L. Ashwell Wood
(* World of Wonder © Look and Learn Ltd.)
MELBOURNE. June 1 – British author Norman Lee, who has written 36 novels since 1943, has arrived in Australia "to write four or five more."Lee stayed in Australia for some time, writing up his escapades as Australian Adventure (by Mark Corrigan). Australia also became the setting for many of his books over the next few years: The Big Squeeze, Big Boys Don't Cry, Sydney for Sin, The Cruel Lady (all by Mark Corrigan), The Sinister Widow Down Under (by Richard Armstrong) and the two investigations of Inspector Grant Vickary, The Case of the Shaven Blonde and Dangerous Cargos, under the byline Robertson Hobart.
Mr. Lee, who came in the Strathnayer, said that British readers were tremendously interested in novels with an Australian background.
Neville Shute's novels about Australia had been a great success in England.
The author of Killers in the Sun is an Australian who made up his mind at an early age to see the rest of the world first. He has travelled since he was fifteen; has been twice round the world and, since he was twenty, has each year visited at least one foreign country. J.E.D. lives on the Blue Mountain ridge, near Katoomba, where exists, he says, one of the most exciting views in New South Wales.Whether this claim of three wives also related to Lee is unknown. At that time the entry for Author's and Writer's Who's Who was being compiled, around 1947-48, Lee was married to Bobbie Hunter and had three sons. I haven't been able to trace a marriage between a Norman H. Lee and anyone called Hunter. It may be that the name was a nom-de-theatre. It is possible that Lee married three times and that one marriage was to Rita M. Booker in Surrey in 4Q 1949.
J. Earle Dixon writes of insurance because he knows it; he began his working career with a South African insurance concern in his youth. He has been married three times but isn't working at it now; he claims women are unpredictable and unreliable.
He has two paramount desires: to direct films and write for the Saturday Evening Post.
These dreamers have drawn from the well of science fiction (and it is a very deep well) to bring us – the readers, the viewers, the players – some of the most startling, imaginative, visionary art ever conceived and created...
Science fiction art and design has played an important role in the perception of science fiction among the wider world of non-SF fans, for both good and bad. In the world of Blade Runner, nobody questions the visual futurism of the movie (the crowded, neon lit streets, outsized floating advertising, etc.) or the functionality of flying cars, leaving the viewer free to concentrate on the important questions the movie raises about what it means to be human.
At the other end of the scale, science fiction has been dismissed as nothing more than "that crazy Buck Rogers stuff," referring to the popular comic strip that ran for over 50 years in hundreds of newspapers. While Buck Rogers is used as a term of derision by critics, at what point does it become fine art? Roy Lichtenstein's painting Emeralds – an oversized version of a 1961 Buck Rogers panel by George Tuska – sold in 1999 for $1.6 million, so the answer could be as simple as "two feet wide or more."