I told you I wasn’t done with William Hope Hodgson, so this one got pushed to the front of the review queue.
Review: “William Hope Hodgson”, Sam Moskowitz, 1973.
So did I learn anything new about Hodgson from reading Moskowitz’s 108 page critical biography of Hodgson? (The book is small, the print is large, so it didn’t take that long.)
Do I accept Moskowitz version of events? Mostly. We know, from Jane Frank, that Moskowitz had an archive of Hodgson material, and it appears that he talked to some of Hodgson’s family, two of his brothers.
But there is Moskowitz’s sloppiness. There are at least two occasions when a date has an obviously wrong year — obvious even if you never heard of Hodgson before reading the essay. (Of course, these could have been the fault of Donald M. Grant, Publisher.)
And I’d like to know all the places where Moskowitz got his material. There’s not a footnote in the whole essay; however, it’s unfair for me to expect one in an introduction to a collection f Hodgson fiction.
I strongly recommend James Gunn’s six volume The Road to Science Fiction anthology series as a good look at the history of Anglophone science fiction. In the sixth volume, foreign language science fiction is covered.
However, I only reviewed this volume.
A retro review from September 2, 2003.
Review: The Road to Science Fiction, Volume 5: The British Way, ed. James Gunn, 1998.
Several novels are excerpted here. And one prominent one isn’t: Mary Shelley’s Frankenstein which Gunn argues is a transition from the gothic but not yet fully in the camp of self-aware science fiction. Lt. Col. Sir George Tomkyns Chesney’s The Battle of Dorkingis the first of those future war novels written by politicians and military men determined to influence public policy. Edwin A. Abbott’s Flatland, still in print, is a charming tale of life and culture in a two-dimensional world. That incomparable giant of science fiction, Olaf Stapledon, is represented by a selection from Star Maker, narrated by a “cosmical mind” who views the life of the universe. (Though oddly, in this volume, Gunn barely mentions his importance to the genre. For that, you must consult volume two.) The title for the section on Richard Jeffries After London; Or, Wild Englandis “The Craving for Catastrophe”. It is a pastoral tale of a simpler life after an unexplained disaster has befallen the country.
That craving shows up in several more tales. Killer smog hits the city in Robert Barr’s 1892 story “The Doom of London.” “The Great Fog” of H. F. Heard wipes out worldwide civilization. Life gets extinguished on an alien planet in Arthur C. Clarke’s much anthologized “The Star”. “The Nature of the Catastrophe” in Michael Moorcock’s story of that name is never really explained. An amalgam of newspaper excerpts and fiction, this story unfortunately shares the oblique prose and loose setting of his Jerry Cornelius novels. Not readable in its own right, it still gives you some idea of Moorcock’s influence on the New Wave. Tanith Lee’s “Written in Water” is a last woman on Earth tale. The world that may be destroyed by an artist in J. D. Beresford “A Negligible Experiment” is our own. The disaster of John Wyndham’s “The Emptiness of Space” is a personal one. Its hero has survived a spell in cryonic suspension and fears his soul has left his body.