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
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Jeff VanderMeer's fiction has always been entrancingly, engagingly, enthusiastically weird, a winning combination of mimesis and the fantastical that privileges neither component: perhaps the very definition of that mode categorized as the 'New Weird' and exemplified most famously by the groundbreaking work of China Mieville.
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It's a heartening fact about the human race that utopian fiction precedes dystopian fiction in the evolution of literature.
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Science fiction is a literary field crowded with strong opinions, and no SF novelist delivered himself more memorably of his views - on politics, sexuality, religion, and many other contentious topics - than Robert Heinlein.
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Only a minority of science fiction dystopias attempt to plumb the real existential roots of oppression, the flaws in humanity's nature that undermine our best attempts at organizing ourselves into social units.
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Its a heartening fact about the human race that utopian fiction precedes dystopian fiction in the evolution of literature.
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Science fiction at its best should be crazy and dangerous, not sane and safe.
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The science-fictional motif of lethal, infectious information - bad memes - is a fascinating one, with an extended history. One of the earliest instances is Robert W. Chambers's 'The King in Yellow' from 1895. Chambers's conceit is a malevolent play: read beyond Act II, and you go mad.
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The way I was educated, maybe from just inhaling something in the air back then, I grew up believing that E. B. White occupied the apex of essay writing.
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Quite often, intent on conveying how things can go wrong for a culture (science fiction) or an individual (horror) or all of magical creation (fantasy), works of fantastika often preclude comedy, because humor gets in the way of messages of doom or struggle.
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Technically and logically speaking, actual Victorian science fiction writers cannot be dubbed 'steampunks.' Although they utilized many of the same tropes and touchstones employed later by twenty-first-century writers of steampunk, in their contemporary hands these devices represented state-of-the-art speculation.
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Science offers no brief for the telekinetic powers of Darth Vader and hardly any greater justification for the faster-than-light travel that makes his empire possible. And yet what is 'Star Wars' if not pure quill SF?
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War has always been a part of science fiction. Even before the birth of SF as a standalone genre in 1926, speculative novels such as 'The Battle of Dorking' from 1871 showed how SF's trademark 'what if' scenarios could easily encompass warfare.
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I think humanity is not wise enough to know what genotype or somatype is going to be the most successful or the most fit - simply because we're not fully in control of our environment.
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Everyone can guess what 'Corn Flakes' tastes like, even if you've never had them. But what, pray tell, does 'High School Musical' or 'Spider-Man' cereal possibly taste like? In this late era, we have reached the ultimate deracination between product image and what actually sits on our spoon.