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Perhaps too informal.Early in the book, Warner apologizes for his history being a narrative, and not analytical. But its never really a narrative.Not unlike his (much) earlier All Our Yesterdays, Warners history of science fiction fandom in the 1950s is fragmentary. There are sections on fandom in various places--cities, regions, non-U.S. countries, as he sees fit to divide them--or a certain times or on certain themes or particular people.Probably it would be most interesting to people who actually lived through the times. As it is now, it is mostly useful as a reference to consult, and not something to read through--and even at that, it is becoming somewhat dated. Warner says (again toward the front of the book) that very few people have access to all the materials he used to write the book. Which is true! But less so than when he wrote it.Increasing numbers of old zines are being put onto the web, and so the raw material, the various stories that Warner recounts--these can be gotten by even people who were not collecting he material int he 1950s. Now, theres still a wealth (ahem!) of material that remains impossible to get, and Warner could also work from his own memories.But the wide(r) availability of the professional and amateur magazines from the middle of the 20th century means that what is wanted is a book that makes sense of the raw material, and doesnt just present it.There is a thesis here, but its very loose. The inmates have taken over the asylum.In the quarter century before 1950, science fiction fandom was an asylum in the sense of it being a safe place for people who loved science fiction, often in ways not understood by the creators of the things that they loved: the writers, artists, and editors. There was a push-and-pull.By 1950, science fiction was entering the mainstream, where it was buffered somewhat from the fans; and, as importantly, many of the earlier fans were now in control of producing science fiction--not just stories and magazines, but movies and TV, too--they were in control of the asylum--which made the push-and-pull much more personal even as the professionalization of science fiction meant that fans were increasingly adrift, their subculture dropping the sub to become its own thing.
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