Jules Gabriel Verne was born on February 8th, 1828 on Île Feydeau, a small artificial island on the Loire River in Nantes. His father wanted his son to take over the family law practice. Jules started along this course and despite graduating with a licence en droit in January 1851 was soon diverted by the lure of literature and by his own ambitious talents in this direction. He wrote for the theatre and for magazines and soon with the publication of his first novel; Five Weeks in a Balloon on January 31st, 1863 he had begun his career as an admired and popular author. For many, many years the works flowed, usually no less than and often more than two volumes per year. His meticulous research and imaginative setting and narratives soon established him as a top selling author and he became both famous and wealthy. By publishing firstly as a serialised book and then as a complete book sales swelled as did his reputation. His earnings increased further due to the runaway success from the stage adaptations of Le tour du monde en quatre-vingts jours (1874) and Michel Strogoff (1876). Strangely, he was overlooked for honours. He was not even nominated for membership of the Académie Française. After the death of both his mother and Hetzel, Jules began to publish darker works but still at a prodigious rate. In 1888, Jules entered politics and was elected town councillor of Amiens, and then served for fifteen years. Jules was now entering the last period of his life. His works continued to flow albeit at a slower pace. His reconciled with his son, Michel who now became an active contributor to his father's works and, when the senior Verne died, would continue to contribute and publish his father's works, ensuring that the work was kept in the public eye and the legacy preserved. On March 24th, 1905, while ill with diabetes, Jules Verne died at his home at 44 Boulevard Longueville, Amiens. As a legacy Jules Verne is forever remembered as 'The Father of Science Fiction'. With his rigorous research Jules was not only able to make his works realistic but also to project forward and predict many new things that would eventually come to pass--either in real life or as the basis for others to use in their own science fiction. Extraordinary indeed.

From 1928 through 1982, when Columbia Pictures Corporation was a traded stock company, the studio released some of the most famous and popular films dealing with horror, science fiction and fantasy. This volume covers more than 200 Columbia feature films within these genres, among them Close Encounters of the Third Kind, The 7th Voyage of Sinbad, Earth vs. the Flying Saucers and The Revenge of Frankenstein. Also discussed in depth are the vehicles of such horror icons as Boris Karloff, Bela Lugosi, and John Carradine. Additionally highlighted are several of Columbia's lesser known genre efforts, including the Boston Blackie and Crime Doctor series, such individual features as By Whose Hand?, Cry of the Werewolf, Devil Goddess, Terror of the Tongs and The Creeping Flesh, and dozens of the studio's short subjects, serials and made-for-television movies.

From classics like King Kong, to beloved B-movies like The Beast from 20,000 Fathoms, to blockbusters like Jurassic Park, it's easy to see that filmmakers and audiences alike love to see dinosaurs on the screen. This comprehensive filmography, arranged alphabetically by title, contains entries that include basic facts (year of release, country of origin, studio, and running time), followed by a concise plot summary, the author's critical commentary, information on the production and the people behind it, and secrets of the often-ingenious special effects. Three useful appendices feature films with minor dinosaur content, planned but unfinished dinosaur movies, and the quasi-dinosaurs of Toho Studios. To be included, a movie must depict one or more representations of a "prehistoric reptile." Inaccurate portrayals are included, as long as the intent is to represent a real or fictional dinosaur. Not eligible are films featuring prehistoric mammals, prehistoric humans or humanoids, and beasts of mythology--unless, of course, the movie also has a dinosaur.

What makes for a good short story? Being short, you might think the story's structure would yield an answer to this question more readily than, say, the novel. But for as long as the short story has been around, arguments have raged as to what it should and shouldn't be made up of, what it should and shouldn't do. Here ,15 leading contemporary practitioners offer structural appreciations of past masters of the form as well as their own perspectives on what the short story does so well. The best short stories don't have closure, argues one contributor, 'because life doesn't have closure'; 'plot must be written with the denouement constantly in view,' quotes another. Covering a century of writing that arguably saw all the major short forms emerge, from Hawthorne's 'Twice Told Tales' to Kafka's modernist nightmares, these essays offer new and unique inroads into classic texts, both for the literature student and aspiring writer.

This fourth title in a unique series that combines reference and analytical qualities in chronicling the horror and science fiction genres, Horror and Science Fiction Films IV brings the earlier three volumes in the series up to date, concentrating on the period from 1984-1994, as well as updating entries from the previous volumes and adding newly-discovered titles from 1900-1983. Entries in the main list include credits, cast, synopsis, and annotation. The introduction lists 1995 releases in the genres and 1996 releases through the summer, cites the more memorable films in the genres for both the current period and 1900-1984, and serves as an index to key titles in the main list, including long-lost titles such as the -obscure silent Were Tiger and the 1931 The Phantom. Willis includes many films from around the world that are not found in any other English-language film reference work. One appendix provides thumbnail descriptions of problem and peripheral films; another updates entries in the first three books with alternate titles; and a third appendix serves as an index to the approximately 7,000 films listed in the first three volumes in the series as well as in the current volume, thus bringing the total number of films covered in this series to roughly 11,000 titles.

Two Canadian cousins who unexpectedly inherit a Klondike mining claim are thrust into the heart of the perils and hardships of the gold rush, until a deathbed confidence sends them on a quest to find a fabulous gold-filled volcano on the shores of the Arctic Ocean, in a dramatic adventure newly translated from the author's original manuscript. Simultaneous.

Coverage: 1895-1994.