By: Carlo Rotella

You spend the whole scene wondering when the hovering hand will start powdering again.

By: Joshua Glenn

Trondheim and Larcenet’s ASTRONAUTS OF THE FUTURE

By: John Sellers

WHY DON’T THEY EAT THEIR KILL

By: Alix Lambert

In slowness there is a value, anticipation, a treasuring of the physical object.

By: Joshua Glenn

Nalo Hopkinson’s MIDNIGHT ROBBER

By: Tony Arcabascio

Nothing could fuck with me when I had that extra skin on.

By: Annie Nocenti

Locke slips out of his own clothes and into Robertson’s life.

By: Joshua Glenn

Ken MacLeod’s COSMONAUT KEEP

By: Guy Trebay

Both a key to the plot and a kind of subliminal tell.

By: Jonathan Lethem

It’s a sort of talisman or conch shell from which Ish derives his authority.

By: Joshua Glenn

Iain M. Banks’s LOOK TO WINDWARD

By: Joshua Glenn

From VINELAND and POSSESSION to USE OF WEAPONS

By: Dave Walker

“Only six of these cameras were ever made. Only five of them ever worked. We have four of those.”

By: Madeline Ashby

They’re bargained for and killed for and they’re worth sacrificing marriages for.

By: June Thomas

A classic piece of working-class chic.