Böcker av Joshua Glenn

"More Voices of the Radium Age will showcase proto- and early sf stories by much-admired authors best known today for their non-sf work (E. Nesbit, author of Three Children and It and other popular children's fantasies, and Booth Tarkington, Pulitzer Prize-winning author of The Magnificent Ambersons); authors whose outsized success with readers would influence the subsequent development of the sf genre (H.G. Wells, who continued to make startling predictions in the early 20th century, and Abraham Merritt and George Allan England, who along with Edgar Rice Burroughs ushered in the crucial era of the pulp scientific romance); as well as writers who have now fallen into obscurity (George C. Wallis, the Russian Symbolist litterateur Valery Bryusov, "weird" horror master Algernon Blackwood, and Francis Stevens, "the woman who invented dark fantasy"). Note that Nesbit and Stevens are two of sf's only female writers pre-1926"--

A collection of science fiction stories from the early twentieth century by authors ranging from Arthur Conan Doyle to W. E. B. Du Bois.This collection of science fiction stories from the early twentieth century features work by the famous (Arthur Conan Doyle, creator of Sherlock Holmes), the no-longer famous (“weird fiction" pioneer William Hope Hodgson), and the should-be-more famous (Bengali feminist Rokeya Sakhawat Hossain). It offers stories by writers known for concerns other than science fiction (W. E. B. Du Bois, author of The Souls of Black Folk) and by writers known only for pulp science fiction (the prolific Neil R. Jones). These stories represent what volume and series editor Joshua Glenn has dubbed “the Radium Age”—the period when science fiction as we know it emerged as a genre. The collection shows that nascent science fiction from this era was prescient, provocative, and well written. Readers will discover, among other delights, a feminist utopia predating Charlotte Perkins Gilman’s Herland by a decade in Hossain’s story, “Sultana’s Dream”; a world in which the human population has retreated underground, in E. M. Forster’s “The Machine Stops”; an early entry in the Afrofuturist subgenre in Du Bois’s last-man-on-Earth tale, “The Comet”; and the first appearance of Jones’s cryopreserved Professor Jameson, who despairs at Earth’s wreckage but perseveres—in a metal body—to appear in thirty-odd more stories.