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Books : Science Fiction & Fantasy : Authors, A-Z : B
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In Fahrenheit 451, Ray Bradbury's classic, frightening vision of the future, firemen don't put out fires--they start them in order to burn books. Bradbury's vividly painted society holds up the appearance of happiness as the highest goal--a place where trivial information is good, and knowledge and ideas are bad. Fire Captain Beatty explains it this way, "Give the people contests they win by remembering the words to more popular songs.... Don't give them slippery stuff like philosophy or sociology to tie things up with. That way lies melancholy."Guy Montag is a book-burning fireman undergoing a crisis of faith. His wife spends all day with her television "family", imploring Montag to work harder so that they can afford a fourth TV wall. Their dull, empty life sharply contrasts with that of his next-door neighbour Clarisse, a young girl thrilled by the ideas in books, and more interested in what she can see in the world around her than in the mindless chatter of the tube. When Clarisse disappears mysteriously, Montag is moved to make some changes, and starts hiding books in his home. Eventually, his wife turns him in, and he must answer the call to burn his secret cache of books. After fleeing to avoid arrest, Montag winds up joining an outlaw band of scholars who keep the contents of books in their heads, waiting for the time society will once again need the wisdom of literature.
Bradbury--the author of more than 500 short stories, novels, plays and poems--including The Martian Chroniclesand The Illustrated Man--is the winner of many awards, including the Grand Master Award from the Science Fiction Writers of America. Readers aged 13 to 93 will be swept up in the harrowing suspense of Fahrenheit 451, and no doubt will join the hordes of Bradbury fans worldwide. --Neil Roseman
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In The Player of Games, Iain M. Banks presents a distant future that could almost be called the end of history. Humanity has filled the galaxy, and thanks to ultra-high technology everyone has everything they want, no one gets sick, and no one dies. It's a playground society of sports, stellar cruises, parties, and festivals. Jernau Gurgeh, a famed master game player, is looking for something more and finds it when he's invited to a game tournament at a small alien empire. Abruptly Banks veers into different territory. The Empire of Azad is exotic, sensual and vibrant. It has space battle cruisers, a glowing court-- all the stuff of good old science fiction--which appears old-fashioned in contrast to Gurgeh's home. At first it's a relief, but further exploration reveals the empire to be depraved and terrifically unjust. Its defects are gross exaggerations of our own, yet they indict us all the same. Clearly Banks is interested in the idea of a future where everyone can be mature and happy. Yet it's interesting to note that in order to give us this compelling adventure story, he has to return to a more traditional setting. Thoughtful science fiction readers will appreciate the cultural comparisons, and fans of big ideas and action will also be rewarded. -- Brooks Peck
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In a future where the ancients have long since departed Earth for the stars, those left behind live complacent lives filled with technological marvels they no longer understand. Then a cosmic threat known as the Encroachment begins a devastating ice age on Earth, and it sets in motion a series of events that will bring together a cast of original characters who must struggle through war, political intrigues and age-old mysteries to save the world. (B 4worned, 1 oph Banx' carrokters theenx en funetic inglish, which makes for some tough reading but also some innovative prose.)
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It's not easy to disturb a mega-utopia as vast as the one Iain M. Banks has created in his popular Culture series, where life is devoted to fun and ultra-high-tech is de rigueur. But more than two millennia ago the appearance--and disappearance--of a star older than the universe caused quite a stir. Now the mystery is back, and the key to solving it lies in the mind of the person who witnessed the first disturbance 2,500 years ago. But she's dead, and getting her to cooperate may not be altogether easy.
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Long out of print, and hugely influential on both the SF New Wave of the 60s and the cyberpunks of the 80s, Bester's second novel is a fast-moving pyrotechnic extravaganza with enough bloodshed for Tarantino and enough social analysis for Marx. The solar system is torn by warfare--the discovery of a human capacity to move short distances by the power of mind has blown open the balance of economic power. A marooned spaceman, Gully Foyle, seeks revenge on the ship and crew that left him to rot, and pursues them among hereditary industrialists, sensory-deprived monks, circus freaks and the convicts of the deepest Hell on Earth. Marked by hideous facial tattoos, and haunted by his own flaming double, there is nothing that Foyle will not do-- and he is pursued by a selection of Furies as highly coloured as himself. Bester's profligate imagination gives us Dagenham, the radioactive courier, Jizbella, the consummate feminist thief, Robin, the one-way telepath, Ang-Yeovil, secret master of intelligence and Olivia, the albino who sees infra-red. Streetwise and high-gloss, this is one of the finest of SF classics, full of evocative scenery and much-imitated stylistic gimmicks that for once work perfectly. --Roz Kaveney
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"Wake up, sir. We're here". It's a simple enough opening line--although not many would have guessed back in 1991 that this would lead to one of the most popular and critically acclaimed comics of the second half of the century.In Preludes and Nocturnes, Neil Gaiman weaves the story of a man interested in capturing the physical manifestation of Death but who instead captures the King of Dreams. By Gaiman's own admission there's a lot in this first collection that is awkward and ungainly--which is not to say there are not frequent moments of greatness here. The chapter "24 Hours" is worth the price of the book alone; it stands as one of the most chilling examples of horror in comics. And let's not underestimate Gaiman's achievement of personifying Death as a perky, overly cheery, cute goth girl! All in all, there is a roguish breaking of new ground in this book which is preferable to the often dull precision of the concluding volumes of the Sandman series. --Jim Pascoe
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Science fiction readers know that Iain Banks writes "respectable" novels (such as The Wasp Factory) while his alter ego Iain M. Banks produces equally well-written but often more playful sci-fi--most famously, the gaudy and galaxy-spanning Culture series. In Inversions, Banks is being tricky again. Besides extra moons in the sky and stories of devastating meteor showers that toppled a former Empire, this novel's squalid, pre-industrial world seems to have no sci-fi elements. The two entwined stories feature a woman who becomes personal physician to one kingdom's absolute monarch, and the male bodyguard of a rival and more "progressive" country's Cromwell-like Protector. Both protagonists are mysterious outsiders from farther away than the King or Protector can ever imagine. Readers of Banks's other science fiction will spot the clues to their origins. Others may be slightly puzzled, especially by a seeming miracle which intervenes when the doctor faces torture--but can still enjoy the elegant narrative reversals, reflections and echoes. There are also generous helpings of blood, violence, poisoning, ingenious deceits and high excitement, spiced with political philosophy. Banks continues his pleasant habit of never repeating himself. --David Langford
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