In 1905, a young Jewish immigrant from Luxembourg founded an electrical supply shop in New York. This inventor, writer, and publisher Hugo Gernsback would later become famous for launching the first science fiction magazine, Amazing Stories , in 1926. But while science fiction’s annual Hugo Awards were named in his honor, there has been surprisingly little understanding of how the genre began among a community of tinkerers all drawn to Gernsback’s vision of comprehending the future of media through making. In The Perversity of Things , Grant Wythoff makes available texts by Hugo Gernsback that were foundational both for science fiction and the emergence of media studies. Wythoff argues that Gernsback developed a means of describing and assessing the cultural impact of emerging media long before media studies became an academic discipline. From editorials and blueprints to media histories, critical essays, and short fiction, Wythoff has collected a wide range of Gernsback’s writings that have been out of print since their magazine debut in the early 1900s. These articles cover such topics as television; the regulation of wireless/radio; war and technology; speculative futures; media-archaeological curiosities like the dynamophone and hypnobioscope; and more. All together, this collection shows how Gernsback’s publications evolved from an electrical parts catalog to a full-fledged literary genre. The Perversity of Things aims to reverse the widespread misunderstanding of Gernsback within the history of science fiction criticism. Through painstaking research and extensive annotations and commentary, Wythoff reintroduces us to Gernsback and the origins of science fiction.
Hugo Gernsback (August 16, 1884 – August 19, 1967), born Hugo Gernsbacher, was a Luxembourgian-American inventor, writer, editor, and magazine publisher, best remembered for publications that included the first science fiction magazine. His contributions to the genre as publisher were so significant that, along with H. G. Wells and Jules Verne, he is sometimes popularly called "The Father of Science Fiction".
In his honor, the annual Science Fiction Achievement awards are named the "Hugos".
My continuing series of reviews of this brilliant book begin here -
I just started reading The Perversity of Things: Hugo Gernsback on Media, Tinkering, and Scientifiction, edited by Grant Wythoff (University of Minnesota Press, 2016). I've read the first 8 pages of Wythoff's 59-page masterful Introduction to the 359-page volume, and there's so much to say about this, because there's so much on every page, that I thought I'd post a series of reviews here, rather than try to cram everything that needs to be said about this volume into one long unwieldy review. After all, I just posted three reviews of The Man in the High Castle second season on Amazon, even though I binge-watched it over two evenings.
I'm looking forward to spending ten times longer if not more on The Perversity of Things, which seeks to put Gernsback, most known as the father of pulp magazine science fiction due to his publication of Amazing Stories, the first magazine devoted only to science fiction, beginning in 1926. I've always had a special interest in Amazing Stories, given that it was the first "pro" magazine to publish one of my science fiction stories - "Albert's Cradle" in 1993 (thanks again, Kim Mohan, who was editor) - but The Perversity of Things is much more than a meticulously researched compendium about Gernsback's philosophy of science fiction, though it is that, too.
But as the first eight pages of Wythoff's Introduction explain and detail - each page is a small feast for the intellect - this book is about Gernsback as a philosopher of technology, and his unrecognized position as such. Wythoff tells us that the title of this book comes from what Gernsback thought and said about "things" - "the perversity of things" -which can confound, confuse, and irritate us when we (the public) have no experience with them. We, and alas, much of media criticism and what passes as scholarship, are therefore prone to see what's wrong not right with new technology and media, and blame them for every evil in our society (look at the beating Twitter has taken for Trump's election - as if Twitter somehow forced people to vote for him). Wythoff contends that Gernsback's life project was to do just the opposite - enable the public to learn what was right about new technology, and use it for the betterment of our species.