This is a reprint of the 1940 first-contact Sci Fi classic short story that inspired the two movies titled "The Day the Earth Stood Still." The story differs in many ways from both movies. This is the only annotated paperback available of the story by Harry Bates.

Farewell to the Master Harry Bates d. He could almost remember verbatim his answer: "No, Gnut has neither moved nor been moved since the death of his master. A special point was made of keeping him in the position he assumed at Klaatu's death. The floor was built in under him, and the scientists who completed his derangement erected their apparatus around him, just as he stands. You need have no fears." Cliff smiled again. He did not have any fears. A moment later the big gong above the entrance doors rang the closing hour, and immediately following it a voice from the speakers called out "Five o'clock, ladies and gentlemen. Closing time, ladies and gentlemen." The three scientists, as if surprised it was so late, hurriedly washed their hands, changed to their street clothes and disappeared down the partitioned corridor, oblivious of the young picture man hidden under the table. The slide and scrape of the feet on the exhibition floor rapidly dwindled, until at last there were only the steps of the two guards walkin We are delighted to publish this classic book as part of our extensive Classic Library collection. Many of the books in our collection have been out of print for decades, and therefore have not been accessible to the general public. The aim of our publishing program is to facilitate rapid access to this vast reservoir of literature, and our view is that this is a significant literary work, which deserves to be brought back into print after many decades. The contents of the vast majority of titles in the Classic Library have been scanned from the original works. To ensure a high quality product, each title has been meticulously hand curated by our staff. Our philosophy has been guided by a desire to provide the reader with a book that is as close as possible to ownership of the original work. We hope that you will enjoy this wonderful classic work, and that for you it becomes an enriching experience.

"Meet Vera Johnson, fifteen-year-old illegitimate daughter of Rose, notorious proprietor of San Francisco's most legendary bordello. Vera has grown up straddling two worlds-the madam's alluring sphere, replete with tickets to the opera, surly henchmen, and scant morality, and the quiet domestic life of the family paid to raise her. On the morning of the great quake, Vera's worlds collide. As the city burns and looters vie with the injured, orphaned, and starving, Vera and her guileless sister, Pie, are cast adrift. Disregarding societal norms and prejudices, Vera begins to imagine a new kind of life. She collaborates with Tan, her former rival, and forges an unlikely family of survivors, navigating through the disaster together. In Vera, Carol Edgarian creates a cinematic, deeply entertaining world, in which honor and fates are tested; notions of sex, class, and justice are turned upside down; and love is hard-won. A ravishing, heartbreaking, and profound affirmation of youth and tenacity, Vera's story brings to life legendary characters-tenor Enrico Caruso, indicted mayor Eugene Schmitz and boss Abe Ruef, tabloid celebrity Alma Spreckels. This richly imagined, timely tale of improbable outcomes and alliances takes hold from the first page, with remarkable scenes of devastation, renewal, and joy. Vera celebrates the audacious fortitude of its young heroine, who discovers an unexpected strength in unprecedented times"--

Many designers enjoy the interfaces seen in science fiction films and television shows. Freed from the rigorous constraints of designing for real users, sci-fi production designers develop blue-sky interfaces that are inspiring, humorous, and even instructive. By carefully studying these “outsider” user interfaces, designers can derive lessons that make their real-world designs more cutting edge and successful.

The science fiction genre maintains a remarkable hold on the imagination and enthusiasm of the filmgoing public, captivating large audiences worldwide and garnering ever-larger profits. Science fiction films entertain the possibility of time travel and extraterrestrial visitation and imaginatively transport us to worlds transformed by modern science and technology. They also provide a medium through which questions about personal identity, moral agency, artificial consciousness, and other categories of experience can be addressed. In The Philosophy of Science Fiction Film, distinguished authors explore the storylines, conflicts, and themes of fifteen science fiction film classics, from Metropolis to The Matrix. Editor Steven M. Sanders and a group of outstanding scholars in philosophy, film studies, and other fields raise science fiction film criticism to a new level by penetrating the surface of the films to expose the underlying philosophical arguments, ethical perspectives, and metaphysical views. Sanders's introduction presents an overview and evaluation of each essay and poses questions for readers to consider as they think about the films under discussion.The first section, "Enigmas of Identity and Agency," deals with the nature of humanity as it is portrayed in Blade Runner, Dark City, Frankenstein, Invasion of the Body Snatchers, and Total Recall. In the second section, "Extraterrestrial Visitation, Time Travel, and Artificial Intelligence," contributors discuss 2001: A Space Odyssey, The Terminator, 12 Monkeys, and The Day the Earth Stood Still and analyze the challenges of artificial intelligence, the paradoxes of time travel, and the ethics of war. The final section, "Brave Newer World: Science Fiction Futurism," looks at visions of the future in Metropolis, The Matrix, Alphaville, and screen adaptations of George Orwell's 1984.

"It is not too late to create the future we all say we want for our children and our children's children--a future that is environmentally sustainable, spiritually fulfilling and socially just. The Great Growing Up projects this vision and shows a way for generating this global reality"--

The author makes an argument for clemency in judging Hollywood's interpretations of history and thoroughly investigates its serious limitations and opportunities to construe history.