One Fine Day Before The Apocalypse

A collection of usually short poems, Covering various subjects from the End of the world to losing ones glasses. There's a cat involved somewhere. The author is from the North of England He hopes you enjoy reading this.

A science fiction novel which focusses much about three decades ahead in future. It takes the readers into the world of astronomy amalgamating with the technology of the future. It mainly targets on the projects that the author envisaged might come in future and the associated jeopardy. Coalescing the technology with the genuine intellectuality into one compound called “Science”, the book explains in detail about the real destiny. Targeting the audience at the age group of sixteen plus, the book has been portrayed in a diplomatic way using simple English language to make everyone grasp the pith of the content.

This meticulously edited Sci-Fi box set is packed with the selected dystopian novels & the post-apocalyptic classics. The ebook is formatted for your eReader with a functional and detailed table of contents: Ayn Rand: Anthem Jack London: Iron Heel H. G. Wells: The Time Machine The First Men in the Moon When The Sleeper Wakes Edward Bulwer-Lytton: The Coming Race Hugh Benson: Lord of the World Edward Bellamy: Looking Backward: 2000–1887 Equality Mary Shelley: The Last Man Edgar Allan Poe: The Conversation of Eiros and Charmion Owen Gregory: Meccania the Super-State Jonathan Swift Gulliver's Travels William Hope Hodgson: The Night Land Fred M. White: The Doom of London Series The Four White Days The Four Days' Night The Dust of Death A Bubble Burst The Invisible Force The River of Death Ignatius Donnelly: Caesar's Column Ernest Bramah: The Secret of the League (aka What Might Have Been) Milo Hastings: City of Endless Night Arthur Dudley Vinton: Looking Further Backward Gertrude Barrows Bennett (aka Francis Stevens): The Heads of Cerberus E. M. Forster: The Machine Stops Richard Jefferies: After London Samuel Butler: Erewhon Edwin A. Abbott: Flatland Anthony Trollope: The Fixed Period Fritz Leiber: The Night of the Long Knives Richard Stockham: Perchance to Dream Irving E. Cox: The Guardians Cleveland Moffett: The Conquest of America Richard Jefferies: After London William Dean Howells: A Traveler from Altruria Through the Eye of the Needle Philip Francis Nowlan: Armageddon–2419 A.D. The Airlords of Han (Sequel) Anonymous: The Great Romance Rokeya Sakhawat Hossain: Sultana's Dream George Griffith: The Angel of the Revolution The Syren of the Skies (Sequel)

Over the last century a growing number of visual artists have been captivated by the entwinements of beauty and power, truth and artifice, and the fantasy and functionality they perceive in geographical mapmaking. This field of "map art" has moved into increasing prominence in recent years yet critical writing on the topic has been largely confined to general overviews of the field. In Mapping Beyond Measure Simon Ferdinand analyzes diverse map-based works of painting, collage, film, walking performance, and digital drawing made in Britain, Japan, the Netherlands, Ukraine, the United States, and the former Soviet Union, arguing that together they challenge the dominant modern view of the world as a measurable and malleable geometrical space. This challenge has strong political ramifications, for it is on the basis of modernity's geometrical worldview that states have legislated over social space; that capital has coordinated global markets and exploited distant environments; and that powerful cartographic institutions have claimed exclusive authority in mapmaking. Mapping Beyond Measure breaks fresh ground in undertaking a series of close readings of significant map artworks in sustained dialogue with spatial theorists, including Peter Sloterdijk, Zygmunt Bauman, and Michel de Certeau. In so doing Ferdinand reveals how map art calls into question some of the central myths and narratives of rupture through which modern space has traditionally been imagined and establishes map art's distinct value amid broader contemporary shifts toward digital mapping.

A mordantly funny, all-too-real novel in the vein of Tom Perotta and Emma Straub about a suburban American family who have to figure out how to survive themselves and their neighbors in the wake of a global calamity that upends all of modern life. It’s Tuesday morning in Lincolnwood, New Jersey, and all four members of the Altman family are busy ignoring each other en route to work and school. Dan, a lawyer turned screenwriter, is preoccupied with satisfying his imperious TV producer boss’s creative demands. Seventeen-year-old daughter Chloe obsesses over her college application essay and the state tennis semifinals. Her vape-addicted little brother, Max, silently plots revenge against a thuggish freshman classmate. And their MBA-educated mom Jen, who gave up a successful business career to raise the kids, is counting the minutes until the others vacate the kitchen and she can pour her first vodka of the day. Then, as the kids begin their school day and Dan rides a commuter train into Manhattan, the world comes to a sudden, inexplicable stop. Lights, phones, laptops, cars, trains…the entire technological infrastructure of 21st-century society quits working. Normal life, as the Altmans and everyone else knew it, is over. Or is it? Over four transformative, chaotic days, this privileged but clueless American family will struggle to hold it together in the face of water shortages, paramilitary neighbors, and the well-mannered looting of the local Whole Foods as they try to figure out just what the hell is going on.

The disease takes the world by storm. Ravaging the living, it takes no survivors. The end of the world comes swiftly and silently without much noise or fuss. It sneaks up on a group of neighbors who must bind together in order to survive. Alice is caught by surprise when the dead begin to rise. She's a paralegal: not a warrior. She's comfortable with paperwork and filing, but killing? That's not exactly in her job description. Soon Alice learns there's more to the end of the world than fighting the undead, though, and she realizes that if she's not careful, her companions are going to learn her secret. Mark is a soldier. He thought he'd left the pain of war behind, but now he knows that soldiers never really leave the battlefield. Even when your physical wounds heal, there's always some remnant of horror left behind. There's always something terrifying you. Kyle isn't afraid of the dark. At least, that's what he tells himself. He's an IT guy. He's not a fighter. He has no place in the zombie apocalypse, so he has to craft one for himself. Together, they'll make or break their own survival. Together, they'll figure out whether or not they can make this work. After all, it's just another day in the zombie apocalypse.

Apocalypse: The Great Day of the Lord for the Righteous is a positive look at the positive events of the Apocalypse. Just saying the word brings to mind the idea of mass destruction. Many think of a fiery end to life on earth or of zombies shuffling ominously through the streets. Focusing on the negative makes it an unpleasant subject. Contrary to these ideas, this book on the Apocalypse focuses on the great blessings that the righteous will receive when the Lord comes—a great and glorious day with no fear of the destruction that will simultaneously come down upon the heads of the wicked. For the wicked, it will indeed be a dreadful day, and they will call upon the mountains and rocks to hide them when the full fury of the Lord's anger is poured out upon them (see Revelation 6:16). For the righteous, it will be a day of unimaginable joy—a day of resurrection, of peace, of safety, and of living under the rule of our Eternal King, the Lord Jesus Christ. If we remember this, we can more fully appreciate the "great day" aspect of the Second Coming of Christ, as opposed to a fearful approach. That is the purpose of this book, so that we, along with the Apostle John on the Isle of Patmos, will feel to say, "Even so, come, Lord Jesus[!]" (Revelation 22:20). The cover features a stunning image of the Lord descending through the clouds of glory, as painted by Del Parson.