The Weird and the Eerie are closely related but distinct modes, each possessing its own distinct properties. Both have often been associated with Horror, yet this emphasis overlooks the aching fascination that such texts can exercise. The Weird and the Eerie both fundamentally concern the outside and the unknown, which are not intrinsically horrifying, even if they are always unsettling. Perhaps a proper understanding of the human condition requires examination of liminal concepts such as the weird and the eerie. These two modes will be analysed with reference to the work of authors such as H.P. Lovecraft, H.G. Wells, M.R. James, Christopher Priest, Joan Lindsay, Nigel Kneale, Daphne Du Maurier, Alan Garner and Margaret Atwood, and films by Stanley Kubrick, Jonathan Glazer and Christoper Nolan.

     Much has been written about the storied New Hollywood of the 1970s, but at the same time as Martin Scorsese, Steven Spielberg, and Francis Ford Coppola were making their first classic movies, a parallel universe of directors gave birth to the modern horror film-aggressive, raw, and utterly original. Based on unprecedented access to the genre's major players, The New York Times's critic Jason Zinoman's Shock Value delivers the first definitive account of horror's golden age. By the late 1960s, horror was stuck in the past, confined mostly to drive-in theaters and exploitation houses, and shunned by critics. Shock Value tells the unlikely story of how the much-disparaged horror film became an ambitious art form while also conquering the multiplex. Directors such as Wes Craven, Roman Polanski, John Carpenter, and Brian De Palma- counterculture types operating largely outside the confines of Hollywood-revolutionized the genre, exploding taboos and bringing a gritty aesthetic, confrontational style, and political edge to horror. Zinoman recounts how these directors produced such classics as Rosemary's Baby, Carrie, The Texas Chainsaw Massacre, and Halloween, creating a template for horror that has been imitated relentlessly but whose originality has rarely been matched. This new kind of film dispensed with the old vampires and werewolves and instead assaulted audiences with portraits of serial killers, the dark side of suburbia, and a brand of nihilistic violence that had never been seen before. Shock Value tells the improbable stories behind the making of these movies, which were often directed by obsessive and insecure young men working on shoestring budgets, were funded by sketchy investors, and starred porn stars. But once The Exorcist became the highest grossing film in America, Hollywood took notice. The classic horror films of the 1970s have now spawned a billion-dollar industry, but they have also penetrated deep into the American consciousness. Quite literally, Zinoman reveals, these movies have taught us what to be afraid of. Drawing on interviews with hundreds of the most important artists in horror, Shock Value is an enthralling and personality-driven account of an overlooked but hugely influential golden age in American film.

    While some marvel at these changes, envisioning consciousness downloaded into a computer or humans "beamed" Star Trek-style, others view them with horror, seeing monsters brooding in the machines. In How We Became Posthuman, N. Katherine Hayles separates hype from fact, investigating the fate of embodiment in an information age.Hayles relates three interwoven stories: how information lost its body, that is, how it came to be conceptualized as an entity separate from the material forms that carry it; the cultural and technological construction of the cyborg; and the dismantling of the liberal humanist "subject" in cybernetic discourse, along with the emergence of the "posthuman."Ranging widely across the history of technology, cultural studies, and literary criticism, Hayles shows what had to be erased, forgotten, and elided to conceive of information as a disembodied entity. Thus she moves from the post-World War II Macy Conferences on cybernetics to the 1952 novel Limbo by cybernetics aficionado Bernard Wolfe; from the concept of self-making to Philip K. Dick's literary explorations of hallucination and reality; and from artificial life to postmodern novels exploring the implications of seeing humans as cybernetic systems.Although becoming posthuman can be nightmarish, Hayles shows how it can also be liberating. From the birth of cybernetics to artificial life, How We Became Posthuman provides an indispensable account of how we arrived in our virtual age, and of where we might go from here.

    It now has 600,000 to a million page hits daily. Every now and then, Munroe would get emails asking him to arbitrate a science debate. 'My friend and I were arguing about what would happen if a bullet got struck by lightning, and we agreed that you should resolve it . . . ' He liked these questions so much that he started up What If. If your cells suddenly lost the power to divide, how long would you survive? How dangerous is it, really, to be in a swimming pool in a thunderstorm? If we hooked turbines to people exercising in gyms, how much power could we produce? What if everyone only had one soulmate?When (if ever) did the sun go down on the British empire? How fast can you hit a speed bump while driving and live?What would happen if the moon went away?In pursuit of answers, Munroe runs computer simulations, pores over stacks of declassified military research memos, solves differential equations, and consults with nuclear reactor operators. His responses are masterpieces of clarity and hilarity, studded with memorable cartoons and infographics. They often predict the complete annihilation of humankind, or at least a really big explosion. Far more than a book for geeks, WHAT IF: Serious Scientific Answers to Absurd Hypothetical Questions explains the laws of science in operation in a way that every intelligent reader will enjoy and feel much the smarter for having read.

    In this book Eugene Thacker suggests that we look to the genre of horror as offering a way of thinking about the unthinkable world. To confront this idea is to confront the limit of our ability to understand the world in which we live – a central motif of the horror genre.In the Dust of This Planet explores these relationships between philosophy and horror. In Thacker’s hands, philosophy is not academic logic-chopping; instead, it is the thought of the limit of all thought, especially as it dovetails into occultism, demonology, and mysticism. Likewise, Thacker takes horror to mean something beyond the focus on gore and scare tactics, but as the under-appreciated genre of supernatural horror in fiction, film, comics, and music. This relationship between philosophy and horror does not mean the philosophy of horror, if anything, it means the reverse, the horror of philosophy: those moments when philosophical thinking enigmatically confronts the horizon of its own existence. For Thacker, the genre of supernatural horror is the key site in which this paradoxical thought of the unthinkable takes place.

    The complete novels of George Orwell in a single tome - a can't miss for fans and those new to Orwell alike!

    These essays will delight male and female readers alike by delving into the extraordinary aspects of being a female Doctor Who enthusiast. Essays include Carole E. Barrowman discussing what it was like to grow up with her brother John (including the fact that he's still afraid of shop-window dummies), columnist Jackie Jenkins providing a Bridget Jones' Diary-style memoir of working on Doctor Who Magazine, novelist Lloyd Rose analyzing Rose's changes between the ninth and tenth Doctors and much more. Other contributors include Elizabeth Bear (Jenny Casey), Lisa Bowerman (Bernice Summerfield), Mary Robinette Kowal (Shades of Milk and Honey), Jody Lynn Nye (Mythology series), Kate Orman (Seeing I), and Catherynne M. Valente (The Orphan's Tales). Also featured is a comic from the Torchwood Babiez creators, plus interviews with Doctor Who companions India Fisher (Charley) and Sophie Aldred (Ace).

    It doesn't shy away from the full range of viewpoints or from the most controversial issues--from superintelligence to meaning, consciousness and the ultimate physical limits on life in the cosmos.

    Topics include the logistics of the restaurant at the end of the universe, how the Internet is creating the real Hitchhiker's Guide, an assessment of Vogon poetry, and an analysis of computing. The essays are written by both science fiction greats, such as Cory Doctorow, Lawrence Watt-Evans, Stephen Baxter, Jacqueline Carey, and Alastair Reynolds, and up-and-coming writers.

    Weaving a richly detailed narrative, Dennett explains in a series of strikingly original arguments—drawing upon evolutionary biology, cognitive neuroscience, economics, and philosophy—that far from being an enemy of traditional explorations of freedom, morality, and meaning, the evolutionary perspective can be an indispensable ally. In Freedom Evolves, Dennett seeks to place ethics on the foundation it deserves: a realistic, naturalistic, potentially unified vision of our place in nature.

    The science-fiction television series Battlestar Galactica is known for raising thought-provoking questions concerning martial law, artificial intelligence, power and corruption, and ultimately what it means to be human. What ethical complexities come into play when one mistake could mean the anihilation of the human race? How do you maintain faith in the Gods when you're involved in an Armageddon of your own creation? What is the distinction between a terrorist and a freedom fighter? These questions are given an intelligent and insightful examination in this engaging collection of essays.

    Annotation copyright Book News, Inc. Portland, Or.

    The selections range from his earliest days as a theoretical physicist to his death in 1955; from such subjects as relativity, nuclear war or peace, and religion and science, to human rights, economics, and government.

    In Four Futures, Frase imagines how this post-capitalist world might look, deploying the tools of both social science and speculative fiction to explore what communism, rentism, socialism and exterminism might actually entail.Could the current rise of real-life robocops usher in a world that resembles Ender’s Game? And sure, communism will bring an end to material scarcities and inequalities of wealth—but there’s no guarantee that social hierarchies, governed by an economy of “likes,” wouldn’t rise to take their place. A whirlwind tour through science fiction, social theory and the new technologies already shaping our lives, Four Futures is a balance sheet of the socialisms we may reach if a resurgent Left is successful, and the barbarisms we may be consigned to if those movements fail.

    In its place he argues for a set of values based on reason, reflection, and sympathy, taking his cue from the great ethical tradition of Western philosophy.