Science fiction literature and movies.
By: Joshua Glenn
Elizabeth Moon’s SPEED OF DARK
By: David Levine
What starts out nightmarish ends up flatly descriptive.
China Miéville’s THE SCAR
By: Gary Panter
The mission’s leader is the scariest monster in the movie.
Octavia E. Butler’s CLAY’S ARK
By: Rob Walker
The point of the huge lie is protecting an idea of truth.
Carol Emshwiller’s THE MOUNT
By: William Nericcio
A lurid, Vonnegut-esque dissection of the America to come.
Ken MacLeod’s DARK LIGHT
By: Luc Sante
Weaponry, war between sexes, television culture, moral decay, and of course advertising…
Trondheim and Larcenet’s ASTRONAUTS OF THE FUTURE
By: Mark Kingwell
Every kid I knew had a favourite Thunderbird.
Nalo Hopkinson’s MIDNIGHT ROBBER
By: Devin McKinney
The machines are our friends. They want to help.
Ken MacLeod’s COSMONAUT KEEP