Science Fiction & the Future

Books across every Science Fiction & the Future genre

• X-Men: Days of Future Past — Chris Claremont
• Night Lords — Aaron Dembski-Bowden
• Astonishing X-Men, Volume 1: Gifted — John Cassaday / Joss Whedon
• Void Stalker — Aaron Dembski-Bowden
• The End and the Death: Volume II — Dan Abnett
• Mostly Harmless — Douglas Adams
• The Goblin Emperor — Katherine Addison
• Carpe Jugulum — Terry Pratchett
• The Humans — Matt Haig
• Devil in the Dollhouse — Richard Kadrey
• The Shadow of What Was Lost — James Islington
• Only Human — Sylvain Neuvel
• A Fine and Private Place — Peter S. Beagle
• Spear — Nicola Griffith
• Kingdoms of Death — Christopher Ruocchio
• Abaddon's Gate — James S. A. Corey
• Godslayers (Gearbreakers #2) — Zoe Hana Mikuta
• The Bright Sword — Lev Grossman
• The Ministry of Time — Kaliane Bradley
• Vengeful — V. E. Schwab
• Prospero Burns — Dan Abnett
• Cuando el agua se acabe — Aitor Sáez
• Foundation (Foundation, #1) — Isaac Asimov
• Brave New World — Aldous Huxley

Every genre on this shelf

• Science Fiction — The future, argued rather than assumed. Ships, machines, other worlds and the societies they produce — the broad shelf for fiction whose premise rests on science and technology, however loosely.
• Dystopian — The system works exactly as intended. Societies organised around a single terrible principle, seen from the inside by someone beginning to notice.
• Space Opera — Empires, fleets, and a very large map. Interstellar fiction at full scale — dynasties, wars and long journeys, told with more appetite for spectacle than for engineering.
• Military Science Fiction — The future, seen from inside the ranks. Combat, command and the machinery of war among the stars, usually more interested in soldiers than in admirals.
• Time Travel — The same moment, approached from the wrong direction. Loops, paradoxes and altered pasts — stories where causality is the antagonist.
• Post-Apocalyptic — After the end, the long business of continuing. Survival, scavenging and the slow reassembly of something like a society in the ruins of the old one.
• Apocalyptic — The end, while it is still happening. Fiction set during the collapse rather than after it — the last weeks, the failing institutions, the decisions made too late.
• Speculative Fiction — One rule changed, everything else honest. The broad church between science fiction and literary fiction — books that ask "what if" without needing a spaceship to do it.
• Classic Science Fiction — The genre when it was still deciding what it was. The pulp-to-New-Wave canon — Asimov, Clarke, Le Guin, Butler — where the ideas that everything since is answering were first set down.
• Cyberpunk — Neon rain and corporate dystopia. Cyberpunk fiction set in near-futures of megacities, rogue AI, body modification, and the grinding inequality of late capitalism taken to its logical end. Style as critique — the aesthetic is the argument.
• First Contact — Something answered. The moment humanity meets another intelligence, and the far harder problem of understanding it.
• Steampunk — Brass, steam, and a century that never happened. Retrofuturism built on Victorian machinery — airships, automata and industry running on rules of its own.
• Eco-Fiction — The land is a character, not a backdrop. Fiction rooted in a particular ecology — rivers, forests, other species — where the bond between people and place carries the story, whatever the weather is doing.
• Parallel Worlds — The same life, decided differently.
• Hard Science Fiction — The physics has to hold. Science fiction that accepts the constraints of real science and finds the story inside them — orbital mechanics, light-speed lag, and problems solved with arithmetic.
• Alien Invasion — They arrived, and they did not come to talk. Occupation, resistance and survival after something arrives from elsewhere with plans of its own.
• Pandemic Fiction — The disease is fast; the consequences are not.
• Climate Fiction — The weather stopped being background. Fiction that takes a changing climate as its subject — near-future, present-tense, and decreasingly speculative.
• Biopunk — The engineering is wet, and it is you. Near-futures of gene editing, grown organisms and biotech escaping the lab — cyberpunk's concerns relocated from the circuit to the cell.

One thing changed, and every consequence followed.

All sixteen shelves · The Books Oracle