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The benefit to harm balance of any therapeutic intervention depends on three factors: the possible benefits, the possible harms, and the possible harms of not intervening. We have words for the conditions that predispose to harms (hazards) and the chance that harms will occur (risks), but no corresponding words for the benefits, for which I suggest “stragard” and “abscisk.” Fictional drugs that feature in novels, typically of the dystopian variety, are used for many different purposes, including prevention and treatment of disease, as love potions, to mimic death, to relieve fears and anxiety and promote social harmony, as hallucinogens, to enhance sexual abilities and pleasure, and to prolong life. The benefit to harm balance varies according to indication. Utopian fictions, however, rarely mention fictional drugs, an exception being Aldous Huxley’s late novel Island.

This article aims to give an account of a series of texts that can be grouped under the label of abandoned wonders, all of them linked to the genre of science fiction. While these texts could be divided into three sub-types of narratives -artefacts, architectural ruins and superstructures- they have in common the existence of an extraterrestrial civilization that has left behind some kind of construction or object that provokes a sublime effect on those who interact with it. The way in which each of the works deals with the relationship between lost civilization, humanity and sublime effect determines different connotations. Therefore, the analysis of these works also provides a methodology that can be valuable for the study and enjoyment of specific texts.

Faktorovich: Do you read anthropological studies, or mannerism or cultural guides, studies, linguistic studies, biological or nature studies, or other books or articles prior to creating your aliens' unique mannerisms, languages, and physical appearances? Have you considered switching over to pure research science, and writing a book on a realistic scientific or mathematical experiment? I ask because I just read that Wells was disappointed with science as a student (and failed a bit), but was recognized during his studies in London as a great fiction writer when one of his short stories was published, and he stuck to this fiction field. [...]far, my older books are making me rich.

The total number of books in print in 2013, according to Bowker, was 28 million. Since many of these books were probably by writers that only released one book, it's pretty fair to say that out of at least 10 million published authors only 50 have made a great living off writing alone. The list of best-selling authors that have steadily produced fiction over a period of three decades or more is pretty short because the work involved in writing, editing and selling fiction is more labor-intensive than some executive jobs, while the pay is unpredictable even if you hit the best-seller list.

In America in the 1980s, a group of sf authors played a role in the development of influential policies and technologies, including Ronald Reagan's Strategic Defense Initiative (SDI). Guided by writers such as Jerry Pournelle and Larry Niven, they formed an advocacy group, the Citizens Advisory Council on National Space Policy, in order to undermine the Cold War policy of \"mutually assured destruction\" (MAD) and support the development of new technologies capable of \"weaponizing space\" as a means to protect the American homeland. While their political involvements have been explored in some detail elsewhere, this article aims to outline the discursive formation their various fictions helped generate—a formation I term \"technomilitary fantasy\"—and argues that their contributions as writers and editors of military sf, particularly with the series of anthologies There Will Be War (1983-1990), helped define a popular way of imagining technology in that period. That concept can be called \"instrumentalism,\" and it played a key role in the social and political texture of 1980s America.

The problem is in the oligopoly of five publishing houses that control the world publishing industry today. Francesca Gregorini (Director of Emanuel and the Truth About Fishes), James E. Duff (Director of Hank and Ashá], Dan Eberle (the Director, Producer and Lead Actor of Cut to Black], and Cary McClelland (Director of Without Shepherds). Since I've already invested an enormous effort into my initial research.

Sex, violence and women are cornerstones of James Bond films. The Bond girl villain encapsulates all these elements but is subject to changing depictions to suit the requirements of Bond's character. With reference to film noir femmes fatales, Vesper Lynd is connected to the successful narrative restarting of the franchise.

From teleportation and space elevators to alien contact and interstellar travel, science fiction and fantasy writers have come up with some brilliant and innovative ideas. Yet how plausible are these ideas--for instance, could Mr. Weasley's flying car in the Harry Potter books really exist? Which concepts might actually happen, and which ones wouldn't work at all?Wizards, Aliens, and Starshipsdelves into the most extraordinary details in science fiction and fantasy--such as time warps, shape changing, rocket launches, and illumination by floating candle--and shows readers the physics and math behind the phenomena. With simple mathematical models, and in most cases using no more than high school algebra, Charles Adler ranges across a plethora of remarkable imaginings, from the works of Ursula K. Le Guin toStar TrekandAvatar, to explore what might become reality. Adler explains why fantasy in the Harry Potter and Dresden Files novels cannot adhere strictly to scientific laws, and when magic might make scientific sense in the muggle world. He examines space travel and wonders why it isn't cheaper and more common today. Adler also discusses exoplanets and how the search for alien life has shifted from radio communications to space-based telescopes. He concludes by investigating the future survival of humanity and other intelligent races. Throughout, he cites an abundance of science fiction and fantasy authors, and includes concise descriptions of stories as well as a glossary of science terms. Wizards, Aliens, and Starshipswill speak to anyone wanting to know about the correct--and incorrect--science of science fiction and fantasy.