That’s when New York Times best-selling author Terry Brooks offered to donate a short story Shawn could sell toward alleviating those bills—and suggested Shawn ask the same of his other friends.Unfettered is the result, an anthology built to relieve that debt, featuring short stories by some of the best fantasy writers in the genre.Every story in this volume is new and, like the title suggests, the writers were free to write whatever they wished. Authors contributing are -Walker and the Shade of Allanon by Terry Brooks (a Shannara tale)-Imaginary Friends by Terry Brooks (a precursor to the Word/Void trilogy)-How Old Holly Came To Be by Patrick Rothfuss (a Four Corners tale)-River of Souls by Robert Jordan & Brandon Sanderson (a Wheel of Time tale)-The Old Scale Game by Tad Williams-Martyr of the Roses by Jacqueline Carey (a precursor to the Kushiel series)-Dogs by Daniel Abraham-Mudboy by Peter V. Brett (a Demon Cycle tale)-Nocturne by Robert V. S. Redick-The Sound of Broken Absolutes by Peter Orullian (a Vault of Heaven tale)-The Coach with Big Teeth by R.A. Salvatore-Keeper of Memory by Todd Lockwood (a Summer Dragon tale)-Game of Chance by Carrie Vaughn-The Lasting Doubts of Joaquin Lopez by Blake Charlton-The Chapel Perilous by Kevin Hearne (an Iron Druid tale)-Select Mode by Mark Lawrence (a Broken Empire tale)-All the Girls Love Michael Stein by David Anthony Durham-Strange Rain by Jennifer Bosworth (a Struck epilogue tale)-Unbowed by Eldon Thompson (a Legend of Asahiel tale)-In Favour with Their Stars by Naomi Novik (a Temeraire tale)-The Jester by Michael J. Sullivan (a Riyria Chronicles tale)-The Duel by Lev Grossman (a Magicians tale)-The Unfettered Knight by Shawn Speakman (an Annwn Cycle tale)and artist Todd Lockwood, who donated artwork as well as a story.With the help of stalwart friends and these wonderful short stories, Shawn has taken the gravest of life hardships and created something magical. Unfettered is not only a fantastic anthology in its own right but it’s a testament to the generosity found in the science fiction and fantasy community—proof that humanity can give beyond itself when the need arises.After all, isn’t that the driving narrative in fantasy literature?

    In one afterlife, you may find that God is the size of a microbe and unaware of your existence. In another version, you work as a background character in other people’s dreams. Or you may find that God is a married couple, or that the universe is running backward, or that you are forced to live out your afterlife with annoying versions of who you could have been. With a probing imagination and deep understanding of the human condition, acclaimed neuroscientist David Eagleman offers wonderfully imagined tales that shine a brilliant light on the here and now.

    Rex, her adoring husband, bears mostly silent witness as she wrestles with her duties as wife and mother resisting her fate, as their marriage unravels.

    Little has changed in her 50 years, except for the coming of cable TV. Loneliness is almost a religion, and still everyone knows your business. But the town is being outmanoeuvred by drought and begins to empty, pouring itself out like water into sand. Small minds shrink even smaller in the vastness of the land. One man is forced out by council rates and bigotry; another sells his property, risking the lot to build his dream. And all of them are shadowed by violence of some sort—these people whose only victory over the town is in leaving it.

    The eyes of a dozen television cameras watched him and the subether bore throughout the universe a dozen pictures of what he was doing. He straightened and nodded to Dwar Reyn, then moved to a position beside the switch that would complete the contact when he threw it. The switch that would connect, all at once, all of the monster computing machines of all the populated planets in the universe -- ninety-six billion planets -- into the supercircuit that would connect them all into one supercalculator, one cybernetics machine that would combine all the knowledge of all the galaxies."

    K. Jemisin, Charles Yu, Jamie Ford, and more. For many Americans, imagining a bright future has always been an act of resistance. A People's Future of the United States presents twenty never-before-published stories by a diverse group of writers, featuring voices both new and well-established. These stories imagine their characters fighting everything from government surveillance, to corporate cities, to climate change disasters, to nuclear wars. But fear not: A People's Future also invites readers into visionary futures in which the country is shaped by justice, equity, and joy.Edited by Victor LaValle and John Joseph Adams, this collection features a glittering landscape of moving, visionary stories written from the perspective of people of color, indigenous writers, women, queer & trans people, Muslims and other people whose lives are often at risk.Contributors include: Violet Allen, Charlie Jane Anders, Ashok K. Banker, Tobias S. Buckell, Tananarive Due, Omar El Akkad, Jamie Ford, Maria Dahvana Headley, Hugh Howey, Lizz Huerta, Justina Ireland, N. K. Jemisin, Alice Sola Kim, Seanan McGuire, Sam J. Miller, Daniel José Older, Malka Older, Gabby Rivera, A. Merc Rustad, Kai Cheng Thom, Catherynne M. Valente, Daniel H. Wilson, G. Willow Wilson, and Charles Yu.

    and now they are all thirsty for his blood. Following this short novel are ten more unforgettable tales.The New York Times called Hell House "a fine horror story". The hell house in question, Belasco house, is a place regarded as the Mount Everest of haunted houses due to the almost unimaginable horror and depravity that one occurred there. But a new investigation brings to the mansion four strangers who are determined to uncover the ultimate secrets of life and death. Can any soul survive the evil that lurks in the most haunted place on earth?

    These stories feature cats, bees, wolves, dogs, and even that most capricious of animals, humans, and have been reprinted in The Year's Best Fantasy & Horror, Best Science Fiction and Fantasy of the Year, and The Secret History of Fantasy. Kij Johnson's stories have won the Sturgeon and World Fantasy awards. She has taught writing; worked at Tor, Dark Horse, and Microsoft; worked as a radio announcer; run bookstores; and waitressed in a strip bar.Contents:The Man Who Bridged the Mist (2011)Wolf Trapping (1989)The Empress Jingu Fishes (2004)The Bitey Cat (2012)Chenting, in the Land of the Dead (1999)My Wife Reincarnated as a Solitaire—Exposition on the Flaws in my Spouse's Character—The Nature of the Bird—The Possible Causes—Her Final Disposition (2007)Schrödinger's Cathouse (1993)Names for Water (2010)Fox Magic (1993)Spar (2009)The Horse Raiders (2000)26 Monkeys, Also the Abyss (2008)At the Mouth of the River of Bees (2003)The Evolution of Trickster Stories among the Dogs of North Park after the Change (2007)The Cat Who Walked a Thousand Miles (2009)Ponies (2010)

    Here for the first time are his short stories and other short form fiction collected into one volume. A Blink of the Screen charts the course of Pratchett's long writing career: from his schooldays through to his first writing job on the Bucks Free Press,; to the origins of his debut novel, The Carpet People; and on again to the dizzy mastery of the phenomenally successful Discworld series.Here are characters both familiar and yet to be discovered; abandoned worlds and others still expanding; adventure, chickens, death, disco and, actually, some quite disturbing ideas about Christmas,all of it shot through with his inimitable brand of humour.With an introduction by Booker Prize-winning author A.S. Byatt, illustrations by the late Josh Kirby and drawings by the author himself, this is a book to treasure.

    But as the Argentinian′s tale nears its startling conclusion, his audience is struck with horror at the possibility that Ramon′s clever invention is nothing more than the cunningly disguised chronicle of his own shadowy past.Is Ramon a gifted artist of the imagination or the perpetrator of a terrible act of revenge that defies all forgiveness?

    Ajax Penumbra seeks a book--the single surviving copy of the Techne Tycheon, a mysterious volume that has brought and lost great fortune for anyone who has owned it. Late one night, after another day of dispiriting dead ends, he stumbles across a 24-hour bookstore, and the possibilities before him expand exponentially.

    And yet stout-hearted Rosie reassures us that there are ways out of the deep dark forests of our own making in these survival tales of teenagers deflowered at parties, a young journalist who misses the chance to write a front-page story because she’s busy flirting with a married man, and two women who must cope with the loss of their babies.A brand-new take on the age-old fairy tale, Rosie Little’s Cautionary Tales for Girls will appeal especially to readers like Rosie, with “boots as stout as their hearts, and who are prepared to firmly lace them up (boots and hearts both) and step out into the wilds in search of what they desire.”

    Each of the writers was asked to write a new story based on one of his or her most famous series. Stephen King tells a tale of Roland, the Gunslinger, in the world of The Dark Tower, in "The Little Sisters of Eluria."Terry Pratchett relates an amusing incident in Discworld, of a magical contest and the witch Granny Weatherwax, in "The Sea and Little Fishes"Terry Goodkind tells of the origin of the Border between realms in the world of The Sword of Truth, in "Debt of Bones."Orson Scott Card spins a yarn of Alvin and his apprentice from the Tales of Alvin Maker, in "Grinning Man."Robert Silverberg returns to Majipoor and to Lord Valentine's adventure in an ancient tomb, in "the Seventh Shrine."Ursual K. Le Guin adds a sequel to her famous books of Earthsea, portraying a woman who wants to learn magic, in "Dragonfly."Tad Williams tells a dark and enthralling story of a great and haunted castle in the age before Memory, Sorrow, and Thorn, in "The Burning Man."George R.R. Martin sets his piece a generation before his epic, A Song of Ice and Fire, in the adventure of "The Hedge Knight."Ann McCaffrey, the poet of Pern, returns once again to her world of romance and adventure in "Runner of Pern."Raymond E. Feist's Riftwar Saga is the setting of the tale of "The Wood Boy."Robert Jordan, in "New Spring," tells of crucial events in the years leading up to The Wheel of Time, of the meeting of Lan and Moiraine and the beginning of the search for the child who must grow to lead in the Last Battle.

    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

    She is taken in by her estranged grandmother, June, a flower farmer who raises Alice on the language of Australian native flowers, a way to say the things that are too hard to speak. But Alice also learns that there are secrets within secrets about her past. Under the watchful eye of June and The Flowers, women who run the farm, Alice grows up. But an unexpected betrayal sends her reeling, and she flees to the dramatically beautiful central Australian desert. Alice thinks she has found solace, until she falls in love with Dylan, a charismatic and ultimately dangerous man.The Lost Flowers of Alice Hart is a story about stories: those we inherit, those we select to define us, and those we decide to hide. It is a novel about the secrets we keep and how they haunt us, and the stories we tell ourselves in order to survive. Spanning twenty years, set between the lush sugar cane fields by the sea, a native Australian flower farm, and a celestial crater in the central desert, Alice must go on a journey to discover that the most powerful story she will ever possess is her own.