Hurtgen, a writer of
science fiction,
science fiction criticism, and screenplays who teaches high school English, examines the embodiment and transmission of knowledge through archives in
science fiction by Ray Bradbury, Margaret Atwood, William Gibson, Bruce Sterling, Neal Stephenson, Cory Doctorow, and Ernest Cline.
The other three sections, covering sixty selected introductions from three book series published by Easton, include "Masterpieces of
Science Fiction," "Masterpieces of Fantasy," and "Signed First Editions of
Science Fiction." The second and longest section covers twenty-seven works, followed by eighteen and fourteen essays in the third and fourth sections, respectively.
James McGrath is a New Testament scholar and
science fiction enthusiast who previously edited a wonderful collection of scholarly essays, Religion and
Science Fiction (2011), as well as Religion and Doctor Who (2013).
Bearing the hallmarks of
science fiction but written with the thoughtful intensity of a literary novel, The Bottom of the Sky aspires to something greater than the sum of its parts, and largely succeeds.
Literary gems of
science fiction published in the general fiction magazines of the early 20th Century deserve a new audience.
The Hugo Awards annually fetes the best
science fiction or fantasy works and achievements from the previous year.
Clegg's breezy, newspaper-column style only scratches the surface on both the science and the
science fiction. But it delivers a fun contemplation of our attempts to model the inherently unpredictable future, and it suggests that even escapist fiction has independent-value beyond preparing us for the actual future.
Science fiction includes facets that make it a desirable space for gender and sexuality debate.
Last year, two professors at the famed MIT Media Lab, who believe that current students don't read as much
science fiction as they did in the past and, therefore, have lost some of the benefits that come from it, began teaching a course called "
Science Fiction to Science Fabrication." The focus was on developing physical prototypes and code-based interpretations of technology based on classic science fiction--films, books, television, and even comics.
In these first two chapters, in which she could have devoted more time to the development of topics such as Darwinism or Modernism, we find the most original contributions of the book: for the first time these texts are read together under the umbrella of
science fiction, stating their particularities but also drawing on their similarities.
Isiah Lavender dismantles the privilege prevalent in this genre regarding the dismissal of race in the text, subtext, content, and style of
science fiction. He suggests that in order for a true discussion of race to occur within
science fiction that the invisible must become visible.