Linc Hosier is sitting in a packed football stadium when the Flying Eyes appear and cast their hypnotic power over half the crowd. Thousand of people suddenly begin marching, zombie-like, into the woods, where they vanish into a black pit. After that, Linc uses every resource of the Space Research Lab and the National Guard to destroy the Eyes. But nothing stops them. In desperation, Linc decides to capture an Eye. When he finally manages to communicate with it, he learns that the creatures need radiation to live. And they give him an ultimatum: Earth must explode a series of atom bombs to supp.
From the Publisher: What does our favorite science fiction tell us about the culture of science? What do stories of cyborg women and genetic engineering show us about how science and values interact and how science and politics affect each other? In SciFi in the Mind's Eye, leading scholars look at the way science fiction informs and inspires contemporary research in science and technology, and how scientific breakthroughs spur authors on to yet more creative science fiction narratives. Alongside investigations into the meaning of science fiction, SciFi in the Mind's Eye gives us previously unpublished 'interventions' by acclaimed science fiction authors L. Timmel Duchamp, Nicola Griffith, Nancy Kress, Terry Bisson, and Stanislaw Lem.
Omni was a jewel among popular science magazines of its era (1978–1998). Science Digest, Science News, Scientific America, and Discover may have all been selling well to armchair scientists, but Omni masterfully blended cutting edge science news and science fiction, flashy graphic design, a touch of sex, and the images of a generation of artists completely free and unburdened by the disciplines of the masters. Created by the legendary Bob Guccione, better known for founding Penthouse than perhaps any of the other facets of his inspired career in business, art, and literature, Guccione handpicked the artists and illustrators that contributed to the Omni legacy—they in turn created works ignited by passion and intellect, two of Guccione's principal ideals. The Mind's Eye: The Art of Omni is the very first publication to celebrate in stunning detail the exceptional science fiction imagery of this era in an oversized format. The Mind's Eye contains 185 images from contributing Omni artists including John Berkey, Chris Moore, H.R. Giger, Rafal Olbinski, Rallé, Tsuneo Sanda, Hajime Sorayama, Robert McCall, and Colin Hay among many more, along with quotes from artists, contributors, writers, and critics. Omni lived in a time well before the digital revolution. The images you see on these pages have taken years to track down and brought the editors in touch with many esteemed artists, amazing photographers and dusty storage lockers. Their quest is far from over; you'll notice an almost decade-long gap in the material, the contents of which were either lost or destroyed. Efforts to search throughout the universe for any images will continue and will be shared with the world at the all-things-Omni website, omnireboot.com. Stay tuned... Collected in book form for the first time ever, the striking art from this extraordinary magazine will delight fans who remember seeing the work years ago and newcomers interested in the unique aesthetic of this genre's biggest artists. "Omni was a magazine about the future. From 1978 to 1998 Omni blew minds by regularly featuring extensive Q&As with some of the top scientists of the 20th century—E.O. Wilson, Francis Crick, Jonas Salk—tales of the paranormal, and some of the most important science fiction to ever see magazine publication: William Gibson's genre-defining stories 'Burning Chrome' and 'Johnny Mnemonic,' Orson Scott Card's 'Unaccompanied Sonata,' novellas by Harlan Ellison and George R. R. Martin, 'Thanksgiving,' a postapocalyptic tale by Joyce Carol Oates—even William S. Burroughs graced its pages." —Vice magazine, Motherboard "Omni is not a science magazine. It is a magazine about the future...Omni was sui generis. Although there were plenty of science magazines over the years...Omni was the first magazine to slant all its pieces toward the future. It was fun to read and gorgeous to look at." —Ben Bova, six-time Hugo award winner
"Sex, satire, feminism and beond--these are some of the themes examined here in provocative essays by experts in science fiction, both men and women. Writing especially for this volume, they explore the special "feminine" approach to SF that has created an impressive body of work, including the prize-winning novels of recent years by such writers as Joan D. Vinge and Suzy McKee Charnas."--Publisher's description.
LONGLISTED FOR THE 2020 MAN BOOKER INTERNATIONAL PRIZE A NEW YORK TIMES NOTABLE BOOK OF THE YEAR "Her most unsettling work yet — and her most realistic." --New York Times Named a Best Book of the Year by The New York Times, O, The Oprah Magazine, NPR, Vulture, Bustle, Refinery29, and Thrillist A visionary novel about our interconnected present, about the collision of horror and humanity, from a master of the spine-tingling tale. They've infiltrated homes in Hong Kong, shops in Vancouver, the streets of in Sierra Leone, town squares in Oaxaca, schools in Tel Aviv, bedrooms in Indiana. They're everywhere. They're here. They're us. They're not pets, or ghosts, or robots. They're real people, but how can a person living in Berlin walk freely through the living room of someone in Sydney? How can someone in Bangkok have breakfast with your children in Buenos Aires, without your knowing? Especially when these people are completely anonymous, unknown, unfindable. The characters in Samanta Schweblin's brilliant new novel, Little Eyes, reveal the beauty of connection between far-flung souls—but yet they also expose the ugly side of our increasingly linked world. Trusting strangers can lead to unexpected love, playful encounters, and marvelous adventure, but what happens when it can also pave the way for unimaginable terror? This is a story that is already happening; it's familiar and unsettling because it's our present and we're living it, we just don't know it yet. In this prophecy of a story, Schweblin creates a dark and complex world that's somehow so sensible, so recognizable, that once it's entered, no one can ever leave.
David Hedison, who plays a tiny human-headed insect menaced by a spider at the climax of the SF classic The Fly (1958), says the moviemakers spoiled the scene by giving him a squeaky voice. "Imagine if, as the camera moved in closer, you actually heard me screeeeaming for my life," the actor rhapsodizes. "That is horror. THAT is horror." In Tom Weaver's eighth interview book, Hedison-and 22 other moviemakers-talk about their horror and science fiction movie experiences as part of such films and TV series as The Blob, It Came from Outer Space, Tarzan the Ape Man, Star Trek, The Wild Wild West, Somewhere in Time, The Devil Bat and Forbidden Planet. Among those interviewed are Dan O'Herlihy, Eve Brent, Kate Phillips, John Alvin, Anthony Cardoza, Tod Griffin, Alex and Richard Gordon, Denny Miller, Andrey Dalton, Suzanne Kaaren, and Warren Stevens. Full credits are provided for the actors, actresses, and producers.
