Peter becomes immersed in the mysteries of an astonishing new environment, overseen by an enigmatic corporation known only as USIC. His work introduces him to a seemingly friendly native population struggling with a dangerous illness and hungry for Peter's teachings—his Bible is their "book of strange new things." But Peter is rattled when Bea's letters from home become increasingly desperate: typhoons and earthquakes are devastating whole countries, and governments are crumbling. Bea's faith, once the guiding light of their lives, begins to falter. Suddenly, a separation measured by an otherworldly distance, and defined both by one newly discovered world and another in a state of collapse, is threatened by an ever-widening gulf that is much less quantifiable. While Peter is reconciling the needs of his congregation with the desires of his strange employer, Bea is struggling for survival. Their trials lay bare a profound meditation on faith, love tested beyond endurance, and our responsibility to those closest to us. Marked by the same bravura storytelling and precise language that made The Crimson Petal and the White such an international success, The Book of Strange New Things is extraordinary, mesmerizing, and replete with emotional complexity and genuine pathos.

    McHugh established herself as one of the decade's best science fiction writers. In its pages, we enter a post-revolution America, moving from the hyper-urbanized eastern seaboard to the Arctic bleakness of Baffin Island; from the new Imperial City to an agricultural commune on Mars. The overlapping lives of cyber-kite fliers, lonely colonists, illicit neural-pressball players, and organic engineers blend into a powerful, taut story of a young man's journey of discovery. This is a macroscopic world of microscopic intensity, one of the most brilliant visions of modern SF.

    Decades after economic and environmental collapse destroys much of civilization in the United States, the Coast Road region isn’t just surviving but thriving by some accounts, building something new on the ruins of what came before. A culture of population control has developed in which people, organized into households, must earn the children they bear by proving they can take care of them and are awarded symbolic banners to demonstrate this privilege. In the meantime, birth control is mandatory.Enid of Haven is an Investigator, called on to mediate disputes and examine transgressions against the community. She’s young for the job and hasn't yet handled a serious case. Now, though, a suspicious death requires her attention. The victim was an outcast, but might someone have taken dislike a step further and murdered him?In a world defined by the disasters that happened a century before, the past is always present. But this investigation may reveal the cracks in Enid’s world and make her question what she really stands for.

    The year is 2025, and a mysterious virus has broken out in Scotland--a lethal illness that seems to affect only men. When Dr. Amanda MacLean reports this phenomenon, she is dismissed as hysterical. By the time her warning is heeded, it is too late. The virus becomes a global pandemic--and a political one. The victims are all men. The world becomes alien--a women's world.What follows is the immersive account of the women who have been left to deal with the virus's consequences, told through first-person narratives. Dr. MacLean; Catherine, a social historian determined to document the human stories behind the male plague; intelligence analyst Dawn, tasked with helping the government forge a new society; and Elizabeth, one of many scientists desperately working to develop a vaccine. Through these women and others, we see the uncountable ways the absence of men has changed society, from the personal--the loss of husbands and sons--to the political--the changes in the workforce, fertility and the meaning of family.In The End of Men, Christina Sweeney-Baird creates an unforgettable tale of loss, resilience and hope.

    Enter Cara, whose parallel selves happen to be exceptionally good at dying—from disease, turf wars, or vendettas they couldn’t outrun. Cara’s life has been cut short on 372 worlds in total.On this Earth, however, Cara has survived. Identified as an outlier and therefore a perfect candidate for multiverse travel, Cara is plucked from the dirt of the wastelands. Now she has a nice apartment on the lower levels of the wealthy and walled-off Wiley City. She works—and shamelessly flirts—with her enticing yet aloof handler, Dell, as the two women collect off-world data for the Eldridge Institute. She even occasionally leaves the city to visit her family in the wastes, though she struggles to feel at home in either place. So long as she can keep her head down and avoid trouble, Cara is on a sure path to citizenship and security.But trouble finds Cara when one of her eight remaining doppelgängers dies under mysterious circumstances, plunging her into a new world with an old secret. What she discovers will connect her past and her future in ways she could have never imagined—and reveal her own role in a plot that endangers not just her world, but the entire multiverse.

    A young Puritan woman travels to the New World with her unwanted new husband. Alan Turing, the renowned mathematician and code breaker, writes letters to his best friend's mother. A Jewish refugee and professor of computer science struggles to reconnect with his increasingly detached wife. An isolated and traumatized young girl exchanges messages with an intelligent software program. A former Silicon Valley Wunderkind is imprisoned for creating illegal lifelike dolls.Each of these characters is attempting to communicate across gaps — to estranged spouses, lost friends, future readers, or a computer program that may or may not understand them. In dazzling and electrifying prose, Louisa Hall explores how the chasm between computer and human — shrinking rapidly with today's technological advances — echoes the gaps that exist between ordinary people. Though each speaks from a distinct place and moment in time, all five characters share the need to express themselves while simultaneously wondering if they will ever be heard, or understood.

    The waters rose, submerging New York City. But the residents adapted and it remained the bustling, vibrant metropolis it had always been. Though changed forever.Every street became a canal. Every skyscraper an island.Through the eyes of the varied inhabitants of one building, Kim Stanley Robinson shows us how one of our great cities will change with the rising tides.And how we too will change.

    The sky looms frigid white. The electricity falters. Airplanes everywhere crash to the ground. But the Givens are saved by mysterious strangers, three fearsome and beautiful beings who force a plain silver bracelet onto each sister’s wrist. Within moments, the sky comes down in a crushing sheet of light and everything around them is gone.Shielded from the devastation by their silver adornments, the Givens suddenly find themselves elsewhere, a strange new Earth where restaurants move through the air like flying saucers and the fabric of time is manipulated by common household appliances.Soon Hannah and Amanda are joined by four other survivors from their world—a mordant cartoonist, a shy teenage girl, a brilliant young Australian, and a troubled ex-prodigy. Hunted by enemies they never knew they had and afflicted with temporal abilities they never wanted, the sisters and their companions begin a cross-country journey to find the one man who can save them—before time runs out.

    Neil Johns has just started his dream job as a code breaker in the NSA when his brother, Paul, a mycologist, goes missing on a trip to collect samples in the Amazon jungle. Paul returns with a gap in his memory and a fungal infection that almost kills him. But once he recuperates, he has enhanced communication, memory, and pattern recognition. Meanwhile, something is happening in South America; others, like Paul, have also fallen ill and recovered with abilities they didn't have before. But that's not the only pattern--the survivors, from entire remote Brazilian tribes to American tourists, all seem to be working toward a common, and deadly, goal. Neil soon uncovers a secret and unexplained alliance between governments that have traditionally been enemies. Meanwhile Paul becomes increasingly secretive and erratic. Paul sees the fungus as the next stage of human evolution, while Neil is convinced that it is driving its human hosts to destruction. Brother must oppose brother on an increasingly fraught international stage, with the stakes: the free will of every human on earth. Can humanity use this force for good, or are we becoming the pawns of an utterly alien intelligence?

    The colonies are linked together by the occasional sublight colony ship voyages and hyperspatial data-casting. Human consciousness is digitally freighted between the stars and downloaded into bodies as a matter of course.But some things never change. So when ex-envoy, now-convict Takeshi Kovacs has his consciousness and skills downloaded into the body of a nicotine-addicted ex-thug and presented with a catch-22 offer, he really shouldn't be surprised. Contracted by a billionaire to discover who murdered his last body, Kovacs is drawn into a terrifying conspiracy that stretches across known space and to the very top of society.

    In the shadows, a new hero emerges. After he loses his livelihood as a drag queen and the love of his life, Kay joins the resistance alongside Bahadur, a transmasculine refugee, and Firuzeh, a headstrong social worker. Guiding them in the use of weapons and close-quarters combat is Beck, a rogue army officer, who helps them plan an uprising at a major televised international event. With her signature “raw yet beautiful, disturbing yet hopeful” (Booklist) prose, Catherine Hernandez creates a vision of the future that is all the more frightening because it is very possible. A cautionary tale filled with fierce and vibrant characters, Crosshairs explores the universal desire to thrive, love, and be loved for being your true self.

    Aral and Cordelia survive countless mishaps while their mutual admiration and even stronger feelings emerge.

    It reads: Burn before reading. Thus begins an unlikely correspondence between two rival agents hellbent on securing the best possible future for their warring factions. Now, what began as a taunt, a battlefield boast, grows into something more. Something epic. Something romantic. Something that could change the past and the future.Except the discovery of their bond would mean death for each of them. There's still a war going on, after all. And someone has to win that war.

    Trader. Deal-maker. Hustler, some call me. I work the Night Fair circuit, buying and selling pre-nuke videos from the world before. I know how to get a high price, especially on Big Bang collectibles. But the hottest ticket of all is information on the Horsemen—the mind-control weapons that tilted the balance in the war between the Americas. That’s the prize I’m after.But it seems I’m having trouble controlling my own mind.The Horsemen are coming.

    There's Janie, who moves things without touching them, and there are the teleporting twins, who can travel ten feet or ten miles. There's Baby, who invented an antigravity engine while still in the cradle, and Gerry, who has everything it takes to run the world except for a conscience. Separately, they are talented freaks. Together, they compose a single organism that may represent the next step in evolution, and the final chapter in the history of the human race.In this genre-bending novel - among the first to have launched scifi into the arena of literature - one of the great imaginers of the twentieth century tells a story as mind-blowing as any controlled substance and as affecting as a glimpse into a stranger's soul. For as the protagonists of More Than Human struggle to find who they are and whether they are meant to help humanity or destroy it. Theodore Sturgeon explores questions of power and morality, individuality and belonging, with suspense, pathos, and a lyricism rarely seen in science fiction.