Daughters of Forgotten Light by Sean Grigsby

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I’ve spent most of the year so far working on more black-and-white illustrations for Editorial Alma—47 full-page pieces to date—so this cover design made a welcome break, especially since all the black-and-white art has a late-Victorian setting. More about that later. Sean Grigsby’s second novel for Angry Robot Books is previewed at the Barnes & Noble SF blog as follows:

A floating prison is home to Earth’s unwanted people, where they are forgotten…but not yet dead, in this wild science fiction adventure.

Deep space penal colony Oubliette, population: scum. Lena “Horror” Horowitz leads the Daughters of Forgotten Light, one of three vicious gangs fighting for survival on Oubliette. Their fragile truce is shaken when a new shipment arrives from Earth carrying a fresh batch of prisoners and supplies to squabble over. But the delivery includes two new surprises: a drone, and a baby. Earth Senator Linda Dolfuse wants evidence of the bloodthirsty gangs to justify the government finally eradicating the wasters dumped on Oubliette. There’s only one problem: the baby in the drone’s video may be hers.

The gangs are biker gangs, riding machines with wheels of light, so the brief was for a design as much reminiscent of a rock poster as a science-fiction cover. I don’t stray very often into the SF world so this again made a refreshing break from the 19th century and its heavy furnishings. There’s a touch of Syd Mead in the background, a reference suggested by the Tron-style bikes, but he’s long been a favourite visual futurist of mine even before Blade Runner (as I noted recently). The side panels and parts of the halo are adapted from Art Deco designs, the panels being based on embellishments for a New York skyscraper. It doesn’t take much to push the aerodynamic qualities of Deco style into the Space Age (the Soviet Monument to the Conquerors of Space could have been designed in 1930), a suggestion that William Gibson explored from a different angle in The Gernsback Continuum.

The Barnes & Noble post linked above also has an extract from the beginning of the novel. The book itself will be out on 4th September, 2018.

The artists of Future Life

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My earlier post about Future Life magazine mentioned the regular Portfolio series which featured interviews with illustrators and space artists, the latter group being the people who providing conceptual paintings for astronomy books and government entities such as NASA. Since the magazine files at the Internet Archive aren’t searchable I thought it worth making note of the interviews here, for my own benefit as much as anything else. (This blog has often served as a useful notebook.)

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Issue 1: Chesley Bonestell.

Many of the artists featured in Future Life were receiving their first (in some cases, only) high-profile feature at a time when little attention was given to the producers of this kind of work even in popular science-fiction magazines. The story magazines have always run interviews with writers but prior to Future Life, Science Fiction Monthly was the only magazine that I’d seen with a regular illustration feature, and that title didn’t last very long. Future Life covered some of the same people, Chris Foss, for example, while seeking out the prominent figures of the US illustration world. Not all the art is to my taste at all but the interviews are of interest even if you don’t like the pictures. One surprise was finding an interview in one of the issues that I’d missed with Ludek Pesek, a Czech artist whose views of the Solar System and depictions of the evolution of life on Earth I knew from the Puffin books he worked on with Peter Ryan. Those books were aimed at a young readership and were great favourites of mine before I’d seen anything by Foss and co. Another of the space artists interviewed is David Hardy, a British contemporary of Pesek’s whose view of an alien planet will be familiar to Hawkwind enthusiasts on the back cover of Hall Of The Mountain Grill. Another notable feature of the series is the lack of women artists, although this isn’t so surprising given that women creating pictures of space hardware are few even today. All the same, they might have featured Rowena Morrill, a popular cover artist for SF and fantasy novels at the time, and someone whose work I prefer to many of the people they did profile.

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Issue 3: Boris Vallejo.

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Issue 4: Robert McCall.

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Issue 5: Shusei Nagaoka.

A Japanese artist best known in the West for his album-cover art for ELO, Earth, Wind and Fire, and many others.

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Issue 6: Ron Miller.

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Issue 7: The Brothers Hildebrandt.

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Issue 8: David Hardy.

Continue reading “The artists of Future Life”

Future Life magazine

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One thing I never expected about the future was that so many of my youthful enthusiasms would keep rising from the past, but here’s another, stumbling into the room reeking of cemetery earth and old newsprint. Future Life was a spinoff from Starlog magazine, and where the parent title concerned itself with science fiction and fantasy in film and television, the focus of Future Life was technology, popular science, scientific speculation, and written science fiction (all from an American perspective, of course); film and TV productions were there to attract general readers but never dominated the proceedings. Future Life ran for 31 issues from 1978 to 1981, and in many ways the magazine was a kind of OMNI-lite: not as lavish as its rival but not as expensive either. For a while this was a magazine I always looked out for (together with Heavy Metal, with whom it shared a music writer, Lou Stathis) but I missed the first nine issues, and many of the later ones before it vanished altogether, so it’s gratifying to find the complete run available as a job lot at the Internet Archive.

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It’s become commonplace today to regard Generation X as the first generation with no optimistic future to look forward to, but Future Life shows how much optimism there was at the beginning of the 1980s. The mood darkened just as the magazine expired, with genuine fears of a nuclear war persisting through much of the decade, and the Challenger disaster reminding everyone that leaving the planet was still a hazardous business. Future Life wasn’t blind to the problems posed by technology—there were features about the dangers posed by nuclear power and climate change—but it remained upbeat about the potentials, especially where space colonies were concerned. Most issues carried an art feature although these were generally about realistic space artists or spaceship painters, with none of the eye-popping weirdness favoured by OMNI. But this magazine was my first introduction to the work of Syd Mead, a few years before Blade Runner made him deservedly famous. On the writing side, many of the articles were by popular science fiction writers—Roger Zelazny on computer crime, Norman Spinrad on a pet theme, the future of drug-taking—which you can now read with the full benefit of hindsight. In later issues there was Harlan Ellison filing a succession of lengthy and inimitable film essays; several pieces by Robert Anton Wilson; and some good music articles with features on Larry Fast (issue 12) and Robert Fripp (issue 14), while Lou Stathis profiled and interviewed Bernie Krause (issue 18), The Residents (issue 19), Patrick Gleeson (issue 22), Jon Hassell (issue 24), Captain Beefheart (issue 25), and everyone’s favourite robots, Kraftwerk (issue 31).

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The Internet Archive currently has all the files stuck on a single page so most people will either have to download everything at once (I’d advise using the torrent file) or sample issues at random. Fortunately there’s a very thorough breakdown of the entire run of magazines here for those who prefer to pick through the detail. In the universe next door we’re reading these back issues while floating above the earth in our L5 space colonies.

Previously on { feuilleton }
Science Fiction Monthly

Weekend links 381

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States of Ecstasy 1 by K. Lenore Siner some of whose work may be seen in Witch-Ikon: An Exhibition of Contemporary Witchcraft Imagery at Mortlake & Company, Seattle.

Emily Temple compiles a list of “40 creepy book covers”. A shame that she (or Lithub) can’t also credit more of the artists and designers responsible. Searching titles at ISFDB would turn up many of the missing names.

• Blogging has suffered in recent years from the onslaught of social media but some persist in maintaining the form as a creative act. Poemas del río Wang is one such, its scope best seen in this alphabetical index.

• Mixes of the week: XLR8R Podcast 510 by Moodprint, Secret Thirteen Mix 232 by Alex XIII Maerbach, a mix for The Wire by Sadaf, and FACT mix 621 by NHK yx Koyxen.

Out next month: Mute: A Visual Document, being a visual history of Mute Records by Terry Burrows and Daniel Miller.

Nick Soulsby on “the myth and majesty of Vangelis’ timeless Blade Runner soundtrack”.

Compound in the new album by Yair Elazar Glotman. Stream it in full here.

Killed by Roses (1963): Eikoh Hosoe’s photographs of Yukio Mishima.

Oriental Traditional Music from LPs & Cassettes

• Hours and hours of Blue Jam. Oo ab welcome.

• 65 books of prints by Katsushika Hokusai.

Alpha (1976) by Vangelis | Rêve (1979) by Vangelis | Flamants Roses (1979) by Vangelis

Weekend links 350

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Transition H50 (2016) by Jessica Eaton.

• One of my weekend posts in 2012 contained details about Taking Tiger Mountain, a low-budget feature film put together in 1983 by Tom Huckabee using footage originally shot in Tangier and Wales in the 1970s. Huckabee’s film is a strange “experimental” work of science fiction, based in part on William Burroughs’ Blade Runner script (no relation to the Ridley Scott film apart from the title), and described here as “a psychotropic apocalyptic odyssey”. The most notable aspect of the film for many will be the presence of a young Bill Paxton in the lead role, something I was reminded of when Paxton’s death was announced earlier this week. Five years ago there was only a short clip of Taking Tiger Mountain available on YouTube but since then a full copy has appeared; watch it here while you can. (The widescreen frame is cropped, and the sound is all in one channel but it’s still watchable.) Tom Huckabee talked about the film’s production (and the Burroughs connections) to Beatdom. A curio that deserves wider attention.

• “With Biller, the references come thick and fast. In The Love Witch, she channels, among others, 50s Hitchcock, Douglas Sirk’s lurid lushness, Rainer Werner Fassbinder’s deadpan gaze, Nicholas Ray’s poetry, Sam Fuller’s tabloid style and Todd Haynes’s revisionist sexual politics. […] Then add the Technicolor, widescreen, haute-Hollywood “women’s pictures” of the 50s, a touch of Hammer Studios, The Wicker Man, Rosemary’s Baby and any number of studio melodramas and musicals.” John Patterson talks to director Anna Biller about her new film, The Love Witch.

• Mix of the week is the Anxious Heart Mix by Moon Wiring Club, another excellent blend of electronica, industria and dialogue samples from the outer limits of the televisual sphere. Also of note this week: VF Mix 83, an Adrian Sherwood selection by Pinch, XLR8R Podcast 479 by Chris SSG, and Secret Thirteen Mix 213 by -N.

• “Anthropologically, this was going on all around me: it was amazing and nobody was dealing with it like that, so I just went for it.” Hal Fischer on his photo-art series, Gay Semiotics, which is on display at Project Native Informant, London, until 1st April.

• Coming in May from Luaka Bop, World Spirituality Classics 1: The Ecstatic Music of Alice Coltrane Turiyasangitananda, the first-ever compilation of Alice Coltrane’s scarce releases on the Avatar Book Institute label.

Cinephilia looks back at Robert Wise and Nelson Gidding’s film of The Andromeda Strain (1971).

• Psychedelic Speed Freak: Remembering the blistering experimentalism of Hideo Ikeezumi.

• More witchery: S. Elizabeth talks to Pam Grossman about art, film and hex power.

• At The Quietus: Harry Sword on the strange world of Surgeon.

Leonor Fini playing cards

The Feathered Tiger (1969) by Kaleidoscope | Taking Tiger Mountain (1974) by Brian Eno | Plain Tiger (1985) by Cocteau Twins