Here are the key sentences from your provided text that relate most to the evolution of science fiction, changes in the genre, and the impact of contemporary and underrepresented voices:

1.

"Jemisin also spoke about how real people build worlds, and how our current world is not arbitrary, but rather the result of a series of choices."

"It is an innate part of youth to question our reality, and if the way that we live makes any sense,” Jemisin said."

"Sen said she views fiction as an important lens through which we can better understand the reality of our problems."

“A lot of people view escapism as a form of writing that is less than, but I don't believe in that."

"For the science fiction writer, who is used to seeing the world from a god-like point of view (through the eyes of science) we think in millennia, so 22 years is too short a period to affect the themes of my work."

"Wang Jinkang: My life and experiences have been quite unique."

"Science Fiction and Politics in Literature and the Arts"
8.

"The future of robots is here and is complex and necessary reading in these sci-fi tales."

"The Left Hand of Darkness by Ursula K. Le Guin"
10.

"The Best Sci-Fi and Fantasy Books by Indie Authors"
11.

"I think it's because of the books that I read.

And I read a lot of magic and a lot of Ray Bradbury.

And then it changes again."

"I feel like fiction is more believable than life in a way because when you're writing a book, you have to have it make sense."

"You can put letters on a page, and it becomes a world."

These sentences highlight how science fiction engages with reality, society, and worldbuilding, and they reflect the genre’s move towards inclusion of diverse voices and political/contemporary issues, as well as the recognition of writers from different backgrounds and demographics.

Here are the key sentences from your provided text that relate most to the evolution of science fiction, changes in the genre, and the impact of contemporary and underrepresented voices:

1.

Title:

Content: Science Fiction and Politics in Literature and the Arts (Symposium, Toulouse)

Science Fiction and Politics in Literature and the Arts

The aim of this symposium run by the LLA-Créatis laboratory at the University of Toulouse Jean-Jaurès is to develop open thinking about “political” questions, in the broad sense of the term, that science fiction narratives allow. Different types of stories can be considered, in different literary genres or in cinema, video series and comics. It can be studied and interrogated from a historical, political and social perspective by involving, where appropriate, the possible contributions of different analyzes (anthropology, semiotics, feminist studies, postcolonial studies, etc.) Diversity of perspectives and questions raised by gender.

The entire twentieth-century period produced works in San Francisco that were marked by ideologies such as capitalism and its “communist” counterpart, but also by threats associated with civilian and/or military nuclear power, religious-related abuses, racism, minority liberation struggles, and pollution. , etc. These perceptions persisted, but in the period from the last 20 years of the 20th century to the first 20 years of the 21st century, other concerns were voiced: ecological pesticides, the climate crisis, demographic crises, resource depletion, or the danger. The scientific and technical potential (transhumanism, “artificial intelligence”, etc.) is being carried away.

The link to the realities of the times (as in the collection “Le Passager Clandestin / Dyschroniques”) can of course depend on one or more authors, take into account a work or compare several (especially in the case of short stories and short films). The broader perspective will consist in considering the basic ideologies, either in relation to the literary prizes awarded, or in relation to the works themselves, the semantics of these presenting themselves from the outset sometimes as criticism, sometimes as propaganda, the two being able to be combined according to modalities that tend to be ironic, Satirical, disruptive, etc.

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In any case, it would be a matter of highlighting the “exploratory potential” in these works, of identifying the “problematic tools” and of making the ideas put forward in fictional form productive from the point of view of political theory. (Y Rambhala).

Of course, it is advisable to include works belonging to different geographical and linguistic fields so that the panorama of this search is sufficiently realistic.

Provisional schedule of courses (date adjustments possible)

Oct 20, 2-4 PM / Nov 17, 2-4 PM / Dec 15, 2-4 PM / Jan 19, 2-4 PM / Feb 9, 2-4 PM / Mar 15, 2-4 PM / May 31 , 2-4 p.m

Contribution proposals must be sent Before October 1, 2023 To the following addresses: frederics[email protected], [email protected], [email protected]

"Jemisin also spoke about how real people build worlds, and how our current world is not arbitrary, but rather the result of a series of choices."

Title:

Content: Julia Nagel/Sun Photography Editor

Fantasy author N. K. Jemisin speaks at a Bartels World Affairs Lecture in Klarman Hall on Oct. 4.

8 hours ago

N.K. Jemisin Gives Bartels World Affairs Lecture, Speaks on Building a Better World

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N. K. Jemisin, best-selling science fiction and fantasy author well known for her book trilogy “The Broken Earth,” spoke about building a better world at this year’s Bartels World Affairs Lecture on Wednesday, Oct. 4 at 5:30 p.m. in a packed Rhodes-Rawling Auditorium. Jemisin spoke about how building fictional worlds helps her discuss the reality of our society, and concluded by calling on the audience to make choices in order to build the world they wish to see.

Following her talk, Jemisin joined a panel of Cornell faculty to kickstart the latest Global Grand Challenge: The Future. Global Grand Challenges bring together people and resources to understand and develop solutions to humanity’s most urgent challenges. The first challenge launched in 2019, and this year’s challenge, “The Future,” focuses on how to employ creativity to build a more equitable and sustainable future world.

Supported by the Henry E. and Nancy Horton Bartels World Affairs Fellowship, the Bartels World Affairs Lecture is an annual, signature event hosted by the Mario Einaudi Center for International Studies that brings renowned individuals to Cornell’s campus to speak on international matters with students and faculty.

Seats at the event sold out and an estimated 330 people attended. In-person watch party tickets were made available as well, where attendees live streamed the lecture from an adjacent classroom near the auditorium. More than 270 local, national and international viewers who registered through eCornell also streamed the event live.

Vice Provost for International Affairs Wendy Wolford said that in addition to launching this year’s Global Grand Challenge, this event also fits into Cornell’s academic year theme of Freedom of Expression. Wolford explained that the world building, kindness and empathy in Jemisin’s work encouraged the Einaudi Center to select this event as the launch for the University’s new Global Grand Challenge.

“The theme of this new challenge is fittingly ‘The Future.’ With this challenge, we invite all of you, students, staff and faculty to step back from the immediate questions of your studies, your work and your research, to think about the world you want to live in,” Wolford said. “The Global Grand Challenge calls on us to go beyond the cutting edge… to imagine what the world would look like if we asked not just what can I do, but what do I want? What do we want?”

Jemisin began her lecture by describing her background in higher education, in which she spent 20 years working as a career counselor, academic counselor and director of experiential education before becoming an author. Jemisin writes science fiction and fantasy novels that explore a variety of themes, including power, cultural conflict and systems of subjugation.

“Many of the questions I tend to get are: Why science fiction? Why fantasy? Why would you, an ostensibly intelligent and mature person, write this kid’s stuff? And I tell people the same thing that Octavia Butler has said in interviews, which is in science fiction, I can do anything,” Jemisin said during her lecture.

Jemisin explained how people’s fears in a specific time period are reflected in their writing, especially in science fiction. She cited underlying fears of the sexual revolution displayed in 1960s feminist science fiction as an example.

“There’s another misconception out there that typically happens, which is that people think of science fiction as being about the future. They think of fantasy as being about the past,” Jemisin said. “It’s neither. Science fiction and fantasy are actually about our present world.”

Jemisin also described the process of science fiction worldbuilding on two levels — macro and micro. Macro worldbuilding involves creating the physical world of a story, including planets, continents, climate and ecology. Micro worldbuilding is crafting the society the characters will exist in, which includes species, morphology, racialization and power, among other things.

“The point of this [worldbuilding] exercise is to get people to start questioning their assumptions,” Jemisin said. “Understanding how our society functions is a lot more constructive than they think, so it’s important that I get across that all of this is changeable.”

Jemisin also spoke about how real people build worlds, and how our current world is not arbitrary, but rather the result of a series of choices. She emphasized that different choices remain possible, and that our understanding of ourselves and self-identity is evolving. Jemisin encouraged the audience to consider reasons for both creating and resisting change.

“We are being blasted with a constant firehose of disinformation which is fueled by a whole lot of money,” Jemisin said. “The only thing that we can do in order to resist this is begin to question and push back on how we became the society that we are and begin to recreate that society in our own design.”

Following her lecture, Jemisin joined a panel with Cornell faculty members Prof. Anindita Banerjee, comparative literature and feminist, gender and sexuality studies; Prof. John Albertson, civil and environmental engineering; and Prof. Kaushik Basu, international studies and economics. Each professor took turns briefly speaking about how their field of expertise relates to building a better world, and Jemisin followed with her thoughts.

“We see society now envisioning futures and being bold, making pledges of decarbonizing our energy supplies, decarbonizing our economy and setting ambitious timelines on which to do that,” Albertson said. “It’s relatively straightforward to plan the direct linear path of what you need to do there. But the question is: where are all the other parts of society that are touched by each of these changes?”

Asher Bergmann ’26 said his goal going into his sophomore year was going to more school  events, and was excited to find this lecture as someone who reads a lot of fantasy.

“I think she did a good job of not diving too deep into fantasy to where some people wouldn’t be interested, because while she’s a fantasy author, the point of this lecture wasn’t actually writing fantasy,” Bergmann said. “I think she did a good job of balancing her goal with what other people may have come here to see her speak about.”

Annabel Baniak ’24 decided to attend the event at the encouragement of both her professor  and her mom, whose favorite book is “The Fifth Season” by Jemisin. Baniak said she enjoyed the event and left feeling motivated and inspired to create change in the world.

Jemisin left the audience with a message to continue questioning the current world and to work towards building an ideal society.

“I have been having conversations all day with the students here, and they’re thinking ahead of me. I have to catch up. It is an innate part of youth to question our reality, and if the way that we live makes any sense,” Jemisin said. “I have to retain my own youthful questioning. They are right to question reality, and the rest of us need to keep doing that.”

Grace Liu ’27 is a Sun contributor and can be reached at [email protected].

Title:

Content: Pixel Scroll 2/10/23 Jetpack Failing, Must Attempt To Pixel To A Safe Scrolling

(1) VINTAGE OR VINEGAR? At Young People Read Old SFF, James Davis Nicoll tasked the panel to read Melancholy Elephants by Spider Robinson. Click through to hear what they thought about it.

Young People Read Old Hugo Finalists focuses on Spider Robinson’s 1982 Hugo-winning “Melancholy Elephants”. Readers of my vintage might remember Robinson as the author of the once-popular Callahan’s stories (to which series “Melancholy Elephants” does not belong) as well as a prolific reviewer whose pieces appeared in Galaxy, Analog, and Destinies Magazine and no doubt elsewhere. “Melancholy Elephants” is a stand-alone focusing on the issue of perpetual copyright. It’s a subject still relevant today. I am curious what the Young People make of Robinson’s story….

(2) IT’S A RISKY BUSINESS. And at Tor.com, James Davis Nicoll picks out “Five SF Stories About Space Scouts and Cosmic Exploration”.

Of all the career paths offered to player characters in the venerable tabletop roleplaying game Traveller, few were as memorable as that of the scout. Stalwart explorers of empire’s hinterlands, scouts could expect a charmingly informal command structure, a good chance of a loaner starship on retirement, and, oh yes, the life expectancy of a newborn puppy in a crocodile-filled swamp. Classic Traveller was notorious for its character generation system: player characters could and often did expire during the process. Few careers offered the harrowing mortality rate of the scout class.

Traveller author Marc Miller drew inspiration from classic science fiction, whose authors delighted in dropping explorers into situations for which the explorers soon discovered they were insufficiently prepared. Here are five tales of the sort  that inspired Traveller….

(3) UNION AND HARPERCOLLINS ANNOUNCE AGREEMENT. Vox’s overview “What the hard-won HarperCollins union contract means for the future of books” actually does little to answer its own question. But it does supply this snapshot of how the strike ended.

…On January 26, HarperCollins management agreed to enter federal mediation with the union. Five days later, it announced that it would be laying off 5 percent of its workforce. A HarperCollins spokesperson attributed the layoffs to supply chain pressures and declining revenue, saying, “The timing had nothing to do with mediation.”

Because HarperCollins is the only union shop among the Big Five, the stakes here are high. It is pushed by necessity to set the labor standards for the rest of the industry: when it raises its wages, Penguin Random House raises its wages too. The hope among supporters both in and out of the union was that the new agreement would spark similar structural changes at the other Big Five houses, and maybe even inspire other houses to unionize.

Finally, at 8 pm on February 9, the union and HarperCollins together announced they had reached a tentative agreement. “The tentative agreement includes increases to minimum salaries across levels throughout the term of the agreement, as well as a one-time $1,500 lump sum bonus to be paid to bargaining unit employees following ratification,” said HarperCollins in a statement. Currently, there’s no word on whether the union also succeeded in bringing in new diversity initiatives or in getting a union security clause. The contract doesn’t become official until it’s ratified….

Publishers Weekly’s coverage put the agreement in perspective with HarperCollins’ recent business reverses: “Deal Reached in HarperCollins Strike as Publisher Has Another Bad Quarter”.

…News of the tentative agreement came shortly after HC parent company News Corp. released financial results for the quarter ended December 31, 2022. The company reported that earnings tumbled 52% at HC, falling to $51 million, from $107 million in the comparable quarter a year ago. Sales dropped 14%, to $531 million.

News Corp. attributed the revenue decline to slowing consumer demand for books, difficult comparisons to a strong frontlist performance a year ago, and “some logistical constraints at Amazon.” In the first quarter of the 2023 fiscal year, HC attributed the decline in sales and earnings largely to a steep drop in orders from Amazon, and in a conference call, News Corp. executives said the negative impact of Amazon on second quarter sales was less than in the first quarter. Sales were down in both print and digital formats.

In addition to lower sales, News attributed the plunge in profits primarily to “ongoing supply chain, inventory, and inflationary pressures on manufacturing, freight, and distribution costs.” A change in the product mix also depressed earnings, with the share of e-book sales falling in the second quarter as that of the the less-profitable print books rose.

With financial results also down in the first quarter, in the first six months of fiscal 2023, profits declined 53%, to $90 million, and sales fell 12%, to $1.02 billion.

Last month, HC began implementing a program to cut its North American workforce by 5% by the end of the fiscal year ending June 30. In a conference call announcing results, News Corp. CEO Robert Thomson said News is making a 5% workforce cut in all its businesses, which will result in the elimination of about 1,250 positions….

(4) KGB. Ellen Datlow shared her photos from the Fantastic Fiction at KGB reading series event on February 8 at Flickr. Jeff Ford and Marie Vibbert were the evening’s readers.

(5) SKY HIGH DINING. The Torrance (CA) Public Library hosts a Zoom presentation by Richard Foss, “Food in Space in Science Fiction and Reality”, on February 15 at 6:30 p.m. Pacific. Email [email protected] for the invitation link.

Early science fiction stories about space travel ignored the most basic need of any pioneer – what did they eat, and how? The science fiction authors did get around to addressing this question, their solutions were sometimes novel but impractical.

How do their fantasies match up with reality, and are authors getting it right now? Join Richard Foss, author, culinary expert and lecturer as we explore this fascinating subject.

Please email [email protected] for the invitation link to join this discussion on Zoom.

(6) START YOUR OWN INKLINGS. “Writers Need Writers: In the Footsteps of the Inklings” at Inspire Christian Writers.

… Writing is a solitary pursuit. Only the writer understands the intent. Hunched alone over our notepads and computers, we snaggle our words and graft them onto the page, prayerfully hopeful they will touch hearts. But we can’t know the true strength of our writing unless we are willing to share those words with another who will render kind and honest feedback. Our mothers don’t count. Neither does a stranger. One lacks honesty, the other an understanding of the writer’s heart.

Twelve members of the Inklings steadfastly met for almost twenty years. Weathering war and broken friendships, they left us with poetry, Christian essays, and stories that delight and instruct to this day. That’s what I want. I want their journey. How? Here’s some gleanings from Bandersnatch.

[Dr. Diana] Glyer believes it’s possible to have what the Inklings had. Start small but keep at it, she says. The Inklings began with just two, Tolkien and Lewis….

(7) MANTELL OBITUARY. The New York Times marks the passing of the co-creator of a spoken word record business: “Marianne Mantell, Who Helped Pave the Way for Audiobooks, Dies at 93”.

Marianne Mantell, who in her early 20s helped start the audiobook revolution by co-founding a record company [Caedmon] that turned recordings of countless literary giants, including Ernest Hemingway, James Joyce and Dylan Thomas, into mass-market entertainment, died on Jan. 22 at her home in Princeton, N.J. She was 93….

… In an era when American business was dominated by Fortune 500 companies, it was rare enough for two recent college graduates to create what was in essence a tech start-up aimed at disrupting two industries, book publishing and the record business. And in an era when those corporate giants were run largely by men in Brooks Brothers suits, it was even more unusual for two women to do so.

“Caedmon was the era’s only female-owned record company, and its remarkable success stood out in a male-dominated record industry,” Mr. Rubery said. “At the time, only around 5 percent of record industry employees were women, and those women were almost all in marketing and retail roles. The rise to the top by two female entrepreneurs represented a remarkable exception.”

As Ms. Mantell wrote in a 2004 remembrance for AudioFile magazine, “Although poets had been recorded before as vanity efforts, it was Barbara and I who realized that there was an audience of literate people and made a business out of it.”

… The labels had no interest, so Ms. Mantell and Ms. Holdridge scratched together $1,800 to start a label of their own, which they christened Caedmon after the seventh-century cowherd considered the first recognized English poet. The company’s slogan: A third dimension for the printed page.”

…“We were not just out to preserve celebrity voices (to the extent that a poet is a celebrity),” she wrote. “Our purpose was literary: to capture on tape as nearly as possible what the poet heard in his head as he wrote.”

(8) MEMORY LANE.

1974[Compiled by Cat Eldridge.]

I think I read Ursula K. Le Guin’s The Dispossessed in University when a classmate recommended it. I had a keen interest in politics, particularly those on the Left, so the politics of the novel interested me.

I think it works much better for its politics than it does for the strength of the character therein. The politics and the set-up of two planets was fascinating though I admit that it’s not a novel by her I’ve re-read, unlike her exemplary Earthsea series.

It won both a Hugo and a Nebula, and deserved them.

And with that, here’s the Beginning…

THERE was a wall. It did not look important. It was built of uncut rocks roughly mortared. An adult could look right over it, and even a child could climb it. Where it crossed the roadway, instead of having a gate it degenerated into mere geometry, a line, an idea of boundary. But the idea was real. It was important. For seven generations there had been nothing in the world more important than that wall.

Like all walls it was ambiguous, two-faced. What was inside it and what was outside it depended upon which side of it you were on.

Looked at from one side, the wall enclosed a barren sixty-acre field called the Port of Anarres. On the field there were a couple of large gantry cranes, a rocket pad, three warehouses, a truck garage, and a dormitory. The dormitory looked durable, grimy, and mournful; it had no gardens, no children; plainly nobody lived there or was even meant to stay there long. It was in fact a quarantine. The wall shut in not only the landing field but also the ships that came down out of space, and the men that came on the ships, and the worlds they came from, and the rest of the universe. It enclosed the universe, leaving Anarres outside, free.

Looked at from the other side, the wall enclosed Anarres: the whole planet was inside it, a great prison camp, cut off from other worlds and other men, in quarantine.

(9) TODAY’S BIRTHDAYS.

[Compiled by Cat Eldridge.]

  • Born February 10, 1904 Lurton Blassingame. Literary agent for Heinlein. He makes the birthday list because Grumbles from the Grave has more letters to Blassingame than to any other correspondent. And even some of Blassingames’s letters to Heinlein are included. (Died 1988.)
  • Born February 10, 1906 Lon Chaney Jr., 1906 – 1973. I certainly best remember him as  playing Larry Talbot in The Wolf Man but he has a lot of other roles as well: The Ghost of Frankenstein as The Monster (hey, correct billing!), The Mummy’s Tomb as The Mummy Kharis or Son of Dracula as Count Dracula, he played all the great monsters, often multiple times. (Died 1973.)
  • Born February 10, 1920 Robert Park Mills. He was the managing editor of Ellery Queen’s Mystery Magazine beginning in 1948 and The Magazine of Fantasy and Science Fiction the following year. He also edited Venture Science Fiction for several years. Under him, F&SF won an impressive three Hugo Awards for best magazine in 1959, 1960 and 1963. (Died 1986.)
  • Born February 10, 1929 Jerry Goldsmith. Composer whose music graces many a genre undertaking including, and this is not complete listing, AlienStar Trek: The Motion PicturePoltergeistPlanet of the ApesThe Man from U.N.C.L.E. series, Star Trek: VoyagerThe MummyThe Twilight Zone (need I say the original series?) and he even did the music for Damnation Alley! (Died 2004.)
  • Born February 10, 1953 John Shirley, 70. I not going to even attempt a complete précis of his career. I read and much enjoyed his first novel City Come A-Walkin and oddly enough his Grimm: The Icy Touch is damn good too in way many of those sharecropped novels aren’t. I see that to my surprise he wrote a episode of Deep Space Nine, “Visionary” and also wrote three episodes of the ‘12 Teenage Mutant Ninja Turtles. His latest novel which I’ve not read so do tell me about it is A Sorcerer of Atlantis.
  • Born February 10, 1967 Laura Dern, 56. I’m going to note she’s in David Lynch’s Blue Velvet as Sandy Williams which is not genre but which is one weird film. Jurassic Park where she is Dr. Ellie Sattler is her first SF film followed by Jurassic Park III and a name change to Dr. Ellie Degler.  Such are the things movie trivia is made of. Star Wars: The Last Jedi has her showing as Vice Admiral Amilyn Holdo.  I think her first genre appearance was on Shelley Duvall’s Nightmare Classic.
  • Born February 10, 1970 Robert Shearman, 53. He wrote the episode of Who called “Dalek” which was nominated for the Hugo for Best Dramatic Presentation, Short Form at L.A. Con IV. (There were three Who entries that year and “The Empty Child”/”The Doctor Dances” won.) His first book, a collection of short stories called Tiny Deaths was a World Fantasy Award winner. He’s written a lot of short fiction since then, collected helpfully into two collections, Remember Why You Fear Me: The Best Dark Fiction of Robert Shearman and They Do the Same Things Different There: The Best Weird Fantasy of Robert Shearman. Some, but by no means all, of his works are up at the usual suspects.
  • Born February 10, 1976 Keeley Hawes, 47. Ms Delphox/Madame Karabraxos in my favorite Twelfth Doctor story “Time Heist”.  She also played Zoe Reynolds in MI5 which is at least genre adjacent given where the story went. She has also provided the voice of Lara Croft in a series of Tomb Raider video games.

(10) COMICS SECTION.

  • The Far Side is present at the Creation.
  • Edge City tries to figure out what all the remotes are for.
  • Sheldon predicts who will be AI art’s mortal enemy.
  • Sheldon also illustrates the limits of dog science.

(11) SHORT REVIEWS. Lisa Tuttle supplies “The best recent science fiction and fantasy – reviews roundup” for the Guardian. The four titles covered this time are Hopeland by Ian McDonald; Ten Planets by Yuri Herrera; Observer by Robert Lanza and Nancy Kress; and Emily Wilde’s Encyclopaedia of Faeries by Heather Fawcett.

(12) PLAYING GAMES. Them is reporting that “Hogwarts Legacy Features the Harry Potter Franchise’s First Trans Character”.

Now that the review embargo for Hogwarts Legacy is up, more details about the forthcoming Harry Potter role-playing game, set to release on Friday, are surfacing. One particularly noteworthy new fact? The inclusion of a transgender non-playable character (or NPC) named Sirona Ryan, whom players can find at the Three Broomsticks pub.

The news came courtesy of a gameplay clip shared by YouTuber Doctor Gramma, in which Sirona serves a pair of characters Butterbeer and remarks upon a recent, unspecified attack on Hogwarts. Although Sirona was not confirmed as trans in the clip itself, Entertainment Weekly and other outlets have since reported on in-game dialogue referencing her transition. Speaking about her former classmates, the barkeep reportedly says,  “Took them a second to realize I was actually a witch, not a wizard.”

Given Potter author J.K. Rowling’s well-documented transphobia, Sirona’s presence is unexpected, to say the least. Some in the video game world are even claiming the character was included in hopes of quelling a boycott from gamers who have chosen not to play the game based on Rowling’s dangerous anti-trans platform.

“An old acquaintance did some work on that Hogwarts game,” YouTuber Stephanie Sterling tweeted early Monday morning. “I’m told they added a token trans NPC to pivot the conversation away from JKR. They’re barely in it.”

“Did You Know Gaming” contributor and video game historian Liam Robertson backed up Sterling’s account, writing, “I was also told this. There was apparently some trans representation added after some of the initial controversy. I don’t know how it appears in the final product but one of the sources I talked to described it as ‘performative bullshit.’”…

(13) YOU’RE FIRED. While Elon Musk was making news for firing a Twitter engineer, his SpaceX was getting attention for test-firing an engine: “SpaceX Test Fires 31 Engines on the Most Powerful Rocket Ever” in the New York Times.

SpaceX moved one step closer to its future on Thursday with a successful ground test of the engines of the most powerful rocket ever built.

The company, founded by the entrepreneur Elon Musk, conducted what is known as a static fire of Super Heavy, a massive rocket booster. Super Heavy was made to send SpaceX’s next-generation Starship vehicle toward orbit before returning to Earth.

More than 110,000 people watched a livestream broadcast by NASASpaceFlight.com, an independent space media company that has cameras monitoring the Starship test site in Boca Chica, Texas. The video feed showed clouds of vapor enveloping the launch stand when propellants started flowing into the rocket, and rings of frost forming around the rocket as the tanks filled with ultracold propellants.

Then the clouds mostly vanished when the fueling was complete — for the brief test, the tanks were not filled to the brim.

At 4:14 p.m. Eastern time, on a video feed provided by SpaceX, the engines roared to life for a few seconds and shut down, kicking up that rose clouds above the rocket and prompting masses of birds to flee the area. An update on Twitter from SpaceX indicated the test was a success, lasting as long as intended. The booster and launch stand appeared to be in good shape afterward.

(14) APOLOGIES. JUPITER-SIZED ERROR. [Item by SF Concatenation’s Jonathan Cowie.] I have to correct a stupid error I made in yesterday’s piece about one of the most distant exo-planet detected and first space-based detection of an exo-planet using gravitational lensing. It was not the close to smallest theoretical-sized Jupiter — close to the host mass threshold below which Jupiters are not expected to form.  Instead, it was somewhat surprising to find a Jupiter-sized exoplanet around such a small star (a little over half the mass of the Sun).  It is thought that the planetary mass around small stars is smaller than the planetary mass around larger stars. So to have a Jupiter-sized planet orbiting such a small star is a little unusual and close to the theoretical limit.

The error came about because I only quickly scan/read the abstracts of papers of interest at a cybercafé and then blat an e-mail off to Mike, and I only subsequently read papers in detail when I get home.  Also, since we (SF2 Concatenation) lost our much missed physics and space science editor, I have taken over that coverage in addition to that of the bio- and geosciences about which I am more sure-footed.

See Specht, D. et al, (2023) “Kepler K2 Campaign 9: II. First space-based discovery of an exoplanet using microlensing”. Monthly Notices of the Royal Astronomical Society, stad212.

(15) VIDEO OF THE DAY. Honest Game Trailers gives its brutally frank opinion of “Fire Emblem Engage”.

…Discover yet another fantasy Kingdom on the brink of inevitable War as you take control of a protagonist so anime that they are actually a dragon, an amnesiac, and also a God who looks like a deviantART character where you took two cheesy anime protagonists and smashed them together in a hydraulic press…

[Thanks to John King Tarpinian, Chris Barkley, Andrew Porter, Ellen Datlow, SF Concatenation’s Jonathan Cowie, Dann, Michael Toman, Cat Eldridge, and Mike Kennedy  for some of these stories. Title credit belongs to File 770 contributing editor of the day by Andrew (not Werdna).]

"It is an innate part of youth to question our reality, and if the way that we live makes any sense,” Jemisin said."

"Sen said she views fiction as an important lens through which we can better understand the reality of our problems."

Title:

Content: Dartmouth Speculative Fiction Project considers next steps for the genre

The project brings together authors and Dartmouth professors to collaborate on new speculative fiction work rooted in scientific research on campus.

by Sophie Chadha | 53 minutes ago

From April 13 to 16, speculative fiction authors from around the country came to Hanover to participate in the Dartmouth Speculative Fiction Project, a series of events which included interdisciplinary activities between visiting authors and Dartmouth faculty, as well as readings and panel discussions open to the public. The project aimed to foster collaboration between authors and Dartmouth faculty – with a focus on designing stories rooted in scientific research – and addressed the present and future of the speculative fiction genre.

The project was co-organized by engineering professor Solomon Diamond, English professor Rebecca Clark, the Design Initiative at Dartmouth program manager Paula Olson, Hugo award-winning speculative fiction editor Liz Gorinsky and author and former visiting film and media studies professor Sharang Biswas Th’13.

According to Hugo and Nebula awards finalist Nibedita Sen, speculative fiction is a general term that provokes valuable questions.

“The term ‘speculative fiction’ … works as an umbrella term: It is fiction which imagines things that do not currently exist, things that may come into being through science or through magic,” Sen said. “It could be advancement, or it could be, ‘What if we went backwards? What if we stepped to the side?’ It could be a different dimension, a different timestream.”

In a Q&A panel on April 15, some authors touched on the exchange of knowledge that occurs between scientific researchers and speculative fiction writers. Author K.M. Szpara said he believes the future of speculative fiction will become increasingly interdisciplinary and collaborative.

Nebula award-winning author Sam J. Miller  said we should reframe one stereotype about fiction — that it is dismissive of reality’s problems — and instead view its creation of a world without societal problems as proof of the possibility that our society could exist without them.

“It is as simple as, ‘ … And then the housing crisis is over … And then all the people standing in the way of progress are gone.’” Miller said.

Calvin George ’24, who attended the Q&A, said he was intrigued by Miller’s concept of speculative fiction as a tool for social change.

“It was really interesting to hear from these authors [about] how imagining worlds where a huge problem like climate change is gone can actually help us solve those problems by giving us a sense of hope that they are not absolute or inevitable,” George said.

Sen said she views fiction as an important lens through which we can better understand the reality of our problems.

“A lot of people view escapism as a form of writing that is less than, but I don't believe in that. Like Tolkien said: Is it not a prisoner's duty to try to escape? Fiction is the spoonful of sugar that helps the truth go down,” Sen said.

Sen said this belief manifested in her own writing following the results of the 2016 presidential election, when she pivoted into the realm of horror as a form of catharsis.

“[In 2016,] people like me were being viewed as monsters, so I decided, ‘Well, I will show you what a monster really is,’” Sen said.

Looking to the future of speculative fiction, teacher, linguist and author Rob Cameron points to the genre’s growth over the past few decades from a niche, isolated faction of enthusiasts to a universal mode of entertainment.

“With the popularization of science fiction through film, especially Marvel, ‘geek culture’ has become much more expansive — you do not have to be a geek to enjoy it,” Cameron said. “At the same time, authors’ expectations of their readers have changed with these new mediums: Are people really going to sit down and read this book? This kind of thinking sparks novel ideas like ‘choose your own adventure’ narratives, comic books, video games and more.”

According to Biswas, the Speculative Fiction Project came to life when pitched the idea of centering speculative fiction around scholarship at Dartmouth to Diamond. When selecting the authors for the panel, Biswas shared that the organizers primarily aimed to represent diversity in both background and writing experience.

“If you’re claiming to do a project that looks at the future of humanity, you need to represent diverse perspectives,” he said.

Biswas added that if the project were to happen again, he hopes it can bring together an even more diverse group of people with more funding.

“In the future, with better channels of funding, we hope to have more geographic diversity and be able to bring in international authors,” Biswas said.

The Speculative Fiction Project will continue as authors workshop their stories with their research partners. These works of fiction will be presented at a Dartmouth symposium in June and will subsequently be synthesized into an anthology in Lightspeed Magazine next year.

According to Clark, students will be invited to submit their own stories and up to four of them will be chosen and featured in the professional collection.

“A lot of people view escapism as a form of writing that is less than, but I don't believe in that."

"For the science fiction writer, who is used to seeing the world from a god-like point of view (through the eyes of science) we think in millennia, so 22 years is too short a period to affect the themes of my work."

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Content: Interview with Wang Jinkang, 2024 Hugo Finalist

INTRODUCTION: Eight Light Minutes(8LM) Culture of Chengdu has given permission for File 770 to reprint the series of interviews with Chinese science fiction writers which they have been running this week on Facebook. The first one is a question and answer session with Wang Jinkang, whose novella Seeds of Mercury is a 2024 Hugo Award finalist.

SUPPORTING CHINESE WRITERS SERIES (1): 2024 HUGO AWARD NOMINATION INTERVIEW WITH WANG JINKANG

Translated by Joseph Brant.

Wang Jinkang(王晋康) was born in Nanyang, Henan Province in 1948. He is a senior engineer, and a member of the Chinese Writer’s Association (CWA), The China Popular Science Writing Association (CPSWA), The Committee of Scientific Literature and Art, and the Henan Writers’ Association. Since the publication of his first story, The Return of Adam, in 1993, he has published over 90 short works, and 20 full novels, including Cross, We Together, Escape from The Mother Universe, Parents of Heaven and Earth, and Cosmic Crystal Eggs, totaling over six million words. He has won China’s Galaxy Award 16 times, as well as The Chinese Science Fiction Nebula’s Lifetime Achievement Award. He is considered one of Chinese science fiction’s ‘Four Heavenly Kings’, and his emblematic work Seeds of Mercury was shortlisted for the 2024 Hugo Award for Best Novella.

Hello Mr. Wang! Before we start, I would like to congratulate you on Seeds of Mercury’s shortlisting for 2024’s “Best Novella” Hugo Award. This is news that has excited countless Chinese science fiction fans. Ever since the publication of Chinese Science Fiction: An Oral History, readers have commented that your contributions have particularly appealed to them and would like to know more about your life and work. Hopefully, this long-awaited interview will provide some of the insights the sci-fi community has longed for.

Q1Mr. Wang, despite having produced many great works, this is the first time you’ve been shortlisted for the Hugo. How did you feel when you learned that you’d been shortlisted?

Wang Jinkang: Of course I was elated. Although I’ve won many awards in China, in fact the most Galaxy Awards in history, this is the first time I’ve been shortlisted for a Hugo. It felt like 31 years ago, when I first saw The Return of Adam in print, and when I won my First Galaxy Award. I think every author experiences these moments of excitement. It’s excellent that Chinese science fiction has reached a certain level, after years of growth, it’s now more and more visible internationally, which is fantastic. Of course, what we value even more, is these works transcending their era, and surviving the tides of time to reach future generations.

Religion and Science are enemies who love each other.

Q2Mr. Wang, as one of the ‘Four Heavenly Kings’ of Chinese science fiction, you’re already very well known in China, with a creative career spanning over thirty years, with works such as Leopard Man, Ant Life and Survival Experiment and so on. This shortlisted work is such a quintessential piece. However, this interview is not just intended for the Chinese sci-fi fans, but for readers around the world, who may not be familiar with Seeds of Mercury. Could I ask you to introduce it for the benefit of the overseas sci-fi fans?

Wang Jinkang: Seeds of Mercury is a two-threaded story. The first one follows a female scientist named Shawu, who discovers a new formula for life, and creates a fluid metal nano life form. When she dies, she entrusts that formula to Chen Yizhe, a businessman with a pure heart, along with the message “real life cannot be bred in pens. In the Solar System, there happens to be a suitable place for it to breed freely – Mercury”. Chen Yizhe accepts this monumental legacy enthusiastically, using his personal wealth to maintain the laboratory. In order take the next step, of “seeding Mercury”, he must turn to the society around him. Mr Hong, a multi-billionaire with a disagreeable personality but a benevolent soul, decides to liquidate his empire to facilitate the spaceship’s construction. Furthermore, Hong makes another astonishing decision: to relocate to Mercury, have his body frozen in the millennia-old ice caves of the planet’s north pole, to be awakened every 10 million years, to assist the evolution of these micro-lifeforms. In just 15 years, Chen Yizhe sends Hong to Mercury to seed the nano-life into the liquid metal lakes of Mercury, after which Hong settles down in its polar caves. Meanwhile, Hong’s lawyer, and soulmate named Yin, bids her painful farewells from the distant Earth.

The second storyline is set 100 million years later, when the Suola race have evolved on Mercury, their metal bodies adapted to the hundred-degree temperatures of the planet. They are sustained by light (drawing energy directly by photosynthesis). With no sense of hearing, they rely on the flashing of light through two orifices in their abdomen to communicate in binary. The entire Suola race are devout followers of Shawu, venerate the Star Father, the great god Shawu and her earthly incarnation. They have been initiated in science, and after studying their Holy Book, scientist Tu Lala discovers that much scientific knowledge has been disguised and hidden within. From this he deduces that life on Mercury originates from The Blue Planet. He implores the high priest to send an expedition to search for the Holy Site in the depths of the ice, with the excuse of reviving the incarnation of Shawu, as the Book prophesied. The high priest consents, sending a chaplain to supervise the mission. Tu Lala actually locates the Holy Site, and discovers the incarnation of Shawu (Mr Hong), frozen in the ice, along the sacred rites of “how to revive the incarnation of Shawu”.

However, unexpected occurrences, mainly due to the ignorance and blind devotion of the believers, result in Tulala’s unfortunate violent death (as metallic organisms, the Suola can easily resurrect after a sudden death, but those who do are considered an untouchable caste). In order to protect Mr Hong’s body, Tu lala risks the humiliation, but tragically, his student Qi Qiaqia denounces him, exposing his untouchable status, and inciting the crowd to him, During which time, Mr Hong’s body is destroyed in the scorching sunlight. To avoid blame, Qi Qiaqia suddenly declares that the incarnation of Shawu was a false god, which is why the Father Star could destroy it. This narrative is accepted by the devotees, who hail him as their new high priest. In the thousands of years that follow, Suola society descends into darkness, religious cruelly suppressing science, but from among the population comes a new “Sect of Repentance”, apparently founded by an untouchable. Silently they preserve everything related to science, awaiting the next rebirth of Shawu in future millennia.

Q3Seeds of Mercury was first published in 2002, and its appeal still endures, even after all this time. What inspired you to write this story?

Wang Jinkang: The initial inspiration probably came from a sad epiphany I had as a teenager. The human body is too fragile. Our proteins start to coagulate above 80°C, our brain suffers irreversible damage if we don’t breathe for five minutes, our body can’t withstand radiation, and we can die from disease, hunger, dehydration, drowning and freezing… It’s admirable that such a fragile life form has been propagated on for billions of years, but it also makes me apprehensive that humanity would not survive a disaster. Human civilisation is a great achievement, which is why we are proud of it; but it also makes me anxious, worrying that humanity may not survive the next cataclysm. I couldn’t help but imagine, what if a creator, or god of evolution, created a metallic life, invulnerable to fire and flood? Many years later, I combined these youthful imaginings with my subsequent concept of “Templates for Life” and turned it into this novella.

Q4Seeds of Mercury is a piece about the sublime act of Creation, and a reflection on the transitory nature of life. Did you write it with the intention of exploring the contradiction between Science and Religion? Or did that grow naturally out of the creative process? Also, do the sentient beings you write about reflect your own views and positions?

Wang Jinkang: I didn’t intend to construct that dichotomy between Science and Religion, but it’s exactly what happened on Earth, so when I created a history for Mercury’s civilisation, those episodes just appeared naturally. Religion and Science are enemies who love each other. European Papacy cruelly persecuted Galileo, Bruno, and other ‘heretics’, and strictly forbade the theory of evolution, but medieval Europe became the birthplace of modern science. When we look back at the history of Civilisation over millennia, you can’t help but sigh that history is full of paradoxes, and that The Creator is always full of mischief, making fun of the theories of Cause and Effect. As to whether this new life carries some of my own views or positions? Of course. Tu Lala is the heir to the human spirit, with his scientific rationality, adventurous spirit, sense of responsibility, fortitude, and self-sacrifice. In the story, when Tu Lala meets the holy body of Shawu Incarnate, and he figures out that the great god was a scientist. Thus, demonstrating that the intellectual spirits of all scientists are inter-relatable, even if they are alien. That is what I believe in my heart.

Today’s AI isn’t quite up to the standard of “Return of Adam”

Q5Mr. Wang, the world has moved on 22 years since the first publication of Seeds of Mercury. What changes do you think have occurred in science fiction writing in the present day, compared to the early years both in terms of the environment, and the core themes?

Wang Jinkang: These 22 years have brought great changes, and it could be said that civilisation has reached a critical point, that we’re on the cusp of drastic changes. However, for the science fiction writer, who is used to seeing the world from a god-like point of view (through the eyes of science) we think in millennia, so 22 years is too short a period to affect the themes of my work. For example, my debut story Return of Adam showed a society where AI had overcome natural humanity, though it had taken on a parasitic approach, augmenting the processing power (IQ) of the human mind to far outstrip the basic brain, and in fact, became the core of human consciousness. The rapid development of AI today, especially the LLM systems, is amazing, even frightening, but in general, today’s AI isn’t quite up to the standards of Return of Adam. Still, I’m saddened that some things I wrote about, which I assumed would be far in the future have come to pass in my lifetime. For example, in 1997, when many Chinese people asserted that AI could never triumph in the field of Weiqi (Go), I was convinced it eventually would, and wrote a scene of an ‘AI beating a human chess master’ in one of my stories, before it actually happened. I just never expected to see it in my lifetime.

Q6Before Liu Cixin appeared, you “held up half the sky” in Chinese Sci-fi. When you first appeared in China’s science fiction circles, you were relatively older, and more experienced. Do you think that maturity allowed your work to appear more rounded?

Wang Jinkang: My life and experiences have been quite unique. I’ve lived through a very special time in China’s history, worked as a rusticated youth, a miner and model maker. I went to university at 30, became a mechanical engineer, wrote literary novels, and only broke into the science fiction world by chance at 45, publishing my first sci-fi story. If anything, my near-fanatical reading of literature at university paved the way for my future writing. At that time, the reforms were already happening in China, and it was opening up to the world. A huge amount of foreign literature was pouring into the country, dazzling readers like me. There may be another special factor, which is, because I was studying engineering, I was standing atop this wall of science and watching this river of literature racing by, I had a sense of detachment. Add to that I only started writing SF decades after experiencing the rise, fall and distilling of the wave of literature. I suppose that’s why my writing style has a poised, bleak, and sombre character.

Q7What sort of stories do you think are expected from the current literary ecosystem? Which sci-fi genres do you expect to take off in the future?

Wang Jinkang: I have always felt that science fiction is unlike any other form of literature. The richness of mainstream literature does not necessarily coincide with the strength of a country. As the aphorisms go, “classics are born from chaos”, and “poets are fortunate when the country is not”. However, the success of science fiction is reliant on enough readers and authors being educated to a certain threshold, and so depends on the country’s economic, scientific, and technological development, which can be proven by the movement of science fiction’s centre from Britain and France to the United States over the last century. Over the past 40 years, China’s overall economic development has been good, and as one of the oldest sci-fi writers in the country, I’ve experienced this first-hand. I feel that as China continues to modernise and converge with the rest of the world, the creative environment of Chinese sci-fi will continue to improve. As for which themes, I feel will start to emerge? It’s expected that artificial intelligence and space themes, with more emphasis on exploring the human condition, are going to be the stories of importance, but other themes will also develop immensely.

Science fiction writers are used to seeing the world from a god-like viewpoint.

Q8 Mr. Wang, science fiction has taken root in China now for around a century, and you have played a pivotal role in the history of science fiction in the country. Irrespective of whether or not you win this Hugo Award, you have influenced a generation of sci-fi fans and creators. How do you view your own Creative Achievements?

Wang Jinkang: I’m flattered, but I only really played a leading and inductive role in the early stages of the so-called “New Generation” of Chinese sci-fi back in the 1990s. I’m content with the two aspects of my writing career, firstly, in forming the genre of Philosophical Science Fiction, which is based on the latest technological advances, and digs deep into the influence it has on alienation, civilisation, and so forth, to discover this genre’s philosophical uniqueness. This genre did not originate in my work, foreign writers including Mr. Arthur C. Clarke have long created excellent works of philosophical sci-fi, but these elements in my work are more concentrated. Furthermore, with regards science fiction as “the most cosmopolitan form of literature”, I consider my work, whilst still cosmopolitan, to be imbued heavily with Chinese styles and themes, which adds a certain flavour to the genre.

Q9Do you feel that science fiction writing is shifting from short-form to long form, and what difficulties do you feel are associated with that?

Wang Jinkang: In my experience there are three main issues faced when moving into the long-form. Firstly, there must be enough knowledge, from the accumulation of experience and information. Secondly, there must be a more mature view of Nature and human society, in their entirety. These are not necessarily the dominant trait of the novel but will play important roles in the story’s development. Thirdly, the ability to comprehend the entirety of the larger story. This ability to grasp the complete story is equally important to mainstream literary writers, but in science fiction, concepts always play a driving role in the whole work and should be logically consistent in themselves.

Q10In your eyes, what is the role of Morality and Ethics in Science Fiction?

Wang Jinkang: Science fiction authors often look at the world from a godlike point of view, and in the eyes of a creator, survival comes first, and morality and ethics are just auxiliary codes established by humans once they reached a certain level of civilisation. They are also conducive to the overall survival of the human race. As Humanity develops, and “co-operation” becomes more central to society, the role of morality and ethics becomes more and more important, but they certainly won’t stay the same, and the rules will certainly have additions and deletions. For example, once technology becomes suitably advance, the ethics of “strict prohibition regarding editing the genes of a human being” are very likely to change.

Q11Throughout your career, which of your stories are you most satisfied with?

Wang Jinkang: Of my short and medium length works, I like Seeds of Mercury’, Bee Keepers and The Song of Life, and of my longer works, I’m most satisfied with Ant’s Life and the Alive Trilogy (Escape From The Mother Universe, Parents of Heaven And Earth, and Cosmic Crystal Eggs).

Thank you, reader, for giving meaning to my life.

Q12Mr. Wang, some sci-fi fans have pointed out you are ‘the oldest non-American writer shortlisted for the Hugo Award’, which is an impressive feat. What are your hopes for the Hugo Awards?

Wang Jinkang: There’s a bit of a special circumstance here, where a story I wrote 22 years ago, was only translated into English last year, and shortlisted according to the translation’s publication date, even though, I’m very happy to hold this “World Record”. I hope it will go further than just being a finalist, but even if it doesn’t, I still consider it a great honour to be shortlisted.

Q13What would you like to say to the readers regarding the inclusion of Seeds of Mercury in the Hugo Awards shortlist, which was voted for by individual sci-fi fans one after another?

Wang Jinkang: I’ve always had a reverence for my readers. The two most common inscriptions I write to fans at signings are “The reader is the god of authors”, and “Thank you reader, for giving meaning to my life”. Out of the millions of publications each year, in a sea of stories, to have any number of people read your work, enjoy it, and keep it in their memory after that relentless tide of time, is a rare blessing. One might even call it a great gift from the readers to the author.

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What is considered the first true science fiction novel of the modern era, which foreshadowed genetic tinkering?

"Wang Jinkang: My life and experiences have been quite unique."

"Science Fiction and Politics in Literature and the Arts"
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"The future of robots is here and is complex and necessary reading in these sci-fi tales."

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Content: 60 Sci-Fi Books That All Science Fiction Fans Must Read

Are you looking for a new science fiction book to read? Looking to fill up your reading list with journeys to strange new worlds and fast-paced science fiction adventures? You're in luck because we've compiled a list of the best sci-fi books.

Whether you're looking to dive into the great sci-fi classics you missed out on or you're looking to delve into brand new tales from up-and-coming indie authors, you're sure to find something that will spark creativity and excitement for you. Science fiction and fantasy novels provide us with allegories, cautionary tales, and deep dives into the human condition told through the lens of the fantastical and the cutting-edge.

The Best Sci-Fi Origins Books

Where did it all begin? Read these early tales with impossible futures, fascinating creatures, time travel, and alien invasion!

Frankenstein; or, The Modern Prometheus by Mary Shelley

Mary Shelley’s Frankenstein brought us the iconic monster made by Victor Frankenstein. Considered the first true science fiction novel of the modern era, it would foreshadow genetic tinkering stories of the future.

The Blazing World by Margaret Cavendish (also called The Description of a New World, Called the Blazing-World)

Considered to be the first science fiction work, in the 17th century, Duchess of Newcastle Margaret Cavendish wrote of a utopian world.

Ozma of Oz by L. Frank Baum

The third Oz book by L. Frank Baum features Tik-Tok, the wind-up clockwork man Dorothy Gale encounters in the Land of Ev. Tik-Tok is basically one of the first robots in literature. Other wacky features in Ozma of Oz include a sand-sailing boat and lunch pail tree.

The Time Machine by H.G. Wells

A 19th century classic by Wells, depicting time travel and inspiring science fiction tales for over a century.

The War of the Worlds by H.G. Wells

The book would go on to inspire a radio program that terrified people into thinking Martians were actually invading Earth. Wells would kickstart first contact stories and alien invasion at the same time, offering up a cautionary tale that touches sci-fi to this day.

The Best Sci-Fi Space Epics Books

Transport yourself across the universe with these pillars of world-building in science fiction, all of which are either now adapted for TV or film or soon will be.

Dune by Frank Herbert

Frank Herbert’s Dune is considered a masterwork of world-building and family intrigue, inspiring other famous series and their respective houses. In the first book, Paul Atreides encounters the resident free people of the planet Arrakis (Dune), the Fremen, and achieves a destiny of messianic proportions. Dune recently graced the big screen in a new adaptation by Denis Villeneuve.

Binti by Nnedi Okorafor

Nnedi Okorafor's Binti novella series begins with Binti, a Hugo-award-winning Africanfuturistic science fiction horror story published by Tor.com. Binti is the first of the Himba people ever to be offered a place at Oomza University, the most exalted institution of higher learning in the galaxy. She faces the choice to accept the offer and give up her place in her family so that she can travel among the stars. Hulu has ordered a pilot for Binti.

Foundation by Isaac Asimov

The beginning of the Foundation series reveals the “psychohistory” developed by mathematician Harry Seldon. Seldon would establish a new empire called Foundation to preserve the culture from societal collapse. Foundation debuted as a TV show on Apple TV in 2021.

Embers of War by Gareth L. Powell

Gareth L. Powell's award-winning trilogy Embers of War follows the war-weary crew of the sentient spaceship Trouble Dog, who after becoming disgusted by her role in war joins the House of Reclamation. Trouble Dog and her captain Sal Konstanz are sent on a rescue mission, which intersects a mission to find missing poet Ona Sundak. The galaxy teeters on the brink of another war, just as an alien presence makes itself known, altering the course of things to come. Now under development for TV.

Rendezvous with Rama by Sir Arthur C. Clarke

A strange spacecraft enters the solar system, and humanity investigates. The secrets within the enormous craft, called Rama, reveal the heritage of an advanced alien civilization. Rendezvous with Rama is in development for a film adaptation with Denis Villeneuve at the helm.

The Best Hard Sci-Fi Books

If you like your science fiction taut with the edginess of battle and the implication of future wars, you must add these books to your collection!

The Forever War by Joe Haldeman

This classic military sci-fi epic details the tragic effects of time dilation on a group of soldiers fighting a seemingly endless war.

Ringworld by Larry Niven

Set in the 29th century, Louis Wu and his companions explore a vast, Earth-orbit-sized, constructed world. Their adventures uncover the alien civilization that built it.

The Three-Body Problem by Cixin Liu

First set with the backdrop of China’s cultural revolution, this new epic involves secret scientific experiments, alien invasion, challenging moral dilemmas, and impressive world-building.

Old Man’s War by John Scalzi

A man in his 70s is recruited as a soldier in the Colonial Defense Force, and altered physically in unexpected ways. Strong on character development, this kickstarts the Old Man’s War Series.

Starship Troopers by Robert Heinlein

This classic military sci-fi tale follows Johnny Rico and military recruits who become involved in a battle between humans and aliens nicknamed Arachnids or “Bugs.”

If you love Starship Troopers, check out our review of the wisdom of Grand Admiral Thrawn – Michael

The Best Sci-Fi Robot Stories

The future of robots is here and is complex and necessary reading in these sci-fi tales.

I, Robot by Isaac Asimov

Isaac Asimov’s intriguing work introduced the laws of robotics that all robots must adhere to work alongside humans.

All Systems Red by Martha Wells

The first novel in the Murderbot Diaries, All Systems Red, follows a cyborg that goes by the name Murderbot contends with self-awareness in the corporate-dominated future.

Cinder by Marissa Meyer

The beginning of the Lunar Chronicles series is a retelling of Cinderella from the point of view of a cyborg.

Do Androids Dream of Electric Sheep by Philip K. Dick

Famed for its eventual big-screen adaptation, Blade Runner, this novel recounts a future in which highly realistic artificial fugitives are on the run from bounty hunter Rick Deckard.

The Alchemy of Stone by Ekaterina Sedia

Mattie is an automaton in this steampunk and urban fantasy novel involving gargoyles, Mechanics, and Alchemists.

The Best Sci-Fi Mars Stories

Our neighbor, the red planet Mars, beckons to us. What would it be like to walk on the shifting red sands of Mars? Find out in these Martian classics.

The Martian Chronicles by Ray Bradbury

Ray Bradbury’s mesmerizing prose introduces us to a Mars full of exotic possibility, soon plundered by humanity’s arrival.

Red Mars by Kim Stanley Robinson

The first in the Mars Trilogy, Red Mars, involves the colonization and terraforming of Mars and the conflicting moral questions that result.

The Martian by Andy Weir

Astronaut Mark Watney is left behind on a Mars mission and must draw upon his skills and ingenuity in order to survive.

Mars by Ben Bova

Navajo geologist Jamie Waterman joins the first expedition of scientists exploring Mars. The grounded approach Bova takes to all the interaction, politics, and bureaucracy help achieve a plausible future story.

Red Rising by Pierce Brown

The first book in the Red Rising Trilogy envisions a future of planetary colonization in which caste systems abound. Darrow must fight against this system of overlords.

The Best Sci-Fi Fantasy Books

Fly high with dragons, roam lands on epic quests, and learn the hearts of true heroes in the fantasy masterpieces.

The Lord of the Rings Trilogy by J.R.R. Tolkien

J.R.R. Tolkien’s magnum opus spans three books, opening up a fantastically detailed and wholly invented universe in Middle Earth that was hinted at in The Hobbit. Considered the ultimate work of fantasy, The Lord of the Rings brings myth, allegory, poetry, song, war, and melancholy to heights of realism and wonder.

A Wizard of Earthsea by Ursula K. Le Guin

The first novel in The Earthsea Cycle tells the tale of the wizard Ged, and his journey to redeem his reckless past.

A Song of Ice and Fire series by George R.R. Martin

Beginning with A Game of Thrones, Martin’s elaborate, dark fantasy series covers land in which seasons last decades, and a terrible force from the north threatens to bring an icy apocalypse to an area filled with rulers jockeying to take the Iron Throne.

The Dragonriders of Pern Series by Anne McCaffrey

This remarkable series takes place in the world of Pern, where people telepathically bond with dragons. Dragonflight is the first in the series.

The Fifth Season: The Broken Earth, Book 1 by N.K Jemisin

The Fifth Season marks the first book of the award-winning The Broken Earth trilogy. Set against civilization’s collapse and natural disaster, Essun endures great personal tragedy in her quest to rescue her daughter.

The Best Sci-Fi Dystopian & Apocalyptic Books

Set in a nightmare future, these dystopian and apocalyptic legends will keep you up at night.

The Handmaid’s Tale by Margaret Atwood

In a totalitarian future America, handmade Offred is forced to bear children to men of a ruling class. The tale follows her harrowing life in a bleak future, and the attempt to escape and bring down the subjugating class to restore rights.

The Stand by Stephen King

A deadly pathogen escapes a military installation, rapidly spreading and bringing civilization essentially to an end. A group of survivors makes its way to a form of a promised land while battling a malevolent group seeking domination.

Parable of the Sower by Octavia E. Butler

In the near future breakdown of the society of Los Angeles, empathic teenager Lauren believes in a better future entailing traveling to other planets. Lauren gathers followers to her belief as she makes her way north.

Station Eleven by Emily St. John Mandel

Set in the Great Lakes region of America, a group of nomadic creatives picks up the pieces after the fall of civilization due to pandemic flu. Station Eleven has been adapted for HBO Max.

The Hunger Games by Suzanne Collins

The first book in the Hunger Games Trilogy follows the immense challenges that Katniss Everdeen faces in the post-apocalyptic version of America called Panem. She takes her sister’s place in the government-sponsored Hunger Games to compete for survival in a no-holds-barred and deadly competition.

The Best Sci-Fi Near Futures Books

The future is here, or nearly so, in these ground-breaking novels set close to our present day.

Contact by Carl Sagan

Scientist Ellie Arroway detects a potential extraterrestrial signal from space, which appears to instruct humanity in how to build a machine. She faces self-doubt amid scrutiny to uncover the mysteries of the discovery.

Jurassic Park by Michael Crichton

This cautionary tale about genetic engineering in which scientists make living, cloned dinosaurs for an amusement park. Mayhem ensues.

2001: A Space Odyssey by Arthur C. Clarke

Mysterious monoliths appear across many worlds, seeding life with intelligence. Following the discovery of one such monolith on the moon, Dr. Bowman and a team of scientists investigate the signal it sends to Saturn’s moon Iapetus. The onboard AI begins exhibiting dangerous behavior during the journey.

Flashforward by Robert J. Sawyer

A physics experiment creates an unintended consequence of everyone on earth losing consciousness for two minutes. Each person sees a “flash forward” decades in the future while they are unconscious. The resulting accidents and visions challenge everyone’s ideas of free will.

Ready Player One by Ernest Cline

In dystopian 2044, impoverished Wade Watts navigates through the virtual reality world of the OASIS, seeking to reverse his fortune.

The Best Sci-Fi Books for Younger Readers

Take adventures through time and space, no matter your age!

A Wrinkle in Time by Madeleine L’Engle

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The Golden Compass/Northern Lights begins this sweeping saga of two children, one born in a parallel universe, one born in our own. In Lyra’s world, people’s souls exist in animal form, called daemons. Her father and mother represent warring factions determined to control all universes. Filled with talking animals, witches, airships, and strange creatures, His Dark Materials packs an emotional punch.

The Apothecary Series by Maile Meloy

Set in the 1950s, The Apothecary starts this highly entertaining, thrilling adventure series in which American Janie Scott meets Benjamin Burrows, the son of an apothecary. After Benjamin’s father is kidnapped, the teenagers uncover a terrifying plot that could result in humanity’s end. They use potions with magical effects to try and stop the impending doom.

The Serpent's Secret (Kiranmala and the Kingdom Beyond #1) by Sayantani DasGupta

The first of the Kiranmala and the Kingdom Beyond series, book one begins with Kiranmala discovering her parents are missing, and there is a demon in her kitchen! Two princes recruited her and sent to another dimension, where she must battle the Serpent King and the Rakkhoshi Queen to rescue her parents and save the Earth.

The Wild Robot by Peter Brown

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The Demolished Man by Alfred Bester

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Solaris by Stanislaw Lem

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Cloud Atlas by David Mitchell

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The Left Hand of Darkness by Ursula K. Le Guin

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Neuromancer by William Gibson

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All the Birds in the Sky by Charlie Jane Anders

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Altered Carbon by Richard K. Morgan

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The Stars My Destination by Alfred Bester

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Synners by Pat Cadigan

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Discover the latest sci-fi and fantasy stories, while supporting independent authors!

Mindful Things by Mya Duong

Nineteen-year-old Lauren begins to experience visions and uncovers the fact her deceased parents were witches. A madman hungry for power pursues her, and she must embrace her magical heritage to try to stop him.

The Infinite by John W. Akers

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Threadwalkers by Joanna Volavka

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Resonance by Jennifer Greenhall

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Heliopause: The Questrison Saga®: Book One by J. Dianne Dotson

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At Your Money Geek, we are huge fans of the science fiction genre, everything from military science fiction to novels about space travel, parallel worlds, and fantasy novels. We are always looking for new books to read and exciting sci-fi writers to profile, let us know in the comments what authors you are currently enjoying.

This post was produced and syndicated by Wealth of Geeks.

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J. Dianne Dotson dreamed up other worlds and their characters as a child in the 1980s in East Tennessee. She formed her own neighborhood astronomy club before age 10, to educate her friends about the universe. In addition to writing stories, she drew and painted her characters, designed their outrageous space fashions, and created travel guides and glossaries for the worlds she invented.

As an adult, Dianne earned a degree in ecology and evolutionary biology, and spent several years working in research. She published Heliopause: The Questrison Saga®: Book One (2018) and its sequels Ephemeris: The Questrison Saga®: Book Two (2019), Accretion: The Questrison Saga®: Book Three (2020) and her last novel in the saga, Luminiferous: The Questrison Saga®: Book Four (2021).

Dianne is also a science writer, content writer and manager, short story writer, watercolorist, and illustrator. She lives with her family.

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"The Left Hand of Darkness by Ursula K. Le Guin"
10.

Who was the first female author to win both the Hugo and Nova sci fi literary awards?

"The Best Sci-Fi and Fantasy Books by Indie Authors"
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"I think it's because of the books that I read.

Title:

Content: INTERVIEW

"I want to believe": Alice Hoffman is always seeking magic, practical and otherwise

The author on her time travel novel "The Invisible Hour," thoughts on Nathaniel Hawthorne and "Practical Magic"

By Alison Stine

Staff Writer

Published August 20, 2023 8:00AM (EDT)

1998 Sandra Bullock and Nichole Kidman stars in the new movie "Practical Magic." (Getty Images/Warner Bros./Hulton Archive)

Alice Hoffman still believes.

The New York Times bestselling author of more than 40 works of fiction published her first, "Property Of," when she was just 21. That novel was swiftly followed by beloved collections of short fiction, works for teens and children, and novels like 1995's "Practical Magic," best known for its big-screen adaptation.

"It's a bad idea to write for the moment because the moment passes so quickly."

It's not the only one of her books to be turned into a film. She also wrote "Aquamarine," "The River King," and penned the screenplay for the 1993 indie film "Independence Day." But the 1998 movie adaptation of "Practical Magic," starring Sandra Bullock, Nicole Kidman and Stockard Channing, has acquired a massive following over the years.

Hoffman returned to the family of witches introduced in "Practical Magic" with several other books, including 2021's "The Book of Magic." And she returns to magic often, with witchy characters, rambling houses lush with flourishing plants (I always keep rosemary by my garden gate because of Hoffman), inherited curses, women telling their own truths — and a strong belief in what we cannot always see.

Her new novel, "The Invisible Hour" twists time. Lonely and ostracized Mia has been raised in the cloistered Community, a cult in western Massachusetts. Though books are outlawed by the Community, she finds secret solace in them. Specifically, one book: "The Scarlet Letter" by Nathaniel Hawthorne. And in the second half of Hoffman's novel, she finds herself going back in time to encounter the writer whose words she feels showed her a way to survive.

Hoffman talked with Salon about Hawthorne, writing during a time of COVID and finding magic in the real world still.

This interview has been lightly edited for length and clarity.

Your first novel was published when you were very young. Did you always know that you wanted to tell stories?

I think I was always a reader. That was what was important to me. I think I wanted to be a writer. I remember sending a short story someplace when I was in high school, so I must have had thoughts about that, but really I was mostly a reader. Then I took a creative writing class, and the professor was shockingly supportive. I just never expected it. I certainly didn't think you could do it for a living or it would be a profession.

I remember that I didn't know that until I read "Anne of Green Gables" by L. M. Montgomery. The main character was a writer, and I realized, oh, people actually do this.

I know, it's kind of a shock. I think nowadays people think about doing this, I don't know, but I certainly didn't think about getting published. That wasn't my thought.

You've written in a lot of formats. You've written novels for adults, YA novels, middle grade, short stories, a screenplay. Do you have a favorite form that you love to write in?

Honestly, I think I like connecting short stories, a novel-in-stories because you get to move around. There's so much freedom, and the way things connect can be so interesting.

That seems like a hard format to me.

Really? I think it's so much fun. And you just can create a whole gigantic world and move around so freely.

Well, that makes sense because you've returned to your worlds a few times. You've returned to the characters, so it makes sense that you would be drawn to it.

And this new book ["The Invisible Hour"] actually takes place in a town where I wrote a book of connecting stories about called "The Red Garden," so it's the same place. It's just a novel that takes place in that town.

Oh, that's so interesting. It's like there's something left over that you have to return to.

For me, it was very healing to go back to that town. I felt really comfortable there. It made it easier for me in a way to write the novel. It was so weird writing during COVID and so escapist for me. I think some people couldn't write, but for me I wrote more because where were we going to go? And I think the idea of time travel — I've always loved time travel books, but the idea that you could change things or go back, it's really interesting to me.

It makes sense that you would be thinking about time travel during COVID, too. I was going to ask you about time, and if that was important to your work.

It really is all about time. I thought a lot about time while I was writing this book and before this book because it was such a lousy time. I mean, there were good things that came out of it. I think some friendships became closer, but I just felt so sad for the people who were at certain phases of their life, were young, becoming young adults or were kids. And I just didn't really want to be in this time. I still don't want to be in this time, to tell you the truth.

Yeah, I understand that. How do you keep a sense of wonder in your writing, even when you're writing for adults?

I think it's because of the books that I read. I'm sure as a fiction writer you feel this too. The books that I read when I was younger are the books that wound up affecting me more than any others. They form who you are as a reader, as a person. And I read a lot of magic and a lot of Ray Bradbury.

I loved books that took place in the here and now, but also included magic so that it wasn't so far away. Back then, everything was genre-ized . . . Now that's changed, and [science fiction and fantasy] are more acceptable as literature, but it didn't used to be. I always feel like you should just write what you want to write no matter what's current because it doesn't really matter. It changes.

That's a good point. And I feel like that changed not too long ago. Even when I was in school, there was a lot of criticism from professors for genre writing. To write genre work was somehow bad. And I feel like that's been a recent kind of shift, thank goodness.

Really recent, I think. I remember I read Ursula K. Le Guin when I was a kid and loved her books, but they were definitely science fiction and fantasy. And then all of a sudden they became literature. Someone decided. But they were always literature. It's just they were put into these categories.

"Fiction is more believable than life in a way because when you're writing a book, you have to have it make sense."

I think it's a bad idea to write for the moment because the moment passes so quickly. The other thing about time is that what's right and what's good and what's accepted suddenly becomes not. I thought about that with the way women were treated in "The Scarlet Letter," the way that the Puritans blamed women, and they believed in original sin and that women were responsible for that because of Eve. It all changed, but then it changes back. And then it changes again. A lot of the things that women are coping with right now are not that different, really. The judgment against women.

That's very true. Why do you feel called to tell stories that have magic in them? I mean, you talked a little bit about your childhood reading. Is that why, or do you think there's something else that makes you feel like these are the stories you need to tell?

It's about my childhood and what I read, but I think it's also I want to believe. I want to believe that there's — not magic per se necessarily, but wonder and beauty and goodness and a moral universe and all those sorts of things . . . I feel like fiction is more believable than life in a way because when you're writing a book, you have to have it make sense. You can't just have random things happen for no reason, but that's not like life at all. I almost feel that's part of the comfort of reading fiction. Even with time travel, it has to make some kind of sense — and life really doesn't make any sense. I feel like I'm constantly trying to make it make sense.

And there's no closure in life.

No.

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There can be closure in books and you can also return to them, as you have. You can return to the world and get that healing that we really can't get in life. You have a new book out, "The Invisible Hour." How would you describe it?

It's about magic and women and time and loss. Sometimes I think you don't really know what a book is about until you finish it. I always feel like there's the inside story; there's the outside story. You don't necessarily know the inside story.

For me, I think it was a lot about my relationship with my mother and how difficult mother and daughter relationships are, how important they are, and how they change as people get older, as you more understand who your mother was and what she went through.

I always feel like you can't really know older people or your mother because you didn't know her when she was young. And even though I think people basically stay the same unless they're extremely traumatized, you're so different when you're young. So I feel like we can't really know our mothers.

"Better not to meet your heroes, your living heroes. Better to fall in love with a dead writer."

Again, there's so much about time and history in this book. Was Nathaniel Hawthorne an influence on you?

I've been thinking about writing about him for a long time. He's interesting because in some ways some of the things that he wrote were a little bit misogynistic, but "The Scarlet Letter" is such a feminist book. It's kind of shocking. His wife came from a family that was kind of a feminist family in a way for the time. He had two sisters and a mother that he was very close to.

He also had a lot of issues about writing and life — and hiding from life in writing. I think he was an extremely interesting person and writer. Sometimes, for people now "The Scarlet Letter" can be off-putting because the language is old-fashioned, but the heart of it really is about a woman trying to make decisions about her own life and society not wanting to allow that to happen.

Is there a book that helped you feel less lonely, as "The Scarlet Letter" helps Mia in "The Invisible Hour"?

There were a couple of books. One of those books was "The Diary of a Young Girl" by Anne Frank when I was young . . . You know, sometimes you read a book and you feel known. I felt like I'm her or she's me . . .  I think that's why "Catcher in the Rye" was popular and meaningful for a lot of people because there was this sense that the character was talking directly to you. And so I have a couple of books. I think books in general make me feel that.

Is there a writer from history that you believe you could fall in love with, similar to what kind of happens in "The Invisible Hour?"

Well, I think a lot of people fell in love with Nathaniel Hawthorne. He was so incredibly handsome. So, maybe him.

When I interviewed the musician Amanda Shires, I knew that she loved Leonard Cohen, and she said that she sometimes felt she might have been born in the wrong time, that she and Cohen could have been together and made music together.

Yeah, and she would've been very miserable. I love Leonard Cohen, but –

She would've written some other great songs, but they might've been sad songs.

I think sometimes it's better not to meet your heroes, your living heroes. Better to fall in love with a dead writer.

We talked a bit about the pandemic, and I'm with you: at the start, I definitely found comfort in my fiction writing, but I also found community in it. I could kind of make up my own community when I couldn't leave the house. That's something that I see in a lot of your books: a small town or this found family. Is community or the idea of a village important to your writing?

I think I write about a lot of things that I don't have. I don't have a sister, I don't have a daughter. I'm close to one of my aunts and I'm very close to my nephews, but I don't have that kind of community. I don't live in a small town. I really long for that, and I think most people do have a need for it. I just think we live in such a fractured society. People move all over the country and you see them maybe once a year.

COVID really pointed that out to me because a lot of people kind of went into retreat with their families. If you didn't have a family, there were really not that many people to go into retreat with. I think a lot of my books are about longing for community.

Growing up my mother was very bohemian, and we were outcasts in our community. I think that made me long for it even more, and yet distrust it.

How do you create your characters? How do you make engaging people come to life?

That's a really scary question because I don't think I have the answers for it. I used to do things with my characters. I'd write down everything about them, where they went to school, what they dressed in and what music they listened to. But I don't really do that anymore.

Now, it's like they walk in through the door, and I just let them be. I have to rewrite them a lot, but basically, that definitely happened with "Practical Magic" where I remember writing it in this little shed on a marsh. I just felt like they walked through the door. It happened when I wrote "The Rules of Magic" too and Vincent appeared. I didn't expect him to be in the book. I didn't know anything about him, and he just kind of revealed himself. I really didn't have to do it. It just happened.

I guess the trick is you have to leave that door open. They might just walk in, but you can't close it.

You can't shut the door in their face. It's opening the door.

Are you surprised at how much cultural impact your books have had, like "Practical Magic?" That has such staying power. It's in memes; it just shows up all the time. Has that surprised you, that people have loved your story for so long?

I don't know. I wasn't thinking like that. I think some of that — maybe a lot of that — has to do with the movie, which was weirdly, extremely unpopular. Nobody went to see it when it came out. And every year it becomes more popular, which is so interesting to me. I almost feel it wasn't the right time for it. It was one of the first movies that had basically a cast of women. The men are there, but they're not as important as the relationships between the women.

Now there are more, movies like "Bridesmaids." But then, it didn't really exist. There was a very negative critical response to ["Practical Magic"], I think probably because it was very female and very much about sisterhood. And that's changed, so that's a good thing.

That goes back to what you were speaking about, how you can't write for the moment because the moment is going to move on. Maybe the moment will get you in a few years, but not right now.

That's right. It's like what are you writing for? Sometimes I'm afraid now: will there even be books? Or, will it be like one of my favorite books, "Fahrenheit 451" by Ray Bradbury, where books are too dangerous. They're not just banning books, they're burning books because books — it goes two ways. The writer opens the door for the characters, but the book opens the door for the reader.

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It's a scary time in the world right now with book banning and AI.

I don't feel like: oh, my books will last. Because I don't know if books are lasting. I just feel like they're here. But I want them to have this feeling of timelessness because that's how I felt when I read the books that I loved. Even when they were happening at a certain time, they didn't seem caught in time.

How does magic show up in your life now?

I am kind of still looking for it. I think I'm constantly looking for it. My connection with magic is about writing. This idea that characters walk through the door and this idea of creating something beautiful out of something terrible sometimes, or out of loss, or out of death. You can put letters on a page, and it becomes a world. And it means something so different to the writer and to the reader. The reader creates that whole world in their mind. For me, that's magic.

By Alison Stine

Alison Stine is a former staff writer at Salon. She is the author of the novels "Trashlands" and "Road Out of Winter," winner of the 2021 Philip K. Dick Award. A recipient of an Individual Artist Fellowship from the National Endowment for the Arts (NEA), she has written for The New York Times, The Guardian, and others.

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