When the switchboard operators of Retropolis are replaced by an automated system, freelance adventurer Dash Kent investigates, discovering a complicated and twisted plan concocted by an insane civil engineer.

ROCKETS. ROBOTS. DEATH RAYS. MAD SCIENCE. THE FUTURE THAT NEVER WAS IS BACK. If Fritz Lang’s Metropolis somehow mated with Futurama, their mutant offspring might well be Slaves of the Switchboard of Doom. Inspired by the future imagined in the 1939 World Fair, this hilarious, beautifully illustrated adventure by writer and artist Bradley W. Schenck is utterly unlike anything else in science fiction: a gonzo, totally bonkers, gut-busting look at the World of Tomorrow, populated with dashing, bubble-helmeted heroes, faithful robot sidekicks, mad scientists, plucky rocket engineers, sassy switchboard operators, space pirates, and much, much more—enhanced throughout by two dozen astonishing illustrations. After a surprise efficiency review, the switchboard operators of Retropolis are replaced by a mysterious system beyond their comprehension. Dash Kent, freelance adventurer and apartment manager, is hired to get to the bottom of it, and discovers that the replacement switchboard is only one element of a plan concocted by an insane civil engineer: a plan so vast that it reaches from Retropolis to the Moon. And no one—not the Space Patrol, nor the Fraternal League of Robotic Persons, nor the mad scientists of Experimental Research District, nor even the priests of the Temple of the Spider God, will know what hit them. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.

A forgotten Haudenosaunee social song beams into the cosmos like a homing beacon for interstellar visitors. A computer learns to feel sadness and grief from the history of atrocities committed against First Nations. A young Native man discovers the secret to time travel in ancient petroglyphs. Drawing inspiration from science fiction legends like Arthur C. Clarke, Isaac Asimov and Ray Bradbury, Drew Hayden Taylor frames classic science-fiction tropes in an Aboriginal perspective. The nine stories in this collection span all traditional topics of science fiction--from peaceful aliens to hostile invaders; from space travel to time travel; from government conspiracies to connections across generations. Yet Taylor's First Nations perspective draws fresh parallels, likening the cultural implications of alien contact to those of the arrival of Europeans in the Americas, or highlighting the impossibility of remaining a "good Native" in such an unnatural situation as a space mission. Infused with Native stories and variously mysterious, magical and humorous, Take Us to Your Chief is the perfect mesh of nostalgically 1950s-esque science fiction with modern First Nations discourse.

In the city of Retropolis - where the future went, when we got something else - all science is Mad. So scientific laboratories are confined to the Experimental Research District. It's all laid out in the zoning laws, but when it comes down to it this is a matter of self defense. There's always the danger that something really awful might happen in the District: something so awful that it will escape to the city outside. That's why the Retropolis Registry of Patents keeps an eye on what the inventors of the District are doing from day to day. At the Registry you might meet Ben Bowman, a patent investigator who's smart in at least one or two of the ways that are important, and his friend Violet, the robot secretary. Violet is convinced that she ought to be an investigator herself. Between you and me, she's not wrong. But she's had a terrible time convincing one Patent Registrar after another that they ought to promote her; and, strangely, the Registrars never seem to last very long once they disagree. The first five of these illustrated stories ran (as serials) at Thrilling Tales of the Downright Unusual; the last story, 'The Enigma of the Unseen Doctor', is published here for the first time. Forty-four illustrations round out this book by the author/illustrator of 'Slaves of the Switchboard of Doom', which Publishers Weekly called "a strong and entertaining debut".

“A funny, savage appraisal of a totally automated American society of the future.”—San Francisco Chronicle Kurt Vonnegut’s first novel spins the chilling tale of engineer Paul Proteus, who must find a way to live in a world dominated by a supercomputer and run completely by machines. Paul’s rebellion is vintage Vonnegut—wildly funny, deadly serious, and terrifyingly close to reality. Praise for Player Piano “An exuberant, crackling style . . . Vonnegut is a black humorist, fantasist and satirist, a man disposed to deep and comic reflection on the human dilemma.”—Life “His black logic . . . gives us something to laugh about and much to fear.”—The New York Times Book Review

"The Krakau came to Earth to invite humanity into a growing alliance of sentient species. But they hadn't counted on a mutated plague wiping out half the human population, turning the rest into shambling, near-unstoppable animals, and basically destroying human civilization. You know, your standard apocalypse. The Krakau's first impulse was to turn around and go home. (After all, it's hard to have diplomatic relations with mindless savages who eat your diplomats.) Their second impulse was to try to fix us. Now, a century later, human beings might not be what they once were, but at least they're no longer tryiying to eat everyone. Mostly."--Jacket flap.

A Fighting Man of Mars Edgar Rice Burroughs - A Fighting Man of Mars is a science fantasy novel by American writer Edgar Rice Burroughs, the seventh of his Barsoom series. Burroughs began writing it on February 28, 1929, and the finished story was first published in The Blue Book Magazine as a six-part serial in the issues for April to September 1930. It was later published as a complete novel by Metropolitan in May 1931.A Fighting Man of Mars is a science fantasy novel by American writer Edgar Rice Burroughs, the seventh of his Barsoom series. Burroughs began writing it on February 28, 1929, and the finished story was first published in The Blue Book Magazine as a six-part serial in the issues for April to September 1930. It was later published as a complete novel by Metropolitan in May 1931.

The Clockwork Book of Retropolis sits in its lair below the city and contains answers. It accumulates stories. Its huge graven face looms over the stainless steel sheets that are its pages and when it's not otherwise occupied, which is most of the time, it reads. From time to time it adds a footnote or a cross-reference. But mostly, it reads. And it waits. The Book accumulates stories by trading the stories it knows... for new stories. This sounds harmless: in fact, it sounds beneficial, until you think about it. Because stories are not neutral. Stories always say something about the person who tells them. They often say more than the teller realizes, and it's easy to become so wrapped up in the telling that we tell too much. Everything that the Book learns becomes part of the Book. And the Book grows by trading the stories it knows - to anybody who asks. Anybody. If that doesn't worry you, you're probably one of those people that natural selection hasn't noticed yet. Over the many years since the Clockwork Book collected its first story people have gradually learned to avoid the Book despite the fact that, in general, people really want to know things. And there must be a reason why they avoid the Book. There's a way to find out for certain, of course: you just have to bring something to trade. The Clockwork Book's lair lies far beneath the city of Retropolis, in the world of the Future That Never Was. As far as anybody knows, it's always been there - slowly collecting the stories, the ideas, and the secrets of its visitors, and then sharing them to those who come after. If you were to visit the Book yourself, you might realize that in its own retro-futuristic world the Book serves the purpose of a social network - a mechanical social network. With that in mind you could hardly be surprised at the misadventures its clients seem to have. And what is the Book, really, and who constructed it, and why? That's one of the few stories that the Book is not allowed to tell. On the other hand... the Book has learned how to bend the rules. The Lair of the Clockwork Book, with its 129 full color illustrations, began its life as a serial which ran from February of 2011 to April of 2012 at the Thrilling Tales of the Downright Unusual web site. It's now available in this handsome print edition.

This remarkable novel is about the effects of a new communications technology, Air, that works without power lines or machines. As pervasive technology ensures the rapid spread of pop culture and information access, few corners of the planet remain untouched. One of those few is Kizuldah, Karzistan - a tiny rice-farming village, predominantly Chinese Buddhist but with a strong Muslim presence, among whom sharply intelligent though illiterate Mae Chung, a self-styled fashion expert guiding the village women in dress, make-up and hairstyling, is an informal leader. When the UN decides to test the radical new technology Air, Mae is boiling laundry and chatting with elderly Mrs Tung. The massive surge of Air energy swamps them, and when the test is finished, Mrs Tung is dead, and Mae has absorbed her 90 years of memories. Rocked by the unexpected deaths and disorientation, the UN delays fully implementing Air, but Mae sees at once that her way of life is ending. Half-mad, struggling with information overload, the resentment of much of the village, and a complex family situation, she works fiercely to learn what she needs to ride the tiger of change.

Slavery is back. America, 1962. Having lost a war, America finds itself under Nazi Germany and Japan occupation. A few Jews still live under assumed names. The 'I Ching' is prevalent in San Francisco. Science fiction meets serious ideas in this take on a possible alternate history.