Wanna see the the cover art and synopsis of Allen Steele upcoming novel Apollo’s Outcasts? Take a gander at the cover right here.
Here’s the synopsis:
Jamey Barlowe has been crippled since childhood, the result of being born on the Moon. He lives his life in a wheelchair, only truly free when he is in the water. But then Jamey’s father sends him, along with five other kids, back to the Moon to escape a political coup d’etat that has occurred overnight in the United States. Moreover, one of the other five refugees is more than she appears.
Their destination is the mining colony, Apollo. Jamey will have to learn a whole new way to live, one that entails walking for the first time in his life. It won’t be easy and it won’t be safe. But Jamey is determined to make it as a member of Lunar Search and Rescue, also known as the Rangers. This job is always risky but could be even more dangerous if the new US president makes good on her threat to launch a military invasion. Soon Jamey is front and center in a political and military struggle stretching from the Earth to the Moon.
Allen Steele was a journalist before turning to his first love, science fiction. Since then he has published seventeen previous novels and nearly one hundred short stories. His work has received numerous awards, including three Hugos, and has been translated worldwide. A lifelong space enthusiast, he has testified before Congress in hearings regarding space exploration, has flown the NASA space shuttle simulator, and serves as an advisor for the Space Frontier Foundation. Steele lives in Massachusetts with his wife and dogs. Visit him online at www.allensteele.com and at www.facebook.com/Allensteelesfwriter.
Book info as per Amazon US:
- Hardcover: 300 pages
- Publisher: Pyr (November 6, 2012)
- ISBN-10: 1616146869
- ISBN-13: 978-1616146863
[This week's question was submitted by an SF Signal reader. Do you have an idea for a future Mind Meld? Let us know!]
Recently Neal Stephenson wrote an article for the World Policy Journal titled “Innovation Starvation“. In the article he discussed the serious lack of innovation in science today. Later in the article, he discusses a presentation that he made at the Future Tense conference where he said that good science fiction supplied “a plausible, fully thought-out picture of an alternate reality in which some sort of compelling innovation has taken place.” One scientist that he talked to complained that SF writers are slacking off, saying that SF writers need “to start supplying big visions that make sense.” With Planetary Resources announcing their plan to mine the asteroids, it seems that reality may be encroaching on science fiction’s “big idea” territory.
We asked this week’s panelists:
Here’s what they said…
Possibly neither. The arc of big, epochal, scientific ideas may have run its course in science fiction – having flowed on into nonfiction and reality. In addition to asteroid mining, think about Google as an example. Bruce Sterling remarked at a convention that despite a unitary artificial superintelligence being a big idea in SF, there hasn’t been one invented, but there’s such an amazing, unanticipated thing as the distributed intelligence of Google searching and all.
I don’t think SF writers are slacking – although many on the advice of editors and agents have been writing fantasy because it sells better. Some are creating alloys of SF and fantasy. In the century we’re in now, for a big idea to catch fire with the upcoming scientists and engineers it may have to be not just an an overweening head trip, but a profound heart trip as well.
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[Do you have an idea for a future Mind Meld? Let us know!]
As the calendar rolls over to the beginning of another year, it brings with it the promise of new things and new beginnings. With that in mind, we asked this week’s panelists this question:
Here’s what they said:
I’m sure that most of my favorite opening scenes are from the same classics that many readers would recognize — the gom jabbar test in Dune; Louis Wu’s globe-hopping birthday trip in Ringworld; the introduction of Valentine Michael Smith in Stranger in a Strange Land — so I won’t reiterate them. And while I have a number of favorite opening lines as well — a personal favorite is from Michael Swanwick’s Stations of the Tide: “The bureaucrat fell from the sky” — they’re not quite the same thing as a good first scene, which — if done right — will pull the reader into the book.
A perfect example of both is the beginning of The Dreaming Jewels by Theodore Sturgeon. Here’s the first paragraph:
They caught the kid doing something disgusting out under the bleachers at the high school stadium, and he was sent home from the grammar school across the street. He was eight years old then. He’d been doing it for years.
Exactly what the kid — whose name is Horty — was doing is not immediately explained. If you’re like most readers, though, you’ve probably got a good idea … particularly when you’re told that his guardians (who are not his parents; they’re introduced later) were just as horrified as the school principal, the teachers, and the other kids. But it’s not until you’re a couple of pages into the book that you discover Horty was…
So what did you think he was doing? And now that you’ve learned that it’s probably not what you were expecting, aren’t you interested in finding out why an eight-year-old boy was eating ants?
Sturgeon was a master storyteller, and he set up this scene beautifully. It is a textbook example of a perfect narrative hook.