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The role of fiction in both understanding and interpreting the world has recently become an increasingly important topic for many of the human sciences. This volume of Osiris focuses on the relationship between a particular genre of storytelling—science fiction (SF), told through a variety of media—and the history of science.

The protagonists of these two enterprises have a lot in common. Both SF and the history of science are oriented towards the (re)construction of unfamiliar worlds; both are fascinated by the ways in which natural and social systems interact; both are critically aware of the different ways in which the social (class, gender, race, sex, species) has inflected the experience of the scientific. Taking a global approach, Presenting Futures Past examines the ways in which SF can be used to investigate the cultural status and authority afforded to science at different times and in different places. The essays consider the role played by SF in the history of specific scientific disciplines, topics, or cultures, as well as the ways in which it has helped to move scientific concepts, methodologies, and practices between wider cultural areas. Ultimately, Presenting Futures Past explores what SF can tell us about the histories of the future, how different communities have envisaged their futures, and how SF conveys the socioscientific claims of past presents.

The curtain rises on Theatre and Youth, volume 23 of Theatre Symposium with keynote reflections by Suzan Zeder, the distinguished playwright of theatre for youth, and presents eleven original essays about theatre’s reflections of youth and the role of young people in making and performing theatre.
 
The first set of essays draws from robustly diverse sources: the work of Frank Wedekind in nineteenth-century Germany, Peter Pan’s several stage incarnations, Evgeny Shvarts’s antitotalitarian plays in Soviet Russia, and Christopher Marlowe’s Dido, Queen of Carthage, whose depictions of childhood comment on both the classical period as well as Marlowe’s own Elizabethan age.
 
The second part of the collection explores and illustrates how youth participate in theatre, the cognitive benefits youth reap from theatre practice, and the ameliorating power of theatre to help at-risk youth. These essays show fascinating and valuable case studies of, for example, theatre employed in geography curricula to strengthen spatial thinking, theatre as an antidote to youth delinquency, and theatre teaching Latinos in the south strategies for coping in a multilingual world.
 
Rounding out this exemplary collection are a pair of essays that survey the state of the art, the significance of theatre-for-youth programming choices, and the shifting attitudes young Americans are bringing to the discipline. Eclectic and vital, this expertly curated collection will be of interest to educators and theatre professionals alike.