Exploring Laser Light: Laboratory Exercises and Lecture Demonstrations Performed with Low-Power Helium–Neon Gas Lasers by T. Kallard (review)

Books 167 with platemakers, printers, photographers, etc. and on the options available for a given project. The book closes with a 'career guide', but this is, of course, slanted toward students in the U.S.A. There is little science in many of the current spate of science fiction (SF) 'art' books, the majority of which re-use illustrations (the term here is used loosely, since often the cover of a science fiction novel bears little or no relation to the contents) originally prepared for paperbacks. Alien Landscapes is at least refreshingly different in that respect, since the illustrations were commissioned specially. The idea is quite a good one: Take 10 famous SF works by well-known authors and ask leading British illustrators to interpret scenes described in them. Amongst the novels included are 'The Time Machine' (H. G. Wells), 'Rendezvous with Rama' (Arthur C. Clarke), 'Dune' (Frank Herbert), 'Ringworld' (Larry Niven) and 'Dragonflight' (Anne McCaffrey ). Each of these has as its background a well-researched world (albeit in some cases an artificial one, as in the case of Clarke's and Niven's novels) that is scientifically consistent with the story. Despite the names of the authors on the cover, the illustrations form the book's chief attraction. Apart from an 8-page Introduction, the text consists of a brief description of planets and civilizations described as if they existed in reality. Some readers may enjoy the variety of styles used by the chosen artists, though personally I found it a weakness. Jim Burns' imaginative conception of Rama gives about the right impression of the interior of this vast artifact with its strange mechanical/organic inhabitants. Totally different are the rather whimsical yet delicate drawings of Pern by Roger and Linda Garland, while John Harris' Okie Cities (from James Blish's novels) have a strong feeling of drama and power; the originals were, in fact, painted on very large panels. A book of this sort raises the old question (also sometimes applied to SF films): Should matters originally described verbally be transformed into pictures? This is for readers to decide for themselves. If you prefer to cherish your own mental pictures of your favourite SF classics, leave this book alone! International Modern Glass. Geoffrey Beard. Barrie & Jenkins , London, 1977.264 pp., illus. £16.50. Reviewed by Paul N. Perrot' The last two decades have seen a remarkable flowering of books on glass, covering most aspects of the subject and ranging from the most scholarly and footnoted works for specialists to more superficial surveys aimed at introducing the subject to a larger audience. Beard's book is unquestionably among the latter. A short, but incisive introduction encapsulates the subject from the late 19th century through the middle 1970s. He describes the high points of major developments, assesses the input of the prime personalities and lists the major exhibitions. This is the synthesis of an observant, sensitive and very well-informed student of glass in its past history and contemporary manifestations . In short, this is a credit to its subject and should encourage readers to explore the key works that are listed in the bibliography. Even a quick perusal of the illustrations demonstrates the vitality of studio glass artists of the 1960s and early 1970sin the U.S.A. and the impact they have had on international glass. Their work, 'revolutionary' as some of it appears, reflects the spirit that animated the Art Nouveau pioneers of the late 19th century and their 20th-century successors such as Marinot, Sala and Navarre. What only some years ago was considered a 'revolutionary' movement is now seen as, not a temporary manifestation, but an important chapter in the constant quest for new forms of self-expression. The illustrations are well chosen to present the contributions and stylistic approaches of designers in the major glass-producing centers. The book ends with a select list of 'Smithsonian Institution, Washington, DC 20560, U.S.A. glass manufacturers including short historical and biographical sketches some of which are accompanied by references to collections or to publications. The text is well printed, on heavy stock, but the layout of the illustrations is a little heavy-handed, and the repetition...