She spends her days working in customer support for the internet dating site where she first met her husband. But she has a strange, persistent sense that everything around her is somewhat off-kilter: she constantly feels as if she has walked into a room and forgotten what she intended to do there; on TV, the President seems to be the wrong person in the wrong place; her dreams are full of disquiet. Meanwhile, her husband's decade-long dedication to his invention, the causality violation device (which he would greatly prefer you not call a “time machine”) has effectively stalled his career and made him a laughingstock in the physics community. But he may be closer to success than either of them knows or can possibly imagine.Version Control is about a possible near future, but it’s also about the way we live now. It’s about smart phones and self-driving cars and what we believe about the people we meet on the Internet. It’s about a couple, Rebecca and Philip, who have experienced a tragedy, and about how they help — and fail to help — each other through it.

    Or as Kubin himself called it, 'a sort of Baedeker for those lands which are half known to us'.Alfred Kubin (1877-1959) was one of the major graphic artists of the 20th century who was widely known for his illustrations of writers of the fantastic such as Balzac, E.T.A. Hoffmann, Gustav Meyrink and Edgar Allan Poe. In his combination of the darkly decadent, the fantastic and the grotesque, in his evocations of dream and nightmare, his creation of an atmosphere of mystery and fear he resembles Mervyn Peake.

    This naturally brings him in contact with the house full of students and layabouts next door, including a young woman who, in a moment of stress, reveals to him that she has wings--wings, moreover, which grow back after each attempt to cut them off. Alan understands. He himself has a secret or two. His father is a mountain; his mother is a washing machine; and among his brothers are a set of Russian nesting dolls. Now two of the three nesting dolls, Edward and Frederick, are on his doorstep--well on their way to starvation, because their innermost member, George, has vanished. It appears that yet another brother, Davey, who Alan and his other siblings killed years ago, may have returned...bent on revenge.Under such circumstances it seems only reasonable for Alan to involve himself with a visionary scheme to blanket Toronto with free wireless Internet connectivity, a conspiracy spearheaded by a brilliant technopunk who builds miracles of hardware from parts scavenged from the city's dumpsters. But Alan's past won't leave him alone--and Davey is only one of the powers gunning for him and all his friends.

    Burroughs revealed his genius. In The Soft Machine he begins an adventure that will take us even further into the dark recesses of his imagination, a region where nothing is sacred, nothing taboo. Continuing his ferocious verbal assault on hatred, hype, poverty, war, bureaucracy, and addiction in all its forms, Burroughs gives us a surreal space odyssey through the wounded galaxies in a book only he could create.

    Together these stories form The Weird, and its practitioners include some of the greatest names in twentieth and twenty-first century literature.Exotic and esoteric, The Weird plunges you into dark domains and brings you face to face with surreal monstrosities. You won't find any elves or wizards here... but you will find the biggest, boldest, and downright most peculiar stories from the last hundred years bound together in the biggest Weird collection ever assembled. The Weird features 110 stories by an all-star cast, from literary legends to international bestsellers to Booker Prize winners: including William Gibson, George R. R. Martin, Stephen King, Angela Carter, Kelly Link, Franz Kafka, China Miéville, Clive Barker, Haruki Murakami, M. R. James, Neil Gaiman, Mervyn Peake, and Michael Chabon.

    Chronicling his abusive childhood, his near-fatal addiction to Life, his excruciating time in rehab, and the ultimate triumph of his true nature, this long-awaited autobiography finally reveals the inner story of one of the most troubling, and troubled, figures in history. For the first time, Death reveals his affairs with the living, his maltreatment at the hands of the Four Horsemen of the Apocalypse, the ungodly truth behind the infamous “Jesus Incident,” and the loneliness of being the End of All Things. Intense, unpredictable, and instantly engaging, Death: A Life is not only a story of triumph against all odds, but also a tender, moving tale of unconditional love in a universe that, despite its profound flaws, gave Death the fiery determination to carve out a successful existence on his own terms. DEATH was born in Hell, the only son of Satan and Sin. He was educated in the Palace of Pandemonium and the Garden of Eden. Since before the Dawn of Time, he has ushered souls into the darkness of eternity. This is his first book.

    Rosenberger Rosenberg, neurotic and underappreciated film critic (failed academic, film-maker, paramour, shoe salesman who sleeps in a sock drawer), stumbles upon a hitherto unseen film made by an enigmatic outsider—a film he's convinced will change his career trajectory and rock the world of cinema to its core. His hands on what is possibly the greatest movie ever made—a three-month-long stop-motion masterpiece that took its reclusive auteur ninety years to complete—B. knows that it is his mission to show it to the rest of humanity. The only problem: The film is destroyed, leaving him the sole witness to its inadvertently ephemeral genius.All that's left of this work of art is a single frame from which B. must somehow attempt to recall the film that just might be the last great hope of civilization. Thus begins a mind-boggling journey through the hilarious nightmarescape of a psyche as lushly Kafkaesque as it is atrophied by the relentless spew of Twitter. Desperate to impose order on an increasingly nonsensical existence, trapped in a self-imposed prison of aspirational victimhood and degeneratively inclusive language, B. scrambles to recreate the lost masterwork while attempting to keep pace with an ever-fracturing culture of "likes" and arbitrary denunciations that are simultaneously his bete noire and his raison d'etre.A searing indictment of the modern world, Antkind is a richly layered meditation on art, time, memory, identity, comedy, and the very nature of existence itself—the grain of truth at the heart of every joke.

    In Light Boxes the inhabitants of one closely-knit town are experiencing perpetual February. It turns out that a god-like spirit who lives in the sky, named February, is punishing the town for flying, and bans flight of all kind, including hot air balloons and even children's kites. It's February who makes the sun nothing but a faint memory, who blankets the ground with snow, who freezes the rivers and the lakes. As endless February continues, children go missing and more and more adults become nearly catatonic with depression. But others find the strength to fight back, waging war on February.

    He was life the way it was supposed to be all those years ago. That's what all the Returned were.Harold and Lucille Hargrave's lives have been both joyful and sorrowful in the decades since their only son, Jacob, died tragically at his eighth birthday party in 1966. In their old age they've settled comfortably into life without him, their wounds tempered through the grace of time ... Until one day Jacob mysteriously appears on their doorstep—flesh and blood, their sweet, precocious child, still eight years old.All over the world people's loved ones are returning from beyond. No one knows how or why this is happening, whether it's a miracle or a sign of the end. Not even Harold and Lucille can agree on whether the boy is real or a wondrous imitation, but one thing they know for sure: he's their son. As chaos erupts around the globe, the newly reunited Hargrave family finds itself at the center of a community on the brink of collapse, forced to navigate a mysterious new reality and a conflict that threatens to unravel the very meaning of what it is to be human.With spare, elegant prose and searing emotional depth, award-winning poet Jason Mott explores timeless questions of faith and morality, love and responsibility. A spellbinding and stunning debut, The Returned is an unforgettable story that marks the arrival of an important new voice in contemporary fiction.Trailer for the TV series based on the novel can be found at http://www.youtube.com/watch?v=0e7vp9...

    When industrialist Palmer Eldritch returns from an interstellar trip, he brings with him a new drug, Chew-Z. It is far more potent than Can-D, but threatens to plunge the world into a permanent state of drugged illusion controlled by the mysterious Eldritch.Cover illustration: Chris Moore

    Born into the lowest class of her society, Flora 717 is a sanitation bee, only fit to clean her orchard hive. Living to accept, obey and serve, she is prepared to sacrifice everything for her beloved holy mother, the Queen. Yet Flora has talents that are not typical of her kin. And while mutant bees are usually instantly destroyed, Flora is reassigned to feed the newborns, before becoming a forager, collecting pollen on the wing. Then she finds her way into the Queen's inner sanctum, where she discovers secrets both sublime and ominous. Enemies roam everywhere, from the fearsome fertility police to the high priestesses who jealously guard the Hive Mind. But Flora cannot help but break the most sacred law of all, and her instinct to serve is overshadowed by a desire, as overwhelming as it is forbidden...Laline Paull's chilling yet ultimately triumphant novel creates a luminous world both alien and uncannily familiar. Thrilling and imaginative, The Bees is the story of a heroine who changes her destiny and her world.

    Nothing moves in the ravaged landscape save the ash on the wind. It is cold enough to crack stones, and when the snow falls it is gray. The sky is dark. Their destination is the coast, although they don’t know what, if anything, awaits them there. They have nothing; just a pistol to defend themselves against the lawless bands that stalk the road, the clothes they are wearing, a cart of scavenged food—and each other.The Road is the profoundly moving story of a journey. It boldly imagines a future in which no hope remains, but in which the father and his son, “each the other’s world entire,” are sustained by love. Awesome in the totality of its vision, it is an unflinching meditation on the worst and the best that we are capable of: ultimate destructiveness, desperate tenacity, and the tenderness that keeps two people alive in the face of total devastation.

    One is the main course of dinner, another the porn star contracted to copulate in space for a reality TV show. They become futuristic ant farms, get knocked up by the star high school quarterback and have secret abortions, use parakeets to reverse amputations, make love to garden gnomes, go into air conditioning ducts to confront their mother’s ghost, and do so in settings that range from Hell to the local white-supremacist bowling alley.

    So when a man claiming to be Nicholas turns up to visit an old girlfriend, deception seems the only possible motive.Yet nothing can make him change his story.From the secure unit of a notorious psychiatric hospital, he begins to tell his tale: an account of attempted forgery that draws the reader towards an extraordinary truth – a metaphysical conspiracy that lies on the other side of madness and death.With echoes of Jorge Luis Borges, Philip K. Dick, Mary Shelley,Dostoevsky’s Double, and George Eliot’s The Lifted Veil, StrangeBodies takes the reader on a dizzying speculative journey that poses questions about identity, authenticity, and what it means to be truly human.

    Not out here. We never have. In Iain Reid’s second haunting, philosophical puzzle of a novel, set in the near-future, Junior and Henrietta live a comfortable, solitary life on their farm, far from the city lights, but in close quarters with each other. One day, a stranger from the city arrives with alarming news: Junior has been randomly selected to travel far away from the farm...very far away. The most unusual part? Arrangements have already been made so that when he leaves, Henrietta won't have a chance to miss him, because she won't be left alone—not even for a moment. Henrietta will have company. Familiar company. Told in Reid’s sharp and evocative style, Foe examines the nature of domestic relationships, self-determination, and what it means to be (or not to be) a person. An eerily entrancing page-turner, it churns with unease and suspense from the first words to its shocking finale.