What If? Art 6: Books that Existed but have been Lost

This posting is slightly different. All of the books shown did actually exist at one time, it is just that for various reasons they have now been lost to us. In the past ten years a whole slew of lost books has turned up in various places, suich as 'Paris in the Twentieth Century' by Jules Verne (1863) a very accurate prediction of Paris in the 1960s which reappeared in 1997; 'Basil Howe: A Story of Young Love' by G.K. Chesterton (1894) was published in 2001; 'The Rum Diary' by Hunter S. Thompson (1950s) which resurfaced in 1998; 'Summer Crossing' by Truman Capote (1943) republished in 2004, 'The Last Cavalier' Alexandre Dumas's final novel which had been lost then refound and published again in 2005, plus Robert A. Heinlein's 'For Us, the Living' (1939) which was suppressed as it was seen as 'too racy' at the time. This year, 89-year old Dutch author, Hella Haasse found a manuscript of her own lost book 'Sterrenjacht' (Hunt for the Stars) (1950). The next one to be published imminently is 'The Children of Húrin' by J.R.R. Tolkien which is apparently set 650 years before the events featured in 'The Hobbit'. There is a great list of lost books at: http://en.wikipedia.org/wiki/Lost_work Many of them date from Classical times and it is just an issue of things being lost in history or destroyed for example in the burning of the Library at Alexandria. Even material that we know about produced by William Shakespeare is now no longer available, but we know it existed because others refer to it (the same has happened with paintings, some artists include other artists' paintings in the background of their pictures and these are often the only clues, along with things like bills of sale, that we have about these paintings which are now lost). In more modern times, books have tended to be lost because of war or repression or more often because the author themselves or their executors have destroyed incomplete or early work or work that embarrassed them. Capote thought he had done this with his early 'Summer Crossing' but one manuscript escaped destruction.

Thus, the novels and the plays featured here are books which existed at one time, but you certainly can no longer pick them up at your local bookstore. Whenever a lost novel is found there is a great rush to get it published as sales, if only based on curiosity alone, are typically strong. This is a range of some of the interesting lost books. I have worked on the covers over a few weeks and have noticed I have become rather dependent on Victorian paintings for the covers, sort of Pre-Raphelite style in most cases so I hope you forgive my lack of imagination in this respect. I will do them in chronological order.

'Achilles' by Aeschylus

Aeschylus (525-456 BCE) was an Ancient Greek playwright. He is supposed to have written 90 plays in his life of which only 6 survive with another possible one attributed to him. Fragments of his 'Achilles' were found in mummy wrappings a decade ago. His plays were tragedies and very influenced by the Persian invasion of Greece so it is likely that his played about the flawed legendary Greek hero Achilles (played reasonably well in all his arrogance and narcissism by Brad Pitt in 'Troy' (2004)) would have combined both tragedy and some Greek patriotism. Aeschylus did better than some other playwrights of Ancient Greece we have 11/40 of Aristophones's plays, 18/90 of Euripides's, 7/123 of Sophocles's and none of those by Agathon, Cratinus, Diphilus and Theodectes. Given how so many Greek stories have ended up in our modern day culture and fiction let alone being performed themselves, even if 10% of these let alone one in four or more had survived, then we would have some very different material in our culture. An interesting 'what if?'

'Studiosus' by Pliny the Elder

Pliny the Elder (23-79) was a Roman historian, natural historian and author. We have more of his natural history works than we do his other material. His 'History of the Times' and 'History of the German Wars' may have given us a different picture of Roman civilisation especially penetration into Germany as many now believe that there were Roman settlements farther into Germany than was previously thought. In addition Pliny lived through the end of the Roman Republic into the Imperial period, including the conquest of Britain. The book featured here, 'Studiosus' was his lost study of the art of rhetoric, an important skill in Roman civilisation.

'Love's Labour's Won' by William Shakespeare (1598)

As discussed in a previous posting it has been argued that a number of other writers may have been responsible for William Shakespeare's (1564-1616) work. In addition there are plays that are attributed to William Shakespeare and may or may not have been written by him and quite often were collaborations between him and another writer. Aside from these discussions there is harder evidence that shows a number of his own plays have been lost. 'Love's Labour's Won' written in 1598 was the matching play to 'Love's Labour's Lost' but there is no trace of it today. (In an episode of the British television series 'Doctor Who' the time-travelling characters meet Shakespeare and having saved him for attack by alien witches this missing play is mentioned).

'Les Journées de Florbelle' by the Marquis De Sade (1807)

The Marquis De Sade (1740-1814) was a playwright and author in the years leading up to and including the French Revolution and almost to the end of the reign of Napoleon. He is renowned for his erotic fiction and his name was given to the sexual perversion of 'sadism' in which a person gains sexual gratification from inflicting pain, though the term has now broadened to refer to straight forward brutality. De Sade spent much of his life in prison or insane asylums. He his most famous for 'Justine', 'Juliette' and '120 Days of Sodom'. The Marquis's son had all of his unpublished manuscripts burnt after his father's death including the many volumes of 'Les Journées de Florbelle' featured here. Another eight of De Sade's works have been lost.

'The Poor Man and the Lady' by Thomas Hardy (1867)

Thomas Hardy (1840-1928) is an author renowned for his sentimental dramatic stories set in the West of England, possibly his most famous book is 'Tess of the D'Urbevilles' (1891). 'The Poor Man and the Lady' was Hardy's first novel written in 1867, but not finding a publisher for it he destroyed the manuscript. His first published novel was 'Desperate Remedies' (1871) though it was published anonymously. If he had kept hold of 'The Poor Man and the Lady' manuscript it is likely he would have found a publisher for it in the early 1870s. With this cover as with Aeschylus and Pliny the Elder, I have used the wide-ranging Penguin Classics range which covers both works of the Classical World of Ancient Greece and Rome as well as 'classics' from books through the centuries.

'Pilgrim on the Hill' by Philip K. Dick (1956)

Philip K. Dick (1928-1982) has featured quite a bit on this blog so probably needs no introduction. Somewhere in the world probably exists an actual copy of this book with a different cover as there are three of Dick's earliest novels: 'A Time for George Stavros' (1956), 'Nicholas and the Higs' (1958) and this one which have subsequently become lost. Dick features religious elements in some of his novels. In 'Do Androids Dream of Electric Sheep?' (1968) via a device he and his wife grasp, the hero tunes into a constant television programme of religious leader struggling up a hill who can throw rocks at the viewer. So though I have no idea about the content of the 1956 novel 'Pilgrim on the Hill' one might speculate its plot included some elements of this.

'You and Me and the Continuum' by J.G. Ballard (1957)

This is another lost early novel of a science fiction writer, though J.G. Ballard (born 1930) never actually finished it, it was seen almost completed in 1956. Ballard has given rise to the term 'Ballardian' because of his various dystopian visions such as 'The Drowned World' (1962), 'The Burning World' (1964) and even Shepperton (in Surrey, England where he lives) becoming an overgrown jungle in 'The Unlimited Dream Company' (1979). Attention to him in the mainstream media has been around his novel 'Crash' (1973) and the movie that was made of it in 1996 about people who get sexually aroused by car accidents and his semi-autobiographical novel about his life in China during the Second World War in 'Empire of the Sun' (1984) and its movie of the same name in 1987. Maybe 'You and Me and the Continuum' would have been a more mainstream science fiction novel, maybe it would have been an early engagement with his later dystopian themes of worlds out of control. Ballard is still alive so maybe someone will ask him if he remembers and if they do (or already have done) can someone point me towards his answer.

'Double Exposure' by Sylvia Plath (1964)

Maybe our computer age is ending the 'lost' novel, now that we are no longer dependent on handtyped manuscripts that can be lost by authors (even when this appeared as a conceit in the movie 'Love Actually' (2003) it appeared very dated) or destroyed by their executors. Different versions of novels can be deleted by a touch of a button. However, so many of us create backup files (often our computer will do it without asking, this blog keeps saving as I type so even if I died while writing this my partially saved 'lost' blog posting would remain for discovery) that there may be many copies that would not be deleted. In addition, I have already encountered this, that there are stories I have saved on disk that I cannot now access because the file type has changed and I cannot open them to delete them maybe one day a data archaeologist could get in and access my early work (this happened to the University of Hull's computerisation of the Domesday book carried out in 1986, they thought they were all high-tech at the time, but a decade later no-one could access their files; funnily enough, the original Domesday Book is as easy for a user to read as the day it was written).

So, anyway, this speculation brings me to why my cut-off date for a lost book maybe the 1960s, twenty years before home computers. The manuscript of 'Double Exposure' or 'Double Take' (people are uncertain about the exact title, I picked the former, partly because of the mental illness Sylvia Plath (1932-1963) suffered and a sense of a divided personality and by including the Marilyn Monroe image in the picture it suggests double taking a celebrity) was seen in poet Sylvia Plath's possession around the time of her suicide and it is believed the manuscript was destroyed in 1970. I imagine it being taken up and published posthumously. Monroe had died in 1962.

So all of these books see counter-factuals if just simply in someone holding on to what had been written. At the minimum their survival would have expanded the body of work we discuss about these writers and their books may have fed into our contemporary culture triggering a range of cultural outputs. Of course, given that lost work seems to keep turning up in recent years, it is quite possible we will see some of these on the book shelves in the coming future.

Denying a Counter-factual: Issues around Second World War invasions of the USA

While seeking out source material for my current lost book cover project I came across the following image of a cover of 'The Man in the High Castle' by Philip K. Dick (1961). To contextualise this, 'Fail Safe' was a novel written novel by Eugene Burdick and Harvey Wheeler published in 1962 and was about an accidental nuclear attack by the USA on the USSR it became a movie in 1964 directed by Sydney Lumet with Peter Fonda and Walther Matthau in it. Similarly 'Seven Days in May' by written by Fletcher Knebel and Charles W. Bailey in 1962 sees a coup staged by generals in the USA who fake a nuclear crisis so that the President can be sealed in a bunker and they can take control. This novel also became a movie in 1964 directed by John Frankenheimer starring Burt Lancaster, Kirk Douglas and Ava Gardner.

In many ways, Dick's book is different, as you can see from the cover it envisages the USA lost the Second World War and was divided by Nazi Germany and Japan. This is the only map I have seen of the set-up though I think it is a bit wrong as in the novel the Germans stay East of the River Mississippi and so not holding Minnesota, Iowa, Missouri, Arkansas and Louisiana as shown here. If I remember correctly the Japanese have not gone much farther East than Nevada and Idaho; a series of collaborationist American states are mentioned as running the region of the Rockies.

Dick was a prolific author having 44 novels published in his lifetime (1928-82) and numerous short stories; other things were published after his death. I think he is the science fiction author who has had more of his stories turned into movies than any other; 'Blade Runner' (1982), 'Total Recall' (1990), 'Screamers' (1995), 'Minority Report' (2002), 'Imposter' (2002), 'Paycheck' (2003), 'A Scanner Darkly' (2006), 'Next' (2007) and 'Confessions d'un Barjo' are all adapted from his stories. Ironically I had always assumed 'Eternal Sunshine of the Spotless Mind' (2004) was based on a Dick novel; it certainly has many elements he enjoyed playing with.

Dick's novels, whilst predominantly science fiction, are often influenced by drug issues and mysticism. This applies to 'The Man in the High Castle' which is probably the novel which saw the best crossover into mainstream popular fiction before the 1980s. Towards the end of the book, through the use of the I-Ching method of predicting the future, many of the characters find they are in the 'wrong' world and that our world where Germany and Japan were defeated is the 'real' one. This undermines much of the basis of counter-factual fiction, but plays to Dick's interest in our perceptions and how these can be distorted, a theme which you will see even in the movie adaptations, such as Rick Deckard in 'Blade Runner' uncertain whether he is an android or now, the protagonists in 'Total Recall', 'Minority Report' and 'Paycheck' are all uncertain too what is the 'truth' and what has simply been fed to them. 'A Scanner Darkly' is about seeing the world through a drug haze.

I would argue, however, that Dick's denial of the possibility that a US defeat in the Second World War (which is unsurprising, if he had written anything different in 1961 he would never had had it published) fits an ongoing denial in the USA that they ever faced the danger of this or that they are not somehow the blessed nation. My political concerns about the USA creep in here, I fully acknowledge that, but I also think it is unhealthy for any country to think it is exempt from the dangers and possibilities of (violent) change that occur. This has often been a problem for the UK as well. The US inability to accept that it can be threatened and even be defeated is what has made it so difficult to cope with the Vietnam War, the 11th September attacks and the disintegration of the position in Iraq.


I found parallels with this in a computer game released by Talonsoft in the late 1990s. Their games in the so-called 'Campaign' series were produced from 1996 onwards. They seem pretty simple nowadays, being platoon-level turn based games with a landscape set out in hexagons like the board wargames that were popular in the 1980s. However, there were little animations and sound effects of the soldiers, tanks, etc. moving around. In addition there was immense historical detail of the battles they featured. They started with 'Eastern Front' which as it suggests featured battles of the Soviet campaign not only against the Germans but also the Finns, 1940-45. This was followed by 'West Front' which included North Africa as well as France, Belgium, the Netherlands and Germany and other locations of the Western Front of the Second World War. The final one was 'Rising Sun' which had a series of battles in the Pacific region. The games were produced as a boxed set with the three core games, plus all the upgrades as 'The World At War' in 2001. The company went on to do battles of the Arab-Israeli conflict too and it had already covered battles from the American Civil War.


Though the games seem simplistic now, the attention to detail and the ability to refight classic battles meant they were long a draw for wargamers. Naturally I enjoyed reversing history and was able to defeat the German attempt to take Crete in 1941 and stop the Panzers at the River Marne in 1940. As yet I have never been able to hold the bridge at Arnhem in 1944 for the Allies, but I kept a far larger bridgehead. In addition, upgrades of the games contained specifically counter-factual scenarios, such a series of battles around the German invasion of Britain in 1941. These allowed you to play either the German attackers or the British defenders not only in the South of England but even up to attacks on Manchester in the North-West.


I was interested to try out the Japanese invasion of the USA in 1942. Playing as Japanese characters especially in campaign mode which allows you to fight a sequence of connected battles was always difficult. Despite Talonsoft's efforts in terms of historical accuracy, whenever you played as a Japanese commander, even if you were not actually defeated, but failed to achieve all of the objectives you had been set, your character committed seppuku, even if only at the rank of major. Anyone who has looked at the Japanese campaign in China and the Pacific knows this did not happen. The Japanese were not always successful and their commanders only committed suicide when things seemed hopeless and they were holed up in some redoubt, not when they simply faced set-backs particularly on the advance. If the Imperial Japanese Army and Navy had adopted the ethics of Talonsoft, by 1942 there would have been no senior officers left.


What was more disconcerting is when you turn to the counter-factual invasions of the USA. In the 'West Front' game, you can play as the Germans and defeat the British so conquering the UK; equally you can play as the British fighting off the attacks. However, in the 'Rising Sun' game, you cannot play as the Japanese in attacking the USA, you can only play as the US defenders. In addition, in contrast to all of the other battles you can fight (which often turn quickly counter-factual even if starting off on a historical basis, otherwise what is the point of playing the computer wargame, you might as well simply watch a documentary), there is a statement saying how this never would have happened, that the Japanese never would have been able to invade the USA and so on. Is the USA that insecure about its place in the world that it cannot even let people play at invading it? Why is it alright for Talonsoft to let the UK fall to Nazism (and for Moscow, Leningrad and Stalingrad all to be overrun by German troops) but for the West coast of the USA for this not even to have been a possibility?

It is clear, as we have seen from looking at counter-factual books about the Second World War and even about the American Civil War there is still a lot of political currency in the USA around 'what if?' and that many Americans are unwilling to even countenance speculation over 'wrong' history whether in print or in a computer game. In my view this counts as a form of censorship as without speculation how can we truly test our society and the options it has faced and faces still. Without such testing it is all too easy to fall into seeing thing as simply 'inevitable' and 'right'.

The Steampunk Genre

Anyone who has read my posts will know I am interested in 'what if?' history whether as a tool for testing history or as an entertainment. Related to that in my interests is what is called 'steampunk', which refers to novels, movies, artwork. For those unfamiliar with this, here is some background.


We have to go back to 1984 when the book 'Neuromancer' by William Gibson was published. Gibson is seen as the 'father of Cyberpunk', though others had already contributed to it, such as Philip K. Dick, publishing from 1950s onwards, who died in 1982 (many of whose books have become movies such as 'Blade Runner', 'Total Recall', 'Paycheck', 'Through A Mirror Darkly') and John Brunner a science fiction author publishing since the late 1960s. Gibson envisaged a dystopian world of the near future with two important characteristics. First that people could physically connect to the internet and send their consciousness into it in order to conduct business or hack. Second, that people would have cybernetic enhancements, such as blades coming from their fists or cameras in their eyes. This latter element Gibson did not invent but what he did was give it a 'sexier' edge. So you had the 'cyber' of cybernetics and the punk of very urban, dirty, sprawling cities. In particular, Gibson's portrayal of a high-tech world dominated by huge, amoral corporations called zaibatsu (the Japanese word for such corporations) seemed to really chime with 1980s 'greed is good' culture. Gibson continued writing with 'Count Zero' (1986), 'Mona Lisa Overdrive' (1988), 'Burning Chrome' (1986 - a short story collection) being the core of his cyberpunk work. I find Gibson's work good on ideas but rather clunky in construction.

Other good cyberpunk autors, if you are interested, include Walter Jon Williams, Lewis Shiner (a European angle on Cyberpunk with references to Michael Moorcock's work too), George Alec Effinger (whose Cyberpunk stories have an interesting Middle Eastern take on the genre) and Bruce Sterling. Sterling is an all round writer who includes historical as well as science fiction stories and I feel his writing is smoother than Gibson's. His 1980 'The Artificial Kid' predates Gibson's work, and whilst not set on Earth has many cyberpunk elements.


Right, you may ask what has all this cyberpunk got to do with steampunk? Well, in 1990, Gibson and Sterling jointly wrote a book called 'The Difference Engine' which envisaged a mid-Victorian Britain in which technology, notably Charles Babbage's computer (the Difference Engine) which in reality was experimented on in the 1840s, was a success and led to a computer age in the mid-19th century (so a kind of 'what if?' which as you know, appeals to me). [Difference engines had been proposed as early as 1786 and after Babbage, Per Georg Scheutz built a number in the 1850s including one he sold to the British Government.] The expansion of computing leads to other things like the streamlining of traction engines for racing and the British House of Lords becomes filled with inventors and explorers rather than simply noblemen who have inherited their titles. This is seen as the first steampunk book, like the cyberpunk books exploring a world where technology is key and creates turmoil in a society of conflicting pressures.


There are older roots to the genre. There was a US TV series 'Wild Wild West' which was a TV series which ran for 4 seasons 1965-9. It seems to have been set between the end of the American Civil War and 1875 and Grant is the President (1869-77) shown. The heroes' nemesis, Dr. Miguelito Quixote Loveless, is supposed to have died in 1880. The spark of the original series was rather overshadowed by a couple of really dull TV movies in the 1980s using original cast members who were pretty old by then, and the rather failed 'Wild Wild West' (1999) movie with Will Smith and Kevin Kline, though it gives you a flavour of the original with their private train and the technology that they had. The first three series were darker and shot in black and white, but matching trends in US television at the time by the end of the run it became more 'camp' as have been the subsequent movies. However, they all included various Steampunk equipment such as concealed guns and a stage coach with an ejector seat. The attempts to dismember the USA as featured in the movie plots are common 'what if?' history scenarios (see also 'The Mask of Zorro' (1998)). After this series there seems to have been little interest in Steampunk in the USA until the 1990s.


In novels you have to mention Ronald W. Clark's 1969 novel 'Queen Victoria's Bomb' which envisages an atomic bomb being developed in the 1830s, testing in India and almost used in the Crimean War. Michael Moorcock's books 'Warlord of the Air' (1971), 'The Land Leviathan' (1974) and 'The Steel Tsar' (1981) also featured what can be termed Steampunk elements. In addition, by having Oswald Bastable as the hero of these books, a character who appears as a child in E. Nesbitt's 'The Story of the Treasure Seekers', Moorcock established the Steampunk approach of having characters from other authors' stories featuring as genuine people (alongside historical people too, as Clark had done extensively), a trend taken further by Alan Moore's graphic Steampunk novel, 'The League of Extraordinary Gentlemen' (starting 1999). The the thread goes back even beyond these novels of course.


It can be argued that the real originators of steampunk were Victorian authors themselves. Jules Verne and H.G. Wells with their stories set in contemporary times to them but featuring huge airships, large submarines, tanks, flying motorbikes, a tunnel under the English Channel (as well as more fantastical devices to travel in time or to the Moon or make people invisible) built on the rush of technology throughout the 19th century and took their envisaging further, usually to look at moral issues in such a context, and like the steampunk authors, looking at the dilemmas that such technologies bring. These stories directly influence steampunk authors today, though their morals questions tend to be more direct and simpler than their Victorian predecessors.


What appeals to readers of steampunk is that it is technology but with elegance. In contrast to the sleek chrome of the model day it is brass and iron cast into elaborate shapes. Just look at any movie version of 'The Time Machine', it depicts a machine of elegance, all spinning, with inlaid knobs and polished buttons. In addition, in contrast to the cyberpunk novels which tend to portray people as playthings of vast multinational corporations, the heroes of steampunk are often ordinary people who can invent, they turn out a flying machine in the shed in the garden. Whilst this can be seen as very British, it has appeal in the USA for readers looking back to Ford or the Wright Brothers and their developments. However, the greatest success has been in Japan and from there have come notable steampunk movies such as 'Steamboy' (2005 - set in the UK) and 'Howl's Moving Castle' (2005) based on British author Diana Wynne Jones's 1986 novel of the same name.


Cyberpunk and steampunk have faded from their positions on the bestseller lists that they held in the 1980s and 1990s, but they have now effectively entered the mainstream. Graphic novelists have taken them up, notably in 'The League of Extraordinary Gentleman' (Alan Moore's novel and a 2003 movie). Cyberpunk has informed how we view the internet (Gibson is credited with inventing the word 'cyberspace') and are likely to view cybernetic implants (especially the potential for dehumanisation from them) and the position of the individual in relation to corporations. Steampunk is likely to have less impact, but my affection for it probably reflects me being British and so an in-built nostalgia for past things. Its impact is most likely to be in the style of items in the future and you can already see examples of people 'steampimping' their computers, much in the same way that people in the 1970s put their televisions in ornate wooden cabinets and those of the 1980s put their video cassettes in fake leather book covers.


In the meantime, for anyone interested in 'what if?' and 'why not?' in history, I recommend steampunk stories. To blow my own trumpet I intend to put a short story in that genre on this blog in coming weeks.

P.P. 26/10/2009: Despite my efforts at the time of writing this posting I have realised that I had missed out a vital slice of the history of the development of the steampunk genre.  This was the first use of the term steampunk, which was by author K.W. Jeter writing to the science fiction magazine, 'Locus' in April 1987, so preceding 'The Difference Engine' by four years.  According to wikipedia, Jeter was looking for an umbrella term for novels of the time, 'The Anubis Gates' (1983) by Tim Powers, 'Homunculus' (1986) by James Blaylock and 'Morlock Night' (1979) and 'Infernal Devices' (1987) that he had written himself which were set in the 19th century and took on board elements of the speculative writing naturally in the style of Jules Verne and H.G. Wells and so included anachronistic technology.  Thus, of course, steampunk even in its latest manifestation predated cyberpunk, but that term was so snappy you can see why Jeter thought it was a good one to mutate for the genre he was writing in and certainly better than the description of Powers, Blaylock and Jeter writing in the so-called 'gonzo-historical manner'!  Michael Moorcock noted this year (2009) that there is actually little 'punk' in most steampunk writing and he favours 'steam opera'.