Owing to the screen size of your device, you may obtain a better viewing experience by
rotating your device a quarter-turn (to get the so-called “panorama” screen view).
If you like this site,
please post a link to it!
Great Science-Fiction & Fantasy Works
Science-fiction & fantasy literature: a critical list with discussions.
Search, or just roll your cursor over the colored boxes farther below.
Welcome to the Great Science-Fiction & Fantasy Works web site!
You have apparently come to this page from a link on a search engine or another site. If this is your first visit here, I much recommend that you take a few minutes to look over the introductory material accessible via the red “Introductory” navigation block just below the pictures. An understanding of the purposes and principles of organization of this site will, I hope and believe, much augment your experience here, for this page and in general. You can simply click this link to get at the site front page
, which, unsurprisingly, is the best place to start. Thank you for visiting.
Click the “X” above to dismiss the Search results.
(Google Searchbox will appear here.)
You are here: Home » Authors » Golden Oldies ( = this page)
Some “Golden Oldies”
“The dim man was now again approaching our table, and this time he made up his mind to pause in front of it. ‘You don’t remember me,’ he said in a toneless voice.”
– “Enoch Soames”,
What Is a “Golden Oldie”?
By the cutesy term “Golden Oldie”, I refer to works of fantasy or science fiction that antedate the usual supposed “beginnings” of speculative fiction. For fantasy, that beginning is said to be William Morris, whose novel The Glittering Plain appeared in 1891; for science fiction, it is said to be Mary Shelly and her novel Frankenstein, published in 1818.
Those are remarkably parochial views. The Golden Ass, a trenchant social-satire fantasy by the Roman writer Apuleius, dates to somewhere (opinions vary) between 158 to the late 180s CE; and Lucian of Samosata, circa 125 - 190 CE, wrote A True Story, another trenchant social satire that can only be called “science fiction” (involving as it does a journey to the Moon). And neither of those examples is really stretching the definition of “speculative fiction”.
Let us review that definition: speculative fiction (to me, anyway) is a tale in which one or more significant rules—whether of nature or of human behavior—work differently than those in the fields we know, and in which that difference is used to allow the author to better or more readily make comments on or offer explanations of The Human Condition.
That simple definition helps a lot. Consider, for example, The Epic of Gilgamesh. It is certainly fantastic enough, but it doesn’t pass the test, because it is not a literary device but rather a supposedly (more or less) true recounting of epic deeds—supernatural, but from an age where what we call “supernatural” was believed to be a part of everyday life. That is so for a good deal of what we now call “mythology” and even “folk tales”.
One clue, useful as a rule of thumb but not absolute, is whether a given work has an identifiable author. It is possible that some qualifying works might be so old or once-obscure that though they had a particular author that author’s name is now lost to history. But by and large, Anonymous did not write a lot of true speculative fiction.
Mind, having a known, named author does not in itself make a work with fantastic elements a work of speculative fiction. The best-known Arthurian works, the Morte d’Arthur cycle, were written by Thomas Malory, and there are fantastic episodes galore in them. But Malory was simply writing adventure stories spun out of the common folklore of the time, and—though it is quite difficult to be certain—it seems likely that either he or his intended readership, or both, would probably accept most or perhaps all of the fantastic elements as credible—that is, non-fantastic—in the real world as they then understood it.
Even with that thought, there remain some works hard to classify. Did Dante’s Commedia (onto which Boccaccio tacked the now-ubiquitous adjective “Divine”) take place in a truly fictional setting devised chiefly or wholly as a literary medium, or was he being another Malory? Wikipedia remarks that Dante’s “imaginative vision of the afterlife is representative of the medieval world-view as it had developed in the Western Church by the 14th century.” But it is hard for a modern reader to doubt that the fiery author was not mainly interested in a setting in which to offer scathing and often quite personal satire. I would count it as legitimate speculative fiction.
Return to the page top. ↑
Some of Those Golden Oldies
About These Golden Oldies
Understand these two things: one, this is a sampling, not an exhaustive list, of early fantastic fiction; and two, the literary, as opposed to historical, value of these works is not clear to me, as—being honest—I have read only a few of them, and those now long ago.
It seems interesting that the great majority of these works use the element of the fantastic to enable social criticism, often scathing. Of the others, there are a couple of romantic adventures and a perhaps naive utopia. There is, I freely admit, some subjectivity at work here: some might say the Amadis and the Orlando are in the same class as Malory, but for vague reasons not worth the electrons to dilate on here, I feel them legitimate specfic.
Note well that most of these were not written in English, and so a good deal of one’s pleasure or lack of it in the reading may depend on the particular translator whose work you read. I have tried to discover who the generally preferred translators are for each work; in some cases, that wasn’t hard, but for several it was close to impossible. Caveat emptor.
Finally, as all of these are, obviously, in the public domain, they are likely available from one or another of the free-ebook sources on the web. (But some of the better translations may still be under copyright.) In any event, each title is a link to the ABEbooks listing for a good edition of that work.
Return to the page top. ↑
(This list includes some works that are epic poems in the original, but for which translations exist in either straight prose or prose-like verse.)
by Ovid (Publius Ovidius Naso) [1 - 8 CE]
Preferred translation: prose, Michael Simpson (for a version in verse, Charles Martin).
by Lucian of Samosata [2nd century CE]
Preferred translation: any of H. W. Fowler and F. G. Fowler; A. M. Harmon; or Evan Hayes and Stephen Nimis.
by Apuleius (Lucius Apuleius Madaurensis) [later 2nd century CE]
Preferred translation: Sarah Ruden.
by “the "Beowulf poet” (anonymous) [c. 1000]
Preferred translation: Seamus Haney (linked above) or Roy Liuzza.
by Dante (Dante Alighieri) 
Preferred translation: either of John Ciardi or Robert and Jean Hollander.
by Montalvo (Garci Rodríguez de Montalvo) [1508 or earlier]
Preferred translation: Sue Burke (4 volumes) [Note that the volumes are available new for $15 each; caveat emptor.]
by Thomas More 
Preferred translation (original in Latin): Paul Turner.
by Ariosto (Ludovico Ariosto) [1516-1532]
Preferred translation: Guido Waldman.
by François Rabelais [1532-1534]
Preferred translation: either of Samuel Putnam or M. A. Screech
by Johannes Kepler 
Preferred translation: Edward Rosen. But this is another case where the preferred translation is rare and expensive (and so is the second-best, by Patricia Frueh Kirkwood). But the translation used in the cheapie print-on-demand knockoffs, that by Normand Raymond Falardeau, is ghastly. Either pop for a good copy—one of those from the link above—or (as a three-digit price for a 20-page tale seems ludicrous, any annotations notwithstanding) get this through a library.
by Christian Rosencreutz 
Preferred translation: John Crowley.
by Cyrano de Bergerac [1657 & 1662]
Preferred translation: Geoffrey Strachan
by Margaret Cavendish, Duchess of Newcastle 
by Jonathan Swift [1726, “amended” 1735]
Niels Klim’s Journey Under the Ground
by Ludvig Holberg 
Preferred translation: James I. McNelis, Jr. But there’s a problem here: the only edition by McNelis is now scarce and quite expensive. There are tons of (mostly) inexpensive English-language translations of the book to be found, but most do not specify the translator. The translation by John Gierlow is said by experts to be terrible, but I suspect that most or all the unlabelled print-on-demand knockoff editions use his version. If you want to read this book, either spring for the Bison Press McNelis edition or seek it out at a library.
by Voltaire (François-Marie Arouet) 
Preferred translation: any of Roger Pearson; Theo Cuffe; or Douglas Parmée.
Memoirs of the Year Two Thousand Five Hundred
Memoirs of the Year Two Thousand Five Hundred: Volume 1
Memoirs of the Year Two Thousand Five Hundred: Volume 2
The following link may be one-volume editions: not guaranteed.
by Mercier (Louis-Sébastien Mercier) 
Preferred translation: William Hooper (there is only one other and it is bad; Hooper’s 1772 translation is all there really is).
Return to the page top. ↑
This site is one of The Owlcroft Company
family of web sites. Please click on the link (or the owl) to see a menu of our other diverse user-friendly, helpful sites.
Like all our sites, this one is hosted at the highly regarded Pair Networks
, whom we strongly recommend—click the link to learn more. (To get 20% off on hosting fees if you move to Pair, use code pairref-FyXypEEk
(Note: All Owlcroft systems run on Ubuntu Linux
and we heartily recommend it to everyone—click on the link for more information).
All content copyright © 2021 The Owlcroft Company
(excepting quoted material, which is believed to be Fair Use).
This web page is strictly compliant with the W3C
(World Wide Web Consortium)
Extensible HyperText Markup Language (XHTML) Protocol
and the W3C Cascading Style Sheets (CSS) Protocol
v3 — because
we care about interoperability. Click on the logos below to test us!
This page was last modified on Tuesday, 23 November 2021, at 9:05 am Pacific Time.