These volumes presents a selection from the American and British fiction of the nineteenth century which was evolving into what we now know as science fiction. Taking Frankenstein as its formative work, it assembles stories and excerpts from narratives exploring the complex impact of new technologies like the telegraph and later the cinema, or new scientific practices like mesmerism (hypnotism) and microscopy. The selected authors range from those famous within the realist tradition like George Eliot and Mark Twain to scientists like the physician Silas Weir Mitchell and the inventor Thomas Edison. They repeatedly destabilize their narratives so that some come to resemble scientific records and frequently leave their endings unresolved, encouraging the reader to speculate about their subjects, which include extensions to the senses, new inventions, and challenges to individual autonomy. Many focus on experiments but might combine scientific enquiry with the supernatural, producing hybrid narratives as a result which are difficult to classify.

This volume presents a selection from the American and British fiction of the nineteenth century which was evolving into what we now know as science fiction. Taking Frankenstein as its formative work, it assembles stories and excerpts from narratives exploring the complex impact of new technologies like the telegraph and later the cinema, or new scientific practices like mesmerism (hypnotism) and microscopy. The selected authors range from those famous within the realist tradition like George Eliot and Mark Twain to scientists like the physician Silas Weir Mitchell and the inventor Thomas Edison. They repeatedly destabilize their narratives so that some come to resemble scientific records and frequently leave their endings unresolved, encouraging the reader to speculate about their subjects, which include extensions to the senses, new inventions, and challenges to individual autonomy. Many focus on experiments but might combine scientific enquiry with the supernatural, producing hybrid narratives as a result which are difficult to classify.

This volume presents a selection from the American and British fiction of the nineteenth century which was evolving into what we now know as science fiction. Taking Frankenstein as its formative work, it assembles stories and excerpts from narratives exploring the complex impact of new technologies like the telegraph and later the cinema, or new scientific practices like mesmerism (hypnotism) and microscopy. The selected authors range from those famous within the realist tradition like George Eliot and Mark Twain to scientists like the physician Silas Weir Mitchell and the inventor Thomas Edison. They repeatedly destabilize their narratives so that some come to resemble scientific records and frequently leave their endings unresolved, encouraging the reader to speculate about their subjects, which include extensions to the senses, new inventions, and challenges to individual autonomy. Many focus on experiments but might combine scientific enquiry with the supernatural, producing hybrid narratives as a result which are difficult to classify.

This volume brings together essays on the cultural expression of apocalypse primarily in anglophone science fiction of the nineteenth and 20th centuries. Focusing on themes, writers, and individual works, the contributors examine the relations between secular and spiritual apocalypse, connecting the fiction and films to their historical moment. Not surprisingly, war recurs throughout this material, as a critical turning-point, fulfillment of prophecy, or prelude to a new age. Among the writers covered are H.G. Wells, Olaf Stapledon, and such contemporary figures as Michael Moorcock, J.G. Ballard, and Storm Constantine.

This study examines the US fiction and related films which makes a series of interventions in the cultural debate over the threat of nuclear terrorism. It traces the beginnings of this anxiety from the 1970s, which increased during the 1990s after the collapse of the Soviet Union. The traumatic events of 9/11 became a major reference point for this fiction, which expressed the fear that of a second and worse 9/11. The study examines narratives of conspiracies which are detected and forestalled, and of others which lead to the worst of all outcomes - nuclear detonations, sometimes delivered by suitcase nukes. In some of these narratives the very fate of the nation hangs in the balance in the face of nuclear apocalypse. The discussion considers cases of attacks by electromagnetic pulse (EMP), cyberterrorism and even bioterrorism. Some of the authors examined are present or former politicians, members of the CIA, and former president, Bill Clinton.

Frankenstein, The Time Machine, Star Trek, Dune, 1984, Blade Runner--science fiction has been explained as a combination of romance, science, and prophecy; as a genre based on an imagined alternative to the reader's environment; and as a form of fantastic fiction and historical literature. It has also been argued that science fiction narratives are the most engaged, socially relevant, and responsive to the modern technological environment. In this Very Short Introduction, David Seed doesn't offer a history of science fiction, but instead attempts to tie examples of science fiction to different historical moments, in order to demonstrate how science fiction has evolved over time, especially the emergence of science fiction as a popular genre in the 20th century. Seed looks not only at literature, but also at drama and poetry, as well as film. Examining recurrent themes in science fiction, he looks at voyages into space, the concept of the alien and alternative social identities, the role of technology in science fiction, and its relation to time--in the past, present, and future.
About the Series: Combining authority with wit, accessibility, and style, Very Short Introductions offer an introduction to some of life's most interesting topics. Written by experts for the newcomer, they demonstrate the finest contemporary thinking about the central problems and issues in hundreds of key topics, from philosophy to Freud, quantum theory to Islam.

This volume brings together essays by specialists in different disciplines on the cultural expression of apocalypse, in particular in anglophone science fiction of the nineteenth and twentieth centuries. Approaching these works from historical, philosophical, linguistic and literary perspectives, the contributors examine the relationship between secular and spiritual apocalypse, connecting the fiction and films to their historical moment. Not surprisingly, war recurs throughout this material, as a critical turning-point, fulfilment of prophecy, or prelude to a new age. In particular the essays explore the issue of whether modern apocalypse is seen as an ending or a beginning, considered under its political, ethnic and gendered aspects. Among the writers covered are H. G. Wells, Olaf Stapledon and such contemporary figures as Michael Moorcock, J. G. Ballard and Storm Constantine.

Liverpool was the first British port of call for most American travellers throughout the nineteenth century. Many left accounts of their experiences in the city, providing fascinating glimpses of a Liverpool life that has now disappeared. The excerpts collected here give a series of American views of Liverpool and demonstrate the rich variety of cultural contacts between the two nations during the nineteenth century.

American Science Fiction--in both literature and film--has played a key role in the portrayal of the fears inherent in the Cold War. The end of this era heralds the need for a reassessment of the literary output of the forty-year period since 1945. Working through a series of key texts, "American Science Fiction and the Cold War" investigates the political inflections put on American narratives in the post-war decades by Cold War cultural circumstances. Nuclear holocaust, Russian invasion, and the perceived rise of totalitarianism in American society are key elements in the author's exploration of science fiction narratives that include "Fahrenheit 451," "Invasion of the Body Snatchers," and "Dr. Strangelove."