Mary Evans / Grenville Collins
What made the rickshaw so different from a wagon or an ox-cart and, in the eyes of many Westerners, so cruel, was the idea of it being pulled by a man instead of a farm animal. Pushing wheelchairs and baby carriages posed no problem, but pulling turned a man into a beast.
for New Scientist, 20 January 2016
Long, long ago, and in a galaxy (etc.) I wrote some short films with Simon Pummell, who then went off and created extraordinary art movies like Shock Head Soul.
Look what he just made:
Anyone curious to know where the hell I’ve been for the past four years (or, indeed, why I ever bothered to come back) can jolly well pre-order the hardback which comes out on 1 August, and there’ll be a Kindle edition a month before that (they’re just sorting out the pricing).
The main reason for posting this was I thought this was the final (final) ((final)) cover image. It actually turns out be the version before the version that was the final (final). Anyone wondering what publishers do with all their money now have their answer: it’s spent on rehab after having to deal with revisions to the (((final))) revised (final) revised new final.
Here’s our first (proper) cover design for Dead Water, a novel that shoves contemporary pirates in one end of the accelerator, late-nineteenth century cosmology into the other, and throws a very large switch.
Nic thinks this cover can be finessed – we don’t need the wavy lines on the type, for example. Otherwise, we like it. What do you think?
It’s author photograph time again. None of your fist-on-chin malarky here. This is me about to pass out from sunstroke during a “research trip” (Inland Revenue please note) to Oman. Anna calls this my “creepy farmer” look.
The US science writer’s debut appears in the UK at last. I reviewed it for the Guardian:
Why has neuroscience has been pipped to the post, not once, but time and time again, by writers and artists, composers and cooks?
Writer with no new book out meets major broadsheet microphone. Click, we dare you.