A team of space archaeologists makes an astonishing discovery about an ancient alien race in this science fiction tale from "a master of his craft" ( Los Angeles Times ). Graduate student Tom Rice is thrilled to embark on his first deep-space archeological expedition. He is part of a team from Earth, venturing out in search of artifacts from a civilization that ruled the universe many millennia ago. Called the High Ones, the members of this long-gone society left tantalizing clues about their history and culture scattered throughout space. One such clue, a "message cube" containing footage of the ancient ones, is more interesting than all of the others combined. It seems to indicate that the High Ones aren't extinct after all--and just like that, Tom Rice's archeological mission has become an intergalactic manhunt, one filled with ever-increasing danger that will send the explorers hurtling headlong into the greatest adventure--and peril--of their lives.

With an introduction by Neil Gaiman: Once a hero, now a pariah, Richard Muller is humanity's last hope Richard Muller was an honorable diplomat who braved unimaginable dangers to make contact with the first-known race of intelligent aliens. But those aliens left a mark on him: a psychic wound that emanates a telepathic miasma his fellow humans can neither cure nor endure. Muller is exiled to the remote planet of Lemnos, where he is left, deeply embittered, at the heart of a deadly maze . . . until a new alien race appears, seemingly intent on exterminating humanity. Only Muller can communicate with them, due to the very condition that has made him an outcast. But will Muller stick his neck out for the people who so callously rejected him? " The Man in the Maze] is courageous, exploring new territory, with one foot in the New Wave camp, but] it is still mindful of its roots. From the past of SF we get the strains of Space Opera, replete with incomprehensible aliens and mysterious artefacts." -From the introduction by Neil Gaiman "One of science fiction's modern masters . . . his words and his work have shaped the whole direction of the field." -Chicago Sun-Times "Robert Silverberg's versatile, skeptical intelligence controls a lavish and splendid imagination." -Ursula K. Le Guin "Done Silverberg's way, science fiction is a fine art." -Associated Press Robert Silverberg is one of science fiction's most beloved writers, and the author of such contemporary classics as Dying Inside, Downward to the Earth, and Lord Valentine's Castle. He is a past president of the Science Fiction and Fantasy Writers of America and the winner of five Nebula Awards and five Hugo Awards. In 2004 the Science Fiction and Fantasy Writers of America presented him with the Grand Master Award. Silverberg is one of twenty-nine writers to have received that distinction.

"By the time this present group of stories was written I had passed through the cultural turbulence that engulfed nearly everyone's life in the wild, stormy period we know as "the Sixties," which for me had actually lasted from 1968 to 1974 or 1975. I had come through my own angry four-year-long retirement from writing in the middle 1970s, and was working again at a steady pace, though not with the frenetic prolificacy of the pre-retirement years. At the beginning of this period my personal life was still pretty chaotic, a carryover from all that Sixties madness, and plenty of new chaos was going to descend on me while some of these stories were written, but I was tiptoeing toward an escape from the various messes that were complicating my life, and by the time the last five stories of this volume were being written I was heading into the stability of my second marriage." -Robert Silverberg, from the Introduction

"I "I have to confess, right up front here, that you will not find a great deal in the way of poetic vision in these stories, or singing prose, or deep insight into character. Nor are these stories that will tell you much that is new to you about the human condition. These are stories in what is now pretty much a lost tradition in science fiction, the simple and unselfconsciously fast-paced adventure story of the pulp-magazine era. They are stories from the dawn of my career, which began in the closing years of that era, and are straightforward tales of action, in the main, that were written partly for fun and partly for money." -Robert Silverberg, from the Introduction

Winner of the Hugo Award: This classic is an "evocative look at a crumbling Earth of the far future and a human race struggling to survive" (George R. R. Martin). "Roum is a city built on seven hills. They say it was a capital of man in one of the earlier cycles. I knew nothing of that, for my guild was Watching, not Remembering." For a thousand years, mankind has lived under the threat of invasion from an alien race. After the oceans rose and the continents were reshaped, people divided into guilds--Musicians, Scribes, Merchants, Clowns, and more. The Watchers wander the earth, scouring the skies for signs of enemies from the stars. But during one Watcher's journey to the ancient city of Roum with his companion, a Flier named Avluela, a moment of distraction allows the invaders to advance. When the Watcher finally sounds the alarm, it's too late; the star people are poised to conquer all. And so, with the world in turmoil, the Watcher sets out alone for the Hall of the Rememberers, keepers of the past, where humanity's last hope for survival might be hidden . . . Perfect for readers of Greg Bear and Ursula K. Le Guin, renowned, award-winning author Robert Silverberg's science fiction novel represents the best of the genre and beyond.

A thousand years in the future, the earth has been conquered by an alien race and covered by a single sea. Dovirr Stargan, who is disgusted with the servility of his life on the floating city of Vythain, longs to become one of the Sea-Lords, who roam the sea as powerful protectors of the cities. Dovirr gets his wish, but the return of the alien race brings unexpected and critically dangerous crises to his new life as he learns the real, sometimes terrible, significance of power.

"The stories in this volume were written between July of 1990 and March of 1995-the second half of the fifth decade of my career as a science-fiction writer. I don't think I could have imagined, when I began that career in the early 1950s, that science-fiction publishing would evolve the way it did over the next forty years. Here, then, is the cream of the Silverberg output, 1990-95. I suppose I wrote more short stories in the first six months of 1957 than in that entire six-year period; but so be it. It's a different world today. I look back nostalgically on the small-town atmosphere of the era in which I began my career, and there are times when I'd be glad to 'call back yesterday, bid time return.' As Shakespeare pointed out, though, that can't be done. The one recourse is the one I have chosen, which is to soldier staunchly onward through the years, come what may, writing a story or two here and a book there, while the world changes out of all recognition around me. And so-to leap neatly from the Bard of Avon to F. Scott Fitzgerald-'so we beat on, boats against the current, borne back ceaselessly into the past.'" -Robert Silverberg, from the Introduction

An Alternate History adventure... From Turkish dominated Europe, across the high seas to the land of opportunity-the Aztec Empire- Dan Beauchamp is a young Englishman whose heart longs for fortune and adventure. But industrial Mexico is a long way from primitive Britain, and Dan has a lot to learn. From the city of London-better known as New Istanbul-to the untamed wilderness of North America lies a high adventure not to be missed.

Robert Silverberg needs little introduction to anyone at all familiar with the history of the science fiction field. Fan. Author. Editor. Creative force. He has been an integral part of the field for longer than most of his readers have been alive. Earlier this year, he kindly agreed to put together a MEGAPACK(R) of his short stories, so here, then, is a selection of early works by one of the all-time greats. Included are: ALAREE BIRDS OF A FEATHER BLAZE OF GLORY DELIVERY GUARANTEED THE DESSICATOR THE HAPPY UNFORTUNATE THE HUNTED HEROES THE IRON STAR THE ISOLATIONISTS THE LONELY ONE THE MAN WHO CAME BACK NEUTRAL PLANET OZYMANDIAS THE PAIN PEDDLERS THE PLEASURE OF THEIR COMPANY POINT OF FOCUS POSTMARK GANYMEDE PRIME COMMANDMENT THE SONGS OF SUMMER SPACEROGUE THERE WAS AN OLD WOMAN THE WOMAN YOU WANTED VALLEY BEYOND TIME WE KNOW WHO WE ARE

This story, "To See the Invisible Man," written in June of 1962, marks the beginning of my real career as a science-fiction writer, I think. The 1953-58 stories collected in To Be Continued, the first of this series of volumes, are respectable professional work, some better than others but all of them at least minimally acceptable--but most of them could have been written by just about anyone. Aside from a few particularly ambitious items, they were designed to slip unobtrusively into the magazines of their time, efficiently providing me with regular paychecks. But now, by freeing me from the need to calculate my way around the risk of rejection, Fred Pohl allowed--indeed, required--me to reach as deep into my literary resources as I was capable of doing. I knew that unless I gave him my very best, the wonderful guaranteed-sale deal I had with him would vanish as quickly as it had appeared. Therefore I would reach deeper and deeper, in the years ahead, until I had moved so far away from my youthful career as a hack writer that latecomers would find it hard to believe that I had been emotionally capable of writing all that junk, let alone willing to do it. In "To See the Invisible Man" the distinctive Silverberg fictional voice is on display for just about the first time. --Robert Silverberg

Somehow, for all my outward pretence of cold-eyed professionalism, all my insistence that writing is simply a job like any other, I've discovered to my surprise and chagrin that there's more than that going on around here, that I write as much out of karmic necessity and some inescapable inner need to rededicate my own skills constantly to my-what? My craft? My art? My profession? I wrote these stories because the only way of earning a living I have ever had has been by writing, but mainly, I have to admit, I wrote these stories because I couldn't not write them. Well, so be it. They involved me in a lot of hard work, but for me, at least, the results justify the toil. I'm glad I wrote them. Writing them, it turns out, was important for me, and even pleasurable, in a curiously complex after-the-fact kind of way. May they give you pleasure now too. -Robert Silverberg, from his Introduction

THREE SURVIVED: Tom Rand, a practical engineer, and two other men are the only survivors of a spaceship explosion. Marooned on a hostile planet, they are being held captive by a group of "aliens." Their one slim chance of survival is to reach a rescue beacon placed on the planet years before by men from Earth. Can the three survivors escape what seems like certain, immediate death? And if they do, can they make their way through a jungle filled with untold dangers and reach the beacon in time? PLANET OF DEATH: Earthman Roy Crawford is framed for murder on the planet Velliran. He has two choices. He must escape from the planet within three days or go to prison for life. But the only spaceship leaving the planet within three days belongs to the Exploration Corps. This is a group of scientists which investigates new planets. They are about to leave for World Seven on the Star System Z-16. With help from his friends, the dazed Crawford finds himself in the ship. The scientists, of course, think he is one of them. But World Seven is no escape for Roy. It is a planet of death. The team of scientists find themselves in a world where even the trees are killers. And one more killer is on the spaceship - the real murderer who framed Crawford!

The world that these stories sprang from was the troubled, bewildering, dangerous, and very exciting world of those weird years when the barriers were down and the future was rushing into the present with the force of a river unleashed. But of course I think these stories speak to our times, too, and that most of them will remain valid as we go staggering onward through the brave new world of the twenty-first century. I am not one of those who believes that all is lost and the end is nigh. Like William Faulkner, I do think we will somehow endure and prevail against increasingly stiff odds. A great many strange and dizzying things happen to the characters in these sixteen stories, and in the fourteen stories of the 1972-73 volume that will follow. The reader who makes the journey from beginning to end of all thirty stories will be taken on many a curious trip, that I promise-as was their author during the years when they were being written. -Robert Silverberg, from the Introduction

The stories here, all of them written between March of 1972 and November of 1973, mark a critical turning point in my career. Those who know the three earlier volumes have traced my evolution from a capable journeyman, very young and as much concerned with paying the rent as he was to advancing the state of the art, into a serious, dedicated craftsman now seeking to leave his mark on science fiction in some significant way. Throughout the decade of the 1960s I had attempted to grow and evolve within the field of writing I loved--building on the best that went before me, the work of Theodore Sturgeon and James Blish and Cyril Kornbluth and Jack Vance and Philip K. Dick and half a dozen others whose great stories had been beacons beckoning me onward--and then, as I reached my own maturity, now trying to bring science fiction along with me into a new realm of development, hauling it along even farther out of its pulp-magazine origins toward what I regarded as a more resonant and evocative kind of visionary storytelling. --Robert Silverberg, from his Introduction

The stories collected here, written between August of 1987 and May of 1990, demonstrate that I still believe in the classical unities. Of course, what seems to us a unity now might not have appeared that way when H.G. Wells was writing his wonderful stories in the nineteenth century. Wells might have argued that my 'To the Promised Land' is built around two speculative fantastic assumptions, one that the Biblical Exodus from Egypt never happened, the other that it is possible to send rocketships to other worlds. But in fact we've sent plenty of rocketships to other worlds by now, so only my story's alternative-world speculation remains fantasy today. Technically speaking the space-travel element of the plot has become part of the given; it's the other big assumption that forms the central matter of the story. --Robert Silverberg, from his Introduction