
It has a dark past -- one in which a number of humans were killed. A past that caused it to christen itself "Murderbot."
But it has only vague memories of the massacre that spawned that title, and it wants to know more.
Teaming up with a Research Transport vessel named ART (you don't want to know what the "A" stands for), Murderbot heads to the mining facility where it went rogue.
What it discovers will forever change the way it thinks...
Book two is Murderbot at its funniest, with ART adding an odd-couple comedy to a self-trust quest. Wells uses the research transport ship's intelligence as Murderbot's foil, friend and audience for complaints about television, social anxiety and humans. Their wary bond gives the story its engine.
The larger pleasure is a mystery about self-trust. Murderbot returns to the mining facility where it went rogue, carrying vague memories of a massacre and a name it chose for itself. Wells makes the missing answer matter without letting the mechanics take over. The opening is cautious and the supporting cast beyond ART is thin, but the first-person voice keeps the novella quick and gives the distress some weight.
Artificial Condition won the 2019 Hugo Award for Best Novella and the 2019 Locus Award for Best Novella; it was a 2018 Nebula finalist but lost to Aliette de Bodard's The Tea Master and the Detective. Liz Bourke, reviewing it with Rogue Protocol, praised its tonal balance, pacing, humor and pathos, while Stephen Theaker found it complete without closing every question. Elitist Book Reviews disagreed, finding the first half slow, the hacking too convenient and the plot a regression from the first book.
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25 books in catalog
Award-winning science fiction and fantasy storytelling spanning decades reaches across intricate world-building, high-stakes adventure, and deeply introspective characters, most visibly in The Murderbot Diaries series. Martha Wells established her presence in speculative fiction with her debut novel The Element of Fire in 1993, building an expansive body of work that encompasses original secondary-world fantasy, character-driven space opera, media tie-in novels, young adult fiction, and essays.
Born on September 1, 1964, in Fort Worth, Texas, Wells grew up reading science fiction and fantasy from her local library and writing fan fiction during her youth. She earned a Bachelor of Arts in anthropology from Texas A&M University, where she also attended a speculative fiction writing class taught by author Steven Gould. Her academic background in anthropology provided foundational tools for constructing realistic, complex societies across her fiction.
Her 1993 debut led to the multi-volume Ile-Rien series, including the Nebula-nominated novel The Death of the Necromancer and the Fall of Ile-Rien trilogy. Over her career, Wells expanded her bibliography with major series such as The Books of the Raksura, media tie-in projects for Star Wars, Stargate: Atlantis, and Magic: The Gathering, and standalone novels including City of Bones and Wheel of the Infinite. Honored with Hugo Awards, Nebula Awards, Locus Awards, an Alex Award, and a Dragon Award, she is a member of the Texas Literary Hall of Fame and serves as a consulting producer on the Apple TV+ adaptation of her Murderbot books.
Central to Wells's writing is a grounded, anthropologically informed approach to world-building and character agency. Rather than relying on standard fantasy and science fiction tropes, her stories explore non-human cultures, social hierarchy, corporate exploitation, and the psychological impact of trauma and isolation. Her narratives frequently feature reluctant protagonists who navigate complicated political systems while forging quiet bonds of loyalty and trust.
The Murderbot Diaries
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