Keep Holmes and Watson by your side every day with this delightful book of quotable, memorable, evocative daily entries from the adventures of the world's greatest detective!

“Dr. Watson, Mr. Sherlock Holmes,” said Stamford, introducing us.
“How are you?” he said cordially, gripping my hand with a strength for which I should hardly have given him credit. “You have been in Afghanistan, I perceive.”
“How on earth did you know that?” I asked in astonishment.
“Never mind,” said he, chuckling to himself.

At that first sight of Watson, Sherlock Holmes made brilliant deductions. But even he couldn’t know that their meeting was inaugurating a friendship that would make himself and the good Doctor cultural icons, as popular as ever more than a century after their 1887 debut. Through four novels and fifty-six stories, Arthur Conan Doyle led the pair through dramatic adventures that continue to thrill readers today, offering an unmatched combination of skillful plotting, period detail, humor, and distinctive characters. For a Holmes fan, there are few pleasures comparable to returning to his richly imagined world—the gaslit streets of Victorian London, the companionable clutter of 221B Baker Street, the reliable fuddlement (and nerves of steel) of Watson, the perverse genius of Holmes himself.

It’s all there in The Daily Sherlock Holmes, the perfect bedside companion for fans of the world’s only consulting detective. Within these pages readers will find a quotation for every day of the year, drawn from across the Conan Doyle canon. Beloved characters and familiar lines recall favorite stories and scenes, while other passages remind us that Conan Doyle had a way with description and a ready wit. Moriarty and Mycroft, Lestrade and Mrs. Hudson; the Hound, the Red-Headed League, the Speckled Band, and the dread Reichenbach Falls—it’s all here, anchored, of course, in that unforgettable duo of Holmes and Watson. No book published this year will bring a Holmes fan more pleasure. Come, readers. The game is afoot.

Las Vegas is considered a modern icon of excess. It offers every imaginable extreme of greed, pleasure, and despair, all supported by technology that enhances fantasy and allows residents and visitors alike to forget reality and responsibility. The authors of the fourteen stories in Dead Neon imagine Sin City in the near future, when excess has led to social, environmental, or economic collapse. Their stories range from futuristic casinos to the seared post-apocalyptic desert, from the struggle to survive in a repressive theocracy to the madness of living in a world where most life forms and all moral codes have vanished. Dead Neon explores the possible future of America by examining the near future of Las Vegas. The authors, all either Vegas-based or intimately familiar with the city, capture its unique rhythms and flavor and probe its potential for evoking the fullest range of the human spirit in settings of magic, horror, and despair.

“I was suddenly struck with the sight of a trail of rich red vegetation of several miles in the midst of the eternal snows. I approached with curiosity this oasis in the frozen desert.”
            An antique-shop owner gets a glimpse of the Red Planet through an intriguing artifact. A Martian’s wife contemplates the possibility of life on Earth. A resident of Venus describes his travels across the two alien planets. From an arid desert to an advanced society far superior to that of Earth, portrayals of Mars have differed radically in their attempts to uncover the truth about our neighboring planet.
            Since the 1880s, after an astronomer first described “channels” on the surface of Mars, writers have been fascinated with the planet, endlessly speculating on what life on Mars might look like and what might happen should we make contact with the planet's inhabitants. This wonderful collection offers ten wildly imaginative short stories from the golden age of science fiction by such classic sci-fi writers as H.G. Wells, Ray Bradbury, and J. G. Ballard, as well as hard-to-find stories by unjustly forgotten writers from the genre.
            Assembled and introduced by acclaimed anthologist Mike Ashley, these stories vividly evoke a time when notions of life on other planets—from vegetation and water to space invaders and utopian societies—were new and startling. As we continue to imagine landing people on Mars, these stories are well worth revisiting as gripping and vivid dispatches from futurists past.
 

Judge Dee—Confucian Imperial magistrate, inquisitor, and public avenger, based on a famous statesman—was Dutch diplomat and Chinese cultural historian Robert van Gulik’s (1910–67) lasting invention. A welcome addition to the elite canon of fictional detectives, the Judge steps in to investigate homicide, theft, and treason and restores order to the golden age of the Tang Dynasty. In Murder in Ancient China’s first story, we watch as Judge Dee attempts to solve the mystery of an elderly poet murdered by moonlight in his garden pavilion; in the second, set on the eve of the Chinese New Year, the Judge makes two rare mistakes—will peril result?

My Daughter's Eyes and Other Stories, winner of the 2007 Mármol Prize, is a collection of fourteen interrelated stories about young Dominican women living in the Bronx as they deal with the choices they make in their everyday life. These stories span three decades, beginning in the 1970s, and their topics range from mother-daughter struggles, father-daughter betrayal, family, and child abuse, to emerging sexuality, love, loss, and healing. Annecy Baez's daring treatment of taboo themes, such as sexual child abuse and the struggle of the individual against restrictive traditional values, makes this book unique in Dominican fiction.

The ten stories in this striking debut collection examine the perils of love and what it means to live during an era when people will offer themselves, almost unthinkingly, to strangers. Risks and repercussions are never fully weighed. People leap and almost always land on rocky ground. May-December romances flourish in these stories, as do self-doubt and, in many cases, serious regret. Mysterious, dangerous benefactors, dead and living artists, movie stars and college professors, plagiarists, and distinguished foreign novelists are among the many different characters. No one is blameless, but villains are difficult to single out--everyone seemingly bears responsibility for his or her desires and for the outcome of difficult choices so often made hopefully and naively.

A collection of twenty-five essays from eight countries, illustrating the many approaches to science fiction.

The term “cyberpunk” entered the literary landscape in 1984 to describe William Gibson’s pathbreaking novel Neuromancer. Cyberpunks are now among the shock troops of postmodernism, Larry McCaffery argues in Storming the Reality Studio, marshalling the resources of a fragmentary culture to create a startling new form. Artificial intelligence, genetic engineering, multinational machinations, frenetic bursts of prose, collisions of style, celebrations of texture: although emerging largely from science fiction, these features of cyberpunk writing are, as this volume makes clear, integrally related to the aims and innovations of the literary avant-garde.

By bringing together original fiction by well-known contemporary writers (William Burroughs, Thomas Pynchon, Don DeLillo, Kathy Acker, J. G. Ballard, Samuel R. Delany), critical commentary by some of the major theorists of postmodern art and culture (Jacques Derrida, Fredric Jameson, Timothy Leary, Jean-François Lyotard), and work by major practitioners of cyberpunk (William Gibson, Rudy Rucker, John Shirley, Pat Cadigan, Bruce Sterling), Storming the Reality Studio reveals a fascinating ongoing dialog in contemporary culture.

What emerges most strikingly from the colloquy is a shared preoccupation with the force of technology in shaping modern life. It is precisely this concern, according to McCaffery, that has put science fiction, typically the province of technological art, at the forefront of creative explorations of our unique age.
A rich opporunity for reading across genres, this anthology offers a new perspective on the evolution of postmodern culture and ultimately shows how deeply technological developments have influenced our vision and our art.

Selected Fiction contributors: Kathy Acker, J. G. Ballard, William S. Burroughs, Pat Cadigan, Samuel R. Delany, Don DeLillo, William Gibson, Harold Jaffe, Richard Kadrey, Marc Laidlaw, Mark Leyner, Joseph McElroy, Misha, Ted Mooney, Thomas Pynchon, Rudy Rucker, Lucius Shepard, Lewis Shiner, John Shirley, Bruce Sterling, William Vollman

Selected Non-Fiction contributors: Jean Baudrillard, Jacques Derrida, Joan Gordon, Veronica Hollinger, Fredric Jameson, Arthur Kroker and David Cook, Timothy Leary, Jean-François Lyotard, Larry McCaffery, Brian McHale, Dave Porush, Bruce Sterling, Darko Suvin, Takayuki Tatsumi

In this first-ever anthology of Indigenous science fiction Grace Dillon collects some of the finest examples of the craft with contributions by Native American, First Nations, Aboriginal Australian, and New Zealand Maori authors. The collection includes seminal authors such as Gerald Vizenor, historically important contributions often categorized as "magical realism" by authors like Leslie Marmon Silko and Sherman Alexie, and authors more recognizable to science fiction fans like William Sanders and Stephen Graham Jones. Dillon's engaging introduction situates the pieces in the larger context of science fiction and its conventions.

Organized by sub-genre, the book starts with Native slipstream, stories infused with time travel, alternate realities and alternative history like Vizenor's "Custer on the Slipstream." Next up are stories about contact with other beings featuring, among others, an excerpt from Gerry William's The Black Ship. Dillon includes stories that highlight Indigenous science like a piece from Archie Weller's Land of the Golden Clouds, asserting that one of the roles of Native science fiction is to disentangle that science from notions of "primitive" knowledge and myth. The fourth section calls out stories of apocalypse like William Sanders' "When This World Is All on Fire" and a piece from Zainab Amadahy's The Moons of Palmares. The anthology closes with examples of biskaabiiyang, or "returning to ourselves," bringing together stories like Eden Robinson's "Terminal Avenue" and a piece from Robert Sullivan's Star Waka.

An essential book for readers and students of both Native literature and science fiction, Walking the Clouds is an invaluable collection. It brings together not only great examples of Native science fiction from an internationally-known cast of authors, but Dillon's insightful scholarship sheds new light on the traditions of imagining an Indigenous future.