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Xelena Xutu's family are moon people who fled Ganymede when she was young. From a young age, her dream was to design spaceships. As she grows up in the palace of Galactic X, the planetary superpower Ganymede orbits, her traditionalist mother tries to teach her Ganymedeni cultural values. While the king of Galactic X is fond of Xelena and her family, the other royals see moon people as lesser beings that threaten the planet's security. When Xelena is thirteen years old, she is kidnapped by Ganymede's ruler and subjected to a ritual that fuses her soul with the spirit of an ancient Ganymedeni overlord known only to her as the Voice. After this tragic incident and increased hatred from Galactic X's royals, Xelena's father smuggles the family to Divercity, a rival planetary superpower known for its advanced technology and acceptance of different races, so that she may live out her dreams. Eight years later, Xelena has abandoned her dream of shipbuilding in order to provide for her aging, sickly mother while living up to her cultural expectations in Divercity's fast-paced climate. She attracts the lustful eye of Romeo Caesarean, a powerful member of Divercity's elites whose advances drag her into Divercity's political sphere. As Xelena navigates Divercity's social classes in search of medical treatment for her mother, she discovers that Divercity isn't as welcoming as it seems. A moon girl from Ganymede struggles to succeed in Divercity. Making matters worse, the Voice has manifested as a split personality disorder within Xelena, causing a mental tug-of-war on who she is. Now Xelena must decide how far she is willing to push the limits of her own identity, culture, and dreams to save her mother's life.
She had come to life, but she was not human. Leigh Brackett was the undisputed Queen of Space Opera and the first women to be nominated for the coveted Hugo Award. She wrote short stories, novels, and scripts for Hollywood. She wrote the first draft of the Empire Strikes Back shortly before her death in 1978.
Nora heads off to school - only that school is on Ganymede, one of Jupiter's moons. And her classmates are aliens. And that isn't even the weirdest part.
Josephine Early, New Orleans brothel owner and Union spy, has a mission. And it might just end the Civil War. She must deliver Ganymede, an astonishing prototype submarine, to the North. But the giant war machine is at the bottom of a lake, no one has safely piloted it and she must sneak its huge bulk past enemy forces. Luckily, she knows the right man for the job. She hasn’t seen former lover and air-pirate Andan Cly for years, but has a sweet job to tempt him back. He agrees to help, but his primary mission is to retrieve supplies for blighted Seattle, where noxious gas has forced residents underground and undead rotters menace the city. Although legit, the Seattle run makes Cly uncomfortable. He no longer flies sap, disapproving of the drug’s ugly side-effects, and the job is funded with sap money. Josephine’s jaunt could be a great distraction. But will they make history, or end up at the bottom of the ocean? 'Priest is at the top of her game ... the best yet’ Publishers Weekly, ‘Ganymede centres on intrigue and espionage’, SFRevu.com, ‘Alternative history storytelling at its finest’ BookSlut.com
My name is Ganymede, and I have been betrayed. Every boy my age dreams of leaving home to embark on noble adventures, but never does any boy imagine it happening as it did to me. On the evening of my 18th naming day, I was sold to Zeus by my father.To be honest, I never believed in the gods, but my lack of belief held no power in Olympus. Now under Zeus's influence, I am kept drunk on ambrosia in the sun-lit halls of the immortals, alternately amazed and horrified at the power these beings hold over others, and how darkly they influence the progress of humanity itself. How very much I want to hate Zeus, and yet he shows me mostly kindness, even on that fateful night when we shared a bed for the first time. Kindness, yes, but also a godly and unyielding refusal to take no for an answer... probably because he could read my ambrosia-fevered curiosity as much as my naive, inexperienced terror. He owns me, after all, so perhaps it never occurred to him that a captive might not make the best of lovers. Throughout my time at Olympus the only thing that gives me hope comes to me in dreams and visions. His name is Sable and he is a magnificent shape-shifter in the form of a giant raven. When he first spoke to me in my mind it was with a resonance unlike any I had ever known - his mind and mine sounding a single note together, a song without words, a promise of freedom, a glimpse of some distant but very real possibility of this thing we humans call Love. But now he is silent. Perhaps I dreamed his voice. Perhaps, I have finally lost my mind..*Fans of The Song of Achilles by Madeline Miller, and Captive Prince by C.S. Pacat will especially enjoy Rathbone's version of the Ganymede's myth. -A.J., blog reviewer
Suze is book five of The Sol Chronicles. It is the story of a young girl taken at birth and raised on Ganymede in a government -run education system. War breaks out between the moons of Jupiter and Suze eventually is returned to Jupiter as one of the Ganymede troops in the war against the Callistans. Soon after her arrival Suze is wounded and left for dead. She is found by the Jovians and nursed back to health only to discover that the sauruses of the world believe her to be the one who can save mankind from a final extinction. Through the education given to her by the sauruses, Suze comes to realize her full potential and her fate. She only wishes that she would be the Savior of the human race. Only time will reveal the truth of the ancient saurus' prophecy. Is mankind again doomed or can it be saved by the young girl chosen by the sauruses? Will the human race finally be turned from a path of destruction? Or will the blight on the Universe be allowed to continue?
Shakespeare's As You Like It is a play without a theme. Instead, it repeatedly poses one question in a variety of forms: What if the world were other than it is? As You Like It is a set of experiments in which its characters conditionally change an aspect of their world and see what comes of it: what if I were not a girl but a man? What if I were not a duke, but someone like Robin Hood? What if I were a deer? "What would you say to me now an [that is, "if"] I were your very, very Rosalind?" (4.1.64-65). "Much virtue in 'if'," as one of its characters declares near the play's end; 'if' is virtual. It releases force even if the force is not that of what is the case. Change one thing in the world, the play asks, and how else does everything change? In As You Like It, unlike Shakespeare's other plays, the characters themselves are both experiment and experimenters. They assert something about the world that they know is not the case, and their fictions let them explore what would happen if it were-and not only if it were, but something, not otherwise apparent, about how it is now. What is as you like it? What is it that you, or anyone, really likes or wants? The characters of As You Like It stand in 'if' as at a hinge of thought and action, conscious that they desire something, not wholly capable of getting it, not even able to say what it is. Their awareness that the world could be different than it is, is a step towards making it something that they wish it to be, and towards learning what that would be. Their audiences are not exempt. As You Like It doesn't tell us that it knows what we like and will give it to us. It pushes us to find out. Over the course of the play, characters and audiences experiment with other ways the world could be and come closer to learning what they do like, and how their world can be more as they like it. By exploring ways the world can be different than it is, the characters of As You Like It strive to make the world a place in which they can be at home, not as a utopia-Arden may promise that, but certainly doesn't fulfill it-but as an ongoing work of living. We get a sense at the play's end not that things have been settled once and for all, but that the characters have taken time to breathe-to live in their new situations until they discover better ones, or until they discover newer desires. As You Like It, in other words, is a kind of essay: a set of tests or attempts to be differently in the world, and to see what happens. These essays in As If: As You Like It, originally commissioned as an introductory guide for students, actors, and admirers of the play, trace the force and virtue of someof the claims of the play that run counter to what is the case-its 'ifs.' William N. West is Associate Professor of English, Classics, and Comparative Literary Studies at Northwestern University, where he is also chair of the Department of Classics and co-editor of the journal Renaissance Drama. He is co-editor (with Helen Higbee) of Robert Weimann's Author's Pen and Actor's Voice: Writing and Playing in Shakespeare's Theatre (Cambridge, 2000) and (with Bryan Reynolds) of Rematerializing Shakespeare: Authority and Representation on the Early Modern Stage (Palgrave, 2005). In addition to his book Theatres and Encyclopedias in Early Modern Europe (2002), he has recently published articles on Romeo and Juliet's understudies, irony and encyclopedic writing before and after the Enlightenment, Ophelia's intertheatricality (with Gina Bloom and Anston Bosman), humanism and the resistance to theology, Shakespeare's matter, and conversation as a theory of knowledge in Browne's Pseudodoxia. His work has been supported by grants from the NEH and the Beinecke, Folger, Huntington, and Newberry libraries.
Earth has been invaded - but one human terrorist has discovered a weapon which might change the course of the war! Earth has been taken over by the Ganymedians, a race of telepathic worm-like aliens whose instinct for survival has overridden any human attempt to resist their rule. But there is one man who may have discovered a way to defeat them. Dr Balkani has created a machine which distorts reality, and therefore will allow a determined human to avoid the Ganymedians' telepathic oversight. But there is one problem - Balkani is a worm-kisser, a servant of the invaders, and may not allow his invention to be used against them ...