Hollywood could handle just aboutanything—until Mildume's machinebrought in two real aliens.

100 science fiction stories make up this massive collection. Works and authors include: Four-Day Planet by Henry Beam Piper The Hour of Battle by Robert Sheckley The House from Nowhere by Arthur G. Stangland The Huddlers by William Campbell Gault Human Error by Raymond F. Jones The Hunted Heroes by Robert Silverberg I Like Martian Music by Charles E. Fritch Was a Teen-Age Secret Weapon by Richard Sabia I'll Kill You Tomorrow by Helen Huber A Stranger Here Myself by Dallas McCord Reynolds If at First You Don't... by John Brudy Impossible Voyage Home by Floyd L. Wallace In Case of Fire by Gordon Randall Garrett In the Cards by Alan Cogan In the Control Tower by Will Mohler The Orbit of Saturn by Roman Frederick Starzl The Year 2889 by Jules Verne and Michel Verne An Incident on Route 12 by James H. Schmitz Revolution by Poul William Anderson Infinite Intruder by Alan Edward Nourse The Infra-Medians by Sewell Peaslee Wright Inside John Barth by William W. Stuart Insidekick by Jesse Franklin Bone Instant of Decision by Gordon Randall Garrett The Instant of Now by Irving E. Cox, Jr. Irresistible Weapon by Horace Brown Fyfe Islands in the Air by Lowell Howard Morrow The Issahar Artifacts by Jesse Franklin Bone It's a Small Solar System by Allan Howard It's All Yours by Sam Merwin The Jameson Satellite by Neil Ronald Jones Jimsy and the Monsters by Walt Sheldon Join Our Gang? by Sterling E. Lanier Joy Ride by Mark Meadows The Judas Valley by Gerald Vance Junior Achievement by William Lee The Junkmakers by Albert R. Teichner The Jupiter Weapon by Charles Louis Fontenay The K-Factor by Harry Harrison The Keeper by Henry Beam Piper Keep Out by Fredric Brown The Kenzie Report by Mark Clifton The Knights of Arthur by Frederik Pohl Know Thy Neighbor by Elisabeth R. Lewis A Knyght Ther Was by Robert F. Young Larson's Luck by Gerald Vance THE LAST DAYS OF EARTH by GEORGE C. WALLIS The Last Evolution by John Wood Campbell The Last Gentleman by Rory Magill Last Resort by Stephen Bartholomew The Last Straw by William J. Smith The Last Supper by T. D. Hamm Lease to Doomsday by Lee Archer Let'em Breathe Space by Lester del Rey Letter of the Law by Alan Edward Nourse The Machine Stops by E.M. Forster The Machine That Saved The World by William Fitzgerald Jenkins Man Who Hated Mars by Gordon Randall Garrett The Man Who Saw the Future by Edmond Hamilton A Matter of Magnitude by Al Sevcik The Measure of a Man by Randall Garrett The Memory of Mars by Raymond F. Jones 'Mid Pleasures and Palaces by James McKimmey The Mightiest Man by Patrick Fahy Millennium by Everett B. Cole The Misplaced Battleship by Harry Harrison Missing Link by Frank Patrick Herbert The Montezuma Emerald by Rodrigues Ottolengui Mr. President by Stephen Arr Mr. Spaceship by Philip K. Dick The Native Soil by Alan Edward Nourse Navy Day by Harry Harrison Next Logical Step by Benjamin William Bova No Moving Parts by Murray F. Yaco The Nothing Equation by Tom Godwin Old Rambling House by Frank Patrick Herbert One-Shot by James Benjamin Blish Oomphel in the Sky by Henry Beam Piper Operation Haystack by Frank Patrick Herbert Your Money Back by Gordon Randall Garrett An Ounce of Cure by Alan Edward Nourse The Penal Cluster by Ivar Jorgensen Piper in the Woods by Philip K. Dick Planetoid 127 by Edgar Wallace Police Operation by H. Beam Piper Postmark Ganymede by Robert Silverberg Project Mastodon by Clifford Donald Simak Proteus Island by Stanley G. Weinbaum The Quantum Jump by Robert Wicks The Radiant Shell by Paul Ernst The Red Room by H. G. Wells The Risk Profession by Donald Edwin Westlake Scrimshaw by William Fitzgerald Jenkins Second Variety by Philip Kindred Dick Shock Absorber by E.G. von Wald Sjambak by John Holbrook Vance Sodom and Gomorrah, Texas by Raphael Aloysius Lafferty This World Must Die! by Horace Brown Fyfe Toy Shop by Henry Maxwell Dempsey Darkness by H. P. Lovecraft

What impact did the new art of film have on the development of another new art, the emerging science fiction genre, during the pre- and early post-World War II era? Focusing on such popular pulp magazines as Amazing Stories, Astounding Stories, and Wonder Stories, this book traces this early relationship between film and literature through four common features: stories that involve film or the film industry; film-related advertising; editorial matters and readers' letters commenting on film; and the magazines' heralded cover and story illustrations. By surveying these haunting traces of another medium in early science fiction discourse, we can begin to see the key role that a cinematic mindedness played in this formative era and to expand the early history of science fiction as a cultural idea beyond the usual boundaries that have been staked out by its literary manifestations and the genre's historians.

Previously titled Father of Frankenstein, this acclaimed novel was the basis for the 1998 film starring Sir Ian McKellen, Lynn Redgrave, and Brendan Fraser. It journeys back to 1957 Los Angeles, where James Whale, the once-famous director of such classics as Frankenstein and Bride of Frankenstein, is living in retirement, haunted by his past. Rescuing him from his too-vivid imagination is his gardener, a handsome ex-marine. The friendship between these two very different men is sometimes tentative, sometimes touching, often dangerous—and always captivating. This P.S. edition features an extra 16 pages of insights into the book, including author interviews, recommended reading, and more.

A castaway on a rocky island is captured by a gang of evil men He was born Conan of Orme, but Orme is no more. When nuclear war causes the oceans to swallow up the Western world, Conan escapes by chance, washing up on a craggy, desolate isle. After years of privilege, island life is a hard adjustment, but he grows strong—learning to fish, to make fire, and to befriend the birds. On moonless nights, he screams into the darkness, tortured by a loneliness he cannot overcome. One day, a ship appears on the horizon, and Conan believes himself saved. But for this young survivor, trouble is just beginning. The ship belongs to the New Order, cruel rulers who are rebuilding Earth through brute force. They send their new slave to the cutthroat city of Industria, intending to break his spirit. But Conan finds power on the island, and with it, he will remake the world.