Download PDF books in Science Fiction subject for free. Artwork has played an influential and central role in science fiction literature. Although fantasy and science fiction tales were published occasionally and artists. Science Fiction (often called sci-fi or SF) is a popular genre of fiction in which the narrative world differs from our own present or historical reality.
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Results 1 - 10 of Download Sci-fi Fantasy Books for FREE. All formats available for PC, Mac, eBook Readers and other mobile devices. Large selection and. Science fiction has been around as a genre for more than years. That's such a long time that many of the greatest works have fallen into the. PDF | This book is my first novel based on my background as Research Scientist. This book is Science Fiction Novel. Book · November
The faintly imagined, and sometimes strictly unimaginable, scene and properties, only blur the real theme and distract us from any interest it might have had.
I presume that the authors of such stories are, so to speak, Displaced Persons—commercial authors who did not really want to write science fiction at all, but who availed themselves of its popularity by giving a veneer of science fiction to their normal kind of work. But we must distinguish. A leap into the future, a rapid assumption of all the changes which are feigned to have occurred, is a legitimate 'machine' if it enables the author to develop a story of real value which could not have been told or not so economically in any other way.
Thus John Collier in Tom's A-Cold wants to write a story of heroic action among people themselves semi-barbarous but supported by the surviving tradition of a literate culture recently overthrown.
He could, of course, find an historical situation suitable to his purpose, somewhere in the early Dark Ages. But that would involve all manner of archaeological details which would spoil his book if they were done perfunctorily and perhaps distract our interest if they were done well. He is therefore, on my view, fully justified in positing such a state of affairs in England after the destruction of our present civilization.
That enables him and us to assume a familiar climate, flora, and fauna. He is not interested in the process whereby the change came about.
That is all over before the curtain rises. This supposition is equivalent to the rules of his game: criticism applies only to the quality of his play. A much more frequent use of the leap into the future, in our time, is satiric or prophetic: the author criticizes tendencies in the present by imagining them carried out 'produced', as Euclid would say to their logical limit.
I can see no objection to such a 'machine'. Nor do I see much use in discussing, as someone did, whether books that use it can be called 'novels' or not.
That is merely a question of definition. You may define the novel either so as to exclude or so as to include them. The best definition is that which proves itself most convenient.
And of course to devise a definition for the purpose of excluding either The Waves in one direction or Brave New World in another, and then blame them for being excluded, is foolery. I am, then, condemning not all books which suppose a future widely different from the present, but those which do so without a good reason, which leap a. Having condemned that sub-species, I glad to turn to another which I believe to be legitimate, though I have not the slightest taste for it myself.
If the former is the fiction of the Displaced Persons, this might be called fiction of Engineers. They give us in imaginative form their guesses as to how the thing might be done.
Jules Verne's Twenty Thousand Leagues Under the Sea and Wells's Land Ironclads were once specimens of this kind, though the coming of the real submarine and the real tank has altered their original interest. Arthur Clarke's Prelude to Space is another.
I am too uneducated scientifically to criticize such stories on the mechanical side; and I am so completely out of sympathy with the projects they anticipate that I am incapable of criticizing them as stories. I am as blind to their appeal as a pacifist is to Maldon and Lepanto, or an aristocratophobe if I may coin the word to the Arcadia. But heaven forbid that I should regard the limitations of my sympathy as anything save a red light which warns me not to criticize at all.
For all I know, these may be very good stories in their own kind. I think it useful to distinguish from these Engineers' Stories a third sub-species where the interest is, in a sense, scientific, but speculative. When we learn from the sciences the probable nature of places or conditions which no human being has experienced, there is, in normal men, an impulse to attempt to imagine them.
Is any man such a dull clod that he can look at the moon through a good telescope without asking himself what it would be like to walk among those mountains under that black, crowded sky? The scientists themselves, the moment they go beyond purely mathematical statements, can hardly avoid describing the facts in terms of their probable effect on the senses of a human observer.
Prolong this, and give, along with that observer's sense experience, his probable emotions and thoughts, and you at once have a rudimentary science fiction. And of course men have been doing this for centuries. What would Hades be like if you could go there alive? Homer sends Odysseus there and gives his answer. Or again, what would it be like at the Antipodes?
For this was a question of the same sort so long as men believed that the torrid zone rendered them forever inaccessible. Dante takes you there: he describes with all the gusto of the later scientifictionist how surprising it was to see the sun in such an unusual position.
Better still, what would it be like if you could get to the centre of the earth? Dante tells you at the end of the Inferno where he and Virgil, after climbing down from the shoulders to the waist of Lucifer, finds that they have to climb up from his waist to his feet, because of course they have passed the centre of gravitation. It is a perfect science fiction effect.
Thus again Athanasius Kircher in his Iter Extaticum Celeste will take you to all the planets and most of the stars, presenting as vividly as he can what you would see and feel if this were possible. He, like Dante, uses supernatural means of transport. In Wells's First Men in the Moon we have means which are feigned to be natural.
What keeps his story within this sub-species, and distinguishes it from those of the Engineers, is his choice of a quite impossible composition called cavorite. This impossibility is of course a merit, not a defect. A man of his ingenuity could easily have thought up something more plausible. But the more plausible, the worse.
That would merely invite interest in actual possibilities of reaching the Moon, an interest foreign to his story. Never mind how they got there; we are imagining what it would be like. The first glimpse of the unveiled airless sky, the lunar landscape, the lunar levity, the incomparable solitude, then the growing terror, finally the overwhelming approach of the lunar night—it is for these things that the story especially in its original and shorter form exists.
How anyone can think this form illegitimate or contemptible passes my understanding. It may very well be convenient not to call such things novels. If you prefer, call them a very special form of novels. Either way, the conclusion will be much the same: they are to be tried by their own rules. It is absurd to condemn them because they do not often display any deep or sensitive characterization.
They oughtn't to. It is a fault if they do. Wells's Cavor and Bedford have rather too much than too little character. Every good writer knows that the more unusual the scenes and events of his story are, the slighter, the more ordinary, the more typical his persons should be.
Hence Gulliver is a commonplace little man and Alice a commonplace little girl. If they had been more remarkable they would have wrecked their books.
The Ancient Mariner himself is a very ordinary man. To tell how odd things struck odd people is to have an oddity too much: he who is to see strange sights must not himself be strange.
He ought to be as nearly as possible Everyman or Anyman. Of course, we must not confuse slight or typical characterization with impossible or unconvincing characterization. Falsification of character will always spoil a story. But character can apparently be reduced, simplified, to almost any extent with wholly satisfactory results. The greater ballads are an instance.
Of course, a given reader may be some readers seem to be interested in nothing else in the world except detailed studies of complex human personalities.
If so, he has a good reason for not reading those kinds of work which neither demand nor admit it. He has no reason for condemning them, and indeed no qualification for speaking of them at all.
We must not allow the novel of manners to give laws to all literature: let it rule its own domain. We must not listen to Pope's maxim about the proper study of mankind. The proper study of man is everything. The proper study of man as artist is everything which gives a foothold to the imagination and the passions.
But while I think this sort of science fiction legitimate, and capable of great virtues, it is not a kind which can endure copious production. It is only the first visit to the Moon or to Mars that is, for this purpose, any good. After each has been discovered in one or two stories and turned out to be different in each it becomes difficult to suspend our disbelief in favor of subsequent stories.
However good they were they would kill each other by becoming numerous. My next sub-species is what I would call the Eschatological. They were political or social. It is here that a definition of science fiction which separates it entirely from the novel becomes imperative. The form of Last and First Men is not novelistic at all. It is indeed in a new form—the pseudo history.
The pace, the concern with broad, general movements, the tone, are all those of the historiographer, not the novelist. It was the right form for the theme. And since we are here diverging so widely from the novel, I myself would gladly include in this sub-species a work which is not even narrative, Geoffrey Dennis's The End of the World And I would certainly include, from J. Haldane's Possible Worlds , the brilliant, though to my mind depraved, paper called 'The Last Judgment'.
Work of this kind gives expression to thoughts and emotions which I think it good that we should sometimes entertain. It is sobering and cathartic to remember, now and then, our collective smallness, our apparent isolation, the apparent indifference of nature, the slow biological, geological, and astronomical processes which may, in the long run, make many of our hopes possibly some of our fears ridiculous.
If memento mori is sauce for the individual, I do not know why the species should be spared the taste of it. The insinuation was that those who read or wrote it were probably Fascists. What lurks behind such a hint is, I suppose, something like this. If we were all on board ship and there was trouble among the stewards, I can just conceive their chief spokesman looking with disfavor on anyone who stole away from the fierce debates in the saloon or pantry to take a breather on deck.
For up there, he would taste the salt, he would see the vastness of the water, he would remember that the ship had a whither and a whence. He would remember things like fog, storms, and ice. What had seemed, in the hot, lighted rooms down below to be merely the scene for a political crisis, would appear once more as a tiny egg-shell moving rapidly through an immense darkness over an element in which man cannot live. It would not necessarily change his convictions about the rights and wrongs of the dispute down below, but it would probably show them in a new light.
It could hardly fail to remind him that the stewards were taking for granted hopes more momentous than that of a rise in pay, and the passengers forgetting dangers more serious than that of having to cook and serve their own meals. Stories of the sort I am describing are like that visit to the deck. They cool us. They are as refreshing as that passage in E. Forster where the man, looking at the monkeys, realizes that most of the inhabitants of India do not care how India is governed. Hence the uneasiness which they arouse in those who, for whatever reason, wish to keep us wholly imprisoned in the immediate conflict.
That perhaps is why people are so ready with the charge of 'escape'. I never fully understood it till my friend Professor Tolkien asked me the very simple question, 'What class of men would you expect to be most preoccupied with, and most hostile to, the idea of escape?
The charge of Fascism is, to be sure, mere mud-flinging. Fascists, as well as Communists, are jailers; both would assure us that the proper study of prisoners is prison. But there is perhaps this truth behind it: that those who brood much on the remote past or future, or stare long at the night sky, are less likely than others to be ardent or orthodox partisans.
I turn at last to that sub-species in which alone I myself am greatly interested. It is best approached by reminding ourselves of a fact which every writer on the subject whom I have read completely ignores. Far the best of the American magazines bears the significant title Fantasy and Science Fiction.
In it as also in many other publications of the same type you will find pot only stories about space-travel but stories about gods, ghosts, ghouls, demons, fairies, monsters, etc. This gives us our due. It is not difficult to see why those who wish to visit strange regions in search of such beauty, awe, or terror as the actual world does not supply have increasingly been driven to other planets or other stars.
It is the result of increasing geographical knowledge. The less known the real world is, the more plausibly your marvels can be located near at hand. As the area of knowledge spreads, you need to go further afield: like a man moving his house further and further out into the country as the new building estates catch him up. The author of Beowulf can put Grendel's lair in a place of which he himself says Nis paet feor heonon Mil-gemearces.
As a queer black man, he's brought a unique voice to science fiction over the years, incorporating themes of variant sexualities and varying event perceptions into his work. As opposed to his later works, both combine elements of fantasy and science fiction into a far-future, dying-earth tale. Cory Doctorow's books are much newer than most on this list.
The BoingBoing founder has been a consistent critic of modern copyright law, and he's put his money where his mouth is by making many of his books Creative Commons or putting them in the public domain. Down and Out in the Magical Kingdom is a tale of a post-death, Disney-owned world where dying is just a temporary inconvenience.
There are social credit points — called Whuffies — alotted to participants as rival gangs of Mouseketeers compete for popularity among park visitors. Makers, on the other hand, plays as a sort of near-future cyberpunk-inspired novel about the DIY movement of hacker and maker spaces.
It's about how hackers and makers struggle to survive as the economy falls apart, using ad hoc fixes to make their way through a changing economic landscape.
Ok, that last one isn't so great. However, despite its major faults, The Lost World is a highly influential lost-land story of a group of adventures on a South American plateau who find the land where dinosaurs and prehistoric reptiles not only live, but thrive alongside Ice Age mammals and other creatures known only through fossils.
Deathworld and Planet of the Damned by Harry Harrison. Deathworld is a sort of parallel story to Harrison's famous Stainless Steel Rat series, taking place in the same sort of framework but focusing on a gambler thrust onto a hellish world full of dangerous beasts and awful weather on a smuggling trip.
Planet of the Damned is an interplanetary Hunger Games, in which a survivor of the Twenties a fittest-person challenge tries to navigate a harsh realm of planets seemingly on the brink of nuclear war. There are also symbiotic aliens and more weirdness as the protagonists try to defuse worlds on the brink of destruction. Some regard Frankenstein as the first true science fiction novel.
The Last Man is Shelley's more forgotten work, a post-apocalyptic tale of survival after a plague ravages the world. Slowly, the small handful of survivors dwindle in number after facing hardship after hardship. The novel was bleak and far ahead of its time.
Erewhon by Samuel Butler. Perhaps the biggest legacy of this book is an outline of what would become artificial life and artificial intelligence, written in an age in which the computer was just a huge analog machine like the Difference Engine. Butler was a leader in thinking about AI, often discussing the ways machines might follow Darwinian evolution. He combined his writings on the matter with utopic novels of the time to tell the tales of Erewhon, guiding us through a strange society in a pseudo-sci-fi setting.
The Red One by Jack London. Maybe it's cheating to include a short story in an article about novels, but it's the curiosity of this one that warrants inclusion. London, known more for his tales of man conquering nature in extreme environments, chose to write this story about an sphere of extraterrestrial origin that posits itself as a deity to primitive societies, who make sacrifices to it. Another short story, but this tale by Hale is credited as the first to anticipate artificial satellites and space habitations—though we know today that there will never be an orbital colony built out of bricks.
Well, probably not. Hyde by Robert Louis Stevenson. Still famous today, this novel portrays a scientist twisted by his chemistry experiments into a monster that comes out and savagely attacks people in the night, as the timid Dr.
Jekyll works to control his more monstrous half. It's been adapted to film a dozen times over, been copied in part into The Incredible Hulk , and has something or other to do with that Entourage movie I desperately want to avoid seeing.
The Crack of Doom by Robert Cromie. This novel has the first fictional account of an atomic explosion, and involves a society fueled by nuclear energy. The society in the novel can also view molecules up close with atomic microscopy — another technology seen today.
Cromie also wrote a space travel story called A Plunge Into Space in This just scratches the surface of a wide realm of science fiction stories, novels, and more available out there for free. Happy hunting! Type keyword s to search. Today's Top Stories. Watch How a Brewery Comes Together. Chevy Confirms the Mid-Engined Corvette. How to Storm a Castle. Wikimedia Commons.
Flatland by Edward Abbott Abbott This is the tale of a two dimensional square who makes a new friend — a three dimensional sphere. Chambers Robert W. Edgar Rice Burroughs Yes, this is simply a link to a whole lot of Edgar Rice Burroughs, because a lot of his work is in the public domain and is serialized.
House on the Borderland and The Night Land by William Hope Hodgson Another set of stories planted firmly in the weird fiction genre, House on the Borderland tells the tale of two men staying in a house that opens to a hellish other dimension from which gruesome pig-men continually escape. Advertisement - Continue Reading Below. More From Web.