by Ted Gioia
A printer’s devil just whispered in my ear. He tells me
that when printers go to hell, they are forced to turn Mark
Z. Danielewski manuscripts into books with nothing more
than an old Linotype machine and an X-Acto knife for tools.
Sometimes, he adds, they try to use the X-Acto knife on
themselves.
Mr. Danielewski, in case you don't know, is the creator
of novels that look like a cross between a typographer's
nightmare and regurgitated alphabet soup. I have great
patience with demanding literature, but
when I got to the part in Danielewski's
House of Leaves when I need to put
a mirror up to the page in order to
decipher the text, I was ready to take
my recently purchased forty dollar book
and use it for kindling. And no, that
isn't a verb meaning "to read a book
on a Kindle."
But here’s the sad punchline: I can't
help admiring this writer’s cussed
creativity. Even as I moan and groan
at the indignities he heaps upon
readers (I'm not worrying about printers
anymore), I still find myself caught up in
the narrative thread of his books. I still
look at the crazy page layouts and find
some strange satisfaction in their relentless anarchy. I am, I
will admit it, a fan.
There are many narrative threads in Danielewski's new
book—at least five, given the five narrators who continually
hand-off storytelling responsibility one to another, usually in
mid-sentence. But there are literal threads also. The Fifty
Year Sword is the first novel I've encountered which singles
out "Stitchers" for big font thanks in the acknowledgements
—three stitchers to be exact, just like those mythological
seamstresses the Three Fates. Say what you will about the
storyline of The Fifty Year Sword, at least the physical book
holds together and will endure the ravages of time.
If Mark Danielewski didn't serve up such strange-looking
books, he might be labeled as a purveyor of horror stories.
House of Leaves is one of the scariest books of recent
memory, as unsettling as first rate Stephen King or Richard
Matheson. It's no coincidence that The Fifty Year Sword
was first published in a limited 1,000 copy batch on
Halloween Day 2005 and received its first commercial
printing in a pumpkin-colored edition released in October
2012. Danielewski clearly sees this novel as his trick-or-
treat offering for All Hallow’s Eve.
The Fifty Year Sword, putting aside for the time being the
eccentric layout and shifting narrative voices, is a horror
story about a horror story. At a late night party in a large
mansion, five children are led off to a remote part of the
house, where a storyteller has been hired to entertain them
while the adults engage in grown-up fun elsewhere on the
premises. But whoever employed this teller of tales failed
to do a proper background check. The creepy man shows
up with a large black casket—who knows what it holds?—
and introduces himself without offering a name, merely a
description: "I am a bad man with a very black heart."
Our ominous storyteller then launches into his disturbing
tale. Imagine if Edgar Allan Poe had been hired to write
and direct Kill Bill, Part One and you will have some idea
of the ambiance of his narrative-within-a-narrative. You may
find the layout on the page cumbersome. The illustrations
may strike you as little more than Rorschach charts. But
Danielewski is a first-rate storyteller himself, and I suspect
he could keep both adults and children entranced (and
probably scared stiff) at the proverbial late night campfire
gathering. And, as you can imagine, the late night story in
The Fifty Year Sword inevitably leads up to the moment
when the fearsome black casket is opened. Just don’t
expect me to tell you what’s inside.
This book is not without its faults. Danielewski, a showy
fellow if ever there was one, always pushes things a bit
too far. Occasionally the text lapses into incoherence.
The deliberate misspelling of words is hardly an exciting
literary innovation. The shifting narrative voice probably
works better in performance—Danielewski has staged
this book as a kind of play—than on the page. At times
the outrageous marriage of text, layout and illustrations
will make you think that this book was devised by Dr.
Seuss on acid.
Even so, Danielewski's books shake you up. They force
you to adjust to the author's terrain, which almost certainly
is not your own, and always show you something you
haven't seen before. And how many books rate that praise
in our modern jaded age? Above all, Danielewski can spin
a yarn with the best of them—or stitch a thread, if you prefer
to use his own favorite metaphor. Maybe someday he will
be willing to show readers that he can do it without all these
eccentric trappings. Until then, you are advised to come to
his books equipped with a mirror and a lot of patience. At
least they will pay off the effort you expend on them. Well,
unless you're a printer.
Ted Gioia writes on music, literature, and popular culture.
His newest book is The Jazz Standards: A Guide to the
Repertoire.
A printer’s devil just whispered in my ear. He tells me
that when printers go to hell, they are forced to turn Mark
Z. Danielewski manuscripts into books with nothing more
than an old Linotype machine and an X-Acto knife for tools.
Sometimes, he adds, they try to use the X-Acto knife on
themselves.
Mr. Danielewski, in case you don't know, is the creator
of novels that look like a cross between a typographer's
nightmare and regurgitated alphabet soup. I have great
patience with demanding literature, but
when I got to the part in Danielewski's
House of Leaves when I need to put
a mirror up to the page in order to
decipher the text, I was ready to take
my recently purchased forty dollar book
and use it for kindling. And no, that
isn't a verb meaning "to read a book
on a Kindle."
But here’s the sad punchline: I can't
help admiring this writer’s cussed
creativity. Even as I moan and groan
at the indignities he heaps upon
readers (I'm not worrying about printers
anymore), I still find myself caught up in
the narrative thread of his books. I still
look at the crazy page layouts and find
some strange satisfaction in their relentless anarchy. I am, I
will admit it, a fan.
There are many narrative threads in Danielewski's new
book—at least five, given the five narrators who continually
hand-off storytelling responsibility one to another, usually in
mid-sentence. But there are literal threads also. The Fifty
Year Sword is the first novel I've encountered which singles
out "Stitchers" for big font thanks in the acknowledgements
—three stitchers to be exact, just like those mythological
seamstresses the Three Fates. Say what you will about the
storyline of The Fifty Year Sword, at least the physical book
holds together and will endure the ravages of time.
If Mark Danielewski didn't serve up such strange-looking
books, he might be labeled as a purveyor of horror stories.
House of Leaves is one of the scariest books of recent
memory, as unsettling as first rate Stephen King or Richard
Matheson. It's no coincidence that The Fifty Year Sword
was first published in a limited 1,000 copy batch on
Halloween Day 2005 and received its first commercial
printing in a pumpkin-colored edition released in October
2012. Danielewski clearly sees this novel as his trick-or-
treat offering for All Hallow’s Eve.
The Fifty Year Sword, putting aside for the time being the
eccentric layout and shifting narrative voices, is a horror
story about a horror story. At a late night party in a large
mansion, five children are led off to a remote part of the
house, where a storyteller has been hired to entertain them
while the adults engage in grown-up fun elsewhere on the
premises. But whoever employed this teller of tales failed
to do a proper background check. The creepy man shows
up with a large black casket—who knows what it holds?—
and introduces himself without offering a name, merely a
description: "I am a bad man with a very black heart."
Our ominous storyteller then launches into his disturbing
tale. Imagine if Edgar Allan Poe had been hired to write
and direct Kill Bill, Part One and you will have some idea
of the ambiance of his narrative-within-a-narrative. You may
find the layout on the page cumbersome. The illustrations
may strike you as little more than Rorschach charts. But
Danielewski is a first-rate storyteller himself, and I suspect
he could keep both adults and children entranced (and
probably scared stiff) at the proverbial late night campfire
gathering. And, as you can imagine, the late night story in
The Fifty Year Sword inevitably leads up to the moment
when the fearsome black casket is opened. Just don’t
expect me to tell you what’s inside.
This book is not without its faults. Danielewski, a showy
fellow if ever there was one, always pushes things a bit
too far. Occasionally the text lapses into incoherence.
The deliberate misspelling of words is hardly an exciting
literary innovation. The shifting narrative voice probably
works better in performance—Danielewski has staged
this book as a kind of play—than on the page. At times
the outrageous marriage of text, layout and illustrations
will make you think that this book was devised by Dr.
Seuss on acid.
Even so, Danielewski's books shake you up. They force
you to adjust to the author's terrain, which almost certainly
is not your own, and always show you something you
haven't seen before. And how many books rate that praise
in our modern jaded age? Above all, Danielewski can spin
a yarn with the best of them—or stitch a thread, if you prefer
to use his own favorite metaphor. Maybe someday he will
be willing to show readers that he can do it without all these
eccentric trappings. Until then, you are advised to come to
his books equipped with a mirror and a lot of patience. At
least they will pay off the effort you expend on them. Well,
unless you're a printer.
Ted Gioia writes on music, literature, and popular culture.
His newest book is The Jazz Standards: A Guide to the
Repertoire.
| THE YEAR OF MAGICAL READING The Fifty Year Sword by Mark Z. Danielewski |
Click on image to purchase
| The Year of Magical Reading (click here) |
| conceptual fiction Exploring the Non-Realist Tradition in Fiction |
Welcome to my year of magical
reading. Each week during the
course of 2012, I will explore an
important work of fiction that
incorporates elements of magic,
fantasy or the surreal. My choices
will cross conventional boundary
lines of genre, style and historical
period—indeed, one of my intentions
in this project is to show how the
conventional labels applied to these
works have become constraining,
deadening and misleading.
In its earliest days, storytelling almost
always partook of the magical. Only
in recent years have we segregated
works arising from this venerable
tradition into publishing industry
categories such as "magical realism"
or "paranormal" or "fantasy" or some
other 'genre' pigeonhole. These
labels are not without their value, but
too often they have blinded us to the
rich and multidimensional heritage
beyond category that these works
share.
This larger heritage is mimicked in
our individual lives: most of us first
experienced the joys of narrative
fiction through stories of myth and
magic, the fanciful and
phantasmagorical; but only a very
few retain into adulthood this sense
of the kind of enchantment possible
only through storytelling. As such,
revisiting this stream of fiction from a
mature, literate perspective both
broadens our horizons and allows us
to recapture some of that magic in
our imaginative lives.
The Year of Magical Reading:
Week 1: Midnight's Children by
Salman Rushdie
Week 2: The House of the Spirits by
Isabel Allende
Week 3: The Witches of Eastwick
by John Updike
Week 4: Magic for Beginners by
Kelly Link
Week 5: The Tin Drum by Günter
Grass
Week 6: The Golden Ass by
Apuleius
Week 7: The Tiger's Wife by Téa
Obreht
Week 8: One Hundred Years of
Solitude by Gabriel García Márquez
Week 9: The Book of Laughter and
Forgetting by Milan Kundera
Week 10: Gargantua and Pantagruel
by François Rabelais
Week 11: The Famished Road by
Ben Okri
Week 12: Like Water for Chocolate
by Laura Esquivel
Week 13: Winter's Tale by Mark
Helprin
Week 14: Dhalgren by Samuel R.
Delany
Week 15: Johnathan Strange & Mr.
Norrell by Susanna Clarke
Week 16: The Master and
Margarita by Mikhail Bulgakov
Week 17: Dangerous Laughter by
Steven Millhauser
Week 18: Conjure Wife by Fritz
Leiber
Week 19: 1Q84 by Haruki Murakami
Week 20: The Hobbit by J.R.R.
Tolkien
Week 21: Aura by Carlos Fuentes
Week 22: Dr. Faustus by Thomas
Mann
Week 23: Orlando by Virginia Woolf
Week 24: Little, Big by John Crowley
Week 25: The White Hotel by D.M.
Thomas
Week 26: Neverwhere by Neil
Gaiman
Week 27: Alice's Adventures in
Wonderland by Lewis Carroll
Week 28: Fifth Business by
Robertson Davies
Week 29: The Kingdom of This
World by Alejo Carpentier
Week 30: The Bear Comes Home
by Rafi Zabor
Week 31: The Color of Magic by
Terry Pratchett
Week 32: Ficciones by Jorge Luis
Borges
Week 33: Beloved by Toni Morrison
Week 34: Dona Flor and Her Two
Husbands by Jorge Amado
Week 35: Hard-Boiled Wonderland
and the End of the World by Haruki
Murakami
Week 36: What Dreams May Come
by Richard Matheson
Week 37: Practical Magic by Alice
Hoffman
Week 38: Blindess by José
Saramago
Week 39: The Fortress of Solitude
by Jonathan Lethem
Week 40: The Magicians by Lev
Grossman
Week 41: Suddenly, A Knock at the
Door by Etgar Keret
Week 42: Cloudstreet by Tim Winton
Week 43: The Obscene Bird of
NIght by José Donoso
Week 44: The Fifty Year Sword by
Mark Z. Danielewski
Week 45: Gulliver's Travels by
Jonathan Swift
Week 46: Harry Potter and the
Sorcerer's Stone by J.K. Rowling
Week 47: The End of the Affair by
Graham Greene
Week 48: The Chronicles of Narnia
by C.S. Lewis
Week 49: Hieroglyphic Tales by
Horace Walpole
Week 50: The View from the
Seventh Layer by Kevin Brockmeier
Week 51: Gods Without Men by
Hari Kunzru
Week 52: At Swim-Two-Birds by
Flann O'Brien
reading. Each week during the
course of 2012, I will explore an
important work of fiction that
incorporates elements of magic,
fantasy or the surreal. My choices
will cross conventional boundary
lines of genre, style and historical
period—indeed, one of my intentions
in this project is to show how the
conventional labels applied to these
works have become constraining,
deadening and misleading.
In its earliest days, storytelling almost
always partook of the magical. Only
in recent years have we segregated
works arising from this venerable
tradition into publishing industry
categories such as "magical realism"
or "paranormal" or "fantasy" or some
other 'genre' pigeonhole. These
labels are not without their value, but
too often they have blinded us to the
rich and multidimensional heritage
beyond category that these works
share.
This larger heritage is mimicked in
our individual lives: most of us first
experienced the joys of narrative
fiction through stories of myth and
magic, the fanciful and
phantasmagorical; but only a very
few retain into adulthood this sense
of the kind of enchantment possible
only through storytelling. As such,
revisiting this stream of fiction from a
mature, literate perspective both
broadens our horizons and allows us
to recapture some of that magic in
our imaginative lives.
The Year of Magical Reading:
Week 1: Midnight's Children by
Salman Rushdie
Week 2: The House of the Spirits by
Isabel Allende
Week 3: The Witches of Eastwick
by John Updike
Week 4: Magic for Beginners by
Kelly Link
Week 5: The Tin Drum by Günter
Grass
Week 6: The Golden Ass by
Apuleius
Week 7: The Tiger's Wife by Téa
Obreht
Week 8: One Hundred Years of
Solitude by Gabriel García Márquez
Week 9: The Book of Laughter and
Forgetting by Milan Kundera
Week 10: Gargantua and Pantagruel
by François Rabelais
Week 11: The Famished Road by
Ben Okri
Week 12: Like Water for Chocolate
by Laura Esquivel
Week 13: Winter's Tale by Mark
Helprin
Week 14: Dhalgren by Samuel R.
Delany
Week 15: Johnathan Strange & Mr.
Norrell by Susanna Clarke
Week 16: The Master and
Margarita by Mikhail Bulgakov
Week 17: Dangerous Laughter by
Steven Millhauser
Week 18: Conjure Wife by Fritz
Leiber
Week 19: 1Q84 by Haruki Murakami
Week 20: The Hobbit by J.R.R.
Tolkien
Week 21: Aura by Carlos Fuentes
Week 22: Dr. Faustus by Thomas
Mann
Week 23: Orlando by Virginia Woolf
Week 24: Little, Big by John Crowley
Week 25: The White Hotel by D.M.
Thomas
Week 26: Neverwhere by Neil
Gaiman
Week 27: Alice's Adventures in
Wonderland by Lewis Carroll
Week 28: Fifth Business by
Robertson Davies
Week 29: The Kingdom of This
World by Alejo Carpentier
Week 30: The Bear Comes Home
by Rafi Zabor
Week 31: The Color of Magic by
Terry Pratchett
Week 32: Ficciones by Jorge Luis
Borges
Week 33: Beloved by Toni Morrison
Week 34: Dona Flor and Her Two
Husbands by Jorge Amado
Week 35: Hard-Boiled Wonderland
and the End of the World by Haruki
Murakami
Week 36: What Dreams May Come
by Richard Matheson
Week 37: Practical Magic by Alice
Hoffman
Week 38: Blindess by José
Saramago
Week 39: The Fortress of Solitude
by Jonathan Lethem
Week 40: The Magicians by Lev
Grossman
Week 41: Suddenly, A Knock at the
Door by Etgar Keret
Week 42: Cloudstreet by Tim Winton
Week 43: The Obscene Bird of
NIght by José Donoso
Week 44: The Fifty Year Sword by
Mark Z. Danielewski
Week 45: Gulliver's Travels by
Jonathan Swift
Week 46: Harry Potter and the
Sorcerer's Stone by J.K. Rowling
Week 47: The End of the Affair by
Graham Greene
Week 48: The Chronicles of Narnia
by C.S. Lewis
Week 49: Hieroglyphic Tales by
Horace Walpole
Week 50: The View from the
Seventh Layer by Kevin Brockmeier
Week 51: Gods Without Men by
Hari Kunzru
Week 52: At Swim-Two-Birds by
Flann O'Brien
Follow Ted Gioia on Twitter at
www.twitter.com/tedgioia
Conceptual Fiction:
A Reading List
(with links to essays on each work)
Home Page
Abbott, Edwin A.
Flatland
Adams, Douglas
The Hitchhiker's Guide to the Galaxy
Aldiss, Brian
Barefoot in the Head
Aldiss, Brian
Hothouse
Aldiss, Brian
Report on Probability A
Allende, Isabel
The House of the Spirits
Amado, Jorge
Dona Flor and Her Two Husbands
Amis, Martin
Time's Arrow
Apuleius
The Golden Ass
Asimov, Isaac
The Foundation Trilogy
Asimov, Isaac
I, Robot
Atwood, Margaret
The Handmaid's Tale
Banks, Iain M.
The State of the Art
Ballard, J.G.
The Atrocity Exhibition
Ballard, J.G.
Crash
Ballard, J.G.
The Crystal World
Ballard, J.G.
The Drowned World
Barth, John
Giles Goat-Boy
Bester, Alfred
The Demolished Man
Blish, James
A Case of Conscience
Borges, Jorge Luis
Ficciones
Bradbury, Ray
Dandelion Wine
Bradbury, Ray
Fahrenheit 451
Bradbury, Ray
The Illustrated Man
Bradbury, Ray
The Martian Chronicles
Bradbury, Ray
Something Wicked This Way Comes
Brockmeier, Kevin
The View from the Seventh Layer
Bulgakov, Mikhail
The Master and Margarita
Bunch, David R.
Moderan
Burgess, Anthony
A Clockwork Orange
Card, Orson Scott
Ender's Game
Carpentier, Alejo
The Kingdom of This World
Carroll, Lewis
Alice's Adventures in Wonderland
Chabon, Michael
The Yiddish Policemen's Union
Chiang, Ted
Stories of Your Life and Others
Clarke, Arthur C.
Childhood's End
Clarke, Arthur C.
A Fall of Moondust
Clarke, Arthur C.
2001: A Space Odyssey
Clarke, Susanna
Jonathan Strange & Mr Norrell
Crowley, John
Little, Big
Danielewski, Mark Z.
The Fifty Year Sword
Danielewski, Mark Z.
House of Leaves
Davies, Robertson
Fifth Business
Delany, Samuel R.
Babel-17
Delany, Samuel R.
Dhalgren
Delany, Samuel R.
The Einstein Intersection
Delany, Samuel R.
Nova
Dick, Philip K.
Do Androids Dream of Electric Sheep?
Dick, Philip K.
Flow My Tears, the Policeman Said
Dick, Philip K.
The Man in the High Castle
Dick, Philip K.
Ubik
Dick, Philip K.
VALIS
Disch, Thomas M.
Camp Concentration
Disch, Thomas M.
The Genocides
Doctorow, Cory
Down and Out in the Magic Kingdom
Donoso, José
The Obscene Bird of Night
Ellison, Harlan (editor)
Dangerous Visions
Ellison, Harlan
I Have No Mouth & I Must Scream
Esquivel, Laura
Like Water for Chocolate
Farmer, Philip José
To Your Scattered Bodies Go
Fuentes, Carlos
Aura
Gaiman, Neil
American Gods
Gaiman, Neil
Neverwhere
Gibson, William
Burning Chrome
Gibson, William
Neuromancer
Grass, Günter
The Tin Drum
Greene, Graham
The End of the Affair
Grossman, Lev
The Magicians
Haldeman, Joe
The Forever War
Hall, Steven
The Raw Shark Texts
Harrison, M. John
The Centauri Device
Harrison, M. John
Light
Heinlein, Robert
The Moon is a Harsh Mistress
Heinlein, Robert:
Stranger in a Strange Land
Heinlein, Robert
Time Enough for Love
Helprin, Mark
Winter's Tale
Herbert, Frank
Dune
Hoffman, Alice
Practical Magic
Huxley, Aldous
Brave New World
Keret, Etgar
Suddenly, A Knock at the Door
Keyes, Daniel
Flowers for Algernon
Kundera, Milan
The Book of Laughter and Forgetting
Kunzru, Hari
Gods Without Men
Lafferty, R.A.
Nine Hundred Grandmothers
Le Guin, Ursula K.
The Dispossessed
Le Guin, Ursula K.
The Lathe of Heaven
Le Guin, Ursula K.
The Left Hand of Darkness
Leiber, Fritz
The Big Time
Leiber, Fritz
Conjure Wife
Leiber, Fritz
Swords & Deviltry
Leiber, Fritz
The Wanderer
Lem, Stanislaw
His Master's Voice
Lem, Stanislaw
Solaris
Lethem, Jonathan
The Fortress of Solitude
Lewis, C. S.
The Chronicles of Narnia
Link, Kelly
Magic for Beginners
Malzberg, Barry N.
Herovit's World
Mann, Thomas
Doctor Faustus
Márquez, Gabriel García
100 Years of Solitude
Markson, David
Wittgenstein's Mistress
Matheson, Richard
Hell House
Matheson, Richard
What Dreams May Come
McCarthy, Cormac
The Road
Miéville, China
Perdido Street Station
Miller, Jr., Walter M.
A Canticle for Leibowitz
Millhauser, Steven
Dangerous Laughter
Mitchell, David
Cloud Atlas
Moorcock, Michael
Behold the Man
Moorcock, Michael
The Final Programme
Morrison, Toni
Beloved
Murakami, Haruki
1Q84
Murakami, Haruki
Hard-Boiled Wonderland and the
End of the World
Nabokov, Vladimir
Ada, or Ardor
Niffenegger, Audrey
The Time Traveler's Wife
Niven, Larry
Ringworld
Noon, Jeff
Vurt
Obreht, Téa
The Tiger's Wife
O'Brien, Flann
At Swim-Two-Birds
Okri, Ben
The Famished Road
Percy, Walker
Love in the Ruins
Pohl, Frederik
Gateway
Pratchett, Terry
The Color of Magic
Pynchon, Thomas
Gravity's Rainbow
Rabelais, François
Gargantua and Pantagruel
Robinson, Kim Stanley
Red Mars
Rowling, J.K.
Harry Potter & the Sorcerer's Stone
Rushdie, Salman
Midnight's Children
Russ, Joanna
The Female Man
Saramago, José
Blindness
Sheckley, Robert
Dimension of Miracles
Sheckley, Robert
Mindswap
Sheckley, Robert
Store of the Worlds
Shelley, Mary
Frankenstein
Silverberg, Robert
Dying Inside
Silverberg, Robert
Nightwings
Silverberg, Robert
The World Inside
Simak, Clifford
City
Simak, Clifford
The Trouble with Tycho
Smith, Cordwainer
Norstrilia
Smith, Cordwainer
The Rediscovery of Man
Stephenson, Neal
Snow Crash
Spinrad, Norman
Bug Jack Barron
Stross, Charles
Glasshouse
Sturgeon, Theodore
More Than Human
Sturgeon, Theodore
Some of Your Blood
Swift, Jonathan
Gulliver's Travels
Thomas, D.M.
The White Hotel
Tiptree, Jr., James
Warm Worlds and Otherwise
Tolkien, J.R.R.
The Hobbit
Updike, John
The Witches of Eastwick
Van Vogt, A.E.
The Mixed Men
Van Vogt, A.E.
Slan
Van Vogt, A.E.
The Voyage of the Space Beagle
Van Vogt, A.E.
The World of Null A
Vance, Jack
Emphyrio
Verne, Jules
Around the Moon
Verne, Jules
From the Earth to the Moon
Verne, Jules:
Journey to the Center of the Earth
Vonnegut, Kurt
Cat's Cradle
Vonnegut, Kurt
The Sirens of Titan
Vonnegut, Kurt
Slaughterhouse-Five
Wallace, David Foster
Infinite Jest
Walpole, Horace
Hieroglyphic Tales
Wells, H.G.
The First Men in the Moon
Wells, H.G.
The Island of Dr. Moreau
Wells, H.G.
The Time Machine
Wilson, Robert Anton & Robert Shea
The Illuminatus! Trilogy
Winton, Tim
Cloudstreet
Woolf, Virginia
Orlando
Zabor, Rafi
The Bear Comes Home
Zelazny, Roger
Lord of Light
Zelazny, Roger
This Immortal
Special Features
Notes on Conceptual Fiction
When Science Fiction Grew Up
Ray Bradbury: A Tribute
The Year of Magical Reading
Remembering Fritz Leiber
A Tribute to Richard Matheson
Samuel Delany's 70th birthday
The Sci-Fi of Kurt Vonnegut
Curse You, Neil Armstrong!
Robert Heinlein at 100
A.E, van Vogt Tribute
The Puzzling Case of Robert Sheckley
The Avant-Garde Sci-Fi of Brian Aldiss
Science Fiction 1958-1975: A Reading List
Links to related sites
The New Canon
Great Books Guide
Postmodern Mystery
Fractious Fiction
Ted Gioia's web site
Ted Gioia on Twitter
_____
SF Site
io9
Graeme's Fantasy Book Review
Los Angeles Review of Books
The Millions
Big Dumb Object
SF Novelists
More Words, Deeper Hole
The Misread City
Reviews and Responses
SF Signal
True Science Fiction
Tor blog
Disclosure: Conceptual Fiction
and its sister sites may receive review
copies and promotional materials from
publishers, authors, publicists or other
parties.
All rights reserved.
www.twitter.com/tedgioia
Conceptual Fiction:
A Reading List
(with links to essays on each work)
Home Page
Abbott, Edwin A.
Flatland
Adams, Douglas
The Hitchhiker's Guide to the Galaxy
Aldiss, Brian
Barefoot in the Head
Aldiss, Brian
Hothouse
Aldiss, Brian
Report on Probability A
Allende, Isabel
The House of the Spirits
Amado, Jorge
Dona Flor and Her Two Husbands
Amis, Martin
Time's Arrow
Apuleius
The Golden Ass
Asimov, Isaac
The Foundation Trilogy
Asimov, Isaac
I, Robot
Atwood, Margaret
The Handmaid's Tale
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The Genocides
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Down and Out in the Magic Kingdom
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The Obscene Bird of Night
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Dangerous Visions
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I Have No Mouth & I Must Scream
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Like Water for Chocolate
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To Your Scattered Bodies Go
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Aura
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American Gods
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Neverwhere
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Burning Chrome
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The End of the Affair
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Light
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The Moon is a Harsh Mistress
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Time Enough for Love
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Winter's Tale
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Dune
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Brave New World
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Suddenly, A Knock at the Door
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Flowers for Algernon
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The Book of Laughter and Forgetting
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Gods Without Men
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Nine Hundred Grandmothers
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Conjure Wife
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His Master's Voice
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Solaris
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Magic for Beginners
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Behold the Man
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