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= High SciFi =

Two Flavors of Science Fiction by John Argo:

Why High SciFi? If there is such a thing as High Fantasy, why not High Science Fiction? Professionals generally resent the disparaging term 'sigh-fie.' We prefer terminology that recognizes the fact that more than half of all great world literature is imaginative in the way that Fantasy and SF are, in their two diametrically different ways.

Empire of Time is classic science fiction (high scifi; term used slightly tongue-in-cheek) on the grandest scale, about empires spanning time and space. My stories and at least half a dozen novels (so far) are all connected in the developing master scheme of Jean-Thomas Cullen writing as John Argo. Click Empire of Time for my (John Argo's) fiction already published in my Empire of Time series. More info coming soon.

DarkSF is what I call the Dark Chocolate of Speculative Fiction. It is not splatter, gore, gross, or similar juvenilia. Rather, it is literature that is poetic, richly textured, and character-driven as well as plot-driven. It follows the masterful tradition of authors like Cordwainer Smith, A. E. van Vogt, Andre Norton, and others who have known how to combine great story telling with gourmet flavor and texture. In film, that means masterworks like Ridley Scott's 1982 Blade Runner and other great films we'll mention as these pages develop. Click here DarkSF for my (John Argo's) fiction already published in my DarkSF series. These actually tend to be stand-alone novels and stories unified by their common gourmet aspirations (Dark Chocolate of Science Fiction). More info coming soon.

Other Imaginative Tropes (Science Horror). I will soon discuss my thoughts (and works) in the areas of Science Horror (e.g., my novel Doom Spore San Diego, which I regard as my homage to Jack Finney's 1955 novel The Body Snatchers and the archetypal classic 1956 film made from it, directed by Don Siegel, Invasion of the Body Snatchers.) I have it classified under DarkSF in these pages.

October Mood. I have come to recognize what we may call the Autumn Mood or October Mood in a great deal of my writing. For example, outside the realm of speculative fiction, I chose a fitting title for my thriller about a Second Constitutional Convention in the U.S., The Generals of October (see On Thriller Street where I show that title under the label CON2: USA Coup d'etat. My single greatest muse for this trope was the late, great Ray Bradbury. He was the author of such autumnal story collections as The October Country and Farewell to Summer. Don't get me wrong: I love life, I love the four seasons experienced with unparalleled power and beauty in New England where I spent my adolescence and earliest adulthood; but I have a special place in my soul for that autumnal equinox, the harvest time when our imagination wanders moonlit, leafy roads at night, and when poets and authors like me feel their most powerful creative surge. Ray Bradbury and I corresponded at least twice over the years; most recently, a few years before his passing, when he wrote me an enthusiastic personal fan note praising my dark holiday fantasy The Christmas Clock.

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