If the precise, heady science of Louise Banks parsing Heptapod B, the mathematical vertigo of "Division by Zero," and the mechanistic logic in "Seventy-Two Letters" thrilled you, Axiomatic will scratch the same itch. Egan’s stories push neural implants, physics, and identity puzzles to their logical extremes—much like the way Fermat’s principle and variational calculus underpin the revelations in “Story of Your Life.” You’ll get that same clean-room rigor, but applied to mind-bending questions about free will, consciousness, and the limits of self.

If you were moved by Chiang’s big questions—like how learning Heptapod B alters perception in “Story of Your Life” or how grace and suffering refract morality in “Hell Is the Absence of God”—then The Left Hand of Darkness gives that same depth of thought. Le Guin’s envoy Genly Ai navigates Gethen’s norms and language to understand what ‘human’ means across cultures, echoing the way Louise Banks bridges an alien worldview through linguistics and empathy.

If the braided timeline of “Story of Your Life”—with future and past coexisting for Louise Banks—captivated you, Slaughterhouse-Five plays a similar game with causality. Billy Pilgrim becomes “unstuck in time,” experiencing his life out of order and reframing fate versus choice, much like how Chiang’s Heptapods force a rethinking of agency once the whole arc of life is perceived at once.

If the pseudo-oral-history format of “Liking What You See: A Documentary” and Chiang’s step-by-step analytical approach appealed to you, The Martian channels that through Mark Watney’s mission logs, emails, and reports. The pleasure here is the same: relentless, clever reasoning under constraints—like Chiang’s characters working through linguistic systems or physical principles—except this time it’s potatoes, orbital mechanics, and life-or-death engineering on Mars.

If you loved the way “Hell Is the Absence of God” and “Tower of Babylon” deliver big speculative ideas in perfectly cut standalone pieces, The Paper Menagerie and Other Stories offers that same short-form potency. Liu blends concept and heart—myth, tech, memory, and migration—much like Chiang unites grand architectures (a city-sized tower into the sky) with intimate human stakes.