The Multiverse of Office Fiction liberates Herman Melville’s 1853 classic, “Bartleby, the Scrivener,” from a microcosm of Melville studies, namely the so-called Bartleby Industry. This book aims to illuminate office fiction—fiction featuring office workers such as clerks, civil servants, and company employees—as an underexplored genre of fiction, by addressing relevant issues such as evolution of office work, integration of work and life, exploitation of women office workers, and representation of the Post Office. In achieving this goal, Bartleby plays an essential role not as one of the most eccentric characters in literary fiction, but rather as one of the most generic characters in office fiction. Overall, this book demonstrates that Bartleby is a generative figure, by incorporating a wide diversity of his cousins as Bartlebys. It offers fresh contexts in which to place these characters so that it can ultimately contribute to an ever-evolving poetics of the office.

In the multiverse there are worlds that live beyond our imaginations. Worlds where magic exists, and ghost stories are real. Where artificial intelligence is sentient, and where virtual reality is more real than reality. Each story takes you on a journey, often ending up where you least expect it.

Space pirate Rory Thorne and her crew trace an abandoned ship to vicious advanced alien tech and a sentient floral plant designed to be a massive biological weapon.

First in a duology that reimagines fairy tale tropes within a space opera—The Princess Bride meets Princess Leia. Rory Thorne is a princess with thirteen fairy blessings, the most important of which is to see through flattery and platitudes. As the eldest daughter, she always imagined she’d inherit her father’s throne and govern the interplanetary Thorne Consortium. Then her father is assassinated, her mother gives birth to a son, and Rory is betrothed to the prince of a distant world. When Rory arrives in her new home, she uncovers a treacherous plot to unseat her newly betrothed and usurp his throne. An unscrupulous minister has conspired to name himself Regent to the minor (and somewhat foolish) prince. With only her wits and a small team of allies, Rory must outmaneuver the Regent and rescue the prince. How Rory Thorne Destroyed the Multiverse is a feminist reimagining of familiar fairytale tropes and a story of resistance and self-determination—how small acts of rebellion can lead a princess to not just save herself, but change the course of history.

What if you suddenly met someone who's you--only better? That's what happens in this hilarious new series for fans of Stuart Gibb's Moon Base Alpha and quirky sci-fi animated shows like Rick and Morty and Regular Show. It all starts with a note folded into the shape of an origami octopus: "Hi, Me. Yes, you. You're me, and I'm you." If you believe this and the other origami notes that follow--which middle schooler Meade Macon absolutely, positively does NOT--the concept of parallel dimensions is true, and there is a convention full of alternate versions of Meade waiting for his RSVP. It's got to be a joke. Except . . . the octopus is an origami fold Meade thought he invented. And the note writer has a lot of intel on him that nobody else should know. I mean, he's told his best friend Twig a lot about himself, but he's definitely kept mum about that time he sleepwalk-peed into his Lego container when he was six. Could Me Con be a real thing? And why does the origami stalker want him to go so badly anyway?

Star Wars may have started out as a film about a Manichean battle between good and evil, but as countless filmmakers, novelists, animators, fan artists and even cosplayers have taken the opportunity to play in the fictional world George Lucas created, it has expanded into something far greater, resulting in a richly layered and diverse Star Wars multiverse. Drawing from a full range of Star Wars media, including comics, children’s books, fan films, and television shows like Clone Wars and The Mandalorian, Carmelo Esterrich explores how these stories set in a galaxy far far away reflect issues that hit closer to home. He examines what they have to say about political oppression, authoritarianism, colonialism, discrimination, xenophobia, and perpetual war. Yet he also investigates subtler ways in which the personal is political within the multiverse, including its articulations of gender and sexuality, its cultural hierarchies of language use, and its complex relationships between humans, droids and myriad species. This book demonstrates that the Star Wars multiverse is not just a stage for thrilling interstellar battles, but also an exciting space for interpretation and discovery.

An award-winning sci-fi comedy about a nerdy teen who tumbles through the multiverse. It's spring break and Max is stuck at home all by himself. Just the way he likes it. He games online, feasts on junk, and wonders why his cat can suddenly talk. Thanks to a bizarre mishap, Max has started shifting between parallel universes whenever he falls asleep. A curious affliction, and one that steadily erodes his sanity. Day after day, he awakes to a strange new reality and struggles to make sense of his surroundings. But then one day he awakes to a hyper-advanced version of Earth where humans have colonized space. Determined to fulfill a lifelong dream, Max and his cyborg cat venture into the black, only to entangle themselves in an intergalactic conflict. Max and the Multiverse is a Readers' Favorite® 5-Star Selection and a Global Ebook Awards Gold Medal Winner "One of the finest pieces of sci-fi satire I have ever read." —Eric Michael Craig, Rivenstone Press "In my opinion, Zachry Wheeler is the heir apparent to Douglas Adams." —Ben Ragunton, TG Geeks "A roller coaster of a trip, fast-paced and filled with excitement." —Geoff Habiger, Readers' Favorite "A delightful tour de farce! Brilliantly absurd and absurdly brilliant." —Victor Acquista, Podfobler Productions "Holy smokes! Wheeler is the funniest living author I've read." —S. Shane Thomas, Science Fantasy Hub