The reader leaves Jane Austen and the Di­ be particularly useful to a reading public dactic Novel wanting more of this kind of that relies for much of its material on trans­ thing and less of the literary sources. The lations from Anglo-American sources. exhaustive analysis of Grandison and Cecilia could surely have been sacrificed for a fuller The format is straightforward and func­ development of the final provocative but tional: authors are listed in alphabetical or­ frustratingly short chapter on Mansfield Park, der and short bio-bibliographical notes are Emma, and Persuasion. Fergus's contention provided for most. Prominent writers re­ that, having firmly established Austen's di­ ceive closer attention: An initial overview of rection by tracing her development through their oeuvres is followed by summaries of Pride and Prejudice, she need provide only a their most significant works, generally re­ brief analysis of the three novels that follow vealing insight and perspicaciousness. The is not borne out by the experience of read­ appendix lists important science fiction ing the chapter. Where it is convincing, as magazines and provides a glossary of tech­ in its treatment of the theme of judgement nical expressions, mostly English coinages, in Mansfield Park, the reader is left wanting a short bibliography, and an index of au­ more detail; where it appears to be skating thors and pseudonyms. on thin ice—as in its suggestion that Jane Austen excuses Mrs. Elton from moral The Science Fiction Führer lists some 811 judgement—the reader feels the need for authors from 27 countries. Over 50% are more evidence. U.S. writers, 16% are British, close to 9% are from the Federal Republic of Germany, Jan Fergus has a lot to say about Jane 4% from the German Democratic Republic, Austen, too much in fact for this short book. and 2% from pre-1945 Germany. The rest Her decision to emphasize Austen's literary of the world is represented by small per­ roots and the development of her art rather centages: the U.S.S.R. with 4.3%, France than her mature achievement was not, in with 3.4%, Italy and Austria with 1.5% each, my view, the best way of accommodating and numerous countries with a single entry. her material to the length available to her. There are no representatives from Africa, The book that results from this decision in­ one from Asia (Japan), two from South cludes too much that is trivial or only tan- America and four from Australia. Not only gentially illuminating, and too little of the do these percentages reflect the Anglo- close reading which produces almost all of American preponderance in the field of sci­ its original material. Readers of Jane Austen ence fiction, they also point to science fiction should certainly not ignore Jane Austen and as primarily a Western phenomenon that the Didactic Novel, but they may want to do may be closely linked to the rise of Western some judicious skimming. technology. That German writers constitute the third largest group (nearly 15% if one David Monaghan includes East-, West- and pre-1945 Ger­ many) does not indicate their relative im­ portance in the scheme of science fiction; it is rather to be attributed to the fact that the authors of Reclams Science Fiction Führer have a special interest in and concern for science HANS JOACHIM ALPERS, fiction developments in the Germanies. WERNER FUCHS, RONALD M. All significant writers are represented. HAHN, EDS. That includes such classical science fiction Reclams Science Fiction Führer authors as Edward Bellamy, Edgar Rice Stuttgart: Philipp Reclam jun., Burroughs, Karel Capek, Jack London, J. 1982. Pp. 504. H. Rosny, Jules Verne, and H. G. Wells. It further encompasses the group of writers, now well established, who first reached prominence between the 1920's and 1950's, Science fiction is enjoying considerable such as Isaac Asimov, Raymond Bradbury, popularity in the Federal Republic of Ger­ John W. Campbell Jr., Arthur C. Clarke, many where nearly 500 new science fiction Robert Heinlein, Eric Frank Russell, Clif­ titles are published annually. Reclams Science ford Simak, Olaf Stapledon, and John Wyn- Fiction Führer takes cognizance of that fact dham. And it comprises the host of authors by providing an overall perspective on sci­ who have made significant contributions to ence fiction, by tracing its roots, determin­ the genre since the 1960's, including Brian ing its trends and offering an evaluative Aldiss, J. G. Ballard, Gregory Benford, commentary. Such an encyclopedia should James Blish, Benjamin Bova, John Brun- Brief Mentions 141 ner, Samuel Delaney, Philip K. Dick, Daniel mutation (John Wyndham). The sword and F. Galouye, Ursula Le Guin, Michael Moor­ sorcery tradition in space has come into ex­ cock, Frederik Pohl, Cordwainer Smith, istence (Fritz Leiber) and the element of Theodor Sturgeon, Jack Vance, Gene Wolfe, fantasy has gained considerable impor­ and Roger Zelazny. tance. In short, science fiction today is ca­ pable of exploring all facets of human While the authors of Reclams Science Fic­ concern since it is not bound to outer space tion Führer report equitably on past and and interstellar technology, but may well present works of science fiction, their spe­ concern itself with exploring spaces of the cial interest and sympathy concerns the new mind and the psyche, or with any of the wave writers who have done much to ex­ multifarious dilemmas facing mankind, not pand the scope of science fiction in the last unlike other forms of prose fiction. decades. To be sure, there are many themes shared by old and new science fiction: the The accounts provided of three early and exploration of new worlds, threats from ex­ significant practitioners of science fiction in traterrestrial life forms, space travel with its Germany might be of special interest to the concomitant dangers, time shifts and time German reading public. They are Paul travel, the legendary old scientist as savior, Scheerbart (1863-1915), Kurd Lasswitz interest in and elaboration of space gadg- (1848-1910), and Robert Kraft (1869-1916). etry (i.e., hard-core science fiction), etc. More Scheerbart, who founded an unsuccessful important similarities are shared when sci­ publishing house for fantastic literature in ence fiction is utilized as a critique of con­ 1892, is described as a writer of fantastic temporary society and a warning concerning tales with a philosophical bent as illustrated the future impact of present developments by his novel Lesabéndio (1913). Lasswitz ap­ as exemplified by Huxley's Brave New World proached the problems of a rapidly ad­ and Orwell's Nineteen Eighty-Four. vancing technology in terms of a Kantian perspective. The work that best embodies his ideas is Auf zwei Planeten (1897; On Two Although such similarities reveal the Planets). The adventurer Robert Kraft, au­ common tradition and concerns of science thor of numerous tales of adventure, pub­ fiction, they also serve to highlight the lished an interesting post-doomsday novel change of emphasis in modern science fic­ in 1910, entided Die neue Erde (The New tion. Among contemporary writers there is Earth). frequent emphasis on ecological concerns (Alan Dean Foster); the death of Utopian Among contemporary German writers of hopes is repeatedly stressed (Thomas M. science fiction Carl Amery and Michael Ende Disch); multiple perspectives and realities are mentioned prominently. Among the are explored (Philip K. Dick, Brian Aldiss); French, similar note is taken of Gerard Klein alternate life-styles are depicted in future and Robert Merle. Stanislaw Lern, Poland's histories (Gordon R. Dickson); feminist con­ most prominent science fiction writer, is de­ cerns are given prominence (Ursula Le Guin, servedly treated at some length as are the Vonda N. Mclntyre, Joanna Russ, Alice Soviet writers Arkadij and Boris Strugackij Sheldon); the issues of pollution, misuse of and the Czech Josef Nesvadba. One may data, modern colonialism, genetic control, wonder, however, whether science fiction and the mismanagement of resources are writers from communist countries are given raised (John Brunner); the satirical tradi­ the kind of attention they deserve. While a tion is perpetuated (Frederic Brown, "school of science fiction" in the GDR is re­ Thomas M. Disch, John Sladek); common ferred to on several occasions, no elucida­ science fiction practices are satirized (Nel­ tion on that matter is provided and the East- son Bond, Barry Malzberg, John Sladek); German writers mentioned in this connec­ an antiwar stance is taken (David Garnett); tion are dealt with in cursory fashion. The space mythologies are created (Ursula Le prominent Soviet writer Aleksandr Beljaev Guin, Jack Vance); one can even speak of (1884-1942) is treated with equal negli­ social science fiction (C. M. Kornbluth) and gence. Although recognized as the "father of anthropological science fiction (William of the Soviet scientific literature of fantasy" Golding); the problems of overpopulation and described as the equal of H. G. Wells, and thought control are investigated (Fred- none of his works is individually discussed. erik Pohl); symbolic and archetypal signif­ icance is adduced (Algis Budrys). In addition, There are some additional misgivings. there are numerous attempts to depict the Since science fiction is never defined and world after a nuclear disaster in cata­ since the meaning of "fantasy" is not ex­ strophic novels; a corollary to that theme plained either, a degree of confusion seems has been the exploration of mutants and inevitable. For example, of Marcel Aymé it 142 The International Fiction Review, 10, No. 2 (1983) is said, "He belongs to fantasy rather than ters) and the liberation that results from to science fiction" (p. 25), while fantasy is their ludic treatment in the text—with im­ treated in most instances as a subgenre of plications for the creative artist's role in so­ science fiction.