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Yao’s World by Matthew Barron



Matthew Barron

The bubble hummed. It had grown into a dark globe and was partially submerged in the table top. Yao sat at the bench and looked into two long tubes. His hand hovered over a toggle.

“Let there be—”

“Yao!” came a shrill voice from beyond the stairs.

Yao pulled back his hand and gritted his teeth. “What?” If he hadheld the toggle too long, or not long enough, all this preparation would be for nothing.

Lucy called down. “Are you coming up for dinner?”

“Not now!” Yao shouted. “My work is at a delicate stage. Leave me alone!”

He could hear her moving at the top of the stairs.

“Alright,” she said. “Have it your way.”

Yao took deep breaths until his nerves settled. Shelves of exotic equipment lined the cinderblock basement. A tiny above-ground window was cracked open for ventilation.

At last Yao was calm enough to proceed. He wanted to savor this moment. The long tubes contained magnifying lenses that slowed time. Without them, he could never perceive the rapid, miniscule events within the bubble. Yao pulled the proto-matter trigger. There was a tiny flash in the lenses, like someone sparking a match in a dark room. Yao closed the valve and waited.

He didn’t wait long. The globe flashed with life. When Yao returned to the lenses, his mouth gaped with wonder. Motes of light expanded to fill the bubble. As the motes flew outward, tiny bits of dust spiraled around them. Yao wanted to call his brothers, but things were happening so quickly he dared not look away.

Yao focused the lenses on one tiny corner of the globe. He and his brothers had each planted a seed in the world below. His brothers had gotten bored. They went back to their wives and jobs. Yao was alone, with no one to share this joy. His brothers said this wasn’t real.

What Yao saw below him was more real than anything he had ever experienced. Green sprouted around pools of blue.

Yao couldn’t help but smile when tiny dots started moving around the green areas, and then even between the green areas.

The stairs creaked. Lucy was in her nightgown and carried a plate with a sandwich on it. “It’s after three in the morning. Are you coming to bed?”

Lucy was a lovely woman. Yao’s brothers were fond of asking her why she was with their nerdy brother. Sometimes Yao wondered that too. Today however, he barely glanced at her.

“I can’t.” Yao spoke through a mouthful of sandwich. “Even using these lenses to slow things down, everything’s happening so quickly.”

“What’s so interesting in there?”

“They’re alive!”

Yao zoomed in on one particular young man. The man wasn’t much different than any person Yao might meet. He was lean under his colorful robe and had a short brown beard. Time had slowed considerably inside the bubble, but Yao still had to adjust a knob to make sense of the action within.

Yao moved away from the lenses and motioned for Lucy to take a look. Her wavy red hair dangled over the long tubes.

“Already 19 generations have passed. I’ve named that one Abraham.”

“You named it?”

“Yes!” Yao swiveled a cone to his mouth. “We are on different time scales. There is no way I could communicate with them directly, but I’ve inserted quantum-bots into the globe. They speed up my voice. Watch…” Yao cleared his throat and spoke into the cone. “Take your family and move east, to the foot of the mountains.”

Lucy’s mouth hung open. “He’s looking up at me!”

Yao continued to speak into the cone. “When you arrive, sacrifice a sheep to me.”

“He’s packing up his belongings, herding a bunch of animals together…”

Yao shoved Lucy out of the way so he could see. “Look at him go!”

Lucy scowled. “What about the thing with the sheep?”

“They started that on their own, giving me these token gifts. A sheep is a pretty big deal to them.”

“It’s a really cool game, Yao, but it’s late.”

“This isn’t a game! These are real, intelligent beings.”

“I’ll admit, it’s a great simulation, but they aren’t real. They don’t actually think for themselves.”

“But they do! I tried to confine my creatures to an enclosure. I wanted to keep them separate from my brother’s creations, but they broke out in less than one generation, one blink of an eye!”

“So they escape from their cages and you give them names. At best, they are like pets.” Lucy waved her hand at the globe. “I’ll admit they’re cute, but it’s late. Turn it off and you can play again in the morning.”

Yao was flustered. “It doesn’t turn off! It’s not a game. This is a universe, a universe full of people!”

Lucy sighed. “Whatever. I’m going to bed. You will have to sleep eventually.”

Yao scowled. He didn’t know how he could ever have been attracted to someone like Lucy. Her shapely behind swished up the stairs, and Yao remembered how it had happened. She was hot. Yao wondered if he would have been better off with someone else, someone who could understand what he was doing. He wished Lucy would be that person.

The world progressed in the globe, and Yao forgot all about his wife.

A shrill mumbling woke Yao. He lifted his head from the table. His mouth was dry and the half-eaten sandwich remained on a plate beside him.

Terror gripped him when he saw Lucy speaking into the cone. “What are you doing? You could ruin everything!”

“Can’t I play too?”

Yao looked into the lenses. “What did you do?” Abraham was now an old man with a long gray beard and bald head.

Lucy smiled. “I told Abraham to sacrifice his child to us.”

“What! Why?”

“If a sheep is a big deal, think what a sacrifice his child will be.”

“That’s barbaric! Abraham only has one child with his wife! I’m planning to breed him.”

Yao pulled the cone to his mouth, but Lucy stopped him from speaking. “Relax. If they are real, intelligent beings, he won’t go through with it.” Lucy’s eyes were wide and untroubled. To her it was all a silly game. “An intelligent being would never kill their own child just because some voice tells them too.”

“If he refuses…”

Lucy shrugged. “Then maybe you really have created something unique in there.”

Yao could have stopped it all with a few words into the cone. He hated the idea of torturing his creations, but he wanted so much for Lucy to understand. He accepted the devil’s bargain. “Alright. You will see.”

They couldn’t bear to take turns at the lenses, so they each put an eye to one of the tubes. Their faces pushed against each other, and they were closer than they had been in months.

Abraham took his son into the mountains.

Lucy smiled. “He’s going to do it.”

Yao shook his head. “It’s a trip to the mountains. They are probably taking a vacation.”

Abraham tied his child up.

“He’s going to do it!” Lucy said.

Yao’s heart beat like thunder in his chest, and sweat covered his palms. “He’s thinking about it. Give him time!”

Abraham lifted an iron knife above the child’s head.

“Wow,” Lucy said. “This simulation is really convincing. The look on that kid’s face almost makes me feel guilty.”

Yao was practically hyperventilating. “Abraham is hesitating. He’s not going to do it! You see! No parent could look into those eyes and kill their own child!”

But Abraham raised the knife once more, eyes clenched in determination.

Yao jerked the cone to his mouth. “Stop!” Yao closed his eyes, and his hand trembled on the cone.

“He stopped,” Lucy said. “He obeyed his master.”

Yao looked into the lenses. Abraham had dropped the knife and looked to the sky expectantly. His child was still tied to the rock. If it seemed long to Yao, then Abraham and his child must have been there much longer. They might stay like that forever if Yao didn’t say something.

Yao cupped his hand over the cone and cleared his throat. “It was all a test. You passed. You are a good man, a good, good man.”

Yao looked into the lenses and watched Abraham embrace his son. Their joy seemed so real, but it was all illusion. Yao wiped a tear from his eye.

Lucy pulled him close. “Come on. I’ll make you some breakfast. Maybe we can go on a picnic today. Some fresh air would be nice, wouldn’t it?”

Yao sighed and nodded his head. He followed her up the steps. Yao took one last look at the dimly lit globe. Perhaps he would return one day and see how his simulation progressed without him. For now, it was time to concentrate on his wife and the world around him. Yao flipped off the basement light.

Food for Thought

Many individuals argue whether we should believe in God, but how do we know if God believes in us?

About the Author

Matthew’s stories have appeared in House of Horror, Roboterotica, Gifts of the Magi, and Welcome to Indiana. More information and samples of my writing can be found at

Keep Reading

The International Bibliography of Fictional Non-Fiction

An evolving reference list of fictional non-fiction
(FNF, also known as speculative documentary fiction),
mainly in English and Romance languages, since the 19th century.

Compilation by Mariano Martín Rodríguez

Note: The present document, last updated in December 2020, is subject to further expansion. It currently covers mainly English and Romance languages. Readers are encouraged to suggest additional works for inclusion.

Fictions of Non-Fiction: An Overview of Factual Discursive Genres in Science Fiction.

‘Fictional non-fiction’ designates fictional texts written as if they were factual accounts. In science fiction, the rhetoric of “factual” scientific discourse has been widely applied to confer to its fictional texts an appearance of scientific rationality and factuality. This kind of scientific “fictional non-fiction” encompasses fantastic works which methodically and consistently present the standard rhetorical features of real-world scientific discourses and practice. Their literariness is achieved mostly through the fictionalisation of the content, while their language adheres closely to the highly formalised, uniform, descriptive and seemingly objective style common in natural, formal or social sciences in modern times. Each science, however, usually has its own jargon and distinct discourse, which is reflected in ‘fictional non-fiction’. Among these discourses, some have been relatively popular in (science) fiction. The formal sciences have inspired, for example, imaginary languages, such as Orwell’s Newspeak. The natural sciences have been exploited through fictional spoof papers, such as Asimov’s ‘thiotimoline’ surveys. Regarding the human sciences, historiographical writing has been applied to imaginary histories (e.g, Wells’ The Shape of Things to Come). Actual ethnographic accounts have offered a model for world-building in the descriptive mode (Borges, etc.) whereas the discourse of philology has served to underpin the mock factuality of fantastic books (Lovecraft’s Necronomicon). A text conflating the concepts and rhetoric of these three main types of science using the framework of a model scientific paper is Le Guin’s “‘The Author of the Acacia Seeds’ and Other Extracts from the Journal of the Association of Therolinguistics.” This is a significant piece of “science fiction,” both for its “fictional” contents and its “scientific” rhetoric, illustrating the value of ‘fictional non-fiction’ as a set of formal genres specially linked to science fiction, past and present.

[]: collections of stand-alone texts.

//: It separates different works by the same author.

/: It separates different versions of the same work.

Underlined works: read works.

Unless otherwise specified, even unread works have been verified regarding their genre.


Historiography as Fiction, Fiction as History: An Overview of the Use of Historiographical Discourse to Narrate Possible Futures since the 19th Century.

The double dimension —documentary and artistic—– of historiographical writing has been virtually overshadowed by the emphasis on the scientific nature of the discipline and its subsequent exclusion from the literary canon from the nineteenth century onwards. Fictional or imaginary history then appeared as a way to safeguard the literariness of history as a formal genre, using the rhetorical discourse of historiography to achieve an effect of historicity in texts that often have a satirical or cautionary intent. Nevertheless, most of them convey, first of all, considerations on the evolution of humanity and on its history as seen from a future perspective: in this kind of prospective historiography, future historians addressing their contemporary readership narrate their past history, which is our future one. By eschewing the narrative form of the novel and adopting instead that of historiography, these writers also broaden the temporality of historical consciousness: future events become as actual as any past ones, and they are surveyed following the historical method, with their fictionality hidden under the cloak of factual discourse. Moreover, the historical laws posited by the authors are shown in action in the future as well. Fictional historiography is not only literature, but also history —prospective history. Examples of this genre are relatively abundant in modern literatures. As literary products, most of them follow a similar writing method: the one prevalent in historiography of the age when they were produced. As historical reflections, they usually have widely different approaches on the future course of humankind and on the forces that drive it along historical time, from past to future.

*: not verified.


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– Michael YOUNG (1915-2002), The Rise of the Meritocracy (1958).

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– Edgar PANGBORN (1909-1976), “The Good Neighbors” (1960), in [Good Neighbors and Other Strangers] (1972).

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– Leonard SHIFRIN, “The Withering Away of Welfare” (1970).

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– J. [James] G. [Graham] BALLARD (1930-2009), “The Greatest Television Show on Earth” (1972), “The Life and Death of God” (1976), “The Largest Theme Park in the World” (1989), “The Message from Mars” (1992), in [The Complete Short Stories] (2001).

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– John HACKETT (1910-1997), The Third World War (1978) / The Third World War: The Untold Story (1982).

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– John BRADLEY, The Illustrated History of War World Three (1982).

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– Brian STABLEFORD (1948-); David LANGFORD (1953-), The Third Millennium: A History of the World AD 2000-3000 (1985).

– Bruce STERLING (1954-), “Our Neural Chernobyl” (1988), in [Globalhead] (1992).

– W. [Walter] Warren WAGAR (1932-2004), A Short History of the Future (1989/1992/1999).

– Ton BARNARD (Deon GELDENHUYS), South Africa 1994-2004 (1991).

– Denise OKUDA, Michael OKUDA, Star Trek Chronology (1993).

– Ted CHIANG (1967-), “The Evolution of Human Science” (2000), in [Stories of Your Life and Others] (2002).

– Daniel WALLACE, Kevin J. ANDERSON (1962-), Star Wars: The Essential Chronology / Star Wars: The New Essential Chronology (2000/2005).

– Gregory BENFORD (1941-), “Applied Mathematical Theology” (2006), in [Anomalies] (2012).

– James KRASKA, “How the United States Lost the Naval War of 2015” (2010).

– Naomi ORESKES (1958-); Erik M. CONWAY (1965-), The Collapse of Western Civilization (2014).

– Berilo NEVES (1899-1974), “O divórcio de Adão e Eva”, “A derrota de Marte”, in [A Mulher e o Diabo] (1931).

– Antônio GOMES NETO (1904-1937), “O país que ninguém sonhou”, in [A Vida Eterna] (1932).

– António de MACEDO (1931-2017), “As baratas morrem de costas” (1999), in [O Cipreste Apaixonado] (2000).

– Arturo LEZCANO (1939-), “Utopia” (1991), in [Os dados de Deus] (1994).

– Nilo María FABRA (1843-1903), “El desastre de Inglaterra in 1910”, in [Por los espacios imaginarios (con escalas in la Tierra)] (1885) // “La guerra de España con los Estados Unidos”, in [Presente y futuro] (1897) // “La Yankeelandia. Geografía e Historia en el siglo XXIV” (1898).

– Justo S. [Sanjurjo] LÓPEZ DE GOMARA (1859-1923), “La ciudad del siglo XXX”, in [Locuras humanas] (1886).

– Ignacio FOTHERINGHAM (1842-1925), Historia de lo que no ha sucedido. La guerra de 1895-96 (como I. Ache Effe, 1894).

– Manuel MONTERO Y RAPALLO (1845-1907), “La batalla naval de Manila” (1896).

– Pío BAROJA (1872-1956), “La república del año 8 y la intervención del año 12” (1903).

– Francisco NAVARRO LEDESMA (1869-1905), “Las muertes futuras: El hippoide” (1904) // “Heterobulia” (1905).

– Amado NERVO (Juan Crisóstomo RUIZ, 1870-1919), “La última guerra”, in [Almas que pasan] (1906).

– Domingo CIRICI VENTALLÓ (1876-1917); José ARRUFAT MESTRES, La república española en 191… (1911).

– Miguel de UNAMUNO (1864-1936), “¡Viva la introyección!”, in [El espejo de la muerte] (1913).

– Marcos Rafael BLANCO BELMONTE (1871-1936), “El ocaso de la Humanidad” (1918).

– Manuel CHAVES NOGALES (1897-1944), “El desastroso fin de la humanidad”, in [Narraciones maravillosas y biografías ejemplares de algunos grandes hombres humildes y desconocidos] (1920).

– Julio GARMENDIA (1898-1977), “Cuando pasen 3.000 años más…” (1923) // “La máquina de hacer ¡pu! ¡pu! ¡puuu!”, in [La hoja que no había caído en su otoño] (1979).

– Enrique MÉNDEZ CALZADA (1898-1940), “La sublevación de las máquinas”, “La isla del último borracho”, “Triste historia del papa Inocencio Veintinueve”, in [Abdicación de Jehová y otras patrañas] (1929).

– Pablo PALACIO (1906-1947), “Comentario del año 1957” (1932).

– Julio CORTÁZAR (1914-1984), “Los limpiadores de estrellas” [1942], in [La otra orilla] ([1945] 1995).

– Tomás BORRÁS (1891-1976), “Algo faltaba” (como Voracs Tamas), in [Antología de los Borrases] (1950).

– Antonio CASTRO LEAL (1896-1981), “Una historia del siglo XX” (1955), in [El laurel de San Lorenzo] (1959).

– Jorge CAMPOS (Jorge Renales Fernández, 1916-1983), “La otra luna” (1965), “La bomba del pequeño país” (1973), in [Bombas, astros y otras lejanías] (1992).

– Fernando QUIÑONES (1930-1998), “Un texto escolar sobre OH”, in [La guerra, el mar y otros excesos] (1966).

– Francisco GARCÍA PAVÓN (1919-1989), “El mundo transparente”, in [La guerra de los dos mil años] (1967).

– Ramón SIERRA [BUSTAMANTE] (1898-1988), Anales de la IV República Española (1967).

– Joaquín Esteban PERRUCA (1926-1989), “El deshielo”, “Los profetas”, in [Cuentos del último día] (1973).

– Rafael LLOPIS (1933-), “Ejercicio de un colegial del futuro” (1978).

– René AVILÉS FABILA (1940-2016), “Las gorgonas o del vanguardismo en el arte”, “Hacia el fin del mundo”, “Milagros televisados”, “Reportaje de un invento extraordinario o la decadencia de los EUA”, in [Hacia el fin del mundo] (1969) and [Fantasías en carrusel] (1978/1995/2001) // “Megalópolis”, in [Los oficios perdidos] (1983) and [Fantasías en carrusel] (1995/2001).

– J. [Juan] J. [José] BENÍTEZ (1946-), “Crónica de pasado mañana”, in [Sueños] (1982).

– Domingo SANTOS (Pedro Domingo Mutiñó, 1941-2018), “El síndrome de Lot”, in [No lejos de la Tierra] (1986).

– José FERRATER MORA (1912-1991), “Reivindicación de Babel” (1991).

– Nuria AMAT (1950-), “Nuevo mundo”, in [Monstruos] (1991).

– José CUERVO ÁLVAREZ (1962-), “Tercer milenio: multinacional, energía y migración” (1999).

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– Carlos SÁIZ CIDONCHA (1939-2018), Historia del futuro (2004).

– Rafael L. BARDAJÍ, “Iberia 2040” (2005).

– Juan IBARRONDO (1962-), Retazos de la red (2005).

– Manuel VILAS (1962-), “Primer viaje a la fotosfera del Sol”, in [España] (2008).

– Rodolfo MARTÍNEZ (1965-), “Una cronología de Drímar”, in [Cabos sueltos] (2010).

– Juan Antonio FERNÁNDEZ MADRIGAL (1970-), “Cronología pre-Umma”, in Fragmentos de burbuja (2010).

– Andrés NEUMAN (1977-), “” (2012).

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– Rosa MONTERO (1951-), “Apéndice documental”, in El peso del corazón (2015).

– Rafel Vallès i Roderich (Frederic PUJULÀ I VALLÉS, 1877-1962), “La fi de la segona República española” (1904).

– Manuel de MONTOLIU (1877-1961), “Un somni” (1906).

– Nicolau M. RUBIÓ I TUDURÍ (1891-1981), “La gran sotragada”, in [Un crim abstracte o el jardiner assassinat] (1965).

– Ramon COMAS I MADUELL (1935-1978), “L’evaporació”, in [Rescat d’ambaixadors] (1970).

– Joan RENDE I MASDEU (1943-), “Notícia succinta d’assaig de fi del món”, in [Sumari d’homicida] (1978).

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– Màrius SERRA (1963-), Amnèsia (1987).

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– Felisberto HERNÁNDEZ (1902-1964), “Acunamiento”, in [Libro sin tapas] (1929).

– Vicente HUIDOBRO (1893-1948), “El gato con botas y Simbad el marino o Badsim el marrano”, in [Tres inmensas novelas] (1935).

– Carlos FUENTES (1928-2012), “En defensa de la Trigolibia”, in [Los días enmascarados] (1954).

– Antonio CASTRO LEAL (1896-1981), “La literatura no se cotiza” (1937), in [El laurel de San Lorenzo] (1959).

– Álvaro de LAIGLESIA (1922-1981), “Continúa el congreso pro-paz”, in [El baúl de los cadáveres] (1948).

– Segundo SERRANO PONCELA (1912-1976), “El filántropo” (1965), in [Los huéspedes] (1968).

– Manuel MUJICA LÁINEZ (1910-1984), Crónicas reales (1967).

– Manuel DERQUI (1921-1973), “Sigue Poeta” (1969).

– Alberto CAÑAS (1920-2014), “La terrible revolución que se venía”, in [La exterminación de los pobres y otros pienses] (1974).

– Juan GARCÍA HORTELANO (1928-1992), “Cuestiones flabelígeras”, in [Mucho cuento] (1987).

– Fernando U. SEGOVIA ¿(Angélica GORODISCHER, 1929-)?, “Historia de la fragua (para la escuela media)” (1988).

– Antonio MENCHACA (1921-2002), “El rascacielos”, in [Amor siempre asediado y otros relatos] (1989).

– José ELGARRESTA (1945-), “La república feliz de Maranchón”, in Cutrelandia: La República de las Letras (2005).

– David ARIAS (1965-), “Que tu pie izquierdo no sepa lo que hace el derecho”, in [Horrores cotidianos] (2007).

– Iban ZALDUA (1966-), “La Bella Durmiente: una historia económica”, in [Porvenir] (2007).

– Àngel FERRAN (1892-1971), “De la prehistòria a la civilització” (1928).

– Pere CALDERS (1912-1994), “L’espiral” (1956), in [Tots els contes] (1968) // “Reportatge del dia repetit”, in [Demà, a les tres de la matinada] (1959) // “La rebeŀlió de les coses”, “Esport i ciutadania”, in [Invasió subtil i altres contes] (1978) // “Tot queda a casa”, in [Un estrany al jardí] (1985).

– George VILLELONGUE, “La légende de la guillotine” (1887).

– Gabriel de LAUTREC (1867-1938), “Le mur”, in [Poèmes en prose] (1898) / [La Vengeance du portrait ovale] (1922).

– Marcel MARIEN (1920-1993), “Le temps mort”, in [Les Fantômes du château des cartes] (1981).

– Ursicin G. [Gion] G. [Gieli] DERUNGS (1935-), “Ils plats”, in [Il cavalut verd ed auter] (1988).

– Giovanni PAPINI (1881-1956), “Mahavir o della populazione crescente” (1949), in [Le pazzie del poeta] (1950).

– Giovanni CAVICCHIOLI (1908-1979), «Il gran traforo», in [Favole] (1951).

– Alberto MORAVIA (1907-1990), “Il diavolo in campagna”, in [L’epidemia] (1956).

– Primo LEVI (1919-1987), “Censura in Bitinia” (1961), in [Storie naturali] (1966).

– Lia WAINSTEIN (1919-2001), “I Cacciatori di Teste”, in [Viaggio in Drimonia] (1965).

– Roberto VACCA (1927-), “Incomunicabilità 1”, in [Esempi di avvenire] (1965) and [Carezzate con terrore la testa dei vostri figli] (1992) – “Incomunicabilità 2”, in [Carezzate con terrore la testa dei vostri figli] (1992).

– Umberto ECO (1932-2016), “Il pensiero di Brachamutanda”, in [Il secondo diario minimo] (1992).

– Eugen IONESCU / Eugène IONESCO (1909-1994), “Trifoiul cu patru foi”, in [Nu] (1934).

– Ştefan TITA (1905-1977), “Războiul celor 43 de zile”, “Rasa pură”, “Protocolul de la Modena”, in [Avantajul de a fi câine] (1938).

– Gheorghe SĂSĂRMAN (1941-), “Tropaeum”, “Seneţia”, “Protopolis”, “Castrum”, “Musaeum”, “Homogenia”, “Cosmovia”, “Geopolis”, in [Cuadratura cercului] (1975/2001).

– Mihai MĂNIUŢIU (1954-), “Erezia”, “Cautătorii de comori din Eldo”, in [Un zeu aproape muritor] (1982).


– William Morton WHEELER (1865-1937), “The Termitodoxa, or, Biology and Society” (1920).

– Julian HUXLEY (1887-1975), “Philosophical Ants”, in [Essays of a Biologist] (1923).

– Jacquetta HAWKES (1910-1996), “Export and Die”, in [Fables] ([A Woman as Great as the World and Other Fables]) (1953).

– E. [Edward] O. [Osborne] WILSON (1929-), “Trailhead” (2010).

– Joaquim Maria MACHADO DE ASSIS (1839-1908), “A Sereníssima República”, in [Papéis Avulsos] (1882).

– Adolfo PÉREZ ZELASCHI (1920-2005), “Historia general de las hormigas” (como Harald Heggstad), in [Más allá de los espejos] (1949).

– Juan José ARREOLA (1918-2001), “El prodigioso miligramo”, in [Confabulario] (1952).

– J. [Juan] J. [José] BENÍTEZ (1946-), “El mundo de los topos”, in [Sueños] (1982).

– Roger AVERMAETE (1893-1988), La Conjuration des chats (1919-1920).

– Carlo CASSOLA (1917-1987), “La comunità dei camosci e degli stambecchi”, in [La morale del branco] (1980).


– James William BARLOW (1826-1913), History of a World of Immortals without a God (como Antares Skorpios, 1891) / The Immortals’ Great Quest (1909).

– Edward WELLEN (1919-2011), “Origins of Galactic Slang” (1952) // “Origins of Galactic Law” (1953) // “Origins of the Galactic Short-Snorter” (1960) // “Origins of Galactic Fruit Salad” (1962).

– Frank HERBERT (1920-1986), “The Ecology of Dune”, “The Religion of Dune”, “Report on Bene Gesserit Motives and Purposes”, in Dune (1965).

– Brian ALDISS (1925-), “Heresies of the Huge God” (1966), in [The Moment of Eclipse] (1970).

– Iain M. BANKS (1954-2013), “The Idiran-Culture War”, in Consider Phlebas (1987).

– Ralph HORSLEY, “The Battle of Nîs-Pazar” (1999).

– Ursula K. [Kroeber] LE GUIN (1929-2018), “Wake Island”, in [Changing Planes](2002).

– George R. R. MARTIN (1948-); Elio Miguel GARCÍA Jr. (1978-); Linda Maria ANTONSSON (1974-), The World of Ice & Fire: The Untold History of Westeros and the Game of Thrones (2014).

– José NUNES DE MATTA (1849-1946), “História geral do Planeta Marte”, in História autêntica do Planeta Marte (como Henri Mongolfier, 1921).

– Mário-Henrique LEIRIA (1923-1980), “Casos de direito galático”, in [Casos de direito galático. O mundo inquietante de Josela (fragmentos)] (1975).

– Charlemagne-Ischir DEFONTENAY (1814-1856), Star ou Ψ de Cassiopée (1854).

– Carlo FRABETTI (Italia, 1945-), “Dialexis” (1972).

– Max SOLOMON (1914-2005), “Cerul de sticlă” (1965), in [La 90] (2004).

Related fictional historiographic genres


– Nilson MARTELLO, “Da Mayor Speriencia” (1965).

– Alphonse RABBE (1784-1829), “Anecdote du IXe siècle”, in [Album d’un pessimiste] (1836).

– ¿Ignazio PILLITO (1806-1895)?, [Pergamene, codici e fogli cartacei d’Arborea] (Cartas de Arborea / Carte d’Arborea) (1863).

– Giacomo LEOPARDI (1798-1837), Martirio de’ Santi Padri del Monte Sinai e dell’eremo di Raitu (1822).

– Monaldo LEOPARDI (1776-1847), Memoriale di frate Giovanni (1828/1833).

– Giuseppe CUGNONI (1824-1908), Vita di Arhot monaco (1884).

– ¿Constandin SION (1795-1862)?, Izvodul spătarului Clănău (Cronica lui Huru) (1856).

– George TOPÂRCEANU (1886-1937), “Domnia lui Ciubăr Vodă”, in [Scrisori fără adresă] (1930).


– James Branch CABELL (1879-1958), The Lineage of Lichfield (1922).


– Samuel BUTLER (1835-1902), “Memoir of the Late John Pickard Owen”, in The Fair Heaven (1873).

– Ambrose BIERCE (1842-¿1914?), “John Smith, Liberator (from a Newspaper of the Far Future)” (1873).

– Jack LONDON (John London, 1876-1916), “The Enemy of All the World” (1908), in [The Strength of the Strong] (1911).

– William George JORDAN (1864-1928), “The Personal Side of Larrovitch”, in Feodor Vladimir Larrovitch, an Appreciation of his Life and Works (1918).

– H. [Howard] P. [Phillips] LOVECRAFT (1890-1937), “Ibid” (1938).

– Isaac ASIMOV (1920-1992), “The Man Who Made the 21st Century” (1965).

– Frank HERBERT (1920-1986), “The Almanak en-Sharaf (Selected Excerpts of the Noble Houses)”, in Dune (1965).

– William S. [Stuart] BARING-GOULD (1913-1967), Nero Wolfe of West Thirty-Fifth Street (1969).

– C. [Cyril] Northcote PARKINSON (1909-1993), *The Life and Times of Horatio Hornblower (1970) // *Jeeves: A Gentleman’s Personal Gentleman (1979).

– Steven MILLHAUSER (1943-), Edwin Mullhouse: The Life and Death of an American Writer 1943-1954, by Jeffrey Cartwright (1972).

– Philip José FARMER (1918-2009), Tarzan Alive (1972) // *Doc Savage: His Apocalyptic Life (1973).

– John D. [Drury] CLARK (1907-1988), P. [Peter] Schuyler MILLER (1912-1974), L. [Lyon] Sprague de CAMP (1907-2000), “An Informal Biography of Conan the Cimmerian” (1979).

– David T. ST. ALBANS (David Thomas Pudelwitts, 1954-), “The Life of the Master (A Biography of Abdul Alhazred by His Student, El-Rashi)” (1984).

– Arthur C. CLARKE (1917-2008), “The Steam-Powered Word Processor” (1986), in Astounding Days: A Science Fictional Autobiography (1989).

– Anne HART, The Life and Times of Miss Jane Marple (1985) // The Life and Times of Hercule Poirot (1990).

– William BOYD (1952-), Nat Tate: An American Artist 1928-1960 (1998).

– Andrew MOTION (1952-), The Invention of Dr Cake (2003).

– S. J. HIRONS (1973-), [“Pages Torn from Eminent Phantasists: A New Edition”] (2013).

– Shay AZOULAY, “Jacob Wallenstein, Notes for a Future Biography” (2013).

– Jorge de SENA (1919-1978), “Um imenso inédito semi-camoniano, e o menos que adiante se verá”, in As Quybyrycas (1972).

– Luís Filipe SILVA (1970-), [“Introduções”], in [Os Anos de Ouro da Pulp Fiction Portuguesa] (2011).

– Carlos CASARES (1941-2002), [Os escuros soños de Clío] (1979).

– Silverio LANZA (Juan Bautista Amorós, 1856-1912), Noticias biográficas acerca del Excmo. Sr. Marqués del Mantillo (1889).

– Rafael Zamora y Pérez de Urría, marqués de VALERO DE URRÍA (1861-1908), “Biografía de D. Iscariotes Val de Ur diligentemente escrita por su discípulo y albacea”, in [Crímenes literarios] (1906).

– José María SÁNCHEZ MAZAS (1894-1966), “La famosa noche de Robinson Crusoe en Pamplona” (1929).

– José María SALAVERRÍA (1873-1940), Vida de Martín Fierro, el gaucho ejemplar (1934).

– Jorge Luis BORGES (1899-1986), “Biografía de Tadeo Isidoro Cruz (1829-1874)” (1944), in [El Aleph] (1949).

– Juan José ARREOLA (1918-2001), “Sinesio de Rodas”, in [Confabulario] (1952).

– Max AUB (1903-1972), Jusep Torres Campalans (1958).

– Juan PERUCHO (1920-2003), [“Las figuras”], in [Galería de espejos sin fondo] (1963).

– Rafael PÉREZ ESTRADA (1934-2000), “A modo de biografía y más”, in Revelaciones de la Madre Margarita Amable del Divino Niño del Sí (1970).

– Pedro GÓMEZ VALDERRAMA (1923-1992), “El maestro de la soledad”, in [El retablo de Maese Pedro] (1973) and [Más arriba del reino] (1980).

– PALOMA DÍAZ MAS (1954-), [Biografías de genios, traidores, sabios y suicidas, según antiguos documentos] (1973).

– Rafael LLOPIS (1933), “Historia y leyenda de Abdelesar”, in [El Novísimo Algazife o Libro de las Postrimerías] (1980).

– Santiago BERUETE (1961-); Fernando Luis CHIVITE (1959-), “Anquises, el pesimista”, “El idealismo intrascendental”, “Vida de un poeta apócrifo”, in [Los furores inútiles] (1990).

– Felipe BENÍTEZ REYES (1960-), [Vidas improbables] (1995/2009).

– Roberto BOLAÑO (1953-2003), [La literatura nazi en América] (1996).

– Marcos Ricardo BARNATÁN (1946-), “Noticia de Gabriel Zapata”, in [La República de Mónaco] (2000).

– Pedro UGARTE (1963-), “El deterioro”, “Es demasiado para mí, dijo el ranchero”, in [Materiales para una expedición] (2002).

– Braulio ORTIZ POOLE (1974-), “¿Fue Lucy Melville víctima de una maldición egipcia?”, in [Biografías bastardas] (2005).

– Jesús COBO (1946-), “Crucigramas antiguos”, in [Veinte cuentos a deshora] (2008).

– Iban ZALDUA (1966-), “El canon de la literatura vasca”, in La patria de todos los vascos (2008).

– Rodolfo MARTÍNEZ (1965-), “Laoché Hernández, artesano de la imaginación”, in [El carpintero y la lluvia] (2010).

– Xuan BELLO (1965-), [Pantasmes, mundos, laberintos] (1996).

– José Luis RENDUELES (1972-), “Los meyores cuentos del mundu”, in [Los meyores cuentos del mundu y otres proses mongoles] (2007).

– Joan PERUCHO (1920-2003), [Històries apòcrifes] (1974).

– Pere CALDERS (1912-1994), “Filomena Ustrell (1916-1962)”, in [Invasió subtil i altres contes] (1978).

– Carme RIERA (1948-), “Informe”, in [Contra l’amor en companyia i altres relats] (1991).

– A. MUNNÉ-JORDÀ (1948-), “En el centenari de Valerià Cabrera i Prats” (1981) / “En homenatge a Valerià Cabrera i Prats”, in [El mirall venecià] (2008).

– Vicenç PAGÈS JORDÀ (1963-), [“Escriptors inèdits”], “Biografia d’Àngel Mauri”, in [El poeta i altres contes] (2005).

– Prosper MÉRIMÉE (1803-1870), “Notice sur Clara Gazul”, in [Théâtre de Clara Gazul, comédienne espagnole] (1825) // “Notice sur Hyacinthe Maglanovich”, in [La Guzla ou choix de poésies illyriques recueillies dans la Dalmatie, la Bosnie, la Croatie et l’Herzégowine] (1827).

– Charles-Augustin SAINTE-BEUVE (1804-1869), “Vie de Joseph Delorme”, in Vie, poésies et pensées de Joseph Delorme (1829).

– Évariste BOULAY-PATY (1804-1864), “Vie”, in Élie Mariaker (1834).

– Pierre LOUŸS (1870-1925), “Vie de Bilitis”, in [Las Chansons de Bilitis] (1895).

– Paul-Jean TOULET /1867-1920), Monsieur du Paur, homme public (1898/1920).

– Valery LARBAUD (1881-1957), “Biographie de M. Barnabooth par X. M. Tournier de Zamble”, in [Poèmes par un riche amateur ou Œuvres françaises de M. Barnabooth] (1908).

– Pierre de NOLHAC (1859-1936), “Bousquillot, sa vie et ses œuvres”, in [Contes philosophiques] (1932).

– Gustave FLAUBERT (1821-1880), “Vie et travaux du R.P. Cruchard” (1943).

– Yves GANDON (1899-1975), “Tsing Pann Yang, la vie et l’œuvre”, in [La Terrasse des désespoirs] (1943) / [Le Pavillon des délices regrettées] (1947).

– Paul-Louis THIRARD, “Une question mal connue: les débuts de Maurice Burnan” (1955).

– Jean DUTOURD (1920-2011), “Ludwig Schnorr ou la marche de l’histoire” (1958), in [Les Dupes] (1959).

– Didier ANZIEU (1923-1999), “Le nécrologiste”, in [Contes à rebours] (1975/1987/1995).

– Pascal QUIGNARD (1948-), “Vie d’Apronenia Avitia”, in Les Tablettes de buis d’Apronenia Avitia (1984).

– Dominique NOGUEZ (1942-), Les Trois Rimbaud (1986).

– Pierre GRIPARI (1925-1990), “Vie amoureuse de Jean Valjean”, in [Contes cuistres] (1987) // “La passion de John Bow”, in [Le Musée des apochryphes] (1990).

– George PEREC (1936-1982), “Une Amitié scientifique et littéraire: Léon Burp et Marcel Gotlib suivi de Considérations nouvelles sur la vie et l’œuvre de Romuald Saint-Sohaint”, in [Cantatrix sopranica L. et autres écrits scientifiques] (1991).

– Roland C. WAGNER (1960-2012), H. P. L. (1890-1991) (1995).

– Éric CHEVILLARD (1964-), “Chronologie”, in [L’Œuvre posthume de Thomas Pilaster] (1999).

– Samir BOUADI; Agathe COLOMBIER-HOCHBERG, [26,5 auteurs qui n’existent pas mais qu’il faut absolument avoir lus] (2008).

– Bernard QUIRINY (1978-), “Quelques écrivains, tous morts”, in [Contes carnivores] (2008).

– Yves SAVIGNY (Jean-Benoît PUECH, 1947-), Une biographie autorisée (2010).

– Yann DALL’AGLIO, Vies, sentences et doctrines des sages imaginaires (2014).

– Juan Rodolfo WILCOCK (1919-1978), [La sinagoga degli iconoclasti] (1972).

– Sebastiano VASSALLI (1941-), 3012: l’anno del profeta (1995).

– Luigi MALERBA (1927-2008), [Biografie immaginarie] (2014).

– Mihai MĂNIUŢIU (1954-), “Sibila Sy”, in [Un zeu aproape muritor] (1982).


– Edgar Allan POE (1809-1849), “The Unparalleled Adventure of One Hans Pfaall” (1835), in [Tales of the Grotesque and the Arabesque] (1840) // “The Balloon-Hoax” (1844).

– George Tomkyns CHESNEY (1830-1895), The Battle of Dorking (1871).

– Maximilian MOLTRUHN, *The Other Side at the Battle of Dorking (1871).

– Hugh Oakley ARNOLD-FOSTER (1855-1909), “In a Conning Tower: How I Took HMS Majestic into Action” (1888).

– Ronald KNOX (1888-1957), Memories of the Future (1923).

– Neil BELL (Stephen Southwold, 1887-1964), The Gas War of 1940 / Valiant Clay (1931/1934).

– Frederick Philip GROVE (1879-1948), Consider Her Ways (1947).

– Michael CRICHTON (1942-2008), Eaters of the Dead (1976).

– David LANGFORD (1953-), An Account of a Meeting with Denizens from Another World, 1871 by William Robert Loosley (1979).

– Daniel Snowman (ed.), [If I Had Been…: Ten Historical Fantasies] (1979).

– David SELBOURNE (1937-), The City of Light (1997).

– Joaquim Maria MACHADO DE ASSIS (1839-1908), “O segredo do bonzo”, in [Papéis Avulsos] (1882).

– Miguel VALE DE ALMEIDA (1960-), “Evolução” (2006).

– Ángel GANIVET (1865-1898), La conquista del reino de Maya (1897).

– Félix de AZÚA (1944-), Mansura (1984).

– Rafael SÁNCHEZ FERLOSIO (1927-2019), El testimonio de Yarfoz (1986).

– Juan ESLAVA GALÁN (1948-), En busca del unicornio (1987).

– Marcos Ricardo BARNATÁN (1946-), “Crónica de Isaac Bar Nathan”, in [El horóscopo de las infantas] (1988) and [La República de Mónaco] (2000).

– Avel·lí ARTÍS-GENER (1912-2000), Palabras de Opoton el viejo (1992).

– Juan GÓMEZ BÁRCENA (1984-), “Cuaderno de bitácora” – “Cuaderno de bitácora II”, in [Los que duermen y otros relatos] (2012).

– Nicolau Maria RUBIÓ I TUDURÍ (1891-1981), “Gzwrrawtzicxm”, in [Un crim abstracte o el jardiner assassinat] (1965).

– Avel·lí ARTÍS-GENER (1912-2000), Paraules d’Opòton el Vell (1968).

– Josep LOZANO (1948-), “El rei Turigi” (2010), in [Després de les tenebres i altres narracions] (2013).

– Maurice COUSIN, comte de Courchamps (¿1777?-1859), Souvenirs de la marquise de Créquy, 1710 à 1802 (1834-1836).

– Carlo ROSSI, Il racconto di un guardiano di spiaggia (1872).


– P. H. COLOMB (1831-1899), The Great War of 189- (1892).

– Ambrose BIERCE (1842-¿1914?), “The Great Strike of 1895” (1895).

– John D. [Dawson] MAYNE (1828-1917), The Triumph of Socialism and How It Succeeded (1908).

– Philip GUEDALLA (1889-1944), “If the Moors in Spain Had Won” (1931).

– Ronald KNOX (1888-1957), “If the General Strike Had Succeeded” (1931).

– Hilaire BELLOC (1870-1953), “If Drouet’s Cart Had Stuck” (1931).

– Thornton WILDER (1897-1975), The Ides of March (1948).

– Various authors, [Preview of the War We Do Not Want] (1951).

– Anthony TOWNE, “God is Dead in Georgia” (1966), in Excerpts from the Diaries of the Late God (1968).

– David GERROLD (Jerrold David Friedman, 1944-), “How We Saved the Human Race”, in [With a Finger in My I] (1972).

– Whitley STRIEBER (1945-); James KUNETKA, Warday and the Journey Onward (1984).

– Jonathon PORRITT (1950-), The World We Made (2013).

– Miguel VALE DE ALMEIDA (1960-), “A Natureza Humana” (1999).

– Arturo LEZCANO (1939-), “Os mortos, en vivo”, in [Só os mortos soterram os seus mortos] (2001).

– Benito PÉREZ GALDÓS (1843-1920), “Crónicas futuras de Gran Canaria” (1866).

– [La Vanguardia: 28 de diciembre de 1989] (1889).

– José Luis GARCI (1944-), “Efemérides”, in [Bibidibabidibu] (1970) and [La Gioconda está triste y otras extrañas historias] (1976) // “Última crónica desde Houston”, in [La Gioconda está triste y otras extrañas historias] (1976).

– Francisco AYALA (1906-2009), [“Recortes del diario Las Noticias, de ayer”], in [El jardín de las delicias] (1971).

– Antonio LARRETA (1922-), Volavérunt (1980).

– Luis LÓPEZ NIEVES (1950-), “Seva” (1983).

– Óscar de LA BORBOLLA (1949-), “La emancipación de los locos”, “Los suicidas novedosos”, “Se acabó el futuro”, “Viva la inteligencia, muera la tele”, “Un nuevo partido político”, “¡Llueve sangre!”, “La puerta de la muerte”, “El gran descubrimiento”, “La ley de la compensación universal”, in [Ucronías] (1989).

– Javier FERNÁNDEZ (1971-), “Cero absoluto”, in Cero absoluto (2005).

– Antonio RÓMAR (1981-); Pablo MAZO AGÜERO (1977-), “Científicos y militares toman el control de los muertos de Castañar” (2014).

– Patrícia GABANCHO (1952-2017), Crònica de l’independència (2008).

– Paschal GROUSSET (1844-1909), Le Rêve d’un irréconciliable (1869).

– Auguste de VILLIERS DE L’ISLE-ADAM (1838-1889), “Le Couronnement de M. Grévy” (1887) / “La couronne présidentielle”, in [Chez les passants] (1889).

– Iwan GILKIN (1858-1924), “San Francisco’s Herald”, in Jonas (1900).

– *Les Ailes de la victoire (1913).

– Louis BAUDRY DE SAUNIER (1865-1938), *Comment Paris a été détruit en six heures le 20 avril 1924 (Le jour de Pâques) (1921).

– Nicolas Mª RUBIO (1891-1981), Le Réveil de l’Afrique (1936).

– Antoine BELLO (1970-), Éloge de la pièce manquante (1998).

– Benoît PEETERS (1956-), Les Portes du possible (2005).

– Jean-Pierre LAIGLE (Jean-Pierre MOUMON, 1947-), “Les Trouble-fête” (2008).

– Gérard de SENNEVILLE, “Les moustiques de Pissevaches”, in [Le Merveilleux Voyage en France d’Omar ben Alala et autres contes du futur] (2002) //“Nouvelles brèves”, “Changement de plaques”, “La politique littéraire commune (PCL)”, “Dopage dans la course à la Présidence”, in [Le Voyage en enfer d’Omar Ben Ali et autres contes du futur] (2011).

– Cornelius OMESCU (1936-2001), “Oamenii albaștri”, in [Întâmplări de necrezut (Parodii ştiinţifico-fantastice)] (1975) // [Lumea de poimâine: Știri din secolul 22] (1982).


– William TENN (1920-2010), “The Liberation of Earth” (1953), in [Of All Possible Worlds] (1955).

-Max BROOKS (1972-), World War Z (2006) // “Closure, Limited” (2010).

– Howard BURMAN, Gentlemen at the Bat: A Fictional Oral History of the New York Knickerbockers and the Early Days of Base Ball (2010).

– John SCALZI (1969-), “Unlocked: An Oral History of Haden’s Syndrome” (2014).

– Òscar PÀMIES (1961-), [“Testimonis personals”] en [Com serà la fi del món] (1996).

– Camille MAUCLAIR (Camille Laurent Célestin Faust, 1872-1945), “La mort mécanique”, in [Les Clefs d’Or] (1897).

– Liviu RADU (1948-2015), Chestionar pentru doamne care au fost secretarele unor bărbaţi foarte cumsecade (2011).


– Grant ALLEN (1848-1899), “The Empress of Andorra” (1878), in [Strange Stories] (1884).

– Mark TWAIN (Samuel Langhorne Clemens, 1835-1910), The Secret History of Eddypus, the World-Empire [1901-1902], in [Fables of Man] (1972).

– E. [Elwyin] B. [Brooks] WHITE (1899-1985), “The Supremacy of Uruguay” (1933), in [Quo Vadimus or the Case for the Bicycle] (1939).

– William TENN (Philip Klass, 1920-2010), “The Masculinist Revolt” (1965), in [The Wooden Star] (1968).

– Mary GENTLE(1956-), Ash: A Secret History (1999).

– José María PEMÁN (1897-1981), “Historia del buen rey Totem” (1925), in [Cuentos sin importancia] (1926).

– Sergio RAMÍREZ (1942-), “Los graneros del Rey”, “La banda del Presidente”, in [Cuentos] (1963).

– Manuel MUJICA LÁINEZ (1910-1984), De milagros y melancolías (1968).

– Angélica GORODISCHER (1928-), “Acerca de ciudades que crecen descontroladamente”, in [Kalpa imperial] (1983).

– Eduardo Ladislao HOLMBERG (1852-1937), Olimpio Pitango de Monalia (1994 [1915]).

– Luis Antonio de VILLENA (1951-), Huesos de Sodoma (2004).

– Pau FANER (1949-), Potser només la fosca (1979).

– Anatole FRANCE (François Anatole Thibault, 1844-1924), L’Île des Pingouins (1908).

– Marcel THIRY (1897-1977), “Le concerto pour Anne Queur” (1949), in [Nouvelles du grand possible] (1960).

– Jacques PRÉVERT (1900-1977), Lettre des îles Baladar (1952).

– Sylvain JOUTY (1949-), “Queen Kong” (1994), in [Queen Kong] (2001).

– Toni BERTHER (1927-2015), “Ils ratuns vegnan” (1951/1955), in Carstgauns e ratuns (1983).

– Ursicin G. [Gion] G. [Gieli] DERUNGS (1935-), “Il papa che saveva buca crer en Diu” (1987), în [Il cavalut verd ed auter] (1988).

– Giovanni FERRUCCI, [Novelle atlantide] (1956).

– Nino FADDA (1940-), Pissighende su tempus benidore (2003).

– Ovid S. CROHMĂLNICEANU (Moise Cohn, 1921-2000), “Tratatul de la Neuhof”, in [Istorii insolite] (1980).


– August NIEMANN (1839-1919), *Der Weltkrieg – Deutsche Träume (1904).

– Carl BLIEBTREU (1859-1928), *Die ‘Offensiv-Invasion’ gegen England (1907).

– Gustav Adolf MELCHERS, Der Vergangenheit unserer Zukunft? (1908).

– Adolf SOMMERFELD (1870-1931), Frankreichs Ende im Jahr 19?? (1912/1914).

– Max HEINRICHKA, *100 Jahre deutsche Zukunft (1913).

– FERENCZY Árpád (1877-1930), Timotheus Thümmel und seine Ameisen (1923).

– L. DETRE (Ladislaus Deutsch, 1874-1939), Kampf Zweier Welten (1935).

– Karl BRUGGER (1941-1985), Die Chronik von Akakor (1976).

– Wolfgang HILDESHEIMER (1916-1991), “1956 – Ein Pilzjahr”, in [Lieblose Legenden] (1952) // Marbot (1981).

SPECULATIVE JOURNALISTIC REPORT (REPORTAGE) in form of chronicles, interviews, witness reports, etc. combined by the journalist and told from his or her perspective

*: set in present times

– Whitley STRIEBER (1945-); James KUNETKA, Warday and the Journey Onward (1984).

– Afonso Henriques de LIMA BARRETO (1881-1922), *Os Bruzundangas (1923).

– Ramon COMAS I MADUELL (1935-1978), “L’evaporació”, in [Rescat d’ambaixadors] (1970).

– Jean JULLIEN (1854-1909), Enquête sur le monde futur (1909).

– Louis FOREST (1872-1933), *On vole des enfants à Paris (1909).

– Nicolas Mª RUBIO (1891-1981), Le Réveil de l’Afrique (1936).


It includes “urbogonies” or descriptions of imaginary cities

º: peoples from the archaeological past.

– Horace Mitchell MINER (1912-1993), “Body Ritual Among the Nacirema” (1956).

– Willard WALKER (1927-2009), “The Retention of Folk Linguistic Concepts and the ti’yčir Caste in Contemporary Nacireman Culture” (1970).

– Robert Alun JONES, “Myth and Symbol Among the Nacirema Tsigoloicos: A Fragment” (1975/1980).

– Ursula K. [Kroeber] LE GUIN (1929-2018), [“The Back of the Book”], in Always Coming Home (1985).

– Helene E. HAGAN (1939-), “The People of Niram” (1998), in [Fifty Years in America] (2013).

– Joel E. DIMSDALE, “The Nacirema Revisited” (2001).

– Benjamin ROSENBAUM (1969-), [Other Cities] (2003).

– FERREIRA GULLAR (José RIBAMAR FERREIRA, 1930-2016), [Cidades Inventadas] (1997).

– Octávio dos SANTOS (1965-), “Caminos de ferro”, in [Visões] (2003).

– Juan ITURRALDE Y SUIT (1840-1909), “La ínsula de los Penelópidas” (1892).

– Jorge Luis BORGES (1899-1986), “Tlön, Uqbar, Orbis Tertius” (1940), “La lotería en Babilonia” (1941), in [El jardín de senderos que se bifurcan] (1941) / [Ficciones] (1944) / “La secta del Fénix” (1952), in [Ficciones] (1956) // “El informe de Brodie”, in [El informe de Brodie] (1970) // “La secta de los Treinta”, in [El libro de arena] (1975).

– Miguel ESPINOSA (1926-1982), La filosofía política mandarinesca (1956).

– Cristóbal SERRA (1922-2012), Viaje a Cotiledonia (1965) – Retorno a Cotiledonia (1989).

– Héctor A. MURENA (1923-1975), “La evolución del trabajo”, in [El coronel de caballería y otros cuentos] (1971).

– Pedro GÓMEZ VALDERRAMA (1923-1992), “Los papeles de la Academia Utópica”, in [La procesión de los ardientes] (1973).

– René AVILÉS FABILA (1940-2016), “La importancia de ser mutilado”, in [La desaparición de Hollywood y otras sugerencias para principiar un libro] (1973) and [Fantasías en carrusel] (1978/1995/2001).

– Fernando DURÁN AYANEGUI (1939-), “Gloria in excelsis”, in [El benefactor y otros relatos] (1981).

– Ileana VICENTE [ARMENTEROS] (1946-), “Primer informe” (1981).

– Elia BARCELÓ (1957-), “Apuntes sobre el culto de la Dama Dragón”, in “La Dama Dragón” (1981), in [Sagrada] (1989).

– José FERRATER MORA (1912-1991), “Que trata de Corona, el país y los habitantes”, in Hecho en Corona (1986).

– Gloria MÉNDEZ (1969-), º“¿De dónde vienen los acosha?: Historia de un pueblo sin memoria”, º“Yad Hamrá: matrimonio y erótica acosha”, º“Los cram o el sistema Ana Kristeva”, in [El informe Kristeva] (1997).

– Federico JEANMAIRE (1957-), ºLos zumitas (1999).

– León ARSENAL (José Antonio Álvaro Garrido, 1960-), “Nota preliminar”, in Máscaras de matar (2004).

– Lola ROBLES (1963-), “Aanuk”, in El informe Monteverde (2005).

– Juan Ignacio FERRERAS (1929-2014), “La Nueva Era”, in La Gran Necrópolis (2006).

– Cristina PERI ROSSI (1941-), “Banderas”, “Suicidios S.A.”, “El patriotismo”, in [Cuentos reunidos] (2007).

– Sofía RHEI (Sofía GONZÁLEZ CALVO, 1978-), [Las ciudades reversibles] (2008).

– Mària Aurèlia CAPMANY (1918-1991), “Leviatan”, in [Com uma mà] (1958) / [Coses i noses] (1980).

– Nicolau Maria RUBIÓ I TUDURÍ (1891-1981), “Gzwrrawtzicxm”, in [Un crim abstracte o el jardiner assassinat] (1965).

– Mercè RODOREDA (1908-1983), [“Viatges a uns quants pobles”], in [Viatges i flors] (1980).

– Jordi GORT, [Extractes del manual de supervivencia estelar 3] (2014).

– Victor CONSIDÉRANT (1808-1893), Publication complète des nouvelles découvertes de Sir John Herschel dans le ciel austral et dans la Lune (1836).

– Paul VALÉRY (1871-1945), º“L’Île Xiphos” [1896], in [Histoires brisées] (1950).

– FRANC-NOHAIN (Maurice Étienne Legrand, 1873-1934), “Le Pays de l’Instar”, in [Le Pays de l’Instar] (1901).

– Marcel SCHWOB (1867-1905), º“Origines du journal: L’Île des Diurnales”, in [Mœurs des Diurnales: Traité de journalisme] (1903; como Loyson-Bridet).

– Henri MICHAUX (1899-1984), Voyage en Grande Garabagne (1936), Au pays de la magie (1941), Ici, Poddema (1946), in [Ailleurs] (1948) // “La secret de la situation politique”, in [Face aux verrous] (1951/1967).

– Pierre BETTENCOURT (1917-2006), La planète Aréthuse (1969), L’Homme-million (1969), Le Roi des méduses (1984/1991), Voyage sur la planète innommée (1990), in [Histoire naturelle de l’imaginaire] (2007).

– Didier ANZIEU (1923-1999), “Les esquimaux et les songes”, in [Contes à rebours] (1975/1987/1995).

– Gilbert LASCAULT (1934-), Un Îlot tempéré (1977) // Encyclopédie abrégée de lEmpire Vert (1983).

– Alain NADAUD (1948-2015), “Exil en Grande-Scripturie”, in [Voyage au pays des bords du gouffre] (1984).

– Sylvain JOUTY (1949-), “Les dieux de l’Illusion”, in [La Visite au tombeau de mes ancêtres] (1995) // “Les démons du galet” (2000), “Les Veustes”, in [Queen Kong] (2001).

– Bernard SIMONAY (1951-), “Étude sur Gwondà et la Vallée des Neuf Cités”, en [La Vallée des Neuf Cités] (2007).

– Pierre JOURDE (1955-), Carnets d’un voyageur zulu dans les banlieues en feu (2007).

– Bernard QUIRINY (1978-), “Quiproquopolis (Comment parlent les Yapous)”, in [Contes cannibales] (2008) // [“Dix villes”], in [Une collection très particulière] (2012) // “La capitale décapitée” en [Histoires assassines] (2015).

– Tobie NATHAN (1948-), “Glossaire en code natif”, in [L’Étranger ou la part de l’autre] (2014).

– Reto CARATSCH (1901-1978), “Il pajais dal vacuna”, “Eviva l’amur!”, “Il pro da la faira litteraria”, “S-chet patagon”, “Spiert e mazurca”, in La renaschentscha dals Patagons (1949).

– Giovanni PAPINI (1881-1956), “Racconto dell’isola”, in [Gog] (1931) // “Il regno dei Karseni” (1941), “Armuria” (1942), “I figli del sole” (1942), in [Foglie della foresta] (1946) // “La città della gioia” (1949), “Una strana città”, in [Le pazzie del poeta] (1950) // “Ascenzia”, in [Il libro nero] (1951).

– Alberto MORAVIA (1907-1990), “L’isola” (1940), “La vita è un sogno” (1944), “Paese senza morte”, “Mamamel e Vusitel”, in [L’epidemia] (1944/1956) // “Città dei mobili” (1947).

– Augusto FRASSINETI (1911-1985), “Prima lettera”, in [Misteri dei Ministeri] (1952/1974).

– Dino BUZZATI (1906-1972), “Un popolo felice”, in [Siamo spiacenti di] (1960/1975).

– Umberto ECO (1932-), “Industria e repressione sessuale in una società padana”, in [Diario minimo] (1963/1975) // “Come presentare in TV” (1987), in [Il secondo diario minimo] (1992).

– Lia WAINSTEIN (1919-2001), “Cittabella”, “Olindo Lindi: Viaggio in Drimonia”, in [Viaggio in Drimonia] (1965).

– Italo CALVINO (1923-1985), [Le città invisibili] (1972) // “Apologo sull’onestà nel paese dei corrotti” (1980).

– Gianni CELATI (1937-), Fata Morgana (1987-2005).

– Pavel VASICI (1806-1881), “Geografia țintirimului” (1840).

– Ştefan ZELETIN (1882-1934), Din Ţara Măgarilor. Însemnări (1916).

– Gheorghe SĂSĂRMAN (1941-), [Cuadratura cercului] (1975/2001).

– Mihail GRĂMESCU (1951-2014), “Felonia”, “Vânatorii de capete”, in [Aporisticon] (1981/2012).


– Stefan THEMERSON (1910-1988), Professor Mmaa’s Lecture (1953).

– Leó SZILÁRD (1898-1964), “Report on Grand Central Terminal” (1952), in [The Voice of the Dolphins and Other Stories] (1961).

– André MAUROIS (Émile Salomon Wilhelm Herzog, 1885-1967), “La Vie des hommes”, in [Deux Fragments d’une histoire universelle 1992] (1928).

– Paul GABRIEL, Messages martiens (1956).

– Pierre GRIPARI (1925-1990), “La Peau d’un autre”, in [Rêveries d’un Martien en exil] (1976).

– Bernard WERBER (1961-), “Apprenons à les aimer”, in [L’Arbre des possibles et autres histoires] (2002) // Nos amis les Terriens, petit guide de découverte (2007).

– Arturo LEZCANO (1939-), “Peixes voadores non identificados” (1991), in [Os dados de Deus] (1994).

– Miguel VALE DE ALMEIDA (1960-), “O Relatório” (2000).

– Nilo María FABRA (1843-1903), “En el planeta Marte” (1890), in [Cuentos ilustrados] (1895).

– José María SALAVERRÍA (1873-1940), “El planeta prodigioso” / Un mundo al descubierto (1924/1929).

– José Luis SAMPEDRO (1917-2013), “Un caso de cosmoetnología: la religión hispánica” (1959), in [Mientras la tierra gira] (1993).

– Max AUB (1903-1972), “Manuscrito cuervo. Historia de Jacobo” (1952), in [Cuentos ciertos] (1955).

– Juan Pablo ORTEGA (1924-), Los terrícolas (1976).

– Josep SOLÉ NICOLÁS, “Noticias sensacionalistas” (1979).

– Jorge CAMPOS (Jorge RENALES FERNÁNDEZ, 1916-1983), *“Un astro muerto”, in [Bombas, astros y otras lejanías] (1992).

– Régis MESSAC (1893-1945), “De plus loin que Sirius.– Extraits du journal de recherches du physicien Blivit-Ornot, habitant du supermonde du 2e échelon” (1937).

– Giovanni PAPINI (1881-1956), “Primo rapporto dei marziani” (1950), in [La sesta parte del mondo] (1954).

– Alberto MORAVIA (1907-1990), “Primo rapporto sulla Terra dell’“inviato speciale””, in [L’epidemia] (1956).

– Mario SOLDATI (1906-1999), “Un’inchiesta di Alfa centauri” (1964).

– Primo LEVI (1919-1987), “Visto da lontano” (1967), in [Vizio di forma] (1971).

– Nichita STĂNESCU (1933-1983), “Dintr-un abecedar marțian”, In [Respirări] (1982).

– Vladimir COLIN (Jean Colin, 1921-1991), “Întâlnirea”, in [Dinţii lui Cronos] (1975).


– Rhoda BLUMBERG (1917-2016), The First Travel Guide to the Moon (1980).

– Santo CILAURO (1961-), Tom GLEISNER (1962-); Rob SITCH (1962-), Molvanîa: A Land Untouched by Modern Dentistry (2003) // Phaic Tăn: Sunstroke on a Shoestring (2004) // San Sombrèro: A Land of Carnivals, Cocktails and Coups (2006).

– Salvador ELIZONDO (1932-2006), “Los museos de Metaxiphos”, in [Camera lucida] (1983).

– Benoît PEETERS (1956-), Le Guide des cités (2002/2011).

– Gemelli RUGGERI (Luciano MANZALINI, 1952-; Eraldo TURRA, 1955-), Guida a Croda (1993).


Fictions consisting in pure descriptions of imaginary buildings (including their interior and surroundings), as well as imaginary gardens and ruins. It can include human characters only to illustrate the conditions of habitation. Fictions are excluded in which the constructions only constitute the framework in which a story develops.

*: in verse.

– Antonio FLORES (1818-1865), “El árbol de la publicidad”, “El Gran Hotel de la Unidad Transatlántica”, in [Mañana, o la chispa eléctrica en 1899], third volumen of [Ayer, hoy y mañana, o la fe, el vapor y la electricidad] (1863).

– AZORÍN (José MARTÍNEZ RUIZ, 1873-1967), “La casa, la calle y el camino” (1904), in [Tiempos y cosas] (1944).

– Jorge Luis BORGES (1899-1986), “La biblioteca de Babel” (1941), in [El jardín de senderos que se bifurcan] (1941) / [Ficciones] (1944/1956).

– Salvador ELIZONDO (1932-2006), “Los museos de Metaxiphos”, in [Camera lucida] (1983).

– Pablo RODRÍGUEZ BURÓN (1980-), “La casa de la memoria”, in Turistia (2016).

– Victor CONSIDERANT (1808-1893), Description du phalanstère (1848).

– Léon DIERX (1838-1912), *“La ruine”, in [Les Lèvres closes] (1879).

– Theo CANDINAS (1929-), “Descripziun d’in stabiliment”, in [Entagls] (1974).

– Alberto MORAVIA (1907-1990), “Città dei mobili” (1947).

– Alexandru MACEDONSKI (1854-1920), “Palatul fermecat” (1881) / “Palatul fermecat”, in [Cartea de aur] (1902/1973).


– “The Book of Oatiati” (1873).

– Andrew LANG (1844-1912), “The Great Gladstone Myth” (1886), in [In the Wrong Paradise and Other Stories] (1886).

– Leó SZILÁRD (1898-1964), “Report on Grand Central Terminal” (1952), in [The Voice of the Dolphins and Other Stories] (1961).

– Robert NATHAN (1894-1985), “Digging the Weans” (1956) – “A Further Report on the Weans” (1959) / The Weans (1960).

– Serafín ADAME MUÑOZ (1828-1875), Napoleón no ha existido jamás (1850).

– Gonzalo MARTRÉ (Mario Trejo González, 1928-), “Los antiguos mexicanos a través de sus ruinas y sus vestigios” (2001).

– Jean-Baptiste PÉRÈS (1752-1840), Comme quoi Napoléon n’a jamais existé ou Grand Erratum, source d’un nombre infini d’errata à noter dans l’histoire du XIXe siècle (1827).

– Alfred FRANKLIN (1830-1917), Mœurs et coutumes des Parisiens en 1880. Cours professé au Collège de France pendant le second semestre de l’année 3882 par Alfred Mantien, professeur d’archéologie transcendante (1882).

– Albert MILLAUD (1844-1892), “La statue de Gambetta en l’an 2000” (1888).

– Gaston de PAWLOWSKI (1874-1933), “Curiosités historiques.– Usages, mœurs et coutumes du siècle dernier” (1901).

– Étienne JOLICLER, “Chronique en l’an 2001” (1902).

– Marcel SCHWOB (1867-1905), “Origines du journal: L’Île des Diurnales”, in [Mœurs des Diurnales: Traité de journalisme] (1903; as Loyson-Bridet).

– Louis LOTTIN (1880-1916), “Le Trésor des pierres”, in [Lyon en l’an 2000] (1911).

– Régis MESSAC (1893-1945), “Fragments du journal d’Acapsu, technicien de l’an 3340” (1932) // “Couronne de perles et croix de bois.– Extraits des papiers de CB2/1!=WRNZ, préhistorien de l’an 10.033” (1933).

– Tommaso LANDOLFI (1908-1979), “SPQR”, in [Racconti impossibili] (1966).

– Tudor ARGHEZI (Ion N. Theodorescu, 1880-1967), “În preistorie”, in [Tablete din Ţara de Kuty] (1933).

– Vladimir COLIN (Jean Colin, 1921-1991), “Postfață”, in [Legendele Țării lui Vam] (1961).


Fictional mythographies are mythopoetic creations imitating the form of prose mythographical reports. Since they are fictional, invented mythologies that are really intended to be inspired by the deity with a view to fostering a religion are excluded. Mitographies presented as translations from any alleged oral tradition coming from existing peoples are also included, even if the original text of the oral myths in the original language has not been transcribed. Theological and scientific-like myths are also excluded.

Mitographic discourse is characterized by the predominance of narrativity, which is always heterodiegetic. It is a kind of historiographical narrative, since mythology constitutes a sacred history, although the mythological narrative admits a greater rhetorical decoration and does not exclude narrative omniscience, although this is generally limited. By the nature of its discourse, mythography excludes monologues and novelistic conversations. Its characters are gods, demigods and humans in direct contact with them.

– Lord DUNSANY (1878-1957), [The Gods of Pegāna] (1905).

– J. R. R. TOLKIEN (1892-1973), [The Silmarillion] (1977).

– Ursula K. LE GUIN (1929-2018), “Beginnings”, in Always Coming Home (1985).

– Tudor ARGHEZI (1880-1967), “Bătrânii Insulei de Aur” (1925) / “Bătrânii din insula”, in [Cartea cu jucării] (1931/1943) / [Ce-ai cu mine, vântule?] (1937).

– Mihai MĂNIUŢIU (1954-), “Un zeu aproape muritor”, in [Un zeu aproape muritor] (1982).

– Gianni CELATI (1937-), “La tenda del cielo”, in [Fata Morgana] (1987-2005).

– Henri MICHAUX (1899-1984), [Fables des origines] (1923).

– Pompeu GENER (1848-1920), “Una teogonia índia” (1901) / “Antic poem del Indostan (Una teogonia vishnuita)”, in [Pensant, sentint i rient] (1911).

– SALARRUÉ (Salvador Salazar Arrué, 1899-1975), [O’Yarkandal] (1929).

– Gabriel CELAYA (1911-1991), “Origen”, in Tentativas (1946).

– Víctor CONDE (Alfredo Moreno Santana, 1973-), “Mitos y leyendas”, in [La Orfíada] (2017).

– Roberto GONZÁLEZ-QUEVEDO (1953-), “L’aniciu de los dioses ya de las cousas”, in [Hestoria de la l.literatura primera en Pesicia] (2014).

– Vladimir COLIN (Jean Colin, 1921-1991), “Postfață”, in [Legendele Țării lui Vam] (1961).


Ethnographical accounts of existing mythologies are excluded. Also works in German.


*: literary mythographic rewriting of existing cosmogonies.


– Lord DUNSANY (1878-1957), [The Gods of Pegāna] (1905).

– J. R. R. TOLKIEN (1892-1973), “Ainulindalë”, in [The Silmarillion] (1977).

– Ursula K. LE GUIN (1929-2018), “Beginnings”, in Always Coming Home (1985).

– Gustavo Adolfo BÉCQUER (1836-1870), *“La creación” (1861).

– José ANTICH, “Ilusión”, in Andrógino (1904).

– AZORÍN (José MARTÍNEZ RUIZ, 1873-1967), “Leopardi”, in [Fantasías y devaneos] (1920)

– SALARRUÉ (Salvador Salazar Arrué, 1899-1975), “Alm-a”, in [O’Yarkandal] (1929).

– Gabriel CELAYA (1911-1991), “Origen”, in Tentativas (1946).

– Miguel Ángel ASTURIAS (1899-1974), “Los brujos de la tormenta primaveral”, in [Leyendas de Guatemala], 2.ª edición (1948).

– Mario VARGAS LLOSA (1936-), *El hablador (1987).

– Roberto GONZÁLEZ-QUEVEDO (1953-), “L’aniciu de los dioses ya de las cousas”, in [Hestoria de la l.literatura primera en Pesicia] (2014).

– Pompeu GENER (1848-1920), “Una teogonia índia” (1901) / “Antic poem del Indostan (Una teogonia vishnuita)”, in [Pensant, sentint i rient] (1911).

– Marcel SCHWOB (1867-1905), *“Vie de Morphiel démiurge” (1895).

– Henri MICHAUX (1899-1984), [Fables des origines] (1923).

– Olivier de BOUVEIGNES (Léon Guébels, 1889-1966), *“La création et les premiers jours du monde”, in [Contes d’Afrique] (1927).

– Jean-Pierre OTTE (1949-), *[Les aubes enchantées] (1994).

– Giacomo LEOPARDI (1798-1737), “Storia del genere umano” [1824], in [Operette morali] (1827).

– Vincenzo CARDARELLI (1887-1959), *[Favole della Genesi] (1919-1920/1925).

– Anna BONACCI (1892-1981), *“Genesi” (1939).

– Gianni CELATI (1937-), “La tenda del cielo”, in [Fata Morgana] (1987/2005).

– Ion DRAGOSLAV (Ion Ivanciuc, 1875-1928), *[Facerea lumii] (1908/1925).


– Rudolf PANNWITZ (1881-1969), Das Lied vom Elen (1919).

– Holly Dworken COOLEY, “A Creation Myth” (2008).

– GUERRA JUNQUEIRO (1850-1923), *“O génesis”, in [A velhice do Padre Eterno] (1885).

– Raul BOPP (1898-1984), *“Princípio” (1946), in [Poesias] (1947) and [Cobra Norato e outros poemas] (1951).

– Juan AROLAS (1805-1849), *“La creación” (1841), in [Poesías] (1842).

– Augusto ROA BASTOS (1917-2005), *[El génesis de los guaraníes] (1948).

– Miguel Ángel ASTURIAS (1899-1974), Clarivigilia primaveral (1965).

– Jorge GUILLÉN (1893-1984), *“Creador y creación”, in [Y otros poemas] (1973).

– Llorenç RIBER (1881-1958), *“L’obra dels sis dies” (1904), in [Al sol alt] (1949).

– Charles Marie René LECONTE DE LISLE (1818-1894), *“La légende des Nornes” (1858), in [Poésies barbares] (1862) / *“La Genèse polynésienne” (1857), in [Poèmes barbares] (1872/1878).

– André de GUERNE (1853-1912), *“Les Créations d’Ahoûra-Mazdâ”, in [L’Orient antique] (1890).

– Auguste GÉNIN (1862-1931), *“La Genèse aztèque”, in [Poèmes aztèques] (1890) / [Légendes et récits du Mexique ancien] (1922).

– Maurice BOUCHOR (1855-1929), *“La Terre et l’Amour”, in [Les Symboles] (1888).

– Maurice OLIVAINT (1860-1929), *“Taaroa”, in [Fleurs de corail] (1900).

– Alexis KAGAME (1912-1981), *[La Divine Pastorale] (1952-1955).

– François BROUSSE (1913-1995), *“Genèse hindoue” (1956), in [Le Rire des dieux] (2006).

– Christine HARDY, “Conte d’Il”, in [Paysages d’infini] (1983).

– Giuseppe UNGARETTI (1888-1970), *[Favole indie della Genesi] (1946).



– John Ballou NEWBROUGH (1828-1891), Oahspe (1882/1891).

– Eric Frank RUSSELL (1905-1978), “Sole Solution” (1956), in [Dark Tides] (1962).

– Benigno Baldomero LUGONES (1857-1884), “Isis” (1881).

+ Enrique ANDERSON IMBERT (1910-2000), “Caos y creación”, in [El gato de Cheshire] (1965).

– Jorge CAMPOS (Jorge Renales Fernández, 1916-1983), “El Ser, el Dios, el Todo” (1973), in [Bombas, astros y otras lejanías] (1992).

– Juan Pedro APARICIO (1941-), “Dios”, in [La mitad del diablo] (2006).

– Òscar PÀMIES (1961-), “La creació del món», in [Com serà la fi del món] (1996).

– George SAND (Aurore Dupin, 1804-1876), “Le Poème de Myrza” (1835).

– Renée VIVIEN (Pauline Mary Tarn, 1877-1909), “La Genèse profane”, in [Brumes de fjords] (1902).

– Han RYNER (1861-1938), “Sacrifices” (1902), in [Les Voyages de Psychodore, philosophe cynique] (1903) / “La dernières parabole” (1906), in [Les Paraboles cyniques] (1912).

– Didier ANZIEU (1923-1999), “Dieu créa la femme”, “Un sommeil divin”, in [Contes à rebours] (1975/1987/1995).

– Pierre GRIPARI (1925-1990), “Les origines”, in Vies parallèles de Roman Branchu (1978) // “Mésaventures de Dieu», in [La Rose réaliste] (1985).

– Jean d’ORMESSON (1925-2017), Dieu, sa vie, son œuvre (1981).

– Vincenzo CARDARELLI (Nazareno Caldarelli, 1887-1959), “Il fuoco” (1919), in [Favole della Genesi] (1919-1921) / [Favole e memorie] (1925).

– Ion PILLAT (1891-1945), “Oglinda” (1922).

– Tudor ARGHEZI (1880-1967), “Geneza și apocalipsa”, in [Ce-ai cu mine, vântule?] (1937) // “Uriașii”, in [Cartea cu jucării] (1943).


– Ian WATSON (1943-), “Let There Be Darkness: An Origin Myth”, in [The Lexicographer’s Love Song and Other Poems] (2001).

– Antero de QUENTAL (1842-1891), “Fiat lux!” [1863], in [Raios de extinta luz] (1892).

– José FERNÁNDEZ BREMÓN (1839-1910), “El Bien y el Mal” (1868).

– Àngel GUIMERÀ (1845-1924), “Creació”, in [Segon llibre de poesies] (1920).

– Gustave de LANOUE (1812-1838), “Éden ou la création”, in [Énosh] (1837).

– Sully PRUDHOMME (René François Armand Prudhomme, 1839-1907), Les Destins (1872).

– Edmond HARAUCOURT (1856-1941), “Le coït des atomes”, in [La Légende des sexes] (1882; as Edmond de Chambley) / “Les atomes”, in [L’Âme nue] (1885).

– Jean RICHEPIN (1849-1926), “Le mystère de la création”, in [Les Blasphèmes] (1884).

– Jean RAMEAU (Laurent Labaigt, 1858-1942), “La légende de la Terre”, in [La vie et la mort] (1886).

– Niccolò TOMMASEO (1802-1874), “Il germe dei mondi”, in [Poesie] (1872).

– Alexandru MACEDONSKI (1854-1920), “Creaţiunea” (1874).



– Edgar Allan POE (1809-1849), Eureka (1848).

– Joaquín BARTRINA (1850-1880), “La formación del mundo” (1870).

– Augusto GONZÁLEZ DE LINARES (1845-1904), La vida de los astros (1878).

– Gregorio MARTÍNEZ SIERRA (María de la O LEJÁRRAGA, 1874-1974), “Lucha eterna”, in [El poema del trabajo] (1898).

– Leopoldo LUGONES (1874-1938), “Ensayo de una cosmogonía en diez lecciones”, in [Las fuerzas extrañas] (1906).

– Nuria AMAT (1950-), “Big bang”, in [Monstruos] (1991).

– Edgar QUINET (1803-1875), La Création (1870).

– Auguste BLANQUI (1805-1881), L’Éternité par les astres (1872).

– Étienne KLEIN (1958-), Discours sur l’origine de l’univers (2010).

– Giacomo LEOPARDI (1798-1837), “Frammento apocrifo di Stratone da Lampsaco”, in [Operette morali] (1845 [1825]).

– Tommaso LANDOLFI (1908-1979), “Da: L’astronomia esposta al popolo. Nozioni d’astronomia sideronebulare”, in [Il mare delle blatte e altre storie] (1939).


– Mathilde BLIND (Mathilde Cohen, 1841-1896), “Chaunts of Life”, in [The Ascent of Man] (1888).

– Grant ALLEN (1848-1899), “A Ballade of Evolution”, in [The Lower Slopes] (1894).

– James E. GUNN (1923-), “Imagine”, in The Listeners (1972).

– Teófilo BRAGA (1843-1924), “O firmamento”, in “A filosofia”, in en [Miragens seculares] (1884) / [Visão dos tempos] (1894-1895).

– Haroldo de CAMPOS (1929-2003), A Máquina do Mundo Repensada (2000).

– Ricardo MACÍAS PICAVEA (1847-1899), Kosmos (1872).

– Luis TAPIA, “El origen de la Tierra” (1896).

– Carlos FERRER (1845-1919), “Cosmogonía», in [El universo] (1900).

– José LÓPEZ MONTENEGRO (1832-1908), “La Naturaleza”, in [El botón de fuego] (1902).

– Ernesto CARDENAL (1925-), [Cántico cósmico] (1989).

– Louis BOUILHET (1822-1869), Les Fossiles (1854).

– Jules LEFÈVRE-DEUMIER (1797-1857), “Formation de la Terre”, in [Le Couvre-feu] (1857).

– Edmond EMERICH, La Création du globe terrestre (1860).

– CLAIRVILLE (Louis-François Nicolaïe, 1811-1879), “Le Monde antédiluvien” (1863), in [Le Caveau] (1864).

– Émile LITTRÉ (1801-1881), “La Terre” (1867).

– Ernest COTTY (1818-1877), “Antédiluviana” (1875).

– Jules ARBELOT, La Création et l’humanité (1882).

– Henri WARNERY (1859-1902), “Les Origines”, in [Poésies] (1887).

– René GHIL (René Guilbert, 1862-1925), Le Meilleur Devenir (1889).

– J. de STRADA (Gilles Gabriel Delarue, 1821-1902), La Genèse universelle (1890).

– André JOUSSAIN (1880-1969), L’Épopée terrestre (1926-1934-1958).

– Jean CHAMARD (1843-1915), L’Épopée des âges [1874-1879] (1947).

– Marthe DUPUY (1871-1958), “L’Origine du monde”, “Évolution”, in [Au fond des abîmes] (1950).

– Raymond QUENEAU (1903-1976), Petite Cosmogonie portative (1950).

– Robert GOFFIN (1898-1984), [Sablier pour une cosmogonie] (1965).

– Maurice COUQUIAUD (1930-), [Un profil de buée] (1980).

– Cleant SPIRESCU, Cosmos sau cântarea stelelor (1935).

– Adrian ROGOZ (1921-1996), “Miza unei recreaţii”, in [Inima rezistentă] (1981).


From Cicero’s Somnium Scipionis to Olaf Stapledon’s Star Maker: The visionary cosmic voyage as a speculative genre

Stapledon’s Star Maker is an outstanding modern example of a particular genre, the visionary cosmic voyage. In this kind of a literature of a rather descriptive nature, the author usually tells of his/her dream or vision of the universe, depicted according to the scientific knowledge of the time, in order to convey a philosophical and/or astronomical cosmic view. This genre has its origin in the Cicero’s influential Somnium Scipionis. After its allegorical and religious/supernatural imitations throughout the Middle Ages and later on, Kepler’s Somnium adopted a secular protoscience-fictional approach to the genre, the same that Stapledon subsequently embraced. Between these two visionary cosmic voyagers stand several canonical writers who have followed the Ciceronian taproot text to create impressive visions of the universe. Star Maker falls within this tradition, having brought it to its culmination in both ambition and scope, while remaining faithful to Cicero’s and to his best followers’ pattern as to the literary exploitation of the sublime. Cicero’s Somnium Scipionis is, thus, to be considered one of the main ancient forerunners to speculative fiction, due to its status as founder of the visionary cosmic voyage, and to the science-fictional sublime.

*: in verse.

– James HOGG (1770-1835), *The Pilgrims of the Sun (1815).

– Sir Humphrey DAVY (1778-1829), “The Vision”, in [Consolations in Travel, or The Last Days of A Philosopher] (1830).

– Thomas Lake HARRIS (1823-1906), *An Epic of the Starry Heaven (1855).

– James DE MILLE (1833-1880), *Behind the Veil (1893).

– A. E. (George William Russell, 1867-1935), “The Story of a Star” (1894), in [Imaginations and Reveries] (1915).

– H. [Herbert] G. [George] WELLS (1866-1946), “Under the Knife” (1896), in [The Plattner Story and Others] (1897).

– William Shuler HARRIS (1865-?), Life in a Thousand Worlds (1905).

– Clark Ashton SMITH (1893-1961), *“The Star-Trader”, in [The Star-Trader and Other Poems] (1912) // *“The Hashish-Eater; or The Apocalypse of Evil”, in [Ebony and Crystal] (1922).

– H. [Howard] P. [Phillips] LOVECRAFT (1890-1937), *“Aletheia Phrikodes”, in The Poe-et’s Nightmare (1916) (V.).

– Fletcher PRATT (1897-1956), “The Roger Bacon Formula” (1929).

– Olaf STAPLEDON (1886-1950), Star Maker (1937).

– João LÚCIO (1880-1918), *“No caminho infinito”, en [Na Asa do Sonho] (1913).

– Enéas LINTZ (1892-?), Há Dez Mil Séculos (1926).

– Pedro CASTERA (1846-1906), “Un viaje celeste” (1872) / “Un viaje celestial”, in [Impresiones y recuerdos] (1882).

– Carlos MESÍA DE LA CERDA (1825-1919), “El hombre de cristal”, in [El saquillo de mi abuela] (1875).

– Carlos Octavio BUNGE (1875-1918), “Viaje a través de la estirpe”, in [Viaje a través de la estirpe y otras narraciones] (1908).

– Amado NERVO (1870-1919), *“Yo estaba en el espacio”, in [En voz baja] (1909).

– Dr. ATL (Gerardo Murillo, 1875-1964), Un hombre más allá del universo (1935).

– Valentí ALMIRALL (1841-1904), “Un manuscrit de savi o de boig” (como Thales; 1880).

– G. DESCOTTES, Voyage dans les planètes et découverte des véritables destinées de l’homme (1864).

– Camille FLAMMARION (1842-1925), “Lumen”, in [Récits de l’infini] (1872) / Lumen (1887) // “Voyage dans le ciel”, in [Rêves étoiles] (1888).

– Edmond HARAUCOURT (1856-1941), *“L’étape”, in [L’âme nue] (1885).

– Jean RAMEAU (1858-1942), *“Rêve”, in [La vie et la mort] (1886).

– Joseph MAGGINI, *“Vision de bonheur”, in [La voix du souvenir] (1934).

– Pierre GRIPARI (1925-1990), “Voyage nocturne”, in [La rose réaliste] (1985).

– Giulio GIANELLI (1879-1914), *“Vita nello spazio” (1912), in [Poesie] (1934).

– Giovanni BOTTINELLI, Fantasie cosmiche (1938).


(texts of a literary nature using the discourse of mathematics and natural sciences, in English, German, or any Romance language; except publications in scientific journals, parodic or not, called “spoof papers”)

Scientific spoof papers as a literary and fictional genre encompass the works where fantastical content is infused into any text that methodically and consistently presents the standard rhetorical features of the scientific discourse usual in real scientific practice, especially in the natural sciences, thus achieving literariness through fictionalization. A representative example of this genre are the papers by Isaac Asimov on the imaginary molecule called thiotimoline, which can be seen as central in a long historical series of works belonging to this discursive genre from Gustav Fechner in the 19th century to contemporary authors. Among them, there are a number of writers known for their absurdist and fantastical works, such as Alfred Jarry, Tommaso Landolfi, Giorgio Manganelli, Georges Saunders, etc.

Natural sciences (including Psychology):

– Augustus C. Fotheringam (Lester W. SHARP, 1887-1961; Cuthbert Bancroft FRASER), Eoörnis Pterovelox Gobiensis (1926).

– Isaac ASIMOV (1920-1992), “The Marvellous Properties of Thiotimoline” (1948-1952), in [Only a Trillion] (1957) // “Thiotimoline and the Space Age” (1960), in [Opus 100] (1969).

– Mark CLIFTON (1906-1963), “The Dread Tomato Addiction” (1958).

– Mark EPERNAY (John Kenneth GALBRAITH, 1908-2006), “The McLandress Dimension” (1962), in [The McLandress Dimension] (1963).

– J. [James] G. [Graham] BALLARD (1930-2009), “Love and Napalm: Export USA”, in [The Atrocity Exhibition] (1970).

– J. [Jeremy] H. [Halvard] PRYNNE (1936-), “The Plant Time Manifold Transcripts” (1975), in [Poems] (1999).

– Thomas A. EASTON (1944-), “The Chicago Plan to Save a Species” (1976).

– Peter DICKINSON (1927-2015), The Flight of Dragons (1979).

– George PEREC (1936-1982), “Experimental Demonstration of the Tomatotopic Organisation in the Soprano (Cantatrix sopranica L.)” (1980).

– Dougal DIXON (1947-), After Man: A Zoology of the Future (1981) // The New Dinosaurs: An Alternative Evolution (1988).

– Steve JACKSON; Ian LIVINGSTONE, Out of the Pit (1985).

– Harry HARRISON (1925-2012), [“The World West of Eden”], in [Return to Eden] (1988).

– Frederick POHL (1919-2013), “Scientific American: ‘Martian Polar Wanderings’”, in The Day the Martians Came (1988).

– Jeff VANDERMEER (1968-); Mark ROBERTS, The Thackery T. Lambshead Pocket Guide to Eccentric & Discredited Diseases (2003).

– Dugald STEER (1965-), Dragonology: The Complete Book of Dragons (2003).

– George SAUNDERS (1958-), “93990”, in [In Persuasion Nation] (2006).

– Dr. Mises (Gustav Theodor FECHNER, 1801-1887), “Beweis, dass der Mond aus Jodine bestehe” (1821), “Öffentliche Sitzung am 1. Juli 1861 über den seitlichen Fenster- und Kerzenversuch” (1821), [“Stapelia mixta”] (1824), “Vergleichende Anatomie der Engel” (1825), [“Vier Paradoxa]” (1846), in [Kleine Schriften] (1875).

– Egon FRIEDELL (1878-1938), “Ist die Erde bewohnt?” (1931).

– Harald Stümpke (Gerolf STEINER, 1908-2009), Bau und Leben der Rhinogradentia (1957).

– Óscar de LA BORBOLLA (1949-), “Informe ucrónico” (1993).

– David ROAS (1965-), “El Hipocrondrio”, in [Horrores cotidianos] (2007).

– Javier FERNÁNDEZ (1971-), “Condiciones que inhiben el discernimiento”, in [La grieta] (2007).

– Vicenç PAGÈS JORDÀ (1963-), “Puella gerundensis” (1996), “Gnocchis”, in [El poeta i altres contes] (2005) / [Exorcismes] (2018).

– Alfred JARRY (1873-1907), “‘Commentaires pour servir à la construction pratique de la machine à voyager dans le temps’ par le Dr. Faustroll” (1899) // “Cynégétique de l’omnibus” (1901), “De quelques animaux nuisibles: le volant” (1902), “Les mœurs des noyés” (1902), in [Spéculations] (1911).

– Camille MAUCLAIR (Camille Laurent Célestin Faust, 1872-1945), “Vie des Elfes”, in [Les Danaïdes] (1903) / [Le mystère du visage] (1906).

– George PEREC (1936-1982), “Mise en évidence expérimentale d’une organisation tomatotopique chez la soprano (Cantatrix sopranica L.)” (1980), “Distribution spatio-temporelle de Coscinoscera Victoria, Coscinoscera Tigrata Carpenteri, Coscinoscera Punctata Barton & Coscinoscera Nigrostriata d’Iputupi” (1980).

– Tommaso LANDOLFI (1908-1979), “Da: L’astronomia esposta al popolo. Nozioni d’astronomia sideronebulare”, in [Il mare delle blatte e altre storie] (1939) // “Formula della pazienza; Chiasma de la timidezza” (1941) / “La pazienza; la timidezza” (1977), in [Diario perpetuo] (2012) // “Da: La melotecnica esposta al popolo”, “Nuove rivelazioni della psiche umana. L’uomo di Mannheim. (Relazione letta alla Reale Accademia delle Scienze dall’on. Onisammot Iflodnal, azerbeigiano)”, in [La spada] (1942).

– Alberto MORAVIA (1907-1990), “L’epidemia” (1941), in [L’epidemia] (1944/1956).

– Augusto FRASSINETI (1911-1985), “Prime Conclusioni intorno allo studio della Ministerialità”, in [Misteri dei Ministeri] (1952/1974).

– Primo LEVI (1919-1987), “Cladonia rapida” (1964), in [Storie naturali] (1966).

– Leo LIONNI (1910-1999), La botanica parallela (1976).

– Giorgio PRODI (1928-1987), “L’evoluzione degli animali a penna”, in [Il neutrone borghese] (1980).

– Giorgio MANGANELLI (1922-1990), “Discorso sulla difficoltà di comunicare coi morti”, in [Agli dèi ulteriori] (1989).

– Luigi MALERBA (1927-2008), “Appunti e frammenti per un trattato sugli alberi e sui suoni da essi prodotti”, in [Consigli inutili] (2014).

– Nicolae STEINHARDT (1912-1989), “Cazuri de isterie la sugacii de azi”, in [În genul… tinerilor] (1932).

– Romulus DINU (1921-), “Boala de decongelare (Apatia criogenetică)”, in […dintr-o lume congelată şi… false ficţiuni] (1980).

– Mircea BĂDUŢ (1967-), “Exerciţiu de ciclicitate”, in [Ficţiuni secunde] (2016).

Formal sciences:

*: Linguistics

– Lewis CARROLL (Charles Lutwidge Dodgson, 1832-1898), The New Method of Evaluation, as Applied to π (1865), The Dynamics of a Parti-cle (1865), in [Notes by an Oxford Chiel] (1874).

– George ORWELL (Eric Arthur Blair, 1903-1950), *“The Principles of Newspeak”, in Nineteen Eighty-Four (1949).

– C. [Charles] F. [Francis] HOCKETT (1916-2000), *“How to Learn Martian” (1955), in [The View from Language: Selected Essays 1948-1974] (1977).

– J. [John] R. [Reginald] R. [Reuel] TOLKIEN (1892-1973), *“Writing and Spelling”, in The Lord of the Rings (1967).

– Willard WALKER (1927-2009), *“The Retention of Folk Linguistic Concepts and the ti’yčir Caste in Contemporary Nacireman Culture” (1970).

– Ursula K. [Kroeber] LE GUIN (1929-2018), ““The Author of the Acacia Seeds” and Other Extracts from the Journal of the Association of Therolinguistics” (1974), in [The Compass Rose] (1982).

– Harry MATHEWS (1930-), *“Remarks of the Scholar Graduate”, in [Country Cooking and Other Stories] (1980).

– Modesto LAFUENTE (1806-1866), “Estadística real”, in [Teatro social del siglo XIX] (1846).

– Lola ROBLES (1963-), *“Sobre el campo semántico de los colores en el idioma aanukien”, *“Sobre la metáfora aanukien y fihdia”, in El informe Monteverde (2005).

– Paul THÉDORE-VIBERT (1851-1918), *“Prononciation antique”, in [Pour lire en automobile] (1901).

– Alfred JARRY (1873-1907), “De la surface de Dieu”, in Gestes et opinions du docteur Faustroll, pataphysicien [1898-1899] (1911).

– Raymond QUENEAU (1903-1976), “Quelques remarques sommaires relatives aux propriétés aérodynamiques de l’addition” (1950) // *“De quelques langages animaux imaginaires et notamment du langage chien dans Sylvie et Bruno” (1971).

– Boris VIAN (1920-1959), “Mémoire concernant le calcul numérique de Dieu par des méthodes simples et fausses” (1977 [1955]).

– Tommaso LANDOLFI (1908-1979), *“Qualche discorso sull’L.I.” (1941) / “Volete imparare questo alfabeto?” (1978), in [Diario perpetuo] (2012).

– Umberto ECO (1932-2016), “Dell’impossibilità di costruire la carta dell’imperio 1 a 1”, “The Wom”, “Come falsificare Eraclito”, “Il teorema degli ottocento colori”, in [Il secondo diario minimo] (1992).

– Ion Luca CARAGIALE (1852-1912), “Statistică” (1893), in [Schiţe uşoare] (1896).


Fantastic bestiaries are fictions consisting in non-scientific descriptions of imaginary beings (plants, animals, minerals).

– Woody ALLEN (Allan Stewart Königsberg, 1935-), “Fabulous Tales and Mythic Beasts”, in [Without Feathers] (1975).

– J. [Joanne] K. ROWLING (1965-), Fantastic Beasts and Where to Find Them (2001; as by Newt Scamander).

– John Henry FLEMING, Fearsome Creatures of Florida (2009).

– Ursula K. LE GUIN (1929-2018), “Elementals” (2012).

– Álvaro CUNQUEIRO (1911-1981), [“Novidades do mundo e fauna máxica”], in [Escola de menciñeiros e fábula de varia xente] (1960).

– Wilson BUENO (1949-2010), Jardim zoológico (1999).

– Jorge Luis BORGES (1899-1986); Margarita GUERRERO, [Manual de zoología fantástica] (1957) / [El libro de los seres imaginarios] (1967/1969).

– Rafael CASTELLANO, “Especies extinguidas: el plumiferus melancolicus” (1965).

– Juan PERUCHO (1920-2003), [Botánica oculta o el falso Paracelso] (1969) // [“Lapidario portátil”], in [Historias secretas de balnearios] (1972) // [Bestiario fantástico] (1977).

– ÁLVARO CUNQUEIRO (1911-1981), “Diccionario manual de bestias marinas” (1972).

– Joan FONTCUBERTA (1955-), “El cocatrix” (1997).

– José Luis SAMPEDRO (1917-2013), “Aviso contra la dañina bestia el Antromóvil donde se revelan sus disfrazadas artes y satánicos fines” (1997).

– Felipe BENÍTEZ REYES (1960-), “El hadillo (1983), “Aldac”, in [Un mundo peligroso] (1994) and [Oficios estelares] (2009).

– Rafael PÉREZ ESTRADA (1934-2000), [Bestiario de Livermoore] (1988).

– Antón CASTRO (Antonio RODRÍGUEZ CASTRO, 1959-), [Bestiario aragonés] (1991).

– Gustavo MARTÍN GARZO (1948-), “El borrador doméstico” (1995).

– Luis MATEO DÍEZ (1942-), “El ladril” (1995).

– Eduardo MENDICUTTI (1948-), “El palabrero” (1995).

– José María MERINO (1941-), “Gamusino doméstico” (1995).

– Soledad PUÉRTOLAS (1947-), “El guerrero amistoso” (1995).

– Raúl GONZÁLVEZ DEL ÁGUILA, [“Bestiario”] (1999).

– Ángel OLGOSO (1961-), “Almanaque de asombros”, in [Granada 2039 y otros relatos] (1999).

– Jesús CALLEJO, [Bestiario mágico] (2001).

– Jordi DOCE (1967-), [Bestiario del nómada] (2001).

– Óscar SIPÁN (1974-), [Leyendario] (2004).

– Juan Jacinto MUÑOZ RENGEL (1974-), “Bestiario secreto en el London Zoo”, in [88 Mill Lane] (2005).

– Francisco FERRER LERÍN (1942-), [Bestiario] (2007).

– Mercè RODOREDA (1908-1983), [“Flors de debò”], in [Viatges i flors] (1980).

– Joan PERUCHO (1920-2003), [Botánica oculta o el fals Paracels] (1980) // [Petit museu de monstres marins] (1981) // [Monstruari fantàstic] (1984).

– Pere CALDERS (1912-1994), “Refinaments d’ultramar”, in [Invasió subtil i altres contes] (1978).

– Alfred JARRY (1873-1907), “Cynégétique de l’omnibus” (1900-1901).

– Jean DESS (HIXE), [“D’une certaine faune”], in [Pour lire en parachute] (1932).

– Henri MICHAUX (1899-1984), [“Notes de zoologie”], in [La Nuit remue] (1935).

– Jean GIONO (1895-1970), “Le grain de tabac” (1956), “L’ours” (1958), “La poufiasse” (1958), “La bestiasse” (1958), in [Ménagerie énigmatique] (1961) // “La cantharide” (1958), “Le verrat-maquereau”, “L’émeraudine”, “The bear», “Le minus”, “L’oiseau-bleu”, in [Animalités] (1965).

– Stefano BENNI (1947-), [Stranalandia] (1984).

– Monica SARSINI (1953-), [Crepacuore] (1985) // [Crepapelle] (1988) // [Crepapancia] (1996).

– Mircea CĂRTĂRESCU (1956-), Enciclopedia zmeilor (2002).



*: alleged translations.

– Norman DOUGLAS (1868-1952), Some Limericks (1929).

– Vladimir NABOKOV (1899-1977), Pale Fire (1962).

– Woody ALLEN (Allan Stewart Königsberg, 1935-), *“The Scrolls” (1974), “The Irish Genius”, in [Without Feathers] (1975).

– David LANGFORD (1953-), An Account of a Meeting with Denizens from Another World, 1871 by William Robert Loosley (1979).

– Benjamin ROSENBAUM (1969-), *“The Book of Jashar” (2003), in [The Ant King and other stories] (2008).

– Charles YU (1976-), *“The Book of Categories” (2011).

– Aristidis G. ROMANOS (1937-), *Tlön: Journey to a Utopian Civilisation (2015).

– Luís Filipe SILVA (1970-) et alii., Os Anos de Ouro da Pulp Fiction Portuguesa (2011).

– Adolfo de CASTRO (1823-1898), El Buscapié de Cervantes (1844).

– Joaquín BARTRINA (1850-1880), “Una poesía española inédita del siglo XV publicada ahora por primera vez por don N. A. A.”, in [Obras en prosa y verso] (1881).

– Rafael Rafael Zamora y Pérez de Urría, marqués de VALERO DE URRÍA (1861-1908), [Crímenes literarios](1906).

– Pedro Erasmo CALLORDA (1879-1949), El testamento de don Quijote (1918).

– Enrique DÍEZ CANEDO (1879-1944), Alfonso REYES (1889-1959), “Góngora y El Greco” (1921).

– SALARRUÉ (Salvador Salazar Arrué, 1899-1975), *[O’Yarkandal] (1929).

– Max AUB (1903-1972), Jusep Torres Campalans (1958) // Antología traducida (1972).

– Juan José DOMENCHINA (1898-1945), *El diván de Abz-ul-Agrib (1945).

– Rafael SOLANA (1915-1992), *“Sansón y Dalila”, in [El oficleido y otros cuentos] (1960) / El novísmo Algazife o Libro de las Postrimerías (1980).

– Rafael PÉREZ ESTRADA (1934-2000), Revelaciones de la Madre Margarita Amable del Divino Niño del Sí (1970).

– Carlos RIPOLL, “Juan Pérez” por Benjamín Castillo (1970).

– Pedro GÓMEZ VALDERRAMA (1923-1992), “Los papeles de la academia utópica” (1972), in [La procesión de los ardientes] (1973) // “Documentos del padre Alameda”, in [Las alas de los muertos] (1992).

– Rafael LLOPIS (1933-), *“Invocación de una entidad de la noche a su reflejo luminoso” (1974) / El Novísmo Algazife o Libro de las Postrimerías (1980).

– Jorge Luis BORGES (1899-1986), *“El informe de Brodie”, in [El informe de Brodie] (1970) // *“La secta de los Treinta”, *“Undr”, in [El libro de arena] (1975).

– Emilio SERRA (1953-1989), *“Extractos, documentación y fuentes relativos al culto de Yidhra y su relación con el ciclo mítico de Mlandoth” (1979).

– Daína CHAVIANO (1957-), *“El papiro de Ptah”, in [Amoroso planeta] (1983).

– José JIMÉNEZ LOZANO (1930-2020), *[Parábolas y circunloquios de Rabí Isaac Ben Yehuda (1325-1402)] (1985).

– José FERRATER MORA (1912-1991), “Reivindicación de Babel” (1991).

– Federico GARCÍA LORCA (1898-1936), Antología modelna, precedida de los poemas de Isidro Capdepón Fernández (1995).

– Felipe BENÍTEZ REYES (1960-), Vidas improbables (1995/2009).

– Gloria MÉNDEZ (1969-), *[El informe Kristeva] (1997).

– Daniel PÉREZ, “Donde se cuenta la verdadera historia que pasó Sancho al ir a buscar a la señora Dulcinea, y de otros sucesos tan ridículos como verdaderos” (2005).

– Javier FERNÁNDEZ (1971-), “Hacia una traducción de Gigamesh de Patrick Hannahan”, in [La grieta] (2007).

Voz Vértebra: Antología de poesía futura (2017).

– Xuan BELLO (1965-), Pantasmes, mundos, laberintos (1996).

– Roberto GONZÁLEZ-QUEVEDO (1953-), *[Hestoria de la l.literatura primera en Pesicia] (2014).

– Alfred MOQUIN-TANDON (1804-1866), Carya Magalonensis (1836).

– Pompeu GENER (1848-1920), *“Una teogonia índia” (1901) / *“Antic poem del Indostan (Una teogonia vishnuita)”, in [Pensant, sentint i rient] (1911).

– Manuel de PEDROLO (1918-1990), *[Múltiples notícies de l’Edèn] (1985).

– Vicenç PAGÈS JORDÀ (1963-), *“Puella gerundensis”, “La remullada: rondalla apócrifa”, in [El poeta i altres contes] (2005).

– Charles NODIER (1780-1844), *Smarra ou les démons de la nuit (1821).

– Prosper MERIMEE (1803-1870), *La Guzla ou choix de poésies illyriques recueillies dans la Dalmatie, la Bosnie, la Croatie et l’Herzégowine (1827).

– Charles-Augustin SAINTE-BEUVE (1804-1869), Vie, poésies et pensées de Joseph Delorme (1829).

– Alphonse RABBE (1784-1829), *“Le centaure”, in [Album d’un pessimiste] (1835).

– Théodore Hersart de LA VILLEMARQUÉE (1815-1895), *Le Barzaz Breiz, chants populaires de la Bretagne (1839-1845-1867).

– Gabriel VICAIRE (1848-1900); Henri BEAUCLAIR (1860-1919), Les Déliquescences, poèmes décadents d’Adoré Floupette, avec sa vie par Marius Tapora (1885).

– Paul BORY (1837-19?), *Mémoires dun Romain (1890).

– Anatole FRANCE (François Anatole Thibault, 1844-1924), *“Sainte Euphrosine”, (1891), in [L’étui de nacre] (1892/1922).

– Nicolas NOTOVITCH (1858-?), *La Vie inconnue de Jésus-Christ (1894).

– Pierre LOUŸS (1870-1925), *Las Chansons de Bilitis (1895).

– Paul-Jean TOULET (1867-1920), Monsieur du Paur, homme public (1898/1920).

– Hugues REBELL (Georges Grassal de Choffat, 1867-1905), *La saison à Baïa (1900).

– Marcel SCHWOB (1867-1905), *“Origines du journal: L’Île des Diurnales”, in [Mœurs des Diurnales: Traité de journalisme] (1903; as Loyson-Bridet).

– Gabriel de PIMODAN (1856-1924), *Le roman dune âme antique (1904).

– Valery LARBAUD (1881-1957), Poèmes par un riche amateur ou Œuvres françaises de M. Barnabooth (1908).

– Jean REDNI, *[Luxures antiques, voluptés tragiques] (1908).

– Gaston PICARD (1892-1965), Les Poèmes idiots, œuvre posthume de Myriam Mester (1911).

– Maurice DEKOBRA (Maurice Ernest Tessier, 1885-1973), Hamydal le philosophe, morceaux choisis du célèbre penseur (1921).

– Philippe SELK (¿1873-1940?), *Un livre d’argile. Le Poème de Šu-nir (1922).

– Pascal PIA (Pierre Durand, 1903-1979), À une courtisane, poème inédit de Charles Baudelaire (1925).

– Léon BOPP (1896-1977), “Danger du Lac (de Lamartine)”, in [Drôle de monde] (1940).

– René DAUMAL (1908-1944), “Quelques poètes français du XXVe siècle” (1942).

– Yves GANDON (1899-1975), *La Terrasse des désespoirs (1943) // *Le Pavillon des délices regrettées (1947).

– Jean DUTOURD (1920-2011), *“Ludwig Schnorr ou la marche de l’histoire” (1958), in [Les Dupes] (1959).

– Stefan WUL (Pierre Pairault, 1922-2003), * “Droit de réponse” (1974).

– Maurice MOURIER (1936-), Godilande ou Journal d’un mort (1974).

– Jean TARDIEU (1903-1995), Le Professeur Frœppel (1978).

– Claude BONNEFOY (1929-1979), Ronceraille (1978).

– Alain NADAUD (1948-2015), *Archéologie du zéro (1984).

– Pascal QUIGNARD (1948-), *Les Tablettes de buis d’Apronenia Avitia (1984).

– Jean-Benoît PUECH (1947-), L’Apprentissage du roman. Extraits du Journal d’apprentissage de Benjamin Jordane (1993).

– Éric CHEVILLARD (1964-), L’Œuvre posthume de Thomas Pilaster (1999).

– Pierre JOURDE (1955-); Éric NAULLEAU (1961-), Le Jourde et Naulleau: Précis de littérature du XXIe siècle (2004/2008/2015).

– Pierre SENGES (1968-), *La Réfutation majeure (2004).

– Samir BOUADI; Agathe COLOMBIER-HOCHBERG, 26,5 auteurs qui n’existent pas mais qu’il faut absolument avoir lus (2008).

– Giacomo LEOPARDI (1798-1837), *“Inno a Nettuno” (1817) // Martirio de’ Santi Padri del Monte Sinai e dell’eremo di Raitu composto da Ammonio Monaco, volgarizzamento fatto nel buon secolo della nostra lingua (1826) // *“Cantico del gallo silvestre”, in [Operette morali] (1827) // *“Frammento apocrifo di Stratone di Lampsaco” (1845 [1825]).

– Tommaso GARGALLO (1760-1843), Il paladino d’Ungheria. Novella d’antico codice ora per la prima volta pubblicata (1823).

– Monaldo LEOPARDI (1776-1847), Memoriale di frate Giovanni da Camerino francescano scritto nell’anno 1371(1828/1833).

– Pietro FANFANI (1815-1879), Relazione del viaggio d’Arrigo VII in Italia di Niccolò vescovo di Botrintò, volgarizzata nel secolo XVIV dal notaio ser Bonacosa di ser Bonavita da Pistoia (1847).

– ¿Ignazio PILLITO (1806-1895)?; Pietro MARTINI (1800-1866), Pergamene, codici e fogli cartacei d’Arborea (Cartas de Arborea / Carte d’Arborea) (1863-1865).

– Giuseppe CUGNONI (1824-1908), Vita di Arhot monaco (1884).

– Giuseppe COZZA-LUZZI, Appunti leopardiani (1898).

– Giuseppe MEZZANOTTE (1855-1935), La novella della cesta (1902).

– Augusto FRASSINETI (1911-1985), Misteri dei Ministeri (1952/1974) // “Lo Spirito delle Leggi. Postfazione”, in [Un capitano a riposo] (1963).

– Giacomo BIFFI (1928-), *Il quinto evangelo (1968).

– Brunamaria DAL LAGO (1935-), *Il regno dei Fanes (1989).

– Pietro PIZZARI, *Necronomicon: magia nera in un manoscritto della Biblioteca Vaticana (1993).

– Constandin SION (1795-1862)?, Izvodul spătarului Clănău (Cronica lui Huru) (1856).

– Constantin A. IONESCU-CAION (1880-1918), “Un război al lui Mircea în 1399” (1901).

– Vladimir COLIN (Jean Colin, 1921-1991), *[Legendele Țării lui Vam] (1961).

MOCK BOOK REVIEWS AND SIMILAR DOCUMENTS (including reviews and descriptions of works of art)

– Thomas Babington MACAULAY (1800-1859), “A prophetic account of a grand national epic poem, to be entitled The Wellingtoniad, and to be published A.D. 2824” (1824).

– Aristarchus Newlight (Richard WHATELEY, 1786-1863), Historic Certainties Respecting the Early History of America (1851).

– H. P. LOVECRAFT (1890-1937), “History of the Necronomicon” (1938).

– Woody ALLEN (Allan Stewart Königsberg, 1935-), “The Metterling Lists” (1969), in [Getting Even] (1971).

– Norman SPINRAD (1940-), “Afterword to the Second Edition”, in The Iron Dream (1972).

– Jonathan BAUMBACH (1933-), “Neglected Masterpieces IV”, in [The Return of Service] (1979) // “Neglected Masterpieces III” (1986).

– Samuel R. DELANY (1942-), “Some Informal Remarks toward the Modular Calculus, Part Three, by S. L. Kermit”, in [Tales of Nevèrÿon] (1979).

– Robert M. PRICE (1954-), “A Critical Commentary on the Necronomicon” (1988).

– R. M. BERRY, “Second Story”, “Samuel Beckett’s Middlemarch”, “History”, in [Dictionary of Modern Anguish] (2000).

– Michael CISCO (1970-), “The Thing in the Jar” (2011).

– Cherie PRIEST (1975-), “Addison Howell and the Clockroach” (2011).

– Henrique Maximiano COELHO NETO (1864-1934), “Inauditismo”, in [Lanterna mágica] (1898).

– Melchor FERNÁNDEZ ALMAGRO (1893-1966), “El poeta Capdepón, académico” (1923).

– Jorge Luis BORGES (1899-1986), “El acercamiento a Almotásim”, in [Historia de la eternidad] (1936) / “Pierre Menard, autor del Quijote” (1939), “Examen de la obra de Herbert Quain” (1941), in [El jardín de senderos que se bifurcan] (1941) / “Tres versiones de Judas”, in [Ficciones] (1944/1956).

– AZORÍN (José Martínez Ruiz, 1873-1967), “Un librito de versos”, “Estudios históricos”, in [Cavilar y contar] (1942).

– Juan BENET (1927-1993), “Un prólogo a la Historia de la Orden de Caballeros de Don Juan Tenorio” (1959).

– Juan José ARREOLA (1918-2001), “El himen en México”, in [Palindroma] (1971).

– Jaime ROSAL DEL CASTILLO (1945-), “Acerca del verdadero Necronomicón” (1974).

– Juan-Jacobo BAJARLÍA (1914-2005), “El Al-Azif o Necronomicón” (1975-1978).

– José María MONTELLS (1949-), “Sobre el papiro Neferkeré” (1976).

– Emiliano GONZÁLEZ (1955-), “Los cuatro libros de Garret Mackintosh”, in [Los sueños de la bella durmiente] (1978).

– José FERRER-BERMEJO (1956-), “Breve reseña del Kriskongismo”, in [El increíble hombre inapetente y otros relatos] (1982).

– Luis GOYTISOLO (1935-), “Joyce al fin superado” (1984), in [Investigaciones y conjeturas de Claudio Mendoza] (1985).

– Darío VIDAL, “Los papeles dispersos del rabí Samuel Santángel de Alcañiz”, in [Siete ensayos aragoneses y un apócrifo] (1986).

– Óscar de LA BORBOLLA (1949-), “El manual de torturadores”, “La mejor novela de este tiempo”, “La pena de muerte”, “Primera reseña de este libro”, in [Ucronías] (1989).

– Mario LEVRERO (1940-2004), “Giambattista Grozzo, autor de “Pierre Menard, autor del Quijote”” (1993).

– Eugenio F. GRANELL (1912-2001), “Nota bibliográfica”, in [El aire franco] (2000).

– Eduardo BERTI (1964-), “Una novela premonitoria”, in [La vida imposible] (2002).

– Alberto LÓPEZ AROCA (1976-), [“Mitología creativa”], in [Los espectros conjurados] (2004).

– David ARIAS (1965-), “Necrológica”, in [Horrores cotidianos] (2007).

– Javier FERNÁNDEZ (1971-), “Hacia una traducción de Gigamesh de Patrick Hannahan”, in [La grieta] (2007).

– Jorge CARRIÓN (1976-), ““Nuestro dolor. Algunas reflexiones sobre Los muertos”, por Martha H. de Soto”, ““Los muertos o la narrativa postraumática”, por Jordi Batlló y Javier Pérez”, in Los muertos (2010).

– Pablo MARTÍN SÁNCHEZ (1977-), “Verbigracia”, “Poesía métrica”, in [Fricciones] (2011).

– Enrique GALLUD JARDIEL (1958-), [Historia estúpida de la literatura] (2014).

– Vicente Luis MORA (1970-), “El Quijote de Cervantes como plagio de Si una noche de invierno un viajero, de Italo Calvino” (2016).

– M. Servet (A) Raves, “El descobriment de Madrid, pel doctor Schulze-Pfalz” (1904).

– Joan PERUCHO (1920-2003), “Notícia de Madama Edwarda i de un desconegut escriptor”, “Don Faustino de la Peña i el seu enigmàtic Tratado de carnes”, “El diari de guerra de Xaconín”, “Un cavaller erudit”, “Velles cròniques d’Espanya” (H.), “Els erudits del meravellós”, “Notícia del doctor Thebussem”, in [Aparicions i fantasmes] (1968) // [Històries apòcrifes] (1974) // “El pareraire”, “El Canut o la futurologia en vers” (H.), in [Monstruari fantàstic] (1976)

– Pep ALBANELL (1945-), “El gran lament”, in [L’impacable naufragi de la pols] (1987).

– Joaquim CARBÓ (1932-), “El realisme critic premiat” (1986), “Un llibre de guerra singular” (1986), “El rei Jaume I en calent” (1986), “Campi qui pugui” (1987), in [L’Ofèlia i jo] (2004).

– Pep ALBANELL (1945-), “El gran lament”, in [L’impacable naufragi de la pols] (1987).

– Màrius SERRA (1963-), Amnèsia (1987) (H.).

– Vicenç PAGÈS JORDÀ (1963-), “Cabal/5”, “Emportar-se/10”, in [Cercles dinfinites combinacions] (2003).

– Jordi MASÓ RAHOLA (1967-), “El gnom de Bristol”, in [Polpa] (2016).

– Joan-Claudi FORÊT (1950-), “Logica sens pena”, “Deliri d’interpretacion”, in [Libre dels grands nombres o falses e us de fals] (1998).

– Pierre MILLE (1864-1941), “Poèmes modernes” (1887).

– René ÉTIEMBLE (1909-2002), “Un homme à tuer: Jorge Luis Borges, cosmopolite” (1952).

– Raymond QUENEAU (1903-1976), “De quelques langages animaux imaginaires et notamment du langage chien dans Sylvie et Bruno” (1971)

– Didier ANZIEU (1923-1999), “La sémantique du texte”, in [Contes à rebours] (1975/1987/1995).

– Jean-Benoît PUECH (1947-), [La Bibliothèque d’un amateur] (1979).

– Antoine BELLO (1970-), “L’année Zu”, in [Les Funambules] (1996).

 – Sylvain JOUTY (1949-), “Notes sur le travail d’Eddy Mörcher”, in [Queen Kong] (2001).

– Stéphane JAGDANSKI (1963-), “יהוה, dit “Dieu””, in [Jouissance du temps] (2005).

– Samir BOUADI; Agathe COLOMBIER-HOCHBERG, [26,5 auteurs qui n’existent pas mais qu’il faut absolument avoir lus] (2008).

– Bernard QUIRINY (1978-), “Quelques écrivains, tous morts”, in [Contes cannibales] (2008).

– Yann DALL’AGLIO, [Vies, sentences et doctrines des sages imaginaires] (2014).

– Clémentine MELOIS (1980-), [Cent titres] (2014).

– Emilio CECCHI (1884-1966), “Una comuniccazione accademica” (1919), in [Pesci rossi] (1920).

– Tommaso LANDOLFI (1908-1979), “SPQR”, in [Racconti impossibili] (1966).

– Umberto ECO (1932-2016), “My exagmination round his factification for incamination to reduplication with ridecolation of a portrait of the artist as Manzoni” (1962), “Tre recensioni anomale” (1967-1971), in [Diario minimo] (1963/1975) // “Dell’esternazione”, “Tre civette sul Comò”, “Lineamenti di critica quantistica”, “Il pensiero di Brachamutanda”, in [Il secondo diario minimo] (1992).

– Virginia DE BOSIS VACCA (1898-1988), [Recensioni artificiali] (2001).

– Paolo ALBANI (1946-), [Il sosia laterale e altre recensioni] (2003).

HOMO SCRIBENS, [Enciclopedia degli scrittori inesistenti] (2009/2012).

– Luca GIORGI (1960-), [Il libro dei libri] (2011).

– Ovid S. CROHMĂLNICEANU (Moise Cohn, 1921-2000), “Recenzie stiinţifică”, in [Istorii insolite] (1980).


Only summaries written as such, not summaries of accidentally lost or unwritten books (e.g. due to the writer’s decease).

Only texts in romance languages.

– Teófilo BRAGA (1843-1924), “Epopéia da Lusónia”, in Viriato (1904).

– Juan VALERA (1824-1905), “Los cordobeses en Creta” (1897).

– Pretextato TRASTIENDA (Francisco ANTICH E IZAGUIRRE, 1872-1930), Novedad, 100 o 200 argumentos para cuentos (tal como los tienen los autores en cartera) (1904).

– Jorge Luis BORGES (1899-1986), “El acercamiento a Almotásim”, in [Historia de la eternidad] (1936) / [El jardín de senderos que se bifurcan] (1941) / “Tema del traidor y del héroe” (1944), in [Ficciones] (1944/1956).

– Ricardo GULLÓN (1908-1991), “Un drama inédito de Unamuno” (1961).

– Jaime ROSAL [DEL CASTILLO] (1945-), “Acerca del verdadero Necronomicón” (1974).

– Luis GOYTISOLO (1935-), “Joyce al fin superado” (1984), in [Investigaciones y conjeturas de Claudio Mendoza] (1985).

– Fernando ARRABAL (1932-), “La travesía de Arrabal” (1988).

– Enrique GALLUD JARDIEL (1958-), “El comité de Kafka”, [“La antiliteratura”], in [Historia estúpida de la literatura] (2014).

– Ramon REVENTÓS (1882-1923), “Argument d’una història llarga” (1916), in [Proses] (1953).

– Valentí CASTANYS (1898-1965), “Dos mil anys després”, in [Barcelona-Hollywood (radio-cinema-sonor)] (1935).

– Francesc TRABAL (1899-1957), [Tres arguments] (1938).

– Joaquim CARBÓ (1932), “El realisme critic premiat” (1986), “Un llibre de guerra singular” (1986), “El rei Jaume I en calent” (1986), “Campi qui pugui” (1987), in [L’Ofèlia i jo] (2004).

– Jules CLARETIE (1840-1913), “Le Napoléon jaune” (1900).

– Jacques RIGAUT (1898-1929), “Un brillant sujet” (1922).

– Jean-Benoît PUECH (1947-), [La Bibliothèque d’un amateur] (1979).

– Pierre GRIPARI (1925-1990), “La Chartreuse de Parme (critique imaginaire)”, “La Bataille de l’eau de Lourdes”, in [La Rose réaliste] (1985).

– Sarane ALEXANDRIAN (1927-2009), [Soixante sujets de romans au goût du jour et de la nuit] (2000).

– Theo CANDINAS (1929-), «Gion Barlac ei el claus», in [Historias da Gion Barlac] (1975).

– Luigi CAPUANA (1839-1915), «Un melodramma inedito», in [Fumando] (1889) / [Le appassionate] (1893).

– Giovanni PAPINI (1881-1956), “Un film originale”, in [Le pazzie del poeta] (1950) // “Il poema dell’uomo (di Walt Whitman)”, “La gioventù di Don Chisciotte (di Miguel de Cervantes)”, “Il Primo e l’Ultimo (di Unamuno)”, “Il ritorno (di Franz Kafka)”, “La conversione del papa (di Roberto Browning)”, “Il paradiso ritrovato (di William Blake)”, in [Il libro nero] (1951).

– Felix ADERCA (Zelicu Froim Aderca, 1891-1962), “Pastorală”, in [Aventurile D-lui Ionel Lăcustă-Termidor] (1932).

– Mircea Horia SIMIONESCU (1928-2011), “ANTONIO GOVERNALY: Noocracia”, in Bibliografia generală (1971).

– Mircea OPRIŢĂ (1943-), “Meteoritul tungus” (2005), in [Sindromul Quijote şi alte ficţiuni rebele] (2014).


Bibliographies, book catalogs, audiovisual and musical programmes, and imaginary indexes

Only texts published as literary texts in collections of fictions and/or literary journals.

– R. LONSDALE, Catalogue of the Extensive Library of Doctor Rainbeau (1862).

– Francis Peloubet FARQUHAR (1887-1974), A Catalogue of Rare Books and Manuscripts (1946).

– J. [James] G. [Graham] BALLARD (1930-2009), “The Index” (1977), in [War Fever] (1990) and [The Complete Short Stories] (2001) // “A Guide to Virtual Death” (1992), in [The Complete Short Stories] (2001).

– Rosendo PONS, “Del año 3000” (1901).

– José Alberto GONZÁLBEZ, “Cierta guía de conciertos de la orquesta filarmónica de Plutón” (1980).

– Renier CHALON (1802-1889), Catalogue dune très riche mais peu nombreuse collection de livres provenant de la bibliothèque de feu M. le Comte J.N.A. de Fortsas (1840).

– Marcel SCHWOB (1867-1905), “Les cent bons livres du journaliste”, in [Mœurs des Diurnales: Traité de journalisme] (1903; as Loyson-Bridet).


Texts which mimic ancient rethoric.

*: purely literary.

– Joseph SMITH (1805-1844), The Book of Mormon (1830).

The Lost Chapter of the Acts of the Apostles (1871).

– William Dennes MAHAN (1824-1906), A Correct Transcript of Pilate’s Court (1879) / The Archaeological Writings of the Sanhedrin and Talmuds of the Jews, Taken from the Ancient Parchments and Scrolls at Constantinople and the Vatican at Rome, Being the Record Made by the Enemies of Jesus of Nazareth in His Day (1884).

– John Ballou NEWBROUGH (1828-1891), Oahspe (1882/1891).

– Gideon Jasper Richard OUSELEY (1834-1906), The Gospel of the Holy Twelve (1898-1901).

– Levi H. DOWLING (1844-1911), The Aquarian Gospel of Jesus the Christ (1908).

Letter of Jesus Christ (1917).

Epistle of Kallikrates (1928)

– William Percival CROZIER (1879-1944), *Letters of Pontius Pilate (1928).

– Catherine VAN DYKE, “Letters from Pontius Pilate’s Wife” (1929).

– Edmond Bordeaux SZEKELY (1905-1979), The Gospel of Peace of Jesus Christ by the Disciple John (1937) / The Essene Gospel of John (1956).

– Woody ALLEN (Allan Stewart Königsberg, 1935-), “The Scrolls” (1974), in [Without Feathers] (1975).

– Benjamin ROSENBAUM (1969-), *“The Book of Jashar” (2003), in [The Ant King and other stories] (2008) // *“Tractate Metim 28A” (2015).

– Jeffrey ARCHER (1940-); Francis J. MOLONEY, The Gospel According to Judas (2007).

– Joaquim Maria MACHADO DE ASSIS (1839-1908), *“Na Arca: Três capítulos inéditos do Gênesis” (1878), in [Papéis Avulsos] (1882).

– Henrique Maximiano COELHO NETO (1864-1934), “Judas”, in [Lanterna mágica] (1898).

– ANDRENIO (Eduardo GÓMEZ DE BAQUERO, 1866-1929), *“El Evangelio del Fariseo” (1911), in [Escenas de la vida moderna] (1913).

– Edmundo GONZÁLEZ BLANCO (1877-1938), “Jesús de Nazareth”, in [Jesús de Nazareth] (1915) / [Cuentos fantásticos] (1920).

– Clemente PALMA (1872-1946), *“Diatriba” (1927) / *“Elogio y diatriba” (1938).

– Tomás BORRÁS (1891-1976), *“La escisión”, in [Azul contra gris] (1948).

– Rafael SOLANA (1915-1992), *“Sansón y Dalila”, in [El oficleido y otros cuentos] (1960).

– J. [Juan] J. [José] BENÍTEZ (1946-), El testamento de San Juan (1988).

– Jaume RODRI (1940-), Evangeli de Jesús (1973).

– Manuel de PEDROLO (1918-1990), *“Fragment de la Crònica d’Irad”, *“Llibre de Naama”, *“Dels fets de l’Eva i l’Adam”, *“La presència del Serpent”, *“La Creació, segons el text de Babilònia del segle XI a. C.”, in [Múltiples notícies de l’Edèn] (1985).

– George SAND (Aurore Dupin, 1804-1876), *“Le Poème de Myrza” (1835).

– Nicolas NOTOVITCH (1858-?), La Vie inconnue de Jésus-Christ (1894).

– Renée VIVIEN (Pauline Mary Tarn, 1877-1909), *“La genèse profane”, in [Brumes de fjords] (1902).

– Han RYNER (Jacques Élie Henri Ambroise Ner, 1861-1938), Le Cinquième Évangile (1910).

– George Armand MASSON (1892-1977), *“Vanité des vanités”, *“L’Évangile selon Sainte Orberose”, in [LArt daccommoder les classiques] (1924).

– François CAVANNA (1923-2014), Les Aventures de Dieu (1971) – Les Aventures du petit Jésus, in [Les Écritures] (1982).

– Michel POTAY (1929-), L’Évangile donné à Arès (1974) – Le Livre (1977) / La Révélation d’Arès (1984).

– Frère BERNARD-MARIE, Le Cinquième Évangile d’après les agrapha et quelques mystiques (1997).

– Giacomo BIFFI (1928-), Il quinto evangelo (1968).


Prospectuses, business reports, commercial documents (including invoices)

*: narratives (company histories and narrative reports)

º: descriptions by third parties.

– James THOMSON (1834-1882), *“The Story of a Famous Old Jewish Firm” (1865), in [Satires and Profanities] (1884).

– John DAVIDSON (1857-1909), “The World’s Pleasance Company, Limited”, in “The Salvation of Nature”, in [The Great Man; and a Practical Novelist] (1891) / [The Pilgrimage of Strongsoul and Other Stories] (1896).

– Max APPLE (1941-), “An Offering”, in [Free Agents] (1984).

– John Thomas SLADEK (1937-2002), *Wholly Smokes (2003).

– Henrique Maximiano COELHO NETO (1864-1934), “Nova companhia”, in [Lanterna mágica] (1898).

– Antonio FLORES (1818-1865), º“El Gran Hotel de la Unidad Transatlántica”, in [Mañana, o la chispa eléctrica en 1899], third volume of [Ayer, hoy y mañana, o la fe, el vapor y la electricidad] (1863).

– Francisco AYALA (1906-2009), º“Ciencia e industria”, in [El jardín de las delicias] (1971).

– David ROAS (1965-), “Mecánica y psicoanálisis (un futuro cercano)”, in [Horrores cotidianos] (2007).

– Ramon PÉREZ-PUJOL (1916-1984), º“El sistema Togosoku”, in [Històries de ciencia-emoció] (1973).

– Émile SOUVESTRE (1806-1854), “Télégraphes trans-aériens”, in Le Monde tel qu’il sera (1846).

– Auguste de VILLIERS DE L’ISLE-ADAM (1838-1889), º“L’agence du Chandelier d’or” (1884), in [L’Amour suprême] (1886).

– George AURIOL (Jean-Georges Huyot, 1863-1938), º“Manufacture de sonnets” (1889).

– Tristan BERNARD (1866-1947), “Société anonyme de brigandage et de cambriolage dans les villas” (1899), in [Sous toutes réserves] (1911).

– Alfred JARRY (1873-1907), º“La Société protectrice des enfants martyrs” (1901).

– Jacques RIGAUT (1898-1929), “Agence Générale du Suicide”, in [Agence Générale du Suicide] (1959).

– Theo CANDINAS (1929-), º“Descripziun d’in stabiliment”, ein [Entagls] (1974).

– Ursicin G. [Gion] G. [Gieli] DERUNGS (1935-), *“La radunonza generala”, in [Il cavalut verd ed auter] (1988).

– Alexandru MACEDONSKI (1854-1920), *“Oceania-Pacific-Dreadnought” (1913).


Heterotopian fictional advertisement: Javier Fernándezs “La IslaTM” and the literary genre of the fictional advert

Fictions for advertising purposes have existed for a long time. Inversely, there is a textual form that uses advertising for literary purposes: fictional advertising texts. Among them, there are advertisements of imaginary institutions and goods written, for instance, by Coelho Neto, Rigaut and Arreola, as well as “La IslaTM”, a part of the cyberpunk work entitled Absolute Zero (2005), by Javier Fernandez. This mock tourist brochure reveals through fiction the (anti-)utopian dimension of the kind of advertising that sells heterotopian spaces. This text stands out due to its consistency and autonomy, and generates a complete fictional world through the signs and the discourse of advertising, thus illustrating the semiotic exchange between advertisement and literary fiction.

Fictional business documents are excluded.

– R. M. BERRY, “(paid advertisement)”, in [Dictionary of Modern Anguish] (2000).

– Mark A. RAINER, “Pages I Have Dog-Eared in the Fall 2037 Hammacher Schlemmer Glaven Catalog”, in [Pirate Therapy and Other Cures] (2012).

– Steven MILLHAUSER (1943-), “Arcadia” (2013), in [Voices in the Night] (2015).

– Modesto LAFUENTE (1806-1866), “Máquina para afeitar”, in “Un rapa-barbas de nueva invención”, in [Teatro social del siglo XIX] (1846).

– Antonio FLORES (1818-1865), “El que da lo que tiene a más no está obligado, o cómo por el hilo del pregón se sacará el ovillo de la cosa pregonada”, in [Mañana, o la chispa eléctrica en 1899], in [Ayer, hoy y mañana, o la fe, el vapor y la electricidad] (1863).

– Rafael Rafael Zamora y Pérez de Urría, marqués de VALERO DE URRÍA (1861-1908), “The Universal, Mechanic, Literary, Poetical and Prosaic Company Limited” (1892) / “Máquina cerebral”, in [Crímenes literarios] (1906).

– Silverio LANZA (Juan Bautista AMORÓS, 1856-1912), “¡No más anhidros!”, in [Cuentos escogidos] (1908).

– Juan José ARREOLA (1918-2001), “Baby H.P.”, “Anuncio”, in [Confabulario] (1952).

– José FERRER-BERMEJO (1956-), “Ponga un ciego en su vida”, in [Incidente en Atocha] (1982).

– Javier FERNÁNDEZ (1971-), “La IslaTM”, in Cero absoluto (2005).

– Ramon COMAS I MADUELL (1935-1978), “…I la màquina”, in [Rescat d’ambaixadors] (1970).

– Òscar PÀMIES (1961-), “Com resoldre el pitjor problema de les grans conurbacions”, in [Com serà la fi del món: Maneres que tindrà de presentar-se’ns i com preparar-s’hi anímicament] (1996).

– Honoré de BALZAC (1799-1850), “Double Pâte des Sultanes et Eau Carminative de César Birotteau, découverte merveilleuse approuvée par l’Institut de France”, in César Birotteau (1837).

– Ernest JAUBERT (1856-1942), “Un prospectus de l’an 2000” (1890).


Prescriptive discourse, literary fiction and dystopia: Santiago Eximeno’s “La hora de la verdad” (2003) in its genre context

Several recent texts suggest that fiction is a concept which should be distinguished from the narrative. Even prescriptive discourse (rules, instructions, etc.) can be used to create a possible fictional world, without narration or characters. The example of Santiago Eximeno’s zombie fiction “The Moment of Truth” (2003) shows that the introduction of fantastic elements in a normative discourse can contribute to the shaping of a whole fictional universe. This presents dystopian features in the above-mentioned work, as it indicates the repressive mechanisms exercised through the prescriptive power of the State.

Real political and legislative proposals, even if made by individuals not in office, are excluded.


(v.): in verse

*: legally binding texts.

– Rudyard KIPLING (1865-1936), “The Law of the Jungle” (v.), in [The Second Jungle Book] (1895).

– Frederick Upham ADAMS (1859-1921), *“Constitution of the United States of America”, in President John Smith (1897).

– Henry O. MORRIS, *“Constitution of the United States”, in Waiting for the Signal (1897).

– Mark TWAIN (Samuel Langhorne Clemens, 1835-1910), “Etiquette for the Afterlife: Advice to Paine” (1912/1995 [1910]).

– Edward Mandell HOUSE (1858-1938), *“The New National Constitution”, “New State Constitutions”, in Philip Dru: Administrator (1912).

– Evelyn WAUGH (1903-1966), *“Order for the Day of the Emperor’s Departure”, in Black Mischief (1932).

– Isaac ASIMOV (1920-1922), Three Laws of Robotic, in “Runaround” (1942), in [I, Robot] (1950).

– Peter PORTER (1927-2010), *“Your Attention Please” (v.) (1962).

– Franz JOSEPH (1914-1994), *“Articles of Federation”, in [Star Trek Star Fleet Technical Manual] (1975).

– David BRIN (1950-), *“National Recovery Act”, in The Postman (1985).

– David GULBRAA, *The Constitution of the Individual’s Republic of Atlantis (2000).

– Max BROOKS (1972-), The Zombie Survival Guide (2003).

– Jamie KILLEN, “So You’ve Chosen to Foster” (2015).

– Terry BRUCE, “Welcome to Oasis” (2015).

– Octávio dos SANTOS (1965-), *“Decreto Lei Nº 54”, in [Visões] (2003).

– Viton ARAÚJO (1982-), 100 coisas para fazer (depois de morrer) (2012).

– Rafael Rafael Zamora y Pérez de Urría, marqués de VALERO DE URRÍA (1861-1908), “Dogmas éticos”, in [Crímenes literarios] (1906).

– José MORENO VILLA (1887-1955), “Órdenes de “El Caballero Azul” en su quinta manifestación vital”, in [“Vidas quebradas”], in [Patrañas] (1921).

– Carlos VILLAMIL CASTILLO, “El mundo de los fantasmas”, in [La venganza de los perros y otros cuentos] (1949).

– Manuel DERQUI (1921-1973), *“Manual para maquinistas marcianos” [1961], in [Todos los cuentos] (2008).

– Sergio RAMÍREZ (1942-), *“Suprema ley por la que se regula el bien general de las personas, se premian sus acciones nobles y se castigan sus malos actos y hábitos, dictada en XIV parágrafos”, in [De tropeles y tropelías] (1972).

– Alberto CAÑAS (1920-2014), “La división del mundo”, in [La exterminación de los pobres y otros pienses] (1974).

– Rafael LLOPIS (1933-), “Falsa proclama” (1974).

– Víctor ALBA (1916-2003), “Programa de la Resistencia Española para la paz”, in 1936-1976. Historia de la Segunda República española (1976).

– Santiago EXIMENO (1973-), *“La hora de la verdad” (2003), in [Bebés jugando con cuchillos] (2008) // “Tu bebé diabólico”, in [Obituario privado] (2010).

– YOSS (José Miguel Sánchez Gómez, 1969-), “Si usted se siente como un dios… (Decálogo de autoayuda para turistas que visitan Shu-Wu-Kun-Lu)” (2008).

– David ACRICH, “De oficio, picador de aire”, in [El reencuentro de Rabí Samuel y otros relatos] (2009).

– Louis GEOFFROY (1803-1858), *“Moniteur universel du 5 août 1871”, in Napoléon et la conquête du Monde. 1812 à 1832. Histoire de la Monarchie universelle (1836).

– Alexandre DUMAS (1802-1870), *“Constitution de la Nation des Mosquitos dans l’Amérique centrale”, in Le Capitaine Pamphile (1839).

– Léon BOPP (1896-1977), “Règlement pour l’humanisation de la guerre (élaboré par M. Kourbar Glutsch)”, in [Drôle de monde] (1940).

– Boris VIAN (1920-1959), *“Paris, le 15 Décembre 1999…” (1958).

– Pierre BOURGEADE (1927-2009), *“Loi relative au remplacement de la femme par les femelles des animaux”, in La fin du monde (1984).

– Umberto ECO (1932-2016), “Come fare l’indiano”, in [Il secondo diario minimo] (1992).

– Ion Luca CARAGIALE (1852-1912), “‘Românii verzi’” (1901).

– Ov. S. CROHMĂLNICEANU (Moise Cohn, 1921-2000), *Tratatul de la Neuhof, in “Tratatul de la Neuhof”, in [Istorii insolite] (1980).

– Dănuţ UNGUREANU (1958-), “Domus” (1992), in [Basme geoestaţionare] (2008).

– Caius DOBRESCU (1966-), “Recomandări privind buna circulaţie a fluidelor corporale pe insula Aragnon”, in Euromorphotikon (2010).


– John SLADEK (1937-2000), “Anxietal Register B” (1969), in [Alien Accounts](1982).

– Tara CAMPBELL, “Nickerson Interstellar Student Exchange Behavioral Contract” (2015).

– Pablo MARTÍN SÁNCHEZ (1977-), “Ósculos ® (vía oral)”, in [Fricciones] (2011).


(v.): en verso.

*: just one letter.

– David STIRRAT, A Treatise on Political Economy: or the true principles of political economy in the form of a romaunt, for the more pleasing accommodation of readers; Explained in a series of letters to Aristippus, from Aristander, perceived in a deep vision (1824).

– Baron Joseph CORVAJA (1785-1860), Perpetual Peace to the Machine by the Universal Millennium, or The Sovereign Bankocracy, and the Grand Social Ledger of Mankind (1855).

– Old Peter Piper, “Peter Pipers Letters. Peter’s Vision” (1869).

– Anna DODD (1858-1929), The Republic of the Future; or, Socialism A Reality (1887).

– Wladjslaw Somerville LACH-SZYRMA (1841-1915), [Letters from the Planets] (1887-1893).

– Alice B. STOCKHAM (1833-1912); Lida Hood TALBOT, Koradine (1889).

– William Dean HOWELLS (1837-1920), Letters of an Altrurian Traveller (1892-1893).

– Clark Edmund PERSINGER (1873-?), Letters from New America; or an Attempt at Practical Socialism (1900).

– William Thomas STEAD (1849-1912), In Our Midst. The Letters of Callicrates to Dione, Queen of the Xanthians, concerning England and the English, Anno Domini 1902 (1903).

– Mary CARBERY (1867-1949), “If the Germans Came” (1916) // The Germans in Cork: Being the Letters of His Excellency the Baron von Kartoffel (Military Governor of Cork in the Year 1918), and Others (1917).

– Herbert Millingchamp VAUGHAN (1870-1948), Nephelococcygia; Or, Letters from Paradise (1929).

– Upton SINCLAIR (1878-1968), The Way Out: What Lies Ahead for America (1933).

– Geddes MACGREGOR (1909-1998), From a Christian Ghetto: Letters of Ghostly Wit, Written A.D. 2453 (1954).

The John Franklin Letters (1959).

– Arthur WASKOW (1933-), “Notes from 1999” (1973).

– Alasdair GRAY (1934-), Five Letters from an Eastern Empire giving Information upon Architecture, Etiquette, Irrigation, Ventriloquism, Justice, Sex and Poems in an Obsolete Country (1979).

– Cândido de FIGUEIREDO (1846-1925), Lisboa no Ano Três Mil (1892).

– António de MACEDO (1931-2017), “O limite de Rudzky”, in [O Limite de Rudzky e Outras Histórias] (1992).

– Julián Manuel del PORTILLO (1818-1862), Lima de aquí a cien años (1843-1844).

– Adolfo de CASTRO (1823-1898), Cartas dirigidas desde el otro mundo a D. Bartolo Gallardete (1851).

– Juan BRAVO MURILLO (1803-1873), *La Internacional y las damas españolas (1872).

– Casta ESTEBAN Y NAVARRO (1841-1885), *“Una carta del otro mundo”, in [Mi primer ensayo] (1884).

– Nilo María FABRA (1843-1903), El problema social (1890) // “La locura del anarquismo (Cartas del doctor Occipucio al abogado Verboso)”, in [Cuentos ilustrados] (1895).

– Rafael Rafael Zamora y Pérez de Urría, marqués de VALERO DE URRÍA (1861-1908), “Áureas lavas”, in [Crímenes literarios] (1906).

– Santiago RAMÓN Y CAJAL (1852-1934), *“Carta de una hormiga esclavista”, in [Charlas de café] (1920).

– Juan G. [García] ATIENZA (1930-2011), “Kuklos” (1967) // “El pisito solariego” (1968).

– René AVILÉS FABILA (1940-2016), *“En las cumbres deportivas”, in [La desaparición de Hollywood y otras sugerencias para principiar un libro] (1973) and [Fantasías en carrusel] (1978/1995/2001).

– Pere VERDAGUER (1929-2017), Les lletres de l’oncle Enric i els missatges de l’extraterrestre (1978).

– Carme RIERA (1949-), “Princesa meva, lletra d’Àngel”, in [Contra lamor en companyia i altres relats] (1991).

– Oriol CANOSA (1975-), L’illa de Paidonèsia (2017).

– Henri de PARVILLE (François Henri Peudefer, 1838-1909), Un habitant de la planète Mars (1865).

– Adrien ROBERT (Adrien Basset, 1822-1869), “La Guerre de 1894”, in [Contes fantasques et fantastiques] (1867).

– Alfred FRANKLIN (1830-1917), Les ruines de Paris en 4875 (1875) / Les ruines de Paris en 4908 (1908).

– Paul ADAM (1862-1920), Lettres de Malaisie (1898).

– Remy de GOURMONT (1858-1915), Lettres d’un satyre (1907-1910/1913).

– Georges DUHAMEL (1884-1966), Lettres d’Auspasie (1922) / Lettres au Patagon (1926).

– Association général des étudiants d’Alger, “Excursions dans l’avenir. En l’an 2030 et en l’an 2130” (1929).

– Paul GABRIEL, Messages martiens (1956).

– Pierre GRIPARI (1925-1990), “Opération pucelle”, in [Diable, Dieu et autres contes de menterie] (1965).

– Jacques STERNBERG (1923-2006), “Bien sincèrement à vous”, in [Futurs sans avenir] (1971).

– Octave MANNONI (1899-1989), Lettres personnelles (1990).

– Ursicin G. [Gion] G. [Gieli] DERUNGS (1935-), “Correspondenza cul purgatieri”, in [Il saltar dils morts] (1982).

+ Augusto FRASSINETI (1911-1985), “Prima lettera” – “Seconda lettera”, in [Misteri dei Ministeri] (1952/1974).

– Umberto ECO (1932-2016), “Stelle e stellette” (1976), in [Il secondo diario minimo] (1992).

– Roberto CASATI (1961-), Achille C. VARZI (1958-), “Di un progetto inutile”, “Missiva sul tempo da Valle Finale”, “L’ultimo caso del Presidente delle Amebe”, “Acido universale”, in [Semplicità insormontabili: 39 storie filosofiche] (2004) // *“La placca del Pioneer” (2015), in [Semplicemente diaboliche: 100 nuove storie filosofiche] (2017).

– Ion GHICA (1816-1897), *“Insula Prosta” (1885-1886), in [Scrisori către Vasile Alecsandri] (1887).

– Ovid S. CROHMĂLNICEANU (Moise Cohn, 1921-2000), “Scrisori din Arcadia”, in [Alte istorii insolite] (1986).


(except fictional historiographical lectures)

– Edward A. [Algernon] BAUGHAN (1865-1938). “Prehistoric Music. A Lecture Delivered by Professor Boremall before the Members of the Society of Antediluvian Art, July, 2897” (1897).

– K. [Kaye] RAYMOND, “The Great Thought” (1937).

– Isaac ASIMOV (1920-1992), “Thiotimoline and the Space Age” (1960), in [Opus 100] (1969).

– Harry MATHEWS (1930-), “Remarks of the Scholar Graduate”, in [Country Cooking and Other Stories] (1980).

– Rafael Rafael Zamora y Pérez de Urría, marqués de VALERO DE URRÍA (1861-1908), “Dogmas éticos”, “Banquete anual”, in [Crímenes literarios] (1906).

– Eduardo MAGGIO, “La nada” (1906).

– Enrique JARDIEL PONCELA (1901-1952), “Teoría del ente infinito considerado como base de utopías trilaterales” (1930).

– Max AUB (1903-1972), “Sesión secreta” (1964), in [Historias de mala muerte] (1965) // “El teatro español sacado a la luz de las tinieblas de nuestro tiempo” (1971).

– Manuel VÁZQUEZ MONTALBÁN (1939-2003), “50 años después de la derrota aliada” (1994).

– Mària Aurèlia CAPMANY (1918-1991), “Leviatan”, in [Com uma mà] (1958) and [Coses i noses] (1980).

– Alfred FRANKLIN (1830-1917), Mœurs et coutumes des Parisiens en 1880. Cours professé au Collège de France pendant le second semestre de l’année 3882 par Alfred Mantien, professeur d’archéologie transcendante (1882).

– A. de NOUVAL, “Une séance à la Société de Philandrologie en 1900”, in [Contes salés] (1884).

– Alfred de SAUVENIÈRE (1844-1912), “En l’an 2885!!!” (1885).

– Auguste de VILLIERS DE L’ISLE-ADAM (1838-1889), “Le banquet des éventualistes” (1887), in [Tribulat Bonhomet] (1887).

– Abbé P. NÉON (Abbé Farion), Sermon pour la fête de la Toussaint en lan 2000 (1899).

– Jean de BOECK (1863-1913), “Leçon donnée par Mlle Sophie Muller, professeur de psychiatrie à la clinique de Hambourg en l’an 2000” (1890).

– Paul THÉODORE-VIBERT (1851-1918), “À quoi bon?”, in [Pour lire en automobile] (1901).

– Edmond HARAUCOURT (1856-1941), “Le gorilloïde” (1904).

– N. de MONTFERRATO, “En l’an 2745” (1905).

– Louis LOTTIN (1880-1916), “Le trésor des pierres”, in [Lyon en l’an 2000] (1911).

– Vicente HUIDOBRO (1893-1948), Finnis Britannia (1923).

– Léon BOPP (1896-1977), “L’art d’être aimé”, in [Drôle de monde] (1940).

– Pietro GORI (1865-1911), La leggenda del Primo Maggio (1905), in [Cenere e faville] (1911).

– Tommaso LANDOLFI (1908-1979), “Nuove rivelazioni della psiche umana. L’uomo di Mannheim. (Relazione letta alla Reale Accademia delle Scienze dall’on. Onisammot Iflodnal, azerbeigiano)”, in [La spada] (1942) // “SPQR”, in [Racconti impossibili] (1966).

– Augusto FRASSINETI (1911-1985), “Relazione al Congresso della Sezione Italiana del Congresso Internazionale”, in [Un capitano a riposo] (1963).

– Luce D’ERAMO (1925-2001), “Una proposta risolutiva” (1989).

– Tudor ARGHEZI (Ion N. Theodorescu, 1880-1967), “În preistorie”, in [Tablete din Ţara de Kuty] (1933).


(v.): in verse.

*: interview.

– Thomas Henry LISTER (1800-1842), “A Dialogue for the Year 2130, Extracted from the Album of a Modern Sibyl” (1829).

– Edgar Allan POE (1809-1849), “The Conversation of Eiros and Charmion” (1839), in [Tales of the Grotesque and Arabesque] (1840).

– Edgar FAWCETT (1847-1904), “In the Year Ten Thousand” (v.), in [Songs of Doubt and Dream] (1890).

– Havelock ELLIS (1859-1939), The Nineteenth Century: A Dialogue in Utopia (1900).

– Mary CHOLMONDELEY (1859-1925), “Votes for Men: A Dialogue” (1909).

– M. [Matthew] P. [Phipps] SHIEL (1865-1947), “How Life Climbs” (1934).

– Paul BEAUJON (Beatrice Lamberton Warde, 1900-1969), Peace under Earth: Dialogues from the Year 1946 (1938).

– Rex WARNER (1905-86), Why Was I Killed?: A Dramatic Dialogue (1943).

– Clifford A. PICKOVER (1957-), The Stars of Heaven (2001).

– Luís Filipe SILVA (1970-), “O Fernando Pessoa electrónico”, in [O Futuro à Janela] (1991).

– Fósforo Cerillos (Sebastián CAMACHO ZULUETA, 1822-1915), “México en el año 1970” (1844).

– AZORÍN (José MARTÍNEZ RUIZ, 1873-1967), “La Prehistoria” (1905) / “Epílogo futurista”, in El político (1919).

– Eduardo BERTRÁN RUBIO (1838-1909), “Un invento despampanante” (1906).

– Enrique GONZÁLEZ FIOL (1879-1947), “El tractor del porvenir, ¡la pulga!”, in [Por qué se puso Eva el clásico pámpano] (1925).

– Antonio MACHADO (1875-1939), “Diálogo entre Juan de Mairena y Jorge Meneses”, in [De un cancionero apócrifo] (1928).

– ANDRENIO (Eduardo GÓMEZ DE BAQUERO, 1866-1929), “La extraña máquina”, in [Guignol] (1929).

– Juan G. [García] ATIENZA (1930-2011), “Enfermo” (1973).

– Ramón J. SENDER (1901-1982), “Aventura del Ángelus I”, in [Las gallinas de Cervantes y otras narraciones parabólicas] (1967) and [Novelas del otro jueves] (1969).

– Jaume PUIGBÒ, “Entrevista amb un extraterrestre” (1982).

– Camille FLAMMARION (1842-1925), “Lumen”, in [Récits de l’infini] (1872) / Lumen (1887).

– Charles SECRETAN (1815-1895), “Gillette ou le problème économique” (1888), in [Mon utopie] (1892).

– Jean RICHEPIN (1849-1926), “Le monstre” (1891), in [Théâtre chimérique] (1896).

– Henri MARET (1837-1917), “Les deux planètes” (1900).

– Iwan GILKIN (1858-1924), “Le restaurant de Moscou (vers 2250)”, in Jonas (1900)

– Paul MAX (1884-1944), “Mars” (1924).

– Sosthène, *“Le Martien interviewé” (1927).

– Maurice RENARD (1875-1939), “Sur la planète Mars” (1939).

– Alfred SAUVY (1898-1990), Utopie iatocratique (1954).

– Amélie NOTHOMB (Fabienne Claire Nothomb, 1966-), Péplum (1996).

– Corrado ALVARO (1895-1956), “L’augurio volante” (1950).

– Alberto MORAVIA (1907-1990), “Il monumento” en [L’epidemia] (1956).

– Tommaso LANDOLFI (1908-1979), “Quattro chiachiere in famiglia”, “Un concetto astrusso”, in [Racconti impossibili] (1966).

– Ovid S. CROHMĂLNICEANU (Moise Cohn, 1921-2000), *“Interviul”, in [Alte istorii insolite] (1986).


It is a kind of argumentative fiction consisting in the report by a homodiegetic (first person) narrator of his or dialogue with someone who exposes his or her (farfetched) ideas, thus offering a portrait (ethopeia) of his or her unconventional personality).

* = in verse.

– Edgar Allan POE (1809-1849), “The System of Doctor Tarr and Professor Fether” (1845).

– H. G. WELLS (1866-1946), “The Diamond Maker” (1894), “The Triumphs of a Taxidermist” (1894), in [The Stollen Bacillus and Other Incidents](1895).

– Joaquim Maria MACHADO DE ASSIS (1839-1908), “O Espelho”, in [Papéis Avulsos] (1882).

– Mário de SÁ-CARNEIRO (1890-1916), “O Homem dos Sonhos” (1913), in [Céu em Fogo] (1915).

– Fernando PESSOA (1888-1935), “O Banqueiro Anarquista” (1922) // “A Perversão do Longe” [1913] (2012) // “Empresa Fornecedora de Mitos, Lda.” [¿1923?] (2012) // “O Adiador” [¿1925?] (2014).

– José Maria FERREIRA DE CASTRO (1898-1974), “O Senhor dos Navegantes”, in [A Missão] (1954).

– Esteban BORRERO ECHEVERRÍA (Cuba 1849-1906), “Calófilo” (1879).

– Carlos MONSALVE (Argentina, 1859-1940), “De un mundo a otro” (1879), in [Páginas literarias] (1881).

– José FERNÁNDEZ BREMÓN (1839-1910), “Siete historias en una”, in [Cuentos] (1879) // “Un Dios con sombrero de copa” (1879) // “Quintar los muertos” (1879) // “El club de los pacíficos” (1887) // “La mitad de la justicia” (1888) // “El diccionario de los gatos” (1899) // “Certamen de inventores” (1900) // “El gremio de verdugos” (1902).

– Silverio LANZA (Juan Bautista Amorós, 1856-1912), “Lo que se necesita para dar” (1894).

– Miguel de UNAMUNO (1864-1936), “Sueño” (1897), “Una visita al viejo poeta” (1899; El espejo de la muerte, 1913), “El abejorro” (1900), “Don Martín, o de la gloria” (1900), “La locura del doctor Montarco” (1904), “El que se enterró” (1908), “Bonifacio” (El espejo de la muerte, 1913), “Don Catalino, hombre sabio” (1915), “Robledo, el actor” (1920), “El alcalde de Orbajosa (etopeya)” (1921), in [Cuentos] // “El fin de un anarquista” (1995 [1894]).

– Ramón PÉREZ DE AYALA (1880-1962), “La caverna de Platón” (1904) // “El filósofo de las casas de huéspedes”, in Belarmino y Apolonio (1921).

– Enrique LABARTA POSE (1863-1925), “El hombre fúnebre”, in [Cuentos humorísticos] (1905).

– Miguel SAWA (1866-1910), “Historias de locos” (1904) / “Judas”, in [Historias de locos] (1910).

– Leopoldo LUGONES (1874-1938), “La fuerza Omega”, “La metamúsica”, “El Psychon”, “Viola Acherontia”, in [Las fuerzas extrañas] (1906).

– Pompeyo GENER (1848-1920), “El doctor Stumper”, in [Del presente, del pasado y del futuro] (1911).

– Luis LÓPEZ DE MESA (1884-1967), “Apólogo de la Gloria”, in [El libro de los apólogos] (1918).

– José María SALAVERRÍA (1873-1940), “El forjador de fantasmas”, in [Páginas novelescas] (1920) and [El muñeco de trapo] (1928) // “El soñador arruinado” (1922), in [El muñeco de trapo] (1928) // “El fichero supremo” (1926), in [El muñeco de trapo] (1928).

– AZORÍN (José Martínez Ruiz, 1873-1967), “El arte del actor” (1935), in [Cavilar y contar] (1942).

– Tomás BORRÁS (1891-1976), “El millonarísimo”, “—Caballero, ideas a peseta”, in [Casi verdad, casi mentira] (1935) // “La fe del centurión”, in [Cuentos con cielo] (1943) // “Tan contento de ser un cero”, in [La cajita de asombros] (1946).

– Antonio CASTRO LEAL (1896-1981), “El cazador del ritmo universal” (1940), “El espía del alma” (1955), “El coleccionista de almas”, in [El laurel de San Lorenzo] (1959).

– Jorge Luis BORGES (1899-1986), “Funes el memorioso” (1942), in [Ficciones] (1944/1956).

– Bernardo ORTIZ DE MONTELLANO (1899-1949), “El caso de mi amigo Alfazeta”, in [El caso de mi amigo Alfazeta] (1946).

– Samuel ROS (1904-1945), “Batllés Hermanos, S. L.” (1948), in [Con el alma aparte] (2002).

– Alfonso REYES (1889-1959), “El vendedor de felicidad” (1948).

– Carlos VILLAMIL CASTILLO, “El descubridor de la zopilotina”, in [La venganza de los perros y otros cuentos] (1949).

– Eduardo SOLERIESTRUCH (1912-1999), “Sinfonía en azul”, in [Doce cuentos] (1952).

– Álvaro FERNÁNDEZ SUÁREZ (1906-1988), “El asesino en el parque”, in [La ciénaga inútil] (1968).

– César VALLEJO (Perú, 1892-1938), “Teoría de la reputación”, in [Contra el secreto profesional] (1973).

– José María MERINO (1941-), “Del Libro de Naufragios”, in [El viajero perdido] (1990) // “Los libros vacíos”, in [Cuentos del barrio del Refugio] (1994).

– Diego RUIZ (1881-1959), “72, carrer d’Entenza”, “Una resurrecció a París”, in [Contes d’un filòsof] (1908) // “La vaga de l’àngel”, in [Contes de glòria i d’infern] (1911).

– Ramon VINYES (1882-1952), “He retrobat al perruquer Oswald”, in [L’ardenta cavalcada] (1909).

– Alfons MASERAS (1884-1939), “La finestra mágica”, in [Setze contes] (1922).

– Ernest MARTÍNEZ FERRANDO (1891-1965), “Un clown en el camí”, in [Tres històries cruels] (1930).

– Ramon COMAS I MADUELL (1935-1978), “El lector coŀlaborador”, in [Rescat d’ambaixadors] (1970).

– Joan-Claudi FORÊT (1950-), “De pels e d’òmes”, in [Libre dels grands nombres o falses e us de fals] (1998).

– Éphraïm MIKHAËL (Éphraïm-Georges Michel, 1866-1890), “Le magasin de jouets” (1885).

– Édouard DUJARDIN (1861-1949), “Un testament”, “L’enfer”, in [Les Hantises] (1886).

– Henri LAVEDAN (1859-1940), “Un homme peureux” (1888).

– Bernard LAZARE (1865-1903), “Les incarnations” (1891), in [Le Miroir des légendes] (1892).

– Marcel SCHWOB (1867-1905), “La machine à parler” (1891), in [Le Roi au masque d’or] (1892).

– Alphonse ALLAIS (1854-1905), “Une idée lumineuse”, in [Pas de bile!] (1893) // “Un projet de loi”, in [Rose et vert-pomme] (1894).

– Remy de GOURMONT (1858-1915), “Sur le seuil”, in [Histoires magiques] (1894).

– Jean LORRAIN (Paul Alexandre Martin Duval, 1855-1906), “Le possédé”, in [Sensations et souvenirs] (1895).

– Octave MIRBEAU (1848-1917), “Scrupules” (1896).

– Jean RICHEPIN (1849-1926), “La cité des gemmes” (1896), “Le nouvel explosif” (1900), in [Le Coin des fous] (1921) // “La Bibliothèque” (1898).

– Paul VALÉRY (1871-1945), “La Soirée avec Monsieur Teste” (1896) en [Monsieur Teste] (1919).

– Georges RODENBACH, (1855-1898), “Le chasseur des villes” (1899), “L’ami des miroirs” (1899), in [Le Rouet des brumes] (1901/1914).

– Édouard DUCOTÉ (1870-1929), “Une interview” (1900), in [En ce monde ou dans l’autre] (1903).

– SAINT-POL-ROUX (Pierre-Paul Roux, 1861-1940), “Le panier de fruits”, “Le mendiant philosophe”, in [La Rose et les épines du chemin] (1901).

– Paul THÉODORE-VIBERT (1851-1918), “Mammonth et Béhémoth”, “L’homme-microbe”, “La prescience divine”, “Pourquoi je n’aime pas voyager”, “La vie chimique de l’avenir”, “La vie n’existe pas”, “Les feux d’artifice”, “Un canon monstre”, “Comment on devient fou”, “Bureau de placement philanthropique et matrimonial”, “Suppression de l’arrêt des trains dans les grandes villes”, in [Pour lire en automobile] (1901).

– Renée VIVIEN (Pauline Mary Tarn, 1877-1909), “Le magasin d’idées”, in [Du vert au violet] (1903).

– Tristan BERNARD (Paul Bernard, 1866-1947), “Un guerrier, in [Amants et voleurs] (1905).

– Jules SAGERET (1861-1944), “La défense du riche”, en [Paradis laïques] (1908).

– Guillaume APOLLINAIRE (1880-1918), “L’hérésiarque”, “Le juif latin”, “Le passant de Prague”, in [L’Hérésiarque et Cie] (1910) // “Chirurgie esthétique” (1918) // “Traitement thyroïdien” (1918).

– Jean d’ORSAY, “Voulez-vous savoir comment on vit dans la planète Mars?” (1912).

– Edmond ROSTAND (1868-1918), *“Le chant des astres”, in [Le Vol de la Marseillaise] (1919).

– Franz HELLENS (Frédéric Van Ermengen, 1881-1972), “Un crime incodifié”, in [Nocturnal, précédé de quinze histoires] (1919).

– André GIDE (1869-1951), Corydon (1924).

– Jean DESS (HIXE), “L’économiseur de mouvements”, “Camping chez soi”, in [Pour lire en parachute] (1932).

– André DAHL (1886-1932), “La vraie fin du monde”, in [Contes pour la comtesse] (1933).

– Michel de GHELDERODE (Adhémar Martens, 1898-1962), “L’amateur des reliques”, in [Sortilèges] (1941).

– Marcel BÉALU (1908-1993), “Le Fabricant des rides”, in [L’Araignée d’or] (1964).

– Louis PAUWELS (1920-1997), Blumroch l’admirable ou Le déjeuner du surhomme (1976).

– Ursicin G. [Gion] G. [Gieli] DERUNGS (1935-), “Il vegl e la steila”, in [Il cavalut verd ed auter] (1988).

– Carlo DOSSI (1849-1910), “I lettori”, in [Ritratti umani. Campionario] (1885).

– Luigi CAPUANA (1839-1915), «Un uomo felice», in [Il decameroncino] (1901) / [La voluttà di creare] (1911).

– Giovanni PAPINI (1881-1956), “La rivolta dei ragazzi” (1913), “La conquista delle nuvole”, “Il nemico del sonno”, “La legge contro i poeti”, “La riforma del galateo”, in [Buffonate] (1914) // “Musicisti”, “La “FOM””, “La storia a ritroso”, “Thormon il soteriologo”, “Il cannibale pentito”, “Nuovissime città”, “Il trust dei fantasmi”, “Le idee di Benrubi”, “Processo agli innocenti”, “L’Egolatria”, “La nuova scultura”, “Il teatro senza attori”, “Filomania”, “Stelle”, “Caccavone”, “Il Conte di Saint-Germain”, “Il carnefice nostalgico”, “La chirurgia morale”, “La malattia come medicina”, “L’imbestiatore”, “Il Duca Hermosilla di Salvatierra”, “Il ritorno di Pitagora”, in [Gog] (1931) // “Il più grande scrittore” (1934), “Proposta di sterminio” (1935), in [Figure umane] (1940) // “Un dantista di campagna” (1942), “Il profeta in bigio” (1950), “Per i ladri e per gli assassini” (1952), in [La sesta parte del mondo] (1954) // “Le osservazioni del dottor Ciù o dei mutamenti dell’Europa” (1948), “Il fabricante di nuvole” (1948), “L’uomo d’oro” (1949), “La manifattura delle maschere” (1950), in [Le pazzie del poeta] (1950) // “Una paurosa festa”, “La biblioteca d’acciaio”, “L’astronomo deluso”, “Notizie dell’aldilà”, “Il nemico della natura”, “L’Ignotica”, “La rivincita del selvaggio”, “L’Istituto del Regresso”, “Il trasnvolatore solitario”, “Le Veneri brutte”, “L’elogio del fango”, “L’interrogativo del monaco”, “Il Congresso dei Panclasti”, “Morte ai morti”, “La predica della superbia”, “Il grande savio”, “L’unico abitante del mondo”, “L’abate e le peccatrici”, “Volete la pace?”, “Ucciso dall’amore”, “La resurrezione della materia”, “Tutto da rifare”, “La storia universale a volo di corvo”, “Il neocosmo”, “Il mascolinismo”, in [Il libro nero] (1951).

– Massimo BONTEMPELLI (1878-1960), “Macchina per contemplare”, in [La donna dei miei sogni e altre avventure moderne] (1925) // Colloqui col Neosofista, in [Il Neosofista e altri scritti] (1929).

– Riccardo BACCHELLI (1891-1985), “L’ultimo licantropo”, “I discepoli di Emmaus”, in [La fine di Atlantide ed altre favole lunatiche] (1942) / [Tutte le novelle] (1952).

– Alberto MORAVIA (1907-1990), “Un mendicante” (1947) // “Spia per scommesa” (1947).

– Giovanni CAVICCHIOLI (1894-1964), “Quadratura del circulo”, “Origine della guerra”, in [Nuove favole] (1960).

– Aldo PALAZZESCHI (1885-1974), “Il senso politico”, “La parola è d’argento”, ““Diomio che freddo! Miodio che caldo!””, in [Il buffo integrale] (1966).

– Tommaso LANDOLFI (1908-1979), “Alla stazione”, in [Racconti impossibili] (1966).

– Mario BRELICH (1910-1982), L’opera del tradimento (1975).

– Gesualdo BUFALINO (1920-1996), “L’ingegnere di Babele”, in [L’uomo invaso e altre invenzioni] (1986).

– Oscar LEMNARU (Oscar Holzman, 1907-1968), “Puterea prefăcătoriei”, in [Omul şi umbra] (1946).

– Mihai MĂNIUŢIU (1954-), “Don Scargrav”, in [Un zeu aproape muritor] (1982).

MONOLOGIC MOCK PROPOSALS in English and the Romance languages from 1871 (date of James Thomson’s “Proposal for the Speedy Extinction of Evil and Misery”)

Only works published in volumes of fiction or literary magazines.

Flash proposals (less than a page) and proposal in epistolary form (except open letters) are excluded.

– James THOMSON (1834-1882), “Proposal for the Speedy Extinction of Evil and Misery” (1871), in [Essays and Phantasies] (1881).

– Frank SCHAEFFER (1952-), Harold FICKETT (1953-), A Modest Proposal for Peace, Prosperity, and Happiness (1984).

– Tomás BORRÁS (1891-1976), “S.U.D.E. (sindicato único de enfermos)”, in [La rueda de colores] (1962).

– Max AUB (1903-1972), “Sesión secreta” (1964), in [Historias de mala muerte] (1965).

– Augusto MONTERROSO (1921-2003), “La exportación de cerebros”, in [Movimiento perpetuo] (1972).

– René AVILÉS FABILA (1940-2016), “En defensa del plagio” (1986), in [Cuentos y descuentos] and [Fantasías en carrusel] (1995/2001).

– Javier FERNÁNDEZ (1971-), “Diez razones para ver TV en lugar de leer un libro”, in [La grieta] (2007).

– Ramon REVENTÓS (1882-1923), “Matrimoni entre ciutats” (1912) ), in [Proses] (1953).

– Òscar PÀMIES (1961-), “Com resoldre el problema de les grans conurbacions”, “Perdre’s”, “Camí de llum”, in [Com serà la fi del món: Maneres que tindrà de presentar-se’ns i com preparar-s’hi anímicament] (1996).

– Auguste de VILLIERS DE L’ISLE-ADAM (1838-1889), “La découverte de M. Grave” (1873) / “L’affichage céleste”, “La machine à gloire” (1874), in [Contes cruels] (1883) // “Motion du Dr. Tribulat Bonhomet touchant l’utilisation des tremblements de terre” (1887), in [Tribulat Bonhomet] (1887).

– Rémy de GOURMONT (1858-1915), “La fête nationale” (1892).

– Alphonse ALLAIS (1854-1905), “Les ballons horo-captifs”, “Les culs-de-jatte militaires”, in [On n’est pas des bœufs] (1896) // “Radicale proposition”, in [Le bec en l’air] (1897) // “De quelques réformes cosmiques”, “Autre mode d’utilisation de la baleine”, “Légère modification à apporter dans le cours de la Seine”, in [Pour cause de fin de bail] (1899) // “Un nouveau projet de recrutement de la noblesse”, “Insularisation de la France”, in [Ne nous frappons pas] (1900).

– Paul THÉODORE-VIBERT (1851-1918), “L’âme éclair”, “Télégraphie inter-astrale”, “La survie assurée”, “L’art de s’habiller avec les nuages”, “Le Klondike”, “Quand le terrain devient cher”, “Les maisons en chair et os”, “La voie fleurie”, in [Pour lire en automobile] (1901) // “L’encombrement des grandes villes”, “Service anthropométrique universel”, “La musique à domicile”, In [Pour lire en traîneau] (1908)

– Alfred JARRY (1873-1907), “Les piétons écraseurs” (1901) // “Battre les femmes” (1902).

– Georges FOUREST (1864-1945), “De la peine de mort au point de vue financier”, in [Contes pour les satyres] (1923).

– Pierre DAC (André Isaac, 1893-1975), “La houille dormante” (1939).

– Didier ANZIEU (1923-1999), “Un musée futur”, in [Contes à rebours] (1975/1987/1995).

– Giovanni PAPINI (1881-1956), “Le maschere”, “Il rifacimento della terra”, “Ripulitura difficile”, in [Gog] (1931).

– Luce D’ERAMO (1925-2001), “Una proposta risolutiva” (1989).


Not only Zarathustra: Jonas (1900), de Iwan Gilkin, a revision of Jonah’s myth in the context of modern “prophetic epics”

*: in verse or prosimeter.

Biblical apocrhypha are excluded.

– Alfred TENNYSON (1909-1892), *“The Ancient Sage”, in [Tiresias and Other Poems] (1885).

– Kahlil GIBRAN (1883-1931), The Prophet (1923) – The Garden of the Prophet (1933).

– Friedrich NIETZSCHE (1844-1900), Also sprach Zarathustra (1883-1885).

– Hermann HESSE (1877-1962), “Zarathustras Wiederkehr” (1919).

– Rudolf PANNWITZ (1881-1969), “Zarathustras andere Versuchung”, in [Trilogie des Lebens] (1929).

– Ludwig DERLETH (1870-1948), *Der Heilige (1971-1972).

– TEIXEIRA DE PASCOAES (Joaquim Pereira Teixeira de Vasconcelos, 1877-1952), *Jesús e Pã (1903).

– Fernando PESSOA (1888-1935), “O livro do rei Igorab” [1915-1916] (2017).

– Paulo COELHO (1947-), Manuscrito encontrando em Accra (2012).

– Ricardo BURGUETE (1871-1937), Así hablaba Zorrapastro (1899).

– Gregorio MARTÍNEZ SIERRA (María de la O Lejárraga, 1874-1974), «Profecía», in [Flores de escarcha] (1900).

– Guillermo VALENCIA (1873-1943), *“La parábola del monte” (1905), in [Ritos] (1914).

– Julio BURELL (1859-1919), “Para los violentos”, in [Artículos] (1925).

– Roberto BRENES MESÉN (1874-1947), *Rasur o semana de esplendor (1946).

– Pierre-Simon BALLANCHE (1776-1847), La Vision d’Hébal (1831).

– Augustin CHAHO (1811-1858), Paroles d’un voyant (1834).

– Iwan GILKIN (1858-1924), Jonas (1900).

– Giuseppe CARTELLA GELARDI (1885-1962), “Il canto dei liberi”, in [In memoria di Pietro Gori] (1912).

– Vincenzo CARDARELLI (Nazareno Caldarelli, 1887-1959), “Un’uscita di Zarathustra” (1919), in [Viaggi nel tempo] (1920) / [Prologhi. Viaggi. Favole] (1931).

Catalog For A Dead Planet

by Andrew Gudgel

Notice of an Auction of the Estate of Evelyn Chen-Ortiz

Auction Date: May 23, 3985, 1600-2100 hours. Preview May 21 and 22, 1200-1700 each day.

Location: Hillis Auctions, 567 Main Street, Suites 16a-c, Milwaukee, Republic of Wisconsin.  Map.  Directions.  Contact.

All items obtained off-world warranted to have passed through certified biological and/or radiological decontamination. All sales subject to a 15% buyer’s premium plus applicable taxes.

The highlight of this Auction is a collection of artifacts discovered on January (Beta Aquarii V) by John Barron Chen as part of his initial, privately-funded exploration of the planet (3880-3882). The following objects were part of Chen’s personal collection until his death in 3919 and have remained in the family until now. This is a once-in-a-lifetime opportunity to own one or more of the only items from January still in private hands, and provenance documents signed by the Chen-Ortiz family will be provided for any item upon request. Please note that export of these items to countries not signatories of the UN Convention on Interstellar Artifacts is prohibited, documentation notwithstanding.

Lot No. 44 — Description: Chinese-style Beitie stone rubbing of a frieze in the “Temple of Two Monsters.” Framed, 1.0 meters wide by 2.0 meters long. Produced by Chen himself using Terran paper and Chinese calligraphy ink. Scene depicts rows of Januarians, first two pairs of forelimbs upraised, flanking an altar (?) upon which is heaped a possible food offering. Incised lines reach down from a sphere, perhaps indicating fire or divine power appearing above the offering. Estimate: 10000-12500 Standard Units.

Lot No. 72 — Description: Caftan 2.4435 meters long, 0.613 meters wide including sleeves, made of a blue synthetic polymer similar to nylon with quilted-in patches of unknown gray animal skin. Believed to be a ceremonial robe for clan gatherings or possibly clerical garb, as this artifact was removed from a single individual found facing a “congregation” of other individuals in a small building near the center of the city, believed to be a social hall or small temple. (Nomura’s theory that the garment is a cooking apron is unlikely, due to the low melting point and flammability of the synthetic cloth used in this item’s manufacture.) Other examples contain quilted-in material, but the use of animal skin in this caftan is unique. Estimate: 25000-35000 Standard Units.

Lot No. 93 — Description: Pair of Tannoak seeds. Identification of the plant that produced these seeds is tentatively accepted from iconography in multiple temple friezes. Found together, the wear patterns on the surface of each seed and the purposeful treatment with multiple coats of lipids indicate they may have been rolled against one another as the Januarian equivalent of stress balls or worry beads. Biochemical examination reveals that neither seed is viable. This is likely due to the sterilizing effects of gamma-ray pulsar PSR Q2132-0535 which passed through the Beta Aquarii system approximately 500 years ago. Estimate: 5000-10000 Standard Units.

Lot No. 98 – A “Singing Crystal.” Description: A single 1.629cm x 1.629cm x 1.629cm, slightly cloudy, off-white crystal composed of over 21 discrete chemical elements. Scanning the crystal with blue laser light between 4250 and 4500 angstroms produces exitons and polaritons which, as they collapse, produce an acoustic phenomenon described by Lauren Wilkerson, expedition xenotechnologist, as sounding like “a combination of chimes and a gently babbling stream.” Evidence of atomic-level manufacture indicates the object had some other primary/secondary purpose, perhaps data storage. Estimate: 35000-50000 Standard Units.

Lot No. 102 – “The First Skull.” Description: Skull of a Januarian in sapphire-glass case with rosewood base and brass mounts. This is the original object collected by Chen himself in the Necropolis. Sealed in shatterproof sapphire-glass and stored in a Carbon Dioxide/Nitrogen mixture that simulates the atmosphere of January to prevent degradation of the bone through oxidation. Prominent “Chief Ridges” located between the central and lateral eye sockets and the oral grinding plates indicate what is believed to be the status/mating hierarchy of the individual within the social collective. The rosewood base and brass mounts were added by Chen the year after his return to Earth. Estimate: 100000-150000 Standard Units.

Lot No. 204 — Description: Two Codices written in an undeciphered Januarian script. Both items roughly 22.5cm by 30cm. The first codex is hand-written on 162 folded and linked panels of a thick paper made of organic material and bound in wooden boards. Carbon dating adjusted for Januarian historical CO2 uptake rates and conducted after the item’s return to Earth indicates a manufacture date of approximately 650 years before the exploration of January. Rubrication of initial letters in each “chapter” and the general quality of both materials and workmanship further suggest the codex was a religious text, possibly either a family heirloom or a collector’s item. Codex includes a later, tipped-in illustration of two suns—one violet-black, one yellow—rising over a mountain range, possibly a representation of PSR Q2123-0535’s passage through the stellar system. The second codex consists of nine folded and linked panels machine-printed on a thin paper of synthetic fibers. Illustrations inside suggest it may be a user’s manual for a piece of communications technology not yet discovered. Estimate: 20000-35000 Standard Units.

Lot No. 208 — Description: A doll. Made of a green and black organic cloth 0.4 meters long with three black glass beads for eyes. One bead “eye” unlike the others, likely a later replacement. The individual depicted appears to be an idealized, non-gendered Januarian as fore- and hind-limb pairs terminate only in rounded “hands” and “feet.” Fabric well-worn (well loved?) with some fading of the dyes and dirt stains on the soles of the hind limbs. Roughly two-centimeter repair on belly, possibly the owner’s handiwork, using black synthetic thread. Removed from a small, unmarked grave just outside the entrance to the Necropolis. Estimate: 2500-5000 Standard Units.



Andrew Gudgel is a freelance writer and translator. His fiction has appeared at Writers of the Future, Flash Fiction Online, Escape Pod, InterGalactic Medicine Show and other publications. He lives in Maryland, USA, in an apartment slowly being consumed by books. You can find him at