By Christopher Priest
The 12 months is 1985. The Wessex venture, a privately funded venture dependent underneath Maiden fortress, discovers a mode to move the collective subconscious of a few of England's so much great minds into an illusory and excellent society. the thing: to assemble info important to our survival in the world. yet within the strategy, energy, deception and love subscribe to to jeopardize the philanthropic application.
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Extra resources for A Dream of Wessex
My God, where would they be if there weren't any drug addicts? There was a period back in the'60s when it seemed as if a genuinely enlightened attitude might be evolving. WB: Yes,it seemslike all the ground gainedin the '60s-in all sorts of areas-is now being lost. LM: Is this rightward swing an inevitable reaction? WB: No swing is inevitable. I'm not even convinced that what we're seeingis necessarilya swing. What we're seeingwith drug attitudes is certainly engineeredby the administration. They're the ones orchestrating this whole antidrug nonsense,and this hysteria could turn the whole planet into a police state.
I-ater, when we glancedback at him standing on his apartment balcony, we felt certain we were experiencingsomethingof the sameexhilaration that Kerouac must have felt forty-five years ago in Manhattan, when he had just left Burroughs's apartment for the first time. Jim McMenamin: You've just completed The WesternLands. Did writing this novel become a way for you to explore your own views about death and a possible afterlife? William Burroughs: Naturally. All my books expresswhat I actually believe in, or I wouldn't be writing them.
Contemporary SF has rejected that concept much more profoundly than did modernism or surrealism. "Realistic fiction" is remorselesslyand inadvertently about the past. It has a heavy debt to a consensualreality that's psychologicallyfalse. On the other hand, developing new categoriesof some complexity and ambiguity is the fundamental SF goal. This doesn't mean you haveto jettison all conventions of narrative and character relationships, or even that SF can't borrow experimental devicesfrom modernism and postmodernism.
A Dream of Wessex by Christopher Priest