If we can trust the Roman epic poet Virgil, Queen Lavinia ought to be honored as the
mother of the Western world. As wife to Aeneas, she gave birth to Silvius, whose
descendants include Romulus and Remus, founders of Rome. But her existence is
neither validated by historical accounts—which give some credence to Romulus, but
hardly any to Lavinia—nor elaborated by mythology. Our knowledge of her is restricted
to her appearance in Virgil’s Aeneid, where she plays a modest role in the background
of the larger narrative.
Here’s what Virgil tells us: Lavinia turns down her
suitors, including the formidable warrior Turnus,
because an oracle declares that this princess of
Latium is destined to marry a foreigner. When
Aeneas, an exile from his native Troy, arrives on
the scene, he is greeted as the prophesied suitor,
and his rival in romance, the scorned Turnus, turns
into an adversary on the battlefield. Virgil focuses
his attention on warfare, the time-honored subject
of epic poets, and Lavinia disappears from the story.
This seems odd, especially when compared with
the love affair of Aeneas and Dido, a much shorter
fling in Carthage before the Trojan’s arrival in Italy.
That precursor romance has been celebrated in
more than a dozen operas, and the Queen of
Carthage’s presence can be detected everywhere
from Shakespeare plays (the Bard mentions Dido
almost a dozen times) to the Civilization series of
video games. Meanwhile Lavinia lingered on in semi-obscurity. She makes a brief
appearance in Dante’s Inferno, introduced and dealt with in a scant two lines. You can
find her in a few paintings, for example in Tiepolo's Latinus Offering his Daughter
Lavinia to Aeneas in Matrimony from 1754. The sixteenth century Italian painter
Mirabello Cavalori (1535–1572) has left us an image of the most famous incident in
Lavinia’s obscure life: when her hair is crowned with supernatural flames, an omen of
her special status in the prehistory of Rome.
Speculative authors of the current day have aimed to fill in the gaps in Lavinia’s
biography. Poet Claudio R. Salvucci has written an entire alternative epic in her honor,
the Lavinium, published in 1994. But no one has done more for our neglected Latin
princess than Ursula K. Le Guin who provided her with a complete biography and rich
inner life in the 2008 novel Lavinia. This book was awarded the Locus Award as best
fantasy novel of the year, and was Le Guin’s last full-length work of fiction, a fitting swan
song to an illustrious career that began even before her teens, when she submitted a
story as an eleven-year-old to Astounding Science Fiction.
Related Reading (essays by Ted Gioia)
The Dispossessed by Ursula K. Le Guin
The Lathe of Heaven by Ursula K. Le Guin
The Left Hand of Darkness by Ursula K. Le Guin
Words Are My Matter by Ursula K. Le Guin
Le Guin makes clear that her intention isn't to replace Virgil’s Aeneid. In her afterword
to Lavinia, she even laments the disappearance of Latin literacy over the last several
decades, a shift that ensures future generations will rarely experience the great Roman
epic in the original language. Virgil’s poetry, Le Guin declares, "is so profoundly
musical, its beauty so intrinsic to the sound and the order of the words, that it is
essentially untranslatable.” She describes her novel about Lavinia as “an act of
gratitude to the poet, a love offering."
But Le Guin is too modest here. She has gone far beyond the hints and allusions in the
Aeneid, and even when Virgil has offered a telling detail, Le Guin doesn’t hesitate to
change it to meet her own very different needs. As a result, Virgil’s fair and blonde
Lavinia becomes a dark-haired Mediterranean woman. A passive participant in the
destiny imposed by the deities in the original Latin, Lavinia turns into a self-willing
protagonist in the modern mold under Le Guin’s tutelage. In fact, the Roman gods take
a back seat throughout this entire novel, with even oracles coming from ancestors
rather than deities, and divine intervention relying on human intermediaries. These are
all wise authorial decisions, and enhance the novel.
But Lavinia herself also gets a chance to challenge Virgil. At several junctures in the
novel, the spirit of the Roman poet appears to the young princess of Latium, a quasi-
ghost who serves as a soothsayer and oracle—and who could be better positioned to
predict the future than the same author who composed the epic tale of Aeneas and
Lavinia. By the time our protagonist has finished with him, Virgil is even apologizing for
not giving Lavinia a bigger role in his famous work.
At first this seems like a familiar postmodern trope: an author shows up as a character
in a story. But Le Guin is doing something far cleverer here. She is building on Virgil’s
peculiar reputation as a seer, a strange legacy that found the author of the Aeneid
treated by later centuries as a kind of wizard or mystic. Virgil’s writings were used as a
tool for divination; applying a technique known as Sortes Vergilianae, randomly
selected passages of the Aeneid are interpreted
as a guide to future events. This aspect
of Virgil’s legacy served as the spring-
board for his appearance as a guide to
the Inferno in Dante’s Divine Comedy
and as a channel for Christian revelation
in Hermann Broch's The Death of Virgil.
When Lavinia goes to consult her ancestors,
at a key juncture in Le Guin’s novel, her
encounter with Virgil both resonates with
this history of oracular pronouncements and adapts it to the narrative techniques of the
current day.
In the current instance, Lavinia gets more prognosticating than she wants. Virgil
promises her Aeneas as a husband, but also provides a long litany of the victims and
assailants whose bloody conflicts will pave the way for her to become Queen. She also
gets advance warning of her husband’s death. Perhaps worst of all, she begins to
suspect that she is just a literary invention of the poet—a hypothesis so troubling she
prefers not to dwell on its full implications.
We are now far afield from the starting point of this novel as a kind of feminized
alternative to a classic text. Le Guin calls into question a wide range of issues that
Virgil merely took for granted, ranging from metanarrative concerns about character
motivation to richer philosophical questions dealing with free will and just wars. By
removing the pagan deities from the center of the story of Rome’s founding, our author
leaves us with a tale burdened with too much guilt and responsibility even for a founder
of a great civilization.
Ted Gioia writes on music, literature and popular culture. He is the author of ten books.
His most recent book is How to Listen to Jazz (Basic Books).
Publication date: April 24, 2018
mother of the Western world. As wife to Aeneas, she gave birth to Silvius, whose
descendants include Romulus and Remus, founders of Rome. But her existence is
neither validated by historical accounts—which give some credence to Romulus, but
hardly any to Lavinia—nor elaborated by mythology. Our knowledge of her is restricted
to her appearance in Virgil’s Aeneid, where she plays a modest role in the background
of the larger narrative.
Here’s what Virgil tells us: Lavinia turns down her
suitors, including the formidable warrior Turnus,
because an oracle declares that this princess of
Latium is destined to marry a foreigner. When
Aeneas, an exile from his native Troy, arrives on
the scene, he is greeted as the prophesied suitor,
and his rival in romance, the scorned Turnus, turns
into an adversary on the battlefield. Virgil focuses
his attention on warfare, the time-honored subject
of epic poets, and Lavinia disappears from the story.
This seems odd, especially when compared with
the love affair of Aeneas and Dido, a much shorter
fling in Carthage before the Trojan’s arrival in Italy.
That precursor romance has been celebrated in
more than a dozen operas, and the Queen of
Carthage’s presence can be detected everywhere
from Shakespeare plays (the Bard mentions Dido
almost a dozen times) to the Civilization series of
video games. Meanwhile Lavinia lingered on in semi-obscurity. She makes a brief
appearance in Dante’s Inferno, introduced and dealt with in a scant two lines. You can
find her in a few paintings, for example in Tiepolo's Latinus Offering his Daughter
Lavinia to Aeneas in Matrimony from 1754. The sixteenth century Italian painter
Mirabello Cavalori (1535–1572) has left us an image of the most famous incident in
Lavinia’s obscure life: when her hair is crowned with supernatural flames, an omen of
her special status in the prehistory of Rome.
Speculative authors of the current day have aimed to fill in the gaps in Lavinia’s
biography. Poet Claudio R. Salvucci has written an entire alternative epic in her honor,
the Lavinium, published in 1994. But no one has done more for our neglected Latin
princess than Ursula K. Le Guin who provided her with a complete biography and rich
inner life in the 2008 novel Lavinia. This book was awarded the Locus Award as best
fantasy novel of the year, and was Le Guin’s last full-length work of fiction, a fitting swan
song to an illustrious career that began even before her teens, when she submitted a
story as an eleven-year-old to Astounding Science Fiction.
Related Reading (essays by Ted Gioia)
The Dispossessed by Ursula K. Le Guin
The Lathe of Heaven by Ursula K. Le Guin
The Left Hand of Darkness by Ursula K. Le Guin
Words Are My Matter by Ursula K. Le Guin
Le Guin makes clear that her intention isn't to replace Virgil’s Aeneid. In her afterword
to Lavinia, she even laments the disappearance of Latin literacy over the last several
decades, a shift that ensures future generations will rarely experience the great Roman
epic in the original language. Virgil’s poetry, Le Guin declares, "is so profoundly
musical, its beauty so intrinsic to the sound and the order of the words, that it is
essentially untranslatable.” She describes her novel about Lavinia as “an act of
gratitude to the poet, a love offering."
But Le Guin is too modest here. She has gone far beyond the hints and allusions in the
Aeneid, and even when Virgil has offered a telling detail, Le Guin doesn’t hesitate to
change it to meet her own very different needs. As a result, Virgil’s fair and blonde
Lavinia becomes a dark-haired Mediterranean woman. A passive participant in the
destiny imposed by the deities in the original Latin, Lavinia turns into a self-willing
protagonist in the modern mold under Le Guin’s tutelage. In fact, the Roman gods take
a back seat throughout this entire novel, with even oracles coming from ancestors
rather than deities, and divine intervention relying on human intermediaries. These are
all wise authorial decisions, and enhance the novel.
But Lavinia herself also gets a chance to challenge Virgil. At several junctures in the
novel, the spirit of the Roman poet appears to the young princess of Latium, a quasi-
ghost who serves as a soothsayer and oracle—and who could be better positioned to
predict the future than the same author who composed the epic tale of Aeneas and
Lavinia. By the time our protagonist has finished with him, Virgil is even apologizing for
not giving Lavinia a bigger role in his famous work.
At first this seems like a familiar postmodern trope: an author shows up as a character
in a story. But Le Guin is doing something far cleverer here. She is building on Virgil’s
peculiar reputation as a seer, a strange legacy that found the author of the Aeneid
treated by later centuries as a kind of wizard or mystic. Virgil’s writings were used as a
tool for divination; applying a technique known as Sortes Vergilianae, randomly
selected passages of the Aeneid are interpreted
as a guide to future events. This aspect
of Virgil’s legacy served as the spring-
board for his appearance as a guide to
the Inferno in Dante’s Divine Comedy
and as a channel for Christian revelation
in Hermann Broch's The Death of Virgil.
When Lavinia goes to consult her ancestors,
at a key juncture in Le Guin’s novel, her
encounter with Virgil both resonates with
this history of oracular pronouncements and adapts it to the narrative techniques of the
current day.
In the current instance, Lavinia gets more prognosticating than she wants. Virgil
promises her Aeneas as a husband, but also provides a long litany of the victims and
assailants whose bloody conflicts will pave the way for her to become Queen. She also
gets advance warning of her husband’s death. Perhaps worst of all, she begins to
suspect that she is just a literary invention of the poet—a hypothesis so troubling she
prefers not to dwell on its full implications.
We are now far afield from the starting point of this novel as a kind of feminized
alternative to a classic text. Le Guin calls into question a wide range of issues that
Virgil merely took for granted, ranging from metanarrative concerns about character
motivation to richer philosophical questions dealing with free will and just wars. By
removing the pagan deities from the center of the story of Rome’s founding, our author
leaves us with a tale burdened with too much guilt and responsibility even for a founder
of a great civilization.
Ted Gioia writes on music, literature and popular culture. He is the author of ten books.
His most recent book is How to Listen to Jazz (Basic Books).
Publication date: April 24, 2018
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| Lavinia by Ursula K. Le Guin |
Essay by Ted Gioia
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50 favorite works of non-realist fiction
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50 favorite works of non-realist fiction
released since 2000. Featured books
will include works of magical realism,
alternative history, sci-fi, horror, and
fantasy, as well as mainstream literary
fiction that pushes boundaries and
challenges conventional notions of
verisimilitude.
Click here for the other titles
| conceptual fiction Exploring the Non-Realist Tradition in Fiction |
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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 Blind Assassin
Atwood, Margaret
The Handmaid's Tale
Bacigalupi, Paolo
The Windup Girl
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
Barker, Clive
Books of Blood, Vols. 1-3
Barth, John
Giles Goat-Boy
Bester, Alfred
The Demolished Man
Bierce, Ambrose
The Complete Short Stories
Blackwood, Algernon
The Complete John Silence Stories
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
Brooks, Max
World War Z
Bulgakov, Mikhail
The Master and Margarita
Bunch, David R.
Moderan
Burgess, Anthony
A Clockwork Orange
Butler, Octavia E.
Fledgling
Campbell, Ramsey
Demons by Daylight
Campbell, Ramsey
The Nameless
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
Chambers, Robert W.
The King in Yellow
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
Cline, Ernest
Ready Player One
Crichton, Michael
Jurassic Park
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
Dickens, Charles
A Christmas Carol
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
Egan, Jennifer
A Visit from the Goon Squad
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
Fowles, John
A Maggot
Fuentes, Carlos
Aura
Gaiman, Neil
American Gods
Gaiman, Neil
Neverwhere
Gardner, John
Grendel
Gibson, William
Burning Chrome
Gibson, William
Neuromancer
Gibson, William
The Peripheral
Grass, Günter
The Tin Drum
Greene, Graham
The End of the Affair
Grossman, Lev
The Magicians
Haig, Matt
The Humans
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
Hendrix, Grady
Horrorstör
Herbert, Frank
Dune
Hill, Joe
Heart-Shaped Box
Hill, Susan
The Woman in Black
Hoffman, Alice
Practical Magic
Houellebecq, Michel
Submission
Huxley, Aldous
Brave New World
Ishiguro, Kazuo
Never Let Me Go
Jackson, Shirley
The Haunting of Hill House
James, Henry
The Turn of the Screw
James, M.R.
Ghost Stories of an Antiquary
Keret, Etgar
Suddenly, A Knock at the Door
Ketchum, Jack
Off Season
Keyes, Daniel
Flowers for Algernon
King, Stephen
Carrie
King, Stephen
Pet Sematary
Koja, Kathe
The Cipher
Krilanovich, Grace
The Orange Eats Creeps
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.
Lavinia
Le Guin, Ursula K.
The Left Hand of Darkness
Leiber, Fritz
The Big Time
Leiber, Fritz
Conjure Wife
Leiber, Fritz
Our Lady of Darkness
Leiber, Fritz
Swords & Deviltry
Leiber, Fritz
The Wanderer
Lem, Stanislaw
His Master's Voice
Lem, Stanislaw
Solaris
Lethem, Jonathan
The Fortress of Solitude
Levin, Ira
Rosemary's Baby
Lewis, C. S.
The Chronicles of Narnia
Lindqvist, John Ajvide
Let the Right One In
Link, Kelly
Magic for Beginners
Lovecraft, H.P.
Tales
Machen, Arthur
The Great God Pan
Malzberg, Barry N.
Herovit's World
Mandel, Emily St. John
Station Eleven
Mann, Thomas
Doctor Faustus
Márquez, Gabriel García
100 Years of Solitude
Markson, David
Wittgenstein's Mistress
Matheson, Richard
Hell House
Matheson, Richard
I Am Legend
Matheson, Richard
What Dreams May Come
McCarthy, Cormac
The Road
McDonald, Ian
Brasyl
Miéville, China
Embassytown
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
Morris, Jan
Hav
Morrison, Toni
Beloved
Murakami, Haruki
1Q84
Murakami, Haruki
Hard-Boiled Wonderland and the
End of the World
Nabokov, Vladimir
Ada, or Ardor
Ngũgĩ wa Thiong'o
Wizard of the Crow
Niffenegger, Audrey
The Time Traveler's Wife
Niven, Larry
Ringworld
Noon, Jeff
Vurt
North, Claire
The First 15 Lives of Harry August
Obreht, Téa
The Tiger's Wife
O'Brien, Flann
At Swim-Two-Birds
Okri, Ben
The Famished Road
Oyeyemi, Helen
White is for Witching
Percy, Walker
Love in the Ruins
Poe, Edgar Allan
Tales of Mystery & Imagination
Pohl, Frederik
Gateway
Pratchett, Terry
The Color of Magic
Pynchon, Thomas
Gravity's Rainbow
Rabelais, François
Gargantua and Pantagruel
Rice, Anne
Interview with the Vampire
Robinson, Kim Stanley
Red Mars
Roth, Philip
The Plot Against America
Rowling, J.K.
Harry Potter & the Sorcerer's Stone
Rushdie, Salman
Midnight's Children
Russ, Joanna
The Female Man
Russell, Karen
Swamplandia!
Saramago, José
Blindness
Saumders, George
Lincoln in the Bardo
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, Clark Ashton
The Dark Eidolon
Smith, Cordwainer
Norstrilia
Smith, Cordwainer
The Rediscovery of Man
Stephenson, Neal
Snow Crash
Straub, Peter
Ghost Story
Spinrad, Norman
Bug Jack Barron
Stevenson, Robert Louis
Strange Case of Dr Jekyll & Mr Hyde
Stoker, Bram
Dracula
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
Tryon, Thomas
The Other
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
The Dragon Masters
Vance, Jack
Emphyrio
Vance, Jack
The Languages of Pao
Verne, Jules
Around the Moon
Verne, Jules
From the Earth to the Moon
Verne, Jules:
Journey to the Center of the Earth
Vollmann, William T
Last Stories and Other Stories
Vonnegut, Kurt
Cat's Cradle
Vonnegut, Kurt
The Sirens of Titan
Vonnegut, Kurt
Slaughterhouse-Five
Wallace, David Foster
Infinite Jest
Wallace, Edgar
King Kong
Walpole, Horace
The Castle of Otranto
Walpole, Horace
Hieroglyphic Tales
Weir, Andy
The Martian
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
Wong, David
John Dies at the End
Woolf, Virginia
Orlando
Yamada, Taichi
Strangers
Zabor, Rafi
The Bear Comes Home
Zelazny, Roger
Lord of Light
Zelazny, Roger
This Immortal
Special Features
Notes on Conceptual Fiction
My Year of Horrible Reading
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
The Most Secretive Sci-Fi Author
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
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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 Blind Assassin
Atwood, Margaret
The Handmaid's Tale
Bacigalupi, Paolo
The Windup Girl
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
Barker, Clive
Books of Blood, Vols. 1-3
Barth, John
Giles Goat-Boy
Bester, Alfred
The Demolished Man
Bierce, Ambrose
The Complete Short Stories
Blackwood, Algernon
The Complete John Silence Stories
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
Brooks, Max
World War Z
Bulgakov, Mikhail
The Master and Margarita
Bunch, David R.
Moderan
Burgess, Anthony
A Clockwork Orange
Butler, Octavia E.
Fledgling
Campbell, Ramsey
Demons by Daylight
Campbell, Ramsey
The Nameless
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
Chambers, Robert W.
The King in Yellow
Chiang, Ted
Stories of Your Life and Others
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By the time our protagonist has
finished with him, Virgil is even
apologizing for not giving Lavinia
a bigger role in his famous work.
finished with him, Virgil is even
apologizing for not giving Lavinia
a bigger role in his famous work.
