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Approachable translations and discussions of Lucian that reveal his world-building, world-bending, and multiversal thinking. 

Lucian of Samosata was ahead of his time. A rhetorician and writer active in the second century CE, he was one of the earliest known worldbuilders and science-fiction enthusiasts. Popular and prolific in antiquity—more than eighty texts attributed to him have come down to us today, including satires, dialogues, and part of a fictional work called True History—Lucian crafted astonishing tales that unfold on the surface of the moon or other planets, high above in Earth’s atmosphere, or through the eyes of underworld inhabitants or other entities who view mortal humans as otherworldly beings.

Ideal for readers interested in science fiction, fantasy, and mythology, this accessible collection offers a guided journey through Lucian’s many worlds. Bringing together fresh vernacular translations of eight works with substantial discussion, this selection showcases Lucian as a proto-multiversal thinker, presenting multiform narratives that herald developments in modern genres ranging from literature and film to gaming and fan fiction. Translator and editor Cynthia Polsley introduces each with a short excerpt from another piece of classical literature, showing how other ancient authors—including Homer, Ovid, and Vergil—influenced Lucian’s literary landscapes or were inspired by him in turn.

How science fiction films in the 1950s were marketed and helped create the broader genre itself.

For Hollywood, the golden age of science fiction was also an age of anxiety. Amid rising competition, fluid audience habits, and increasing government regulation, studios of the 1950s struggled to make and sell the kinds of films that once were surefire winners. These conditions, the leading media scholar J. P. Telotte argues, catalyzed the incredible rise of science fiction.

Though science fiction films had existed since the earliest days of cinema, the SF genre as a whole continued to resist easy definition through the 1950s. In grappling with this developing genre, the industry began to consider new marketing approaches that viewed films as fluid texts and audiences as ever-changing. Drawing on trade reports, film reviews, pressbooks, trailers, and other archival materials, Selling Science Fiction Cinema reconstructs studio efforts to market a promising new genre and, in the process, shows how salesmanship influenced what that genre would become. Telotte uses such films as The Thing from Another World, Forbidden Planet, and The Blob, as well as the influx of Japanese monster movies, to explore the shifting ways in which the industry reframed the SF genre to market to no-longer static audience expectations. Science fiction transformed the way Hollywood does business, just as Hollywood transformed the meaning of science fiction.

Reveals the alt-right’s project to claim science fiction and—by extension—the future

Fascists such as Richard Spencer interpret science fiction films and literature as saying only white men have the imagination required to invent a high-tech future. Other white nationalists envision racist utopias filled with Aryan supermen and all-white space colonies. Speculative Whiteness traces these ideas through the entangled histories of science fiction culture and white supremacist politics, showing that debates about representation in science fiction films and literature are struggles over who has the right to imagine and inhabit the future. Although fascists insist that tomorrow belongs to them, they have always been and will continue to be contested by antifascist fans willing to fight for the future.

Star Wars may have started out as a film about a Manichean battle between good and evil, but as countless filmmakers, novelists, animators, fan artists and even cosplayers have taken the opportunity to play in the fictional world George Lucas created, it has expanded into something far greater, resulting in a richly layered and diverse Star Wars multiverse. 
 
Drawing from a full range of Star Wars media, including comics, children’s books, fan films, and television shows like Clone Wars and The Mandalorian, Carmelo Esterrich explores how these stories set in a galaxy far far away reflect issues that hit closer to home. He examines what they have to say about political oppression, authoritarianism, colonialism, discrimination, xenophobia, and perpetual war. Yet he also investigates subtler ways in which the personal is political within the multiverse, including its articulations of gender and sexuality, its cultural hierarchies of language use, and its complex relationships between humans, droids and myriad species. This book demonstrates that the Star Wars multiverse is not just a stage for thrilling interstellar battles, but also an exciting space for interpretation and discovery.