By: Joshua Glenn

Octavia E. Butler’s CLAY’S ARK

By: Rob Walker

The point of the huge lie is protecting an idea of truth.

By: Joshua Glenn

Carol Emshwiller’s THE MOUNT

By: William Nericcio

A lurid, Vonnegut-esque dissection of the America to come.

By: Joshua Glenn

Ken MacLeod’s DARK LIGHT

By: Lucy Sante

Weaponry, war between sexes, television culture, moral decay, and of course advertising…

By: Joshua Glenn

Trondheim and Larcenet’s ASTRONAUTS OF THE FUTURE

By: Mark Kingwell

Every kid I knew had a favourite Thunderbird.

By: Joshua Glenn

Nalo Hopkinson’s MIDNIGHT ROBBER

By: Devin McKinney

The machines are our friends. They want to help.

By: Joshua Glenn

Ken MacLeod’s COSMONAUT KEEP

By: Chris Lanier

The tinny smallness of the IKARIE XB-1 acquires an urgent poignancy.

By: Joshua Glenn

Iain M. Banks’s LOOK TO WINDWARD

By: Dan Fox

The movie’s meaning is dreamily fungible.

By: Joshua Glenn

China Miéville’s PERDIDO STREET STATION