Navneet Alang, “AI Is a False God,” in The Walrus.
M. T. Anderson, Feed.
Margaret Atwood, The Handmaid’s Tale and Oryx & Crake.
Joseph Brackett, “Simple Gifts.”
Octavia Butler, Dawn.
Italo Calvino, trans. William Weaver, Invisible Cities.
Cao Xueqin, Dream of the Red Chamber.
J. M. Coetzee, Waiting for the Barbarians.
E. E. Cummings, “pity this busy monster, manunkind.”
Emily Dickinson, The Complete Poems.
Umberto Eco, trans. William Weaver, The Name of the Rose.
T. S. Eliot, “The Hollow Men.”
William Faulkner, As I Lay Dying.
Kahlil Gibran, The Prophet.
Henryk Górecki, Symphony No. 3 (Symphony of Sorrowful Songs).
Yuval Noah Harari, Homo Deus: A Brief History of Tomorrow.
Jacqueline Harpman, I Who Have Never Known Men.
Hildegard von Bingen, Scivias (Know the Ways) and Symphonia Armonie Celestium Revelationum (Symphony of the Harmony of Celestial Revelations).
Russell Hoban, Riddley Walker and Pilgermann.
Julian of Norwich, Shewings (Revelations of Divine Love).
Yasunari Kawabata, Snow Country.
Jacquelyn Ann Kegley, “Royce on Self and Relationships: Speaking to the Digital and Texting Self of Today,” in The Journal of Speculative Philosophy.
Ray Kurzweil, The Singularity Is Near: When Humans Transcend Biology.
Nick Jans, A Wolf Called Romeo.
Jaron Lanier, “One Half a Manifesto,” in Edge, and You Are Not a Gadget: A Manifesto.
Orlande de Lassus, Psalmi Davidis Pœnitentiales (Penitential Psalms of David).
Ursula K. Le Guin, The Left Hand of Darkness, A Wizard of Earthsea, The Tombs of Atuan, The Farthest Shore, and The Wind’s Twelve Quarters.
Arnold Lobel, Frog and Toad Are Friends.
Barry Lopez, Of Wolves and Men.
George Lucas, THX 1138.
William Maxwell, So Long, See You Tomorrow.
Walter M. Miller Jr., A Canticle for Leibowitz.
Toni Morrison, “Cinderella’s Stepsisters.”
Pablo Neruda, Veinte poemas de amor y una canción desesperada (Twenty Love Poems and a Song of Despair). (The translation of “The Song of Despair” is my own.)
William F. Nolan and George Clayton Johnson (authors), and David Zelag Goodman (screenwriter) and Michael Anderson (director), Logan’s Run.
George Orwell, Nineteen Eighty-Four.
Arvo Pärt, Da Pacem.
Adam Phillips and Barbara Taylor, On Kindness.
Terry Pratchett, Small Gods and Carpe Jugulum.
Quintus Smyrnaeus, trans. A. S. Way, The Fall of Troy.
William Shakespeare, A Midsummer Night’s Dream and Macbeth.
Percy Bysshe Shelley, “Ozymandias.”
Wallace Stevens, “The Snow Man.”
Charles Stross, Accelerando.
Abū al-Husayn ʿAbd al-Rahmān ibn ʿUmar al-Sūfī (Azophi), Kitāb Suwar al-Kawākib al-Thābitah (The Book of the Constellations of the Fixed Stars).
Andrew Sullivan, “I Used to Be a Human Being,” in New York.
Jonathan Swift, A Tale of a Tub, Gulliver’s Travels, and “A Modest Proposal.”
John Tavener, The Protecting Veil.
Charles Taylor, Sources of the Self: The Making of the Modern Identity.
J. R. R. Tolkien, The Hobbit.
Sherry Turkle, Alone Together: Why We Expect More from Technology and Less from Each Other.
Jeanette Winterson, Oranges Are Not the Only Fruit, Written on the Body, and Art Objects: Essays on Ecstasy and Effrontery.
Yevgeny Zamyatin, We.