New Books In Science Fiction

Tom Sweterlitsch’s The Gone World (G.P. Putnam Son's, 2018) tells the story of Navy investigator Shannon Moss, who travels to the future to solve present-day crimes.The book opens with a brutal murder and a search for a missing girl, and maintains the pace of a chilling page-turner. But Sweterlitsch’s second novel is also an exploration of questions about consciousness, identity, and reality.The idea of using time travel to solve crimes emerged from a conversation the author had with his brother-in-law, a real-life special agent with the Naval Criminal Investigative Service.“A lot of his investigations are essentially solved when a victim or someone who knows a criminal tells the investigators what happens and why, but if people don’t talk, the investigation becomes very difficult and sometimes impossible to solve,” Sweterlitsch says. “And so [my brother-in-law] was musing that if he could go forward in time, he could talk to a lot of the witnesses after the emotions had cooled, and they might be more willing

The Eurovision Song Contest has launched careers (think ABBA and Celine Dion), inspired outrageous costumes, and generated spinoffs. The campy competition also led a fan to dare author Catherynne M. Valente on Twitter to create a science fictional Eurovision, resulting in the publication of Space Opera (Saga Press, 2018) two years later.Shunning science fiction’s typical seriousness, Space Opera strives to be as ridiculous—and funny—as possible. “You can’t play ‘Eurovision in space’ straight,” Valente says, and proves her point by turning Eurovision’s 50 nations and 100 million viewers into a competition that extends across the universe, attracting billions of viewers and outrageous alien performers—everything from sentient viruses and talented wormholes, to creatures that look like red pandas—but can travel through time—or like Microsoft’s much-maligned animated office assistant Clippy.Space Opera’s intergalactic song contest was founded following the devastating Sentient Wars to promote amity among species

The pandemic in Peng Shepherd’s debut novel, The Book of M, starts with magic—the disappearance of a man’s shadow.The occurrence, broadcast worldwide, is greeted with delight until more and more people lose their shadows. People start losing their memories as well—while gaining an ability to change the world with the power of their imaginations.As society collapses, the landscape becomes as beautiful as it is terrifying: deers have wings, clouds tinkle like bells, lakes appear overnight, flowers bloom in winter.The Book of M has garnered widespread praise, earning recommendations from The Today Show and USA Today, and making Amazon’s list of Best Science Fiction and Fantasy Books of 2018. A reviewer on Bustle called it a “post-apocalyptic masterpiece.”In a world of vanishing memories, Shepherd finds an unlikely hero: a patient with classic amnesia. Unlike the “shadowless”—who eventually forget everything, including how to speak or eat or breathe—the amnesiac never forgets how the world works. This allows him

Bina Shah’s Before She Sleeps (Delphinium Books, 2018) is set in a near-future Pakistan where a repressive patriarchy requires women to take multiple husbands and become full-time baby makers after wars and disease render women devastatingly scarce.A reviewer in the Los Angeles Times called it a “thrilling novel” with “exquisite” social commentary. Before She Sleeps was also among the books recently highlighted in an article in The Atlanticabout “The Remarkable Rise of the Feminist Dystopia.”Before She Sleeps focuses on a group of women who’ve found a modicum of freedom by hiding underground with the assistance of powerful men, for whom they provide clandestine but non-sexual companionship.The book explores the boundaries of their freedom through an eastern and Islamic lens. “Western readers… are expecting some fantastic like Hunger Games-type scenario where the women come out as warriors and just smash the patriarchy. Feminism in my part of the world, in the Middle East and South Asia is a lot more subtle. W

Alec Nevala-Lee’s Astounding is the first comprehensive biography of John W. Campbell, who, as a writer and magazine editor, wielded enormous influence over the field of science fiction in the mid-20th century.“His interests, his obsessions, and his prejudices shaped what science fiction was going to be,” Nevala-Lee says.Many people are familiar with Campbell’s name because it’s on the award given out every year by the World Science Fiction Society—the John W. Campbell Award for Best New Writer. (This year, the award went to Rebecca Roanhorse, who was on the podcast in September; other winners who’ve been on the show include Ada Palmer, Andy Weir, and Mur Lafferty.)From 1937 through the 1960s, Campbell used the magazine Astounding Science Fiction (now named Analog) to popularize science fiction and its potential to predict the future. But he also used the magazine to promote pseudosciences (like psionics and dianetics), and his legacy is tarnished by views that were “clearly racist.”“He was quite content to k

Steven Shaviro’s book Discognition (Repeater Books, 2016) opens with a series of questions: What is consciousness? How does subjective experience occur? Which entities are conscious? What is it like to be a bat, or a dog, a robot, a tree, a human being, a rock, a star, a neutrino? Discognition looks at a series of fascinating science fiction narratives – in some cases reading philosophical or scientific literature as speculative fiction – to raise important questions about consciousness and sentience and to help readers understand the significance of those questions for how we live with ourselves and each other. In addition to opening up some wonderfully thoughtful and provocative works of science fiction, the book also models a transdisciplinary mode of scholarship that is as inspiring as it is effective. Carla Nappi is the Andrew W. Mellon Chair in the Department of History at the University of Pittsburgh. You can learn more about her and her work here.Learn more about your ad choices. Visit megaphone.fm/a

It seems clear that our dependence on the internet will only grow in coming years, offering untold convenience. But how much control will we have to surrender to access this digital wonderland? That’s one of the key questions animating the first two books in Eliot Peper’s action- and idea-packed Analog trilogy. In the first book, Bandwidth, which came out in May, a single company called Commonwealth controls the digital feed for most of the world. To imagine its power, Peper says, picture all of today’s technology and internet giants “times a thousand.” Despite its monopolistic control over the world’s information delivery system, it finds itself vulnerable to a clandestine group of hackers and psychologists, who, over many years, covertly and subtly manipulate the feeds of world leaders to influence their thinking about important policies, such as climate change. “They’re not creating fake news,” Peper says. “They are actually sorting, ordering, and surfacing true facts about the world in a way that shapes s

In Ka: Dar Oakley in the Ruin of Ymr (Saga Press, 2017), John Crowley provides an account of human history through the eyes of a crow. The story takes flight in the Iron Age, when the eponymous main character, Dar Oakley, is the first of his kind to encounter humans. He finds these upright beings (who hail from a realm that Dar Oakley calls “Ymr” in crow-speak) both fascinating and baffling. Witnessing a battle for the first time, Dar Oakley can’t make sense of it. In his experience, animals kill for food, but absurdly people don’t eat their opponents. Rather, they defile and plunder their enemies’ bodies while tenderly attending to the corpses of their compatriots. (Any unburied remains are, of course, a windfall to hungry crows, who happily peck the bones clean). Crowley calls the novel “a long meditation on death,” which makes the story sound more morose than it is. Dar Oakley is actually a charming companion, his wonder over human ideas about the soul and afterlife leavened by his kindness and

Science fiction is, at its core, about tomorrow—exploring through stories what the universe may look like one or 10 or a million years in the future. Twelve Tomorrows (MIT Press, 2018) uses short stories to fit nearly a dozen possible “tomorrows” into a single book. Edited by journalist Wade Roush, the collection features stories by Elizabeth Bear, SL Huang, Clifford V. Johnson, J. M. Ledgard, Liu Cixin, Ken Liu, Paul McAuley, Nnedi Okorafor, Malka Older, Sarah Pinsker, and Alastair Reynolds. The book is the latest in a series of identically titled books launched in 2011 by MIT Technology Review. The series explores the future implications of emerging technologies through the lens of fiction. It’s the first time Roush, who hosts the podcast Soonish and specializes in writing about science and technology, has edited fiction. “The mission of Twelve Tomorrows is to highlight stories that are totally plausible from an engineering point of view,” Roush says. In “The Heart of the Matter,” Nnedi Okorafur explo

In Karin Tidbeck‘s Amatka (Vintage, 2017), words weave—and have the potential to shred—the fabric of reality. Amatka was shortlisted for the Compton Crook and Locus Awards. A reviewer on NPR called it “a warped and chilling portrait of post-truth reality” while a Chicago Tribune reviewer called it “disturbing and provocative.” The book’s title takes its name from a colony settled at an unspecified point in the past by pioneers. Life there is hard; not only is it always maddeningly cold, but a paucity of resources requires the colonists to recycle everything, including dead bodies, and they depend on mushrooms for all their nourishment. But the most unusual feature of life in Amatka is that all objects must be labeled. According to the rules set forth by a secretive ruling committee, a pencil must be labeled “pencil.” A toothbrush must be labeled “toothbrush.” If a label wears off, or if something is mislabeled, the consequences are disastrous: the object degenerates into a pr

In Trail of Lightning (Saga Press, 2018), the Hugo and Nebula Award-winning author Rebecca Roanhorse draws on Navajo culture and history to tell a gripping future-fable about gods and monsters. The book launches The Sixth World, a planned four-part series set in the near future. The series title refers to the Navajo origin story, which says that our current world—the fifth—emerged after floods destroyed the previous ones. In Trail of Lightning, the six world is wrought from similar devastation, a combination of earthquakes and rising seas. The Navajo Nation survives thanks to a protective wall and a shot of magic, which transforms the barrier into four culturally resonant materials: turquoise, abalone, jet and white shell. The wall seals the nation off from not only the apocalypse but from white Euro-centric colonialism. Roanhorse considers her work a form of indigenous futurism that tells “a sovereign story, a story that exists on its own, on native land in native thought with native characters’ stories and

Humans might one day escape Earth, but escaping our biases may prove much harder. That’s one of the lessons from Rivers Solomon’s An Unkindness of Ghosts (Akashic Books, 2017) set on the HSS Matilda, a massive generation starship where the nightmare of slavery persists hundreds of years after humans have fled their dying planet. At the center of Solomon’s masterful debut is Aster, a young woman trying to figure out why her mother apparently killed herself shortly after giving birth to her 25 years ago. An Unkindness of Ghosts is a powerful story about oppression, racism, gender non-conformity, and the role of trauma in society and peoples’ lives. The book earned a spot on many best-of-the-year lists, including the Guardian‘s Best Science Fiction and Fantasy Books of 2017. It also made the shortlist for the John W. Campbell Award for Best New Writer, 2018 Locus Award for First Novel, and the Lambda Literary Award for best science fiction, fantasy or horror novel. The Matilda is as complex as a planet with soci

For Inspector J.P. Dillal, the main protagonist in K. R. Richardson’s Blood Orbit (Pyr, 2018), the expression “I’ve got a lot on my mind” takes on new meaning when he allows his bosses to replace a good chunk of his brain with a mobile crime lab. What he gets in exchange for submitting to the risky surgery is a promotion that allows him to catapult to the top ranks of the Gattis Corporation’s police force. The life circumstances that lead Dillal to surrender part of his body is as much a part of the story as the brutal mass murder that he must solve with his new cybernetic implants. While cyborgs are often depicted as superior to ordinary humans, Richardson doesn’t hesitate to describe the dark side of a surgery that reconfigures a significant part of a person’s body. Not only are many people repulsed when they see Dillal, but the surgery is still fresh, and he grapples with fatigue, infection, leaks, and other menacing complications. His condition “is considerably less than optimal because that’s an aspect o

The “artificial” in artificial intelligence is easy to understand. But the meaning of “intelligence” is harder to define. How smart can an A.I. get? Can it teach itself, change its programming, become independent? Can it outfox its human inventors, be guided by self-interest, have feelings? While companies like Google and Facebook are competing to develop A.I. technology, science fiction writers are light years ahead of them, finding answers to these questions in their imaginations. One of the most engaging A.I.s in recent years is Martha Wells’ Murderbot, a people-averse, soap-opera loving, snark-spewing and highly efficient killing machine. The first book in Wells’ Murderbot Diaries, All Systems Red, earned numerous honors this year, including Nebula and Locus awards. It also made the short list for the Philip K. Dick and Hugo awards. The second and third books—Artificial Condition, which came out in May, and Rogue Protocol, out next week on Aug. 7—are equally engaging, taking Murderbot on a journey of self

Sam J. Miller loves cities. He lives in one, has a day job dedicated to making urban life more humane and fair, and has set his new novel, Blackfish City (Ecco, 2018), in a teeming metropolis full of people who are grateful to be there. The fictional metropolis is Qaanaak, which floats in arctic waters like a massive 8-armed asterisk and serves as a refuge for those fleeing climate change, resource scarcity and war. Like Miller’s hometown of New York City, the book is packed with diverse characters, including Fill, a privileged gay man suffering from a new horrifying disease; Kaev, a fighter who’s paid to lose fights; Ankit, chief of staff to a hack politician; and Soq, a gender-fluid messenger with ambitions of becoming a crime boss like the one he works for. They are strangers to each other until a mysterious woman, on a mission of rescue and revenge, rides into town on the back of a killer whale. This woman–an “orcamancer”–brings them close, revealing secret ties that had bound them

If Tolstoy had written Spoonbenders (Knopf, 2017), he might have started it: “All happy families are alike; each family of psychics is unhappy in its own way.” Then again, who needs Tolstoy when you have Daryl Gregory, whose masterful family drama is tied together with telekinesis, astral traveling, and genuine mindreading magic. A Nebula Award finalist and an NPR Best Book for 2017, Spoonbenders tells the story of the one-time Amazing Telemachus Family, who have struggled to make ends meet ever since they were exposed as frauds on national TV. Only they really aren’t frauds. Most of them have true psychic gifts. The problem is that psychic gifts aren’t all that they’re cracked up to be. As Gregory explains, “I was trying to figure out why if people have these powers … wouldn’t they just become rulers of the world? Why wouldn’t they become rich and famous, and I was struck by the rationale that Uri Geller always used, which is ‘there are so many things that can reach out and interfere with your powers that on

Maggie Shen King’s An Excess Male (Harper Voyager, 2017) is a work of science fiction inspired by a real-world dystopia: a country with tens of millions of “extra” men who will never find spouses. The country is China, which in 1979 adopted its one-child policy in the hope of reducing its population of 940 million to around 700 million. The plan was intended to last only one generation, but it endured until 2015. The degree to which the policy has contributed to a drop in China’s fertility rate is an open question, since other factors (like rapid economic development) are also at play. But one consequence of the policy is clear: China now has millions more men than women. An Excess Male made the James Tiptree Jr. Literary Award Honor List and was nominated for a Lambda Literary Award. It also earned spots on a number of “best of” lists, including Barnes and Noble’s and the Washington Post’s lists of the Best Science Fiction and Fantasy novels of 2017. The idea for An Excess Male came to King

Jade City combines what its author, Fonda Lee, calls the 3 Ms: mafia, magic and martial arts. Lee’s talent for depicting complex characters struggling with both internal and external conflicts earned Jade City nominations for the Nebula and Locus Awards. The book is her first written for adults. (Her previous books, Exo and Zeroboxer, were written for young adults and both were shortlisted for the Andre Norton Award). Set in the fictional post-colonial nation of Kekon, Jade City (Orbit, 2017) introduces readers to an economic system governed by family-run clans, where power is obtained through conventional assets, such as the loyalty of businesses and politicians, as well as through use of the gemstone jade. Jade’s special powers include strength, agility and the ability to deflect weapons. But to harness these powers, a Green Bone warrior needs both an innate affinity for jade and extensive training. Lee says jade was “the natural choice” for a magic substance. “In Eastern culture, jade is considered more va

The technological “singularity” is a popular topic among futurists, transhumanists, philosophers, and, of course, science fiction writers. The term refers to that hypothetical moment when an artificial superintelligence surpasses human intelligence, leading to runaway—and unpredictable—advances in technology. Among the biggest unknowns is whether or not the superintelligence will turn out to be benign of malevolent. “All sorts of visions arise, one of which might be the total annihilation of humanity by [artificial intelligences] and robots. Another might be that we all get to live forever as the robots and A.I.s overcome aging and help us launch into space,” Douglas Lain says. To some, Lain’s vision of the singularity in Bash Bash Revolution (Night Shade Books, 2018) might sound benign. It involves an idealistic government scientist, who designs an artificial intelligence named Bucky to prevent the apocalypse; in short order, Bucky decides the best way to do so is by enticing people to play augmented-reality

Jack Chen is a drug pirate, illegally fabricating patented pharmaceuticals in an underground lab. But when she discovers a deadly flaw in Big Pharma’s new productivity pill, corporate bosses hire a team of assassins to silence her. Annalee Newitz’s novel Autonomous (Tor, 2017) isn’t only a fast-paced cat-and-mouse story. It’s also an exploration of the rapaciousness of capitalism and its ability to turn everything, even freedom, into a commodity. Her first novel, Autonomous has been widely acclaimed, receiving Nebula and Lambda Literary award nominations. “I’ve written a lot about patents and how they affect innovation and how companies use patents to screw customers over,” Newitz, a journalist and founder of io9, says in her New Books interview with Rob Wolf. In Autonomous, she highlights how “something dry and wonky like patent law has a life or death hold over us.” Newitz also turns the idea of robot rebellion on its head. “I wanted to tweak this idea that is such a big cliché in science fiction about a so