The Man Who Fell to Earth is my second Walter Tevis novel and unfortunately I didn’t like it anywhere near as much as I did The Queen’s Gambit. Superficially it’s a sci-fi novel: the protagonist is Thomas Jerome Newton, an alien from the planet Anthea (Venus?), who comes to Earth to make enough money to build a rocketship to send back home and bring his people over to water-rich Earth. Alright, fine, that’s the premise and, very loosely, the plot. What it is in actuality? About a sad and lonely alcoholic who happens to be an alien. What frustrated me the most was how little happened. Newton gets rich patenting alien tech. Then he continues to amass wealth. And he continues to amass wealth. He meets a couple people along the way. And he continues to amass wealth. He starts drinking. And he continues to amass wealth. And he continues to amass wealth. And… zzz… It’s not a long novel (just under 200 pages) but it felt way longer because there’s almost nothing here to engage the reader. Knowing what little I do about Tevis’ life, I get that it’s basically about his lifelong battle with alcoholism and how having been a sickly child kept him weak and away from school so he couldn’t make friends which must’ve felt lonely and depressing. Loneliness and depression lead to substance abuse - as an explanation for addiction, that’s totally believable if hardly revelatory. Except overstating this without exploring any deeper isn’t just unsatisfying but it’s also immensely tedious to read. I wonder if the phrase “feeling like an alien” as a way of describing having trouble relating to others/social isolation originated with this book. Tevis also takes a dim view of the US government but that feature’s par for the course when it comes to alien stories. It’s well-written and parts of it are mildly interesting - when Newton is interrogated by Federal agents at the end - but The Man Who Fell to Earth was mostly repetitive and very, very boring!

Set in the far future amidst a sprawling feudal interstellar empire where planetary dynasties are controlled by noble houses that owe an allegiance to the imperial House Corrino, Dune tells the story of young Paul Atreides (the heir apparent to Duke Leto Atreides and heir of House Atreides) as he and his family accept control of the desert planet Arrakis, the only source of the 'spice' melange, the most important and valuable substance in the cosmos. The story explores the complex, multi-layered interactions of politics, religion, ecology, technology, and human emotion as the forces of the empire confront each other for control of Arrakis.Published in 1965, it won the Hugo Award in 1966 and the inaugural Nebula Award for Best Novel. Dune is frequently cited as the world's best-selling sf novel.

It's America in 1962. Slavery is legal once again. The few Jews who still survive hide under assumed names. In San Francisco, the I Ching is as common as the Yellow Pages. All because some twenty years earlier the United States lost a war — and is now occupied by Nazi Germany and Japan.This harrowing, Hugo Award-winning novel is the work that established Philip K. Dick as an innovator in science fiction while breaking the barrier between science fiction and the serious novel of ideas. In it Dick offers a haunting vision of history as a nightmare from which it may just be possible to wake.

When Kris Kelvin arrives at the planet Solaris to study the ocean that covers its surface he is forced to confront a painful, hitherto unconscious memory embodied in the physical likeness of a long-dead lover. Others suffer from the same affliction and speculation rises among scientists that the Solaris ocean may be a massive brain that creates incarnate memories, but its purpose in doing so remains a mystery . . .Solaris raises a question that has been at the heart of human experience and literature for centuries: can we truly understand the universe around us without first understanding what lies within?

The book is always better than the film, but I'd never read 2001 before. What I didn't know, until reading the foreword, is that this novel was literally written in tandem with the film, with Clarke and Kubrick feeding each other ideas. At some points, however, filming overtook writing, or vice versa, and the two stories, though similar, split along two different paths. After reading the book, the film becomes little more than a very well crafted container: It's pretty and neat to look at it, but open it up, and it's empty. There is none of Clarke's vision of how a being we'd call God would communicate with us across unfathomable time spans, or teach us, or lead us into higher consciousness. Stripped away by Kubrick is the sense that this being truly wants us to be in its image, and that the whole breadcrumb trail of monoliths was designed to do just that. And completely erased is the notion that David Bowman, as Star Child, is now one with the Universe, in some Zen-like way, and also much more like something we'd called a god.Don't get me wrong, 2001 is still one of my favorite films, but to get the full meaning and understand the full weight of why 2001 has been called "the perfect science fiction story," you must read the book. Clarke marries science, mysticism, theory, and fantasy in ways like no other. Unfortunately, Kubrick stripped away the mysticism and theory and left us what is, in comparison to the book, only a glimmer at something bigger.Kubrick touched the monolith, but Clarke went inside.

At first it seemed impossible - a radio signal that came not from Earth but from far beyond the nearest stars. But then the signal was translated, and what had been impossible became terrifying. For the signal contains the information to build a Machine that can travel to the stars. A Machine that can take a human to meet those that sent the message. They are eager to meet us: they have been watching and waiting for a long time. And now they will judge.

At first, only a few things are known about the celestial object that astronomers dub Rama. It is huge, weighing more than ten trillion tons. And it is hurtling through the solar system at an inconceivable speed. Then a space probe confirms the unthinkable: Rama is no natural object. It is, incredibly, an interstellar spacecraft. Space explorers and planet-bound scientists alike prepare for mankind's first encounter with alien intelligence. It will kindle their wildest dreams... and fan their darkest fears. For no one knows who the Ramans are or why they have come. And now the moment of rendezvous awaits — just behind a Raman airlock door.

The Overlords appeared suddenly over every city--intellectually, technologically, and militarily superior to humankind. Benevolent, they made few demands: unify earth, eliminate poverty, and end war. With little rebellion, humankind agreed, and a golden age began.But at what cost? With the advent of peace, man ceases to strive for creative greatness, and a malaise settles over the human race. To those who resist, it becomes evident that the Overlords have an agenda of their own. As civilization approaches the crossroads, will the Overlords spell the end for humankind . . . or the beginning?

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