One of many tools we use to create our posts and tap into our latent reptilian part of our brain.  From Astounding, 1944.

From Astounding Stories, 1938.

From Planet Stories, Fall 1943.

"The hidden world."  From Science Wonder Quarterly, 1929.

From Science Wonder Quarterly, 1929.

From Science Wonder Quarterly, 1929.

From Science Wonder Quarterly, 1929.

For those without a green thumb, this is what gardening is like.  From Science Fiction Quarterly, 1956.

We find this to be true: "science fiction becomes fact after five."  From UFO Newsclipping Service, 1979.

From Strange Stories, 1942.

It's like a direct line into my dreams (if you swap the belly dancers for go-go boys.)  From Startling Stories, 1951.

No one needs to be told that this is a precursor to the crew of the Falcon at the Mos Eisley Cantina in Star Wars.  From Planet Stories, Fall 1943.

From "Sun-Rise in the Moon" by J. Munro, in Cassell's, 1894.

"It seemed to shed no radiance around it," from "Sun-Rise in the Moon" by J. Munro, in Cassell's, 1894.

From "Sun-Rise in the Moon" by J. Munro, in Cassell's, 1894.

When Ridley Scott chose to name his filmed adaptation of Philip K. Dick's Do Androids Dream of Electric Sheep? after an unrelated novel, Alan E. Nourse's The Bladerunner, an "entanglement" was created.  Imagine a string connecting the two Blade Runners, transcending the Meaning-Context Perimeters of each work.  (In our diagram, the perimeters deliberately resemble Morse code, because beyond a literary work's context, meanings tend toward the cryptic and secret.)  That entangling string is vibrated or "enlivened" by the Meaning-Context Perimeters, very much like the string of a violin activated by a bow.  We see that the resulting resonance is interpenetrating — each work becomes colored by the other.  The significance is quasi-magical, as readers unfamiliar with Nourse's coinage of Bladerunner are yet taken by the word's glamour in Scott's usage (in its original sense, glamour meant enchantment/magic and was an alteration of the word grammar).  And vice versa, since the entangling string connects beyond time.  Each title is powerful in its respective year (1974 for Nourse, 1982 for Scott) because of that entangling string; in other words, the punch of Nourse's title is in anticipation of Scott's echo of it eight years later, and, paradoxically, Scott banked on the glamour "previously" inherent in Nourse's term.  (We of course recall that in terms of quantum physics, time does not exist in the way that we observe and metabolize it.)

This is as good an explanation of the Santa Ana winds as we've encountered: "Listen, please.  The wind.  Maybe that means that the top is open.  Maybe it means that the keeper isn't up there anymore.  Maybe it means that it's grown tired of its plaything.  Maybe it even means that it's left our world." —The Bubble (1966)