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

    Of course, given that he's working with cats, there is frequently the question of who is "handling" whom.

    How did he allow the other person to die? How did he help the other person to hang himself to death? He was terribly upset about this. The moment his eyes saw a rope in any form he used to remember everything.........

    She’s also a mage. Carina would love to use her mage powers when she fights. If only life were that simple. In her part of the galaxy, mages live in fear of discovery. Slavery and torture are the best they can expect.So when a young boy is kidnapped and Carina embarks on a suicidal mission to save his life, she faces a terrible decision. For the rescue plan to succeed, she must Cast. But if she does, it could mean the end of everything for her.Star Mage Exile is the prequel to the dark, exciting space fantasy, Star Mage Saga.

    Genetic manipulation and artificial intelligence shape an astounding destiny for our species. With these wondrous changes come unexpected new truths of heart and mind that challenge the very definition of human—and that threaten not only our existence but the universe itself as our surprising powers—both miraculous and monstrous—evolve through the centuries.

    Due to the noxious gas covering the planet, she can’t conceive a child, and the Council, determined to repopulate the planet, have ended her third—and most precious—relationship. They insist she pick a new mate and try again, but she’s sworn off love and the possibility of ever having a real family.When a ship from the thriving planet of Urslat crashes on Zerris, Marlee rescues the ship’s daring captain, Tyris. His ship is grounded, winter is setting in, and he won’t survive without help. She offers him a deal…he can live with her if he pretends to be her mate so the Council will leave her alone.Tyris agrees and a hungry desire sparks between them as they battle the harsh winter and primitive conditions. Their attraction grows, and soon, keeping their distance becomes impossible, even more challenging than the snow, the Council, and, for Marlee, the risks of a real relationship.Will she risk her heart one last time for a chance at her dream? Or will Tyris be her undoing?

    Vonnegut’s absolute familiarity with science fiction tropes and his mocking contempt for them are well displayed in a story which shifts between tragic cartoon and straightforward projection. His highly evolved humans in an indeterminate future have become body-transcending spirits and Vonnegut handles this vaporous situation with deadpan comedy suspended over unspeakable loss, a characteristic technique. In its fluidity--the story is parody masked as extrapolation; no, it is a horror story in the form of a parody. This kind of cross-category narrative attack was often used by Vonnegut and makes him difficult to label; he is too serious to be funny, too absurd (as in jailbreak or as in the concept of Billy Pilgrim’s alien Tralmalfadorians) to be taken as realism. Vonnegut when he wrote this story at 30 was still trying to find his voice, identify his material; as a laboratory of his enveloping subject matter and technique UNREADY TO WEAR is particularly interesting and disturbing, demonstrating that Vonnegut could have gone in any number of directions and perhaps by deliberately failing to make a decision, found his voice through indeterminacy. It is as a poet of indeterminacy then that Vonnegut went on to write his most famous novel, SLAUGHTERHOUSE-FIVE.ABOUT THE AUTHORKurt Vonnegut (1922-2007) is one of the most beloved American writers of the twentieth century. Vonnegut's audience increased steadily since his first five pieces in the 1950s and grew from there. His 1968 novel Slaughterhouse-Five has become a canonic war novel with Joseph Heller's Catch-22 to form the truest and darkest of what came from World War II.Vonnegut began his career as a science fiction writer, and his early novels--Player Piano and The Sirens of Titan--were categorized as such even as they appealed to an audience far beyond the reach of the category. In the 1960s, Vonnegut became closely associated with the Baby Boomer generation, a writer on that side, so to speak.Now that Vonnegut's work has been studied as a large body of work, it has been more deeply understood and unified. There is a consistency to his satirical insight, humor and anger which makes his work so synergistic. It seems clear that the more of Vonnegut's work you read, the more it resonates and the more you wish to read. Scholars believe that Vonnegut's reputation (like Mark Twain's) will grow steadily through the decades as his work continues to increase in relevance and new connections are formed, new insights made.ABOUT THE SERIESHorace Gold led GALAXY magazine from its first issue dated October 1950 to science fiction’s most admired, widely circulated and influential magazine throughout its initial decade. Its legendary importance came from publication of full length novels, novellas and novelettes. GALAXY published nearly every giant in the science fiction field.The Galaxy Project is a selection of the best of GALAXY with new forewords by some of today’s best science fiction writers. The initial selections in alphabetical order include work by Ray Bradbury, Frederic Brown, Lester del Rey, Robert A. Heinlein, Damon Knight, C. M. Kornbluth, Walter M. Miller, Jr., Frederik Pohl, Robert Scheckley, Robert Silverberg, William Tenn (Phillip Klass) and Kurt Vonnegut with new Forewords by Paul di Filippo, David Drake, John Lutz, Barry Malzberg and Robert Silverberg. The Galaxy Project is committed to publishing new work in the spirit GALAXY magazine and its founding editor Horace Gold.

    The Order of World Society governs the globe, the weather, the currency, and all facets of people’s lives. The Peace for All Agenda is anything but peaceful. Scientist Gayle Conyers’ life in this new societal structure is orderly, routine, focused, safe. Then it isn’t. A renowned scientist forces her to work on a secret project that goes against her ethics and the Order. A protester warns her about the Order’s web of deception and the approaching end of days. Gayle soon finds herself with a foot in two worlds: A scientific realm that intends to alter humanity for all time, and a spiritual one, where she’s enmeshed in stories of prophecy, destruction, and the Apocalypse. Gayle remains skeptical. Until the Event that stuns the world, one that causes her to face the realization that this may, indeed, be the beginning of the end.

    A collaborative book, written and edited in just 11 weeks, that examines college sports through the lens of an Old West that never existed, but feels very familiar.

    JTE is developing advanced animatronics editing techniques to create high-end movies indistinguishable from live-action. Long dead stars can now share the screen with today's A-list. But one night Joshua and Ana discover something lingering in the rendered footage…an entity that will lead them into a new age beyond the reality they have come to know.At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.

    Who guides our fate? And can we ever hope to wrest control for ourselves? In this novella, "The Loom of Thessaly" , classical mythology merges with impudent modern spirit into a science fiction legend that speculates upon the nature of reality.

    This bundle includes the first three novels (out of nine) of this bestselling series. If you loved Ender's Game, Starship Troopers, and Old Man's War, you'll love Earthrise. From a USA Today bestselling author. BOOK 1: EARTH ALONE They came from deep space. They came to destroy us. Fifty years ago, bloodthirsty aliens devastated the Earth. Most of humanity perished. We fell into darkness. But now we rise from the ashes. Now we fight back. Marco Emery was born into the war. After his mother is killed, he joins the Human Defense Force, Earth's ragtag army. Emery must survive basic training, become a soldier, and finally face the aliens in battle. Against the alien onslaught, Earth stands alone. But we will fight. We will rise. We will win. BOOK 2: EARTH LOST Earth burns. We call them the scum. They came from deep space. Creatures of claws and endless malice, they ravage the world. As the war flares, as cities crumble, Private Marco Emery and his platoon blast into space. They won one battle on Earth. Their next battle must be fought in the darkness. The scum will not rest until the last human is dead. Marco and his friends must defeat them. They must win. Or Earth will fall. BOOK 3: EARTH RISING It's all-out war. Our cities fall. Millions die. The scum, these cruel aliens from deep space, are determined to kill us all. So we must kill them. Humanity musters its greatest fleet. Thousands of starships rally. Millions of soldiers deploy. For Earth to stand a chance, we must invade the aliens' homeworld. We must destroy their planet. Before they destroy ours. Earth's fleet flies through space. We fly toward millions of enemy ships. We fly to almost certain death. This will be the hour humanity falls . . . or the hour of our greatest victory.

    When all hell breaks loose, they find themselves stranded, betrayed, and fighting for their lives… and the life of the man next to them. Galactic Outlaws An adventurous tale of bots, blasters, and bounty hunters. At the edge of the galaxy, a former Victory Company operator vies with a notorious bounty hunter to track down an enigmatic killer set on galactic conquest. Kill Team The curtain is pulled back to reveal the shadowy dealings of the Legion’s Dark Ops special forces and the Republic’s Nether Ops spy agency. Ruthless players weave their way through a seedy world of terrorism, rebellion, and murder. For audiobooks, see the Galaxy’s Edge series page: audible.com/series?asin=B079YXK1GL

    I know, that sounds like the dramatic ramblings of a seventeen-year-old girl, but it’s the absolute truth. Until today, I was an orphan, an uneducated ward of the government with no employment prospects on her horizon. But as of today, at least one of those is no longer true. I may never know the parents who abandoned me at the age of four. And by most people’s standards, I will always be more streetwise than book-smart. But I have been offered a job. For the first time in my life, I am looking ahead to the next phase of my life, instead of focusing on a past I cannot change. Ironic, considering how little I know about my new employer and the position I’ve been offered…which is precisely nothing at all. **2446-89: Stassi’s Diary is the prequel novella to The Syndicate (Timewaves Series, #1)**

    When she and the baby are taken in by a band of rebels, Raven finds herself an outsider within a tight-knit group. The only other newcomer is an untrustworthy boy known as the Thief until he finally earns himself a new name: Tack.Now she and Tack are inseparable, committed to each other, the fledgling rebellion, and a future together. But as they both take center stage in the fight, Raven must decide whether the dangers of the revolution are worth risking her dreams of a peaceful life with Tack.As her story hurtles back and forth between past and present, Raven transforms from a scared girl newly arrived in the Wilds to the tough leader who helps Lena save former Deliria-Free poster boy Julian Fineman from a death sentence. Whatever the original mission may have been, Raven abides by a conviction that she believes to her core: You always return for the people you love.By turns surprising, revelatory, and poignant, Raven’s story enriches the Delirium world and resonates with a voice that is as vulnerable as it is strong.