By Allen Steele
Fifteen tales and essays from a latest grasp of Heinleinian technological know-how fiction.
In Rude Astronauts, Allen Steele provides a few of his best stories—including the Diamondback Jack Trilogy and his first released tale, Live from the Mars Hotel—along with excerpts of the nonfiction technology writing with which he made his name.
In Steele’s universe, the celebs are chilly, house is gigantic, and it’s the traditional those who make issues interesting.
• Introduction: bizarre Scenes from the seashore Party
PART ONE: close to Space
• On the line: Eulogy
• Walking at the Moon
• Free Beer and the William Casey Society
• The go back of peculiar Frank
• Sugar’s Blues
• Live from the Mars Hotel
PART : trade Space
• On the line: Pakachoag Hill
• Goddard’s People
• John Harper Wilson
PART 3: modern Space
• Science truth: LGM
• Hapgood’s Hoax
• On the line: looking forward to the tip of the World
• Winter Scenes of the chilly War
• On the line: are you able to count number the Angels Dancing on a Pin?
• [i]Trembling Earth
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Extra resources for Rude Astronauts
H er thirst for knowledge was insatiable. ” She also was guileful, retaining her ties to the viceregal court in spite of the changing political climate. A sign of her sta tus and influence was the commission she received in 1680 to write a poem celebrating a triumphal cathedral arch to honor the advent of a new viceregal period, that of the Marqués de la La guna. Sor Juana composed “Allegorical N eptune” as a dedication to the architectural structure and an explanation of its allusions, which included the figure of N eptune as a reference to the mar qués.
O n occasion lay vis itors were allowed in, even invited to participate in conventual convocations, but only in restricted areas. As the critic Luis Harss states in Sor Juana's Dream, “It was an age of great pageantry, given to grand entries through ceremonial arches, majestic Te Deums with ringing church bells, allegorical floats and fireworks, dramatic mystery plays, rousing popular farces. Although the conventual ideal was still sacrificial self-denial, many nuns, like vestal courtesans, led quite luxurious lives, with slaves and ser vants.
Rebellion, Albert Camus loved to say, is to say no. And that “n o ” would soon turn Sor Juana into a patriotic emblem: her portraits would be ubiquitous on stamps and on thousand-peso notes and coins, her memory repeatedly evoked in operas, films, science-fiction stories, murals, music videos, poems, studies and eulogies of all sorts, and tributes by literati in Mexico and beyond, such as Gabriela Mistral, Amado Ñervo, Xavier Villaurrutia, and José Lezama Lima. Father Calleja describes Sor Juana’s final days: “The illness was extremely contagious and Sister Juana, by nature compassionate and charitable, attended all [her fellow nuns] without rest and without fear of their proxim ity .