With his new novel The Peripheral, William Gibson returns to the genre that made him famous: near-future science fiction. But the world of The Peripheral is very different from the hyperactive cyberpunk citiscapes of Neuromancer. His canvas is much bigger -- and his prophesies are far more melancholy.
It is a risky business trying to predict the future, and although it makes some sense to try to get a handle on what the world might be like in one’s lifetime, one might wonder what’s even the point of all this prophecy that stretches out beyond the decades one is expected to live? The answer I think is that no one who engages in futurism is really trying to predict the future so much as shape it, or at the very least, inspire Noah like preparations for disaster.
An essay in Wired: Is Dystopian Sci Fi Making us Fear Technology? ponders the pandemic plague of cheap dystopias and apocalypses and feudal fantasties that have metastacized and infected science fiction. Michael Solana muses that a certain amount of dire warnings can be a tonic, but it becomes poisonous in the kind of excess that we are now seeing, in which the fundamental rule seems to be “never show any possibility of a better world.”
This piece is part of Future Tense, a partnership of Slate, New America, and Arizona State University. On Thursday, Oct. 2, Future Tense will host an event in Washington, D.C., on science fiction and public policy, inspired by the new anthology Hieroglyph: Stories & Visions for a Better Future. For...
From Ibn Tufail's 12th century Hayy Ibn Yaqzan to Rokeya Sakhawat Hussain's 1905 feminist masterpiece Sultana's Dream, the Islamic world produced some of the earliest proto-sf, which IO9's Charlie Jane Anders rounds up in an excellent post.
Oliver Wainwright: Humans were too risky, monkeys too fidgety, so the Soviet Union decided its first cosmonauts should be dogs. It is a story of science, sacrifice and – for those that survived – sausage-filled celebrity
An ongoing debate in ontology concerns the question of whether ideas or the physical reality have primacy. In my view, the physical reality is clearly ontologically primary, because it makes possible the thinking and idea-generation which exist only as very sophisticated emergent processes depending on multiple levels of physical structures (atoms, cells, tissues, organs, organisms of sufficient complexity – and then a sufficiently rich history of sensory experience to make the formation of interesting ideas supportable).
It’s not science fiction, it’s not realism, but hovers in the unsettling zone in between. From Philip K Dick to Stephen King, Damien Walter takes a tour through transrealism, the emerging genre aiming to kill off ‘consensus reality’
A lot of authors tend to become more conventional over time. They get more mainstream cred, mellow out, and sand the rough edges off their work. But some of science fiction's most famous authors have just kept pushing the limits of storytelling. Here are 10 science fiction and fantasy authors whose books only got weirder.
George Slusser is Professor Emeritus of Comparative Literature at the University of California in Riverside (UCR, CA, U.S.A.), Ph.D., Comparative Literature (Harvard University), the first Curator (Emeritus) of the J. Lloyd Eaton Collection of Science Fiction &Fantasy Utopian and Horror Literature (UCR, CA, U.S.A. – the world’s biggest SF collection), Harvard Traveling Fellow, Fulbright Lecturer, Coordinator of twenty three Eaton SF Conferences, Author of numerous books, studies and articles in the science fiction studies domain.
You want a really weird ride? A science fiction or fantasy epic that stretches your brain like taffy and ties it into strange irregular shapes? Forget television or movies: books are where the really off-kilter stories are told in speculative fiction.