by Fortson
Loudon
Map of Hell as
philosophy
Riou and
Sanderson and
techniques for
ILM. See Industrial Light & Magic
imagery
imagination
Iman
Industrial Light & Magic (ILM)
inequality
influences
Bowie as
on cyberpunk
Gaiman and
Miura and
Nihei and
science fiction and
speculative fiction and
Sun Ra as
information
pre-Internet and
the Inklings
inspiration
Blade Runner and
Townshend and
the Internet
anticipation of
fan fiction and
pre-Internet and
interviews
Fowler in
Olde Heuvelt in
Shirley in
J
Jackson, Michael
Jackson, Peter
Jodorowsky’s Dune (documentary)
K
Kepler, Johannes
Kirby, Jack
Kircher, Athanasius
Klepek, Patrick
Krohn, Leena
Kunzru, Hari
L
Lang, Fritz
Langford, David
language
imagery and
robots and
Voynich and
Larson, Glen A.
lawsuits
Lee, Stan
Kirby and
writing by
Lee, Tanith
Le Guin, Ursula K.
Lehr, Paul
letters
correspondence and
of rejection
Lewis, C. S.
The Chronicles of Narnia by
Tolkien and
Lieberman, Joshua
literature. See also specific types
LiveJournal
Lord of the Rings (2001)
Loudon, Jane Webb
love
Lovecraft, H. P.
Lucas, George
Lynch, David
lyricism
M
MacDonald, George
MacDonald, John D.
MacLachlan, Kyle
Maclear, Andrew
magazines. See also specific magazines
magic
illusion of
Voynich manuscript and
manga
manuscripts. See also scripts
surrealism and
maps
Mariana Trench
The Mars Volta (band)
McQuarrie, Ralph
Berkey and
concepts by
McQueen, Alexander
Bowie and
savage beauty and
Mead, Syd
media. See also specific types
Méliés, Georges
in studio
memory
mental health
Métal Hurlant (magazine)
metaphysics
Metropolis (film)
history of
The Metropolis of Tomorrow (Ferris)
Méziéres, Jean-Claude
Miéville, China
military policy
Miller, Ian
Miller, Walter M., Jr.
Miura, Kentaro
Moebius. See Giraud, Jean
Monáe, Janelle
Moore, George
More, Thomas
More Light (Blish)
Mortensen, Viggo
The Mummy (Loudon)
Mundus Subterraneus (Kircher)
Murphy, Michael
music. See also specific types
films and
narrative and
science fiction and
musical theatre
Myth Conceptions (Asprin)
mythology
fantasy and
N
narcissism
narration
narrative
destabilization of
films and
music and
sequences and
naturalism
needlework
neon
The New Anomalist (magazine)
new millennium
New Realism
newspapers
the New Wave
New Worlds (magazine)
Nicholls, Peter
Nihei, Tsutomu
noir, films as
Noto, Clair
novels
O
occult
Offenbach, Jacques
Olde Heuvelt, Thomas
P
paintings
Lehr, Paul
Parliament/Funkadelic (band)
passion
patriarchy
Pavich, Frank
Peake, Mervyn
Peña, Fernando
Pepper, Bob
performance
films and
identity and
perspective
Afrofuturism and
naturalism and
Phase IV (film)
philosophy
photographs
Alamut Castle in
Arcosanti in
Bowie in
Canterbury Cathedral in
Hirschfeld in
Méliés in
Monáe in
Obsession in
by Towner
Weezer (band) in
The Who in
Wilson in
X-Ray Spex in
Piccard, Jacques
Piercy, Marge
Pizzolatto, Nic
plagiarism
plays
plot
Dutch literature and
films and
points of view
political landscape
pop culture
population
Porcupine Tree (band)
power
Powers, Richard M.
pre-Internet
Priest, Christopher
The Prince and the Dressmaker (Wang)
Prometheus (film)
prostitution
proto-science fiction
pseudonyms
psychadelica
publishing
punk rock
purdah
Q
queerness
glam and
R
Rabanne, Paco
Raëlism
reality
design and
Dick, P., and
ideas and
illusion and
TV and
VR and
reason
recognition
Dick, P., and
heroes and
refugees
rejection
letters of
religion
research
Rhys-Davies, John
Rice, Anne
Riou, Édouard
robots
rock gesture
rock operas
role-playing games
Warhammer as
Rose, Olivia
S
Sanderson, Ruth
Sandman (Gaiman)
satellite
satire
savage beauty
Sayles, John
science fiction
for adults
apocalypse in
cosmic horror and
experiences and
films and
influences and
Monáe on
music and
proto-science fiction
punk rock and
soundscapes and
space and
The Science Fiction Hall of Fame
Science Fiction Studies (journal)
scientists
Scott
, Ridley
screenshots
scripts
segregation
sensuality
Seshita, Hiroyuki
sex
aliens and
desexualization and
Shelley, Mary
Shelley, Percy Bysshe
Shirley, John
City Come a-Walkin by
interview with
in Obsession
shōjo manga
short stories
Simon, Joe
Skoudis, Ed
slavery
Slimane, Hedi
Soleri, Paolo
Somnium (Kepler)
soundscapes
soundtracks
space
Afrofuturism and
suborbital flight in
TV shows in
Space Island One (TV)
special effects
speculative fiction
Acker and
Finlay and
influences and
musical theatre and
speculative music
Spielberg, Steven
Spurling, John
Star Wars (film)
steampunk
Stevenson, Robert Louis
stippling
stories
adventure in
albums and
collections of
ghost stories
by Gilman
music and
as palimpsests
Strange Stars (Heller)
suborbital space flight
substitution splices
suicide
Sun Ra
surrealism
T
tabula rasa
Tactical Studies Rules (TSR)
Taves, Brian
technology
television (TV)
budgets for
films and
pilots for
reality and
Space Island One on
True Detective on
Verne and
writing on
terminology
tesseract
textile arts
Thatcher, Margaret
THX 1138 (film)
Tolkien, J.R.R.
Tommy (rock opera)
El Topo (film)
The Tourist screenplay
Towner, Ken
Townshend, Pete
transcendence
trauma
travels
tropes
True Detective (TV)
TSR. See Tactical Studies Rules
U
utopia
feminism and
Soleri and
V
Valentine, Vicente
Valérian (comic)
VALIS trilogy (Dick, P.)
Van Vechten, Carl
verisimilitude
Verne, Jules
video games
Viriconium cycle (Harrison)
virtual reality (VR)
visions. See also hallucinations
voice over
von Harbou, Thea
Vorilhon, Claude
Voynich, Wilfrid
VR. See virtual reality
W
Walsh, Don
Wang, Jen
war
Ward, Vincent
War Games (film)
Warhammer (game)
Warner, Marina
wealth
weapons
Weaver, Sigourney
websites
Weezer (band)
weird fiction
Weird Tales (magazine)
West, Lindy
Whelan, Michael
The Who (band)
Wilson, Steven
Wine of the Dreamers (MacDonald, J.)
witchcraft
wizards
Woman on the Edge of Time (Piercy)
worldbuilding
writing
history and
Lee, S., and
pressure and
TV and
X
X-Ray Spex (band)
Z
Zerfoss, Jeremy
zombies
ACKNOWLEDGMENTS
First off, immense and heartfelt thanks to my editor at Abrams, David Cashion, whose unflagging enthusiasm for this book was instrumental in bringing it into being; throughout the occasional hiccups in the process, his kind support and steady guidance proved vital. And additional thanks to the entire team at Abrams, including executive editor Eric Klopfer, who worked heroically to help get this book to the finish line, along with managing editor Connor Leonard. Thank you, as well, to copyeditors Chris Cerasi and Drew Wheeler.
A huge thank you to designer Jacob Covey. There is such a special thrill to turning over a manuscript and seeing it transformed into a book—especially one that looks this amazing. I’m so grateful to have worked with you.
Big thanks to my smart and capable agent, Eddie Schneider, and the rest of the team at JABberwocky.
In addition to writing the foreword, Jeff VanderMeer has been an essential part of this project from the beginning—laying initial groundwork, providing foundational brainstorming, offering inspiration and ideas, and connecting me to several experts and rights holders. Thank you for everything, Jeff.
Of course, a project like this is built from the contributions of many. I’d particularly like to thank Diana Lehr and the Lehr estate for granting permission for us to use the gorgeous Paul Lehr painting that serves as this volume’s cover art; Leslie Barany and Christopher Leich as representatives of the HR Giger and Hugh Ferriss estates, respectively; and Paula Guran and Thomas Pluck for providing high-res scanned images from their own collections.
I’d also like to especially acknowledge the contributions of Ashanti Fortson, Jordan Grim-mer, Olivia Rose, and Jeremy Zerfoss, who created original illustrations for the book; it was a pleasure to collaborate with you. Thanks is also due to the interviewees who generously granted me their time and attention: Karen Joy Fowler, Thomas Olde Huevelt, Hugh Howey, John Shirley, and Ann VanderMeer. Finally, incredible thanks to every author who contributed an essay, including those whose efforts, due to tragic constraints of time and space, did not make it into the final book; I loved reading all of your writings, and I learned so much.
My deep appreciation also goes to administrative and research assistant Parker Bobbitt, who helped me conquer several deadlines.
Finally, all my thanks and love to my family, particularly my sisters Danelle and Daebrionne Boskovich, always patient listeners and encouragers; and my husband, Morgan Frew, a.k.a. my artistic consultant, main support, and sounding board for every scheme, who has always accepted deadline stress and working weekends as our way of life. And, of course, Emmett and Olive, my writing partners and very good dogs.
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