Which books/covers/authors intrigue you? Which have you read? Disliked? Enjoyed?
1. The Shockwave Rider, John Brunner (1975)
From the back cover: “Future shock!
In the obsessively technological, paranoidally secretive and brutally competitive society depicted by John Brunner, even personal identities are under threat. But one man has made it his mission to liberate the mental prisoners, to restore their freedom in a world run mad.
Nickie Haflinger, the only person to escape from Tarnover–where they raise hyper-intelligent children to maintain the political dominance of the USA in the 21st century–is on the run, dodging from loophole to crevise to crack in the computerised datanet that binds the continent like chains. After years of flight and constant changes of identity, at the strange small town called Precipice he discovers he is not alone in his quest. But can his new allies save him when he falls again into the sinister grasp of Tarnover…?”
Initial Thoughts: I read John Brunner’s The Shockwave Rider (1972) before I started my site–along with his other masterpieces Stand on Zanzibar (1968), The Sheep Look Up (1972), The Jagged Orbit (1969), The Whole Man (196), etc. Of his best known novels, I remember the least about The Shockwave Rider. However, I cannot find my copy for a rare reread! For all I know I gave it to a friend or lost it in a move. I sought out this UK edition due to the intriguing urban arcology background of the cover.
(Mati Klarwein’s 1970 cover for Miles Davis’ album Bitches Brew)
Mati Klarwein (wikipedia link) was a German artist of Jewish origin who fled the Nazis to British Palestine. After the fall of the Nazis, he received an art education in Paris and gained French citizenship. Famous for his album covers—notably Miles Davis’ famous Bitches Brew (1970) (above) and Santana’s Abraxas (1969) (below)—Klarwein also created (or his art was used for) SF covers. Characterized by an obsessive eye for the detail (click and zoom in on Lafferty’s Arrive at Easterwine scan I included from my collection), Klarwein’s almost mandalic covers draw on a wide range of artistic influences. Unfortunately, quite a few are uncredited or credited to the incorrect artist—his cover for the 1972 edition of The World’s Desire (1890) by H. Rider Continue reading →