Nicholas Ruddick – författare

This study confronts current influential theories that science fiction is either an American phenomenon or an international one. The study rejects the idea that British science fiction is distinguishable only by its pessimistic outlook--while also rejecting the idea that other designations, such as scientific romance or speculative fiction, better fit the British product. Instead, the study traces the evolution of British science fiction, showing how H. G. Wells synthesized various strains in English literature, and how later writers, conscious of this Wellsian tradition, built upon Wells's literary achievement.An introduction defines what might reasonably be placed under the heading British science fiction, and why. Chapter 1 examines previous critical ideas about the nature of British science fiction, revealing that most of them are based on untested assumptions. Chapter 2 explores the significance of the dominant motif of the island in British SF --a motif that suggests that British SF and mainstream English literature have been long and fruitfully intertwined. Chapters 3 and 4 deal respectively with British disaster fiction before and after the Second World War. They focus on why British science fiction has so frequently seemed obsessed with catastrophe. Chapter 5, a polemical conclusion, deals with the future of British science fiction based on its current predicament. Ultimate Island forms a theoretical counterpart to the author's recently-published British Science Fiction: A Chronology 1478-1990 (Greenwood 1992), which defines the historical scope of the field.

This collection of twenty essays originally presented at the Eleventh International Conference on the Fantastic in the Arts contains five parts: on fantasists and their work, contemporary fantastic theory and practice, studies in the British and European fantastic, studies in American fantasy and science fiction, and sex and techno-horror in fantastic literature and film.What all the essays here have in common is that their authors are all aware of the tremendous latent power, for good and ill, of the fantastic text. We are given timely reminders of the dangers, as well as the appeal, of elves and how narrators in fantastic fictions take advantage of our desire to be part of a narrative community. We learn how some contemporary fantasists assimilate literary and scientific theory, while others seem in their fiction to require a new sociology to account for it.

This chronology outlines British science fiction from 1479-1990, highlighting the important biographical and publishing events in the field of science fiction literature and fandom, as well as in other media. The chronology includes biographical information on more than 700 authors, listings of more than 2,000 works, including anthologies, criticism and essays, publishing and fandom milestones, first publications, and awards. The works are fully cross-referenced and indexed, with introductory definitions of the field and descriptive headnotes for five periods: The Descent of Scientific Romance, 1478-1894; The Wellsian Synthesis, 1895-1936; British Science Fiction, 1937-1961; New Wave S(peculative) F(iction), 1962-1978; and The British Fantastic, 1979-1990.This book is an outgrowth of and is complementary to Ruddick's critical work, Ultimate Island. Together the two works define the scope and the nature of British science fiction--an enormous field that is not, until recently, examined separately from American science fiction in spite of considerable differences.