Showing posts with label Science Fiction. Show all posts
Showing posts with label Science Fiction. Show all posts

Tuesday, September 06, 2016

Then: The sad story of William Dyson

I've just started reading Rob Hansen's massive history of British science fiction fandom, Then, and finding it fascinating. Although I was only ever on the periphery of fandom—a member, at times, of the British Fantasy Society and the British SF Association, but never that active—I've always found its history fascinating. It dates back to my school days and a project I did about early British SF magazines (which eventually became about one British SF magazine, but that's another story). While I was researching, I read Walter Gillings' "The Impatient Dreamers" series and was, for the first time, introduced to early SF fandom.

Some years later, Rob Hansen published a fanzine called Then, which detailed far more of fandom's history from the 1930s through the 1970s.. Now there's a massive volume, published by David Langford's Ansible Editions, that expands Rob's work even further—it's now a 454 page monster with some 228,000 words and hundreds of photographs to break up the tightly set text and now available in both hardcover and softcover.

Amazingly, for all its depth, there are still stories to be discovered. On page 27, for instance, I read: "At some point in 1936 one of the Leeds group's earliest members, W. A. Dyson of Huddersfield, was killed in an accident." Behind those twenty-or-so words lies a rather tragic tale...

William Aldwyn Dyson was born in 1916,  the son of Henry Cresswell Dyson (1873-1944) and his wife Amelia Mary (nee Morgan, 1876-1954), who had married in 1904. Daughters, Hilda Mary (later Barker, 1904-1986) and Irene Maud (1906- ), were born soon after. The family lived at 10 Leeds Road, North Huddersfield, in 1911, and Mr. Dyson, who had been born in Huddersfield, made his living as a foreman in a local cotton and wool dyeing business.

It was a trade his son would try to follow him in. In 1933, when the family were living at Arnold Street, Birkby, Huddersfield, William began attending Leeds University, travelling in every day from Birkby to study colour chemisty, with a view to taking up dyeing. In May 1936, when he was in his third year and preparing to take his B.Sc. degree, he began sitting his City and Guilds exams.

On Friday, the 8th of May, at about 5pm, a few hours before he was due to sit his fourth and final exam, William's body was discovered by a member of staff in the basement of the chemistry department at the University, an area not usually frequented by students as it was used primarily as a store-room. His face was covered with a large wad of cotton wool which had been saturated with chloroform. A doctor was called and William was removed to the General Infirmary, but was pronounced dead on arrival.

Foul play was not suspected and William's father, Henry, by now a partner in the firm of Tom Liversidge & Sons of Canal Bank Works, Huddersfield, admitted that his son had been considerably depressed during the previous week, telling the Yorkshire Post:
He repeatedly told me that he was afraid he would not be successful in passing his examination, but in spite of the fact that I told him not to worry he has been worrying a good deal. Some weeks ago he was confined to bed for seven weeks through fluid on the knee as a result of overstrain when taking part in athletic competitions.
    The doctor had warned him that he would never be able to take part in athletics to the same extent again, and the two things together had caused him to be extremely depressed.
An inquest was held on the following Monday during which it was revealed that William's injury would have prevented him from playing football for the whole of the next season. His head of department, Professor F. M. Rowe, described him as a brilliant student and had told him that he had no need to worry about the results as he had passed far stiffer examinations during his time at the university.

Despite this reassurance, William had taken a flask of chloroform down to the basement below the chemistry department where he sat down on a bale of wool. The inquest recorded a verdict of suicide while temporarily insane.

"It was the first death in British fandom," records Rob Hansen.

Monday, February 16, 2009

Sci-Fi Art: A Graphic History

Long-time readers will know that Sci-Fi Art: A Graphic History was written during last summer. Well, the book is out now and it looks fantastic, even if I say so myself.

My involvement came about because the original author was unable to do the book (I don't know the details but these things happen); the text was farmed out to a number of different writers and I got the opening couple of chapters—the longest two sections in the book—plus the introduction. As I was writing half the book (the other half being split between five other writers: Alex Sumersby, Steve White, Toby Weidmann, Adrian Faulkner and Tim Murray), I also got to write the introduction and get my name on the cover.

What was originally going to be two months work turned into three thanks to "real life" getting in the way of all my carefully laid plans, namely bits of the house being pulled down and rebuilt, all my reference books disappearing into storage and a constant flow of workmen through the house. One of the real problems was tracking down suitable images—this was, after all, a "graphic" history—and discovering that, when scans turned up, they were pretty dire. I'd say that a good half to three-quarters of the additional time I spent on the books was spent cleaning up pictures. (When I get a chance I'll dig out some of the original scans so you can compare them to the finished product in the book... they're on a hard drive that's buried somewhere in the office.)

I've had a chance to read the book and the whole thing hangs together amazingly well. The two chapters I wrote on SF art cover everything from 18th & 19th century illustration to the current crop of talented artists (Donato Giancola, Stephen Martiniere) via pulps, paperbacks and some incredible talents ranging from Frank R. Paul to Jim Burns and Frank Kelly Freas to Chris Foss. Other chapters cover comic books, concept art, cinema art and various other media, so Dan Dare gets to rub shoulders with David A. Hardy and H. R. Giger with the Halo XBox game, all under the same covers.

The cover, incidentally, is by that master of SF artistry, Vincent di Fate, whose Infinite Worlds was a real inspiration when I was writing up many of the artists. And the book has a thought provoking foreword by Brian Aldiss (who, once upon a time, also wrote a book about SF art called Science Fiction Art) which argues that the standardization of so much science fiction art has damaged the perception of SF, using the example of his novel Non-Stop: of the 20 or so paperback editions and translations, all but one features a spaceship on the cover; but the story takes place inside a spaceship amongst people who believe the ship is their world. Only one cover features a dramatic scene taken from the novel.

Me? I like spaceships. My biggest influence with regards to SF art was the artwork I saw each week as I scoured the shelves for new titles back in the mid- and late-1970s. This was the hey-day of Chris Foss and his followers and, no disrespect to these artists intended, the publishers clearly thought they were interchangeable. Their skilfully-drawn and beautifully air-brushed spacecraft were almost a brand, used willy-nilly on everything from E. E. 'Doc' Smith to Philip K. Dick. They were rarely a window illuminating the contents of the books and, if you weren't careful, you might pick up a Perry Rhodan and miss the latest Robert Silverberg.

On the other hand, I believe those covers opened up quite a few new worlds for me personally. I read an awful lot of SF (nothing but SF, in fact, for about eight years) and the spaceship "brand" led me to authors as diverse as Jack Williamson and Samuel R. Delaney. I didn't distinguish between thirties pulp and classy literature and non-specific covers that grabbed my attention meant that I read a great many more authors and a far broader range of science fiction than I might have done otherwise. (My argument falls down on one point: it meant I read a lot of crap, too. But I was a quick reader so my disappointment was soon dispelled by the next good book and I had an excellent memory for names to avoid.)

Odd that I should be praising uniformity while I'm talking about a book that celebrates the diversity of SF art! I don't think there has been a book out on the subject with this breadth before. Seriously, get yourself a copy of this book and let me know what you think.

Sci-Fi Art: A Graphic History. Ilex Books, January 2009.

Reviews

SFX #180 (March 2009) 4.0 out of 5 stars


"a rare compilation of pop culture images that shaped the way we view the future from HG Wells to Final Fantasy." -- Selling Tomorrows (25 March 2009)

(* SFX © Future Publishing Ltd.)

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