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at New Worlds
(OUT OF PRINT)
246mm x 185mm
Presenting Savoy's long-overdue tribute to the most important magazine of the 1960s. Forget Oz magazine and International Times, New Worlds was a pinnacle of the 1960s' counterculture, standing in the same relation to underground publishing as The Beatles did to pop music. Without the example of New Worlds there would never have been a Savoy Books.
From 1964 to 1971, under the far-sighted editorship of Michael Moorcock, New Worlds grew from a small science-fiction monthly to what JG Ballard later called 'one of the most exciting magazines of any kind in this country'. Its writers discarded speculations about future technology and life on other planets, turning their attention to the increasingly technologised media landscape of the 20th century.
In Eduardo Paolozzi at New Worlds: Science Fiction and Art in the Sixties, David Brittain examines the magazine during its prime period, throwing light on the interactions of the art of the time with what Judith Merril and Harlan Ellison called 'the new wave of science fiction'. The work of artist Eduardo Paolozzi was showcased in the magazine along with that of Pop Art colleague Richard Hamilton. Paolozzi's close association with New Worlds was acknowledged via a masthead credit as 'Aeronautics Adviser'.
Brittain's book places Paolozzi's 'science fiction' art of the late '60s in the context of the new SF, and offers fresh insights into the way images and a fragmentary, collaged approach to writing informed the controversial prose of Ballard, Moorcock, Brian Aldiss, Norman Spinrad, M John Harrison and others.
The book contains rare and unseen images from the archives of New Worlds and the Eduardo Paolozzi Foundation, including excerpts from what is thought to be an unpublished science-fiction novel by the artist. There are also new interviews about the magazine and its times with editor Moorcock, art editor Christopher Finch, designer Charles Platt, contributor Michael Butterworth, and critic John Clute.
With an introduction by Rick Poynor, and endpaper illustrations by Pamela Zoline. Cover and interior design by John Coulthart.
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