Buckell’s Arctic Rising (2012), John Scalzi’s Lock-in (2014), and Genevieve Valentine’s Persona (2015). Recent titles carrying that double label include Tobias S. But in the last few years I’ve seen science fiction writers adopt the thriller style in their recent work - work that their publishers are explicitly labelling and marketing as science fiction and as thrillers. Plenty of science fiction writers have been writing thrillers, techno and otherwise, on the side, but the SF field has by and large not paid much attention to them. Science fiction and thrillers (more specifically, “ technothrillers” - gadget-heavy thrillers set in the near future) have coexisted for decades, but have largely existed on separate planes. The “thriller mode” is a good way to begin our look at Madeline Ashby’s third and latest novel, Company Town. Lately I’ve been noticing that thriller tropes and sensibilities are turning up more and more in the science fiction field.
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