In an interview on Geeks Guide to the Galaxy (Wired), econtard Paul Krugman discussed the relationship between science fiction and economics. He said that he was inspired to pursue economics by Asimov’s Foundation series. Quelle surprise! He also claimed economic laws change over time (I know, I know!), but he nevertheless embraces one unstoppable apriori economic law in the interview: greed.
Free online college course: Fantasy and Science Fiction: The Human Mind, Our Modern World: Taught by Professor Eric S. Rabkin of the University of Michigan. Hosted by Coursera. The course will run 10 weeks and will cover Grimm, Carroll, Stoker, Shelley, Hawthorne & Poe, Wells, Burroughs & Gilman, Bradbury, LeGuin, and Doctorow (Little Brother). Click on over for more details and the registration form.
ISS astronaut impressed by private firm SpaceX’s Dragon vehicle: “Inside of the Dragon module. Beautiful. Spacious, Modern. Blue LEDs. Feels a bit like a sci-fi filmset. Of course it is from Los Angeles.” And “You could say a new era of spaceflight has begun. Soon private companies will take people to and from space.”
Like Prometheus Unbound, Cato Unbound is an online magazine, unbound and free of the limits of the dead-tree format, although they maintain a regular monthly schedule while we do not. Each month they cover a different big topic and invite several eminent thinkers to discuss it.
Cato Unbound invites their readers to take part in the discussion on their own websites, blogs, social networks, and the like. Particularly good posts could be officially included in the issue.
Lead Essay
This month’s lead essayist is literary scholar Sarah Skwire. In “Birth of the Clichés,” she argues that — contrary to mainstream and libertarian perception — the evidence that Western literature is anti-commerce is actually thin. Instead, she presents a more nuanced view “in which critiques of the market stand side by side with favorable depictions and even sound, encouraging advice for would-be businessmen.”
Ernest Cline is a science fiction fan and video game enthusiast who, as a former tech support employee, has spent most of his working hours surfing ’80s pop culture on the internet. As an author, he has successfully drawn from these interests to write an engaging story that weaves new technology with low-tech nostalgia. Although he has previously written about the gaming world (his screenplay Thundercade follows a video gamer’s quest to restore his championship gaming title), Cline takes the concept to an exciting new level in his science fiction novel Ready Player One, Prometheus Award finalist and our June Lightmonthly Read, which offers the reader a full immersion into the world of virtual reality gaming.
Ready Player One begins in the year 2044, and protagonist Wade Watts doesn’t have much going for him in the desolate Portland Avenue Stacks. He’s an overweight, unpopular orphan living with his aunt in a crowded RV park, where the RVs are stacked up to 20 units high in an effort to accommodate everyone in an overpopulated city fraught with power outages and gunfire. Wade finds solace by playing video games and watching reruns of family sitcoms from the ’80s, trying to lose himself in a decade when the world was a simpler and friendlier place. He also spends much of his free time logged into the OASIS, a massively multiplayer online game that has evolved into a virtual reality-based global network.
The online world of OASIS is not without conflict, however. The creator of OASIS, James Halliday, died five years before without naming an heir. At his behest, a contest is being held to determine who will control the OASIS. In his video will, Halliday explains that he has hidden three keys (Copper, Jade, and Crystal) to three gates in the simulated world of the OASIS. The first person to pass through all three gates will become heir to Halliday’s multi-billion dollar estate and gain full control of the OASIS.
Desperate to find a way out of the Stacks, Wade becomes a gunter (short for “egg hunter,” a reference the Easter egg hidden in the video game Adventure). Because Halliday had an infatuation with ’80s pop culture, his death sparks a global obsessive interest; spiked hair and acid-washed jeans come back into style, and gunters attentively study the decade’s fads and trends in hopes of discovering a clue to the keys’ locations.
Wade hopes his own vast knowledge of the decade will give him an edge in the competition, but the odds are against him. He must race to find the keys before they are found by another gunter — or worse, by the Sixers, employees of the dangerous Nolan Sorrento and Innovative Online Industries, a corporation set on gaining control of OASIS at any cost.
Snuff — A Discworld novel by Terry Pratchett (winner of a Prometheus Award for Night Watch, also set in Discworld), Snuff blends comedy, drama, satire, suspense, and mystery as a police chief investigates the murder of a goblin and finds himself battling discrimination. The mystery broadens into a powerful drama to extend the world’s recognition of rights to include these long-oppressed and disdained people with a sophisticated culture of their own.
It’s currently available on Amazon in hardcover and Kindle ebook and Audible audiobook formats. Buy your copy today, via the affiliate links above, and help support our work here at Prometheus Unbound.
I’m pleased to announce that we’re launching our first book giveaway on Prometheus Unbound. Our very own Matthew Alexander has been generous enough to agree to give away free copies of his libertarian science fiction novel Wĭthûr Wē.
We’ll be giving away ebook copies in Kindle (mobi) format during the entire month of July 2012.
One lucky winner will also receive a signed paperback copy of Wĭthûr Wē.
Please help us promote this book giveaway. Share the book giveaway page (linked above) far and wide.
And congratulations to Matthew whose Wĭthûr Wē recently won the 2012 Libertarian Fiction Book of the Year presented by the Libertarian, Agorist, Voluntaryist & Anarch Authors & Publishers Association (LAVA).
One judge described Wĭthûr Wē as “[a] beautifully written explanation of anarcho-capitalism, without being overly didactic or so steeped in philosophy that the plot suffers.”
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Living Proof is the opera prima of Kira Peikoff, the daughter of Ayn Rand’s intellectual heir, Leonard Peikoff. In it, Peikoff uses a near-future setting to explore the logical conclusion of certain prolife arguments with which she disagrees. The plot of this thriller is well-structured and the writing, notwithstanding the occasional imperfection, is decent. However, in the end it gave me the same feeling I get from a dish made from good ingredients that nevertheless wants salt. Or pepper. Or oregano. Or something.
Arianna — a protagonist in the Randian tradition — is a brave, rational, free-thinking and beautiful doctor working at a fertility clinic in New York City in the year 2028. Embryos have been given the same legal status as human beings, and the Department of Embryo Protection is tasked with making sure that embryos not used in implantation are frozen and taken care of instead of being disposed of. The DEP chief becomes suspicious of Arianna when her clinic experiences a sudden and inexplicable surge in popularity. He sends Trent Rowe undercover to earn Arianna’s trust so he can find out what she is up to and if she is “murdering” embryos. What Trent discovers will challenge his beliefs, and he must make a choice between what he was raised to believe, and what Arianna has taught him.
Peikoff’s prose is decent, although she occasionally misuses words, which sound like notes of a melody played flat. On page 58, for instance, she uses “pretext” when she means “pretense.” On page 55 she uses “oblivion” when she cannot possibly have meant it.
She also has an affinity for metaphors, some of which go off well and help elucidate an idea. For instance, on page 261 she writes, “But recently the cells had been tantalizingly close to the goal, developing as astrocytes or microglia instead of oligodendrocytes, like Cokes instead of Diet Cokes.” However, there are just as many times when no metaphor is needed, or the one she chooses takes the reader out of the story. A good example is on page 163, where a character is said to be “trapped in an ethical straitjacket, laced tight with emotional strings.” It is not that the metaphor cannot convey the idea, but the particular one used seems a little silly and distracting, like a knowledgeable professor whose belly spills over the waistline of the pants he bought when he was 40 pounds lighter.
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