What happened on Judgement Day? Do we have Martian ancestors? Will we blow up the world? In this collection of his best SF stories, Edmund Cooper gives his own inimitably entertaining answers to these and other such intriguing questions. From The Death Watch to The Brain Child, Cooper 'considers possible scenarios'. Sometimes he is serious, sometimes satirical. Sometimes he is uncomfortably close to the truth.
This is not a book. It is a window into several worlds united by the wheel of Fate. Worlds where the last surviving dodo rules over a negative pocket dimension, celestial jellyfish investigate a betrayal in the eye of Jupiter's eternal storm, and a vulture society trapped in a desert without night erupts into a civil war. Even more lies within, waiting to be unlocked by human eyes.
Don't Call Me Jupiter is a true-story memoir about an All-American family that becomes all hippied out. It's about the pros and cons that kids growing up in hippie environments encountered and how their early experiences continue to shape them later in life. This "First Family" story begins in 1961 in Cincinnati, Ohio with Dr. Sabin as they're selected to demonstrate the oral vaccine for polio. They are the paragon of midwestern, conservative, white-bread, Catholic idealism. And yet, led by an eccentric mother, the Martha Stewart of hippies, the family transforms into a clan of liberal, pot-smoking, psychedelic-bus-tripping, nature-loving California free spirits. Told through the wide-eyes of a middle child; a reluctant hippie kid who loves his family as much as he is embarrassed by them, this is a hilarious book about abandonment. Climb aboard their magic yellow bus for an unforgettable ride with colorful characters caught in situations that will make you laugh, cry, and cringe. Don't Call me Jupiter is a page-turning ride down memory lane when many parents went in search of themselves and lost their children along the way. "Growing up in this era was groovy and far out. We believed in the power of the people. We felt we could save the whales and make the world a better place. But there was bad craziness too."The '60s were a pivotal time. It revolutionized the way people looked at the world and their place in it. People challenged tradition, experimented with new lifestyles - and drugs. The very definition of family was stretched. Many people share unforgettable memories connected to the hippie movement and want to know how it's affecting them today. What was gained? What was lost? Are any of our adult disorders and anxiety tied to our unusual childhoods? This book presents a strong case in favor of the "fuck yea - of course it does!"In this first book of three in the series, you'll get an intimate understanding of the main characters, the changes they embrace, and how it affects their decisions and behaviors. Years later, this disbanded group is forced back together to deal with a family crisis. Similar memories about surviving dysfunctional families include: Running with Scissors, The Glass Castle, Let's Pretend this Never Happened, The Liar's Club, This Boy's Life, and A Heartbreaking Work of Staggering Genius. It's like a 70's version of Shameless but with less booze, more weed, and way more hallucinogenics. This book needs to be read because it expands our understanding of the hippie movement and its continuing impact on society. Don't Call Me Jupiter provides an accurate, visceral, entertaining, real-life perspective into the ups and downs of surviving a hippie childhood.
When Matt Raimey had his accident, he thought his life was over. He never dreamed, in his wildest fantasies, that he'd end up in a spot like this. In the toxic atmosphere of Jupiter, born into the body of an enormous creature that looked like a cross between a manta ray and a dolphin, he is living a new life, unlike any humankind had previously experienced. An unbelievable turn of events, it gave him a reason to live, to survive, no matter what happened . . . but every second chance comes with conditions and responsibilities. And as those who brought him to this strange destiny have their authority stripped from them and he discovers the truth that only he can know about the giant alien creatures he now calls family, this man reborn as the one they now call Manta suddenly isn't sure he wasn't better off before. . . .
"Science Fiction & Fantasy Book Review" was founded in 1979 to provide comprehensive coverage of all the major and minor books being released in the genre at that time. This was the golden era of SF publishing, with a thousand titles (old and new) hitting the stands and the bookshelves each and every year. From the older classics to the newest speculative fiction, this was the period when the best and the brightest shined forth their talents. SF&FBR included reviews by writers in the field, by amateur critics, and by littérateurs and University professors. Over a thousand books were covered during the single year of publication, many of them having been reviewed no where else, before or since. The January 1980 issue includes a comprehensive index of all the works featured during the preceding year. This reprint will be a welcome addition to the literature of science fiction and fantasy criticism. Neil Barron is a retired bibliographer and literary critic, editor of the acclaimed "Anatomy of Wonder" series. Robert Reginald was the publisher for twenty-five years of Borgo Press, and has authored over 110 books of his own.
What happened on Judgement Day? Do we have Martian ancestors? Will we blow up the world? In this collection of his best SF stories, Edmund Cooper gives his own inimitably entertaining answers to these and other such intriguing questions. From The Death Watch to The Brain Child, Cooper 'considers possible scenarios'. Sometimes he is serious, sometimes satirical. Sometimes he is uncomfortably close to the truth.
No comic author from the ancient world features the gods as often as Lucian of Samosata, yet the meaning of his works remain contested. He is either seen as undermining the gods and criticizing religion through his humor, or as not engaging with religion at all, featuring the gods as literary characters. His humor was traditionally viewed as a symptom of decreased religiosity, but that model of religious decline in the second century CE has been invalidated by ancient historians. Understanding these works now requires understanding what it means to imagine as laughing and laughable gods who are worshipped in everyday cult. In Lucian's Laughing Gods, author Inger N. I. Kuin argues that in ancient Greek thought, comedic depictions of divinities were not necessarily desacralizing. In religion, laughter was accommodated to such an extent as to actually be constituent of some ritual practices, and the gods were imagined either to reciprocate or push back against human laughter—they were never deflated by it. Lucian uses the gods as comic characters, but in doing so, he does not automatically negate their power. Instead, with his depiction of the gods and of how they relate to humans—frivolous, insecure, callous—Lucian challenges the dominant theologies of his day as he refuses to interpret the gods as ethical models. This book contextualizes Lucian’s comedic performances in the intellectual life of the second century CE Roman East broadly, including philosophy, early Christian thought, and popular culture (dance, fables, standard jokes, etc.). His texts are analyzed as providing a window onto non-elite attitudes and experiences, and methodologies from religious studies and the sociology of religion are used to conceptualize Lucian’s engagement with the religiosity of his contemporaries.
