It begins with voices, whispers filling the shadows and the minds of the crew. A once sane man declares that their discovery is not just a rock, but a god. Then the killing begins, and a cult rises swearing allegiance to their newfound deity. As the murders mount and the dead themselves begin to rise, a small group of survivors cling to the hope that they can somehow escape the hell they’ve been plunged into. But their problems mount as they face an army of undead crewmembers, the reanimated corpses of hundreds of failed genetic experiments, the murderous cult, and—worst of all—the rapidly evolving creature in containment room 7.
For salvagers Robyn Cartwright and Amanda Martin, a serial killer is the least they have to worry about. Something is going on with the undead outside the Wall, something that could have deadly repercussions for the Safe Zone, and every living thing within it.
Once he was nearly godlike-or demonic, if one dared become his enemy-but now Garrison's mental abilities grow weaker with each use. He tries desperately to conserve his energies, but he has begun to have strange visions of a mind so different from his own as to be other than human, and knows he must stay alert and strong.
Charon Gubwa has invaded the Psychosphere. Twisted and evil, sexually and mentally warped, physically corrupt, Gubwa's desires are simple: More. More drugs. More sex. More power. More of the Earth under his dominion.
Richard Garrison must battle Gubwa in the Psychosphere and on Earth. And he must win, no matter the cost to himself or those he loves, or all mankind will be lost.
At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.
“Proteus Rex” is about a genetically engineered life-form that adapts the attributes of animals (a lion’s strength, a bird’s wings) or whatever his survival needs and infinite appetites dictate. Having consumed all the animal life in a small rural community, he begins to eat people. Much of the story is about the local authority’s attempt to identify and apprehend this menace, a significant challenge as Proteus Rex is an extradimensional being that can change his size to as small as an amoeba to as large as a blue whale. “Proteus Rex” is populated by a deep cast of characters, only a few of whom manage not to get eaten.
Imagine the actress Lucy Liu portraying Ian Fleming’s most shrewd creation, James Bond, 007. Only she’s working for TSA—the Teleportation Security Administration—three hundred years in the future. This is after World War VI, and the United States has been fractured into several independent nations. The two Koreas have united and is running the world. Executive Action Officer Sun Park’s mission is to capture or neutralize the perpetrators that sent and detonated an atomic bomb in the TSA X-port Freight Hub in Buenos Aires. This is the premise of “The Price of a Dog,” an action-driven novella, a political science fiction thriller.
In the short story “Slaves of the Cat Goddess,” Buster, the main character (and stooge of General Wanamaker), is charged to take the mysterious cat Bast to a secret research base. Bast’s size and ferocity force a crash landing on an uncharted tropical island inhabited by cannibals. Knowing that it was Buster who was responsible for her mutation, Bast not only protects him in this hostile world, but she sees that he is elevated, serving as the ambassador between the goddess Bast and the humanity she would enslave.
In letters from 1798, Kant claims to have discovered a "gap" in the Critical philosophy that requires effecting a "transition from the metaphysical foundations of natural science to physics"; unfortunately, Kant does not make clear exactly what this gap is or how the transition is supposed to fill the gap. To resolve these issues, Hall draws on the Opus Postumum, arguing that Kant’s transition project can solve certain perennial problems with the Critical philosophy. This volume provides a powerful alternative to all current interpretations of the Opus Postumum, arguing that Kant’s transition project is best seen as the post-Critical culmination of his Critical philosophy. Hall carefully examines the deep connections between the Opus Postumum and the view Kant develops in the Critique of Pure Reason, to suggest that properly understanding the post-Critical Kant will significantly revise our view of Kant’s Critical period.