Read Ebook {PDF EPUB} Arthur C. Clarke 2001A The City And The Stars The Deep Range A Fall Of Moondust Rendev Arthur C. Clarke: 2001/A Space Odyssey The City And The Stars The Deep Range A Fall Of Moondust Rendevous With Rama by Arthur C. Clarke. AKA Arthur Charles Clarke. Born: 16-Dec-1917 Birthplace: Minehead, Somerset, England Died: 19-Mar-2008 Location of death: Colombo, Sri Lanka Cause of death: Heart Failure Remains: Buried, Colombo General Cemetery, Colombo, Sri Lanka. Gender: Male Religion: Atheist Race or Ethnicity: White Sexual orientation: Bisexual [1] Occupation: Novelist. Nationality: England Executive summary: 2001: A Space Odyssey. Military service: RAF (1941-46) icon Arthur C. Clarke was one of the world's best-selling authors of science fiction and was widely considered one of the masters of the genre. Deemed on par with authors like Isaac Asimov and Robert A. Heinlein, he was especially identified with his novels Childhood's End , , and 2001: A Space Odyssey . Clarke's fiction is credited with combining flawlessly accurate technical details with such philosophically expansive themes as "spiritual" rebirth and the search for man's place in the universe. The recipient of at least three Hugo Awards and two Nebulas, as well as a host of other acknowledgements, he was also well recognized as an inventor, an editor, and a science commentator. Arthur Charles Clarke was born 16 December 1917 in the English coastal town of Minehead, in Somerset. The eldest of four children, he enjoyed stargazing as a child and had a great enthusiasm for sci-fi pulp magazines like Astounding Stories . When Clarke was 14 his father died and the family's savings declined. His mother offered riding lessons to offset their money troubles, but she was unable to provide enough money for her son to attend university. Clarke was forced to look for work, at last taking a position as an auditor, but continued to pursue his earlier scientific interests. His apartment eventually became headquarters to the British Interplanetary Society, with Clarke becoming its chairman in 1949. Even as he served as a radar specialist in the RAF during World War II, he was simultaneously writing and submitting science fiction stories and technical papers. His first piece of fiction to see publication was "Rescue Party", in Astounding Science , May 1946. Of his various technical and scientific papers, one of them, "Can Rocket Stations Give Worldwide Radio Coverage?" ( Wireless World , 1945) introduced the concept that geostationary satellites could make excellent telecommunications relays. So influential was this work that Clarke is credited as the inventor of the first communications satellite, a scientific development which earned him the gold medal of the Franklin Institute, the Lindbergh Award, the Marconi Award, the Vikram Sarabhai Professorship of the Physical Research Laboratory, Ahmedabad, and the Fellowship of King's College, London. In addition, the (at 42,000 kilometers above Earth) is named "The Clarke Orbit". In 1954, almost ten years after this development, Clarke's correspondence with Dr. Harry Wexler (then chief of the Scientific Services Division, US Weather Bureau) led to a new branch of meteorology that utilized rockets and satellites for weather forecasting. After the war, Clarke finally had enough funds to enter King's College to continue his formal stuidies. During three weeks of summer holiday in 1947, he wrote his first novel, . In 1948, after graduating with honors in physics and mathematics, he took the position of Assistant Editor for Science Abstracts (1949-51). But Clarke's interest in writing his own fiction and non-fiction continued undiminished, and after a few years he was able to devote himself full time to writing. In the 1950s Clarke developed an interest in undersea exploration. He visited Sri Lanka, learned how to dive, and wrote several books and articles on the Indian Ocean. Clarke also worked with friend Mike Wilson in filming the Great Barrier Reef, an experience which inspired his novel The Deep Range . In 1956 Clarke moved permanently to Sri Lanka, a change of locale that would show its subtle influence in such works as The Fountains of Paradise (which also introduced his "space elevator" concept) and the Rama series. (It is worth noting that Clarke, and his staff, survived unscathed during the devastating 2004 tsunami that walloped coastal Sri Lanka and various other areas around the Indian Ocean. Clarke did lose a considerable amount of diving-related equipment which was washed out to sea.) In 1962, Clarke's undersea explorations were put on hold for a time, after an accidental blow to the head left him temporarily paralyzed. Then, in 1964, he began an entirely new project: collaborating with Stanley Kubrick on the development of 2001: A Space Odyssey . Although loosely based on Clarke's short story "The Sentinel" (1951), the project required Clarke to generate an entire novel, all while Kubrick was simultaneously working on the film (which proved to be an odd but productive interchange). In 1968 the novel was published, and in that same year Clarke and Kubrick shared an Oscar nomination for the film. In 1985, Clarke published 2010: Odyssey Two and worked with Peter Hyams on a film version. Other novels in the series have included 2061: Odyssey Three (1988) and 3001: The Final Odyssey (1996). In 1969, already regarded as one of the chief prophets of the space age, Clarke joined CBS newsman Walter Cronkite and astronaut Wally Schirra in narrating the landmark Apollo 11 lunar landing. Clarke returned for coverage of Apollo missions 12 and 15. Later, he served as first Chancellor of the International Space University formed by Peter Diamandis, presiding from 1989 to 2004. But while Clarke was extremely well known for his interest in space, he also held a lifelong fascination with the paranormal (reflected in his novel Childhood's End ). He published a number of works on the topic (some in conjunction with professional skeptic James Randi), and he produced such related television programs as Arthur C. Clarke's Mysterious World (1981) and Arthur C. Clarke's World of Strange Powers (1984). Clarke admits to having once been duped by Uri Geller during a demonstration at Birkbeck College. But in the spirit of true scientific objectivity he advocated continued research into alleged instances of telekinesis and other paranormal phenomena. In 1988 Clarke sufferred a return to mobility problems and he was diagnosed with post-polio syndrome (an affliction shared by author Robert Anton Wilson). The condition eventually confined him to a wheelchair. Ten years later, in 1998, Clarke's was about to be invested with knighhood when another setback struck: the British tabloid The Sunday Mirror accused Clarke of being a pedophile. Although the allegations were ultimately discredited, the scandal delayed his investiture some two years. Due to his wheelchair and health limitations, Sir Arthur's ceremony was performed in his adopted home of Sri Lanka by the UK High Commissioner. In the new millenium, Arthur C. Clarke continued to publish substantial new work. In addition to his fiction and his science works, he also published two autobiographies: Ascent to Orbit and Astounding Days . His correspondence with various figures (director Peter Hyams, author C. S. Lewis, etc.) have been published in various volumes, and many of his essays can be found in Greetings, Carbon-Based Bipeds! . Neil McAleer's Arthur C. Clarke: The Authorized Biography was published in 1992. In addition to writing, Clarke served as the Honorary Board Chair of the Institute for Cooperation in Space (founded by Dr. Carol Rosin), and his legacy is being defined and preserved under the auspices of the Arthur C. Clarke Foundation. Among his many distinctions, and in addition to the Clarke Orbit, Sir Arthur could also boast both an asteroid (4923 Clarke) as well as a species of Ceratopsian dinosaur, Serendipaceratops arthurcclarkei , named in his honor. In 1986 the Arthur C. Clarke Award was established to encourage excellence in British science fiction. Father: Charles Wright Clarke (d. May-1931) Mother: Mary Nora Willis Brother: Frederick William (b. 1921, former director of Arthur C. Clarke Foundation) Sister: Mary Brother: Michael Wife: Marilyn Mayfield (m. 15-Jun-1953, separated Dec-1953, div. 1964) High School: Huish's Grammar School, Taunton, England (1936) University: BS Physics & Mathematics, King's College London (1948) Administrator: Moratuwa University, Sri Lanka (1979-2002) Administrator: International Space University (1989-2004) Is the subject of books: Arthur C. Clarke: The Authorized Biography , 1992 , BY: Neil McAleer. 3.30-5.00: Clarke’s Legacies — Powell Lecture Theatre/Pg09. According to its website, the Arthur C. Clarke Award “is given for the best science fiction novel first published in the United Kingdom during the previous year” but it has come to be identified in particular with the cause of “literary SF”, a category central to the cultural division currently dividing fandom and which has led in recent years to a bitter contestation of the Hugo Awards, which are voted for by the membership of each annual Worldcon. Adam Roberts satirically classifies the division as such: The Hard, politically conservative “SF is about learning and respecting the inviolable laws of physics”, masculinist, macho kill-and- rape video game, neo-Fascist Hugo ballot-stuffing crowd in one corner; and the Literary SF, “science fiction is about the encounter with otherness”, lovin-the- alien, polymorphous, feminist, queer, coloured, trans and politically liberal crowd in the other. (Roberts 2015: 9) In contrast to the Hugos decided by popular vote, the jury-judged Clarke, although frequently characterised by mild controversy and bickering, has been less openly divisive. Recent “Literary” winners have included Emily Mandel’s Station Eleven in 2015 and Colson Whitehead’s The Underground Railroad in 2017. However, in 2016 the award was won by a more unapologetic example of genre SF in the mould of Clarke himself, Adrian Tchaikovsky’s Children of Time . The contrast provided by these recent choices provides part of the context for the recent attempt to renew a critical public sphere surrounding the Clarke Award by setting up a shadow jury. On the one hand, the divide between genre and literary SF in the Clarke context does not map onto the one outlined by Roberts above (Tchaikovsky’s novel very much displays the characteristics that Roberts associates with literary SF). On the other hand, the parallax effect generated by these supposed binary oppositions opens up new perspectives on how cultural value is changing in this century and, in particular, following the 2007-8 global financial crash. This paper seeks to set out some of the parameters of this change at a time when “speculative fiction” has become mainstream and when Clarke’s Childhood’s End can be the topic of papers and seminars at the annual Modernist Studies Association Conference. Nick Hubble is Reader in English at Brunel University London. Dr Joe Norman (Brunel University London) “‘call me highway call me conduit call me lightning rod’: ‘Big Dumb Objects’ in Selected Works by Arthur C. Clarke and Iain M. Banks” As a young man Iain M. Banks read Arthur C. Clarke’s work in the Gollancz classics range; and Banks’s Culture series continues Clarke’s Golden Age optimism for humankind’s technoscientific, utopian future. Clarke’s classics “The Sentinel” (1951), 2001: A Space Odyssey (1968) and Rendezvous with Rama (1973) feature the trope of the so-called “Big Dumb Object” (BDO), which also appears in Banks”s Excession (1996). Clarke’s Monolith, the Rama spacecraft, and Banks”s Excession, all evidence the existence of “a mysterious, now-disappeared race of Alien intellectual giants”, potentially bringing humans “much closer to a Conceptual Breakthrough into a more transcendent state of intellectual awareness.” Clarke’s Monolith enables humankind to travel beyond our solar system, providing the potential for utopian colonization of space – exactly the eventuality realized through Banks’s Culture, an interstellar confederation of artificial habitats, overseen by benevolent AIs, comparable to Clarke’s alien Overlords in Childhood’s End (1953). Excession explores different species” reactions to the titular entity, which threatens utopia with war. The Excession itself – named for its capacity to exceed all known levels of power, size, and technoscientific development – surpasses almost all of humankind’s capacity to comprehend it in any meaningful fashion, even amongst the Culture’s elite AIs and posthumans. The continually deferred explanation for its exact nature becomes a mystery of near-Gothic proportions. Peter Nicholls places the BDO “at the heart” of what attracts many people to SF, arguing for its primary role as conveying “something rather unscientific, be it called the sense of wonder, the sublime, the transcendent or the romantic.” Frequently those who encounter the BDO feel “vulnerable and threatened and lost like “the explorers of Clarke’s spacecraft Rama”. Christopher Palmer also affirms the sublime properties of the BDO, which activates “a complex of opposed qualities or possibilities […] the comic and the domestic, the heroic and the bureaucratic,” which “exhibit features of SF’s dealings with modernity.” My paper will explore BDOs in both authors’ works through the lens of Istvan Csicsery-Ronay Jr.’s technologiade , demonstrating the latter’s “two dialectically related forms”: Rendezvous with Rama as quintessential technoRobinsonade and Excession as subversion of space opera. In the hands of SF’s best, the BDO becomes much more than a cheap plot device, and instead a sophisticated tool for political and philosophical explorations. Dr. Joseph Norman completed his PhD research into Banks’s Culture series at Brunel University London where he teaches English and Creative Writing. His research interests include: genre fiction, The Weird, heavy metal, utopianism, national identity. Recent publications include The Science Fiction of Iain M. Banks (co-editor; Gylphi press, forthcoming 2017), and “Weirdrone Tales: The Weird, Drone Music, Sonic Ecstasy”, in Sustain/Decay Owen Coggins, James Harris, eds (Void Front Press, 2017). Professor Patrick Parrinder (University of Reading) “Clarkaeology: Arthur C. Clarke’s Time Capsules” Clarke’s universes are grandly four-dimensional but he is a novelist of space travel, not time travel, and his deepest imaginative visions convey not anticipation so much as a sense of belatedness. Often his protagonists are amateur or professional archaeologists. The principal themes of “Clarkaeology” are all present in his 1953 story “Jupiter Five”, where Professor Forster and his graduate students land on the fifth moon of Jupiter and make “the greatest archaeological find in all history”. Not only is this story the acknowledged precursor of the Rama series, but Forster’s “diffusion theory of extraterrestrial culture” is reflected in the monoliths of 2001 (later to be spoofed by K. S. Robinson in Icehenge ) and also in The City and the Stars , where Edward James”s observation that Alvin “uncovers the truth of Earth’s history” is quite literally accurate. But Clarke is also constrained to specify that Alvin and his companion “were trying to contact intelligence, not to carry out archaeological research”. Clarke’s aliens (unlike, say, Wells’s Martians) are never really alien. Whether reptilians (as in Childhood’s End and “Jupiter Five”) or tripeds, they are, as Prof. Forster says, “Not human – but humane”. And yet Clarke’s universe is genuinely unfathomable and strange, since, as Norton and his crew find in Rendezvous with Rama , “the more they discovered about it, the less they understood”. Childhood’s End , The City and the Stars , and 2001 all end with journeys to an unknown and (by implication) unknowable future, but in Clarke what links the future to archaeology and the recovery of the past is the device of the time capsule. Rama, the 2001 monoliths, and the artificial moon known as Jupiter Five are all time capsules, though their messages remain largely hidden. They are not buildings but machines that remain in perfect working order after millions of years, their mechanisms apparently waiting to be triggered by human explorers. Within Jupiter Five, for example, the archaeologists find a lifelike reptilian statue which they see as carrying the Clarkeian message “Greetings, carbon-based bipeds!” Yet in Clarke the promise of a second coming, of a once and future galactic empire, is repeatedly thwarted. SF for Clarke, as Brian Aldiss once wrote, is “the literature of the gods”, but these gods have long disappeared from the universe, leaving only their time capsules behind. Far from “discovering the future”, Clarke’s characters tend to live in the future, with a strong and melancholy sense of their own belatedness. At most, they might hope to have left a sufficient impression on the universe for others to one day read the signs they have left behind. Patrick Parrinder is Emeritus Professor of English at the University of Reading and President of the H. G. Wells Society. His most recent book is Utopian Literature and Science (2015); among its many predecessors are Science Fiction: Its Criticism and Teaching (1980) and Shadows of the Future which won the 1995 Eaton Award. He met Arthur C. Clarke at the International H. G. Wells Symposium in London in 1986. 1.45-3.15: Parallel Stream B: Religion(s), Transcendence and the Transhuman — Pg06. Register here. Sir Arthur C. Clarke is one of the most important British sf writers of the twentieth century – novelist, short-story writer, scriptwriter, science populariser, fan, presenter of documentaries on the paranormal, proposer of the uses of the geosynchronous orbit and philanthropist. We want to celebrate his life, work and influence on science fiction, science and beyond. Professor Charlotte Sleigh will open proceedings by looking at Clarke as an sf fan in the interwar years in London and how this intersected with his interest in science and its communication. Award-winning author will round out the event with an examination of Clarke’s non- fiction and how this positioned him as a significant public figure. Our international conference speakers will address novels such as Childhood’s End , 2001: A Space Odyssey (book and film) and Imperial Earth , looking as issues such as transhumanism, Buddhism, terraforming and sexual politics. They will make connections to sf writers including Isaac Asimov, Robert A. Heinlein, Olaf Stapledon and Liu Cixin, plus Star Trek . We will also discuss the Arthur C. Clarke Award. Cost : Waged: £65 Unwaged and students £50 (Including lunch and refreshments) We would like to acknowledge the support of Serendip (https://www.clarkeaward.com/). This is a set of links to the various useful pages on the blog. [see also Smoothhound. The Premier Inn appears to be full] to Canterbury Keynote: Professor Charlotte Sleigh (University of Kent), “Science and the Ancient Geeks: Fiction and Fandom in Interwar Britain” [registration from 8.45 in Powell] Keynote: Stephen Baxter, “A Voice from the Sky: The Essays of Arthur C. Clarke” The conference is organised by Dr Andrew M. Butler and Dr Paul March-Russell. Please email us with any queries: Dr Andrew M. Butler and Dr Paul March-Russell. The original call for papers is here. Who’s There?: Registration. Featured. Tags. To register for the conference, please use the following form to do so. Make sure you give us the name that you want on your badge when filling in the name fields (although we will likely email to confirm — feel free to contact us if you wish to check). Registration is: Waged: £65 Unwaged and students £50 (Including lunch and refreshments) Conference organisers: Dr Andrew M. Butler ([email protected]) and Dr Paul March-Russell ([email protected]). 3.30-5.00: Clarke’s Legacies — Powell Lecture Theatre/Pg09. 14 Tuesday Nov 2017. Tags. Dr Nick Hubble (Brunel University London) “The Clarke Award, ‘Literary SF’ and the Role of Criticism: Cultural Value in the 21st Century” According to its website, the Arthur C. Clarke Award “is given for the best science fiction novel first published in the United Kingdom during the previous year” but it has come to be identified in particular with the cause of “literary SF”, a category central to the cultural division currently dividing fandom and which has led in recent years to a bitter contestation of the Hugo Awards, which are voted for by the membership of each annual Worldcon. Adam Roberts satirically classifies the division as such: The Hard, politically conservative “SF is about learning and respecting the inviolable laws of physics”, masculinist, macho kill-and- rape video game, neo-Fascist Hugo ballot-stuffing crowd in one corner; and the Literary SF, “science fiction is about the encounter with otherness”, lovin-the- alien, polymorphous, feminist, queer, coloured, trans and politically liberal crowd in the other. (Roberts 2015: 9) In contrast to the Hugos decided by popular vote, the jury-judged Clarke, although frequently characterised by mild controversy and bickering, has been less openly divisive. Recent “Literary” winners have included Emily Mandel’s Station Eleven in 2015 and Colson Whitehead’s The Underground Railroad in 2017. However, in 2016 the award was won by a more unapologetic example of genre SF in the mould of Clarke himself, Adrian Tchaikovsky’s Children of Time . The contrast provided by these recent choices provides part of the context for the recent attempt to renew a critical public sphere surrounding the Clarke Award by setting up a shadow jury. On the one hand, the divide between genre and literary SF in the Clarke context does not map onto the one outlined by Roberts above (Tchaikovsky’s novel very much displays the characteristics that Roberts associates with literary SF). On the other hand, the parallax effect generated by these supposed binary oppositions opens up new perspectives on how cultural value is changing in this century and, in particular, following the 2007-8 global financial crash. This paper seeks to set out some of the parameters of this change at a time when “speculative fiction” has become mainstream and when Clarke’s Childhood’s End can be the topic of papers and seminars at the annual Modernist Studies Association Conference. Nick Hubble is Reader in English at Brunel University London. Dr Joe Norman (Brunel University London) “‘call me highway call me conduit call me lightning rod’: ‘Big Dumb Objects’ in Selected Works by Arthur C. Clarke and Iain M. Banks” As a young man Iain M. Banks read Arthur C. Clarke’s work in the Gollancz classics range; and Banks’s Culture series continues Clarke’s Golden Age optimism for humankind’s technoscientific, utopian future. Clarke’s classics “The Sentinel” (1951), 2001: A Space Odyssey (1968) and Rendezvous with Rama (1973) feature the trope of the so-called “Big Dumb Object” (BDO), which also appears in Banks”s Excession (1996). Clarke’s Monolith, the Rama spacecraft, and Banks”s Excession, all evidence the existence of “a mysterious, now-disappeared race of Alien intellectual giants”, potentially bringing humans “much closer to a Conceptual Breakthrough into a more transcendent state of intellectual awareness.” Clarke’s Monolith enables humankind to travel beyond our solar system, providing the potential for utopian colonization of space – exactly the eventuality realized through Banks’s Culture, an interstellar confederation of artificial habitats, overseen by benevolent AIs, comparable to Clarke’s alien Overlords in Childhood’s End (1953). Excession explores different species” reactions to the titular entity, which threatens utopia with war. The Excession itself – named for its capacity to exceed all known levels of power, size, and technoscientific development – surpasses almost all of humankind’s capacity to comprehend it in any meaningful fashion, even amongst the Culture’s elite AIs and posthumans. The continually deferred explanation for its exact nature becomes a mystery of near-Gothic proportions. Peter Nicholls places the BDO “at the heart” of what attracts many people to SF, arguing for its primary role as conveying “something rather unscientific, be it called the sense of wonder, the sublime, the transcendent or the romantic.” Frequently those who encounter the BDO feel “vulnerable and threatened and lost like “the explorers of Clarke’s spacecraft Rama”. Christopher Palmer also affirms the sublime properties of the BDO, which activates “a complex of opposed qualities or possibilities […] the comic and the domestic, the heroic and the bureaucratic,” which “exhibit features of SF’s dealings with modernity.” My paper will explore BDOs in both authors’ works through the lens of Istvan Csicsery-Ronay Jr.’s technologiade , demonstrating the latter’s “two dialectically related forms”: Rendezvous with Rama as quintessential technoRobinsonade and Excession as subversion of space opera. In the hands of SF’s best, the BDO becomes much more than a cheap plot device, and instead a sophisticated tool for political and philosophical explorations. Dr. Joseph Norman completed his PhD research into Banks’s Culture series at Brunel University London where he teaches English and Creative Writing. His research interests include: genre fiction, The Weird, heavy metal, utopianism, national identity. Recent publications include The Science Fiction of Iain M. Banks (co-editor; Gylphi press, forthcoming 2017), and “Weirdrone Tales: The Weird, Drone Music, Sonic Ecstasy”, in Sustain/Decay Owen Coggins, James Harris, eds (Void Front Press, 2017). Professor Patrick Parrinder (University of Reading) “Clarkaeology: Arthur C. Clarke’s Time Capsules” Clarke’s universes are grandly four-dimensional but he is a novelist of space travel, not time travel, and his deepest imaginative visions convey not anticipation so much as a sense of belatedness. Often his protagonists are amateur or professional archaeologists. The principal themes of “Clarkaeology” are all present in his 1953 story “Jupiter Five”, where Professor Forster and his graduate students land on the fifth moon of Jupiter and make “the greatest archaeological find in all history”. Not only is this story the acknowledged precursor of the Rama series, but Forster’s “diffusion theory of extraterrestrial culture” is reflected in the monoliths of 2001 (later to be spoofed by K. S. Robinson in Icehenge ) and also in The City and the Stars , where Edward James”s observation that Alvin “uncovers the truth of Earth’s history” is quite literally accurate. But Clarke is also constrained to specify that Alvin and his companion “were trying to contact intelligence, not to carry out archaeological research”. Clarke’s aliens (unlike, say, Wells’s Martians) are never really alien. Whether reptilians (as in Childhood’s End and “Jupiter Five”) or tripeds, they are, as Prof. Forster says, “Not human – but humane”. And yet Clarke’s universe is genuinely unfathomable and strange, since, as Norton and his crew find in Rendezvous with Rama , “the more they discovered about it, the less they understood”. Childhood’s End , The City and the Stars , and 2001 all end with journeys to an unknown and (by implication) unknowable future, but in Clarke what links the future to archaeology and the recovery of the past is the device of the time capsule. Rama, the 2001 monoliths, and the artificial moon known as Jupiter Five are all time capsules, though their messages remain largely hidden. They are not buildings but machines that remain in perfect working order after millions of years, their mechanisms apparently waiting to be triggered by human explorers. Within Jupiter Five, for example, the archaeologists find a lifelike reptilian statue which they see as carrying the Clarkeian message “Greetings, carbon-based bipeds!” Yet in Clarke the promise of a second coming, of a once and future galactic empire, is repeatedly thwarted. SF for Clarke, as Brian Aldiss once wrote, is “the literature of the gods”, but these gods have long disappeared from the universe, leaving only their time capsules behind. Far from “discovering the future”, Clarke’s characters tend to live in the future, with a strong and melancholy sense of their own belatedness. At most, they might hope to have left a sufficient impression on the universe for others to one day read the signs they have left behind. Patrick Parrinder is Emeritus Professor of English at the University of Reading and President of the H. G. Wells Society. His most recent book is Utopian Literature and Science (2015); among its many predecessors are Science Fiction: Its Criticism and Teaching (1980) and Shadows of the Future which won the 1995 Eaton Award. He met Arthur C. Clarke at the International H. G. Wells Symposium in London in 1986. 1.45-3.15: Parallel Stream B: Religion(s), Transcendence and the Transhuman — Pg06. Arthur C. Clarke 2001/A Space Odyssey, the City and the Stars, the Deep Range, a Fall of Moondust, Rendevous With Rama by Arthur C. Clarke ISBN 13: 9780905712826. Arthur C. Clarke: 2001/A Space Odyssey, the City and the Stars, the Deep Range, a Fall of Moondust, Rendevous With Rama. by Clarke, Arthur C. Used very good hardcover. Show Details. ThriftBooks: Read More, Spend Less.Dust jacket quality is not guaranteed. Arthur C. Clarke: 2001/A Space Odyssey, the City and the Stars, the Deep Range, a Fall of Moondust, Rendevous With Rama. by Clarke, Arthur C. Used good hardcover. Show Details. ThriftBooks: Read More, Spend Less.Dust jacket quality is not guaranteed. 2001: A Space odyssey, the City and the stars, the Deep range, a Fall of moondust, Rendezvous with Rama. by Arthur C.Clarke. Used good First. Show Details. Arthur C. Clarke: 2001/A Space Odyssey, the City and the Stars, the Deep Range, a Fall of Moondust, Rendevous With Rama. by Arthur C. Clarke. Used good hardcover. Show Details. Arthur C. Clarke 2001/A Space Odyssey, the City and the Stars, the Deep Range, a Fall of Moondust, Rendevous With Rama. by Arthur C. Clarke. Used fine hardcover. Show Details. Didn't find what you're looking for? Try adding this search to your want list. 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