(From the book "Solar Wind")
By : Deborah Susan Jones : Editor
the second book in The Riverboat Saga, a Science Fiction book by Philip
Jose Farmer. "The Day of the Great Shout first appeared in "Worlds of
Tomorrow" in January 1965 and also appeared as the first part of
"To your scattered bodies go" in 1971 being a complete riverworld short
story. This story is almost identical to the first part of To your
scattered bodies go.
Suicide Express first appeared in "Worlds of Tomorrow" in March 1966
and also as the second part of To your scattered bodies go in 1971 and
yet again in "THE MAMMOTH BOOK OF NEW WORLD SCIENCE FICTION" in 1991.
Felled Star (Part 1) first appeared in "Worlds of If" in July 1967 and
parts 1 and 2 make up chapters 1-14 of "THE FABULOUS RIVERBOAT"
published as a novel in 1971.
The Felled Star (Part 2) first appeared in "Worlds of If" in August 1967. The Fabulous Riverboat (part 1)
first appeared in "Worlds of If" in Jun 1971 and parts 1 and 2 comprise
chapters 15-28 of "THE FABULOUS RIVERBOAT" which was published as a
novel in 1971.
The Fabulous Riverboat first appeared in "Worlds of If" in August 1971 .
In 1974 Peter created this painting as the cover of the 1975 Panther
Books Edition and it was republished in 1978, again in 1979 under the
Granada imprint which absorbed Panther and again in1988 when yet more
publishing evolution saw it published under the Grafton imprint when
Harper Collins absorbed the previous imprint and the image remained on
the cover until it finally disappear after 1993.
in Oil on Paper what is significant about the Artwork is that it defied
convention by being painted in dull, laid back muted classical colours,
decidedly different from typical covers in the genre at the time. At
first the Art Director was very dubious but after some discussion
decided to back Peter's hunch and sales of 20 years endorse the risk
That's some track record!
was this about the image - many years after it had been published Peter
was handed copies of the other two Riverworld series books, and when
placed alongside his own cover the mountain walls on the shore matched
A complete and total coincidence.
design stance Peter took was "counter-culture" - he assumed the book,
with its amazing storyline, would be a powerful seller as indeed would
Jose farmer's name, so there seemed an opportunity to "back-pedal"
visually, to take a risk, to do the opposite of the norm, the typical.
He "threw convention out the window" and painted the image "as though
it were a Renaissance masterpiece, not a book cover, as though it were
hanging alongside Rembrandt's Nightwatch in The Riksmuseum, and as far
away from "book cover art" as I could dream up, as far away from
"Sci-Fi" or Pulp magazine art as I could manage, just "a picture in its
own right" like perhaps a Limited Edition Print Artist might paint."
whilst the original Panther publication, with its classic Steve Abis
(Panther's brilliantly talented Art Director) "clean typography"
balances out wonderfully against the detail and complexity of the
textures in the painting, preserving the original creative idea, the
final publication under the Grafton imprint uses typography that
destroys much of this, obscures the overall feel of the vast scope of
Riverworld encasing the river, and the steamer, and reduces the book
cover to a typical "Sci-Fi" cover.
Full circle . . . . . . . . . . .
Deborah Susan Jones : Editor