We’re Not From Here

Science fiction literature and films have contributed indelible images to the popular imagination, from H.G. Wells's War of the Worlds to Ray Bradbury's Martian Chronicles to the fiction of "cyberpunks." In addition to enthralling readers with breathtaking narratives and dazzling the imagination with mind-bending glimpses of possible futures, the best science fiction asks essential questions: What does it mean to be human? Are we alone in the universe, and what does it mean if we're not? Esteemed professor Michael D.C. Drout traces the history of science fiction in this series of stimulating lectures. From Mary Shelley's Frankenstein to today's cutting- edge authors, Drout offers a compelling analysis of the genre, including a look at hard-boiled science fiction, the golden age of science fiction, New Wave writers, and contemporary trends in the field.

Anathema are one of the select few bands that actually progress with each album, honing their songwriting skills to provide a better means for their musical message – but a six-year gap in the recording schedule that preceded We're Here Because We're Here still left many fans wondering, where do they go from here? Turns out, it was in the right direction. The most easily recognized change is the increased emphasis on piano, which is the leading instrument on most songs, but if this description brings the likes of Coldplay and Fray to mind, the music does not, for the simple reason that Chris Martin, let alone the horde of his mainstream rock imitators, can never rival the immense emotional charge of Anathema's music.

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