Science Fiction
One hundred years later, Hartman revisits W.E.B. Du Bois’s 1920 short story, “The Comet”—”a speculative fiction about the end of the world written after the pandemic of 1918, after the Red Summer of 1919, and in the context of colonial expansion and atrocity.”
One hundred years later, Hartman revisits W.E.B. Du Bois’s 1920 short story, “The Comet”—”a speculative fiction about the end of the world written after the pandemic of 1918, after the Red Summer of 1919, and in the context of colonial expansion and atrocity.”
The cats were entering middle age and felt despair. They had come to realize that life was not a project one could complete successfully. Life was not a treat.
A world in which quiet beauty can still intercept brutality and corruption.
On directing a film about the Mir space station and viewing the fall of the Soviet Union from above.
Featuring selections by Sasha Bonét, Lisa Borst, Nicholas Elliott, Mark Harwood, and more.
The New York-based artist discusses collaboration, deskilling, and life after the end of the world.
Ancient music to accompany a sci-fi novel.
Conducting a posthumous interview with science-fiction author Octavia E. Butler.
“Resistance and change often begin in art.”
Future St. is set in an America in which homosexuality has triumphed over heterosexuality, cloning has replaced sexual reproduction, and California has seceded from the mainland United States to form the gay male state of “Clonifornia.”
Obscuring the past to get at truth in Paul La Farge’s The Night Ocean
If novelists could tell the story of climate change, they might spark the action scientists are calling for in order to save the planet.
Surrealism meets fantasy in The Last Days of New Paris, a recent novel by a British author of New Weird Fiction.
On genre, influence, and getting weird in fiction.
“Look at me, I have an inner life, I think differently, I am different, and yet, I can also reflect back your own thoughts.”
A musical that argues against itself, posing more questions than it could ever attempt to answer.
“Fiction can be this art object that doesn’t show us anything new about reality, but draws out everything fake.”
The director of Advantageous on technology, childhood, and the market forces that shape family relations.
Tarkovsky, aural illusions, and cultivating transcendent spaces.
“Who speaks in the work of Samuel Beckett?” asks Simon Critchley in his probing 1998 essay on the nature of the Irish writer’s narrative voice.
