Podcast appearances and mentions of samuel delany

Containing Matters of Masque and BasqueTimestamps:Delany bio, non-spoiler discussion (0:00)spoiler plot summary (26:37)spoiler discussion (52:29)Bibliography:Delany, Samuel R. - "Silent Interviews" (1994)Delany, Samuel R. - "Why I Write: Getting ready not to be", The Yale Review https://yalereview.org/article/samuel-r-delany-science-fiction-why-i-write Delany, Samuel R., Takayuki Tatsumi- “Interview: Samuel R. Delany,” Diacritics, volume 16, issue 3 (1986)Hardesty, William H.- “Semiotics, Space Travel, and ‘Babel-17,'” Mosaic, Volume 13, Issue 3 (1980)Lukin, Josh - “About Samuel Delany,” The Minnesota Review, issue 65 (2006)Samuel Delany website biography https://www.samueldelany.com/biography Steiner, K. Leslie - "Samuel R. Delany" https://www.pseudopodium.org/repress/KLeslieSteiner-SamuelRDelany.html

In this interview, Lamorna Ash, author of Don't Forget We're Here Forever: A New Generation's Search for Religion, and one of my favourite modern writers, talked about working at the Times Literary Supplement, netball, M. John Harrison, AI and the future of religion, why we should be suspicious of therapy, the Anatomy of Melancholy, the future of writing, what surprised her in the Bible, the Simpsons, the joy of Reddit, the new Pope, Harold Bloom, New Atheism's mistakes, reading J.S. Mill. I have already recommended her new book Don't Forget We're Here Forever, which Lamorna reads aloud from at the end. Full transcript below.Uploading videos onto Substack is too complicated for me (it affects podcast downloads somehow, and the instructions to avoid this problem are complicated, so I have stopped doing it), and to upload to YouTube I have to verify my account but they told me that after I tried to upload it and my phone is dead, so… here is the video embedded on this page. I could quote the whole thing. Here's one good section.Lamorna: Which one would you say I should do first after The Sea, The Sea?Henry: Maybe The Black Prince.Lamorna: The Black Prince. Great.Henry: Which is the one she wrote before The Sea, The Sea and is just a massive masterpiece.Lamorna: I'll read it. Where do you stand on therapy? Do you have a position?Henry: I think on net, it might be a bad thing, even if it is individually useful for people.Lamorna: Why is that?Henry: [laughs] I didn't expect to have to answer the question. Basically two reasons. I think it doesn't take enough account of the moral aspect of the decisions being made very often. This is all very anecdotal and you can find yourself feeling better in the short term, but not necessarily in the long-- If you make a decision that's not outrageously immoral, but which has not had enough weight placed on the moral considerations.There was an article about how lots of people cut out relatives now and the role that therapy plays in that. What I was struck by in the article that was-- Obviously, a lot of those people are justified and their relatives have been abusive or nasty, of course, but there are a lot of cases where you were like, "Well, this is a long-term decision that's been made on a short-term basis." I think in 10 years people may feel very differently. There wasn't enough consideration in the article, at least I felt, given to how any children involved would be affected later on. I think it's a good thing and a bad thing.Lamorna: I'm so with you. I think that's why, because also the fact of it being so private and it being about the individual, and I think, again, there are certain things if you're really struggling with that, it's helpful for, but I think I'm always more into the idea of communal things, like AAA and NA, which obviously a very particular. Something about doing that together, that it's collaborative and therefore there is someone else in the room if you say, "I want to cut out my parent."There's someone else who said that happened to me and it was really hard. It means that you are making those decisions together a little bit more. Therapy, I can feel that in friends and stuff that it does make us, even more, think that we are these bounded individuals when we're not.Henry: I should say, I have known people who've gone to therapy and it's worked really well.Lamorna: I'm doing therapy right now and it is good. TranscriptHenry: Today I am talking to Lamorna Ash. Lamorna is one of the rising stars of her generation. She has written a book about a fishing village in Cornwall. She's written columns for the New Statesman, of which I'm a great admirer. She works for a publisher and now she's written a book called, Don't Forget, We're Here Forever: A New Generation's Search for Religion. I found this book really compelling and I hope you will go and read it right now. Lamorna, welcome.Lamorna Ash: Thank you for having me.Henry: What was it like when you worked at the Times Literary Supplement?Lamorna: It was an amazing introduction to mostly contemporary fiction, but also so many other forms of writing I didn't know about. I went there, I actually wrote a letter, handwritten letter after my finals, saying that I'd really enjoyed this particular piece that somehow linked the anatomy of melancholy to infinite jest, and being deeply, deeply, deeply pretentious, those were my two favorite books. I thought, well, I'll apply for this magazine. I turned up there as an intern. They happened to have a space going.My job was Christmas in that I just spent my entire time unwrapping books and putting them out for editors to swoop by and take away. I'd take on people's corrections. I'd start to see how the editorial process worked. I started reading. I somehow had missed contemporary fiction. I hadn't read people like Rachel Kask or Nausgaard. I was reading them through going to the fiction pages. It made me very excited. Also, my other job whilst I was there, was I had the queries email. You'd get loads of incredibly random emails, including things like, you are cordially invited to go on the Joseph Conrad cycle tour of London. I'd ask the office, "Does anyone want to do this?" Obviously, no one ever said yes.I had this amazing year of doing really weird stuff, like going on Joseph Conrad cycling tour or going to a big talk at the comic book museum or the new advertising museum of London. I loved it. I really loved it.Henry: What was the Joseph Conrad cycling tour of London like? That sounds-Lamorna: Oh, it was so good. I remember at one point we stopped on maybe it was Blackfriars Bridge or perhaps it was Tower Bridge and just read a passage from the secret agent about the boats passing underneath. Then we'd go to parts of the docks where they believe that Conrad stayed for a while, but instead it would be some fancy youth hostel instead.It was run by the Polish Society of London, I believe-- the Polish Society of England, I believe. Again, each time it was like an excuse then to get into that writer and then write a little piece about it for the TLS. I guess, it was also, I was slightly cutting my teeth on how to do that kind of journalism as well.Henry: What do you like about The Anatomy of Melancholy?Lamorna: Almost everything. I think the prologue, Democritus Junior to the Reader is just so much fun and naughty. He says, "I'm writing about melancholy in order to try and avoid melancholy myself." There's six editions of it. He spent basically his entire life writing this book. When he made new additions to the book, rather than adding another chapter, he would often be making insertions within sentences themselves, so it becomes more and more bloated. There's something about the, what's the word for it, the ambition that I find so remarkable of every single possible version of melancholy they could talk about.Then, maybe my favorite bit, and I think about this as a writer a lot, is there's a bit called the digression of air, or perhaps it's digression on the air, where he just suddenly takes the reader soaring upwards to think about air and you sort of travel up like a hawk. It's this sort of breathing moment for a reader where you go in a slightly different direction. I think in my own writing, I always think about digression as this really valuable bit of nonfiction, this sense of, I'm not just taking you straight the way along. I think it'd be useful to go sideways a bit too.Henry: That was Samuel Johnson's favorite book as well. It's a good choice.Lamorna: Was it?Henry: Yes. He said that it was the only book that would get him out of bed in the morning.Lamorna: Really?Henry: Because he was obviously quite depressive. I think he found it useful as well as entertaining, as it were. Should netball be an Olympic sport?Lamorna: [laughs] Oh, it's already going to be my favorite interview. I think the reason it isn't an Olympic-- yes, I have a vested interest in netball and I play netball once a week. I'm not very good, but I am very enthusiastic because it's only played mostly in the Commonwealth. It was invented a year after basketball as a woman-friendly version because women should not run with the ball in case they get overexerted and we shouldn't get too close to contacting each other in case we touch, and that's awful.It really is only played in the Commonwealth. I think the reason it won't become an Olympic sport is because it's not worldwide enough, which I think is a reasonable reason. I'm not, of all the my big things that I want to protest about and care about right now, making that an Olympic sport is a-- it's reasonably low on my list.Henry: Okay, fair enough. You are an admirer of M. John Harrison's fiction, is that right?Lamorna: Yes.Henry: Tell us what should we read and why should we read him?Lamorna: You Should Come With Me Now, is that what it's called? I know I reviewed one of his books years ago and thought it was-- because he's part of that weird sci-fi group that I find really interesting and they've all got a bit of Samuel Delany to them as well. I just remember there was this one particular story in that collection, I think in general, he's a master at sci-fi that doesn't feel in that Dune way of just like, lists of names of places. It somehow has this, it's very literary, it's very odd, it's deeply imaginative. It is like what I wanted adult fiction to be when I was 12 or something, that there's the way the fantasy and imagination works.I remember there was one about all these men, married men who were disappearing into their attics and their wives thought they were just tinkering. What they were doing was building these sort of translucent tubes that were taking them off out of the world. I remember just thinking it was great. His conceits are brilliant and make so much sense, whilst also always being at an interesting slant from reality. Then, I haven't read his memoir, but I hear again and again this anti-memoir he's written. Have you read that?Henry: No.Lamorna: Apparently that's really brilliant too. Then he also, writes those about climbing. He's actually got this one foot in the slightly travel nature writing sports camp. I just always thought he was magic. I remember on Twitter, he was really magic as well. I spent a lot of time following him.Henry: Are you optimistic or pessimistic about the future of writing and literature and books and this whole debate that's going on?Lamorna: It's hard to. I don't want to say anything fast and snappy because it's such a complicated thing. I could just start by saying personally, I'm worried about me and writing because I'm worried about my concentration span. I am so aware that in the same way that a piano player has to be practising the pieces they're going to play all the time. I think partly that's writing and writing, I seem to be able to do even with this broken, distracted form of attention I've got. My reading, I don't feel like I'm getting enough in. I think that means that what I produce will necessarily be less good if I can't solve that.I've just bought a dumb phone on the internet and I hope that's going to help me by no longer having Instagram and things like that. I think, yes, I suppose we do read a bit less. The generation below us is reading less. That's a shame. There's so much more possibility to go out and meet people from different places. On an anthropological level, I think anthropology has had this brilliant turn of becoming more subjective. The places you go, you have to think about your own relationship to them. I think that can make really interesting writing. It's so different from early colonial anthropology.The fact that, I guess, through, although even as I'm saying this, I don't know enough to say it, but I was going to say something about the fact that people, because we can do things like substacks and people can do short form content, maybe that means that more people's voices are getting heard and then they can, if they want to, transfer over and write books as well.I still get excited by books all the time. There's still so much good contemporary stuff that's thrilling me from all over the place. I don't feel that concerned yet. If we all do stop writing books entirely for a year and just read all the extraordinary books that have been happening for the last couple of thousand, we'd be okay.Henry: I simultaneously see the same people complaining that everything's dying and literature is over and that we have an oversupply of books and that capitalism is giving us too many books and that's the problem. I'm like, "Guys, I think you should pick one."Lamorna: [laughs] You're not allowed both those arguments. My one is that I do think it's gross, the bit of publishing that the way that some of these books get so oddly inflated in terms of the sales around them. Then, someone is getting a million pounds for a debut, which is enormous pressure on them. Then, someone else is getting 2K. I feel like there should be, obviously, there should be a massive cap on how large an advance anyone should get, and then more people will actually be able to stay in the world of writing because they won't have to survive on pitiful advances. I think that would actually have a huge impact and we should not be giving, love David Beckham as much as I do, we shouldn't be giving him five million pounds for someone else to go to write his books. It's just crazy.Henry: Don't the sales of books like that subsidize those of us who are not getting such a big advance?Lamorna: I don't think they always do. I think that's the problem is that they do have this wealth of funds to give to celebrities and often those books don't sell either. I still think even if those books sell a huge amount of money, those people still shouldn't be getting ridiculous advances like that. They still should be thinking about young people who are important to the literary, who are going to produce books that are different and surprising and whose voices we need to hear. That feels much more important.Henry: What do you think about the idea that maybe Anglo fiction isn't at a peak? I don't necessarily agree with that, but maybe we can agree that these are not the days of George Eliot and Charles Dickens, but the essay nonfiction periodicals and writing online, this is huge now. Right? Actually, our pessimism is sort of because we're looking in the wrong area and there are other forms of writing that flourish, actually doing great on the internet.Lamorna: Yes, I think so too. Again, I don't think I'm internet worldly enough to know this, but I still find these extraordinary, super weird substats that feel exciting. I also get an enormous amount of pleasure in reading Reddit now, which I only just got into many, many years late, but so many fun, odd things. Like little essays that people write and the way that people respond to each other, which is quick and sharp, and I suppose it fills the gap of what Twitter was.I think nonfiction, I was talking about this morning, because I'm staying with some writers, because we're sort of Cornish, book talk thing together and how much exciting nonfiction has come out this year that we want to read from the UK that is hybrid-y nature travel. Then internationally, I still think there's-- I just read, Perfection by Vincenzo, but there's enough translated fiction that's on the international book list this year that gets me delighted as well. To me, I just don't feel worried about that kind of thing at all when there's so much exciting stuff happening.I love Reddit. I think they really understand things that other people don't on there. I think it's the relief now that when you type in something to Google, you get the AI response. It's something like, it's so nice to feel on Reddit that someone sat down and answered you. Maybe that's such a shame that that's what makes me happy now, that we're in that space. It does feel like someone will tell you not just the answer, but then give you a bit about their life. Then, the particular tool that was passed down by their grandparents. That's so nice.Henry: What do you think of the new Pope?Lamorna: I thought it was because I'd heard all the thing around fat Pope, thin Pope, and obviously, our new Pope is maybe a sort of middle Pope, or at least is closer to Francis, but maybe a bit more palatable to some people. I guess, I'm excited that he's going to do, or it seems like he's also taking time to think, but he's good on migration on supporting the rights of immigrants. I think there's value in the fact of him being American as this being this counterpoint to what's happening in America right now. If feels always feels pointless to say because they're almost the idea of a Pope.I guess, Francis said that, who am I to judge about people being gay, but I think this Pope has so far has been more outly against gay people, but he stood up against JD Vance and his stupid thoughts on theology. I'm quietly optimistic. I guess I'm also waiting for Robert Harris's prophecy to come true and we get an intersex Pope next. Because I think that was prophecy, right? What he wrote.Henry: That would be interesting.Lamorna: Yes.Henry: The religious revival that people say is happening, particularly among young people, how is AI going to make it different than previous religious revivals?Lamorna: Oh, that's so interesting. Maybe first of all, question, sorry, I choked on my coffee. I was slightly questioned the idea if there is a religious revival, it's not actually an argument that I made in the book. When I started writing the book, there wasn't this quiet revival or this Bible studies and survey that suggests that more young people are going to church hadn't come out yet. I was just more, I guess, aware that there were a few people around me who were converting and I thought it'd be interesting if there's a few, there'll be more, which I think probably happens in every single generation, right? Is that that's one way to deal with the longing for meaning we all experience and the struggles in our lives.I was speaking to a New York Times journalist who was questioning the stats that have been coming out because first it's incredibly small pool. It's quite self-selecting that possibly there are people who might have gone to church already. It's still such a small uptick because it makes it hard to say anything definitive. I guess in general, what will the relationship be between AI and religion?I guess, there are so many ways you could go with that. One is that those spaces, religious spaces, are nicely insulated from technology. Not everywhere. Obviously, in some places they aren't, but often it's a space in which you put your phone away. In my head, the desire to go to church is as against having to deal with AI or having to deal with technology being integrated to every other aspect of my life.I guess maybe people will start worshiping the idea of the singularity. Maybe we'll get the singularity and Terminator, or the Matrix is going to happen, and we'll call them our gods because they will feel like gods. That's maybe one option. I don't know how AI-- I guess I don't know enough about AI that maybe you'll have AI, or does this happen? Maybe this has happened already that you could have an AI confession and you'd have an AI priest and they tell you--Henry: Sure. It's huge for therapy, right?Lamorna: Yes.Henry: Which is that adjacent thing.Lamorna: That's a good point. It does feel something about-- I'm sure, theologically, it's not supposed to work if you haven't been ordained, but can an AI be ordained, become a priest?Henry: IndeedLamorna: Could they do communion? I don't know. It's fascinating.Henry: I can see a situation where a young person lives in a secular environment or culture and is interested in things and the AI is the, in some ways, easiest place for them to turn to say, "I need to talk about-- I have these weird semi-religious feelings, or I'm interested." The AI's not going to be like, "Oh, really? That's weird." There's the question of will we worship AI or whatever, but also will we get people's conversions being shaped by their therapy/confessors/whatever chat with their LLM?Lamorna: Oh, it's so interesting. I read a piece recently in the LRB by James Vincent. It was about AI relationships, our relationship with AI, and he looked at AI girlfriends. There was this incredible case, maybe you read about it, about a guy who tried to kill the Queen some years back. His defense was that his AI girlfriend had really encouraged him to do that. Then, you can see the transcripts of the text, and he says, "I'm thinking about killing the Queen." His AI girlfriend is like, "Go for it, baby."It's that thing there of like, at the moment, AI is still reflecting back our own desires or refracting almost like shifting how they're expressed. I'm trying to imagine that in the same case of me saying, "I feel really lonely, and I'm thinking about Christianity." My friend would speak with all of their context and background, and whatever they've got going on for them. Whereas an AI would feel my desire there and go, "That's a good idea. It says online this." It's very straight. It would definitely lead us in directions that feel less than human or other than human.Henry: I also have this thought, you used to, I think you still do, but you see it less. You used to get a Samaritan's Bible in every hotel. The Samaritans, will they start trying to install a religious chatbot in places where people--? There are lots of ways in which you could use it as a distribution mechanism.Lamorna: Which does feel so far from the point. Not to think about the gospels, but that feeling of something I talk about in the book is that, so much of it is human contact. Is that this factor of being changed in the moment, person to person. If I have any philosophy for life at the moment is this sense of desperately needing contact that we are saved by each other all the time, not by our telephones and things that aren't real. It's the surprise.I quote it in the book, but Iris Murdoch describes love is the very difficult realization that someone other than yourself is real. I think that's the thing that makes us all survive, is that reminder that if you're feeling deeply depressed, being like, there is someone else that is real, and they have a struggle that matters as much as mine. I think that's something that you are never going to get through a conversation with a chatbot, because it's like a therapeutic thing. You are not having to ask it the same questions, or you are not having to extend yourself to think about someone else in those conversations.Henry: Which Iris Murdoch novels do you like?Lamorna: I've only read The Sea, The Sea, but I really enjoyed it. Which ones do you like?Henry: I love The Sea, The Sea, and The Black Prince. I like the late books, like The Good Apprentice and The Philosopher's Pupil, as well. Some people tell you, "Don't read those. They're late works and they're no good," but I was obsessed. I was absolutely compelled, and they're still all in my head. They're insane.Lamorna: Oh, I must, because I've got a big collection of her essays. I'm thinking is so beautiful, her philosophical thought. It's that feeling, I know I'm going the wrong-- starting in the wrong place, but I do feel that she's someone I'd really love to explore next, kind of books.Henry: I think you'd like her because she's very interested in the question of, can therapy help, can philosophy help, can religion help? She's very dubious about therapy and philosophy, and she is mystic. There are queer characters and neurodivergent characters. For a novelist in the '70s, you read her now and you're like, "Well, this is all just happening now."Lamorna: Cool.Henry: Maybe we should be passing these books out. People need this right now.Lamorna: Which one would you say I should do first after The Sea, The Sea?Henry: Maybe The Black Prince.Lamorna: The Black Prince. Great.Henry: Which is the one she wrote before The Sea, The Sea and is just a massive masterpiece.Lamorna: I'll read it. Where do you stand on therapy? Do you have a position?Henry: I think on net, it might be a bad thing, even if it is individually useful for people.Lamorna: Why is that?Henry: [laughs] I didn't expect to have to answer the question. Basically two reasons. I think it doesn't take enough account of the moral aspect of the decisions being made very often. This is all very anecdotal and you can find yourself feeling better in the short term, but not necessarily in the long-- If you make a decision that's not outrageously immoral, but which has not had enough weight placed on the moral considerations.There was an article about how lots of people cut out relatives now and the role that therapy plays in that. What I was struck by in the article that was-- Obviously, a lot of those people are justified and their relatives have been abusive or nasty, of course, but there are a lot of cases where you were like, "Well, this is a long-term decision that's been made on a short-term basis." I think in 10 years people may feel very differently. There wasn't enough consideration in the article, at least I felt, given to how any children involved would be affected later on. I think it's a good thing and a bad thing.Lamorna: I'm so with you. I think that's why, because also the fact of it being so private and it being about the individual, and I think, again, there are certain things if you're really struggling with that, it's helpful for, but I think I'm always more into the idea of communal things, like AAA and NA, which obviously a very particular. Something about doing that together, that it's collaborative and therefore there is someone else in the room if you say, "I want to cut out my parent."There's someone else who said that happened to me and it was really hard. It means that you are making those decisions together a little bit more. Therapy, I can feel that in friends and stuff that it does make us, even more, think that we are these bounded individuals when we're not.Henry: I should say, I have known people who've gone to therapy and it's worked really well.Lamorna: I'm doing therapy right now and it is good. I think, in my head, it's like it should be one among many and I still question it whilst doing it.Henry: To the extent that there is a religious revival among "Gen Z," how much is it because they have phones? Because you wrote something like, in fact, I have the quote, "There's a sense of terrible tragedy. How can you hold this constant grief that we feel, whether it's the genocide in Gaza or climate collapse? Where do I put all the misery that I receive every single second through my phone? Church can then be a space where I can quietly go and light a candle." Is it that these young people are going to religion because the phone has really pushed a version of the world into their faces that was not present when I was young or people are older than me?Lamorna: I think it's one of, or that the phone is the symptom because the phone, whatever you call it, technology, the internet, is the thing that draws the world closer to us in so many different ways. One being that this sense of being aware of what's happening around in other places in the world, which maybe means that you become more tolerant of other religions because you're hearing about it more. That, on TikTok, there's loads of kids all across the world talking about their particular faiths and their background and which aspera they're in, and all that kind of thing.Then, this sense of horror being very unavoidable that you wake up and it is there and you wake up and you think, "What am I doing? What am I doing here? I feel completely useless." Perhaps then you end up in a church, but I'm not sure.I think a bigger player in my head is the fact that we are more pluralistic as societies. That you are more likely to encounter other religions in schools. I think then the question is, well then maybe that'll be valuable for me as well. I think also, not having parents pushing religion on you makes kids, the fact of the generation above the British people, your parents' generations, not saying religion is important, you go to church, then it becomes something people can become more curious about in their own right as adults. I think that plays into it.I think isolation plays into it and that's just not about technology and the phone, but that's the sense of-- and again, I'm thinking about early 20s, mid 20s, so adults who are moving from place to place, who maybe feel very isolated and alone, who are doing jobs that make them feel isolated and alone, and there are this dearth of community spaces and then thinking, well, didn't people used to go to churches, it would be so nice to know someone older than me.I don't know how this fits in, but I was thinking about, I saw this documentary, The Encampments, like two days ago, which is about the Columbia University encampments and within that, Mahmood Khalil, who's the one who's imprisoned at the moment, who was this amazing leader within the movement and is from Palestine. The phone in that, the sense about how it was used to gather and collect people and keep people aware of what's happening and mean that everyone is more conscious and there's a point when they need more people in the encampments because the police are going to come. It's like, "Everyone, use your phone, call people now." I think I can often be like, "Oh no, phones are terrible," but this sense within protest, within communal activity, how valuable they can be as well.I haven't quite gotten into that thought. I don't know, basically. I think it's so hard. I've grown up with a phone. I have no sense of how much it plays a part in everything about me, but obviously, it is a huge amount. I do think it's something that we all think about and are horrified by whilst also seeing it as like this weird extension of ourselves. That definitely plays into then culturally, the decisions we make to either try and avoid them, find spaces where you can be without them.Henry: How old do you think a child should be when they're first given a phone? A smartphone, like an iPhone type thing?Lamorna: I think, 21.Henry: Yes?Lamorna: No, I don't know. I obviously wouldn't know that about a child.Henry: I might.Lamorna: I'd love to. I would really love to because, I don't know, I have a few friends who weren't allowed to watch TV until they were 18 and they are eminently smarter than me and lots of my other friends. There's something about, I don't know, I hate the idea that as I'm getting older, I'm becoming more scaremongering like, "Oh no, when I was young--" because I think my generation was backed in loads of ways. This thing of kids spending so much less time outside and so much less time being able to imagine things, I think I am quite happy to say that feels like a terrible loss.I read a piece recently about kids in New York and I think they were quite sort of middle-class Brooklyn-y kids, but they choose to go days without their phones and they all go off into the forest together. There is this sense of saying giving kids autonomy, but at the same time, their relationship with a phone is not one of agency. It's them versus tech bros who have designed things that are so deeply addictive, that no adult can let go of it. Let alone a child who's still forming how to work out self-control, discipline and stuff. I think a good parenting thing would be to limit massively these completely non-neutral objects that they're given, that are made like crack and impossible to let go of.Henry: Do you think religious education in schools should be different or should there be more of it?Lamorna: Yes, I think it should be much better. I don't know about you, but I just remember doing loads of diagrams of different religious spaces like, "This is what a mosque looks like," and then I'd draw the diagram. I knew nothing. I barely knew the difference between the Old Testament and the New Testament. In fact, I probably didn't as a teenager.I remember actually in sixth form, having this great philosophy teacher who was talking about the idea of proto antisemitism within the gospels. I was like, "Wait, what?" Because I just didn't really understand. I didn't know that it was in Greek, that the Old Testament was in Hebrew. I just didn't know. I think all these holy texts that we've been carrying with us for thousands of years across the world have so much in them that's worth reading and knowing.If I was in charge of our R.E., I would get kids to write on all holy texts, but really think about them and try and answer moral problems. You'd put philosophy back with religion and really connect them and think, what is Nietzsche reacting against? What does Freud about how is this form of Christianity different like this? I think that my sense is that since Gove, but also I'm sure way before that as well, the sense of just not taking young people seriously, when actually they're thoughtful, intelligent and able to wrestle with these things, it's good for them to have know what they're choosing against, if they're not interested in religion.Also, at base, those texts are beautiful, all of them are, and are foundational and if you want to be able to study English or history to know things about religious texts and the practices of religion and how those rituals came about and how it's changed over thousands of years, feels important.Henry: Which religious poets do you like other than Hopkins? Because you write very nicely about Hopkins in the book.Lamorna: He's my favorite. I like John Donne a lot. I remember reading lots of his sermons and Lancelot Andrews' sermons at university and thinking they were just astonishingly beautiful. There are certain John Donne sermons and it's this feeling of when he takes just maybe a line from one of Paul's letters and then is able to extend it and extend it, and it's like he's making it grow in material or it's like it's a root where suddenly all these branches are coming off it.Who else do I like? I like George Herbert. Gosh, my brain is going in terms of who else was useful when I was thinking about. Oh it's gone.Henry: Do you like W.H. Auden?Lamorna: Oh yes. I love Auden, yes. I was rereading his poems about, oh what's it called? The one about Spain?Henry: Oh yes.Lamorna: About the idea of tomorrow.Henry: I don't have a memory either, but I know the poem you mean, yes.Lamorna: Okay. Then I'm trying to think of earlier religious poets. I suppose things like The Dream of the Rood and fun ways of getting into it and if you're looking at medieval poetry.Henry: I also think Betjeman is underrated for this.Lamorna: I've barely read any Betjeman.Henry: There's a poem called Christmas. You might like it.Lamorna: Okay.Henry: It's this famous line and is it true and is it true? He really gets into this thing of, "We're all unwrapping tinsely presents and I'm sitting here trying to work out if God became man." It's really good. It's really good. The other one is called Norfolk and again, another famous line, "When did the devil first attack?" It talks about puberty as the arrival of the awareness of sin and so forth.Lamorna: Oh, yes.Henry: It's great. Really, really good stuff. Do you personally believe in the resurrection?Lamorna: [chuckles] I keep being asked this.Henry: I know. I'm sorry.Lamorna: My best answer is sometimes. Because I do sometimes in that way that-- someone I interviewed who's absolutely brilliant in the book, Robert, and he's a Cambridge professor. He's a pragmatist and he talks about the idea of saying I'm a disciplined person means nothing unless you're enacting that discipline daily or it falls away. For him, that belief in a Kierkegaardian leap way is something that needs to be reenacted in every moment to say, I believe and mean it.I think there are moments when my church attendance is better and I'm listening to a reading that's from Acts or whatever and understanding the sense of those moments, Paul traveling around Europe and Asia Minor, only because he fully believed that this is what's happened. Those letters and as you're reading those letters, the way I read literature or biblical writing is to believe in that moment because for that person, they believe too. I think there are points at which the resurrection can feel true to me, but it does feel like I'm accessing that idea of truth in a different way than I am accessing truth about-- it's close to how I think about love as something that's very, very real, but very different from experiential feelings.I had something else I wanted to say about that and it's just gone. Oh yes. I was at Hay Festival a couple of weeks ago. Do you know the Philosopher Agnes Callard?Henry: Oh, sure.Lamorna: She gave a really great talk about Socrates and her love of Socrates, but she also came to my talk and she and her husband, who I think met through arguing about Aristotle, told me they argued for about half a day about a line I'd said, which was that during writing the book, I'd learned to believe in the belief of other people, her husband was like, "You can't believe in the belief of other people if you don't believe it too. That doesn't work. That doesn't make sense." I was like, "That's so interesting." I can so feel that if we're taking that analytically, that if I say I don't believe in the resurrection, not just that I believe you believe it, but I believe in your belief in the resurrection. At what point is that any different from saying, I believe in the resurrection. I feel like I need to spend more time with it. What the slight gap is there that I don't have that someone else does, or as I say it, do I then believe in the resurrection that moment? I'm not sure.I think also what I'm doing right now is trying to sound all clever with it, whereas for other people it's this deep ingrained truth that governs every moment of their life and that they can feel everywhere, or perhaps they can't. Perhaps there's more doubt than they suggest, which I think is the case with lots of us. Say on the deathbed, someone saying that they fully believe in the resurrection because that means there's eternal salvation, and their family believe in that too. I don't think I have that kind of certainty, but I admire it.Henry: Tell me how you got the title for this book from an episode of The Simpsons.Lamorna: It's really good app. It's from When Maggie Makes Three, which is my favorite episode. I think titles are horribly hard. I really struck my first book. I would have these sleepless nights just thinking about words related to the sea, and be like, blue something. I don't know. There was a point where my editor wanted to call it Trawler Girl. I said, "We mustn't. That's awful. That's so bad. It makes me sound like a terrible superhero. I'm not a girl, I'm a woman."With this one, I think it was my fun title for ages. Yes, it's this plaque that Homer has put-- Mr. Burns puts up this plaque to remind him that he will never get to leave the power plant, "Don't forget you're here forever."I just think it's a strong and bonkers line. I think it had this element of play or silliness that I wanted, that I didn't think about too hard. I guess that's an evangelical Christian underneath what they're actually saying is saying-- not all evangelicals, but often is this sense of no, no, no, we are here forever. You are going to live forever. That is what heaven means.That sense of then saying it in this jokey way. I think church is often very funny spaces, and funny things happen. They make good comedy series when you talk about faith.Someone's saying she don't forget we're here forever. The don't forget makes it so colloquial and silly. I just thought it was a funny line for that reason.Then also that question people always ask, "Is religion going to die out?" I thought that played into it. This feeling that, yes, I write about it. There was a point when I was going to an Extinction Rebellion protest, and everyone was marching along with that symbol of the hourglass inside a circle next to a man who had a huge sign saying, "Stop, look, hell is real, the end of the world is coming." This sense of different forms of apocalyptic thinking that are everywhere at the moment. I felt like the title worked for that as well.Henry: I like that episode of The Simpsons because it's an expression of an old idea where he's doing something boring and his life is going to slip away bit by bit. The don't forget you're here forever is supposed to make that worse, but he turns it round into the live like you're going to die tomorrow philosophy and makes his own kind of meaning out of it.Lamorna: By papering it over here with pictures of Maggie. They love wordplay, the writers of The Simpsons, and so that it reads, "Do it for her," instead. That feeling of-- I think that with faith as well of, don't forget we're here forever, think about heaven when actually so much of our life is about papering it over with humanity and being like, "Does it matter? I'm with you right now, and that's what matters." That immediacy of human contact that church is also really about, that joy in the moment. Where it doesn't really matter in that second if you're going to heaven or hell, or if that exists. You're there together, and it's euphoric, or at least it's a relief or comforting.Henry: You did a lot of Bible study and bible reading to write this book. What were the big surprises for you?Lamorna: [chuckles] This is really the ending, but revelation, I don't really think it's very well written at all. It shouldn't be in there, possibly. It's just not [unintelligible 00:39:20] It got added right in the last minute. I guess it should be in there. I just don't know. What can I say?So much of it was a surprise. I think slowly reading the Psalms was a lovely surprise for me because they contain so much uncertainty and anguish, and doubt. Imagining those being read aloud to me always felt like a very exciting thing.Henry: Did you read them aloud?Lamorna: When I go to more Anglo Catholic services, they tend to do them-- I never know how to pronounce this. Antiphonally.Henry: Oh yes.Lamorna: Back and forth between you. It's very reverential, lovely experience to do that. I really think I was surprised by almost everything I was reading. At the start of Kierkegaard's Fear and Trembling, he does this amazing thing where he does four different versions of what could be happening in the Isaac and Abraham story underneath.There's this sense of in the Bible, and I'm going to get this wrong, but in Mimesis, Auerbach talks about the way that you're not given the psychological understanding within the Bible. There's so much space for readers to think with, because you're just being told things that happened, and the story moves on quickly, moment by moment. With Isaac and Abraham, what it would mean if Isaac actually had seen the fact that his father was planning to kill him. Would he then lose his faith? All these different scenarios.I suddenly realised that the Bible was not just a fixed text, but there was space to play with it as well. In the book, I use the story of Jacob and the angel and play around with the meaning of that and what would happen after this encounter between Jacob and an angel for both of them.Bits in the Gospels, I love the story of the Gerasene Demoniac. He was a knight. He was very unwell, and no one knew what to do with him. He was ostracised from his community. He would sit in this cave and scream and lacerate himself against the cave walls. Then Jesus comes to him and speaks to him and speaks to the demons inside him. There's this thing in Mark's Gospel that Harold Bloom talks about, where only demons are actually able to perceive. Most people have to ask Christ who he really is, but demons can perceive him immediately and know he's the son of God.The demons say that they are legion. Then Jesus puts them into 1,000 pigs. Is it more? I can't remember. Then they're sent off over the cliff edge. Then the man is made whole and is able to go back to his community. I just think there's just so much in that. It's so rich and strange. I think, yes, there's something about knowing you could sit down and just read a tiny bit of the Bible and find something strange and unusual that also might speak to something you've read that's from thousands of years later.I also didn't know that in Mark's Gospel, the last part of it is addended, added on to it. Before that, it ended with the women being afraid, seeing the empty tomb, but there's no resolution. There's no sense of Christ coming back as spirit. It ended in this deep uncertainty and fear. I thought that was so fascinating because then again, it reminds you that those texts have been played around with and thought with, and meddled with, and changed over time. It takes away from the idea that it's fixed and certain, the Bible.Henry: What did you think of Harold Bloom's book The Shadow of a Great Rock?Lamorna: I really loved it. He says that he treats Shakespeare more religiously and the Bible more like literature, which I found a funny, irreverent thing to say. There's lovely stuff in there where, I think it was Ruth, he was like, maybe it was written by a woman. He takes you through the different Hebrew writers for Genesis. Which again, becoming at this as such a novice in so many ways, realising that, okay, so when it's Yahweh, it's one particular writer, there's the priestly source for particular kinds of writing. The Yahwist is more ironic, or the God you get is more playful.That was this key into thinking about how each person trying to write about God, it's still them and their sense of the world, which is particular and idiosyncratic is forming the messages that they believe they're receiving from God. I found that exciting.Yes, he's got this line. He's talking about the blessings that God gives to men in Genesis. He's trying to understand, Bloom, what the meaning of a blessing is. He describes it as more life into a time without boundaries. That's a line that I just found so beautiful, and always think about what the meaning of that is. I write it in the book.My best friend, Sammy, who's just the most game person in the world, that you tell them anything, they're like, "Cool." I told them that line. They were like, "I'm getting it tattooed on my arm next week." Then got me to write in my handwriting. I can only write in my handwriting, but write down, "More time into life without boundaries." Now they've just got it on their arm.Henry: Nice.Lamorna: I really like. They're Jewish, non-practicing. They're not that really interested in it. They were like, "That's a good line to keep somewhere."Henry: I think it's actually one of Bloom's best books. There's a lot of discussion about, is he good? Is he not good? I love that book because it really just introduces people to the Bible and to different versions of the Bible. He does all that Harold Bloom stuff where he's like, "These are the only good lines in this particular translation of this section. The rest is so much dross.He's really attentive to the differences between the translations, both theologically but also aesthetically. I think a lot of people don't know the Bible. It's a really good way to get started on a-- sitting down and reading the Bible in order. It's going to fail for a lot of people. Harold Bloom is a good introduction that actually gives you a lot of the Bible itself.Lamorna: For sure, because it's got that midrash feeling of being like someone else working around it, which then helps you get inside it. I was reading that book whilst going to these Bible studies at a conservative evangelical church called All Souls. I wasn't understanding what on earth was going on in Mark through the way that we're being told to read it, which is kids' comprehension.Maybe it was useful to think about why would the people have been afraid when Christ quelled the storms? It was doing something, but there was no sense of getting inside the text. Then, to read alongside that, Bloom saying that the Christ in Mark is the most unknowable of all the versions of Christ. Then again, just thinking, "Oh, hang on." There's an author. The author of Mark's gospel is perceiving Christ in a particular way. This is the first of the gospels writing about Christ. What does it mean? He's unknowable. Suddenly thinking of him as a character, and therefore thinking about how people are relating to him. It totally cracks the text open for you.Henry: Do you think denominational differences are still important? Do most people have actual differences in dogma, or are they just more cultural distinctions?Lamorna: They're ritual distinctions. There really is little that you could compare between a Quaker meeting and a Catholic service. That silence is the fundamental aspect of all of it. There's a sense of enlighten.My Quaker mate, Lawrence, he's an atheist, but he wouldn't go to another church service because he's so against the idea of hierarchy and someone speaking from a pulpit. He's like, honestly, the reincarnated spirit of George Fox in many ways, in lots of ways he's not.I guess it becomes more blurry because, yes, there's this big thing in the early 20th century in Britain anyway, where the line that becomes more significant is conservative liberal. It's very strange that that's how our world gets divided. There's real simplification that perhaps then, a liberal Anglican church and a liberal Catholic church have more in relationship than a conservative Catholic church and a conservative evangelical church. The line that is often thinking about sexuality and marriage.I was interested, people have suddenly was called up in my book that I talk about sex a lot. I think it's because sex comes up so much, it feels hard not to. That does seem to be more important than denominational differences in some ways. I do think there's something really interesting in this idea of-- Oh, [unintelligible 00:48:17] got stung. God, this is a bit dramatic. Sorry, I choked on coffee earlier. Now I'm going to get stung by a bee.Henry: This is good. This is what makes a podcast fun. What next?Lamorna: You don't get this in the BBC studios. Maybe you do. Oh, what was I about to say? Oh, yes. I like the idea of church shopping. People saying that often it speaks to the person they are, what they're looking for in a church. I think it's delightful to me that there's such a broad church, and there's so many different spaces that you can go into to discover the church that's right for you. Sorry. I'm really distracted by this wasp or bee. Anyway.Henry: How easy was it to get people to be honest with you?Lamorna: I don't know. I think that there's certain questions that do tunnel right through to the heart of things. Faith seems to be one of them. When you talk about faith with people, you're getting rid of quite a lot of the chaff around with the politeness or whatever niceties that you'd usually speak about.I was talking about this with another friend who's been doing this. He's doing a play about Grindr. He was talking about how strange it is that when you ask to interview someone and you have a dictaphone there, you do get a deeper instant conversation. Again, it's a bit like a therapeutic conversation where someone has said to you, "I'm just going to sit and listen." You've already agreed, and you know it's going to be in a book. "Do you mind talking about this thing?"That just allows this opportunity for people to be more honest because they're aware that the person there is actually wanting to listen. It's so hard to create spaces. I create a cordon and say, "We're going to have a serious conversation now." Often, that feels very artificial. I think yes, the beauty of getting to sit there with a dictaphone on your notebook is you are like, "I really am interested in this. It really matters to me." I guess it feels easy in that way to get honesty.Obviously, we're all constructing a version of ourselves for each other all the time. It's hard for me to know to what extent they're responding to what they're getting from me, and what they think I want to hear. If someone else interviewed them, they would probably get something quite different. I don't know. I think if you come to be with openness, and you talk a bit about your journey, then often people want to speak about it as well.I'm trying to think. I've rarely interviewed someone where I haven't felt this slightly glowy, shimmery sense of it, or what I'm learning feels new and feels very true. I felt the same with Cornish Fisherman, that there was this real honesty in these conversations. Many years ago, I remember I got really obsessed with interviewing my mom. I think I was just always wanting to practice interviewing. The same thing that if there's this object between you, it shifts the dimensions of the conversation and tends towards seriousness.Henry: How sudden are most people's conversions?Lamorna: Really depends. I was in this conversation with someone the other day. When she was 14, 15, she got caught shoplifting. She literally went, "Oh, if there's a God up there, can you help get me out of the situation?" The guy let her go, and she's been a Christian ever since. She had an instantaneous conversion. Someone I interviewed in the book, and he was a really thoughtful card-carrying atheist. He had his [unintelligible 00:51:58] in his back pocket.He hated the Christians and would always have a go at them at school because he thought it was silly, their belief. Then he had this instant conversion that feels very charismatic in form, where he was just walking down an avenue of trees at school, and he felt the entire universe smiling at him and went, "Oh s**t, I better become a Christian."Again, I wonder if it depends. I could say it depends on the person you are, whether you are capable of having an instant conversion. Perhaps if I were in a religious frame of mind, I'd say it depends on what God would want from you. Do you need an instant conversion, or do you need to very slowly have the well filling up?I really liked when a priest said to me that people often go to church and expect to be changed in a moment. He's like, "No, you have to go for 20 years before anything happens." Something about that slow incremental conversion to me is more satisfying. It's funny, I was having a conversation with someone about if they believe in ghosts, and they were like, "Well, if I saw one, then I believe in ghosts." For some people, transcendental things happen instantaneously, and it does change them ultimately instantly.I don't know, I would love to see some stats about which kinds of conversions are more popular, probably more instant ones. I love, and I use it in the book, but William James' Varieties of Religious Experience. He talks about there's some people who are sick-souled or who are also more porous bordered people for whom strange things can more easily cross the borders of their person. They're more likely to convert and more likely to see things.I really like him describing it that way because often someone who's like that, it might just be described as well, you have a mental illness. That some people are-- I don't know, they've got sharper antennae than the rest of us. I think that is an interesting thought for why some people can convert instantly.Henry: I think all conversions take a long time. At the moment, there's often a pivotal moment, but there's something a long time before or after that, that may or may not look a conversion, but which is an inevitable part of the process. I'm slightly obsessed with the idea of quests, but I think all conversions are a quest or a pilgrimage. Your book is basically a quest narrative. As you go around in your Toyota, visiting these places. I'm suspicious, I think the immediate moment is bundled up with a longer-term thing very often, but it's not easy to see it.Lamorna: I love that. I've thought about the long tail afterwards, but I hadn't thought about the lead-up, the idea of that. Of what little things are changing. That's such a lovely thought. Their conversions began from birth, maybe.Henry: The shoplifter, it doesn't look like that's where they're heading. In retrospect, you can see that there weren't that many ways out of this path that they're on. Malcolm X is like this. One way of reading his autobiography is as a coming-of-age story. Another way of reading it is, when is this guy going to convert? This is going to happen.Lamorna: I really like that. Then there's also that sense of how fixed the conversion is, as well, from moment to moment. That Adam Phillips' book on wanting to change, he talks about our desire for change often outstrips our capacity for change. That sense of how changed am I afterwards? How much does my conversion last in every moment? It goes back to the do you believe in the resurrection thing.I find that that really weird thing about writing a book is, it is partly a construction. You've got the eye in there. You're creating something that is different from your reality and fixed, and you're in charge of it. It's stable, it remains, and you come to an ending. Then your life continues to divert and deviate in loads of different ways. It's such a strange thing in that way. Every conversion narrative we have fixed in writing, be it Augustine or Paul, whatever, is so far from the reality of that person's experience.Henry: What did the new atheists get wrong?Lamorna: Arrogance. They were arrogant. Although I wonder, I guess it was such a cultural moment, and perhaps in the same way that everyone is in the media, very excitedly talking about revival now. There was something that was created around them as well, which was delight in this sense of the end of something. I wonder how much of that was them and how much of it was, they were being carried along by this cultural media movement.I suppose the thing that always gets said, and I haven't read enough Dawkins to say this with any authority, but is that the form of religion that he was attempting to denigrate was a very basic form of Christianity, a real, simplified sense. That he did that with all forms of religion. Scientific progress shows us we've progressed beyond this point, and we don't need this, and it's silly and foolish.I guess he underestimated the depth and richness of religion, and also the fact of this idea of historical progress, when the people in the past were foolish, when they were as bright and stupid as we are now.Henry: I think they believed in the secularization idea. People like Rodney Stark and others were pointing out that it's not really true that we secularized a lot more consistency. John Gray, the whole world is actually very religious. This led them away from John Stuart Mill-type thinking about theism. I think everyone should read more John Stuart Mill, but they particularly should have read the theism essays. That would have been--Lamorna: I've only just got into him because I love the LRB Close Reading podcast. It's Jonathan Rée and James Wood. They did one on John Stuart Mill's autobiography, which I've since been reading. It's an-Henry: It's a great book.Lamorna: -amazing book. His crisis is one of-- He says, "The question of religion is not something that has been a part of my life, but the sense of being so deeply learned." His dad was like, "No poetry." In his crisis moment, suddenly realizing that that's what he needed. He was missing feeling, or he was missing a way of looking at the world that had questioning and doubt within it through poetry.There was a bit in the autobiography, and he talks about when he was in this deep depression, whenever he was at 19 or something. That he was so depressed that he thought if there's a certain number of musical notes, one day there will be no more new music because every single combination will have been done. The sense of, it's so sweetly awful thinking, but without the sense-- I'm not sure what I'm trying to say here.I found his crisis so fascinating to read about and how he comes out of that through this care and attention of beautiful literature and thinking, and through his love of-- What was his wife called again?Henry: Harriet.Lamorna: Harriet. He credits her for almost all his thinking. He wouldn't have moved towards socialism without her. Suddenly, humans are deeply important to him. He feels sorry for the fact that his dad could not express love or take love from him, and that that was such a terrible deficiency in his life.Henry: Mill's interesting on religion because he looks very secular. In fact, if you read his letters, he's often going into churches.Lamorna: Oh, really?Henry: Yes, when he's in Italy, because he had tuberculosis. He had to be abroad a lot. He's always going to services at Easter and going into the churches. For a secular person, he really appreciates all these aspects of religion. His stepdaughter was-- there's a diary of hers in their archives. She was very religious, very intense. As a young woman, when she's 16, 17, intensely Catholic or Anglo-Catholic. Really, it's quite startling.I was reading this thing, and I was like, "Wait, who in the Mill household is writing this? This is insane." There are actually references in his letters where he says, "Oh, we'll have to arrive in time for Good Friday so that she can go to church." He's very attentive to it. Then he writes these theism essays, right at the end of his life. He's very open-minded and very interrogatory of the idea. He really wants to understand. He's not a new atheist at all.Lamorna: Oh, okay. I need to read the deism essays.Henry: You're going to love it. It's very aligned. What hymns do you like?Lamorna: Oh, no.Henry: You can be not a hymn person.Lamorna: No. I'm not a massive hymn person. When I'm in church, the Anglican church that I go to in London now, I always think, "Remember that. That was a really nice one." I like to be a pilgrim. I really don't have the brain that can do this off the cuff. I'm not very musically. I'm deeply unmusical.There was one that I was thinking of. I think it's an Irish one. I feel like I wrote this down at one point, because I thought I might be asked in another interview. I had to write down what I thought in case a hymn that I liked. Which sounds a bit like a politician, when they're asked a question, they're like, "I love football." I actually can't think of any. I'm sorry.Henry: No, that's fine.Lamorna: What are your best? Maybe that will spark something in me.Henry: I like Tell Out My Soul. Do you know that one?Lamorna: Oh, [sings] Tell Out My Soul. That's a good one.Henry: If you have a full church and people are really going for it, that can be amazing. I like all the classics. I don't have any unusual choices. Tell Out My Soul, it's a great one. Lamorna Ash, this has been great. Thank you very much.Lamorna: Thank you.Henry: To close, I think you're going to read us a passage from your book.Lamorna: I am.Henry: This is near the end. It's about the Bible.Lamorna: Yes. Thank you so much. This has definitely been my favourite interview.Henry: Oh, good.Lamorna: I really enjoyed it. It's really fun.Henry: Thank you.Lamorna: Yes, this is right near the end. This is when I ended up at a church, St Luke's, West Holloway. It was a very small 9:00 AM service. Whilst the priest who'd stepped in to read because the actual priest had left, was reading, I just kept thinking about all the stories that I'd heard and wondering about the Bible and how the choices behind where it ends, where it ends.I don't think I understand why the Bible ends where it does. The final lines of the book of Revelation are, "He who testifies to these things says, Yes, I am coming soon. Amen. Come, Lord Jesus, the grace of the Lord Jesus be with God's people. Amen." Which does sound like a to-be-continued. I don't mean the Bible feels incomplete because it ends with Revelation. What I mean is, if we have continued to hear God and wrestle with him and his emissaries ever since the first overtures of the Christian faith sounded.Why do we not treat these encounters with the same reverence as the works assembled in the New Testament? Why have we let our holy text grow so antique and untouchable instead of allowing them to expand like a divine Wikipedia updated in perpetuity? That way, each angelic struggle and Damascene conversion that has ever occurred or one day will, would become part of its fabric.In this Borgesian Bible, we would have the Gospel of Mary, not a fictitious biography constructed by a man a century after her death, but her true words. We would have the conversion of the Ethiopian eunuch on the road between Jerusalem and Gaza from Acts, but this time given in the first person. We would have descriptions from the Picts on Iona of the Irish Saint Columba appearing in a rowboat over the horizon.We would have the Gospels of those from the early Eastern Orthodox churches, Assyrian Gospels, Syriac Orthodox Gospels. We would have records of the crusades from the Christian soldiers sent out through Europe to Jerusalem in order to massacre those of other faiths, both Muslim and Jewish. In reading these accounts, we would be forced to confront the ways in which scripture can be interpreted

Pod45 returns with a discussion on, in, and around our recent cluster Samuel R. Delany's Improbable Communities. Contemporaries co-editor Francisco Robles hosts a conversation with cluster editor Blake Stricklin, and cluster contributors Y Howard, Kirin Wachter-Grene, Rebekah Sheldon, and Christopher Breu.

In Care at the End of the World: Dreaming of Infrastructure in Crip-Of-Color Writing (Duke UP, 2025), Jina B. Kim develops what she calls crip-of-color critique, bringing a disability lens to bear on feminist- and queer-of-color literature in the aftermath of 1996 US welfare reform and the subsequent evisceration of social safety nets. She examines literature by contemporary feminist, queer, and disabled writers of color such as Jesmyn Ward, Octavia Butler, Karen Tei Yamashita, Samuel Delany, and Aurora Levins Morales, who each bring disability and dependency to the forefront of their literary freedom dreaming. Kim shows that in their writing, liberation does not take the shape of the unfettered individual or hinge on achieving independence. Instead, liberation emerges by recuperating dependency, cultivating radical interdependency, and recognizing the numerous support systems upon which survival depends. At the same time, Kim demonstrates how theories and narratives of disability can intervene into state-authored myths of resource parasitism, such as the welfare queen. In so doing, she highlights the alternate structures of care these writers envision and their dreams of life organized around reciprocity and mutual support. Duke University Press Scholars of Color First Book Award Jina B. Kim is Assistant Professor of English and the Study of Women, Gender, and Sexuality at Smith College. Kim is a scholar, writer, and educator of feminist disability studies, queer-of-color critique, and contemporary multi-ethnic U.S. literature. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

In Care at the End of the World: Dreaming of Infrastructure in Crip-Of-Color Writing (Duke UP, 2025), Jina B. Kim develops what she calls crip-of-color critique, bringing a disability lens to bear on feminist- and queer-of-color literature in the aftermath of 1996 US welfare reform and the subsequent evisceration of social safety nets. She examines literature by contemporary feminist, queer, and disabled writers of color such as Jesmyn Ward, Octavia Butler, Karen Tei Yamashita, Samuel Delany, and Aurora Levins Morales, who each bring disability and dependency to the forefront of their literary freedom dreaming. Kim shows that in their writing, liberation does not take the shape of the unfettered individual or hinge on achieving independence. Instead, liberation emerges by recuperating dependency, cultivating radical interdependency, and recognizing the numerous support systems upon which survival depends. At the same time, Kim demonstrates how theories and narratives of disability can intervene into state-authored myths of resource parasitism, such as the welfare queen. In so doing, she highlights the alternate structures of care these writers envision and their dreams of life organized around reciprocity and mutual support. Duke University Press Scholars of Color First Book Award Jina B. Kim is Assistant Professor of English and the Study of Women, Gender, and Sexuality at Smith College. Kim is a scholar, writer, and educator of feminist disability studies, queer-of-color critique, and contemporary multi-ethnic U.S. literature. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In Care at the End of the World: Dreaming of Infrastructure in Crip-Of-Color Writing (Duke UP, 2025), Jina B. Kim develops what she calls crip-of-color critique, bringing a disability lens to bear on feminist- and queer-of-color literature in the aftermath of 1996 US welfare reform and the subsequent evisceration of social safety nets. She examines literature by contemporary feminist, queer, and disabled writers of color such as Jesmyn Ward, Octavia Butler, Karen Tei Yamashita, Samuel Delany, and Aurora Levins Morales, who each bring disability and dependency to the forefront of their literary freedom dreaming. Kim shows that in their writing, liberation does not take the shape of the unfettered individual or hinge on achieving independence. Instead, liberation emerges by recuperating dependency, cultivating radical interdependency, and recognizing the numerous support systems upon which survival depends. At the same time, Kim demonstrates how theories and narratives of disability can intervene into state-authored myths of resource parasitism, such as the welfare queen. In so doing, she highlights the alternate structures of care these writers envision and their dreams of life organized around reciprocity and mutual support. Duke University Press Scholars of Color First Book Award Jina B. Kim is Assistant Professor of English and the Study of Women, Gender, and Sexuality at Smith College. Kim is a scholar, writer, and educator of feminist disability studies, queer-of-color critique, and contemporary multi-ethnic U.S. literature. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

In Care at the End of the World: Dreaming of Infrastructure in Crip-Of-Color Writing (Duke UP, 2025), Jina B. Kim develops what she calls crip-of-color critique, bringing a disability lens to bear on feminist- and queer-of-color literature in the aftermath of 1996 US welfare reform and the subsequent evisceration of social safety nets. She examines literature by contemporary feminist, queer, and disabled writers of color such as Jesmyn Ward, Octavia Butler, Karen Tei Yamashita, Samuel Delany, and Aurora Levins Morales, who each bring disability and dependency to the forefront of their literary freedom dreaming. Kim shows that in their writing, liberation does not take the shape of the unfettered individual or hinge on achieving independence. Instead, liberation emerges by recuperating dependency, cultivating radical interdependency, and recognizing the numerous support systems upon which survival depends. At the same time, Kim demonstrates how theories and narratives of disability can intervene into state-authored myths of resource parasitism, such as the welfare queen. In so doing, she highlights the alternate structures of care these writers envision and their dreams of life organized around reciprocity and mutual support. Duke University Press Scholars of Color First Book Award Jina B. Kim is Assistant Professor of English and the Study of Women, Gender, and Sexuality at Smith College. Kim is a scholar, writer, and educator of feminist disability studies, queer-of-color critique, and contemporary multi-ethnic U.S. literature. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/lgbtq-studies

In Care at the End of the World: Dreaming of Infrastructure in Crip-Of-Color Writing (Duke UP, 2025), Jina B. Kim develops what she calls crip-of-color critique, bringing a disability lens to bear on feminist- and queer-of-color literature in the aftermath of 1996 US welfare reform and the subsequent evisceration of social safety nets. She examines literature by contemporary feminist, queer, and disabled writers of color such as Jesmyn Ward, Octavia Butler, Karen Tei Yamashita, Samuel Delany, and Aurora Levins Morales, who each bring disability and dependency to the forefront of their literary freedom dreaming. Kim shows that in their writing, liberation does not take the shape of the unfettered individual or hinge on achieving independence. Instead, liberation emerges by recuperating dependency, cultivating radical interdependency, and recognizing the numerous support systems upon which survival depends. At the same time, Kim demonstrates how theories and narratives of disability can intervene into state-authored myths of resource parasitism, such as the welfare queen. In so doing, she highlights the alternate structures of care these writers envision and their dreams of life organized around reciprocity and mutual support. Duke University Press Scholars of Color First Book Award Jina B. Kim is Assistant Professor of English and the Study of Women, Gender, and Sexuality at Smith College. Kim is a scholar, writer, and educator of feminist disability studies, queer-of-color critique, and contemporary multi-ethnic U.S. literature. Learn more about your ad choices. Visit megaphone.fm/adchoices

It's easy to talk about what we don't want in the world—hate, discrimination, and violence against our community—but what kind of future DO we want to see?  In this episode Gabe and Chris ask past guests from this season what kind of queer utopia they'd like to see materialize by the year 2069, on the 100th anniversary of the Stonewall riots. You'll hear from kinksters, artists, and sex workers about their hopes for the future, and the possible innovations, societal shifts, and sexual possibilities that await us later this century.  Follow Sniffies' Cruising Confessions: cruisingconfessions.com   Try Sniffies: sniffies.com   Follow Sniffies on Social: Instagram: instagram.com/sniffiesapp X: x.com/sniffiesapp TikTik: tiktok.com/@sniffiesapp   Follow the hosts: Gabe Gonzalez: instagram.com/gaybonez Chris Patterson-Rosso: instagram.com/cprgivesyoulife   Guests featured in this episode:   Scott Carslake: x.com/muscledcumhole Leo Herrera:  iftheylived.org   Brontez Purnell  instagram.com/brontezpurnell   Xavier Blanco linktr.ee/nycdominicano   Tomik Dash instagram.com/tomik2point0 linkin.bio/tomik2point0   Dale Corvino instagram.com/dalecorvino dalecorvino.com   Jules Rosskam instagram.com/julesrosskamfilms www.desirelinesfilm.com   Santos J. Arce instagram.com/kinkpunx/ linktr.ee/santosjarce   Donald C. Shorter Jr instagram.com/donxmen   Chipper instagram.com/followchipper instagram.com/unleashedbkSee omnystudio.com/listener for privacy information.

When you think about Afrofuturism, what pops into your head? Is it the sci-fi novels of writers Ocatvia Butler, Samuel Delany, or N.K. Jemisin? Or perhaps you've tuned in more recently to the representation of Afrofuturism on the big screen in movies like Black Panther. What about quilting? A new exhibit at Michigan State University showcases the Black artists using fabric and Afrofuturist themes to create unique works of art. On this episode, we'll hear from one of the curators about how these quilts envision a Black future while paying homage to its rich history.  GUEST:  Liv Furman, post-doctoral scholar in the Department of African American and African Studies at Michigan State University Looking for more conversations from Stateside? Right this way. If you like what you hear on the pod, consider supporting our work. Music in this episode by Blue Dot Sessions.See omnystudio.com/listener for privacy information.

No episódio de hoje, Tiago Meira e Fabio Fernandes falam sobre NOVA de Samuel Delany lançado originalmente em 1968. Apoie o podcast: https://apoia.se/vivascifi Catarse Arquétipos de Massa - Labirintos de Fabio Fernandes: https://www.catarse.me/lancamento_do_livro_arquetipos_de_massa_labirintos_de_fabio_fernandes_11b5?project_id=175051&project_user_id Siga o Viva Sci-Fi no Instagram: https://www.instagram.com/vivascifi/ Siga o Viva Sci-Fi no Twitter/X: https://twitter.com/vivascifi Canal no youtube do Fabio Fernandes: https://www.youtube.com/@TerraIncognitaBooksNStuff Site do Fabio Fernandes: https://fabiofernandeswriter.com/ Arte e produção: Carolina Meroni Trilha sonora: Mateus Castilhos Agradecimento especial aos apoiadores: Vinicius Morelli Elvis Soriano Rodrigues Erick Ricco Hoelzle João Vitor Neto Alyson Ferrari Otavio Venturoli

Subscribe to the Patreon to hear the full episode: https://www.patreon.com/user?u=85347146 Jolene is joined by Lyn of Make the Golf Course a Public Sex Forest (which you can order here: https://maitlandsystems.bigcartel.com/product/make-the-golf-course-a-public-sex-forest) to discuss some books by the great Joanna Russ and Samuel Delany! Check out the new Library of America collection of Joanna Russ' writing: https://www.thriftbooks.com/w/joanna-russ-novels--stories-loa-373-the-female-man--we-who-are-about-to-----on-strike-against-god--the-complet-e-alyx-stories--other-stor/38070473/?resultid=6a488857-ffe3-4e55-87d5-a829e2c8e8f0#edition=65984488&idiq=55281395 The intro and outro music is by Lynn July. You can listen to more of her music at: ⁠⁠⁠https://tinytachyon.bandcamp.com/⁠⁠⁠ Follow the pod on twitter: ⁠⁠⁠https://twitter.com/WhenAGuyHas⁠⁠⁠ Check out our website: ⁠⁠⁠https://whenaguyhas.neocities.org/⁠⁠⁠ (IN PROGRESS) Subscribe to the patreon for more like this!!! https://www.patreon.com/user?u=85347146 The RSS Feed: ⁠⁠⁠https://anchor.fm/s/9877d600/podcast/rss⁠⁠⁠ Donate to our Kofi, if you're so inclined: ⁠⁠⁠https://ko-fi.com/whenaguyhas⁠

We embark on a cosmic journey through Samuel Delany's 1966 sci-fi gem, Babel-17. This novel by the brilliant self-described “boring old Marxist” (the best kind of person!) has it all: a telepathic poet captaining a star ship, naked space parties, a 10-foot-tall cat-man pilot, and a cosmic throuple guiding the way. And let's not forget the discorporate entities—because we all need some more space ghosts in our lives. We get into linguistic philosophy, the category of the human, and what the whole Babel thing is about.  We read the Vintage edition that includes the in-universe short story “Empire Star” and recommend getting your hands on Delaney's other works like his novel Nova and his 1999 critical work/memoir, Times Square Red, Times Square Blue on New York's porn theaters of the 1960s and 70s.  Find us on Twitter, Instagram, and Facebook @betterreadpod, and email us nice things at betterreadpodcast@gmail.com. Find Tristan on Twitter @tjschweiger, Katie @katiekrywo, and Megan @tuslersaurus; we all have the same handles on BlueSky.

In the previous episode, The Genealogy Guys Podcast announced that, in partnership with MyHeritage.com, we were giving away a FREE MyHeritage DNA Kit. The winner is Shontè Anthony from Maryland. An email with the code to redeem the kit is in the mail! News You Can Use and Share! The Black Cemetery Network (BCN) at https://blackcemeterynetwork.org is hosting an event in Tampa, Florida on 14 October 2023 from 10 AM to Noon to commemorate Black History and the Memorial Park Cemetery. It will begin with presentations at the C. Blythe Andrews Library, 2607 E. Dr. MLK Jr. Boulevard, followed by an on-site walk in the Memorial Park Cemetery next door. You are cordially invited to join us for this exciting event and to help spread the word. Drew Smith and I, along with volunteers from across the country, have been deeply involved with the Zion Cemetery Project in Tampa for several years. It seeks to document all of the people interred in the "erased African-American cemetery" and bring their stories to life. All of the tombstones were removed, and portions of the property were "developed," leaving this sacred ground partially covered by buildings and the cemetery erased. The University of South Florida (USF) in Tampa has been supporting and promoting this work. The Black Cemetery Network was established and strives to support and publicize efforts across the U.S. to trace the "erased" cemeteries and promote projects like the Zion Project to un-erase them and to honor those buried in these cemeteries. As the Zion Project work is approaching its end, Drew and I, USF, and the Black Cemetery Network are about to begin work on three (3) "erased" cemeteries in St. Petersburg, Pinellas County, Florida, and beyond in that county. We are very proud to be part of these projects and to recognize and celebrate the lives of those early residents who built and shaped our communities. Registration for RootsTech 2024, the premier global family history conference, is now open. The event will be held from 29 February through 2 March 2024 in both in-person and virtual formats, from the Salt Palace Convention Center in Salt Lake City, Utah. Learn more and register at https://www.familysearch.org/rootstech/home. MyHeritage has announced the release of PhotoDater™, a groundbreaking, free new feature that estimates the year a photo was taken using AI technology. MyHeritage added 89 million historical records to its site in August 2023. George summarizes these collections. Drew recaps the highlights of the newest record releases at FamilySearch in August 2023. Interview Drew talks with Rick Voight, CEO of Vivid-Pix, and Sue Kaufman, manager of the Genealogy Collection at the Clayton Library Center for Genealogical Research in Houston, Texas. They discuss the initiative of the National Genealogical Society and Vivid-Pix and the cross-country tour that Rick is making to share the information. Listener Email In a follow-up to our discussion in episode #418 about the U.S. Patent and Trademark Database (USPTO at https://www.uspto.gov/patents/search, Kim writes about a patent filed and approved by great-grandfather James D. Nairne (#1,088,443), and wants to know more, including whether it was used and/or whether it was transferred. Carol Ansel, Director of the Godfrey Memorial Library (https://www.godfrey.org/scholar/godfrey-home.html), wrote to expand on Drew's description of their collection and services. Jean wrote about a recent search in the deed records in Suffolk County [New York] for an entry for her great-grandfather, Adolph J. Mueller. The deed concerned the sale of paint to the Charles H. Brown Paint Company for the sum of $1. She is looking for the reason why this transaction was recorded in a deed book. Nicole is researching her Dulaney ancestral line from Virginia, supposedly back to Ireland. Drew shared some insights during our last episode. Nicole describes her research and asks for recommendations for more records of Samuel Delany. Ashley wrote about her Irish research into Andrew Dickey triggered by a small Bible, inscribed to him in 1847. He was a teacher in Ireland. She is also looking into his sisters in the U.S. Drew begins his 10-day research trip to Ireland on 4 October 2023 with his brother, led by expert Donna Moughty. He shares some preparations he has made and will tell us about his adventures in upcoming podcasts! Thank you to all our Patreon supporting members for their support. Your Patreon support helps us improve our technology and provide even more podcast content to you! You can join us for as little as $1 a month or as much as you'd like to contribute. Visit https://www.patreon.com/genealogyguys to get started. Please also tell your friends and your genealogical society about our free podcasts, blog, and our Genealogy Guys Learn subscription education website. And don't forget to order Drew's new book, Generation by Generation: A Modern Approach to the Basics of Genealogy, from Genealogical Publishing Company (https://genealogical.com/) or Amazon.com. Please let us hear from you at genealogyguys@gmail.com.

The British writer LP Hartley opened his novel “The Go-Between” with an unforgettable line “The past is a foreign country; they do things differently there.” There's a long-standing idea of literature being a vehicle to explore these “foreign countries”, be they temporal or geographical or cultural.  My guest today has been one of the most innovative voices with regard to the immigrant experience, especially through his 2007 novel “The Brief Wondrous Life of Oscar Wao”. Junot Díaz is a Dominican-American writer who won the Pulitzer Prize for that novel, thanks to its incredibly modern story-telling. The prose was insane, with different characters' vernacular switching on and off, the timelines, inspirations, characters felt incredibly fresh and exciting. It's the story of a young Dominican-American boy who navigates this new world of America, whilst pining for the homeland of the Dominican Republican, and he copes with this, and with the turmoil of adolescence, by immersing himself in typical teen nerd culture of comics, and sci-fi. If you haven't read that book, then I strongly suggest that you do. Junot Diaz is now a Professor of Creative Writing at MIT (the Massachussetts Institute of Technology) as well as a contributing editor to the Boston Review of Fiction. In this episode, we talk about his inspirations for his work, his process and what makes him tick as an artist. A list of the books mentioned in the episode: The book I've never heard of: Incantations and Other Stories, by Anjana Appachana (1991) Best book of the last 12 months: “The Sellout” by Paul Beatty (2015) Most disappointing book of the last 12 months: “Star Maker”, by Olaf Stapledon (1937) Which book would he take to a desert island: Either “Beloved” by Toni Morrison (1987) or “Dhalgren”, a sci-fi novel by Samuel Delany (1975) What book changed his mind: “City of Quartz” by Mike Davis (1990) Follow me ⁠⁠⁠@litwithcharles⁠⁠⁠ for more book reviews and recommendations!

John Plotz talked with Samuel Delany, living legend of science fiction and fantasy back in 2019. You probably know him best for breakthrough novels like Dhalgren and Trouble on Triton, which went beyond “New Wave” SF to introduce an intense and utterly idiosyncratic form of theory-rich and avant-garde stylistics to the genre. Reading him means leaving Earth, but also returning to the heady days when Greenwich Village was as caught up in the arrival of Levi-Strauss and Derrida to America as it was in a gender and sexuality revolution. Recall This Book loves him especially for his mind-bending Neveryon series: did you know that many consider his 1984 novella from that series, “The Tale of Plagues and Carnivals,” (set both inside the world of Neveryon and along Bleecker Street in NY) the first piece of fiction about AIDS in America? He came to Wellesley's Newhouse Center for the Humanities to talk about Afrofuturism, but also carved out two little chunks of time for this conversation. On August 6, 2019, an article based on this podcast interview appeared in our partner publication, Public Books Discussed in this episode: The Neveryon Series, “Racism and Science Fiction,” Triton (also referred to as The Trouble on Triton), “Aye, and Gomorrah,” “Time Considered as a Helix of Semi-Precious Stones,” Samuel R. Delany In Milton Lumky Territory, Confessions of a Crap Artist, Mary and the Giant, Do Androids Dream of Electric Sheep? and The Man in the High Castle, Philip K. Dick “The Science Fiction of Roe vs. Wade,” Palmer Rampell Library of America Volumes, Ursula K. Le Guin (Delany disses them!) A Little Earnest Book Upon a Great Old Subject, William Wilson I Will Fear No Evil and By His Bootstraps, Robert A. Heinlein The Fifth Season Novels, N.K. Jemisin More than Human and The Dreaming Jewels, Theodore Sturgeon The Making of Americans, Gertrude Stein Read the episode here. Learn more about your ad choices. Visit megaphone.fm/adchoices

John Plotz talked with Samuel Delany, living legend of science fiction and fantasy back in 2019. You probably know him best for breakthrough novels like Dhalgren and Trouble on Triton, which went beyond “New Wave” SF to introduce an intense and utterly idiosyncratic form of theory-rich and avant-garde stylistics to the genre. Reading him means leaving Earth, but also returning to the heady days when Greenwich Village was as caught up in the arrival of Levi-Strauss and Derrida to America as it was in a gender and sexuality revolution. Recall This Book loves him especially for his mind-bending Neveryon series: did you know that many consider his 1984 novella from that series, “The Tale of Plagues and Carnivals,” (set both inside the world of Neveryon and along Bleecker Street in NY) the first piece of fiction about AIDS in America? He came to Wellesley's Newhouse Center for the Humanities to talk about Afrofuturism, but also carved out two little chunks of time for this conversation. On August 6, 2019, an article based on this podcast interview appeared in our partner publication, Public Books Discussed in this episode: The Neveryon Series, “Racism and Science Fiction,” Triton (also referred to as The Trouble on Triton), “Aye, and Gomorrah,” “Time Considered as a Helix of Semi-Precious Stones,” Samuel R. Delany In Milton Lumky Territory, Confessions of a Crap Artist, Mary and the Giant, Do Androids Dream of Electric Sheep? and The Man in the High Castle, Philip K. Dick “The Science Fiction of Roe vs. Wade,” Palmer Rampell Library of America Volumes, Ursula K. Le Guin (Delany disses them!) A Little Earnest Book Upon a Great Old Subject, William Wilson I Will Fear No Evil and By His Bootstraps, Robert A. Heinlein The Fifth Season Novels, N.K. Jemisin More than Human and The Dreaming Jewels, Theodore Sturgeon The Making of Americans, Gertrude Stein Read the episode here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

John Plotz talked with Samuel Delany, living legend of science fiction and fantasy back in 2019. You probably know him best for breakthrough novels like Dhalgren and Trouble on Triton, which went beyond “New Wave” SF to introduce an intense and utterly idiosyncratic form of theory-rich and avant-garde stylistics to the genre. Reading him means leaving Earth, but also returning to the heady days when Greenwich Village was as caught up in the arrival of Levi-Strauss and Derrida to America as it was in a gender and sexuality revolution. Recall This Book loves him especially for his mind-bending Neveryon series: did you know that many consider his 1984 novella from that series, “The Tale of Plagues and Carnivals,” (set both inside the world of Neveryon and along Bleecker Street in NY) the first piece of fiction about AIDS in America? He came to Wellesley's Newhouse Center for the Humanities to talk about Afrofuturism, but also carved out two little chunks of time for this conversation. On August 6, 2019, an article based on this podcast interview appeared in our partner publication, Public Books Discussed in this episode: The Neveryon Series, “Racism and Science Fiction,” Triton (also referred to as The Trouble on Triton), “Aye, and Gomorrah,” “Time Considered as a Helix of Semi-Precious Stones,” Samuel R. Delany In Milton Lumky Territory, Confessions of a Crap Artist, Mary and the Giant, Do Androids Dream of Electric Sheep? and The Man in the High Castle, Philip K. Dick “The Science Fiction of Roe vs. Wade,” Palmer Rampell Library of America Volumes, Ursula K. Le Guin (Delany disses them!) A Little Earnest Book Upon a Great Old Subject, William Wilson I Will Fear No Evil and By His Bootstraps, Robert A. Heinlein The Fifth Season Novels, N.K. Jemisin More than Human and The Dreaming Jewels, Theodore Sturgeon The Making of Americans, Gertrude Stein Read the episode here. Learn more about your ad choices. Visit podcastchoices.com/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/lgbtq-studies

Our Recall this Buck series, back in 2020 and 2021, explored the history of money, ranging from the earliest forms of labor IOUs to the modern world of bitcoin and electronically distributed value. We began by focusing on the rise of capitalism, the Bank of England, and how an explosion of liquidity changed everything. We were lucky to do so, just before the Pandemic struck, with Christine Desan of Harvard Law School, who recently published Making Money: Coin, Currency, and the Coming of Capitalism (Oxford University Press, 2014). She is also managing editor of JustMoney.org, a website that explores money as a critical site of governance. Desan's research explores money as a legal and political project. Her approach opens economic orthodoxy to question by widening the focus on money as an instrument, to examine the institutions and agreements through which resources are mobilized and tracked, by means of money. In doing so, she shows that particular forms of money, and the markets within which they circulate, are neither natural or inevitable. Christine Desan, “Making Money“ Ursula Le Guin The Earthsea Novels (money hard to come by, but kinda cute) Samuel Delany, the Neveryon series (money part of the evils of naming, slavery, labor appropriation) Jane Austen “Pride and Prejudice“ Richard Rhodes, “Energy“ John Plotz, “Is Realism Failing?” (on liberal guilt and patrimonial fiction) William Cobbett, “Rural Rides” (1830; London as wen) E. P. Thompson, “The Moral Economy of the English Crowd in the Eighteenth Century” (notional “just price” of bread) Peter Brown, “Through the Eye of a Needle: Wealth, the Fall of Rome, and the Making of Christianity in the West, 350-550 AD” Chris Vanden Bossche, “Reform Acts“ “Sanditon” on PBS (and the original unfinished Austen novel) Still from “Sanditon” Margot Finn, “Character of Credit“ Thomas Piketty, “Capital in the 21st Century“ L. Frank Baum, “The Wonderful Wizard of Oz” (1900) Leo Tolstoy “The Forged Coupon” (orig.1904) Robert Louis Stevenson, “The Bottle Imp” (1891) Frank Norris, “The Octopus” (1901) D. W. Griffith, “A Corner in Wheat” (1909) Read the episode here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Our Recall this Buck series, back in 2020 and 2021, explored the history of money, ranging from the earliest forms of labor IOUs to the modern world of bitcoin and electronically distributed value. We began by focusing on the rise of capitalism, the Bank of England, and how an explosion of liquidity changed everything. We were lucky to do so, just before the Pandemic struck, with Christine Desan of Harvard Law School, who recently published Making Money: Coin, Currency, and the Coming of Capitalism (Oxford University Press, 2014). She is also managing editor of JustMoney.org, a website that explores money as a critical site of governance. Desan's research explores money as a legal and political project. Her approach opens economic orthodoxy to question by widening the focus on money as an instrument, to examine the institutions and agreements through which resources are mobilized and tracked, by means of money. In doing so, she shows that particular forms of money, and the markets within which they circulate, are neither natural or inevitable. Christine Desan, “Making Money“ Ursula Le Guin The Earthsea Novels (money hard to come by, but kinda cute) Samuel Delany, the Neveryon series (money part of the evils of naming, slavery, labor appropriation) Jane Austen “Pride and Prejudice“ Richard Rhodes, “Energy“ John Plotz, “Is Realism Failing?” (on liberal guilt and patrimonial fiction) William Cobbett, “Rural Rides” (1830; London as wen) E. P. Thompson, “The Moral Economy of the English Crowd in the Eighteenth Century” (notional “just price” of bread) Peter Brown, “Through the Eye of a Needle: Wealth, the Fall of Rome, and the Making of Christianity in the West, 350-550 AD” Chris Vanden Bossche, “Reform Acts“ “Sanditon” on PBS (and the original unfinished Austen novel) Still from “Sanditon” Margot Finn, “Character of Credit“ Thomas Piketty, “Capital in the 21st Century“ L. Frank Baum, “The Wonderful Wizard of Oz” (1900) Leo Tolstoy “The Forged Coupon” (orig.1904) Robert Louis Stevenson, “The Bottle Imp” (1891) Frank Norris, “The Octopus” (1901) D. W. Griffith, “A Corner in Wheat” (1909) Read the episode here. Learn more about your ad choices. Visit megaphone.fm/adchoices

Our Recall this Buck series, back in 2020 and 2021, explored the history of money, ranging from the earliest forms of labor IOUs to the modern world of bitcoin and electronically distributed value. We began by focusing on the rise of capitalism, the Bank of England, and how an explosion of liquidity changed everything. We were lucky to do so, just before the Pandemic struck, with Christine Desan of Harvard Law School, who recently published Making Money: Coin, Currency, and the Coming of Capitalism (Oxford University Press, 2014). She is also managing editor of JustMoney.org, a website that explores money as a critical site of governance. Desan's research explores money as a legal and political project. Her approach opens economic orthodoxy to question by widening the focus on money as an instrument, to examine the institutions and agreements through which resources are mobilized and tracked, by means of money. In doing so, she shows that particular forms of money, and the markets within which they circulate, are neither natural or inevitable. Christine Desan, “Making Money“ Ursula Le Guin The Earthsea Novels (money hard to come by, but kinda cute) Samuel Delany, the Neveryon series (money part of the evils of naming, slavery, labor appropriation) Jane Austen “Pride and Prejudice“ Richard Rhodes, “Energy“ John Plotz, “Is Realism Failing?” (on liberal guilt and patrimonial fiction) William Cobbett, “Rural Rides” (1830; London as wen) E. P. Thompson, “The Moral Economy of the English Crowd in the Eighteenth Century” (notional “just price” of bread) Peter Brown, “Through the Eye of a Needle: Wealth, the Fall of Rome, and the Making of Christianity in the West, 350-550 AD” Chris Vanden Bossche, “Reform Acts“ “Sanditon” on PBS (and the original unfinished Austen novel) Still from “Sanditon” Margot Finn, “Character of Credit“ Thomas Piketty, “Capital in the 21st Century“ L. Frank Baum, “The Wonderful Wizard of Oz” (1900) Leo Tolstoy “The Forged Coupon” (orig.1904) Robert Louis Stevenson, “The Bottle Imp” (1891) Frank Norris, “The Octopus” (1901) D. W. Griffith, “A Corner in Wheat” (1909) Read the episode here. Learn more about your ad choices. Visit megaphone.fm/adchoices

Our Recall this Buck series, back in 2020 and 2021, explored the history of money, ranging from the earliest forms of labor IOUs to the modern world of bitcoin and electronically distributed value. We began by focusing on the rise of capitalism, the Bank of England, and how an explosion of liquidity changed everything. We were lucky to do so, just before the Pandemic struck, with Christine Desan of Harvard Law School, who recently published Making Money: Coin, Currency, and the Coming of Capitalism (Oxford University Press, 2014). She is also managing editor of JustMoney.org, a website that explores money as a critical site of governance. Desan's research explores money as a legal and political project. Her approach opens economic orthodoxy to question by widening the focus on money as an instrument, to examine the institutions and agreements through which resources are mobilized and tracked, by means of money. In doing so, she shows that particular forms of money, and the markets within which they circulate, are neither natural or inevitable. Christine Desan, “Making Money“ Ursula Le Guin The Earthsea Novels (money hard to come by, but kinda cute) Samuel Delany, the Neveryon series (money part of the evils of naming, slavery, labor appropriation) Jane Austen “Pride and Prejudice“ Richard Rhodes, “Energy“ John Plotz, “Is Realism Failing?” (on liberal guilt and patrimonial fiction) William Cobbett, “Rural Rides” (1830; London as wen) E. P. Thompson, “The Moral Economy of the English Crowd in the Eighteenth Century” (notional “just price” of bread) Peter Brown, “Through the Eye of a Needle: Wealth, the Fall of Rome, and the Making of Christianity in the West, 350-550 AD” Chris Vanden Bossche, “Reform Acts“ “Sanditon” on PBS (and the original unfinished Austen novel) Still from “Sanditon” Margot Finn, “Character of Credit“ Thomas Piketty, “Capital in the 21st Century“ L. Frank Baum, “The Wonderful Wizard of Oz” (1900) Leo Tolstoy “The Forged Coupon” (orig.1904) Robert Louis Stevenson, “The Bottle Imp” (1891) Frank Norris, “The Octopus” (1901) D. W. Griffith, “A Corner in Wheat” (1909) Read the episode here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/economics

Our Recall this Buck series, back in 2020 and 2021, explored the history of money, ranging from the earliest forms of labor IOUs to the modern world of bitcoin and electronically distributed value. We began by focusing on the rise of capitalism, the Bank of England, and how an explosion of liquidity changed everything. We were lucky to do so, just before the Pandemic struck, with Christine Desan of Harvard Law School, who recently published Making Money: Coin, Currency, and the Coming of Capitalism (Oxford University Press, 2014). She is also managing editor of JustMoney.org, a website that explores money as a critical site of governance. Desan's research explores money as a legal and political project. Her approach opens economic orthodoxy to question by widening the focus on money as an instrument, to examine the institutions and agreements through which resources are mobilized and tracked, by means of money. In doing so, she shows that particular forms of money, and the markets within which they circulate, are neither natural or inevitable. Christine Desan, “Making Money“ Ursula Le Guin The Earthsea Novels (money hard to come by, but kinda cute) Samuel Delany, the Neveryon series (money part of the evils of naming, slavery, labor appropriation) Jane Austen “Pride and Prejudice“ Richard Rhodes, “Energy“ John Plotz, “Is Realism Failing?” (on liberal guilt and patrimonial fiction) William Cobbett, “Rural Rides” (1830; London as wen) E. P. Thompson, “The Moral Economy of the English Crowd in the Eighteenth Century” (notional “just price” of bread) Peter Brown, “Through the Eye of a Needle: Wealth, the Fall of Rome, and the Making of Christianity in the West, 350-550 AD” Chris Vanden Bossche, “Reform Acts“ “Sanditon” on PBS (and the original unfinished Austen novel) Still from “Sanditon” Margot Finn, “Character of Credit“ Thomas Piketty, “Capital in the 21st Century“ L. Frank Baum, “The Wonderful Wizard of Oz” (1900) Leo Tolstoy “The Forged Coupon” (orig.1904) Robert Louis Stevenson, “The Bottle Imp” (1891) Frank Norris, “The Octopus” (1901) D. W. Griffith, “A Corner in Wheat” (1909) Read the episode here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/law

Our Recall this Buck series, back in 2020 and 2021, explored the history of money, ranging from the earliest forms of labor IOUs to the modern world of bitcoin and electronically distributed value. We began by focusing on the rise of capitalism, the Bank of England, and how an explosion of liquidity changed everything. We were lucky to do so, just before the Pandemic struck, with Christine Desan of Harvard Law School, who recently published Making Money: Coin, Currency, and the Coming of Capitalism (Oxford University Press, 2014). She is also managing editor of JustMoney.org, a website that explores money as a critical site of governance. Desan's research explores money as a legal and political project. Her approach opens economic orthodoxy to question by widening the focus on money as an instrument, to examine the institutions and agreements through which resources are mobilized and tracked, by means of money. In doing so, she shows that particular forms of money, and the markets within which they circulate, are neither natural or inevitable. Christine Desan, “Making Money“ Ursula Le Guin The Earthsea Novels (money hard to come by, but kinda cute) Samuel Delany, the Neveryon series (money part of the evils of naming, slavery, labor appropriation) Jane Austen “Pride and Prejudice“ Richard Rhodes, “Energy“ John Plotz, “Is Realism Failing?” (on liberal guilt and patrimonial fiction) William Cobbett, “Rural Rides” (1830; London as wen) E. P. Thompson, “The Moral Economy of the English Crowd in the Eighteenth Century” (notional “just price” of bread) Peter Brown, “Through the Eye of a Needle: Wealth, the Fall of Rome, and the Making of Christianity in the West, 350-550 AD” Chris Vanden Bossche, “Reform Acts“ “Sanditon” on PBS (and the original unfinished Austen novel) Still from “Sanditon” Margot Finn, “Character of Credit“ Thomas Piketty, “Capital in the 21st Century“ L. Frank Baum, “The Wonderful Wizard of Oz” (1900) Leo Tolstoy “The Forged Coupon” (orig.1904) Robert Louis Stevenson, “The Bottle Imp” (1891) Frank Norris, “The Octopus” (1901) D. W. Griffith, “A Corner in Wheat” (1909) Read the episode here. Learn more about your ad choices. Visit megaphone.fm/adchoices

Our Recall this Buck series, back in 2020 and 2021, explored the history of money, ranging from the earliest forms of labor IOUs to the modern world of bitcoin and electronically distributed value. We began by focusing on the rise of capitalism, the Bank of England, and how an explosion of liquidity changed everything. We were lucky to do so, just before the Pandemic struck, with Christine Desan of Harvard Law School, who recently published Making Money: Coin, Currency, and the Coming of Capitalism (Oxford University Press, 2014). She is also managing editor of JustMoney.org, a website that explores money as a critical site of governance. Desan's research explores money as a legal and political project. Her approach opens economic orthodoxy to question by widening the focus on money as an instrument, to examine the institutions and agreements through which resources are mobilized and tracked, by means of money. In doing so, she shows that particular forms of money, and the markets within which they circulate, are neither natural or inevitable. Christine Desan, “Making Money“ Ursula Le Guin The Earthsea Novels (money hard to come by, but kinda cute) Samuel Delany, the Neveryon series (money part of the evils of naming, slavery, labor appropriation) Jane Austen “Pride and Prejudice“ Richard Rhodes, “Energy“ John Plotz, “Is Realism Failing?” (on liberal guilt and patrimonial fiction) William Cobbett, “Rural Rides” (1830; London as wen) E. P. Thompson, “The Moral Economy of the English Crowd in the Eighteenth Century” (notional “just price” of bread) Peter Brown, “Through the Eye of a Needle: Wealth, the Fall of Rome, and the Making of Christianity in the West, 350-550 AD” Chris Vanden Bossche, “Reform Acts“ “Sanditon” on PBS (and the original unfinished Austen novel) Still from “Sanditon” Margot Finn, “Character of Credit“ Thomas Piketty, “Capital in the 21st Century“ L. Frank Baum, “The Wonderful Wizard of Oz” (1900) Leo Tolstoy “The Forged Coupon” (orig.1904) Robert Louis Stevenson, “The Bottle Imp” (1891) Frank Norris, “The Octopus” (1901) D. W. Griffith, “A Corner in Wheat” (1909) Read the episode here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/finance

Our Recall this Buck series, back in 2020 and 2021, explored the history of money, ranging from the earliest forms of labor IOUs to the modern world of bitcoin and electronically distributed value. We began by focusing on the rise of capitalism, the Bank of England, and how an explosion of liquidity changed everything. We were lucky to do so, just before the Pandemic struck, with Christine Desan of Harvard Law School, who recently published Making Money: Coin, Currency, and the Coming of Capitalism (Oxford University Press, 2014). She is also managing editor of JustMoney.org, a website that explores money as a critical site of governance. Desan's research explores money as a legal and political project. Her approach opens economic orthodoxy to question by widening the focus on money as an instrument, to examine the institutions and agreements through which resources are mobilized and tracked, by means of money. In doing so, she shows that particular forms of money, and the markets within which they circulate, are neither natural or inevitable. Christine Desan, “Making Money“ Ursula Le Guin The Earthsea Novels (money hard to come by, but kinda cute) Samuel Delany, the Neveryon series (money part of the evils of naming, slavery, labor appropriation) Jane Austen “Pride and Prejudice“ Richard Rhodes, “Energy“ John Plotz, “Is Realism Failing?” (on liberal guilt and patrimonial fiction) William Cobbett, “Rural Rides” (1830; London as wen) E. P. Thompson, “The Moral Economy of the English Crowd in the Eighteenth Century” (notional “just price” of bread) Peter Brown, “Through the Eye of a Needle: Wealth, the Fall of Rome, and the Making of Christianity in the West, 350-550 AD” Chris Vanden Bossche, “Reform Acts“ “Sanditon” on PBS (and the original unfinished Austen novel) Still from “Sanditon” Margot Finn, “Character of Credit“ Thomas Piketty, “Capital in the 21st Century“ L. Frank Baum, “The Wonderful Wizard of Oz” (1900) Leo Tolstoy “The Forged Coupon” (orig.1904) Robert Louis Stevenson, “The Bottle Imp” (1891) Frank Norris, “The Octopus” (1901) D. W. Griffith, “A Corner in Wheat” (1909) Read the episode here.

A book club episode with Scott Branson, co-editor of the new anthology "Surviving the Future: Abolitionist Queer Strategies," and author of "Practical Anarchism." Scott: sjbranson.com | Surviving the Future: Abolitionist Queer Strategies: pmpress.org/index.php?l=product_detail&p=1296 | Practical Anarchism: plutobooks.com/9780745344928/practical-anarchism | Remembering Jen Angel, 1975-2023 (The Agency): anarchistagency.com/commentary/remembering-jen-angel-1975-2023 | SF Food Not Bombs: sffnb.org | "Times Square Red, Times Square Blue" by Samuel Delany: massivebookshop.com/products/9781479827770 | More Sad Francisco: patreon.com/sadfrancisco

Genetic engineering and a lot of talk about grocery stores. A special thank you to the supporter who commissioned this episode! Support the show by becoming a patron on Patreon. Rate and review the show to help us reach more readers and listeners. Not enough weird fiction in your life? Join us on Elder Sign: A Weird Fiction Podcast. Love Star Trek? Come find us on the Lower Decks! Neil Gaiman fan? Love comics? Join us on Hanging Out With the Dream King: A Neil Gaiman Podcast. Check out Glenn's medieval history podcast Agnus! Find out how you can commission a special bonus episode here. Follow Claytemple Media on Facebook and Twitter, and sign up for our newsletter. Follow Glenn on Facebook and Twitter. Check out Glenn's weird fiction story "Goodbye to All That" on the Tales to Terrify Podcast. Next time: ... a long summer of bonus episodes.

هذه الحلقة منتجت وسجلت بالإشتراك مع بودكاست ستيل شاوت (Steel Shout) أدب السايبربنك يعتبر من أهم الفروع التي ولدت من أدب الخيال العلمي في القرن العشرينما هو الـ(cyberpunk)  في الأدب.يمثل الـ (cyberpunk) نوعًا من أدب الخيال العلمي الذي يتميز بتمحوره حول العالم الافتراضي والتكنولوجيا المتقدمة، كما يتضمن العديد من العناصر الأخرى مثل الجريمة والفساد والتحرر والتمرد، ونوع من القصص الغامضة. يعود أصل الـ (cyberpunk)  إلى الأدب الخيال العلمي الذي ظهر في الستينات والسبعينات من القرن الماضي، ولكنه انتشر وازدهر في الثمانينات والتسعينات، وذلك بفضل العديد من الأعمال الشهيرة التي تناولت هذا الموضوع، مثل رواية "نيرومانسر" للكاتب وليام جيبسون التي صدرت في عام 1984.تعريف (cyberpunk)تأتي كلمة "سايبربانك" أو "سايبربونك" (Cyberpunk) من مزيج بين كلمتين:الأولى هي "سايبرنيتيكس" (Cybernetics) وهي تعني دراسة النظم الآلية والحيوية والتفاعل بينها.يشير مصطلح "سايبرنيتيكس" (Cybernetics) إلى دراسة النظم والآليات والتفاعلات بين الأجزاء المختلفة في الأنظمة الحيوية والآلية. ويتضمن هذا المصطلح فهم العلاقات المتبادلة بين الجزء والكل في النظام، وكيفية تغيير وتحكم الأنظمة في أنفسها.وتشمل مجالات الدراسة في السايبرنيتيكس مثل هذه النظم المختلفة كالأعصاب والغدد، والآليات المتحكمة في الصناعة والتحكم في المرور والملاحة والطيران، والتكنولوجيا الحيوية والطبية، والذكاء الاصطناعي والروبوتات.يعود أصل مصطلح "سايبرنيتيكس" (Cybernetics) إلى اللغة اليونانية، حيث تعني "kybernetes" باللغة اليونانية "الملاح" أو "القائد" أو "المدير". ولقد استخدم هذا المصطلح في اليونان القديمة للإشارة إلى الشخص الذي يدير السفينة ويتحكم في اتجاهها وحركتها. وفي القرن العشرين، أطلق عالم الرياضيات الأمريكي نوربرت وينر (Norbert Wiener) مصطلح "cybernetics" لوصف الدراسة العلمية للتحكم والتواصل في الآلات والأنظمة المعقدة. وقد استخدم وينر هذا المصطلح للإشارة إلى دراسة العمليات التي تحكم الأنظمة المعقدة، سواء كانت هذه الأنظمة آلية أو حية. ومنذ ذلك الحين، انتشر استخدام مصطلح "سايبرنيتيكس" لوصف دراسة نظم التحكم الآلية والحية، وأصبح مصطلحًا شائعًا في العديد من المجالات العلمية والتقنية المختلفة.ومن المهم أن نلاحظ أن السايبرنيتيكس لا تقتصر فقط على النظم الحيوية، بل تشمل أيضًا النظم الآلية والتكنولوجية، وهذا ما يجعلها مفهومًا مهمًا في العديد من المجالات المختلفة، بما في ذلك العلوم الحاسوبية والهندسة والفلسفة والاقتصاد والعلوم الاجتماعية.  والثانية هي "بانك" (Punk) وهي تعني نوعًا من الموسيقى الروك المتمردة والمناهضة للنظام والسلطة وبالتالي، فإن الـ(cyberpunk)  يجمع بين عنصرين رئيسيين: العالم التكنولوجي المتقدم والمتمردة والمناهضة للنظام والسلطة. ويتناول هذا النوع من الأدب عادة العالم الافتراضي والتقنية المتطورة بطريقة متمردة ومناهضة للنظام، ويتضمن الكثير من العناصر الاجتماعية والسياسية والثقافية المعاصرة.يُعرف مصطلح "بانك" (Punk) بشكل لغوي على أنه نوع من الموسيقى الروك المتمردة والمعارضة للنظام والسلطة، والتي ظهرت في السبعينيات من القرن الماضي. ويشار في قاموس أكسفورد الإنجليزي إلى أن كلمة "بانك" تعني بشكل عام شخصاً أو شيئاً يتمتع بالقوة والعنف والتمرد والانفصال عن النظام السائد. ويمكن أن يُستخدم مصطلح "بانك" لوصف أي شيء يتميز بالتمرد والمعارضة للسلطة والنظام، وليس فقط في عالم الموسيقى الروك. وعلى سبيل المثال، يمكن استخدام هذا المصطلح لوصف حركات اجتماعية وثقافية وفنية أخرى، مثل حركات الشباب المتمردة وحركات المقاومة السياسية والفنانين الذين يسعون لتحدي النظام السائد.بروس بيثكي (Bruce Bethke) هو كاتب أمريكي ولد في عام 1955، وهو معتبر أحد رواد الأدب السايبربانكي. وقد نشر بيثكي في عام 1980 قصة قصيرة بعنوان "Cyberpunk" في مجلة "Amazing Science Fiction". وقد تم استخدام هذه القصة لاحقًا كدليل لتحديد الأدب السايبربانكي. تتناول قصة بيثكي العالم الخيالي والمستقبلي والذي يتميز بتكنولوجيا متقدمة وتمحوره حول شخصية مخترق حاسوبي يقوم بسرقة بيانات مهمة. وقد اشتهرت هذه القصة بسبب استخدام كلمة "سايبربانك" في عنوانها، والتي أصبحت بعد ذلك مصطلحاً مشهوراً في الأدب والثقافة الشعبية. وقد كتب بيثكي العديد من القصص الخيالية والروايات، وأصبحت له بعض الأعمال الأخرى مثل "Headcrash" و "Wild Wild West" و "Redbeard" و "Rebel Moon"، وقد تم ترشيح روايته "Headcrash" لجائزة نيبولا في عام 1995. وبالإضافة إلى كونه كاتباً، فإن بيثكي يعمل أيضاً في مجال تكنولوجيا المعلومات والحوسبة، ويشغل حالياً منصب مدير تقنية المعلومات في إحدى الشركات الأمريكية.تصريح بروس ستيرلينغ "combination of lowlife and high tech" ليس تعريفًا محددًا للسايبربنك، وإنما هو وصف للجو العام الذي يمكن أن يتميز به عالم السايبربنك. ففي هذا الوصف، يركز ستيرلينغ على تحدُّث السايبربنك عن النزلاء الرَّخاء والمتعطشين للمتع الجسدية والأمور غير المشروعة، والتكنولوجيا العالية والحديثة التي تستخدمها هؤلاء الأشخاص في تحقيق ما يريدونه. ويتناول ستيرلينغ هذا المفهوم في روايته الشهيرة "المرآة الشعورية" (Mirrorshades)، وهي مجموعة من القصص القصيرة التي تعتبر أحد الأعمال الأساسية في أدب السايبربنك.ومع ذلك، يمكن القول أن هذا الوصف ينطبق بشكل عام على أعمال السايبربنك، حيث يتميز هذا النوع الأدبي بتحقيق التوازن بين الجوانب العالية التكنولوجية والجوانب الأكثر شعبية والمرتبطة بالعالم السفلي والجريمة المنظمة. وتنتمي روايات وليام جيبسون وبروس يرلينغ وغيرهما من الكتَّاب إلى هذا النوع الأدبي، ويتعاملون في أعمالهم مع قضايا تتعلق بالتكنولوجيا المتقدمة والحياة الافتراضية والتحديات الاجتماعية والثقافية التي تنشأ بسببها. وتجمع هذه الأعمال بين الجوانب العالية التكنولوجية والجوانب الأكثر شعبية والمرتبطة بالعالم السفلي، وتتميز بأسلوب سريع الإيقاع وشخصيات مثيرة للاهتمام، كما تستخدم لغة فيها الكثير من المصطلحات التقنية والحاسوبية.وبشكل عام، يجمع وصف بروس ستيرلينغ "combination of lowlife and high tech" بين هذه الجوانب، ويعكس الجانب الغامض والمثير للاهتمام في أدب السايبربنك، الذي يتميز بتحقيق التوازن بين العالم الافتراضي والعالم الحقيقي وبين الجوانب الفنية والتكنولوجية والجوانب الاجتماعية والثقافية.عناصر السايبربنك الأدبي:·       الجوالـ (Dystopian):o      تحكم وتملك المنظمات والشركات للمجتمع.o      طبقية الرأسماليةo      حياة وضيعة.o      تمرد الأفراد على الشركات والمنظمات.o      انغماس الأفراد في الجريمة والملذات والشهوات.o      غلاء المعيشة ·       التقنية العالية:o      الذكاء الصناعي.o      الواقع الافتراضي .o      تطورعلم الأطراف الصناعيةo      المستنسخين والرجال الآليين.o      الاتصالات والتقنيةo      الهاكرز او محرك الشبكة  (Netrunner)·       الثقافة:o      موسيقى الـ  Punk Rock والـVaporwaveo      الازياء o      العمران والأضواء (اليابان في الثمانينات ونموها اقتصاديا في العالم الإلكتروني)o      المتحري والمحقق الظلامي (Noir)o      الرياضات والترفيه  أهم الأعمال الأدبية:·       رواية نوفا لـ (Samuel Delany) في عام 1968:o      نوفا هي رواية خيال علمي من تأليف الكاتب الأمريكي صموئيل ديلاني ونشرت في عام 1968. تستكشف الرواية، التي تصنف رسميًا كعمل فضائي، السياسة والثقافة في مستقبل يتسم بانتشار تقنية السايبورج بشكل شامل (والرواية واحدة من سلفيات السايبربانك)، ولكن يمكن أن تنطوي صناعة القرارات الكبرى على استخدام بطاقات التاروت. تحمل الرواية نغمات أسطورية قوية، وترتبط على حد سواء بمسألة البحث عن الكأس المقدسة وبقصة جايسون والأرجونوتيكا والسعي للحصول على الصوف الذهبي. تم ترشيح نوفا لجائزة هيوغو لأفضل رواية في عام 1969. في عام 1984، قام ديفيد برينجل بإدراجها ضمن قائمته لأفضل 100 رواية خيال علمي كتبت منذ عام 1949. ملخص القصةفي عام 3172، تنقسم السلطة السياسية في المجرة إلى فصيلين: فصيل دراكو الموجود على الأرض وفصيل الاتحاد الثريد الذي ظهر في وقت لاحق. كلاهما لديه اهتمامات في المستعمرات الخارجية الأحدث، حيث تنتج المناجم كميات قليلة من المصدر القيم إليريون، وهو مادة فائقة الثقل ضرورية للسفر الفضائي وتغيير مناخ الكواكب.يتورط قائد مهووس ومشوه من الاتحاد الثريد، لورك فون راي، في صراع بين العائلات الأرستقراطية والاقتصادية القوية، فيجند فريقًا متنوعًا من المختلفين لمساعدته في السباق مع عدوه اللدود، الأمير ريد من شركة ريد شيفت المرتبطة بفصيل دراكو، للحصول على الزعامة الاقتصادية عن طريق تأمين كمية هائلة من إليريون مباشرة من قلب نجم نوفا. وبذلك، سيحدث فون راي تحولًا في توازن القوى في النظام الكوني الحالي، مما سيؤدي إلى سقوط العائلة الحمراء ونهاية سيطرة الأرض على السياسة الفضائية بين النجوم.تتبع الرواية مغامرات فريق فون راي في محاولة الحصول على إليريون من نوفا، حيث يتعرضون للعديد من المصاعب والتحديات، بما في ذلك مواجهة العدو، والتعامل مع الأسرار الغامضة المرتبطة بنوفا نفسها، وكذلك الاستكشاف العميق لشخصيات الأعضاء المختلفين في الفريق.في نهاية المطاف، يتمكن فون راي وفريقه من الحصول على الإليريون من نوفا، ويتغلبون على الأمير ريد وشركته، مما يؤدي إلى تحويل التوازن في السياسة الفضائية بين الفصيلين. وبالتالي، ينتهي السيطرة الأرضية على السياسة الفضائية، وتبدأ مرحلة جديدة في تاريخ المجرة. ·       رواية (Do Androids Dream of Electric Sheep) لـ (Philip K. Dick) عام 1968:o      هي رواية خيال علمي كتبها الكاتب الأمريكي فيليب ك. ديك، وصدرت عام 1968. تدور أحداث الرواية في المستقبل البعيد بعد أن تعرضت الأرض لحرب نووية دمرت جزءا كبيرا منها وأدت إلى إنقراض الحيوانات وتحكي قصة ريك ديكارد، الذي يعمل كصائد للروبوتات المتمردة التي تشبه البشر، ويتم تكليفه بمهمة القضاء على ستة من هذه الروبوتات المتمردة. هذه الرواية تشتمل على بعض العناصر التي يمكن وصفها بالسايبرنك، مثل الروبوتات والذكاء الاصطناعي، يمكن اعتبار هذه الرواية الأم لفيلم "Blade Runner" الذي صدر في عام 1982 والذي يعتبر من أهم الأعمال في فن السايبرنك.تدور قصة الحيوانات في الرواية حول شخصية ريك ديك، الذي يعمل كصائد للحيوانات النادرة، وذلك لكسب نقاط مادية تتيح له شراء حيوان حقيقي بدلاً من حيوان اصطناعي. ويحلم ريك بامتلاك حيوان طائر "البطريق الإمبراطوري"، وهو الحيوان النادر الذي يساعده على التفرد والتميز في مجتمع موحد.تعتبر قصة الحيوانات والتركيز على الرغبة في امتلاك حيوانات حقيقية، رمزًا للحاجة إلى التميز والاهتمام بالطبيعة والحيوانات، وكذلك للعلاقة بين الإنسان والطبيعة في عالم مستقبلي متغير. وتعد هذه القصة أحد المحاور الرئيسية في الرواية التي تتناول موضوعات أخرى مثل الهوية الإنسانية الواقعية والذاتية والمجتمعية والروبوتات والذكاء الاصطناعي، والتي تركز على القضايا الأخلاقية والفلسفية المتعلقة بالحياة والوجود والتعايش في عالم متغير ومعقد.رواية (Neuromancer) للكاتب الأمريكي ويليام جيبسون عام 1984 م:تعد من أولى روايات السايبربانك. تعتبر من أهم الأعمال الأدبية في هذا النوع، حيث أنها قدمت للقراء نموذجاً جديداً للأدب العلمي والخيال العلمي، يستخدم فيه (جيبسون) تقنيات ومفاهيم حديثة كالحوسبة والشبكات والذكاء الاصطناعي والروبوتات والتجارة الإلكترونية، وجعل منها عناصر رئيسية في قالب قصته المثيرة والمشوقة. وقد فازت هذه الرواية بجائزة نيبولا لأفضل رواية علمية خيالية في عام 1984.بطلها كيس، وهو هاكر حاسوب عاطل عن العمل يتم استئجاره من قبل صاحب عمل جديد غامض يدعى أرميتاج. يتم تشكيل فريق مع مولي، السايبورغ، وبيتر ريفيرا، اللص والخادع، لتنفيذ سلسلة من الجرائم التي تمهد الطريق للهدف النهائي للمجموعة، والذي يتم تنفيذه في محطة الفضاء المدارية المسماة "فريسايد"، موطن عائلة تيسييه-أشبول الثرية. تم إنشاء اثنين من الذكاءات الاصطناعية (AIs)، وينترميوت ونيورومانسر ، التي هي قوية لدرجة أنها يمكن أن تتصل ببعضها البعض في نقطة واحدة فقط. يتعلم كيس وزملاؤه أنهم تم استئجارهم من قبل وينترميوت لكسر الفصل بين الذكاءات الاصطناعية. يتغلب كيس ومولي على التدخلات القانونية السيبرانية ومحاولة خيانة من ريفيرا لدمج وينترميوت مع نيورومانسر، وينتهي الأمر بكيس يعيش في عالم جديد شجاعأفلام:·        Escape from New York (1981)[40][41]·        Burst City (1982)[42]·        Tron (1982)[43]·        Blade Runner (1982)[44]·        Brainstorm (1983)[45]·        Videodrome (1983)[46]·        Repo Man (1984)·        The Terminator (1984)·        Brazil (1985)·        RoboCop (1987)[47]·        The Running Man (1987)·        Gunhed (1989)[48]·        Tetsuo: The Iron Man (1989)·        Circuitry Man (1990)[49]·        RoboCop 2 (1990)·        Hardware (a.k.a. M.A.R.K. 13) (1990)[50]·        Megaville (1990)[51]·        Total Recall (1990)[52]·        Terminator 2: Judgment Day (1991)·        964 Pinocchio (1991)[53]·        Until the End of the World (1991)[54]·        Nemesis (1992)·        Freejack (1992)[55]·        The Lawnmower Man (1992)[56]·        Tetsuo II: Body Hammer (1992)·        Cyborg 2 (1993)[57]·        Demolition Man (1993)[58]·        RoboCop 3 (1993)·        Robot Wars (1993)·        Plughead Rewired: Circuitry Man II (1994)[59]·        Death Machine (1994)·        Hackers (1995)[60]·        Johnny Mnemonic (1995)[61]·        Judge Dredd (1995)[62]·        Strange Days (1995)[63]·        Virtuosity (1995)·        Escape from L.A. (1996)[64]·        The Lawnmower Man 2: Beyond Cyberspace (1996)[65]·        Deathline (a.k.a. Redline) (1997)[66]·        The Fifth Element (1997)[67]·        Nirvana (1997)[68]·        Andromedia (1998)[69]·        New Rose Hotel (1998)·        Pi (1998)[70]·        Skyggen (a.k.a. Webmaster) (1998)[71]·        Dark City (1998)[72]·        eXistenZ (1999)[73]·        The Thirteenth Floor (1999)[74]·        Bicentennial Man (1999)[75]·        The Matrix (1999)[76]·        I.K.U. (2000)[77]·        The 6th Day (2000)[78]·        Avalon (2001)[79]·        A.I. Artificial Intelligence (2001)·        Electric Dragon 80.000 V (2001)[80]·        Cypher (2002)[81]·        Dead or Alive: Final (2002)[82]·        Impostor (2002)[83]·        Minority Report (2002)[84]·        Resurrection of the Little Match Girl (2002)[85][86]·        All Tomorrow's Parties (2003)[87]·        Code 46 (2003)[88]·        The Matrix Reloaded (2003)[89]·        The Matrix Revolutions (2003)[90]·        Natural City (2003)[91]·        Paycheck (2003)[92]·        Avatar (a.k.a. Cyber Wars) (2004)[93]·        Immortal (2004)[94]·        I, Robot (2004)[95]·        Paranoia 1.0 (a.k.a. One Point 0) (2004)[96]·        Æon Flux (2005)[97]·        Children of Men (2006)·        Ultraviolet (2006)[98]·        Chrysalis (2007)[99]·        Eden Log (2007)[100]·        The Gene Generation (2007)[101][102][103]·        Babylon A.D. (2008)[104][105]·        Sleep Dealer (2008)[106]·        Tokyo Gore Police (2008)[107]·        District 9 (2009)·        Hardwired (2009)[108][109]·        Surrogates (2009)[110]·        Tetsuo: The Bullet Man (2009)·        Tron: Legacy (2010)[60]·        Repo Men (2010)[111]·        Priest (2011)[60]·        Dredd (2012)[112][113][114][115][116]·        Total Recall (2012)·        Elysium (2013)[117][118]·        The Zero Theorem (2013)[60]·        Automata (2014)[119]·        Transcendence (2014)[120]·        RoboCop (2014)·        Chappie (2015)[121]·        Ex Machina (2015)[122]·        Hardcore Henry (2015)·        Ghost in the Shell (2017)[123][124]·        Bleeding Steel (2017)·        Blade Runner 2049 (2017)·        Ready Player One (2018)[125][126]·        Upgrade (2018)·        Hotel Artemis (2018)·        Anon (2018)·        Alita: Battle Angel (2019)·        Reminiscence (2021)·        Jung E (2023)القصص المصورة:·        Judge Dredd (1977–) by John Wagner and Carlos Ezquerra·        The Incal (1981–1989) by Alejandro Jodorowsky·        Akira (1982–1990) by Katsuhiro Ōtomo[33]·        Black Magic (1983) by Masamune Shirow·        Ronin (1983–1984) by Frank Miller·        Shatter (1985–1988) by Peter B. Gillis and Mike Saenz·        Appleseed (1985–1989) by Masamune Shirow·        Dominion (1986) by Masamune Shirow·        Ghost in the Shell (1989–1991) by Masamune Shirow·        Neuromancer (1989) by Tom de Haven and Bruce Jensen[34]·        Battle Angel Alita (1990–1995) by Yukito Kishiro[33]·        Martha Washington (1990–1991) by Frank Miller and Dave Gibbons·        Barb Wire (1994–1995) by Chris Warner·        Transmetropolitan (1997–2002) by Warren Ellis[35]·        Eden: It's an Endless World! (1998–2008) by Hiroki Endo·        Blame! (1998) by Tsutomu Nihei[36]o   NOiSE (2001) – prequel to Blame!o   Biomega (2007)·        Singularity 7 (2004) by Ben Templesmith[37]·        The Surrogates (2005) by Robert Venditti[38]·        The entire Marvel 2099 line is an example of the cyberpunk genre in comics, especially Ghost Rider 2099 and Spider-Man 2099.·        Marvel's Machine Man Vol. 2·        Batman Beyond·        The True Lives of the Fabulous Killjoys (2013-2014) by Gerard Way and Shaun Simon الأنمي:·        Megazone 23 (1985)[127]·        Neo Tokyo (1986)[128]·        Black Magic M-66 (1987)·        Bubblegum Crisis (1987)[129]o   Bubblegum Crisis Tokyo 2040 (1998)[130]·        Akira (1988)[131][132]·        RoboCop: The Animated Series (1988)·        Beast Machines: Transformers (1999–2000)·        Dominiono   Dominion (1988–1989)o   New Dominion Tank Police (1993–1994)o   Tank Police Team: Tank S.W.A.T. 01 (2006)·        Appleseedo   Appleseed (1988 film)o   Appleseed (2004 film)o   Appleseed Ex Machina (2007 film)o   Appleseed XIII (2011)o   Appleseed Alpha (2014 film)·        A.D. Police Files (1990)·        Cyber City Oedo 808 (1990)[133]·        Æon Flux (1991–1995)[134]·        Silent Möbius (1991–2003)[135]·        Genocyber (1993)[136]·        Macross Plus (1994)·        Armitage III (1995)·        Ghost in the Shell (anime films)o   Ghost in the Shell (1995 film)[137]o   Ghost in the Shell 2: Innocence (2004 film)[138]·        Ghost in the Shell: Stand Alone Complex (S.A.C.)[139]o   Ghost in the Shell: Stand Alone Complex (S.A.C.) (2002–2003)o   Ghost in the Shell: S.A.C. 2nd GIG (2004–2005)o   Ghost in the Shell: Stand Alone Complex - Solid State Society (2006 film)o   Ghost in the Shell: SAC 2045 (2020–2022)·        Ghost in the Shell: Ariseo   Ghost in the Shell: Arise (2013–2015)o   Ghost in the Shell: The New Movie (2016 film)·        Spicy City (1997)·        Cowboy Bebop (1998)·        RoboCop: Alpha Commando (1998–1999)·        Serial Experiments Lain (1998)[140]·        Gundress (1999)·        Batman Beyond (1999–2001)·        Metropolis (2001)[141]·        The Animatrix (2003)[142]·        Code Lyoko (2003–2007)·        Heat Guy J (2003)[143]·        Parasite Dolls (2003)[144]·        Texhnolyze (2003)[145]·        Wonderful Days (a.k.a. Sky Blue) (2003)[146][147]·        Burst Angel (2004)[148]·        Fragile Machine (2005)[149]·        Aachi & Ssipak (2006)[150]·        A Scanner Darkly (2006)[151]·        Ergo Proxy (2006)[152]·        Paprika (2006)[153][154]·        Renaissance (2006)[155]·        Dennō Coil (2007)[156]·        Vexille (2007)[157][158]·        Technotise: Edit & I (2009, Serbia)[159]·        Real Drive (2008)·        Mardock Scramble (2010)[160]·        Accel World (2012–2016)·        Psycho-Pass (2012)[161]·        Tron: Uprising (2012)·        Dimension W (2016)·        No Guns Life (2019–2020)·        Altered Carbon: Resleeved (2020)·        Akudama Drive (2020)·        Blade Runner: Black Lotus (2021–2022)·        Cyberpunk: Edgerunners (2022)مسلسلات·        World on a Wire (1973)[162]·        The Deadly Assassin (1976)[163]·        Overdrawn at the Memory Bank (1983)[164]·        Max Headroom: 20 Minutes into the Future (1985), British television movieo   Max Headroom (1987),[165] American television series based on the UK TV movie·        Wild Palms (1993)[166]·        TekWar (1994)[167]·        RoboCop: The Series (1994)·        VR.5 (1996)[citation needed]·        Welcome to Paradox (1998)[168]·        The X-Files, two episodes of the series were written by William Gibson and contain cyberpunk themes:o   Kill Switch (1998)[169]o   First Person Shooter (2000)[170][171]·        Harsh Realm (1999)[172]·        Total Recall 2070 (1999)[173]·        Dark Angel (2000–2002)[174]·        RoboCop: Prime Directives (2001)[175]·        Charlie Jade (2005)[176]·        Terminator: The Sarah Connor Chronicles (2008–2009)·        Power Rangers RPM (2009)·        Kamen Rider Dragon Knight (2009)[citation needed]·        Dollhouse (2009–2010)[177]·        Caprica (2010)·        Person of Interest (2011–2016)·        Black Mirror (2011–2019)·        Continuum (2012–2015), set in the present with a protagonist who has time traveled back from a cyberpunk future in 2077·        H+: The Digital Series (2012)·        Almost Human (2013–2014)·        Die Gstettensaga: The Rise of Echsenfriedl (2014)·        Mr. Robot (2015–2019)·        Humans (2015–2018)·        Westworld (2016–2022)·        Incorporated (2016–2017)·        Altered Carbon (2018–2020)·        S'parta (2018)·        Better Than Us (2018–2019)·        Love, Death & Robots (2019–present)·        Meta Runner (2019–2022)·        Onisciente (2020)·        Upload (2020–present)[178] ألعاب فيديو:·       Exapunk The Screamer (1985)[190] Imitation City (1987)[191] Megami Tensei series (1987–present)[192]  Digital Devil Story: Megami Tensei (1987)[193][194]   Devil Summoner: Soul Hackers (1997)[195]   Shin Megami Tensei: Digital Devil Saga (2004)[196]   Shin Megami Tensei IV (2013)[192]   Soul Hackers 2 (2022)   Metal Gear series (1987–present)  Metal Gear Solid (1998)[197]   Metal Gear Solid 2: Sons of Liberty (2001)[198]   Metal Gear Solid 4: Guns of the Patriots (2008)[192]   Metal Gear Rising Revengeance (2013)   Akira (1988–2002)  Akira (1988)[192]   Akira Psycho Ball (2002)   Neuromancer (1988)[199] Snatcher (1988–1996)[200] Genocide (1989)[192] Night Striker (1989) DreamWeb (1992)[201] Flashback (1992)[202] BloodNet (1993)[203] Gadget: Invention, Travel, & Adventure (1993)[204] Shadowrun series  Shadowrun (SNES) (1993)[205]   Shadowrun (Sega Genesis) (1994)[206]   Shadowrun (Sega CD) (1996)[207]   Shadowrun (2007)[208][209]   Shadowrun Returns (2013) [210]   Shadowrun: Dragonfall (2014) [211]   Shadowrun Chronicles: Boston Lockdown (2015)   Shadowrun: Hong Kong (2015) [212]   Syndicate series  Syndicate (1993)[213]   Syndicate Wars (1996)[214]   Syndicate (2012)[215]   Beneath a Steel Sky (1994)[216] Burn:Cycle (1994)[217] Hell: A Cyberpunk Thriller (1994) Delta V (1994)[218] Hagane: The Final Conflict (1994)[192] Live A Live (1994)[192] Rise of the Robots (1994) [219][220] Policenauts (1994)[192] Appleseed series  Appleseed: Oracle of Prometheus (1994)   Appleseed EX (2004)   System Shock series  System Shock (1994)[221]   System Shock 2 (1999)[222]   CyberMage: Darklight Awakening (1995)[223] Johnny Mnemonic: The Interactive Action Movie (1995)[224] Road Rage (1995) Osman (1996)[192] Blade Runner (1997)[225] Final Fantasy VII (1997)[226]  Compilation of Final Fantasy VII (2004–2009)   Final Fantasy VII Remake (2020)[227]   Ghost in the Shell (1997)[192] Einhänder (1998)[192] Nightlong: Union City Conspiracy (1998) Xenogears (1998)[228] The Nomad Soul (1999) Fear Effect series  Fear Effect (2000)   Fear Effect 2: Retro Helix (2001)   Fear Effect Sedna (2018)   Deus Ex series  Deus Ex (2000)[229]   Deus Ex: Invisible War (2003) [230]   Deus Ex: Human Revolution (2011) [231]   Deus Ex: The Fall (2013)[232]   Deus Ex: Mankind Divided (2016)   Perfect Dark series  Perfect Dark (2000)   Perfect Dark Zero (2005)   Oni (2001)[233] Anachronox (2001) Mega Man Battle Network series  Mega Man Battle Network (2001)   Mega Man Battle Network 2 (2001)   Mega Man Battle Network 3 (2002)   Mega Man Network Transmission (2003)   Mega Man Battle Chip Challenge (2003)   Mega Man Battle Network 4 (2003)   Mega Man Battle Network 5 (2004)   Mega Man Battle Network 6 (2005)   Uplink (2001)[234][235] Breath of Fire: Dragon Quarter (2002)[236] .hack series  .hack//IMOQ (2002–2003)   .hack//G.U. (2006–2007)   .hack//Link (2010)   Neocron (2002)[237] Enter the Matrix (2003)[238] P.N.03 (2003) Cy Girls (2004) Æon Flux (2005) Dystopia (2005)[239] System Rush (2005)[240] Mirror's Edge (2008) Halo 3: ODST (2009) Cyber Knights series:  Cyber Knights (Classic) (2011)[241]   Cyber Knights: Flashpoint (2021)[242]   Gemini Rue (2011)[243] Hard Reset (2011) Cypher (2012)[244] Cataclysm: Dark Days Ahead (2013) Remember Me (2013)[245] Far Cry 3: Blood Dragon (2013) Alien: Isolation (2014) Jazzpunk (2014) Transistor (2014) Watch Dogs series:  Watch Dogs (2014)[246]   Watch Dogs 2 (2016)   Watch Dogs: Legion (2020)   2064: Read Only Memories (2015) Call of Duty: Black Ops III (2015)[247] Dex (2015)[248] Technobabylon (2015) Soma (2015) Satellite Reign (2015) Digimon Story: Cyber Sleuth (2015)[249] Invisible, Inc. (2016) Mirror's Edge Catalyst (2016) Superhot (2016) VA-11 HALL-A (2016)[250] Digimon Story: Cyber Sleuth – Hacker's Memory (2017)[249] Observer (2017) Ruiner (2017)[251] The Red Strings Club (2018)[252] Ion Fury (2018) Tales of the Neon Sea (2018)[253] Astral Chain (2019)[254] Katana Zero (2019) Dohna Dohna (2020)[255] Cyberpunk 2077 (2020) Ghostrunner (2020) Incredibox  V8: Dystopia (2020)   Cloudpunk (2020) ENCODYA (2021) The Ascent (2021) Stray (2022) SIGNALIS (2022) The Last Night (TBA)[256]  الالعاب الروائية:·        Cyberpunk (1988)o   Cyberpunk 2020 (1990)o   Cyberpunk V3.0 (2005)o   Cyberpunk Red (2020)·        Shadowrun (1989)·        GURPS Cyberpunk (1990)[257]·        Necromunda (1995)·        Infinity (2005)·        Corporation (2009)[258]·        Deadzone (2013)·        Carbon 2185 A Cyberpunk RPG (2019)

Season 9 Episode 14 The Dream Three are back in The Workroom together for this Foursome Finale! Patricia and Nayland and Hernease are all in to talk about word salads, the $500 Mood Assignment, 1950's hemlines and Piperlime conspiracies. Join us and then chime in with your thoughts about the conclusion of our latest Vintage Adventure to 2011, Project Runway Season 9. JOIN US! This Week's Cheatsheet https://www.tumblr.com/theworkroompodcast/702445847510728704/ep172 Special Links - Hernease's podcast project for the The Visual Studies Workshop in Rochester. Episode #1 features artist Granville Carroll, Episode #2 features artists Savannah Wood and Aaron Turner: https://podcasts.apple.com/us/podcast/vsw-project-space-podcast/id1654594948?i=1000586176684 Patricia's show at the Center for Fine Art Photography: (Un)Natural Cycles: https://c4fap.org/unnaturalcycles - Catch Nayland at Howl! Happening, Friday December 2nd 6 East 1st Street, NYC Nayland will be reading during the book launch event for Pathetic Literature
Hosted and Curated by Eileen Myles and Tom Cole. Here's a list of the very heavy hitting roster of readers: Joe Westmoreland, Charles Atlas, Joan Larkin, Precious Okoyomon, Lynne Tillman, Samuel Delany (video appearance), Johanna Fateman, Sini Anderson, Nayland Blake, Moyra Davey, Eliza Douglas, Fred Moten, Tom Cole, Eileen Myles. https://www.howlarts.org/event/pathetic-literaturehosted-and-curated-by-tom-cole-and-eileen-myles/ - Keep a lookout for Nayland on Girls Guts Giallo Podcast chatting about The Eyes of Laura Mars: https://podcasts.apple.com/us/podcast/girls-guts-giallo/id1461424698 We're On Patreon! www.patreon.com/theworkroompodcast Find The Workroom Podcast: The Workroom on FB: facebook.com/theworkroompodcast The Workroom on IG: instagram.com/theworkroompodcast And, keep sending notes, gossip and hot takes to: intheworkroom@gmail.com Find Hernease: Website - herneasedavis.com Twitter — twitter.com/hernease IG - instagram.com/hernease Find Nayland: Website - naylandblake.net Twitter - twitter.com/naylandblake Tumblr - tumblr.com/naylandblake Remember, Nayland is off Instagram! Find Patricia: Twitter - twitter.com/senseandsight IG - instagram.com/senseandsight Find Samilia: texstyleshop.square.site Listen to Linoleum Knife! https://podcasts.apple.com/us/podcast/linoleum-knife/id403079737 Black Lives Matter Initiatives - blacklivesmatters.carrd.co Asian Americans Advancing Justice https://www.advancingjustice-aajc.org/get-involved thelovelandfoundation.org The donation helps to fund the initiatives of Therapy for Black Girls, National Queer & Trans Therapists of Color Network, Talkspace and Open Path Collective. Loveland Therapy Fund recipients will have access to a comprehensive list of mental health professionals across the country.

On Season 2 Episode 5 of The Art Career Podcast, Emily McElwreath interviews Eileen Myles prior to the release of Pathetic Literature, a global anthology of pieces from lesser-known classics by luminaries like Franz Kafka, Samuel Delany, and Gwendolyn Brooks to up-and-coming unpublished writers that examine pathos and feeling, giving a well-timed rehab to the word “pathetic”. During the interview the two discuss meditation, Marfa, cigarette smoking and the best city in the world, New York. The Art Career podcast is available on all podcast platforms. Eileen Myles (they/them) came to New York from Boston in 1974 to be a poet, subsequently novelist, public talker and art journalist. A Sagittarius, their 22 books include For Now, evolution, Afterglow, I Must Be Living Twice/new & selected poems, and Chelsea Girls. In 2019 they wrote and directed an 18-minute super 8 film, The Trip, a puppet road film. See it on youtube. Eileen is the recipient of a Guggenheim, a Warhol/Creative Capital Arts Writers grant, 4 Lambda Book Awards, the Shelley Prize, and a poetry award from the Foundation for Contemporary Arts. In 2016, they received a Creative Capital grant and the Clark Prize for excellence in art writing. In 2019 Myles received a poetry award from the American Academy of Arts & Letters. In 2020 they got the Bill Whitehead Award for Lifetime Achievement from the Publishing Triangle. They live in New York and Marfa, TX. This episode is sponsored by BetterHelp. Visit BetterHelp.com/TAC today and get 10% off your first month. theartcareer.com Follow us: @theartcareer Follow Eileen: @eileen.myles Podcast host: @emilymcelwreath_art Music: Chase Johnson Editing: Zach Worden

The novelist Jonathan Lethem listens here to recordings of his own New York State Writers Institute events over the past two decades. This propels conversation into wild places. It turns out that going into familiar moments—even listening to one's own voice—can prompt discoveries. There's a chance to find, as Lethem puts it, “worlds within the world.” William Kennedy describes a similar discovery here. Going back as a journalist to his hometown of Albany, NY, was “a revelation,” he says. The city that once bored him became, to the writer in search of stories, a place of proliferating character, of drama—a world full of worlds. You'll hear in this episode the reward of applying mind to matter. Says Lethem: “We have tables and chairs and apples and cherries and shirts and pants and socks, but everything else seems to me pretty much up for grabs. Once you put subjectivity and consciousness in the mix, it all gets pretty strange.” On this episode: Jonathan Lethem (conversation with Adam Colman). Books: Motherless Brooklyn and The Arrest. Samuel Delany (from the archives). Books: Dhalgren and Nova. Ann Beattie (from the archives). Books: What Was Mine and Another You. Denis Johnson (from the archives). Books: Jesus' Son and Train Dreams. William Kennedy (conversation with Adam Colman). Books: Very Old Bones and The Flaming Corsage. Find out more about the New York State Writers Institute at https://www.nyswritersinstitute.org. Learn more about your ad choices. Visit megaphone.fm/adchoices

Dimitri and Khalid answer questions from the Grotto of Truth SJ Discord about: Julian Jaynes's theory of the “bicameral mind”, Samuel Delany's “Times Square Red, Times Square Blue” (and Gloria Steinem getting him fired from writing woke Wonder Woman comics in 1972), rumors that Allen Dulles's plane was forced down in Soviet airspace which led to the shooting down of Gary Powers' U2 flight in 1960, the upsurge of documented “humanoid encounters” since the late 1960s, and whether there's evidence of tech being suppressed by the US Patent and Trademark Office. For access to full-length premium episodes and the SJ Grotto of Truth Discord, subscribe to the Al-Wara' Frequency at patreon.com/subliminaljihad.

Main Fiction: "The Irregular" by Misha Burnett.This story first appeared in Pulp Modern, Vol 2, Issue 8, January 2022.Misha Burnett has little formal education, but has been writing poetry and fiction for around forty years. During this time he has supported himself and his family with a variety of jobs, including locksmith, cab driver, and building maintenance. Major influences include Tim Powers, Samuel Delany, William Burroughs, and Phillip K. Dick. More information about upcoming projects can be found at http://mishaburnett.wordpress.com/.Narrated by: TF Ahmad.TF Ahmad is a writer and narrator from Chicago. His fiction has been published in Dark Futures, SOILED Magazine, & Tales To Terrify. His nonfiction has been published in the Chicago Monitor and Architizer.com. He's narrated stories on Tales to Terrify & StarShipSofa. He podcasts his own fiction on The Night Bulletin podcast, which you can find on your favorite podcast app. You can find him listening to podcasts on long walks, watching TV shows that take place on spaceships, and slowly building his personal library. He can be hired for voiceover work at fiverr.com/tf_ahmad or you can email him at thenightbulletin@gmail.com.Support this show http://supporter.acast.com/starshipsofa. See acast.com/privacy for privacy and opt-out information.

Welcome back to Transmissions. Our seventh season commences today with the brilliant Greg Tate, a legendary music writer, musician, creative explorer and sojourner. He passed away unexpectedly only a few days after our December 9th conversation, and this talk constitutes our delayed contribution to the choruses of writers, artists, and thinkers rightly proclaiming his praises last month.  Though Tate's episode couldn't hope to be exhaustive, it does offer a look into his creative pursuits, focusing on the latest timebending record from his Burnt Sugar The Arkestra Chamber, love of comic books, science fiction and Afrofuturism, Santana, and much more. A note from host Jason P. Woodbury:  “Reading Greg Tate when I was getting into music writing was crucial. Though our time at Voice Media-owned enterprises didn't overlap, his Voice essays were pivotal in my understanding of what great music writing could do—and he is so fun to read. A stylist in the best sense. Tate listened so deeply musically; he heard deeper. And he understood the human impulses at the core of creative expression. In his essay about William Gibson's 1984 cyberpunk novel, Neuromancer, he wrote, 'Along with [Samuel] Delany and [Philip K.] Dick, Gibson suggests that primordial ghosts will haunt the machine-part humans of the future.' I think Tate understood a lot about those ghosts, what a genuine honor to have him on.”   Episode Playlist: Burnt Sugar The Arkestra Chamber: Oakanda Overdrive-Full Ride ++ Automate No. One, from Angeles of Oakanda Support Transmissions on Patreon. If you dig the show, please consider rating, reviewing, subscribing, and spread the word if you dig our program. Back next Wednesday with Circuit Des Yeux. Transmission concluded. 

Babylon 5: The Gathering (22 Feb 93) v DS9 S1 E1-2 Emissary (4 Jan 93)-We weren't wild about Tamlyn Tomita's performance as Lt. Cdr. Takashima, but we love her as Commodore Oh in Star Trek: Picard (2020)-Johnny Sekka who played Dr. Kyle was a Senegalese-born Gambian actor famous from the London theater scene-Dr. Kyle's & Ms. Alexander's openings of Ambassador Kosh's encounter suit reminded us of scenes in the films Kiss Me Deadly (1955), Raiders of the Lost Ark (1981), & Pulp Fiction (1994)-A fantastic early use of Medusa in sf is Catherine Moore tale “Shambleau” (Weird Tales 1933), and the other famous weird fiction writer referenced is H.P. Lovecraft, known for his Cthulhu Mythos (1917-35) -The amazing DS9 dream episode w/ Sisko as 50s sf writer is “Far beyond the Stars” (1998)-The early Next Generation episodes w/ crossovers to the original Star Trek series we reference are “Encounter at Farpoint” (1987), “Sarek” (1990), “Unification” (1991), & “Relics” (1992) -Colm Meaney's post-DS9 work includes Intermission (2003) & Hell on Wheels (2011-6), René Auberjonois's post-DS9 work includes Boston Legal (2004-8), & the great Michelle Forbes appeared as Ro Laren in 8 episodes of Next Gen S5-7 (1991-4)-For more on the historical specificity of antisemitism, see the political economist Moishe Postone essay “The Holocaust & the Trajectory of the C20” (2003)-DS9 premiered in Jan 93, B5 in Feb 93, & X-Files in Sep 93-Delenn's rings have big Green Lantern Corps or the Mandarin (Iron Man antagonist) energy-Afrofuturist novelist & sf critic Samuel Delany seizes on descriptions of doors as an example of the techniques of sf language in prose fiction late in his essay “About 5,750 Words” (1968)

Pods... in... space... The boys are back and discussing their first foray into sci-fi, Samuel Delany's trippy, tricky Trouble on Triton. Karl explains all about Wittgenstein, metalogics, and Eutopias (yes, Eu). Friedrich and Søren try to keep up, with thoughts on war (huh - what it is it good for), the pleasures of wandering narrative, and... Evanescence? Theme music: "Shostakovich," by Mucca Pazza

Today's show is brought to you by Wacom — makers of the incredible Wacom One! This week, Brad and Dave talk about crafting names for the characters, places and objects in your comic.Questions asked and topics covered...Naming things"Do you ever get the urge to draw something else?"Squarespace adds an exclusive-content tierThe difficulties in writing stories from personal experienceSci-fi writer Samuel Delany's advice on re-doing old workYou get great rewards when you join the ComicLab Community on Patreon$2 — Early access to episodes$5 — Submit a question for possible use on the show AND get the exclusive ProTips podcast$10 — Record an audio question for possible use on the show AND get the exclusive ProTips podcast$50 — Sponsor the show! We’ll read a brief promo for your comic/product and read it twice during the show AND you get the exclusive ProTips podcastBrad Guigar is the creator of Evil Inc and the editor of Webcomics.com Dave Kellett is the creator of Sheldon and Drive.Listen to ComicLab on...Apple PodcastsGoogle PodcastsSpotifyPandoraStitcherComicLab is hosted on Simplecast, helping podcasters since 2013. with industry-leading publishing, distribution, and sharing tools.

Join three giants in the world of Afrofuturist comics in this compelling conversation between two Mississippi natives, Tim Fielder and John Jennings, along with University Press of MIssissippi contributing writer, Donna-lyn Washington.Tim Fielder is an Illustrator, concept designer, cartoonist, and animator born in Tupelo, Mississippi, and raised in Clarksdale, Mississippi. He has a lifelong love of Visual Afrofutuism, Pulp entertainment, and action films. He holds other Afrofuturists such as Samuel Delany, Octavia Butler, Pedro Bell and Overton Lloyd as major influences. He has worked over the years in the storyboarding, film visual development, gaming, comics, and animation industries for clients as varied as Marvel Comics, The Village Voice, Tri-Star Pictures, to Ubisoft Entertainment. He also works as an educator for institutions such as the New York FilmAcademy and Howard University. Tim hopes to push forward with his art in the emerging digital content delivery systems of the day. His project, Matty’s Rocket, is a product from his company Dieselfunk Studios. Tim also is the author and illustrator of the upcoming graphic novel, ‘INFINITUM: An Afrofuturist Tale’, published by HarperCollins Amistad in January 2021. Tim makes an empty nest with his wife in the rapidly gentrifying neighborhood of Harlem.JOHN JENNINGS is a Professor of Media and Cultural Studies at the University of California at Riverside. Jennings is co-editor of the Eisner Award-winning collection The Blacker the Ink: Constructions of the Black Identity in Comics and Sequential Art. Jennings is also a 2016 Nasir Jones Hip Hop Studies Fellow with the Hutchins Center at Harvard University. Jennings’ current projects include the horror anthology Box of Bones, the coffee table book Black Comix Returns (with Damian Duffy), and the Eisner-winning, Bram Stoker Award-winning, New York Times best-selling graphic novel adaptation of Octavia Butler’s classic dark fantasy novel Kindred. Duffy and Jennings recently released their graphic novelization of Octavia Bulter’s prescient dystopian novel Parable of the Sower (Abrams ComicArts). Jennings is also founder and curator of the ABRAMS Megascope line of graphic novels.Donna-lyn Washington edited John Jennings: Conversations, part of the University Press of Mississippi's Conversations with Comic Artists Series. She is adjunct lecturer of English at Kingsborough Community College, and she is also senior editor and senior writer at ReviewFix. She has contributed to Rediscovering Frank Yerby: Critical Essays, published by University Press of Mississippi, as well as entries to the Encyclopedia of Black Comics. See acast.com/privacy for privacy and opt-out information.

Samuel Delany, a science fiction author, once said that writing is more about what to omit from your writing. He states that most writing advice you receive is about what you should not do. Though I don't disagree with this second statement, I disagree with this idea that the core of writing is getting rid of things. This does not seem to make sense to me. If the core of good writing is what we should get rid of, isn't it the case that that this should make up the bulk of our writing? On Today's episode of How to Write Good, we are going to talk about whether this advice is good and in what context. My Book: danielpoppie.com/acurfordeathMy Newsletter:danielpoppie.com/newsletterMy Website:www.danielpoppie.com HTWG Facebook:https://www.facebook.com/howtowritegoodHTWG Twitter: https://twitter.com/danielpoppieHTWG Instagram: https://www.instagram.com/danielpoppieOne Last Toast for Ebenezer Fleet:https://www.spreaker.com/show/one-last-toast-for-ebenezer-fleet

Samuel Delany, a science fiction author, once said that writing is more about what to omit from your writing. He states that most writing advice you receive is about what you should not do. Though I don't disagree with this second statement, I disagree with this idea that the core of writing is getting rid of things. This does not seem to make sense to me. If the core of good writing is what we should get rid of, isn't it the case that that this should make up the bulk of our writing? On Today's episode of How to Write Good, we are going to talk about whether this advice is good and in what context. My Book: danielpoppie.com/acurfordeathMy Newsletter:danielpoppie.com/newsletterMy Website:www.danielpoppie.com HTWG Facebook:https://www.facebook.com/howtowritegoodHTWG Twitter: https://twitter.com/danielpoppieHTWG Instagram: https://www.instagram.com/danielpoppieOne Last Toast for Ebenezer Fleet:https://www.spreaker.com/show/one-last-toast-for-ebenezer-fleet

Antibody is a narrative series about how Covid-19 has changed everything and nothing at all. In this episode: The Corner (featuring Pablo Alvarado and the National Day Laborer Organizing Network) Stranger Pleasure (featuring Samuel Delany; produced by David Gutherz) One House in Oakland (produced by Sophie Kasakove) Role Call (produced by Andrea Long Chu) Support day laborer economic survival with a contribution at https://ndlon.org/

Antibody is a narrative series about how Covid-19 has changed everything and nothing at all. In this episode: The Corner (featuring Pablo Alvarado and the National Day Laborer Organizing Network) Stranger Pleasure (featuring Samuel Delany; produced by David Gutherz) One House in Oakland (produced by Sophie Kasakove) Role Call (produced by Andrea Long Chu) Support day laborer economic survival with a contribution at ndlon.org

Antibody is a new narrative series about how Covid-19 has changed everything and nothing at all. In this episode: The Corner (featuring Pablo Alvarado and the National Day Laborer Organizing Network) Stranger Pleasure (featuring Samuel Delany; produced by David Gutherz) One House in Oakland (produced by Sophie Kasakove) Role Call (produced by Andrea Long Chu) Support day laborer economic survival with a contribution at ndlon.org

Com os ponteiros do relógio girando no sentido anti-horário, a bancada do D.F.P. recebe o grande Load, do Podcast Loadeando, para falar sobre viagem no tempo, desde os conceitos científicos, passando por obras da cultura pop chegando à pergunta óbvia do tema: matar o bebê Hitler ou não? E pra comemorar nossa primeira parceria: vamos fazer um sorteio de um exemplar dos livros Babel-17 e Estrela Imperial; como a Morro Branco não perde tempo, é um livro VIRA-VIRA com as duas obras de Samuel Delany! E pra concorrer é fácil: Siga o D.F.P. e a editora Morro Branco no instagram e no twitter e veja as regras pra saber como participar!

Episodio 5: A través del tiempo Queer Con ocasión del orgullo LGBTQ+, que marcó este pasado junio el cincuenta aniversario de las revueltas de Stonewall, en este quinto episodio nos sumergimos en la ficción especulativa que explora y practica lo queer. Partimos del clásico de Le Guin La mano izquierda de la oscuridad, y de las limitaciones de esta reimaginación concreta del género, ayudadas de El pensamiento heterosexual de Monique Wittig. Repasamos genealogía urbana gay en la obra del neoyorquino Samuel Delany y trazamos vínculos entre su escritura y las reflexiones queer y descoloniales de Hiromi Goto a través de lo que el teórico Jack Halberstam denomina “tiempo queer”. Laura Lazcano nos trae ejemplos tempranos de ciencia ficción queer en el cine de los 70 y 80, el New Queer Cinema y sus exponentes, y nos cuenta cómo se refleja la transexualidad en la ficción actual. Escuchamos además algunas de las jóvenes voces bisexuales del fantástico estatal actual e indagamos en el potencial especulativo del pensamiento transfeminista hispanohablante. Referencias: Textos La mano izquierda de la oscuridad - Ursula K. Le Guin (t. Francisco Abelenda) El pensamiento heterosexual - Monique Wittig (t. Javier Sáez y Paco Vidarte) “Is Gender Necessary?” - Ursula K. Le Guin “Mayoría de edad en Karhide” (en El cumpleaños del mundo y otros relatos) - Ursula K. Le Guin (t. Estela Gutiérrez Torres) Flight from Nevèrÿon - Samuel Delany “Por siempre y Gomorra” - Samuel Delany (t. Domingo Santos / Francisco Blanco) “‘Life-Now’: James Tiptree, Joanna Russ, and the Queer Meaning of Archives.” - Isaac Fellman “Notes from liminal spaces” - Hiromi Goto “Tecnofeminismo: apuntes para una tecnología transfeminista” (en Transfeminismos: epistemes, fricciones y flujos) - Lucía Egaña Rojas Cine y televisión The Rocky Horror Picture Show (1975, Jim Sharman) Liquid Sky (1982, Slava Tsukerman) Poison (1991, Todd Haynes) Nowhere (1997, Gregg Araki) Mysterious Skin (2004, Gregg Araki) Diamantino (2018, Abrantes, Schmidt) The Wild Boys (2017, Bertrand Mandico) Girls Lost (2015, Alexandra Keining) Música QueenS - THEESatisfaction Rizomas Salvajes - Las Bajas Pasiones bell’s roar - We Carry Us Bad Religion - Frank Ocean Boyfriend - Marika Hackman Gente de mierda - Putochinomaricón Thunder Thighs - Miss Eaves --- 5. saioa: Queer denboran barrena Joan den ekainean Stonewalleko matxinaden berrogeita hamargarren urtemugako LGBTQ+ ospakizunak izan direla-eta, bosgarren atal honetan, queer esparrua ikertzen eta praktikatzen duen espekulaziozko fikzioan murgilduko gara. Le Guin-en The Left Hand of Darkness lan klasikoko generoaren berrirudikapen zehatzak dituen mugetatik abiatu gara, Monique Wittig-en Pentsamendu heterosexualalanaren laguntzaz. New Yorkeko Samuel Delany-ren obrako hiriko gay genealogia berraztertuko dugu, eta loturak marraztuko ditugu haren idazketaren eta Hiromi Goto-ren hausnarketa queer eta dekolonialen artean, Jack Halberstam teorialariak "queer denbora" deitzen duenaren bidez. Laura Lazcanok 70eko eta 80ko hamarkadetako zinemako queer zientzia fikzioko lehenengo adibideak ekarriko dizkigu, New Queer Cinema eta haren adierazgarriak, eta egungo fikzioan transexualitatea nola islatzen den azalduko digu. Bestaldeko, Estatuko egungo egoerako ahots bisexual gazte batzuk entzungo ditugu, eta espainieraz adierazten den pentsamendu transfeministaren indar espekulatiboa aztertuko dugu.

GALAXIAS RELACIONALES Las relaciones alternativas a la monogamia han sido un terreno popular en la ciencia ficción desde sus inicios. Partiendo de Woman on the Edge of Time, la clásica novela utópica feminista de Marge Piercy, este primer episodio mirará hacia el poliamor como elemento de especulación política. También nos fijaremos en los tríos amorosos y las diversas versiones que se han dado en ejemplos del especulativo estatal e internacional, observaremos el imaginario de la sexualidad en la ciencia ficción audiovisual, nos preguntaremos si conseguimos zafarnos del patriarcado en una de las manifestaciones del poliamor más sonadas del género e indagaremos junto a James Tiptree, Jr. en las partes más problemáticas del deseo al alien como Otro. Todo ello atravesado por ideas que recoge Brigitte Vasallo en su ensayo Pensamiento monógamo, terror poliamoroso. Textos Mujer al borde del tiempo - Marge Piercy (t. Helen Torres) Pensamiento monógamo, terror poliamoroso - Brigitte Vasallo “Manual de supervivencia para fantasmas” - Rocío Vega Babel-17 - Samuel Delany (t. Mirta Rosenberg) Serpiente del sueño - Vonda N. McIntyre Xenogénesis (trilogía) - Octavia Butler Forastero en tierra extraña - Robert Heinlein “And I Awoke and Found Me Here on the Cold Hill's Side” - James Tiptree, Jr. Cine y televisión La última mujer sobre la tierra (1960, Roger Corman) Blade Runner (1982, Ridley Scott) Ex Machina (2015, Alex Garland) Her (2013, Spike Jonze) Zardoz (1974, John Boorman) THX1138 (1971, George Lucas) El cuento de la criada (1990, Volker Schlondorff) Sleeper (1973, Woody Allen) Demolition Man (1993, Marco Brambilla) Barbarella (1967, Roger Vadim) La resurrección de Frankenstein (1990, Roger Corman) Stereo (1969, David Cronenberg) Futurama: la bestia con un millón de espaldas (2008, Avanzino) Star Trek (1966, Roddenberry) Caprica (2010) Música Can't Help But Fly (The Poly Song) - Naima Infinity & Be Steady In your eyes – Badbadnotgood Inseparables - Los Cinco Latinos Triad - Jefferson Airplane Lose you - Peaches You don’t own me - Lesley Gore --- #02 Saioa: Galaxias relacionales Monogamiaren hautabide diren erlazioen esplorazioa oso arlo ezaguna izan da zientzia fikzioan hasieratik bertatik. Marge Piercy utopiko feministaren Woman on the Edge of Time eleberri klasikoa abiaburutzat hartuta, lehen atal honetan, espekulazio politikorako elementu gisa hartuko dugu poliamodioa. Bestalde, amodiozko hirukoteak eta Estatuko eta nazioarteko espekulatiboko adibideetan izandako bertsio desberdinak ikusiko ditugu, ikus-entzunezko zientzia fikzioko sexualitatearen imajinarioa landuko dugu, geure buruari galdetuko diogu ea lortzen ote dugun patriarkatua bazter uztea poliamodioaren arloko adierazpiderik sonatuenetako batean, eta, era berean, James Tiptree, Jr.-rekin batera, Bestea den alienarekiko desirak dituen alderdirik arazotsuenak ikertuko ditugu. Hori guztia, Brigitte Vasallok Pensamiento monógamo, terror poliamoroso saiakeran biltzen dituen ideiekin zeharkatuta.

On August 6, 2019, an article based on this podcast interview appeared in our partner publication, Public Books.  Fresh on the heels of our conversation with Madeline Miller, author of Circe,  John Plotz has a talk with Samuel Delany, living legend of science fiction and fantasy. You probably know him best for breakthrough novels like Dhalgren and Trouble … Continue reading "7 In Focus: Samuel Delany in conversation with John Plotz (Nevèrÿon, Triton, Gertrude Stein and more….)"

“(W)Rap on: Gender/Sexuality” is the third episode of the (W)Rap On series at AnthroPod, which brings anthropologists into conversation with artists, activists, and scholars from other disciplines and perspectives. The series is loosely inspired by James Baldwin and Margaret Mead’s 1970 conversation Rap on Race, and was conceived by Hilary Leathem in collaboration with AnthroPod. Our format attempts to identify and confront some of the problems that Mead and Baldwin’s conversation embodied, such as white fragility, complicity with power structures, and the struggle to create space for different groups to speak openly. We provide a platform for thoughtful and incisive discussions that highlight solidarities and shared commitments. We also highlight frictions and tensions between anthropological and other approaches. In this episode, anthropologist Mary Weismantel discusses writing about bodies, relating to readers, memory, and truth with fiction writer Samuel Delany. V Chaudhry moderates the conversation.

“(W)Rap on: Gender/Sexuality” is the third episode of the (W)Rap On series at AnthroPod, which brings anthropologists into conversation with artists, activists, and scholars from other disciplines and perspectives. The series is loosely inspired by James Baldwin and Margaret Mead’s 1970 conversation Rap on Race, and was conceived by Hilary Leathem in collaboration with AnthroPod. Our format attempts to identify and confront some of the problems that Mead and Baldwin’s conversation embodied, such as white fragility, complicity with power structures, and the struggle to create space for different groups to speak openly. We provide a platform for thoughtful and incisive discussions that highlight solidarities and shared commitments. We also highlight frictions and tensions between anthropological and other approaches. In this episode, anthropologist Mary Weismantel discusses writing about bodies, relating to readers, memory, and truth with fiction writer Samuel Delany. V Chaudhry moderates the conversation.

Humid funk out there, but we’re keeping cool. You are tuned into the July edition of the Aquarium Drunkard transmissions podcast, our monthly series of features interviews, and audio esoterica. On this episode, Justin Gage sits down with crate digger and producer Yosuke Kitazawa, to discuss Light in the Attic Records’ Japan Archival reissue series, which kicked off last year with the essential rock/folk/and pop compilation Even a Tree Can Shed Tears, picks up next month with a grip of Haruomi Honsono reissues, and will eventually feature Japanese new age, AOR, ambient, and electronic music. Then, we crack the spine on author Jason Heller’s new book, Strange Stars: David Bowie, Pop Music, and the Decade Sci-Fi Exploded. Focusing on the 1970s, Heller explores the myriad ways science fiction influenced music across genre lines, from the rock of Bowie to the cosmic jazz of Sun Ra, and examines the changing ways we continue to conceive ideas about “the future.” But first, Gage and co-host Jason P. Woodbury sit down to reflect on the passing of Richard Swift. A prolific producer and sideman—known for his work with Damien Jurado, the Shins, the Black Keys/Dan Auerbach, Laetitia Sadier, Foxygen, David Bazan, the Pretenders, Starflyer 59, Kevin Morby, and countless more—Swift also proved himself one of the most idiosyncratic voices in indie rock on his own solo LPs. Recorded at the beginning of the month, just after the news had broken, the talk focuses on his legacy, history, of course, his songs. Last year, Los Angeles-based label Light in the Attic issued the first installment in its sprawling Japan Archive series, Even a Tree Can Shed Tears: Japanese Folk & Rock 1969-1973. “In compiling these artists, the compilation shares the output of a national scene and time, as well as the struggles and triumphs of a generation that forged its own identity and opened their collective minds, and culture, to new forms of expression,” wrote our own Ben Kramer, reviewing the set. The compilation signaled the start of an ambitious project spanning the music of Japan, featuring everything from Japanese rock & roll to new age. For this episode of the podcast, Justin sat down with producer Yosuke Kitazawa to discuss what’s to come. Early in July, word broke that Richard Swift had passed. A beloved musician and artist, Swift’s history with Aquarium Drunkard is extensive. In addition to posting his collection of covers with Damien Jurado, Other People’s Songs, here on the site, Swift was responsible for one of our all-time favorite mixes, Playing Dumb, sourced from 45s at his National Freedom studios. Swift was an American original, and we’re deeply saddened by his loss. On the off-chance you’re unfamiliar, we put together a playlist featuring some of our favorite cuts from his solo work, Richard Swift: Try To Write a Book Each Time I Speak. In addition to this talk, it’s our tribute to Swift. Godspeed, Dickie. Author Jason Heller exists with one foot in science fiction, one in the world of music. In his new book, Strange Stars: David Bowie, Pop Music, and the Decade Sci-Fi Exploded, he unites them. Focusing on the 1970s and featuring a wide cast of characters including David Bowie, Samuel Delany, Sun Ra, George Clinton, Hawkwind, Michael Moorcock, Michael Jackson, and dozens and dozens more, the book posits that science fiction helped give musicians a framework for some of their most forward ideas. The stars looked very different, and the continue to shine in fascinating ways. If you enjoyed our show, please feel free rate and review on Apple Podcasts. Even better? You can personally tell a friend to check it out — by sharing the show via Spotify, Stitcher, MixCloud, or the TuneIn app. As always, tune into the weekly two-hour show on SIRIUS/XMU, channel 35, which can now be heard every Wednesday at 7pm PST with encore broadcasts on-demand via the SIRIUS/XM app. Follow AD on Facebook, Twitter, Instagram, and Tumblr. Collage image by Michael J. Hentz. Dig into the podcast archives, which include in-depth looks at the Voyager Golden Record and the Jesus People psychedelia movement, Laraaji’s new age public access show Celestrana, how Numero Group revitalized the natural sound series Environments for the app age, and how Art Bell’s late night conspiracy theories on Coast to Coast AM influenced broadcasters all over the world. We’ve recently resurrected the bi-monthly Aquarium Drunkard email newsletter. Every two weeks, get interviews, mixtapes, cultural ephemera, and more delivered straight to your inbox. Sign up to receive it, here.

Zack, Will, and Ben discuss Matt Kindt and David Rubín's ETHER from Dark Horse, Eddie Campbell's THE GOAT GETTERS from IDW, Samuel Delany and Mia Wolf's BREAD AND WINE from Fantagraphics, Kelly Sue DeConnick and Valentine De Landro's BITCH PLANET from Image, and the brand new MAD MAGAZINE from the Usual Gang of Idiots. 

Welcome to another Beyond Impossible Segment for SFP-NOW on SciFiPulse Radio.This week Julian Chamblis talks to illustrator and sequential artist Tim Fielder about his journey to becoming a much respected artist. Tim Fielder is an Illustrator, concept designer, cartoonist, and animator born and raised in Clarksdale, Mississippi. A lifelong fan of Pulp entertainment, action films, and Afrofuturism, he holds creators such as Samuel Delany, Steven Barnes, and Octavia Butler as major influences. His career includes work as a storyboard artist for gaming, animation and comics. He has worked for firms such as Marvel Comics, Tri-Star Pictures, and Ubisoft Entertainment in his long career. Beyond his creative work, he has taught in the classroom at New York University and the New York Film Academy. Fielder is creator of Matty’s Rocket an afrofuturist tales that blends elements of pulp adventure serials and classic science fiction tales with a vision of African-American experience. See acast.com/privacy for privacy and opt-out information.

On this season of Working, Jacob sits down with people whose jobs touch on LGBTQ life. On this episode, Jacob sits down with science fiction author Samuel Delany, author of Trouble on Triton, Babel-17, Through the Valley of the Nest of Spiders, and many more fiction and non-fiction books. He talks about his writing process, the place of sexuality and the body in fiction, how his sexual interests have shaped his life and work, and more. Note, there are some descriptions of sex in this episode and may not be appropriate for everyone.   Learn more about your ad choices. Visit megaphone.fm/adchoices

On this season of Working, Jacob sits down with people whose jobs touch on LGBTQ life. On this episode, Jacob sits down with science fiction author Samuel Delany, author of Trouble on Triton, Babel-17, Through the Valley of the Nest of Spiders, and many more fiction and non-fiction books. He talks about his writing process, the place of sexuality and the body in fiction, how his sexual interests have shaped his life and work, and more. Note, there are some descriptions of sex in this episode and may not be appropriate for everyone.   Learn more about your ad choices. Visit megaphone.fm/adchoices

Playwright, educator, and activist Alan Bounville joins us on the podcast to talk about his immersive theater piece Adonis Memories. The show is based on the testimonials of patrons of the infamous gay porn mecca known as the Adonis Theater, located in New York’s Hells Kitchen Neighborhood. It was a gay porn theater at the 51st location from 1975 through 1989. The theater’s legend was cemented within pornographic history because of Jack Deveau’s 1978 film A Night at the Adonis. A film that was shot within the theater. In this interview Alan describes how he put the show together by weaving a multitude of narratives from people who experienced the theater in their own way. We talk about what this era within gay history, and the sexuality explored in this space, means for gay sexuality and civil rights today. And we use Samuel Delany’s 1999 book Times Square Red, Times Square Blue as a guide to help us think through some of these issues. More info about the theater: http://cinematreasures.org/theaters/4693 A New York Times’ article about the theater’s closing: http://www.nytimes.com/1989/02/12/nyregion/new-york-shuts-2-gay-theaters-as-aids-threats.html A link to the In Our Words project: http://www.inourwords.org An article from Alan about how the play came together: http://extendedplay.thecivilians.org/in-our-words-makes-gay-sex-happen-102616/ A New York Times’ article about how Adonis Memories fits within a growing number of plays addressing the gay sexuality of the past: https://www.nytimes.com/2017/03/03/theater/gay-histories-close-enough-to-touch-but-dont.html?_r=0 More information about Times Square Red, Times Square Blue: https://nyupress.org/books/9780814719206/ More info about Alan’s Into the Light walk: http://imfromdriftwood.com/alan_bounville/ https://www.huffingtonpost.com/patrick-j-hamilton/alan-bounville-into-the-light-walk_b_2639379.html pornocultures.podomatic.com facebook.com/academicsex twitter.com/pornocultures https://concordia.academia.edu/brandrroyo

As an artist, Martine Syms says she's interested in how her experience—in particular, her experience as a young black woman—gets shaped and determined by various forms of media—especially digital media. She's interested in the power of that media—not just the obvious power of those who produce it, but the ways in which reading and consuming can also be acts of power. One of Syms's best-known projects is a critique of Afrofuturism, the artistic movement that explores and imagines the intersections between black culture and technology, typified by writers like Octavia Butler and Samuel Delany or musicians like Sun Ra or Janelle Monáe. Syms's work is preoccupied with the connections between media, technology, and black culture, but she rejects the afrofuturist mythology that imagines technology as a radical liberating funk-inflected fantasy. Syms is an afrofuturist, but, in her words, a mundane one. For her, the stakes are too high for an art that dwells in fantasy or the “harmless fun” of funky space aliens. The imaginative work of Afrofuturism takes the form of art that, for all its futurism and digitality, remains focused on our world, however upsetting, unjust, and mundane it may be. For the Organist, Syms spoke with our contributing editor, Niela Orr, about Syms's life and approach to art, and the new languages she invents for herself. In this episode, we also travel with Carmen Maria Machado to an Iowa gas station, where we find a dusty Subaru, a herd of cat-eyed children, and air that smells like diesel and manure and, inexplicably, limes. Carmen's book Her Body and Other Parties was recently long-listed for the National Book Award. Her writing has appeared in the New Yorker, Granta, Tin House, and elsewhere. Produced by Niela Orr and Jenny Ament Image by Martine Syms, courtesy of the Museum of Modern Art.

This week we're talking about a new essay by Samuel Delany, self-described sex radical. "Ash Wednesday," from the Boston Review, is about a weekend trip the author takes to participate in a seniors' group-sex weekend. Also this week: The sex lives of authors, and should the reading habits of your potential romantic partners matter?

Welcome back to Midnight in Karachi, a weekly podcast about writers, publishers, editors, illustrators, their books and the worlds they create, hosted by Mahvesh Murad. This week, Mahvesh talks with writer Nisi Shawl about the Samuel Delany tribute anthology Stories for Chip, and her new alternate history novel Everfair—available now from Tor Books, you can […]

As snow and ice bury the east coast, John E. O. Stevens, Fred Kiesche and Jeff Patterson turn their thoughts to the cold, merciless abyss that engulfs us all. That’s right, SPACE is the place, and they’ve invited Leah Petersen along to talk about the stories set there, and the role it plays. Science Fiction’s early depictions of space cast it as a medium to be crossed, or an analog for the sea, facilitating trade, exploration, and empire-building. Frank Herbert made it a commodity, accessible only to those who gave up their humanity. Stephen Baxter filled it with incomprehensible machinations. Star Trek used it as a divide between cultures. Kristine Katherine Rusch riddled it with lethal anomalies. Vernor Vinge gave it dominion over the rise of intelligence. C. J. Cherryh, Samuel Delany, Karen Lord, Alastair Reynolds, Lois McMaster Bujold, and many others shaped the infinite void into a narrative tool. Now, with Star Wars,The Expanse, and a possible new ninth planet, space is once again imposing itself on popular culture. Is it up to the challenge? As always, the discussion turns to recent culture consumed. Host Fred Kiesche, John E.O. Stevens and Jeff Patterson with Leah Petersen.

Lavelle Porter is a writer with a fascinating set of interests, ranging from poetry and science fiction to racial politics, sexual identity, and the structures of higher education itself. His recent blog post, "More Thoughts on Graduate School," resonated with anyone who's ever agonized over grad school-related decisions in their life, capturing some of the ambivalence that often accompanies the "life of the mind." Lavelle joins me to talk about being at Morehouse College in Atlanta around the time Outkast blew up, how he became interested in artists and writers like Sun Ra and Samuel Delany, and what the future holds for education in America.

In 2007, at the time Library of America published a new volume of Hart Crane's poems, Charles Bernstein, Samuel Delany, and Brian Reed gathered at the Kelly Writers House to celebrate Crane's life and work.