A study of the decadent literary movements in England and France, focusing upon such poets and authors as Baudelaire and Oscar Wilde.

First published in 1927, Deluge is one of the most famous of the English catastrophe novels. Beautifully written and action packed--RKO Radio Pictures even filmed this story--the novel depicts a flood so severe that it destroys modern civilization, leaving the few survivors to adapt to the rigors of the natural world. Like other English writers responding to the trauma of World War I, Sydney Fowler Wright expresses a loathing of the worst aspects of industrialization. The flood, in his view, becomes an opportunity for the remaking of society. The protagonists soon realize that civilization and technology have divorced them from the knowledge and skills necessary for survival. Released from their over-reliance on social regulation, they struggle to overcome their own brutality to develop a new sense of community. For over 75 years readers have praised this book for its style and wisdom, and debated the meaning of its controversial ending. This Wesleyan edition is graced with an excellent introduction and annotations by leading science fiction scholar Brian Stableford.

The gods of Asgard are in deep trouble. If they can’t defeat their internal enemies, the starlet in the macroworld’s core will blow up, killing trillions humanoids in its various layers. Only one man can save this articifial planet, and he can only do that by duplicating himself. Unfortunately, the software version of himself that's trying to operate within Asgard’s virtual space is fighting on the adversary’s home ground, and seems to have even less chance of success than the flesh-and-blood version. Even if they both get through, and contrive somehow to save the macroworld from destruction, how can they ever get together again to become a whole man--and at what cost? The thrilling conclusion to a magnificent sci-fi saga!

Eleven stories of science fiction and fantasy by a master writer of the fantastic, including four tales published for the first time.

There can be little doubt that after the American Civil War, a significant number of largely urban American women’s relationships with men began to change. This transition was brought about through many changing conditions in American society that were predicated by socio-economic considerations such as female education, large scale immigration from Europe which challenged traditional American values, the onset of large scale consumerism, and the erosion of the narrow religious moralism which previously restricted the female role in a burgeoning urban landscape. This book examines one particular manifestation of upheaval in American society: the appearance in literature and art of two distinct types of women who challenged the dominant patriarchal culture from the Civil War to just after the conclusion of World War One. The book looks primarily at the literary depiction of the femme fatale and the New Woman, and also dedicates chapters to their influences in fine art and music. The question as to why these two female types precipitated so much intellectual and artistic angst in their educated male readers is further considered. The book traces these two distinct categories of heroines as they make inroads into the preserve of male domination, and examines the various defenses male writers and artists used to slow down the pace of female emancipation both sexually and socially. Along the way, the book looks at the way in which the 1893 Columbian Exhibition in Chicago unexpectedly encouraged further female advancement, how Wagner’s operas gave women greater confidence toward self-fulfillment, and how Otto Weininger’s outrageous teachings managed to stem the tide of American female emancipation for a short time. The book surveys how the appearance of the Gibson Girl, the bicycle, and even the advent of bloomers were depicted in literature and supported the advent of this New Woman until she was grudgingly accepted despite philosophical warnings that the female agenda included a plan to destroy masculinity and make men subservient to the female rule. The book concludes with a discussion of F. Scott Fitzgerald’s The Beautiful and the Damned where the reader observes the complete destruction of the decadent-inclined Anthony Patch by a siren with no heart or introspection.

In the tradition of the old "Ace Doubles" (flip one book over to read the second title), here is the tenth Wildside Double: VALDEMAR'S DAUGHTER: A ROMANCE OF MESMERISM, by Brian Stableford Following the sad demise of Ernest Valdemar, as related in the story by Edgar Allan Poe, his mortal remains are sent to his daughter in Paris--but go astray--and detective Auguste Dupin must track them down. The Comte de Saint-Germain seems implicated in the mystery. Meanwhile, the great writer Balzac lies at death's door, convinced that only Valdemar's body can save him. Will Dupin thwart his adversary in the nick of time? THE MAD TRIST: A ROMANCE OF BIBLIOMANIA, by Brian Stableford The Comte de Saint-Germain has come into possession of The Mad Trist, the book from which Edgar Allan Poe and Roderick Usher read aloud before the collapse recorded in "The Fall of the House of Usher." He intends it as a gift to detective Auguste Dupin, but Dupin's friend, Richard Carstairs, cannot deliver the volume immediately. Richard is unintimidated by the prospect of reading a supposedly cursed book--after all, Dupin has a whole shelf full of them! A classic tale of horror.

An Annotated Bibliography of the First 300 Publications of the Borgo Press, 1975-1998

Most of these ten stories belong to a loosely-knit series tracking the potential effects of possible developments in biotechnology on the evolution of global society. "A master of the SF short story"--Robert Reginald.

Long after he was dead, French poet Charles Baudelaire inspired a Decadent Movement in France, which became definitive of fin de siecle sensibility. One of the historical and influential links between Baudelaire and the new Decadents was the Comte de Villiers de l'Isle Adam, who called the first of his own collections of Decadent prose Contes cruels, because they spurned conventional means of attaining literary closure by celebrating 'the irony of fate' -- the capacity that the course of events has for thwarting human ambition in a frankly mocking fashion. "Because it became so firmly linked to the notion of the fin de siecle, the Decadent Movement did not survive the end of the nineteenth century in France and Decadent literature became increasingly unfashionable thereafter -- but it was, by definition, a literary species guaranteed to thrive on its own unfashionability. The stories collected here have been woefully unappreciated, even when they have succeeded in reaching print -- as some have not until now -- but I have never been tempted to abandon the production of such items, and am far fonder of them than I am of many works that proved more economically viable." -- from the author's Introduction. The tales in this collection include: "An Oasis of Horror," "Justice," "The Copper Cauldron," "Nobody Else to Blame," "Heartbeat," "Upon the Gallows-Tree," "The Devil's Men," "The Elixir of Youth," "The Lamia's Soliloquy," "And the Hunter Home from the Hill," "The Riddle of the Sphinx," "My Mother, the Hag," "The Devil's Comedy," and "The Power of Prayer." Never before collected into book form.

Decadent literature is intrinsically and proudly a literature of moral challenge; it is sceptical, cynical, and satirical. It recognizes that everyday morality does not work either in practical or in psychological terms, and is therefore a sham, but that ideal morality is -- not necessarily unfortunately -- unattainable. This volume collects the best of Brian Stableford's decadent work, including: "Salome," "O For a Fiery Gloom and Thee," "The Last Worshipper of Proteus," "The Evil That Men Do," "Ebony Eyes," "The Fisherman's Child," "The Storyteller's Tale," "The Unluckiest Thief," "The Flowers in the Forest," "The Mandrake Garden," and "Chanterelle."