Search Results for: masters-of-space

HUMAN VS INHUMAN

To the reptilian mind – especially the intelligent type of planets like Sergan and Obrac – the lives of others were as nothing to the need for status.

To the feline mind – especially to the clever advisor of the master of Sergan – the agonies of others were not only of no consequence, they could even be a source of joy.

So when these two types of inhuman intelligences got together to defy the Terran orders against interplanetary kidnapping, space hijacking, and human slavery, it was definitely a case for a top-notch secret agent. Because Earth could not afford a showdown with more than one alien species at a time.

The secret agent was Cap Kennedy, Free Acting Terran Envoy, and his pursuit of the SLAVE SHIP FROM SERGAN turned out to be one of his most dangerous single-handed adventures.

From The SF Gateway, the most comprehensive digital library of classic SFF titles ever assembled, comes an ideal sample introduction to the incredible career of Jack Williamson, whose career spanned over seventy years.

Jack Williamson published his first SF story, ‘The Metal Man’, in 1928 and continued to write high quality SF until his death in 2006, along the way coining many of the terms the genre now takes for granted, such as ‘terraforming’ and ‘genetic engineering’. He was the second writer (after Heinlein) to be named a SFWA Grand Master and was the oldest recipient of both the Hugo and Nebula Awards. This volume contains The Legion of Space, the first volume in the eponymous series; The Humanoids; John W. Campbell Award-winning Terraforming Earth and his Hugo Award-winning autobiography Wonder’s Child: My Life in Science Fiction.

‘We won’t be landing anywhere just yet’, Waters said to the other passengers on the spaceship Fulmar. ‘I was pretty mystified by this story of mechanical breakdown, so I’ve been checking up.’ He hefted his little box. ‘I’ve spent the past half hour successfully tapping your subspace circuits, Captain, so I know the truth and I propose to share it with everyone. We’re not to land. We’re to orbit in space, indefinitely.’

Beloved Sister Dorcas’s screams pierced the quiet.

‘You see,’ Waters continued, holding up his hand for silence, ‘this is being done on the direct orders of Master Brand . . . you don’t know the name?’ He glanced inquiringly around. ‘No? Well, he happens to be one of the powers of Earth, and there is nobody in the galaxy to overrule him.’



(First published 1965)

Spacer Chan Dalton is torn between two masters. The pacifist aliens who hold Earth under Quarantine want him to find out why their starships have been disappearing in the Geyser Swirl, the Bermuda Triangle of the galaxy. Earth’s military, which has secretly discovered a way to break the quarantine, assumes that someone out there is making ships vanish, including Earth’s, and wants Dalton to find the culprits and hopefully stop them – with extreme prejudice, if necessary. The trouble is, the aliens hold the taking of intelligent life, even in selfdefense, to be the greatest of sins. It was Earth’s violent ways (in defense of the damned pacifist aliens!) that led to the quarantine in the first place -and if Dalton is forced to fight, it will unveil, and so destroy, Earth’s final chance to reach for the stars again. So when Dalton does indeed discover the hostile invaders responsible for the lost starships, he is faced with an impossible decision: Fight and lose access to space forever; or allow a rapacious enemy to run riot over all that he holds dear…

THE CALL OF THE WELL


For uncounted eons, the Well World had regulated and given order to the universe, and throughout the eternity, Nathan Brazil had been the guardian of the Well of Souls, where the universe’s master control lay. Forever wandering and alone, returning to the Well in times of Danger, Brazil had destroyed and re-created the cosmos several times over. But even he wearied of his endless watch, and had enlisted the aid of space pilot and high-tech thief Mavra Chang the last time the universal order required resetting.


But now the universe faced a threat more grave than mere destruction. An unnamed and utterly alien entity had somehow been released from its ancient prison and was bent on the corruption of the Well World itself. If successful, it would cause chaos beyond mortal understanding.


The Well World needed Brazil and Chang. But when it found them, would they once again answer the call? And though Brazil was immortal, could he even fight the force threatening the Well? For the force was not of this universe – and it had plans for Nathan Brazil…

Using the secret motive power of a lost a lost flying saucer, physicist Micael Arnott, three companions and an escaped convict are flung into the void at eight times the speed of light to eventually land, after the oblivion of acceleration, upon a world that is both extraordinary and terrifying.

Their machine disappears and they themselves also vanish one by one, Michael Arnott going first when he is on the verge of explaining the mystery of this far-flung world.

That the planet is inhabited seems obvious from queerly designed spaceships glimpsed at intervals, all of them blazoned with a “Z”, which is not so much an alphabet letter as a symbol of a master-race of scientists.

In their efforts to solve the riddle of the world and system to which they have been hurled, the perplexed travellers gradually realise they are not only involved in an odyssey of space, but in a problem of Time as well. They are forced to the conclusion that, just as the first supersonic airmen paid a penalty of mental blackout for breaking the barrier of sound, so there is also a penalty for exceeding Fitzgerald’s Law – namely that 186,000 miles per second is the ultimate possible speed.

As is evident from his many thrilling novels, Alan Dean Foster is a master at creating other worlds in an array of genres. Now he turns his imagination to the short story in these spectacular tales of outer space, cyberspace, ancient gods, modern demons and mortal horror, including:


The Panhandler – A predatory lawyer encounters a fabled boyhood hero and falls victim to the less innocent intrigues of eternal youth.


Growth – Not even his minidrag Pip can save Flinx from the overly intimate advances of an intruder who goes entirely too far.


Basted – A lowly, hen-pecked Egyptian discovers that the Pharaoh’s tomb holds exactly what he needs for a whole new life.


The Killing of Bad Bull – A man with a knack for getting gambling’s one-armed bandits to give it up finds himself at the top – of several hit lists.


At Sea – A poor Scandinavian captain forced into running drugs is shown a way out of his desperate straits with the help of five beautiful blondes who are simply out-of-this-world.

This collection by Lucius Shepard, one of the most exciting new writers to emerge in the 1980s, includes the eponymous story ¿Barnacle Bill the Spacer¿, about an attempted mutiny on a space station, which won the Hugo Award, as well as ¿Sports in America¿, about a man who finds out just how far he is willing to go when he is hired by a local crime boss to kill a man. In ¿All the Perfumes of Araby¿ a small-time smuggler is granted a vision of the future that compels him to change his life, while ¿Human History¿ is a post-apocalyptic adventure story with a hint of decadence. ¿The Sun Spider¿ is a romance of sorts, with a decidedly gothic twist, while in ¿Beast of the Heartland¿, a boxer at the end of his career is lured back into the ring with the promise of one last big payoff. And anyone who has ever completely lost themselves in a piece of music will recognise the inspiration for ¿A Little Night Music¿. Shepard’s stories are not just wonderfully three-dimensional characters dealing with life-changing events; they are filled with colours, textures, sounds and smells, as he describes his backgrounds with as much care as a master painter.

Harry Keough, aka the Necroscope, has always considered himself a master of the Mobius Continuum – a dimension existing parallel to all space and time and his personal instantaneous gateway to anywhere in the multiverse. But this is hardly overweening conceit on Harry’s part, for to his knowledge he is not unique; two other intelligences, with powers similar to his, do indeed exist. One such is the long-dead August Ferdinand Mobius himself, the German astronomer, mathematician, and discoverer of the eponymous Mobius Strip which led him to explore, posthumously, his previously conjectural Continuum; and the other is Harry’s son, who has not only inherited his father’s mathematical skill but also the metaphysical talent by means of which the Necroscope converses with dead people in their graves!

Picture Harry’s confusion, then, on returning home via the Mobius Continuum from an adventure in Las Vegas, as he witnesses however briefly a flailing figure hurtling conscious but uncontrolled through the endless midnight of the Continuum. Who could this be – how can it be? – that a helpless, silently protesting other is rushing meteor-like across the Continuum’s Stygian vault? Moreover, if he hasn’t arrived here voluntarily, then what vile murderer has sent his victim on this monstrous journey to the end of life itself? For Harry is sure that this is neither his son’s nor Professor Mobius’ doing.

Who and where is he, this Mobius murderer? It is a mystery that only the Necroscope can ever hope to solve – but at what risk to his own life?

Widely acclaimed as one of the first successful female science fiction authors, Mildred Clingerman returns with the exciting follow up to her 1961 science fiction collection, A Cupful of Space. Her stories tend to wed a literate tone to subject matters whose ominousness is perhaps more submerged than the horrors under the skin made explicit in the work of Shirley Jackson, but equally as deadly.

Clingerman’s new anthology, The Clingerman Files, includes all of her originally published stories; The Day of the Green Velvet Cloak, Mr. Sakrison’s Halt, Wild Wood, The Little Witch of Elm Street and many other favourites. Also included are previously unpublished works; Top Hand, Tribal Customs, The Birthday Party, Fathers of Daughters and many more soon to be favourites. The key to her stories is that they appear simple and straightforward, but each takes a twist or turn that, even when you’re tempted to guess where they’re heading, they take you there in a way you would never have bargained on.

Other writers of the period tried to make big splashes. Clingerman, it seems, prided herself in concealing her effects within her masterfully constructed sentences. They barely make a ripple on the surface; all their power and drive lurk deep down below. So many of her stories are alive with the underpinning notion that the cosmological vistas we spy at the end ends of telescopes and various other means of measurement belong to the very same universe under our feet. We’re not apart from the universe, we’re a part of it. Nearly every story here is alive with that sensibility, in the truest sense of that word. In every sentence there is a note (a gentle one, but insistent) of silent rebellion, a surreptitious snarl, entreating you to see that not the everyday, but an undiscovered marvel.

May these eloquent rebellions be undiscovered no longer.