(1946- ) British illustrator, publisher, and anthologist; Americans often assume incorrectly that Glyn is his middle name and Jones his last name. He graduated from Sheffield University and went on to postgraduate work in experimental psychology. With no formal art training, he began his illustrating career with underground Comic strips before becoming, along with Mal Dean, the most important artist for New Worlds under the editorship of Michael Moorcock. He was designer for the last few issues, and for the succeeding paperback book series. His work shows surprising and inventive contrasts between dark and light spaces, and a striking sense of design. He also did covers and interior art for several of Moorcock's books, including a stylish cover for The English Assassin (1974) showing fourteen silhouettes of men wearing bowler hats and holding canes, one adorned with a bright British flag.
Glyn Jones later shifted his attention to other ventures: in the 1980s he set up a Small Press in London, Xanadu Publishing, which produced David Pringle's Science Fiction: The 100 Best Novels (1985), Moorcock's and James Cawthorn's Fantasy: The Best 100 Books (1988), and other genre-related titles; and he began to edit anthologies, at first involving detective fiction and true crime stories. But during the next decade, he turned his editorial skills to sf and Fantasy with the anthologies Unexpected Visions: Science Fiction by Classic Writers Not Known for Science Fiction (anth 1994), The Penguin Book of Modern Fantasy by Women (anth 1995) with A Susan Williams, Cybersex (anth 1996), and Lost Worlds (anth 1997). All things considered, Glyn Jones's contributions to sf were not vast or greatly significant, but as a key member of Moorcock's New Worlds team he will always be regarded as a significant player in the genre's history. [PN/GW]
see also: Jerry Cornelius.
Richard Glyn Jones
works as editor (selected)
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