The epic finale to the story of the Children of the Atom! Renowned X-Men scribe Chris Claremont (Uncanny X-Men) joins with star artist Sean Chen (Wolverine) for a trilogy in the style of the Lord of the Rings movies, one that spans the length and breadth of the X-Men canon and brings the saga of Marvel's mutants to a climax! Collects X-Men: The End -- Dreamers and Demons #1 to 6, Heroes and Martyrs #1 to 6, and Men and X-Men #1 to 6.

    Simak (1904-1988). When the Science Fiction Writers of America began bestowing their Grand Master awards, Simak was the third writer so honored. Only Robert Heinlein and Jack Williamson preceded him, and he received his award before such luminaries as Fritz Leiber, Isaac Asimov, and Ray Bradbury. Simak earned this distinction by producing, over a long period of time, a significant body of popular, respected, often award-winning work, including his classics City and Way Station, and many shorter works, eight of which are contained in this collection. Readers unfamiliar with Simak are in for a treat. More than half of the stories here were among the best stories of their respective years. "The Big Front Yard" (1958) won a Hugo. "A Death in the House" (1959) was selected by Judith Merril for Year's Best SF: Fifth Annual Edition. "Over the River and Through the Woods" (1965) made the cut for World's Best Science Fiction: 1966 edited by Donald Wollheim.Contents: A Death in the House The Big Front Yard Goodnight Mr. James Dusty Zebra Neighbor Over the River & Through the Woods Construction Shack Grotto of the Dancing Deer [He] wrote for so long and always so well that his excellence came to be taken for granted, as we take sunlight for granted until we go blind. - Poul Anderson I read Cliff's stories with particular attention, and I couldn't help but notice the simplicity and directness of the writing - the utter clarity of it. I made up my mind to imitate it, and I labored over the years to make my writing simpler, clearer, more uncluttered, to present my scenes on a bare stage. - Isaac Asimov Without Simak, science fiction would have been without its most humane element, its most humane spokesman for the wisdom of the ordinary person and the value of life lived close to the land. - James Gunn Good fantasy - and that includes science fiction - takes off from the known for its flights into the new. Cliff Simak was a master of the art. His known was the rural Midwest that he loved. His new could reach to the ends of space and time, but never beyond reality. Even his cosmic aliens always had half human dimensions that made them believable. I loved him, as so many did, for his unfailing warmth and a wit that was keen but never cruel. I heard from him often during the painful time after his wife's death. His own death touched me deeply, and I'm happy to see him remembered with this collection of his best-loved stories. - Jack Williamson I always loved his stories, short or long. He made me love them -and the rural America of his childhood - as much as he did. - Lester del Rey Ten years ago it would have been inconceivable that a volume of the best stories of Clifford Simak (author of the classic City) would not have been published by Putnam or Del Rey, but today we have to be grateful to the one-man firm of Tachyon Publications for preserving Over the River and Through the Woods, which includes some of Simak's best stories, including two Hugo Award winners. After all, Simak is dead, which means his career is flatlined, even if Robert Heinlein said, "to read science fiction is to read Simak. The reader who does not like Simak stories does not like science fiction at all." Simak was a master of a special kind of nostalgic science fiction that reconciled the values of his youth (the rural Midwest of the 1920s) with the larger universe. Material that became ludicrous cliche in the hands of lesser writers - all those endless flying saucers landing in the hillbilly's back acre - was by Simak handled with elegance and dignity."A Death in the House" is typical: A farmer finds a dying alien. He does what he can, but that's very little. The farmer conceals the grave, wanting to give his "guest" that much dignity. But the alien is plantlike. It (or its young) sprouts out of the corpse. Human and alien struggle toward understanding. In "The Big Front Yard," a rural handyman finds his house transformed into a gateway to other worlds. The common people have the good sense; trouble starts when profiteers and the government get involved. The tone is light, friendly and clever. This is not to suggest that Simak was a writer with no hard edges. "Good Night Mr. James" is a horror story, about a duplicate human being created to destroy a particularly nasty alien illegally smuggled to Earth. But the gentler mode was more typical, and he could also write humor. "Dusty Zebra" is a long technological joke, maybe a bit slight to be included when a 50-year career must be distilled into 218 pages. Simak's last story, the last in the book, "The Grotto of the Dancing Deer," is about an immortal caveman, quite different from de Camp's "Gnarly Man." He is the original artist who painted that cave art the scientists keep finding; after all this time, he just has to tell someone. The story won both the Hugo and the Nebula for 1980, because both readers and fellow professionals wanted to say "thank you." - The Washington Post Book World Clifford D. Simak is another classic SF writer who staked out a distinctive territory based on his rural midwestern roots - only a couple hundred miles north of Bradbury's - but he never strayed very far from a few classic SF themes which he treated with considerably more rigor than Bradbury, if sometimes with as much sentimentality. Simak's City is at least as important to the history of SF as Bradbury's The Martian Chronicles - some would say more so, given its more challenging conceptual framework - and his other short stories are among the most enduring in the genre, as Over the River & Through the Woods, a new limited edition from Tachyon Publications, attests. Yet Simak, like Sturgeon, seems in danger of fading into the limbo of historical anthologies; while his work was once as widely available as that of any of the giants, today these stories seem almost like new discoveries - and are just as fresh. Part of the reason may be not that Simak's folksy language seems to belie the underlying sense of alienation and tragedy that characterizes much of his work; part may be due to the rediscovery of American regional idioms among younger SF writers from Terry Bisson to Nancy Kress . . . 'Over the River & Through the Woods' contains eight Simak stories from 1951 through 1980 - which means it includes none of the classic stories like "Desertion" or "Huddling Place", which later went to make up City, but does include his late Hugo and Nebula-winning masterpiece "The Grotto of the Dancing Deer" and the Hugo-winning "The Big Front Yard." One of the first things that comes to mind when rereading the latter story after several years - it concerns a characteristically laconic farmer with a dog named Towser (the only name Simak seems to have permitted for dogs) who finds on his property a gateway to distant worlds - is that few contemporary writers would have let such a simple and elegant premise be confined to a novella. Simak's focus is on the unimpressed rustic whose very lack of response to the wonder at his doorstep intensifies our own. When a rustic is impressed by an alien presence, such as in "A Death in the House," it is less likely to be from a sense of wonder than from a sense of companionship. Simak's roots may be firmly in SF, but he writes of alien encounters in a way Willa Cather might have written of them. Aliens are strange but unthreatening, and in some cases (as in "Neighbor") they can turn the entire neighborhood into a pastoral Shangri-la, isolated from the outside in a way that encapsulates what must be Simak's own drams of lost innocence. But Simak could write about more than wonderful things happening to remote farmers. "Good Night, Mr. James" is a very early treatment (1951) of what we would today call a cloning story, done with the kind of cynical humor that is needed for what is essentially a double- and triple-cross tale. It reveals Simak's healthy streak of humor, as does "Dusty Zebra," in which trivial objects are zapped into another dimension in return for high-tech wonders. "Construction Shack" ironically explores an almost Stapledonian notion of whole solar systems being engineered by ancient aliens (Pluto is the construction shack of the title), cast in terms of the matter-of-fact space jockeys so familiar from pulp SF. Simak may be at his best, however, when his theme is isolation and abandonment. The title story concerns children from the future sent back to the refuge of the 1890s. The best tale in the collection and one of the high points of Simak's late career, "The Grotto of the Dancing Deer," concerns an anthropologist who comes to realize that his assistant seems to know far too much about certain ancient cave paintings, and may in fact have been their creator. Simak's evocation, in a few pages, of the sheer loneliness of immortality and the daunting perspectives of time involved, again could be a lesson to a generation of younger writers, and reminds us brilliantly of what Simak was capable of. - Locus

    When environmental consultant Jack McDarvid's boss is killed in a shootout near the Capitol, McDarvid becomes enmeshed in a diabolical plot behind the scenes of the environmental movement.

    It was 1st published as a hardcover in 1897 by Archibald Constable & Co. Dracula has been assigned to many literary genres including vampire literature, horror fiction, the gothic novel & invasion literature. Structurally it's an epistolary novel, told as a series of letters, diary entries, ships' logs, etc. Literary critics have examined many themes in the novel, such as the role of women in Victorian culture, conventional & conservative sexuality, immigration, colonialism, folklore & postcolonialism. Altho Stoker didn't invent the vampire, the novel's influence on the popularity of vampires has been singularly responsible for many theatrical, film & tv interpretations since its publication.FRANKENSTEIN or The Modern Prometheus is a novel about a failed artificial life experiment that's produced a monster, written by Mary Shelley. She started writing the story when she was 18. It was published when she was 21. The 1st edition was published anonymously in London in 1818. Shelley's name appears on the 2nd edition, published in France in 1823. She'd travelled the region in which the story takes place. The topics of galvanism & other similar occult ideas were themes of conversation among her companions, particularly her future husband Percy Bysshe Shelley. The storyline was taken from a dream. She was talking with three writer-colleagues, Percy Bysshe Shelley, Lord Byron & John Polidori. They decided they would have a competition to see who could write the best horror story. After thinking for weeks about what her storyline could be, she dreamt about a scientist who created life & was horrified by what he'd made. Then Frankenstein was written. Frankenstein is infused with some elements of the Gothic novel & the Romantic movement & is also considered to be an early example of sf. Brian Aldiss has argued it should be considered the 1st true sf story, because unlike in previous stories with fantastical elements resembling those of later sf, the central character "makes a deliberate decision" & "turns to modern experiments in the laboratory" to achieve fantastic results. The story is partially based on Giovanni Aldini's electrical experiments on dead & living animals & was also a warning against the expansion of modern man in the Industrial Revolution, alluded to in its subtitle, The Modern Prometheus. It's had a considerable influence across literature & popular culture & spawned a complete genre of horror stories & films.

    The definitive collection of the Eisner Award winning series continues.Legendary comic writer Mark Waid (KINGDOM COME) takes superhero comics to the next level asking the question, “What if the world’s greatest superhero decided to become the world’s greatest super villain?” Don’t miss the Eisner Award-nominated series that tookthe comic book industry by storm! Volume 3 of BOOM!’s original superhero series from comics legend Mark Waid! What happens to a world when a savior betrays it…and who can stop it? A "twilight of the superheroes"-style story that examines the nature of good and evil from the writer of KINGDOM COME and EMPIRE!

    The towering figure of Adam Trask dominates the story--a good man whose satanic wife revealed to him the shuddering ecstasies of lustful evilKate came into Adam's life unannounced, and left amidst the ringing echo of gunfire. Behind her were a shattered man and a shattered world, and two infant boys doomed to play out, once again, the tragic roles of another Adam's offspring. Ahead of her was a frenzied life of depravity and perversion, wealth..and terror.THE WAYWARD BUS traveled the back roads through lush California countryside. Its driver was a man of the land--lusty, hot-blooded, uninhibited. On the bus were a magnificent creature cursed with a heart of gold an an irresistible allure for men, a traveling salesman out strictly for laughs, a boy with the sweet sap of manhood urgent in him, a college girl pursuing a secret, passionate quest...In one climactic day--and night--the lives of these and all the other passengers on the wayward bus were changed. And the electricity that John Steinbeck creates in their relation ships provides both power and shock.--jacket description

    This collection of evocative and powerful poems from the pages of his phenomenal bestseller Dune echoes the richness found in Herbert's epic sagas of sandworms and mystical power struggles on the planet Arrakis.

    

    Transmetropolitan combined black humor, political scandal, and moral ambiguity to look into the mind of gonzo journalist Spider Jerusalem and The City he inhabits. Aided by his embattled Editor and his two Filthy Assistants, Jerusalem blazes a path through a futuristic world of skyscrapers and technological wonders, dark alleys, and unspeakable depravity.Transmetropolitan: All Around The World is a lovingly crafted and designed tribute to a seminal work. Contributors include: Aaron Alexovich, Stephanie Buscema, Jim Calafiore, Stefano Caselli, Cliff Chiang, Richard C. Clark, Kevin Colden, Molly Crabapple, Camilla d’Errico, Kristian Donaldson, Ryan Dunlavey, Gary Erskine, Richard Friend, Dan Goldman, Cully Hamner, Lea Hernandez, Phil Hester, Rantz Hoseley, Matt Howarth, K Thor Jensen, Seth Kushner, Jonathan Luna, Milo Manara, John McCrea, Moritat, Dean Motter, Darick Robertson, Jimmie Robinson, Stuart Sayger, Tim Seeley, Fiona Staples, Bryan Talbot, Pete Woods, and many, many others.[text from http://cbldf.org/homepage/transmetrop... ]

    Now it's time for her to take her father's place in the world - and pay for his sins. Seth is a doctor as good with a gun as he is with a scalpel. He knows a lot about the preternatural, but he's not saying why. And he's the new Voice of God's only chance of survival. This collection contains the first three books of The Mage Craft Series, amounting to over 210,000 words. About Cast in Angelfire As a half-angel, half-human mage, Marion Garin is the most powerful witch in the world. She’s been embroiled in preternatural politics since childhood and navigates the factions with ease. Or so she’s been told. Unfortunately, she’s lost her memory, and now Marion doesn’t know much of anything. Casting magic? Forget about it. It’s not an accident, either. Someone powerful wanted to take Marion out of preternatural politics, and they succeeded. She’s told that a man named Seth Wilder could help, but she’ll have to find him first. He’s been missing for years. Marion needs to track Seth down and fix her memory before her unknown enemy finishes the job… * * * About Cast in Hellfire Marion Garin is the teenage daughter of Metaraon, the former Voice of God. Now she's also the steward of the Winter Court, which has been in anarchy since a revolution five years earlier. Problem: Marion still doesn't remember anything that happened before two weeks ago. Seth Wilder has a lead on her memories. Whoever stole them and sold Marion's essence to a demon lord in Sheol. Marion wants to help steal them back, even though that means abandoning the Winter Court to war. And Seth can't seem to tell Marion no. He wants Marion nearby. Very nearby. Possibly in his teeth. See, Seth has this little problem where he's developing a killing urge, and it seems to be centered primarily on the half-angel girl who adores him. It conflicts with everything Seth believes himself to be: a moral man, a doctor who heals instead of hurts. Yet he's obsessed with Marion. She wants her memories, and he wants her to have them as much as he wants her blood. They'll work together to make Marion whole, come hell or high water. Even if it means war. Even if it means Seth might hurt Marion. And damned be the consequences... * * * About Cast in Faefire Marion Garin, the Voice of God, is due to marry the Prince of the Autumn Court by the end of the week - assuming that the world's preternatural leadership doesn't have anything to say about it. They plan to strip Prince ErlKonig of his title, ensuring that Marion can't form a god-forbidden treaty with the angels. Still injured from his final fight in Sheol, Seth Wilder is seeking a way to stay alive. If he dies, he'll lose more than his life - he'll be slave to the gods' whims for all eternity. He's ready to take drastic steps. Maybe even make a bargain with the vampires. But what the gods want, they get. And they don't appreciate being defied.

    Every word tells, & the number of unusually stirring incidents is legion, while the plot is phenomenal in its strength, merit & ingeniousness.

    The "Handmaid's Tale" by Margaret Atwood (York Notes Advanced - NOT THE NOVEL)

    His daughter and two sons, scattered across the world, do what they must to stay alive and unmask the assassins. But each of them also has a life-path on which their father set them, destinies entangled with both ancient enemies and inscrutable gods.The Emperor’s Blades — Three siblings: Kaden, the heir to the Unhewn Throne, has spent eight years sequestered in a remote mountain monastery. An ocean away, Valyn endures the brutal training of the Kettral. At the heart of the empire, Adare hunts those who murdered her father.The Providence of Fire — Kaden infiltrates the Annurian capital, while Adare flees the Dawn Palace in search of allies to challenge the coup against her family. As armies prepare to clash, the threat of invasion compels the rival forces to unite. Unknown to Adare, Valyn has allied with the invading nomads.The Last Mortal Bond — The ancient csestriim are back to finish their purge of humanity; armies march against the capital; capricious gods walk the earth in human guise, but the imperial siblings at the heart of it all soon understand that there may be no reconciling their conflicting visions of the future.

    As part of the Paragonian 7th Company, Honoured Lieutenant Marken Cortein Lo Bannick commands the venerable war machine in a bitter war against the orks in the Kalidar system. As the campaign grinds on it begins to take its toll upon his crew, and old clan prejudices from the regiment's home world arise once more. In a war which cannot be won by force of arms alone, such division may prove to be their undoing.

    For outsiders, Pyrrus usually means a quick and painful death, but DinAlt is fleeing the crooked casino masters of Cassylia - where he just broke the bank. But DinAlt is not prepared for the hellish Pyrrus, where every living thing seems bent on exterminating mankind.In DEATHWORLD 2 (originally published as THE ETHICAL ENGINEER), Jason DinAlt finds himself on a hostile, barbarian planet where technology and civilization have almost disappeared. Using his skills, DinAlt literally reinvents the wheel in his quest to escape and return to his friends on Pyrrus.