, speculative, or imaginary scientific or technological plot devices or explanations to advance any part of the story. It seems pretty clear cut as fantasy but it can still fall into other categories, such as the political intrigue and military fiction you've suggested.
Game of Thrones wouldn't be considered science fiction. It doesn't contain any real, speculative, or imaginary scientific or technological plot devices or explanations to advance any part of the story. It seems pretty clear cut as fantasy but it can still fall into other categories, such as the political intrigue and military fiction you've suggested.
27HarpsichordKnight
>24 elladan0891:
Science fiction elements or even scenes don't mean a work is science fiction - in the same way a book doesn't become a crime novel because a crime was committed in it. Genres are meant to tell you the type of the book, so you roughly know what you are getting. Gulliver's Travels is 'satire/fantasy'.
Certain advanced technologies, particularly floating islands, airships, and steam based tech, are a really common fantasy trope.
To reframe this debate slightly, can you really ever imagine the following conversation?
'I'd like to read more science fiction, what can you recommend?'
'Frankenstein, Gulliver's Travels, and Lord of the Flies.'
More realistic, and more helpful, would be:
'I've read a lot of science fiction, but would like to know more about the roots of the genre, can you help?'
'Well, most people would consider real science fiction to be written by authors like Clarke and Asimov, and before them, Wells. However, the actual roots can be traced further back, to scientific elements in other genres. For example, Frankenstein wrestles with some of the moral issues of creating a consciousness, and Gulliver's Travels, while mostly fantasy, has moments which blur into science fiction. They're still more horror and satire respectively, but it's interesting to see some of the early moments which contributed to the genre's creation.'
Science fiction elements or even scenes don't mean a work is science fiction - in the same way a book doesn't become a crime novel because a crime was committed in it. Genres are meant to tell you the type of the book, so you roughly know what you are getting. Gulliver's Travels is 'satire/fantasy'.
Certain advanced technologies, particularly floating islands, airships, and steam based tech, are a really common fantasy trope.
To reframe this debate slightly, can you really ever imagine the following conversation?
'I'd like to read more science fiction, what can you recommend?'
'Frankenstein, Gulliver's Travels, and Lord of the Flies.'
More realistic, and more helpful, would be:
'I've read a lot of science fiction, but would like to know more about the roots of the genre, can you help?'
'Well, most people would consider real science fiction to be written by authors like Clarke and Asimov, and before them, Wells. However, the actual roots can be traced further back, to scientific elements in other genres. For example, Frankenstein wrestles with some of the moral issues of creating a consciousness, and Gulliver's Travels, while mostly fantasy, has moments which blur into science fiction. They're still more horror and satire respectively, but it's interesting to see some of the early moments which contributed to the genre's creation.'
28wcarter
>1 bacchus.:
Seems you've opened a can of worms!
Its your list, so you can decide what goes in it or not. Others can comment as they see fit, but the final list is up to you.
Once you feel it is what you want, I will link to it from the FSD wiki.
Seems you've opened a can of worms!
Its your list, so you can decide what goes in it or not. Others can comment as they see fit, but the final list is up to you.
Once you feel it is what you want, I will link to it from the FSD wiki.
29F.Trier
>28 wcarter: or in this case: A can of sandworms
30xrayman
>1 bacchus.: A list of lists may be required, A Venn diagram might be best :-). It could be worse, imagine the debate if FS had published L. Ron Hubbard.
31Jayked
Don't want to add to the woes, but you might want to consider the author's intention in using SF elements, particularly in the case of Swift. His is purely satirical. He, a conservative divine, abhorred the Royal Society, recently established to further the cause of science, and uses the absurd flying island, the scientists kept awake by a servant with a bladder etc., to undermine their credibility. That's particularly so with the language machine. The RS was committed to finding language specific to science for papers by its members. It forbade the use of figures of speech -- similes, metaphors -- except in prefaces (where they ran riot), and some members were actively trying to invent an entire vocabulary which would describe scientific concepts unequivocally.
The fantasy elements -- large people, small people -- also serve some of his favourite prejudices, for instance his disgust with the human body (c.f. The Progress of Beauty, The Lady's Dressing Room, Strephon and Chloe, etc.)
So is it Science fiction if the author doesn't believe?
The fantasy elements -- large people, small people -- also serve some of his favourite prejudices, for instance his disgust with the human body (c.f. The Progress of Beauty, The Lady's Dressing Room, Strephon and Chloe, etc.)
So is it Science fiction if the author doesn't believe?
32Czernobog
>29 F.Trier: "A can of sandworms"
I understood that reference... Speaking of sandworms, Dune can be assigned to both the science fiction and the fantasy subgenres (science fantasy!). So again I would like to state my preference for a list of speculative fiction rather than “just” science fiction to avoid a too rigid classification and its problems.
This entry from the Oxford Research Library gives various definitions of speculative fiction, the third is what I have in mind, i.e. speculative fiction as:
Edit: changed external link to get it working
I understood that reference... Speaking of sandworms, Dune can be assigned to both the science fiction and the fantasy subgenres (science fantasy!). So again I would like to state my preference for a list of speculative fiction rather than “just” science fiction to avoid a too rigid classification and its problems.
This entry from the Oxford Research Library gives various definitions of speculative fiction, the third is what I have in mind, i.e. speculative fiction as:
"a super category for all genres that deliberately depart from imitating “consensus reality” of everyday experience. In this latter sense, speculative fiction includes fantasy, science fiction, and horror, but also their derivatives, hybrids, and cognate genres like the gothic, dystopia, weird fiction, post-apocalyptic fiction, ghost stories, superhero tales, alternate history, steampunk, slipstream, magic realism, fractured fairy tales, and more."This article is an interesting read in itself btw, in particular the discussion and critique of Atwood’s position in this debate.
Edit: changed external link to get it working
33Shaliza
>7 Czernobog: I agree. The Handmaid's Tale is more Dystopic and fantasy shouldn't be lumped into Science fiction.
34elladan0891
>31 Jayked: So is it Science fiction if the author doesn't believe?
And Douglas Adams believes?
Science fiction is more about setting and narrative. A SciFi book could be anything - action, adventure, psychological thriller, comedy - but not satire? I find the suggestion a bit odd. Especially considering that it's not any random satire, but satire specifically targeting scientists and contemporary scientific methods, and talks about disastrous effects brought up by the rule of such scientists. Sounds like a perfect example of dystopian SciFi, no? I have no doubt that if A Voyage to Laputa and Balnibarbi were published as a separate book, it would be hailed as an early example of dystopian SF. But the shade of the much more widely read Lilliput and, to a lesser extent, Brodbingang, none of which have anything to do with SciFi, skews people's perception, I believe. I was initially surprised by Gulliver's Travels inclusion too, and it took me a few moments to remember the third Voyage.
And Douglas Adams believes?
Science fiction is more about setting and narrative. A SciFi book could be anything - action, adventure, psychological thriller, comedy - but not satire? I find the suggestion a bit odd. Especially considering that it's not any random satire, but satire specifically targeting scientists and contemporary scientific methods, and talks about disastrous effects brought up by the rule of such scientists. Sounds like a perfect example of dystopian SciFi, no? I have no doubt that if A Voyage to Laputa and Balnibarbi were published as a separate book, it would be hailed as an early example of dystopian SF. But the shade of the much more widely read Lilliput and, to a lesser extent, Brodbingang, none of which have anything to do with SciFi, skews people's perception, I believe. I was initially surprised by Gulliver's Travels inclusion too, and it took me a few moments to remember the third Voyage.
35Jayked
>34 elladan0891: FWIW I don't imagine that Swift took the scientists very seriously. His attacks on them are basically cheap shots, brilliantly done, as usual. To me the most effective section is the Struldbrugs who live forever without benefit of good health. I'm not sure if that's aimed at scientists or not -- it certainly might be now.
