Worlds Beyond Time is the definitive visual history of the spaceships, alien landscapes, cryptozoology, and imagined industrial machinery of 1970s paperback sci-fi art and the artists who created these extraordinary images. In the 1970s, mass-produced, cheaply printed science-fiction novels were thriving. The paper was rough, the titles outrageous, and the cover art astounding. Over the course of the decade, a stable of talented painters, comic-book artists, and designers produced thousands of the most eye-catching book covers to ever grace bookstore shelves (or spinner racks). Curiously, the pieces commissioned for these covers often had very little to do with the contents of the books they were selling, but by leaning heavily on psychedelic imagery, far-out landscapes, and trippy surrealism, the art was able to satisfy the same space race–fueled appetite for the big ideas and brave new worlds that sci-fi writers were boldly pushing forward. In Worlds Beyond Time: Sci-Fi Art of the 1970s, Adam Rowe—who has been curating, championing, and resurrecting the best and most obscure art that 1970s sci-fi has to offer on his blog 70s Sci-Fi Art—introduces readers to the biggest names in the genre, including Chris Foss, Peter Elson, Tim White, Jack Gaughan, and Virgil Finlay, as well as their influences. With deep dives into the subject matter that commonly appeared on these covers—spaceships, alien landscapes, fantasy realms, cryptozoology, and heavy machinery—this book is a loving tribute to a unique and robust art form whose legacy lives on both in nostalgic appreciation as well as the retro-chic design of mainstream sci-fi films such as Guardians of the Galaxy, Alien: Covenant, and Thor: Ragnarok. Includes Color Illustrations

A richly illustrated collection of the newest and most exciting talent in sci-fi art and illustration. SCI-FI ART NOW brings together for the first time the finest, freshest, and most exciting talents in the world of sci-fi illustration. Artists from around the world-from China and Singapore to the United States and Europe-are represented in this volume, which focuses on the latest and most imaginative work being produced today. This book brings to light the most groundbreaking and talked about sci-fi art, ranging in media from comic books, movies, and TV programs to art, posters, toys, literature, collectibles, board games and video games. SCI-FI ART NOW is a comprehensive compilation that reveals fascinating background information, anecdotes, ideas, and inspirations relied on by the crÈme de la crÈme of contemporary science fiction painters, illustrators, and creators (whether established professionals such as Brett Norton, Liam Sharp, Paul McCaffrey, Klaus Hutter, and John Picacio, or brave new talents forging into the future). By analyzing how technique, tools, materials and media are applied to popular sub-genres such Sirens of Sci-Fi, Spacecraft and Astronauts, Aliens and Alien Worlds, Radical Robots, Incredible Cities, Future War, and Steampunk, each chapter illustrates the astounding artistry and diverse imagination behind this perennially popular genre. Crammed full of exquisite art from around the world and fascinating insights from the artists and creators, SCI-FI ART NOW is perfect for the many fans of science fiction.

What do Scientists Say About Time Travel? It's fair to say that most scientists today will tell you that time travel is impossible. Three of today's top physicists - Charles Liu, Brian Green and Michio Kaku - all hold that time travel is, if not impossible, unlikely in the extreme. However, one of the most brilliant minds of our time, physicist Stephen Hawking, disagrees - although only partially. He believes that time travel is theoretically possible, but only into the future. …. But What Do Real People Experience? The opinion of science, however, has never stopped thousands of people around the world from reporting what they firmly believe are actual experiences of spontaneous time travel! Still others insist that time travel is not only possible, but they have already done it as part of top secret government programmes. Claims for time travel range from the highly flaky to the astoundingly believable. They are especially difficult to dismiss when time travel reports come from absolutely ordinary, rock-solid people who have nothing to gain by proclaiming they travelled in time. Many people who report time travel experiences don't necessarily believe it themselves. What happened to them was so strange, so unexpected, yet so real; they simply have no other good explanation for their experience. You will meet a number of such individuals in this book, most of their stories straight out of the headline of local newspapers. No doubt, a story or two will strike the reader as pure balderdash. On the other hand, some of these cases of time travel are tantalizing and unexplainable. They also come with a certain amount of solid evidence, such as stopped clocks, frozen machines and electromagnetic devices acting in inexplicable ways. Physicist and NASA scientist Tom Campbell said that scientific advances always 'come from the fringe.' Thus, even if you consider some of these stories stepping dangerously 'out there' onto that fringy edge, remember that many of yesterday's fringe theories are today's scientific fact. At the very least, it doesn't hurt to approach the idea of time travel with an open mind and a sense of wonder.

An innovative study of how the Victorians used books, portraits, fairies, microscopes, and dollhouses to imagine miniature worlds beyond perception In 1856, Elizabeth Gaskell discovered a trove of handmade miniature books that were created by Charlotte and Branwell Brontë in their youth and that, as Gaskell later recalled, “contained an immense amount of manuscript, in an inconceivably small space.” Far from being singular wonders, these two-inch volumes were part of a wide array of miniature marvels that filled the drawers and pockets of middle- and upper-class Victorians. Victorian miniatures pushed the boundaries of scientific knowledge, mechanical production, and human perception. To touch a miniature was to imagine what lay beyond these boundaries. In Worlds Beyond, Laura Forsberg reads major works of fiction by George Eliot, Jane Austen, Charles Dickens, and Lewis Carroll alongside minor genres like the doll narrative, fairy science tract, and thumb Bible. Forsberg guides readers through microscopic science, art history, children’s culture, and book production to show how Victorian miniatures offered scripts for expansive fantasies of worlds beyond perception.

An encyclopedia of science fiction magazines, authors, classic titles, graphic works, genre films and television programs, and the effect history has played in relation to this genre.

Artist, columnist, and poet Gertrude McCarty Smith (1923–2007) of Collins, Mississippi, carried herself as a demure and proper southern lady, yet this was deceiving as she was a prolific, creative trailblazer who had collectors and dedicated readers from coast to coast, and even in Europe. She grew up during the Great Depression with only some vivid storytelling and pictures from the family Bible to inspire and kindle her artistic spirit. However, at the age of ten, her career launched when her grandmother coaxed her with a box of crayons to milk the family cow—her seventy-year love affair with the arts was born. Over the years, she would express her creativity in many forms, resulting in thousands of paintings, sculptures, songs, poems, and newspaper columns and along the way a variety of artful cakes, as she ran a celebrated twenty-five-year cake business. Her art appeared in all shapes, sizes, materials, and “eatability.” For most of her early career, Gertrude dabbled with a variety of styles—with subjects mostly centered around life in rural Mississippi and her spiritual life. But in 1980 at the age of fifty-seven, she attended her first Mississippi Art Colony at Camp Jacob in Utica, Mississippi. Over the next fifteen years, she would make her pilgrimage twice a year to be inspired by celebrated guest instructors from around the nation and connect with fellow artists. The Colony was a major catalyst, exposing her to new styles, giving her encouragement and freedom to experiment. Gertrude said of the Colony, “I never knew anything about abstract art, but it fascinated me to no end. Abstract art to me is like a beautiful melody without words. In mixed media, I am in another world and often am surprised at the piece that evolves from the torn watercolor papers. The effect is a kaleidoscope of colors that makes the retinas dance.” This book features more than 150 images; a dozen poems; insightful essays from New York art dealer Stephen Rosenberg, acclaimed southern cultural scholar and curator Pat Pinson, and artist, curator, and instructor Rick Wilemon; along with a foreword by Tommy King, president of William Carey University; and a chronicle of her life’s journey by her son-in-law, Thomas R. Brooks. As Rosenberg has said, “Gertrude Smith is a remarkable and authentic American woman who teaches us that talent and creativity combined with a humanistic spirit is both a state of mind and a state of grace—at any age.” Book proceeds will benefit the Gertrude McCarty Smith Foundation for the Arts to bring access and passion for literature, performance, and visual arts to children in underserved communities throughout Mississippi.

NEW YORK TIMES BESTSELLER • “Endlessly inventive . . . [a] hybrid of Alice in Wonderland, The Wizard of Oz, and The Phantom Tollbooth.”—Salon What is Un Lun Dun? It is London through the looking glass, an urban Wonderland of strange delights where all the lost and broken things of London end up . . . and some of its lost and broken people, too–including Brokkenbroll, boss of the broken umbrellas; Obaday Fing, a tailor whose head is an enormous pin-cushion, and an empty milk carton called Curdle. Un Lun Dun is a place where words are alive, a jungle lurks behind the door of an ordinary house, carnivorous giraffes stalk the streets, and a dark cloud dreams of burning the world. It is a city awaiting its hero, whose coming was prophesied long ago, set down for all time in the pages of a talking book. When twelve-year-old Zanna and her friend Deeba find a secret entrance leading out of London and into this strange city, it seems that the ancient prophecy is coming true at last. But then things begin to go shockingly wrong. BONUS: This edition contains an excerpt from China Mieville’s Embassytown. Praise for Un Lun Dun “Miéville fills his enthralling fantasy with enough plot twists and wordplay for an entire trilogy, and that is a good thing. A-.”—Entertainment Weekly “For style and inventiveness, turn to Un Lun Dun, by China Miéville, who throws off more imaginative sparks per chapter than most authors can manufacture in a whole book. Mieville sits at the table with Lewis Carroll, and Deeba cavorts with another young explorer of topsy-turvy worlds.”—The Washington Post Book World “Delicious, twisty, ferocious fun . . . so crammed with inventions, delights, and unexpected turns that you will want to start reading it over again as soon as you’ve reached the end.”—Kelly Link, author of Magic for Beginners “[A] wondrous thrill ride . . . Like the best fantasy authors, [Miéville] fully realizes his imaginary city.” —The A.V. Club “Mieville's compelling heroine and her fantastical journey through the labyrinth of a strange London forms that rare book that feels instantly like a classic and yet is thoroughly modern.”—Holly Black, bestselling author of The Spiderwick Chronicles

Are there more than four dimensions to physical reality?Is it possible to traverse time as well as space?Is there a reality beyond our traditional concepts of time and space? The startling discovery of modern science is that our physical universe is actually finite. Scientists now acknowledge that the universe had a beginning. They call the singularity from which it all began the "Big Bang." While the detail among the many variants of these theories remain quite controversial, the fact that there was a definite beginning has gained widespread agreement. This is, of course, what the Bible has maintained throughout its 66 books.

In his bestselling book Shop Class as Soulcraft, Matthew B. Crawford explored the ethical and practical importance of manual competence, as expressed through mastery of our physical environment. In his brilliant follow-up, The World Beyond Your Head, Crawford investigates the challenge of mastering one's own mind. We often complain about our fractured mental lives and feel beset by outside forces that destroy our focus and disrupt our peace of mind. Any defense against this, Crawford argues, requires that we reckon with the way attention sculpts the self. Crawford investigates the intense focus of ice hockey players and short-order chefs, the quasi-autistic behavior of gambling addicts, the familiar hassles of daily life, and the deep, slow craft of building pipe organs. He shows that our current crisis of attention is only superficially the result of digital technology, and becomes more comprehensible when understood as the coming to fruition of certain assumptions at the root of Western culture that are profoundly at odds with human nature. The World Beyond Your Head makes sense of an astonishing array of common experience, from the frustrations of airport security to the rise of the hipster. With implications for the way we raise our children, the design of public spaces, and democracy itself, this is a book of urgent relevance to contemporary life.