Given the extensive influence of the 'transport revolution' on the past two centuries (a time when trains, trams, omnibuses, bicycles, cars, airplanes, and so forth were invented), and given science fiction's overall obsession with machines and technologies of all kinds, it is surprising that scholars have not paid more attention to transportation in this increasingly popular genre. Futuristic Cars and Space Bicycles is the first book to examine the history of representations of road transport machines in nineteenth-, twentieth-, and twenty-first-century American science fiction. The focus of this study is on two machines of the road that have been locked in a constant, often bitter, struggle with one another: the automobile and the bicycle. With chapters ranging from the early science fiction of the pulp magazine era in the 1920s and 1930s, to the postcyberpunk of the 1990s and more recent media of the 2000s such as web television, zines, and comics, this book argues that science fiction by and large perceives the car as anything but a marvelous invention of modernity. Rather, the genre often scorns and ridicules the automobile and instead promotes more sustainable, more benign, more restrained technologies of movement such as the bicycle.

Essays on the post-modern reception and interpretation of the Middle Ages, with a particular concentration on environmental matters. Ecoconcerns and ecocriticism are a rising trend in medievalism studies, and form a major focus of this collection. Topics under discussion in the first part of the volume include figurations in nineteenth- and twentieth-century medievalism; environmental medievalism in Sidney Lanier's Southern chivalry; nostalgia and loss in T.H. White's "forest sauvage"; and green medievalism in J.R.R. Tolkien's elven realms. The eleven subsequent articles continue to take in such themes more tangentially, testing and buillding on the methods and conclusions of the first part. Their subjects include John Aubrey's Middle Ages; medieval charter-horns in early modern England; nineteenth-centuryreimaginings of Chaucer's Griselda; Dante's influence on Harlan Ellison's "I Have No Mouth and I Must Scream"; multi-layered medievalisms in George R.R. Martin's A Song of Ice and Fire; (coopted) feminism via medievalism inDisney's Maleficent; (neo)medievalism in Babylon 5 and Crusade; cosmopolitan anxieties and national identity in Netflix's Marco Polo; mapping Everealm in The Quest; undergraduate perceptions ofthe "medieval" and the "Middle Ages"; and medievalism in the prosopopeia and corpsepaint of Mayhem's De Mysteriis Dom Sathanas. Karl Fugelso is Professor of Art History at Towson University in Baltimore, Maryland. Contributors: Dustin M. Frazier Wood, Daniel Helbert, Ann F. Howey, Carol Jamison, Ann M. Martinez, Kara L. McShane, Lisa Myers, Elan Justice Pavlinich, Katie Peebles, Scott Riley, Paul B. Sturtevant, Dean Swinford, Renee Ward, Angela Jane Weisl, Jeremy Withers.

Mr Hoopdriver is an overworked Londoner who spends most every day servilely waiting on customers at his job as a drapers assistant. When it comes time for his annual holiday, he decides to put his newfound skills on a bicycle to the test by going on a ten-day cycling trip to the southern coast of England. A routine trip is turned upside down, however, when Hoopdriver crosses paths with Jessie, a young lady fleeing the constraints of conventional Victorian womanhood. The two cyclists eventually join up and try to help each other find a brighter future. Written at the height of the late-19th century bicycle craze and rich in geographical detail of southern England, The Wheels of Chance is a captivating portrayal of two people attempting to break free of the dreary life society has carved out for them. The novel is also among Wellss funniest works, rivalling his other comedic masterpieces such as Kipps and The History of Mr Polly. Using a copy text of the 1925 Atlantic edition of the novel, this edition includes a full introduction providing historical context on the novel and biographical information on Wells, a further reading list, detailed notes, a map of Hoopdrivers journey, a selection of contemporary reviews, and excerpts of letters by Wells relevant to the novel. The work has been specially prepared for student engagement and classroom use.

Given the extensive influence of the 'transport revolution' on the past two centuries (a time when trains, trams, omnibuses, bicycles, cars, airplanes, and so forth were invented), and given science fiction's overall obsession with machines and technologies of all kinds, it is surprising that scholars have not paid more attention to transportation in this increasingly popular genre. Futuristic Cars and Space Bicycles is the first book to examine the history of representations of road transport machines in nineteenth-, twentieth-, and twenty-first-century American science fiction. The focus of this study is on two machines of the road that have been locked in a constant, often bitter, struggle with one another: the automobile and the bicycle. With chapters ranging from the early science fiction of the pulp magazine era in the 1920s and 1930s, to the postcyberpunk of the 1990s and more recent media of the 2000s such as web television, zines, and comics, this book argues that science fiction by and large perceives the car as anything but a marvelous invention of modernity. Rather, the genre often scorns and ridicules the automobile and instead promotes more sustainable, more benign, more restrained technologies of movement such as the bicycle.

Amid apocalyptic invasions and time travel, one common machine continually appears in H. G. Wells's works: the bicycle. From his scientific romances and social comedies, to utopias, futurological speculations, and letters, Wells's texts brim with bicycles. In The War of the Wheels, Withers examines this mode of transportation as both something that played a significant role in Wells's personal life and as a literary device for creating elaborate characters and exploring complex themes. Withers traces Wells's ambivalent relationship with the bicycle throughout his writing. While Wells celebrated it as a singular and astonishing piece of technology, and continued to do so long after his contemporaries abandoned their enthusiasm for the bicycle, he was not an unwavering promoter of this machine. Wells acknowledged the complex nature of cycling, its contribution to a growing dependence on and fetishization of technology, and its role in humanity's increasing sense of superiority. Moving into the twenty-first century, Withers reflects on how the works of H. G. Wells can serve as a valuable locus for thinking through many of our current issues and problems related to transportation, mobility, and sustainability.

Bicycles have more cultural identities than many realize, functioning not only as literal vehicles in a text but also as "vehicles" for that text's themes, ideas, and critiques. In the late nineteenth century the bicycle was seen as a way for the wealthy urban elite to reconnect with nature and for women to gain a measure of personal freedom, while during World War II it became a utilitarian tool of the French Resistance and in 1970s China stood for wealth and modernization. Lately it has functioned variously as the favored ideological steed of environmentalists, a means of community bonding and aesthetic self-expression in hip hop, and the ride of choice for bike messenger-idolizing urban hipsters. Culture on Two Wheels analyzes the shifting cultural significance of the bicycle by examining its appearances in literary, musical, and cinematic works spanning three continents and more than 125 years of history. Bringing together essays by a variety of cyclists and scholars with myriad angles of approach, this collection highlights the bicycle's flexibility as a signifier and analyzes the appearance of bicycles in canonical and well-known texts such as Samuel Beckett's modernist novel Molloy, the Oscar-winning film Breaking Away, and various Stephen King novels and stories, as well as in lesser-known but equally significant texts, such as the celebrated Russian director Andrei Tarkovsky's film Sacrifice and Elizabeth Robins Pennell's nineteenth-century travelogue A Canterbury Pilgrimage, the latter of which traces the route of Chaucer's pilgrims via bicycle. Listen to an interview with the author.