By Ted Gioia
Steven Millhauser is obsessed with obsession. Each of
the stories in his collection Dangerous Laughter presents
an unhealthy fixation—sometimes exhibited by an
individual, at other times by a small cadre of friends,
or even a community or entire nation. All in all, this
book could stand as a series of fictional case studies in
obsessive-compulsive behavior
and the madness of crowds.
Or the madness of fictional
animals. The opening story,
"Cat 'n' Mouse" is presented in
the form of script treatment
for an animated cartoon, a
"Tom and Jerry"-ish story of a
cat in constant—and constantly
unsuccessful—pursuit of his
mouse nemesis. Here the
obsession is one of natural
instinct, heightened by the
slapstick comedy one associates with the oeuvre of
Looney Tunes or Hanna-Barbera. But Millhauser
periodically interrupts his narrative to insert
Dostoevskian asides on the psychology of the conflict.
The cat pauses in his pursuit to ponder the existential
nature of his plight: "His life, in relation to the mouse,
is one long failure, a monotonous succession of
unspeakable humiliations….Although he knows that
he will never catch the mouse, who will forever escape
into his mousehole a half inch ahead of the reaching
claw, he also knows that only if he catches the mouse
will his wretched life be justified…." Then Millhauser
cuts off these musings, and continues on with his cat-
and-mouse story—involving dynamite, decoys, large
pieces of cheese in elaborate mousetraps, etc. The
story is clever and funny, but also thought-provoking
—its power derived from its odd juxtaposition of
psychological reflection and crude pratfalls.
Other stories in Dangerous Laughter present less
familiar obsessions. The hero in "The Room in the
Attic" becomes romantically drawn to the sister of a
friend—even though he has never seen her. After a
nervous breakdown, the young lady isolates herself in
an unlighted attic, where he visits her day after day,
conversing and exchanging innocent caresses in the
enveloping darkness. In the title story of the
collection, a group of teenagers become addicted to
bouts of irresistible laughter or weeping, with startling
and destructive consequences. In "The Other Town,"
an odd compulsion takes over an entire city: the
citizens are intent on maintaining an exact replica of
every building, street, tree, plant or object in a mirror-
image community that they have built on their city
limits.
In several of Millhauser's stories, unhealthy fixations
spread throughout society—developing into a kind of
mass hysteria. In "The Dome," a fad for enclosing
buildings in transparent plastic coverings starts out as
a mere architectural quirk but escalates into an insane
desire to turn the great outdoors into an even greater
indoors. In "A Change in Fashion," women suddenly
decide that the best outfits are those that allow them
to remain unseen, an object of imaginative fantasy
rather than mere vulgar sight. But here too, the new
style gets out of hand. Dresses "grew in every
direction; in some instances they exceeded the size of
rooms and had to be worn in large outdoor spaces,
like backyards or public parks….One dress contained
in its side a little red door, which was said to lead to a
room with a bed, a mirror and a shaded lamp…."
The oddities in Millhauser's stories often take on
fantastic or phantasmagorical qualities. "A Precursor
of the Cinema" is written in the form of a scholarly
treatise, but soon collapses into unabashed magical
realism. The narrative focuses on the experiments of
Harlan Crane (1844-88?), a painter whose canvases are
capable of coming to life. Objects and people in the
painting can step out of the picture and move among
the onlookers, and sometimes the viewers can even
enter into the canvas. Crane's work is presented as an
alternative to the motion picture technology of
Thomas Edison, who serves as inspiration for another
story in this collection, "The Wizard of West Orange"
—built on the premise that the great inventor had
some dark and twisted technology locked away in his
basement, an invention far too dangerous for the
general public.
Millhauser's stories are typically quite simple in their
underlying premise, yet he manages to flesh out his
feverish conceits in dramatic fashion. As many have
noted, his writing is very much in the spirit of Kafka
and Borges, but also wickedly attuned to the particular
craziness of our own times—when the most bizarre
concepts and ideas can go "viral" in a heartbeat. We
have the technology to raise our madnesses to levels
previously unknown, and this very escalation is a
recurring subject in Millhauser's work.
Perhaps the best description of Steven Millhauser
comes from the mouth of one of his characters, a
bohemian outsider at a local high school who is a
frighteningly well-read intellectual, yet shows no
interest in getting good grades or high test scores.
His justification for his indifference both applies to
Millhauser himself and also serves as a fitting defense
of conceptual fiction as a whole:
"Art, he said, was a controlled madness, which was
why people who selected books for high school
English classes were careful to choose only false books
that were discussable, boring, and sane, or else, if
they chose a real book by mistake, they presented it
in a way that ignored everything great and mad about
it. …He said that books weren't made of themes,
which you could write essays about, but of images that
inserted themselves into your brain and replaced what
you were seeing with your eyes."
Millhauser achieves just this in Dangerous Laughter. By
his own definition, he has delivered a "real book"—
albeit one packed to the brim with unrealities. And it
is to the credit of this obsession obsessed author that
he has delivered a volume that also makes for
compulsive reading.
Steven Millhauser is obsessed with obsession. Each of
the stories in his collection Dangerous Laughter presents
an unhealthy fixation—sometimes exhibited by an
individual, at other times by a small cadre of friends,
or even a community or entire nation. All in all, this
book could stand as a series of fictional case studies in
obsessive-compulsive behavior
and the madness of crowds.
Or the madness of fictional
animals. The opening story,
"Cat 'n' Mouse" is presented in
the form of script treatment
for an animated cartoon, a
"Tom and Jerry"-ish story of a
cat in constant—and constantly
unsuccessful—pursuit of his
mouse nemesis. Here the
obsession is one of natural
instinct, heightened by the
slapstick comedy one associates with the oeuvre of
Looney Tunes or Hanna-Barbera. But Millhauser
periodically interrupts his narrative to insert
Dostoevskian asides on the psychology of the conflict.
The cat pauses in his pursuit to ponder the existential
nature of his plight: "His life, in relation to the mouse,
is one long failure, a monotonous succession of
unspeakable humiliations….Although he knows that
he will never catch the mouse, who will forever escape
into his mousehole a half inch ahead of the reaching
claw, he also knows that only if he catches the mouse
will his wretched life be justified…." Then Millhauser
cuts off these musings, and continues on with his cat-
and-mouse story—involving dynamite, decoys, large
pieces of cheese in elaborate mousetraps, etc. The
story is clever and funny, but also thought-provoking
—its power derived from its odd juxtaposition of
psychological reflection and crude pratfalls.
Other stories in Dangerous Laughter present less
familiar obsessions. The hero in "The Room in the
Attic" becomes romantically drawn to the sister of a
friend—even though he has never seen her. After a
nervous breakdown, the young lady isolates herself in
an unlighted attic, where he visits her day after day,
conversing and exchanging innocent caresses in the
enveloping darkness. In the title story of the
collection, a group of teenagers become addicted to
bouts of irresistible laughter or weeping, with startling
and destructive consequences. In "The Other Town,"
an odd compulsion takes over an entire city: the
citizens are intent on maintaining an exact replica of
every building, street, tree, plant or object in a mirror-
image community that they have built on their city
limits.
In several of Millhauser's stories, unhealthy fixations
spread throughout society—developing into a kind of
mass hysteria. In "The Dome," a fad for enclosing
buildings in transparent plastic coverings starts out as
a mere architectural quirk but escalates into an insane
desire to turn the great outdoors into an even greater
indoors. In "A Change in Fashion," women suddenly
decide that the best outfits are those that allow them
to remain unseen, an object of imaginative fantasy
rather than mere vulgar sight. But here too, the new
style gets out of hand. Dresses "grew in every
direction; in some instances they exceeded the size of
rooms and had to be worn in large outdoor spaces,
like backyards or public parks….One dress contained
in its side a little red door, which was said to lead to a
room with a bed, a mirror and a shaded lamp…."
The oddities in Millhauser's stories often take on
fantastic or phantasmagorical qualities. "A Precursor
of the Cinema" is written in the form of a scholarly
treatise, but soon collapses into unabashed magical
realism. The narrative focuses on the experiments of
Harlan Crane (1844-88?), a painter whose canvases are
capable of coming to life. Objects and people in the
painting can step out of the picture and move among
the onlookers, and sometimes the viewers can even
enter into the canvas. Crane's work is presented as an
alternative to the motion picture technology of
Thomas Edison, who serves as inspiration for another
story in this collection, "The Wizard of West Orange"
—built on the premise that the great inventor had
some dark and twisted technology locked away in his
basement, an invention far too dangerous for the
general public.
Millhauser's stories are typically quite simple in their
underlying premise, yet he manages to flesh out his
feverish conceits in dramatic fashion. As many have
noted, his writing is very much in the spirit of Kafka
and Borges, but also wickedly attuned to the particular
craziness of our own times—when the most bizarre
concepts and ideas can go "viral" in a heartbeat. We
have the technology to raise our madnesses to levels
previously unknown, and this very escalation is a
recurring subject in Millhauser's work.
Perhaps the best description of Steven Millhauser
comes from the mouth of one of his characters, a
bohemian outsider at a local high school who is a
frighteningly well-read intellectual, yet shows no
interest in getting good grades or high test scores.
His justification for his indifference both applies to
Millhauser himself and also serves as a fitting defense
of conceptual fiction as a whole:
"Art, he said, was a controlled madness, which was
why people who selected books for high school
English classes were careful to choose only false books
that were discussable, boring, and sane, or else, if
they chose a real book by mistake, they presented it
in a way that ignored everything great and mad about
it. …He said that books weren't made of themes,
which you could write essays about, but of images that
inserted themselves into your brain and replaced what
you were seeing with your eyes."
Millhauser achieves just this in Dangerous Laughter. By
his own definition, he has delivered a "real book"—
albeit one packed to the brim with unrealities. And it
is to the credit of this obsession obsessed author that
he has delivered a volume that also makes for
compulsive reading.
| THE YEAR OF MAGICAL READING Dangerous Laughter by Steven Millhauser |
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 reviews)
Home Page
Abbott, Edwin A.
Flatland
Adams, Douglas
The Hitchhiker's Guide to the Galaxy
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
Bester, Alfred
The Demolished Man
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
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
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
Doctorow, Cory
Down and Out in the Magic Kingdom
Donoso, José
The Obscene Bird of Night
Esquivel, Laura
Like Water for Chocolate
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
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
Kundera, Milan
The Book of Laughter and Forgetting
Kunzru, Hari
Gods Without Men
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
Mann, Thomas
Doctor Faustus
Márquez, Gabriel García
100 Years of Solitude
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
Morrison, Toni
Beloved
Murakami, Haruki
1Q84
Murakami, Haruki
Hard-Boiled Wonderland and the
End of the World
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
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
Saramago, José
Blindness
Shelley, Mary
Frankenstein
Silverberg, Robert
Dying Inside
Silverberg, Robert
Nightwings
Simak, Clifford
City
Simak, Clifford
The Trouble with Tycho
Smith, Cordwainer
Norstrilia
Smith, Cordwainer
The Rediscovery of Man
Stephenson, Neal
Snow Crash
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
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
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
Winton, Tim
Cloudstreet
Woolf, Virginia
Orlando
Zabor, Rafi
The Bear Comes Home
Zelazny, Roger
Lord of Light
Special Features
Notes on Conceptual Fiction
Ray Bradbury: A Tribute
The Year of Magical Reading
Remembering Fritz Leiber
Samuel Delany's 70th birthday
The Sci-Fi of Kurt Vonnegut
Curse You, Neil Armstrong!
Robert Heinlein at 100
A.E, van Vogt Tribute
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
Jospeh Peschel
The Misread City
Reviews and Responses
SF Signal
True Science Fiction
Disclosure: Conceptual Fiction and
its sister sites may receive review
copies and promotional materials
from publishers, authors, publicists
or other parties.
www.twitter.com/tedgioia
Conceptual Fiction:
A Reading List
(with links to reviews)
Home Page
Abbott, Edwin A.
Flatland
Adams, Douglas
The Hitchhiker's Guide to the Galaxy
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
Bester, Alfred
The Demolished Man
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
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
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Jonathan Strange & Mr Norrell
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Little, Big
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The Fifty Year Sword
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House of Leaves
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Fifth Business
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Babel-17
Delany, Samuel R.
Dhalgren
Delany, Samuel R.
The Einstein Intersection
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Flow My Tears, the Policeman Said
Dick, Philip K.
The Man in the High Castle
Dick, Philip K.
Ubik
Dick, Philip K.
VALIS
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Down and Out in the Magic Kingdom
Donoso, José
The Obscene Bird of Night
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Like Water for Chocolate
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Aura
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American Gods
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Neverwhere
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Burning Chrome
Gibson, William
Neuromancer
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The Tin Drum
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The End of the Affair
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The Magicians
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The Forever War
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The Raw Shark Texts
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Light
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The Moon is a Harsh Mistress
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Heinlein, Robert
Time Enough for Love
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Winter's Tale
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Dune
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Practical Magic
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Brave New World
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Suddenly, A Knock at the Door
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The Book of Laughter and Forgetting
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Gods Without Men
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The Lathe of Heaven
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The Big Time
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Conjure Wife
Leiber, Fritz
Swords & Deviltry
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His Master's Voice
Lem, Stanislaw
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Magic for Beginners
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What Dreams May Come
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A Canticle for Leibowitz
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Dangerous Laughter
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Cloud Atlas
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Beloved
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1Q84
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Ringworld
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Vurt
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At Swim-Two-Birds
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The Famished Road
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Gateway
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The Color of Magic
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Gravity's Rainbow
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Dying Inside
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Snow Crash
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More Than Human
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Some of Your Blood
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Around the Moon
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Cat's Cradle
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Hieroglyphic Tales
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The First Men in the Moon
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Cloudstreet
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Lord of Light
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