An anthology focusing on newer elements of steampunk, one which deconstructs the staples of the genre and expands on them, rather than simply repeating them, with a greater spread both in terms of location and character. This is steampunk with a modern, post-colonial sensibility. Contributors include: Jeff VanderMeer, Caitlín Kiernan, Mary Robinette Kowal, Jay Lake, Cherie Priest, Cat Rambo, Catherynne M. Valente, Genevieve Valentine and many more.

From the editor of The Mammoth Book of Steampunk, this anthology of steam-powered short stories, dirigibles aloft, retro-tech wonders, and astounding adventure will set clockwork-loving hearts hammering with delight. Longtime steampunk fans: prepare to gleefully grab your goggles to read these remarkable stories! Newcomers: prepare to become fans of this popular genre involving both the past and present—entertainingly and provocatively re-thought, re-invented, and re-evaluated. With stories by K.W. Jeter, Caitlín R. Kiernan, Ken Liu, Cherie Priest, Carrie Vaughn, and many others. Full list of contributors: Christopher Barzak; Tobias Buckell; C. S. E. Cooney; Aliette de Bodard; Lisa L. Hannett; Samantha Henderson; K. W. Jeter; Caitlin R. Kiernan; Jay Lake; Ken Liu; Alex Dally MacFarlane; Tony Pi; Cherie Priest; Cat Rambo; Chris Roberson; Margaret Ronald; Sofia Samatar; Gord Sellar; Nisi Shawl; Benjanun Sriduangkaew; E. Caterine Tobler; Genevieve Valentine; Carrie Vaughn; AC Wise; Jonathan Wood. Praise for the author: The Mammoth Book of Steampunk, edited by Sean Wallace, focuses on newer elements of steampunk and proudly includes work by Mary Robinette Kowal, Jay Lake, Cat Rambo, Ekaterina Sedia, Catherynne M. Valente, Genevieve Valentine and more. Kirkus Reviews The Mammoth Book of Steampunk, edited by Sean Wallace, includes five original stories (and a large selection of good recent work). All the originals are worthy of attention. Locus World Fantasy Award-winning editor Wallace has compiled an outstanding anthology of thirty stories (including four originals) sure to satisfy even the most jaded steampunk fans and engage newcomers and skeptics. Each story exemplifies steampunk’s knack for critiquing both the past and the present, in a superb anthology that demands rereading. Publishers Weekly, starred review What I liked best about the majority of these short stories was that they’re true to steampunk; no real unusual deviations for those of you looking for goggles and corsets . . . Wired

This is a second fantastic collection of steampunk short stories which look to the future through the lens of the past. These 30 anarchic mash-ups, filled with extraordinary airships, clockwork automatons, intrepid adventurers, corsets and goggles, push the boundaries of steampunk. As before the focus is on newer elements of steampunk, those which deconstruct the staples of the genre and expand on them, rather than simply repeating them, with a greater spread both in terms of location and character. This is steampunk with a modern, post-colonial sensibility, with an introduction by Ann VanderMeer and stories by Samantha Henderson, Jay Lake, Cherie Priest, Lavie Tidhar, Genevieve Valentine, Carrie Vaughn and many more.

Dieselpunk: an emerging retro-futuristic sub-genre, similar to steampunk, based on the era between the First World War and the start of the Atomic Age, merging elements of noir, pulp, and the past with today’s technology . . . and sometimes a dash of the occult. Award-winning editor Wallace presents a cutting-edge collection of twenty-five vibrant stories that explore the possibilities of history while sweeping readers into high-powered hydrocarbon-fuelled adventures. Join us in an era when engines were huge, fuel was cheap and plentiful, and steel and chrome blended with the grit and grease of modern machines. Praise for The Mammoth Book of Steampunk: 'World Fantasy Award-winning editor Wallace has compiled an outstanding anthology . . . sure to satisfy even the most jaded steampunk fans and engage newcomers and skeptics. Each story exemplifies steampunk’s knack for critiquing both the past and the present, in a superb anthology that demands rereading.' Publishers Weekly

Written in homage to the master of science fiction, this anthology of stories--by Ian Watson and Adam Roberts, among others--inspired by Verne's vision presents stories that recall characters and plots from the author's fictional milieu. Original.

The Assassination of JFK, 9/11, the Da Vinci Code, The Death of Diana, Men in Black, Pearl Harbor, The Illuminati, Protocols of Zion,Hess, The Bilderberg Group, New World Order, ElvisFluoridization, Martin Luther King's murder, Opus Dei, The Gemstone Files, John Paul I, Dead Sea Scrolls, Lockerbie bombing, Black helicopters... In other words everything 'they' never wanted you to know and were afraid you might ask! Jon E. Lewis explores the 100 most terrifying cover-ups of all time, from the invention of Jesus' divinity (pace the Da Vinci Code) to Bush's and Blair's real agenda in invading Iraq. Entertainingly written and closely documented, the book provides each cover-up with a plausibility rating. Uncover why the Titanic sank, ponder the sinister Vatican/Mafia network that plotted the assassination of liberal John Paul, find out why NASA 'lost' its files on Mars, read why no-one enters Area 51, and consider why medical supplies were already on site at Edgware Road before the 7/7 bombs detonated. Just because you are paranoid, it doesn't mean that they aren't out to conspire against you.

Pulp fiction has been looked down on as a guilty pleasure, but it offers the perfect form of entertainment: the very best storytelling filled with action, surprises, sound and fury. In short, all the exhiliration of a roller-coaster ride. The 1920s in America saw the proliferation of hundreds of dubiously named but thrillingly entertaining pulp magazines in America – Black Mask, Amazing, Astounding, Spicy Stories, Ace-High, Detective Magazine, Dare-Devil Aces. It was in these luridly-coloured publications, printed on the cheapest pulp paper, that the first gems began to appear. The one golden rule for writers of pulp fiction was to adhere to the art of storytelling. Each story had to have a beginning, an end, economically-etched characters, but plenty going on, both in terms of action and emotions. Pulp magazines were the TV of their day, plucking readers from drab lives and planting them firmly in thrilling make-believe, successors to the Victorian penny dreadfuls of writers such as Sir Arthur Conan Doyle and Charles Dickens. These stories exemplify the best of crime and mystery pulp fiction – its zest, speed, rhythm, verve and commitment to straightforward storytelling – spanning seven decades of popular writing.