Published in 1937, Katharine Burdekin's Swastika Night is a chilling depiction of a far-future fascist dystopia, in which the triumph of Nazism also represents oblivion for humanity and freedom. A precursor to Orwell's Nineteen Eighty-Four (1949), this is an under-recognised and chilling vision of the future which is troublingly relevant today.

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Originally published in 1962, John Brunner's Society of Time stories are set in an alternate Britain in the 1980s. It is 400 hundred years since the Spanish Armada was not defeated, and the Catholicism of the Spanish Empire rules much of the world. The Empire possesses the gift of time travel, though only a new pope is given the ultimate privilege of going back to witness the life of Jesus Christ...

These fantastic stories follow the adventures of Don Miguel Navarro, an agent of the Society of Time tasked with protecting the integrity of the timeline. They are fine examples of Brunner's hugely entertaining and thought-provoking early work.

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It was British science fiction writer Olaf Stapledon, not US physicist Freeman Dyson, who first imagined the "Dyson sphere" - an immense macrostructure which would enclose and harness the entire energy of a star. Beginning with his BSFA Award-winning novel Orbitsville (1975), Northern Irish SF writer Bob Shaw explored this dizzying concept in a trilogy of novels.

This episode explores not only Orbitsville but also its belated sequels Orbitsville Departure (1983) and Orbitsville Judgement (1990).

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An unusual detour into contemporary SF, this episode is a look at the thoroughly strange The Book of Elsewhere (2024), a collaboration between Hollywood icon Keanu Reeves and British flag-bearer for the New Weird, China Miéville. The novel is a spinoff from Reeves' comic book series BRSRKR, about an immortal warrior with 80,000 years of bloodshed behind him.

For his part, Miéville called the novel "a story of ancient powers, modern war, and one person’s quest to find mortality and purpose."

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The Count of Monte Cristo make not seem like the likeliest template for an SF novel, but Alfred Bester was able to take this 19th century French classic and turn it into the basis for his 1956 book The Stars My Destination. This frenetic, fast-paced adventure also begins with a kind of parody of the opening to Dickens' A Tale of Two Cities. It's a hectic, baroque tale of revenge, and one of the most praised SF novels of the 1950s.

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Connie Willis is known for her stocked awards cabinet and for her lengthy novels in the "Oxford Time Travel" series. But this major figure of US SF has not always been concerned with exploring the past, or with doorstop-sized tomes. Remake (1995) is one of her less discussed novels, short enough to sometimes be categorised instead as a novella.

This is story set in what was then the near future, and is now the recent past - potentially the year 2018. This is a story about the movie business, about a Hollywood system completely devoid of creativity and trapped in a grim cycle of reinventing and remixing old successes instead of doing anything new. It is also a story about computer-generated slop, made up of ground-up fragments of older works, and passed off as something new. It's fair to say that Remake has some eerie connections with the way the 21st century is actually going.

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Time travel is, if scientists are to be believed, impossible. That has never stopped science fiction writers, who have made it one of their most frequently used and popular concepts. But if time travel is impossible, can it at least be made plausible?

With his novel Timescape (1980), Gregory Benford sought to do just that. This believable SF epic draws on Benford's own professional experience as a scientist, and is rooted in the prevailing theories in theoretical physics of that time. This a time travel novel with a difference, and one which matches mind-bending science with vivid portraits of scientists at work.

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Science fiction is famously difficult to define. In 1952, the writer and editor Damon Knight famously wrote that "science fiction is what we point to when we say it." But what if what we point to is just the surface, just an aesthetic, and what really matters is what is underneath?

This episode is a brief exploration of what I see as the important gap between two linked, but different things: the living, breathing genre of SF, and the host of images that it has spawned and carried with it through the years - its aesthetic.

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