The great Philip K. Dick authored forty-four novels and numerous short stories over a writing career that spanned about thirty years. Many of his works are outright science fiction classics and he won several major sci-fi awards, including the Hugo Award and the John W. Campbell Memorial Award for Best Science Fiction Novel, but he wasn’t overly concerned with fame or financial success. As he wrote to his writer friend James McKimmey early on his career in letters I oddly wound up with, “My main reason for writing is basically simple. I want to react against society; I’m after impact, not money.” Ironically, Dick achieved most of his commercial and literary success after his death in 1982. All of his novels are currently in print and his work has remained a hot commodity in Hollywood for decades.
In our morning reading: an interview with Rabih Alameddine, thoughts on PJ Harvey’s demos, and more.
In our afternoon reading: thoughts on Meghan Tifft’s new novel, an interview with Alex Segura, and more.
In our morning reading: new work from Leland Cheuk and Chelsea Hodson, thoughts on the latest installments of the Object Lessons series, and more.
In our morning reading: new fiction by Bill Cheng, a review of Denis Johnson’s new collection, and more.
In our afternoon reading: interviews with Myriam Gurba and Juan Tomás Ávila Laurel, new writing from Hanif Abdurraqib, and more.
In our afternoon reading: Jeff VanderMeer recommends books, a new issue of The Scofield, and much more.
Speaking as someone who’s been intrigued by Ridley Scott’s film Blade Runner for a long time now, I found Paul M. Sammon’s Future Noir to be a fascinating look at the film’s creation, production, and subsequent placement in the cult canon. With Blade Runner 2049 out this fall, Sammon revisited Future Noir with a host of updates and additions. Via email, we discussed Blade Runner‘s influence, the challenges of adapting Philip K. Dick, and more.