I discovered science fiction at age nine with Rocketship Galileo and Red Planet and have never lost my love for speculative worlds, even after growing up to follow a career teaching and writing about the history of cities and city planning. In recent years, I’ve also begun to write about the field of SF. So it is one-hundred-percent natural for me to combine the two interests and explore science fiction cities. I try to look beyond the geez-whiz technology of some imagined cities to the ideas of human-scale planning and community that might make them fun places to visit or live in if we could somehow manage to get there.
I wrote
Imagining Urban Futures: Cities in Science Fiction and What We Might Learn from Them
Istanbul and New York are famously cosmopolitan cities, but they’re dullsville compared to New Crobuzon in Perdido Street Station.
Where else can you find such a wild mix of human and nonhuman cultures whose members argue, fight, make art, make love, and plot revolution. I love to tour New Crobuzon’s neighborhoods to see the conflict and creativity that come from twirling the urban kaleidoscope and watching its people and communities fall into new patterns.
New Crobuzon is not a relaxing place to visit, but there is always something happening. It’s like taking Paris in 1900, Berlin in 1925, and San Francisco in 1965 and stirring them together with plenty of nonhumans.
Winner of the August Derleth award and the Arthur C. Clarke Award, Perdido Street Station is an imaginative urban fantasy thriller, and the first of China Mieville's novels set in the world of Bas-Lag.
The metropolis of New Crobuzon sprawls at the centre of its own bewildering world. Humans and mutants and arcane races throng the gloom beneath its chimneys, where the rivers are sluggish with unnatural effluent, and factories and foundries pound into the night. For more than a thousand years, the parliament and its brutal militia have ruled over a vast array of workers and artists, spies, magicians,…
For me, the worst thing about New York is getting stuck in traffic.
In the New York of 2140, that’s not a problem because rising sea levels have drowned much of Manhattan and motorboats zip through the flooded streets like it’s a high-rise Venice. Future New York is also a city whose residents are coping with the planet’s new reality.
In the midst of climate gloom, it is refreshing to imagine a scenario where New Yorkers can come together through cooperative action to take control of their own future.
As the sea level rose, every street became a canal, every skyscraper an island. For the residents of one apartment building in Madison Square, however, New York in the year 2140 is far from a drowned city.
New York Times bestselling author Kim Stanley Robinson delivers a bold and brilliant vision of New York in the next century.
'New York may be underwater but it's better than ever' - New Yorker
I get bored when aliens always seem to land on the National Mall in Washington or hover over Los Angeles, so I was delighted to discover that at least one alien ship prefers to land in the lagoon off Lagos, Nigeria.
It’s a city as big or bigger than New York, after all. There is the challenge of dealing with very enigmatic visitors, but the time is the present and readers get a whirlwind tour of one of the world’s megacities. It’s like having the most highspeed guide you can imagine… who happens to be one of the most compelling SF writers today.
Three strangers, each isolated by his or her own problems: Adaora, the marine biologist. Anthony, the rapper famous throughout Africa. Agu, the troubled soldier. Wandering Bar Beach in Lagos, Nigeria's legendary mega-city, they're more alone than they've ever been before.
But when something like a meteorite plunges into the ocean and a tidal wave overcomes them, these three people will find themselves bound together in ways they could never imagine. Together with Ayodele, a visitor from beyond the stars, they must race through Lagos and against time itself in order to save the city, the world... and themselves.
At the center of the story is Spearpoint, the tallest skyscraping megabuilding that you could imagine. It is so enormous that it is divided into segments from bottom to top with different levels of technology (Horsetown and Steamville at the bottom, cybertowns, and then the fantastic Celestial Levels at the top). But wait, there’s more.
Roaming the rest of the planet is the Swarm, hundreds of giant aircraft that function together as the neighborhoods of a “distributed city” much like the fleet in Battlestar Galactica. The very different cities do not play well together, and you get to choose which one you’d rather live in. I like flying, myself.
Spearpoint, the last human city, is an atmosphere-piercing spire of vast size. Clinging to its skin are the zones, a series of semi-autonomous city-states, each of which enjoys a different - and rigidly enforced - level of technology. Horsetown is pre-industrial; in Neon Heights they have television and electric trains ...Following an infiltration mission that went tragically wrong, Quillon has been living incognito, working as a pathologist in the district morgue. But when a near-dead angel drops onto his dissecting table, Quillon's world is wrenched apart one more time, for the angel is a winged posthuman from Spearpoint's Celestial Levels…
For much of my academic career, I’ve battled the stereotype that cities are dangerous and deadening places, and certainly not where you want to be caught after plague decimates the population.
Pat Murphy is on my side. She imagines a post-plague San Francisco where the few remaining residents are artists, not bunkered survivalists. Her city “not long after” a plague is a place of creative eccentrics who defend themselves against outsiders with performance art.
Without the excitement of cities, there would be few new ideas, and it is great to find a science fiction book that agrees.
Jax and Danny-Boy, scrambling to get by in a near-future San Francisco ravaged by plague, become fellow artists in their united struggle to stop a tyrannical general from taking over
Cities are everywhere in science fiction. There are spaceports and capitals of galactic empires, domed cities on Mars and the Moon and floating cities on watery planets. My book identifies some of the most common ways that we envision urban futures and explores key examples. Some project our fears into the future and others hold out hope. Some elaborate on grandiose technologies and others highlight cities as centers of creativity. Some SF cities are firmly planted in North America and others lie on the far side of the galaxy. They’re all exciting places to visit—with the help of my guide, of course.
Constance is a wild, stubborn young girl growing up poor in a small industrial town in the late 1800's. Beneath her thread-worn exterior beats the heart of a dreamer and a wordsmith. But at age twelve, she’s orphaned. Running away to join the circus—like kids do in adventure books—seems like such a brilliant idea…or is it?
"Flight to Brassbright appeals to my inner child's desire for adventure and independence as well as my (mostly) grown-up desire for really well-written stories that capture my imagination and hold my attention." - Tricia, Amazon Reviewer
"...well plotted with a likable protagonist...upbeat with…
Constance is a wild, stubborn young girl growing up poor in a small industrial town in the late 1800's. Beneath her thread-worn exterior beats the heart of a dreamer and a wordsmith. But at age twelve, she’s orphaned. Running away to join the circus—like kids do in adventure books—seems like such a brilliant idea… or is it?
