New York City, NY–In “Cyborg Fever,” acclaimed writer Laurie Sheck brings us a probing and lyrical philosophical fiction in the spirit of Umberto Eco, Italo Calvino and Donna Haraway’s “Cyborg Manifesto,” that enacts an incisive and moving exploration into what it means to be human in the age of AI and increasing transhumanism.
Throughout, many strange, surprising facts appear: an artist clones a flower from his DNA and the DNA of a petunia, an astronaut plays golf on the moon, a mathematician on a rest cure re-thinks the life of Shakespeare, and particles and antiparticles collide at lightning speed beneath the green hills of Switzerland and France.
Amidst everything, one question lingers: in this age of AI and genetic engineering, how can we come to know more fully what it means to love and be human among the wonders and destructions we have wrought on Earth?
“Cyborg Fever”
Laurie Sheck | June 1, 2025 | Tupelo Press | Literary Fiction
Paperback | ISBN: 978-1-961209-26-8 | $19.95
About the Author…
Laurie Sheck is the author of “A Monster’s Notes,” a re-imagining of Mary Shelley’s “Frankenstein,” which was chosen by Entertainment Weekly as one of the 10 Best Fictions of the year, and long-listed for the Dublin Impac International Fiction Prize. She is also the author of the novel “Island of the Mad,” and five books of poems including “The Willow Grove,” which was a finalist for the Pulitzer Prize. A recipient of awards from the Guggenheim Foundation and the Creative Capital Foundation, among others, she has also been a Fellow at the Radcliffe Institute for Advanced Study at Harvard, and the Cullman Center for Scholars and Writers at the New York Public Library. Her work has appeared widely in such publications as The New Yorker and The Paris Review. She lives in New York City. Learn more at: www.lauriesheck.com
In an interview, Laurie Sheck can discuss:
- The job of the writer as a “curator” in the information age when readers consume enormous amounts of facts (and misinformation) each day
- What this glut of information is doing to us as a species, and what reaction (if any) is appropriate for us to take
- How she incorporates AI and bioengineering in “Cyborg Fever” and whether or not scientific advancements can remain morally neutral
- Some of the artistic works that inspired this book, including RW Fassbinder’s film “In A Year of 13 Moons”
- How “Cyborg Fever” is connected to her previous books, “A Monster’s Notes” and “Island of the Mad,” forming a loose trilogy
Praise for Laurie Sheck…
On “A Monster’s Notes”
“An electrifying literary triumph”
—Entertainment Weekly
“A remarkable creation, a baroque opera of grief, laced with lines of haunting beauty and profundity”
—The Washington Post
“An intellectual phantasmagoria… a magnificent book”
—NBC’s Weekend Today
“Utterly astonishing and not to be missed”
—Kirkus Reviews
On “Island of the Mad”
“There is no better evidence for art’s capacity to foster connections than Sheck’s own warm and lyrical narrative.”
—Los Angeles Review of Books
“Sheck returns with a gorgeously written work that layers together strands of history in one bravura act…A dizzyingly inventive work”
—Library Journal
“Poetic novelist Sheck draws on classic works… to create an exquisitely intricate and moving literary pastiche…In concise, haunting, inquisitive, and incantatory passages, Sheck imaginatively and compassionately explores the mysteries of the body and mind, of brokenness and aloneness, while celebrating language as a lifeline across pain, time, and space.”
—Booklist
An Interview with Laurie Sheck
1. You have suggested that in the information age, a writer must also be a curator. What do you mean by that?
I don’t think a writer has to be a curator, but I think it’s one interesting option. We are all googling these days—the web is full of information but there is so much of it that to find the gold among the dross can feel like looking for a needle in a haystack. Part of what I have tried to do as a writer is to gather facts, anecdotes, quotes, etc. that seem to me deeply resonant, illuminating, often beautiful, surprising, and create a meaningful vessel for them, a way to gift them to the reader.
2. “Cyborg Fever” touches on AI and bioengineering, and even reproduces a speech from Elon Musk on traveling to Mars. Why incorporate scientific material into this book?
We live in an age where what’s happening in science and technology is affecting us at every level of our being. In this highly technological age of smart phones, AI, space exploration, computers, bioengineering, how can we think about empathy, human loneliness and connection, and other basic aspects of what it means to be human and to live on this threatened earth, without considering these changes? At this point, they are as embedded in our reality as the air we breathe.
3. Do technological advances require moral and philosophical inquiry? How do the topics above relate to your understanding of what makes us human?
Yes, technological advances require and benefit from moral and philosophical inquiry. Look at Mary Shelley’s monster in “Frankenstein.” He was a technological miracle created by a scientist who gave no significant thought to what his relationship to the monster or the monster’s relationship to the world would be after the monster came to life. He did not think about his moral obligation to the being he created. The consequences were devastating. At each step of technological advancement, there are all sorts of questions to be considered—questions of human dignity, privacy, autonomy, wealth and power and the abuse of power. Even questions of loneliness, empathy, the rights and needs of other species and the natural world.
4. You took some inspiration from RW Fassbinder’s film “In A Year of 13 Moons.” How did that film inspire you? What other artistic works do you reference in “Cyborg Fever”?
All of my novels have interacted in some way with other works of art— “A Monster’s Notes” interacted with Mary Shelley’s “Frankenstein,” “Island of the Mad” interacted with Dostoevsky’s “The Idiot,” and “Cyborg Fever” interacts both with Fassbinder’s film and Jorge Luis Borges’ wonderful story “Funes the Memorias.” When I first started writing “Cyborg Fever” I thought Fassbinder’s film would take a more prominent role, but as the book progressed I found that although I retained the names of two characters from the film, it was the film’s essential feeling of loneliness and the quest to build an identity that did not feel deeply at war with itself and at odds with the larger world, that stayed with me most deeply. In Fassbinder’s film there is a character who feels in a sense trapped in the wrong body after a sex change operation; this feeling is also true in many ways of the Cyborg I created in “Cyborg Fever” who in this case was changed against his will.
5. “A Monster’s Notes,” “Island of the Mad” and “Cyborg Fever” can be read as a loose trilogy. How does your latest novel connect to your previous ones?
Before I wrote “A Monster’s Notes” I had never written a prose book and had no inkling that I ever would. It came as a surprise. After I wrote it, I realized the methodology and form I had developed was something I very much wanted to continue exploring. Each of the first two books takes place in the present but echoes back to an earlier era—in “A Monster’s Notes” to the time of Mary Shelley’s life, the early to mid-1800’s, in “Island of the Mad,” to Dostoevsky’s lifetime (1821-1881) which is just a little closer to the present, and now in “Cyborg Fever” the book does not look back but engages the present moment with an eye toward the future. So the books have been moving through time while at the same time dealing with similar themes—issues of loneliness and connection, tenderness and alienation, and the self in an ever-changing, technological world.

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