Science Fiction & Fantasy

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Feature Interviews

Nonfiction

Interview: Alastair Reynolds

[Blue Remembered Earth] is a big departure for me. It’s my attempt to get back to something a little bit closer to the present in terms of the way I think about science fiction. So it’s a novel which looks at where we might be in a hundred and fifty years in terms of going out into the solar system, going back to the moon and Mars, but also looking at the Earth, the kind of trends that we might expect to see over the next century and a half on our own planet—things like artificial intelligence, genetic engineering, and ubiquitous surveillance technology.

Nonfiction

Interview: Ursula K. Le Guin

I do try to separate my personal activism—showing up at a demonstration or something—from what I write. I don’t write tracts, I write novels. I’m not a preacher, I’m a fiction writer. I get a lot of moral guidance from reading novels, so I guess I expect my novels to offer some moral guidance, but they’re not blueprints for action, ever.

Nonfiction

Interview: David Brin

If ETs want to contact new tech races, they’re not likely to waste time and resources on gigantic beacons. They’ll know the thousand—or ten thousand, or fifty thousand—life worlds around them that have oxygen atmospheres. But the odds that any one of those has a shiny new civilization will be very small, at any one time. So they’ll just send a ping to each of them, once every hundred years—or maybe once a year—saying, “Is there anybody there yet?” Because that’s cheap to do.

Nonfiction

Interview: John Scalzi

We have some of the best writers in science fiction and fantasy today that we’ve ever had in the genre. That said, one of the things is that when you have people who are really engaged on the literary side of writing, as many of our current really excellent writers are, there is a question of how approachable it is to someone who is just coming fresh into the field.

Nonfiction

Interview: Seanan McGuire/Mira Grant

In order to come up with the Kellis-Amberlee virus, I read enough books on viruses to qualify for some kind of horrible extra credit program, audited a bunch of courses at UC Berkeley and at the California Academy of Sciences, and then started phoning the CDC persistently and asking them horrible questions.

Nonfiction

Interview: Kim Stanley Robinson

The two things I postulated that I think make [my new novel] workable as a realistic kind of fantasia are space elevators on Earth and self-replicating machinery, and these are two supposedly possible engineering feats that are discussed in the literature, so they’re not physically impossible. They might be hard engineering feats, but it seems like they could be done, and there are even companies working on at least the space elevator.

Nonfiction

Interview: Garth Nix

The idea of Mister Fitz, who’s a puppet who is also a sorcerer, I’m sure comes from the fact that my mother made papier-mâché puppets when I was a child, and in particular one year she made puppets of all the Moomintroll characters, and put on a show of Moominland Midwinter for me for my birthday party.

Nonfiction

Interview: Brian Greene

Because there isn’t just one flavor of parallel universe—there’s a version that comes out of quantum mechanics, there’s a version that comes out of cosmology, a version that comes out of string theory, and so forth. But one thing that they do share is it’s pretty tough, if not impossible, to go from one universe to another in any of these versions—in any conventional notion of what it would mean to travel from one universe to another.

Nonfiction

Interview: Anne Rice

There [has] to be a seductive side to the power, of feeling yourself gain strength, and your muscles get stronger and your limbs get longer and your whole body becomes invulnerable with a soft wonderful coat of hair. And you get fangs and you get claws and you are able to really destroy your enemies without much thought. And I thought, “That’s got to be seductive. That’s got to be great.”

Nonfiction

Interview: Morgan Spurlock

Comic books succeed—and have succeeded for decades—because of fans, because of people who love them. Big, giant Hollywood genre movies succeed because of fans. Video games have become more popular over the years because of fans. So for me this is a film that was very much rooted in those people—in their passions, in their desire, their obsessions.