Charlie and the Vampires (El Perdido #1)

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I read the book because of the name I don't usually read fiction outside SF and was please at how good it was. Haven't read Ursula le Guin or CH Cherryh for awhile but the former writes regular reviewsfor the guardian and is usuallt woth reading there. In the "" series which was mewntioned as an interesting experiment in storytelling and publishing, Virginia deMarce has written or co-written several novels. I'm not particularly keen on her work, but it has a certain style. The selection criteria for the thread is important , not great. I am not sure, but Zoo City might end up being important.

I don't know if it will be important and great, or just important and high quality. The characters living or succeeding despite their marginalization and the concrete evidence of their "sins". I don't like Virginia deMarce much. She tends to introduce too many characters too fast, and then bog them down in policy discussions. I think she has the potential to be a good writer, but she needs some larnin' about the basics. Yes, I would have an easier time giving a list of great books in this category than important books.

I just don't classify things in that manner "favourite movie? I've read some interesting books by female authors, though, so 1-line summaries of them :- I'll try not to spoiler any of these. I was underwhelmed by Willis; maybe because there was too much "comedy of manners" type stuff going on in Oxford.

Indeed Nancy Kress is now mid-rank on my "must read" list. I'm not sure why, but Esther Friesner now seems to spend more time editing short story collections "chicks", "strip mauled" etc than writing novels, which is a shame 'cos I found her earlier work to be good competent humour-fantasy; stuff I really enjoy not "important", but fun.

I'm getting tired of short-story collections. Similarly, I think it's a shame that Jody Lynn Nye appears to be focusing on continuing Asprin's "Myth" series; she was on my must-read list in the 90s. Nothing I've read would have been! Among hard SF authors, it's lower TL;DR version is that Connie tried to get cute with the most important period of British history in the past couple of centuries -- about as important as the US Civil War, in terms of nation-building mythology, but with survivors still among us: my parents' generation fought in it -- and got it badly wrong.

My poor brain immediately started singing "Working on a Starship" to the tune of "Working in a Coal Mine. Well, I haven't answer at the previous post because I find the question ambiguous. If it is from an economical perspective or from bringing new readers to book so I would probably said that J. Rowling or Stephenie Meyer have written the most important novels of the past 10 years. If it is from literary perspective, well I certainly don't think myself qualified enough to tell taht. No sexism in this I believe, I don't look for gender when I choose books.

Pat Hodgell's series has been going since, IIRC, , although she's sped up a lot since she retired from the day job about five years ago from a book a decade to a book every years. I'm being deliberately ambiguous, in the hope that people will explain why they think a given book is important, including their definition of "important". I really don't think in terms of "the most important X," just because I have a hard time judging that.

Ask me in 30 years what the most important recent books are. But, one book that still sticks in my mind strongly is In the Company of Others, by Julie Czerneda, It won various awards, so I'm not the only one who found it memorable. Normally I'd whine about moving the goal posts, but I think this exercise is a good one. OK, I've read a lot of Elizabeth Bear, and while I've enjoyed her works and having my mind bent, I never thought of them as important. So, which ones qualify?

Carnival comes to mind with a neat setting and having the guts to have two gay protagonists. Dust does as well though I found myself disappointed in the sequels. Who else? Karen Traviss City of Pearl and early sequels qualifies. It's got some uniquely alien civilizations, an ecology that's fragile and a non-FTL set up. Again, I liked the first three books, but the last two felt like work to get through.

Hodgell's Seeker's Mask was a lot of fun and a nice continuation of the Kencyrath series after almost two decades of silence. And yes, Charlie, I know you're likely to have read it. What makes it important? High action married to a sense of whimsy. Globally important events driven and marred by all too human natures.

Now, my problem is that I've been 'discovering' yeah, I know I'll find fire and the wheel next authors that are new to me who's works I'm reading note: not all their works were published outside the period Charlie specifies. Joan Vinge. Tanith Lee. Finally, I'm open to suggestions on recent female authors who've done good SF and fantasy, with an emphasis on science fiction please.

There is no Tooth Fairy. There is no Queen of England. This is the real world, and you need to wake up! I find Willis's writing really variable - she's written stuff that just doesn't speak to me, she's written the Doomsday Book that ripped my heart out, and she's written To Say Nothing of the Dog , which is among my top 10 and pages falling out from rereading. Another drive-by, I guess, except that "important", to me , is anything that shows me something of the world, including its odd H.

Emotional writing - love, really - tends to stick in my mind as important; gets me through the down bits. Undoubtedly why I tend to prefer light comedy with strong characterization But specific titles? So, yes, it's an American trying to re-create that period from outside, but it did give me a weird deep sense of immersion in it. I'd have trouble explaining why Ash without spoilers, except to note that the layers of story and the cross-time complications caused me to take my archaeologist brother to the book and make him drink.

Thing is, while I loved Harry Potter, I'm not a fan of any of the others. This isn't so much about books as about series, and more importantly about creating new markets for everyone else. In a real way, this is more important than having a Monumental Book. I certainly have enjoyed Cherie Priest's Boneshaker and other novels in her Clockwork Century series.

It's interesting for steampunk in that it's set in the historic US wild west rather than Victorian Europe. And it has plenty of zombies too. First of all, the book has to be well-written in all the major areas; plot, characterization, pacing, and description. The prose must be written at a high level. These factors alone do not qualify a book as important, but I can't think of a book I'd consider important where these fundamentals aren't properly covered.

Second, I want to see the world in a new way after reading the important book. Neuromancer is a good example. Looking backward, Neuromancer doesn't seem all that special. The VR approach it takes to viewing information on the Internet hasn't taken off for both technical reasons and reasons having to do with how humans absorb information Suddenly it was possible to imagine a world where we could not just talk to each other, but immerse each other in information.

Coincidentally, I first read Neuromancer just as I was beginning to use a computer. Third, for a book to be important it must have impact. Neuromancer didn't merely suggest that we could successfully swim in an ocean of information, it used that idea to make me go "Wow. It overwhelmed me with that idea. Reading Neuromancer was like being hit by a truck and my perceptions of the world were permanently changed.

Another good example of this is Bailey's Cafe by Gloria Naylor. Once you've read a certain line, " Fourth, an important book needs to inspire. It needs to take me out of my job and my kids and tell me that I'm more than some slob who works too hard and worries about my taxes. I don't necessarily mean "inspire" in a happy, positive way. Octavia Butler's "Parable" books didn't make me feel good. But they did make me feel I should do something Fifth, an important book needs to tell me something about who I am.

For me the important book that way was Komarr by Bujold. I had to ask myself if I was like the female lead's husband. It caused a good bit of soul searching As for why it's important? I would say it's the characters. I kept thinking "I've heard of this guy" but when I went to look it up, they never existed. It's also simply a good story. Monkey Trap, by Lee Dennings is co-written by a woman psuedonym for 2 authors. It's not especially important, but when I was done, I said, "That was a good book, I want to read the next one.

So that's important, introducing new readers to the ideas of Sci-Fi. There was one more, who writes biology based Sci-Fi. The interaction between different races and the difficulty that different evolutionary backgrounds might cause. But for the life of me, I cannot remember her name or that of her books, so she must not have been that important.

I liked Firewatch, it didn't raise any moments where stuff didn't fit. But it was iirc quite short. Passage is very interesting , it's been a while since I read and it was enjoyable as a whole - but there where moments when reading it I feared where it might end up. Interestingly and all credit to Connie , it never went to those places - which would have been an easy cop out for the story.

Is it important though? Possibly - I think it is one of the most personally, meaning it engaging on a personal not a technology level, engaging stories about scientific research albeit social science that I've read. Again IIRC, most of the conflict comes from the nature of the research and not outside events which is more common in research stories.

I'm not sure any of these are what I normally think people mean when they talk about 'important works' - which is that they create or redefine their own sub-genre. But they are to me definite markers in the landscape. Ooh, and part of me thinks you are secretly trolling for definitions of 'important works'. Well, like others - ask me in 20 years It seems that many people are reading "important" to mean important in a literary sense breaking new ground in the genre, doing something stylistically daring, etc.

That is not what I'm calling important. I'm hearing the question as asking "important to your view of the world, or even your life. But because SF can also be used ala Future Shock to predict and prepare for the future while remaining fun and fictional it has a second, more potent value of "important. Vinge, Gibson, Sterling, and though disqualified, you, Charlie are excellent for delivering up novels that are important in this sense. I literally have seen no female science fiction authors who do that in the last ten years.

Lauren Beukes is a good author, and her books are entertaining, but I don't get a vision of the future out of them. More like an 80s cyberpunk vision. Which is of course now passe. I'm chalking this up to my own ignorance. I'll be very interested to see if any of the women authors listed in this forum turn out to be important in the second sense. Gwyneth Jones' series which starts with Bold As Love made a big impression for me. To pieces. I didn't want them to ever end.

My father loved them too. And yet I can certainly see how you would react the way you did. I think Connie Willis is exceptional; I've been reading her since the very early days. She has some weird mannerisms in her writing; people tend to do weirdly and obviously stupid things, and she signals that to the reader in a way that some might find offputting, but on the other hand, people do do weird and stupid things.

It's not entirely lacking in verisimilitude. I would second the vote for Dust, and also recommend Hammered. I managed to choke down New Amsterdam, but haven't gotten through the sequel. Linda Nagata's Memory was fantastic, and if you're willing to go a little farther back, Tech Heaven was very good, although she sees politics through a very weird glass, darkly. All of her books are out as electronic editions now, and I've been working my way through them and enjoying them a lot. I think Mira Grant, a. Seanan McGuire, is an amazing new talent, and if you haven't read her Newsflesh books, you are in for a real treat.

Really fantastic writing. Emma Bull is an obvious person to mention, although again some of my favorites of hers are more than a decade old.

But her most recent novel, Territory, is a really enjoyable twist on urban fantasy, and she and some of her friends have been experimenting with a new genre in the Shadow Unit series, which is packaged as a TV show without any actual media other than writing. My favorite of her books, by far, is Finder, and Bone Dance comes in a close second. Murphy, Kelley Armstrong, Carrie Vaughn and Diana Rowling all write very enjoyable urban fantasy; I'm particularly fond of Kelley Armstrong's work, although she's been getting side-tracked into YA recently.

I'm sure I'm failing to mention other writers in this genre that I like, but these four are definitely standouts in my mind. Obviously Cheri Priest is a candidate, although I think her zombie books in Chattanooga are better than her zombie books in Seattle—I enjoy steampunk, but good old Southern-fried spooky is somehow more believable, if such a thing is possible.

I'm a bit surprised to hear that so many of your readers haven't read more female authors. I don't mean to dis male authors, but I am pretty sure I read more women than men, and it would be an absolute disaster in my mind if all the women whose books I read stopped writing. Alright, I'll expand a bit. If one took 'important' to mean 'influential' then I suppose one would have to pick the Twilight books.

But I couldn't bring myself to do that. I picked Robson's book because it seemed to me to be a novel spin on hard SF, but it's hard to put the finger on why exactly. In particular, you have a high technology which is believably and complicatedly emotionally affecting to the characters. It's not just "tech" which you can "use", a neat take on quantum mechanics' involvement of the observer. More importantly, this is less described from the outside as is typical in hard SF but from the inside, and without the typical SF flaw of writing from a stance of ultimately explaining everything.

This distancing is not allowed. File under "should be important and I hope people noticed. It is as good as books get, and yet it also delivers all the promised genre goods and then some. That is not only the white whale of fantasy and SF, but it also seems to be where literature in general is headed.

A poor showing by the regulars here, to the point where I feel obliged to delurk. Vagueness and errors due to books being boxed and me being lazy. I am intensely jealous of you lot, who have yet to read them for the first time. The first is great, I'd argue innovatively cross genre but to explain would spoil it , the second is just brilliant in fact I think I might just read it again.

The third is right up there on my automatic-buy-even-in-silly-format as soon as I can get my hands on it list and that's a very short list.

Justina Robson's "Natural History", mentioned above, is very good, but "Living Next Door to the God of Love" which deals with the consequences is just fabulous. I impulse bought "Silver Screen" because of the cool cover, and have bought everything by her since. I get the impression that her recent series was an attempt to be more commercial, and although it was definitely superior formula it was still formula.

Now it's finished I hope she'll write something more ambitious again, but she's definitely on my always buy list. I think my only criticism is that she has a tendency to weak endings or maybe bad deadline discipline. I'm trying to remember if the late Octavia Butler's final book qualifies as recent enough; it was a serious attempt at reimagining the vampire novel in a semi-believeable way in wake of populist fever on the subject.

She was, I understand, a very influential writer in the larger literary sense too, especially in the US. Her prose is certainly pellucid. And yes C. Cherryh, I'm gonna have to buy the fourth "Foreigner" trilogy when the last one reaches paperback. It's not earthshaking, but is reliably enjoyable space opera, which is important when you need to just turn off and have a holiday from the world with some familiar characters.

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More generally, Cherryh has a massive track record as the best alien imaginer in the business, which has to count for something. Her political milieu have always seemed more believable than most people's, which may also have been influential long-term. Moriarty in particular pays serious attention to all the scientific underpinnings; Robson's more serious stuff tends to concentrate more on hitting the "soft" science ones. Allow yourself some benefit of the doubt suspension of disbelief: or miss out on two of the coolest, best written future visions so far this centuary.

I'm not a big fantasy novel reader any more, and this is not in that "genre" as I understand it. If I had to describe it, I'd say it is a great slab of period whimsy. Well, I didn't comment on the previous post, because I hadn't worked out for myself what most important book meant not a criticism of Charlie's question - importance is in the eye of the beholder. Also, I've not read any Beukes yet, although I do intend to. Both in their way very English, both, the Hall book in particular, rooted in the English landscape. But that's outside your 10 year rule. So instead: Elizabeth Bear. All of her books, but her Grail series in particular takes tropes, sets them on their end, and changes the way I see the world.

That is what defines "important" to me. Also, for those that are saying they don't know women sci fi writers, I wonder how much you are unconsciously limiting your selection based on cover. I've noticed a definite difference in cover art for women written scifi, particularly the older books. I'm surprised no one has mentioned Maul by Tricia Sullivan. It's got the usual hard sf tropes if that's your thing. It's also got a protagonist who's an intelligent relatively non-neurotic teenage girl. Yeah, it's been done before you say, at least as far back as Heinlein.

Except that it hasn't. How many legs does a dog have if you call a tail a leg? Four - calling a tail a leg doesn't make it a leg is the usual reply. And so it goes with those early attempts; trust me, Heinlein didn't know squat about teenage girls and it shows. Maul, otoh, is at the least written by someone who used to be a teenager herself.

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The voice of most the characters is also - a rarity! I think that as time reels by in the 21st, you'll see more and more of this type of thing, where the supposed "posthuman" is just a little bit more than a white male with prosthetic head bumps and a good memory. Maybe it's because I know something of the English magickal tradition and this just pissed all over it. I know it's a horrible admission, but I think the only female SF novelists I've read in the last decade and have written within that time period are:.

I'm sure I've read more authors via short story anthologies, but that hasn't motivated me to buy any novels - so far. For me, James Tiptree Jr. She's almost like the Roy Batty candle burning brightly.. So if 1 in 5 Dozois-selected authors is a woman, reading 3 in the last 10 years means that I should be reading 12 male authors in that time, which is low, but probably not far off what I actually read given my predilection for relatively few SF authors. You missed things like one protagonist trying to figure out what date they'd arrived in by checking the postmark on a locally mailed letter Or the other protag getting around London in on the Jubilee line?

Or how nobody in Oxford in has heard of a mobile phones or b laptops?

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Here's a hint; circa , there were 70 million active mobile phone accounts in the UK Re: Heinlein on teenage girls. I tend to agree with you, with the exception of Podkayne of Mars, where I think the protagonist represents the superego, and doesn't act like a teenage girl because she really isn't one. Yes, I admit I missed them completely. Which, in hindsight, is a complete surprise, but says something about the level of immersion I had in the story. Not a novel, but Anne Carson's Nox is one of the most powerful pieces of writing I have read in the last ten years.

Didn't realize Chris Moriarty is a woman. She's exceptional. Spin State was very good, if a bit difficult; Spin Control was fantastic, and much easier to wrap my brain around. I'm looking forward to the next in the series. As for the Jubilee line bit, that is pretty surprising. As a non-native, my awareness of the dates when various lines went in is not sufficient to allow me to notice mistakes like this, which probably helped me to properly enjoy the book. Despite this, my mental picture of what happened in these two books was quite clear. I don't think a mistake like this is really all that important to the book, unless you're unlucky enough to trip over it.

The bit in Bletchley Park was a lot of fun for me, having visited fairly recently. It's easy to believe that by , we will be over the interrupt-me-when-you-like model of interaction that plagues our present culture. Perhaps the next generation will revive the old tradition of leaving calling cards. At least I haven't mentioned the other authors I keep remembering. Defining 'Important', can't really do it. I keep going between Important in the literary sense and the personal sense.

One thing that I don't think makes something important is sales. Bestsellers come and are forgotten, so that by itself doesn't make a book important. Combine sales with having lots of people talking about it and you get closer. I suppose. I like what someone said earlier about the Potter books adding words to the language, I know people who now refer to people as Muggles rather than Goyim. But that sort of thing can also fade. I think we'll know in years when the kids who waited in line for the books start reading them to their kids, if theirs love then I'd say they qualify.

I also disagree with the person who said the Potter books aren't relevant. At least as an introduction of those topics for young readers they did well. I think the Connie Willis's Doomsday Book is important because in my experience sometimes, rarely, you end up under circumstances or in situations where you can do absolutely nothing to reduce or end the unremitting suffering and pain you pecieve no matter what you try or do.

There has been some discussion of the representation or lack of it of women in SF anthologies in recent years. A number of male editors are systematically -- almost certainly unconsciously -- under-representing women in the material they buy. Gardner Dozois is, unfortunately, one of them. Didn't mean to imply she wasa great writer, though agree she has potential. But she is definitely a woman publishing novels in SF.

None of her novels so far are what I would define as important in or of themselves, only in the context of the ongoing experiment that is From her Tiptree acceptance speech: "I just did everything James Joyce did, only backwards and in high heels. It's also unbelievably dense and difficult, and o so very rewarding. Adam Roberts's not wholly positive review is instructive.

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But honestly, few people other than the Tiptree committee even noticed its existence. The Bletchley Park thing was, for me, the single worst thing in a book full of bad things, since it required us to believe that a historian, at Oxford University, whose specialist period is World War II, would be unfamiliar with the name "Bletchley Park". As for "I don't think a mistake like this is really all that important to the book, unless you're unlucky enough to trip over it. She makes errors of history, errors of British English language usage, errors of geography,doesn't understand the class system The whole thing reads, frankly, like a calculated insult to the British, and that's even before we get to the idiot plotting and lack of characterisation Those were minor details I picked up on.

Believe me, the academic historians and Oxford graduates are foaming at the mouth. Oh yes: history students on field trips who lack the equivalent of age school history syllabus knowledge about where and when they're going It's a fantasy, not SF, and very genre, and I don't think it exactly shook the world, but it did a couple of things extremely well. It was not yet another coming-of-age story.

It handled the notion of gods in the world better than any other novel I can think of, save perhaps The Thousand Kingdoms. And it portrayed the cost of leadership in a way that felt both accurate and very, very human. Mr Stross do you have any idea what the gender breakdown of your readers is? I ask as it may hint as to why we were biased in favour of male authors. For a book to be important it must either offer insightful comments on a matter of societal importance or influence mass discussion in some way.

Unfortunately, Sci-Fi is never going to do that. Sci-Fi might offer interesting philosophical viewpoints or predict interesting social change, it might be the vanguard for discussion, but its not going to be the vehicle which leads to debate. The books is basically a soccer mums guide to bioethics. Its far from a brain stretch, its basically , but i know that it lead to some pretty intense debate, even if it was as simple as "I could never do that". It forced people to think about a complicated ethical topic even if it was in a very soapy way.

I don't like to pick on other writers because I know what it's like to be on the receiving end, and because folks reading my comments may attach undue weight to them. Also, I like about half of Connie's books -- a lot. Most of the others are okay. Look at the bombers in the top left corner. They have four engine nacelles, don't they? They are, in fact, not Heinkels, such as might have been seen over the skies of London in ; they are Boeing B Superfortresses, which first flew in and certainly didn't bomb London. Covers are NOT the author's responsibility, but it suggests a lack of attention to historic detail at the publisher which may point to Connie's editors being asleep at the switch It's a major project, takes them eight years, and gets bestseller promotion in the USA.

How plausible is it that the young American time travellers going back to, say, Gettysburg, would expect to run into General Sherman commanding the US Army there? Note that they are studying US history at university level , not random idiots. How plausible would it be for them to see all the slaves being manumitted on the spot everywhere in Union territory on July 3rd, , right after a certain speech, and that all the white folks in the Union side would unanimously applaud this?

How likely is it that our intrepid time travellers might have adventures in Baltimore under Confederate occupation in the wake of Gettysburg? You might feel a little insulted, too -- especially after the author discusses at length the enormous and detailed research that went into the book! The thing about Domesday Book though is, if you can get past the first pages it is a rollicking good read.

But most people in the UK will lose it sometime before that when a protagonist takes a tube to Oxford, or for some other reason. But the secind half is fantastic storytelling. Hope I didn't seem too harsh in my comment and feel free to delete it if I did. I've not read anything Ms Willis wrote other than Blackout and the first third of All Clear, and so can't judge her other work. But your analogy is pretty close, yeah Or meaning to say Hendon when what was actually said was Duxford?

Or writing Manfred instead of Roger [Jorgenson][1]? Well, you know what they say: when the Germans shoot the British duck, when the British shoot the Germans duck, and when the Americans shoot everyone ducks Important books are QUIT rare. They cause major shifts in literary style. This doesn't include Harry Potter.


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There are other reasons why it might be considered important, even though I gave up on the series rather quickly. None of those are since These are books that work their way into your mind and change things. If, of course, you are accessible. That none of them are since isn't surprising. Important isn't "I really like this", or "This speaks to me! But even if I add them I don't get any important books by women. Besides, the original comment was for important novels, which would not only exclude the technical and philosophical works, but even "True Names". So my feeling is that anything important published since must be a sleeper.

Whether or not published by a woman. I don't know whether this is a comment on me, on the publishing industry, or on women. I suspect that it's on me, and what I consider to be important, but this is just a [highly probable] guess. It's also true, however, that women are generally more risk averse than men, and important books are EXTREMELY rare, so it might not be a comment on me, but something to be expected..

Have some female author ask the same question on HER blog. Is this a particular problem in Britain? Female SF writers in the US seem to do pretty well in the awards at least, and I can think of quite a few with a fairly high profile, but it's more difficult to think of a British Connie Willis bad research notwithstanding. One thing these have in common is that they're all reliably prolific, you can expect on a book a year from most of them.

Some of the best female SF writers seem to be less so. Pat Cadigan, who I absolutely love, hasn't put out a book since for instance is she ill? Nothing since though.


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  7. The Sharing Knife series by Lois Bujold. While they have plenty of flaws, they are to me a hugely ambitious literary experiment. That it fails in a several of those is less important to me than that it really tried to stretch what fantasy is and can be. You know, that's how it feels to read any book that's set in the parts where I live; the most recent well publicized examples that come to mind are The Historian and The Tiger's Wife -- both laughably wrong on so many counts and both, interestingly, written by persons who are supposed to know what they're talking about, only they very obviously don't.

    But if you want an important book from the last decade that was written by a woman, I'd suggest anything by Ekaterina Sedia, particularly The Secret History of Moscow and The Alchemy of Stone , which may just be the greatest overlooked steampunk novel of them all. I think SF books did do that on a large scale, at least in terms of inspiring a generation or two of scientists and engineers. It's when SF became "respectable" that its influence diminished.

    Before anybody says anything, I wasn't implying that female authors don't work as hard, clearly many of them can churn them out with the best of 'em. It just seems like they have more trouble in maintaining a consistent career, for whatever reason, than some of their male counterparts I was reading the problems the brilliant Linda Nagata has had staying in the writing business on her blog.

    In that case, you owe it to yourself to find a copy of Jerome K. It took until comment 87 for anyone to get to Cloud and Ashes? Hands down "important," and more fun than Special Topics I can't be the only one who couldn't finish the Pessl. Also be interesting to know what the gender breakdown of SF author sales have been, if publishers are subconsciously pushing males then quite likely the marketing is too.

    Also, the sciences are notably skeweed toward men which might explain a skew in hard scifi writers. But I suppose her reputation must have come from somewhere I don't know why you even bothered to reply. The whole "Science fiction isn't serious literature" bit is trolling at best.

    At worst, it's the kind of arrogant ignorance that says Beowulf is more important to understanding our modern age than the bizarre ideas of those ridiculous adolescents Wells and Verne. People like that don't even know that C. Wong, B. Borhani, K. Jedidiah Pretoria, South Africa. Oscar Jimenez Oscar Jimenez Ft. Luebeck, Schleswig-Holstein, Germany. Brielle D. Edborg, Timothy W. Alpha Rwirangira Bujumbura, Burundi. Tsikata, I. Duran, M. Tenkorang Accra, Ghana. Bushy Brads Dublin, Ireland. Juliet Lyons Tehran, Iran. Matt Jones, Ashlee K.

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    Dean William Palya, Jr. Michelle P. Martin Zeppelin Astronaut Aarhus, Denmark. Romeo Dediu Holograf Bucharest, Romania. Oliver Voigt Rezounder Stuttgart, Germany. Wayne V. Rachel Love Rain Suffolk, England. Martian time-slip. Do Androids dream of electric sheep?. A scanner darkly. The everything Chinese cookbook: from wonton soup to sweet and sour chicken -- succulent recipes from the Far East. Fifth Avenue, 5 A. Citizen Soldiers: The U. Superfreakonomics: global cooling, patriotic prostitutes, and why suicide bombers should buy life insurance.

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