Beneath the Planet of the Apes (Ted Post, 1970)

Wooden sequel to Planet of the Apes, beginning where the last one left off: chimps Zira (Kim Hunter) and Cornelius (Roddy McDowall), orang utan Dr Zaius (Maurice Evans) and humans Tyler (Charlton Heston) and Nova (Linda Harrison) are on the beach and Tyler and Nova ride off to have the big revelation that explains why everyone speaks English: this is a post nuclear America. Cut to another crashed ship – some crew are presumably dead, Captain Maddox (Tod Andrews) is dying and Brent (James Franciscus) doesn’t have a hair out of place. They seem to have come looking for Taylor’s mission, although this would make no sense given the distances involved and the lack of any means of sending a mayday call. Brent goes a wandering and bumps into (small world) Nova, who can’t tell him where Taylor is because she can’t speak, but they travel together to witness an ape war council and to meet Zira and a strangely changed Cornelius (David Watson). We find out – in flash back – that Taylor vanished through a rock.

The gorillas want to annex the Forbidden Zone for more agriculture, and to liquidate more humans. This is going to tred on the toes of an odd sect who are protecting the area with telepathic special effects and who worship a nuclear missile in St Patrick’s Cathedral. (I must come back here when I’ve read Riddley Walker.) The sect with their masks doesn’t make sense, and their pacifism only allows them to force their enemies to kill each other (so that’s okay then) but if necessary they will use the missile. Taylor, noted hater of human and, more recently, apekind and no fan of the nuclear apocalypse, decides that he will set it off – although preumably Heston’s wish to kill the franchise is the real logic at work here.

Sequels are just retreads of the original with a bigger budget (although actually I believe this one was smaller. More apes, more humans, more apocalyptic special effects – but equally more confusion. Obviously we get the segregation of apes and treatment on humans as being a commentary on race and racism, but 1970 is surely a little late to credit someone as “Negro” in the cast.

The other point that stood out is when Zira is hiding Brent and Nova, blood is noticed on her face. Zira explains that Cornelius had struck her. This is accepted as fair enough. But then women here are simply to serve men and reproduce.

Elizabeth A. Lynn, A Different Light (1978)

A first novel: terminally ill artist Jimson Alleca decides he will travel with his old lover Russell on a mission to acquire a mask from the planet Demea. The mission is risky enough, but Jimson will die without proper medication. But perhaps his art will help them survive.

Definitely a novel of two halves, as the consequences of the illness play out. Not a novel that made me want to go out and buy up everything I’ve missed by the author, but I’d pick it up if I saw it.

For once there is no coyness about the characters: they are gay and we see them having a love life – and Russell has played the field having abandoned Jimson a decade or more before. At the same time we have the old Gay Gothic where one or more of the lovers (usually the passive partner) has to die, be killed or commit suicide. The thread of telepathy that runs through the middle of the nopvels allows him to cheat death by becoming a none material, but Russell Can Never Know. No happily ever afters.

Note the novel gave its name to a LGBT bookshop.

Four Short Stories

I am indebted to Dr Chris West for drawing my attention (in a paper – see Extrapolation) to an anthology, Strange Bedfellows edited by Thomas N. Scortia, which has a section labelled “Tojours Gay”. It contains a reprint and what appear to be two new stories.

The first is the classic “The World Well Lost” (Universe (June 1953)) by Theodore Sturgeon, in which a pair of aliens from Dirbanu land on Earth. Humanity is taken by the aliens’ evident love for each other, which is at odds with the stand-offish reputation of Dirbanu. But Earth is contacted by the planet – the “loverbirds” are wanted criminals and the legendary crew of Rootes (womaniser) and Grunty (taciturn secret reader) are assigned to return them in the hope of gaining trade advantages. On the journey Grunty discovers that the aliens are the same sex and are thus criminals; on realising they know he has a secret he helps them to escape. Rootes and Grunty claim that the aliens died in transit, but the Dirbanu, who cannot distinguish between male and female humans, do not care and perceive all humans as gay. The homophobic Rootes would have killed the queers, and is happy at the thought of them adrift in the lifeboat; whilst he sleeps in stasis, Grunty carresses the sleeping captain.

Here we are shown something of the arbitrariness of gender, even of sex, as the mechanics of alien sex may be very different from our own. The homophobia directed at the aliens is redirected back at humans – and hopefully the reader would resent this but at least realise how destructive the emotion is. And the final revelation about Grunty, the sympathetic focal character if not exactly the view point out – reveals readers have identified with a gay character, and in some cases may need to re-evaluate their own feelings.

Note the switching of genders with Grunty – apparently inarticulate (although a reader and quoter of poetry) and described as being “like a mother with an infant” (77) but with “huge hands” (77). Clearly he crosses both genders. When Rootes is looking for books with pictures, earlier in the voyage, he insists Grunty “must have something for kicks” (68) and is given a collection of pictures of statues by Michelangelo – an artist who was probably gay if we can apply a term like that to someone in the Renaissance. Pictures of statues of men, when thought of as “something for kicks”, might be enough to out him.

Following this story, which calculatingly does not use the words “homosexual” or “gay”, but does use “queer” and “fairy”, is Walt Leibscher’s “Do Androids Dream of Electric Love?”, a title which glances at Philip K. Dick. An unnamed man has a conversation with a psychiatrist android and is frightened of being “converted” (79), and has “ostensibly committed an act that even in this enlightened age was considered, shall we say, way out.” (80) When the man tells the android the story, it finds it “exceedingly sexy” (80) and the teller “provocatively desirable” (81). As the android leaves, the man inquires to its gender, and the android retorts “That’s for you to figure out” (81).

We are not told what gender (sex) the android – whether it is equipped with male or female genitalia – nor what the crime is. we have to infer by the silence, and the placement without “Toujours Gay”. It presumably the love that dare not speak its name. The man’s reference to Dave and HAL (unconsciously) echoes a gay moment in sf: HAL’s crush on Dave (see Cassell’s Queer Companion 226). Chris West notes: “this android’s gender is not apparent and is not assumed either by the incarcerated citizen of the future or by the narrator: the android is not ‘he’ or ‘she’ but ‘it’. The text, note, conflates gender with genital configuration . . . and conceivably this android could be either anatomically male or anatomically female, possibly it could be both, potentially neither. Whichever, it is difficult for us to be certain.” (West 508) As West notes, the android is described as speaking “impishly” and “sashayed” out the door (81). There is something feminising about the choice of words – the android appears effeminate, suggesting “it” is female (feminine) or (effeminately) homosexual. If the android were female, would we expect it to find something sexy – well, no reason not to, but culture constantly codes the female as desired rather than desiring. Is a female android likely to follow from mention of an unspeakable crime? Of course, if the android is male and desiring, there are a number of sexual zones which might be needed, although the sashaying cuts against what is likely to be read as an active sexual (penetrating) partner.

The third story is William Carlson’s “Dinner at Helen’s”. Jordan, the narrator, undresses a customer, Helen Williams, in his mind, and invites her to lunch on Thursday. He is invited to her apartment the following Sunday, and, after a meal, tries to seduce her. She visits the bathroom, and returns as Allen, a naked man. Allen seems to be the male side of Helen, and he observes the changing times: “Have you looked at clothing and hair styles lately, at all these change-of-sex operations, at the new militancy of homosexuals and all the interest in them? I tell you, men are beginning to accept the woman in themselves, and women the man in them.” Allen/Helen indicates s/he knows Jordan, that they’ve seen each other before. There is a final strip tease:

I look, and I know.
I know where we are and who he is. I understand his knowledge of me and for one blinding second I understand what it is he wants for me.
But I’ll forget it.
I’ve forgotten it already. (91)

It’s a shocking ending, but what does it mean? At the final moment of nakedness is it a penis or a vagina – the “he” suggests penis, but the vagina may link to catsrtation anxieties. What does s/he want? Jordan remembers a moment like this from somewhere, and Allen treats him “Like a father admonishing his son” (91).

Chris West:

Note how the knowledge that Jordan gains near the end is predicated on an amnesia that is itself restored at the moment of its banishment; we witness, and he suffers, a moment of recognition which is literally “blinding”. Note too the dizzying movement through time at the very end (from present to future simple to perfect tense); […] We are offered, here, more occlusion than conclusion—a passage, it seems, full of sound and fury, signifying, along with the rest of this text, not nothing, but, somehow, homosexuality. (513)

The love that dare not speak (its name), the unspeakable, the unwatchable, something which provokes a visceral and potentially violent approach; connotations of homosexuality. Here we perhaps have the sense of the homosexual as two-sexed, a female psyche in a male body (see Ulrichs) or a third sex, a new evolutionary path (see Carpenter). It might be a representation of the transexual, but for the “Toujours Gay” context (although perhaps in 1972 it’s easier to conflate the categories). That still leaves the question of what it is being remembered and what is wanted – and the thought that Jordan has had sex with men before and blanked out the memory doesn’t seem to be enough. There’s something more – it almost feels like a classical allusion (Zeus? Tiresius?).

This reminds me of an odd Peter Carey story I found in a journal in the final year of my degree: “Peeling” (Meanjin Quarterly (March 1972)). The narrator tells the story of Nile, the woman who lives upstairs and who leaves white dolls around the house. Nile frequently visits to do the washing up and to eat with him. One day, when they are in bed reading newspapers she questions why the deaths column doesn’t include aborted babies; she then reveals she helps in abortions. He begins to undress her many layers until she is naked, and he notices an ear stud. Despite her protest, he pulls at it and it removes another layer: “Standing before me is a male of some twenty years. His face is the same as his face, his hair the same.” (45) There is another stud and he pulls at this, revealing a slimmer woman inside the man. However her legs can be rolled up, her arms are flase and she is wearing a wig. All that remains is a small doll.

Again, this is difficult to read in terms of homosexuality, but it again suggests a sense of the fluidity of sexual demarcation, the difference between the sexes that is so often considered essential. Biology is not destiny – although what destiny is, is not clear. It is ambiguous as to whether she is the dolll, or she had the doll with her. The removal of layers is like the peeling of an onion, which in time leaves nothing.

Bibliography
Broege, Valerie. “Technology and Sexuality in Science Fiction: Creating New Erotic Interfaces.” Erotic Universe: Sexuality and Fantastic Literature. Ed. Donald Palumbo. Westport, Ct.: Greenwood, 1986. 103-29. [apparently discusses Carlson]

Carey, Peter. “Peeling”. Meanjin Quarterly. March 1972. 38-45.

Carlson, William. “Dinner at Helen’s.” Strange Bedfellows: Sex and Science Fiction. Ed. Thomas N. Scortia. New York: Random House, 1972. 82-91.

Jenssen, Dick. “‘The World Well Lost’ by Theodore Sturgeon: Ruminations”. Online at
http://spacedoutinc.org/DU-16/WorldWellLost.html. Accessed 28 July 2008.

Leibscher, Walt. “Do Androids Dream of Electric Love?” Strange Bedfellows: Sex and Science Fiction. Ed. Thomas N. Scortia. New York: Random House, 1972. 78-81.

Scortia, Thomas N., ed. Strange Bedfellows: Sex and Science Fiction. New York: Random House, 1972.

Stewart, William. Cassell’s Queer Companion. London and New York: Cassell, 1995.

Sturgeon, Theodore. “The World Well Lost” Strange Bedfellows: Sex and Science Fiction. Ed. Thomas N. Scortia. New York: Random House, 1972. 55-77.

West, Chris. “Yesterday’s Myths Today and Tomorrow: Problems of Representation and Gay (In)Visibility”. Extrapolation. Winter 2007. 48.3. 504-19.

Blakes 7 (Series 1)

The Firefly of its day: a raggletaggle set of criminal misfits on the run from the evil galactic empire – political dissident Roj Blake (Gareth Thomas), smuggler Jenna Stannis (Sally Knyvette), comic relief thief Vila Restal (Michael Keating), computer fraudster Avon Kerr (Paul Darrow) and hard man Oleg Gan (David Jackson, who seems to be smiling at the absurdity of it all) are all sent into exile together, but Blake managers to comandeer the ship and they escape to an alien starship, the Liberator, run by a computer, Zen. In the fourth episode they pick up a telepath, Cally (Jan Chappell), who completes the seven.

Part of the ongoing story arc is staying a step ahead of the evil Federation (this is the flip side of Star Trek, in the specific form of Travis (Stephen Greif) and its Supreme Commander Servalan (Jacqueline Pearce), made more complicated by Blake’s desire to destroy the Federation rather than simply retire. Travis is constantly spared by Blake on the better the enemy you know grounds – someone will be after them.

I would says that it holds up better than I expected – but I’m not convinced I’ve seen it all. I came in at season two, and I think I only saw an edited down version of the early episodes. There’s some nasty stuff from Terry Nation and the friction of the Blake/Avon relationship holds up well. As telepath, it is Cally’s job to be brainwashed or possessed, and Jenna is underused – at one point Blake even suggests she flirts with another character to get their way. The endings are usually a bit botched, and there’s a bizarre plot recap at the start of episode 13 as the characters tell each other stuff they know and we’re need to learn. The spaceship effects are ropey, too – or there are small planets in this universe.

At this point Servalan isn’t the queen of camp, nor has Avon discovered the Skin Two concession – instead clothed by an outdoor pursuits emporium. The mood is dark – but the morality not quite as ambiguous here as I think Nation was aiming for.

Thomas M. Disch, On Wings of Song (1979)

For various day job related reasons, and as a mark of respect, this is my starting point – Disch’s suicide came as a shock and yet seems all too foreseeable given the things that were piled up on his plate. But it also seems likely that I will be writing about gay sf soon, so this seemed a correct place to start. Although, oddly, it has less gay content than I remember.

This was serialised in F&SF (Feb, Mar and Apr 1979) and then collected by Gollancz and St Martin’s (1979). Set in a typically Dischean dystopian American, this is the Bildungsroman – almost a Kunstlerroman – of Daniel Weinreb, growing up poor in an oppressive twenty-first century America. Some people are able to fly, and leave behind the bounds of their bodies and the earth, but this is both discouraged and criminalised. Weinreb is sent to prison, and after his release falls into a relationship with a rich heiress, Boadicea Whiting. They marry, but Boa disappears flying during a stop off in New York on their way to Europe, and the plane they were to take is blown up by terrorists (or possibly her father). Daniel hides in New York, with Boa’s body. He gains work as an usher at the opera, and slowly makes his fortune, aware that he could be discovered at any point.

In something that will prove to be a recurring point, there is little homosexuality in the novel. As a teen Daniel has a crush on another boy, but in his prison sentence it is middle age women he forms attachments to, rather than engaging in situational homosexuality. And he gets married. For most of the time as an usher – essentially a gigolo – he avoids putting out, and these are both male and female clients. Curiously the sequence when he is under the control of a male artist, he is wearing a chastity belt – and the artist is castrated. The sexuality works by suggestion rather than representation. (Clute in his review in Foundation 19 describes Daniel as exclusively homosexual in the third part of the novel; I think this is overstatement – he often says no or leads them on to spurn them. At what point are you homosexual?)

I wonder if there’s something to track in the image of the flyers as “fairies” – fairies are disapproved of, proper people don’t fly, there are laws against it, and people are actually frightened (why?) are fairies. Some people who are fairies, keep the secret closeted. Flying also becomes associated with the camper end of high art music (opera) so I think there’s something in the connotation. It is Bo who first flies – but it seems somewhat of a marriage of convenience between the two of them, a beard to gain respectfulness.

The ending is ambiguous – Daniel, who throughout the novel has been told that he is too Iowan, too square, to fly is giving the first performance of a grand tour in a slightly less dystopian US. At one moment he apparently flies, but is shot dead, assassinated. In fact it isn’t clear that he has flown – it may be a theatrical trick – and if he has, he may have escaped the body. It is the typical downbeat, probably unhappy, 1970s ending.

A note on the title: a Heinrich Heine poem set by Felix Mendelssohn (Op. 32/2)

Auf Flügeln des Gesanges,
Herzliebchen, trag ich dich fort,
Fort nach den Fluren des Ganges,
Dort weiß ich den schönsten Ort;

Dort liegt ein rotblühender Garten
Im stillen Mondenschein,
Die Lotosblumen erwarten
Ihr trautes Schwesterlein.

Die Veilchen kichern und kosen,
Und schaun nach den Sternen empor,
Heimlich erzählen die Rosen
Sich duftende Märchen ins Ohr.

Es hüpfen herbei und lauschen
Die frommen, klugen Gazelln,
Und in der Ferne rauschen
Des heilgen Stromes Welln.

Dort wollen wir niedersinken
Unter dem Pamenbaum,
Und Liebe und Ruhe trinken,
Und träumen seligen Traum.

There’s a translation – but there’s clearly a degree of irony at work here to consider any chance of Daniel and Bo reaching utopia.

Further reading:

• Brigg, Peter (1990) ”Redemption’s Song’: Society and the Creative Elite in Thomas Disch’s On Wings of Song‘, Extrapolation 31 (2): 125-133.
• Francavilla, Joseph (1985) ‘Disching It Out, An interview With Thomas Disch’, Science Fiction Studies 12 (3): 241-251.
• Rossi, Umberto (2002) ‘Ecological Awareness and Capitalist Shortsightedness in Thomas M. Disch’s On Wings of Song‘, Foundation 84 (Spring) : 8-22.
• Swirski, Peter (1991) ‘Dystopia or Dischtopia: The Science-Fiction Paradigms of Thomas M Disch’, Science Fiction Studies 18 (2): 161-179.

Films: Towards a Master List

This is a list of sf films from 1970 to 1980 which I intend to watch:

The Andromeda Strain (1970)

Beneath the Planet of the Apes (1970)

Blood of Frankenstein (1970)

City Beneath the Sea (1970)

Crimes of the Future (1970)

Gas-s-s-s (1970)

The Horror of Frankenstein (1970)

I Monster (1970)

No Blade of Grass (1970)

THX 1138 (1970)

A Clockwork Orange (1971)

Diamonds are Forever (1971)

Earth II (1971)

Escape from the Planet of the Apes (1971)

Glen and Randa (1971)

Horror of the Blood Monsters (1971)

The Omega Man (1971)

Percy (1971)

Punishment Park (1971)

Quest for Love (1971)

Silent Running (1971)

Solaris (1971)

The Boy who Turned Yellow (1972)

Conquest of the Planet of the Apes (1972)

Death Line (1972)

Doomwatch (1972)

Frogs (1972)

The Groundstar Conspiracy (1972)

Night of the Lepus (1972)

Slaughterhouse-Five (1972)

The Thing with Two Heads (1972)

Battle for the Planet of the Apes (1973)

Day of the Dolphin (1973)

The Final Programme (1973)

Frankenstein and the Monster from Hell (1973)

Horror Hospital (1973)

It’s Alive (1973)

The Mutations (1973)

Phase IV (1973)

Sleeper (1973)

Solyent Green (1973)

Westworld (1973)

Zardoz (1973)

The Cars that Ate Paris (1974)

Damnation Alley (1974)

Dark star (1974)

The Man with the Golden Gun (1974)

Shivers (1974)

The Stepford Wives (1974)

Terminal Man (1974)

Who? (1974)

Young Frankenstein (1974)

Black Moon (1975)

A Boy and his Dog (1975)

Bug (1975)

Death Race 2000 (1975)

Doc Savage – The Man of Bronze (1975)

The Giant Spider invasion (1975)

The Rocky Horror Picture Show (1975)

Rollerball (1975)

King Monster (1976)

Ape (1976)

At the Earth’s Core (1976)

Embryo (1976)

Food of the Gods, The (1976)

Futureworld (1976)

God Told Me To (1976)

Logan’s Run (1976)

Man Who Fell to Earth, The (1976)

Aliens from Spaceship Earth (1977)

Brain Leeches, The (1977)

Brain Machine, The (1977)

Close Encounters of the Third Kind (1977)

Crater Lake Monster, The (1977)

Damnation Alley (1977)

Deadly Harvest (1977)

Demon Seed (1977)

Empire of the Ants (1977)

End of the World (1977)

Foes (1977)

Force on Thunder Mountain, The (1977)

Glitterball (1977)

Hardware Wars (1977)

Incredible Melting Man, The (1977)

Island of Dr Moreau, The (1977)

Kingdom of the Spiders (1977)

Last Dinosaur, The (1977)

People That Time Forgot, The (1977)

Star Wars (1977)

Alien Factor, The (1978)

Alien Zone (1978)

Alpha Incident, The (1978)

Astronot Fehmi (1978)

Boys from Brazil, The (1978)

Capricorn One (1978)

Invasion of the Body Snatchers (1978)

Superman (1978)

Warlords of Atlantis (1978)

Alien (1978)

Alien Encounter, The (1979)

Asteroids (1979)

Black Hole, The (1979)

Brood, The (1979)

Clonus Horror, The (1979)

Dark, The (1979)

Darker Side of Terror, The (1979)

Day It Came to Earth, The (1979)

Legends of the Superheroes (1979)

Mad Max (1979)

Meteor (1979)

Monster (1979)

Moonraker (1979)

Phantasm (1979)

Quatermass Conclusion, The (1979)

Shape of Things to Come, The (1979)

Spaceman and King Arthur, The (1979)

Stalker (1979)

Star Trek: The Motion Picture (1979)

Time After Time (1979)

Alien Dead (1980)

Alligator (1980)

Altered States (1980)

Apple, The (1980)

Battle Beyond the Stars (1980)

Captive (1980)

Contamination (1980)

Day Time Ended, The (1980)

Falls, The (1980)

Final Countdown, The (1980)

Flash Gordon (1980)

Humanoids from the Deep (1980)

Island Claws (1980)

Lifepod (1980)

Psychotronic Man, The (1980)

Saturn 3 (1980)

Star Wars: Episode V – The Empire Strikes Back (1980)

Superman II (1980)
 

Novels: Towards a Master List

This is a list of sf novels (and collections) published between 1970 and 1980, largely drawing on awards and awards shortlists. This is excluding what I will call (but not define) slipstream and (some) fantasy. Think of it as a reading list:

Anderson, Poul, Tau Zero (1970)

Clement, Hal, Starlight (1970)

Compton, D G, Chronocules (1970)

Compton, D G, The Steel Crocodile (1970)

Heinlein, Robert A, I Will Fear No Evil (1970)

Lafferty, R A, Fourth Mansions (1970)

Niven, Larry, Ringworld (1970)

Russ, Joanna, And Chaos Died (1970)

Saxton, Josephine, Vector for Seven: The Weltanschaung [sic] of Mrs Amelia Mortimer and Friends (1970)

Silverberg, Robert, Tower of Glass (1970)

Tucker, Wilson, The Year of the Quiet Sun (1970)

van Vogt, A E, Children of Tomorrow (1970)

Adlard, Mark, Interface (1971)

Anderson, Poul, The Byworlder (1971)

Bass, T J, Half Past Human (1971)

Cowper, Richard, Domino (1971)

Eklund, Gordon, The Eclipse of Dawn (1971)

Farmer, Philip, To Your Scattered Bodies Go (1971)

Gutteridge, Lindsay, Cold War in a Country Garden (1971)

Harrison, M John, The Committed Men (1971)

Harrison, M John, The Pastel City (1971)

Lafferty, R A, The Devil Is Dead (1971)

Le Guin, Ursula K, The Lathe of Heaven (1971)

Lessing, Doris, Briefing for a Descent into Hell (1971)

McCaffrey, Anne, Dragonquest (1971)

Moorcock, Michael, The Warlord of the Air (1971)

Pedlar, Kit and Gerry Davis, Mutant 59: The Plastic-Eater (1971)

Pery, Walker, Love in the Ruins: The Adventures of a Bad Catholic at a Time Near the End of the World (1971)

Saxton, Josephine, Group Feast (1971)

Silverberg, Robert, A Time of Changes (1971)

Simak, Clifford D, Destiny Doll (1971)

van Vogt, A E, Quest for the Future (1971)

Wilhelm, Kate, Margaret and I (1971)

Zelazny, Roger, Jack of Shadows (1971)

Adlard, Mark, Volteface (1972)

Anderson, Poul, There Will Be Time (1972)

Asimov, Isaac, The Gods Themselves (1972)

Brunner, John, The Sheep Look Up (1972)

Compton, D G, The Missionaries (1972)

Coney, Michael, Mirror Image (1972)

Cowper, Richard, Clone (1972)

Effinger, George Alec, What Entropy Means to Me (1972)

Gerrold, David, When Harlie Was One (1972)

Gunn, James E, The Listeners (1972)

Malzberg, Barry N, Beyond Apollo (1972)

Moorcock, Michael, An Alien Heat (1972)

Moorcock, Michael, Breakfast in the Ruins (1972)

Moorcock, Michael, The English Assassin (1972)

Priest, Christopher, Fugue for a Darkening Island (1972)

Silverberg, Robert, Dying Inside (1972)

Silverberg, Robert, The Book of Skulls (1972)

Simak, Clifford D, A Choice of Gods (1972)

Spinrad, Norman, The Iron Dream (1972)

Stableford, Brian, The Halcyon Drift (1972)

Williamson, Jack, The Moon Children (1972)

Zebrowski, George, The Omega Point (1972)

Aldiss, Brian, Frankenstein Unbound (1973)

Anderson, Poul, The People of the Wind (1973)

Ballard, J G, Crash (1973)

Clarke, Arthur, Rendezvous with Rama (1973)

Coney, Michael, Friends Come in Boxes (1973)

Coney, Michael, Syzygy (1973)

Cowper, Richard, Time out of Mind (1973)

Dickinson, Peter, The Green Gene (1973)

Gerrold, David, The Man Who Folded Himself (1973)

Gutteridge, Lindsay, Killer Pine (1973)

Heinlein, Robert A, Time Enough for Love: The Lives of Lazarus Long (1973)

Lessing, Doris, The Summer Before the Dark (1973)

Merle, Robert, Malevil (1973)

Niven, Larry, Protector (1973)

Pynchon, Thomas, Gravity’s Rainbow (1973)

Simak, Clifford D, Cemetery World (1973)

Stableford, Brian, Rhapsody in Black (1973)

Tennant, Emma, The Time of the Crack (1973)

Tiptree, James, Ten Thousand Light-Years from Home (1973)

Watson, Ian, The Embedding (1973)

Anderson, Poul, Fire Time (1974)

Ballard, J G, Concrete Island (1974)

Bass, T J, The Godwhale (1974)

Charnas, Suzy McKee, Walk to the End of the World (1974)

Compton, D G, The Continuous Katherine Mortenhoe (1974)

Cowper, Richard, The Twilight of Briareus (1974)

Dick, Philip, Flow My Tears the Policeman Said (1974)

Disch, Thomas M, 334 (1974)

Dozois, Gardner, Strangers (1974)

Eklund, Gordon, All Times Possible (1974)

Harrison, M John, The Centauri Device (1974)

Jones, D F, The Fall of Colossus (1974)

Le Guin, Ursula K, The Dispossessed (1974)

Lessing, Doris, The Memoirs of a Survivor (1974)

Moorcock, Michael, The Hollow Lands (1974)

Moorcock, Michael, The Land Leviathan (1974)

Niven, Larry and Jerry Pournelle, The Mote in God’s Eye (1974)

Pedlar, Kit and Gerry Davis, Brainrack (1974)

Pisechia, Doris, Star Rider (1974)

Priest, Christopher, The Inverted World (1974)

Stableford, Brian, Promised Land (1974)

Stableford, Brian, The Fenris Device (1974)

Stableford, Brian, The Paradise Game (1974)

Tennant, Emma, The Last of the Country House Murders (1974)

Adlard, Mark, Multiface (1975)

Anderson, Poul, A Midsummer Tempest (1975)

Ballard, J G, High-Rise (1975)

Bester, Alfred, The Computer Connection (1975)

Bishop, Michael, A Funeral for the Eyes of Fire (1975)

Bradley, Marion Zimmer, The Heritage of Hastur (1975)

Coney, Michael G, Brontomek! (1975)

Coney, Michael, Charisma (1975)

Coney, Michael, Hello Summer Goodbye (1975)

Cover, Arthur, Autumn Angels (1975)

Crowley, John, The Deep (1975)

Delany, Samuel R, Dhalgren (1975)

Doctorow, E L, Ragtime (1975)

Gutteridge, Lindsay, Fratricide is a Gas (1975)

Haldeman, Joe, The Forever War (1975)

Harding, Lee, A World of Shadows (1975)

Lee, Tanith, The Birthgrave (1975)

MacLean, Katherine, The Missing Man (1975)

Malzberg, Barry N, Guernica Night (1975)

McIntyre, Vonda N, The Exile Waiting (1975)

Mitchison, Naomi, Solution Three (1975)

Niven, Larry and Jerry Pournelle, Inferno (1975)

Pedlar, Kit and Gerry Davis, The Dynostar Menace (1975)

Russ, Joanna, The Female Man (1975)

Shaw, Bob, Orbitsville (1975)

Sheckley, Robert, Options (1975)

Silverberg, Robert, The Stochastic Man (1975)

Simak, Clifford D, Enchanted Pilgrimage (1975)

Sky, Kathleen, Birthright (1975)

Stableford, Brian, Swan Song (1975)

Tiptree, James, Warm Worlds and Otherwise (1975)

Wilson, Robert Anton, Leviathan (1975)

Wilson, Robert Anton, The Eye in the Pyramid (1975)

Wilson, Robert Anton, The Golden Apple (1975)

Zelazny, Roger, Doorways in the Sand (1975)

Amis, Kingsley, The Alteration (1976)

Bova, Ben, Millennium (1976)

Butler, Octavia, Patternmaster (1976)

Delany, Samuel R, Triton (1976)

Gotlieb, Phyllis, O Master Caliban! (1976)

Haldeman, Joe, Mindbridge (1976)

Harding, Lee, Future Sanctuary (1976)

Herbert, Frank, Children of Dune (1976)

Holdstock, Robert, Eye Among the Blind (1976)

Jeter, K W, The Dreamfields (1976)

Moorcock, Michael, The Adventures of Una Persson and Catherine Cornelius in the Twentieth Century (1976)

Moorcock, Michael, The End of All Songs (1976)

Piercy, Marge, Woman On The Edge Of Time (1976)

Pohl, Frederik, Man Plus (1976)

Pratchett, Terry, The Dark Side of the Sun (1976)

Randall, Marta, Islands (1976)

Sargent, Pamela, Cloned Lives (1976)

Silverberg, Robert, Shadrach in the Furnace (1976)

Simak, Clifford D, Shakespeare’s Planet (1976)

Tennant, Emma, Hotel de Dream (1976)

Vonnegut, Kurt, Slapstick or Lonesome No More! (1976)

Watson, Ian, The Jonah Kit (1976)

Wilhelm, Kate, Where Late the Sweet Birds Sang (1976)

Williamson, Jack, The Power of Blackness (1976)

Aldiss, Brian, Brothers in the Head (1977)

Benford, Gregory, In the Ocean of Night (1977)

Bradley, Marion Zimmer, The Forbidden Tower (1977)

Budrys, Algis, Michaelmas (1977)

Butler, Octavia, Mind of my Mind (1977)

Carr, Terry, Cirque (1977)

Dick, Philip, A Scanner Darkly (1977)

Dickson, Gordon R, Time Storm (1977)

Gaskell, Jane, Some Summer Lands (1977)

Haldeman, Joe, All My Sins Remembered (1977)

Holdstock, Robert, Earthwind (1977)

Jones, D F, Colossus and the Crab (1977)

Kilworth, Garry, In Solitary (1977)

Martin, George R R, Dying of the Light (1977)

Moorcock, Michael, The Condition of Muzak (1977)

Niven, Larry and Jerry Pournelle, Lucifer’s Hammer (1977)

Pohl, Frederik, Gateway (1977)

Scott, Jody, Passing for Human (1977)

Simak, Clifford D, A Heritage of Stars (1977)

Strugatsky, Arkady and Boris, Roadside Picnic (1977)

Varley, John, The Ophiuchi Hotline (1977)

Watson, Ian, Alien Embassy (1977)

Watson, Ian, The Martian Inca (1977)

Zebrowski, George, Ashes and Stars (1977)

Zebrowski, George, The Monadic Universe (1977)

Aldiss, Brian, Enemies of the System: A Tale of Homo Uniformis (1978)

Ballard, J G, The Unlimited Dream Company (1978)

Benson, Donald R, And Having Writ… (1978)

Bova, Ben, Colony (1978)

Butler, Octavia, Survivor (1978)

Charnas, Suzy McKee, Motherlines (1978)

Chayefsky, Paddy, Altered States (1978)

Cherryh, C J, The Faded Sun Trilogy (1978-1979)

Cowper, Richard, The Road to Corlay (1978)

Kilworth, Garry, The Night of Kadar (1978)

McCaffrey, Anne, The White Dragon (1978)

McIntyre, Vonda N, Dreamsnake (1978)

Moorcock, Michael, Gloriana (1978)

Priest, Christopher, Palely Loitering (1978)

Reamy, Tom, Blind Voices (1978)

Sheckley, Robert, The Alchemical Marriage of Alistair Crompton (1978)

Simak, Clifford D, Mastodonia (1978)

Simak, Clifford D, The Fellowship of the Talisman (1978)

Sterling, Bruce, Involution Ocean (1978)

Tiptree, James, Star Songs of an Old Primate (1978)

Turner, George, Beloved Son (1978)

Varley, John, The Persistence Of Vision (1978)

Vidal, Gore, Kalki (1978)

Vinge, Joan, The Outcasts of Heaven Belt (1978)

Watson, Ian, Miracle Visitors (1978)

Benford, Gregory, Timescape (1979)

Bova, Ben, Kinsman (1979)

Buffery, Judith, Saffron (1979)

Buffery, Judith, The Sheeg (1979)

Butler, Octavia, Kindred (1979)

Clarke, Arthur, The Fountains of Paradise (1979)

Cowper, Richard, Profundis (1979)

Crowley, John, Engine Summer (1979)

Disch, Thomas M, On Wings of Song (1979)

Disch, Thomas M, The Brave Little Toaster (1979)

Dodderidge, Esme, The New Gulliver or The Adventures of Lemuel Gulliver Jr. in Capovolta (1979)

Fairburns, Zoes, Benefits (1979)

Jeter, K W, Morlock Night (1979)

Kilworth, Garry, Split Second (1979)

Pohl, Frederik, Jem (1979)

Varley, John, Titan (1979)

Watson, Ian, God’s World (1979)

Watson, Ian, The Very Slow Time Machine (1979)

Wilhelm, Kate, Juniper Time (1979)

Williamson, Jack, Brother to Demons Brother to Gods (1979)

Broderick, Damien, The Dreaming Dragons (1980)

Buffery, Judith, Gringol Weed (1980)

Buffery, Judith, The Iron Clog (1980)

Butler, Octavia, Wild Seed (1980)

Charnas, Suzy McKee, Vampire Tapestry (1980)

Compton, D G, Ascendencies (1980)

Ford, John M, Web of Angels (1980)

Gearheart, Sally Miller, The Wanderground: Stories of the Hill Women (1980)

Niven, Larry, The Ringworld Engineers (1980)

Pohl, Frederik, Beyond the Blue Event Horizon (1980)

Sargent, Pamela, The White Death (1980)

Saxton, Josephine, The Travails of Jane Saint (1980)

Silverberg, Robert, Lord Valentine’s Castle (1980)

Simak, Clifford D, The Visitors (1980)

Stallman, Robert, The Orphan (1980)

Sterling, Bruce, The Artificial Kid (1980)

Tevis, Walter, Mockingbird (1980)

Varley, John, The Barbie Murders (1980)

Varley, John, Wizard (1980)

Vinge, Joan, The Snow Queen (1980)

Wolfe, Gene, The Shadow of the Torturer (1980)

Bryant, Edward Particle Theory (1981)

Tiptree, James, Out of the Everywhere and Other Extraordinary Visions (1981)

Holdstock, Robert, In the Valley of the Statues (1982)

Varley, John, Demon (1984)