The format of a Wikipedia page is used as the chilling delivery mechanism for this piece of speculative fiction. The distancing effect heightens the horror.
It went unnamed by Doris Lessing and Cormac McCarthy. William Gibson called it The Jackpot:
On the one hand, naming the crisis allows one to apprehend it, grasp it, fight back against it. On the other hand, no word can fully encompass it, and any term is necessarily a reduction—the essence of “it” or “change” is not any singular instance but rather their constancy.
Memoirs Of A Survivor, The Peripheral, Parable Of The Sower, New York 2140, The Road, Children Of Men, Station Eleven, Severance, The Rapture, Ridley Walker:
Fiction can portray ecologies, timescales, catastrophes, and forms of violence that may be otherwise invisible, or more to the point, unnameable. We will never grasp the pandemic in its entirety, just like we will never see the microbe responsible for it with the naked eye. But we can try to articulate how it has changed us—is changing us.
Ted Chiang’s hot takes are like his short stories—punchy, powerful, and thought-provoking.
I’m not the only one thinking about J.G. Ballard.
A luxury cruiseliner quarantined in San Francisco bay, its well-heeled passengers confined to their cabins for weeks on end. Holidaymakers on lockdown at a quarantined hotel in Tenerife after an Italian doctor comes down with coronavirus. A world of isolated individuals rarely leaving their homes, keeping a wary distance from one another in public, communicating with their friends and loved ones via exclusively technological means. These situations are so Ballardian as to be in the realm of copyright infringement.
How design fiction was co-opted. A piece by Tim Maughan with soundbites from Julian Bleecker, Anab Jain, and Scott Smith.
Ted Chiang has new collection out‽ Why did nobody tell me‽
Okay, well, technically this is Joyce Carol Oates telling me. In any case …woo-hoo!!!
The terrific Hugo-winning short story about inequality, urban planning, and automation, written by Hao Jinfang and translated by Ken Liu (who translated The Three Body Problem series).
Hao Jinfang also wrote this essay about the story:
I’ve been troubled by inequality for a long time. When I majored in physics as an undergraduate, I once stared at the distribution curve for American household income that showed profound inequality, and tried to fit the data against black-body distribution or Maxwell–Boltzmann distribution. I wanted to know how such a curve came about, and whether it implied some kind of universality: something as natural as particle energy distribution functions, so natural it led to despair.
Between the utopian and dystopian, which vision of the future seems more likely to you? Which vision seems more true to how we currently live with technology, in the form of our smartphones and social media apps?
There was a time, circa 2009, when no home design story could do without a reference to Mad Men. There is a time, circa 2018, when no personal tech story should do without a Black Mirror reference.
Black Mirror Home. It’s all fun and games until the screaming starts.
When these products go haywire—as they inevitably do—the Black Mirror tweets won’t seem so funny, just as Mad Men curdled, eventually, from ha-ha how far we’ve come to, oh-no we haven’t come far enough.
I think our destination is neither utopia nor dystopia nor status quo, but protopia. Protopia is a state that is better than today than yesterday, although it might be only a little better. Protopia is much much harder to visualize. Because a protopia contains as many new problems as new benefits, this complex interaction of working and broken is very hard to predict.
Kevin Kelly’s thoughts at the time of coining of this term seven years ago:
No one wants to move to the future today. We are avoiding it. We don’t have much desire for life one hundred years from now. Many dread it. That makes it hard to take the future seriously. So we don’t take a generational perspective. We’re stuck in the short now. We also adopt the Singularity perspective: that imagining the future in 100 years is technically impossible. So there is no protopia we are reaching for.
A near-future tale of post-Brexit Kafkaesque isolationism in the skies.
It turned out that taking back control also meant creating an aerial deadzone. Nothing can fly in here without a Library of Alexandria’s worth of paperwork, and nothing can fly out without the same.
There are some delightfully dark touches to this Cory Doctorow coming-of-age near-future short story of high school students seizing the means of production.
More on that event with Brian Aldiss I was reminiscing about: that was the first time that Kate unveiled part of her Purple People book:
Jeremy insisted this would be an excellent opportunity for me to read an excerpt from Purple People, and so invited me onto the stage with those illustrious, wordy wizards to share an early indigo excerpt. I was quite literally shaking that night (even more than a talking tree, ho ho), but all was jolly. I read my piece without falling off the stage, and afterwards, folk made some ace and encouraging comments.
Kate’s book—a “jolly dystopia”—will get published if enough of us pledge to back it. So let’s get pledging!
There’s a curiously coloured scheme afoot in Blighty. In an effort to tackle dispiriting, spiralling levels of crime and anti-social behaviour, the government has a new solution: to dye offenders purple.
The first of Neil Bomkamp’s series of short films—testbeds for potential feature films.
A small black mirror.
Most of these dystopian scenarios are, after all, post-apocalyptic: the bad thing happened, the tension broke, and now so much less is at stake. The anxiety and ambivalence we feel toward late-stage capitalism, income inequality, political corruption, and environmental degradation—acute psychological pandemics in the here and now—are utterly dissolved. In a strange, wicked way, the aftermath feels fine.
Ten years on from Afonso Cuarón’s masterpiece.