The universe is dying; at the End of Time the last remnants of Humanity live amoral lives of decadence, constantly seeking new diversions and sensations. So when Mrs Amelia Underwood is mysteriously transported to the End of Time Jharek Carnelian decides to fall in love with her, but when Amelia returns to her own period of history, Jherek follows her and finds himself plunged into the strange world of Victorian London.

'What follows, then, is the story of Jherek Carnelian, who did not know the meaning of morality, and Mrs Amelia Underwood, who knew everything about it.' In a decaying far, far future, where everything and anything is possible, the citizens of the End of Time while away their days in an exuberance of wild parties, outlandish competitions and emotionless affairs. At the world's end, all love is timeless and all age-old disputes irrelevant. However Jherek Carnelian, a bemused denizen of the End of Time, is in danger of taking reality too seriously, and grows tired of his pleasures. So when love mysteriously blooms between Mrs Amelia Underwood, transported unwillingly from the nineteenth century, and Carnelian, only one question matters. Is his love true, or is it just another attempt to stave off the boredom that ultimate power and the End of Time bring? Contains An Alien Heat, The Hollow Lands and The End of All Songs

Science Fiction and Fantasy Literature, A Checklist, 1700-1974, Volume one of Two, contains an Author Index, Title Index, Series Index, Awards Index, and the Ace and Belmont Doubles Index.

Presents articles on the science fiction genre of literature, including authors, themes, significant works, and awards.

This encyclopedia is the most up-to-date, concise, clear and affordable guide to all aspects of science fiction, from its background to generic themes and devices, from authors (established and new) to films. Science fiction has evolved into one of the most popular, cutting-edge and exciting fiction geners, with a proliferation of modern and classic authors, themes and ideas, movies, TV series and awards. Arranged in an A-Z format, and featuring a comprehensive index and cross-referencing system, The Mammoth Encyclopedia of Science Fiction is also the most accessible and easy to use encyclopedia of its kind currently available.

While students and general readers typically cannot relate to esoteric definitions of science fiction, they readily understand the genre as a literature that characteristically deals with subjects such as new inventions, space, robot and aliens. This book looks at science fiction in precisely this manner, with twenty-one chapters that each deal with a subject that is repeatedly addressed in science fiction of recent centuries. Based on a packet of original essays that the author assembled for his classes, the book could serve as a supplemental textbook in science fiction classes, but also contains material of interest to science fiction scholars and others devoted to the genre. In some cases, chapters offer thorough surveys of numerous works involving certain subjects, such as imagined vehicles, journeys beneath the Earth and undersea adventures, discovering intriguing patterns in the ways that various writers developed their ideas. When comprehensive coverage of ubiquitous topics such as robots, aliens and the planet Mars is impossible, chapters focus on major themes referencing selected texts. A conclusion discusses other science fiction subjects that were omitted for various reasons, and a bibliography lists additional resources for the study of science fiction in general and the topics of each chapter.

Fictional Languages in Science Fiction Literature surveys a large number of fictional languages, those created as part of a literary world, to present a multifaceted account of the literary phenomenon of glossopoesis (language invention). Consisting of a few untranslated sentences, exotic names, or even fully-fledged languages with detailed grammar and vocabulary, fictional languages have been a common element of English-language fiction since Thomas More’s Utopia (1516). Different notions of the functions of such fictional languages in narrative have been proposed: as rooted in phonaesthetics and contextual features, or as being used for characterisation and construction of alterity. Framed within stylistics and informed by narrative theory, literary theory, literary pragmatics, and semiotics, this study combines previous typologies into a new 5-part reading model comprising unique analytical approaches tailored to science fiction’s specific discourse and style, exploring the relationship between glossopoesis, world-building, storytelling, interpretation, and rhetoric, both in prose and paratexts.