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The Difference Engine is an alternate history novel by William Gibson and Bruce Sterling. It is a prime example of the steampunk sub-genre; It posits a Victorian Britain in which great technological and social change has occurred after entrepreneurial inventor Charles Babbage succeeded in his ambition to build a mechanical computer called Engines. The fierce summer heat and pollution have driven the ruling class out of London and the resulting anarchy allows technology-hating Luddites to challenge the intellectual elite.

Jules Verne, maître incontesté de la science-fiction, nous plonge dans le fantastique monde sous-marin du Capitaine Nemo...

“Shy” Hunt and the tech team from McAllen Integrations thought they’d have an easy job - set up environmental systems for the brand new Hasanova Data Solutions colony, built on the abandoned ruins of a complex known as “Charybdis”. There are just two problems: The colony belongs to the Iranian state, so diplomacy is strained at best, and the complex is located above a series of hidden caves that contain deadly secrets.

From an emergency landing, to a full-blown riot, to a militia gone rogue, Colt and Walter have survived it all. Joining forces, their group heads toward Walter’s cabin and the promise of a new life. But mother nature has other plans. After the EMP is post-apocalyptic thriller series following ordinary people trying to survive after a geomagnetic storm destroys the nation’s power grid.

It's been centuries since the robots of Panga gained self-awareness and laid down their tools; centuries since they wandered, en masse, into the wilderness, never to be seen again; centuries since they faded into myth and urban legend. One day, the life of a tea monk is upended by the arrival of a robot, there to honor the old promise of checking in. The robot cannot go back until the question of "what do people need?" is answered. But the answer to that question depends on who you ask, and how.

In the heart-pounding sequel to the New York Times bestselling dystopian romance Silver Elite, lines will be crossed, loyalties will be tested, and the fight for the Continent is only just beginning as Wren Darlington finds herself caught in the middle of two wars: one for the fate of her home and another for the fate of her heart.

The Merry Band of Pirates offered the bad guys a ceasefire. We won’t mess with them, if they don’t mess with us. Easy, right? No. The aliens chose to do things the hard way. So, the Pirates are racing around the galaxy to clean up the threat to Earth. The infant UN Navy has their own mission with the Alien Legion: Get humanity some allies in the fight. And the Ethics & Compliance Office might have to do something...ethical. Unless they can find a way around it.

For a decade, Darrow led a revolution against the corrupt color-coded Society. Now, outlawed by the very Republic he founded, he wages a rogue war on Mercury in hopes that he can still salvage the dream of Eo. Lysander au Lune, the heir in exile, has returned to the Core. Determined to bring peace back to mankind at the edge of his sword, he must overcome or unite the treacherous Gold families of the Core and face down Darrow over the skies of war-torn Mercury. But theirs are not the only fates hanging in the balance.

Darrow is a Red, a member of the lowest caste in the color-coded society of the future. Like his fellow Reds, he works all day, believing that he and his people are making the surface of Mars livable for future generations. Yet he toils willingly, trusting that his blood and sweat will one day result in a better world for his children. But Darrow and his kind have been betrayed. Soon he discovers that humanity reached the surface generations ago. Vast cities and lush wilds spread across the planet. Darrow—and Reds like him—are nothing more than slaves to a decadent ruling class.

"The Eyes Have It" is a humorous, early short story by Philip K. Dick that first appeared in Science Fiction Stories in 1953. In it, a bus-riding reader of a discarded melodrama with an overactive imagination is persuaded by the hackneyed prose that the world has been taken over by aliens. Thus, when "eyes slowly roved around the room", the reader imagines disembodied eyeballs traveling of their own free will. A rare example of satire from the Dick canon.

When COVID-19 sweeps through New York City, Jamie Gray is stuck as a dead-end driver for food-delivery apps. That is, until Jamie makes a delivery to an old acquaintance, Tom, who works at what he calls “an animal rights organization”. Tom’s team needs a last-minute grunt to handle things on their next field visit. Jamie, eager to do anything, immediately signs on. What Tom doesn't tell Jamie is that the animals his team cares for are not here on Earth. Not our Earth, at at least. In an alternate dimension, dinosaur-like creatures named Kaiju roam a warm and human-free world.

When Murderbot discovers a dead body on Preservation Station, it knows it is going to have to assist station security to determine who the body is (was), how they were killed (that should be relatively straightforward, at least), and why (because apparently that matters to a lot of people - who knew?). Yes, the unthinkable is about to happen: Murderbot must voluntarily speak to humans! Again!

Here, Simmons returns to this richly imagined world of technological achievement, excitement, wonder and fear. Endymion is a story about love and memory, triumph and terror - an instant candidate for the field's highest honors.

In 2007, the Center for Automation in Nanobiotech (CAN) outlined the hardware and software platforms that would one day allow robots smaller than human cells to make medical diagnoses, conduct repairs, and even self-propagate. In the same year, the CBS network re-aired a program about the effects of propranolol on sufferers of extreme trauma. A simple pill, it had been discovered, could wipe out the memory of any traumatic event. At almost the same moment in humanity’s broad history, mankind discovered the means for bringing about its utter downfall. And the ability to forget it ever happened.

The Laconian Empire has fallen, setting the 1,300 solar systems free from the rule of Winston Duarte. But the ancient enemy that killed the gate builders is awake, and the war against our universe has begun again.

The product of a troubled and violent youth, Amanda Ripley is hellbent to discover what happened to her missing mother, Ellen Ripley. She accepts an assignment with a Weyland-Yutani team being sent to retrieve the Nostromo flight recorder from space station Sevastopol, which they find out of control due to a Xenomorph that was brought there with the recorder. A conspiracy unfolds, revealing ever greater threats - including an entire Xenomorph hive.

Marine Corps Captain Jacob Brown and his battlesynth partner, Tin Man, were on their own… The pair have been in the wind aboard their ship, Boneshaker, since they uncovered a great conspiracy. The Cridal Premier, Seeladas Dalton, had been replaced by a cybernetic imposter and now Jacob has discovered that the deception goes much deeper. Leaders on Earth and even within the Eshquarian Empire are acting… odd. Even the commander of Scout Fleet, Admiral Marcus Webb, is not quite himself lately. Jacob and Tin Man now have no safe harbor, no support, and no idea what to do.

The Road runs from the unimaginable past to the far future, and those who travel it have access to the turnoffs leading to all times and places—even to the alternate time-streams of histories that never happened. Why the Dragons of Bel'kwinith made the Road—or who they are-—no one knows. But the Road has always been there and for those who know how to find it, it always will be!

A dynamic remastering of the original BBC Radio 4 full-cast serial - Fit the First to Fit the Sixth - which spawned a phenomenal hitchhiking legend. The original series of The Hitchhiker’s Guide to the Galaxy, remastered by Dirk Maggs (director of the Tertiary, Quandary and Quintessential Phases) to give a full, vibrant sound, now with Philip Pope’s version of the familiar theme tune and specially re-recorded announcements by John Marsh.

What happens when a robot begins to question its creators? What would be the consequences of creating a robot with a sense of humour? Or the ability to lie? How do we truly tell the difference between man and machine? In I, Robot, Asimov sets out the Three Laws of Robotics - designed to protect humans from their robotic creations - and pushes them to their limits and beyond.