points. The exterior light or lantern of the Nautilus combines the best technology of Verne's day.

Claire Hummel says in the book that "I really love the Victorian sense of exploration, never giving up on exploring new things and new worlds. We have covered most of the planet but we still discover new deep sea creatures or go into outer space. That's why I like steampunk—at it's core it's about discovery and wonder."

According the authors of Vintage Tomorrows—and their many interviewees—steampunk is also a celebration of making, the antithesis to mass-produced, featureless goods. As Cory Doctorow puts it in an interview: "Technology should be tinkerable." This dovetails into ideas such as individuality, the ability to change, and the control over technology.

As Carrott notes:

There was a time when you couldvoiced from the story of this project. There's something bigger going on. And that's what this chapter is really about—the something bigger.

Far from being unique, the above text typifies much of the book. It's not a case of an author occasionally personalizing some experience. It's about constant interjection.

Furthermore, the book makes frequent references to works such as Gibson's The Difference Engine, a book which the index tells me is mentioned on eight different pages. Yet, although it also profusely quotes Cory Doctorow's introduction to a 2010 edition of The Difference Engine, it nowhere really explains what it is about this work that makes it worthy of so much attention in a book about steampunk and how it relates to the various steampunk themes discussed throughout.

Such is probably the