In Paris, a covert agent, a woman who inhabits a twilight of lies and death, is close to cracking a terrorist cell. And just north of the equator, a forty-foot wood-hulled sailboat, manned by a drug runner, a pirate, and two gun-slinging beauties, is witness to the unspeakable. In one instant, all around the world, for politicians and peasants, from Gaza to Geneva, things will never be the same. A wave of inexplicable energy has slammed into the continental United States. America, as we know it, is gone. . . . WITHOUT WARNING Now U.S. soldiers are fighting a war without command or control. A correspondent records horrors for no one. Washington is gone and the line of succession is in tatters; the functioning remnants of government are in Pearl Harbor, Guantánamo Bay, and one desperate, isolated corner of the Northwest. For the jihadists, it’s Allah’s miracle. For Saddam, it’s a chance to attack. Iran declares war on an America that doesn’t exist–except in the hearts and souls of the men and women who want it to.In this astounding work of alternate fiction, John Birmingham hurtles us into a scenario that is unimaginable but shatteringly real: a world of financial ruin where a cloud of noxious waste–from America’s burning cities–darkens Europe, while men and women in offices around the globe struggle to make decisions that cannot hold and opportunists unleash their secret demons.From a slick Texas lawyer who happens to be in the right place at the right time to a hard-working city engineer in Seattle who becomes his terrified city’s only hope, from the cancer-stricken secret agent to a drug runner off the Mexican coast and a U.S. general in Cuba, Without Warning tells a fast, furious story of survival, violence, and a new, soul-shattering reality.

    Only his second collection (the first was Dark Carnival, later reworked into The October Country), it is a marvelous, if mostly dark, quilt of science fiction, fantasy, and horror. In an ingenious framework to open and close the book, Bradbury presents himself as a nameless narrator who meets the Illustrated Man--a wanderer whose entire body is a living canvas of exotic tattoos. What's even more remarkable, and increasingly disturbing, is that the illustrations are themselves magically alive, and each proceeds to unfold its own story, such as "The Veldt," wherein rowdy children take a game of virtual reality way over the edge. Or "Kaleidoscope," a heartbreaking portrait of stranded astronauts about to reenter our atmosphere--without the benefit of a spaceship. Or "Zero Hour," in which invading aliens have discovered a most logical ally--our own children. Even though most were written in the 1940s and 1950s, these 18 classic stories will be just as chillingly effective 50 years from now. --Stanley WiaterContents:· Prologue: The Illustrated Man · ss * · The Veldt [“The World the Children Made”] · ss The Saturday Evening Post Sep 23 ’50 · Kaleidoscope · ss Thrilling Wonder Stories Oct ’49 · The Other Foot · ss New Story Magazine Mar ’51 · The Highway [as by Leonard Spalding] · ss Copy Spr ’50 · The Man · ss Thrilling Wonder Stories Feb ’49 · The Long Rain [“Death-by-Rain”] · ss Planet Stories Sum ’50 · The Rocket Man · ss Maclean’s Mar 1 ’51 · The Fire Balloons [“‘In This Sign...’”] · ss Imagination Apr ’51 · The Last Night of the World · ss Esquire Feb ’51 · The Exiles [“The Mad Wizards of Mars”] · ss Maclean’s Sep 15 ’49; F&SF Win ’50 · No Particular Night or Morning · ss * · The Fox and the Forest [“To the Future”] · ss Colliers May 13 ’50 · The Visitor · ss Startling Stories Nov ’48 · The Concrete Mixer · ss Thrilling Wonder Stories Apr ’49 · Marionettes, Inc. [Marionettes, Inc.] · ss Startling Stories Mar ’49 · The City [“Purpose”] · ss Startling Stories Jul ’50 · Zero Hour · ss Planet Stories Fll ’47 · The Rocket [“Outcast of the Stars”] · ss Super Science Stories Mar ’50 · Epilogue · aw *