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Hugo and Nebula Award winning author, Greg Bear, has authored over forty books, including Quantico, Darwin’s Children, and The Forge of God. His latest novel is Hull Zero Three, and Halo: Cryptum is due out in January.
I became a history major just after Vietnam to understand why humans went to war in the first place. I never really did figure that out, but it led to a lifelong obsession.
The Earth’s pull—even a pea-sized Earth’s pull—on the moon only depends on mass. In making the Earth into a black hole, all we changed was the radius. The Moon never has, and never will, care about the Earth’s size.
Where is the sacrifice in a martyr who believes he’ll live eternally in paradise? I was trying to think about the idea of true martyrdom—the sacrifice of not just your life, but of the hope for an afterlife.
Welcome to issue seven of Lightspeed! On tap this month… Fiction: “In-fall,” by Ted Kosmatka, “The Observer,” by Kristine Kathryn Rusch, “Jenny’s Sick” by David Tallerman, “The Silence of the Asonu” by Ursula K. Le Guin. Nonfiction: “Black Holes: Starving and Misunderstood,” by Dr. Pamela Gay, “Feature Interview: Greg Bear” by John Joseph Adams and David Barr Kirtley, “Five Upcoming Plagues (We’re Doomed),” by Genevieve Valentine, “Linguistic Expectations,” by Lawrence M. Schoen.
I’ve always favored art that was evocative rather than literal. I think my art is a balance between the two, and that balance shifts depending on the nature of the assignment.
So, in other words, you’re curled up naked on the couch with your new Na’vi hottie which, alas, is really just a bowl of blue Jello. This phenomenon is a well-documented finding in the scientific literature. (Well, maybe not the part about the Jello.)
Halfway through writing “Ej-es,” I emailed Janis Ian to tell her that I had turned her ballad of love and longing into a story about a retro-virus in the brain. She emailed back, “How did you know?”
Our actions now will profoundly change the literal and metaphorical landscape for the next generation. Unfortunately, we’re pretty sure that the future is the last place anybody wants to be.
I wanted the structure of the story to mimic the time-jumps that Hwang endures over and over again, in order to evoke at least a ghost of that instability, that sense of unease. I also had some ideas that I wasn’t sure how to make use of individually.
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