Download A Vision of Fire (Earthend Saga, Book 1) by Jeff Rovin, Gillian Anderson PDF

By Jeff Rovin, Gillian Anderson

The first novel from iconic X-Files megastar Gillian Anderson and New York Times bestselling writer Jeff Rovin: A technology fiction mystery of epic proportions.

Renowned baby psychologist Caitlin O'Hara is a unmarried mother attempting to juggle her activity, her son, and a lackluster courting existence. Her global is abruptly upturned whilst Maanik, the daughter of India's ambassador to the United countries, starts off talking in tongues and having violent visions. Caitlin is bound that her matches have anything to do with the new assassination try out on her father—a capturing that has escalated nuclear tensions among India and Pakistan to harmful levels—but whilst young children worldwide begin having related outbursts, Caitlin starts to imagine that there's a extra sinister strength at work.

In Haiti, a pupil claws at her throat, drowning on dry land. In Iran, a boy by surprise and inexplicably units himself on fireplace. Animals, too, are performing irrationally, from rats in ny urban to birds in South the USA to bland residence pets. With Asia at the cusp of nuclear battle, Caitlin needs to race around the globe to discover the magical hyperlinks between those likely unrelated incidents to be able to keep her patient—and probably the realm.

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Extra info for A Vision of Fire (Earthend Saga, Book 1)

Example text

3 Benford’s essay passes in review these reasons for the hard-soft dichotomy—the presence (or absence) of plausible science, the use of science as symbol for a non–mancentered worldview, rhetorical devices such as tone and narrative focus, appeal to different types of readers (the psychology of reading), and finally class and political-ideological divergences. In contrast, he sees hard SF as one that presents human beings striving to participate in an unknowable, perhaps forever inaccessible, physical universe.

As the topics of subsequent Eaton Conferences necessarily become more specialized, Benford’s essays tend to be more topical and practical, less inclined to address big questions of science and philosophy. ” The change of focus is immediately clear. By “rhetoric” here, Benford means the hype surrounding cyberpunk, the claims of its proponents that it is the future of SF, indeed of fiction in general. The focus of this conference was the work and influence of William Gibson as prime practitioner of the form.

Stream of consciousness is now a technique that, taken over into a wildly different SF context, can mean very different things—the choice is up to the writer, who can trim his stylistic canvas and sail before these mainstream winds. That I have tried to do” (53–54). Benford may enforce SF’s material imperative, its mandate that fictional situations conform to the physical laws of science, not to the desires and fears of human beings—yet in terms of science fiction writing, Benford sees literary form as the means of negotiating this rigor: “No matter how much an SF text may insist on humankind’s trivial role in the universe, its fall toward a valueless limbo is arrested by the perfectly stretched safety net of literary form itself: which argues perpetually for meaning” (57).

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