Stories deal with the discovery of extraterrestrials, people turned into trees, new religions, alien talk show hosts, brain stimulation addicts, future race cars, androids, and alternate universes.

Stories tell of mysterious giants, undersea exploration, precognition, a programmed house, a lunar picnic, visual prosthetics, reincarnation, and an immortality elixir

The mysteries and marvels of the science fiction world are brought to life in this compilation of stories representing the work of major authors in this field.

This collection is the second installment in the popular and long-running "The Year's Best Science Fiction" series: Fantastic Science Fiction! The Year's Best -- And Biggest Collection Here's the cream of the crop: short stories, novelettes, novellas by science fiction writers already famous and awarded for their high-quality work in science fiction. Writers like: Robert Silverberg Lucius Shepard Jack McDevitt Octavia E. Butler Connie Willis Richard Cowper John Varley Gene Wolfe

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

With stories about consciousness and conscience, about heroes and horrors, this volume offers up two dozen dazzling stories from some of science fiction's greatest writers, including: Neal Barret, Jr., Terry Bisson, Pat Cadigan, Arthur C. Clarke, L. Sprague de Camp, Bradley Denton, Greg Egan, Joe Haldeman, Lukas Jaeger, Kathe Koja, Nancy Kress, Jonathan Lethem, Ian R. McLeod, Tom Maddox, Maureen F. McHugh, Ian McDonald, Frederik Pohl, Robert Reed, Robert Silverberg, Michael Swanwick, Steven Utley, Ian Watson, Kate Wilhelm, Connie Willis. Rounded out by a list of Honourable Mentions and Gardner Dozois's annual summation of the year in science fiction, this anthology is the single best guide available to the best possible tomorrows and alternate yesterdays of the past year.

The most successful and controversial Cuban Science Fiction writer of all time, Yoss (aka José Miguel Sánchez Gómez) is known for his acerbic portraits of the island under Communism. In his bestselling A Planet for Rent, Yoss pays homage to Ray Bradbury’s The Martian Chronicles and 334 by Thomas M. Disch. A critique of Cuba in the nineties, after the fall of the Soviet Union and the dissolution of the Warsaw Pact, A Planet for Rent marks the debut in English of an astonishingly brave and imaginative Latin American voice. Praise for Yoss “One of the most prestigious science fiction authors of the island.” —On Cuba Magazine "A gifted and daring writer." —David Iaconangelo "José Miguel Sánchez [Yoss] is Cuba’s most decorated science fiction author, who has cultivated the most prestige for this genre in the mainstream, and the only person of all the Island’s residents who lives by his pen.” —Cuenta Regresiva Born José Miguel Sánchez Gómez, Yoss assumed his pen name in 1988, when he won the Premio David Award in the science fiction category for Timshel. Together with his peculiar pseudonym, the author's aesthetic of an impentinent rocker has allowed him to stand out amongst his fellow Cuban writers. Earning a degree in Biology in 1991, he went on to graduate from the first ever course on Narrative Techniques at the Onelio Jorge Cardoso Center of Literary Training, in the year 1999. Today, Yoss writes both realistic and science fiction works. Alongside these novels, the author produces essays, Praise for, and compilations, and actively promotes the Cuban science fiction literary workshops, Espiral and Espacio Abierto. When he isn’t translating, David Frye teaches Latin American culture and society at the University of Michigan. Translations include First New Chronicle and Good Government by Guaman Poma de Ayala (Peru, 1615); The Mangy Parrot by José Joaquín Fernandez de Lizardi (Mexico, 1816), for which he received a National Endowment for the Arts Fellowship; Writing across Cultures: Narrative Transculturation in Latin America by Ángel Rama (Uruguay, 1982), and several Cuban and Spanish novels and poems.

In Hugo and Nebula Award-winning author Spider Robinson's collection of stories you'll find the award-winning novella, Stardance. It's a dancer's dream of fame. The dancer is not the typical lightweight and not well received by her colleagues. It is not until she gets into space and in dire circumstances that she is noticed by the world. Will her dancing be remembered or forgotten? The tension builds until the very last page in this masterful tale. In the Hugo Award-winning story, Melancholy Elephants, a woman argues with an influential senator for the reversal of a decision that will affect all mankind. Can she be persuasive enough to pull it off? A man finds a girl jacked in to a sensory program for five days in the lead title, God Is an Iron, but was she was trying to commit suicide, or did someone else do it for her?