JUST WHAT HAPPENED WHEN THE TIME MACHINE RETURNED? Having acquired a device for themselves, the brutish Morlocks return from the desolate far future to Victorian England to cause mayhem and disruption. But the mythical heroes of Old England have also returned, in the hour of the country's greatest need, to stand between England and her total destruction. File Under: Steampunk [ Coming Back | It’s About Time | Old Gods | Classic Steampunk ]

Just what happened when the Time Machine returned? Having acquired a device for themselves, the brutish Morlocks return from the desolate far future to Victorian England to cause mayhem and disruption. But the mythical heroes of Old England have also returned, in the hour of the country's greatest need, to stand between England and her total destruction. Finally back in print, this mind-blowing steampunk sequel to H.G. Wells' The Time Machine is a classic example of the steampunk subgenre.

The Time Machine by H. G. Wells is a science fiction classic, which lends itself well to visualization. This version, illustrated by Yoann Laurent-Rouault, an illustrator master who graduated from the Beaux-Arts, and published in the international literary collection Memoria Books, is a reference on the time travel theme. Wells transports us in the year 802 701, in a society made up of the “Elois”, who live peacefully in a kind of big Garden of Eden, eating fruits and sleeping high up, while underground lives another species, also descending from men, the “Morlocks”, who do not stand the light anymore, living in the dark for too long now. At night, they return to the surface, going back up by the wells, in order to kidnap some Elois that they eat ; these last became livestock unknowingly. In The Time Machine, made into a movie several times, the last of them in 2002 by Simon Wells, the great-grandson of H. G. Wells, time is both a pretext to move the class struggle and warn... and also, in a way, a full character, who fascinates, arbitrates, transcends... The illustrations come to reinforce the time travel and provide a new experience to the reader.

Strange Divisions and Alien Territories explores the sub-genres of science fiction from the perspectives of a range of top SF authors. Combining a critical viewpoint with the exploration of the challenges and opportunities facing authors working in the field, contributors include Michael Swanwick, Catherine Asaro and Paul di Filippo.

Thirty-five authors Seventeen Artists Eight Actors and Producers Thirty-Five Musicians and Producers One BIG Damned Book of Interviews compiled by Tina Hall Bill Thompson / Eric Burdon / Johnny Winter / Brian Ray / Rusty Anderson / Bruce Kulick / Ron “Bumblefoot” Thal / Richard Fortus / Sean Spillane / Dan Baird /John “JD” DeServio / Greg LoCascio / Jason Hook / Jim McCarty / Leigh Stephens / Carl Harvey / Stevie D / Vinnie Moore / Paul Allender / Todd Wolfe / Hed P.E / Chad Cherry / Adam Hamilton / Kasey Lansdale / Wes Dolan / Bo Bice / Joshua OKeefe / Poc / Lorraine Lewis / Jann Klose / Joe Deninzon / Jessie Galante / Mike Huberty / Lthrboots / Paul Waters / Courtney Gains / Helene Udy / Reggie Bannister / Andy Milder / Pollyanna McIntosh / Sean Kanan / Damian Maffei / Rick Traum / Jim Davis / Joe Kubert / Adam Kubert / Dan Brereton / Bob Eggleton / Aaron Sowd / Anthony Palumbo / David Palumbo / Louis Harrison / Glenn Chadbourne / Rick Geary / Langdon Foss / Vincent Chong / Shannon Wheeler / Thomas Bonvillain / Justice Howard / Remembering Seth Fisher with Vicki Sheridan /John Gilmore / Carson Gilmore / Ian Ayres / Tim Minear / Joe R. Lansdale / Kasey Lansdale / Keith Lansdale / Jack Ketchum / Terry Brooks / Graham Joyce / Paul Dini / Graham Masterton / William Hjortsberg / James P.Blaylock / Tim Powers / John Connolly / Lewis Shiner / Jane Yolen / Rick Hautala / Elizabeth Massie / Thomas Ligotti / Chet Willamson / Tim Lebbon / Christopher Golden / John Everson / Nancy Holder / Gene Brewer / Kathe Koja / Kealan Patrick Burke / Mark Russell / Trent Zelazny / Dave Simms / Kung and Eot Ramanakajja / Philip Gardiner / A Tribute to Melissa Mia Hall

Who can the Crown call when a hideous curse has been caste on a nobleman in Regency England? Who will throw down the gauntlet when the fog bound Victorian streets of Whitechapel are the hunting ground for a subhuman, monster? Who can stand and fight when a bloodthirsty vampire rises from the tomb in the Kentish Marshes? Doctor Augustus Argent, Sorcerer Supreme and Agent without portfolio for the Crown that's who! Since Elizabeth the Great had a secret cabal of witches create the Solomon Document to protect England from invasion, the forces of evil conspiracies and the horrors of Alchemists have threatened the sceptered Isle. Join Doctor Argent and his swashbuckling aid Jack Stone as they protect the empire of England from the forces of darkness in pulse pounding, pulp-style action and romance.

Co-winner, Ray & Pat Browne Award for Best Edited Collection in Popular Culture and American Culture Once a small subculture, the steampunk phenomenon exploded in visibility during the first years of the twenty-first century, its influence and prominence increasing ever since. From its Victorian and literary roots to film and television, video games, music, and even fashion, this subgenre of science fiction reaches far and wide within current culture. Here Rachel A. Bowser and Brian Croxall present cutting-edge essays on steampunk: its rise in popularity, its many manifestations, and why we should pay attention. Like Clockwork offers wide-ranging perspectives on steampunk’s history and its place in contemporary culture, all while speaking to the “why” and “why now” of the genre. In her essay, Catherine Siemann draws on authors such as William Gibson and China Miéville to analyze steampunk cities; Kathryn Crowther turns to disability studies to examine the role of prosthetics within steampunk as well as the contemporary culture of access; and Diana M. Pho reviews the racial and national identities of steampunk, bringing in discussions of British chap-hop artists, African American steamfunk practitioners, and multicultural steampunk fan cultures. From disability and queerness to ethos and digital humanities, Like Clockwork explores the intriguing history of steampunk to evaluate the influence of the genre from the 1970s through the twenty-first century. Contributors: Kathryn Crowther, Perimeter College at Georgia State University; Shaun Duke, University of Florida; Stefania Forlini, University of Calgary (Canada); Lisa Hager, University of Wisconsin–Waukesha; Mike Perschon, MacEwan University in Edmonton, Alberta; Diana M. Pho; David Pike, American University; Catherine Siemann, New Jersey Institute of Technology; Joseph Weakland, Georgia Institute of Technology; Roger Whitson, Washington State University.