After ten thousand years in exile, the cyber-warriors return in their fleet of spaceships to the planet that rejected them: Earth.

    It was a time of street gangs, rumbles, kids with switchblades and zip guns made from car radio antennas. Ellison was barely out of his teens himself, but he took a phony name, moved into Brooklyn's dangerous Red Hook section and managed to con his way into a "bopping club." What he experienced (and the time he spent in jail as a result) was the basis for the violent story that Alfred Hitchcock filmed as the first of his hour-long TV dramas...This autobiography is a book whose message you won't be able to ignore or forget. "Harlan Ellison is the dark prince of American letters, cutting through our corrupted midnight fog with a switchblade prose. He simply must be read." --Pete Hamill "Ellison writes with sensitivity as well as guts--a rare combination." --Leslie Charteris, creator of The Saint

    The authors include scientists, journalists, and many of the most famous SF writers in the world. Futures from Nature includes everything from satires and vignettes to compressed stories and fictional book reviews, science articles, and journalism, in eight-hundred word modules. All of them are entertaining and as a group they are a startling repository of ideas and attitudes about the future.   Appearing in book form fo the first time, these one hundred pieces were originally published in the great science journal, Nature, between 1999 and 2006, as one-page features. That proved very popular with the readers of the journal. This is a unique book, by scientists and writers, of interest to any reader who might like to speculate about the future.   With stories from: Arthur C. Clarke; Bruce Sterling; Charles Stross; Cory Doctorow; Greg Bear; Gregory Benford; Oliver Morton; Ian Macleod; Rudy Rucker; Greg Egan; Stephan Baxter; Barrington J. Bayley; Brian Stableford; Frederik Pohl; Vernor Vinge; Nancy Kress, Michael Moorcock, Vonda N. McIntyr; Kim Stanley Robinson; John M. Ford; and eighty more.

    The first subject chosen for treatment is Jeff Baker, the father of the datasphere (which replaced the Internet) and philanthropist extraordinaire. After 18 months in a German medical facility, the 78-year-old patient returns home looking like a healthy 20-year-old. "Misspent Youth" follows the effect his reappearance has on his friends and family -- his young ex-model wife Sue, his teenage son Tim, and his long term pals, themselves all pensioners, who are starting to resent what Jeff has become.

    “A riveting tale of derring-do” (Nature), this book reads like James Gleick’s Chaos combined with an Indiana Jones adventure.When leading Princeton physicist Paul Steinhardt began working in the 1980s, scientists thought they knew all the conceivable forms of matter. The Second Kind of Impossible is the story of Steinhardt’s thirty-five-year-long quest to challenge conventional wisdom. It begins with a curious geometric pattern that inspires two theoretical physicists to propose a radically new type of matter—one that raises the possibility of new materials with never before seen properties, but that violates laws set in stone for centuries. Steinhardt dubs this new form of matter “quasicrystal.” The rest of the scientific community calls it simply impossible. The Second Kind of Impossible captures Steinhardt’s scientific odyssey as it unfolds over decades, first to prove viability, and then to pursue his wildest conjecture—that nature made quasicrystals long before humans discovered them. Along the way, his team encounters clandestine collectors, corrupt scientists, secret diaries, international smugglers, and KGB agents. Their quest culminates in a daring expedition to a distant corner of the Earth, in pursuit of tiny fragments of a meteorite forged at the birth of the solar system. Steinhardt’s discoveries chart a new direction in science. They not only change our ideas about patterns and matter, but also reveal new truths about the processes that shaped our solar system. The underlying science is important, simple, and beautiful—and Steinhardt’s firsthand account is “packed with discovery, disappointment, exhilaration, and persistence...This book is a front-row seat to history as it is made” (Nature).

    This is an exploration of her relationship with the literary form we have come to know as "science fiction,” a relationship that has been lifelong, stretching from her days as a child reader in the 1940s, through her time as a graduate student at Harvard, where she worked on the Victorian ancestor of the form, and continuing as a writer and reviewer.  This book brings together her three heretofore unpublished Ellmann Lectures from 2010: "Flying Rabbits," which begins with Atwood's early  rabbit superhero creations, and goes on to speculate about masks, capes, weakling alter egos, and Things with Wings; "Burning Bushes," which follows her into Victorian otherlands and beyond; and "Dire Cartographies," which investigates Utopias and Dystopias.  In Other Worlds also includes some of Atwood's key reviews and thoughts about the form. Among those writers discussed are Marge Piercy, Rider Haggard, Ursula Le Guin, Ishiguro, Bryher, Huxley, and Jonathan Swift. She elucidates the differences (as she sees them) between "science fiction" proper, and "speculative fiction," as well as between "sword and sorcery/fantasy" and "slipstream fiction." For all readers who have loved The Handmaid's Tale, Oryx and Crake, and The Year of the Flood, In Other Worlds is a must.  From the Hardcover edition.

    Robert Oppenheimer, Freeman Dyson has composed an autobiography unlike any other. Dyson evocatively conveys the thrill of a deep engagement with the world-be it as scientist, citizen, student, or parent. Detailing a unique career not limited to his groundbreaking work in physics, Dyson discusses his interest in minimizing loss of life in war, in disarmament, and even in thought experiments on the expansion of our frontiers into the galaxies.

    Clarke created this cinematic masterpiece.Regarded as a masterpiece today, 2001: A Space Odyssey received mixed reviews on its 1968 release. Despite the success of Dr. Strangelove, director Stanley Kubrick wasn’t yet recognized as a great filmmaker, and 2001 was radically innovative, with little dialogue and no strong central character. Although some leading critics slammed the film as incomprehensible and self-indulgent, the public lined up to see it. 2001’s resounding commercial success launched the genre of big-budget science fiction spectaculars. Such directors as George Lucas, Steven Spielberg, Ridley Scott, and James Cameron have acknowledged its profound influence.Author Michael Benson explains how 2001 was made, telling the story primarily through the two people most responsible for the film, Kubrick and science fiction legend Arthur C. Clarke. Benson interviewed Clarke many times, and has also spoken at length with Kubrick’s widow, Christiane; with visual effects supervisor Doug Trumbull; with Dan Richter, who played 2001’s leading man-ape; and many others.A colorful nonfiction narrative packed with memorable characters and remarkable incidents, Space Odyssey provides a 360-degree view of this extraordinary work, tracking the film from Kubrick and Clarke’s first meeting in New York in 1964 through its UK production from 1965-1968, during which some of the most complex sets ever made were merged with visual effects so innovative that they scarcely seem dated today. A concluding chapter examines the film’s legacy as it grew into it current justifiably exalted status.

    Breaking down the symbols themselves, they pose a series of questions: What is energy? What is mass? What has the speed of light got to do with energy and mass? In answering these questions, they take us to the site of one of the largest scientific experiments ever conducted. Lying beneath the city of Geneva, straddling the Franco-Swiss boarder, is a 27 km particle accelerator, known as the Large Hadron Collider. Using this gigantic machine—which can recreate conditions in the early Universe fractions of a second after the Big Bang—Cox and Forshaw will describe the current theory behind the origin of mass.Alongside questions of energy and mass, they will consider the third, and perhaps, most intriguing element of the equation: 'c' - or the speed of light. Why is it that the speed of light is the exchange rate? Answering this question is at the heart of the investigation as the authors demonstrate how, in order to truly understand why E=mc2, we first must understand why we must move forward in time and not backwards and how objects in our 3-dimensional world actually move in 4-dimensional space-time. In other words, how the very fabric of our world is constructed. A collaboration between two of the youngest professors in the UK, Why Does E=mc2? promises to be one of the most exciting and accessible explanations of the theory of relativity in recent years.

    "User Friendly" is a new solid chunk of Spider's universe that is both "reader" friendly and "sales" friendly. . .

    The Steampunk Bible is the first compendium about the movement, tracing its roots in the works of Jules Verne and H. G. Wells through its most recent expression in movies such as Sherlock Holmes. Its adherents celebrate the inventor as an artist and hero, re-envisioning and crafting retro technologies including antiquated airships and robots. A burgeoning DIY community has brought a distinctive Victorian-fantasy style to their crafts and art. Steampunk evokes a sense of adventure and discovery, and embraces extinct technologies as a way of talking about the future. This ultimate manual will appeal to aficionados and novices alike as author Jeff VanderMeer takes the reader on a wild ride through the clockwork corridors of Steampunk history.Praise for The Steampunk Bible:"The Steampunk Bible is an informed, informative and beautifully illustrated survey of the subject." -The Financial Times"The Steampunk Bible is far and away the most intriguing catalog of all things steam yet written." -The Austin Chronicle “It’s hard to imagine how VanderMeer and Chambers could have put together a stronger collection. Its publication marks a significant, self-conscious moment in the history of the movement.”—PopMatters.com

    In Carrying the Fire, his account of his voyages into space and the years of training that led up to them, Collins reveals the human tensions, the physical realities, and the personal emotions surrounding the early years of the space race. Collins provides readers with an insider's view of the space program and conveys the excitement and wonder of his journey to the moon. As skilled at writing as he is at piloting a spacecraft, Collins explains the clash of personalities at NASA and technical aspects of flight with clear, engaging prose, withholding nothing in his candid assessments of fellow astronauts Neil Armstrong, John Glenn, and Buzz Aldrin, and officials within NASA. A fascinating memoir of mankind's greatest journey told in familiar, human terms, Carrying the Fire is by turns thrilling, humorous, and thought-provoking, a unique work by a remarkable man.

    CUNNING PLANS collects several of NYT-bestselling author Warren Ellis' lectures on the nature of the haunted future and the secrets of deep history, given in recent years at events in London, New York, Los Angeles and Berlin.

    Malzberg · in · Road to Nightfall · nv Fantastic Universe Jul ’58 · Warm Man · ss F&SF May ’57 · To See the Invisible Man · ss Worlds of Tomorrow Apr ’63 · The Sixth Palace · ss Galaxy Feb ’65 · Flies · ss Dangerous Visions, ed. Harlan Ellison, Garden City, NY: Doubleday, 1967 · Hawksbill Station · na Galaxy Aug ’67 · Passengers · ss Orbit 4, ed. Damon Knight, G.P. Putnam’s, 1968 · Nightwings [Watcher] · na Galaxy Sep ’68 · Sundance · ss F&SF Jun ’69 · Good News from the Vatican · ss Universe 1, ed. Terry Carr, Ace, 1971

    As the defiant but sensitive young genius is creating his theory of relativity, a new conception of time, he imagines many possible worlds. In one, time is circular, so that people are fated to repeat triumphs and failures over and over. In another, there is a place where time stands still, visited by lovers and parents clinging to their children. In another, time is a nightingale, sometimes trapped by a bell jar.Now translated into thirty languages, Einstein’s Dreams has inspired playwrights, dancers, musicians, and painters all over the world. In poetic vignettes, it explores the connections between science and art, the process of creativity, and ultimately the fragility of human existence.