SUMMARY: When his village is attacked by Trollocs -- a savage tribe of half-men and half beasts -- Rand al'Thor and his friends are lucky to stay alive. But for Rand there is no time to celebrate. It was not the village the Trollocs were after. It was Rand.In Part One, Rand will come face-to-face with the Dark One: the most formidable force of evil in the universe. His adventures continue in Part Two, when his battle against Aginor brings him face-to-face. . .with the truth behind his own mysterious idenitity.
In her now classic novel Outlander, Diana Gabaldon told the story of Claire Randall, an English ex-combat nurse who walks through a stone circle in the Scottish Highlands in 1946, and disappears . . . into 1743. The story unfolded from there in seven bestselling novels, and CNN has called it “a grand adventure written on a canvas that probes the heart, weighs the soul and measures the human spirit across [centuries].” Now the story continues in Written in My Own Heart’s Blood.1778: France declares war on Great Britain, the British army leaves Philadelphia, and George Washington’s troops leave Valley Forge in pursuit. At this moment, Jamie Fraser returns from a presumed watery grave to discover that his best friend has married his wife, his illegitimate son has discovered (to his horror) who his father really is, and his beloved nephew, Ian, wants to marry a Quaker. Meanwhile, Jamie’s wife, Claire, and his sister, Jenny, are busy picking up the pieces.The Frasers can only be thankful that their daughter Brianna and her family are safe in twentieth-century Scotland. Or not. In fact, Brianna is searching for her own son, who was kidnapped by a man determined to learn her family’s secrets. Her husband, Roger, has ventured into the past in search of the missing boy . . . never suspecting that the object of his quest has not left the present. Now, with Roger out of the way, the kidnapper can focus on his true target: Brianna herself.Written in My Own Heart’s Blood is the brilliant next chapter in a masterpiece of the imagination unlike any other.
**
Diana Gabaldon is the #1 New York Times bestselling author of the wildly popular Outlander novels—Outlander, Dragonfly in Amber, Voyager, Drums of Autumn, The Fiery Cross, A Breath of Snow and Ashes (for which she won a Quill Award and the Corine International Book Prize), An Echo in the Bone, and Written in My Own Heart’s Blood—as well as the related Lord John Grey books Lord John and the Private Matter, Lord John and the Brotherhood of the Blade, Lord John and the Hand of Devils, and The Scottish Prisoner; one work of nonfiction, The Outlandish Companion; and the Outlander graphic novel The Exile. She lives in Scottsdale, Arizona, with her husband.
SUMMARY: In the tenth book ofThe Wheel of Timefrom theNew York Times#1 bestselling author Robert Jordan, the world and the characters stand at a crossroads, and the world approaches twilight, when the power of the Shadow grows stronger. Fleeing from Ebou Dar with the kidnapped Daughter of the Nine Moons, whom he is fated to marry, Mat Cauthon learns that he can neither keep her nor let her go, not in safety for either of them, for both the Shadow and the might of the Seanchan Empire are in deadly pursuit. Perrin Aybara seeks to free his wife, Faile, a captive of the Shaido, but his only hope may be an alliance with the enemy. Can he remain true to his friend Rand and to himself? For his love of Faile, Perrin is willing to sell his soul. At Tar Valon, Egwene al'Vere, the young Amyrlin of the rebel Aes Sedai, lays siege to the heart of Aes Sedai power, but she must win quickly, with as little bloodshed as possible, for unless the Aes Sedai are reunited, only the male Asha'man will remain to defend the world against the Dark One, and nothing can hold the Asha'man themselves back from total power except the Aes Sedai and a unified White Tower. In Andor, Elayne Trakland fights for the Lion Throne that is hers by right, but enemies and Darkfriends surround her, plotting her destruction. If she fails, Andor may fall to the Shadow, and the Dragon Reborn with it. Rand al'Thor, the Dragon Reborn himself, has cleansed the Dark One's taint from the male half of the True Source, and everything has changed. Yet nothing has, for only men who can channel believe thatsaidinis clean again, and a man who can channel is still hated and feared-even one prophesied to save the world. Now, Rand must gamble again, with himself at stake, and he cannot be sure which of his allies are really enemies. SUMMARY: In the tenth book of he Wheel of Time from the New York Times #1 bestselling author Robert Jordan, the world and the characters stand at a crossroads, and the world approaches twilight, when the power of the Shadow grows stronger.Fleeing from Ebou Dar with the kidnapped Daughter of the Nine Moons, whom he is fated to marry, Mat Cauthon learns that he can neither keep her nor let her go, not in safety for either of them, for both the Shadow and the might of the Seanchan Empire are in deadly pursuit.Perrin Aybara seeks to free his wife, Faile, a captive of the Shaido, but his only hope may be an alliance with the enemy. Can he remain true to his friend Rand and to himself? For his love of Faile, Perrin is willing to sell his soul.At Tar Valon, Egwene al'Vere, the young Amyrlin of the rebel Aes Sedai, lays siege to the heart of Aes Sedai power, but she must win quickly, with as little bloodshed as possible, for unless the Aes Sedai are reunited, only the male Asha'man will remain to defend the world against the Dark One, and nothing can hold the Asha'man themselves back from total power except the Aes Sedai and a unified White Tower.In Andor, Elayne Trakland fights for the Lion Throne that is hers by right, but enemies and Darkfriends surround her, plotting her destruction. If she fails, Andor may fall to the Shadow, and the Dragon Reborn with it.Rand al'Thor, the Dragon Reborn himself, has cleansed the Dark One's taint from the male half of the True Source, and everything has changed. Yet nothing has, for only men who can channel believe that saidin is clean again, and a man who can channel is still hated and feared-even one prophesied to save the world. Now, Rand must gamble again, with himself at stake, and he cannot be sure which of his allies are really enemies.
“[This] is Robert Silverberg at his very best, and when [he’s] at his best, no one is better.”–George R.R. Martin
“This is, simply put, one of my favorite nightmare novels.”–Harlan Ellison, author of I Have No Mouth, and I Must Scream
“Flawlessly written . . . as close to poetic beauty as any contemporary science fiction novel I’ve ever read.”–James Blish, Hugo Award—winning author of A Case of Conscience*
“The Book of Skulls is a revelation–it was a masterpiece when I first read it, and remains a masterpiece to this day.”–Greg Bear, New York Times bestselling author of Darwin’s Radio
“Silverberg is a master writer in any genre–and now you’re going to find out why they call them ‘thrillers.’ ”–John Shirley, author of Demons
“Where Silverberg goes today, science fiction will follow tomorrow.”–Isaac Asimov
SALES POINTS * #23 in the Millennium SF Masterworks series, a library of the finest science fiction ever written * 'Could be his finest book so far' -- Greg Bear * Silverberg has been nominated for, and won more awards for his fiction than any other writer in the genre
The award winning tale of the inevitable takeover of our society by a benign, intelligent scientific experiment gone awry. In the tradition of the greatest cyberpunk novels, BLOOD MUSIC explores the imminent destruction of mankind and the fear of mass destructi- on by technological advancements. BLOOD MUSIC follows present-day events in which the fears concerning nuclear annihilation of the world subsided after the Cold War and the fear of chemical warfare spilled over into the empty void of nuclear fear. An amazing breakthrough in genetic engineering made by Vergil Ulam is considered too dangerous for further research, but rather than destroy his work, he injects himself with his creation and walks out of his lab, unaware of just quite how his actions will change the world. Author Greg Bear's treatment of the traditional tale of scientific hubris is both suspenseful and a compelling portrait of a new intelligence emerging amongst us, irrevocably changing our world.
Curiosity was discouraged in the Greene tribe. Its members lived out their lives in cramped Quarters, hacking away at the encroaching ponics. As to where they were - that was forgotten. Roy Complain decides to find out. With the renegade priest Marapper, he moves into unmapped territory, where they make a series of discoveries which turn their universe upside-down... Non-Stop is the classic SF novel of discovery and exploration; a brilliant evocation of a familiar setting seen through the eyes of a primitive.
Ill luck made Roger Torraway the subject of the Man Plus Programme, but it was deliberate biological engineering which turned him into a monster -- a machine perfectly adapted to survive on Mars. For according to computer predictions, Mars is humankind's only alternative to extinction. But beneath his monstrous exterior, Torraway still carries a man's capacity for suffering.
John Truck was to outward appearances just another lowlife spaceship captain. He peddled drugs when they were available, carried cargo when they weren't. But he was also the last of the Centaurans - or at least, half of him was - which meant that he was the only person who could operate the Centauri Device, a sentient bomb which might hold the key to settling a vicious space war. Cover illustration: Chris Moore
Far in the future, the craftsmen of the distant planet Halma create goods which are the wonder of the galaxy. But they know little of this. Their society is harshly regimented, its religion austere and unforgiving, and primitive -- to maintain standards, even the most basic use of automation is punishable by death. When Amiante, a wood-carver, is executed for processing old documents with a camera, his son Ghyl rebels, and decides to bring down the system. To do so, he must first interpret the story of Emphyrio, an ancient hero of Halman legend.
SALES POINTS * #19 in the Millennium SF Masterworks series, a library of the finest science fiction ever written * 'All Vance's novels have exotic locales and cultures, resourceful heroes and vigorous action, but in Emphyrio they are raised to the pitch of perfection, making the novel a tremendous pleasure to read, and giving it also a mysterious beauty' - Kim Stanley Robinson * 'Jack Vance is our greatest living SF writer, and Emphyrio is one of his very best books, a magical tour de force of mystery, marvel, invention, incident, world-building and wordplay. But be warned: reading Vance is addictive' - George R.R. Martin
Cities in Flight is an omnibus volume of four novels, originally published between 1955 and 1962, two of which are fix-ups of pieces that first appeared in various magazines in the early '50s. Despite having been conceived more than 50 years ago, and produced in episodic fashion, they stand head and shoulders above most SF available today.
In They Shall Have Stars, humankind's will to explore space is renewed with the advent of two discoveries: anti-gravity (the "spindizzy" machines) and the key to almost eternal life (anti-agathic drugs). By A Life for the Stars, centuries have passed and most of the major cities have built spindizzies into their bedrock and left earth, cruising the galaxy looking for work, much like the hobos of the Depression Era. Earthman, Come Home, told from the perspective of John Amalfi, the major of New York, was the first-written of the novels and--although not as tightly woven as the other segments--is still a masterly work. Blish gives the same weight and authority both to the sweeping cultural change wrought and suffered by the cities, and to the emotional growth of a man who is several hundred years old. We stay with Amalfi for the final episode, The Triumph of Time. New York is now planet-bound in the Greater Magellanic Cloud, but when Amalfi learns of the impending destruction of time itself, he is forced into space one more time, to take a last, desperate chance. The novel ends, literally, with a bang.
Despite the occasional, inevitable anachronism, such as vacuum tubes, Cities in Flight stands up remarkably well to modern reading. The novel's political and literary sophistication was unmatched in its time; there is very little to rival it even today. For most readers of a certain age, this was probably the first SF they encountered that was written from a mature standpoint and adult sensibility. The fact that Blish also manages to tell a fabulous, galaxy-spanning adventure tale makes this essential reading. --Luc Duplessis
Blish's sf epic was originally published as four separate novels--They Shall Have Stars; A Life for the Stars; Earthman, Come Home; and The Triumph of Time--which became known over time collectively as the "Okie novels." The title of this edition is apt, as the thread of the story concerns entire cities that fly through space. All sf collections will want this. Copyright 2000 Reed Business Information, Inc.
This is a fascinating read, for it prefigures many of the themes that pervade the author's subsequent books: planetary/ecological disaster, entropy, the devolution of human nature, a preoccupation with the roots of violence. For those unfamiliar with Ballard, it's a good introduction -- more accessible and less transgressive than some of his later work, yet full of the arresting surrealism and hallucinatory brilliance of language that are hallmarks of his writing.
J.G. Ballard was born in 1930 in Shanghai, where his father was a businessman. After internment in a civilian prison camp, he and his family returned to England in 1946. His 1984 bestseller Empire of the Sun won the Guardian Fiction Prize and the James Tait Black Memorial Prize, and was shortlisted for the Booker Prize. It was later filmed by Steven Spielberg. His controversial novel Crash was also made into an equally controversial film by David Cronenberg. His most recent novels include the Sunday Times bestsellers Cocaine Nights and Super-Cannes.
Written in the late 1950s and early 1960s, these titles follow Dick's familiar theme that things and people are not quite what and who they seem, basically challenging reality. Though dead for 20 years now, Dick still is hugely popular among sf readers and Blade Runner nuts, so pop for these. Copyright 2002 Reed Business Information, Inc.
“[A] brilliant, idiosyncratic, formidably intelligent writer. . . . Dick illuminates. He casts light. He gives off a radiance.” --*The Washington Post
“Philip K. Dick’s best books always describe a future that is both entirely recognizable and utterly unimaginable.” --The New York Times Book Review*
Mary Shelley’s tragic story of a scientist who created a monster is perhaps even more compelling and meaningful today than when it was written nearly two centuries ago. From the bits and pieces of dead bodies, and the power of electricity, the brilliant Victor Frankenstein fashions a new form of life—only to discover, too late, the irreparable damage he has caused.
"[WARD MOORE IS] ONE OF THE BEST AMERICAN WRITERS." --Ray Bradbury
The United States never recovered from The War for Southern Independence. While the neighboring Confederacy enjoyed the prosperity of the victor, the U.S. struggled through poverty, violence, and a nationwide depression.
The Industrial Revolution never occurred here, and so, well into the 1950s, the nation remained one of horse-drawn wagons, gaslight, highwaymen, and secret armies. This was home for Hodgins McCormick Backmaker, whose sole desire was the pursuit of knowledge. This, he felt, would spirit him away from the squalor and violence.
Disastrously, Hodgins became embroiled in the clandestine schemes of the outlaw Grand Army, from which he fled in search of a haven. But he was to discover that no place could fully protect him from the world and its dangerous realities. . . .
"The Civil War has been often rethought, most effectively in Ward Moore's Bring the Jubilee." --Donald E. Westlake The New York Times
SALES POINTS * #42 in the Millennium SF Masterworks series, a library of the finest science fiction ever written. * 'Seminal ... concise and elegiac' Encylopedia of Science Fiction * 'A classic alternative world story' Brian Aldiss * 'One of the best American writers' Ray Bradbury
Nobody but Philip K. Dick could so successfully combine SF comedy with the unease of reality gone wrong, shifting underfoot like quicksand. Besides grisly ideas like funeral parlors where you swap gossip for the advice of the frozen dead, Ubik (1969) offers such deadpan farce as a moneyless character's attack on the robot apartment door that demands a five-cent toll:
"I'll sue you," the door said as the first screw fell out.Joe Chip said, "I've never been sued by a door. But I guess I can live through it."
"I'll sue you," the door said as the first screw fell out.
Joe Chip said, "I've never been sued by a door. But I guess I can live through it."
Chip works for Glen Runciter's anti-psi security agency, which hires out its talents to block telepathic snooping and paranormal dirty tricks. When its special team tackles a big job on the Moon, something goes terribly wrong. Runciter is killed, it seems--but messages from him now appear on toilet walls, traffic tickets, or product labels. Meanwhile, fragments of reality are timeslipping into past versions: Joe Chip's beloved stereo system reverts to a hand-cranked 78 player with bamboo needles. Why does Runciter's face appear on U.S. coins? Why the repeated ads for a hard-to-find universal panacea called Ubik ("safe when taken as directed")?
The true, chilling state of affairs slowly becomes clear, though the villain isn't who Joe Chip thinks. And this is Dick country, where final truths are never quite final and--with the help of Ubik--the reality/illusion balance can still be tilted the other way. --David Langford, Amazon.co.uk
SALES POINTS 'One of the most original practitioners writing any kind of fiction, Dick made most of the European avant-garde seem like navel-gazers in a cul-de-sac' - Sunday Times 'My literary hero' -- Fay Weldon 'For everyone lost in the endlessly multiplicating realities of the modern world, remember: Philip K. Dick got there first' -- Terry Gilliam
One of the most influential vampire novels of the 20th century, I Am Legend regularly appears on the "10 Best" lists of numerous critical studies of the horror genre. As Richard Matheson's third novel, it was first marketed as science fiction (for although written in 1954, the story takes place in a future 1976). A terrible plague has decimated the world, and those who were unfortunate enough to survive have been transformed into blood-thirsty creatures of the night. Except, that is, for Robert Neville. He alone appears to be immune to this disease, but the grim irony is that now he is the outsider. He is the legendary monster who must be destroyed because he is different from everyone else. Employing a stark, almost documentary style, Richard Matheson was one of the first writers to convince us that the undead can lurk in a local supermarket freezer as well as a remote Gothic castle. His influence on a generation of bestselling authors--including Stephen King and Dean Koontz--who first read him in their youth is, well, legendary. --Stanley Wiater
Starred Review. Robert Neville has witnessed the end of the world. The world's population has been obliterated by a vampire virus, though Neville has somehow survived. As he toils to make sense of it all and protect himself against the hounding vampires who seek out his life force, Neville embarks on a series of projects to discover the source of the plague and hopefully put an end to the vampires. In a tale that plays with the slippery slope of sanity, Dean makes the perfect choice for a narrator. His powerful performance proves chilling and haunting. As Neville teeters on the edge of sanity, Dean manipulates his tone, speed, emphasis and projection accordingly, making listeners tremble with his narration. While some might rebuke his narration for being too dramatic or providing too much interpretation, Dean's intensity adds to the book in a way that benefits listeners over readers. The visceral nature of his performance evokes the image of a foamy-mouthed Dean growling at a microphone with spittle flying. A Tor paperback. (Oct.) Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
The City and the Stars: The 10-billion-year-old metropolis of Diaspar is humanity's last home. Alone among immortals, the only man born in 10 million years desperately wants to find what lies beyond the city.
Daniel Keyes wrote little SF but is highly regarded for one classic, Flowers for Algernon. As a 1959 novella it won a Hugo Award; the 1966 novel-length expansion won a Nebula. The Oscar-winning movie adaptation Charly (1968) also spawned a 1980 Broadway musical.
Following his doctor's instructions, engaging simpleton Charlie Gordon tells his own story in semi-literate "progris riports." He dimly wants to better himself, but with an IQ of 68 can't even beat the laboratory mouse Algernon at maze-solving:
I dint feel bad because I watched Algernon and I lernd how to finish the amaze even if it takes me along time. I dint know mice were so smart.
I dint feel bad because I watched Algernon and I lernd how to finish the amaze even if it takes me along time.
I dint know mice were so smart.
Algernon is extra-clever thanks to an experimental brain operation so far tried only on animals. Charlie eagerly volunteers as the first human subject. After frustrating delays and agonies of concentration, the effects begin to show and the reports steadily improve: "Punctuation, is? fun!" But getting smarter brings cruel shocks, as Charlie realizes that his merry "friends" at the bakery where he sweeps the floor have all along been laughing at him, never with him. The IQ rise continues, taking him steadily past the human average to genius level and beyond, until he's as intellectually alone as the old, foolish Charlie ever was--and now painfully aware of it. Then, ominously, the smart mouse Algernon begins to deteriorate...
Flowers for Algernon is a timeless tear-jerker with a terrific emotional impact. --David Langford
PRAISE FOR FLOWERS FOR ALGERNON"A tale that is convincing, suspenseful and touching."--The New York Times "An ingeniously touching story . . . Moving . . . Intensely real."--The Baltimore Sun
Mind- and reality-bending drugs factor again and again in Philip K. Dick's hugely influential SF stories. A Scanner Darkly cuts closest to the bone, drawing on Dick's own experience with illicit chemicals and on his many friends who died from drug abuse. Nevertheless, it's blackly farcical, full of comic-surreal conversations between people whose synapses are partly fried, sudden flights of paranoid logic, and bad trips like the one whose victim spends a subjective eternity having all his sins read to him, in shifts, by compound-eyed aliens. (It takes 11,000 years of this to reach the time when as a boy he discovered masturbation.) The antihero Bob Arctor is forced by his double life into warring double personalities: as futuristic narcotics agent "Fred," face blurred by a high-tech scrambler, he must spy on and entrap suspected drug dealer Bob Arctor. His disintegration under the influence of the insidious Substance D is genuine tragicomedy. For Arctor there's no way off the addict's downward escalator, but what awaits at the bottom is a kind of redemption--there are more wheels within wheels than we suspected, and his life is not entirely wasted. --David Langford, Amazon.co.uk
An ever-expanding subgenre of science fiction is devoted to "alternate worlds" or "alternate histories": fiction in which a crucial event goes differently than in the world we know, and history is changed. Keith Roberts's Pavane (1968) is set in a backward 20th century molded by the assassination of Queen Elizabeth I and the triumph of a militantly antiscience Catholic Church. This is a classic alternate history, in the same company as such highly regarded novels as L. Sprague De Camp's seminal Lest Darkness Fall (1941), in which a modern man slips back in time and attempts to avert the Dark Ages; Ward Moore's Bring the Jubilee (1953), set after the South wins the U.S. Civil War; and Philip K. Dick's The Man in the High Castle (1962), set after the Germans and Japanese win World War II. Lest Darkness Fall and The Man in the High Castle are justly famous; the other two classics, Bring the Jubilee and Pavane, are less well known, and that is a shame.
One reason for Pavane's relative obscurity among American SF readers might be its British setting and author (the Moore and Dick novels are both set in the U.S., and De Camp, Moore, and Dick were all American). Another reason might be that Pavane is a novel created from interrelated but standalone stories (six "measures," or novelettes, and a coda), and the stories are of varying quality. Most are wise, beautifully written, and intensely visualized, especially the opener, "The Lady Margaret," and the closer, "Corfe Gate"; but "Brother John," the story of the monk-artist who witnesses Inquisition tortures and sparks an anti-Church rebellion, is far less detailed, and sometimes even unclear. Another reason for the novel's obscurity may be that some of the stories/chapters have more of a fantasy feel than is typical of more recent alternate history. Also, the nature of the coda's revelations may put off some readers. Nonetheless, Pavane is an intelligent, powerful, and moving work, deserving of a wide readership. --Cynthia Ward
First published in 1968, these intricately linked short stories (broken into six measures and a coda) constitute a pioneering work of alternative history that has influenced many contemporary SF and fantasy writers. In them a twisted Church of Rome rules a modern world where steam locomotives are the primary mode of transportation, semaphores (telegraph signals moved by hand and read via binoculars) are used for communication and the horrors of the Inquisition continue. Why? Because in 1588 Queen Elizabeth I was assassinated, leading to the Spanish Armada's defeat of England and the subsequent suppression of the Protestant Church. But in this stately "dance" of stories, revolution becomes inevitable when society's natural cultural and scientific progress can no longer be contained. Roberts displays intense respect and love for history as he rewrites it with deft abandon. Three measures in particular stand out as profound today, just as they did when originally published: "The Signaller," which allegorically portrays a young guild member who pays a high price for his dedication to communication; "Brother John," a stunning portrayal of a devoted priest's traumatizing encounter with torture and his resultant reaction; and, finally, "The White Boat," another almost mythological piece about a young girl's obsession with a boat that can take her to freedom. All the other stories are excellent, but these are outstanding examples of why revolutions occur. Impact is doing a great service by reprinting this and other classics.
Copyright 2001 Cahners Business Information, Inc.
"A wake-up call to a world slumbering in the opium dream of consumerisum; in the hazy certainty that we humans were in charge of nature. Science fiction is not about predicting the future, it's about elucidating the present and the past. Brunner's 1968 nightmare is crystallizing around us, in ways he could not have foreseen then. If the right people had read this book, and acted in accordance with its precepts and spirit, our world would not be in such precarious shape today. Maybe it's time for a new generation to read it."--Joe Haldeman
"A quite marvelous projection in which John Brunner landscapes a future that seems the natural foster child of the present."--Kirkus Reviews
JOHN BRUNNER (1934-1995) published his first novel pseudonymously at the age of 17, and through the 1950s and early 1960s wrote many SF adventure novels. His work grew more ambitious in the late 1960s; Stand on Zanzibar, a Hugo Award-winner, is generally regarded as his greatest achievement.
When Winston Niles Rumfoord flies his spaceship into a chrono-synclastic infundibulum he is converted into pure energy and only materializes when his waveforms intercept Earth or some other planet. As a result, he only gets home to Newport, Rhode Island, once every fifty-nine days and then only for an hour. But at least, as a consolation, he now knows everything that has ever happened and everything that ever will be. He knows, for instance, that his wife is going to Mars to mate with Malachi Constant, the richest man in the world. He also knows that on Titan -- one of Saturn's moons -- is an alien from the planet Tralfamadore, who has been waiting 200,000 years for a spare part for his grounded spacecraft...
On October 30, 1938, Orson Welles terrified American radio listeners by describing a Martian invasion of Earth in a broadcast that became legendary. Forty years earlier, H. G. Wells had first penned the story: The War of the Worlds, a science-fiction classic that endures in our collective subconscious.
Deeply concerned with the welfare of contemporary society, Wells wrote his novel of interplanetary conflict in anticipation of war in Europe, and in it he predicted the technological savagery of twentieth century warfare. Playing expertly on worldwide security fears, The War of the Worlds grips readers with its conviction that invasion can happen anytime, anywhere—even in our own backyard.
Introduction to War of the Worlds
The Martians also reflect Wells himself. Just as the bicycle liberated Wells from the limitations of a weak body, the machines used by the Martians, who are weighed down because the pull of gravity is stronger on Earth than it is on Mars, enable them to move swiftly and attack without warning. The machine is an extension of a body, a kind of prosthetic device that supplies an ability the body lacks. The Martian sitting on top of a huge, three-legged fighting machine striding across Surrey toward London resembles nothing so much as Wells piloting his bicycle around the countryside. And the Martians, like Wells, tend to work alone. That is, while they are involved in a collective activity—the invasion and conquest of England, which is, by extension, the world—they work alone in their fighting machines or their aluminum manufacturing devices. Except for their time in the space capsule, they are rarely together.
Wells's first problem was to decide how to tell such a tale. He could use an external, omniscient narrator, but that would cut down on the immediacy of the action and make it seem much more like history. A single first-person narrator would be possible, but that person would have to travel long distances at almost superhuman speed in order to see everything involved in the Martian invasion. Wells opts for a device Robert Louis Stevenson (1850-1894) uses in Treasure Island (1883), having a first-person narrative become two first-person narratives by introducing a second character who tells us about what happened elsewhere. This is, admittedly, an awkward device because the two characters—brothers in The War of the Worlds—are not in communication with each other. Their separate stories become a single story because the primary narrator takes control of his brother's tale, treating him in the same way an omniscient narrator would treat a character.
The primary narrator, then, is both witness and author, a modification of the narrator of The Time Machine, who transcribes the story of the Time Traveller. The personality of this narrator is a vexing matter, and it is here Wells departs from traditional novelistic practice. Wells clearly had many options in this situation: He could make his nondescript, suburban science writer into a hero by having him either subdue the Martians or lay the foundations for an organized defense. That solution does not suit Wells's hidden intention, which is to warn those people capable of understanding that their world is rotten and will fall at the first blow from an outside force.
Wells does what in both human and novelistic terms makes the most sense: He makes his narrator a man of science, but a conventional thinker and not a man in the line of the Time Traveller. He is not a leader, not a warrior, but a man imbued with curiosity. He wants to understand the Martians, wants to observe their machines, and wants to survive to tell the tale. His psychological depth is slight: He loves his wife, detests the mad clergyman who almost manages to deliver him to the Martians, feels guilt about being responsible for the man's death, and has a nervous breakdown after learning that the Martians all die because of Earth's bacteria. The second central figure, the narrator's brother, is no more developed than the narrator. He is a "medical student, working for an imminent examination", but that is all we know of him. When, in the final chapter of book one, Wells feels he no longer needs the brother, he simply has him board a ship, witness a navy vessel ram two Martian fighting machines, and sail to Europe. We then return to the adventures of our primary narrator.
This sacrifice of character depth to action explains the success of The War of the Worlds. If Wells had transformed his narrator into a preachy precursor of his New Republicans, the reader would probably begin to cheer for the Martians. Instead, he uses both brothers as innocent points of view, reporters telling us what they saw. That they have emotions is merely incidental to their role as informants.
Wells relegates his ideas to the minor characters, carefully linking them to human imperfections so that the novel does not degenerate into sermon or essay. Probably the most interesting example of this is the artilleryman. In book one, chapter 11, the narrator, hiding inside his Woking house, sees a man trying to escape the Martians. He invites the man in and learns he is a soldier, "a driver in the artillery" whose unit has been wiped out by the Martians. The two separate in chapter 12, and we think we've seen the last of the artilleryman until suddenly in book two, chapter 7, he reappears, and now it is he who extends hospitality to the narrator.
On the arid colony of Mars the only thing more precious than water may be a ten-year-old schizophrenic boy named Manfred Steiner. For although the UN has slated "anomalous" children for deportation and destruction, other people--especially Supreme Goodmember Arnie Kott of the Water Worker's union--suspect that Manfred's disorder may be a window into the future. In Martian Time-Slip Philip K. Dick uses power politics and extraterrestrial real estate scams, adultery, and murder to penetrate the mysteries of being and time.From the Trade Paperback edition.
SALES POINTS * #41 in the Millennium SF Masterworks series, a library of the finest science fiction ever written. * 'Frederik Pohl, one of the old pros of the genre, never takes unnecessary risks. For him, science fiction is a form of play - an excusable indulgence since he plays it so much better than most people.' The New York Times Book Review * 'The most consistently able writer science fiction has yet produced' -- Kingsley Amis * 'One of Frederik Pohl's best novels - and my personal favourite. Complex people in tough situations on a marvelous and gritty world - who could ask for more from any novel?' Greg Bear
“One of the most complete and fully realized pictures of an interstellar society that I have ever read.” --Science Fiction Times
“As of this book [Samuel R. Delany] is the best science-fiction writer in the world.” --Galaxy
“A fast-action farflung interstellar adventure; [an] archetypal mystical/mythical allegory; [a] modern myth told in the S-F idiomÉand lots more.” --Fantasy and Science Fiction
Given that the suns of Draco stretch almost sixteen light years from end to end, it stands to reason that the cost of transportation is the most important factor of the 32nd century. And since Illyrion is the element most needed for space travel, Lorq von Ray is plenty willing to fly through the core of a recently imploded sun in order to obtain seven tons of it. The potential for profit is so great that Lorq has little difficulty cobbling together an alluring crew that includes a gypsy musician and a moon-obsessed scholar interested in the ancient art of writing a novel. What the crew doesn?t know, though, is that Lorq?s quest is actually fueled by a private revenge so consuming that he?ll stop at nothing to achieve it. In the grandest manner of speculative fiction, Nova is a wise and witty classic that casts a fascinating new light on some of humanity?s oldest truths and enduring myths.
To commemorate the 30th anniversary of Moorcock's Nebula Award-winning novel, Mojo is reissuing the book in a special illustrated edition that incorporates the author's corrections. Moorcock also provides a new afterword. All that in a hardcover for $12.95 makes this a bargain.Copyright 1996 Reed Business Information, Inc.
Behold The Man won the 1967 Nebula Award. Moorcock is an acknowledged master of fantasy with social and psychological bite, and this extremely controversial novella may well represent the best the fantasy field has to offer in terms of pure literary firepower. Karl Glogauer travels back in time two thousand years, meets John the Baptist, and then seeks Jesus Christ himself. To quote the jacket copy, "What he discovers shocks him to the core." This is a devastating story- science fiction at its most abstract and symbolic. And absolutely unforgettable. I'm ecstatic to have this beautiful corrected 30th Anniversary edition, with foreword by Jonathan Carroll and an afterword by the author, as well as lush illustrations by John Picacio. It's an essential element of any library of the fantastic- be grateful Mojo Press cared enough to make it available again. -- from William D. Gagliani's "Literature Fantastique" column from the December 1996 issue of Booklovers
In a world policed by telepaths, Ben Reich plans to commit a crime that hasn't been heard of in 70 years: murder. That's the only option left for Reich, whose company is losing a 10-year death struggle with rival D'Courtney Enterprises. Terrorized in his dreams by The Man With No Face and driven to the edge after D'Courtney refuses a merger offer, Reich murders his rival and bribes a high-ranking telepath to help him cover his tracks. But while police prefect Lincoln Powell knows Reich is guilty, his telepath's knowledge is a far cry from admissible evidence.
SALES POINTS * #14 in the Millennium SF Masterworks series, a library of the finest science fiction ever written * The first-ever winner of the Hugo Award for best sf novel of the year. * 'Bester's two superb books have stood the test of time. For nearly fifty years they've held their place on everybody's list of the ten greatest sf novels' -- Robert Silverberg * 'Alfred Bester wrote with the pedal to the floor and the headlights on full beam. His work combined erudition with an unparalleled imaginative inventiveness. Bester was writing cyberpunk while William Gibson was still running around zapping the other kids at school with a toy raygun' -- James Lovegrove
When penniless businessman Mr. Bedford retreats to the Kent coast to write a play, he meets by chance the brilliant Dr. Cavor, an absentminded scientist on the brink of developing a material that blocks gravity. Cavor soon succeeds in his experiments, only to tell a stunned Bedford that the invention makes possible one of the oldest dreams of humanity: a journey to the moon. With Bedford motivated by money, and Cavor by the desire for knowledge, the two embark on the expedition. But neither are prepared for what they finda world of freezing nights, boiling days, and sinister alien life, in which they may be trapped forever. -First time in Penguin Classics -Includes a newly established text, a full biographical essay on Wells, suggestions for further reading, and detailed notes
Private William Mandella is a man about to embark on a journey that will traverse space and time, war and uneasy peace. By the close of the book, the reluctant soldier will have travelled over twelve centuries. That can be traumatic enough, but it is the changes in society, mores, and norms that will be the most difficult barriers facing him. No work before or since this novel has so successfully portrayed the emotional toll of what is, essentially, time-travel.
"Dick was... one of the genuine visionaries that American fiction has produced in this century, and his best novels constitute as significant a body of work as that of any writer in this country in the last thirty years."-- L.A. Weekly
Dr. Eric Sweetscent has problems. His planet is enmeshed in an unwinnable war. His wife is lethally addicted to a drug that whips its users helplessly back and forth across time -- and is hell-bent on making Eric suffer along with her. And Sweetscent's newest patient is not only the most important man on the embattled planet Earth but quite possibly the sickest. For Secretary Gino Molinari has turned his mortal illness into an instrument of political policy -- and Eric cannot tell if his job is to make the Male better or to keep him poised just this side of death.
Now Wait for Last fear bursts through the envelope between the impossible and the inevitable. Even as ushers us into a future that looks uncannily like the present, it makes the normal seem terrifyingly provisional -- and compels anyone who reads it to wonder if he really knows what time it is.
Shevek, a brilliant physicist, decides to take action. he will seek answers, question the unquestionable, and attempt to tear down the walls of hatred that have isolated his planet of anarchists from the rest of the civilized universe. To do this dangerous task will mean giving up his family and possibly his life. Shevek must make the unprecedented journey to the utopian mother planet, Anarres, to challenge the complex structures of life and living, and ignite the fires of change.
Enter a decaying far, far future society, a time when anything and everything is possible, where words like 'conscience' and 'morality' are meaningless, and where heartfelt love blossoms mysteriously between Mrs Amelia Underwood, an unwilling time traveller, and Jherek Carnelian, a bemused denizen of the End of Time. The Dancers at the End of Time, containing the novels An Alien Heat, The Hollow Lands and The End of All Songs, is a brilliant homage to the 1890s of Wilde, Beardsley and the fin de siecle decadents, satire at its sharpest and most colourful.
Winner of the Arthur C. Clarke and John W. Campbell Memorial Awards."An exuberant celebration of excess set in a resource-poor but defiantly energetic twenty-first century."—The New York Times"A richly absorbing tale—with a marvelous premise expertly carried out."—Kirkus Reviews"Excellent. . . . Dark and witty and full of love, closely observed, and sprinkled with astonishing ideas. Science fiction of a very high order."—Greg Bear"One of the most imaginative accounts of futuristic bioengineering since Greg Bear's Blood Music."—LocusIn a future London, humans photosynthesize, organics have replaced electronics, viruses educate people, and very few live past forty. But Milena is resistant to the viruses. She's alone until she meets Rolfa, a huge, hirsute Genetically Engineered Polar Woman, and Milena realizes she might, just might, be able to find a place for herself after all.Geoff Ryman is the author of the novels The King's Last Song, Air (a Clarke and Tiptree Award winner), and The Unconquered Country (a World Fantasy Award winner), and the collection Paradise Tales. Canadian by birth, he has lived in Cambodia and Brazil and now teaches creative writing at the University of Manchester in England.
"This is wonderful and terrifying SF—terrifying because its premise, the takeover of the United States by a third-rate world power, is at once so preposterous and yet, in the hands of this highly skilled writer, so stupefyingly believable. Certainly Arslan is the best political novel I've read in more than a decade."—Samuel R. Delany
"Engh creates a truly shocking situation, introduces a monstrous character, and then refuses to satisfy any of the emotions he has aroused . . . Engh's performance is as perversely flawless as Arslan's."—The New York Times
"Arslan is an astonishing novel—not just for its strange and uncompromising content, but as well for the unforgivable passing of a decade before its being published in a permanent edition. This phantasmagorical vision of an America occupied by a foreign power is a tour de force. It is shocking, chilling and thoughtful."—Edward Bryant
"Arslan's goal is not merely to conquer the world, but to destroy it. Just by chance, it seems, he has chosen a small Illinois town to be the capital of his all-embracing empire. Yet this is not really the tale of great world events. It all comes down to a handful of unforgettable men and women, whose pain and cruelty and compassion shine a spotlight on human nature. What makes Engh's novel extraordinary is her perfect understanding of power, how it grows out of the heat between people who hate and fear each other. Arslan makes Khomeini look wishy-washy, as he takes ordinary people and tears at them until they die, or become strong enough to be his rivals. Arslan starts with a strong science fiction premise—and then raises it to the level of the greatest tragedies. You will find surprises almost from the start, as Engh shatters the tired cliches of the genre. And by the end of the book, exhausted and fulfilled, you will realize you have read something that stands head and shoulders above the other fiction of its time."—Orson Scott Card
“Engh creates a truly shocking situation, introduces a monstrous character, and then refuses to satisfy any of the emotions he has aroused . . . . Engh’s performance is as perversely flawless as Arslan’s.”—The New York Times
A Classic of Political Science Fiction
“Arslan starts with a strong science fiction premise—and then raises it to the level of the greatest tragedies. You will find surprises almost from the start, as Engh shatters the tired cliches of the genre. And by the end of the book, exhausted and fulfilled, you will realize you have read something that stands head and shoulders above the other fiction of its time.”—Orson Scott Card
Arslan is a young Asian general who conquers the world in a week without firing a shot, and shortly thereafter sets up his world headquarters in a small town in Illinois. And if this did occur, this is how it would happen.
“This is wonderful and terrifying SF—terrifying because its premise, the takeover of the United States by a third-rate world power, is at once so preposterous and yet, in the hands of this highly-skilled writer, so stupefyingly believable. Certainly Arslan is the best political novel I’ve read in more than a decade.”—Samuel R. Delany
At 41, David Selig's telepathy is beginning to fade. The unmotivated and out-of-work Columbia grad laments the unpardonable sin of wasting his gift on probing minds for his own private amusement, and for reading the intellects of college students so he can imitate their writing styles in the term papers he ghostwrites for $2.50 a page. The prospect of losing the undetectable voyeurism that is the central theme of his life frightens him, but as he acknowledges the diminution of his powers, he is forced to consider who he really is, and what he will become, if the power disappears forever. Locus Poll Award Nominee, John W. Campbell Memorial Award Winner, Hugo Award Nominee, Nebula Award- Nominee
1855: The Industrial Revolution is in full and inexorable swing, powered by steam-driven cybernetic Engines. Charles Babbage perfects his Analytical Engine and the computer age arrives a century ahead of its time. And three extraordinary characters race toward a rendezvous with history - and the future: iSybil Gerard/i - fallen woman, politicians tart, daughter of a Luddite agitator; iEdward "Leviathan" Mallory/i - explorer and paleontologist. iLaurence Oliphant/i - diplomat, mystic, and spy. Their adventure begins with the discovery of a box of punched Engine cards of unknown origin and purpose. Cards someone wants badly enough to kill for...pPart detective story, part historical thriller, iThe Difference Engine/i is the first collaborative novel by two of the most brilliant and controversial science fiction authors of our time. Provacative, compelling, intensely imagined, it is a startling extension of Gibson's and Sterling's unique visions - in a new and totally unexpected direction!
YA In the year 2000, a huge potato-shaped asteroid, nicknamed the Stone by Americans, appears in orbit around the earth. Exploration shows that it is divided into seven man-made, hollowed-out chambers, indicating that it had been inhabited. Scientists discover that it was built by Earth people, but in the far distant future, and that a nuclear war is imminent. It becomes crucial that theoretical mathematician Patricia Vasquez discover why the former habitants left and where they went. Although Eon is far too long, its story of futuristic cities and life forms stirs the imagination. Readers travel to worlds where humans may exist as memories in the City Memory Bank, corporeal representatives (ghosts) or incarnations. Other humanoid life forms also exist, and in an amazing array of shapes, from snake-like creatures to floating blobs. Bear's creativity provides a richness to an intricate, complex plot. It's unfortunate that the length may deter all but the most avid sci/fi fans. Pam Spencer, Mount Vernon High School Library, Fairfax, Va.Copyright 1986 Reed Business Information, Inc.
"Sharing aspects of Calrke's Rendevouz with Rama, its uniqueness arises from bear's bold imagination. Bear is a writer of passionate vision. Eon is his grandest work yet."--Locus
"Eon may be the best constructed hard SF epic yet."--The Washington Post
Generations in the future, when humanity has spread to other planets and Earth is ruled by Sanctity, a dour, coercive religion that looks to resurrection of the body by storing cell samples of its communicants, a plague is threatening to wipe out mankind. The only planet that seems to be spared is Grass, so-called because that is virtually all that grows there. It was settled by families of European nobility who live on vast estancias and indulge in the ancient sport of fox hunting--although the horses, hounds and foxes aren't what they what they appear to be. Rigo and Marjorie Westriding Yrarier and family are sent to Grass as ambassadors and unofficial investigators because the ruling families--the bons--have refused to allow scientists to authenticate the planet's immunity from the plague. The egotistical Rigo sets out to prove himself to the bons while Marjorie remains wary about the relationship between the hunters and the hunted. She gains allies in her search, but invasion strikes from an unexpected quarter before the truth about an alien species comes to light. Tepper ( The Gate to Women's Country ) delves into the nature of truth and religion, creating some strong characters in her compelling story. Copyright 1989 Reed Business Information, Inc.
Sheri S. Tepper is the author of several resoundingly acclaimed novels, including the Arthur C. Clarke Award-nominated GIBBON'S DECLINE AND FALL, SIX MOON DANCE, THE FAMILY TREE, A PLAGUE OF ANGELS, SIDESHOW and BEAUTY, which was voted Best Fantasy Novel of the Year by readers of LOCUS.
A brothel keeper's sons discuss genocide and plot murder; a young alien wanderer is pursued by his shadow double; and a political prisoner tries to prove his identity, not least to himself. Gene Wolfe's first novel consists of three linked sections, all of them elegant broodings on identity, sameness, and strangeness, and all of them set on the vividly evoked colony worlds of Ste. Croix and Ste. Anne, twin planets delicately poised in mutual orbit.
Marsch, the victim in the third story, is the apparent author of the second and a casual visitor whose naïve questions precipitate tragedy in the first. The sections dance around one another like the planets of their settings. Clones, downloaded personalities inhabiting robots, aliens that perhaps mimicked humans so successfully that they forgot who they were, a French culture adopted by its ruthless oppressors--there are lots of ways to lose yourself, and perhaps the worst is to think that freedom consists of owning other people, that identity is won at the expense of others.
It is easy to be impressed by the intellectual games of Wolfe's stunning book and forget that he is, and always has been, the most intensely moral of SF writers. --Roz Kaveney, Amazon.co.uk
"Gene Wolfe is unique. If there were forty or fifty of this first-rate author--no, let's be reasonable and ask Higher Authorities for only four or five--American literature as a whole would be enormously enriched." --Chicago Sun-Times
"One of the major fictional works of the decade...Wolfe's novel, with its elusiveness and its beauty, haunts one long after reading it." --Pamela Sargent
"A richly imaginative exploration of the nature of identity and individuality." --Malcolm Edwards, The Science Fiction Encyclopedia
"SF for the thinking reader..The style is highly literate and the ideas sophisticated and handled with sensitivity." --Amazing SF
"One of the 100 best science fiction novels...A truly extraordinary work. One of the most cunningly wrought narratives in the whole of modern SF, a masterpiece of misdirection, subtle clues, and apparently casual revelations." --David Pringle
In the 1960s, Roger Zelazny dazzled the SF world with what seemed to be inexhaustible talent and inventiveness. Lord of Light, his third novel, is his finest book: a science fantasy in which the intricate, colorful mechanisms of Hindu religion, capricious gods, and repeated reincarnations are wittily underpinned by technology. "For six days he had offered many kilowatts of prayer, but the static kept him from being heard On High." The gods are a starship crew who subdued a colony world; developed godlike--though often machine-enhanced--powers during successive lifetimes of mind transfer to new, cloned bodies; and now lord it over descendants of the ship's mere passengers. Their tyranny is opposed by retired god Sam, who mocks the Celestial City, introduces Buddhism to subvert Hindu dogma, allies himself with the planet's native "demons" against Heaven, fights pyrotechnic battles with bizarre troops and weapons, plays dirty with politics and poison, and dies horribly but won't stay dead. It's a huge, lumbering, magical story, told largely in flashback, full of wonderfully ornate language (and one unforgivable pun) that builds up the luminous myth of trickster Sam, Lord of Light. Essential SF reading. --David Langford, Amazon.co.uk
Roger Zelazny burst onto the SF scene in the early 1960s with a series of dazzling and groundbreaking short stories. He won his first of six Hugo Awards for Lord of Light, and soon after produced the first book of his enormously popular Amber series, Nine Princes in Amber. In addition to his Hugos, he went on to win three Nebula Awards over the course of a long and distinguished career. He died on June 14, 1995.
Never before published in its entirety in the United States, The Complete Roderick is John Sladek's masterpiece. Roderick is a robot who learns. He begins life looking like a toy tank, thinking like a child, and knowing nothing about human ways. But as he will discover, growing up and becoming fully human is no easy task in a world where many people seem to have little trouble giving up their humanity.
The Complete Roderick is widely considered to be the most ambitious and genius work of a novelist described by The Encyclopedia of ScienceFiction as "the most formally inventive, the funniest, and very nearly the most melancholy of modern US science fiction writers."
"Superb comparable with early Kurt Vonnegut." Time Out
John Sladek (1937-2000) was born in the United States andmoved to the U.K. in 1966, where he became involved with the British New Wave movement and New Worlds Magazine, sometimes collaborating with his childhood friend, Thomas M. Disch. Sladek's other novels include The Reproductive System, The Muller-Fokker Effect, and Tik-Tok.
SUMMARY:At first, only a few things are known about the celestial object that astronomers dub Rama. It is huge, weighing more than ten trillion tons. And it is hurtling through the solar system at inconceivable speed. Then a space probe confirms the unthinkable: Rama is no natural object. It is, incredibly, an interstellar spacecraft.Space explorers and planet-bound scientists alike prepare for mankind's first encounter with alien intelligence. It will kindle their wildest dreams...and fan their darkest fears. For no one knows who the Ramans are or why they have come. And now the moment of rendezvous awaits - just behind a Raman airlock door.Includes an exclusive introduction by Hugo Award-winning author Robert J. Sawyer
Robert A. Heinlein was the most influential science fiction writer of his era, an influence so large that, as Samuel R. Delany notes, "modern critics attempting to wrestle with that influence find themselves dealing with an object rather like the sky or an ocean." He won the Hugo Award for best novel four times, a record that still stands. The Moon is a Harsh Mistress was the last of these Hugo-winning novels, and it is widely considered his finest work.It is a tale of revolution, of the rebellion of the former Lunar penal colony against the Lunar Authority that controls it from Earth. It is the tale of the disparate people--a computer technician, a vigorous young female agitator, and an elderly academic--who become the rebel movement's leaders. And it is the story of Mike, the supercomputer whose sentience is known only to this inner circle, and who for reasons of his own is committed to the revolution's ultimate success.The Moon is a Harsh Mistress is one of the high points of modern science fiction, a novel bursting with politics, humanity, passion, innovative technical speculation, and a firm belief in the pursuit of human freedom. Robert Anson Heinlein was educated at the University of Missouri and the U.S. Naval Academy. After serving as a naval officer for five years, he retired for health reasons and began publishing SF in 1939. Considered the dean of American SF writers, Heinlein was loved and emulated during the half century that he wrote SF. He wrote dozens of novels and short stories, including Double Star, Stranger in a Strange Land, and The Moon is a Harsh Mistress, all of which won Hugo Awards. Heinlein was the recipient of the First Grand Master Nebula in 1975, and he was the guest of honor at three World SF Conventions: in 1941, 1961, and 1976. He has repeatedly been voted "best all-time author" in readers' polls. Robert A. Heinlein passed away in 1988. The Hugo Award-winning classic that helped launch modern libertarianism, The Moon Is a Harsh Mistress is Heinlein's unforgettable tale of a Lunar revolution in 2076. Led by a one-armed computer technician, a radical blonde bombshell, an aging academic, and a sentient, all-knowing computer, the revolution's proclamation—"TANSTAAFL" (There Ain't No Such Thing As A Free Lunch)—remains a slogan of the libertarian movement today. "He presided over American Science Fiction."—Joe Haldeman"He was admired and envied for more than a century by the brightest human beings on Earth."—Larry Niven
On a quiet fall evening in the small, peaceful town of Mill Valley, California, Dr. Miles Bennell discovered an insidious, horrifying plot. Silently, subtly, almost imperceptibly, alien life-forms were taking over the bodies and minds of his neighbors, his friends, his family, the woman he loved — the world as he knew it.
First published in 1955, this classic thriller of the ultimate alien invasion and the triumph of the human spirit over an invisible enemy inspired three major motion pictures.
This classic science fiction thriller tells the story of the residents of a small town who are being imperceptibly taken over by alien creatures without individual personalities or feelings.
As one of Wells lesser known novels "The Food of the Gods" is often out of print and difficult to find. Despite its obscure status, it represents an early examination of scientific ethics that helped define an important genre in science fiction.As a result of research into the growth curves of living matter, two scientists invent a seemingly miraculous substance called Herakleophorbia IV, nicknamed "The Food of the Gods."Its consumption causes accelerated uninterrupted growth in all forms of life. Its creators' lack of forethought and ineptitude results in terrifying consequences when the substance escapes the bounds of the experiment and is ingested by unintended creatures.This early masterpiece was a groundbreaking conjecture of many of the real issues now confronting scientists about genetically engineered foods and ethical considerations in scientific experimentation.
In some ways the main character of Hal Clement?s under-appreciated novel, Mission of Gravity, is not Charles Lackland, the human explorer dispatched to the planet Mesklin to retrieve stranded scientific equipment. Nor is it the small caterpillar-like creature named Barlennan, a native of Mesklin who agrees to help Lackland find and recover the equipment. Rather, the main character is the planet Mesklin itself, a place with utterly unique characteristics that make themselves felt during every interaction and calculation the intrepid Lackland and his guide have to make. Odd, formidable and of serious interest to the human scientists sent to study it, Mesklin has, at its poles, the strongest gravitational pull in the known galaxy. A place of obvious interest to Earth?s scientists with the potential to provide human beings with the most new insights into the space-time continuum since Einstein?s day, Mesklin proves a daunting challenge to the explorers who have to cope with the strange and often trying conditions.
Barlennan and his crew are creatures designed for life under heavy gravitational conditions. The journey to the pole with Lackland, though, first takes them out of their native habitat and across Mesklin?s equator, a region of the ovular planet where the lack of gravity threatens the tiny creatures with getting carried away by the wind and other hazards. Clement is careful to pursue at every turn the implications of the conditions on Mesklin, and his insistence on this gives the novel a certain sense of authenticity, belied only by the fantastic subject matter. Although the novel is, as a result, considered "hard science fiction," it remains refreshingly free of jargon or overly-complicated explanations.
While Mission of Gravity is an interesting read by virtue of its sincere interest in science, it is also a gripping adventure story filled with close encounters and hair-raising plot twists. The planet Mesklin is largely unexplored, so neither Lackland nor the native Barlennan is prepared for what they encounter. Formidable terrain, unfamiliar creatures and new civilizations confront the explorers as they make their way towards their destination. The alliance between Lackland and his guide is itself something of a puzzle as Barlennan, always the opportunist, has an agenda motivating his decision to help the earthling. What that agenda is slowly becomes clear as the novel unfolds.
Mission of Gravity is Clement?s most popular and enduring work
Four women living in parallel worlds, each with a different gender landscape. When they begin to travel to each other's worlds each woman's preconceptions on gender and what it means to be a woman are challenged.Acclaimed as one of the essential works of science fiction and an influence on William Gibson, THE FEMALE MAN takes a look at gender roles in society and remains a work of great power.
Nebula and Hugo Award winner Joanna Russ is the author of The Adventures of Alyx, Extra(Ordinary) People, and To Write Like a Woman, among many other books.
Ursula K. Le Guin is one of science fiction's greatest writers. She is also an acclaimed author of powerful and perceptive nonfiction, fantasy, and literary fiction. She has received many honors, including six Nebula and five Hugo Awards, the National Book Award, the Pushcart Prize, the Newbery, the Pilgrim, the Tiptree, and citations by the American Library Association. She has written over a dozen highly regarded novels and story collections. Her SF masterworks are The Left Hand of Darkness (1969), The Dispossessed (1974), and The Lathe of Heaven (1971).
George Orr has dreams that come true--dreams that change reality. He dreams that the aunt who is sexually harassing him is killed in a car crash, and wakes to find that she died in a wreck six weeks ago, in another part of the country. But a far darker dream drives George into the care of a psychotherapist--a dream researcher who doesn't share George's ambivalence about altering reality.
The Lathe of Heaven is set in the sort of worlds that one would associate with Philip K. Dick, but Ms. Le Guin's treatment of the material, her plot and characterization and concerns, are more akin to the humanistic, ethically engaged, psychologically nuanced fiction of Theodore Sturgeon. The Lathe of Heaven is an insightful and chilling examination of total power, of war and injustice and other age-old problems, of changing the world, of playing God. --Cynthia Ward
"When I read The Lathe of Heaven as a young man, my mind was boggled; now when I read it, more than twenty-five years later, it breaks my heart. Only a great work of literature can bridge - so thrillingly - that impossible span." - Michael Chabon
"A rare and powerful synthesis of poetry and science, reason and emotion." -- The New York Times
"Gracefully developed...extremely inventive.... What science fiction is supposed to do." -- Newsweek
"Profound. Beautifully wrought...[Le Guin's] perceptions of such matters as geopolitics, race, socialized medicine, and the patient-shrink relationship are razor sharp and more than a little cutting." -- National Review
SUMMARY: >On October 11 the television star Jason Taverner is so famous that 30 million viewers eagerly watch his prime-time show. On October 12 Jason Taverner is not a has-been but a never-was -- a man who has lost not only his audience but all proof of his existence. And in the claustrophobic betrayal state of Flow My Tears, the Policeman Said, loss of proof is synonyms with loss of life.Taverner races to solve the riddle of his disappearance", immerses us in a horribly plausible Philip K. Dick United States in which everyone -- from a waiflike forger of identity cards to a surgically altered pleasure -- informs on everyone else, a world in which omniscient police have something to hide. His bleakly beautiful novel bores into the deepest bedrock self and plants a stick of dynamite at its center.
“A novel of the future that the present must inevitably rank as a classic.”—The New York Times
FREDERIK POHL’s writing career spans over seventy years. He won the National Book Award in 1980 for his novel Jem. From about 1959 until 1969, Pohl edited Galaxy magazine and its sister magazine, If, winning the Hugo Award for it three years in a row. His writing also won him four Hugos and multiple Nebula Awards. He became a Nebula Grand Master in 1993. Pohl won the 2010 Hugo Award for Best Fan Writer, based on his writing on his blog, “The Way the Future Blogs.”
"The best novel about cloning written to date."--Locus
"Kate Wilhelm's cautionary message comes through loud and clear."--The New York Times
"One of the best treatments of cloning in SF."--The New Encyclopedia of Science Fiction
Chapter 1What David always hated most about the Sumner family dinners was the way everyone talked about him as if he were not there."Has he been eating enough meat lately? He looks peaked.""You spoil him, Carrie. If he won't eat his dinner, don't let him go out and play. You were like that, you know.""When I was his age, I was husky enough to cut down a tree with a hatchet. He couldn't cut his way out of a fog."David would imagine himself invisible, floating unseen over their heads as they discussed him. Someone would ask if he had a girlfriend yet, and they would tsk-tsk whether the answer was yes or no. From his vantage point he would aim a ray gun at Uncle Clarence, whom he especially disliked, because he was fat, bald, and very rich. Uncle Clarence dipped his biscuits in his gravy, or in syrup, or more often in a mixture of sorghum and butter that he stirred together on his plate until it looked like baby shit."Is he still planning to be a biologist? He should go to med school and join Walt in his practice."He would point his ray gun at Uncle Clarence and cut a neat plug out of his stomach and carefully ease it out, and Uncle Clarence would ooze from the opening and flow all over them."David." He started with alarm, then relaxed again. "David, why don't you go out and see what the other kids are up to?" His father's quiet voice, saying actually, That's enough of that. And they would turn their collective mind to one of the other offspring.As David grew older, he learned the complex relationships that he merely accepted as a child. Uncles, aunts, cousins, second cousins, third cousins. And the honorary members--the brothers and sisters and parents of those who had married into the family. There were the Sumners and Wistons and O'Gradys and Heinemans and the Meyers and Capeks and Rizzos, all part of the same river that flowed through the fertile valley.He remembered the holidays especially. The old Sumner house was rambling with many bedrooms upstairs and an attic that was wall-to-wall mattresses, pallets for the children, with an enormous fan in the west window. Someone was forever checking to make certain that they hadn't all suffocated in the attic. The older children were supposed to keep an eye on the younger ones, but what they did in fact was to frighten them night after night with ghost stories. Eventually the noise level would rise until adult intervention was demanded. Uncle Ron would clump up the stairs heavily and there would be a scurrying, with suppressed giggles and muffled screams, until everyone found a bed again, so that by the time he turned on the hall light that illuminated the attic dimly, all the children would seem to be sleeping. He would pause briefly in the doorway, then close the door, turn off the light, and tramp back down the stairs, apparently deaf to the renewed merriment behind him.Whenever Aunt Claudia came up, it was like an apparition. One minute pillows would be flying, someone would be crying, someone else trying to read by flashlight, several of the boys playing cards by another flashlight, some of the girls huddled together whispering what had to be delicious secrets, judging by the way they blushed and looked desperate if an adult came upon them suddenly, and then the door would snap open, the light would fall on the disorder, and she would be standing there. Aunt Claudia was very tall and thin, her nose was too big, and she was tanned to a permanent old-leather color. She would stand there, immobile and terrible, and the children would creep back into bed without a sound. She would not move until everyone was back where he or she belonged, then she would close the door soundlessly. The silence would drag on and on. The ones nearest to the door would hold their breath, trying to hear breathing on the other side. Eventually someone would become brave enough to open the door a crack, and if she were truly gone, the party would resume.The smells of holidays were fixed in David's memory. All the usual smells: fruit cakes and turkeys, the vinegar that went in the egg dyes, the greenery and the thick, creamy smoke of bayberry candles. But what he remembered most vividly was the smell of gunpowder that they all carried at the Fourth of July gathering. The smell that permeated their hair and clothes lasted on their hands for days and days. Their hands would be stained purple-black by berry picking, and the color and smell were one of the indelible images of his childhood. Mixed in with it was the smell of the sulfur that was dusted on them liberally to confound the chiggers.If it hadn't been for Celia, his childhood would have been perfect. Celia was his cousin, his mother's sister's daughter. She was one year younger than David, and by far the prettiest of all his cousins. When they were very young they promised to marry one day, and when they grew older and it was made abundantly clear that no cousins might ever marry in that family, they became implacable enemies. He didn't know how they had been told. He was certain that no one ever put it in words, but they knew. When they could not avoid each other after that, they fought. She pushed him out of the hayloft and broke his arm when he was fifteen, and when he was sixteen they wrestled from the back door of the Winston farmhouse to the fence, fifty or sixty yards away. They tore the clothes off each other, and he was bleeding from her fingernails down his back, she from scraping her shoulder on a rock. Then somehow in their rolling and squirming frenzy, his cheek came down on her uncovered chest, and he stopped fighting. He suddenly became a melting, sobbing, incoherent idiot and she hit him on the head with a rock and ended the fight.Up to that point the battle had been in almost total silence, broken only by gasps for breath and whispered language that would have shocked their parents. But when she hit him and he went limp, not unconscious, but dazed, uncaring, inert, she screamed, abandoning herself to terror and anguish. The family tumbled from the house as if they had been shaken out, and their first impression must have been that he had raped her. His father hustled him to the barn, presumably for a thrashing. But in the barn his father, belt in hand, looked at him with an expression that was furious, and strangely sympathetic. He didn't touch David, and only after he had turned and left did David realize that tears were still running down his face.In the family there were farmers, a few lawyers, two doctors, insurance brokers and bankers and millers, hardware merchandisers, other shopkeepers. David's father owned a large department store that catered to the upper-middle-class clientele of the valley. The valley was rich, the farms in it large and lush. David always supposed that the family, except for a few ne'er-do-wells, was rather wealthy. Of all his relatives his favorite was his father's brother Walt. Dr. Walt, they all called him, never uncle. He played with the children and taught them grown-up things, like where to hit if you really meant it, where not to hit in a friendly scrap. He seemed to know when to stop treating them as children long before anyone else in the family did. Dr. Walt was the reason David had decided very early to become a scientist.David was seventeen when he went to Harvard. His birthday was in September and he didn't go home for it. When he did return at Thanksgiving, and the clan had gathered, Grandfather Sumner poured the ritual before-dinner martinis and handed one to him. And Uncle Warner said to him, "What do you think we should do about Bobbie?"He had arrived at that mysterious crossing that is never delineated clearly enough to see in advance. He sipped his martini, not liking it particularly, and knew that childhood had ended, and he felt a profound sadness and loneliness.The Christmas that David was twenty-three seemed out of focus. The scenario was the same, the attic full of children, the food smells, the powdering of snow, none of that had changed, but he was seeing it from a new position and it was not the wonderland it had been. When his parents went home he stayed on at the Wiston farm for a day or two, waiting for Celia's arrival. She had missed the Christmas Day celebration, getting ready for her coming trip to Brazil, but she would be there, her mother had assured Grandmother Wiston, and David was waiting for her, not happily, not with any expectation of reward, but with a fury that grew and caused him to stalk the old house like a boy being punished for another's sin.When she came home and he saw her standing with her mother and grandmother, his anger melted. It was like seeing Celia in a time distortion, as she was and would be, or had been. Her pale hair would not change much, but her bones would become more prominent and the almost emptiness of her face would have written on it a message of concern, of love, of giving, of being decisively herself, of a strength unsuspected in her frail body. Grandmother Wiston was a beautiful old lady, he thought in wonder, amazed that he never had seen her beauty before. Celia's mother was more beautiful than the girl. And he saw the resemblance to his own mother in the trio. Wordlessly, defeated, he turned and went to the rear of the house and put on one of his grandfather's heavy jackets because he didn't want to see her at all now and his own outdoor clothing was in the front hall closet too near where she was standing.He walked a long time in the frosty afternoon, seeing very little, and shaking himself from time to time when he realized that the cold was entering his shoes or making his ears numb. He should turn back, he thought often, but he walked on. And he found that he was climbing the slope to the antique forest that his grandfather had taken him to once, a long time ago. He climbed and became warmer, and at dusk he was under the branches of the tiers of trees that had been there since the beginning of time. They or others that were identical to them. Waiting. Forever waiting for the day when they would start the whole climb up the evolutiona...
The city is winched along tracks through a devastated land full of hostile tribes. Rails must be freshly laid ahead of the city and carefully removed in its wake. Rivers and mountains present nearly insurmountable challenges to the ingenuity of the city’s engineers. But if the city does not move, it will fall farther and farther behind the “optimum” into the crushing gravitational field that has transformed life on Earth. The only alternative to progress is death. The secret directorate that governs the city makes sure that its inhabitants know nothing of this. Raised in common in crèches, nurtured on synthetic food, prevented above all from venturing outside the closed circuit of the city, they are carefully sheltered from the dire necessities that have come to define human existence. And yet the city is in crisis. The people are growing restive, the population is dwindling, and the rulers know that, for all their efforts, slowly but surely the city is slipping ever farther behind the optimum. Helward Mann is a member of the city’s elite. Better than anyone, he knows how tenuous is the city’s continued existence. But the world—he is about to discover—is infinitely stranger than the strange world he believes he knows so well.
A new place is being built, a world of huge dimensions, encompassing millions of miles, stronger than any planet before it. There is gravity, and with high walls and its proximity to the sun, a livable new planet that is three million times the area of the Earth can be formed. We can start again!
EDITORIAL REVIEW:
A science fiction novel, last published in 1995, in which time is running out for the passengers and crew of a tourist cruiser that is trapped in a sea of choking lunar dust, and their rescuers are stretched to the limit by the unpredictable conditions of the alien environment. By the author of THE DEEP RANGE.
SUMMARY:It's America in 1962. Slavery is legal once again. the few Jews who still survive hide under assumed names. In San Francisco the I Ching is as common as the Yellow Pages. All because some 20 years earlier the United States lost a war--and is now occupied jointly by Nazi Germany and Japan. This harrowing, Hugo Award-winning novel is the work that established Philip K. Dick as an innovator in science fiction while breaking the barrier between science fiction and the serious novel of ideas. In it Dick offers a haunting vision of history as a nightmare from which it may just be possible to awake.
SUMMARY: Fourteen strangers came to Delmak-O. Thirteen of them were transferred by the usual authorities. One got there by praying. But once they arrived on that planet whose very atmosphere seemed to induce paranoia and psychosis, the newcomers found that even prayer was useless. For on Delmak-O, God is either absent or intent on destroying His creations.
Sirius is Thomas Trelone's great experiment - a huge, handsome dog with the brain and intelligence of a human being. Raised and educated in Trelone's own family alongside Plaxy, his youngest daughter, Sirius is a truly remarkable and gifted creature. His relationship with the Trelones, particularly with Plaxy, is deep and close, and his inquiring mind ranges across the spectrum of human knowledge and experience. But Sirius isn't human and the conflicts and inner turmoil that torture him cannot be resolved.
Olaf Stapledon (1886-1950) was born near Liverpool and educated at Balliol College, Oxford and Liverpool University. After spending eighteen months working in a shipping office in Liverpool and Port Said, he lectured extramurally for Liverpool University in English Literature and industrial history. He served in France from 1915 until 1919 with the Friends' Ambulance Unit and then lectured again for Liverpool University in psychology and philosophy. His novels include First and Last Men, Last Men in London, Star Maker and Odd John.
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SUMMARY: When his village is attacked by Trollocs -- a savage tribe of half-men and half beasts -- Rand al'Thor and his friends are lucky to stay alive. But for Rand there is no time to celebrate. It was not the village the Trollocs were after. It was Rand.In Part One, Rand will come face-to-face with the Dark One: the most formidable force of evil in the universe. His adventures continue in Part Two, when his battle against Aginor brings him face-to-face. . .with the truth behind his own mysterious idenitity.