Vintage Treasures: Poul Anderson’s After Doomsday
I’m putting away all the paperbacks that arrived with my two Philip K. Dick lots, and I stumbled across the fabulous artifact at right.
After Doomsday was published by Ballantine Books in 1962, two years before I was born. It was originally serialized in Galaxy magazine (as The Day after Doomsday) between December 1961 and February 1962.
What truly makes it fabulous isn’t just the great cover art by Ralph Brillhart, with a bug-eyed alien stumbling on some guy surveying a road during his evening constitutional. No no no. It’s this wonderful description on the back cover:
CARL DONNAN was a space engineer — a man of action who did his job well and didn’t think much beyond that — but now his home planet was destroyed and he found himself with two burning ambitions:
– FIND the beings who blew up the Earth.
– SEARCH the galaxies until they located another Starship with female humans aboard.
BOTH PROJECTS were vital to the survival of the human race — and both were monumental tasks.
THIS was the time when the galaxies discovered how grim and purposeful a handful of homo sapiens could be.
A starship with “female humans” aboard. I think the first task for this guy Carl should be to look up “female humans,” find out they’re called “women,” and then put an ad on Craig’s List. The survival of the species is on your shoulders, dude. Time to put down that survey equipment and pick up a clean shirt. And maybe some mouthwash.
There’s a lengthy plot synopsis of After Doomsday here. Don’t expect it to be as entertaining as that back cover copy, though.


Ganymede 

June’s Apex Magazine features ”Winter Scheming” by Brit Mandelo, “In the Dark” by Ian Nichols and “Blocked by Geoff Ryman (who is interviewed by Maggie Slater), as well as Seanan McGuire’s poem, “Wounds.” Ken Wong provides the cover art. Nonfiction by Tansy Rayner Roberts and editor Lynne M. Thomas round out the issue.
A version for the Nook will also be available in the near future. Twelve issue (one year) subscription can be ordered at Apex and Weightless for $19.95;
If you plan to see Prometheus this weekend, know that you are in for an endless buffet of visual astonishment, especially if you spring to see it in IMAX 3D. Ridley Scott belongs to the breed of filmmaker who can justify the use of the 3D gimmick. He poured everything at his disposal to make his new science-fiction film worth the extra dollars, euros, pound notes needed to watch it in an immersive environment. Prometheus is visual and aural splendor for the cinema.
