If you loved how The Science Fiction Encyclopedia ranges from Lucian and Mary Shelley through the New Wave and cyberpunk—pinning movements, magazines, and milestones into a single map—Roberts gives you a continuous narrative of that same territory. He threads together figures you likely lingered on in the Encyclopedia—H. G. Wells, Olaf Stapledon, Ursula K. Le Guin, Samuel R. Delany—showing how ideas like the “generation starship,” the “robot,” and the “Dying Earth” evolve across time. It’s the same panoramic scope, but told as a story of how the genre forms, fractures, and reinvents itself.

Did you enjoy jumping from the Science Fiction Encyclopedia entry on “Post-Apocalypse” to “Afrofuturism” to author profiles like Octavia E. Butler and Jack Vance? This companion volume lets you browse fantasy with the same precision and cross-referencing. You’ll find deep dives on motifs like the Quest, Secondary Worlds, and Tricksters, plus author overviews (from Tolkien to Angela Carter) that echo the crisp, insight-dense style you appreciated—perfect for that browse-and-discover rhythm the SF volume encourages.

If the Science Fiction Encyclopedia’s entry structure and critical vocabulary made you hungry for a stronger stance—like when it contrasts Campbellian hard SF with the New Wave—Aldiss offers an opinionated tour. He reconsiders Mary Shelley as foundational, repositions Wells and Verne, and draws sharp lines from pulp magazines to New Wave experimenters like J. G. Ballard and Delany. It reads like following the Encyclopedia’s cross-links, but with a witty guide arguing why certain branches mattered most.

If you enjoyed dipping into the Science Fiction Encyclopedia—one concise entry at a time—Borges’s compendium turns that same browsing pleasure into wonder. Flip from the A Bao A Qu to the Basilisk to The Squonk, with erudite asides and sources that invite further rabbit holes, much like following SFE links from “Robots” to Karel Čapek to Asimov. It’s the joy of curated, bite-sized discovery, delivered with Borges’s playful scholarship.

If the Science Fiction Encyclopedia thrilled you with how criticism can illuminate stories—jumping from entries on “Cyberpunk” to profiles of William Gibson and Bruce Sterling—Lem flips the lens: he writes reviews of books that don’t exist. Pieces like “Gigamesh” or “Pericalypsis” parody academic tones, bibliographic detail, and genre taxonomies you’ll recognize from the SFE, but the jokes yield big ideas. It’s the same analytical delight, transformed into inventive, speculative play.