Previously published as THE PREFECT. A rollercoaster ride through the dark and turbulent universe of REVELATION SPACE: an interstellar thriller where nothing - and no one - is what they seem ... Tom Dreyfus is a Prefect, a policeman of sorts, and one of the best. His force is Panoply, and his beat is the multi-faceted utopian society of the Glitter Band, that vast swirl of space habitats orbiting the planet Yellowstone. These days, his job is his life. A murderous attack against a Glitter Band habitat is nasty, but it looks to be an open-and-shut case - until Dreyfus starts looking under some stones that some very powerful people would really rather stayed unturned. What he uncovers is far more serious than mere gruesome murder: a covert takeover bid by a shadowy figure, Aurora (who may once have been human but certainly isn't now), who believes the people of the Glitter Band should no longer be in charge of their own destiny. Dreyfus discovers that to save something precious, you may have to destroy part of it. 'An adroit and fast-paced blend of space opera and police procedural, original and exciting' George R. R. Martin
Science fiction produced in the 1970s has long been undervalued, dismissed by Bruce Sterling as "confused, self-involved, and stale". The New Wave was all but over and Cyberpunk had yet to arrive. The decade polarised sf - on the one hand it aspired to be a serious form, addressing issues such as race, Vietnam, feminism, ecology and sexuality, on the other hand it broke box office records with Star Wars, Close Encounters of the Third Kind, Alien and Superman: The Movie. Beginning with chapters on the First sf and New Wave authors who published during the 1970s, Solar Flares examines the ways in which the genre confronted a new epoch and its own history, including the rise of fantasy, the sf blockbuster, children's sf, pseudoscience and postmodernism. It explores significant figures such as Joanna Russ, Samuel R. Delany and Octavia Butler. From Larry Niven's Ringworld to Thomas M. Disch's On Wings of Song, from The Andromeda Strain to Flash Gordon and from Doctor Who to Buck Rogers, this book reclaims seventies sf writing, film and television - alongside music and architecture - as a crucial period in the history of science fiction.
In the new millennium, what secrets lay beyond the far reaches of the universe? What mysteries belie the truths we once held to be self evident? The world of science fiction has long been a porthole into the realities of tomorrow, blurring the line between life and art. Now, in The Year's Best Science Fiction: Thirty-Third Annual Collection, the very best SF authors explore ideas of a new world. This venerable collection brings together award-winning authors and masters of the field. With an extensive recommended reading guide and a summation of the year in science fiction, this annual compilation of short stories has become the definitive must-read anthology for all science fiction fans and readers interested in breaking into the genre.
In Hans Urs von Balthasar and the Critical Appropriation of Russian Religious Thought, Jennifer Newsome Martin offers the first systematic treatment and evaluation of the Swiss Catholic theologian’s complex relation to modern speculative Russian religious philosophy. Her constructive analysis proceeds through Balthasar’s critical reception of Vladimir Soloviev, Nicholai Berdyaev, and Sergei Bulgakov with respect to theological aesthetics, myth, eschatology, and Trinitarian discourse and examines how Balthasar adjudicates both the possibilities and the limits of theological appropriation, especially considering the degree to which these Russian thinkers have been influenced by German Idealism and Romanticism. Martin argues that Balthasar’s creative reception and modulation of the thought of these Russian philosophers is indicative of a broad speculative tendency in his work that deserves further attention. In this respect, Martin consciously challenges the prevailing view of Balthasar as a fundamentally conservative or nostalgic thinker. In her discussion of the relation between tradition and theological speculation, Martin also draws upon the understudied relation between Balthasar and F. W. J. Schelling, especially as Schelling's form of Idealism was passed down through the Russian thinkers. In doing so, she persuasively recasts Balthasar as an ecumenical, creatively anti-nostalgic theologian hospitable to the richness of contributions from extra-magisterial and non-Catholic sources.