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Twenty-First Century Science Fiction

von David G. Hartwell (Herausgeber), Patrick Nielsen Hayden (Herausgeber)

Weitere Autoren: Madeline Ashby (Mitwirkender), Neal Asher (Mitwirkender), Paolo Bacigalupi (Mitwirkender), Kage Baker (Mitwirkender), Tony Ballantyne (Mitwirkender)29 mehr, Elizabeth Bear (Mitwirkender), Tobias S. Buckell (Mitwirkender), James L. Cambias (Mitwirkender), Brenda Cooper (Mitwirkender), Paul Cornell (Mitwirkender), Ian Creasey (Mitwirkender), Cory Doctorow (Mitwirkender), Daryl Gregory (Mitwirkender), Alaya Dawn Johnson (Mitwirkender), Ted Kosmatka (Mitwirkender), Mary Robinette Kowal (Mitwirkender), Yoon Ha Lee (Mitwirkender), David D. Levine (Mitwirkender), Marissa Lingen (Mitwirkender), Ken Liu (Mitwirkender), David Moles (Mitwirkender), Oliver Morton (Mitwirkender), Hannu Rajaniemi (Mitwirkender), M. Rickert (Mitwirkender), John Scalzi (Mitwirkender), Karl Schroeder (Mitwirkender), Vandana Singh (Mitwirkender), Charles Stross (Mitwirkender), Rachel Swirsky (Mitwirkender), Catherynne M. Valente (Mitwirkender), Genevieve Valentine (Mitwirkender), Jo Walton (Mitwirkender), Peter Watts (Mitwirkender), Liz Williams (Mitwirkender)

MitgliederRezensionenBeliebtheitDurchschnittliche BewertungDiskussionen
1565140,253 (4.05)6
"The new science fiction writers of the new century"--Jacket.
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"Infinities," by Vandana Singh (2008): 5.75
- hard sci-fi suffers from the "regurgitation" problem often, in that narrativizing information--here the many interesting things about the nature of prime numbers and mathematics--more often resembles information than it does narration. That's here. And what's here beyond it is fairly soft and or not dependent on that math I feel. The "going to many universes" section was a bit cliched and came out of nowhere in the story and all those loose ends were unsatisfactorily tied up.

"Rogue Farm," by Charles Stross (2003): 6.75
- too elliptical for its own good, too good to give anything essential, and more at home in a New Weird collection than this. nonetheless, in retrospect the story grows, the beats start to separate themselves from the weird muck of the world (and Stross's admirably take-the-world-for-granted prose) and I can't help but view this much more favorably, especially apart from the grime of the world it depicts.

"The Gambler," by Paolo Bacigalupi (2008): 8
- Nothing is more dated than recent science fiction. This Bacigalupi from exactly ten years ago reads, with its media-integrity concerns and bloggers and gawker-rules-the-webwaves assumptions, reads more ancient than any Bradbury or Pohl. That said, it's a shame, because otherwise this story of a Laotian refugee working as an idealistic reporter at a clickbaity new media blog and refusing to betray his principles even after interviewing this worlds Beyoncé, who also just so happens to be Laotian too is strangely and densely compelling--qualities I haven't discerned in the Bacigalupi I've read until now (although, obviously, there are the themes consistent across his work: climate change, the underdeveloped world, and the moral logjams of capitalism). The boring genre questions are present here, as they ever are (i.e. is this SF), but that's overshadowed by his full-bore attempt at rendering a very particular type of immigrant inferiority. A shame, as well, that's it's attached really to a nothing of a story, other than one dependent on some rather obvious and clear moral arcs.

"Strood," by Neal Asher (2004): 8.25
- The opposite of the usual -- strong world-building, dense and confidently unspooled emplotment, but with a rather mundane major conceit, no matter the potential held within (meaning, here, the 'Medicin san Frontieres' but inter-galactic, i.e. how does it feel for the Brits to be medicalized? Lots of possibilities here, obviously, but they're not really played up. And, the problems with this preimse are a symptom rather than anomaly.

"The Tale of the Wicked," by John Scalzi (2009): 8.5
- It's actually quite reassuring to realize that the auteur theory works -- that themes, thrusts, and style are not only consistent, but often unintentionally transparent. And Scalzi, for all that I've read, maintains exactly what he maintains: light, wide-screen Unterhaltung that nonetheless often masks much more than one might assume on first glance. This was true with Old Man's War -- maybe less so with Redshirts, although I'm not nearly enough of a ST fan to recognize -- and this is true of this short story. That story is, on its face, a simple one, and far from original in its broad strokes, of a ship/AI that gains consciousness/free will, and decides to intervene, altruistically, in a human war, ultimately brokering a peace and laying the groundwork for some old fashioned consciousness raising amongst the universe's many AI ~ the story frames this quite explicitly as a religious conversion, and while that works as the larger metaphorical point of the story -- especially in its smart, and subtle, recognition of the ways in which 'getting religion' is messy and no one quite 'gets' it in exactly the same way ~ a point noted through the enemy's ship becoming conscious a bit more ruthlessly and not being quite as compassionate towards humanity -- it might be seen just as well through a materialist lens. That it manages to do stuff all of this allegory in the background of an otherwise by-numbers space adventure story is admirable. And, at the same time, like all of them, it never truly manages to rise above fluff -- and there are worse things than that.

"Bread and Bombs," by M. Rickert (2003): 8
- 98% of all art about, and made within two-three years of, 9/11 is cringe-inducingly bad. This is a pretty solid rule of thumb. I don't know if this is actually part of that positive 2%, although the turn pushes it a bit beyond the blandest of the libs-writing-allegories-about-tolerance bland. The piece: in a very-unsketched-out future dystopia, prejudice against some ill-defined Other has made small-town America more intolerant than usual, and a young girl and her group of friends befriend one of these Others, with disastrous consequences. Depending on one's perspective, the story's strength or weakness lies in the ambiguity of the background context here: who exactly are the 'others' here, and what is the exact nature of the 'war' we're currently in [especially confusing, as the analogy to 9/11 is crystal clear, and imagining the hypothetical 'war' that might happen as a result is far from far-fetched (in fact, you might even say it's reality). The bait and switch, therefore, is unwarranted (i.e. these are obviously Muslims, just say it). The structural reasons for this ambiguity, however, are understandable. We're operating in the realm of the Known here, and therefore understand exactly what type of response would follow from just such an attack. Through that lens, then, it seems delusional (although completely in line with post-9/11 liberal wishy-washiness) to imagine any 9/11-related war playing out like this. As if it would actually play out with massive, nation-state-like combat -- in which small-town middle America was actually in reach -- rather than the massively disproportionate and one-sided, if slogged and guerilla, reality we actually got. That said, this is nonetheless written with a prose confidence and fluidity above many others of this genre, and makes me interested to check out the rest of Rickert's (fairly lauded, I take it) ouevre.

"The Waters of Meribah," by Tony Ballantyne (2003): 9
- The foregrounded main "story" takes place in the context of some extremely strange world building and minute detailing: the universe has shrunk to only 300 miles across; life forms spontaneously, supported consciously by the universe; humans are doomed to never learn the secrets of the universe BECAUSE OF their curiosity. Filled with unexpected nice little observational nuggets (although I wish they wouldn’t have given our “convict” an out in terms of his assault) and a very effective sense of doom and foreboding in the description of the alien suit itself, and it’s malicious alienness.
  Ebenmaessiger | Oct 6, 2019 |
This is a collection of Science Fiction short stories from the 21st century. The brief preface explains that many of the writers were writing and publishing before the millennium but have come to prominence since. The editors have a broad church view of Science Fiction, which lends itself to great variety in the contents but the usual suspects are here: androids and robots, aliens and AIs. I’ll start with the Earthbound stuff and move outwards into the galaxy and the far future.

The first story, ‘Infinities’, is by Vandana Singh, a physics teacher who, as an Indian living in Boston has some claim to being a stranger in a strange land. Abdul Karim is a little old mathematics teacher with a great love for his subject and a particular interest in infinity. He is a Muslim and his best friend, Gangadhar, is a Hindu in a city often driven by strife between these faiths. Abdul’s life story is described in a telling manner, not shown. This is contrary to all the best advice on writing modern commercial fiction but I like it. Usually, you have to read old stories by the likes of Somerset Maugham to get this straightforward, sedate type of narrative. The tale is interspersed with quotations from poets, philosophers and mathematicians and turns fantastic quite near the end, which is also where the real world, beastly as usual, intrudes on Abdul’s quiet life. Imbued as it is with composed contemplation of God and the infinite, I found this story perfect reading on a quiet Sunday morning. It’s also a nice change from western, materialist, technology orientated Science Fiction and a useful reminder that there are civilisations older than ours to the east.

Back home, country life will be very different later this century if ‘Rogue Farm’ is anything to go by. The establishment in the title is a tank-sized organism which contains six people and wants to go to Jupiter. Blast off will burn a hundred hectares around, including Joe’s farm so he is determined to stop it. The population shrinkage and consequent housing surplus in future Britain would be great but the rest of this vision from Charles Stross does not appeal to me, not even the talking dog who likes to smoke a joint with his master. I like the countryside the way it is, thanks. It’s a good story, though.

In ‘Bread And Bombs’, Mary Rickert starts off with a small-town setting and evokes a bucolic air with long, slow sentences that talk of picnics and crab-apple trees and the little local schoolhouse. Slowly, a darker history is revealed. The first person narration is by an adult remembering stuff that happened when she was a kid, like Scout in ‘To Kill A Mockingbird’ and the setting is similar. A well-wrought yarn that should make us appreciate our lives today.

Paolo Bacigalupi writes stories set in the near future. ‘The Gambler’ was first published in 2008 and is almost true already. Ong was born in Laos. He fled when it became a dictatorship and now works on a news outlet in Los Angeles where he writes serious stories about political corruption, government incompetence and global warming. His colleague, Marty Mackley, writes about Double DP, a Russian mafia cowboy rapper who has had an affair with a fourteen-year-old. Live news feeds follow Double as he tries to flee to Mexico. The story goes viral instantly, advertising revenue floods in, the company’s stock goes up and Mackley’s star continues to rise. Ong’s is falling. His content pulls in hardly any readers and he will soon be sacked. He has two hopes: a celebrity from his own country or Henry David Thoreau and the flowers of Walden pond. This is even more depressing than ‘Rogue Farm’ because it seems truer as celebrity pap ‘content’ buries real news every day. Again, it’s a great story but stop the world, please, I want to get off.

Staying with marketing, ‘The Calculus Plague’ has people on a university campus being infected with false memories. The connection with advertising is not obvious at first but is soon made. Author Marissa Lingen was one of my favourite contributors to ‘On Spec’ with her Carter Hall yarns and this short story doesn’t disappoint either.

Gennady Malianov, a private investigator, gets looking for some stolen plutonium in ‘To Hie From Far Cilenia’ by Karl Shroeder. Set in a near future, where virtual reality games and worlds are more developed and developing, it has a good plot that keeps revealing more about the setting as it goes on. Gennady is a sympathetic character and despite the fact that this sort of thing is alien to me – I don’t even Game – it was enjoyable and interesting.

Would you like to get in touch with the versions of you that exist in parallel universes? Such is the ambition of Professor Elsa Hill, a genius physicist and she is ably assisted in the work by Adam Giles – who narrates the story – and a very smart computer. Artificial intelligences may also have twins in the other worlds. ‘Savant Songs’ by Brenda Cooper is a moving, almost frightening exploration of a common SF theme.

In ‘Chicken Little’ by Cory Doctorow, the super-rich are becoming immortal, their failing bodies wired into complex machines, some as big as small towns, that keep them alive. They are quadrillionaires and some are sovereign states. They control the world. Ate is a company that exists to please them or, rather, to attempt to invent some new way to please them as they can have anything they want. Our hero is Leon, a smart man working for Ate and trying to come up with something new for their clients. The story takes unexpected turns and ends up having a pleasing philosophical bent concerning what humans really want and what’s really good for them.

‘Eros, Philia, Agape’ is by Rachel Swirsky. Robots are an old standby of the genre and I think humans may have fallen in love with them before. That’s what the author’s story title is about but, as the couple have an adopted child, it’s more complicated. A fine example to show that ‘adult themes’ doesn’t just mean gratuitous sex and violence but an exploration of the multi-faceted relationships that might result between us and our advanced technologies.

In similar territory is ‘The Nearest Thing’, Genevieve Valentine’s tale about the development of nearly humanoid androids. Inevitably, the experienced SF fan is reminded of ‘Blade Runner’ but it’s a good story on its own merits.

I was mildly put off ‘The Algorithms For Love’ by the title but, as it’s by Ken Liu, decided to give it a go because he’s written some very good short Science Fiction over the last few years. This may be the best of them but it’s downright scary. The protagonist designs humanoid dolls that are very life-like but her work has driven her mad. By the time you get the ideas behind this yarn, near the end, you may decide that it doesn’t bear thinking about too much or you might join her in the asylum.

In Ian Creasey’s ‘Erosion’, Winston is about to set off on a new adventure, just as his Jamaican grandfather did when he came to England. Augmented by technology he and others are to board a starship and colonise a rugged new planet. On his last day on an Earth, imperilled by global warming, he walks along the coastal path near Scarborough. There’s some good writing on the scenery but his actions seem a bit irrational at times. We would probably send more stable people to new planets.

Aliens have featured in science fiction ever since H.G. Wells’ Martians attacked us on Horsell Common. They were not all nasty. Neil Asher’s aliens in ‘Strood’ treat us like a third world country, setting up clinics to treat us for conditions beyond our resources. There are many different species, all of them far in advance of man. Our hero has cancer and his story nicely illustrates the setting, which is really the star. The beginning might have ‘one’s discombobulation requiring pellucidity’ but that’s just a sign of how well it’s written.

I have always disliked them but it is surely awful to actually be a salesman with the soul-destroying fawning and mendacity and the quiet desperation. In the excellent ‘Tk,Tk,Tk’, David E. Levine shows how bad it is to be a salesman on a planet full of alien insects with a strange culture and terrible food. To butter up clients, Walker has to quaff drinks ‘indistinguishable from warm piss’ and then things get worse. This story won the Hugo in 2006. SF fans love a good alien.

Really good ones can be so odd they seem outside the genre. When a strong, handsome man rides a talking deer to a confrontation with a shape-changing demon of the scorched desert who has a two-dimensional child you are led to believe it’s a fantasy. Not so. ‘Third Day Lights’ by Alaya Dawn Johnson is Science Fiction set in a far distant future where anything is possible, somewhat like Michael Moorcock’s ‘Dancers At The End of Time’ stories. The classical fantasy aspect is kept when the hero has to face three challenges but the sensual story is narrated by the demon, not the man. There’s lots of invention and a good array of unusual characters in this far out flight of fancy.

John Scalzi is trending in the last few years so I was glad to get to read something by him at last. ‘The Tale Of The Wicked’ is about a space battle between two enemy ships that goes awry. To describe the plot is to spoil it but suffice to say it was clever, amusing and thought-provoking. I shall keep an eye out for more Scalzi.

Nerdy ‘plotters’ calculate the trajectories of asteroids that may strike an inhabited planet Mars and the ‘shooters‘, a rough crowd, blast them out of the sky. These incompatible groups share an orbiting gunship and the life of a nerd involves flackeying to the jocks, rather as junior boys used to serve seniors in our English public schools. Then a newbie arrives with a different take on things. ‘Plotters And Shooters’ by Kage Baker is a strong story that would translate well to television in some anthology program.

Far in the future, a human lady and her son crew a ship supervising the building of artificial wormholes for interstellar travel. They are bossed by an AI she calls the Chimp. Earth is long gone and the species that come through the gates have evolved far beyond her but the work continues. Then they encounter a red dwarf star that seems to be signalling them. ‘The Island’ by Peter Watts is hard going at first but presently makes sense, enough that it won the Hugo for best novelette in 2010.

The also-rans here would-be stars in many another collection and only the limitations of a review prevent me from raving about them at length. ‘Ikirhyoh’ by Liz Williams is an original take on genetic specialisation in a future oriental civilisation. ‘The Prophet Of Flores’ by Ted Kosmatka’ is an archaeological dig story set in a world where Darwin was wrong.

‘How To Become A Mars Overlord’ by Catherynne M. Valente didn’t suit my tastes but a lot of lexical dexterity went into this exuberant piece.

Not dissimilar is ‘A Vector Alphabet of Interstellar Travel‘ by Yoon Ha Lee. It also breaks the bounds of traditional storytelling but the plain, almost academic language works better.

‘Escape to Other Worlds With Science Fiction’ by Jo Walton is a frightening look at an alternative history in which Britain didn’t oppose Nazi Germany but it’s set in America. It’s frightening because our much loved USA often seems to be on the brink of going this route.

The main thing that struck me about 21st-century writing is how literary it is compared to the Golden Age stuff. SF was mainly rooted in pulp fiction but slowly it has evolved out of that and is now comfortably grown-up. Reading these stories is like reading a Science Fiction story by Graham Greene or Somerset Maugham. The authors take their time to set the mood and there is no need for melodrama. Character is as important as plot and background. There was a bit of a crisis about this a few decades ago and writers as diverse as Kingsley Amis and Isaac Asimov wondered if Science Fiction could be recognised as literature and still preserve the all-important sense of wonder. I should add that for most of us preserving the sense of wonder was far more important than being recognised by high falutin’ critics. Anyway, the crisis is past and ‘21st Century Science Fiction’ proves beyond doubt that our flexible genre can do both, in spades. This is probably the best and most intelligent anthology of Science Fiction stories I have ever read and I’ve read a few.

Eamonn Murphy
This review first appeared at ( )
  bigfootmurf | Aug 11, 2019 |
TWENTY-FIRST CENTURY SCIENCE FICTION features stories from sci-fi authors that have risen to prominence since 2000. All of these stories are new to me (apparently I don't read enough short stories!) and the collection contained a pretty wide spread of subgenre and length of stories.

One thing that struck me about this collection is that more often than not, humanity is portrayed with such pessimism - apparently in the future, we're going to be more and more cold, power-hungry and selfish. Most of my favourite stories in this collection had robot protagonists. As a huge Star Trek fan, my default view of humanity has always been optimistic, so I found the onslaught of cynicism somewhat disconcerting. I wish the editors had varied the tone a little.

As per my usual anthology review format, I'm not going to talk about all the stories, just the ones I liked most and least. The stories I enjoyed the most:

"INFINITIES" by Vandana Singh

This opening story was set in India (where I'm from), and I was thrilled to read sci-fi written by an Indian writer. I have no idea if this story is objectively good, but it was cozy and familiar and poignant. It involves an old mathematics teacher who dreams of seeing infinity. The sci-fi aspect of the story is pretty subtle.

"EROS, PHILIA, AGAPE" by Rachel Swirsky

Anyone who says science fiction can't pack a deep emotional impact needs to read this story. It offers a fresh new twist on the trope of the robot wanting to be human, but backs it up with the real relationship of a robot, a human and their daughter.

"TIDELINE" by Elizabeth Bear

I've read and loved Elizabeth Bear's fantasy, and now I can't wait to read more of her sci-fi work. A forgotten military robot strikes up a friendship with a feral teenager, but her power is running out. Another moving story.

"EVIL ROBOT MONKEY" by Mary Robinette Kowal

This is a very short story - about two pages long, but it takes as incisive look at genetic manipulation and animal testing, while also managing to be touching.


If pressed, this would probably be my favourite story of the collection. A designer of AI-like dolls is so successful that she starts to lose faith in free will and intelligence itself.

"IKIRYOH" by Liz Williams

An exiled genetically engineered being takes care of a disturbed little girl sent to her by the current goddess-ruler. The world of this story is what made me fall in love with it; the science fiction ideas are incidental, but seemed a little bit more like fantasy.


The protagonist of this story is a teenager who has overdosed on a drug that completely erased her personality. She's spent years being coached to be who she was before, but she just can't seem to do it. I loved the exploration of identity and consciousness, and it was very believable.


One of the most fun stories in the collection. In this future, there are so many robots that there's a robot society within human society, and our protagonist rocketship/odd job robot is one of them. His latest cargo seems like a lot of trouble, but he needs to make his human owners money, so he takes it on anyway. I imagined the world described to be kind of like the excellent game Machinarium.


Other good stories: THE TALE OF THE WICKED by John Scalzi (Scalzi as a writer is kind of like Hugh Grant as an actor - he does the same thing all the time, but does it excellently), ESCAPE TO OTHER WORLDS WITH SCIENCE FICTION by Jo Walton (I need to read her books!), A VECTOR ALPHABET OF INTERSTELLAR TRAVEL by Yoon Ha Lee (a story in encyclopaedia form!), HOW TO BECOME A MARS OVERLORD by Catherynne M. Valente (a story in guide form!), THE GAMBLER by Paolo Bacigalupi (journalism in the future!), THE CALCULUS PLAGUE by Marisa Lingen (memories transmitted virally!), and HIS MASTER'S VOICE by Hannu Rajaniemi (a dog and a cat set out to rescue their master, armed with very cool technology).

The ones I wasn't as thrilled by:

"ROGUE FARM" by Charles Stross

I'm not going to say this was a bad story... I just didn't get it. I wasn't sure why the farm was called a farm; it seemed to just exist so we could be amused at the idea of a farm trundling towards a farmhouse. I didn't understand why the protagonist was so anti-farm even before he knew what it wanted to do (hillbilly joke?). This story wasn't for me.

"THIRD DAY LIGHTS" by Alaya Dawn Johnson

Another story that I was just plain confused by. A sci-fi story involving pocket universes and the future of humanity, but borrows heavily from fantasy tropes. I didn't get the romance, and I didn't get the pocket-universe creatures.

"THE ISLAND" by Peter Watts

This was a well-written and compelling story, but it just made me depressed to read it. The protagonist is a crewmember on a automated starship designed to make space travel gates, but they've been doing it for millions of years and seen civilisations rise and fall countless times, and the AI controlling the ship won't let them stop. In this story, they encounter something that they've never seen before (and that part is awesome!)


Overall, this is definitely worth buying. It's a great introduction to a lot of authors, as well as to the staggering breadth of SF.
Comment ( )
  kgodey | Apr 11, 2017 |
lots of really interesting short stories in this one ( )
  jkdavies | Jun 14, 2016 |
A varied and interesting anthology. The stories I read are entered and reviewed separately. ( )
  aulsmith | Apr 2, 2015 |
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» Andere Autoren hinzufügen

AutorennameRolleArt des AutorsWerk?Status
Hartwell, David G.HerausgeberHauptautoralle Ausgabenbestätigt
Hayden, Patrick NielsenHerausgeberHauptautoralle Ausgabenbestätigt
Ashby, MadelineMitwirkenderCo-Autoralle Ausgabenbestätigt
Asher, NealMitwirkenderCo-Autoralle Ausgabenbestätigt
Bacigalupi, PaoloMitwirkenderCo-Autoralle Ausgabenbestätigt
Baker, KageMitwirkenderCo-Autoralle Ausgabenbestätigt
Ballantyne, TonyMitwirkenderCo-Autoralle Ausgabenbestätigt
Bear, ElizabethMitwirkenderCo-Autoralle Ausgabenbestätigt
Buckell, Tobias S.MitwirkenderCo-Autoralle Ausgabenbestätigt
Cambias, James L.MitwirkenderCo-Autoralle Ausgabenbestätigt
Cooper, BrendaMitwirkenderCo-Autoralle Ausgabenbestätigt
Cornell, PaulMitwirkenderCo-Autoralle Ausgabenbestätigt
Creasey, IanMitwirkenderCo-Autoralle Ausgabenbestätigt
Doctorow, CoryMitwirkenderCo-Autoralle Ausgabenbestätigt
Gregory, DarylMitwirkenderCo-Autoralle Ausgabenbestätigt
Johnson, Alaya DawnMitwirkenderCo-Autoralle Ausgabenbestätigt
Kosmatka, TedMitwirkenderCo-Autoralle Ausgabenbestätigt
Kowal, Mary RobinetteMitwirkenderCo-Autoralle Ausgabenbestätigt
Lee, Yoon HaMitwirkenderCo-Autoralle Ausgabenbestätigt
Levine, David D.MitwirkenderCo-Autoralle Ausgabenbestätigt
Lingen, MarissaMitwirkenderCo-Autoralle Ausgabenbestätigt
Liu, KenMitwirkenderCo-Autoralle Ausgabenbestätigt
Moles, DavidMitwirkenderCo-Autoralle Ausgabenbestätigt
Morton, OliverMitwirkenderCo-Autoralle Ausgabenbestätigt
Rajaniemi, HannuMitwirkenderCo-Autoralle Ausgabenbestätigt
Rickert, M.MitwirkenderCo-Autoralle Ausgabenbestätigt
Scalzi, JohnMitwirkenderCo-Autoralle Ausgabenbestätigt
Schroeder, KarlMitwirkenderCo-Autoralle Ausgabenbestätigt
Singh, VandanaMitwirkenderCo-Autoralle Ausgabenbestätigt
Stross, CharlesMitwirkenderCo-Autoralle Ausgabenbestätigt
Swirsky, RachelMitwirkenderCo-Autoralle Ausgabenbestätigt
Valente, Catherynne M.MitwirkenderCo-Autoralle Ausgabenbestätigt
Valentine, GenevieveMitwirkenderCo-Autoralle Ausgabenbestätigt
Walton, JoMitwirkenderCo-Autoralle Ausgabenbestätigt
Watts, PeterMitwirkenderCo-Autoralle Ausgabenbestätigt
Williams, LizMitwirkenderCo-Autoralle Ausgabenbestätigt
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