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#62: Woman on the Edge of Time by Marge Piercy 

3/30/2014

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As I started this book, I thought it should really have a warning on it: The following is intended for mature audiences due to sex, language, and violence.  It hits harder and deeper than any movie or TV show could.   From the first pages, this book was an assault, forcing you to band together with the protagonist as she is thrown into a mental asylum, and dipping you into the dystopia of our world today.

The points were made with a stiletto knife.  Power is violence, and that violence is applied to the poor, women, minorities, homosexuals, criminals, and the psychologically fragile.  It was interesting that Consuelo mentally time-travels to a utopia whose many social customs break taboos created by other dystopic stories.  Babies born in bottles and the sexuality of young children were horrific in Brave New World, and creches in Logan’s Run were amoral, but here freed women from reproductive slavery and removed shame from children’s exploration of their bodies.  Men being forced to nurse their children in 334 were here allowed the pleasure and gentleness of breast feeding.  The community values destroying individual lives in 1984 create a safe, loving environment here.  Do I find the perfect world Piercy created to be viable or believable?  No: I think our monkey-brains have prepackaged much of our social structure.  But I find it interesting the implication that our current social conventions and taboos can serve the purpose of exerting control over people.  Piercy’s utopia removes feminine and masculine pronouns and references; everyone is a person.  And how can anyone not yearn just a little bit for an ecologically sensitive world where “Person must not do what person cannot do – person must do what person has to do?”  It is lovely, especially when backed up against the ugly truths of our own world.

As harsh and brutal as this story gets, it was also a page turner.  I could not help but admire how the author stacked her effects.  Creating effect is more than foreshadowing; it’s laying all the dominos in the pattern so that when they are knocked down, a pattern is made.  One great example: Consuelo reminisces often how her beloved Claud was in a medical experiment in prison that resulted in his death; this lets us fear it, and fear she also will be subjected to the cruel vagaries of “modern medicine.”   She is in such great danger in the asylum, this is always on our minds even when she visits the safe world of the future.  It makes the story an emotional juggernaut, unstoppable.  Which is why I was furious when I got to the end.  I know downer endings were popular in the 1970s, but this was too much for me.  The way the book was set up, I had no choice but to care greatly for the character, and I desperately wanted her to get free in the end.  It’s never promised that she will, but her failure is another effect, and takes unfair advantage of the reader.   I don’t care if it makes the point of the book.  I found it abusive to me.

Effect is powerful, so powerful in fact, that you must be careful not to unfairly manipulate or hurt your reader.  Remember, they’re in the story, too.     
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#61: Red Mars by Kim Stanley Robinson

3/30/2014

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Okay.  I couldn’t resist.  My books are a little out of order here, but my last “P” had not arrived, so I have an opportunity here to read three “Mars” books in a row!  Who could resist such synchronicity?  So, here it is.

First thing: Kim is a guy, not a girl.  Misunderstanding there, but hey, Chris made the same mistake, so I don’t feel so bad.  He lives in Davis.  Second.  Robinson has a case of Dune-itis.  This book is almost six hundred pages long, and continues for another two installments.  I found it very interesting that consistently, the last two lines of each chapter were weak and not as satisfying as they could have been.  Third, and perhaps most importantly, the author has an almost eidetic vision of his environment that makes this read like nonfiction: one does not doubt for a moment the things he describes.  You get the feeling he’s visited this place and is only describing what he saw.  That is very cool. Also, this is one of the few utopic books I have read – well, that is until they start popping bubble cities and flooding everything – and it works really well here.  And it makes perfect, pleasing sense that the cities are named Burroughs and Bradbury, after the writers who inspired us to look up.

The weak part of the book are the characters and their internal stories.  This may have been intentional: the paltry lives of human beings in comparison to the scope of a planet are small.  But the love triangle in the first third is both unbelievable and annoying; the mystery in the middle is musty; the last third, a tragic revolution, was difficult to get through and I ended up skimming a lot of it and probably not understanding as much as I should have.  In the first half, I thought, “Gosh, I like reading this guy, I have to read everything he’s written.”  In the second half, it became, “No.  Maybe not.  We’ll see.”

The lesson is well illustrated here, and better than in any other book I’ve read.  Whether through exhaustive research or exhaustive imagination, know your landscape and science backwards and forwards, so you aren’t just telling a story, you are in it.  That way, your readers will be, too.

 

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Books 40-60

3/15/2014

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This part of my reading list has been difficult, but I have learned a great deal.  Aiding my comprehension was Clarion 2006 in Michigan during June and July.  My lessons: what it takes to create a sympathetic character (incredible need and sensory details), the story’s concept as the driving engine of the story, theme, and setting, and the imperative need not only to connect and transport the reader, but to give readers what they need in their lives.

Here’s a synopsis of what I learned:
 

Hot Head – (Frankenstein) – Great writing alone does not a science fiction story make.

A Wrinkle in Time (The Tempest) – Writing needs poetry, mystery, emotion, danger.       

The Left Hand of Darkness (Taosim) – Emotion involves the reader in the story.  

Babel-17 (Hacker) – The story landscape can create conceptual ideas in your reader.

The House in November – Respect your reader.

Solaris – (Faust, possibly) Main characters must be sympathetic.

Fourth Mansions – (Teresa of Avila) – Write for an orchestra, not an instrument.

The Wanderer – (Tyger, Tyger and Stapledon) Lack of character growth stunts a story.

A Canticle for St. Leibowitz – (Catholic tradition) – Make the reader invested in the fate of the character.  Somehow.

Dream Snake – Threaten your characters so fiercely the reader feels frightened.

Bring the Jubilee – (Troilus and Cressida) – Don’t parse words if it cripples your meaning.

Galaxies – Endings result from choices made by the author.

Dancers at the End of Time – Write interesting sentences.

Logan’s Run – Interesting settings arise from interesting ideas.

Oath of Fealty – In science fiction, ideas translated into images are the engines of the story.

The Bite of Monsters – Lovely sentences bring to life ugly ideas.

1984 – Physical sensations bring a world to a reader.

The Inverted World – The ending can tie together theme, character, setting.

Man Plus – Science should be creative and fun.

A Mirror for Observers – Give readers what they need, not what they want. 
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#60: A Mirror for Observers by Edgar Pangborn

3/15/2014

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Spider Robinson wrote “Edgar Pangborn said again and again in his books that love is not a condition or an event or even a state of mind – that love is a country, which we are sometimes privileged to visit.”  Here’s a sample:

“I have had much happiness, and expect more.  I never won it by seeking it.  Long ago, when I loved and married Maja, I thought (just like a human being!) that I was engaged in the pursuit of happiness.  Neither she nor I ever found it until we stopped searching; until we learned that love is no more to be possessed than sunshine and that the sun shines when it will.  When she survived the difficult birth of Elmaja, we were richly happy, I remember.  If one must hunt a reason for happiness, I say it was because we were living to the full extent of our natures: we had work, our child, our companionship; the sun was high.  After I lost her at the birth of our son, my next happiness came a year later, when I was playing the “Emperor” concerto with the Old City orchestra, and found that for the first time I knew what to do with that incredible octave passage – you remember it: the rolling storm diminishes and dies away without a climax, where anyone but Beethoven would have written crescendo.  I understood then (I think I understood) why he did not.  My hands conveyed my understanding, and I was happy, no longer enslaved by a backward-looking grief but living as best I could– not a bad best...And I think, with all respect to one of the most vital of human documents, that the pursuit of happiness is an occupation of fools.”

This was written for me, as hard as that is to believe, and I have proof: it’s under the March 10th section of the book.  My birthday.  Edgar Pangborn was a Quaker – another coincidence that speaks directly to me.  More proof: the masterful Peter S. Beagle, whom I spoke to a few years ago, wrote an afterword – perhaps better described as a love letter to an adored author– and he referenced only being able to find a copy of the author’s books at the Santa Cruz Public Library, linking it again into my own life.  This paragraph, and so many others, have given me a little rock to cling to in my tempest-ridden moods.  

A Mirror of Observers is about a Martian protecting the people of earth – but it is hardly a story about Mars, but so much more as a book.  Its characters remind me of Betty’s characters, especially the spunky little girl Sharon Brand.  Like Betty’s precious little story, this story would have never published today, either.  That’s another comfort, since I keep getting turned down by agents...

Writers should not just give readers what they want; they should give them what they deeply need.  The words should reach across space and time and cradle the reader, giving them a safe haven against the world they feel alone in.  What an absolutely amazing book.
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#59: Man Plus by Frederick Pohl

3/15/2014

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I had two choices for Pohl, Man Plus and The Space Merchants, with C.M. Kornbluth.  I started with The Space Merchants because the reviews on Amazon.com were more enthusiastic, but dropped it within a few pages for Man Plus.  After reading 1984, the tone of that joint-authored book was, well, a little too smarmy and “my-look-how-naughty-and-dystopic-we-are!”  Maybe I’ll get to it another time.  I did however enjoy Man Plus, whose ending was much more engaging then the beginning.    

                                                                                      

Because of my traumatic experience with Mission of Gravity, I have not read much hard science fiction for this list.  Nor have I read any stories about Mars, which is another tragedy, since it was one of my very favorite topics as a kid.  That will change, fortunately.  The science here gets very creative and enjoyable: a man is made into a cyborg to make him more adaptable for life on Mars.  Roger Torraway’s backup computer makes him a perfect musician, athlete, and truthsayer. This story would have been a perfect pre-quel for The Terminator.  The pacing shoots along like a Crichton or Cook best-seller, and I can forgive this author his 70's preoccupation was the cyborg losing his “man-parts.”  

 

The lesson here is clear.  Science should be imaginative and entertaining. 

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#58: The Inverted World by Christopher Priest

3/15/2014

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No way!  Talk about cosmic coincidences.  Christopher Priest is the author of The Prestige, which has been made into a movie about nefarious magic that is coming out in November, and that I badly wanted to see.  I hadn’t known about that until after finishing this book.  This is another one of those authors that I never would have known about had it not been for this list, and now I want to read more of his works.

 

Another coincidence: somehow, books and my life are inexplicably tangled, their realities being confused for one another.  For instance, I am feeling better, and my reading list is getting more interesting.  Chicken?  Egg?  Coincidence?  Cosmic confusion? 


And this of course is a book about the nature of reality, and different realities being laid across each other like fixin’s in a sandwich.  It is touted as an extremely original story.  It is.  Wow. Remember how I said that Hal Clement’s Mission of Gravity was merely unforgiving background that needed an engaging story on top of it?  Why, this is it!  This story, about a city built atop a train track, pays sweet, knowledgeable homage to Brian Aldiss’s Nonstop, as well.

 

Written in 1974, it was an early book for Christopher Priest, and I think it shows in the writing.  The ideas are jealousy-inducingly original, but the writing is clunky.  The beginning was so jumbled and slow, I experienced dread (“Here we go again.”) and had no idea the rest of it would be so jaw-dropping cool.  I would have had no idea what the city of Earth was like had I not read reviews and the book jacket beforehand.  It jumps needlessly between first and third person.  I’m thinking his later books probably shore up on the writing side of things.

 

I found this quote from the author on the Locus site.  “I grew up reading science fiction, and within three months of discovering it, I knew I wanted to write science fiction. I did that for a couple of books and I got really bored. I was thinking all the wrong things, like 'How would Poul Anderson handle this scene?' It was such a blind alley, it was getting me nowhere. Then I had this three-year gap where I didn't write at all. It was a period of dissatisfaction: 'What the hell do I do? I want to be a writer, but I don't want to be that kind of writer.' At that point I started reading more broadly, non-fiction and literature -- not to write like that, but to go on writing what I wanted to write. I couldn't have written Inverted World as a science fiction novel if I'd thought of it as a science fiction novel. What I had to do is creep around the idea and take it by surprise. I've done that ever since.” 




And: “I strongly believe that reading isn't a passive activity. To somebody who doesn't like books, just sitting around and reading looks as if you're doing nothing, but actually you're active. Readers should be made to work a bit and they shouldn't take anything for granted. For me, the unreliable narrator keeps people alert. Some people get fed up with it and can't be bothered, but the people I think of as serious readers very much like it.”  It reminds of of what Joe Haldeman had said: “Writing for me is simply a more kinetic process than reading.  I’m finding out what happens as I go along.”




Yes.  Make readers work and don’t let them take anything for granted.  Additionally, the ending was frustrating, but perfect.  You never find out what happens to the city, but the main character, Hardwell Mann, makes a needed change that his character needed, and this ties it into the entire physics of the story.  He must change his mind; and the geography around him allows no other choice, which ironically, what was keeping him from changing his mind in the first place.  This is a powerful lesson on great endings.

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#57: 1984 by George Orwell

3/15/2014

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I’d read this book for tenth grade English, a very long time ago, and all I had remembered of it was Julia and the rats.  There was quite a bit more.  “It was almost normal for people over thirty to be frightened of their children,” and “I hate purity, I hate goodness.  I don’t want any virtue to exist anywhere.  I want everyone to be corrupt to their bones,” and “Sanity is not statistical.” And a million other quotes and ideas... 

 

I can see why this is on the top ten of most science fiction lists.  Still, it’s not the best book to read when you are depressed.  It is amazingly well-written: George Orwell (born Eric Blair) understood that creating a world comes down to creating sensations in the readers.  In effect, effect.   This book describes everything, every sensation, through every sense.  It traps you in the biggest, baddest dystopia that’s ever been written, with no reprieve.  For me it was a little much.

 

Orwell wrote this as a story, not specifically as science fiction, and had no aversion to info-dump or out-and-out soap boxing.  The info-dump I didn’t mind so much as the ten pages of ranting against the system.  That got a little long.  The ending got a little lecture-y, too.  But I very much admire such unflinching technique, especially the use of reoccurring imagery – Winston’s ulcerous ankle and a glass paperweight with a pink coral center – to make his themes of betrayal, loss of identity, and pain resonate. 

 

Oh, and he knew what he was doing.  His pointed essay, “On Writing” addressed the sensational power of language, and this book shows he understands that in spades:  “A scrupulous writer, in every sentence that he writes, will ask himself at least four questions, thus.  What am I trying to say?  What words will express it?  What image or idiom will make it clearer?  Is this image fresh enough to have an effect?

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#56: The Bite of Monsters by Dennis O'Neil

3/15/2014

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The last few weeks, I’ve hit the white waters of my reading list and in some degree my life, paddling hard and trying not to hit rocks.  It makes my reading list a strange astrological zodiac for my life.  And at the same time where I was thinking books and literature seem far more “real” than the life around me, along comes this beautiful and bleak little book that damn near questions the same things.

The book is more than just off-list: I grabbed it out of desperation at Bookman during a particularly trying weekend in Anaheim.  My reading list had been defying me.  Dragonflight was a dud, The Weans was a book, yes, but it was only a very short story, Witch World is fantasy not science fiction, and I am Legend is horror not science fiction.  I had just about come to the frustrated decision that in addition to not reading off-list books, and not reading bad or inappropriate on-list books, that I may need to skip over entire letters in the alphabet if need be.
 
Something in this slim little book spoke out to me.  It was odd:  there was no publishing information in it, no date, though given the foxed pages I guessed it was from the sixties or seventies. 1971, it turned out.  Paging through it, it seemed good.  And it was.   

It treads ground that I have not seen covered in other books – aliens take over the earth and the human race disappears as alien-human hybrids take over with violence as the only remaining legacy of humanity; a bat-winged angel unable to fly, created by aliens, flinging himself off a cliff after learning a beautiful poem; men who takes their fighting cues from cockfights; a flawed “protagonist” who chooses the wrong side and destroys everyone he loves – and things I have seen that give resonance – for instance, religious zealots with militant agendas.  Smart, creepy, dangerous, grim, bleak, chill, poetic.  Never mind the few negative internet geek reviews of this mysterious, unknown story: this is a wonderful book. It is written so beautifully, I suspected it might be the pseudonymed work of a really fine author, like John Crowley.

Looking up Dennis O’Neil, I was surprised.  He wrote and edited comic books (Bat Man and Transformers), and he is now a radio personality in Canada under the name Bob McGee.

A beautifully turned sentence and a terrible image create a deep impression of thought and emotion in the reader.

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#51: Bring the Jubilee by Ward Moore

3/9/2014

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I am so glad I found this book in the Acres of Books bookstore in Long Beach.  I had not been expecting to find this fairly unknown, tattered little book, a 1972 printing of the 1955 story.  When I found it, I took advantage of the good fortune: I moved someone else off the list to make room for it.  The first ten pages were so dense and droning, I thought to myself: “Oh, what a shame.  This isn’t the good writing from the 1950s.”  But I was mistaken.  

This is a wonderful story.  If anyone ever asked me, “What is this science fiction thing about?  What kinds of things are covered in science fiction?,” I would surely recommend this book.  Einsteinian physics, the nature of reality, post-apocalypse, time travel, dystopia, utopia, alternate universes, and even steam punk all take a bow in this amazing tale of one Hodgins “Hodge” Backmaker, who wants to be a historian in a world where the South won the Civil War.  The pedantic writing of the opening quickly evaporates, leaving a dry wit and a thoughtful voice that examines ideas freely and in depth.  Although I was a little disappointed that I guessed the ending eighty percent in, it was still a very rewarding read.  

My favorite part of this world was the scholarly Haggershaven, where creative people of all stripe and background sequester themselves to further their own studies.  All of them contributed to the survival of this little enclave by doing chores, working crops, or doing odd jobs in town.  For me, it was utopic.  

Moore’s prose is free and is also given rein to say what it needs to say.  He doesn’t parse words.  A good writing lesson – Writer, give yourself room to say what you need to say.
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#52: Galaxies by Barry M. Malzberg

3/9/2014

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I wouldn’t go as far as to put this book in the “Top 100 Science Fiction Books,” but it very well could belong in the “Top 100 Science Fiction Books that Writers Should Read.”  Why?  Because with tongue-in-cheek piquancy, Melzberg shows all the parts that went into this story – so much so that the story pretty much becomes tangential to the author’s process.  Isn’t that a lesson in itself? 

Character development, sex scenes, funny scenes, denouement, poetic angst, thematic issues, science and infodump are all cheerfully announced and placed one at a time, as well as the author’s own foibles.  For example “And here could run yet another moody flashback concerning Lena’s relationship with John, dropped in to provide color and poignancy, augmenting the mood of despair,” and my favorite: “Most science-fiction writers are drunks and almost all of them have unhappy lives.” 

This is a book that I took on my trip to Toronto and then to Clarion. I finished the last chapters of this book after I returned from Michigan, which is also coincidental because Malzberg discusses in glorious detail exactly what endings should accomplish in a story, which is something that was a struggle for me at Clarion, and in general!   

So, as my lesson on those elusive endings, I quote the author: “Cunningly it has been built into the construct from the very outset.  It is a characteristic of a certain kind of well-structured fiction that it will lead toward a resolution which in retrospect may appear inevitable but which in fact is only one of a series of choices which could have been made and which, in the fact of its selection, has become the transmutative force of the work, has cast back little slices of light from which the novel, read once again, may acquire additional depth.  The proper ending for the writer, then, is not so much constructed as discovered; it is a matter of working through the material consciously or subconsciously so that the ending is seen retrospectively as having been in place all along, not to be recognized until the point of its organic extension from the material.”

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    I read "100 Great Science Fiction Books" from 2005 to 2008, and they are described here, along with what I thought might could be good lessons for writers, gleaned from each.  Here is the INDEX for 100 GREAT SCIENCE FICTION BOOKS. 

    Me
    I write science fiction to make my head happy and fantasy to make my heart happy.  Neither of these are making money, but they make me happy, dammit it.

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    1984
    334
    A Canticle For Leibowitz
    A Case Of Conscience
    A.E. Van Vogt
    After London: Wild England
    Alan Dean Foster
    Alas
    Aldous Huxley
    Alec Effinger
    Alfred Bester
    Alien
    Alternate History
    Alternate Universe
    A Mirror For Observers
    Anthem
    Apocalype
    Apocalypse
    Arkday & Boris Strugatsky
    Arthur C. Clarke
    A Wrinkle In Time
    Babel-17
    Babylon
    Barry M. Malzberg
    Beggars In Spain
    Berserker
    Blood Music
    Bob Shaw
    Bokonon
    Bokononism
    Bone Dance
    Brain Plague
    Brain Wave
    Brave New World
    Brian Aldiss
    Bring The Jubilee
    Buddhism
    Catholic
    Catholicism
    Cat's Cradle
    Chalicothere
    Charles L. Harness
    Childhood's End
    Chip Delaney
    Christopher Priest
    Clifford D. Simak
    Competent Man
    Cordwainer Smith
    C.S. Friedman
    Cyberpunk
    Damon Knight
    Daniel Keyes
    Dan Simmons
    Dennis O'Neil
    Douglas Adams
    Downward To The Earth
    Dream Snake
    Dune
    Dystopia
    Earth Abides
    Edgar Pangborn
    Emma Bull
    Ender's Game
    Engine Summer
    Euthanasia
    Eutopia
    Fahrenheit 451
    Fall Of Hyperion
    Far Future
    First And Last Men
    Flowers For Algernon
    For Love Of Mother Not
    Foundation
    Foundation Writer
    Fourth Mansions
    Frank Herbert
    Frederick Pohl
    Fred Saberhagen
    Fritz Leiber
    Galaxies
    Genetic Engineering
    Gene Wolfe
    George Alec Effinger
    George Clayton Johnson
    George Orwell
    George R. Stewart
    George Turner
    Grass
    Greg Bear
    Greg Egan
    Hal Clement
    Harlan Ellison
    Harry Harrison
    Heinlein
    Hell's Pavement
    Henry Kuttner
    H.G. Wells
    Hinduism
    Hot Head
    Hugo Gernsback
    Hyperion
    Ian Watson
    Ice 9
    In Conquest Born
    Isaac Asimov
    Islam
    James Blish
    James Tiptree Jr.
    Jane Yolen
    Jerry Pournelle
    J.G. Ballard
    Joanna Russ
    Joan Slonczewski
    Joe Haldeman
    John Brunner
    John Christopher
    John Crowley
    Johnn Crowley
    John Varley
    John Wyndam
    Jr.
    Jules Verne
    Julian May
    Juniper Time
    Karel Capek
    Kate Wilhem
    Keith Laumer
    Keith Roberts
    Kim Stanley Robinson
    Kurt Vonnegut
    L.A. Lafferty
    Larry Nivan
    Leonard Nimoy
    Linguistics
    Logan's Run
    Lord Of Light
    Lycidas
    Madeleine L'Engle
    Make Room! Make Room!
    Man Plus
    Marge Piecry
    Mars
    Mefisto In Onyx
    Michael Crichton
    Michael Moorcock
    Milton
    Mission Of Gravity
    M. John Harrison
    More Than Human
    Mutant
    Mythology
    Nancy Kress
    Nanotechnology
    Neal Stephenson
    Neuromancer
    Nicola Griffith
    No Blade Of Grass
    Non-Stop
    Nostrilia
    Oath Of Fealty
    Octavia Butler
    Olpah Stapledon
    Orbitsville
    Orson Scott Card
    Pat Frank
    Pavane
    Permutation City
    Philip Wylie
    Phillip Jose Farmer
    Phillip K. Dick
    Play
    Pliocene
    Poul Anderson
    Ralph 124C 41+
    Ray Bradbury
    Red Mars
    Richard Jefferies
    Riddley Walker
    Roadside Picnic
    Robert Heinlein
    Robert Silverberg
    Robots
    Roger Zelazny
    R.U.R.
    Russell Hoban
    Russian
    Samuel R. Delaney
    Science Fiction
    Shakespeare
    Shape Shifters
    Sheri S. Tepper
    Sietch
    Simon Ings
    Slow River
    Snow Crash
    Solaris
    Space Travel
    Spice
    Spider Robinson
    Spock
    Stanislas Lem
    Stephen Gaskell
    Stephen King
    Telepathy
    Thanatos
    The Andromeda Strain
    The Bite Of Monsters
    The Cards Of Grief
    The Centauri Device
    The Dancers At The End Of Time
    The Day Of The Triffids
    The Demolished Man
    The Disappearance
    The Doomsday Book
    The Door Into Summer
    The Drowned World
    The Drowning Towers
    The Ebedding
    The Female Man
    The Fiften Head Of Cerberus
    The Forever War
    The House In November
    The Inverted World
    The Left Hand Of Darkness
    The Man In The High Castle
    The Many-Coloured Lands
    Theodore Sturgeon
    The Opiuchi Hotline
    The Paradox Men
    The Prestige
    The Sheep Look Up
    The Unreasoning Mask
    The Voyage Of The Space Beagle
    The Wanderer
    The Year Of The Quiet Sun
    Thomas Merton
    Thomas Pinchon
    Time Pressure
    Time Travel
    Up The Walls Of The World
    Ursula LeGuin
    Utopia
    Vonda M. McIntyre
    Wales
    Walter M. Miller
    Ward Moore
    Way Station
    We
    What Entropy Means To Me
    When The Sleeper Wakes
    Wild Seed
    William F. Nolan
    William Gibson
    Wilson Tucker
    Woman On The Edge Of Time
    Yevgeny Zamyatin

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