The critics hate science fiction. A science fiction novel might be brimming with great ideas, be a wonderful read, have well-drawn characters and a gripping story û it will be dismissed as populist rubbish. In part (large part) this is because most critics are have an educational background where science was something done by those who couldnÆt understand art. ItÆs certainly true that much science fiction (especially in the early years) is mindless entertainment, but thatÆs true of all types of writing. When a science fiction writer manages by sheer outrageousness to push his way into the literary mainstream, (s)he usually rapidly dismisses any SF roots. Equally, when a "normal" writer produces clear (and often unimpressive) science fiction, the critics say this isnÆt SF at all, itÆs merely using the science fiction conventions to say something deeper. ItÆs not exactly surprising, then, that few science fiction greats have wide exposure. Many casual readers would get stuck after Terry Pratchett (who generally writes fantasy) and Douglas Adams (who probably doesnÆt count himself as an SF author). TheyÆre both great, but hardly all there is to know. Arthur C. Clarke is the exception. HeÆs a solid, down the line SF man, and heÆs famous too. Yet the reasons for his fame are quite strange. Three things have come between Clarke and the sort of obscurity that has met even greater SF writers; none of them concern his talents as a writer.

First came the monograph. Back in 1945, Clarke showed stunning vision by describing in Wireless World how communications satellites should work. Bearing in mind this predated a practical satellite by nearly 20 years, and the fact that his monograph was so precise that it proved impossible to patent the technology, this was an amazing feat. ClarkeÆs only regret was that he didnÆt take out a patent himself. Next was the film, or rather The Film. ClarkeÆs contribution to 2001, remarkable though it may have been, was not the decisive factor in making this one of the most memorable achievements of the cinema. The special effects, masterminded by Douglas Trumbull, made all the difference. Here for the first time was space that felt real. Throw in a brilliant choice of music to accompany the visuals and you had a film that no-one could forget. To be honest, the story was almost an inconvenience.