UNITED STATES AUTHOR · FICTION · SCIENCE FICTION
Daryl Gregory
Most acclaimed
Made to Order
A cutting-edge anthology, published on the 100th anniversary of the word “Robot”, exploring the possibilities and place of robots in society going forwards. 100 years after Karel Capek coined the word, “robots” are an everyday idea, and the inspiration for countless stories in books, film, TV and games. They are often among the least privileged, most unfairly used of us, and the more robots are like humans, the more interesting they become. This collection of stories is where robots stand in for us, where both we and they are disadvantaged, and where hope and optimism shines through. Including stories by: Brooke Bolander · John Chu · Daryl Gregory · Peter F. Hamilton · Saad Z. Hossain · Rich Larson · Ken Liu · Ian R. Macleod · Annalee Newitz · Tochi Onyebuchi · Suzanne Palmer · Sarah Pinsker · Vina Jie-Min Prasad · Alastair Reynolds · Sofia Samatar · Peter Watts
Pandemonium
2008
It is a world like our own in every respect . . . save one. In the 1950s, random acts of possession begin to occur. Ordinary men, women, and children are the targets of entities that seem to spring from the depths of the collective unconscious, pop-cultural avatars some call demons. There's the Truth, implacable avenger of falsehood. The Captain, brave and self-sacrificing soldier. The Little Angel, whose kiss brings death, whether desired or not. And a string of others, ranging from the bizarre to the benign to the horrific.As a boy, Del Pierce is possessed by the Hellion, an entity whose mischief-making can be deadly. With the help of Del's family and a caring psychiatrist, the demon is exorcised . . . or is it? Years later, following a car accident, the Hellion is back, trapped inside Del's head and clamoring to get out.Del's quest for help leads him to Valis, an entity possessing the science fiction writer formerly known as Philip K. Dick; to Mother Mariette, a nun who inspires decidedly unchaste feelings; and to the Human League, a secret society devoted to the extermination of demons. All believe that Del holds the key to the plague of possession--and its solution. But for Del, the cure may be worse than the disease."Look out, Lethem! Daryl Gregory mixes pop culture and pathos, flavoring it with Philip K. Dick. Pandemonium possesses every quality you want in a great novel, and the good news is it's only his debut." --Charles Coleman Finlay, Hugo and Nebula Award-nominated author of The Prodigal TrollFrom the Trade Paperback edition.
Dracula
1986
Our dramatization of this myth of ancient horror is not for children. We do not minimize the genuine horror and sexuality of the story. It is not camp; it is not played for laughs, though it does have important scenes of comic relief; we take the myth of the vampire seriously. It is not a marathon; we follow where Bram Stoker leads, carefully condensing and pruning his expansive novel into a tightly structured theatrical experience of normal length. We dissected the events and chronology of his story down to the minutest detail, and we found that his work is seamless; grant him only the premise that there can be such a being as a vampire, and all else follows with flawless probability and necessity. In the end, the audience should feel that they have been with our characters on a tremendous journey, a quest with life and death at stake, not just for their lives, but for their souls as well. The end of the play--the final victory over the vampire--is a transcendent victory over evil incarnate. This play is a play--not a dramatization with narration and dialogue. It is a fully realized play for the stage, conveying story through action and dialogue. We do go so far as to use Stoker's convention in which written messages convey important events and information, but we always present such messages in the mouths and by the actions of the characters who write and send them. Last but not least, we embrace the emotional richness of the 19th century language and characterization. In many cases, we draw our dialogue directly from Stoker.