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Brian Stableford

interviewed by Barbara Godwin

Science Fact and Science Fiction: An Encyclopedia by Brian StablefordBrian Stableford published his 100th book on 5 September 2006, a few weeks after his 58th birthday, 41 years after the publication of his first short story in the November 1965 issue of Science-Fantasy and 37 years after the publication of his first book, Cradle of the Sun, as half of an Ace double in November 1969. This interview, conducted by Barbara Godwin--one of the students he taught while briefly employed as a part-time Lecturer in Creative Writing at what is now the University of Winchester--reflects on the experiences of that phase of his life and looks forward to the next.

[Interview with Brian Stableford, conducted 12-17 August 2006 by Barbara Godwin]

Barbara Godwin: Your enormous writing output spans not only science fiction and fantasy, but popular non-fiction, editing, translation and learned articles. How did you find the time to fit in an academic career as well?

Brian Stableford: I didn't, really. I did make a brief effort to concentrate on my academic career when I was given tenure in my job at the University of Reading in the early 1980s, and actually gave up fiction-writing for a few years in 1981-85, but it came to nothing. I had no takers for most of the research projects I wanted to take on, and the only academic book I ever managed to publish--my study of Scientific Romance in Britain 1890-1950--only sold 157 copies, so it seemed like a waste of time. In those days, 157 copies seemed a derisory total--nowadays, alas, I can only dream of my books selling as many as that. At any rate, once I had resumed writing fiction in 1986 the die was cast; I was nearly forty, and whatever I chose to do at that point had to count as a lifelong commitment because there would be no further opportunity to switch back. I did some odd bits of part-time teaching after leaving Reading in 1988, but there was no possibility of getting hired as a full-time lecturer again.

BG: Even if you'd never done anything else, your output would seem prolific. How do you produce so much?

BS: It's always seemed rather meagre to me. Anthony Trollope pointed out in his autobiography that a part-time writer working for three hours a day and spending the first half hour of that time re-reading the previous day's work ought to be able to produce 2,500 words a day six days a week, or 750,000 words a year. Even as a supposedly full-time writer, working more than six hours a day, it's only recently that I've managed to produce 750,000 words a year on a regular basis, so I've always thought of myself as horribly inefficient. Writers working in the commercial sector are restricted by their publishers, of course, who don't like them to produce more than one book a year; they have to spend the rest of their time doing reviews, articles and the like, or idling around. I made some effort to follow that policy when I was still publishing commercially--the 100 books don't account for much more than half of my 12.5 million word total output--but it was always annoying.

BG: Samuel R Delany's The Jewel-hinged Jaw names you in the context of a discussion of the manner in which young SF writers of the 1960s were driven to produce enormous quantities of sf by the editors of the day--he notes that you had produced six books by the age of 24. Was that the formative influence that got you into the habit of writing so voluminously?

BS: I think Chip Delany might have mistakenly assumed that his own experience was more commonplace than it was. Because he was an order of magnitude better than the other writers producing halves of Ace doubles in the mid-1960s it's only natural that Don Wollheim should have pressed him to produce as much work as possible. When I started, a few years later, the work I was doing was below normal standards of publishability, and the fact that Don bought it reflected the desperation of his attempts to keep the line going. He never pressed me to produce more.

Actually, the six books Chip mentions were all written before my 22nd birthday, and the next few books I wrote failed to sell; things only picked up again after an 18-month hiatus, when Don set up DAW books and was so desperate to get it off the ground that he agreed to take a book he'd rejected at Ace if I would write something new for him. He agreed to take two books a year thereafter (books were shorter in those days and paperback publishers would often take two a year rather than the one that subsequently became standard), but he always seemed mildly resentful of the fact that I persisted in writing additional books that I tried--mostly unsuccessfully--to sell to other editors.

The fact that a lot of writers of the time seemed "driven" to produce a lot of work reflected the level of advances paid to beginning writers. At $1,500 a pop, you couldn't make much of a living by writing two paperback originals a year, but you stood a slim chance of rising above the poverty line if you wrote twice as many. Nowadays, of course, when everything is ten times as expensive but advances at the bottom end of the market are even less than $1,500, you can't make a living from that kind of work no matter how many books you write, so there's no such temptation.

BG: Your 100th book is Science Fact and Fiction: An Encyclopedia, exploring the interaction of the two fields. I can readily see how science fiction borrows and develops from facts, but are there instances where fiction has influenced scientific discovery or understanding?

BS: It's now called Science Fact and Science Fiction: An Encyclopedia; the publisher changed my title without consulting me, blithely disregarding the change of implication and the fact that the term "science fiction" is used rather narrowly within the text. The book attempts a moderately comprehensive account of the way that the evolution of various branches of science has been reflected in fiction and has stimulated the literary imagination. The flow of influence in the other direction is much subtler, but literary representations of scientific work and ambition have certainly influenced the way that scientists are perceived by their fellows, and that has influenced the way they see themselves. I've long been interested in the fundamental interplay between the narrative of science and the science of narrative--although that's not something that anyone else in the world is interested in, so I had to sneak that kind of stuff into the interstices of the package.

BG: Doesn't that qualify as an academic book?

BS: No. It's a scholarly book, to some degree, but now that academia is merely a qualifications industry, there's very little scope left in contemporary academic writing for scholarship. Like any modern reference-book, it has to be marketed to libraries, and packaged in such a way as to attract the attention of the widest possible range of librarians, so it's a rather chimerical text. One of the advantages of an A-Z format, though, is that one can put together a patchwork serving several simultaneous agendas, and that's what I tried to do.

BG: I know from the course you taught at Winchester that you're concerned with the propriety of pessimistic story arcs, which undervalue the benefits of change and technology. Do you see the pessimism of sf as a reflection of a society at odds with change? Does sf reflect society or lead society in attitudes of that sort?

BS: The problem arises as much from the nature of melodrama as from any explicit fear of change. Stories require things to go wrong in order that they can be put right again, thus providing a basic pattern of challenge and climax and a satisfactory sense of closure. Many writers do, of course, find the prospect of progress innately threatening--it's difficult for anyone ever forty to adopt any attitude to the future except terror or denial--but I'm more concerned with the way that the very nature of fiction favours story-arcs that afford a tacit privilege to the status quo, representing all innovation as evil simply because that's the easy way to make a story gripping. Morally responsible futuristic fiction--which, of course, excludes all cinema and TV "sci-fi" and most printed sf--needs to find a way of steering around that problem. I hope that sf mostly reflects what's already inherent in society--it would be dreadful to think that its by-products were inflicting significant harm.

BG: Where do you see sf going in the future? Are there any challenges left now that writers have used the ideas of time, space, different life forms, different forms of society, space travel, biotechnology, ecology, future history and so on?

BS: It's true that sf writers have introduced all those ideas into fiction, but hardly anyone at the party is actually engaging them in conversation yet. Insofar as such ideas are challenging, the challenges remain largely unmet, save for a handful of writers swimming against the tide of popular expectation and demand. A few of those have managed to build up a cult following but none of them has made any significant impact on a mass audience. The fraction of sf that belongs to popular culture is essentially mindless--not merely stupid but sociopathic--while the fraction that harbours serious thought is way out on the fringes of unpopular culture. Hopefully, there will always be heroic writers willing to work on that frontier, but as a marketing category, sf will continue to go exactly where it's been headed since the term entered common usage: nowhere.

BG: Who are the heroic writers? Are you one of them?

BS: The most conspicuously and consistently heroic, at present, include Greg Egan, Stephen Baxter, Bruce Sterling and Gregory Benford--but there are many others who have struggled hard to include serious elements in more commercially marketable texts, with varying measures of success. I tried to do that, in my own idiosyncratic fashion, but failed dismally.

BG: You've published a hundred books.

BS: That would have qualified as an achievement if I'd managed it twenty years ago, but nowadays it's just an absurdity. It's ten years since I made a commercial sale in the UK, and the renamed Science Fact and Fiction: An Encyclopedia seems likely to be the last US volume that I actually get paid for. Nine out of my last ten books, and all of the next ten in the pipeline, are print-on-demand titles that will be fortunate to sell two dozen copies. I don't any longer qualify as a professional writer.

BG: Hadn't you planned a follow-up project to Science Fact and Fiction: An Encyclopedia?

BS: I submitted a proposal for a companion volume on Folklore and Fantastic Literature, which would have explored the ideative roots and evolution of modern fantasy fiction in much the same way that SF&F explored those of sf. My editor at Routledge loved it and five outside readers gave it the thumbs-up, but before a contract could be issued Routledge's parent company, Informa, abruptly closed down the Reference Books division. Printed reference books are no longer commercially viable now that everyone looks things up on the Internet, even though most publishers can get the work of compilation done for next to nothing by academic hacks avid to accumulate publication credits. It looks as if the entire market sector is now effectively dead. The fact that Wikipedia is so easy to use easily outweighs the disadvantages it carries in the forms of promiscuous misinformation and malicious disinformation.

BG: Will you continue to work as a writer if you aren't getting paid for anything you write?

BS: Probably. I'm well aware of the ludicrousness of it, but there's nothing else I could do instead. I've got sixteen waking hours a day to use up, just like everyone else, and my eyesight is now so poor that reading has become something of a chore. There's a certain freedom in not having to worry about making one's work acceptable to a market-minded editor, although there's still the necessity of shaping the work in such a way that someone might be willing to publish it. In some ways, it's just as difficult to give work away as it is to sell it. Getting the next hundred books into print will be even more of a challenge than clocking up the first hundred, even if I make no money out of them at all. On the other hand, I also have the comfort of knowing that if I wake up one morning and decide that I don't want to do it any more I can simply stop, without any significant loss of income or anyone caring. That could happen when my current working computer gives up the ghost--I might simply not bother to splash out on a new one.

Streaking by Brian StablefordBG: Your fiction is very various. In short stories like those collected in Designer Genes and the future history series of novels you wrote for Tor you explore the future advancement of biotechnology. In your Immanion Press books, The Curse of the Coral Bride and Sheena and Other Gothic Tales, you work in an entirely different Decadent vein. Your last commercial publication in the UK, the three-volume novel comprising Serpent's Blood, Salamander's Fire and Chimera's Cradle, starts out looking like a quasi-Medieval fantasy and ends up as ecological science fiction. Two of your other recent novels, Kiss the Goat and Streaking, are contemporary fantasies whose fantasy component may be entirely delusional. Why such variety?

BS: It's the spice of life, so they say. Trying out lots of different things prevents me from getting bogged down in Sheena by Brian Stablefordpreoccupation. As with prolific production, it's another thing that commercial publishers try hard to discourage--efficient marketability requires consistency of product, so commercial editors always want their writers to stick hard to the same subgenre, if not to repeat themselves endlessly--but I've always been interested in an eccentric variety of concerns, whose connections are rather tenuous if not entirely arbitrary. On the other hand, the same philosophical themes do tend to crop up in all the works you've cited: the difficulties of intellectual enquiry, of determining what's true and what isn't in confrontation with confused evidence, and of deciding what to do in circumstances where rational certainty is unachievable. If I had any constant readers, they'd always be guaranteed to find the same sorts of enigmas, addressed with the aid of the same sense of humour, no matter how various the spatial and temporal settings of the stories are.

BG: One of your more frequent concerns seems to be vampirism. You won a British Science Fiction Award--your only award for fiction--in 1995 for "The Hunger and Ecstasy of Vampires", and The Empire of Fear was your most successful novel. Why do you think vampires have attracted so much interest in modern fantasy fiction? Is it that they operate outside the law, subversively, or do they represent a stratum of society that feeds on the rest of us, and of whose predatory activities we're acutely aware? Or is it the metaphorical connotations of blood and contamination?

BS: It's certainly a theme I've addressed on many occasions, mostly in search of new ways to import a little originality into a theme that's been exceptionally well-worn. The Empire of Fear arose out of the notion that the literary mythology of vampirism might be fundamentally flawed in representing vampires as fugitives perpetually in hiding. If there really were such things as vampires--which is to say, if there really were a biology of vampirism--it seemed to me that they would long ago have risen to the status of an aristocracy, albeit an aristocracy that would come under threat when the possibility arose of cultivating a scientific understanding of the relevant biology, so I wrote an alternative history presenting that case.

Empire of Fear's original publisher made good money out of the book--by selling subsidiary rights, not by selling actual copies---and was very keen for me to do more. Initially the editor thought it would be okay if my follow-up project involved werewolves instead, but when that went badly her successor asked me to another vampire book, so I did Young Blood--a contemporary fantasy featuring a very different kind of vampire. Unfortunately, that was a sales disaster too. At one point the editor, at the behest of the sales department, asked me to think of an alternative title including the word "vampire", and I came up with The Hunger and Ecstasy of Vampires--but they didn't like that one either, so I used it on a short novel featuring futuristic vampires, which I cut to novella length in desperation when the longer version didn't sell. Many of my short stories addressing the theme were written in response to requests from anthologists putting together thematic anthologies, who came to me because I was now known as a "vampire author"; that kept up the pressure encouraging me to come up with new wrinkles.

BG: But you've also taken a strong interest in the literary history of the idea, translating many previously-untranslated French vampire stories--initially in your Dedalus anthologies and more recently in volumes published by Black Coat Press, including Paul Féval's Vampire City and The Vampire Countess, and the title story of Villiers de l'Isle Adam's The Vampire Soul and other Sardonic Tales.

BS: Yes, I have. I'm a confirmed antiquarian, fascinated by the thankless task of tracing such ideas through literary history, and comparing their use in different cultural circumstances. I've always had a particular interest in French imaginative fiction, which exerted a powerful attraction on me long before I learned enough French to translate interesting works that no one else had bothered to render into English--or works like "Claire Lenoir" (which the publisher retitled The Vampire Soul in order to get the word "vampire" in there), which had been so badly translated as seriously to misrepresent their nature and quality.

BG: Are there other beings lurking in obscure literary sources that might yet come to the attention of modern writers and take hold of the public imagination in the same way that the vampire did in the 1970s?

BS: Probably. Modern fantasy fiction is, in essence, a genre built of recycling and transfiguring folkloristic notions. Its practitioners are continually dusting off all manner of obsolete ideas and trying to re-equip them for contemporary use. Werewolves, fairies, angels, schools of wizardry and occult conspiracies have already undergone various revisionist treatments, some of which have achieved successes echoing or even exceeding that of seventies vampire fiction.

BG: How much has your translation work influenced your own fantasy writing? Do you rework and develop themes and ideas from such sources?

BS: Everything I read and do influences what I write. I'm continually plundering every aspect of my experience for story ideas, and it's always more convenient to transfigure other literary sources than trying to rework the chaotic produce of real events into narrative form. One of my ongoing projects, which is unlikely to be finished before I die, is a sequel to one of my Féval translations, John Devil, which I'm doing as a roman feuilleton in annual episodes, in Black Coat Press's anthology series Tales of the Shadowmen. It's an insanely eccentric thing to do, but it's fun.

The Stones of Camelot by Brian StablefordBG: I'm absolutely staggered by the amount of work you produce. Your recent reference works--The Historical Dictionary of Fantasy Literature and The A-Z of Science Fiction as well as Science Fact and Fiction-- are enormous undertakings. They could only be produced by someone who knows the Science Fiction and Fantasy genres thoroughly enough to write authoritatively and in depth. How do you go about creating and writing them? Do you have a large library to hand to refer to or do you need to search out substantial amounts of material?

BS: Science Fact and Fiction is the only one that's genuinely substantial, at 460,000 words--although the publisher's imbecilic decision to add a 140,000-word index will make to look far bigger than necessary, swelling it to more than 700 pages. The two historical dictionaries--the A-Z is just a paperback reprint of the Historical Dictionary of Science Fiction--are much smaller, although the fantasy volume, at 200,000 words, did incorporate a good deal of original work, seen from a distinctive perspective. Unfortunately, the latter volume was utterly ruined by the publisher's copy-editor, who butchered my text and introduced hundreds of grammatical atrocities, many of which rendered sentences into gibberish or altered their intended meaning. I told the publishers not to issue it unless they included a disclaimer explaining what had happened, but they ignored me. I had hoped that Folklore and Fantastic Literature would enable me to make amends by doing the job properly, but there's no prospect of that now. Luckily, Scarecrow Press is right down at the bottom of the reference book market and nobody actually uses its books, so the atrocity will pass largely unnoticed.

Compiling books of that sort gets easier the more reference book work you do; I've done a lot over the last thirty years. Since the mid-1980s all the text I've written has accumulated on disk, so every time I start a new assignment I can usually cut-and-paste enough stuff to give me a secure foundation on which to build. I have to be careful to change the wording to avoid copyright problems, but that usually happens naturally because of the different slants that different books take on and the gradual incorporation of new information into the old. I do have a good primary reference collection--the legacy of the forty years I spent haunting second-hand book shops before my eyesight gave out--and I sometimes get free copies of the reference books I work on, so I've got a useful secondary collection too.

BG: How long does it take to create a dictionary of that size and complexity?

BS: The wordage for the two historical dictionaries was built into my standard quota for the year (750,000), but they took up more than their fair share of the time-allotment. The fantasy volume probably soaked up seven months or so, Science Fact and Fiction was even more demanding, taking up almost a whole year on its own.

BG: Setting yourself enormous word targets every year, and often exceeding them, must take a huge amount of self-discipline. How many hours a day do you write, and how much preparation do you do for fiction? How many drafts do you need for your finished work?

BS: I find that I begin to flag at half past four no matter what time I start work in the morning, so I generally try to be at my desk by eight; I take half an hour off at midday to have lunch. I try to do "preparation" work--research and planning--in the evenings so as not to take too big a bite out of writing time, but that isn't always possible. Different kinds of work require different degrees of preparation--fiction is usually only troublesome when I'm writing work set in the past (or in alternative pasts), which requires me to bone up on the period. One of the reasons I found it so hard to meet Trollope's quota is that I always do two drafts of everything--and very often do continual running revisions now that I work on a word-processor, so that the beginning of a book is likely to be worked over four or five times as the middle and end evolve.

BG: You've received a number of awards for your non-fiction, culminating in the Science Fiction Research Association's Pilgrim Award for a lifetime achievement in Science fiction criticism. You've published an enormous number of critical essays and articles exploring the foundations and development of literary science fiction and fantasy. How important do you think ongoing debate and analysis is for your own work and for the whole genre?

BS: My critical work has had a very considerable influence on the way I write fiction, and what I write about. I think I'm a much better writer for having done so much critical analysis, although I'm probably also a much more esoteric writer in consequence. Writers vary a lot in that respect, though; some make a point of never reading any critical analysis in case it affects the spontaneity of their work. I think critical analysis and controversy have worked to the advantage of sf as a genre, because the way sf plays with ideas gives it an innate collaborative and creative dimension, but that's not as obvious in fantasy--which is one reason why it generates much less critical discourse, even though it's by far the more popular genre.

BG: In much of your work there seems to be an underlying sense of righteous anger at human injustice, ignorance and oppression. Do you agree with Granny Weatherwax (in Terry Pratchett's Carpe Jugulum) that sin is 'when you treat people as things'?

BS: I don't really do anger, righteous or otherwise, but there's certainly a lot of black comedy in my works which is regretful of the tendency that people have to mistreat one another horribly. I wish I could be as optimistic as Granny Weatherwax, but it seems to me that most people treat things far better than they do other people--when they don't, it's because they're other people's things.

BG: Your work often contains sympathetically realised female characters. Is the ability to imagine points of view very different from your own a skill that has improved over the years as your writing has matured, or do you think it's an intrinsic part of your personality?

BS: It's primarily an aspect of the work's variety; I don't like to use the same kind of protagonist all the time, so I've explored both sexes, all ages and a number of purely hypothetical viewpoints. I suppose it's rare for male writers to employ female viewpoints in first-person narratives, as I've done several times--but I've noticed that my exploits of that sort have been conspicuously less successful in selling or being reprinted than my other works, so I guess that it does have a certain alienating effect on readers. I hope that my skill has increased with practice, but it probably does have roots in my own personality. I always wanted to be macho as well as deep, but failed dismally--I was good on the theory but hopeless in the practicals.

BG: You mentioned having ten more works "in the pipeline". Did you mean that literally or was it just hyperbole?

BS: Actually, I do have ten more volumes at various stages of the publishing pipeline at present, as well as another half dozen volumes of fiction that are complete but uncontracted and a couple more in progress on my word-processor.

I have three mRevenants by Paul Feval, adapted by Brian Stablefordore translations ready for publication by Black Coat Press: the second volume of Paul Féval's Blackcoats series, The Invisible Weapon; an anthology called News from the Moon and Other French Scientific Romances; and Paul Féval fils' novel Felifax. Black Coat will also publish my Paris-set novel The New Faust at the Tragicomique. One of my old publishers, Borgo Press--which shut up shop seven years ago with a couple of my books typeset but unissued--has recently re-emerged as an imprint of Wildside Press; it will issue the two aborted collections, Slaves of the Death Spiders and Other Essays and Space, Time and Infinity and Other Essays in the near future, and has contracted four similar collections of previously-published material: Heterocosms: Science Fiction in Context and Practice, Jaunting on the Scoriac Tempests and Other Essays, Gothic Grotesques and News of the Black Feast and Other Random Reviews.

By the end of this year I hope to have completed a volume of translations of Paul Féval's supernatural tales based in Breton folklore, and one more novel--a sequel to S. Fowler Wright's classic The World Below, written at the behest of his literary executor. I also hope to have made significant progress with a couple of other ongoing projects that might eventually materialise in volume form if I'm very lucky. I still manage to sell the occasional item of short fiction to US magazines and anthologies, and I'm part-way through what I intend to be a four-part series of alternative history novellas in Asimov's Science Fiction. "The Plurality of Worlds" was in the August issue and "Dr Muffet's Island" will follow in the near future. When all four have been written--and, hopefully, sold--I'll attempt to market expanded versions to book publishers. I'm also working on a series of ten short stories that will eventually be incorporated into a portmanteau novel called Alien Abduction: The Wiltshire Revelations, which I'll hawk around in a similarly optimistic fashion once as many of the short pieces as I manage to sell have appeared. I hope to complete my second hundred volumes in far less time than it took to publish the first hundred--I can probably write them by the time I turn seventy, but publishing them might take a little longer....

BG: Thank you Brian, an extraordinary career. You are held in very high regard by your ex-students, and your insights, and uncanny ability to pick up on what is good, bad and indifferent in our own writing is greatly appreciated. It's always being commented on, and your words continue to live on with us, even though we finished the course at least a year ago. Your fans and anyone at all interested in SF and Fantasy will hope very much that you don't wake up one morning and decide against further writing.

All the very best for the next 100 books.


Brian Stableford: The First Hundred Books


1. Cradle of the Sun (Ace 1969)

2. The Blind Worm (Ace 1970

3. The Days of Glory (Ace 1971)

4. In the Kingdom of the Beasts (Ace 1971)

5. Day of Wrath (Ace 1971)

6. To Challenge Chaos (DAW 1972)

7. Halcyon Drift (DAW 1972)

8. Rhapsody in Black (DAW 1973)

9. Promised Land (DAW 1974)

10. The Paradise Game (DAW 1974)

11. The Fenris Device (DAW 1974)

12. Swan Song (DAW 1975)

13. The Face of Heaven (Quartet 1976)

14. Man in a Cage (John Day 1976)

15. The Mind-Riders (DAW 1976)

16. The Florians (DAW 1976)

17. A Vision of Hell (in The Realms of Tartarus DAW 1977; separate ed. Die Vergessene Hölle unter uns Goldmann 1979)

18. A Glimpse of Infinity (in The Realms of Tartarus DAW 1977; separate ed. Zurück ins Licht Goldmann 1979)

19. Critical Threshold (DAW 1977)

20. Wildeblood's Empire (DAW 1977)

21. The City of the Sun (DAW 1978)

22. The Last Days of the Edge of the World (Hutchinson 1978)

23. Balance of Power (DAW 1979)

24. The Paradox of the Sets (DAW 1979)

25. The Walking Shadow (Fontana 1979)

26. Optiman (DAW 1980)

27. The Castaways of Tanagar (DAW 1981)

28. Journey to the Center (DAW 1982)

29. The Gates of Eden (DAW 1983)

30. The Empire of Fear (Simon & Schuster UK 1988)

31. Zaragoz (as Brian Craig; G. W. Books 1989)

32. Plague Daemon (as Brian Craig; G. W. Books 1990)

33. Invaders from the Centre (NEL 1990)

34. The Centre Cannot Hold (NEL 1990)

35. The Werewolves of London (Simon & Schuster UK 1990)

36. Storm Warriors (as Brian Craig; G. W. Books 1991)

37. The Angel of Pain (Simon & Schuster UK 1991)

38. Ghost Dancers (as Brian Craig; G. W. Books 1991)

39. Young Blood (Simon & Schuster UK 1992)

40. The Carnival of Destruction (Pocket 1994)

41. Firefly: A Novel of the Far Future (Borgo 1994)

42. Serpent's Blood (Legend 1995)

43. Salamander's Fire (Legend 1996)

44. Chimera's Cradle (Legend, 1997)

45. The Hunger and Ecstasy of Vampires (Mark Ziesing 1996)

46. Inherit the Earth (Tor 1998)

47. Architects of Emortality (Tor 1999)

48. The Fountains of Youth (Tor 2000)

49. The Wine of Dreams (as Brian Craig, Games Workshop 2000)

50. Year Zero (Sarob Press 2000)

51. The Cassandra Complex (Tor, 2001)

52. Pawns of Chaos (as Brian Craig, Games Workshop, 2001)

53. The Eleventh Hour (Cosmos, 2001)

54. Dark Ararat (Tor, 2002)

55. The Omega Expedition (Tor, 2002)

56. Curse of the Coral Bride (Immanion Press, 2005)

57. Kiss the Goat: A Twenty-First Century Ghost Story (Prime, 2005)

58. The Stones of Camelot (Black Coat Press, 2006)

59. Streaking (PS Publishing, 2006)


1. Sexual Chemistry: Sardonic Tales of the Genetic Revolution (Simon & Schuster (U.K.) 1991)

2. Complications and Other Stories (Cosmos, 2003)

3. Salome and Other Decadent Fantasies (Cosmos, 2004)

4. Designer Genes: Tales of the Biotech Revolution (Five Star, 2004)

5. The Wayward Muse (Black Coat Press, 2005)

6. Sheena and Other Gothic Tales (Immanion Press, 2006)


1. The Mysteries of Modern Science (Routledge & Kegan Paul 1977)

2. A Clash of Symbols; The Triumph of James Blish (Borgo 1979)

3. Masters of Science Fiction: Essays on Six Science Fiction Writers (Borgo 1981; revised & expanded as Outside the Human Aquarium: Masters of Science Fiction, Borgo 1995)

4. Future Man (Granada 1984)

5. The Third Millennium (in collaboration with David Langford; Sidgwick & Jackson 1985)

6. Scientific Romance in Britain (Fourth Estate 1985)

7. The Sociology of Science Fiction (Borgo 1987)

8. The Way to Write Science Fiction (Elm Tree 1989)

9. Algebraic Fantasies and Realistic Romances: More Masters of Science Fiction (Borgo 1995)

10. Opening Minds: Essays on Fantastic Literature (Borgo 1995)

11. Writing Fantasy and Science Fiction (Hodder & Stoughton Teach Yourself Books 1997)

12. Yesterday's Bestsellers (Borgo 1998)

13. Glorious Perversity: The Decline and Fall of Literary Decadence (Borgo 1998)

14. The Dictionary of Science Fiction Places (Simon & Schuster 1999)

15. Historical Dictionary of Science Fiction Literature (Scarecrow Press, 2004)

16. Historical Dictionary of Fantasy Literature (Scarecrow Press, 2005)

17. Science Fact and Science Fiction: An Encyclopedia (Routledge, 2006)


1. The Dedalus Book of Decadence (Moral Ruins) (ed. Dedalus 1990)

2. Tales of the Wandering Jew (ed. Dedalus 1991)

3. The Dedalus Book of British Fantasy (ed. Dedalus 1991)

4. The Second Dedalus Book of Decadence (Black Feast) (ed. Dedalus 1992)

5. The Dedalus Book of Femmes Fatales (ed. Dedalus 1992)


1. The Angels of Perversity by Rémy de Gourmont (as Francis Amery, Dedalus 1992)

2. Monsieur de Phocas by Jean Lorrain (as Francis Amery, Dedalus 1994)

3. Vampire City by Paul Féval (Sarob Press 1999)

4. Knightshade by Paul Féval (Sarob Press 2001)

5. Lumen by Camille Flammarion (Wesleyan University Press, 2002)

6. Nightmares of an Ether-Drinker by Jean Lorrain (Tartarus Press, 2002)

7. The Vampire Countess by Paul Féval (Black Coat Press, 2003)

8. The Vampire Soul and Other Sardonic Tales by the Comte de Villiers de l'Isle Adam (Black Coat Press, 2004)

9. The Scaffold and Other Cruel Tales by the Comte de Villiers de l'Isle Adam (Black Coat Press, 2004)

10. John Devil by Paul Féval (Black Coat Press, 2005)

11. The Wandering Jew's Daughter by Paul Féval (Black Coat Press, 2005)

12. Salem Street by Paul Féval (Black Coat Press, 2005)

13. Revenants by Paul Féval (Black Coat Press, 2006)

[N59 + SS6 + NF17 + A5 + T13 = 100]


Sheena by Brian StablefordThe Stones of Camelot by Brian Stableford
Streaking by Brian Stableford Science Fact and Science Fiction: An Encyclopedia by Brian Stableford

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