Reviewed by Graham Andrews. This review first appeared in The BSFA Review.
Donald A. Wollheim once edited an Ace Books anthology entitled The End of the World, in 1955. But he stuck close to genre home with such then modern-day stories as ‘Rescue Party’ (Clarke: 1946), The Year of the Jackpot’ (Heinlein: 1952), and ‘Impostor’ (Dick: 1953). But Mike Ashley has taken a much more wide-ranging and historical approach to the subject here. In his Introduction, he quotes these opening lines from ‘Darkness’, an apocalyptic poem by Lord Byron (first published in 1816):
“I had a dream, which was not all a dream.
The bright sun was extinguish’d and the stars
Did wander darkling in the eternal space,
Rayless, and pathless, and the icy earth
Swung blind and blackening in the moonless air.”
First up is ‘The End of the World’ (1930), by Helen Sutherland, which “gets us off to a rousing start by covering just about every catastrophe that can afflict mankind in a little over fifteen hundred words.” Ashley speculates that it might have been written by Helen Christian Sutherland (1881-1965), a patron of the arts who has been credited with discovering Pieter Cornelis Mondrian. Another story entitled ‘The End of the World’ (1903), by the astronomer Simon Newcomb (1835-1909), is an anticipation of When Worlds Collide.
After that comes a sort-of-trilogy headed THREE DOOMS OF LONDON. ‘London’s Danger’ (1896), by C. J. Cutliffe Hyne, is an early climate-change story. ‘The Freezing of London’ (1908), by Herbert C. Ridout, is – well – self-explanatory. The same thing goes for ‘Days of Darkness’ (1927), by Owen Oliver (i.e. Sir Joshua Albert Flynn). Robert Barr’s ‘Within an Ace of the End of the World’ (1900) is another trenchant climate-change story. What happens when agricultural over-production threatens to strip the world’s atmosphere of nitrogen?
‘The Last American’, by John Ames Mitchell, provides some welcome light relief, using “humour and parody to satirize the American way of life through the viewpoint of a Persian expedition discovering a ruined and desolate United States years after its collapse. The first edition  included many illustrations by the author [several included here].”
As Ashley explains, George Griffiths (1857-1906) was the most prolific and bestselling writer of ‘scientific romances’ in Britain until H. G. Wells came along to steal his literary thunder. He had gained wide popularity with The Angel of the Revolution (1893), in which a new form of flying machine enabled anarchists to take over the United Kingdom, thus pre-empting H. G. Wells himself: When the Sleeper Wakes (1899) and The War in the Air (1908). ‘The Great Grenelin Comet’ (1897) shows how the people of Terra – perhaps the first use of that word in science fiction to mean the Earth – deal with the onset of a destructive comet.
Other ‘vintage’ stories are ‘Finis’ (1906), by Frank Lillie Pollock, and ‘The Madness of Professor Pye’ (1934), by Warwick Deeping. Ashley also includes three comparatively recent stories: ‘Two by Two’ (1956: retitled ‘The Windows of Heaven’ in 1965), by John Brunner; ‘Created He Them’ (1955), by Alice Eleanor Jones; ‘There Will Come Soft Rains’ (1950), by Ray Bradbury (which became part of The Martian Chronicles/The Silver Locusts).
For me, it seems appropriate to round off this review with the final lines from Byron’s ‘Darkness’:
“The waves were dead; the tides were in their grave,
The moon, their mistress, had expired before;
The winds were wither’d in the stagnant air,
And the clouds perish’d; Darkness had no need
Of aid from them – She was the Universe.”
(The Moon is a Harsh Mistress. I wonder . . .)
N.B. Companion volumes from the British Library Science Fiction Classics program, so far: Moonrise: The Golden Age of Lunar Adventures (2018); Lost Mars: The Golden Age of the Red Planet (2018); Menace of the Machine: The Rise of AI in Classic Science Fiction (2019). I wish even more power to your editorial elbow, Mr. Ashley.
Copyright Graham Andrews. All rights reserved.