The Big Book of Science Fiction

The Big Book of Science Fiction


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Quite possibly the greatest science fiction collection of all time—past, present, and future!
What if life was neverending? What if you could change your body to adapt to an alien ecology? What if the pope were a robot? Spanning galaxies and millennia, this must-have anthology showcases classic contributions from H. G. Wells, Arthur C. Clarke, Octavia E. Butler, and Kurt Vonnegut, alongside a century of the eccentrics, rebels, and visionaries who have inspired generations of readers. Within its pages, you’ll find beloved worlds of space opera, hard SF, cyberpunk, the New Wave, and more. Learn about the secret history of science fiction, from titans of literature who also wrote SF to less well-known authors from more than twenty-five countries, some never before translated into English. In The Big Book of Science Fiction, literary power couple Ann and Jeff VanderMeer transport readers from Mars to Mechanopolis, planet Earth to parts unknown. Immerse yourself in the genre that predicted electric cars, space tourism, and smartphones. Sit back, buckle up, and dial in the coordinates, as this stellar anthology has got worlds within worlds.
· Legendary tales from Isaac Asimov and Ursula K. Le Guin
· An unearthed sci-fi story from W. E. B. Du Bois
· The first publication of the work of cybernetic visionary David R. Bunch in twenty years
· A rare and brilliant novella by Chinese international sensation Cixin Liu
· Aliens!
· Space battles!
· Robots!
· Technology gone wrong!
· Technology gone right!

Product Details

ISBN-13: 9781101910092
Publisher: Knopf Doubleday Publishing Group
Publication date: 07/12/2016
Pages: 1216
Sales rank: 145,960
Product dimensions: 6.90(w) x 9.00(h) x 2.10(d)

About the Author

Ann VanderMeer currently serves as an acquiring fiction editor for, Cheeky Frawg Books, and She was the editor-in-chief for Weird Tales for five years, during which time she was nominated three times for the Hugo Award, winning one. Along with multiple nominations for the Shirley Jackson Award, she also has won a World Fantasy Award and a British Fantasy Award for co-editing The Weird: A Compendium of Strange and Dark Stories. Other projects have included Best American Fantasy, three Steampunk anthologies, and a humor book, The Kosher Guide to Imaginary Animals. Her latest anthologies include The Time Traveler’s Almanac, Sisters of the Revolution, an anthology of feminist speculative fiction and The Bestiary, an anthology of original fiction and art.
Jeff VanderMeer's most recent fiction is the NYT-bestselling Southern Reach trilogy (Annihilation, Authority, and Acceptance), which Entertainment Weekly included on its list of the top ten novels of 2014 and which prompted the New Yorker to call the author “the weird Thoreau.”  The series has been acquired by publishers in 34 other countries. Paramount Pictures/Scott Rudin Productions acquired the movie rights and Annihilation won both the Nebula Award and Shirley Jackson Award for best novel. VanderMeer’s nonfiction has appeared in the New York Times, the Guardian, the Washington Post, the, and the Los Angeles Times. A three-time winner of the World Fantasy Award, he has also edited or coedited many iconic fiction anthologies, taught at the Yale Writers’ Conference and the Miami International Book Fair, lectured at MIT, Brown, and Library of Congress, and serves as the co-director of Shared Worlds, a unique teen writing camp located at Wofford College. His forthcoming novel is Borne.

Read an Excerpt

From the Introduction
Since the days of Mary Shelley, Jules Verne, and H. G. Wells, science fiction has not just helped define and shape the course of literature but reached well beyond fictional realms to influence our perspectives on culture, science, and technology. Ideas like electric cars, space travel, and forms of advanced communication compa­rable to today’s cell phone all first found their way into the public’s awareness through science fiction. In stories like Alicia Yánez Cossío’s “The IWM 100” from the 1970s you can even find a clear prediction of Information Age giants like Google—and when Neil Armstrong set foot on the moon, the event was a very real culmina­tion of a yearning already expressed through science fiction for many decades.

Science fiction has allowed us to dream of a better world by creating visions of future soci­eties without prejudice or war. Dystopias, too, like Ray Bradbury’s Fahrenheit 451, have had their place in science fiction, allowing writers to comment on injustice and dangers to democracy. Where would Eastern Bloc writers have been without the creative outlet of science fic­tion, which by seeming not to speak about the present day often made it past the censors? For many under Soviet domination during those decades, science fiction was a form of subver­sion and a symbol of freedom. Today, science fiction continues to ask “What if?” about such important topics as global warming, energy dependence, the toxic effects of capitalism, and the uses of our modern technology, while also bringing back to readers strange and wonder­ful visions.

No other form of literature has been so rel­evant to our present yet been so filled with visionary and transcendent moments. No other form has been as entertaining, either. But until now there has been no definitive and complete collection that truly captured the global influ­ence and significance of this dynamic genre—bringing together authors from all over the world and from both the “genre” and “literary” ends of the fiction spectrum. The Big Book of Science Fiction covers the entire twentieth cen­tury, presenting, in chronological order, sto­ries from more than thirty countries, from the pulp space opera of Edmond Hamilton to the literary speculations of Jorge Luis Borges, from the pre-Afrofuturism of W. E. B. Du Bois to the second-wave feminism of James Tiptree Jr.—and beyond!

What you find within these pages may sur­prise you. It definitely surprised us.

Even people who do not read science fiction have likely heard the term “the Golden Age of Science Fiction.” The actual Golden Age of Sci­ence Fiction lasted from about the mid-1930s to the mid-1940s, and is often conflated for general readers with the preceding Age of the Pulps (1920s to mid-1930s). The Age of the Pulps had been dominated by the editor of Amazing Stories, Hugo Gernsback. Sometimes called the Father of Science Fiction, Gernsback was most famously photographed in an all-encompassing “Isolator” author helmet, attached to an oxygen tank and breathing apparatus.

The Golden Age dispensed with the Isola­tor, coinciding as it did with the proliferation of American science fiction magazines, the rise of the ultimately divisive editor John W. Camp­bell at Astounding Science Fiction (such strict definitions and such a dupe for Dianetics!), and a proto-market for science fiction novels (which would only reach fruition in the 1950s). This period also saw the rise to dominance of authors like Isaac Asimov, Arthur C. Clarke, Poul Anderson, C. L. Moore, Robert Heinlein, and Alfred Bester. It fixed science fiction in the public imagination as having a “sense of wonder” and a “can-do” attitude about science and the universe, sometimes based more on the earnest, naïve covers than the actual content, which could be dark and complex.

But “the Golden Age” has come to mean something else as well. In his classic, oft-quoted book on science fiction, Age of Wonders: Explor­ing the World of Science Fiction (1984), the iconic anthologist and editor David Hartwell asserted that “the Golden Age of Science Fiction is 12.” Hartwell, an influential gatekeeper in the field, was making a point about the arguments that “rage until the small of the morning” at science fiction conventions among “grown men and women” about that time when “every story in every magazine was a master work of daring, original thought.” The reason readers argue about whether the Golden Age occurred in the 1930s, 1950s, or 1970s, according to Hartwell, is because the true age of science fiction is the age at which the reader has no ability to tell good fiction from bad fiction, the excellent from the terrible, but instead absorbs and appreciates just the wonderful visions and exciting plots of the stories.

This is a strange assertion to make, one that seems to want to make excuses. It’s often repeated without much analysis of how such a brilliant anthology editor also credited with bringing literary heavyweights like Gene Wolfe and Philip K. Dick to readers would want to (inadvertently?) apologize for science fiction while at the same time engaging in a senti­mentality that seems at odds with the whole enterprise of truly speculative fiction. (Not to mention dissing twelve-year-olds!)

Perhaps one reason for Hartwell’s stance can be found in how science fiction in the United States, and to some extent in the United King­dom, rose out of pulp magazine delivery sys­tems seen as “low art.” A pronounced “cultural cringe” within science fiction often combines with the brutal truth that misfortunes of ori­gin often plague literature, which can assign value based on how swanky a house looks from the outside rather than what’s inside. The new Kafka who next arises from cosmopolitan Prague is likely to be hailed a savior, but not so much the one who arises from, say, Crawford­ville, Florida.

There is also something of a need to apolo­gize for the ma-and-pop tradition exemplified by the pulps, with their amateurish and eccen­tric editors, who sometimes had little formal training and possessed as many eccentricities as freckles, and who came to dominate the American science fiction world early on. Sometimes an Isolator was the least of it.

Yet even with regard to the pulps, evidence suggests that these magazines at times enter­tained more sophisticated content than gener­ally given credit for, so that in a sense an idea like “the Golden Age of Science Fiction is 12” undermines the truth about such publications. It also renders invisible all of the complex sci­ence fiction being written outside of the pulp tradition.
Therefore, we humbly offer the assertion that contrary to popular belief and based on all of the evidence available to us . . . the actual Golden Age of Science Fiction is twenty-one, not twelve. The proof can be found in the con­tents of this anthology, where we have, as much as possible, looked at the totality of what we think of “science fiction,” without privileging the dominant mode, but also without discard­ing it. That which may seem overbearing or all of a type at first glance reveals its individuality and uniqueness when placed in a wider con­text. At third or fourth glance, you may even find that stories from completely different tra­ditions have commonalities and speak to each other in interesting ways.

We evoked the names of Mary Shelley, Jules Verne, and H. G. Wells at the beginning of this introduction for a very specific reason. All three are useful entry points or origin points for science fiction because they do not exist so far back in time as to make direct influence seem ethereal or attenuated, they are still known in the modern era, and because the issues they dealt with permeate what we call the “genre” of science fiction even today.
We hesitate to invoke the slippery and pre­ternatural word influence, because influence appears and disappears and reappears, sidles in and has many mysterious ways. It can be as simple yet profound as reading a text as a child and forgetting it, only to have it well up from the subconscious years later, or it can be a clear and all-consuming passion. At best we can only say that someone cannot be influenced by something not yet written or, in some cases, not yet translated. Or that influence may occur not when a work is published but when the writer enters the popular imagination—for example, as Wells did through Orson Welles’s infamous radio broadcast of War of the Worlds (1938) or, to be silly for a second, Mary Shelley through the movie Young Frankenstein (1974).

For this reason even wider claims of influ­ence on science fiction, like writer and editor Lester del Rey’s assertion that the Mesopo­tamian Epic of Gilgamesh is the earliest writ­ten science fiction story, seem appropriative, beside the point, and an overreach for legiti­macy more useful as a “tell” about the posi­tion of science fiction in the 1940s and 1950s in North America.

But we brought up our triumvirate because they represent different strands of science fiction. The earliest of these authors, Mary Shel­ley, and her Frankenstein (1818), ushered in a modern sensibility of ambivalence about the uses of technology and science while wedding the speculative to the horrific in a way reflected very early on in science fiction. The “mad sci­entist” trope runs rife through the pages of the science fiction pulps and even today in their modern equivalents. She also is an important figure for feminist SF.

Jules Verne, meanwhile, opened up lines of inquiry along more optimistic and hopeful lines. For all that Verne liked to create schemat­ics and specific detail about his inventions—like the submarine in Twenty Thousand Leagues Under the Sea (1870)—he was a very happy puppy who used his talents in the service of sci­entific romanticism, not “hard science fiction.”

H. G. Wells’s fiction was also dubbed “sci­entific romanticism” during his lifetime, but his work existed somewhere between these two foci. His most useful trait as the godfather of modern science fiction is the granularity of his writing. Because his view of the world existed at an intersection of sociology, politics, and technology, Wells was able to create complex geopolitical and social contexts for his fiction—indeed, after he abandoned science fiction, Wells’s later novels were those of a social real­ist, dealing with societal injustice, among other topics. He was able to quantify and fully real­ize extrapolations about the future and explore the iniquities of modern industrialization in his fiction.

The impulse to directly react to how indus­trialization has affected our lives occurs very early on in science fiction—for example, in Karl Hans Strobl’s cautionary factory tale “The Triumph of Mechanics” (1907) and even in the playful utopian visions of Paul Scheerbart, which often pushed back against bad elements of “modernization.” (For his optimism, Scheer­bart perished in World War I, while Strobl’s “reward” was to fall for fascism and join the Nazi Party—in part, a kind of repudiation of the views expressed in “The Triumph . . .”)

Social and political issues also peer out from science fiction from the start, and not just in Wells’s work. Rokheya Shekhawat Hossein’s “Sultana’s Dream” (1905) is a potent feminist utopian vision. W. E. B. Du Bois’s “The Comet” (1920) isn’t just a story about an impending science-fictional catastrophe but also the start of a conversation about race relations and a proto-Afrofuturist tale. The previously untranslated Yefim Zozulya’s “The Doom of Principal City” (1918) presages the atrocities perpetrated by the communism of the Soviet Union and highlights the underlying absurdities of certain ideologi­cal positions. (It’s perhaps telling that these early examples do not come from the American pulp SF tradition.)

This kind of eclectic stance also suggests a simple yet effective definition for science fic­tion: it depicts the future, whether in a stylized or realistic manner. There is no other definitional barrier to identifying science fiction unless you are intent on defending some particular terri­tory. Science fiction lives in the future, whether that future exists ten seconds from the Now or whether in a story someone builds a time machine a century from now in order to travel back into the past. It is science fiction whether the future is phantasmagorical and surreal or nailed down using the rivets and technical jar­gon of “hard science fiction.” A story is also sci­ence fiction whether the story in question is, in fact, extrapolation about the future or using the future to comment on the past or present.

Thinking about science fiction in this way delinks the actual content or “experience” delivered by science fiction from the com­modification of that genre by the marketplace. It does not privilege the dominant mode that originated with the pulps over other forms. But neither does it privilege those other manifes­tations over the dominant mode. Further, this definition eliminates or bypasses the idea of a “turf war” between genre and the mainstream, between commercial and literary, and invali­dates the (weird ignorant snobbery of) tribalism that occurs on one side of the divide and the faux snobbery (ironically based on ignorance) that sometimes manifests on the other.

Wrote the brilliant editor Judith Merril in the seventh annual edition of The Year’s Best S-F (1963), out of frustration:

“But that’s not science fiction . . . !” Even my best friends (to invert a para­phrase) keep telling me: That’s not sci­ence fiction! Sometimes they mean it couldn’t be s-f, because it’s good. Some­times it couldn’t be because it’s not about spaceships or time machines. (Religion or politics or psychology isn’t science fiction—is it?) Sometimes (because some of my best friends are s-f fans) they mean it’s not really science fiction—just fantasy or satire or something like that.

On the whole, I think I am very patient. I generally manage to explain again, just a little wearily, what the “S-F” in the title of this book means, and what sci­ence fiction is, and why the one contains the other, without being constrained by it. But it does strain my patience when the exclamation is compounded to mean, “Surely you don’t mean to use that? That’s not science fiction!”—about a first-rate piece of the honest thing.

Standing on either side of this debate is corrosive—detrimental to the study and cele­bration of science fiction; all it does is sidetrack discussion or analysis, which devolves into SF/not SF or intrinsically valuable/not valuable. And, for the general reader weary of antholo­gies prefaced by a series of “inside baseball” remarks, our definition hopefully lessens your future burden of reading these words.

Table of Contents

The Star - H. G. Wells
Sultana’s Dream - Rokheya Shekhawat Hossein
The New Overworld - Paul Scheerbart
The Triumph of Mechanics - Karl Hans Strobl
Elements of Pataphysics - Alfred Jarry
Mechanopolis - Miguel de Unamuno
The Doom of Principal City - Yefim Zozulya
The Comet - W. E. B. Du Bois
The Fate of the Poseidonia - Clare Winger Harris
The Star Stealers - Edmond Hamilton
The Conquest of Gola - Leslie F. Stone
A Martian Odyssey - Stanley G. Weinbaum
The Last Poet and the Robots - A. Merritt
The Microscopic Giants - Paul Ernst
Tlön, Uqbar, Orbis Tertius - Jorge Luis Borges
Desertion - Clifford D. Simak
September 2005: The Martian - Ray Bradbury
Baby HP - Juan José Arreola
Surface Tension - James Blish
Beyond Lies the Wub - Philip K. Dick
The Snowball Effect - Katherine MacLean
Prott - Margaret St. Clair
The Liberation of Earth - William Tenn
Let Me Live in a House - Chad Oliver
The Star - Arthur C. Clarke
Grandpa - James H. Schmitz
The Game of Rat and Dragon - Cordwainer Smith
The Last Question - Isaac Asimov
Stranger Station - Damon Knight
Sector General - James White
The Visitors - Arkady and Boris Strugatsky
Pelt - Carol Emshwiller
The Monster - Gérard Klein
The Man Who Lost the Sea - Theodore Sturgeon
The Waves - Silvina Ocampo
Plenitude - Will Worthington
The Voices of Time - J. G. Ballard
The Astronaut - Valentina Zhuravlyova
The Squid Chooses Its Own Ink - Adolfo Bioy Casares
2 B R 0 2 B - Kurt Vonnegut Jr.
A Modest Genius - Vadim Shefner
Day of Wrath - Sever Gansovsky
The Hands - John Baxter
Darkness - André Carneiro
"Repent, Harlequin!" Said the Ticktockman - Harlan Ellison
Nine Hundred Grandmothers - R. A. Lafferty
Day Million - Frederik Pohl
Student Body - F. L. Wallace
Aye, and Gomorrah - Samuel R. Delany
The Hall of Machines - Langdon Jones
Soft Clocks - Yoshio Aramaki
Three from Moderan - David R. Bunch
Let Us Save the Universe - Stanisław Lem
Vaster Than Empires and More Slow - Ursula K. Le Guin
Good News from the Vatican - Robert Silverberg
When It Changed - Joanna Russ
And I Awoke and Found Me Here on the Cold Hill’s Side - James Tiptree Jr.
Where Two Paths Cross - Dmitri Bilenkin
Standing Woman - Yasutaka Tsutsui
The IWM 1000 - Alicia Yánez Cossío
The House of Compassionate Sharers - Michael Bishop
Sporting with the Chid - Barrington J. Bayley
Sandkings - George R. R. Martin
Wives - Lisa Tuttle
The Snake That Read Chomsky - Josephine Saxton
Reiko’s Universe Box - Kajio Shinji
Swarm - Bruce Sterling
Mondocane - Jacques Barbéri
Blood Music - Greg Bear
Bloodchild - Octavia E. Butler
Variation on a Man - Pat Cadigan
Passing as a Flower in the City of the Dead - S. N. Dyer
New Rose Hotel - William Gibson
Pots - C. J. Cherryh
Snow - John Crowley
The Lake Was Full of Artificial Things - Karen Joy Fowler
The Unmistakable Smell of Wood Violets - Angélica Gorodischer
The Owl of Bear Island - Jon Bing
Readers of the Lost Art - Élisabeth Vonarburg
A Gift from the Culture - Iain M. Banks
Paranamanco - Jean-Claude Dunyach
Crying in the Rain - Tanith Lee
The Frozen Cardinal - Michael Moorcock
Rachel in Love - Pat Murphy
Sharing Air - Manjula Padmanabhan
Schwarzschild Radius - Connie Willis
All the Hues of Hell - Gene Wolfe
Vacuum States - Geoffrey A. Landis
Two Small Birds - Han Song
Burning Sky - Rachel Pollack
Before I Wake - Kim Stanley Robinson
Death Is Static Death Is Movement - Misha Nogha
The Brains of Rats - Michael Blumlein
Gorgonoids - Leena Krohn
Vacancy for the Post of Jesus Christ - Kojo Laing
The Universe of Things - Gwyneth Jones
The Remoras - Robert Reed
The Ghost Standard - William Tenn
Remnants of the Virago Crypto-System - Geoffrey Maloney
How Alex Became a Machine - Stepan Chapman
The Poetry Cloud - Cixin Liu
Story of Your Life - Ted Chiang
Craphound - Cory Doctorow
The Slynx - Tatyana Tolstaya
Baby Doll - Johanna Sinisalo

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