From January of 2017, this is one of my earlier posts. Since then, I’ve been able to acquire a copy of Reach For Tomorrow in better condition than my “first”, this newer copy being presented below. Though I’ve used the same scanner (Epson V600, to be specific) to create images of both copies, note the difference in hues between the the covers of the two books.
I’ve also scanned specific areas of the cover at a ridiculously high resolution (600 dpi! – you can see the halftone printing in mesmerizing clarity) to present a larger image in your browser, and to give a better appreciation for the nature of Richard Powers’ art.
Like many of his compositions, the only human presence in this scene is denoted by a solitary, miniscule man: A simple figure in red stands atop a pillar in the left foreground, holding some sort of enigmatic object.
Otherwise, the view includes three floating and one fallen “objects”, another feature common to Powers’ cover illustrations for works of science fiction. Clearly, Powers (and perhaps the art department of Ballantine Books?) seem to have accorded a great deal of forethought and planning in the creation of this unusual cover, which – in terms of originality and impact – is strikingly like that of Ballantine’s 1965 release of Expedition to Earth. Which, along with Prelude to Space, I hope to bring you in a future post.
Note that the book’s rear cover has a horizontal format identical to the front, and includes illustrations of four other science fiction works by Clarke published by Ballantine. (Childhood’s End, Expedition to Earth, Prelude to Space, and Earthlight.)
Reach for Tomorrow was published by Ballantine in 1970 in a conventional vertical format, with cover art that – while nice – was equally conventional. You can view the later edition here.
Contents
Rescue Party, Astounding Science Fiction, May, 1946
A Walk in the Dark, Thrilling Wonder Stories, August, 1950
The Forgotten Enemy, Avon Science Fiction and Fantasy Reader, January, 1953
Technical Error (“The Reversed Man”), from Thrilling Wonder Stories, June, 1950
The Parasite, from Avon Science Fiction and Fantasy Reader, April, 1953
The Fires Within, from Startling Stories, September, 1949
The Awakening, from Future Science Fiction Stories, January, 1952
Trouble With the Natives, from Marvel Science Stories, May, 1951
The Curse, from Cosmos Science Fiction and Fantasy Magazine, September, 1953
Time’s Arrow, from Science Fantasy, Summer, 1950
Jupiter Five, from If, May, 1953
The Possessed, Dynamite Science Fiction, March, 1953
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– Cover detail – right –
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– Cover detail – lower center –
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– Cover detail – lower left –
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Reference
Reach for Tomorrow, at Internet Speculative Fiction Database
From original post of January, 2017. A little on the green side, eh?
1/1/18 – 141; 1/29/20 518
When I first saw the hardcover edition at the library in my early teens, I was stunned and amazed by both the surreal and moody world that Powers created and the strikingly odd horizontal format that seemed to break all the rules. This painting has always meant a lot to me, and I have followed Powers’ work ever since, unsure if this was his best or just my first. Unfortunately the otherwise terrific hardcover Powers art book has a different version of the Reach For Tomorrow cover that just doesn’t have the same magic.
Musician Andy Partridge of the pop-rock group XTC has an album of music called “Powers: 12 Sound Pieces Inspired By The Art Of Richard M. Powers”. On the back cover he declares: “It’s the early 60s and every week a shy English schoolboy goes to the local library. Each time he takes out three science fiction novels. He never reads any of them. He simply stares at the covers… and disappears.”
As much as I love the music of XTC, I found Partridge’s Powers album abstract and difficult to listen to. I think Brian Eno, particularly his work with Cluster and Harmonia, would do a better job of translating Powers visions into music, although I have to admit this opinion could only be laughably subjective.
Michael,
Thank you for your interest and substantive comments.
I discovered Clarke’s book in my twenties, while perusing the quite randomly arranged stacks in a used bookstore. I was immediately struck by the cover art, as much for the significance of its horizontal format as for the very scene’s surreal nature. Though I didn’t know “of” Powers at the time, even then I was aware of his singular style, which was to be the impetus for future purchases of (used) science fiction paperbacks. Only later did I actually read (!) Clarke’s book (in its later edition; the one with cover art by Vincent di Fate or Dean Ellis) and appreciate its very content. Well, Powers’ art has been the focus of many of my posts with, I hope, more to follow.
It’s interesting that despite his massive book cover output, his body of cover art for pulp magazines was miniscule. (Guess he didn’t need the work?!) These were the first issue of Beyond Fantasy Fiction, and, two covers of Galaxy Science Fiction.
In terms of Powers’ “Reach for Tomorrow” painting, he subsequently completed other covers – for hardback dustjackets – which while clearly based on the “horizontal city” format of the 1956 cover, have such significant differences as to effectively be altogether new works, with colors and shapes substantially changed (exaggerated or modified) from the 1956 version.
I’ve not had the opportunity to feature these in blog posts, but I hope to do so.
I’m aware of XTC’s album and have listened to some of their pieces. It would be interesting if someone were to create videos; a short film; a full movie; using or inspired by Powers’ style.