Uncanny Valley Digest: Manjula Padmanabahn

Hello, and welcome back to lip-smacking science fiction in the Uncanny Valley! Our “Sharing Air” discussion was the champagne’s bubbles! What happens when you’re buying air like bottled water? Are you aghast at the prospect? Or proud of how many flavors you can afford? This tidbit-length story packed a conversation-rich wallop.

“Sharing Air,” by Manjula Padmanabahn was published in 1984 in New Delhi’s New Sunday Express magazine. Another story of ideas; a pollution and climate change story that sets us up for Kim Stanley Robinson next time. Padmanabahn depicts the absurdity of the new culture that settles in after we adapt to rampant pollution.

Why the shortest story in the penultimate meeting? This week is our deep breath before a plunge. Our next discussion will be a full length novel, the latest from Kim Stanley Robinson: New York 2140. We will reconvene Even though you’ve still got four weeks to read it, Robinson’s book is nearly 700 pages long, so start now. Now for the notes!

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Padmanabahn’s story contained some essential character expression that was sorely lacking in Borges. The double edged satire of our flawed character narrating the story gives the sci-fi reveals a nice crackle.

"Are we there yet?" "Maybe we passed it."Welcome to HelDavid: “This story would be a great final exam. Come in, read it, then – based on the stories we read this semester – answer this question in an essay: ‘Is this story a utopian or a dystopian story?’ It’s clear they’ve solved a lot of environmental problems, after some serious setbacks (only 2 million humans left on all of Earth, for example). At the same time, you get the sense that they’ve got it worse than us.”

David and Nowell: “I am fascinated that this was 1984.” “Yeah, it seems 10 years too early.”

David: “It’s so clearly political that sci-fi magazines in the 80s would not have wanted it. That’s why it wasn’t never published in a sci-fi magazine. In some ways it resembles H.G. Wells, writing as a vehicle to get people to understand and become activists.

Huh...?

Nowell: “I like the flaws and self-critique of the main character. The mask and the radio communications, never seeing actual faces or hearing actual voices.”

p. 927, col. 2, “I own a brood of virtual children whom I share with other members of my thought-group.” A great, insidious line.

Not that kind of sharing...David: “The indignant narrator is what makes it work so well. The self-righteous narrator can’t see the things being preached to us. Just as heavy handed as the anti-nuke writing of the golden age. Sci-fi writers have something to learn from this writer.”

Nowell: “It turns on itself well, with good reveals. It’s like a dialectic.”

David: “Yeah, dialectic is a good word for this. But so heavy handed, it’s like a New Yorker piece.”

Suhail: “Another good example of a story of ideas. But at least this one has an engaging, flawed character to keep pace with. So much more effective.”

One smile?!David: “It’s not quite so dry. Telling, not showing; essay format, but nails it.”

Suhail: “It has a character. A narrator with a good conundrum of disdain for the past while still fetishising the past. (she still order boutique ‘Five Cities’ scented air.)”

p. 926, col. 1, “More like bleary with a touch of pleasurable panic,” The Radiohead syndrome. Modern technologized paranoia.

p. 926, col. 2, “They breathed one another’s air, for goodness’ sakes! Recycling all their airborne germs, their waste products, their cast off bronchial ceils, every kind of organic junk.” Contamination anxiety [This came up in The Iron Dream, also.], not just about pollution. People hermetically sealing their lives off from the organic living juices of other life forms; an unhealthy utopian perfection syndrome.

p. 926, col. 2, “The polluted earth itself!” By the end, a nice tidy, obvious, playful, heavy-handed, and mercifully short satire.

The reveal: A depression plague killed them, TJ & Tosc style, and who knows if it’s over. Self-loathing killed them. No trees, no air, no food, and she’s convinced she’s living in a modern utopia (because the propaganda apparatus works so well).

Did I mention the pizza was delicious?Did I mention the pizza was delicious?Did I mention the pizza was delicious?Did I mention the pizza was delicious?

See you August 24th for Kim Stanley Robinson’s latest novel, New York 2140.

Thank you for reading. Reading rules!

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Uncanny Valley: Science Fiction Summer Reading Group

If you buy one book this summer...Pravic for the people!Crack a book, science fiction lovers! Summer is back and so are we. Attend four stellar Thursday nights this Summer. (6/8, 6/22, 7/6, and 8/24) Join Editor of Pravic Magazine David Gill and science fiction author Suhail Rafidi as they once again brave the Uncanny Valley, searching out the latest and greatest in science fiction writers.

Page on!This summer, we’ll be reading 6 short stories over the first 3 sessions (6/8, 6/22, 7/6) counterweighted by one thick novel (Kim Stanley Robinson’s, New York 2140) for the fourth and final discussion (8/24). So plenty of time to get started on the whopper. If pages were years, this book’d have millennia. Let’s rock.

How’s It Go?

Four Thursday night discussions, 7:00 PM Pacific (6/8, 6/22, 7/6, 8/24)
If you’re in the Bay Area and can make it live, contact us for the address.
Otherwise, the Google Hangout link:
https://plus.google.com/hangouts/_/g5stgywth5n76vwbbyicm4jkqea

June 8
“The Game Of Rat And Dragon,”
-by Cordwainer Smith [Download PDF]
“And I Awoke And Found Me Here On The Cold Hill’s Side,”
-by James Tiptree, Jr. [Download PDF]

Yes, that Ted Chaing story...June 22
“Story Of Your Life,” by Ted Chiang [Download PDF]
“Reiko’s Universe Box,” by Kajio Shinji

July 6
“Tlön, Uqbar, Orbis Tertius,” by Jorge Luis Borges [Download PDF]
“Sharing Air,” by Manjula Padmanabhan

August 24
New York 2140, by Kim Stanley Robinson


Mark your calendars! Start reading now and join us this summer in the Uncanny Valley.
See you Thursday nights! (6/8, 6/22, 7/6, & 8/24)

In The Uncanny Valley...Bring it!
Dude, it’s Nowell & Nikita.

Thank you for reading. Reading rules!

Uncanny Valley Digest: The Left Hand Of Darkness

lefthanddarknessLast night’s The Left Hand Of Darkness discussion turned the genre on its head! A bevy of enthusiastic readers pitched in to rock some pizza and admire the handiwork of this deep and multifaceted novel.

In precisely the way Bacigalupi does not, Le Guin actually goes through a lot of trouble to imagine other ways of being. She has crafted a world that does not [yet] know war, coupled with a powerful vision of a world where genders are removed from gender roles.

An interplanetary human Envoy has landed on the planet Gethen, with invitation from the stars to join the interstellar planetary community, the Ekumen. The natives of Gethen are a snow dwelling ambisexual species of humanoid which – though their radios work – have not invented flying, or war. Will complex political intrigue threaten the success of the Envoy’s mission, or rescue it?

Ursula K. Le Guin takes us deep into the pliable notional mysteries of human relationships and meditates on our inclusion in the tapestry of life. Now for the notes!
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David: From Le Guin’s introduction. How sci-fi is not limited to extrapolation. Sci fi is thought experiments! Le Guin wrote in the intro, “Almost anything carried to its logical extreme becomes depressing, if not carcinogenic.”

Meg: Le Guin uses elements of the travel narrative and anthropological soft science fiction to justify her rich and verbose info dumps. She sets the tone for this as a collection of field notes, more than a novel. Erik, who has read “more anthropological field notes than I have read science fiction books,” said that much of this novel read very naturally as if it were field notes and did not smack of a novel. Interesting to note that Le Guin is the child of two heavyweight anthropologists, not just scholarly types, but real celebrity status anthropologists in the Bay Area. (Alfred L. and Theodora Kroeber. In addition to many other things, the Kroebers are the scholars who cared for and documented the life of Ishi.)

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Which genres is she blending? Fantasy and Sci-fi, of course, but many more. The travel narrative, hard sci-fi, political intrigue, romance novel. It’s so fantasy in some regards that readers crave a glossary and maps, the way lots of fantasy books give. But she leaves it to the reader to deduce the world around Genly Ai. Readers are along for the same ride as Genly Ai, to figure out how this world operates, and where its variations are.

Where is the romance novel? Which two main characters begin by disliking and distrusting one another, but discover by the end a deep loving intimacy, but because of their social circumstances are prevented from acting on their newly discovered love…? C’mon, it’ll come to you…. Exactly! A romance novel.

Le Guin’s using high-falootin’ Big Idea sci fi here, like Asimov in the Foundation works. Big political and social spectrum considerations. Getting the reader to think about social structure in the abstract, yet so strongly grounded in these everyday characters.

Erik remarked on the contemporary anti-war climate of the writing at that time (This book was published in 1969.) She is laying out a very strong thought experiment to imagine a world without war. Killing and crime, sure, but not war. (Or as she does in The Dispossessed a thought experiment of an anarchist world and how it might actually operate.)

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Powerful theme of questions and answers. The value of not asking unanswerable questions. P.70 “the perfect uselessness of knowing the answer to the wrong question.” P.151 “To learn which questions are unanswerable, and not to answer them: this skill is most needful in times of stress and darkness.”

Tangent about Cordwainer Smith as a very important author of the New Wave, and a discussion about reading some of his short stories this Autumn.

Erik: Tangent about Micheal Saler’s book, As If, which discusses the growth of fandom in literature. “Enchanged disenchantment.” Playing with the idea of literary characters being partially factualized and tracked, like with Sherlock Holmes, and later with Lord Of The Rings stuff.

The Foretellers’ ceremony: WOW! It’s about the question, the journey. The answer doesn’t matter. A good question is more valuable than its answers. Just knowing that the planet will join the Ekumen does not tell enough. Nothing about Estraven and Genly’s character changes. Even knowing the Foreteller’s answer does not shorten the road.

She’s advocating a great model of the anthropological approach to everything, being changed by the other and them being changed by you.

p.135, The Ekumen “is an attempt to reunify the mystical with the political,”
We talked about the implication so that short statement for sometime. When were they ever united in the first place? Perhaps in pre-literate oral cultures, where all documents were spoken and remembered only?

Erik: Regarding the Ekumen, Erik mentioned “a sensibility that encourages an incounter with the Other. That interaction has a mystical and spiritual dimension.” Also, A “Human quality of being open to otherness, but with care. To be open to the other, you have to in a sense be broken open to the other. Be at ease with the tension and uncertainty (including the erotic tension) that comes with the charge of difference.

Suhail: Le Guin is even dispensing with the assumption that we have to resolve or somehow flatten or homogonize that charge of otherworldly difference before we can begin meaningful interactions and exchanges. The uncertainy is permanent. Dualities are experienced simultaneously instead of with mutual exclusivity.

See you next time!
HA!

Struck off on a tangent of other sci fi writers culminating in the most humorous comment of the night, from David Gill: “If you’re into Dick, you can’t go deeper into Moorcock.”

Commentary about the modern syndrome of needing security, security fetishization, security theater (in Naomi Klien’s words), and how creepy it is.

Meg: By being ambisexual androgenes, the Gethenians are an embodiment of the contradictions. Making peace with permanent uncertainty.

Meg: When this book 1st came out it was derided as a radical feminist screed. Le Guin actually had to write an apology article to the male sci fi scene. Male sci-fi writers attacked her for being a feminist. But she did not describe herself as feminist, as much as they introduced the label into the discourse for the purpose of sullying it and her. She was criticized for the sexuality and kemmering stuff, and the foretelling. But they did not note her very powerful vision. Or maybe their attack is how they did note her powerful vision. As Le Guin says in chapter 11: “To oppose something is to maintain it.”

Le Guin’s incredible versatility. She writes all sorts of stuff: Poetry, children’s books, YA, essays, etc.

Meg: “She brings optimism, but she is not sentimental, and that’s why it’s so great. She deftly illustrates the sophistication of all these mixed emotions and THAT is the greatness of literature.”

Erik: “She’s super smart, super aggressive, but not sentimental.”

This novel actually tries to imagine “other ways of being,” a phrase Le Guin uses in her National Book Award Acceptance speech. We ended our session by watching this elegant 6 minute speech. Now here’s a link for you to watch it:

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https://www.youtube.com/watch?v=Et9Nf-rsALk

Thank you for reading! Reading rules!

Uncanny Valley Digest: The Windup Girl

windupgirlLast night’s The Windup Girl discussion was a real deal literary salon! Distinct opinions arose. The scope and technical skill of Windup Girl were undeniable; complex, impeccable world-building, a vast swath of ultimately interconnected characters, none seeming more important than the others. Of the half dozen people who attended the meeting last night, 3 of the 6 did not finish reading the book. Two of the 6, one who finished and one who had not, did not recommend the book. Four of us thought it was excellent, even masterful.

David said, “If a student asks, ‘What is the state of science ficiton today?’ then it is this book.” What did he mean by that? Well, we asked: This book, in contrast to Metropolis, is entirely mimetic. It has limited itself to completely believable descriptions of a material world and the mundane movements of people within it. Using that vehicle, it delivers an extraordinary vision that must be largely deduced by the reader.

“He never lets you peek behind the curtain,” said Suhail.

“Nary an infodump. Not a single one,” noted Meg. Every piece of information regarding the very masterful and complex world building is embedded in the prose and actions of the characters. Show-don’t-tell is followed to the letter, with incredible discipline. So much discipline that the reader is wondering, David observed, “Am I seeing this right? Is this what’s happening?” We must rely entirely on the slow and gradual reveal of contextual details. Chris says that this “puts the reader in the same position as every character in the book!” And there was a murmur of assent that this was a good thing. Suhail replied that “there are different philosophies about how a reader should be treated.”

Suhail was one of the people who did not finish the book, and did not recommend it to others. Nowell finished it, but also did not recommend it to others.

Screen shot 2016-06-27 at 6.57.16 PMNowell: This guy needed an editor. The book is at least 100 pages too long for what it does.

Suhail: This is technically masterful, socially innocuous, status quo-reinforcing fiction in the same ilk as Daryl Gregory’s Afterparty and Jonathan Franzen’s The Corrections. It is written so well that it doesn’t suck, so you can get to the end, but so what? I don’t care about any of the characters, no matter how well rendered, and I’m not surprised by any of the plot developments. Some sci fi does a good job at making the present feel like the future. But this makes the future feel like the present. The calorie man is the oil baron. The kink springs are steam industry. White men in corporations are going to fuck everything over in the process of taking it for themselves, and the brown people will run off into the woods again. Too bad, folks, get used to it. The megodonts are Jurassic Park. I just couldn’t stay interested, no matter how MFA the writing was.

Screen shot 2016-06-27 at 6.57.05 PMAu contrer, say Meg and Chris: This book asks for more patience than the average one-off sci fi book. “It is a slow burn,” said Meg. [To which, Suhail responds, a slow burn leading to a meager guttering puff of expiration.] This slow burn concept came up a few times. It takes a while for all the seemingly unrelated characters to get laid out, but then when their lives start intersecting, you see how masterful and mesmerizing it is.

David was ambivalent, but still interested, as he had not finished the book yet, but wanted to see it all pulled together. Meg assured him the payoff was gratifying. Suhail was resistant, “I hypothesize that you will feel exactly the same way about it after you finish the book.” Suhail also added, to mild disapprobation, “I did not finish reading this book, and may even tell others not to read it.” “Now that’s a little harsh,” replied Chris.

Meg also admired the significantly researched hard science in this science fiction novel. Every technology Pacigalupi described was backed up by present scientific knowledge, so detailed in fact that it is a little opaque to the reader. This lead to a tangential discussion of Kim Stanley Robinson, and perhaps reading him next year.

Meg also said she could not teach this novel, because she’d have to spend so much time explaining and rationalizing to the students the literary purpose of the very “triggering” scenes and images strewn about the book. (Like the way Emiko, the Windup Girl, is treated, as well as other vivid, normalized depictions of racism and oppression; but mimetic, like David said, purely descriptive, not judgement-laden.) Suhail connected this need for filtration with the implicit status-quo whiteness of the book’s backdrop. “For people (like multicultural university students) who are less sympathetic to white privilege, I imagine this book has a lot less luster.”

Suhail admitted toward the end something about his prejudice. “Regarding David’s accurate observation that this book is entirely mimetic, it gives no symbolic trapdoor for interpretation, it is so antithetical to the storytelling style of Metropolis (which I enjoyed so much) – I think that fact motivates my prejudice against this book; because ever since I began reading books, I’ve gravitated more toward the symbolic, representational, iconographic flavor of storytelling. Also, thank you for trying to convince me to read The Windup Girl. I promise in the future I will not abuse this indulgence of skipping the reading.”

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Pizza Party!! I love this group!

Wrap up: 3 of 6 finished reading The Windup Girl. 4 of 6 recommend reading The Windup Girl. We’re taking off July 4th, but be reading LeGuin!!!

See you July 11th for Ursula K. LeGuin’s The Left Hand Of Darkness. [Geek trivia: One of David Gill’s cats is named Ursula.]

Thank you for reading! Reading rules!

Uncanny Valley Digest: Martian Time-Slip

pkdtimeslip Last night’s Martian Time-Slip discussion brought some dark, fascinating things to the surface! It was a privileged to have two hard-core Phil Dick scholars at the table (Erik Davis and David Gill), because every scene, theme, and psychotic hallucination in the book implied the author behind it – and these gents knew Dick’s life story and publishing history intimately enough to produce some gratifying insights.

We traced interesting aspects of Dick’s personal life during the time he was living in Pt. Reyes writing this book (married to Anne, father of one, abusing amphetamines, the vision of the dark slotted face mask in the sky, and writing nonstop like a demon as his marriage deteriorated). Much of the psychological environment of his personal life glares through in this Bradbury-inspired Mars novel.

A word of warning: the book is depressing, though it has key moments of humor. Also, it ends well for a Dick novel, which is a huge plus. Martian Time-Slip reworks a lot of the themes of overlapping identity-realities in ways similar to Ubik and The Three Stigmata Of Palmer Eldritch (How, for example, a particularly aggressive or powerful personality can actually alter the contours of the reality of less-aggressive personalities around it. Also, the notion that emotions are types of AIs or alien consciousnesses that inhabit human beings to see their own greater will done.)

Although, the conundrums in Martian Time-Slip are not created by technology, but rather by psychological states of mind like autism, schizophrenia, and the bleak mood that descends upon a community which has experienced a suicide. Also, in Martian Time-Slip, Dick executes the overlapping identity-realities with the more formal narrative control. In Ubik and Eldritch, it constantly feels like the ground is falling out from underneath the reader’s feet, to the last moment. Here, it holds together better. The character web in this book is impeccable. The plot, almost non-existent. Now for the discussion notes!

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Meg: This would make a great early career Peter Jackson movie.

Gill: like Ballard, the culture is so horrifically banal that you’re horrified by that.
No character is really attached.
The plotting: On Meg’s first read, she noted that PKD was writing this book by the seat of his pants, all of these disparate characters, but then he pulls it all together. He’s writing as fast as he can, with almost no revision. A masterpiece of improvisation where the mind is the creative device.
Gill: Shortly after publishing Martian Time-Slip, Dick had a serious bout of writer’s block. During this time, he wrote letter to a fan about the system he uses to build his novels.
In chapter 1, establish the sub-human, then in the next passage introduce the hearty everyman, then in the next passage introduce the power-drunk bossman, etc. There is a very logical progression, an order to Dick’s character web weaving process, right down to how many syllables belong in each character type’s name. And he spelled it out in a letter to a fan.
Erik, added “The logical relational thing is, how tropes keep coming up: the communication device that comes down, the repairman, the mixture of good/bad boss.”
Dick: “schizophrenia is the savage within the man.”
Dick’s use of horror, almost unintentional, but vivid. As though the horror is a personal account of his subjective experience of reality.
Using Manfred to critique normalcy.
Arnie is the one who keeps putting up walls to stop the Manfred affect, but he is the one who ends up destroyed by it. Unlike Jack, who is capable of reflection, and has insight and even notices when Manfred’s world is beginning to take over his own.  That in itself makes him escape Arnie’s fate.
In capitalist utility land, the move toward meaning is to look at pure negativity, the pit. The horror is a call toward meaning, but if you go all the way, it will take you to the flip side of the capitalist utility land.
Distillation of Dick’s economic philosophy
“hated bigness per se. Bigness had destroyed the small business way of life.”
Chris: “How does Dick really feel about Arnie. He tries to redeem Arnie several times; does he identify with him?”
Gill thinks it’s Dick’s way of making round characters. Suhail thinks Arnie is a significant portion of Dick’s personality.
Heavily autobiographical, according to Gill. So much of this book describes Dick’s life in Pt. Reyes to a T.
Erik: “Dick never ever in any book describes the physical beauty of a place. Never describes any sort of natural landscaping in even a gently lyrical way. And the sublime is a source of horror for him, it is the epitome of meaning in the midst of the nothingness, that awareness of being in the pit of darkness is the only meaning.”
Meg: concerning Dick’s contempt for the sublime, the sacred ritual spot is called Dirty Knobby.
HA!
Self consciousness about capitalism, environment, culture as a deforming force (the UN is gonna come in and fuck everything up), the public school institution of normalcy. Kids need stable adults to grow but all the adults are fucked up. Not just the knowledge that these people have, but the values.
Heliogabalus: a note in the American library edition – A 3rd century Roman emperor who assumed the name of the Syrian sun god.
On the sublime tip, chapter 4, the description of Manfred as a mysterious creature from a another world “a divine and dreadful place beyond.”
Wrap up: One of Dick’s best books, merits rereading, but it’s a gloomy ride, so decide for yourself!
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See you next week!

Uncanny Valley Digest: The Fifth Head Of Cerberus

wolfecerberusLast night’s Wolfe discussion knitted and warbled! Attendance was high, dinner was stimulating, so much that we got in front of the camera a few minutes late (forgive us, Nikita!). It was a pleasure to be in the presence of some fun-loving scholars with a firm grasp of the text. (At least as firm a grasp as Wolfe allows, which is something like the grasp a Labrador retriever has of an iPad; you know it’s important, but – FLAN!) Now for the discussion notes:

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An anthropologist from Earth comes visiting the twin planetary systems of Saint Anne and Saint Croix. In a colonial civilization mired in infinitely replicating and simultaneously decaying dualism, this scientist is perusing facts to verify the legend of a race of aboriginal planetary natives reputed to be shapeshifters. Shapeshifters, it is alluded to, who may have already supplanted most of the planets’ human beings.

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Dinner was such fun…we were late to the camera. Sorry, Nikita! 😀

As Meg said, “The book offers so much of the ‘Clue’ mystery – so many parts, the wrench, the living room…the clones, the scientist – But never pulls it snug together.” It’s intentional, and it works! It is as though Wolfe uses blocks of unknowability, inscrutable puzzles, as matters of form; they are never meant to be fully illuminated.

Erik noted, Wolfe is Catholic-with-a-capital-C, so he is definitely portraying Fallen worlds.

Meg, who has read this book 4 or 5 times, (and taught it) observed, “Everything has meaning in this work – but what does it add up to?”

Ryan couldnt stay, but wished us well.
Ryan couldn’t stay, but wished us well.

The discussion turned to the multilayered shifting footing of the realities in the book, at least the glimpses of reality the “unreliable narrators” afford us. It is beyond just peeling through the layers of an onion, it’s as if the onion layers are braided. Erik said, “If everything is repeating, you lose dynamics.” David followed up with, “Like cancer, it reproduces so much it will kill itself.”

Erik identified this book as coming from “a zone of science fiction that is anthropologically driven.” Meg verified that it was part of the new wave in the 60s and 70s. “A departure from the hard science sci-fi, into sci-fi for the softer sciences – psychology, anthropology, linguistics, etc. – yielding writers like Le Guin, Wolfe, Dick, etc.” David called it, “A changing of the sci-fi guard at the end of the 50s.”

A visit from Laura, who plans to rejoin us for Le Guin on July 11th.
A visit from Laura, who plans to rejoin us for Le Guin on July 11th.

Meg told an excellent story about the time she met Gene Wolfe at a church service in suburban Illinois, while creating a sci-fi course curriculum (at SFSU) featuring the Wolfe-man himself! It would be a disservice to tell the story for her, so look her up.

L. Ron Hubbard’s “Fear” novella. Very good; recommended by Erik Davis.

Nikita’s description of The Anti-Psychiatry Museum in L.A., funded by Scientologists, and how some of their most effective methods are borrowed from psychiatry, so they are very against it.

He forgave us.
He forgave us.

As you can see, toward the end, the discussion took a few digressions into other forms of science fiction which we are already living, here an now. And also some exploration of the religious backgrounds of various sci-fi writers, who, though they may espouse certain dogmatic religious views (Catholic, Mormon, Scientologist, etc.) also maintain

One thing I must say for Gene Wolfe’s The Fifth Head Of Cerberus: it stimulated sustained and fruitful discussion and, remarkably, did it without the novel being sufficiently precise about anything. It left us discovering that there would be many insights to gain by a careful rereading, though no more certitude. (Wikipedia reports that, in a letter to Neil Gaiman, Wolfe wrote: “My definition of good literature is that which can be read by an educated reader, and reread with increased pleasure.”) It’s a conversation-starting book, but definitely not conversation-finishing. We had to change subjects to finish the conversation. The Fifth Head Of Cerberus is most certainly worth the read, but it will behoove you to make peace with uncertainty beforehand.

Thank you and goodnight! See you next week in the sci fi lab!
A full boat to discussion island…

See you next week for Dick’s Martian Time Slip!
Thank you for reading! Reading Rules!

Science Fiction Summer Reading Group

lefthanddarknessNext Meet: July 11, 2016 (Monday, 6:30-8:30 PM, Pacific)
Have Read: The Left Hand Of Darkness, by Ursula K. LeGuin
Where: Google Hangout Online and San Francisco

Greetings science fiction aficionados! It’s your favorite time of year. Descend again with us into the Uncanny Valley! The Science Fiction Summer Reading Group is back with a new and improved lineup! Look forward to Monday nights this June and July. The series will again be moderated by editor of Pravic magazine, David Gill (the web’s illustrious Total Dick-Head!) and author Suhail Rafidi.

Members of the group who are in the San Francisco Bay Area on any given Monday are encouraged to attend live at the sci fi lab and enrich the discussion! Contact David or Suhail personally for details.

We’ve incorporated the comments of readers and participants from last year. This summer’s lineup is shorter, contains one movie, and has 2-week reading windows for the longer books. Be ready for discussion by the dates listed below. Without further ado…

Science Fiction Summer Reading Group 2016 Schedule
June 6: The Fifth Head of Cerberus (1972) – Gene Wolfe (San Francisco)
June 13: Martian Time-Slip (1964) – Philip K. Dick (Oakland)
June 20: MOVIE Metropolis (1927) – Fritz Lang (San Francisco)
Be reading Bacigalupi for next week!!!
June 27: Wind Up Girl (2009) – Paolo Bacigalupi (Oakland)
July 4: No Meeting. Be reading Le Guin for next week!!!
July 11: The Left Hand Of Darkness (1969) – Ursula K. Le Guin (San Francisco)

As usual, the group will also convene online, from 6:30 – 8:30 PM, Pacific Time
Click the link below to enter the Google Hangout:
https://plus.google.com/hangouts/_/g5stgywth5n76vwbbyicm4jkqea

Thank you for reading! Reading rules!