Paul Di Filippo
Paul Di Filippo
Paul Di Filippois an American science fiction writer. He is a regular reviewer for print magazines Asimov's Science Fiction, The Magazine of Fantasy and Science Fiction, Science Fiction Eye, The New York Review of Science Fiction, Interzone, and Nova Express, as well as online at Science Fiction Weekly. He is a member of the Turkey City Writer's Workshop. Along with Michael Bishop, Di Filippo has published a series of novels under the pseudonym Philip Lawson...
NationalityAmerican
ProfessionWriter
Date of Birth29 October 1954
CountryUnited States of America
Stephen King consummately honors several traditions with his rare paperback original, 'Joyland.' He addresses the novel of carny life and sideshows, where the midway serves as microcosm, such as in those famous books by Ray Bradbury, Charles Finney and William Lindsay Gresham.
Once anthropology and geology had opened up the pre-recordkeeping darkness of humanity's long, slow, sustained infancy as suitable grounds for speculation, writers began trying to imagine human existence as it must have been with only stone-age technology.
Generational change within a genre is hard to parse while it's happening. Only in retrospect can the passing of the baton from ancestors to progeny be clearly discerned.
The entire Internet, as well as the types of devices represented by the desktop computer, the laptop computer, the iPhone, the iPod, and the iPad, are a continuing inescapable embarrassment to science fiction, and an object lesson in the fallibility of genre writers and their vaunted predictive abilities.
The impossibility of a sequel ever recapturing everything - or anything - about its ancestor never stopped legions of writers from trying, or hordes of readers and publishers from demanding more of what they previously enjoyed.
The constituents of tragedy may be universally acknowledged, easily invoked and deeply felt, but the elements of comedy are, I think, more widely variable from person to person.
The lives of most authors - even, or perhaps especially, the great ones - are necessarily a catalogue of tedious inwardness and cloistered composition. Globe-trotting Hemingways and brawling Christopher Marlowes are the exception, not the rule.
The juggernaut that is steampunk, like Dr. Loveless's giant mechanical spider in the 1999 film version of 'The Wild, Wild West,' seems capable of crushing all naysayers.
Every new generation of SF writers remakes cyberpunk - a genre often laced with dystopian subtexts - in its own image.
Immensely clever and libidinously hilarious.The most astonishing thing about Love in a Dead Language is its ingenious construction. Insofar as any printed volume can lay claim to being a multimedia work, this book earns that distinction.
Its a heartening fact about the human race that utopian fiction precedes dystopian fiction in the evolution of literature.
The emotional tone or affect of the tale should be hot and engaged, not remote and dispassionate.
Science fiction at its best should be crazy and dangerous, not sane and safe.
The clock indicates the moment-but what does eternity indicate?