Eugene Mouton

French Tales of Cataclysms

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I continue to look at French romans scientifiques featuring apocalypses and disasters.

It’s a big anthology, but it’s a low-res scan because I’ve already reviewed J.-H. Rosny Aîné’s “The Cataclysm” (aka “Tornadres”) before, and three works – Raoul Bigot’s “The Iron That Died”, René Pugol’s “The Black Sun”, and Colonel Royet’s On the Brink of the World’s End – will be getting separate posts in my World War One in Fantastic Fiction series.

Low Res Scan: French Tales of Cataclysms, ed. Jean-Marc & Randy Lofficier, trans. Brian Stableford, 2022.

Cover by Mike Hoffman

The Lofficiers’ “Introduction” recaps the history of French apocalyptic and cataclysmic stories through the end of World War Two. This anthology has ten stories and two novels “published between 1802 and 1928”. This is another example of Black Coat Press’s less than stellar copyediting since the earliest story is actually from 1858. All the stories here are translated and introduced by Brian Stableford with the exception of The Tremendous Event.

Pierre Véron’s “The Paris Deluge” (“Le Déluge en Paris’) was probably written in 1859 and not published until 1862 since there was a tradition of setting these kind of stories a multiple of thousands of years in the future. And what kind of tale is it? The ever popular ruined Paris of the future and archaeologists reaching bogus conclusions about contemporary life from the artifacts they find. Those stories became popular with the demolition and reconstruction of large parts of Paris under Napoleon III and Baron Haussmann.

Here the year is 4859. The story starts with the last ten years of the city. It’s submergence under the advancing sea is ainticipated. For the last ten years, the submergence of Paris has been seen as imminent, and now it’s only six days away. Wealthy people seek out agents to give their fortune to the poor. Critics attack their own works, and novelists are offering refunds to readers.  A vast number of balloons are being built to escape the city, the proceeds to be given to the Association of Ruined Stockbrokers. Then Véron has a silly interlude with various forms of marine life contemplating Parisian life as the ocean innudates the city. 

The story then shifts three thousand years into the future with a discussion between geologists and archaeologists. We then get a rather crytpic description of four items which, in keeping with this sub-genre, are ridiculously interpreted. In a rare end note from Stableford, he tells us that, usually in such stories, indirect clues are provided by authors to let us figure out what those objects really are.  Here, Véron ran out of space and offered the explanation in four footnotes.

Eugène Mouton’s “The End of the World” (“La Fin du Monde”, 1872) illustrates a problem all writers of science fiction faced in the early days of the genre: coming up with an appropriate narrative form for their tales. Mouton’s solution was to adapt an absurdist tone for this story which has no characters.

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The Germans on Venus and Other French Scientific Romances

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Timeslip Troopers and The Martian Epic got me interested in the works of Théo Varlet. So, as I usually do when reading more deeply in an author’s work, I sought his short fiction first.

Review: The Germans on Venus and Other French Scientific Romances, ed. and trans. Brian Stableford, 2009. 

Cover by Gil Formosa

As laid out in his “Introduction”, this is the second anthology of French science fiction or, more properly, roman scientifique that Stableford has done for Black Coat Press.

Unlike the first, which attempted to define and show the “fundamental pattern of development” of the French roman scientifique, Stableford merely seeks to come up with representative samples from the entire period of the genre. Unintentionally, it ended up being somewhat biased towards humorous stories, he says. When authors defend themselves against the charge of absurdity by being absurd, their narratives are pushed to the limits.

Following the turmoil of the French Revolution, propagandizing for progress was harder. The skepticism about the benefits of progress and the perfectibility of human society was a common theme. Many of these stories have the theme that Isaac Asimov dubbed the “Frankenstein complex”: no good can come from technological progress. Stableford’s “editorial sieve” wasn’t interested in the “more pragmatic aspect of antitechnological sentiment” because that’s rather mundane in the context of science fiction. He opted for the more extreme and interesting cases. And, of course, some stories touch on the growing conflict between society and religion which, in the roman scientifique, played out in two distinctive ideas not seen much in American science fiction or the British scientific romance: the “plurality of worlds” and cosmic palingenesis – the transmigration of souls.

I’m not going to mention much about the background of each writer, but Stableford does introduce each story with a useful literary biography of its author, their place in the roman scientifique, and any probable influences on their work.

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Scientific Romance

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Being a fan of Stableford’s work, I immediately requested a review copy when I saw it on Netgallery.

Review: Scientific Romance: An International Anthology of Pioneering Science Fiction, ed. Brian Stableford, 1917.Scientific Romance

Before America colonized science fiction with its conquistador John Carter in 1912 and made it into a genre concerned with space and adventure, it was something different. It was, argues Stableford, a stream of literature interested in “the adoption of the scientific outlook and the attempt to employ the scientific imagination as a springboard for speculative fiction”.

Just as the Vikings colonized the New World before Columbus’s voyage, Francis Bacon and Savinien Cyrano de Bergerac discovered new frontiers for literature when they wrote scientific romances. And, just as the Viking colonization inspired no immediate imitators, no writers imitated Bacon and de Bergerac for a while. Bacon’s New Atlantis was unfinished and published posthumously in 1627. De Bergerac’s L’Autre Monde ou les Etats et Empires de la lune [The Other World] wasn’t published until the 1920s.

It wasn’t until the 19th century that authors in France, America, and England began producing work that was noticeably something different and that stuck in the public mind. These were stories about the drama to be made out of new scientific discoveries, new technologies, and the peculiar psychologies of inventors and scientists. Continue reading →