The cult classic from the godfather of Cuban science fiction, Agustín de Rojas’s The Year 200 is both a visionary sci-fi masterwork and a bold political parable about the perils of state power. Centuries have passed since the Communist Federation defeated the capitalist Empire, but humanity is still divided. A vast artificial-intelligence network, a psychiatric bureaucracy, and a tiny egalitarian council oversee civil affairs and quash “abnormal” attitudes such as romantic love. Disillusioned civilians renounce the new society and either forego technology to live as “primitives” or enhance their brains with cybernetic implants to become “cybos.” When the Empire returns and takes over the minds of unsuspecting citizens in a scenario that terrifyingly recalls Invasion of the Body Snatchers, the world’s fate falls into the hands of two brave women. Originally published in 1990, just after the fall of the Berlin Wall and before the onset of Cuba's devastating Special Period, Agustín de Rojas’s magnum opus brings contemporary trajectories to their logical extremes and boldly asks, “What does ‘the greatest good for the greatest number’ really mean?”

In the Introduction a previous publisher states, We believe this work to be the most complete, honest and best documented work available on this subject. We present this work hoping that the facts presented will be more highly esteemed than common dogma and tradition. The author devoted years of intense and reliable study in the Library of Congress, with the help of insiders, to create this work. Considered one of the most important and accurate books on Christianity ever written. Covers the origin and history of Christian doctrines, lost gospels, a list of those gospels that were destroyed, and information on Irenaeus, Clement of Alexandria, and Turtullian. Presents carefully researched facts that often oppose traditional beliefs.

The surviving examples of the early medieval "shelun," a subgenre of the "fu," are translated and interpreted against their political background in this original contribution to Chinese "Nanbeichao" studies.

Illustrations created in France to celebrate the turn of the century, show scenes depicting the future of air travel, helicopters, undersea colonies, agriculture and the radio

A morally profound chamber piece, A Legend of the Future is a critique of morality. It takes place inside a spaceship after a crash takes place during a failed mission to Titan, one of the Saturn moons. The journey home forces the crew to face its innermost fears while coexisting with each other in a state of desperation. This mesmerizing novel, recalling Arthur C. Clarke’s 2001: Space Odyssey, is a roman a clef about the intense pressures—economic, ideological, psychological—inside Socialist Cuba. Praise for A Legend of the Future "The best science fiction writer in Cuba; the only possible debate is which of his works is the best.... His trilogy of Spiral, A Legend of the Future, and Year 200 is still the best of Cuban science fiction.... With a very refined style and well-established scientific-social background, Agustín’s work surprises through its humanistic content. His concerns surrounding the meaning of life and the evolution of human beings put him in a privileged place among national writers.” —Cuenta Regresiva "The best and most popular novelist of this genre that the Island has ever given.... He is considered one of the principal exponents of Cuban science fiction, and he was undoubtedly the one who knew how to best combine solid scientific formation as plots and attractive characters with a confidence well-based in humanity’s socialist future.” —Yoss "One of the best science fiction writers in Cuba—and, until [his death], one of the best Cuban story tellers alive.... Today Agustín de Rojas’ work, from Spiral through Catharsis and Society, is admired by cult readers, pro-government thinkers, and elitists alike." —Félix Luis Viera, Cubaencuentro "The most elevated figure in Cuban science fiction." —Axxón Agustín de Rojas (1949-2011) is the patron saint of Cuban science fiction. A professor of the history of theater at the Escuela de Instructores de Arte in Villa Clara, he is the author of a canonical trilogy of novels: Espiral (Spiral, 1982), for which he was awarded the David Prize; La leyenda del futuro (The Legend of the Future, 1985) and El año 200 (The Year 200, 1990), all scheduled for publication in English translation by Restless Books. While influenced by Ray Bradbury and a translator of Isaac Asimov into Spanish, he aligned himself with the Soviet line of socialist realism defined by the brothers Arkady and Boris Strugatsky as well as by Ivan Antonovich Yefremov, author of The Andromeda Nebula, made into a movie directed by Yevgeni Sherstobitov and admired by de Rojas. In Cuban literature, he is said to have begun writing after reading Miguel Collazo’s El viaje (The Journey). After the fall of the Soviet Union, de Rojas stopped writing science fiction and embraced other themes such as Christianity, about which he wrote a novel called El publican (1997), about the disciples of Jesus Christ, that was awarded the Dulce María Loynaz Prize. He spent his last years persuaded—and persuading others—that Fidel Castro did not exist. Nick Caistor is a British journalist, non-fiction author, and translator of Spanish and Portuguese literature. He has translated Cesar Aira, Paulo Coelho, Eduardo Mendoza, Juan Marsé, and Manuel Vázquez Montalban, and he has twice won the Valle-Inclán Prize for translation. He regularly contributes to Radio 4, the BBC World Service, the Times Literary Supplement, and the Guardian. He lives in Norwich, England.

Upending all we know about the war on drugs, a history of the anti-narcotics movement’s origins, evolution, and questionable effectiveness. Opium’s Orphans is the first full history of drug prohibition and the “war on drugs.” A no-holds-barred but balanced account, it shows that drug suppression was born of historical accident, not rational design. The war on drugs did not originate in Europe or the United States, and even less with President Nixon, but in China. Two Opium Wars followed by Western attempts to atone for them gave birth to an anti-narcotics order that has come to span the globe. But has the war on drugs succeeded? As opioid deaths and cartel violence run rampant, contestation becomes more vocal, and marijuana is slated for legalization, Opium's Orphans proposes that it is time to go back to the drawing board.

For Most People, The Threat Of Global Warming Seems A Contemporary One. For Christianson, It Is An Absorbing Historical And Scientific Process Intertwined With Two Centuries Of Civilisation And 300 Billion Years In The Life Of The Planet. He Blends The Research Of A Scholar With A Novelist S Storytelling Skill. His Series Of Elegantly Linked Stories Make Fascinating Connections Between History And Science. He Finds Meaning In The Small And The Large From The Mutation Of A Common Moth In Manchester, Which Could Have Helped Prove Charles Darwin S Theories Of Natural Selection And Adaptation, To The Deaths Of The Anasazi And Viking Civilisations, Which Unveil The Close Connection Between Global Warming And Cooling. Scientists, Inventors, And Other Pioneers Are Woven Into The Narrative, For The Author Finds Global Warming Both A Memorable Human Drama As Well As An Integral Part Of Our Planet S History.