Sailing to the Moon: Francis Bacon, Francis Godwin and the First Science Fiction

Author(s):  
Catherine Gimelli Martin
2019 ◽  
pp. 119-150
Author(s):  
Marissa K. López

Chapter 4 opens with a discussion of the mass graves of unidentified immigrants discovered in South Texas in 2014. How, confronted with these decayed, dismembered border bodies, can literature and art move us beyond horror into a more just tomorrow? To answer, the author turns to two Chicanx science fiction novels: Morales’s The Rag Doll Plagues (1992) and Pita and Sánchez’s Lunar Braceros (2009). Morales’s novel begins in colonial Mexico with a tale of La Mona, an unidentified plague similar to AIDS, and ends in a Los Angeles of the future, now known as LAMEX, beset by a similar disease curable only by the infusion of blood from “pure” Mexicans and threatened by waves of trash, which have taken on the characteristics of an animated organism, rolling in from the Pacific. Lunar Braceros, about nuclear waste workers of the future living on the moon, presents trash as a similarly transformative threat. Both novels offer conflicted visions of the human body as simultaneously of and apart from the land, a vulnerable but powerful catalyzing agent for change. The author frames this chapter with analyses of works in Mexican Canadian digital installation artist Rafael Lozano-Hemmer’s Relational Architecture series.


Author(s):  
Jared S. Buss

This chapter follows Ley during his early twenties, when he became an intermediary between specialized experts and the general public. Ley constructed his persona as a freelance writer and journalist, who could translate complex concepts for a broader audience in Weimar Germany. This chapter explores Ley’s entrance into rocketry clubs, amateur science, and circles of journalists during Weimar’s rocketry fad. It concludes with an analysis of his role in the ground breaking science fiction film, Woman in the Moon (1929).


Author(s):  
Allison de Fren

Georges Méliès (born Marie-Georges-Jean Méliès) was a French showman, illusionist, and filmmaker best known for his early silent fantasy and science fiction films, such as Trip to the Moon (1902) and Impossible Voyage (1904). While most early films were actualities, he took an innovative, non-realist approach to the medium, employing its unique capacities for altering space and time to produce allegorical and dream imagery. He is sometimes called the first cinemagician due to his pioneering work in special effects, including the stop-trick film, double exposure, split screen, dissolve, and superimposition. Méliès launched his entertainment career as a magician in the arcades of late 19th-century Paris. In 1888 he purchased the Théâtre Robert-Houdin, the most famous magic theater at the time, which came complete with stage props, illusions, automata (whose parts he used to build his first film camera), and performers, including Jeanne d’Alcy, who became his muse, long-time mistress, and second wife. The performance skills that he developed in the theater were later incorporated into filmmaking, an occupation that he began pursuing passionately after attending the première screening of the Lumière brothers’ Cinématographe at the Grand Café in 1895. A year later, he helped to found the Star Film Company and built what is considered the first film studio of the silent period, whose main stage area featured a steel frame surrounded by glass walls to capture the sunlight.


Author(s):  
Jonathan R. Eller

This chapter examines the dark themes and moods that characterize some of Ray Bradbury's short stories, a reflection of his deep ambivalence toward an increasingly destabilized world. Bradbury never developed a postmodernist dislike of where technology and science had brought the world, but he always remained wary of where science may lead mankind in the future. This predictive urge led him to use his science fiction stories to work through some of the issues left unresolved in his failed novels. This chapter discusses “—And the Moon Be Still as Bright” and several of Bradbury's tales, written in the 1946–1948 period, which are distinguished from other Bradbury stories of the period by their science fiction trappings, their unrelieved darkness, the lack of any familiar points of reference, and their relative obscurity within the Bradbury canon. It also considers the relationship stories that eased Bradbury through his impasse with Modernist themes.


Author(s):  
Jared S. Buss

Willy Ley died of a heart attack just weeks before the lunar landing in July 1969. This epilogue describes the reactions of his family and friends, who mourned his loss amid the broader celebration of Apollo 11. It also recounts the successful efforts to name a Moon crater in his honor. Whereas most craters bear the names of scientists or science fiction writers, Ley became the first citizen on the Moon after spending most of his life as an outsider to the centers of research and development. Despite his outsider status, he had done so much to engineer the Space Age. The book closes with reflections on his legacy as a spaceflight advocate.


The history of science fiction (SF) in the movies is reviewed in depth. At this point in the Big Moon Dig story series, an artificial intelligence (AI) is needed placed in the new settlement on the Moon. Designing electronics for operation in space is difficult and two major AIs on Earth support this design effort. The question of whether or not the Earth-bound AIs can be considered the parents of the space-based AI is a key point of discussion. The story in this chapter, “Caterpillars on the Moon,” features the landing of an inflatable habitat section on the Moon and its movement, caterpillar fashion, into position.


2018 ◽  
pp. 43-72
Author(s):  
Gary Westfahl

This chapter describes how Clarke’s science fiction consistently advocates, and vividly depicts, humanity’s future achievements in space. Without providing a consistent “Future History,” his stories collectively argue that humans will gradually colonize space stations, the moon, Mars, and other planets and moons, though humans may never advance beyond the solar system. Clarke unusually acknowledges the need for computers in space, and instead of featuring pioneering expeditions, he usually focuses on the everyday lives of space colonists, emphasizing both the perils of space life and its potential benefits, such as greater longevity. Living aliens are rarely encountered, though evidence of ancient aliens may be detected. Clarke’s major novel about human space travel, Imperial Earth (1975), explores life on Titan by chronicling a resident’s visit to Earth.


Author(s):  
Richard J. Leskosky

Le voyage dans la lune [A Trip to the Moon] is the best-known work of special effects and film pioneer Georges Méliès (1861–1938). It is generally considered to be the first science fiction film, and was lauded for its plot and special effects upon its release. It made Méliès famous worldwide; but piratical practices, particularly in the United States, denied him his due profits. In the film, Professor Barbenfouillis (Méliès) and a group of scientists fly to the moon in a capsule shot from a cannon and encounter its crustacean inhabitants (Selenites). After a narrowly escaping the Selenites, the explorers return to Earth. The film’s first half owes much to Jules Verne’s novel De la terre à la lune [From the Earth to the Moon, 1865], while the second half derives from H. G. Wells’s novel The First Men in the Moon (1901). It valorises science and the idea of research/exploration as an end in itself, but also satirizes 19th-century scientific achievements. Méliès had ties to the Symbolist movement and included symbolic scenes which comment on but do not further the plot, including the film’s most iconic image: the rocket hitting the moon in its eye.


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