The Incrementalists are an ancient conspiracy to make the world better -- just a little bit at a time. "Fireworks in the Rain" tells a story not found in the novel, and serves as an equally beguiling introduction to the Incrementalists and how they work...At the publisher's request, this title is being sold without Digital Rights Management software (DRM) applied.

    The results are individual glimpses of a shared vision, and a reading experience unlike any you've had before.A strange man comes to an even stranger encampment...a bouncer becomes the linchpin of an unexpected urban movement...a courier on the run has to decide who to trust in a dangerous city...a slacker in a "zero-footprint" town gets a most unusual new job...and a weapons investigator uses his skills to discover a metropolis hidden right in front of his eyes.Welcome to the future of cities. Welcome to Metatropolis.Contents:Introduction (METAtropolis) - essay by John ScalziIn the Forests of the Night - novella by Jay LakeStochasti-city - novella by Tobias S. BuckellThe Red in the Sky Is Our Blood - novelette by Elizabeth BearUtere Nihil Non Extra Quiritationem Suis - novella by John ScalziTo Hie from Far Cilenia - novella by Karl Schroeder

    Your hosts are the Hugo Award-winning editors John Klima (Electric Velocipede) and Lynne M. Thomas (Apex Magazine), and the Hugo-nominated editor Michael Damian Thomas (Apex Magazine).Join glittery authors Christopher Barzak (One for Sorrow) and Daryl Gregory (Pandemonium) on the dance floor, drink cocktails with Maria Dahvana Headley (Queen of Kings: A Novel of Cleopatra, the Vampire) and Tim Pratt (Marla Mason series), and skate with Seanan McGuire (InCryptid series), Diana Rowland (Kara Gillian series), and Maurice Broaddus (The Knights of Breton Court series). The fantastic Amber Benson gets the party started with her floor-rattling introduction (Calliope Reaper-Jones series).We’re waiting.Table of ContentsIntroduction by Amber BensonSister Twelve: Confessions of a Party Monster by Christopher BarzakApex Jump by David J. SchwartzWith Her Hundred Miles to Hell by Kat HowardStar Dancer by Jennifer PellandOf Selkies, Disco Balls, and Anna Plane by Cat RamboSooner Than Gold by Cory SkerrySubterraneans by William Shunn & Laura ChavoenThe Minotaur Girls by Tansy Rayner RobertsUnable to Reach You by Alan DeNiroSuch & Such Said to So & So by Maria Dahvana HeadleyRevels in the Land of Ice by Tim PrattBess, the Landlord’s Daughter, Goes for Drinks with the Green Girl by Sofia SamatarBlood and Sequins by Diana RowlandTwo-Minute Warning by Vylar KaftanInside Hides the Monster by Damien Walters GrintalisBad Dream Girl by Seanan McGuireA Hollow Play by Amal El-MohtarJust Another Future Song by Daryl GregoryThe Electric Spanking of the War Babies by Maurice Broaddus & Kyle S. JohnsonAll That Fairy Tale Crap by Rachel Swirsky

    Smart, dedicated, gorgeous, and, thanks to her last movie before she hung up on Hollywood, rich, she's a pleasure to oblige when she says Rob has to witness this channeler Ariaura's act--on her, not the Eye's, nickel--despite channelers being so last year. It's quite a show, all right, for in the midst of Ariaura's particular ancient wise guy's basso spiel, a gravelly baritone interrupts (both voices emanate from the channeler's female mouth) to berate the audience as "yaps" and the act as "claptrap." Why is Ariaura undermining herself? Or is she? After all, she angrily accuses Rob and Kildy of scheming to destroy her. Could the baritone belong to a genuine channeled spirit? Willis, one of sf's most spirited writers, rounds on the New Age; pays tribute to a great, skeptical journalist; and affectionately parodies pulp fiction at its best in this irresistible entertainment.

    Blaylock"The Giving Mouth" by Ian R. MacLeod "A Sun in the Attic" by Mary Gentle "The God-Clown is Near" by Jay Lake"The Steam Man of the Prairie and the Dark Rider Get Down: A Dime Novel" by Joe R. Lansdale"The Selene Gardening Society" by Molly Brown"Seventy-Two Letters" by Ted Chiang"The Martian Agent, A Planetary Romance" by Michael Chabon"Victoria" by Paul Di Filippo"Reflected Light" by Rachel E. Pollock"Minutes of the Last Meeting" by Stepan Chapman"Excerpt from the Third and Last Volume of Tribes of the Pacific Coast" by Neal Stephenson"The Steam-Driven Time Machine: A Pop Culture Survey" by Rick Klaw"The Essential Sequential Steampunk: A Modest Survey of the Genre within the Comic Book Medium" by Bill Baker

    Though most of Earth has already been evacuated, it’s Samantha’s job to catalog plant samples for the survivors’ unknowable journey beyond.Preparing to stay behind and watch the world end, she makes a final human connection.As certain doom hurtles nearer, the unexpected and beautiful potential for the future begins to flower.Veronica Roth’s Ark is part of Forward, a collection of six stories of the near and far future from out-of-this-world authors. Each piece can be read or listened to in a single thought-provoking sitting.

    We had beaten the common cold. But in doing so we created something new, something terrible that no one could stop. The infection spread, a man-made virus taking over bodies and minds, filling them with one, unstoppable command...FEED.Countdown"Everglades"San Diego 2014: The Last Stand of the California BrowncoatsHow Green This Land, How Blue This SeaThe Day the Dead Came to Show and TellPlease Do Not Taunt the OctopusAll the Pretty Little HorsesComing to You Live

    Simak (1904-1988). When the Science Fiction Writers of America began bestowing their Grand Master awards, Simak was the third writer so honored. Only Robert Heinlein and Jack Williamson preceded him, and he received his award before such luminaries as Fritz Leiber, Isaac Asimov, and Ray Bradbury. Simak earned this distinction by producing, over a long period of time, a significant body of popular, respected, often award-winning work, including his classics City and Way Station, and many shorter works, eight of which are contained in this collection. Readers unfamiliar with Simak are in for a treat. More than half of the stories here were among the best stories of their respective years. "The Big Front Yard" (1958) won a Hugo. "A Death in the House" (1959) was selected by Judith Merril for Year's Best SF: Fifth Annual Edition. "Over the River and Through the Woods" (1965) made the cut for World's Best Science Fiction: 1966 edited by Donald Wollheim.Contents: A Death in the House The Big Front Yard Goodnight Mr. James Dusty Zebra Neighbor Over the River & Through the Woods Construction Shack Grotto of the Dancing Deer [He] wrote for so long and always so well that his excellence came to be taken for granted, as we take sunlight for granted until we go blind. - Poul Anderson I read Cliff's stories with particular attention, and I couldn't help but notice the simplicity and directness of the writing - the utter clarity of it. I made up my mind to imitate it, and I labored over the years to make my writing simpler, clearer, more uncluttered, to present my scenes on a bare stage. - Isaac Asimov Without Simak, science fiction would have been without its most humane element, its most humane spokesman for the wisdom of the ordinary person and the value of life lived close to the land. - James Gunn Good fantasy - and that includes science fiction - takes off from the known for its flights into the new. Cliff Simak was a master of the art. His known was the rural Midwest that he loved. His new could reach to the ends of space and time, but never beyond reality. Even his cosmic aliens always had half human dimensions that made them believable. I loved him, as so many did, for his unfailing warmth and a wit that was keen but never cruel. I heard from him often during the painful time after his wife's death. His own death touched me deeply, and I'm happy to see him remembered with this collection of his best-loved stories. - Jack Williamson I always loved his stories, short or long. He made me love them -and the rural America of his childhood - as much as he did. - Lester del Rey Ten years ago it would have been inconceivable that a volume of the best stories of Clifford Simak (author of the classic City) would not have been published by Putnam or Del Rey, but today we have to be grateful to the one-man firm of Tachyon Publications for preserving Over the River and Through the Woods, which includes some of Simak's best stories, including two Hugo Award winners. After all, Simak is dead, which means his career is flatlined, even if Robert Heinlein said, "to read science fiction is to read Simak. The reader who does not like Simak stories does not like science fiction at all." Simak was a master of a special kind of nostalgic science fiction that reconciled the values of his youth (the rural Midwest of the 1920s) with the larger universe. Material that became ludicrous cliche in the hands of lesser writers - all those endless flying saucers landing in the hillbilly's back acre - was by Simak handled with elegance and dignity."A Death in the House" is typical: A farmer finds a dying alien. He does what he can, but that's very little. The farmer conceals the grave, wanting to give his "guest" that much dignity. But the alien is plantlike. It (or its young) sprouts out of the corpse. Human and alien struggle toward understanding. In "The Big Front Yard," a rural handyman finds his house transformed into a gateway to other worlds. The common people have the good sense; trouble starts when profiteers and the government get involved. The tone is light, friendly and clever. This is not to suggest that Simak was a writer with no hard edges. "Good Night Mr. James" is a horror story, about a duplicate human being created to destroy a particularly nasty alien illegally smuggled to Earth. But the gentler mode was more typical, and he could also write humor. "Dusty Zebra" is a long technological joke, maybe a bit slight to be included when a 50-year career must be distilled into 218 pages. Simak's last story, the last in the book, "The Grotto of the Dancing Deer," is about an immortal caveman, quite different from de Camp's "Gnarly Man." He is the original artist who painted that cave art the scientists keep finding; after all this time, he just has to tell someone. The story won both the Hugo and the Nebula for 1980, because both readers and fellow professionals wanted to say "thank you." - The Washington Post Book World Clifford D. Simak is another classic SF writer who staked out a distinctive territory based on his rural midwestern roots - only a couple hundred miles north of Bradbury's - but he never strayed very far from a few classic SF themes which he treated with considerably more rigor than Bradbury, if sometimes with as much sentimentality. Simak's City is at least as important to the history of SF as Bradbury's The Martian Chronicles - some would say more so, given its more challenging conceptual framework - and his other short stories are among the most enduring in the genre, as Over the River & Through the Woods, a new limited edition from Tachyon Publications, attests. Yet Simak, like Sturgeon, seems in danger of fading into the limbo of historical anthologies; while his work was once as widely available as that of any of the giants, today these stories seem almost like new discoveries - and are just as fresh. Part of the reason may be not that Simak's folksy language seems to belie the underlying sense of alienation and tragedy that characterizes much of his work; part may be due to the rediscovery of American regional idioms among younger SF writers from Terry Bisson to Nancy Kress . . . 'Over the River & Through the Woods' contains eight Simak stories from 1951 through 1980 - which means it includes none of the classic stories like "Desertion" or "Huddling Place", which later went to make up City, but does include his late Hugo and Nebula-winning masterpiece "The Grotto of the Dancing Deer" and the Hugo-winning "The Big Front Yard." One of the first things that comes to mind when rereading the latter story after several years - it concerns a characteristically laconic farmer with a dog named Towser (the only name Simak seems to have permitted for dogs) who finds on his property a gateway to distant worlds - is that few contemporary writers would have let such a simple and elegant premise be confined to a novella. Simak's focus is on the unimpressed rustic whose very lack of response to the wonder at his doorstep intensifies our own. When a rustic is impressed by an alien presence, such as in "A Death in the House," it is less likely to be from a sense of wonder than from a sense of companionship. Simak's roots may be firmly in SF, but he writes of alien encounters in a way Willa Cather might have written of them. Aliens are strange but unthreatening, and in some cases (as in "Neighbor") they can turn the entire neighborhood into a pastoral Shangri-la, isolated from the outside in a way that encapsulates what must be Simak's own drams of lost innocence. But Simak could write about more than wonderful things happening to remote farmers. "Good Night, Mr. James" is a very early treatment (1951) of what we would today call a cloning story, done with the kind of cynical humor that is needed for what is essentially a double- and triple-cross tale. It reveals Simak's healthy streak of humor, as does "Dusty Zebra," in which trivial objects are zapped into another dimension in return for high-tech wonders. "Construction Shack" ironically explores an almost Stapledonian notion of whole solar systems being engineered by ancient aliens (Pluto is the construction shack of the title), cast in terms of the matter-of-fact space jockeys so familiar from pulp SF. Simak may be at his best, however, when his theme is isolation and abandonment. The title story concerns children from the future sent back to the refuge of the 1890s. The best tale in the collection and one of the high points of Simak's late career, "The Grotto of the Dancing Deer," concerns an anthropologist who comes to realize that his assistant seems to know far too much about certain ancient cave paintings, and may in fact have been their creator. Simak's evocation, in a few pages, of the sheer loneliness of immortality and the daunting perspectives of time involved, again could be a lesson to a generation of younger writers, and reminds us brilliantly of what Simak was capable of. - Locus

    Now and then he moved a little to quiet the protest of cramped muscles and stagnant blood, but most of the time he was as motionless as the heap of rags he resembled. Not once did he hear or see a Bohas agent, or, for that matter, anyone. The predawn darkness had hidden his panting flight from the transie jungle, his dodging across backyards while whistles shrilled and voices shouted, and his crawling on hands and knees down an alley into the high grass and bushes which fringed a hidden garden. For a while his heart had knocked so loudly that he had been sure he would not be able to hear his pursuers if they did get close. It seemed inevitable that they would track him down. A buddy had told him that a new camp had just been built at a place only three hours drive away from the town. This meant that Bohas would be thick as hornets in the neighborhood.

    When Kimball comes upon twelve-year-old Thayet, she's been stuck on a rock in a river of bugs for two days, no food, no water, and no way back.This is an excerpt from 7th Sigma.

    Destroyed oil rigs, mysteriously reborn, clamber from the sea and onto the land, driven by an obscure but violent purpose. An anatomy student cuts open a cadaver to discover impossibly intricate designs carved into a corpse's bones—designs clearly present from birth, bearing mute testimony to . . . what?Of such concepts and unforgettable images are made the twenty-eight stories in this collection—many published here for the first time. By turns speculative, satirical, and heart-wrenching, fresh in form and language, and featuring a cast of damaged yet hopeful seekers who come face-to-face with the deep weirdness of the world—and at times the deeper weirdness of themselves—Three Moments of an Explosion is a fitting showcase for one of our most original voices.

    There is an openness to experiment and pushing boundaries, combined with the classic desire to read about space ships and dragons, future technology and ancient magic, and the places where they intersect. Contemporary science fiction and fantasy looks to accomplish the same goal as ever—to illuminate what it means to be human. With a diverse selection of stories chosen by series editor John Joseph Adams and guest editor N. K. Jemisin, The Best American Science Fiction and Fantasy 2018 explores the ever-expanding and changing world of SFF today, with Jemisin bringing her lyrical, endlessly curious point of view to the series’ latest edition.Rivers Run Free / Charles Payseur --Destroy the City With Me Tonight / Kate Alice Marshall --You Will Always Have Family: A Triptych / Kathleen Kayembe --Justice Systems in Quantum Parallel Probabilities / Lettie Prell --Loneliness is in Your Blood / Cadwell Turnbull --The Hermit of Houston / Samuel R. Delany --The Last Cheng Beng Gift / Jaymee Goh --Brightened Star, Ascending Dawn / A. Merc Rustad --The Resident / Carmen Maria Machado --The Greatest One-Star Restaurant in the Whole Quadrant / Rachael K. Jones --Tasting Notes on the Varietals of the Southern Coast / Gwendolyn Clare --Don't Press Charges and I Won't Sue / Charlie Jane Anders --Church of Birds / Micah Dean Hicks --ZeroS / Peter Watts --Carnival Nine / Caroline M. Yoachim --The Wretched and the Beautiful / E. Lily Yu --The Orange Tree / Maria Dahvana Headley --Cannibal Acts / Maureen McHugh --Black Powder / Maria Dahvana Headley --Zen and the Art of Starship Maintenance / Tobias S. Buckell

    Our hero is a good kid who's fallen in with a bad crowd; his parents eventually realize something is wrong and try to suppress the relationship. This results in the kid finally using his technical skills for deliberate purpose, to rebel against his parents -- and to win, because the paradigm shift is completely in his favor."

    From the summer isles to the mysterious people next door all the way to the odd guy one cubicle over, Hand teases apart the dark strangenesses of everyday life to show us the impossibilities, broken dreams, and improbable dreams that surely can never come true.“Ten evocative novellas and stories whisper of hidden mysteries carved on the bruised consciousness of victims and victimizers. Memories and love are as dangerous as the supernatural, and Hand often denies readers neat conclusions, preferring disturbing ambiguity. The Hugo-nominated “The Maiden Flight of McCauley’s Bellerophon” marries science fiction and magical realism as three men recreate a legendary aircraft’s doomed flight for a dying woman. A grieving widower in “Near Zennor” unearths a secret of spectral kidnapping in an ancient countryside. “Hungerford Bridge,” a lesser piece, shares a secret that can only be enjoyed twice in one’s life. Celtic myth and human frailty entangle in the darkly romantic “The Far Shore.” The vicious nature of romantic love is dissected with expressionistic abandon in the dreamlike “Summerteeth.” Hand’s outsiders haunt themselves, the forces of darkness answering to the calls of their battered souls. Yet strange hope clings to these surreal elegies, insisting on the power of human emotion even in the shadow of despair. Elegant nightmares, sensuously told.”—Publishers WeeklyTable of ContentsThe Maiden Flight of McCauley’s BellerophonNear Zennor (a Shirley Jackson Award winner)Hungerford BridgeThe Far ShoreWinter’s WifeCruel Up NorthSummerteethThe Return of the Fire WitchUncle LouErrantryElizabeth Hand's novels include Shirley Jackson Award–winner Generation Loss, Mortal Love, and Available Dark.

    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.