Art Of Imagination by Frank Robinson, Robert Weinberg and Randy Broecker (book review).
At auctions, people often find themselves surprised by smaller-than-expected furniture pieces. Similarly, “Art Of Imagination: 20th Century Visions Of Science Fiction, Horror, And Fantasy” by Frank Robinson, Robert Weinberg, and Randy Broecker is deceptively hefty. Reading it in bed might strain your back. Its imposing size and weight necessitate a sturdy table. Divided into three sections, the book delves into each sub-genre’s history, replete with covers and insights. I surmised that it was initially intended as three separate volumes before merging into this 2002 behemoth, possibly to showcase the expansive genre art.
The volume is information-rich. Revelations like Cele Goldsmith being the first female SF magazine editor and Charles D. Hordig becoming the youngest at 17 in 1933 were enlightening. John Campbell Jr.’s 34-year editorship is notable, but whether it’s unsurpassable remains to be seen. Here’s hoping I reach a similar milestone by 2033.
The Science Fiction section emphasizes pulp magazines, showcasing exquisite cover art — a major attraction. Yet, the text, chronicling the ascent of SF writers, is equally engaging. An interesting observation: many left-leaning Futurians became professionals, leaning more capitalist than communist in their pursuits.
However, notable films like “Forbidden Planet” and “Close Encounters Of The Third Kind” receive scant mention. And an error creeps in: the 1958 “The Fly” is misattributed to David Cronenberg instead of Kurt Neuman. Cronenberg would’ve been a mere teenager then. Errors are rare but noticeable.
Surprisingly, the book scarcely touches upon British TV SF, omitting iconic series like ‘Quatermass’ and ‘Doctor Who’. Another oversight is the swapped section titles: Horror appears second and Fantasy third. One wonders which author was responsible for each section, given the introductions.
The horror segment categorizes its sub-genres. While Horace Walpole’s “The Castle Of Otranto” (1765) is recognized as the inaugural gothic horror, M.R. James emerges as the most influential in ghost stories. The pulps’ trajectory, from highs and lows to resurgence in films, is traced. With genre titans like Lovecraft and Clark Ashton Smith still relevant, the overlap with SF pulps like ‘Weird Tales’ underlines the genres’ proximity. An intriguing note: artists like Virgil Finlay began as black-and-white illustrators, but their acclaim led to cover assignments.
The Fantasy section is refreshingly broad. It traces the genre’s evolution from lost worlds, with pioneers like H. Rider Haggard, to contemporary works. Interestingly, an entire chapter is dedicated to British fantasy writers and artists, acknowledging the UK’s significant contributions.
While I’ve provided more reactions than content summaries, an engaging factual book should elicit such responses. Despite being two decades old, its relevance endures. Some writers and series might be overlooked due to the authors’ genre preferences or space constraints. Yet, the highlighted works might introduce readers to overlooked treasures.
Given its size, this coffee-table book is more likely to be admired than borrowed by visitors.
GF Willmetts
October 2023
(pub: Collectors Press, 2002. 768 page illustrated index giant hardback. Price: varies. ISBN: 1-888054-72-7)
