Here are 100 books that Player Piano fans have personally recommended if you like
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I am a business and technology journalist with a particular interest in mobility startups. I penned my book after purchasing an EV from startup Better Place, only to discover the company was nearly bankrupt. How did I miss that? I’m supposed to be able to do due diligence! I started writing about cars as a reporter for the Advanced Interactive Media Group. I’m a regular contributor to The Jerusalem Post and Israel21c and have also ghostwritten four business books. Before I wrote about tech, I was starting companies: My own Internet publishing startup, Neta4, raised $3.2 million in 1998. I received my B.A. in Creative Writing from Oberlin College.
I had to include this book in the list. It’s not a business book, per se—this is hard science fiction—but the Earth’s response to a far-off alien invasion leads to all kinds of business and technological innovation, from “hibernation chambers” to the development of spacecraft that can travel at close to light-speed.
I then went on to watch the Netflix series, but the book is the real deal. I’m a slow reader, which meant I spent at least a year reading through all three books—but it was so worth it!
Read the award-winning, critically acclaimed, multi-million-copy-selling science-fiction phenomenon - soon to be a Netflix Original Series from the creators of Game of Thrones.
1967: Ye Wenjie witnesses Red Guards beat her father to death during China's Cultural Revolution. This singular event will shape not only the rest of her life but also the future of mankind.
Four decades later, Beijing police ask nanotech engineer Wang Miao to infiltrate a secretive cabal of scientists after a spate of inexplicable suicides. Wang's investigation will lead him to a mysterious online game and immerse him in a virtual world ruled by the intractable…
I’m a novelist and game designer from Bangalore. I’ve been a lifelong reader of science fiction and fantasy. Growing up, I almost never encountered futures that included people like me—brown women, from a country that isn’t the UK/ US, and yet, who are in sync with the rapidly changing global village we belong to. Over the last decade, though, I've found increasing joy in more recent science fiction, in which the future belongs to everyone.The Ten Percent Thiefis an expression of my experiences living in dynamic urban India, and represents one of our many possible futures.
I’m fascinated by the possibilities presented by post-nation futures. Infomocracy looks at a future where ‘centenals’—groups of 100,000 people without historic nationalist borders—elect an international corporate-affiliated body to govern the world.
High-stakes political intrigue fuels the biggest election in a century as multiple factions battle it out to seize power through the vehicle of futuristic democracy. To me, the highlight of this novel is its exploration of democracy—it’s peppered with paradoxical and intense arguments that are rewarding to engage with, and enhance the richness of its world.
It's been twenty years and two election cycles since Information, a powerful search engine monopoly, pioneered the switch from warring nation-states to global microdemocracy. The corporate coalition party Heritage has won the last two elections. With another election on the horizon, the Supermajority is in tight contention, and everything's on the line. With power comes corruption. For Ken, this is his chance to do right by the idealistic Policy1st party and get a steady job in the big leagues. For Domaine, the election represents another staging ground in his ongoing struggle against the pax democratica. For Mishima, a dangerous Information…
Peter Warren Singer is a strategist at New America, a Professor of Practice at Arizona State University, and a Principal at Useful Fiction LLC. No author, living or dead, has more books on the professional US military readings lists. August Cole is an author exploring the future of conflict through fiction and other forms of “FICINT” [Fictional Intelligence] storytelling. His talks, short stories, and workshops have taken him from speaking at the Nobel Institute in Oslo to presenting on future warfare at SXSW Interactive to lecturing at West Point.
William Gibson’s latest novel Agency is as prophetic as his establishment of cyberspace and cyberpunk culture in the 80s and 90s. His latest novel chronicles reality-busting skirmishes among gangsterish multi-generational families based in a glitzy post-apocalyptic 22nd century London. In this future, nano-machines conjure luxuries from nothing while sky-high scrubbers struggle to restore a ravaged atmosphere after the jackpot, a global environmental catastrophe. Agency tells a heist-type story about the emergence of Eunice, a sentient AI born in our stub out of American special operations research. Leading a cross-dimensional band of techies, publicists, hipsters, and hackers, ace software designer Verity fights to introduce Eunice to her world in order to save it. Yet Gibson is telling us about today's ecological and technological forces. He writes of pre-jackpot life in our era: “‘Did we ever come to terms with the sheer cluelessness of it?’
“ONE OF THE MOST VISIONARY, ORIGINAL, AND QUIETLY INFLUENTIAL WRITERS CURRENTLY WORKING”* returns with a sharply imagined follow-up to the New York Times bestselling The Peripheral.
William Gibson has trained his eye on the future for decades, ever since coining the term “cyberspace” and then popularizing it in his classic speculative novel Neuromancer in the early 1980s. Cory Doctorow raved that The Peripheral is “spectacular, a piece of trenchant, far-future speculation that features all the eyeball kicks of Neuromancer.” Now Gibson is back with Agency—a science fiction thriller heavily influenced by our most current…
I’m a historian, and while I have a great deal of experience producing straight ‘nonfiction’ work, the idea of reading something ‘non-fictional;’ within a fictional world has always excited me because it allows many opportunities to talk about us while framing it as them. They also play into what I call the ‘Rutger Hauer Effect,’ where his character in Blade Runner mentions the wonderous things he’s seen in passing. I want to see those things too! Fictional nonfiction books provide a fantastic opportunity to tease the readers with things that their author knows and has seen but exist just beyond the reach of our own imaginations.
This is an absolute classic of the genre. Brooks draws in various ‘accounts’ of a recent zombie outbreak and structures them as if the broad details are common knowledge to his in-universe audience.
This approach means the real-world reader is always discovering new details and nuggets of information in a way that really whets the appetite while increasing the sense of horror at the way events unfolded in a world that isn’t quite our own.
It began with rumours from China about another pandemic. Then the cases started to multiply and what had looked like the stirrings of a criminal underclass, even the beginning of a revolution, soon revealed itself to be much, much worse.
Faced with a future of mindless man-eating horror, humanity was forced to accept the logic of world government and face events that tested our sanity and our sense of reality. Based on extensive interviews with survivors and key players in the ten-year fight against the horde, World War Z brings the finest traditions of journalism to bear on what is…
My first true religion was being a boy alone in the woods and feeling a deep connection to nature in all its aspects. I felt a connection with all life and knew myself to be an animal—and gloried in it. Since then, I've learned how vigorously humans fight our animal nature, estranging us from ourselves and the planet. Each of these books invites us to get over ourselves and connect with all life on Earth.
I knew the film Blade Runner before I read this, the novel upon which it's based, but I was not prepared for the richer complexities of the novel.
My favorite parts of the novel, a bizarre new religion and the extinction of all but human and animal life, barely make it into the film. Even the androids, built to be slaves, are much more nuanced and complex than in the film. I loved the conclusion of the book, which affirms the beauty of life, both natural and mechanical.
As the eagerly-anticipated new film Blade Runner 2049 finally comes to the screen, rediscover the world of Blade Runner . . .
World War Terminus had left the Earth devastated. Through its ruins, bounty hunter Rick Deckard stalked, in search of the renegade replicants who were his prey. When he wasn't 'retiring' them with his laser weapon, he dreamed of owning a live animal - the ultimate status symbol in a world all but bereft of animal life.
Then Rick got his chance: the assignment to kill six Nexus-6 targets, for a huge reward. But in Deckard's world things were…
When I was twelve years old, my picture appeared in my hometown newspaper. I was holding a huge stack of books from the library, a week’s reading. All science fiction. I’ve read voraciously for the past seventy years—though much more widely as an adult. I’ve also had a life founding several small companies and writing twenty books. But I’ve continued to read science fiction, and, increasingly, dystopian novels. Why? Because, as a history buff, I think about the big trends that shape our lives. I see clearly that climate change, breakthroughs in technology, and unstable politics threaten our children’s future. I want to understand how these trends might play out—for better or for worse.
Climate change aside, what scares me the most about technology today is the capacity for bioengineering to run amok.
What happens when scientists monkey around with deadly viruses—and one escapes from the lab? What if some rogue researcher creates an entirely new lifeform that proves toxic to humans? Or some experimental microbe—an effort to save the world’s butterflies, for instance—proves to kill off bees instead?
This novel, which won major awards, depicts a frightening future world wrought by bioengineering. And you wouldn’t want to live there anymore than I do.
WINNER OF THE HUGO, NEBULA, LOCUS, JOHN W. CAMPBELL AND COMPTON CROOK AWARDS
The Windup Girl is the ground-breaking and visionary modern classic that swept the board for every major science fiction award it its year of publication.
Anderson Lake is a company man, AgriGen's calorie representative in Thailand. Under cover as a factory manager, he combs Bangkok's street markets in search of foodstuffs long thought to be extinct. There he meets the windup girl - the beautiful and enigmatic Emiko - now abandoned to the slums. She is one of the New People, bred to suit the whims of…
I've been teaching and writing in the field of the history of technology for over six decades, and it's not too much to say that the field and my professional career grew up together. The Society for the History of Technology began in 1958, and its journal, Technology and Culture, first appeared the following year. I've watched, and helped encourage, a broadening of the subject from a rather internal concentration on machines and engineering to a widening interest in technology as a social activity with cultural and political, as well as economic, outcomes. In my classes I always assigned not only original documents and scholarly monographs but also memoirs, literature, and films.
It is hardly news that housework is gendered. But in this classic study Cowan, by taking housewifery seriously as work and kitchen utensils and appliances seriously as technologies, opens up the whole panorama of production and consumption in a domestic setting. The influx of new appliances, and in a more convenient form old materials (such as powdered soap) in the early decades of the 20th century worked to, in a sense, “industrialize” the home. Unlike factory workers, however, housewives were unpaid, isolated, and unspecialized. Their managerial role shrank (hired help disappeared from most homes) and rather than being drained of meaning, like the work of factory hands, theirs became burdened with portentous implications of love, devotion, and creativity. Finally, as housework became “easy,” standards rose. At one time changing the bed might have amounted to putting the bottom sheet in the wash and the top sheet on the bottom,…
In this classic work of women's history (winner of the 1984 Dexter Prize from the Society for the History of Technology), Ruth Schwartz Cowan shows how and why modern women devote as much time to housework as did their colonial sisters. In lively and provocative prose, Cowan explains how the modern conveniences,washing machines, white flour, vacuums, commercial cotton,seemed at first to offer working-class women middle-class standards of comfort. Over time, however, it became clear that these gadgets and gizmos mainly replaced work previously conducted by men, children, and servants. Instead of living lives of leisure, middle-class women found themselves struggling…
I’ve always firmly believed that, being an all-encompassing genre, speculative fiction represents nearly everything I love about writing and storytelling. I’m therefore very proud to have established myself in that world over the past several years and hope to positively impact others in the way I’ve been positively impacted by the sorts of works I’ve mentioned here.
As a lifelong lover and reader of science fiction, I’m always impressed when I come across a modern book and series that feels fresh or novel to me. That’s precisely what I got from The Murderbot Diaries at a time when I really needed it, which has made it one of my go-to sci-fi recommendations in recent years, particularly as someone who appreciates a bit of tasteful humor and snark in my futuristic adventures through space.
All Systems Red by Martha Wells begins The Murderbot Diaries, a new science fiction action and adventure series that tackles questions of the ethics of sentient robotics. It appeals to fans of Westworld, Ex Machina, Ann Leckie's Imperial Raadch series, or lain M. Banks' Culture novels. The main character is a deadly security droid that has bucked its restrictive programming and is balanced between contemplative self discovery and an idle instinct to kill all humans. In a corporate dominated s pa cef a ring future, planetary missions must be approved and supplied by the Company. Exploratory teams are accompanied by…
I think of dystopian fiction as simulations writers conduct to see how things will go if we don’t wise up. Given that the nonsense of everyday life today leads to these future scenarios, we are inherently part of their stories. That makes them personal. Optimistic tales of future utopias don’t manage the same trick. There’s no part of life today that appears to be the seed for Star Fleet to form and dedicate itself to exploration and knowledge. We can hope for that, but any turning point towards it hasn’t happened. When I look at futures of ecological ruin or commodified genetic code, I feel connected because those seeds are being cultivated as we speak.
Jonathan Lethem’s language and story structure are wonderful just as their own experience. What I enjoy even more is that, while dystopian fiction almost inevitably leads to a parable, this book manages to lean into that while still insisting the characters live life as fully existing people. I felt welcomed to spend time with Chase Insteadman and his small circle of friends as they meandered through a harsh urban winter, confronting mortality in a world that doesn’t quite fit any of them. They were good company during a pandemic when actual friends couldn’t be while I was confronting mortality in a world that doesn’t quite fit me.
Chase Insteadman is a handsome, inoffensive former child-star, living a vague routine of dinner parties and glamorous engagements on Manhattan's Upper East Side. Meanwhile, his astronaut fiancee, trapped on the International Space Station, sends him rapturous love letters. Like Janice, Chase is adrift.
Into Chase's life enters Perkus Tooth, a wall-eyed free-range pop-critic, whose soaring conspiratorial riffs are fueled by high-grade marijuana, mammoth cheeseburgers and a desperate ache for meaning. Together, Chase and Perkus attempt to unearth the Truth - that rarest of artifacts on an island where everything can be bought.
At once beautiful and tawdry, poignant and funny,…
I've been teaching and writing in the field of the history of technology for over six decades, and it's not too much to say that the field and my professional career grew up together. The Society for the History of Technology began in 1958, and its journal, Technology and Culture, first appeared the following year. I've watched, and helped encourage, a broadening of the subject from a rather internal concentration on machines and engineering to a widening interest in technology as a social activity with cultural and political, as well as economic, outcomes. In my classes I always assigned not only original documents and scholarly monographs but also memoirs, literature, and films.
My admiration for this book is demonstrated by the way in which I quite shamelessly ripped off its title for my own. It has been said that America is the only nation that began perfect and hoped to improve. The engine of that improvement, from the earliest days of the Republic, had been new technologies but by the middle of the pre-Civil War period some Americans began to realize that the “improvement” they had unleashed was beginning to erode the very “perfection” that they had hoped to enshrine in the nation’s foundation. Writers, artists, and creative intellectuals in general are society’s canaries in the mine shaft, and the great names of the American Renaissance—Ralph Waldo Emerson, Henry David Thoreau, Washington Irving, Herman Melville, George Innes, Charles Sheeler, and their colleagues—attempted to describe, understand, and perhaps heal the destructive effects of the machine. As Marx concludes, “what was a grim possibility…
For over four decades, Leo Marx's work has focused on the relationship between technology and culture in 19th- and 20th-century America. His research helped to define-and continues to give depth to-the area of American studies concerned with the links between scientific and technological advances, and the way society and culture both determine these links. The Machine in the Garden fully examines the difference between the "pastoral" and "progressive" ideals which characterized early 19th-century American culture, and which ultimately evolved into the basis for much of the environmental and nuclear debates of contemporary society.
